Last updated: February 19th, 2024
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1. A CERTAIN RATIO: “The Old The New – A Certain Ration ’78 ~ ‘85” (Nippon Columbia – YX-7383-AX) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1986 original press – PROMO issue. A Certain Ratio – originally Simon Topping (vocals), Martin Moscrop (guitar/trumpet), Peter Terrell (tape loops) and Jeremy Kerr (bass) -were one of the first groups to sign to Factory Records; they introduced dance music into the Manchester mix long before New Order or The Happy Mondays. Their dub-infused punk-funk recordings have proved massively influential over the past decades, this Japanese issue here focusses on the period ’78-’85, when there seemed no limit to ACR’s energy and innovation. Price: 65 Euro
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2. ABE KAORU: “Mort A Credit” (ALM RECORDS – AL-8~AL-9) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint). Top condition. This was the last album of the legendary sax howler Abe to be released in his lifetime. The title was taken from a Céline novel, since Abe was a huge fan of the French writer. The recording consists of two alto improvisations, taken from a concert staged on October 18th, 1975 and five more (two on soprano, three on alto) taken from another performance a couple of days earlier. Abe brings forth a real tour de force in which roughly cut-off notes are spaced so regularly that their rhythms are like watching a slowed-down strobe light. With run after run of harsh, crude and almost bawdy staccato honking, he speedily races through the octaves in ascending and descending anti-order cadence, infused at times with shrill squeaks and squeals, an occasional blood curling melody and references of non-existent simplistic and jokey tunes. Furious forehead center blowing guts of dancing note clusters on your earlobe. Generally speaking, Abe’s performance on this disc does resemble a high tensioned sound, like a killer babe dressed only in high-heeled stiletto boots trampling on your private parts. A real killer, portraying Abe in a fascinating period of transition, delivering a highly salient and audaciously experimental recording that blows all of the nowadays would be improvisation impersonators straight out of the water with their tail whopping between their legs. Rare to say the least. Historical and much in demand these days. Stunningly beautiful copy, hardly surfaces in such immaculate state. No storage wear, no marks on the jacket and looks like an untouched copy. Rare beyond belief in this state but still affordable. Price: 200 Euro |
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3. ABE KAORU: “Suisei Partitas” (Nadja – PA-6137~38) (Records: Mint/ Gatefold Jacket: Mint/ OBI: Near Mint). 1st original pressing complete with OBI!!!! 2 LP Set. Great original copy and first press of Japan’s all time hard blowing saxophone wonder Abe Kaoru. This is the 1st pressing. (Second press came out on the Kenwood imprint.) Amazing free jazz saxophone improvisational workouts. Legendary and utterly historic recording. Subtitled “Well-Tempered Alto-Saxophone Suite “Partitas – Unfinished” For Joyness of All Beginners And Also Exparts”. Among the plethora of solo performances that have come to light since Abe's untimely passing in 1978 at the age of 29, this might well be his definitive statement. Originally issued in a miniscule run in 1981, “Partitas” captures Abe at the height of his powers in March 1973. The four lengthy pieces that comprise this set make for a most challenging listening experience that puts on display a soul of immeasurable depth filled with distress and solitary angst. His hard blowing guts gushes out furious dancing note clusters that balance on your earlobe before caving in on your skull. Generally speaking, does Abe’s performance on this disc resembles a high tensioned sound, like a killer babe dressed only in high-heeled stiletto boots trampling on your private parts. A real killer, portraying Abe in a fascinating period of transition, delivering a highly salient and audaciously experimental recording that blows all of the nowadays would be improvisation impersonators straight out of the water with their tail whopping between their legs. Rare to say the least. Extremely beautiful copy hardly turns up in such a perfect state. Historical and much in demand these days. Price: 200 Euro |
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4. ABE TADASHI:“ Saiminjutsu Nyuumon” (Union Record – JLS-1) (Record: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). 1st copy to emerge in a looooong time with obi. Top-notch copy of this beyond belief rarity out of the bowels of Teichiku/ Union Records early seventies scum psych weirdness. On the lookout for totally obscure and below the radar early seventies Japanese weirdness to impress your few friends and records buffs with? Well then look no further, this will certainly do the trick. First of all, Abe Tadashi is not exactly a name that will catapult your ass out of that lazy chair, unless you are acquainted with either the Japanese early seventies hypnotism community or with much sought after underground labels such as Tengu Records out of Osaka that released a similar cultural oddity by like Hikita Tenko. It is in a similar aesthetic that this Abe Tadashi disc falls into place. Abe Tadashi was an illusionist/ hypnotist and medical practitioner who got quite some minor fame in Japan in the years to follow. But at the time of this recording, Abe was just a struggling and largely unknown doctor and hypnotist who recorded this one oddity for Union Records. As might be expected, he tries on this recording to convince you of his powers, drowsing you off into a deep slumber as well as demonstrating his ability. Still that is not all that goes on and while Abe is doing his thing, there is quite some submerged musical activity going on in the background. Advertised as “musical hypnotism illusion” Abe is boarding on some weird musical endeavor, balancing on a loungey psyched out cocktail act that is trying to catch you off guard and let you seep into a deep slumber. The comforting voice of Abe that seems to be coming at you from beyond the grave is combined with the soft psychedelic musical vibes, deploying feedback and some other eerie effects that at no time sound disturbing create a weird atmosphere. The vibe is distinctly early seventies, spiced up with swirling light effects, velvet couches and a slightly drugged out vibe. This one will appeal to all of you insomniacs out there. Needless to say, this beauty is hideously rare and just never turns up here due to totally bummed sales at the time and the marginal public it was catering to, making that maybe only a handful are still in circulation today (while the remainder of the initial pressing was sadly enough but probably hoarded of to a near dumpster to get incinerated). Last copy I saw up for sale sold within 5 minutes for 700 dollars. This copy is near mint so a better copy does not exist I believe and seen in that light, combined with the scarcity of this artifact I think we have a fair price. Recommended for all of your hyper rare vinyl enthusiasts, borderline music brainiacs and just plain weirdness lovers. Price: 150 Euro |
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5. ABRAMS, MUHAL RICHARD: “Young At Heart, Wise In Time” (Delmark Records – PA-7028) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Top condition high quality Japanese pressing of often overlooked gem of a disc – comes with rare OBI present. “Muhal Richard Abrams as the founder of the AACM in Chicago, has been one of the unsung leaders of the avant-garde ever since the mid-'60s. A versatile pianist, Abrams is heard in two different settings on this, his second session as a leader. "Young at Heart" finds him stretching out on a solo piano performance that hints at earlier styles while exploring the potential sounds and silence of free jazz. Wise In Time has Abrams functioning as part of an explorative quintet with trumpeter Leo Smith and altoist Henry Threadgill, both of whom were unknown youngsters at the time. Fascinating music, it is recommended strictly for the open-eared listener who does not demand that all jazz swing conventionally.” (All Music Guide). First time ever I could find a copy with the bloody cool obi flashing it colors. These babies are getting so damned scarce it is bordering on the insane. Price: 125 Euro |
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6. ABRAMS, RICHARD: “Levels And Degrees Of Light” (Delmark/ Trio Records – PA-7024) (Record: Near Mint/ Jacket: Excellent – upper seam middle bump/ Insert: Near Mint/ Obi: Near Mint). Rarely seen Japan 1st original press issue all complete with rare obi!!! Although recorded early in the career of Muhal Richard Abrams, this brilliant LP shows the pianist/composer turning away from the stock jazz and studio work of earlier years -- to develop into one of the richest talents to rise from the Chicago avant underground of the 60s! At the time of the recording, Abrams was the president of the recently-founded AACM -- and for the session, he's surrounded himself with some of the best young talents from Chicago, including Thurman Barker, Anthony Braxton, Leroy Jenkins, and Maurice McIntyre -- all of whom help to create a complicated web of colors, shapes, and sounds, that prove that the youthful energy of the underground scene was more than capable of crafting sophisticated modernist documents. The album features three long works -- "Levels & Degrees Of Light", The title track finds Abrams broadly tracing out some of the territory he would continue to explore in succeeding decades, an ethereal, mystic quality (evinced by Penelope Taylor's otherworldly vocalizing and Gordon Emmanuel's shimmering vibes) balanced by a harsh and earthy bluesiness set forth by the leader's piercing clarinet. Other tracks are "My Thoughts Are My Future" and "The Bird Song". When the band enters at full strength with Anthony Braxton (in his first recording session), the effect is explosive and liberating, as though Abrams' band had stood on the shoulders of Coltrane, Coleman, and Taylor and taken a massive, daring leap into the future. It's a historic performance. Price: 150 Euro |
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7. ABWARTS: “AMOK/KOMA” (Zickzack Records – ZZ10) (Record: Near Mint/ Jacket: Excellent/ Insert: Excellent). Piece de resistance of the early 1980's German underground scene. After the Krautrock wave had ebbed out, the punk contagion spread through late 1970's West Germany like an unstoppable venereal disease. Especially Hamburg was hit hard, germinating out sub currential labels like the now highly collectable Zickzack venture. Helming the whole scene was Abwarts, ready to chant Babylon down. On their first album “Amok/ Koma” the four members plus their savage veteran mother scorn through the 14 original compositions with so much vigor, speed infested urgency and accelerated primitivism from beyond the cave that one has the feeling they wanted to finish the recording before the fuzz breaks down the door and takes them away – in straightjackets to the nearby mental asylum. Seemingly recorded in a crisis condition of post baby-booming Germany shaken up with terrorist upheaval and Bader Meinhoff activity, the band speed riffs through their bone-shaking amphetamine driven mantras. Guitarist Frank Ziewert's nagging riffage and nasal sarcastic singing give it all a feel of urgency, demonic possession and disease infested bliss. In all, the disc is a true forgotten masterpiece of punk nihilism, much more intellectually charged than their UK compatriots (apart from CRASS). Cold war Germany has never sounded so alive as when Abwarts were on the barricades, trying to bring down the wall and the Fourth Reich with it. Brilliant. One of the best discs to seep out of Germany (and Europe for that matter) during that hole in time. All time highest recommendation and top notch copy. Price: 75 Euro |
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8. 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!!! |
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9. ACTING TRIO: “S/T” (BYG Records/ Nippon Columbia - ACTUEL – BYG-13) (Record: Near Mint/ Gatefold Jacket: Mint/ Attached Insert in gatefold: Mint/ Obi: Mint) Damned rare Japan 1st original pressing all complete with hardly ever seen OBI. WHITE label PROMO! Totally underappreciated trio consisting out of Andre Maurice (cello discordato), Phillipe Mate (tenor – he would go on to record for Saravah), Jean-Pierre Sabar (piano). In many respects, Acting Trio is not unlike much of the Association for the Advancement of Creative Musicians (AACM)’s work from this period. Like the AACM members, Acting Trio works just as frequently with texture as with melody and makes great use of negative space, which allows for sometimes jarring tonal shifts when the composition demands it. Moreover, the Trio, and especially cellist André Maurice, coax some impressive nonmusical sounds from their instruments in the course of their sonic explorations. Yet while the Art Ensemble of Chicago were explicitly working within a pan-African musical tradition and all of the group’s other early members’ music had at least some roots in jazz, Acting Trio seems divorced from the jazz tradition. Maté played in some more straight-ahead jazz groups in the ‘70s, but the music he wrote for this album has no swing and its rhythmic base (usually provided by the cello) has little precedent outside of avant-garde classical and the then new European free improvisation scene. This is a wonderfully strange album. It has none of the immediate pleasures that some of Acting Trio’s labelmates were able to achieve, but it rewards those who can move beyond jazz dogma and listen with unencumbered ears. Yet for all its charms, it remains a footnote in the BYG Actuel catalog, and rightfully so considering the talents and clarity of vision of so many of the label’s other artists. Rarely offered Japan original with OBI. Price: 150 Euro |
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10. The ACTION: “Rolled Gold” (Dig The Fuzz Records – DIG020) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint). Long gone and out of print first press quality issue from 1997 that throws together unreleased tracks by the Action, the pre-Mighty Baby freakbeat band. the legendary 1967-68 recordings by UK mod band The Action, registered when they were in transition from mod-beat to full-blown psychedelia, just prior to becoming Mighty Baby. Originally recorded as a set of demos with the intention of obtaining an album deal which inexplicably never materialized, Rolled Gold is a collection of brilliant songs, melancholic yet powerful. The band just plays their hearts out: superb harmonies, great guitar work, and clever arrangements which show the influence of bands like The Byrds and the psychedelic sounds that were coming from the west coast and UK as well as jazz giants like Coltrane. Always the stuff of legend, the Rolled Gold tapes were shelved at the time, not released until 1997 when the Dig The Fuzz label discovered them and did a limited LP run. Out of print on vinyl for many years, if you dig pop psych/ freak beat and full-blown early UK psychedelic sounds such as the Small Faces, Pretty Things. The Who, The Creation, Nazz, Tomorrow, Blossom Toes, the End or even Traffic, then this is just as – if not even more indispensable. Killer from start to finish. Price: 50 Euro |
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11. ADDERLEY, NAT: “Sayin’ Somethin’” (Atlantic/ Victor Records – SMJ-7379) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare and pristine condition copy – very first Japanese original pressing all complete 1with obi and housed in fragile flip back sleeve. Cornetist Nat Adderley was at the peak of his powers in the mid-1960's. This Japanese press Atlantic issue has four quintet numbers with tenor-saxophonist Joe Henderson (three also feature pianist Herbie Hancock) plus four tunes in which Adderley is part of an 11-piece group. He plays quite well on such songs as "Cantaloupe Island," "Hippodelphia," "Gospellete" and even the then-current pop tune "Call Me," making this set such a rewarding listening experience. Price: 100 Euro |
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12. AFTERGLOW: “S/T” (TMA Records – MTS-5010) (Record: Near Mint ~ Mint/ Jacket: Near Mint & with NO little drill hole – with PROMO sticker – has seal on front and back lower side). Just beautiful top copy original US pressing of this mellow pop-psych masterpiece. Promotional copy. Musically it is in the same league as British North American Act, Fredric and such glorious underrated bands. “An obscure psychedelic band based in Oregon; Afterglow released only one album in 1968 before vanishing. Afterglow's lone, eponymous release was sort of like a sampler of American psychedelic styles, featuring songs that recalled not only the Doors and Jefferson Airplane, but also the Byrds, Donovan and trippy garage-psychedelic bands like the Strawberry Alarm Clock. Led by guitarist/vocalist Tony Tecumseh, the group formed in August of 1965 when Tecumseh was convinced by a friend to contact drummer Larry Alexander and a bassist named Mike. The trio, dubbed the Madallions, soon added vocalist Gene Resler and the band played several shows, usually at a local pizza parlor, before they went their separate ways to attend college. They re-formed in 1966, adding new bassist Ron George and keyboardist Roger Swanson. That fall, they began recording with producer Leo Lukla at his Golden State Recorders studio, but due to their studies, they were unable to complete an album until late 1967; the resulting eponymous record appeared early the following year on MTA Records. Afterglow was ignored at the time and the group broke up shortly afterward, but the record became a favorite of psychedelic collectors. Afterglow starts with "Morning," a gentle folk-rock song that finds the middle ground between the Byrds and Jefferson Airplane. Although there are a couple of tracks similar to "Morning" on the album, it is no more an indication of what's to follow as any other song on the record. Each song on Afterglow sounds as if it could have been written by different bands -- sure, there is the sighing "Mend This Heart of Mine," but it follows the downright bizarre "Susie's Gone," a which, with its dissonant Farfisa organs and slide guitars, sounds like a space voyage gone bad.” (AMG) Top condition. Price: 400 Euro |
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13. 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 rubbing 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!!!! |
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14. AIRWAY: “Live at Lace” (LAFMS – No Catalogue Number) (Paste On jacket: Excellent ~ Near Mint/ Record: Excellent ~ Near Mint/ Insert: Excellent) Rare original copy of early Airway – LAFMS LP that came out in a hand-made paste on Jacket sleeve way back in 1978. The racket on display here was recorded live somewhere in August of 1978 and the line-up consisted out of Vetza (vocals), Dennis Duck (sax), Rick Potts (mandolin), Juan Gomez (bass), Tom Recchion (drums), Chip Chapman (circuits) and Joe Potts (circuits & tapes). Needs no explanation I guess, just stellar deranged DIY pre-punk psychedelic Dadaism and blitzkrieg bopping avant-garde lunacies. LAFMS related material is bloody hard to get your fingers on and especially the singles the collective churned out in hideously tiny runs are almost impossible to locate. This item is just stunning condition and comes in a nice paste-on jacket that can serve as a sleaze DIY vintage art to laminate your lonely bedroom fantasies. Highest recommendation and I doubt another copy will cross your path again within many moons. Price: 275 Euro |
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15. AIYOKU JINMIN JUJI GEKIJO: “S/T” (Pinakotheca Records – 001) (Record: Near Mint / Gatefold Jacket: Near Mint/Insert: Near Mint / Zyklon B 2 Insert Package: Near Mint) One of the best copies to ever cross my eyes and one of the key recordings to document the seeding early 1980s Japan seedy underground scene. All complete with insert and the always-elusive Zyklon B insert package present and accounted for. This record is without a single doubt on of Japan’s underground music scene defining moments. Much rumored about and rarely offered up for sale since this sucker so bloody rare due to the fact that most copies are safely tucked away in private collections and the ultra-limited press of the record. Still, the “Aiyoku Jinmin Juuji Gekijou” is without a doubt one of the most important discs of the late seventies and early eighties to have emerged out of Japan and after gazing upon the list of collaborators it is easily to understand why. Contributions by Tamio Shiraishi, Unit consisting of Takafumi Sato – Yatasumi – Akihiro Ishiwatari – Masami Shinoda, Honeymoons, Intensions (which is Kyoyaku no Intension before Narita reinforced the line-up shortly hereafter. On the disc the duo consists of Kamura and Atsuko Shiba), Duo performance by free jazzing bass virtuoso Motoharu Yoshizawa and Katsuo Itabashi, Harumi Yamazaki’s Gaseneta, Keiji Haino solo excursion, Vedda Music Workshop (with Takeda Kenichi, Chie Mukai, etc), Kino, Toshi Tanaka and friends and Kudo Tori’s Machinegun Tango outfit. All who was of any significance during these days in the bowels of Tokyo’s underground community appears on this disc. Stellar music, uncompromising and far out. All time highest recommendation and getting almost impossible to find. Has never been reissued on CD and will never be reissued due to the high ego’s that inhabit the grooves and Pinakotheca honcho Sato-san who is reluctant to hand over the rights, even now when he is nearing the end of his life due to sickness and vows never to reissue it as he wants nothing to do anymore with the Pinakotheca label and his musical past. I doubt another copy will cross your path any time soon…. Especially in such an eye-watering beautiful condition. Getting scarcer with every breath you take, has been ages since I had a copy, especially with all present. These are virtually impossible to find anymore and one of the best recordings to document the Japanese late 1970s ~ early 1980 free form/ free jazz/ improvisation/ psychedelic cum underground acts. Massive and damned rare private press issue. Price: 350 Euro |
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16. AIZAWA TOHRU QUARTET: “Tachibana” (Tachibana Record – TLP-1001) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Freakingly rare 1975 Japanese spiritual jazz private pressing that came out in a ludicrous small pressing of around 200 copies only. The album, Tachibana, was recorded in 1975 and this privately pressed record was the only album made by the Quartet, four amateur musicians who were university students at the time. The session was financed by a local businessman, Ikujiro Tachibana, who pressed up a few hundred copies to use as a business card. In the intervening 40 odd years since its recording, few copies have surfaced, making it an in-demand yet elusive artifact from the golden age of Japanese jazz. Tachibana has all the necessary components of a cult album: pressed in small numbers, a few mysterious and vague details about its origins, languishing in obscurity for decades and, above all, superb musical craftsmanship and skill. The album opens with the dynamic percussion work-out Philosopher’s Stone written by the then law-student and drummer Tetsuya Morimura. It propels along with the band at full pelt, showcasing Morimura’s well-developed drumming style. For a teenage amateur player to compose and perform such an accomplished and impressive piece is a testament to the talent that the band contained. Philosopher’s Stone is followed by Sacrament, an epic modal composition by saxophonist Kyoichiro Morimura that fans of Wayne Shorter, Pharoah Sanders and late-era John Coltrane will appreciate. After an extended intro the band drop into a heavy, churning groove, Morimura’s saxophone scorching above the volcanic rhythm section. Dead Letter, written by Aizawa himself, is an epic piano led symphony of spiritual jazz. Think McCoy Tyner at his imperial finest and you’ll get a flavor: impact, emotion and power all suffuse to create an overwhelming experience. Amazingly, this is still the only Aizawa composition yet to be recorded. The Tachibana album also includes two cover versions, both Latin flavored numbers delivered with élan and brio: La Fiesta by Chick Corea and the classic Samba de Orfeu by Luiz Bonfá. So, just five tracks in total, the sole existing evidence of an astonishing band, the Tohru Aizawa Quartet. Amazing condition original first press issue. Price: Offers!!! |
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17. AKASAK MABOUL – MARK HOLLANDER: “Onze Danses Pour Combattre La Migraine” (Kamikaze Records – KAM-1) (Record: Near Mint/ Jacket: Near Mint) Bloody rare first original Belgian pressing of Belgium’s finest band ever Aksak Maboul. This was the first release on the private label Kamikaze Records and was released in an edition of 250 copies. Recorded in 1979 and released that same year, the first original pressing is a true bitch to find. Music-wise this sucker is wicked as hell. The music’s idiosyncratic style and hard-to-pin-down genre made is such an adventurous listening experience. Partly this was caused because the end of the seventies were boring as could be and the eighties were just about to bust in and make everyone’s life even more miserable than it already was (on a cultural level). People were tortured on a daily basis by mind-numbing disco tunes, Rod Stewart reigned over the airwaves, polluting every household with his cock-sucking aesthetic to sound and Paul McCartney sounded like the Inquisition’s executioner on a rampage. In short the musical landscape sucked majorly and it proved to be a fertile breeding ground for experimental heads to take root in. Centered around Marc Hollander and Vincent Kenis, Aksak Maboul got formed in 1977 but it would be until 1979 that the unit recorded their debut album. What a fucking mind blender the disc turned out to be. No-one had heard anything vaguely like this before. Aksak Maboul, by then reinforced by other free-spirited RIO styled heads and fusing neatly fake jazz, electronics, imaginary African & Balkan music, minimalism...with each other. Hell, upon a close listen one can even detect faint hushes of pre-techno aspects such in as Saure Gurke and its characteristic keyboard stab pattern, which will mysteriously find its way into many classic Detroit techno tracks some ten years later. But not only that. Hollander was also deeply stooped within the tradition of classical music and one can also easily hear a sniff of Zappa, Philip Glass and minimalism, Henry Cow, Turkish music and Phil Miller. In all a sheer brilliant and fantastic album. It should appeal to almost everyone wandering into This Heat regions of musical expression. Highest Recommendation. Mega rare Belgian 1st original pressing in TOP condition…they just never turn up, especially as clean as this one. One of the best – if not the greatest – album to be released in Belgium and Europe for that matter, no shit…. Price: 375 Euro |
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18. AKSAK MABOUL/ AQSAK MABOUL: “Un
Peu De l’Ame Des Bandits” (Crammed Discs / Sound Marketing System –
SP25-5147) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Near
Mint). Hopelessly rare 1984 Japanese first original pressing in top condition
and with insert and obi complete. Has been over a decade since I last saw an
all complete copy! “Founded
in 1977 by Marc Hollander and Vincent Kenis, Aqsak Maboul already contained
some of the key elements of the Crammed æsthetics: eclecticism,
internationalism, deliberate and playful mixing of forms, cultures and genres.
"Un Peu De L'Âme Des Bandits" was recorded by a lineup
featuring English musicians Fred Frith and Chris Cutler. More intense and
"experimental" than the first one, this album's music contains
complex, completely written sections as well as totally improvised hardcore
ambient pieces, not to mention drum machines, bassoons, sampling before
samplers existed, Bulgarian, Pygmy, Polynesian and Delta Blues voices, tango, a
Turkish tune, crypto-punk or pseudo-Varese music... Even the most ambitious
moments of "...l'âme des bandits" are infused with Aqsak
Maboul's customary playfulness: "Tango" for example is based on
various existing tangos, the scores of which were cut-up, shuffled and randomly
glued back together; the musicians then proceeded to learn the resulting
"opus", and actually performed it live in one take; "A Modern
Lesson" contains recorded fragments taken from every single other track on
the album; the last section of "Cinema" is an improvised impression
of a late-night program on Bulgarian radio...etc.... Un Peu De L'Âme Des
Bandits was released on vinyl by Atem, Crammed Discs (002,002) in 1980.” (thethingonthedoorstep). Original Japanese
pressing from 1984 in absolutely top condition and seriously a tough one to dig
up all complete!!!. Price: 200 Euro |
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19. ALAN SILVA & HIS
CELESTRIAL COMMUNICATION ORCHESTRA: “Luna Surface” (BYG Actuel
– Actuel-11/ BYG-11) (Record: Near Mint/ Gatefold Jacket: Near Mint/
Attached Insert: Near Mint/ OBI: Mint). Very rare Japan 1st original
pressing all complete with 1st issue OBI – WHITE LABEL PROMO. This
one is a free jazz blast. Original Japan vinyl pressing from November 1970 and
sounding so much better than the French pressings of that day, it will wrap
your ears around your head in pure delight. For this flash of free form
heaviness bolstered up in a ravaging whirlwind of maniac fury, Alan Silva
collected many of the top free jazz players of the day and he let them reign
free as they pleased. As a result, “Luna Surface” is an extreme sonic
experiment and a weird hell broth of high-tension music triggering multiple
high voltage reactions that could easily turn off a listener not yet sold on
the 1969 avant-garde jazz scene. For this recording of Alan Silva's 1969 Paris session with
a group of legendary free jazz players including Grachan Moncur III, Archie
Shepp, Anthony Braxton, Dave Burrell, Leroy Jenkins, and Malachi Favors amongst
others, Silva brought together many of the top free jazz players of the time in
an amazing 11-piece ensemble and set them free, making this is a very free
record and a historical document of Pan-African music. Probably one of the
all-time most arresting listening experiences of free jazz ever to be put down
on wax, players act out as engaged in trench warfare, leaping into violent fits
of madness and blowing out deep subterranean apocalyptic waves of sound that
constantly hurtle in and out of focus. The overall outcome is a true head
cleaner, uglier than any group of mutants you’d see at a bad insane asylum.
This is the fast lane folks…and some of us like it here. So one word of advice,
blast this monster at full volume, get loaded on tasty narcotics and then snarl
around looking for somebody to chain-whip. Super & rare Japan 1st press with attached insert and OBI complete – PROMO issue. Price: 150 Euro |
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20. ALAN SILVA and the CELESTRIAL
COMMUNICATION ORCHESTRA: “S/T” (BYG Actuel 42-43-44) (3
LP Set: Near Mint/ Triple gatefold Sleeve: Near Mint). Top-notch copy and
original French pressing of this all time great slab of fire music. One of the
– if not THE – hardest to track down title in the Actuel series and
the sole 3 LP set to see the light on the label. “Seasons”, a “stereophonic
picture”, as the piece was called on the inside of the three-fold album
cover is a massive free jazz beast on every scale. The schematic printed on the
inner cover gives you some clue to the piece, a thorny
path through the chaos, but “Seasons” is extreme even in free jazz terms. For much of its extraordinary length, it is
a billowing surge of noise, so loud, so chaotic, so exhilarating that you are
swept up in it without hope of rescue or reprieve. The album was recorded live
in the ORTF studio in Paris on December 29th, 1970 and released as part of that
magnificent Actuel series of avant-jazz albums in 1969/70. These three give a
hint as to the real audience for Silva's work. This album should not so much
appeal to jazz fans, even adventurous jazz fans, but to those plunged into the
deep end of psychedelia. In short it is a truly punishing but truly effective
psychedelic trip. It's for the same people who manage to fight their way
through Terry Riley's 40-minute live version of “Poppy No Good” and Amon Duul’s “Psychedelic
Underground” and never stopped falling. So, as you can already guess it is
a truly legendary record. The
CCO was pretty much whoever Silva could round up for a
given date, but this one-shot radio concert was its largest lineup ever. What
you get are two 70-minute sections of the piece, as close as anybody without a
time machine's ever gonna get to hearing it as it was in December '70, when
this thing erupted through the earth and stood, shuddering and alive, before an
audience of awestruck French hipsters. This is a serious piece of music. The
band includes every member of the Art Ensemble of Chicago except bassist
Malachi Favors; trumpeter Alan Shorter; saxophonist Steve Lacy; two electric
violinists; two cellists; pianists Dave Burrell and Joachim Kühn; Silva
himself on bass, electric violin, and a couple of different electro-acoustic
instruments; and nearly a dozen other folks, all roaring in unison for two
solid hours and then some. The music combines the eerie tones of 20th Century
avant-garde composers like Xenakis or Christian Wolff with the blood-bubbling
scream of primo free jazz. For about the first five minutes or so, all seems
well, the piece shimmering out of the speakers as a duo for bowed bass and
piano. But by fifteen minutes in, after Lester Bowie's muted trumpet has
summoned the whole blaring outfit to full awareness, it's just one surging wave
of sound after another, as relentless as the tides and as powerful, sweeping
everything before it. Saxophone solos, triple-piano crescendos; this disc's got
everything, and throws it all at you, one thing after another until you're
panting as hard as the two drummers must have been. It's literally
breathtaking, and the fact that it's half an afternoon if you decide to sit
down and listen to the whole damn thing only adds to the generally overwhelming
vibe. Not for the faint of heart, but recommended to everyone else. Absolutely recommended to the brave. Price: 150 Euro |
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21. The ALAN SKIDMORE QUINTET: “TCB”
(Philips – 6308.041) (Record: Near Mint ~ Mint - just perfect all way round with no blemishes at all/ Laminated Jacket: Near Mint) TOP condition copy,
1st 1070 UK pressing of this face melting British jazz slide. The
perfect copy at last. Featuring
Skidmore, John Taylor, Mike Osbourne and John Surman et al. This LP is made of
lunacy. Predominantly the LP consists of fiery freeness that requires a great
concentration. Nevertheless and almost as a fuck you to old guard critiques of
free jazz. This becomes especially clear on the track Lantern Wood that
displays the players’ proficient talents individually and serves the LP well as
the calm before the storm. One of the key releases documenting the UK jazz
scene. Great original 1st pressing. Killer with absolutely no filler. Impossible to ever upgrade upon. Clean as a virgin burning in heat!!! Price:
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22. The ALAN SKIDMORE QUINTET: “Once Upon A Time” (Deram/ KING Records – DL-3004) (Record: Near Mint/ Thick Jacket: Near Mint/ Insert: Near Mint). Original 1970 first Japanese high-quality pressing on the highly collectible Deram label. Hardly ever seen WHITE label PROMO issue in TOP shape. “Once Upon a Time is one of an amazing 20 albums tenor saxophonist Alan Skidmore appeared on in 1969 and 1970 (including several veritable classics of British jazz, Mike Gibbs' Tanglewood 63, John Surman's How Many Clouds Can You See?, Stan Tracey's Seven Ages of Man, and Graham Collier's Songs for My Father). The lineup of this particular quintet, which represented Britain at the 1969 Montreux Jazz Festival, is truly stellar: in addition to Skidmore there's Canadian trumpeter/flugelhorn virtuoso Kenny Wheeler, pianist John Taylor, bassist Harry Miller, and percussionist Tony Oxley. Two of the six tracks are credited to John Surman, and one, the sultry "Old San Juan," is penned by John Warren, Surman's collaborator on Tales of the Algonquin, another classic release from the same year. If the Surman material reveals the discreet influence of the late-'60s Miles Davis quintet, Oxley's "Majaera" begins to explore the more dangerous territory of free playing he would return to the following year on his Four Compositions for Sextet. Elsewhere, John Taylor's "The Yolk" is a boisterous, brilliant piece of hard bop, and the last three tracks, segued together as a suite, explore a similarly wide range of styles. So much so that Skidmore aficionados tend to prefer the greater coherence of the following year's septet release on Philips, TCB, but Once Upon a Time remains one of the landmark albums of British jazz.” (All Music Guide). Top copy 1st Japan 1970 pressing, amazing condition. Japanese pressing is deliriously rare and this one is virginally clean, untouched and promo issue. Price: 250 Euro |
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23. The ALBERT MANGELSDORFF QUINTET: “One Tension” (CBS Sony – SONP-50278) (Record: Near
Mint/ Gatefold Jacket: VG++ ~ Excellent, has mildew spots within gatefold). Bloody rare
Japan 1st original pressing, yellow label promo issue. Exceptionally strong jazz album from 1963 - has a
deep sound not so far from Dolphy's "Out to Lunch". This original
Japanese pressing sounds fabulous, amazing sound. First time ever I could
encounter a Japanese press, yellow label promo issue to boot. Price:
50 Euro |
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24. ALLEN, DAEVID: “Banana Moon” (BYG Records – 529.345) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Original French pressing. This is Allen's first solo album which he recorded years after leaving the legendary Soft Machine and soon after forming the anarchic, experimental and drug-inspired ensemble Gong. The album's highlights include the moody 'Memories' with Robert Wyatt on vocals, one of the finest tracks to come out of the so-called 'Canterbury Sound', and the rocking opener 'Time Of Your Life' is a showcase for Allen's guitar pyrotechnics. The gatefold jacket will blind you when it flashes upon you the original artwork that includes Allen's own distinctive, suitable stoned notes and drawings. Amazing disc, an all time classic psych beast. Top copy. Price: 150 Euro |
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25. ALLEN, DAEVID: “Good Morning” (Virgin/ Nippon Columbia – YX-7122-VR) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Mint). Damned rare Japan original pressing, Promo issue with obi. Gong’s first album, Magick Brother, was recorded in the beautiful village of Deya on the island of Mallorca. It was to Deya that Daevid Allen retreated after leaving Gong with a purpose to stay “as clear and clean as possible” in pursuit of his musical direction. There he and his then partner and Gong co-conspirator Gilli Smyth found new collaborators in Euterpe, a band of Catalan musicians reportedly discovered covering Stairway To Heaven, and this part-mystical, part-spiritual and often whimsical solo album was born. Good Morning is a typically loveable, yet infuriating, Daevid Allen album; a charming and beguiling work meandering from nursery simplicity to deep contemplation. That it’s performed with a backing of local musicians doesn’t actually remove it, for the most part, from being texturally in touch with the Gong canon. Moreover, its delicate beauty was achieved in his modest home with a semi-professional reel-to-reel and two Revox tape recorders. Top condition original with rare OBI! Price: 275 Euro |
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26. The ALLMAN BROTHERS BAND: “S/T” (Capricorn Records/ Victor Records – SWX-6223) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent). 1975 Japan pressing with obi. First time ever I have WHITE label PROMO copy of this classic complete with the obi strapped around it. Top shape!!! Price: 75 Euro |
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27. The ALLMAN BROTHERS BAND: “Brothers and Sisters” (Warner Pioneer – P-8345W) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 2 Inserts: Excellent – some foxing/ Obi: Near Mint). Japan original first pressing with first issue obi. WHITE label PROMO of essential Allman Brothers slide. Price: 75 Euro |
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28. ALLMAN BROTHERS BAND: “The Allman Brothers Band Live at the Fillmore East” (Atlantic Records – P-5016~7) (2 LP Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint/ OBI: Excellent). Top condition Japan very 1st press original all complete with insert. Rarely offered BLUE label PROMO issue. Subliminal LP “At Fillmore East” resembles a fired up live jazz session, where the pleasure comes from the musicians' interaction and playing. The clever studio editing of various live takes and performances. Turned out to be a tactic helping to represent the Allmans at the height of their powers, showcasing the group's terrific instrumental interplay, letting each member (but particularly guitarist Duane and keyboardist/vocalist Gregg) shine. Killer and all-time classic slide that is the pinnacle of the Allmans and Southern rock at its most elastic, bluesy, and jazzy. Never gets stale. Subliminal LP “At Fillmore East” resembles a fired up live jazz session, where the pleasure comes from the musicians' interaction and playing. The clever studio editing of various live takes and performances. Turned out to be a tactic helping to represent the Allman’s at the height of their powers, showcasing the group's terrific instrumental interplay, letting each member (but particularly guitarist Duane and keyboardist/vocalist Gregg) shine. Killer and all-time classic slide that is the pinnacle of the Allmans and Southern rock at its most elastic, bluesy, and jazzy. Never gets stale. Virginally clean top condition first original press issue with 3000 Yen price stated on obi. Hardly ever offered blue label PROMO! Price: 275 Euro
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29. The ALLMAN BROTHERS BAND: “Beginnings” (VIP-9505~6) (2 LP Record: Record: Near Mint/ Textured Gatefold Jacket: Excellent – has some ageing spots and foxing visible inside gatefold/ 8 Page Booklet: Near Mint/ 2 Inserts: Excellent – some foxing/ Obi: Near Mint/ 2nd Additional Obi: VG++ - has repaired seams) WHITE label PROMO issue of killer Allman Brothers live slide. Price: 75 Euro |
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30. The ALLMAN BROTHERS BAND: “Eat A Peach” (Capricorn Records/ Victor – VIP-9509~10) (2 LP Record: Near Mint/ Textured Gatefold Jacket: Excellent – has some ageing spots and foxing visible/ 8 Page Booklet: Near Mint/ 2 Inserts: Excellent – some foxing/ Obi: Near Mint/ 2nd Additional Obi: VG++ - has repaired seams) Japan 2nd press issue – WHITE label PROMO issue of killer Allam Brothers live slide. Price: 75 Euro |
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31. 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!!!! |
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32. ALTERNATIVE TV: “How Much Longer b/w You Bastard + Love Lies Limp (Flexi)” (Deptford Fun City Records – DFC02/ S.G. Records for flexi) (Single Record: Near Mint/ Flexi Disc Single: Near Mint/ Flip Back Picture Sleeve: Excellent ~ Near Mint). 1977 UK first original pressing in top shape and comes all complete with always missing flexi disc single! In March 1977, Alternative TV were formed by Mark Perry (vocals/guitar) with guitarist, Alex Fergusson. ATV (as they are known) played their first gig at the Nottingham Punk Festival in May 1977. They released their first single, ‘Love Lies Limp’, as a free flexi disc given away with the last issue of Sniffin’ Glue (no.12), August 1977. Following an abortive demo with EMI, ATV released the first proper single, ‘How Much Longer/’You Bastard’ on Deptford Fun City Records. For their first two singles Perry and Fergusson were accompanied by drummer John Towe (ex-Generation X) and Tyrone Thomas on bass; Towe later left to join The Rage and was replaced by Chris Bennett. This line-up was the most straightforwardly ‘punk’ version of ATV, although they combined short, fast songs with extended pieces such as “Alternatives to NATO”, in which Perry read an anarchist political text and envisaged the possibility of a Soviet invasion of Britain. Shortly afterwards they released the “How Much Longer/ You Bastard” 7″ in December 1977. The A-side was a pointed critique of punk style: “How much longer will people wear/Nazi armbands and dye their hair?” So bloody awesome and comes with the elusive first flexi there as well. Price: 100 Euro |
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33. ALTERNATIVE TV: “Life After Life b/w Life After Dub” (Deptford Fun City Records – DFC04) (Single Record: Near Mint/ Flip Back Picture Sleeve: Near Mint). 1977 UK first original pressing in top shape. Punk dub from the legendary ATV, originally released in 1978. Produced by Trojan Records artist and producer Joe Sinclair. The song presents a “conscious” lyric through an urban music form of its time. And here’s the result, more than 40 years on, the dub still rocks. Perry’s vocal, like no other from the punk era, talks of the afterlife, in a twisted nod to Nietzsche, he chants “Wake Me Up When We Are Dead”. Price: 75 Euro |
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34. ALTERNATIVE TV: “The Image Has Cracked – The First Album By Alternative TV” (Deptford Fun City Records – DLP01) (Record: Near Mint/ Jacket: Excellent). UK original first press from 1978!!! As the editor of seminal punk fanzine Sniffin’ Glue in the 70s, Mark Perry had a clear, uncompromising vision. With Alternative TV he extended the same visionary standards to his band, the audience and himself. For the opening live track he brings some unruly crowd members on stage with predictably chaotic results and making this slab of sonic dementia right from the start an unfairly neglected classic from the late-'70s post punk upheaval. Perry whips up a series of incendiary pieces that are simultaneously exploratively inventive as well as trashy chique, balancing the tightrope somewhere between the Fall’s hyperventilating urban gasps and deconstructive three chord rock’n’roll entropy. "Alternatives" captures the tense spirit perfectly, a live recording where over a gentle groove Perry invites the assembled punters to come up, only to have a bunch of chancers and screamers talk a lot about nothing much at all, until Perry spits vitriol at a pair of people in a punch-up and complains about "diluted shit." As an expression of going down defiant while punk became a new fashion, it's fierce and brilliant. A good half of the album comes from the same concert, including the harrowing final track, "Splitting in Two," as perfect a capturing of nails-dug-in-flesh paranoia and indecision as anything in music history. The album is a mixture of live and studio recordings, often on the same track, and Perry shows an obvious disdain for that elusive third chord, although that doesn’t stop him covering Frank Zappa’s Why Don’t You Do Me Right. When his Deptford mate Jools Holland shows up with a boogie-woogie piano intro, he’s rudely silenced by an instrumental snarl and a chanted chorus of Viva La Rock ‘N’ Roll, followed by a diatribe against French culture. Perry is not enamored with the French, and it affects his sexual performance on Nasty Little Lonely, which ends in noisy frustration. Price: 100 Euro |
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35. AMBOY DUKES: “Journey to The Center of the Mind b/w Mississippi Murderer” (Mainstream Records/ Columbia Records – LL-2184-MS) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Amboy Dukes Japan only single issue that comes housed in killer acid dripping psychedelic art work. Top shape! Price: 250 Euro |
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36. AMBOY DUKES: “Baby Please Don’t Go b/w Psalms Of Aftermath” (Mainstream Records – LL-2152-MS) (Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near Mint/ t). Japan ONLY picture sleeve release from 1968 that comes housed in uniquely Japan only acid-dripping sleeve art. Rarely seen WHITE label PROMO issue. Both the group’s first single and leadoff track of their self-titled debut album, the band’s cover of Big Joe Williams “Baby Please Don’t Go” is one of the finest acid-rock blues explosions ever put to tape. Using the cover version done by Them as a template, the Dukes take Them’s already half-crazed version fully over the deep end, both prophesying his future guitar hero status while cementing it among LSD punks who never got into “Cat Scratch Fever”. The songs B-side, “Psalms of aftermath” is pretty much what you would expect from the title, a much more docile affair full of sitar drones and “Ahhh-ahhh” background vocals. It ain’t nearly as good as the a-side, brother, but then again, so are most other songs. Does not turn up that often anymore. Price: 200 Euro |
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37. The AMBOY DUKES: “S/T aka Contemporary Rock” (Mainstream – Nippon Columbia – YS-2061-MS) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1st Japan press issue that comes housed in Japan only jacket art. Rarely seen or offered WHITE label PROMO pressing! First Amboy Dukes LP to see the light of day in Japan in November 1968, adorned with eye-popping jacket artwork. “The debut album by the Amboy Dukes should be high on collectors' lists. Fusing the psychedelia of the early Blues Magoos with Hendrix riffs and British pop, the band which launched the legend of Ted Nugent has surprises galore in these lost grooves. More experimental than Ambrose Slade's Ballzy -- could you conceive of the Cat Scratch Fever guy performing on Peter Townshend's "It's Not True" and Joe Williams' classic "Baby Please Don't Go"? The latter tune was the flip side of the group Them's single "Gloria," but Ted Nugent and the boys totally twist it to their point-of-view, even tossing a complete Jimi Hendrix nick into the mix. The Amboy Dukes issued this as the single backed with their sitar-laden and heady "Psalms of Aftermath." "Baby Please Don't Go" is extraordinary, but isn't the hit single that "Journey to the Center of the Mind" would be from their follow-up LP titled after that radio-friendly gem. Producer Bob Shad's work with Vic Damone, Dinah Washington, and Sarah Vaughan wasn't what prepared him for the psychedelic hard rock of "Colors," a song with some of the experimentation Nugent would take further on the Survival of the Fittest, Live and Marriage on the Rocks/Rock Bottom albums further down the road. Those latter-day Dukes projects took themselves too seriously and got a bit too out there. The fun that is the Amboy Dukes take on the Ashford/Simpson/Armstead standard "Let's Go Get Stoned"; it's the kind of thing that could have stripped away the pretension of the post-Mainstream discs. The dancing piano runs and Ted Nugent confined to a pop-blues structure certainly got the benefit of Shad's record making experience, and it is a treat. Of the 11 tunes, seven are band originals. Taking on a faithful version of Cream's "I Feel Free" is interesting, and like Slade's first disc, they inject enough cover material to make the product interesting for those who had never heard of this group. "Down on Philips Escalator" could be early Syd Barrett Pink Floyd, and that's what makes this album so very inviting. As essential to the Amboy Dukes' catalog as the non-hit material on Psychedelic Lollipop was to the Blues Magoos, the first album from the Amboy Dukes is a real find and fun listening experience. "The Lovely Lady" almost sounds like the Velvet Underground meets the Small Faces by way of Peanut Butter Conspiracy. This is a far cry from Cat Scratch Fever, and that's why fans of psychedelia and '60s music should cherish this early diamond.” (All Music Guide) These babies sold so poorly and as a result evaporated into thin air, only to surface sporadically every decade or so. Amazing jacket art that looks so much cooler than the US version. Price: 250 Euro |
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38. AMERICAN PRIMITIVE VOL. 1: “Raw Pre-War Gospel (1926~36) (Revenant Records – 6005) (Clear 2 LP Vinyl Record & Gatefold Jacket: SEALED). Original 1997 Revenant release. 77-minutes of gut-bucket, early gospel from the collections of Gayle Dean Wardlow and John Fahey, complete with a 24-page booklet of liner notes and photos. Includes Charley Patton, Rev. I.B. Ware with Wife & Son, Bukka White, William & Versey Smith, Blind Willie Davis, Frank Palmes, Bo Weavil Jackson, Elder Otis Jones, Blind Roosevelt Graves, Blind Joe Taggart, Blind Mamie Forehand, Jaybird Coleman, and more. The album’s subtitle says it all, since it simply doesn’t come much rawer than this. Familiar names such as Charley Patton, Bukka White, and Jaybird Coleman are included not only for the power of their delivery but to make it possible to market the disc to blues audiences. The real joy of this collection, though, lies in the work of obscure artists who generally recorded only a few sides. Compiled from the collections of Fahey and Gayle Dean Wardlow, the disc presents diverse styles of African-American sacred music by 17 artists such as the Rev. Edward Clayborn, Blind Mamie Forehand, Elder Otis Jones, and the Rev. I.B. Ware. Pentecostal shouts and ring shout-derived chants are included, but much of the disc is devoted to guitar evangelists. Bottleneck playing is the most common form of accompaniment, the slide guitar substituting for a congregational response to the vocal call. The guitar performances are balanced with other instrumental combinations less frequently associated with the gospel music of the 1920s and ’30s: harmonica duets, a fiddle-driven string band, and a unique pairing of pump organ and washboard. Awesome. Price: 85 Euro |
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39. AMMONS, GENE: “Funky” (Prestige/ Victor Records – RANK-5044) (Record: Excellent ~ Near Mint/ Fragile Flip Back Jacket: Near Mint). Japan very first original pressing in great shape. The Gene Ammons all-star jam session recordings of the 1950's are all quite enjoyable and this one is no exception. The great tenor is matched with trumpeter Art Farmer, altoist Jackie McLean, guitarist Kenny Burrell, pianist Mal Waldron, bassist Doug Watkins and drummer Art Taylor for lengthy versions of "Stella By Starlight," the Burrell blues "Funky" and a pair of numbers by arranger Jimmy Mundy. All of the horns plus Burrell and Waldron get ample solo space and Ammons seems to really inspire his sidemen on these soulful bop jams. Price: 50 Euro |
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40. AMMONS, GENE: “The Boss Is Back” (Prestige/ Victor Records – SMJ-7542) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent ~ Near Mint) Very first Japan original press issue all complete with seldom seen or offered very first issue obi in top shape. A great comeback for tenor legend Gene Ammons -- not just in a musical sense, but also because Jug had spent most of the past few years in prison -- as part of the usual trumped-up drug charges that were filed against musicians at the time! At the time of this album, Ammons had not recorded since a very successful flurry of sides recorded in 1961, done for a number of labels, and issued slowly during his time off the recording market -- a precursor to this fantastic return to form, which has Gene hitting more of a jazz funk mode, in the best Prestige style at the end of the 60s! Case in point is the presence of Bernard Purdie on drums on a number of cuts -- in a lineup that also features some organ from Sonny Phillips, piano from Junior Mance, and electric bass from Bob Bushnell -- plus congas from Candido for a nice extra kick! Price: 75 Euro |
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41. AMON DUUL: “Collapsing Singvogel Ruckwarts & Co” (Metronome – SMLP-012) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). One of the first active Krautrock units, Amon Düül grew out of a multimedia artist commune in Munich that mixed radical political criticism with a unique vision of free-form improvisation. Their second album “Collapsing Singvogel” is a brutal one and will knock you flat out. It bore marked similarities to the first, being made up of tracks recorded at the 1968 jam session which ended up being the bulk of the group's released work. Unlike the other Amon Duul albums who generate their material from that session, Collapsing consists of snippets or songs that were the length of more conventional pop recordings, while sounding nothing like said pop tunes at all. The music is stripped down to its most basic components, making it intoxicatingly weird like standing in the middle of a psychic maze. Two-note guitar riffs form the basic whiplash assault and primitive percussive rattles and shakes attribute to the feeling of being trampled in a stampede of elephants coming your way. Madness all around and no way out, just lovely. The whole affair feels extremely stripped-down and basic, and the vocals are delightfully unintelligible and wordless Amon Duul succeeded in turning their own ineptness into high art. “Singvogel Ruckwarts” as well as “Psychedelic Underground” and “Disaster” are highlights from a marathon free form session, afterwards treated with electronic effects and edited into bite-size fragments. The end result is electrifyingly awesome and naively barbaric. This is the music trigger-happy cops paralyzed with a fear frenzy breathing down their necks would go for and I assume so would you. Rightly so! Price: 175 Euro |
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42. AMON DUUL: “Disaster” (BASF – 29.29079-4) (2 LP Set: Near Mint/ Gatefold Jacket: Mint). TOP copy, 1st original German press from 1971. The LP was released following Amon Duul's demise, but the music on display comes once again from their 1968 jam. Unlike the previous 2 LP’s, all studio manipulation is gone, making Disasters slightly less turbulent and therefore having the feeling of coming closure to a directly recorded live jam. Since the material of Disaster was a collection of material left from the jam, BASF made the album into a double LP set, making excellent use of its extended length. At times, the bass/bongo lines are accompanied by primal vocals as well as flutes, piano and some sort of stringed instrument--violin et al. is audible... much of this subtlety is lost in the first two releases. Disaster is just like the band that made it, a wonderful, weird, and pregnant with a cloud of hellish intensity that had to come down and engulf all for a last time. Disaster is 67 minutes long in its totality and as with the previous two releases, the emphasis is on open-ended, percussion-heavy, jungle-jangled guitar freakery and teeth-grinding chanting. Compared to the other two, Disaster is blessed with a more "live" feel to it, with less evidence of later studio additions or tweaks. So it rules all the way, making it again a vital addition to anyone’s collection. TOP COPY!!!! Price: 250 Euro |
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43. AMON DUUL: “Archangels Thunderbird b/w Burning Sister” (Liberty – LR-2588) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent – upper right corner crease/ Company Inner Sleeve: Near Mint). Damned hard to find Japan picture sleeve single issue by the mighty Amon Duul. The sole single they released on these shores, of which sales were depressingly low, making it a shy bird to encounter these days. First time in all these years I had the chance to wheel this baby in and it is in perfect condition. Price: 200 Euro |
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44. AMON DUUL II: “Yeti aka Jigoku Amon Duul” (Liberty Japan – LP-80042) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Mint/ Insert: Near Mint) First original Japanese pressing complete with the Japan only Amon Duul II cool obi. Great copy!! These real time Japanese 1st pressing originals with all complete – being obi, liners – just never turn up any more these days making them heavily sought after by any vulture aware of their existence. This early Amon Duul record is not different, top-notch copy. Music-wise, I guess you know the deal, heavy tribal psyched out strummings, disenchanted vocalizations, lysergic communal psych-outs, long tracks, and delirious blissful freak-outs. Massive!!! Comes with the highest possible recommendation. Don’t sleep on this one, top copies with obi just never turn up, it has been eons since I last saw a copy complete with OBI. Price: 500 Euro |
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45. AMON DUUL II: “Tanz Der Lemminge aka Rock Kyoudoutai/ Amon Duul Second” (Liberty Japan – LP-9300B) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint) Bloody rare Japan first original pressing all-complete with first issue obi and insert!! WHITE label PROMO issue. Has been almost over a decade since I last had a copy all-complete with obi. First original Japanese pressing complete with the Japan only Amon Duul II cool obi. Impossible to dig up these days. These real time Japanese 1st pressing originals with all complete – being obi, liners and poster in this case – just never turn up any more these days making them heavily sought after by any vulture aware of their existence. This early Amon Duul record is not different, top copy. Music wise I guess you know the deal, heavy tribal psyched out strummings, disenchanted vocalizations, lysergic communal psych-outs, long tracks, and delirious blissful freak-outs. Massive!!! Comes with the highest possible recommendation. Like you might know, it is all about the obi, that glorious strip that easily triples of quadruples the value of your disc, so forget about the records, it is all in the obi boys and girls, and this one is the rarely seen WHITE label Promo in top shape so…. Price: 575 Euro |
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46. AMON DUUL II: “Carnival In Babylon” (Liberty Records – LLP-80518) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Original Japan first pressing of 1972 ^ WHITE label PROMO all complete with rare OBI. When you feel compelled to write the statement, “Thanks to all the paranoid people who meanwhile moved out” on the record label, you can kind of guess that there were some possible tensions around the Amon Duul II camp but then again a statement such as that also promises enough to provoke tears and fist-shaking tirades and that is exactly the beauty this album will bestow on you. Carnival In Babylon was recorded late 1971 in the Bavaria Studio. As compared to the acid damaged predecessors, “Carnival” welcomes a more melodic and accessible style. Apparently, Amon Duul II had calmed down a bit by now since the intense acid images of their first three albums and with that they shook off the thundering low fidelity outbursts that characterized their previous efforts. Instead, they combined propulsion, eloquent ornamentation and cosmic phrasing and birthed out an album with a healthy dose of progressive, ethnic folk rock - sprinkled with some mellow lysergic toppings – elements that make Renate Knaup’s mesmerizing vocals shine through vividly and reveal their exploratory sonic approach more as opposed to their previous LP’s. Still, the tradition of long improvisations is still maintained such as on the 10 minute long "Hawknose Harlequin", apparently edited down from a 40-minute-long jam session and it sweats out heavy psychedelic vibes. In all, “Carnival” is their most beautiful album that acts like acupuncture darts aimed at your pleasure points. Price: 300 Euro |
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47. The AMPHETAMINE GENERATION: “Revenge of … The Amphetamine Generation” (Dig The Fuzz Records – DIG023) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Killer compilation that came out in 1997 in a numbered edition of 800 copies, a collection of hopelessly obscure acetates and unknown speedball highflyers. “From the same archive that brought you the amazing Purple Heart Surgery series, this latest installment features upgraded packaging and equally righteous, never before released UK Beat/R&B acetates circa 1965-67. The set opens with "I Need You" and "View From The Circle", a couple of fuzz-scorched Mod R&B shakers, featuring soulful vocals and the kind of hard-drivin' drumbeats that instantly fill a dance floor: dynamite stuff by an unnamed band on a Phil Solomons-produced acetate. Equally boggling to the mind is Thor's "Lindsay Davis", a moody freakbeat piece featuring eerie harmonies and great organ sounds suspended over a relentless charging jungle drum beat: breathtaking! The Birmingham-based Psychotic Reaction came up with some decidedly psychotic action on their two-sided acetate; both "Oh Misery" and "Be My Girl" are tough, rough-round-the-edges garage punkers - almost American-sounding, in fact. Of the "known" identities, listeners will no doubt be familiar with David John & The Mood, but not this previously unreleased version of "Diggin' For Gold", a Lee Dorseyesque, atmospheric R&B performance which pre-dates the vastly different version they cut with Joe Meek. You'll also hear The Muleskinners, featuring future Small Face Ian MacLagen. "Need Your Lovin'" is an excellent R&B cut that was later re-recorded for release on Fontana. The Quakers' "She's Alright", a strong R&Beat shouter, actually saw a vinyl release circa `65, albeit on the tiny Studio 36 label (this track also crops up on English Freakbeat Vol 3), as did The Poison Ivy's crude, stompin' version of "Sure Know A Lot About Love", on Cambridge-based Granta. What else? Well, Teddy Wadmore's "Buzz With The Fuzz" easily outbuzzes Chris Farlowe's (later) version; there's more Punk R&B from the Blues Conqueroos and The Plebs, a great demo version of The Flies' "House Of Love", and... well, why go on? I honestly can't think of a single reason why anyone reading this shouldn't buy Revenge Of The Amphetamine Generation immediately. So, presuming the 800-copy limited edition isn't already sold out, go get it, and then send me a thank you letter for my always sterling advice.” (Mike Stax, Ugly Things). Hell Yeah!!! Price: 50 Euro |
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48. AMY CURTIS; JACK WILSON, RAY CRAWFORD & DUPREE BOLTON: “Katanga!” (Pacific Jazz/ Toshiba EMI – PJ-0070) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine Japan original press copy of killer jazz slide. The last of six albums saxophonist Curtis Amy recorded for Pacific Jazz in the early-1960s, Katanga! transcends not only the rest but plenty of other recorded jazz from that period as well. Trumpeter Dupree Bolton’s brilliant playing here is simply breathtaking in one of his very few recorded appearances during a career plagued with personal problems. Bolton and Amy are joined by guitarist Ray Crawford, pianist Jack Wilson, bassist Victor Gaskin, and drummer Doug Sides on this gem of an album. Between hard bop and soul Jazz this is a unique and legendary record. The only presence of trumpetist Dupree Bolton, who is so rare on records and so absent from the jazz recording sessions as he spent most of his time in jail, justifies the key interest of this record. Price: 50 Euro |
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49. FRED ANDERSON QUINTET: “Another Place” (Moers Music – momu-01058) (Record: Near Mint/ Jacket: Near Mint) German 1978 original pressing by totally under-documented Fred Anderson. Rarely seen signed copy by Fred Anderson himself – nice gold ink on green background signature, real fancy! A scarce 1978 live date by Anderson recorded in Germany where he got flanked by Billy Brimfield (trumpet), George Lewis (trombone), Brian Smith (bass) and Hank Drake (drums). A very young Hamid Drake then known as Hank on drums. Musically, the session is centered around, "Saxoon" and "The Bull" and a sidelong “Another Place” which is a burning Anderson signature piece, Anderson and Brimfield in elegantly moaning lines that engage the rhythm section at the periphery. The relatively straight post-bop blues of "Saxoon," in which both front-line players trade solos along an augmented blues figure and a skittering skein of double- and triple-time dancing by Drake - an energetic -- even hyperkinetic -- ensemble piece where solos and improvisational explorations take place from the ground up. A stellar disc and one that is surprisingly quite a hard one to catch in the wild. Here you have a perfect sealed original of one helluva rare but still affordable mind-blowing disc. Price: 75 Euro |
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50. The ANIMALS: “When I Was Young” (MGM Records – SMM-1155) (Record: Near Mint/ Gatefold Jacket with attached insert: Excellent – some foxing stains inside gatefold/ Obi: Near Mint). Clean 1968 Japanese original pressing all complete with OBI. The Animals great second chapter album for MGM – one of The Animals' most psychedelic outings ever – and also a bit funky at times too! The group's bluesier roots are still in place at times – but these have also been tripped-out and abstracted too, in modes that are a few years ahead of other blues rock combos on the rise. Not as tripped-out as some of their other late 60s work, the sound is still pretty rockish overall – but there's some great use of bass rumbling at the bottom – bringing up a rumbling quality that fits nicely with Burdon's somewhat bleak presentation of the lyrics at various points. This is a real gem from The Animals' overlooked late 60s years on MGM – a time when the group were easily making some of the most inventive music on the label! The styles here are even wider than before – definitely an attempt to showcase "every one of us" that made up the group – in a blend of spacey sounds, gentle folksy moments, and some of the rougher tones of previous MGM records. Price: 125 Euro |
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51. ANTHONY MOORE w/ FAUST: “Pieces
from the Cloudland Ballroom” (Polydor – 23MM-0238) (Record: Mint/ Jacket:
Mint/ Obi: Mint/ Insert: Near Mint). Released in 1971, this is the Japanese
pressing of this all time subliminal minimal music masterpiece.
Anthony Moore gets assisted by members of Faust and creates and utterly
hypnotic psychedelic minimal masterpiece. "Two
great missing links in the incredible history of Uwe Nettlebeck's productions at Wümme,
Germany. Slapp Happy founder Moore recorded Pieces
From The Cloudland Ballroom a month after Faust cut their debut LP (fall 1971)
and Secrets Of The Blue Bag a month before their second (with Slapp Happy's debut Sort Of
following in May '72 and Tony Conrad/Faust's Outside The Dream Syndicate in
October). Indeed, Faust's Werner 'Zappa' Diermaier and Gunther Wusthoff both contribute to Pieces, which is not a Krautrock or art rock LP but a bona fide minimal classic.
Side one is 'Jam Jern Jim Jom Jum,' which has three singers chanting that mantra
while Moore plays these odd, luminous repeating chords underneath. The first
piece on side 2, 'mu na h-vile ni a shaoileas iad,' sounds uncannily like Richard Youngs'
Advent with its quiet piano and piercing bowed sounds, while 'A.B.C.D. Gol'flsh' could almost pass for the trance rock classic
that Moondog never got around to recording.” (Alan Licht) Stunningly mint copy that hardly resurfaces these days. One of the best discs
in its genre, brain melting and music that will keep on humming throughout the
canyons of your deserted mind. Highest recommendation. For fans of Charlemagne
Palestine, Faust, Slap Happy, La Monte Young, Pandit Pran Nath, Philip Glass, Steve
Reich, Popol Vuh, Krautrock, psychedelic lunacies and just plain cool music.
Copies seem to have completely dried up these days. Price: 150 Euro |
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52. ANTHONY MOORE: “Secrets From The Blue Bag” (Polydor – 2310179) (Record: Near Mint/ Jacket: Excellent ~ Near Mint - has circular sticker aftermath - see pic). Original 1972 German first original pressing. “Slapp Happy founder Moore recorded SECRETS a month before their second (with Slapp Happy’s debut SORT OF following in May ‘72 and Tony Conrad/Faust in October). SECRETS, is three pieces for strings and voice all based on the same 5 note melody. It’s more “classical” than its predecessor, kind of what I expected ACADEMY IN PERIL to sound like. How and why Polydor was convinced to release these is beyond me (anyone know the story?) The Japanese CD reissues are expensive but the original albums are unfindable.” (Alan Licht). Just a stunning psychedelic minimal music slide only released in Germany at the time and a bitch to dig up these days. Perfect copy, unbelievable great music. Killer!!! Price: 250 Euro |
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53. ANTUNES, JORGE: “Musica Eletronica” (Joias Musicais – 15.003) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top condition 1975 Brazil original pressing. “Música Eletrônica” is one of the very first electro-acoustic/ electronic albums to seep out of Brazil. Most of its tracks were conceived between 1962~70. Antunes deployed a wide range of gadgets such as electronic oscillators, white noise, feedback, tape loops, tape splicing and manipulation, treated vocals and proto-minimal sampling. During the early 1960s, Atunes built his own components and devices for making electronic music that eventually would consolidate as compositions into “Música Eletrônica”, recorded at his home studio and at the Electronic Music Laboratory of the Institute Torcuato Di Tella, in Buenos Aires, Argentine. Compositions such as “Valsa Sideral” (1962), were revolutionary with its use of artificial echo and feedback reverberations between recording heads to create the first Brazilian work consisting only of electronic tones. “Auto-retrato sobre paisaje porteño” (1969/ 1970) is crude early turntablism on which Antunes “samples” an old tango vinyl record found at a flea market, using it as a loop and for sound effects and manipulation, mixed with electronic sound effects and voice manipulation. “Cinta Cita” (1969) was the first piece erected out of pure electronic washes of noise, recorded by Antunes at a professional studio. For “Contrapunctus versus Contrapunctus” (1962) he used tape splicing and tape manipulation. In 1970 Antunes visited the Institute of Sonology at the University of Utrecht for a specialization in Computer Music (working with the Electrologia X-8 computer). During the 70s Atunes collaborated with Pierre Schaeffer and Iannis Xenakis amongst others. But his initial and sole record is a milestone in South American electronic music. Amazing slide and top condition, which is not a small feat for a record out of Brazil. Highest recommendation. Price: 200 Euro |
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54. APPLETON, JON/ APPLETON SYNTONIC MENAGERIE: “S/T” (Flying Dutchman – FDS-103) (Record: Near Mint/ Gatefold Laminated Jacket: Mint). Finally I could dig up a truly top copy of this magnificent electronic music weirdo disc. Jon Appleton, born in Hollywood in 1939 was mainly active in New York, establishing himself as one of the pioneers of electronic music in the US. Jon Appleton reveals himself as a true master of musique concrete/ tape splicing and early times electronic music deployments since he manages to give momentum to a cool combination of tape effects, electronics, and studio wizardry, all bolstered up into one volatile mixture of organic rhythm, made out of concrete noises - that are at times quite upfront and brutal – and sonic electronic and totally alienated fragmentation bombs. He succeeded in creating an estrange and disaffected sound palette that mesmerizes to listener by transporting him to galactic avenues not yet visited. The music is strange, at times even a bit comical due to the acidic employment of tape snippets that pop up out of the blue, making it totally an out of this world listening experience. Made up largely out of bubbling, whirl-like inorganic low tones and tape insertions, the whole affair evokes that weird but bewildering incantation. Wistful bleeping, zigging and zagging, oozing in and out of focus, organic static buzzing and whirling it are all elements that at times swells up like some sonic tornado heading your way, pushing fourth hair-raising static interference, well controlled but nevertheless thunderous outbursts of white noise. The other sound he puts to use ad infinitum is concrete sound such as birds songs, water drops, glasses, warped sound of vibraphone, some generated electronic sound and others.. One of the best examples of old-skool electronic music, recorded in 1961. Killer stuff. Truly a top copy so it has to go for…Price: 150 Euro |
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55. 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!!!! |
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56. ARAKI ICHIRO: “Araki
Ichiro no Sekai” (Victor – SJX-67) (Record: Mint/ Gatefold Jacket: Mint/
Obi: Mint). Top copy, best one I have ever seen, perfect on all fronts and
impossible to upgrade upon. Rarely seen and rare original copy. Kayokyoku and
enka crossbreeding and merging with psychedelic twists and turns? It all
happens here baby. Araki Ichiro is mainly known and famous as an enka singer,
arranger and producer of other artists’ discs (such as Sandra Julien’s “Sexy Poem” for example). His solo output is also quite vast and
enormous but might disappoint the most seasoned listener looking for that extra
thrill and chill. However, in 1969, Araki did make this one oddity that stood
out and proud in his total oeuvre, a disc that perfectly fused Japan’s
traditional enka and kayokyoku stylings with lysergic and acidic elements that
made “Araki Ichiro no Sekai” such a bewilderment upon unleashing it upon his fans and
psych heads such as me. The closest comparison I can come up with in order to
compare this LP is Carmen Maki’s illustrious “Adam &
Eve” album. Heavy organ riffage
fuses with demented fuzz guitar licks and orchestrated elements that blew in
straight out of a runaway enka tune all complete with Araki lustfully crooning
on top of it all. The disc is quite a hybrid affair, background vocals drift in
on a pink fluffy cloud, Araki’s syrupy vocals on one occasion could get you all
entangled in a hard to grasp stupefied disbelief that spells “turd” before he
switches chairs on you and takes you from a completely different angle,
flanking your blind sight and dropping demented musical twists on you that
cannot be dodged. In some ways it comes over as Gainsbourg like arrangements
with an oriental feel attached to them – a city-smeared kayokyoku feel -
spiked up with lysergic accents and sneering fuzz guitar licks that pop up in
and out of the mix. Still that is not all, Araki’s compositions also breathe
out a swinging quality that clashes with syrup like vocalizations, juxtaposed
against psychedelic elements and weird angles that come out of the woodwork.
But the heavy use of fuzz all over the place makes this disc such a hard to
pinpoint gem and renders it into an outcome of a secret chemical experiments
that birthed out a new species of a degenerate nature ready to perverse your
offspring. Just in one word, this disc is a stunner that will leave you puzzled
and defractured after sitting through it, leaving you wondering in vein what
the hell they just set loose on you. A dead stone classic, hard to come by,
especially in such a top condition as this one here with obi intact. And start
with side 2 first, it will leave you floored…and gasping with disbelief…
Highest possible all time recommendation. Enka spiked disco psychedelic acid
funk…. Crossbreeding with an oriental mutated version of Sinatra going berserk
on the toxics of the Fugu fish and whipping it all out for all to see…just so
great. Impossibly to upgrade upon top mint copy. Price: 400 Euro |
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57. ARCADIUM: “Breathe Awhile” (Middle Earth – MDLS-302) (Record: Near Mint/ Jacket: Near Mint). TOP condition original UK 1st press issue. One of the keystone albums out of the UK 1969 psychedelic/ progressive underground is Arcadium, brimming over with long intros, beefy organ lines and raw acid guitar runs. Extended built-ups suck you in, impregnated with perfect guitar slashing leads and this gets all combined with a trashy and loud garage production sprinkled with psychedelic influences. A match made in heaven!!! As you know, the pressings on this one are not the best and most copies play with some crackle. However, this copy is as clean as they possibly get and plays WITHOUT crackles!!! No mean feat, probably one of the best copies around. Vinyl is NM all the way without any visible defects, hard to get a better one, unless it is sealed. Price: Offers!!! |
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58. ARDLEY, NEIL: “A Symphony Of Amaranths” (Regal Zonophone – SLRZ-1028) (Record: Near Mint/ Jacket: Near Mint). One of the hardest to track down titles on the Regal Zonophone imprint. Top condition, which is quite hard with this one. Best condition one I have had or seen so far. Original 1971 pressing, in shape of this much in demand UK jazz extravaganza slide with an all-star line-up that includes heavyweight scenesters such as Ivor Cutler, Harry Beckett, Derek Wadsworth, Karl Jenkins, Don Rendell, Dick Heckstall, Barbara Thompson and others. One of the finest UK jazz records to emerge out of 1972 that behold that rare mesmerizing quality and guide you towards the zonked-out zone. Brilliant!!! Top copy 1st original UK pressing. Getting rare and hard to dig up these days in such a pristine nick as this one here. Price: 550 Euro |
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59. ARESKI: “Un Beau Matin” (Saravah – SH10.019) (Record: Near Mint/ Gatefold Jacket: Near Mint) One of the pieces de resistance out of the Parisian sub-cultural early seventies acid folk meets avant-garde movements. Released in 1972, the album was the product of the unbeatable creative trio Areski-Brigitte Fontaine and Higelin, assembling a stunning masterpiece. Flanked by the French underground diva Brigitte Fontaine, Areski Belkacem masquerades his folk excursions with Northern African influences (he was of Algerian origin), series of hand percussive instruments, meditative trance-like elements, fantastic blend of otherworldly vocals with sparse instrumentation all framed into fragile song structures. In short, a true gem of a record that even surmounts Brigitte Fontaine’s greatest albums such as “Brigitte Fontaine est Folle”, “Comme a la Radio” and “L’Incendie” as far as the psychedelic folk element is concerned. A true gem and killer of an album that should appeal to anyone vaguely interested in acid folk, Didi Favreau, Vashti Bunyan, Linda Perhacs etc. This baby surmounts them all, creates his own private sphere of influences and cosmic deities. Viciously beautiful and bound to hound your waking hours and dreams. Another shy bird on the Saravah label that hardly ever pops up its head but such a stellar one. Perfection from start to finish! All time possible highest recommendation. Price: 85 Euro |
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60. ARMONICORD: “Esprits De Sel” (L’Electrobande – ELB-7701)
(Record: Near Mint/ Gatefold Jacket: Excellent) Very obscure, quite rare and hopelessly
overlooked killer French free jazz private press slide that saw the light of
day way back in 1977. Centered
around saxophonist Jouk Minor, who played on essential free-jazz releases of the 1970s
such as Michel Portal’s Splendid Yzlment, Bernard Vitet’s La Guêpeor Pierre Favre’s Candles Of Vision, Alan Silva’s Seasonsand The Shout and Un Drame Musical Instantané’s À travail
égal salaire égal.
Minor’s own group Armonicord, first included Bernard Vitet, Kent Carter and Rachid
Houari. For the sessions of the band’s unique 1977 LP, the line-up had changed
so as to expand the wind section and incorporate trombone and harpsichord
players, which came to be Armonicord’s signature sound. The cover of the LP opens up
to reveal a Jean Tinguely sculpture whose structure is used by Jouk Minor to
draw each track’s graphic score on the front cover. It was the sole release of
both Armonicord and L’Electrobande label. Contents wise, it consists of 3 long
tracks, of which the first one is a straight, effusive and free-flowing improvisation
effort in the style of Alan Silva’s Celestial Communication Orchestra, while
the other 2 are more complex, varied and less categorizable musical endeavors.
Track #2 Premier Jour,
especially, is a strange alchemy of harpsichord, steel drums, mourning bass
horns in unison, and guembri – a Gnawa, goat gut stringed instrument,
played by Jouk Minor. This pensive, semi-improvised elegy goes through many
false starts and dead ends, but rewards the listener in eschewing predictable
jazz gimmicks or other familiar traits, for that matter. On track 3 as well,
Odile Bailleux’s harpsichord brings a unique, baroque touch to the proceedings.
The saxophone is sometimes heard in the background of the mix, with harpsichord
or drums at the front. The drummer uses a varied set of percussions including
bells, steel drums, rain sticks or gongs. The meditative mood is maintained
through various atmospheres and instrument combinations. Great disc, among the
best French free jazz has to offer. Price:
100 Euro |
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61. 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!!!! |
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62. ART BLAKEY et les Jazz-Messengers: “Saint Germain Vol. 1” (Victor Records – LS-5169) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Excellent – small damage near bottom seam). Rare Japan very first press issue from 1959 (!!!!!) all complete with rarely seen obi. This hard-to-find Japanese RCA pressing features the 1958 Jazz Messengers live in Paris stretching out on some killer compositions. Trumpeter Lee Morgan, tenor saxophonist Benny Golson and pianist Bobby Timmons formed a potent team, backed by bassist Jymie Merritt and the powerful drumming of leader Art Blakey. This rare issue from 1959 set gives one a definitive look at the influential band. Price: 150 Euro |
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63. ART BLAKEY et les Jazz-Messengers: “Saint Germain Vol. 2” (Victor Records – LS-5170) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan very first press issue from 1959 (!!!!!) all complete with rarely seen obi. Top condition copy and follow-up volume for the Messengers gig at Saint Germain. Rarely surfaces this perfect and with obi present. Price: 150 Euro |
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64. ART BLAKEY et les Jazz-Messengers: “Au Club Saint Germain” (RCA Records – RA-5467~69) (3 LP Record Set: Near Mint ~ Mint/ Outer Box: Near Mint/ 4 Paged Insert: Near Mint). Top condition 3 LP record set that throws together Art Blakey and his Jazz Messengers stint at the Jazz Club Saint Germain that took place on December 21, 1958. Amazing and legendary line-up that consisted out of Art Blakey, Lee Morgan, Benny Golson, Bobby Timmons, Jimmy Merritt and Kenny Clark. Classic live recordings that Blakey made in France in 1958! The Jazz Messengers were really coming into their own at this time. All tracks are long, and played with lots of fire -- and the kind of amazing open-ended solos that the group could cook up whenever they were working in a live environment. The tracks are great too -- as Benny Golson rewrote "Blues March" into "Blues March For Europe No 1", and Bobby Timmons contributed "Moanin With Hazel", a new version of "Moanin". Other titles include Bill Hardman's "Politely", Benny Golson's "Along Came Manon" and "Out Of The Past", Monk's "We Named It Justice", and the perennial Jazz Messenger favorite, "Like Someone In Love", a track that Blakey always manages to make come alive with new energy that you'd never expect! Historical and butt-swinging great. Pristine and virginal copy. Price: 50 Euro |
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65. ART BLAKEY & THE JAZZ
MESSENGERS: “S/T” (Fontana/ Victor Japan – SFON-7035)
(Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese
pressing, complete with obi and all. Rarely ever surfaces with the 1st issue obi intact and present. Top copy and dead cheap. Price: 75 Euro |
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66. ART BLAKEY & JAZZ MESSENGERS: “Ugetsu – Art Blakey’s Jazz Messengers at Birdland” (Riverside/ Victor Records – R-5042) (Record: Excellent – one small scuff at opening of side One/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1964 very first original press issue – deep groove – with rare obi present. One of Art Blakey's best non-Blue Note albums of the 60s – a hard-wailing live set that fully exploits the best talents of the six-piece version of the Jazz Messengers! The group here is that tremendous sextet that featured Freddie Hubbard on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor, and Cedar Walton on piano – all working with Blakey to rework the earlier mode from his quintet years – in a way that actually allowed for a bit more lyricism and introspection! Titles include Cedar Walton's original "Ugetsu", Curtis Fuller's "Time Off", and Wayne Shorter's great "One By One", "Ping Pong", and "On the Ginza". Price: 150 Euro |
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67. ART BLAKEY & JAZZ MESSENGERS: “S/T” (Fontana – FON-5024) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st original press issue from 1961 all complete with rare obi. This smasher throws together some of Blakey’s finest compositions and include Moanin’; I Remember Clifford; Blues March; Des Femmes Disparaissent; Whisper Not – Just By Myself – Fair Weather; No Problem; No Hay Problema and Night in Tunisia. Top shape and with obi, no small feat. Price: 150 Euro |
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68. ART BLAKEY & JAZZ MESSENGERS: “Caravan” (Riverside/ Victor Records – R-5030) (Record: Excellent/ Flip Back Jacket: Near Mint/ OBI: Near Mint). Rare Japan 1962 very first press issue in outstanding condition – MONO issue complete with damned rare OBI. “By the time that jazz icon/bandleader/percussionist Art Blakey and his Jazz Messengers began recording for Riverside in the fall of 1962, Blakey had already been the spiritual center of the group for nearly 15 years. The unprecedented caliber of performers who had already passed through the revolving-door personnel reads like a who's who of 20th century jazz. On Caravan he is joined by a quintet of concurrent and future all-stars. Likewise, it could be argued that each has never again been presented in such a fresh or inspired setting as on these recordings. In order to establish with any authority just how heavy (even for purveyors of hard bop) the players in this band are, they need only to be named: Curtis Fuller (on trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor), Cedar Walton (piano), and Reggie Workman (bass). With Blakey firmly at the helm, these Jazz Messengers deliver a scintillating synergy that doesn't sacrifice intensity for the sake of cadence. The trademark give-and-take that graces the laid-back and sophisticated pop and jazz standards "Skylark" and "In the Wee Small Hours of the Morning" likewise is responsible for the palpable energy brought to the sizeable contributions from Shorter and Hubbard -- which make up half of the album's material. The title and leadoff track liquefies Ellington’s original arrangement and ignites it, fueling this extended fiery interpretation. The melody snakes in and out of Blakey’s strident flurry of syncopation. Another highlight is Shorter’s interjectory solo, recalling his ability to succeed John Coltrane in Miles Davis’ coterie. Among the original compositions, Shorter’s upbeat "Sweet 'n' Sour" stands out as the most cohesive and ensemble-driven, although the singular group dynamic is well applied to the lively "This Is for Albert" as well. By contrast, Hubbard’s "Thermo" is more angular -- taking full advantage of the musicians' aggressive chops.” (All Music) Great condition1962 original! Price: 150 Euro |
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69. ART BLAKEY & ELVIN JONES: “S/T” (Atlantic/ Victor Records – SMJ-7392) (Record: Near Mint/ Flip Back Jacket: Near Mint/ OBI: Near Mint). Rare Japan 1966 TEST PRESSING all complete with damned scarce OBI. Meeting of two titans of jazz, Japan only issue, housed in fragile flip back sleeve and in top shape. Hardly ever surfaces with Obi present and this copy is the pre-release TEST press issue, making it a one-of-a-kind unique item. Just never comes up for sale. Top shape! Price: 150 Euro |
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70. ART BLAKEY & JAZZ MESSENGERS: “Three Blind Mice” (United Artists – UAS-1026) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint. 1962 Japan 1st original pressing all complete with scarce and rarely seen obi. Comes housed in fragile textured flip back cover. Quite an unusual live set from Blakey – his only album for the United Artists label, but one that continues the tradition of the expanded group style he was starting to use at Blue Note! The lineup here is a sextet, one that's got even more power than the Jazz Messengers as a quintet – a group that bridges generations with older Messengers Wayne Shorter on tenor and Jymie Merritt on bass – alongside rising talents Curtis Fuller on trombone, Freddie Hubbard on trumpet, and Cedar Walton on piano – the last of whom leaves a key mark on the group's sound, through his mix of soulful groove and lyrical inflections! There's maybe even more searing energy here than on the previous live Blue Note albums from Blakey. Awesome and damned scarce very first Japan original with first ever obi. Price: 85 Euro |
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71. ART BLAKEY: “A Night At Birdland With Art Blakey Quintet Vol. 1” (Blue Note – BST-81521) (Record: Near Mint/ Jacket: Near Mint – still in shrink/ Insert: Near Mint/ Direct Import Obi: Near Mint). Flawless copy of classic Blakey slide where he gets flanked by Clifford Brown, Lou Donaldson, Horace Silver and Curly Russel. Clean pressing all comlete with Direct Import Obi. pressing with obi. Virginal condition for cheap. Price: 50 Euro |
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72. ART BLAKEY: “A Night At Birdland With Art Blakey Quintet Vol. 1” (Blue Note/ King Records– GXF-3003) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Flawless copy of classic Blakey slide where he gets flanked by Clifford Brown, Lou Donaldson, Horace Silver and Curly Russel. Clean pressing all complete with Obi. Virginal condition for cheap. Price: 60 Euro |
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73. ART BLAKEY: “A Night At Birdland With Art Blakey Quintet Vol. 2” (Blue Note/ King Records– GXK-8100) (Record: Near Mint with faintest trace of foxing/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Accompanying set to the one listed above, a wonderfully hard-storming set – and a record that not only firmly put the Jazz Messengers on the map, but also set a whole new standard for live jazz recording! The group here is the early version of the Messengers – almost co-led by drummer Art Blakey with pianist Horace Silver – and featuring Clifford Brown on trumpet, just a few months before his early death – plus Lou Donaldson on alto and Curley Russell on bass. The presence of alto instead of tenor makes the sound slightly different than later incarnations of the group – and the overall approach is one that virtually defines the shift from straight bop to hardbop in the 50s – a mode that both Blakey and Silver were key in creating. Awesome. Price: 60 Euro |
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74. ART BLAKEY and the AFRO-DRUM ENSEMBLE: “The African Beat” (Blue Note – BST-84097) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink/ Insert: Near Mint/ Direct Import OBI: Near Mint). Super clean copy, imported for the Japanese market and complete with Japan only insert and the rare direct import obi. “Bridging cultures, Art Blakey combined powerful African rhythms and American jazz melodies on a session that Blue Note reissued recently because the album explores roots common to all of jazz. Blakey’s ensemble for this 1962 project included artists from both worlds: Solomon G. Ilori and James Ola. Folami are from Nigeria, Chief Bey is from Senegal, and Montego Joe is from Jamaica. Man, does Art Blakey play loud on this session! Gentle melodic instruments are served with severe punctuation as Blakey attempts to add his drum set in contrast to the more natural sounds. Strong bass work from Ahmed Abdul-Malik holds it all together. Native drums and smaller percussion instruments set up hypnotic rhythms that form a seamless foundation. Yusef Lateef provides aural images of Northern African dancing women on "Obirin African" through an exotic flute arrangement. "Ayiko, Ayiko" serves to demonstrate a thorough combination of the two cultures as Lateef pours out spirited tenor saxophone jive alongside a relaxed folksong tune. The longest piece on the album, "Love, the Mystery of," places oboe in the featured role in front of various chants, hypnotic percussion and a strong syncopated bass. Art Blakey brought together an ideal membership for his searching project, but laid it on much too harshly each time he decided to add his own drum kit participation.” (All About Jazz) Price: 75 Euro |
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75. ART BLAKEY AND THE JAZZ MESSENGERS: “A Night In Tunisia” (Blue Note/ King Records – GXK-8041) (Record: Near Mint/ Textured Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Pristine Japanese high-quality press issue all complete with insert and rare obi. “Art Blakey & the Jazz Messengers hit their artistic peak with the powerful A Night in Tunisia. This incarnation of the group included Lee Morgan, Wayne Shorter, Bobby Timmons and Jymie Merritt along with their leader, Blakey. As the Messengers entered their most fruitful period for Blue Note, Blakey drove his men relentlessly with powerful grooves, heavy swinging, and shouts of encouragement. This session documents the full power of his assertive leadership and the masterful playing of his sidemen, each rising to legendary status under his tutelage. Long known for their creative arrangements within the context of small-group jazz, the Messengers push the definition of hard bop and blues to the limit here. Dizzy Gillespie’s title track is evidence enough of the creative power of this group: Blakey’s steam shovel-like mambo, Morgan and Shorter’s wailing solos, and a dramatic ending make for a stunning piece. Shorter’s contribution includes the swinging "Sincerely Diana." The soulful Bobby Timmons presents his delightful "So Tired," a bluesy number in the spirit of his classic "Dat Dere." Also included are Lee Morgan’s smoky "Yama," the bouncing "Kozo's Waltz," and the classic "When Your Lover Has Gone." (All Music Guide) Top condition Japan original. Ear-waxingly awesome! Price: 100 Euro |
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76. ART BLAKEY AND THE JAZZ MESSENGERS: “A Night In Tunisia” (Blue Note/ Toshiba EMI – BN-4049) (Record: Near Mint/ Jacket: Near Mint/ 4 paged Insert: Near Mint/ Obi: Near Mint) Pristine Japanese high-quality press issue all complete with insert and rare obi as done by Toshiba EMI in 1992 and by many considered as the best sounding issue. Top copy. Price: 75 Euro |
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77. ART BLAKEY AND THE JAZZ MESSENGERS: “Volume 1: A Night At Café Bohemia With The Jazz Messengers” (Blue Note/ King Records – GXK-8102) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean Japanese high-quality pressing. “This is Art Blakey’s early period Jazz Messengers featuring trumpeter Kenny Dorham, saxophonist Hank Mobley, bassist Doug Watkins and pianist Horrace Silver. This first volume of live performance from the Cafe Bohemia in New York City circa late 1955 is a rousing set of hard bop by the masters who signified its sound, and expanded on the language of modern jazz. Dorham is responsible for the staccato-accented melody of "Minor's Holiday" primed by a thumping intro via Blakey, "Prince Albert" and the perennial closer of every set "The Theme," with its brief repeat melody and powerhouse triple-time bop break. The tenor man gets his feature on the quarter-speed slowed ballad version of "Alone Together," which altogether sounds pining and blue to the nth degree. Standards like Fletcher Henderson’s "Soft Winds" seemed merely a simple and lengthy warmup tune.” (All Music Guide). Price: 50 Euro |
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78. ART BLAKEY AND THE JAZZ MESSENGERS: “Volume 2: A Night At Café Bohemia With The Jazz Messengers” (Blue Note/ Toshiba Records – NR-8834) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean Japanese original Blue Note pressing that came out in 1970 and which music wise is the follow-up of the one listed above. Brilliant stuff. Price: 50 Euro |
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79. ART BLAKEY: “Holiday For Skins Volume 1” (Blue Note/ Toshiba – BN-4004) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Blue Note Card: Near Mint/ Obi: Near Mint/ Blue Note Additional Insert: Near Mint). Virginally clean Japan audiophile pressing all complete with obi. The rarest of all of Art Blakey's percussion group projects – and quite possibly the best, too! The session features Blakey at the head of a strong mix of jazz and percussion players – with Art Taylor and Philly Joe Jones on the regular drum kit, Donald Byrd on trumpet and Ray Bryant on piano, and a host of assorted percussion work by the likes of Ray Barretto, Sabu Martinez, Victor Gonzalez, Julio Martinez, and others. The resultant sound is incredible – very full, rich, and earthy – and done in a way that interweaves African and Latin percussion styles with straighter American jazz! A few cuts have chanting by Blakey and Sabu – and titles on this first volume include "The Feast", "Mirage", "Lamento Africano", and "Aghano". Price: 60 Euro |
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80. ART BLAKEY: “Holiday For Skins Volume 2” (Blue Note/ Toshiba – BN-4005) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Blue Note Card: Near Mint/ Obi: Near Mint). Virginally clean Japan audiophile pressing all complete with obi. The rarest of all of Art Blakey's percussion group projects – and quite possibly the best, too! The session features Blakey at the head of a strong mix of jazz and percussion players – with Art Taylor and Philly Joe Jones on the regular drum kit, Donald Byrd on trumpet and Ray Bryant on piano, and a host of assorted percussion work by the likes of Ray Barretto, Sabu Martinez, Victor Gonzalez, Julio Martinez, and others. The resultant sound is incredible – very full, rich, and earthy – and done in a way that interweaves African and Latin percussion styles with straighter American jazz! A few cuts have chanting by Blakey and Sabu – and titles on this second volume include "Otinde", "Swingin Kilts", "Dinga", and "Reflection". Price: 60 Euro |
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81. ART BLAKEY And The JAZZ MESSENGERS: “Like Someone In Love” (Blue Note/ Toshiba – BN-4245) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Virginally clean Japan audiophile pressing all complete with obi. A landmark album that had one of the best versions of the Jazz Messengers taking a big step forward – thanks to some increased songwriting by the group's young tenor genius – Wayne Shorter! Shorter's tunes take up all of the second half of the record, and all of them have gone onto become classics – "Giantis", "Sleeping Dancer Sleep On", and "Noise In The Attic" – all tunes that hint at the modernism that was to come in Wayne's music, and which especially seem to push his tenor and the trumpet of Lee Morgan into the range of more mature colors and tones that would grace their music as the 60s moved on. Meanwhile, there's a rock-solid rhythm drive at the core – Art Blakey on drums, Jymie Merritt on bass, and the great Bobby Timmons on piano – still making a strong contribution to the group. Lee Morgan wrote the nine-minute tune "Johnny's Blue" on side one – which also includes a beautiful version of "Like Someone In Love" – a masterpiece in soulful lyricism! Price: 60 Euro |
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82. ART BLAKEY & JAZZ MESSENGERS: “ Soul Finger”
(Mercury – SFX-7334) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/
Insert: Near Mint). Original Japanese 1st original pressing complete
with OBI “Soul Finger, released
on Limelight in 1965 marks Lee Morgan7s and Freddie Hubbard’s final studio
appearances as members of Art Blakey’s Jazz Messengers. Morgan had been an
on-again-off-again member since the 1950s, but his tenure with Blakey through
the early 1960s remained fairly constant. The set also includes a young John
Hickson piano, bassist Victor Sproles and veteran saxophonist Lucky Thompson.
While this set may lack the sheer high-energy crackle of some of the Jazz
Messengers Blue Note dates, there is quite a bit to enjoy here. The title
tracks kicks the joint off in bluesy style with the three-horn front line in a
slightly dissonant intro before moving in a fingerpopping groover with some
killer wood by Sproles used as fills between lines. The spunky Latin groove of
"Buh's Bossa" offers Blakey’s consummate chops accenting the knotty,
sometimes snaky melody line with some excellent comp work by Hicks Thompson’s
underrated soprano work makes a beautiful appearance on "Spot
Session," a sultry little groover. The real highlight of the set is
"Freedom Monday," that offers taut hard bop lyric lines, extended
harmonies in the front line -- especially between Hubbard and Morgan and a
smoking Afro-Cuban rhythmic line highlighted by Blakey and Hicks. The program
here showcases the sounds of a band in transition to be sure, but also the
sound of a group with nothing to lose; in other words, plenty of chances get
taken that might not otherwise fly.” (All Music Guide – Thom Yurek) Stunning copy. Price:
75 Euro |
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83. ART ENSEMBLE OF CHICAGO: “A Jackson In Your House – Message To Our Folks” (BYG Records/ Double Actuel 204 – YX-9005~6) (2LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – no defects only very faint ageing spots inside gatefold/ OBI: Near Mint). Japan original pressing all complete with rare obi, throwing together two Art Ensemble Of Chicago BYG albums as a one package deal back in 1971. One does not see the obi to often, both discs are virginal and sleeve is clean as well. A steal for a classic slide of this caliber. Price: 50 Euro |
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84. ART ENSEMBLE OF CHICAGO: “Les Stances A Sophie” (Odeon – EOP-88022) (Record: Near Mint/ Jacket: Near Mint) Japan first original pressing – rare WHITE label PROMO issue of an AEOC title that rarely turns up as a Japanese original. Probably the greatest album ever by the Art Ensemble of Chicago -- and also one of their rarest! The album was cut for Pathe Marconi in Paris in 1970, and was the soundtrack to a film that was as obscure as the album. The group's never been finer -- and plays with a creative tightness that you'll be hard pressed to find on other records. Some tracks are almost straight jazz -- but there's all these wonderful little breakdowns and burst of creative energy that keep the AACM spirit alive and true. The centerpiece of the album is the massive "Theme De Yoyo", a righteous powerful groover that features vocals by Fontella Bass, and which has become an all-time jazz dance classic! Other tracks have a sparer soundtracky feel, and a few more are in the experimental vein of the Art Ensemble's other Paris work at the time. Wonderful overall though -- and an incredibly righteous album filled with power and imagination! Price: 150 Euro |
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85. ART ENSEMBLE OF CHICAGO: “Phase One” (Nippon Columbia – YS-2621-MU) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Hopelessly rare Japan, 1st original pressing that came out in 1974 on the Columbia label and sounding so much better and fresher as opposed to the French pressing. This one comes with the stupidly rare OBI as well, first copy I ever see with obi present! To these ears, “Phase One” is prime time Art Ensemble of Chicago material, making it one of the headiest albums by them, rubbing shoulders with “Stance a Sophie” and “People in Sorrow”. The whole affair, which consists out of two sidelong tracks is a brilliant mix of dusty catatonic noise and ear-deafening silences making it to walk the razor’s edge between crystal clear avant-garde compositions and heated free jazz eruptions. The track "Ohnedaruth" builds slowly with a variety of percussion, breathing out a remarkable sense of sound and space before elapsing into a more reed-based approach that leads to the other sidelong head spinner "Lebert Aaly" – the group's brilliant tribute to the late Albert Ayler! The sound the band breathes into existence is incredibly deep and multi-layered with cosmic tonalities and bridges the gap successfully like no other ensemble between fire music and atonal free form avant-garde outings. Truly majestically executed all the way round. TOP COPY! Never encountered before Japanese press issue all complete with rare very first issue OBI!!!!. Price: 250 Euro |
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86. ART ENSEMBLE OF CHICAGO: “Chi Congo” (Odeon – OP-88010) (WHITE LABEL PROMO Record: Near Mint/ Jacket: Near Mint). Freaking rare original Japanese pressing – white label promo issue. A lost chapter in the career of the Art Ensemble Of Chicago -- an obscure early 70s album, issued by the mostly-blues Paula Records label in Louisiana, and one of the hardest to find albums in their catalog! The album features 3 long tracks -- "Chi-Congo", "Enlorfe", and "Hippparippp" -- played in an open and inventive style that recalls the best of the group's work in Paris at the end of the 60s. The core group manages to get their hands on more instruments than you'd hear from the entire percussion section of an orchestra -- and with amazing results! “Chi Congo is a wonderful primer to the fierce, chaotic and ever-shifting world that embodies their expansive sound and scope. Recorded in Paris in 1970, here AEC's lineup featured Lester Bowie, Malachi Favors, Roscoe Mitchell, Maurice McIntyre and Joseph Jarman, all playing an assortment of "little instruments," percussion, brass, and woodwinds--a list that's really too long to reprint. Most notably, however, is that this set features the first session by drummer Don Moye. Chi Congo is a barrage sof noise, spirit, soul, restraint, and exuberance. As the liner-notes state, "The band's future is uncertain, but its past is quite glorious." Features a great cover shot of AEC in all their freaky, Afro-centric glory as a bonus. Great Black music for sure.” [DG for Other Music]. Rare Japanese pressing – white label PROMO issue and housed in a Japan only jacket. So nice, so good, so delirious. First time ever I can lay my mittens on a promo copy…Price: 150 Euro |
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87. ART ENSEMBLE OF CHICAGO: “Certain Blacks” (Columbia – YP-7061-MU) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Hopelessly rare Japan, 1storiginal pressing that came out in 1974 on the Columbia label and sounding so much better and fresher as opposed to the French pressing. This one comes with the stupidly rare OBI as well, first copy I ever see with obi present! “On Certain Blacks the core four of Roscoe Mitchell, Joseph Jarman, Lester Bowie and Malachi Favors enlist two guests to aid them in the LP-sized journey into deep blues forms: Chicago Beau on tenor, piano and harmonica and Julio Finn blowing second mouth harp. Drummer Don Moye wasn't yet with the band. His precursor William Howell favors a somewhat more rhythmically orthodox approach to the kit and a propensity for hard- boiled beats. Assuming the moniker Edward, Jr., Mitchell focuses his attention on the mighty bass sax. His corpulent lines blast and etch away at the Studio Decca rafters pouring forth with pathos-rich potency. Built on a simple vocal mantra and gospelized riff, the side-long title cut stretches far and wide and posits no shortage of righteous ebullience. The horns cavort and swirl around a rhythmic center eventually dispersing into solos cropped by boisterous shouts and unison returns to the staple aphorism. Jarman's switch to vibes leavens some of the momentum, but the six lock back on the groove thanks to Favors stout ostinato. A snippet of telling banter at the close betrays some surprising dissention at odds with the professed unity behind the piece. Side B divides in two with another Beau composition "One for Jarman and a rollicking cover of Sonny Boy Williamson's "Bye Bye Baby that revels in the syncopation-suffused ambience of a South Side rent party, heavy on the funk. The former tune features the Beau's ivories dancing in line with a lush contingent of horns, plumb bob bass and drums through a tropical-tinged reverie.” (Derek Taylor – All About Jazz). Spot on! Never encountered before Japanese press issue all complete with rare very first issue OBI!!!!. Price: 200 Euro |
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88. ART ENSEMBLE OF CHICAGO: “Certain Blacks” (Columbia – YP-7061-MU) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Hopelessly rare Japan, 1storiginal pressing that came out in 1974 on the Columbia label. This one comes with the stupidly rare OBI as well, and as icing on the cake RED label Columbia Records PROMO issue. Price: 250 Euro |
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89. ART ENSEMBLE OF CHICAGO: “The Spiritual” (Freedom/ Trio Records – PA-7034) (Record: Near Mint/ Gatefold
Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Rare Japanese pressing
in top condition and with rare first issue obi present. “THE SPIRITUAL, finds the Art Ensemble of Chicago at their
artistic height. Reduced to an unusual drummer-less quartet for this session (reedsmen Joseph Jarman and Roscoe
Mitchell, horn player Lester Bowie and bassist/banjo player Malachi Favors all
double on various types of percussion), the group explores one of the main
stems of jazz, New Orleans gospel and second-line music, without sacrificing
its freer sounds. Indeed, without a traditional drummer, the group is free to
play at its most unrestrained, unfettered by conventions of tempo. Yet somehow,
there's a basic earthiness to this music, especially on the magnificent title
track and the mysteriously beautiful "That the Evening Sky Fell Through
the Glass Wall and We Stood Alone Somewhere?," which keeps the Art Ensemble grounded. Listening to THE SPIRITUAL is an
experience akin to reading Ishmael Reed's vividly ironic lampoon of Western
culture, MUMBO JUMBO.” (All
Music Guide). Another essential AEOC slide, first time I encounter this one
with its original obi. Top condition. Price: 75 Euro |
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90. ART ENSEMBLE OF CHICAGO: “Phase One” (America – AM-6116)
(Record: Near Mint/ Jacket: Near Mint). Original 1st France only
pressing. To these ears, “Phase One” is prime time
Art Ensemble of Chicago material, making it one of the headiest albums by them,
rubbing shoulders with “Stance a Sophie” and “People in Sorrow”. The whole affair,
which consists out of two sidelong tracks is a
brilliant mix of dusty catatonic noise and ear-deafening silences making it to
walk the razor’s edge between crystal clear avant-garde compositions and heated
free jazz eruptions. The track "Ohnedaruth" builds slowly with a
variety of percussion, breathing out a remarkable sense of sound and space
before elapsing into a more reed-based approach that leads to the other
sidelong head spinner "Lebert Aaly" – the group's brilliant
tribute to the late Albert Ayler! The sound the band breathes into existence is
incredibly deep and multi-layered with cosmic tonalities and bridges the gap
successfully like no other ensemble between fire music and atonal free form
avant-garde outings. Truly majestically executed all the way round. TOP COPY! Price: 50 Euro |
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91. ART ENSEMBLE OF CHICAGO: “Live in Japan” (DIW – DIW8005) (Record: Near Mint/ Jacket: Near Mint/ Obi with Insert: Near Mint). Only released in Japan Art Ensemble live set recorded in 1984. A very dynamic and free-roaming set that showcases that the band was still as strong as during their early 1970s hey-days. Amazing condition! Price: 45 Euro |
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92. ART ENSEMBLE OF CHICAGO: “The Alternate Express” (DIW Records – DIW-8033)
(Clear Blue Wax Record: Near Mint/ Jacket: Mint/ Obi: Mint/ Insert: Near Mint).
Rare 1989 Japan only issue of the original line-up by the Art Ensemble. Came
released on transparent blue vinyl. “A remarkable recording from a period when it seemed that
the Ensemble’s powers were all but spent.The huge,
blustering ‘Kush’ rekindles the wildness of their best improvising; ‘Imaginary
Situations’ is a ghostly collective sketch; ‘Whatever Happens’ catches Bowie at
his melancholy best, while Mitchell’s title-piece is a fine tribute to the
group’s survivalist spirit. A valuable and welcome document that might called a
comeback.” (Penguin Guide To Jazz). Completely
vanished Japanese only issue, comes with cool obi and
pressed on blue vinyl. Indispensable Art Ensemble slice of head music! Price:
50 Euro |
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93. 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!!!
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94. ARVANITAS, GEORGE QUINTET: “Soul Jazz” (Columbia – 33 FPX 193) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint). Flawless 1st press original condition copy of insanely rare French jazz slide. The 1950s-60s was the high-water mark for hard bop quintets, and pianist Georges Arvanitas lead one that was on a par with anything that Horace Silver or Art Blakey could put together at the same time. The team of Arvanitas with Bernard Vitet/fh, Francois Jeanneau/ts, Hichel Gaudry/b and Daniel Humair/dr had a feel similar to the Clifford Brown/Max Roach team of the 50s, with a deep dept to the composers of the proto-bop era like Monk and Powell. Vitet’s sweet horn is a perfect natural foil to Jeanneau’s low fat tenor on the soulful “This Here” and joyful “Bouncin’ With Bud” and Arvanitas is in a Bud Powell mood as he torridly tears through “Un Poco Loco” and “Bohemia After Dark.” Jeanneau does a nice aria on “Sonnymoon for Two” and “Monk’s Mood” with the rhythm team careening off the walls on “Bemsha Swing”, showing that these guys go hit from either side of the plate. This one’s a keeper! Top condition French first original pressing – hard to ever upgrade upon! Price: Offers!!! |
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95. GEORGES ARVANITAS TRIO: “Porgy And Bess” (AFA Records – N.E.C. 20777) (Record: Near Mint/ Laminated Jacket: Near Mint). Original 1973 French 1st pressing in TOP condition. Largely overlooked but quite rare jazz slide. Probably the best rendition so far of Porgy & Bess, bursting with a vibrant throbbing rhythm and warm sounds that give free-soul and swing a whole new and different dimension. An absolute orgy in rhythm and vibrations!!!! Top condition French first original pressing, next to impossible to improve upon. Price: 75 Euro |
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96. ASAKAWA MAKI: “One” (Express – ETP-80125) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan 1st original pressing with all complete. WHITE LABEL PROMO ISSUE! Without a single doubt, “One” was and still remains the most challenging disc ever to have seeped out of Asakawa Maki’s creative sprawl that commenced in the late sixties. Still, “One” is sonically quite far removed from her characteristic laid back jazzy late night blowtorch scorned vocal settings she was renowned for. By now she had entered the eighties and embarked with this disc on her singular, most adventurous escapade ever. “One” was her 11th album and starts off on a similar note that characterized her output until then. Still, things are quite heating up under the seemingly tranquil surface layer and Asakawa embarks on a whispering and crooning voyage that will just set the pace for the unrelenting fury she, Yamashita Yosuke, Kondo Toshinori and Faces guitarist Yamauchi Tetsu will unleash on the sidelong “Pignose” that takes up the whole of side two. 100% pure improvisation blast and hardcore psychedelic free jazz shoulder rubbing with Kondo belching out noises made by amplified toys, disjointed trumpet squeaks and deranged vocal wails. Yamauchi counterattacks with frazzled and junked down guitar riffage, injected with enough sizzling feedback to keep the spiced-up flavors hot and boiling for Yamashita to respond to with well-balanced rolling thunder skin sniffing. While all this mayhem is exploding around her, Asakawa manages to keep her cool by improvising with vocal-induced spun out melodic phrases to interlard the erupting volcanic chaos that is boiling down all around her. In one word: dynamite stuff and the best ever Asakawa Maki record to be put down on wax. It is also the rarest of all her discs and one that has never been reissued; making it her most sought-after disc. Highly collectible. Should appeal to folk nicks, hardcore free jazz freaks and psychedelic chemists. Super stuff and a shy bird as of late. Price: 100 Euro |
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97. ASH RA TEMPEL: “Join Inn” (Ohr –
OMM 556.032) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint ~ Mint).
Top copy first original GERMAN pressing out of 1973. “Yet another
fundamental guitar oriented Krautrock album from Manuel Göttsching, and
one that continues in the same basic style as the first two albums. Overall,
Join Inn sounds a lot more mature and developed, yet on the other hand, a tad
more restrained. The album sees the reinstitution of Klaus Schulze on drums and
the album is structured almost in the same manner as the debut, with one side
devoted to a guitar oriented jam, and the second to a more ambient, yet still
quite dynamic, extended track. "Freak N' Roll" features a heavy
percussive attack and slithering bass lines beneath Göttsching's more
delicate touch. The song even shows off a slight jazzy sensibility, and overall
doesn't have the same deep space vibe as the previous two albums. Instead, its
a lot more down to earth, much more mature, and playing is extremely tasteful
and pleasant. The intermittent climaxes still rock hard, but don't approach the
shuddering heights of the self-titled debut. "Jenseits" is another
stab at an ambient, ethereal piece in the vein of "Suche & Liebe"
from Schwingungen, and is, in my opinion, a lot more emotional and dynamic. The
vocals of Rosi Mueller are quite beautiful and are perfect atop the developing
bed of synthesizer and electronic drones and flourishes. Basically, Join Inn,
along with the first two albums, are supposed to be the essential works from
Ash Ra Tempel, and I certainly haven't been disappointed by any of the three.
This would be the final album of the classic lineup, as the group would be
reduced to basically Manuel Göttsching and his girlfriend, Rosi, as well
as a revolving door of guest musicians.” (Greg Northrup). Total classic
acid psych fest. First original GERMAN pressing in TOP condition. Totally
essential and getting damned hard to find on the ground, especially in such
perfect nick as this baby here so…stop wiggling your tail in impotent anger
& hold your peace forever!!! Price: 300 Euro |
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98. ASHBY DOROTHY: “S/T” (Cadet/ Baybridge Records – UPS-2243-BC) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint/ Additional promotional Obi: Near Mint). Rare Japan original 1st pressing that came out in 1983. First time I see this one with the TWO obi’s present! One of the first leading ladies in jazz to explore the mesmerizing possibilities of the harp, Dorothy Ashby predated Alice Coltrane’s excursions on the instrument with more than a decade. very few jazz harpists in history and Dorothy Ashby was one of the greats. Somehow, she was able to play credible bebop on her instrument. As a pianist she studied at Wayne State University, and in 1952 she switched to harp. Within two years, Ashby was gigging in jazz, and in 1956 she made her first recording as a leader. Between 1956-1970, she led ten albums for such labels as Savoy, Prestige, New Jazz, Argo, Jazzland, Atlantic, and Cadet, guested on many records, and was firmly established as a top studio and session player. She didn't approach her instrument as if it were a gimmick, and she wasn't content to be a background/mood specialist. She turned the harp into a lead instrument, and offered solos that were as tough and memorable as those done by any reed, brass, or percussion player. This is her sole record that was released in Japan as a domestic pressing and comes with cool double obis. Price: 100 Euro |
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99. ASHBY, DOROTHY: “Django, Misty” (Philips – 28PJ-5) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare 1984 Japan only issue all complete with obi – WHITE label PROMO issue. Mesmerizing final album released by the queen of jazz harp Dorothy Ashy, solely released in Japan. Quite an intimate affair, fragile and deep seated, with Dorothy exploring some jazz classics and doing it as gracefully as ever. Quite a stunning affair. Price: 200 Euro |
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100. ASHLEY, ROBERT: “In Sara, Mencken, Christ and Beethoven There Were Men And Women” (Cramps – CRSLP-6103/2) (Record: Near Mint/ Gatefold Jacket: Near Mint). Minimal masterpiece centered around a lengthy never ending text and extremely strange poem by John Barton Wolgamot. It consists of one sentence repeated over and over, and the only changes from sentence to sentence are that different names are inserted: “In their very truly great manners of Jesus Christ very heroically Geoffrey Chaucer, Rupert Brooke…” Ashley’s fascinating liner notes to this album offer a very reasonable interpretation of the very bizarre text. And the music? It’s wonderful—Ashley and Paul de Marinis’ electronics bubble in the background, and Wolgamot’s words sound beautiful when read by Ashley, who delivers the text in his usual Sprechstimme-on-downers style. He sounds like either a creepy old man or the Garrison Keillor of the avant-garde, depending on your perspective. Just highly essential and psychedelic as well as eye-opening listening experience. Original pressing that sounds light-years better than the crappy Akarma boot/reish…a must to all-experimental and psych headz out there. Original clean copies are slowly drying up it seems, this copy here is just a perfect one. Price: 100 Euro |
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101. ASSAGAI: “S/T” (Vertigo – SFX-7308) (Record: Near Mint / Gatefold Jacket: Near
Mint/ Insert: Near Mint/ OBI: Excellent). Seldom seen clean and super sounding
1971 Japan 1st original pressing on the Swirl label. Comes all
complete with insert and the mega rare OBI!!! Awesome butt shaker that fuses
wild and frantic Afro jazz blasts with erratic rock moves. Dudu Pukwana is the
star here, blowing his silver horn to smithereens and making every track just
irresistibly awesome. TOP copy, awesome sound quality and killer gatefold
jacket art. Obi just hardly ever surfaces…and an all complete copy is where it
is at….Price: 400 Euro |
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102. 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!!!!! |
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103. ATRIUM MUSICAE DE MADRID: “Musique de la Grece Antique” (Harmonia Mundi – VIC-28067) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Totally mint copy of this austere, obscure, acid folk-like and stone death cold avant-garde sounding gem of a record. I spare you all too long explanations and attach here the review the guys of Aquarius records penned down about this disc, which is spot-on to the point. “Unlike any Greek music we'd heard before, sounding more like a soundtrack to a film featuring pagan rites, very ceremonial and mysterious in nature. Unlike any "real" recording of Greek music I could imagine. What we now know is that the concept of this recording is that it's a partially-imaginary reconstruction by an unusual Spanish world-music ensemble of what the music of ancient Greece MIGHT have sounded like, based on what little historical documentation is available regarding musical practices of the period. Each track references some papyrii or other (so the spoken and sung texts are supposedly historically accurate) and the music is played on what are assumed to be authentic types of instrumentation (including a reproduction of an hydraulic organ!). As we said, much of the music is ritual-sounding, with chanting and bells. It has quite an occult vibe. There are also tracks of beautiful, folky female vocals backed by plucks of the lyre. Add to that stirring horns, droning flutes, percussive crashes, eccentric vocal flourishes, and much more. This disc is sometimes creepy, often lovely, always fascinating. A "lost treasure" vibe (as if some ancient Greek philosopher had invented some sort of anachronistic "marble cylinder" recording technology, recently unearthed by archeologists!) it's still totally amazing!” (Aquarius Records). Over the top great mind bending soundscapes. Can’t recommend this on enough. Japanese audiophile pressing. Price: 40 Euro |
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104. AXELROD, DAVID: “David Axelrod’s Rock Interpretation of Handel’s Messiah” (RCA – RCA-6059) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st original press issue all complete with rarely seen OBI. David Axelrod takes on Handel's Messiah – and the result is an amazingly complex set of music – very similar to his earlier albums on Capitol Records, and his Warner work with the Electric Prunes! If you love the Axe, you'll find plenty to love here – spare, dark orchestrations, often with a subtle hint of funk in the rhythms, some jazzy flourishes, and this bold sense of studio majesty that marks Axelrod as one of the most inventive producers of his time! The sound's one that gave birth to a whole generation of hip hoppers and beat-heads – and the proceedings are conducted by Cannonball Adderley, with a feel that's similar to other Adderley/Axelrod high-concept sets – like Soul Of The Bible or Soul Zodiac. Damned rare Japan original with OBI. Top shape!!! Price: 250 Euro |
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105. 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!!!! |
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106. 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!!!!! |
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107. AYERS, KEVIN: “Joy of a Toy” (Harvest – SHVL-763) (Record: Near Mint/ WIDE SPINE Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent ~ Near Mint). Original 1st UK pressing out of 1969 with NO EMI on label. Comes housed in earliest and rarest sleeve issue – WIDE SPINE sleeve which is genuinely rare, only 2nd wide spine copy I see in over 15 year’s time. Subliminal 1st Kevin Ayers record. 1st UK pressings in top condition are a bitch to score these days and this copy is just like near perfect and comes with wide spine sleeve!!!! Music needs no introduction, I think. Stunning piece of UK psychedelic folk/ psych of former Soft Machine member. This disc is an all-time classic and if the music of this one does not please you one tiny bit, then I think these web pages are a waste of your time. All time highest possible recommendation. Price: 550 Euro |
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108.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!!!!!! |
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109. AYERS, KEVIN: “Bananamour
– Itoshi No Banana” (Odeon Records – EOP-80837) (Record: Near Mint
~ Mint/ Heavy Gatefold Jacket: Excellent ~ Near Mint/ Japan only 4 Paged
Insert: Near Mint/ OBI: Excellent). Original 1st Japanese pressing.
White label promo issue – complete with OBI. Hideously rare original 1st Japanese pressing of this subliminal Kevin
Ayers album. Hardly ever turns up in such a nice nick with the obi attached.
The music is well known I believe and is considered to be as Ayer’s best
recordings ever. I personally ride for all Ayer’s albums but Bananamour was the
1st album I bought back in the day and I have never
looked back ever since. Top copy 1st OG Japanese pressing with killer obi intact and
present. Do not think this one will pop up again any time soon, almost
impossible to lay your hands upon here in Japan. Killer with absolutely no
filler. Masterpiece!!!! Price: 350 Euro |
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110. 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!!! |
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111. AYERS, KEVIN: “The Confessions of Dr. Dream and Other Stories” (Island Records Japan – ILS-80112) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Printed Inner Sleeve with Lyrics: Mint/ Obi: Excellent). Bloody rare white label promotional copy, complete with never seen obi. Top condition. Forth album by Ayers for which he got backed up by some of the scene finest heads such as Mike Oldfield and Lol Coxhill (who were both in his band The Whole World); Mike Ratledge (of Soft Machine); Michael Giles (ex King Crimson); Nico and his multi-talented right hand man/guitarist who'd appeared on his last Harvest album, Bananamour - Ollie Halsall. The album contains both sides of Ayers easy-going CV. There's the knockabout, slightly boozy, bluesy rock of Day By Day or Everybody's Sometime And Some People's All The Time Blues or Didn't Feel Lonely Till I Thought Of You. And then there's the second half's four-part Doctor Dream suite which beautifully trots out some truly disturbing psycho-dramatic stuff, aided by the Teutonic iciness of Nico on the opening Irreversible Neural Damage. Just a brilliant Ayers album that again is indispensable according to these humble ears. Rare 1st issue Japanese pressing complete with obi. First time ever I come across a copy with obi. Price: 150 Euro |
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112. ROY AYERS UBIQUITY: “Vibrations” (Polydor – MPF-1093) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japan original pressing from 1977 all complete with obi and insert. “Whenever someone makes the transition from jazz instrumentalist to R&B singer, he/she is bound to be lambasted by jazz purists and denounced as a sellout. Roy Ayers was no exception – like George Benson, George Duke and Patrice Rushen, Ayers was frequently attacked by jazz's hardcore in the late '70s for turning away from instrumental jazz and making vocal-oriented soul and funk his main focus. But what didn't interest jazz snobs excited R&B lovers, who found a lot to admire about Vibrations and other Ayers albums from that period. This 1976 LP boasted the moody hit "Searching," which has jazz overtones but is essentially an R&B song, and the title track which has become nothing less less than a funky soul classic. Ayers and his band Ubiquity are also quite appealing on gems that range from the sweaty, driving funk of "One Sweet Love to Remember," "Moving Grooving," "Higher," and "Domelo (Give It to Me)," to mellow quiet storm numbers like "Baby, You Give Me a Feeling" and "Baby, I Need Your Love." With Vibrations, Ayers reminded us that jazz's loss was certainly soul/funk's gain.” (All Music Guide) Rarely surfacing Japan original with rare obi – top shape. Price: 150 Euro |
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113. AYLER, ALBERT: “First Recordings” (Sonet/ Teichiku – UPS-2013-N) (Record: Near Mint ~
Mint/ Jacket: Near Mint/ Obi: VG++ ~ Excellent). Rare Japan 1st original MONO pressing with first issue obi. Recorded in Stockholm on
October 25, 1962, this session is one of Albert Ayler's earliest recordings, and features a European
backing group he assembled during his brief stay in Sweden before returning to
the States in 1963 and beginning his legendary run with ESP-Disk' and Impulse!
Though his genius is not yet fully formed, one can easily hear he's headed that
direction, and this rare and long out-of-print recording is an essential piece
of the history of one America's most uniquely lyrical voices on the saxophone. Price: 75 Euro |
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114. AYLER, ALBERT: “My Name Is
Albert Ayler” (Debut/ Fontana Japan – SFON-7053) (Record: Excellent ~ Near
Mint/ Jacket: Near Mint/ OBI: Near Mint). First original Japanese pressing of
rare Ayler slide, all-complete with the first issue obi. This one came out in
the mid/ late 1960s and sold poorly, making it now a hard one to turn up,
especially with the obi present. Still it comes way cheaper as opposed to the
debut pressing but equally rare. Every Ayler recording is obligatory mind food.
Great condition. Price: 200 Euro |
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115. AYLER, ALBERT: “Ghosts” (Fontana – SFON-7054) (Record:
Near Mint/ Jacket: Near Mint/ Obi: Near Mint). First original hideously rare
Japanese pressing of this subliminal Ayler disc, complete with first edition
obi. Without a single doubt, Albert Ayler was the most iconoclastic figure
jazz' has ever seen and many – if not all mortal souls – noticed
his unequaled talent when “Spiritual Unity” hit the streets – be it in
real time or when you first encountered it decades later, it never fails to
make its everlasting impact when being first exposed to it. However, “Ghosts”
can be seen as a similar feat since like most Ayler recordings it veers of in a
similar way as a bomb starts a war. “Ghosts” has Ayler blowing a simple folk
melody, which he slowly modifies, escapes from, and then returns to, while Gary
Peacock scatters notes from his bass in seeming random fashion and Sunny
Murray's stick skitters across his cymbals, neither of them ever attempting to
get into a groove. This is some the most beautiful chaos jazz has ever
encountered. Massive and this is the original rare first Japanese pressing in
top condition. Price: 200 Euro |
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116. AYLER, ALBERT: “Witches & Devils” (Freedom/ Trio Records – PA-7030) (Record: Mint/ Gatefold Jacket: Mint/ Insert Booklet: Near Mint/ OBI: Mint). 1st original Japanese pressing complete with obi. This is Ayler's first recording with sympathetic accompaniment and the first of a series of excellent recordings made throughout 1964 --
easily his best year. The songs, and Ayler's powerful, eerie and
beautiful playing, may well be the best he ever recorded. This is a
very intense and draining record to listen to, even though it only runs about 35 minutes -- no mellow understatement here :-) Sonny
Murray gives an equally impressive performance. These two players were superbly well matched, in my opinion, like Coltrane & Jones. The bass players are non-descript (one track features both of them, one features Henderson alone, and the other two feature Grimes alone) but certainly adequate to the occasion. Only the somewhat stilted and unimaginative trumpet playing is a let down. On some Ayler records from later in 1964, Don Cherry plays trumpet. The difference is dramatic. Top copy. Price: 75 Euro |
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117. AYLER, ALBERT: “Spirits” (Debut/DEB-146 – Freedom Japan – K18P-9386) (Record: Near
Mint/ Jacket: Near Mint/ Insert: Near Mint) Original Japanese pressing in Top
Condition. After touring Scandinavia
with the Cecil Taylor Jazz Unit in 1962-1963, Ayler began imposing his style -
which was still considered odd and too innovative by the always-conservative
purists of jazz of the time – through a number of records of his own.
Definitely the most interesting among them is ‘Spirits’, which was recorded in
his then classic quintet line up at Atlantic studios in New York City, February
1964. For the occasion, Ayler recruited some of the finest jazz players as his
sidemen: the album, originally released on Debut in Denmark and followed with a
release on Transatlantic in the UK, features Norman Howard – a Cleveland
based trumpeter who Ayler grew up with – and Henry Grimes and Sunny Murray
as a potent rhythm section, with an appearance on bass by Earle Henderson,
unknown at the time. (“if you don’t dig the music on this album, you should
maybe blame yourself as being behind the time” from the original liner notes by
ole Vestergaard Jensen). A bloody great record. Top Copy Japan original
pressing, they hardly surface at all in a condition like this beauty here. Price:
40 Euro |
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118. AYLER, ALBERT: “Bells” (ESP Disk – ESP-1010) (Yellow Wax Record: Near Mint/ Silk Screened Jacket: Excellent – some wear on back). Rare US original pressing that comes housed in silk screen jacket art with 2nd state address printed on back being 156th 5th Avenue, New York. Price: 75 Euro |
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119. AYLER, ALBERT with Don Cherry; John Tchicai; Roswell Rudd; Gary Peacock; Sunny Murray: “New York Eye And Ear Control” (ESP Disk – ESP-1016) (Record: Excellent ~ Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink). Top condition original US first press issue with 156 5th Avenue NY address on labels and sleeve. New York Eye And Ear Control is an album of group improvisations recorded by an augmented version of Albert Ayler's group to provide the soundtrack for Michael Snow's film of the same name. Critics have compared it with the key free jazz recordings: Ornette Coleman's earlier free jazz and John Coltrane's subsequent Ascension. John Litweiler regards it favorably in comparison because of its "free motion of tempo (often slow, usually fast); of ensemble density (players enter and depart at will); of linear movement". Ekkehard Jost places it in the same company and comments on "extraordinarily intensive give-and-take by the musicians" and "a breadth of variation and differentiation on all musical levels" Price: 125 Euro |
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120. AYLER,
ALBERT: “Spirits Rejoice” (ESP Disk – ESP-1020) (Record: Near Mint/
Jacket: Near Mint/ ESP Poster: Mint). US original pressing that comes with
first state sleeve (180 Riverside Drive address) and 2nd state label (with 156
5th Ave address) and rare ESP poster. I think no introduction is needed for
this heavy free jazz blast. Monstrous heavy-duty line-up consisting out of
Albert Ayler (tenor), brother Don Ayler (trumpet), Charles Tyler (alto), Henry
Grimes & Gary peacock (bass), Sunny Murray (drums) and Call Cobbs
(harpichord). The whole sonic tsunami was recorded somewhere in September of
1965 at New York’s Judson Hall. Clean and pristine copy, next to impossible to
upgrade upon. Price: 100 Euro
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121. AYLER, ALBERT TRIO: “Spiritual Unity” (ESP Disk – ESP-1002) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Rare and unknown Ayler recording variation, the immediately withdrawn ESP pressing that unlike the versions in circulation has a different recording on the beginning of side 2. No one has this (apart from 2 other people in the know so far), totally obscure. Has appeared in silk screen sleeve and until now unknown – this version that comes on white/ red ESP label variation. As opposed to regular copies of Spiritual Unity, this withdrawn version has on side B one track that is completely different, being the opening track. Although the label indications are the same, the music is NOT! Visually there is nothing that tells this one to be different as one has to listen to it and compare. Much rumored about in dark back alleys of obscure chatrooms but hardly ever seen, this one is the shit! As the track listing confirms the title as “Spirits” - this track is not “Spirits” at all but an entirely different piece/ composition altogether. And to make it even more confusing, this alternative version/ recording is only on this minuscule pressing and does not even surface on the pre-pressing or the very first issue. Pretty confusing I know but utterly obscure & hopelessly rare to say the least. And the music? Well, you know, primetime Ayler who on possessed and fire, immediately opens up in a sparse & dissonant way with a faint resemblance of the melodic phrasing of Spirits but immediately steering off into previously uncharted waters with Peacock plucking away at the bass without using his bow and Murray ruffling his feathers in a frantic but delicate, subdued manner. Ayler however debarks onto a lethal course of action as if bewitched by an eager malice and diving into a maniac fury inhabiting the deeper registers his sax seems to embody, blowing out a high-tension sound that results in a high voltage reaction. It is a ravaging piece, enraptured with a violent fit of madness by Ayler, unleashing a tornado of dusty squeals that engulf the aural landscape. What a track!!! Why this got pulled back and shelved is anybody’s guess but this is uglier than any group of mutants you see at the insane asylum clawing at the walls. So….you guessed it, this is fookin’ rare but damned it set our house ablaze when blasting it. Who would have guessed it there was still an Ayler piece out there you did not knew existed…so feel free to go ballistic. Price: Offers!!!! |
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122. AYLER, ALBERT: “Spiritual Unity” (ESP/ Victor – MJ-7101) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint) Damned rare 1st original Japanese pressing complete with obi in dead mint condition. One can be fairly short about this monster; it is a classic, Ayler getting flanked by heavyweights such as Gary Peacock and Sunny Murray. Joint in unison, the three of them just transform the air you breath into liquid molten lava. The whole affair feels like setting up in the calm eye of the hurricane and then – before you can realize it – you find yourself foaming at the mouth, trying the dodge the cloud of hellish intensity thundering down your path and feel the energy and excitement that you can only get while standing in the midst of a prison riot that is in full swing. Just massive and so damned essential. Bloody rare 1st press Japanese issue, complete with never seen before obi and as mint as the Virgin Mary on any given Sunday. Awesome!! First Japanese press issues all complete with obi are just getting impossible these days… Price: 350 Euro |
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123. AYLER, ALBERT: “Spiritual Unity” (Venus Records – TKJV-19005) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint) PROMO issue of scarce Japanese high-fidelity issue with obi in dead mint condition. One can be fairly short about this monster; it is a classic, Ayler getting flanked by heavyweights such as Gary Peacock and Sunny Murray. Joint in unison, the three of them just transform the air you breath into liquid molten lava. The whole affair feels like setting up in the calm eye of the hurricane and then – before you can realize it – you find yourself foaming at the mouth, trying the dodge the cloud of hellish intensity thundering down your path and feel the energy and excitement that you can only get while standing in the midst of a prison riot that is in full swing. Just massive and so damned essential. Rare audiophile Japanese issue, complete with obi and as mint as the Virgin Mary on any given Sunday. Awesome!! Price: 75 Euro |
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124. AYLER, ALBERT: “Spirits Rejoice” (Victor – SMJ-7492) (Record: Mint/ Jacket: Near Mint/ Obi: Mint). Never offered 1st original Japanese press issue complete with 1st issue OBI!!! First issue with obi never turns up. I think no introduction is needed for this heavy free jazz blast. Monstrous heavy duty line-up consisting out of Albert Ayler (tenor), brother Don Ayler (trumpet), Charles Tyler (alto), Henry Grimes & Gary peacock (bass), Sunny Murray (drums) and Call Cobbs (harpichord). The whole sonic tsunami was recorded somewhere in September of 1965 at New York’s Judson Hall. Anyway, the copy here on display is the 1st original Japanese pressing of that time, white label and on superior vinyl as opposed to the rather murky ESP pressings. This 1st original Japanese pressing came out at the end of the sixties and the sound was taken directly from the original master tapes, making it a true rewarding sensory listening experience. This copy also comes with the hardly ever seen obi strip attached. True rarity in top condition up for peanuts. Cannot possibly go wrong with this one and I doubt you will ever encounter a copy like this again especially with the 1st press obi intact. Massive. Price: 250 Euro |
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125. AYLER, ALBERT: “Volume 1” (Shandar – RCA – SHP-6201) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) Long time no see original Japan press of the early seventies of this Shandar LP – with RAREST OBI variation. In Japan, Shandar was licensed by RCA Victor and the adorned the inner jacket with another picture and a complementary text. Also with this copy comes the hideously rare obi to flank the record’s spine, a rarely seen feat, making this item quite desirable. Almost virginal copy, original press. Price: 50 Euro |
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126. AYLER, ALBERT: “Volume 2” (Shandar – RCA – SHP-6202) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) Long time no see original Japan press of the early seventies of this Shandar LP. In Japan, Shandar was licensed by RCA Victor and the adorned the inner jacket with another picture and a complementary text. Also with this copy comes the hideously rare obi to flank the record’s spine, a rarely seen feat, making this item quite desirable. Almost virginal copy, original press. Price: 50 Euro |
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127. AYLER, ALBERT: “Volume 1 & Volume 2” (Shandar – RCA- SRA-9459~60) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Damned scare Japan ONLY 2LP set combining the 2 Shandar Records releases all-complete with obi. This is the rarest version of Ayler’s Shandar set and comes also with the rarest obi variation. Love this one to bits, Ayler’s historical Paris performances in its entirety pressed on beautiful Japanese vinyl. What can a mortal soul ask possibly more for? Price: 75 Euro |
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128. AYLER,
ALBERT: “Love Cry” (Impulse – AS-9165) (Record: Near Mint/ Gatefold
Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ Direct
Import Obi: Near Mint). US press issue all complete with silly rare Direct
Import Obi. Man, just look at the mouthwatering line-up this baby has been
graced with. Could it possibly get any better? Spearheading the group is of
course Albert Ayler, who gets flanked by brother Donald Ayler on trumpet, Call
Cobbs on harpsichord, Alan Silva on bass and grandmaster Milford Graves on
drums. Ayler's Pentecostal blueprint blaring sound is omnipresent throughout
the disc as he trades fleet, furious lines with brother Don while getting back-drafted
by throb and rattle of Graves and Silva. Still delicacy conveys throughout and
a reverence for melody is always at the fore, even when Ayler is biting his
reed and squealing at the top of the alto's range. Balancing between
contemplation and explosion, it all meshes perfectly into a fireball of
perfection. An unbeatable classic. Top-notch copy, complete with rarely seen
the first Direct import obi on this one. This obi version was the first to come
out in Japan, a US press imported and adorned with “Direct Import Obi”. Price:
175 Euro
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129. AYLER, ALBERT: “Love Cry”
(Impulse Japan – IMP-88072) (Record: Near Mint/ Gatefold Jacket: Near
Mint/ Insert: Near Mint/ Obi: Mint). Original Japanese pressing – White
label PROMO issue and first press issue obi. Man, just look at the
mouthwatering line-up this baby has been graced with. Could it possibly get any
better? Spearheading the group is of course Albert Ayler, who gets flanked by
brother Donald Ayler on trumpet, Call Cobbs on harpsichord, Alan Silva on bass
and grandmaster Milford Graves on drums. Ayler's Pentecostal blueprint blaring
sound is omnipresent throughout the disc as he trades fleet, furious lines with
brother Don while getting back-drafted by throb and rattle of Graves and Silva.
Still delicacy conveys throughout and a reverence for melody is always at the
fore, even when Ayler is biting his reed and squealing at the top of the alto's
range. Balancing between contemplation and explosion, it all meshes perfectly
into a fireball of perfection. An unbeatable classic. Top-notch copy, original
Japanese pressing with first issue obi is getting genuinely rare these days. Price: 150 Euro |
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130. AYLER, ALBERT: “New Grass” (Impulse – IMJ-80015) (Record: Near Mint/
Gatefold Jacket: Near Mint ~ Mint / Insert: Mint/ OBI: Near Mint). Japanese
first original domestic pressing complete with obi. TOP copy of Ayler’s “New
Grass” complete with OBI!!!! Never offered anywhere
– no eBay or anywhere else – this was the 1st Japanese issue. Just a monster. “Possibly
the most notorious Albert Ayler release and universally misunderstood (i.e.,
hated) by fans and critics alike. When New Grass was released in 1968 it
received a hostile outcry of "sell-out." Listening to New Grass in
hindsight; it must be taken into account that even though commercial elements
are apparent -- a soul horn section, backup singers, boogaloo drumming from Bernard
‘Petty’ Purdie, and electric rock bass – Ayler’s vocals and tenor playing
could hardly gain commercial radio exposure at any time. It's likely Impulse
prodded Ayler to move into a more pronounced blues-oriented sound and he went
willingly. Ayler wasn't a stranger to R&B or gutbucket blues; he had
started his career-playing saxophone with Chicago bluesman Little Walter in the
'50s. Ayler’s screeching tone remains intact on New Grass, but it's mixed with
definite R&B riffs like the obvious honkin' nod to "Slippin and
Sliddin" on "New Generation." Ayler’s attempt to explain himself
on the opening track with "Message from Albert Ayler” reveals his
impending dread over controversy concerning the material. It is a problem many
artists face at some point in their careers when trying to move in a different
direction, no matter what the reason; they may end up losing a majority of
their audience by taking a foreign approach.” (All Music Guide). Top mint copy with obi. Price: 150 Euro |
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131. AYLER, ALBERT: “In Greenwich Village” (Impulse – AS-9155) (Record: Excellent/ Gatefold Jacket: Near Mint/ Japan Import Insert: Near Mint/ Direct Import Obi: Excellent – some discoloration). US 1968 original pressing that comes with rare Japan Direct Import Obi and subsequent liner notes. Rarely seen the first Direct import obi on this one. This obi version was the first to come out in Japan, a US press imported and adorned with “Direct Import Obi”. Hereafter followed the Japanese 1st pressing done by King Records and thereafter followed by a domestic pressing by Toshiba. But this edition was the first variation to hit Japanese shores and the obi is bloody rare, first time I have a copy of this obi variation. Price: 125 Euro |
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132. AYLER, ALBERT: “In Greenwich Village” (Impulse – IMP-88064) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Obi: Near Mint). WHITE label PROMO issue, Japan original pressing, 2nd issue. Of course comes with the alweays missing and the much needed obi!!! TOP condition. Price: 150 Euro |
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133. AYLER, ALBERT: “Last
Album” (Impulse – SR-3122) (Record: Near Mint/ Gatefold Jacket: Near Mint/
Insert: Mint/ Obi: Mint) Rare Japan press of this subliminal Ayler record, complete with obi.
Copies with obi are getting impossible to dig up these days and it has been
close to 10 years since I had a copy of this one. Music-wise, the disc is
filled with occasional haunting echoes out of a different space-time continuum.
This already gets clear on the opening track with Ayler blowing his lungs out
on the bagpipes while ex-Canned Heat’s guitar slasher Henry Vestine is ripping
through some heavy dysfunctional guitar chords, attributing some existential
lysergic angst to the musical palette. Just brilliant. Like the album title
already points out, it turned out to be Albert’s final recording. And also one
of his most adventurous according to these ears and that is due to merging
psychedelic musicians with free jazz heads. Amazing. Rare Japanese press with
obi. Highly essential! Price: 150 Euro |
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134. AYLER, ALBERT: “Last Album” (Impulse – SR-3122) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint) Rare Japan press of this subliminal Ayler record, complete with obi. WHITE label PROMO issue. Copies with obi are getting impossible to dig up these days and it has been close to 10 years since I had a copy of this one. Music-wise, the disc is filled with occasional haunting echoes out of a different space-time continuum. This already gets clear on the opening track with Ayler blowing his lungs out on the bagpipes while ex-Canned Heat’s guitar slasher Henry Vestine is ripping through some heavy dysfunctional guitar chords, attributing some existential lysergic angst to the musical palette. Just brilliant. Like the album title already points out, it turned out to be Albert’s final recording. And also one of his most adventurous according to these ears and that is due to merging psychedelic musicians with free jazz heads. Amazing. Rare Japanese press with obi and first time I have a PROMO issue of this beast! . Highly essential! Price: 200 Euro |
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135. AYLER, ALBERT: “Live Lorrach/ Germany and Paris/ France 1966” (Hat Art – Hat Art 2009) (2LP Box Set, Records: Near Mint/ Box Set: Near Mint) Ear blistering great recording of Ayler and company in 1966, housed in a beautiful box set. Line-up consisted at that period out of Don Ayler, Michael Sampson, William Folwell and Beaver Harris. A group setting to die for. The group rips through wild ecstatic versions of Holy Family, Ghost, Our Prayer, Spirits, Holy Ghost, Bells and Jesus. You have to hear it to believe it. Indispensable in any collection devoted to serious music. Rare box set for a bargain price. 75 Euro |
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136. AYNSLEY DUNBAR BLUE WHALE: “Willing To Fight b/w Going Home” (BYG/ Nippon Columbia – MAX-1004-BY) (Single EP Record: Near Mint/ Flip Back Picture Sleeve: Near Mint/ 4-Paged Picture Insert with Lyrics: Near Mint). Damned rare Japan only single issue – WHITE LABEL PROMO issue in outstanding condition. Price: 100 Euro |
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137. The AYNSLEY DUNBAR RETALIATION: “S/T” (Globe/ Victor – SJET-8162) (Record: Near Mint/ Jacket: Near Mint ~ MINT/ Outer Die Cut Wrap Around Obi: Mint). First original Japanese pressing from 1969 complete with jacket size die cut “World New Rock” OBI in perfect MINT condition!!! Without a doubt the rarest release in the series of die-cut wrap around obis. Side one is a superb collection of Chicago blues a la Muddy Waters or BB King – ringing guitars, pulsating throbbing brass lines and Victor Brox’s peerless blues growl that seems to come from beyond the grave. ‘Watch And Chain’ even had the makings of a hit single. ‘See Baby’ and ‘Whiskey Head Woman’ are almost as good. Side two is comprised of elongated instrumental jam steering things up a bit more. Killer record!!! Besides that, this release comes in JAPAN only jacket art, hidden below the all wrap-round obi. Has been almost 10 years since I last saw a copy of this beast, just one that almost never surfaces!!!! Top archival copy!!! Price: Offers!!! |
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138. BAD BRAINS: “Black Dots” (Caroline Records) (Record: Excellent/ Jacket: Excellent/ Printed Inner Sleeve with pictures and annotated information: Near Mint). Original US pressing that came out in 1996 in an edition of 1000 copies, this is not the reissue that came out last year, first original pressing from over 25 years ago. Surfacing out of nowhere in 1996, Black Dots, which was recorded way back in 1979(!!!), turned out to be an archival release of the best kind, something truly rare and unheard that also captured a band at its best. “This recording is a snapshot of that band at the cusp of their utmost aesthetic purity, in the picoseconds between the big bang of its inception and the inescapable compromise waiting outside its creators' heads. Also of great interest is the downplaying of guitar sounds and the amplification of the element of the bass in the mix, the soaking wet dubwise drums so clearly influenced by Jamaican and British space reggae, and the extremely "live" overdriven quality of the vocals. The formula understood by rock producers time out of mind has been guitars up front, vocals next, drums next, bass last. Bad Brains did it just about backwards from that, because their musical attack was a soundtrack for breaking and entering, running from the scene of a crime, real home-grown riot music. These qualities render an almost cinematic, even documentarian quality to the recording, making it the punk rock equivalent of "Don't Look Back". It is verite in its most arresting and immediate form, in that it completely lacks what are commonly recognized today as "production values", yet also lacks the self-consciousness of a staged "live!" recording. rehearsal cassettes much like this frequently changed hands in the late '70's and early '80's, radiating an almost toxic "you had to be there" coolness that rendered them little more than white noise to clueless "music industry" parasites that always seemed to be hanging around the bars of the clubs, looking for some phantasmal "next big thing", while the biggest thing of all was screaming right in their ignorant faces.” (Tiny Mix Tapes). Ear-splittingly fantastic!!! Original US pressing! Price: 50 Euro |
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139. BADINGS, HENK &
RAAIJMAKERS, DICK: “Electronic Music” (Philips – SFL-7551) (Record:
Near Mint/ Fragile Flip Back Jacket: Near Mint – has Upper left corner
perforated hole/ OBI/ Mint). Very rare and hardly ever seen Japanese first
original pressing that came out around 1961~1963 and which comes graced with
super rare obi. Just never surfaces and it is hard to believe this disc got a
Japanese release at the time. One of the best Dutch electronic pioneering
albums. Price: 250 Euro |
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140. BAILEY, DEREK: “Duo & Trio Improvisations” (Kitty Records – MKF-1034) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Illustrated Insert: Near Mint/ Obi: Near Mint). Comes with the 4-paged insert with loads of pictures and with obi present. Has been ages since I last had an all-complete copy as they all vaporized and disappeared. Original, released in 1978, depicting Bailey’s visit to Japan, where he clashed head first with Japan’s hard core free jazz improvisers such as Kondo Toshinori, Abe Kaoru, Takagi Mototeru, Yoshizawa Motoharu and Tsuchitori Toshi. Great and indispensable free jazz document. Getting more and more scarcer every day, so grab your chance…excellent top-notch condition. Price: 200 Euro |
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141. BAILEY, DEREK: “New Sights, Old Sounds” (Morgue 03/04) (2 LP Record: Near Mint/ Rough Textured Gatefold Jacket: Near Mint/ Insert: Near Mint) Top copy and the rarest TRUE 1St Press Issue with one track less on side 4 and comes housed in rougher textured sleeve art as opposed to the 2nd always on offer pressing that has an additional short track on side 2 and which comes in a smoother paper sleeve art. First time ever I can offer the TRUE FIRST PRESS issue which is seriously RARE!! Japan only release. Bailey was truly one of the singular most unique and greatest players that ever caressed the six strings. Fortunately, I was blessed to witness him in action on several occasions and the impression he left behind still haunts me during my dreams. When Bailey visited Japan for the first time in 1978 because, as this document exhibits, he single-handedly was responsible for putting down one of the most feverishly enchanting solo excursions for the guitar ever to be put down on wax. Perhaps this disc is one of the hardest to get out of the Bailey catalogue since the 2LP set was released on Aquirax Aida’s private Morgue imprint after the latter had invited Bailey to come to Japan and teamed him up with various players out of the Japanese free jazz underground. The disc itself has been out of print since 1979 and is particularly hard to come by especially in such as pristine condition as this copy here. The music is stellar as might be expected and sees Bailey recording solo in the studio while the second disc juxtaposes these recordings with him playing live. Although the playing style is introverted to some extent, Bailey still exerts improvisational chunks of molten lava balancing perfectly on a razor-sharp glacier string of dew-moistened basal ice. The capillary action he creates resembles hydrogen bonding in water molecules resulting in delicate movements of torrential but well controlled fury to bubble up to the surface. The attraction between his liquid-like phraseology and the bubble-free stoic picking of the strings leaves a post-glacial exposed bedrock hovering in the death-space between you and your speakers. A transfixing and exothermic physical listening experience. Price: 450 Euro |
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142. BAILEY, DEREK: “New Sights, Old Sounds” (Morgue – 03/04) (2 LP Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint). Top condition Japan only issue. This is the 2nd press issue with one discrepancy as to the one listed above – the 2nd LP has one track more as opposed to the first issue pressing. Most people outside this wonderful island are oblivious to this fact and that there are even 2 different pressings of this magistral album. So here you have the slightly more common 2nd issue in top shape – released almost simultaneously with the first press issue. Top condition – impossible to ever upgrade upon. Price: 350 Euro |
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143. BAILEY, DEREK & ANTHONY BRAXTON: “Duo 2” (Denon Jazz/ Nippon Columbia – YX-7555-AX) (Record: Near Mint/ Jacket: Excellent – some foxing on back of sleeve/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing from 1975 complete with scarce obi. Promo copy. Between them, Anthony Braxton and Derek Bailey must have released hundreds of discs, yet this duet is thrilling. Braxton hovers like an angry wasp, Bailey is mind-bendingly on form. What stands out about the best parts of this disc is that Braxton and Bailey are listening to each other. We get to hear as each musician changes his playing to match what the other is doing. We also hear how these two musicians' backgrounds meld. Braxton brings a blues-based aesthetic to his playing, while Bailey's guitar sounds like it's straight out of the tradition of late Twentieth Century European music. Bailey's playing will turn guitarists around. He shuffles through clipped harp-like harmonics, totally muffled sounds, and the percussive rattle of slackened strings. He allows Braxton room to do anything and everything, only to turn around at inconceivable points and match one of the saxophonist's many splattered 64th notes with a perfectly suitable sound of his own. Braxton's contributions include some tasteful flute and an absolutely fierce, howling, gurgling alto solo. Price: 75 Euro |
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144. BAILEY, DEREK with EVAN PARKER; MAARTEN VAN REGTEREN; TRISTAN HONSINGER: “Company 1” (Incus/ Victor Records – VIP-6621) (Record: Near Mint/ Jacket: Near Mint/ 2 Separate Inserts: Near Mint/ Obi: Near Mint). Evaporated Japan 1st original pressing from 1976 all complete. For the first concert Company, the line-up was Maarten van Regteren Altena, Tristan Honsinger, Evan Parker and Derek Bailey. Altogether they recorded a number of duo pieces, all the possible trio combinations, and also a quartet. The music here represents the four trio combinations and is the result of each trio taping approximately twenty-five minutes music out of which one 10 to 12 minute a piece was in each case chosen for the record. Usually in making a selection from recorded group improvisation the choice of the material to be used is based on a communally agreed verdict as to which music is 'the best' of that available. In this case, with the permission of the other players, Bailey was the sole arbiter and made the four selections without consulting the other three as to their preferences. His choice was guided by one specific criterion; he chose that part of the music by each trio which seemed to me to be most characteristic of improvisation and which best revealed the qualities which can be found only in improvisation. And so the legendary Company sessions were born and it all started here. Awesome! Price: 100 Euro |
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145. BAILEY, DEREK & HAN BENNINK: “Company 3” (Incus/ Victor – VIP-6644) (Record: Near Mint/ Jacket: Near Mint/ 2 Separate Inserts: Near Mint/ Obi: Near Mint). Long gone Japan original 1st press issue all complete with obi and inserts. Probably one of the high-water marks in the Incus catalogue, a clash of two titans, tow giants of free jazz/ improvisational collision that still sounds as fresh as the first day I ever heard it. Bennink is a beast, totally unique in his approach to percussive rattles and gels perfectly with Bailey’s idiosyncratic style to mishandling the guitar in and totally gentleman-like fashion. Pure white heat that feels like a bare-knuckle fight inside a velvet pagoda. Intoxicating from start to finish. Price: 100 Euro |
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146. BAKER, CHET: “Chet Baker Sings” (World Pacific/ Toshiba Musical Industries – WP-8386) (Red Wax LP Record: Near Mint/ Flip Back Sleeve: Near Mint/ Company Inner Sleeve: Near Mint/ OBI: Near Mint). Very first Japanese press original of subliminal Chet Baker slide. Comes on RED WAX + housed in Japan’s first ever sleeve design – as released in the first half of the 1960s + the rare obi is also present. “It's difficult to decide whether Chet Baker was a trumpet player who sang or a singer who played trumpet. When the 24-year-old California-based trumpeter started his vocal career in 1954, his singing was revolutionary; as delicate and clear as his trumpet playing, with a similarly bright and vibrato-free tone, Baker simply didn't sound like any previous jazz singer. His first vocal session, recorded in February 1954 and is so innocent-sounding it's like cub reporter Jimmy Olsen had started a new career as a jazz singer. The album's first six tracks, recorded in July 1956, are even more milk and cookies, thanks in no small part to syrupy material like Frank Loesser’s "I've Never Been in Love Before" and Donaldson/Kahn's drippy "My Buddy." Choices from the earlier session like "My Funny Valentine" -- arguably the definitive version of this oft-recorded song -- and "There Will Never Be Another You" work much, much better. The spacious musical setting, a simple trumpet and piano-bass-drums rhythm section, is perfect for Baker’s low-key style. Despite the few faults of song selection, Chet Baker Sings is a classic of West Coast cool jazz.” (All Music Guide). Rarely seen very first pressing that comes on RED wax, and OBI and in top condition and a true audiophile pleasure to sit through this one. Price: 150 Euro |
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147. BAKER, CHET: “Chet Baker Sings And Plays With Bud Shank, Russ Freeman and Strings” (Liberty – LLP-88172) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan first original pressing with obi. WHITE label PROMO issue. “With the growing popularity of Chet Baker’s first vocal album, Chet Baker Sings, Pacific Jazz producer Richard Bock wanted to capitalize on both facets of his young star's abilities. Hence, the trumpeter turned vocalist entered the studio in 1955 with both his quartet-featuring pianist Russ Freeman and an expanded sextet including bassist Red Mitchell, Bid Shank on flute, and various string players. The resulting album, Chet Baker Sings and Plays, helped set in stone the image of Baker as the jazz world's matinee idol and icon of '50s West Coast cool. His laid-back style -- a mix of '30s crooner and Miles Davis sonet recordings -- appealed in its immediacy to a jazz public tiring of the hyper, athletic musicality of bebop. Similarly, his plaintive, warm trumpet sound was the more sensitive antidote to such brassy kings as Dizzy Gillespie and Clifford Brown. Others artists had performed many of these standards before, but as with "My Funny Valentine" on Chet Baker Sings, tracks like "Let's Get Lost," "Long Ago and Far Away," and "Just Friends" became definitively associated with Baker for the rest of his career. Chet Baker Sings and Chet Baker Sings and Plays are not only the two most important albums of Baker’s career, but are classics of jazz.” (All Music guide). Pure deleight from start to finish and bloody scarce Japanese original!!! Price: 100 Euro |
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148. BAKER, CHET: “Chet Is Back!” (RCA Records – SHP-6114) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan only issue – MONO pressing – all complete with obi. Not one you see all that often but nevertheless like most of Baker’s recordings, another indispensable one. Love the sleeve design and the obi that completements it all. Does not turn up that often… Price: 50 Euro |
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149. BAKER, CHET: “Chet Baker Sings” (Pacific Jazz/ Japan – PL-1222) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out of Print in the flash of an eyelid over a decade ago…. Japan’s uber-quality super limited deluxe high-quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all off, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 225 Euro |
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150. The BAND: “S/T”
(Capitol – CP-8849) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near
Mint/ Insert: Near Mint). First original Japanese pressing all complete with
first issue obi and all in exquisite condition. This one came out in Japan on
January of 1970, following “Music From Big Pink”. It is a record stocked full of
sleepers, diamonds that begin to glow at different times and seems to change
shape as you continue to play it. The emphasis shifts from song to song and
songs prominent in the early listening will retreat and be replaced in your
consciousness by others, only in later hearings to move to the fore again.
Little things pop up unexpectedly after numerous listenings and the whole thing
serves as a definition of what Gide meant by the necessity of art having
density. Such an ear-shattering recording, endowed with
unspoilt beauty and a music that was – while being conceived –
drenched in America’s Civil War era’s past but was yet also so of the moment. So
it is not an overstatement to say that it is one of the single-greatest
recordings ever. Top condition first original high quality Japanese pressing
all complete with first issue obi – just what this baby needs!!!! Price:
400 Euro |
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151. The BAND: “Upon On Cripple Creek b/w The Night They Drove Old Dixie Down” (Capitol – CR-2412) (Red Wax EP Record: Mint/ Gatefold Picture Sleeve: Near Mint). Rare Band early EP Japan only release that comes on red wax and is in TOP condition. 1970 Japan only picture sleeve issue highlighting two tracks from the Band’s 2nd album that would see a release soon hereafter in Japan. TOP copy, rarely surfaces at all. Price: 100 Euro |
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152. BARRE
PHILIPS: “For Alto It Is” (Nadja – PAP-9002) (Record:
Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Comes housed
in a Japan only designed jacket art, rare first press issue with obi. “This unusual meeting of minds pits bassists
Barre Phillips (who also penned the proceedings), Palle Danielsson, Barry Guy,
and J. F. Jenny-Clarke with percussionist Stu Martin in a tactile playoff with
mixed results. It’s remarkable to think that four behemoths could sound so
open, and so one shouldn’t be surprised to encounter a few tangles in “just 8.”
For the most part, however, this introductory track maintains the clarity of
separation that characterizes the album’s latter remainder. Either way, it’s a
jaunty ride into an unprecedented sound-world. Martin anchors “whoop” with his
engaging loops amid a menagerie of pizzicato signifiers. Along with “few too”
it evokes a jack-in-the-box weeping for want of exposure. From that unrequited
lament comes a bright promise, skewed by a hope that the world turns not even
for itself. It’s a melancholic hope, to be sure, but hope nonetheless. Martin’s
absence here makes the track an early standout: just the rocking of bows
pressed into myriad shapes by insistent fingertips. “la palette” and “y en a”
form another pair, taking a decidedly architectural approach to this most
warped string quartet. Together, they form a cycle of destruction, pain, and
healing. The album only really comes together in the final two
tracks. Where “dribble” proves an apt title for its dotted ritual, “y. m.”
dances like an anonymous car alarm stripped of its batteries and given new
acoustic life. The latter is a particularly complex, anchored piece that spits
out some utterly brilliant turns of phrase. For All It Is, for all it is, is above all an
exercise in linguistics. Its cognates are familiar, even if the grammars are
not. Although I’d likely recommend this one least out of Phillips’s otherwise
astonishing ECM outings, for the completist it will be an intriguing blip on
the radar of all four bassists’ careers.” (ECM Between Sound & Space). Price:
65 Euro |
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153. 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!!! |
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154. BARRETT, SYD: “The Madcap Laughs” (EMI Records – EMS-80636) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint / OBI: Near Mint/4 Paged Insert: Near Mint). TOP COPY!!!!! Japanese pressing from 1976 complete with rare obi and insert. Music needs hardly any introduction, I guess. First solo LP by former acid casualty and Pink Floyd king pin. Another issue that also recently is getting a hard one to dig up in top condition. Record / gatefold jacket and Obi are in near immaculate condition, top copy. Price: 100 Euro |
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155. BARRETT, SYD: “Barrett” (Odeon – OP-80173) (RED WAX Record: Near Mint/ Jacket: Near Mint /
Obi: Near Mint/ 4-Paged Insert: Near Mint). Original Japanese pressing complete
with obi and the disc is on RED WAX. First issue pressing with 2000 Yen
price printed on sleeve and obi. Japanese pressings with obi just never ever
surface these days and to make it even sweeter this copy is as clean and as
close to mint as they come. Then this disc is on red wax, making it impossible
to dig up, especially with obi attached. This is one of the rarest Pink Floyd
related artifacts. The music needs no further explanation I guess…so all you
need to know about this baby is that they do not come any cleaner or better
than this copy, all with Obi included, red wax disc (jacket has stated 2000-yen
price stated as well as the obi - true first press issue) …fabulous museum piece and of great
historical as well as musical importance. Hold your breath, make your move and
rest in peace forever…Totally
top-notch copy, they do not come better than this one. Price: Offers!!!! |
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156. The BARRY GOLDBERG REUNION: “Hole In My Pocket b/w Sittin’ In Circles” (Buddah Records/ Nippon Columbia – LL-2204-DA) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only single issue, two killer tracks that will howl at you like moonstruck wolves in heat. Filthy, dirty and relentless, An ear-blistering take on psych tainted fuzzed up Blues, complete with great wah-wah fuzz guitar and organ rumblings. Skull-fryer for sure! Price: 150 Euro |
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157. BARTZ, GARY: “Altissimo” (Philips – RJ-5102) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Seldomly seen Japan 1973 first original press issue all complete with insert and Obi. First time ever I can offer a complete issue with OBI present. That aside, this is one killer slide. Easy to see why with a line-up that consists out of scenesters Charlie Mariano, Jackie McLean, Lee Konitz, Joachim Kuhn, Han Bennink & Gary Bartz!!! With these cats around him, Bartz again pulled it off, this time with a crackling post-bop/ spiritual jazz effort of angular modal originals and swirling head-spinners with the pick of the tunes being 'Fanfare' 'Telieledu Rama' & the stunning 'Mode for Jay Mac'. All is executed masterfully, lending innovative elements from all genres into one boiling pot and calling it his own. The sounds fluctuate between intense and serene, but otherwise provide a solid, reliable backbone to the strength and passion of Bartz’s fiery saxophone melodies that exude joy and love, anchoring the album in a sense of contentedness so infectious that it might have even won over a few cold souls expecting straight jazz. Bartz’s saxophones are at their melodic best, dancing, skipping, and trilling through the arrangements, often interlocking with Kuhn’s frantic piano lines and Bennink’s cascading drum patters. This is one amazing album. Recorded in Norway in '73 this is as good as anything produced by the notable American independent labels of that particular era. Pristine Japanese original, sounding killer and looking awesome with the obi in place. Price: 125 Euro |
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158. 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!!!! |
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159. BATTIN, SKIP: “Central Park b/w The St. Louis Browne” (Stateside Records/ Toshiba Records – ISR-10282) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Rare and obscure Japan ONLY picture sleeve issue of former Byrds member Skip Battin sole solo effort. WHITE label PROMO issue – rarely surfaces. Top shape. Price: 75 Euro |
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160. BAUHAUS: “Dark Entries” (4 AD – AD-3) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent). Bauhaus' second single, and its first for long-time home Beggars Banquet (via the 4AD subsidiary), "Dark Entries" rides in on a squall of feedback and percussion, crashing on for some 45 seconds before Peter Murphy finally unveils one of his most breathless vocals. Recorded live in the studio, it was a far punkier offering than the band's then prevalent reputation allowed for, an exhilarating thunderstorm of sound, its breakneck pace unrelenting even when Murphy launches into a virtual spoken word passage -- behind him, the band continues to thrash, with the constant repetition of the title a speeding bulldozer of energy. Just awesome! Price: 35 Euro |
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161. BAUHAUS: “Bela Lugosi’s Dead” (Small Wonder Records – Teeny-2) (White Wax Record: Near Mint/ Flip Back Jacket: Excellent – some very faint foxing can be detected. No damages). The very first pressing out of 1979, on white wax and housed in fragile flip back sleeve that comes only with that early first pressing. The dark entity of what eventually would morph into Goth had its origins in a single moment of dense, doomed sound, churned out by a newly formed band that saw the light of day just 6 weeks prior to entering the recording studio. Put down on wax in one single take was nine-minute epic “Bela Lugosi’s Dead”! “The bats have left the bell tower, the victims have been bled, red velvet lines the black box, Bela Lugosi’s dead” Bloody fucking chilling! Brooding and minimal descending bass lines underscore a macabre guitar and low-register singing. It all adds to the right feeling: as if coming from the grave itself, desolate and grim. With Haskins’ steady pulse and clatter interspersed with heavy-duty bass from David J. But what ultimately carries the day is the combination of Ash’s swirling, crisp and snarling guitar work, a mini-masterpiece of art-rock in itself, and Peter Murphy’s deep black croon, singing what he described later as lyrics meant to be as much horror-movie parody as anything else, but which still conveyed a romantic majesty thanks to the performance. Clean very first original pressing. Price: 100 Euro |
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162. BAYLE, FRANCOIS: “L’Oiseau Çhanteur/ Lignes et Points/ L’Archipel/ Espasces Inhabitables” (Philips – 836.895 DSY) (Record: Near Mint/ Jacket: Near Mint). L’Oiseau Chanteur (The Songbird) is the third part of Portraits de I'Oiseau-Qui-N'existe-Pas (Portraits of the Bird-That-Does-Not-Exist), music realized (in 1963) for the images of the painter and film director Robert Lapoujade. The technique employed uses and generalizes the notion of the musical instrument, the traditional writing taking into account the possibilities of the microphone and thereby becoming "experimental," while the concrete material, by its essence beyond the notation, assumes a voluntary quality. The "chants" form brief phrases for the French horn, the oboe and the harpsichord, prolonged by tone clusters of concrete and electronic origin. The imitation is of pure fantasy, having no recourse to any real melodic or rhythmic premise. Original top copy of this hard to find avant-garde and electronic music LP as released on the highly acclaimed “silver” Philips imprint. Getting tougher and tougher to dig up copies these days. Price: 250 Euro |
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163. BAYLE, FRANCOIS: “Tremblement De Terre
Tres Doux” (INA GRM – n9101ba) (Record: Near Mint/ Gatefold Jacket: Near
Mint/ 4-Paged Insert: Mint). French 1st original pressing from 1979
of one of Bayle’s greatest records. Top copy of this classic electro-acoustic/
electronic music slide by one of France’s top ace composers. Released on the
always-stunning INA GRM label. Here Bayle’s sound clusters quell the darker
side, at times leaping into a maniac fury, yet the next moment it shifts
delicately into a deep soothing subterranean plasma pool of aural bliss.
Listening to this is an arresting experience, sonic atoms hurling in and out of
focus, and creating a kaleidoscopic and exploratory body of sonic delight.
Bayle has the gift for the unexpected impact, always busy folding and
manipulating space to pursue his initial experiments in the organization of
pure sound. Getting extremely tough to dig these ones up the past few years,
this one in particular was always thin on the ground. Eargasmatic!!!! Price: 75 Euro |
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164. The BEACON STREET UNION: “South End Incident b/w Speed Kills” (MGM Records – DM-1154) (EP Record: Excellent / Flip-Back Picture Sleeve: Excellent). Damned rare Japan only picture sleeve issue, white label PROMO issue from June 1968. Boston Sounds finest act, the Beacon Street Union released this one rare Japan only single, complete with eye-popping picture sleeve. Pretty stellar, hard hitting garage psychedelia, full of trippy vibes, like the anti drug anthem Speed Kills that is brimming over with nice guitar riffage and a total wasted vibe injected with a strong sense of urgency you certainly get from speed. The South End Incident is a bit slower but nevertheless strong shots filled with that much needed drug inspired dementia. Love those guys….Price: 150 Euro |
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165. BEASTIE BOYS: “Licensed to Ill” (Def Jam Recordings/ CBS Sony – 28AP-3278) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ 4 Page Insert: Near Mint ~ Mint/ Additional Insert: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Japan very first original pressing from 1986 in flawless & virginal condition + all complete with inserts and obi. The game changing Def Jam classic – and possibly the greatest album by the Beastie Boys – even though they'd grow up a whole lot after this! Profane party anthems galore, blessed with a raw punk aesthetic and attitude throughout, and the Beasties would distance themselves from much of the attitude of this album, making their career arc from unpolished neighborhood punks to thoughtful and playful innovators one of the more interesting artistic evolutions of their generation for sure. Virginal condition first press issue. Price: 150 Euro |
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166. The BEAU BRUMMELS: “Best of the Beau Brummels
– Featuring Laugh Laugh” (Liberty/ Toshiba Records – LP-80273) (Red
Wax LP: Mint/ Jacket: Near Mint/ OBI: Mint). Bloody rare Japan 1st original pressing that comes on red wax. This is also the white label PROMO issue. This one, especially with obi is damned rare these days. First copy ever
I come across that has the obi present. The early Beau Brummels took
the indulgently blissful sound of '60s San Francisco rock into a folkier,
borderline country direction. Led by guitarist/writer Ron Elliott, the Brummels
made a virtue of innocence and joyful bounce, and benefited from Sly Stone's
energetic production. Formed in 1964 as an American answer to the legions of
excellent British bands invading U.S. soil, the Beau Brummels were truly San
Francisco's first great rock band. The melodic one-two punch of wailing
vocalist Sal Valentino and brilliant songwriter/guitarist Ron Elliott instantly
catapulted the Brummels into elite company when their first two singles —
jangling rockers that anticipated the arrival of the Byrds months later —
rocketed into the charts. And the Brummels, with a steamer trunk full of great
tunes, were anything but one-hit wonders. This was their sole Japan release
that comes housed in Japan only jacket art. Rarely surfaces, red wax complete
with OBI. Price: 250 Euro |
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167. BELFAST GIPSIES: “Gloria’s Dream b/w Secret Police” (Island Records – WI-3007) (2 Track Single Record: Near Mint/ Generic Sleeve: Excellent ~ Near Mint). Original 1966 UK first original press issue of total killer two-tracker. Hard to dig up in such pristine condition as this beauty here as most copies are just trashed. The Belfast Gypsies was a direct spin-off of Them, featuring two members who had been in Them for different spells in the mid-'60s. Price: 300 Euro |
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168. BELL, CHRIS: “I Am The Cosmos b/w You And Your Sister” (Car Records – CRR-6) (7 Inch Single Record: Near Mint/ Fragile Picture Sleeve: Near mint). Bloody scarce 1978 US first original press issue. After co-founding Big Star, the world only received two tracks of new music from Chris Bell during his lifetime—a 1978 single on the Car Records label entitled “I Am The Cosmos” b/w “You And Your Sister.” Sadly, Bell would be tragically killed in a car accident later that same year. Still, his sole recorded solo output during his all too brief lifetime surely left a deep imprint behind. The single kicks off with the anthemic “I Am the Cosmos” in all its dense, layered glory. Bell understood quite well how to layer guitars in a way where everything is heard cleanly in the mix, and whether it’s an electric on the edge of chaos or chunky acoustic rhythm, nothing overpowers the song, making it a lofty, psych-drenched mid-tempo stunner with gorgeous miasmic guitars and wistful vocals. The B-side, “You and Your Sister,” is a gentle, pastoral, folk-drenched pop song with yearning lyrics and elegant fretwork with minimal backing. Super clean US original pressing, hardly surfaces this clean and without a single doubt indispensable if you are graced with two well working ears. Price: 550 Euro |
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169. BENNINK, HAN & SABU
TOYOZUMI: “DADA – Da Da” (Chap Chap Records – POJE-9005) (Record: Mint/ Jacket:
Mint/ Insert: Mint/ Obi: Mint/ Sticker: Mint). Immediately out of print and
limited to only 250 copies pressed on high quality vinyl. Fantastic slide that
catches percussion madman Han Bennink at play in an improvised solo concert
from 1995 together with Sabu Toyozumi, both in solo and duo settings. As a pair
of percussionists, working here together wonderfully – in a set that has both
musicians using the drum kit and other percussion – and Han Bennink picking up
a bit of piano as well! Bennink’s melodic but free form interplay makes for
surprising moments of music and gels together very well with Sabu as well! The
set begins with one long solo from Han – on drums,
percussion, and piano – which is then followed by this beautifully bold solo
from Sabu – and the pair come together on the last track, with a really magical
feel of synchronicity. Titles include "Han's Solo", "Sabu's
Solo", and "Dadakko" Just because this is a solo & duo album
and Bennink is a percussionist doesn't make this a solo percussion album, per
se. Along the way, he also sings, yells like a mock karate artist, and rummages
through a whole assortment of instruments. Still, there is plenty of percussion
to be heard here, ranging from the extended wall of sound, snare drum roll to a
lot of rumbles, ticks, and clattering noises elsewhere that aren't always easy
to identify. Bennink and Sabu go at everything with the enthusiasm of a
four-year-old at play. Awesome record and sold out in the blink of an eye, not
surprising since it was such a minuscule run. Price: 150 Euro
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170. BIG BROTHER & THE
HOLDING COMPANY: “Piece Of My Heart b/w Turtle Blues” (CBS Sony – SONG-80075) (EP
Record: Near Mint - small tear on label/ Picture Sleeve: Near Mint). Early Japan only 2-track EP
release of Big Brother in action with Janis. Comes housed in a Japan only
picture sleeve art design that looks tremendously cool. Hardly ever surfaces on
these shores... Price: 250 Euro |
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171. BIG BROTHER AND THE HOLDING COMPANY: “Down On Me b/w Call On Me” (Mainstream Records/ Nippon Columbia – LL-2208-MS) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint) Japan only issue, without a doubt the rarest Big Brother & Holding Company related release from down here. Japan only picture sleeve release that was released in November 1968. The Japanese EP picture sleeve issue was already pretty elusive to begin and so far this is only the 2nd copy ever I can hold in my mittens. Top condition all the way, impossible to upgrade upon and a must for any West Coast psych collector. Pretty sure this one will never ever cross your path again. Price: 300 Euro |
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172. BIG BROTHER AND THE HOLDING COMPANY: “S/T” (Mainstream Records – YS-2020-MS) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint without any defects, virginally white back and front cover/ Insert: Near Mint/ OBI: MINT). Bloody rare Japan 1st press issue that comes all complete with insert and impossibly rare OBI. All is just in 100% virginal condition, looks like a time-machine copy and the obi is also perfect. Impossible to ever upgrade upon. The record saw its first commercial release in Japan in 1968. The whole affair is in TOP condition, next to impossible to upgrade upon. More perfect copies of this just do not exist. The obi is one of the rarest on these shores and this one here is also – like the rest of the package – in 100% perfect NM~M condition. No defects, no mildew spots, just as virginal as your first girlfriend. Comes damned cheap to, so no time to drivel around for too long and give me your best shot. Price: Offers!!!! |
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173. BIG BROTHER & THE HOLDING COMPANY: “S/T” (Mainstream – S/6099) (Record & Jacket: MINT – SEALED) Perfectly sealed US 1967 original pressing with no defects or discoloration. Impossible to ever upgrade upon. Janis Joplin's first band is still dissed for its crude musicianship, and its pre-Columbia album is still patronized for failing to showcase Joplin the blues singer. Only she wasn't a blues singer, she was a rock singer--a rock singer who learned to conceal her country twang after she cut these ten crazee songs. Most are by her bandmates, whose folk-schooled garage-blues licks provide goofy hooks. One that isn't is the definitive Joplin original "Women Is Losers." She sensed what was coming--you know she did. Perfect SEALED ORIGINAL FIRST PRESS copy for your archival needs! Price: 275 Euro |
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174. BIG BROTHER & THE
HOLDING COMPANY: “Cheap Thrills” (CBS Sony Japan – SONP-50030) (Record: Near Mint/
Jacket: Near Mint ~ MINT, still housed in original shrink wrap/ 4 paged Insert:
Mint/ Capsule Obi: Mint – still housed in the shrink). First original
Japanese pressing, complete with the always-missing capsule obi that sit on top
of the record. Jacket and OBI come housed in original shrink and all complete
with Japan only HYPE sticker present on top of the shrink!!! The music needs hardly any introduction I guess; a stellar Big Brother &
the Holding Company flank Janis Joplin. The band is acidic as hell, guitar
slasher James Gurley breathes out molten lava from his six silver strings, making hem next to Cipollina the best West Coast hired
gunslinger. Massive. 1st original Japanese press is quite a tough one to dig up
days. Top copy. Price: 175 Euro |
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175. BIG JOHN PATTON: “Oh Baby!” (Blue Note/ Toshiba – BN-4192) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Insanely clean Japanese high quality pressing all complete with rare obi. Oh Baby is right – as the album's one of the best Blue Note albums by Hammond legend Big John Patton – a perfect mix of funky organ and burning hardbop! The tracks hare are all originals penned for the album – mostly by Patton, but also by other group members – the kind of fresh grooves that made John's organ work for Blue Note really stand out from the rest of the 60s Hammond generation – very creative stuff, with occasional modern touches, and a rhythmic conception that's not only unusual, but which also really lets the soloists stretch out on their grooves! Players include Harold Vick on tenor, Blue Mitchell on trumpet, Ben Dixon on drums, and Grant Green on guitar – and the album's about as sharp as you can get for a Blue Note organ session. Price: 75 Euro |
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176. BIG STAR: “#1 Record” (Ardent – ADS-2803) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Top condition 1972 US first original pressing with NO Cut Out in sleeve. Best condition imaginable! Hard to improve upon. No. 1 Record isn’t revolutionary — the group works within the well-defined forms — it’s just exceptionally good. The record oozes out as strong a statement of purpose as you’re likely to find on any group’s debut album. Also, it is the only Big Star album to officially include Bell as a band member and co-songwriter. Bell is often credited with giving the album its polished sound, as drummer Jody Stephens recalls, “Alex would come in and put down something rough and edgy and Chris would come in and add some sweet-sounding background vocals to it.” With Chilton and Bell sharing the songwriting, #1 Record was heavy with yearning pop song vibes of heartache and hope. Standouts such as The Ballad Of El Goodo, Thirteen and Try Again were precariously balanced between elation and despair. Big Star’s music was largely neglected upon its original release, mostly due to near non-existent distribution from Stax Records (who held the distribution rights to Ardent Records), but the band’s standing among rock royalty has steadily risen ever since. What was needed was for the band to make it, and unfortunately, they didn’t. Even though judging by the brilliance and timelessness of this album they were certainly big star but sadly it was never a #1 record. Shame. #1 Record sold less than 10,000 copies during the period surrounding its original release. Because of this, Bell and Hummel left the band. You would be hard pressed to find anyone who has tried to put melody to rock music since 1972 who doesn’t cite Big Star as a favorite. Simply one of the best records ever made. Original 1972 US pressing in amazing shape! Price: Offers!!!! |
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177. BIG STAR: “Radio City” (Ardent – ADS-1501) (Record: Near Mint/ Jacket with PROMO seal on cover: Excellent ~ Near Mint) Top condition copy. Largely lacking co-leader Chris Bell, who made the decision to leave the band following the 1972 release of #1 Record and left Alex Chilton at the helm as primary songwriter on album number two. So one half of Big Star’s songwriting duo was gone and it left its influence behind. Big Star’s second album also lacked something of the pop sweetness (especially the harmonies) of their first album. What it possessed was Alex Chilton’s urgency (sometimes desperation) on songs that made his case as a genuine rock & roll eccentric. If #1 Record had a certain pop perfection that brought everything together, Radio City was the sound of everything falling apart, which proved at least as compelling. Still, Chilton was able to use this opportunity to shine and prove himself to be an incredible songwriter on his own. Journalists noticed: bearing a tongue-in-cheek title, Radio City garnered rave reviews and produced several cult favorites, including “September Gurls,” which has been covered by everyone from Mike Mills writes, “On Radio City, Chilton confirms his place as one of the best songwriters in rock and roll. While ‘September Gurls’ may be the best-known song from this album, every other song here is one that I wish I’d written.” Still, at the time Big Star created a hit record that sadly – in their time – never was. One of the best ever power pop records ever to have been put down on wax. Super clean copy, promo sticker on sleeve. Price: Offers!!! |
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178. BIG STAR: “3rd” (PVC Records – PVC-7903) (Record: Near Mint/ Jacket: Excellent/ Imprinted Inner Sleeve: Excellent ~ Near Mint). Original 1978 US pressing in awesome condition. After Big Star released Radio City, the band disintegrated, leaving Alex Chilton to record in 1975 what was later released as 3rd (aka Sister Lovers). The album is totally different from everything Chilton has done before or after. The record brims over with gut-wrenching pained outpourings such as the haunting "Holocaust". As far as documenting existential angst is concerned, 3rd holds its own against rock's greatest monuments such as Neil Young’s Tonights’s the Night, Shadrack Chameleon sole LP or Nick Drake’s Bryter Layter. But it was a commercial fiasco and Chilton even never bothered to properly sequence the LP as upon its completion, no label was even remotely interested to release it. It finally came out four years later, this one here was the first pressing of that ominous 3rd Big Star record as released on the small PVC records label. One of the finest records ever unleashed upon humankind, it makes even Gomorrah’s salt pillar of Lot’s wife cry bitter tears. Price: 450 Euro |
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179. BIG STAR: “Third/ Sister Lovers” (Omnivore – STXS-1078) (Record: Near Mint/ Outer Box: Near Mint/ All Inserts & Charts: Mint). Long gone issue of only 2000 copies that was released as a part of RSD in 2011. Third is definitely a masterpiece!!! But it is a bi-polar masterpiece due to its dramatic mood-swings between happiness and absolute hair pulling despair. Third never displays the pretention of being a great rock ‘n’ roll album. Instead it mines the depths of failed relationships before at a wink snapping back to honest uncut joy. The whole affair breathes out Alex Chilton’s mood for self-sabotage and self-destruction in its bleakest and most depressive forms. Third became a blueprint in depicting loneliness, anguish, bitterness and misery. But is does so without ever loosing its brutal honesty. But like all mental unsavory it is at one moment heartbreakingly beautiful and even pop-ish in its execution (“Thank You Friends”) and a couple of minutes later it can be devastatingly cruel (“Holocaust”). Even the Christmas track “Jesus Christ” has an echoing feel that keeps Chilton separated from his sentiment. Third is a peculiar beauty but it can be a tough nut to crack while immersing yourself into its emotional rollercoaster ride. It is a poetically superstitious record, a jangled mix of defiance and despair and sitting through it won’t make things any easier for you to swallow. But then again, watching things fall apart never is. Yet, it makes for amazing artistic expression; songs that relate to you on a more personal level, and take you to places of personal tragedy. Hope and comfort are found in the idea that others have also hurt as badly as you have. Third never intended or set out to be such a groundbreaking recording, it just happened and it is one of the few unheralded recorded masterpieces out there. Do you self a favor, immerse yourself in it, try not to slash your wrists or drown yourself in Quaaludes, Third is so beautiful it just hurts. Price: 100 Euro |
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180. BILLY NICHOLLS: “Snapshots” (South West Records – SWLP-003) (Record: Near Mint/ Gatefold Jacket: Near Mint). Long gone and deleted killer LP of outtakes and demos by Billy Nicholls that first saw the light of day in 1999. Perfect addition to “Would You Believe” and comprised of outtakes that certainly do not stand in the shadow of his sole LP. This is an amazing collection of softly brewed popsike songs, beautifully crafted and brimming over with baroque keyboards, tactfully arranged brass and sticky-sweet multi-part harmonies. A heady slice of sixties baroque pop (chimes, strings, multi-part harmonies, brass) the overall vibe is very London meets L.A. Just feels like an angel pissing down your ears. Beautiful! Price: 65 Euro |
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181. BIRKIN, JANE & SERGE GAINSBOURG: “S/T” (Philips Japan – SFL-7384) (Record:
Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Japan only
issue from 1969 that comes housed in Japan only designed sleeve art. Comes
complete with mega rare first issue OBI, which just never surfaces. First time
in 15 years I see a copy all-complete with obi. This
collection of vintage 1960s orchestral pop from the master of surreal Gallic
eroticism includes kitsch masterpieces like "69 Annee Erotique" and
Jane Birkin and Serge Gainsbourg's chart-topping "Je T'Aime (Moi Non
Plus)," in a procession of jazzy instrumentals accompanied by Gainsbourg's
throaty, Gitanes-coated vocals and the pertly sexy interpolations of his
stunning wife. A classic and rarely seen Japan only 1st original press in altered jacket art. Complete with mega rare first issue obi!!! Price: 350 Euro |
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182. BIRKIN, JANE: “Di Doo Dah” (Philips Japan – FDX-171) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: MINT). TOP COPY – WHITE label PROMO issue. Original 1975 Japanese pressing on high quality vinyl. Complete with always-missing OBI!!! Originally released in France in 1973 “Di Doo Dah” might be the ideal introduction to the world of Jane Birkin's recordings if just for the inclusion of the title track, “Help Camionneur!” “Kawasaki” and “Mon Amour Baiser” alone. Nevertheless, every single track on this album is absolutely erotic killer material. Featuring an incredibly sexy cover shot, Jane's second album is a much more relaxed sounding album than her first one. With Gainsbourg again providing the songs and the amazing Jean-Claude Vannier coming on board with the seductive arrangements, Jane really comes into her own here as a solo artist. This album also includes some great guitar work and is on the whole one of the great slow burn French funk albums from the early seventies. Utterly erotically charged, sweet silked nymphet voiced and beautifully orchestrated, this album will lift you up to previously unattained intoxicating heights of unbridled lustful pleasures. A pure pleasure-dome of joyful sin, this record is just too good to be true. All time highest recommendation in my book. Top copy and high-quality original Japanese pressing. The sound quality is so much better than the French original or the recent reissue, simply sonic wise there is no competition with this one. Price: 175 Euro |
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183. BIRKIN, JANE: “Lolita Go Home” (Philips – FDX-186) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1st press from Japan complete with always missing obi. Together with “Di Doo Dah”, Birkin cut two fantastic albums that till this day keep on resonation through the empty canyons of my mind. Sexy, cute, bewitching. Original 1976 Japanese pressing on high quality vinyl. Copies with obi are completely vanished these days and this copy is just immaculate. Price: 150 Euro |
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184. The BIRTHDAY PARTY: “Prayers On Fire” (Trio Records – AW-23014) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st press original from 1982 all complete with rare obi. 1981 debut album from seminal Australian post-punk outfit the Birthday Party. What a name!!! It was an aggressive onslaught of controlled Beefheart-ian chaos and subliminal terror. Nick Cave’s dark lyrics are barked and howled into existence, demonic melodies rolling an tumbling over a backing band of misfits that explore a wide range of hidden influences such as weird jazz, pure destruction, punk, cross-breeding with a bone-chilling carnival sideshow. What a ride. Rare Japanese first original pressing with obi, has been ages since I last had a copy of this much needed beautiful sonic clusterfuck. Price: 150 Euro |
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185. The BIRTHDAY PARTY/ LYDIA LUNCH: “Drunk on the Pope’s Blood/ The Agony Is Ecstacy” (Trio Records – AW-23019) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Excellent/ Obi: Excellent). Japan original – WHITE label PROMO with obi. The Birthday Party side of this split 12” was subtitled 16 Minutes Of Sheer Hell. There was a frenzied wrath about The Birthday Party’s live performances, and violence was never far beneath the surface. Bloodcurdling screams of a blessed voice bruised beyond repair, caveman rhythm section colliding with razor-sharp guitar riffage, blood on the tracks, brilliance that feels like setting up in the calm eye of a hurricane. The Lydia Lunch track is a plangent dirge set against a great soundscape of feedback and distorted guitars underpinned by a solid gothic drum beat, the ideal soundtrack for any trigger-happy cop caught in a fear frenzy. Seriously good stuff that brings back memories from endless nights in cavernous clubs. Rare Japan original with obi. Price: 75 Euro |
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186. WALTER BISHOP JR. TRIO: “Speak Low” (Jazztime/ Craftman Records – JT-002) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Deluxe and identical Japanese press issue in top shape. Comes housed in heavy reproduced sleeve + pressed on heavy MONO vinyl. These were issued in a run of 350 copies and vanished completely. “The first album as a leader would of course be an occasion of incredible pressure, especially for an artist such as this one. By the time this recording was originally released in 1961, pianist Walter Bishop Jr. had spent so much time in other people's bands that it seemed the sideman stigmata would never heal. And it really never did, since despite more than a dozen efforts as leader between this one and his death in 1998 he never really achieved the acknowledgement as a leader that some of his contemporaries did, even ones who were somewhat lesser players. Of course, anyone who peruses commentary on the bebop era that Bishop paid his dues in will come across opinions to the contrary. It is sometimes said that this pianist "lacked chops," hip lingo concerning technique and not meant to suggest he failed to stop off at the butcher on the way home as requested. True, this is not a flashy keyboardist and also one who did not choose his debut as a leader to unveil a stack of up till then hidden original masterpieces of composition. He plays standards here, choosing either the long or short form for six different titles, some of them quite familiar. Listeners may be advised that this is a side worth owning simply for the playing of the bassist, Jimmy Garrsion, the value of the piano playing put aside temporarily. While that group was quite adept at playing standards, the type of straight-ahead approach presented in the Bishop trio was more the way Coltrane played before Garrison came into his group. This album is full of this bassist's wonderful touch with mainstream jazz material, including some rumbling arco solos and terrific walking. "Blues in the Closet" holds steady to its quick tempo; after all, Garrison hardly flagged on the long, fast "Chasin' the Trane" that would follow only a few years later. G.T Hogan is on drums. Notice his fine brush work. A diminishing art today." Many keyboardists have missed out on the influence of pianists such as Bishop who knows how to state themes simply and eloquently. His use of dissonance in 1961 is subtle, hinting at tritones in "Sometimes I'm Happy" and letting somewhat delirious overtones ring out on the superb performance of "Alone Together." Needless to say, the piano is a bit out of tune here and there, adding to the mystique.” (AMG). 100% faithfully reproduced deluxe and high-quality Japan press issue in top condition and with obi. Price: 100 Euro |
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187. BISHOP, WALTER JR.’s 4Th CYCLE: “Keeper Of My Soul” (Black Jazz Records/ Toei Records – YX-6090) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare and never offered before Japan 1st original pressing all complete with beyond-cool obi. On hiss second and last Black Jazz album Keeper of My Soul (1973), Walter Bishop Jr. plays acoustic and electric pianos and organ with a sense of uplift, a quality characterizing the best soul-jazz of the day. Opening number "Soul Village" is a fascinating union of jazz and funk; today, it still sounds fresh in its immediacy. Here Bishop brings personality to his playing of a plugged-in piano, no easy task, while young saxophonist Ronnie Laws, a few years away from his descent into the disco-fusion abyss, captures in his solo some of the saxophone-generated warmth associated with his mentor, David "Fathead" Newman. The little remembered vibraphonist Woody Murray handles himself well, and the funk rhythm section cooks. Bloody rare Japan 1st original press with OBI, just surfaces about…never. Price: 450 Euro |
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188. BISHOP, WALTER Jr.: “Coral Keys” (Black Jazz Records/ Toei – OPL-2002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). White label PROMO issue. Comes with rare first issue OBI. The songs on Coral Keys are decisive and radiant, thankfully free of the indulgences marring many jazz records issued in the early 1970s. The title-track finds flutist Vick catching a melodic light tropical breeze before and after a moderately ebullient solo by sure-fingered Bishop. On 'Waltz for Zweetie,' a close cousin of John Coltrane's 'My Favorite Things,' Vick's soprano conjures a lyric poetry that brings to mind Coltrane; here Bishop plays his heart out rather quietly. Highlighting 'Track Down' is Bishop's deployment of his formidable technique in the service of his active imagination." --Frank-John Hadley, Downbeat. Personnel: Walter Bishop, Jr. (piano), Idris Muhammed (drums), Reggie Johnson (bass), Harold Vick (flute & soprano), Alan Schwartz Benger (drums), Woody Shaw (trumpet). Black Jazz Records first original Japanese pressings all-complete are a bitch to find. Here is one for your pleasure…has been elusive ever since. Price: 350 Euro |
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189. BISHOP, WALTER Jr.: “Coral Keys” (Black Jazz Records/ Toei – OPL-2002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). The songs on Coral Keys are decisive and radiant, thankfully free of the indulgences marring many jazz records issued in the early 1970s. The title-track finds flutist Vick catching a melodic light tropical breeze before and after a moderately ebullient solo by sure-fingered Bishop. On 'Waltz for Zweetie,' a close cousin of John Coltrane's 'My Favorite Things,' Vick's soprano conjures a lyric poetry that brings to mind Coltrane; here Bishop plays his heart out rather quietly. Highlighting 'Track Down' is Bishop's deployment of his formidable technique in the service of his active imagination." --Frank-John Hadley, Downbeat. Personnel: Walter Bishop, Jr. (piano), Idris Muhammed (drums), Reggie Johnson (bass), Harold Vick (flute & soprano), Alan Schwartz Benger (drums), Woody Shaw (trumpet). Black Jazz Records first original Japanese pressings Price: 175 Euro |
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190. B.J. WARD: “Vocal-ease” (Universal Music Japan – UIJV-75142) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Japan only limited high-quality audiophile deluxe edition of B.J. Ward’s subliminal solo debut LP, following her stint with the Inner Dialogue. Price: 75 Euro |
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191. BLACK FLAG: “Damaged” (SST/
Unicorn Records – 9502) (Record: Near Mint/ Jacket: Near Mint). Rare US 1st
original pressing of 1981 with the “Anti-Parent” sticker on back of sleeve.
Undigested lumps of bile spat out with a spastic vehemence, uncompromising and
right in yer face is what this record will bring you. With an almost autistic
single-mindedness, this album’s monochromatic howl from start to finish is an
addictive ride. Made out of ephedrine-fast fueled and short–sharp-shock songs
delivered at a frenzied pace; The Flag’s stripped-back garage sound is topped
by the spastic baying of vocalist Henry Rollins. Despite coming a few years
after the white heat of the punk revolution had cooled off, the LP caused waves
shockwaves when released in 1981 for the extremes of its furious
nihilism. The songs had already been written before Rollins joined the
band but his singing belies none of his rookie status. He sounds powerful,
carnal and dangerous and combined with the filthy sludge the band creates an
atmosphere that is nothing but lethal. Still, if there was one person who
really defines Black Flag though, it’s not Dukowski and his free jazz bass
violence, or even in-your-face Rollins. It’s guitarist Greg Ginn, pealing out
riffs that makes virtually no sense at all- they seem to melt from his hands,
the notes pound like they are going backwards or zig zagging in strange
directions before melting back into the intense wall of sound sludge of his
rhythm playing- it’s a brilliance in disguise. This electric carnage is added
to by the claustrophobic sound of the album that sounds like it was recorded in
small padded room of your local mental asylum. The non-production adds to the
album’s brilliance, it’s that almost demo sound that just increases the sludge
and the intensity, the creepy crawly power that makes this LP so unique and
special. The album oozes a feral high energy; like the edge of a rising speed
trip that catapults you towards weeks of insomnia, combined with a mood swing
into dark depression. The album hooks into eternal themes and changed American
punk forever. Awesome from start to finish! Price: Offers!!!!
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192. BLACK MAGIC DUB: “S/T” (Federation of Reggae Music/FORM – BB-1003) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Top shape Ireland first original pressing of killer dub slide that saw the light of day way back in 1980 as a small limited run on this tiny label. Most likely a pressing not exceeding the 300 copies, recorded at the Channel 1 Studio in Jamaica, who exactly is or was Black Magic Dub is shrouded in mystery, though seen as this was recorded at Channel One it could well be the usual suspects. Filled with intoxicating riddims are the record slides into the dubbed-out territory with a rootsy flavor and a stoned like hell feel we all love. Classic and much in demand dub record that does not show up that much in really nice condition. This one here is probably the best condition possible one can hope for this one and one will be hard pressed to ever being able to upgrade as it is a really beautiful shape. Comes housed in killer artwork featuring an explosion, a gorilla/bear hybrid and a giant skull. Amazing, ticking all the right boxes both visually and musically. Price: Offers!!!! |
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193. BLACK SABBATH: “S/T” (Philips – SFX-7203) (Record Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Obi: Near Mint ~ Mint/ Insert: Near Mint) TOP COPY, appears Unplayed & untouched. Best condition imaginable – virginal and untouched all the way!!! The very first Black Sabbath album, originally released in the UK on Vertigo lies here before you in its entire splendor as a 1st original Japanese pressing with obi. 1st with obi. You probably know the mathematical probability of such a disc to turn up these days…yep you guessed right, close to zero, especially with the obi intact and good condition. It goes without saying that these babies are ultra-collectible and sought after by any conceivable vulture on this planet. The true scarcity value of this disc lies within the Vertigo obi, here all present and immaculate. Again, the music hardly needs any explanation, I guess. Black Sabbath’s first ever release after which thing were never the same again…ever. Songs blur together and riffs pound away one after another like the sledgehammers of Thor hacking through dead air while being high on elephant tranquilizers. Extended jams were an excuse for songs, doped up and slowed-down tempos bubble up out of the lysergic haze, make you the listener as well as the band at that point in time revel in its own dazed, druggy state of consciousness. Just massive and a dead stone classic…1st original Japanese pressing with Vertigo obi. Quite a fetish item & in immaculate condition. Never ever seen a copy this perfect as this beauty here so…. Price: Offers!!! |
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194. BLACK SABBATH: “Paranoid” (Philips – SFX-7266) (Record Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint) First original Japanese pressing, housed in a top notch gatefold jacket and complete with VERTGO OBI!!!. You probably know the mathematical probability of such a disc to turn up these days…yep you guessed right, close to zero, especially with the obi intact and good condition. It goes without saying that these babies are ultra-collectible and sought after by any conceivable vulture on this planet. The true scarcity value of this disc lies within the Vertigo obi, here all present and immaculate. Again, the music hardly needs any explanation I guess. Black Sabbath’s first ever release after which thing were never the same again…ever. Songs blur together and riffs pound away one after another like the sledgehammers of Thor hacking through dead air while being high on elephant tranquilizers. Extended jams were an excuse for songs, doped up and slowed-down tempos bubble up out of the lysergic haze, make you the listener as well as the band at that point in time revel in its own dazed, druggy state of consciousness. Just massive and a dead stone classic…1st original Japanese pressing with Vertigo obi. Quite a fetish item in top shape with obi….clean copies completely dried up and demand is soaring so… Price: Offers!!!! |
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195. BLACK SABBATH: “Black Sabbath Vol.4” (Vertigo Japan – RJ-5049) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ Attached 4-Paged Picture Insert: Near Mint). Original 1st edition Japanese pressing out of 1972 on swirl label complete with insert and always missing obi. Original Vertigo swirl release out of 1972, Japan 1st original press, photo booklet inside and the always-missing and rare obi present and in pristine condition. This monster of a disc needs no introduction I guess, just one indispensable skull fucker of an album. Great all way through. This one is in top notch condition, Japanese press on legendary Vertigo swirl label. Insane!! The first album Sabbath self-produced and their last stint for Vertigo. Recorded in L.A and as a direct result of jacking into the excellent 1972 ‘straight from Columbia’ cocaine route that spiked up the recording atmosphere, the band got enthralled by a narcoleptic smog. Hell, they even credited the crystalline substance on the album sleeve, way to go and up the nose. As a result of that they birthed out sludgy psychedelic hard rock, infested with pharmaceutical and narcotic overexposure and heated up by the radiating burning haze of L.A.’s dessert sun. It surely cooked their skulls and the music reflects it perfectly, making this a heavy psyched out masterpiece. Drugged-out riffage, snarling demented vocals, heavy sludge sound, amphetamine paradise, a smoky bad-buzz psychedelic masterpiece of a record. Price: 350 Euro |
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196. The BLACK STAR BOX with ROY BROOKS and the ARTISTIC THRUTH; EDDIE GALE BAND; PHIL MUSRA GROUP; IDRIS ACKAMOOR & CULTURAL ODYSSEY: “S/T – The Black Star Box” (Sagittarius A-Star – SAS#22~25) (4 LP Record Set – 3 LP on Black Wax and 1 LP on Blue Colored Wax: Near Mint/ Individual 4 Paste-on Jackets & hand stamped on back: Near Mint/ Outer Paste On Box with hand-stamped back cover: Near Mint/ 2 Inserts: Excellent ~ Near Mint/ 4 Paged Insert: Near Mint). Released way back in 2012 in a numbered limited edition run of only 26 copies – this copy being 18/26. Amazing set of live recordings by Roy Brooks & the Artistic Truth recorded at the Montreaux/ Detroit Jazz Festival, Detroit, 1983 + The Eddie Gale Band recorded live at Yoshi’s Jazz Club in Oakland California on August 19, 2002 + Idris Ackamoor & Cultural Odyssey live at the Somart & Cultural Center in San Francisco, 1980 + The Phil Musra Group with Michael Cosmic and Huseyin Ertunc recorded live at Huseyin Ertunc’s, Los Angeles, August 1991. Price: 400 Euro |
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197. CARLA BLEY with Mike Mantler; Steve Lacy; Kent Carter and Aldo Romano: “Jazz Realities” (Fontana/ Victor – SFON-7092) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Obi: Near Mint). Absolutely flawless condition, very FIRST Japanese original pressing of this amazing jazz slide. Comes all complete with RARE very first issue OBI!!! One of the classic Fontana sessions by American players from the mid 60's. Carla Bley leads a group that includes Steve Lacy and Mike Mantler, and which runs through originals by Bley and Mantler like “Doctor”, “Closer”, "Walking Batterie Woman", and "Oni Puladi". Much nicer than her later stuff, and much closer to the New York avant sound of the 60's than her 70's work would ever lead you to think. Indispensable in my book and a top notch copy, virginal on all fronts. Very first press issue all complete with OBI present – first time I can lay my mittens on a virginal Japanese original pressing. Get it!! The obi is so damned cool it hurts they eyes every time I look at it. Price: 250 Euro |
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198. PAUL BLEY TRIO: “Touching” (Fontana – SFON-7078) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1966 Japan 1stpressing in top condition of classic Fontana slide. Comes all complete with rarely seen very first OBI flashing its colors! Crystal clear sounding pressing, on “Touching” Bley gets flanked by Kent Carter on bass and Barry Altschul on drums and as a trio they started recording compositions that featured works by Carla Bley, Ornette Coleman and Gary Peacock's wife Annette Peacock. Several trio projects materialized in Scandinavia during the years 1965-1966; from this point on Bley would spend increasing amounts of time performing and recording in Europe. “Touching” was recorded and released during that period and shows Bley in top form, free roaming on the keys but yet very lyrical in his approach, making the recording such a thrill to lend your ears to. "Pablo" is a free improvisation but otherwise the compositions contrast thoughtful moments with fiery group interaction. The playing by the trio is at a high level and it is interesting to hear Paul Bley’s mid-'60s avant-garde improvising style, which offered a contrast to the denser playing of Cecil Taylor. Beautiful recording!!! Just stellar, Paul Bley will be missed indeed. With bloody rare first issue obi present! Virginal condition! Price: 250 Euro |
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199. PAUL BLEY TRIO: “Blood” (Fontana/ Nippon Phonogram – SFON-7098) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1966 Japan 1stpressing in top condition of classic Fontana slide. Comes all complete with rarely seen very first OBI flashing its colors! One of THE, if not the ground-breaking piano trio album recorded by Bley in the Sixties, where he’s joined by Mark Levinson on double bass and Barry Altschul, assaulting the drums. Bley showed an alternative means of musical development from the trios of Bill Evans, unpicking a tune and playing with its components in unpredictable ways – odd directions, digressions, after thoughts, even second thoughts – but so that the tune remains just visible, like a figure in a cubist painting (Bley’s Picasso to Evans’ Matisse). There are times when the music seems tempo free, even at a standstill; on other occasions different tempi are superimposed, something Bley would exploit further in his later music, particularly his solo performances. The trio performs as a unit, alert to every change in light and shade. Sadly, much of Bley’s work from this period is now perhaps unjustly neglected. Time to change that…rare Japan 1st original press all complete and virginal all the way through….lick your decals off baby! Price: 250 Euro |
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200. BLEY, PAUL - The FABULOUS PAUL BLEY QUINTET: “S/T” (Columbia – YS-2756-MU) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan 1storiginal pressing on Columbia Records, all complete with first press issue OBI. TOP COPY, original 1st pressing in totally MINT condition! Featuring Don Cherry, Ornette Coleman, Paul Bley, Charlie Haden and Billy Higgins. This is the first original high-quality Japanese pressing of this NY loft scene jazz masterpiece. Essential and great. Never seen a copy as pristine as this one here and the first time I could have it all complete with OBI, totally untouched. Not that rare or anything, but this condition is quite a jaw dropper, always hammered, this one is flawless. First time ever with the obi, which makes it a bit semi-rare….Price: 125 Euro |
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201. BLEY, PAUL: “Ramblin’” (BYG Actuel/ Nippon Columbia – BYG-12) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Mint/ Obi: Near Mint). Top condition Japan original press copy all complete with scarce obi. “Ramblin’ comes from an adventurous period in Paul Bley’s career, at a time when he was associated with some of the more avant-garde elements. His playing often takes an attractively aggressive approach, which he tempered in later years. There is his characteristic emphasis on the beauty of the single note. The gorgeous, lush sounds on "Albert's Love Theme," for example, or the slow, beautiful, expressive take on Annette Peacock’s "Touching" are filled with enormous depth. Carla Bley’s "Ida Lupina" is given a sophisticated treatment that emphasizes tonal bliss. As with all Bley recordings, this one takes close listening to appreciate its subtleties, but the joy is well worth the effort. Barry Altschul is spectacular on drums, with effective polyrhythmic support, and bassist Mark Levinson fits perfectly into the mix.” (All Music Guide). High quality Japan pressing, sounds much better as opposed to the French press issue. Price: 75 Euro |
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202. ANNETTE & PAUL BLEY: “Dual Unity” (Freedom / Trio Records – PA-7032) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ 4 Paged Booklet: Mint). 1971 Japan first original pressing – PROMO issue complete with hardly ever seen obi and booklet. Top condition. Sounding so much clearer and better as opposed to the French issue. The combination of Paul Bley and his then wife Annette Peacock dragging all kinds of unstable synthesizer equipment around Europe and backed by the madcap skin shifter Han Bennink on drums, adds up to the stuff of musical legend. This is an amazing – one of the best - musical documents that arose from those encounters. Flanked by a mad rhythm section the music of Paul and Annette goes completely AWOL as asymmetric grooves and primeval synthetic sounds bounce of each other, Peacock is in top form, occasionally taking to mad hatter vocals while energetically attacking an acoustic piano as part of a mix that is continually saturated by synthesizer sounds emanated by her husband’s homemade electronic gear. These electronic whiplash assaults seem more and more like radio frequencies jamming up the ether as things proceed into a tornado of dusty noises that slowly engulfs the aural landscape. Details like a frantic arco bass solo are undermiked, adding to the overall insanity. The whole affair is colored by an intoxicating intuitive approach that entirely exists on its own plane, hurtling in and out of focus that leaps at time s in a glorious maniac fury. Utterly fantastic, but sadly quite a bitch to dig up in recent years. Top copy high audio quality first original Japanese pressing that comes housed in a sturdy Japan ONLY gatefold sleeve art. Price: 275 Euro |
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203. BLEY PAUL: “Improvisie” (Nippon Columbia – YQ-7011-MU) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). First original Japanese press issue – all complete with rarely offered OBI. “Recorded in 1971 for the French America Recording label, Improvisie captures pianist Paul Bley, Annette Peacock, and master percussionist Han Bennink in concert in Rotterdam. Bley plays electric piano and synthesizer here, with Peacock playing both electric and acoustic piano, synthesizer, and electric bass as well as singing. There are two pieces on the set, the elegiac title cut, which is nearly 14 minutes in length, and the much more adventurous "Touching," which is nearly 24. On "Improvisie," elements of jazz phrasing and harmony usher in the piece haltingly, purposefully, almost reverently. A melody asserts itself from the ether, decorated by Bennink’s hushed use of multiple percussion instruments and Peacock’s accents on the theme itself. Tones and harmonic fragments whisper their way into the mix, governed by a crystalline use of spatial dynamics. Even as Bennink ups the ante with his instruments, Bley and Peacock and dance very slowly through their interaction. It isn't until the six-and-a-half-minute mark where things begin to get atonal and angular, but even here, space is the key to expression. The unhurried procession of tones and colors makes the piece, no matter how strange and ethereal it gets, feel purposeful and accessible in its exploration. "Touching" begins on the fringes as electronic sounds mash up against one another and Bennink decorates the blips and gratings with the organic rhythmic material that keeps it all on the ground. The intensity with which the work begins is off-putting at first, but quickly opens up and out into a more relaxed and perhaps even inviting manner. Peacock’s block chords add weight to Bennink’s light percussion and Bley goes to elongated, deeply held tones on his synthesizer, single notes as opposed to dense washes of sound. Peacock is clearly the force behind "Touching"; it is her pace, her piano lines, and her sense of time that unwind it from its elementals. When she begins to sing about six minutes in, the work becomes something else entirely: a new song form, or a new framework for it. Her poetic lyric illustrates the music rather than vice versa; whether she is crooning, droning, or emoting powerfully at the margins of her voice, the sheer musicality and ghostly richness in her approach are captivating and beguiling. Bley’s filling the spaces between her verses ranges from lilting melodic interplay to harsher, grinding tones that respond to Bennink’s manic yet taut and gentle percussive dance. The industrial sounds that begin to assert themselves about halfway through never quite overpower the musicality inherent in the piece's foundation. Even 35 years later, "Touching" is still a brave and uncompromising work, one that asks as many questions as it answers, and one that renews its freshness with each repeated listening.” (All Music Guide). Classic slide, top condition and complete with rarely seen OBI. Price: 200 Euro |
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204. BLEY, PAUL: “Paul Bley Synthesizer Show” (Milestone/ Victor Records – SMJX-10131) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rarely seen Japan first original press issue all complete with silver-toned obi. WHITE label PROMO issue. A killer record by Paul Bley -- one of his few forays into electronic music, and a set that's got a really galvanic feel right from the start! Unlike some of the gimmicky moog records of that era -- or some of the noisier avant electronic sets -- Bley finds a way to use the instrument to open up new perspectives in jazz, with a style that's tuneful and filled with a groovy emotionalism – a stark electronic contrast to his solo piano material on ECM but then again that label always sucked donkey balls! The tunes were all penned by Annette Peacock -- and they have Bley playing more soulfully and visceral than on other records from that era. Backing is by acoustic drum and bass, and Bley even sidesteps on acoustic piano -- but the real highlight are the choppy rhythmic chunks of electronics, played unlike his other work. Believe it or not, there's even a few groovers on here -- although most of the record is in a downtempo mode. Damned rare Japan original with cool obi. Price: 150 Euro |
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205. BLEY PAUL with GARY
PEACOCK: “S/T”
(Globe – SMJX-10118) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi:
Mint). “From
the moment “Blues” (Ornette Coleman) kicks off we’re already caught up in the
flow of this magnificently swinging album. The band is in fine form, navigating
its melodies with fluid energy. Bley proves his comfort in Coleman territory,
easing his way through a series of dexterous detours. “Getting Started” (Paul
Bley) follows up with a ballad, its brushed drums
giving off a pleasing grainy feel, at once comforting and desolate. Peacock’s
soloing is eager and impassioned, and just slightly askew. “When Will The Blues
Leave” (Coleman) is a wonderfully syncopated affair. Brushes make room for
drumsticks, adding a delicate punch to the overall sound. Even Bley cannot
restrain himself from uttering cries of joy as the mood intensifies. Peacock’s
solo connects splendidly in spurts of tightly knit clusters. “Long Ago And Far
Away” (Jerome Kern) moves forward with a locomotive rhythm and finds Peacock in
a particularly exuberant mood. “Moor” (Gary Peacock) shows off Peacock’s
soloing yet again, as refreshing as it is restless. “Gary” (Annette Peacock) is
a lonely catharsis forged in bass and piano. The bass solo here is dry and
somber, as if contemplating a jump from a high precipice. When the piano
returns, it’s not so much to pull the bass away as to keep it poised on the
brink. “Big Foot” (Bley) is quite simply a rip-roaring good time. One can
simply feel the joy of its creation. Finally, “Albert’s Love Theme”
(Annette Peacock) presents us with a new direction as the trio goes its
separate ways. Bley is consistently on
point, Peacock hops with vivacious confidence, and Motian brushes and
rat-a-tat-tats his way through five of the eight cuts (the remaining three
feature Billy Elgart in his place). The recording, made in 1963 (Motian
session) and 1969 (Elgart session), is trebly and pleasantly dated, giving it a
classic feel while also remaining highly detailed. As everyone shines here, I
tend to focus on a different musician with each new listen. This time it’s
Peacock who captures my attention. His fondness for higher registers punches
holes in the music and allows for an airier feel. The recording could hardly be
any more different from ECM’s more recent sound, though the sense of space is
still there. Peacock’s strings buzz ever so slightly; Bley’s ticklings bounce and
sing; and the drumming gets the feet moving all the same. Considering the time
and place this album was cut, and the synergy of its talents, it practically
recommends itself.” (Tyran Grillo). Top condition Japan 1st original pressing. First time ever I come across the high quality Japanese pressing, all is in virginal condition and has the rare obi
also. Price: 150 Euro |
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206. PAUL BLEY TRIO: “Paul Bley In Haarlem” (Freedom/ Trio Records – PA-7092) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan press issue that comes housed in unique Japan only sleeve art. Promo issue. Mind-blowing early work from pianist Paul Bley – two side-long tracks that really show the pianist stretching out and expanding his mind – quite far from even his few modern moments on record in years before! The group here is very well-suited to the spirit of the set – Mark Levinson on warmly rounded bass, and Barry Altschul on some freer, bolder drums – balanced with the freer lines on Bley's piano, but at a level that really shows that underlying sensitivity that made Paul so different than so many other avant jazz musicians of his generation. This is especially true on the sublime reading of Bley's "Mister Joy" – a mind-blowing journey in music – but it also comes through on "Blood" as well. Price: 50 Euro |
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207. BLEY, PAUL: “Ballads” (Overseas Records/ Teichiku – UPS-527-V) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). First original Japanese press issue of an early ECM release, adorned with cool looking and rare 1st issue obi. This is an all-Annette Peacock set already demonstrated the crystal-clear recording and wide-open spaces for which the label would come to be so well known. Throughout the long opener, ironically titled “Ending,” pianist Paul Bley handles most of the thematic legwork, while bassist Gary Peacock and drummer Barry Altschul skitter across his ivory surface like ice skaters so skilled, they can stumble on cue. The title is multifarious. It’s the ending of a turn; the ending not of a life, but of the fallacy of its fulfillment; an ending of circumstance; an ending of watersheds; an ending of all the things in this world that buy us freedom, only to spit it back in our face. Altschul steals the show, soloing in slow-moving surroundings. The lagging pace lends further prominence to his playing, underscoring far more than mere virtuosity. As the piece goes on, it trickles like water, perhaps cluing us in on the title’s central meaning: that is, the music’s own loss of energy and creative source, a broken dam letting out its final drops. This is restrained music-making by a trio we know can swing with the best of them. Next is “Circles,” which seems to sweep up the mess of a long-waged battle, all the while showing an immense amount of fortitude in dealing with the prospect of an unclear future. Lastly, “So Hard It Hurts” gives a vivid sense of Annette Peacock’s compositional audacity and her unique way of turning gentility into pain, and vice versa. This time, Altschul is less cymbal-oriented and more focused on hitting the skins, providing ample room for bassist Mark Levinson’s own inspired finger work. Top condition 1st original press issue of rarely seen Japanese version. Price: 100 Euro |
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208. BLEY, PAUL: “Mr. Joy” (Mercury/ Nippon Victor – SMX-7092) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent ~ Near Mint/ OBI: Near Mint). Very first Japan original pressing in outstanding condition, housed in heavy gatefold sleeve and complete with 1st issue obi. Recorded live at the University of Washington in Seattle in 1968, Bley is on piano here, along with bassist Gary Peacock and drummer Billy Elgart. “Most of the material is from Annette Peacock’s songbook. Gary Peacock turns in a performance here that is among his best on record, including some really outside soloing and a slew of marvelous motifs such as the way he plays in the high register on the cover version of Ornette Coleman’s "Ramblin'." Bley also gives a performance of several dimensions on that tune, going lighthearted with gospel chording that brings to mind Mose Allison and then digging up truffles, trilobites, and a pirate's treasure chest in a thrilling solo excavation. Elgart’s sure touch with the beat also gives the trio a sound that is different than when Barry Altschul or Paul Motian would do at the drums. At the time, this might not have been what Bley wanted. There are live recordings from this period that are much more open-ended, sometimes involving performances of songs where the theme itself is barely referenced. The drumming in these performances makes less overt reference to the beat. It is not an overall judgment that Bley is better whenst swingeth, but in the case of this particular recording the more concise performances have proven to be like mother of pearl found on the beach.” (All Music Guide). The music is generally upbeat, rather free and very accessible. There is one Ornette Coleman piece, ‘Ramblin'’, one Bley original - ‘Only Lovely’, and the other are penned by Annette Peacock. It’s a great place to get into Bley’s music! Price: 75 Euro |
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209. BLEY, PAUL and SCORPIO: “S/T” (Milestone – SMJ-6019) (Record: Near Mint/ Jacket: Mint – still housed in Shrink/ Insert: Near Mint/ Obi: Mint – still housed in Shrink). Damned rare Japan 1st original press issue all complete with hardly ever offered OBI!!! Obi just never turns up, let alone in pristine condition, and still housed in shrink. This outing marked Bley’s entering the '70s fusion arena just as he was emerging from his more avant-garde "Synthesizer Show" phase. Actually, not all that much has changed, just a subtle turn towards mainstream accessibility. And what's really appealing about this album is the versatile trading off between Arp synth, Fender Rhodes, and straight piano--sometimes on the same track--and the superb accompaniment by bassist Dave Holland and drummer Barry Altschul. The fusion aspect of the set isn't heavily overdone, either--the electronics sound natural and "acoustic," as on the lyrical synthesizer solo on Annette Peacock's "El Cordobes." Peacock also contributes the somber "Dreams," here given a spare, shimmering treatment courtesy of Bley's Rhodes. There are also older pieces from Carla Bley: "King Korn," the deceptively simple "Syndrome," and a little bit of abstraction called "Itcus." Scorpio is one of Paul Bley's best albums, recorded at an early-'70s artistic peak. Rare with OBI – first complete copy I see in over more than a decade! Price: 150 Euro
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210. PAUL BLEY QUINTET: “Barrage” (ESP DISK – ESP-DISK 1008) (Record: Excellent ~ Near Mint/ Wrap Around Slick Jacket: Near Mint). US first original press issue with black cover on red colored wrap around in top shape. Comes with 180 Riverside address sleeve and 156 5th Ave address record – stereo issue. Pianist Paul Bley's early ESP free jazz session combines the influence of the Jazz Composer's Guild with Ornette Coleman. On Barrage, Bley is joined by alto saxophonist Marshall Allen (in one of his few appearances outside of Sun Ra's Arkestra), trumpeter Dewey Johnson (who would go on to play on Coltrane's Ascension the following year), Eddie Gomez on bass, and Milford Graves taking care of percussion. All compositions are by Bley's former wife, Carla Bley, with a definite nod to Coleman's hyperactive stop-start punctuation (Paul Bley had fronted one of the earliest incarnations of the original Coleman quartet). Graves and Allen are especially irrepressible here, making Barrage a lost free jazz classic. Price: 175 Euro |
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211. PAUL BLEY QUINTET: “Barrage” (ESP DISK – ESP-DISK 1008) (Record: Excellent ~ Near Mint/ Wrap Around Slick Jacket: Excellent – some foxing visible against white back cover). US first original press issue with white cover on red colored wrap around in top shape. Comes with 180 Riverside address sleeve and 156 5th Ave address record – stereo issue. Pianist Paul Bley's early ESP free jazz session combines the influence of the Jazz Composer's Guild with Ornette Coleman. On Barrage, Bley is joined by alto saxophonist Marshall Allen (in one of his few appearances outside of Sun Ra's Arkestra), trumpeter Dewey Johnson (who would go on to play on Coltrane's Ascension the following year), Eddie Gomez on bass, and Milford Graves taking care of percussion. All compositions are by Bley's former wife, Carla Bley, with a definite nod to Coleman's hyperactive stop-start punctuation (Paul Bley had fronted one of the earliest incarnations of the original Coleman quartet). Graves and Allen are especially irrepressible here, making Barrage a lost free jazz classic. Price: 100 Euro |
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212. BLIND GARY DAVIS: “Harlem Street Singer” (Prestige Bluesville – BVLP-1015) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – pristine with no defects, some faint discoloration on back of sleeve due to age) US first original pressing in absolutely top shape, next to impossible to ever upgrade upon. Recorded during a three-hour session on August 24, 1960, Gary Davis laid down 12 of his most impassioned spirituals for Harlem Street Singer. Starting off the session with a version of Blind Willie Johnson's "If I Had My Way I'd Tear That Building Down," here renamed "Samson and Delilah," Davis is in fine form. His vocals are as expressive as Ray Charles’ while similar in richness to Ritchie Heavens’ work. Harlem Street Singer features his inspired country blues fingerpicking as well. Many moods color the selections, from the gentle "I Belong to the Band" to the mournful "Death Don't Have No Mercy," only to be followed by the joyous shouting of "Goin' to Sit Down on the Banks of the River." Overall, the collection should be considered essential listening for headz of whatever orientation. Top condition here which is no small feat!!! Price: 400 Euro |
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213. BLOOD SUCKER: “S/T” (ALM Records – LM1098) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Excellent). Damned rare and obscure 1978 Japan heavy rock/ hard rock private pressing that came out in an edition of 250 ~ 300 copies only. One of the more obscure pressed releases by ALM Records but sales were carried out solely by the band at gigs and through word of mouth. Just hardly ever surfaces. Bloody hell, this is one of a cool slide, blitzkrieg melodic heavy rock with psychedelic touches simmering throughout. These guys were hungry and went for the kill!!! Thunderous & sledgehammer loud guitar drenched dirty psych/ heavy rock behemoth. As good as Moses, Raminghi and the like but with a more primitive approach, just to give you a clue and blessed with raw and fluid spun-out axe-work growling melodious and melancholic teenage vox that add to the slightly garage and at times pre-metal feel. Totally overlooked and obscure sleazy Japan underground act that has always been elusive. Superb copy with the always missing insert present. A blood sucker indeed!!!! Price: Offers!!!! |
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214. BLOOMFIELD, MIKE & AL KOOPER: “The Live Adventures of Mike Bloomfield & Al Kooper” (CBS SONY – SONP-50064~65) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint/ 4 paged Insert: Near Mint/ Bigg Ass Poster: Near Mint). Rare original 1st Japanese pressing complete with 4-paged gatefold color insert, capsule obi + always-missing big POSTER. “In the wake of the success of their seminal 1968 Super Session album, blues-steeped guitar hero Mike Bloomfield (formerly of the Butterfield Blues Band and the Electric Flag) and multi-talented keyboardist/singer Al Kooper (ex-Blues Project and Blood, Sweat and Tears) teamed up again for a historic series of joint performances at San Francisco’s legendary Fillmore West, which are documented on The Live Adventures of Mike Bloomfield and Al Kooper. The resulting live album, culled from three nights’ worth of shows and released in 1969, is a powerful testament to the formidable musical chemistry of these two rock legends, whose collaboration began when they played on Bob Dylan’s classic Highway 61 Revisited. The Fillmore performances bring out the best in both musicians, who stretch out on an assortment of tunes, including the Kooper/Bloomfield original “Her Holy Modal Highness,” Paul Simon’s “The 59th Street Bridge Song (Feelin’ Groovy)” (with Simon adding vocal harmonies), the Elvis Presley standard “That’s All Right,” The Band’s “The Weight,” Booker T. and the MGs’ “Green Onions” and Albert King’s “Don’t Throw Your Love on Me So Strong,” which features a rare Bloomfield vocal. The album also features guest appearances by Elvin Bishop and Carlos Santana.” (Sundazed). Stunning condition of this rare Japanese 1st press issue with obi + big ass POSTER. Impossible to ever upgrade upon. Price: 100 Euro |
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215. BLOOMFIELD, MIKE with Nick
GRAVENITES; Mark
NAFTALIN & Friends: “The Jam – Initial Shock” (Cobra Records
– COBRA010) (2 LP Record: Near Mint/ Jacket: Near Mint). Rarely offered
1989 original pressing of rare Italian boot documenting a fabulous jam session
recorded between 1977 and 1979 of these Frisco heavy scenesters. Bloomfield was wary of his commercial success and growing
disenchanted with fame. He was also tired of touring and after recording the
second album with Kooper, he effectively retired for a while, at least from
high-profile activities. He did, however, continue to work as a session
guitarist and producer, and also began writing and playing on movie
soundtracks. He played locally and occasionally toured with Bloomfield and
Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin.
Additionally, he returned to the studio in 1973 for a session with John Hammond
and New Orleans pianist Dr. John; the result, "Triumvirate", was
released on Columbia, but didn't make much of a splash. Neither did
Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived
super group with Barry Goldberg, Rick Gretch (Traffic), and Carmine Appice that
recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several
smaller labels. Unfortunately, Bloomfield
was also plagued by alcoholism and heroin addiction for much of the '70s, which
made him an unreliable concert presence and slowly cost him some of his
longtime musical associations. By 1980, he had seemingly recovered enough to
tour in Europe; that November, he also appeared on-stage in San Francisco with
Bob Dylan for a rendition of "Like a Rolling Stone." However, on
February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he
was only 37. Here you can hear him in intimate live session
recordings that show he was always on top of his game. One of my all time fave
players!!! Rarely seen boot from long time ago. Price:
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216. BLUE CHEER: “Summertime Blues b/w Out Of Focus” (Mercury Records – SM-1045) (7 Inch Single Record: Near Mint/ Picture Sleeve Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Japan original press issue of a title that frequently pops up but never in good condition. This one is the cleanest copy to have ever crossed my eyes so… Price: 50 Euro |
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217. BLUE CHEER: “Outside Inside” (Victor/Mercury Japan – SM-7285) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint). Blue Cheer’s second album was the first of the group to be released in Japan on March 1969. Comes with totally different artwork as opposed to the US version of the disc. Tremendously rare 1st Japanese press with different cover!! “Outside Inside is the album that should have logically been on the Wire's hot 100. You rarely see original vinyl copies of it floating around but it seems to have vanished without a trace. The mix is overall much more separated and clear, stereo panning effects are used throughout, and the multi-tracked guitar makes an appearance in almost every song. Performance-wise, Paul Whaley's primal drumming really steals the show- his youthful exuberance dominates almost every cut without overpowering the other instruments (like the guitar distortion did on the debut). Don't let that mislead you into thinking Leigh Stephens is buried in the mix- he expands his palette to include all manner of distorted and clean electric guitar tones. Along with the sound of Ron Asheton on the Stooges' debut, this is one of those highlights in fuzz-rock history, from Link Wray on down that just can't seem to be duplicated. Track 2, "Sun Cycle" is perhaps my favorite 'Cheer track- it flows nicely and paces itself beautifully with a slow bluesy beginning that mutates into a "Wind Cries Mary" bass riff before the guitar soars out into Leigh's patented tone. The "solo" is pretty amazing in its simplicity- the fuzz pans from left to right channel while Whaley pummels the skins mercilessly in the background. Side two opens with a speedy cover of the Stones' "Satisfaction" which is just as monstrous as their take on Eddie Cochran's classic. Their original target audience probably held the Stones in higher regard than Cochran, so one wonders what they made of this demolishment. The fast arrangement is practically the same as Otis Redding's cover of this song, as featured memorably on the "Monterrey Pop" movie. No horns, of course, just layers of guitar, over Whaley's non-stop speed-freak pounding which never sounded so good- an amazing performance all around. If you paid attention to the periodic revival of sixties music throughout the '80's you probably heard the brief instrumental "Magnolia Caboose Babyfinger" on some college radio show- plus Mudhoney "covered" it on their debut LP, a sort of fuck-you to the critics. Right on, boys.” (From Perfect Sounds Forever). Mega rarity 1st Japanese press in alternate cover art – has been ages since I last saw one so…. Price: 250 Euro |
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218. “BLUE” GENE TYRANNY: “Out of the Blue” (Lovely Music – LML-1061) (Record: Near Mint/ Jacket: Near Mint). Ok I will get it out of my system right away so that there is no misunderstanding here. This disc ruled my world for the past 15 years, bloody awesome. One of the lesser-known titles on the Lovely Music imprint but also one of the hardest to track down. It used to be one that could be tracked down quite cheaply some years ago but the times they are a changing and recently its popularity is on the rise as well as the price. And it is justified as it is a killer slide!!! Especially the opening track “Next Time Might Be Your Time” is one of the best pieces of music ever to have been put down on wax. Just the perfect song that has all you ever wanted a song to have bolstered up in a time frame of just 8 minutes. Sheer beauty and perfection melt into one another. Though sounding timeless, just try to find another album in which the AM folk pop stylings of Carole King rest heads comfortably with Poppy No-good-era Terry Riley. Each of these four long tracks moves about though, from song to rock to minimalism and back, providing a wonderful entry into the world of this most cherubic figure of the American vanguard and modern classical. Totally overlooked masterpiece that is in urgent need of mass-appreciation. Top condition US original which is not so easy for this title. Price: 250 Euro
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219. The BLUE HUMANS Featuring RUDOLPH GREY: “To Higher Time” (Newalliance Records – NAR-104). Totally vanished 1993 Us 1st original pressing of brutal free jazz slide recorded live at CBGB on October 12, 1990 – spearheaded by illustrious Rudolph Grey who gets flanked by Alan Licht and Tom Surgal. The Humans' debut is practically as New York artsy underground as it gets -- a band with Rudolph Grey, fellow guitar maniac Alan Licht and Lydia Lunch collaborator/drummer Tom Surgal, produced by Thurston Moore, can't really be viewed otherwise. To Higher Time is a short record, as it was a 33 rpm EP slide but it doesn't waste a note when it comes to free noise mania. Grey and Licht each go merrily nuts on their axes, with Grey specifically playing left channel and Licht right, should a listener choose to listen to only one at a time. Everything picks up slowly but surely as the track progresses, achieving the same overall level of open-ended improv on the other tracks. In the final two minutes, the threesome come up with a series of blasting climaxes before coming to a sudden end -- not a bad way to bow out. Brilliant. The record came out on blue colored wax btw… Price: 50 Euro |
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220. The BLUE HUMANS: “Live – N.Y. 1980” (Audible Hiss – 003) (Blue Wax LP: Near Mint/ Jacket: Near Mint). Original 1995 first original US press issue of brutal, right-in-yer-face free jazz slab of sonic warfare. Comes on blue colored wax. “This album is the earliest recording of the explosive free improvisation group led by guitarist Rudolph Grey, recorded live in New York with a lineup that featured the power of legendary free jazz drummer Beaver Harris behind Grey’s corrosive feedback guitar. Free jazz saxophonist Arthur Doyle also appears through the smoke of guitar feedback, and speaker destruction is provided by Rudolph Grey, whose style is like a more aggressive and abrasive Sonny Sharrock. No wonder this post-punk free improvisation had a profound influence on Sonic Youth and later incarnations of the Blue Humans featured Thurston Moore on second guitar. Live in NY 1980 is a quintessential recording of the no wave scene that abridged punk, free jazz, and noise music.” (All Music) Grey had discovered/become a fan of Arthur Doyle during through a gig during Doyle’s Alabama Feeling period. Doyle's reed playing is absolutely in a class of its own. Grey describes in the liners describes Doyle as "dangerous" and "nasty"! The three came together around 1980, bringing their crazed free jazz to post-punk audiences. On this particular night, all three players are in top form. Harris can provide a light atmospheric backing or the full-on clanging and bashing usually associated with this music. Either way, he never settles down, providing a near-constant percussive backdrop for Grey and Doyle. The former shows remarkable restraint; clearly Rudolph respected his fellow players, for his feedback-drenched strumming and slashing meshes perfectly with the others. That leaves Doyle, who goes about as crazy as you'd expect! Doubling on tenor sax and flute, Doyle's shrieks and flutters are always perfect. Interestingly, there are several points over the long tracks where one or more players will duck out to allow the others to shine. Mostly this involves Doyle and Grey leaving room for the other, but there are several points where it's just Doyle and his horn. The recording quality is pristine; if it wasn't for the enthusiastic applause you wouldn't think it was live! This is yet another gem which has been allowed to go out of print. If you have even a passing interest in truly outrageous free jazz, the no wave scene, or the early days of punk/jazz fusion, I suggest you make the effort to get this. Price: 75 Euro |
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221. BLUE MITCHELL: “Big 6” (Riverside – RLP-12-273) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – has some faint ageing spots on back – no damages or imperfections). Original 1958 US very first press MONO issue – with large Riverside label and first issue laminated front cover. Top condition and hard to improve upon true first press issue. Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard "There Will Never Be Another You," the group also plays the earliest recorded version of Benny Golson’s "Blues March," pre-dating Art Blakey’s famous recording. Rarely comes up as clean and near perfect as this baby here. Price: Offers!!! |
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222. BLUE MITCHELL: “Big 6” (Riverside – RLP-12-273) (Record: Near Mint/ Jacket: Near Mint). Original 1958 US very 2nd label press MONO issue – with small Riverside label and first issue laminated front cover. Top condition and hard to improve upon. Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard "There Will Never Be Another You," the group also plays the earliest recorded version of Benny Golson’s "Blues March," pre-dating Art Blakey’s famous recording. Rarely comes up as clean and near perfect as this baby here. TOP condition 2nd issue mono small Riverside label. Price: 300 Euro |
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223. BLUE MITCHELL: “Out of The Blue” (Riverside – RLP-12-293) (Record: Near Mint/ Jacket: Excellent ~ Near Mint with no defects) 1959 US first original MONO pressing on the legendary Riverside imprint – this is a PROMO issue with “Salesmen Copy” imprinted on small Riverside label. Laminated first sleeve issue with laminated front cover. Early recording by Blue Mitchell finds the distinctive trumpeter in excellent form in a quintet also featuring tenor saxophonist Benny Golson (who contributed "Blues on My Mind"), either Wynton Kelly or Cedar Walton on piano, Paul Chambers or Sam Jones on bass and drummer Art Blakey. The consistently swinging repertoire includes a surprisingly effective version of "When the Saints Go Marching In." "Studio B," recorded in the same period but formerly available only in a sampler, has been added to the program. Consistently swinging, an enjoyable session of high-quality hard bop. Golson is on top form, riding high on the back of his performances with Art Blakey, and rather steals the show from Blue on the track selection Sweet Cakes. It's an enjoyable date of high-quality hard bop. Hard to improve upon US Mono Promo first press issue. Price: Offers!!!! |
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224. The BLUE THINGS: “S/T” (RCA Victor – LSP-3603) (Record: Near Mint/ Jacket: Near Mint). US first original press issue in virginal & archival condition. Next to impossible to improve upon. The Blue Things are considered to be one of the greatest lost bands in America of the 1960s. The band was extremely popular in the Midwest and Texas, but never made it as a big name. This was strange, because they had a deal with RCA Records. The brainchild of the Blue Things was Val Stecklein, the group’s songwriter, singer and guitar player along with fantastic, yet haunting, harmonies. The Blue Things would release just one album, in 1966. As for the 1966 album that forms the backbone of this disc, it's still one of the finest overlooked folk-rock records of the 1960s, combining some of the best elements of the Byrds and Beau Brummels in its mid-tempo electric-acoustic arrangements. The 1966 psychedelic single tracks "Orange Rooftop of Your Mind," "One Hour Cleaners," and "You Can Live in Our Tree" are also fine cuts that show the band progressing at a furious rate, with psychologically complex lyrics and unusual fuzz and violin-ish distorted guitar textures. Price: 250 Euro |
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225. BLUES CREATION: “S/T” (Polydor – UPJY-9129) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Obi: Mint). Quickly out of print limited high quality and faithful reissue of only 500 copies. Top copy of their 1st and rarest LP. Blues Creation was one of these outfits that tried to bridge the gap between the G.S. and the New Rock, making their entrée at the end of the sixties. The band’s history goes back to June 1968, when vocalist Nunoya Fumio together with Takeda Kazuo, Noji Yoshiyuki and Tashiro Shinichi enlisted themselves under the name Bikkies for the amateur band contest “R&B Tengoku”, a televisionized contest that appeared on the Tokyo 12 Channel. Failing to win the contest, the Bikkies after all reached the 5th place, which wasn’t so bad seen against the brief television exposure they enjoyed. However, it was by that time already clear that the artistic center of the group swirled around the skills of guitarist Takeda who, sensing that the times they were a changing, altered by January 1969, a time that marked the beginning of the decline of the Group Sounds, the quartet’s name into Blues Creation. Compulsory with the name change, Takeda firmly steered the group’s musical approach into the direction of a greasy Westernized fuzz-drenched blues-rock sound. This made that Blues Creation got spotted by Polydor, resulting in a studio recording during the spring that eventually made up their first album. Released in October 1st, 1969 and simply entitled “Blues Creation”, the album was completely erected out of vicious sounding blues rock covers, construed around Takeda’s self-inflammatory guitar licks. Still, changes to perform live were quite sparse due to the fact that all the members, except Nunoya Fumio, were still high school students, restricted their flexibility. Nevertheless, they had the change to appear on a youth centered cultural television show named “Hallo Party”, followed by some stage action at the Dai Ikkai Nippon Rock Festival, which occurred on September 28th. However drastic changes were to take place. By the end of 1969 Nunoya departed from the group’s ranks, followed in 1970 by Takeda dismissing all the resulting members and having them replaced by a new breed of track burning psychedelic rockers. Simultaneously with the drastic line-up permutation, Blues Creation altered with it also its sound into a harder driven’ rocking blues approach, dashed with substantial burning acidic riffage, elaborated psyched-up differential jamming and with enough room for instrumental improvisation rundowns. The contents of their second album “Demon & Eleven Children”, which appeared on August 25th, 1971, were unmistakably constructed under the influence of British hard rock. But that aside, the sound the band blasted out on their first LP remains a vicious psychedelic slab of filthy white boy trash licks and wasted snotty vocals, all injected fuzz drenched creeping soloing, long tracks impregnated with screaming and stoned vocals. High quality Japanese pressing straight from the original masters, housed in thick gatefold sleeve and with identical original obi reproduction. Long gone and out of print in the blink of an eye. Price: 75 Euro |
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226. BLUES MAGOOS: “Gotta Get Away b/w Rush Hour” (Mercury/ Nippon Victor – SM-1036) (7 Inch Single Record: Excellent / Picture Sleeve: Excellent ~ Near Mint/ Mercury Company Inner Sleeve: Near Mint) Japan only single release that comes housed in cool acid-leaking picture sleeve design. Two killer tracks with “Gotta Get Away” which was a ripper from their debut LP “Psychedelic Lollipop” and the flipside belching out “Rush Hour” that came from their follow-up LP “Electric Comic Book”. Both tracks shred and are psych classics of the highest echelon and blasting them at full throttle make me wanna slide down a candy fluff hilltop, stung out on Ibogaine and right into the bosom of a couple of snow bunnies. Just awesome! Price: 250 Euro |
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227. BLUES MAGOOS: “Tobacco Road – Gotta Get Away b/w (We Ain’t Got) Nothin’ Yet – Pipe Dream” (Mercury Records – SM-3079) (4 Track EP Single Record: Near Mint/ Flip Back Picture Sleeve: Near Mint). Scarce Japan original housed in unique Japanese sleeve art. Hailing from NYC, The Blues Magoos took the folk/blues soundtrack of their mid-sixties Greenwich Vollage contemporaries and forged it into a tough, garage/psych hybrid that attracted fans as quickly as it angered folk club owners, incensed by the band's volume and unhinged stage show! Signed by Mercury Records in 1966, their inaugural single for the label, a reading of John D. Loudermilk's "Tobacco Road," was a churning 4 1/2-minute plunge into crazed guitar/organ/drum/bass pyrotechnics with vocals careening over the top. The next single, band-penned "(We Ain't Got) Nothin' Yet," featured one of the all-time great riffs, an insistent bass run over which keyboards swirled and unison vocals chanted. Such a little killer slide and eye-popping sleeve art to boot!. Price: 150 Euro |
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228. The BLUES MAGOOS: “Pipe Dream b/w There’s A Chance We Can Make It” (mercury Records/ Nippon Victor – SM-1032) (2 Track Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Scarce Japan only picture sleeve issue of classic Blues Magoos psychedelia released in 1967. Top shape, single record comes with center piece still attached. Price: 150 Euro |
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229. The BLUES MAGOOS: “Basic Blues Magoos” (Mercury/ Nippon Victor – SM-7286) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan 1968 original all complete with obi and insert. Basic Blues Magoos was their last outing and arguably their best and most progressive outing. Instead of wasting time in a nondescript studio, they hurled themselves up into their Bronx digs. The autonomy paid off, as did their sizable influence from the U.K.-derived mod and freakbeat scenes, nowhere is that more evident than the cover of the Move’s "I Can Hear the Grass Grow" or the similarly spirited original light psych opener "Sybil Green (Of the In Between)" and the propulsive "There She Goes." "All the Better to See You With" and "Chicken Wire Lady" provide a harder edge and sit well beside the notable Brit pop vibe of "I Wanna Be There." "I Can Move a Mountain" is a long-lost jangle pop side tinged in a darkness recalling "Love Seems Doomed" from the Magoos' debut, Psychedelic Lollipop (1967). On the other side of the spectrum is the affective baroque-tinged "Yellow Rose." The refined acoustic ballad is unlike the majority of the album's aggressive amplified excursions. Sadly, Basic Blues Magoos failed to join their earlier LPs on the charts, as it is debatably their most solid effort. Japan only issue + obi just does not surface at all!!. Price: Offers!!!! |
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230. BLUES MAGOOS: “Tobacco Road ~ Psychedelic Blues Magoos” (Victor/ Mercury Records Japan – SM-7262) (Record: Near Mint/ Jacket: Near Mint). Top copy!! Original 1st Japanese pressing housed in totally different jacket art. Original release of November 1967 and in top condition, just near mint all the way. “(We Ain't Got) Nothin' Yet is extraordinary and magical; like the Box Tops' The Letter, it's one of those little two-minute blasts of pop which brought the transistor radio to life and which is the proverbial breath of fresh air on oldies radio stations daring enough to play psychedelia. Psychedelic Lollipop is the real thing; the Blues Magoos on the LP cover look like Captain Kirk abandoned them on some forgotten Star Trek planet, and the music inside the sleeve is authentic acid rock. They stretch John D. Loudermilk's Tobacco Road across four-and-a-half Seeds-style minutes, obliterating the Nashville Teens' 1964 hit recording in the process. David Blue's Queen of My Nights may have inspired the Troggs' 1968 hit Love Is All Around. The melody might be different, but the intro music is identical to what Reg Presley gave the world a couple of years after this. Producers Bob Wyld and Art Polhemus did a great job of keeping the intensity up across two sides of this album. James Brown's I'll Go Crazy gets splashy garage rock sounds and Mike Esposito's guitar power cannot be denied. Check out the jangle pop mayhem on Gotta Get Away. According to the LP The History of Syracuse Music, Vol. 7, Esposito performed in the Escorts with Felix Cavaliere, and that vibe from the Rascals' rendition of Lori Burton's I Ain't Gonna Eat Out My Heart Anymore has the same type of authority these kids pour all over Psychedelic Lollipop. One by One has the band going from the garage rock group to the Beatles transition -- and what's so disappointing is that they couldn't mature in this direction. Had this lineup stuck around for the ABC albums, who knows what they might have been capable of? Psychedelic Lollipop is a solid and precious gem from the Nuggets vaults, the difference between this and other one-hit wonders being that you can play the entire album repeatedly -- quite an accomplishment coming from the era of the hit single. That such a tremendous smash like (We Ain't Got) Nothin' Yet kicks the whole thing off is just an added bonus.” (Joe Viglione, All Music Guide). Rare Japanese pressing that comes in alternate jacket art and in total near mint condition. Surfaces just about … never…. Price: 250 Euro |
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231. 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!! |
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232. BOB JAMES TRIO: “Explosions”
(ESP Disc – ESP-1009) (Record: Near Mint/ Jacket: Near Mint). Scarce US first
original pressing from 1965 – very first press issue with 180 Riverside
NY address on label and sleeve. Most copies you see are later press issues with
different address. 180 Riverside is the earliest address and earliest ESP
pressing, released initially in an edition of only 500 copies. All that came
hereafter are re-pressings. “Explosions” was without a doubt Bob James’ finest
moment and his recording debut (recorded May 10th, 1965). Sadly
enough he squeezed out records of mediocre quality hereafter, which in a way
secured his financial success. But for his debut recording, the young Bob was
still filled with artistic passion and an unbridled love for the avant-garde
arts. Flanked by Barre Phillips and Robert Pozar, James delivers here one of
the finest ESP titles available, fusing free jazz with electronic music and
tape collage excursions, the courtesy of Robert Ashley and Gordon Mumma. This
cross pollination proved to be a highly successful (artistically speaking) endeavor
with eerie soundscapes and ghostly voices to flow through and pop during the
trio’s free jazz escapades. In other words a true classic that may not lack in
any collection, at least if you are serious about your music excavating
activities. Beautiful and perfect copy. First original 1965 ESP pressing in TOP
condition. Price: 175 Euro |
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233. BOHEMIAN VENDETTA: “S/T” (Mainstream –
S/6106) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, has small drill hole
in upper left corner.). Original US 1st pressing. Top condition and
one of the best era genre recordings to hit you full frontal. “Interest in
this has surged during the 2000s and rightly so since it’s generally a very
cool LP and one of the few albums in a 45-dominated genre loved by many ‘60s
connoisseurs: acid-punk (aka garage psych). Presumably inspired Electric Comic
Book-era Blues Magoos, the Long Island quintet had problems with both drugs and
attitude. The band originals are all excellent Vox organ/ fuzz psych completely
free of flower power vibes and their reworked cover versions are pretty
demented as well. The cough syrup high school stage-play vibe of “deaf Dumb
& Blind” must be heard to be believed. It is not a perfect album with a few
sections that drag on but the highs are higher than on almost any other LP of
this kind. Released in March 1968, this is probably the best on the label, at
least if you prefer the 60s teen-garage approach over hippie longhairs.” (PL – Acid Archives) Killer slide, amphetamine deranged teenage psyched
out craziness!!! Top copy, record is best condition imaginable, jacket has
small drill hole in upper left corner, so strictly graded at NM/ EX~NM...
Killer slide and getting a though one to score due to surging interest, which
is completely understandable since this record is so fucking awesome, it will
bring amphetamine sunshine on a rainy day. Price: 500 Euro |
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234. The BONNIWELL MUSIC MACHINE: “S/T” (Warner Bros. Records – WS-1732) (Record: Excellent ~ Near Mint – has 2 inaudible hairlines on side 1 between tracks 3~4/ Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: near Mint). Comes on golden Warner Bros. Seven Arts label. Great copy. “Sean Bonniwell was really one of the grandfathers of punk rock. Rock critics and fans alike often forget how good the original band was. Talk Talk’s follow up was the brilliant People In Me which barely dented the charts and in early 66 Bonniwell unleashed Point of No Return, a track with a swirling mass of organ and futuristic blasts of guitar. Their music was full of tension and uneasiness, and many consider Bonniwell a tortured genius. The Bonniwell Music Machine album was recorded mostly with the original lineup who had recorded the 1966 debut. That debut was sabotaged; managers and producers forced Bonniwell to fill half the record with cover versions of current popular hits. Stellar originals battled it out with covers of Neil Diamonds’ Cherry Cherry and a respectable gutsy stab at Hey Joe. Their second album was released in 1967 and was a small victory for a band that had fought for absolute creative control. The recording sessions were tension-fuelled wars between management, Bonniwell, and the band. Eventually, the band left Bonniwell, feeling that he sided with management and ruled with an iron fist. Bonniwell Music Machine saw the band forge ahead and move beyond their garage roots. The most popular song off the album, Double Yellow Line, was a real flamethrower, supposedly written while Sean was behind the wheel driving to the recording sessions! It was a unique statement that featured Bonniewell’s rants and hang-ups over some razor-sharp guitars, a killer beat and strange fish bowl-like organ. Talk Me Down, Bottom of the Soul and the Eagle Never Hunts the Fly were just as vital and displayed Bonniewell’s alienation in spades. The Eagle Hunts was a monstrous, intense rocker with a wonderful fuzz meltdown that was supposedly disowned by the band during the recording sessions. Other strange pop songs like the psychedelic harpsichord-laden, harmony-rich Trap were a welcomed change in direction. Absolutely Positively was a fantastic fist pounding garage-punk anthem and Discrepancy was notable for two distinct vocalizations.” (The Rising Storm review). I couldn’t have said it any better but this review nails the album on the head, in short it is a killer classic that needs prominent display in any collection. Every track is a winner. Great original copy. Price: 150 Euro |
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235. BONZO DOG BAND: “Mr. Apollo b/w Ready-Mades” (Toshiba Records – LR-2309) (Red Wax 7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent – has a few inconspicuous creases/ Company Inner Sleeve: Near Mint). Rarely offered 1969 Japan only picture sleeve issue by the Bonzo Dog Band, one of only two singles that were released on these shores. "Mr. Apollo" is among Bonzo Dog Band’s most popular songs. Continuing the band's newfound fondness for parodying heavy psychedelic rock -- the tune is a sludgy, distorted cacophony of electric guitars and organ not far removed from the likes of early Deep Purple -- "Mr. Apollo" adds satiric lyrics praising a bodybuilder who promises a complete physical overhaul and is, as the brilliant singalong chorus reminds us, "the greatest benefactor of mankind." The song climaxes with an utterly brilliant monologue by Vivian Stanshall as Mr. Apollo himself. This one comes pressed on red wax and adorned with killer sleeve art. This one sold so poorly upon its release that copes are far and few in between so hardly ever comes up for sale. Price: 400 Euro |
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236. BOOKER ERVIN: “The Song Book” (Prestige Records/ Victor – SMJ-7270) (Record: Near Mint/ Fragile Flip Back Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Damned rare Japan 1st original pressing all complete with 1st issue obi. Ervin is instantly recognizable with his distinctive blistering-hot phrasing and melancholy tone, all played with aggressive fervor. Given the adulation heaped on Coltrane by the jazz in-crowd, Booker Ervin remains, I think, seriously underappreciated. The choice of Tommy Flanagan is interesting, replacing Ervin’s usual partner and fellow Mingus stalwart, Jaki Byard. Byard has a strong inventive spirit compared with Flanagan’s more elegant and polished phrasing; however the presence of Flanagan may be due more to scheduling issues than creative intent. Amazing slide and never-seen before Japan 1st original press issue all complete. Seriously rare!!! Price: 250 Euro |
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237. BOOKER ERVIN: “The Song Book” (Prestige/ Victor Records – SMJ-6271) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean and pristine Japanese 2nd press issue with obi. A wonderfully warm session from tenor legend Booker Ervin -- maybe not as experimental as some of Booker's other dates for Prestige Records in the 60s -- but a really wonderful record that fully explores the deep tones of his Texas tenor, and still lets him come off with a bit of an edge! The title refers to the tunes in the set -- which are all standards from the American song book -- but as usual with Ervin, the treatment is a bit harder-hitting and more expressive than most -- played here with a sense of timing and tone that's amazing! Tommy Flanagan accompanies Booker on piano, and the rhythm is by the crack team of Richard Davis and Alan Dawson. Price: 50 Euro |
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238. BORN FREE – the 12 German Jazz festival – Various Artists - Doldinger Klaus Group, Dave Pike Set, Peter Brötzmann, Gunter Hampel Group, Albert Mangelsdorff, Free Jazz Group Wiesbaden, Phil Woods, Pierre Favre, Limbus 4, Joachim Kühn Group!: “S/T” (Scout – Sc-S11~14) (3 LP Set: Near Mint/ Laminated Triple Gatefold Jacket: Excellent ~ Near Mint). Bloody rare original 1070 German pressing in awesome condition. Festival Big Band, Albert Mangelsdorff Quartet, Klaus Doldinger Quartet, Phil Woods and his European Rhythm Machine, Dave Pike Set, Frederic Rabold Crew, Jazzworkers, Just Music, Free Jazz Group Wiesbaden, Frankfurter Trio fur Improvisation, Limbus 4, Modern Jazz Quintet, Peter Brotzmann Group, New Jazz Trio, Pierre Favre Group, Joachim Kuhn Group, Gunter Hampel Group, European Free Jazz Orchestra of the Art Ensemble of Chicago. Just a killer line-up bringing forth some of the greatest European fire breathing freeborn music on the planet. This will rip your lungs out!!!! Price: 300 Euro |
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239. BOWIE, DAVID: “S/T” (Deram/ King Records Japan – DL-44) (Record: Near Mint – catalogue sticker on label/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Freakingly rare very first Japanese pressing of Bowie’s debut LP, all complete with the insert and obi. Although released in the UK in 1967, Bowie’s first LP did not come out in Japan until 1973. Top condition!!! “David Bowie’s first ever LP -- the 1967 set that introduced the world to the likes of "Rubber Band" and "There Is a Happy Land" -- is an intriguing collection, as much in its own right as for the light it sheds on Bowie’s future career. Nobody hearing "She's Got Medals," for instance, can fail to marvel at the sheer prescience displayed by a song about gender-bending. Even within Bowie’s subsequent world of alligators, starmen, and astronettes, however, there are no parallels for the likes of "Please Mr. Gravedigger," with its storm-swept lament for a murdered little girl, or "Uncle Arthur," the archetypal mommy's boy, whose one stab at snapping the apron strings shatters when he realizes his new love cannot cook. There's also a frightening glimpse into future Bowie universes, served up by "We Are Hungry Men," a tale of a world in which food is so scarce that the people have resorted to cannibalism. Not all of the songs are such sharp observations of human frailties and failings, while the distinctly family-entertainment style arrangements make it clear that, whatever audience Bowie was aiming for, rock fans were not included among them. But songs like "Love You Till Tuesday" and "Maid of Bond Street" have a catchy irresistibility to them all the same, and though this material has been repackaged with such mind-numbing frequency as to seem all but irrelevant today, David Bowie still remains a remarkable piece of work. And it sounds less like anything else he's ever done than any subsequent record in his catalog.” (All Music Guide). Hardly ever surfaces Japan original pressing that sold domestically quite badly, hence copies are so hard to find these days – all complete with rare first issue OBI. Top shape, freakingly rare and damned so good. Price: Offers!!!! |
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240. BOWIE, DAVID: “The Rise and Fall of Ziggy Stardust and the Spiders From Mars” (RCA Victor – RCA-6050) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4-Paged Insert: Near Mint). First original Japanese pressing with FIRST issue obi (there are 4 obi versions of this one and this one with the “2 Channel High Quality” marking is very first issue). Also on the label of the record is the “Victor Company Of Japan Ltd., Yokohama” printed indicating the very first pressing as later issues that came hereafter changed address from Yokohama to Tokyo. Top condition, mint all the way. The music needs no explanation I think, it simply is one of the greatest albums ever recorded during that period in time. Every track is a winner and spinning this one again put me in a state of transcendental bliss. Awesome. Price: Offers!!!! |
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241. BOWIE, DAVID: “The Rise and Fall of Ziggy Stardust and the Spiders From Mars” (RCA Victor – RCA-6050) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 4-Paged Insert: Near Mint). Japanese pressing with damned rare WHITE GLAM issue OBI. White colored Glam Obi variation surfaces only sporadically as it was released in a limited run back in the day, following the issue listed here above and making it even scarcer. Top condition, near mint ~ mint all the way. The music needs no explanation I think, it simply is one of the greatest albums ever recorded during that period in time. Every track is a winner and spinning this one again put me in a state of transcendental bliss. Awesome. Price: Offers!!!! |
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242. BOWIE, DAVID: “Aladdin
Sane” (RCA Japan – RCA-6100) (Record: Near Mint/ Gatefold Jacket: Near Mint/
Obi: Near Mint/ 4 Paged Insert: Mint). Original first issue Japanese press of
1973 complete with the 1st issue Glam Rock obi. The white colored glam rock obi
together with the Pink colored Glam Rock OBI were the first issue to appear in
Japan in 1973, followed by a string of later presses with different colored
obis. This copy here is the rarest version – the White colored Glam Rock Obi.
Condition wise, this copy is as perfect as they possibly come. Again another of
Bowie’s early killer slides, never fails to rock my boat. As of in the past
couple of years, first press issues are evaporating at an alarming rate, making
them harder to dig up, especially in top shape. So happy to provide a top-notch
copy for your collector nightmare dreams. Price: 450 Euro
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243. BOWIE, DAVID: “Aladdin Sane” (RCA Japan – RCA-6100) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Mint). Original first issue Japanese press of 1973 complete with the 1st issue Glam Rock obi. The white colored glam rock obi together with the Pink colored Glam Rock OBI were the first issue to appear in Japan in 1973, followed by a string of later presses with different colored obis. This copy here is the very first issue. Condition wise, this copy is as perfect as they possibly come. Again another of Bowie’s early killer slides, never fails to rock my boat. As of in the past couple of years, first press issues are evaporating at an alarming rate, making them harder to dig up, especially in top shape. So happy to provide a top-notch copy for your collector nightmare dreams. Price: 350 Euro |
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244. BOWIE, DAVID: “Space Oddity” (RCA Records – RCA-6067) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Poster: Near Mint). First original pressing from 1973 in top condition all complete with obi and poster. Amazing and totally essential Bowie slide, “Space Oddity” delves into a lightly psychedelic folk-rock, exemplified by the album's soaring title track, making it Bowie’s first successful reinvention of himself and also displaying his musical genius. Killer album from start to finish, high quality Japanese pressing all complete with poster and obi. Price: 250 Euro |
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245. BOWIE, DAVID: “The Man Who Sold the World” (RCA – RCA-6078) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Poster: Near Mint/ Glam Rock Obi: Near Mint). Japan original press all complete with the always-missing poster. Top shape. “Even though it contained no hits, The Man Who Sold The World, for most intents and purposes, was the beginning of Bowie’s classic period. Working with guitarist Mick Ronson and producer Tony Visconti for the second time Bowie developed a tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen. The mix is off-center, with the fuzz-bass dominating the compressed, razor-thin guitars and Bowie’s strangled, affected voice. The sound of The Man Who Sold The World is odd, but the music itself is bizarre, with Bowie’s weird, paranoid futuristic tales melded to Ronson’s riffing and the band's relentless attack. Musically, there isn't much innovation on The Man Who Sold The World -- it is almost all hard blues-rock or psychedelic folk-rock -- but there's an unsettling edge to the band's performance, which makes the record one of Bowie’s best albums.” (All Music Guide). Pristine Japan original press issue all complete with obi and poster! Price: 200 Euro |
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246. BOWIE, DAVID: “Space Oddity b/w It Ain’t Easy” (RCA – SS-2252) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Japan original single issue with picture sleeve. Essential for any Bowie aficionado. Killer single that bring together two amazing all time classic tracks. Top shape. Price: 75 Euro |
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247. BOWIE, DAVID: “Rebel Rebel b/w Queen Bitch” (RCA – SS-2355) (7 Inch Single: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Damned rare 1974 Japan only picture sleeve issue with unique Bowie live shot gracing the cover. Hardly ever offered WHITE label PROMO issue. Label has catalogue number writing on label from the record company. This one just never pops up and the condition is pristine. Price: 450 Euro |
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248. BOWIE, DAVID: “Low” (RCA – RVP-6154) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint ~ Mint) Virginal clean pristine condition copy – Japan very first original press issue from 1977 and all complete with insert and first issue obi. “Following through with the avant-garde inclinations of Station to Station, yet explicitly breaking with Bowie’s past, Low is a dense, challenging album that confirmed his place at rock's cutting edge. Driven by dissonant synthesizers and electronics, Low is divided between brief, angular songs and atmospheric instrumentals. Throughout the record's first half, the guitars are jagged and the synthesizers drone with a menacing robotic pulse, while Bowie’s vocals are unnaturally layered and overdubbed. During the instrumental half, the electronics turn cool, which is a relief after the intensity of the preceding avant pop. Half the credit for Low’s success goes to Brian Eno, who explored similar ambient territory on his own releases. Eno functioned as a conduit for Bowie’s ideas, and in turn Bowie made the experimentalism of not only Eno but of the German synth group Kraftwerk and the post-punk group Wire respectable, if not quite mainstream. Though a handful of the vocal pieces on Low are accessible -- "Sound and Vision" has a shimmering guitar hook, and "Be My Wife" subverts soul structure in a surprisingly catchy fashion -- the record is defiantly experimental and dense with detail, providing a new direction for the avant-garde in rock & roll.” (All Music Guide) Such a killer slide, essential if not vital for elevating your mind set. Price: 150 Euro |
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249. BOWIE, DAVID: “Station To Station” (RCA – RVP-6027) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ Near Mint). Original 1st Japanese issue. “Miraculously, Bowie's attraction to black music has matured; even more miraculously, the new relationship seems to have left his hard-and-heavy side untouched. Ziggyphiles can call it robotoid if they want -- I admire the mechanical, fragmented, rather secondhand elegance of Aladdin Sane and this adds soul. All of the six cuts are too long, I suppose, including the one that originated with Johnny Mathis, and David sounds like he's singing to us via satellite. But spaceyness has always been part of his shtick, and anybody who can merge Lou Reed, disco, and Huey Smith -- the best I can do with the irresistible "TVC 15" -- deserves to keep doing it for 5:29” (Robert Christgau, Christgau's Record Guide, 1981) The THIN WHITE DUKE RULES!!!!! Open those nostrils and vacuum up that railroad to your soul, bloody fucking KILLER!!!! Price: 75 Euro |
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250. BOWIE, DAVID: “Diamond Dogs” (RCA – RCA-6230) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Obi: Mint). Pristine condition Japan very first original press issue from 1974 and all complete with obi and insert. Diamond Dogs was Bowie’s concept album set in a debased urban landscape dubbed as the Hunger City. Like in a macabre storybook narration it opens up with “Future Legend.” Originally conceived as a TV musical adaptation of George Orwell’s 1984, the project eventually fell through. Musically, the album has a rough-and-tumble Mad Max vibe about it, thanks in part to Bowie’s aggressive guitar playing and use of gusty sax lines. Lyrically, it allows Bowie to embrace his inner pulp merchant as he churns out vivid scenes from a glamorous nightmare city. Bowie’s guitar work on “Diamond Dogs” is primal and ragged, almost prefiguring punk rock in its lack of finesse and layered with a truly nasty tenor sax line that livens up the “lonely little kitsch”. Just brilliant and ahead of its time. Pristine condition! Price: 250 Euro |
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251. BOWIE, DAVID: “Heroes” (RCA – RVP-6243) (Record: Excellent ~ Near Mint – has one faint sleeve line on side one/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japan 1st press 1977 original all complete with insert and obi. Repeating the formula of Low’s half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound. Much of the harder-edged sound of Heroes is due to King Crimson’s Robert Fripp’s guitar, which provides a muscular foundation for the electronics, especially on the relatively conventional rock songs. Similarly, the instrumentals on Heroes are more detailed, this time showing a more explicit debt to German synth pop and European experimental rock. Essentially, the difference between Low and Heroes lies in the details, but the record is equally challenging and groundbreaking. Price: 150 Euro |
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252. BRACKEEN, CHARLES: “Rhythm X” (Strata-East/ Tokuma – JC-7512) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan original press all complete with rarely seen 1st issue obi, making the whole deal such a beauty to behold. PROMO issue. The only album ever cut as a leader by tenor saxophonist Charles Brackeen during his early years – and a real standout in the catalog of the legendary Strata East label! The set's got an unusual history – in that it's part of the Dolphy Series, recorded before the label started by Clifford Jordan – as a way of giving a strong showcase to so many new ideas that were bursting in jazz during the late 60s! Here, Brackeen's tenor is set up with a trio of musicians most familiarly associated with Ornette Coleman – Don Cherry on trumpet, Charlie Haden on bass, and Ed Blackwell on drums – a unit that's completely on fire, and freer than before – yet each graced with such strong individuality, every aspect of the record is a complete delight. Brackeen is amazing (why the hell didn't he record more like this at the time?) – but the bass, trumpet, and drums are all very distinct too – the perfect power of free improvisation when it's done right. Top condition with XXX rare obi. Price: 450 Euro |
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253. BRAINTICKET: “Cottonwoodhill” (Bellaphon – BLPS-19019) (Record: Excellent, has only a few paper hairlines that do not affect the playing/ Laminated Gatefold Jacket: Excellent). Top copy of this highly acclaimed psyched out whirlwind of a disc, first original pressing. “Cottonwoodhill is one of the trippiest records ever made, capturing the intensity of the peak LSD experience far more successfully than any Timothy Leary recording, and even today, when many such documents from that era can sound silly and dated, Brainticket’s fascinating debut still holds hallucinogenic potency. The record has only two proper songs, "Black Sand" and "Places of Light," with a side and a half of the album taken up by the three-part "Brainticket." "Black Sand" opens the disc with a driving funk beat and powerful organ and guitar interplay, adding in vocals distorted beyond coherency. "Places of Light" begins in a slightly lighter vein as a flute leads the proceedings, a looser jazzier piece that throws in some of Dawn Muir's odd spoken word vocals. Before one realizes what has happened, the piece has faded out and there is suddenly a crashing sound, car horns, and engines starting up. "Brainticket" is a bizarre roller coaster ride through weird sound effects and electronics, an endless organ riff, and Muir's acid-rush ramblings from hushed whisper to urgent screams, as any coherency she had earlier becomes lost to mind-expanding visions. Rather than the laid-back mellow groove of some psychedelic music from this era, Cottonwoodhill has a hyper energy in the frenetic organ riff and Muir's voice, like an acid trip out of control, while at times the various sound effects take over completely.” (All Music Guide). In short, a classic that must have a place in any collection. Massive. Price: 200 Euro |
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254. The BRASS COMPANY: “Colors” (Strata-East/ Tokuma Japan – JC-7510) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan press Strata-East slide all complete with obi. Rare big-band brass LP featuring most of the Strata-East family including: Tolliver, Cowell, Higgins, Abdul-Aim and Clifford Jordan! Hardly ever pops up with cool Strata-East obi flashing its colors! Price: 150 Euro |
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255. BRAST BURN: “Debon” (Voice Records – VO-1001) (Record: Near Mint/ Jacket: Near Mint). Original Japanese private press copy that came out in an edition of 500 way back in time of a completely vanished Faust/ Amon Duul inspired spaced out brain ripper of the highest level and housed in an acid leaking cover. Has been ages – maybe well over a decade – since I last saw a copy of this beast. So what or who was Brast Burn? Actually sprung out of the mind of Mr. Sakamoto, Brast Burn was a one-man project just like Karuna Khyall was a one-man brainchild project of Mr. Takahashi. Both were long friends since kindergarten (as was Mr. Nemoto) and upon moving to Tokyo in the early 1970s they happened to accidently move into the same building, living above each other. Incidentally both men were – without each other’s knowledge – recording some music basically out of sheer boredom. Sakamoto’s Brast Burn was the 1st project to get canned but upon its completion an outlet was sought to release it and since no one showed any interest, old time pal Mr. Nemoto was called in and together with another Tokyo enthusiast, the two of them set up the Voice Records label in order to release their friend’s hobby projects. The year was 1974~5. The sonic nebula of Brast Burn was unlike anything that had scorched the Japanese earth or the outside world for that matter. Gone are all the heavy poser rock and roll antics, making way for an introvert and intuitive approach attempting to map out the empty canyons of your crumbling mind. Fired up by psychedelic nocturnal hitchhiking sounds interfolding with monosyllabic autistic wailing vocals, Brast Burn jacks into and snarls around your skull, unleashing hypnotic brain-numbing mantras in order to weed out and crush the last stale remnants of any sense of reality. Desert winds blows viciously over shamanistic exorcist rituals, channeled through dislocated and disenfranchised guitar strummings that eventually interlock with high-wired obscure fertility rites of times long gone, creating a feeling of being soaked to the bones after sitting in a pool of mashed liquid peyote juice. The sole glimpse of sanity looming beyond the yonder is that vaguely distinctive but asymmetric strangled bottleneck guitar groove breathing a jangle mixture of defiance and despair down your neck. The unusual polyphonic swirl brought by Brast Burn is dissonant, chaotic, abrasive, scary and yet beautifully compelling and mind-numbing intoxicating, bringing you to the brink of being disintegrated into chaos, drunkenness and the kind of muffled hysterical fatigue that comes from spending too much time in the blazing red-hot sun of the Mojave Desert. So, now you know you just need something potent like this, it will make the larger part of your collection totally obsolete. Killer!! Getting impossibly scarce and much sought-after original pressing. Price: Offers!!!!! |
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256. BRAUFMAN, ALAN With Gene Ashton, Cecil McBee, David Lee & Ralph Williams: “Valley Of Search” (India Navigation – IN-1024) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Clean 1975 original 1st pressing of much in demand spiritual jazz slide. There’s nothing to suggest that Valley of Search, the second release on the India Navigation label, attained grail status among collectors or was heavily in demand, and Braufman never released an album as leader again. Braufman – a player who works here in a setting that really captures the best energy of the downtown NY loft jazz scene in the 70s – at a time when he was part of a musicians collective on Canal Street that also included David S Ware! Ware isn't on this set, but the rest of the group is so great – Braufman on alto, flute, and pipe horn – with Cooper Moore on piano and dulcimer, the latter of which is used in very cool ways – plus Cecil McBee on bass, David Lee on drums, and Ralph Williams on percussion. Valley of Search really moves as two sidelong suites. Across these large-scale pieces, the first takeaway might be that Braufman is often eclipsed by his excellent sidemen. That’s no knock against him: the modalism and spiritualism of the album are obvious from the instant the music begins. Valley Of Search is fucking astounding. It’s a monster – one of the great unheralded documents of free jazz in 1970s New York – a monument to the generation to which it belongs, its creative heights, ambitions, and overwhelming heart – a tapestry of wonders, weaving intoxicating polyrhythms with a brilliant interplay of structure and tone. Cooper Moore delivers a striking spoken passage on "Chant" making this record totally essential. Price: 575 Euro |
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257. 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!!! |
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258. BRAXTON, ANTHONY: “S/T” (BYG Actuel/Toei Records – YX-8005) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Japan 1st original pressing of the famed BYG Actuel series – all complete with rarely seen obi. "The first one of Braxton's two albums originally released in the BYG/Actuel series... this one was recorded at the Studio Saravah in Paris on September 10th, 1969 with the help of Leo Smith (trumpet), Leroy Jenkins (violin) and Steve McCall (drums)."From the Jazz Actuel boxset's liner notes: "Anthony Braxton's approach to music is a fantastic, almost alchemical fusion of elements, involving academic schemata, chess master logic, and a firm belief in humanist cosmogony... the magic of deep, intuitive jazz improvisation led Mr. Braxton into serious intercourse with the alto saxophone... he was conversant with the concepts and constructs of John Cage, Karlheinz Stockhausen a.o., yet the music's roots were equally evident as coming from an avant-jazz background... the blend was genuinely revolutionary..." (Thurston Moore & Byron Coley). Price: 150 Euro |
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259. BRAXTON,
ANTHONY: “This Time…” (BYG Actuel/ Toho Geion – YX-6036)
(Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near
Mint). Original 1st Japanese press issue
of subliminal Braxton slide all complete with insert and rare OBI. “From the opening contrabass clarinet
gurgle, it's clear this is no ordinary free jazz album, despite the fact it was
released on the quintessentially volcanic free jazz imprint BYG Actuel. This
Time features Anthony Braxton on alto and soprano saxophones, clarinet and
contrabass clarinet, flute, sound machine, chimes, and voice, Leo Smith on
trumpet, flügelhorn, horns, logs, and siren, Leroy Jenkins on violin,
viola, flute, mouth organ, and electronic organ, and Steve McCall on drums,
percussion, and darbouka in a striking display of vintage AACM
multi-instrumentalism. That instantly recognizable Chicago mix of dazzling
virtuosity and toy town tinkles and toots still sounds as fresh and crisp as it
did when it was recorded back in January 1970; as well as exploring the further
reaches of virtuoso improvisation and surrealistic poetry (on the title track),
Braxton also throws the windows of the cage (pun intended) open onto the
outside world: "In the Street" was recorded where it says it was --
in the street. The other pieces are generically titled ("Solo,"
"Small Composition," "Composition," etc.) – Braxton’s
idiosyncratic algebraic/geometrical titles don't feature here -- but are about
as far from generic as you could hope to get. Wild, wonderful, insanely
creative, and absolutely timeless.” (Dan
Warburton). Spot on description of quintessential free jazz slide!!! Hardly ever surfaces with obi present. Price: 150 Euro |
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260. BRAXTON, ANTHONY with SATO MASAHIKO; MIDORIKAWA KEIKI
& TANAKA HOZUMI: “Four
Compositions (1973)” (Nippon Columbia – NCP-8504-N) (Record: Near Mint/
Gatefold Jacket: Near Mint/ Insert: Mint/ Capsule Obi: Mint). First original
Japanese pressing from 1973 – Japan only release. Only the first pressing
came housed in a gatefold jacket. First ever copy I see all complete with the
capsule obi present!!! Recorded in Japan in 1973
– here het gets flanked by three Japanese heavy weight free jazz heads
being Sato Masahiko, Keiki Midorikawa and Hozumi Tanaka. The 1st press release of
this LP is a bitch to find and came as a gatefold jacket issue. Second and
later issues have an altered jacket and are easy scores. This is the 1st original
issue in top condition and one of the best Braxton slides for that matter, he
never topped this one. Comes with rare obi. Top condition. Gatefold sleeve is
also virginally white…Price: 100 Euro |
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261. BRAXTON, ANTHONY with SATO MASAHIKO; MIDORIKAWA KEIKI & TANAKA HOZUMI: “Four Compositions (1973)” (Denon/ Nippon Columbia – YX-7506-ND/PCM) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). 2nd pressing from 1977 – Japan only release. Recorded in Japan in 1973 – here het gets flanked by three Japanese heavy weight free jazz heads being Sato Masahiko, Keiki Midorikawa and HozumiTanaka. Comes with rare obi. Top condition. Price: 50 Euro |
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262. BRAXTON, ANTHONY: “Recital Paris 1971” (Futura Records/ Epic Japan – EPIA-53905-F) (Record: Near Mint ~ Mint/ Jacket: Mint , still in shrink/ Capsule OBI: Mint, still in shrink/ Insert: Mint). Rare disc on the ultimately collectible Futura label. Original First Japanese pressing complete with NEVER SEEN OBI. Well you have to hand it to Braxton as a young guy, he had guts. Who else would be crazy enough in those days to dedicate the two sidelong pieces on the LP to Jonnhy Hodges and David Tudor. That alone already says enough about what a radical musician young Braxton was. Brilliantly executed free blowing saxophone improvisations that let the hairs on your neck stand up, fierce and proud. Great!! Rare 1st original Japanese Press FUTURA issue with obi & in shrink. Rare. Price: 100 Euro |
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263. BRAXTON, ANTHONY: “3 Compositions of New Jazz” (Delmark/ Trio Records – PA-7026) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Japan original pressing all complete with rare obi. Promo issue. “While it is not as powerful or as revelatory as For Alto, Braxton’s second album for Delmark, 3 Compositions of New Jazz is his debut as a leader and showcases just how visionary -- or out to lunch depending on your point of view -- he was from the very beginning. Recorded nine months after his debut with Muhal Richrard Abrams on Levels and Degrees of Light, Braxton’s compositional methodology and his sense of creating a band are in full flower. For one thing, there is no use of a traditional rhythm section, though drums and a piano are used. The band is comprised of Leroy Jenkins on violin and percussion, Braxton on everything from alto to accordion to mixer, Leo Smith on trumpet and bottles, and Abrams on piano. All but one track -- "The Bell" -- are graphically titled, so there's no use mentioning titles because computers don't draw in the same way. There is a sonorous unity on all of these compositions, which Braxton would draw away from later. His use of Stockhausen is evident here, and he borrows heavily from the melodic precepts of Ornette Coleman. The use of Jenkins’ violin as a melodic and lyric device frees the brass from following any kind of preset notion about what should be done. Abrams plays the piano like a percussion -- not a rhythm -- instrument, and colors the textural figures in, while Smith plays all around the open space trying hard not to fill it. This is a long and tough listen, but it's a light one in comparison to For Alto. And make no mistake: It is outrageously forward-thinking, if not -- arguably -- downright visionary. This is an essential document of the beginning of the end.” (All Music Guide). Japan original complete with the always-elusive obi. Price: 125 Euro |
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264. BRAXTON, ANTHONY: “For Alto” (Delmark/ Trio Records – PA-7021~2) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Rare Japan original pressing all complete with obi. But there is a different obi variation – yes there are two obi variations for this one. This copy here has a comment written on the obi by the great Japanese guitar improviser Takayanagi Masayuki, there were the other obi had a comment by Bill Quin. An amazing slide. Japanese press original with obi is damned scarce and this one comes cheap, so act now and hold your peace forever! This one is the rarest obi variation with comment by Takayanagi! Price: 125 Euro |
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265. BRAXTON, ANTHONY: “Town Hall 1972” (Trio Records – PA-3008~9) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ Japan Only Poster: Mint). All complete rare Japan 1st original press with OBI, insert & rare poster. This is the rare White label TEST press issue – only a very few copies of this one seem to exists. This edition of New York's Town Hall concert is another clue into the puzzle of Braxton's musical genius. Braxton circa 1972 was a 27-year-old Chicagoan, an affiliate with the Association for the Advancement of Creative Musicians (AACM), and a member of the legendary band Circle. The first half of this concert comprises two original pieces and Jerome Kern's standard "All The Things You Are." Played in trio, with Dave Holland and drummer Philip Wilson, the thoroughly composed pieces open into well-proportioned group improvisations and soloing. Within the context of the Kern song, this design is best demonstrated, its familiar melody tweaked by Braxton and Holland, slowing or speeding through passages to skew the frame of reference and the meaning of group interaction. Next, Braxton's quintet, featuring saxophonist John Stubblefield, Holland and Barry Altschul, takes the stage with vocalist Jeanne Lee. The two lengthy parts reveal just how far out Braxton was prepared to take jazz. Like his mentors in the AACM, his worldview of creative music includes operatic and orchestra components, free of traditional timing and parts. This music tracks the experiments of the Art Ensemble Of Chicago, but with a more composed sound and structure. It is another piece to understanding (and loving) the puzzle that is Anthony Braxton. Original press with rare poster & obi present! Price: 100 Euro |
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266. BRAXTON, ANTHONY with LEROY JENKINS & LEO SMITH: “Silence” (Freedom/ Trio Records – PA-7103) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Clean and all complete Japanese press original with obi present. originally issued on Freedom in 1975 but recorded in 1969, one of his earliest sessions. He's part of a cooperative trio with violinist Leroy Jenkins and trumpeter Leo Smith performing two lengthy, suite-like pieces. They're wonderful works, exploring a terrain similar to that being investigated by the Art Ensemble Of Chicago around the same time: barebones themes allowing for substantial free improvisation that dealt as much with sonic space and the generation of unusual textures as anything else. "Silence," as the title implies, is largely concerned with the disposition of sounds in space and shows the strong influence that the contemporary classical world, particularly John Cage, had on these musicians in their early years. Price: 50 Euro |
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267. BRAXTON, Anthony with TETE MONTOLIU; NIELS-HENNING ORSTED; ALBERT HEATH: “In The Tradition Volume 2” (Steeplechase Records/ Nippon Phonogram – RJ-7124) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Clean Japan original. “The second of two Anthony Braxton albums that team the avant-garde altoist with a conventional rhythm section (pianist Tete Montoliu, bassist Niels Pedersen and drummer Albert Tootie Heath) features Braxton exploring five standards ("What's New," "Body And Soul," "Donna Lee," "My Funny Valentine" and "Half Nelson"). Braxton pays tribute to each song's melody before making his abstract improvisations; the rhythm section mostly ignores what he plays. A short "Duet" (which teams the leader with Pedersen) is a change-of-pace and much freer. These two records are historical curiosities but feature much less interaction between the trio and Anthony Braxton than one would hope.” (All Music Guide) Price: 30 Euro |
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268. BRIERLEY, MARC: “Welcome To The Citadel” (CBS Records – S-63478) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent ~ Near Mint – clean cover sole defect is on back sleeve near left bottom an inconspicuously white on white small price tag tear). Original 1968 UK first press issue in exquisite shape of much in demand and acclaimed UK copy of Nick Drake styled deep folk with intricate arrangements, arcane lyrics & deep-felt vocals, and superb backing. The end result is a great underground singer-songwriter albums, from the driving Vagabond Of Sleep to the eccentric Over The Hills, beautiful Symphony and ethereal Thoughts And Sounds, it was thoroughly engaging and idiosyncratic, with a cryptic, mystical edge, blending expert acoustic guitar with jazzy backings from some of Britain's leading contemporary jazz musicians, like Henry Lowther, Tony Reeves and Mike Travis lending the proceedings a live, jazzy feel, with hard-hitting drums, spirited brass and occasional cello bolstering Brierley’s gentle vocals, his psychedelic lyrics and nimble guitar picking. Despite playing sessions for DJs including John Peel, the LP and extracted single (Hold On, Hold On, The Garden Sure Looks Good Spread On The Floor / Autograph Of Time) both failed to sell. So the album failed to attract much attention and became an obscurity. Still, it is a beautiful lysergic folk slide, dreamy and deep! All comes housed in one of the best acid leaking covers to grace your eyes! Great copy! Price: Offers!!! |
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269. The BRITISH NORTH-AMERICAN ACT: “In The Beginning …” (Now Records – RSS-6700) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). First original Canadian private press issue in outstanding condition. “This album sounds earlier than it is; it’s closer to British beat, or at least mid-‘60s Paul Revere & The Raiders – type garage rock, than to late-‘60s rock. The band’s name is quite appropriate as two members were Brits. It’s a nice little pop album, unpretentious but confident, with consistently good songwriting and singing. Some of it is in a fine dreamy folk-rock mode with lots of reverb and echo and a strong backdrop of organ and choral backing vocals. Very nice” (AM – Acid Archives). To these ears a fantastic album, beautiful popsyke tunes, psychedelic feel allover, innocent vibe and great songs. A highly recommended Canadian dreamy pop psych classic with awesome songwriting, blessed with the right 60’s innocent feel…top level in its field. Top-notch original pressing of ever scarce artifact!!! Price: Offers!!! |
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270. BROOKS, TINA: “True Blue” (Blue Note – Original Master tapes Japan Deluxe Edition – BLP-4041) (Record: Near Mint/ Jacket: Near Mint/ Inner Sleeve: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Long gone and deleted mega high-quality deluxe Japanese edition that came out over a decade ago in a tiny run of only 500 copies. Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high-quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all off, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 300 Euro |
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271. THE PETER BROTZMANN TRIO: “For Adolphe Sax” (Bro Records – Bro-1) (Record with hand stamped labels: Near Mint/ Top Loader Silkscreen Jacket: Near Mint) Original 1967 private press in silkscreen jacket and hand stamped labels, the first release on Brotzmann own ignited Bro Records imprint, predating the 2nd and final issue on this label being Machine Gun. Much rarer as Machine Gun on a ratio of 1 by 10 and released in an edition of a mere 100 copies max. Machine Gun does turn up, “For Adolphe Sax” just about never. One of the most auspicious debuts of free music, and a trenchant tribute to the inventor of the saxophone. For Adolphe Sax is a roundhouse punch of European free jazz, delivered in1967 by the saxophonist's first classic trio featuring drummer Sven-Ake Johansson and bassist Peter Kowald. Initially issued in a tiny private run on Brotzmann's own BRO label -- silkscreened cover designed by Brotzmann, with hand-stamped inner record labels -- it was later reissued on FMP as one of the earliest in the Berlin-based label's extensive, essential catalogue. Again, it is a gut-wrenching affair. The music is as devastating as a giant bloodsucking leech plowing through your spinal cord and the only way to keep him from working his way up to your brain and taking over your nervous system is injecting some uncut crystal meth into your medulla oblongata. It will slow him down and make you go totally ballistic. So fierce and unrelenting is this disc. You are up for a wyld ride? Well then, this medicine will do the trick for ya, I can promise you that much and advice you to take this one uncut in one session. Satori will only be just around the corner after that. Price: Offers!!!! |
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272. 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!!!! |
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273. BROTZMANN/ VAN HOVE/ BENNINK: “S/T” (Free Music Production – FMP-0130)
(Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1973 FMP pressing
with black & white full circle lettering imprint on label. FMP logo is UNBOXED --> rare very first issue!!!! Stunningly
beautiful copy of this hard to find hardcore European free jazz blast from the
past. Three dinosaurs of the early seventies EU free improve scene clinch with
each other and belch out an unrelenting slab of unheralded fire music, filled
with power, scorning tenor sax blasts driven on kerosene that infuse further
the piano batterings of Van Hove and the animalistic slugging and skin sniffing
of Bennink. The whole album is just a vicious slab of raw free interplay and
stands as one of the defining moments of that early Euro hardcore jazz scene,
churning out a message that they won’t butch for anything less. Heavy heroic
and historical. This free
improvisation beast is highly volatile, toxic and stupendously abrasive. The
trio seems to be on a one-way ride towards oblivion, actively attempting to
dynamite their way out of all the constraints and the blind alley that European
jazz had driven itself into at that point in time. Steaming rhythmic propulsion
and the sheer awareness of the power invested deep in each primitive
individuality of the three participants propels the trio into one of the most
challenging and instantly bowel loosing abstract series of all obliterating
free form interplay ever to have been recorded. A solid classic that proudly
rubs shoulders here with Arthur Doyle’s “Alabama
Feeling” as far as intensity and remapping the genre is concerned. This
disc creates a massive brain-buzz so distractive that I had to drink myself to
smithereens in order to regain my sanity again. Dynamite stuff!! Price: 150 Euro |
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274. BROTZMANN/ VAN HOVE/ BENNINK: “S/T” (Free Music Production – FMP-0130) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original FMP pressing with black & white full circle lettering imprint on label. FMP logo is UNBOXED --> rare very first issue!!!! Comes signed by Han Bennink on back sleeve in cool gold ink pen – 2nd issue cover with Behaimstrasse address inside gatefold. Stunningly beautiful copy of getting hard to find hardcore European free jazz blast from the past. Three dinosaurs of the early seventies EU free improve scene clinch with each other and belch out an unrelenting slab of unheralded fire music, filled with power, scorning tenor sax blasts driven on kerosene that infuse further the piano batterings of Van Hove and the animalistic slugging and skin sniffing of Bennink. The whole album is just a vicious slab of raw free interplay and stands as one of the defining moments of that early Euro hardcore jazz scene, churning out a message that they won’t butch for anything less. Heavy heroic and historical. This free improvisation beast is highly volatile, toxic and stupendously abrasive. The trio seems to be on a one-way ride towards oblivion, actively attempting to dynamite their way out of all the constraints and the blind alley that European jazz had driven itself into at that point in time. Steaming rhythmic propulsion and the sheer awareness of the power invested deep in each primitive individuality of the three participants propels the trio into one of the most challenging and instantly bowel loosing abstract series of all obliterating free form interplay ever to have been recorded. A solid classic that proudly rubs shoulders here with Arthur Doyle’s “Alabama Feeling” as far as intensity and remapping the genre is concerned. This disc creates a massive brain-buzz so distractive that I had to drink myself to smithereens in order to regain my sanity again. Dynamite stuff!! Price: 100 Euro |
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275. BROTZMANN/VAN HOVE/ BENNINK PLUS ALBERT MANGELSDORFF FMP 3 LP BOX: “S/T” (FMP – FMP-0030-0040-0050) (3 LP Set: Near Mint ~ MINT/ Silk Screened Outer Box set with back closing lid w/ metal clasps intact: Near Mint ~ MINT/ Large Poster: Mint). Most perfect condition ever and ALL COMPLETE with giant POSTER and METAL CLAPS still attached to closing lid!!!! Massive 3-LP set on FMP Records 0030, 0040, 0050, recorded August 1971. Comes housed in fragile slip case box set, with back closing flap complete with metal clasps and the always-missing POSTER present. LPs are ELEMENTS, COUSCOUS DE LA MAURESQUE, and THE END. Original deluxe packaging for this now well-circulated music, this was also the first deluxe edition released by FMP. A white box that opens on edge (with removable metal clasps--also original) includes the very plain jane first pressings (before there was even an FMP logo on the label) of the three LPs, all in immaculate condition and without any damages or foxing on outer box. The poster is present as well and in TOP condition. This box is a splendid copy, one out of the very limited and very prized edition. Only 300 copies were pressed and some were hand numbered on the silkscreen jacket. The music is fire breathing wrecking ball styled hardcore jazz that will drive your neighbors and loved ones insane – either with envy or despair. A killer item that does not come better as this one. Hyper rare and hardly ever – if almost never – offered up for sale. Top condition, box and records seem hardly to have been touched by mortal hands, next to impossible to upgrade upon this copy. Highest possible recommendation and cleanest copy imaginable – impossible to ever upgrade upon!!! Price: Offers!!! |
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276. BROTZMANN, PETER QUARTET: “Nipples” (Calig – CAL-30604) (Record: Near Mint ~ Mint/ Jacket: Near Mint – some faint foxing on sleeve/ Attached Frontal Harmonica Fold Out Booklet: Near Mint ~ Mint). Stunning top copy! FIRST ORIGINAL PRESS that comes on the BLACK colored Calig label. First black label issue is damned rare! “The whole affair starts off with a percussive noise and a saxophone in overdrive, immediately playing all over the place. Guitar, piano and bass arrive as well, and the musicians blast their way into a sound full of energy and openness. They sound to me like they’re playing together and separately at the same time. In your ears you can isolate each instrument and in each case you’ll hear a musician soloing like crazy, playing a dizzying path of spot-on notes. Listen to the whole, however, and you don’t get the mess that you might expect with six musicians each blazing his own path. Instead you get a new kind of cohesiveness. Everything fits together in an interesting way, without being planned to fit together, at least not in the conventional way that musical numbers are planned out. This track and the other one on Nipples were recorded in April of 1969 and fit in the category of old music that sounds like it could have been recorded yesterday. Or today, tomorrow or in the next century. It has both the wild energy of the best rock music and the timelessness of something new. It also has a historical place in free jazz, though that I can’t pretend to be the expert who can deliver all of the details. Free jazz is something fairly new to my ears, which is one reason it’s so amazing how easy Nipples is to listen to. This is intense, wild music, but to me it doesn’t sound as uncomfortably noisy as free jazz potentially could sound to someone not accustomed to its form. The historical significance of this release, as I understand it, is that Nipples is the only recording ever made by this particular group of musicians, including not only saxophonists Brotzmann and Evan Parker, but also guitarist Derek Bailey, pianist Fred Van Hove, bassist Buschi Niebergall and drummer Han Bennink, most of whom have carved out their own spectacular places in the history of jazz and avant-garde music. It also has been out of print for 30 years, and therefore has been a much-sought-after rarity. The second track, “Tell a Green Man,” features the quartet, the sextet minus Derek Bailey and Evan Parker. It’s slightly slower and showcases the bass and percussion aspects more, but has the same unique textures and quality musicianship of the first track. The liner notes include a hand-written note (presumably included in the original album notes) from artist Nam June Paik stating that he owns only 10 records, including Beethoven, Chopin, Mozart, and Brotzmann, and that Brotzmann’s records “stand up very well among those masterpieces.” That’s a notion I can understand; I’ve yet to hear any of Brotzmann’s other records, but this recording is jaw-dropping, awe-inspiring and beautiful.” (Dave Heaton). Spot on, this is the shit. The record is spotless and in Near Mint to Mint condition, the sleeve has no defects and the booklet is intact and perfect – so near virginal condition, record appears to be unplayed, so a beautiful copy for a bit cheaper due to a few harmless faint mildew spots visible on the cover. Price: 300 Euro |
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277. BROTZMANN,
PETER: “Tschus” (FMP
Records – FMP-0230) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mit).
Original early FMP release. TOP COPY 1st ORIGINAL PRESS on the
“Unboxed” FMP Label imprint without the date of release printed on label and
jacket. Later issues have the “Boxed” FMP label and have the date of 1975
printed on label and jacket. This is the RARE 1975 1st press, first
time I see a copy of the TRUE FIRST ISSUE. Recorded (13 & 14 Sept, 1975)
and released in 1975, Tschus is a wild one and made up out of hardcore European
free players Peter Brotzmann (cl,as,ts,bs,vo), Antwerp/ Belgium based Fred Van
Hove (p, accordion) and Dutch skin mangler Han Bennink (ds,cl, megaphone, etc). “This cooperative trio released
a number of albums for FMP in the late '60s and early '70s, and affords the
listener a chance to hear a lighter, more playful side of Peter Brötzmann,
whose reputation is derived from more extreme and assaultive sessions such as
Machine Gun and Nipples. Surely part of this approach is due to the antic
nature of percussionist Han Bennink, who, whether playing his drum set or the
studio floor, accordions or clarinets, rarely fails to inject wit and sly humor
into the proceedings. Tschus is arranged almost as a suite of shorter works,
some having a relatively straight jazz and blues nature, others edging into the
investigation of pure sound as championed by groups such as AMM. Van Hove's clear,
supple piano playing often serves as the bridge between Brötzmann's wilder
stylings and Bennink's (often literally) off-the-wall punctuations.
Brötzmann's bass sax work on "Bierhaus Wendel" is lush and
creamy, especially in conjunction with Van Hove's accordion. The album ends
with a charmingly schmaltzy vocal rendition of the title cut, featuring
Brötzmann's crooning over the strangled bird cries produced (who knows
how?) by Bennink and Van Hove's cocktail piano. This alone is worth the price
of admission.” (Brian Olewnick, All
Music Guide). To these ears one of the most surprising titles out of the whole
Free Music Productions catalogue since it depicts a whole different free-core
side of these three – possible Europe’s greatest – improvisers.
Just astonishingly great and indispensable in any adventurous music collection.
RARE TRUE FIRST PRESS ISSUE!!!! Price:
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278. BROTZMANN, Peter & BENNINK Han: “Atsugi
Concert” (Gua-Bunge – GBLP-3388-01) (Record: Near Mint/ Silver laminated
Fold Out Jacket: Near Mint/ A-4 sized picture Booklet: Near Mint) It has been
ages since I had a copy of this beast in stock and copies have totally vanished
over the years, so don’t drool around this one, get your action moves in gear
‘cause these bastards are scarce and mucho in demand. Ominously rare free jazz
monster Japan-only private press that was released in 1980 in an minuscule edition of only 300 copies. But apart from its
rarity status, there are several eye-catching elements tied up to this disc.
First of all, there is the jacket, a beautifully designed (like only Japanese
seem to be able to pull of) foldout jacket unto which all the info and designs
are stamped in silver layers into the texture of the carton, giving it a soft
glowing relief kind of shape. A state of the art job. Upon folding open the
jacket, you see the disc sitting in a separate folder and a 25-paged booklet
housed in a tray (tucked away in the back flap of the front jacket) and adorned
with numerous pictures illustration this clash of titans during their 1980
series of concerts throughout Japan. A visually stunning artifact. Then there
is the music. Boy, you are in for a real head-spin, Brotzmann and Bennink is
the dream-team of free-ripping-hardcore spirits, vitriolic exchanges of blood
churning squeals set against a tumbling background of deliriously insane skin
action. Bennink matches here Brötzmann’s reed arsenal with his
everything-including-the-kitchen-sink choice of instruments that included
reeds, stringed instruments, and even, “sand, land, water and air”. Stuff of
legends and indispensable if you are into adventurous sounds. And needless to
say this disc is bloody rare. Price: 650 Euro |
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279. BROTZMANN/
MILLER/ MOHOLO: “Opened, But
Hardly Touched” (FMP Records – FMP-0840/50) (2 LP Record: Near Mint ~
Mint/ Gatefold Jacket: Mint) original 1981 first original West German pressing. One of the first great
sessions from FMP Records in the 80s – and an album that really shows the
creative growth at the label since its start! The music is played by a very hip
trio – with Peter Brotzmann on e flat clarinet, tarogato, tenor, alto,
and baritone – plus Harry Miller on bass and Louis Moholo on drums
– both players from the British scene who really seem to help Brotzmann
find this new sort of space in his music – an ear for more subtle sound
textures and tones that's spun out beautifully over the course of the
double-length record. As an important release to the later generation of FMP as
Machine Gun was to the first. First original press issue in stunning mint
condition and the whole deal seems completely virginal and unspoilt. Best copy
ever. Price: 100 Euro |
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280. BROTZMANN, Peter; AALTONEN,
Juhani; KOWALD, Peter, VESALA, Edward: “Hot
Lotta” (Blue Master Special – SPEL-306) (Record: Near Mint/ Jacket: Excellent
~ Near Mint). TOP COPY of Viciously rare hard blowing Finnish released free
jazz hardcore beast. Original 1973 pressing. With an all-star line-up led by
Edward Vesala and including Peter Brotzmann and Peter Kowald it is kind of a
surprise that this has fallen by the wayside. The two leading exponents of the
German free jazz scene (Brotzmann and Kowald) were invited by the Goethe
Institute in Helsinki to meet and clash with two of their Finnish counterparts.
The newly erected unit for this occasion interlocked and blew up some dust and
boulders and blotted out the sun in the process igniting this sonic blizzard.
Brotzmann is all over the place, bare knuckle tenor eruptive sound clusters
that in return set of a chain reaction of classic
primitive polyphony meanders into some meditative passages before exploding and
veering of again into a clawing wave that catapults out shards of instrumental
brutality. Sometimes there are more concentrated little
bursts of energy bouncing around for brief moments, smoldering with an
underlying intensity that eventually leaps over into a full blazing roaring
inferno of ferocious lyricism. A
total European hardcore jazz classic that seems to have fallen in between the
cracks of time without any one noticing or praising its greatness. One of the
rarest European free jazz artifacts, copies just never surface. This one is a
top copy. A monster and comes with the highest possible recommendation. Price:
300 Euro |
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281. BROWN, CLIFFORD & MAX ROACH: “At Basin Street” (Mercury Records/ Nippon Victor – SM-7180) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare very first Japan original press issue all complete with rare first issue obi & housed in first issue fragile flip back sleeve. The last official album by the Clifford Brown – Max Roach Quintet is the only one that featured the great Sonny Rollins on tenor. With pianist Richie Powell and bassist George Morrow completing the group, this date is a hard bop classic. Brownie and Rollins fit together perfectly on memorable versions of "What Is This Thing Called Love," "I'll Remember April," and a witty arrangement of "Love Is a Many Splendored Thing." Highly recommended. Pristine copy! Price: 75 Euro
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282. BROWN, CLIFFORD: “Clifford Brown Memorial” (Prestige/ Victor – SMJX-10097) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japan only original issue all complete with OBI. Rarely surfaces, comes in nice textured gatefold sleeve with obi present. Price: 50 Euro |
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283. BROWN, MARION QUARTET: “S/T” (ESP Disk – ESP-1022) (Record: Near Mint/ Jacket: Mint – still housed in shrink). Very 1st US 1966 original press issue and till housed on original shrink. “This 1966 release was saxophonist Marion Brown’s debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson along with Coltrane’s future drummer Rashied Ali and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin. While the music here feels, and for the most part is entirely improvised for maximum visceral effect, Brown already has his tone and style and is a clear standout. His unique phrasing and attack shows his tenderness, even in the angriest of these exchanges. He holds his own with the rhythm section and is at times lyrical and spacious, particularly in the middle sections of "Capricorn Moon" and "27 Cooper Square." While this is not his best recording, it is memorable as an early showcase for Brown's fully developed voice, and for Boykin’s and Ali’s fiery playing.” (All Music Guide). What a killer line-up and what a fierce set. Top condition original pressing. Price: 150 Euro |
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284. BROWN, MARION QUARTET: “S/T” (ESP Disk/ Nippon Phonogram – ESP-1022/ BT-5008) (Record: Near Mint/ Jacket: Excellent – faint foxing due to age on back/ OBI: Near Mint). Very 1st Japan 1975 original press issue. “This 1966 release was saxophonist Marion Brown’s debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson along with Coltrane’s future drummer Rashied Ali and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin. While the music here feels, and for the most part is entirely improvised for maximum visceral effect, Brown already has his tone and style and is a clear standout. His unique phrasing and attack shows his tenderness, even in the angriest of these exchanges. He holds his own with the rhythm section and is at times lyrical and spacious, particularly in the middle sections of "Capricorn Moon" and "27 Cooper Square." While this is not his best recording, it is memorable as an early showcase for Brown's fully developed voice, and for Boykin’s and Ali’s fiery playing.” (All Music Guide). What a killer line-up and what a fierce set. Great condition original Japanese 1st pressing. Price: 100 Euro |
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285. BROWN, MARION: “Juba-Lee” (Fontana/ Nippon Victor – SFON-7091) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rarely offered all complete with obi Japan very first original press issue in immaculate condition. “Recorded only a month before his classic Impulse debut, Three For Shepp, this much overlooked session, though quite different, is more than reputable in its own right. The reason for its obscurity is pretty simple. Juba-Lee, as of May 2003, had yet to see formal release anywhere in the world other than its original Dutch pressing and subsequent reissues in Japan. Otherwise, it bears a good deal of resemblance to his Marion Brown Quartet date on ESP, so listeners familiar with that session should know what to expect here. Among other reasons, this is because both sessions share the talents of Alan Shorter and bassist, Reggie Johnson. Also on hand were tenor man Bennie Maupin, pianist Dave Burrell, drummer Beaver Harris and trombonist Grachan Moncur III. All but Maupin and Shorter would also appear on Three for Shepp. It should go without saying that any free jazz session featuring either Shorter or Moncur is going to be heavy. Both men, as soloists and as composers, tend to dramatically alter any recording upon which they appear. They usually contribute at least one tune to the repertoire -- here it's Shorter -- and both have a very deliberately paced and immediately recognizable delivery as soloists. Unfortunately, this would be the only session upon which the two appeared together, making the historical relevance of this date even more pronounced. The opening tune is a free-for-all, but the title track is reminiscent of Brown's wonderful "Capricorn Moon," employing a playful and spirited head. Both "The Visitor" and "Iditus" are deep and pensive, very much what one would expect from a session featuring Moncur or Shorter. Highly recommended.” (All Music Guide) Damned rare Japan 1st original press issue with insanely rare OBI! Top shape! Price: 450 Euro |
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286. BROWN, MARION: “Porto Novo” (Polydor – MP-2143) (Record: Near Mint/ Jacket: Near Mint). Very first original Japanese press from 1971 that comes in unique Japan only sleeve art. WHITE label PROMO issue. First pressing that just about never ever surfaces. “This was one of altoist Marion Brown’s best recordings. Although a very adventurous improviser, Brown usually brought lyricism and a thoughtful (if unpredictable) approach to his music. Accompanied by bassist Maarten van Regteben Altena and drummer Han Bennink for this stimulating session (recorded in Holland), Brown stretches out on five of his compositions and is heard at the peak of his creative powers.” (Scott Yanow, All Music Guide). Fabulous recording and arguably his best ever. Top notch dead mint copy with obi! Japanese first original pressings of jazz slides, all complete with their first press issue obi are – these past years – getting very difficult to dig up as there is a huge re-appreciation booming for these titles and it looks like this will only intensify in the years to come. Price: 100 Euro
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287. BROWN, MARION: “Porto Novo” (Freedom/ Trio Records – PA-9714) (Record: Mint/ Jacket:
Mint/ Obi: Mint/ Insert: Mint). Japanese press complete with obi
and insert, top condition. “This
was one of altoist Marion Brown’s best recordings. Although a very adventurous
improviser, Brown usually brought lyricism and a thoughtful (if unpredictable)
approach to his music. Accompanied by bassist Maarten van Regteben Altena and
drummer Han Bennink for this stimulating session (recorded in Holland), Brown
stretches out on five of his compositions and is heard at the peak of his
creative powers.” (Scott Yanow, All Music Guide). Fabulous recording and arguably his best ever.
Top notch dead mint copy with obi! Japanese first original pressings of jazz
slides, all complete with their first press issue obi are – these past
years – getting very difficult to dig up as there is a huge
re-appreciation booming for these titles and it looks like this will only intensify
in the years to come. Price: 100 Euro |
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288. BROWN, MARION & LEO SMITH: “Creative Improvisation Ensemble” (Freedom – PA-9717) (Record: Near Mint/
Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan only issue of a
late 1960s recording between two creative fire music minds. First time I have a
copy with obi. This unissued recording was solely released in Japan, making it a highly unqiue and rare record. Absolutely top condition. Price: 150 Euro |
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289. BROWN, MARION: “Afternoon of a Georgia Faun” (Odeon Records – OP-88011) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint). White label promo copy, complete with Japanese obi. “Difficult as it may be for younger listeners to believe, there was a time when ECM released adventurous improvised music. Back near its inception in the early '70s, the label issued a wide variety and decent number of challenging avant-garde recordings that represented some of the most forward-looking musical thinkers of the time. One of these was Marion Brown, who, at the time of this session, was about midway between his extreme post- Coltrane explorations and the luscious, down-home evocations of Georgia that he would create for Impulse! over the next few years. He gathered 11 musicians, including a couple from the then current Miles Davis Bitches Brew band (Chick Corea and Bennie Maupin), the then little-known Anthony Braxton, Andrew Cyrille, and the late great vocalist Jeanne Lee for two side-long, wide-ranging pieces. The first, the title track, is a wonderful, percussive evocation of pastoral Georgia, something along the lines of what the Art Ensemble of Chicago were doing around the same time, but without the satire and with a greater sense of serenity. As the flutes, reeds, voice, and piano enter, there is no idea of "soloing"; instead, each contributes to the ongoing, evolving texture of the piece, creating a fabric that's as cohesive as it is unplanned. The remaining cut, "Djinji's Corner," is a bit more fleshed out, a little more "traditional" in one way, though still quite unusual for the time. Again, a reference point might be Art Ensemble works from around the same time, here a mélange of free horns and intense percussion, with Jeanne Lee soaring over the top, mixing words and glossolalia, similar to her stellar work on Carla Bley's Escalator Over the Hill. The effect is more eerie and spiritually infused than the preceding piece, with keening, bowed cymbals and deep pulses from the lower clarinet family. It gradually builds to something of a frenzy, but in an unforced manner that shows it to be merely another approach to the territory explored earlier. Afternoon of a Georgia Faun is a lovely, inspired album, a key work in Marion Brown's oeuvre and a recording that belongs in any collection of contemporary jazz.” (All Music Guide). Hardly ever seen Japanese pressing with OBI of this slide with obi before because these babies sold next to nothing, making them now rare forever. Price: 200 Euro |
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290. BROWN, MARION & HAMPEL, GUNTER: “Gesprachsfetzen” (Calig – CAL-30601) (Record: Mint/ Jacket: Mint). Top copy of this subliminal free jazz classic released on the illustrious Calig label, home of Brotzmann’s “Nipples” amongst others. Very first original press issue on the back colored Calig label (later issue was yellow). Line-up for this vicious monster consists out of Marion Brown (Alto), Gunter Hampel (Vibraphone, bass clarinet), Ambrose Jackson (trumpet), Buschi Niebergall (bass) and Steve McCall (drums). Together, quintet are on phenomenal form, riding simultaneous waves of omni-directional rhythm and breath with classic ESP-style ferocity and dipping in and out of ear ripping and skull bashing source material. Brown’s playing is confident enough to resist the pressure of constantly initiating new ideas and as a result the dynamic of the group feels totally natural. His playing is also possessed of a raging, indignant anger, reinventing language as sound, melody and rhythm. There are no restrictions to the major – minor system, to tones and semi-tones, to tonality and atonality, no directions are drawn between beauty and cacophony, impression and expression, but all these elements are present and are handled in a complete unorthodox way. The artistic value of this disc lies in the subtle economy of pre-arrangement and the flexibility it enables. The musicians possess therefore the necessary degree of capacity for action and reaction, which leads in the individual as well as the collective improvisation to magnificent solo and group performance in each of the album’s five tracks. Fire breathing music for sure that will clear your head like no other cough medicine. A classic!! Price: 125 Euro |
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291. BROWN, MARION: “In Sommerhausen” (Calig – CAL-30-605) (Record: Near Mint/ Jacket: Near Mint). Black Calig Label. Top copy of this subliminal free jazz classic released on the illustrious Calig label, home of Brotzmann’s “Nipples” amongst others. Line-up for this vicious monster consists out of Marion Brown, the always impressive Jeanne Lee, Ambrose Jackson, Gunter Hampel, Daniel Laloux and Steve McCall. Together, the quintet is on phenomenal form, riding simultaneous waves of omni-directional rhythm and breath with classic ESP-style ferocity and dipping in and out of ear ripping and skull bashing source material. Brown’s playing is confident enough to resist the pressure of constantly initiating new ideas and as a result the dynamic of the group feels totally natural. His playing is also possessed of a raging, indignant anger, reinventing language as sound, melody, and rhythm. There are no restrictions to the major – minor system, to tones and semi-tones, to tonality and atonality, no directions are drawn between beauty and cacophony, impression, and expression, but all these elements are present and are handled in a complete unorthodox way. The artistic value of this disc lies in the subtle economy of pre-arrangement and the flexibility it enables. The musicians possess therefore the necessary degree of capacity for action and reaction, which leads in the individual as well as the collective improvisation to magnificent solo and group performance in each of the album7s five tracks. Fire breathing music for sure that will clear your head like no other cough medicine. A classic!! Price: 125 Euro |
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292. BROWN, MARION: “Three for Shepp” (Impulse – AS9139) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint – still firmly housed in original SHRINK/ Company Inner Sleeve: Near Mint). US first original pressing in archive condition. An unbelievable recording! As Archie Shepp made his first album for Impulse a tribute to Coltrane, Marion Brown made his a tribute to Shepp -- a wonderful lineage of avant talent in the 60s, stated boldly here, given Brown's amazing talent on the record! The album's filled with hard, soulful playing that goes out, but never too far -- like Shepp in his best sixties moments -- and Brown's working with a great lineup of players that includes Grachan Moncur on trombone, Beaver Harris on drums, and Stanley Cowell on piano! The tunes include three Marion Brown originals on side one, plus three tracks by Shepp on side two. "Spooks" alone will leave you loving this album for years to come! Just simply said, condition wise they do not come any more perfect as this copy here with sleeve still firmly housed in original shrink and record maybe played only a handful of times. A time machine condition record!!! Price: 375 Euro |
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293. BROWN, MARION: “Geechee Recollections” (Impulse – AS-9252) (Record: Near Mint/ Gatefold Jacket: Mint – in shrink and without any discoloration or damages, perfect!/ Company Inner Sleeve: Near Mint). Original US 1st press issue in absolutely TOP condition – best sleeve I have had so far! Comes still housed in shrink. Impossible to upgrade upon. Price: 175 Euro |
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294. BROWN, MARION: “Geechee Recollections” (Impulse Japan – IMP-88144) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – with a couple of faint mildew spots/ Insert: Near Mint/ OBI: Excellent ~ near Mint). Marion Browns 1973 classic for Impulse! Japan original WHITE LABEL PROMO issue with OBI!!! A surprisingly hard one to dig up with obi…for an otherwise easily attainable record. The obi though, first one I have in over a decade. Geechee Recollections is filled with laid back southern summer feelings with a deep African vibe. Brown hit a very different vibe than on his earlier ones and his ESP sessions -- as he seemed to absorb a lot of strong AACM-oriented influences, which mellowed his approach nicely, and gave him a strong spiritual side. On this great set from 1973, Brown plays with AACM-ers Steve McCall and Leo Smith, as well as Jumma Santos, William Malone, and Bill Hasson. Two tracks are spare, beautiful solos (with a hint of Maurice McIntyre lurking in the back) -- and other titles include "Buttermilk Bottom", "Once Upon A Time", "Tokalokaloka", and "Karintha". Earbleedingly beautiful mixture of free jazz moves, poetry, brimful with poetic resonance, making that it stands shoulder to shoulder with the best records of that golden era. Endowed with beauty and unexpected twists and turns, Brown music is filled with occasional haunting echoes racial tensions and fire-breathing sonics. Total killer slide, long overlooked and due to regain mass-appreciation. Clean copy, this record will enlighten your sorry-ass existence, take my word for it. Rare white label PROMO with obi!!! Top copy! Price: 150 Euro |
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295. BROWN, MARION: “Sweet Earth Flying” (Impulse – YX-8571-AI) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japanese pressing all complete with obi. PROMO issue!!! “The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Brown’s finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown’s conception (hence the album's title), though this time none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis’ late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams’ feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown’s sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep-voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes.” (All Music Guide). One of Brown’s finest recordings. Totally bewitching and indispensable in any collection is spiritual mesmerizing jazz is your thang! Signed copy by the legend himself, making this one quite unique! Price: 75 Euro |
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296. BROWN, MARION: “Vista” (Impulse – YQ-8507-AI) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – some very faint foxing spots/ Insert: near Mint/ Obi: Near Mint). Nice Japanese press issue all complete with rare OBI. PROMO issue. “Marion Brown capped his '70s return to Impulse! by diverting with the serene and colorful Vista. One of the altoist's least avant dates, its lineup features nine additional musicians such as drummer Ed Blackwell and bassist Reggie Workman, plus Stanley Cowell on acoustic piano and Fender Rhodes. While Brown wrote only the blissful coaster "Vista" itself, the five other compositions are well-chosen, starting with an inviting version of Cowell’s "Maimoun" and an impressionistic and deeply meditative take on Stevie Wonder’s "Visions" fronted by Allen Murphy. The second side is notable most for Harold Budd’s placid "Bismillahi 'Rrahmani 'Rrahim," with Brown wafting softly over three discreet keyboardists including the composer on celeste.” (All Music Guide) Completely dried up Japanese pressing for peanuts. Price: 125 Euros |
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297. BROWN, MARION & GUNTER HAMPEL: “Reeds ‘n Vibes” (IAI Records/ Nippon Phonogram – RJ-7450) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Japan 1st original pressing all complete with obi – WHITE label PROMO issue. Largely overlooked but nevertheless bewitchingly beautiful improvisational interplay recording between two titans. Recorded and released in 1978, Reeds ‘n Vibes is an introspective and abstract meditative, quixotic and lyrical, sonorous and fleetingly graceful document that brings both Brown and Hampel together in a unique setting. Brown inhaled the old jazz tradition and exhaled here in return something uncanny, visceral, and startlingly new through his horn. He makes it sound solemn as an old spiritual, stripped down to the bare minimum and as meditative as a prayer meeting all at once. Perfectly finding common ground between his horn and the vibes of Gunter Hampel, which lean from a deep groove meditation on one end to a blissful drone on the other. Together they bring forth a wide range of expression, but it’s all stunningly expressed and built up into something introspectively majestic. There’s an overarching sense of profound beauty throughout it all. The music enters a phase of atmospheric, soulful composition that was simultaneously joyful and strange, balancing moments of melodic vibrancy with minimalist overtones. Even for the secular listener, this is an album that speaks of something beyond this realm. There’s a restrained groove about it at most times, but the duo is often reaching toward something greater and more intangible. It’s a highly different form of spiritual jazz than, say, John Coltrane’s chaotic Ascension. The feeling here is intense, but it’s also one that you wouldn’t have a hard time with getting deeply lost within all of the sounds. Top condition Japan 1st original pressing with obi & White label PROMO! Price: 75 Euro |
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298. BROWN, MEL: “I’d Rather Suck My Thumb” (Impulse – AS-9186) (Record: Near Mint/ Gatefold Jacket: Near Mint – still firmly housed in original shrink!!!/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Direct Import Obi: Mint). Very first original US pressing of 1970 in TOP condition. Time-machine copy – virginal all the way, sleeve still housed in shrink and comes with impossibly rare Japan Direct Import OBI!!!! Largely overlooked fender-bender of a disc, one of Impulse discarded releases that is in need for an urgent reappraisal. Mel Brown showcases butt-whipping guitar chops and licks that can ignite a fire under the most limpid of dicks. Indeed, he is a versatile player who gets a lot of tone a color out of his instrument, his stylings are well-informed through the jazz tradition while equally steeped in blues, funk and soul, giving body to his authentic mixture, which also has the tight funky undercurrent you can expect from groovy Impulse too! Brown's got a strong blues lineage in his instrument, but he plays it here with a lean, mean style that's mighty nice – no cliches at all, and some of the funky jazz vibe you'd hear from Melvin Sparks or Grant Green on their late 60's work for Blue Note. Blessed with some very groovy arrangements, the record is impregnated with a vamping, stomping sort of sound that's all-soul all the way through – using both Mel's guitar and some of his vocals to top some wonderful grooves – all done up in the best mix of soul jazz and more conventional vibes that was going down at Verve and Impulse in the late 60's. Especially the 11 minutes track “Eighteen Pounds of Unclean Chitlings” is one that brings down the house! Mint copy, housed in shrink and with direct import obi…awesome!!! Price: 75 Euro |
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299. BRUBECK, DAVE QUARTET: “Time Out” (Nippon Columbia – YS-214) (Record: Excellent ~ Near Mint/ Fragile
Flip Back Jacket: Excellent ~ Near Mint/ Obi: Near Mint) Very first Japan
original press issue from 1962 all complete with very first obi. Easily the
crowning moment of genius for the legendary Dave Brubeck Quartet – the moment
when all things came together magically, and the group somehow elevated
themselves to a whole new level in jazz! At the time of the set, Brubeck, Paul
Desmond, and the rest had already been making plenty of waves with their
creative yet swinging approaches to modern jazz – heard on a number of
successful albums for Fantasy and Columbia in the 50s. But with this record,
they really knocked one out of the park – blending Desmond's cool alto,
Brubeck's unusual piano phrasing, Joe Morello's melodic drum work, and Eugene
Wright's pulsating bass into a waltzing, almost modal groove that crossed over
too many camps at the time! The classics "Take Five" and "Blue
Rondo Ala Turk" were both hits on their own – but all titles are great!
Hardly ever seen 1962 Japan 1st press original in great shape and with rare OBI
present. Price: 175 Euro
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300. 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!!!! |
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301. BUBBLE PUPPY: “A Gathering of Promises” (International Artists – IA-LP10) (Record & Jacket: SEALED). Top copy, 1st original issue, 1969. Rare SEALED original complete with Hype Sticker on the outer shrink. Perfection!!! The Bubble Puppy’s album is definitely one of those classics, and as a Texan psychedelic rock band, they formed in 1966 in San Antonio. Loosely based on the concept of dual lead guitars, the band moved in 1967 to Austin, Texas and signed a recording contract with Houston-based International Artists, home to the 13th Floor Elevators and the Red Krayola. In 1969, lightning stuck and the Puppy burst onto the U.S. Top 20 with “Hot Smoke and Sasafrass,” a slashing, frenzied 2:33 freak-out that kicks off the band’s brain-bending debut. The record “A Gathering of Promises” the group’s sole International Artists album, stands out from the rest of the roster with its rich vocal harmonies and heavier, Cream/Hendrix/Who sound. The Bubble Puppy’s catching appeal was embedded in its potent combination of throwing together soaring, fuzz-drenched guitars with disjointed drumming, well thought arrangements, and catchy graceful harmonies. Their sole International Artists album may be far removed from the deep acid psych of the Elevator’s Easter Everywhere or The Golden Dawn’s ‘Power Plant’, but it still remains highly enjoyable, being a lot more instant and easy to like and one of the label’s most refined rock efforts. Rare Sealed copy complete with hype sticker. Price: 600 Euro |
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302. 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!!! |
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303. 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:
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304. BUCKLEY, TIM: “Greetings From L.A.” (Warner Pioneer Japan – P-8283W) (Record: Mint/ Gatefold Jacket with Postcard still in it: Excellent/ Obi: Mint). Rare 1st edition Japanese pressing complete with always missing obi. When reading around about Buckley’s last recorded album, I was surprised to see that many are called to slag this album off. In my book, it is still an as great a disc as his previous records. By the time this record was in the making, Buckley had grown disenchanted with the music business and its commercial expectations that he composed this perverse opus as a mockery of that sleazy, bottom-line world. Bitterness seems to fuel many of the songs, which describe the sordid state L.A. had gotten into by the early '70s, stomping the already rotting corpse of flower power still further into the ground. Gone was Buckley the tender folkpoet, and in his place was a raging lounge lizard who plied a slick funk-rock designed as a backdrop to makeout scenes. The songs are full of assured swing and deft melodic sense. Needless to say, Buckley sings the hell out of every tune, his voice glidingand swooping elegantly over the music. He may have lost hisinnocence by this point, but he clearly hadn't lost his touch. In short, still a brilliant killer slide. One of his best just like all the rest. Rare Japanese pressing on high quality vinyl complete with rarely seen obi. Price: 200 Euro |
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305. BUCKLEY, TIM: “Happy Mad” (Private) (Record: Near Mint/ Jacket: Near Mint). Bloody rare Tim Buckley bootleg from decades ago. This one is probably his most known and search after, still copies are scare and far in between. Tim Buckley live recordings on wax are virtually inexistent. This recording here – which has great sound quality – were taken from a Danish radio broadcast in 1968 and from the Top Gear BBC radio broadcast in 1970. Amazing stuff and probably my favorite of the bunch. Price: 150 Euro |
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306. BUCKLEY, TIM: “The Poet Who’s Gone” (TB Records) (Red Wax Record: Near Mint/ Jacket: Near Mint). 200 copies issues, this one being 084/200. Another vintage Buckley live recording on LP, one that also came out decades ago. Another jaw-dropping live recording taken from a concert he staged at Knebworth in 1972. Sound quality is quite good seen the source and depicts a later-day Buckley and band ripping through songs like “Nighthawkin’”; “Dolphins”; “Get On Top”; “Buzzin’ Fly”; “Sweet Surrender” (blood curdling version that sets your neck hairs up and straight for days on end) and “Honey Man”. The rarest of the Buckley live recordings on wax, only 200 were made…Price: 150 Euro |
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307. BUCKLEY, TIM: “Blue Obsession” (Private) (Record: Near Mint/ Jacket: Excellent). The most obscure of all Tim Buckley live recordings is this one, recorded shortly before he passed away. The live material is culled from a concert he did at Starwood in 1975 and depicts Buckley more outward bound than he ever was. Tracks include: “Buzzin’ Fly”; “Nighthawkin’”; “Dolphins”; “Get On Top”; “Devil Eyes” and “Finale”. Sound quality is good and the music even better. Again released in a beyond minuscule run, making it obscure for ever. Highest recommendation. Price: 150 Euro |
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308. BUDD, HAROLD: “The Pavilion of Dreams” (Obscure/ Editions EG – Polydor – 25MM0154) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Excellent – repaired upper seam). Scarce 1982 Japan original all complete with obi. Produced by Brian Eno in 1978, The Pavilion of Dreams stands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich's Music For 18 Musicians. Budd's gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, The Pavilion of Dreams remains a master class in exquisite timbre and shimmering texture. The Pavilion of Dreams was both the final release on Eno's Obscure imprint and a transition point towards his seminal ambient series. Price: 150 Euro |
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309. BUDD, ROY: “Goodbye Carter b/w Livin’ Should Be That Way” (Odeon – OR-2951) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare 1971 Japan only single issue of killer Roy Budd slide. Two loose polyrhythmic funk groovers guiding you through a psychic maze of intoxicating sounds. Comes housed in beautiful picture sleeve to boot. Rare as hell, does not surface that often, especially in a nice shape. Highest recommendation! Price: 250 Euro |
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310. BUDD, ROY - OST – GET CARTER: “S/T” (Odeon – OP-80424) (Record: Near Mint ~ Mint/ Jacket: Near Mint with faintest trace of foxing on back/ Obi: Near Mint). TOP copy, original Japan only 1971 issue. Freakingly rare original pressing, only released in Japan in 1971, never saw a UK or US release. Top condition. As Herbie Hancock's "Blow Up" soundtrack matched the director, I can't think of a soundtrack that better matches the cool of Michael Caine than "Get Carter". Roy Budd, a jazz and “easy listening” specialist, who worked well outside his previous boundaries for this film, composed the distinctive music in the film. The theme tune features the sounds of Caine's train journey from London to Newcastle. Budd and two other jazz musicians, Jeff Clyne and Chris Kara, played all the music. The soundtrack was only been released in Japan. The ODEON-label, mainly known for its Japanese Beatles releases is said to even have some releases, including the famous Roy Budd-score "Get Carter", starring Michael Caine in one of his best performances (advertisement slogan on British buses, when the movie was shown in GB: "Caine is Carter and Carter is Caine"!), to melt them down due to a vinyl shortage and in order to repress some Beatles LPs ... Most likely only a rumor, but at least a scaring one and considering the amounts, Japanese "Get Carter"-copies went before its vinyl and CD-re-issue by the British Castle-label, a possible explanation for its incredible scarcity ... and bloody scarce it is. Never seen a mint copy up for sale – let alone with obi present – of this funky butt-shaker, but here is a complete copy finally. Top condition, funky ass-kicking music and in order to wheel it in, you better kick your own ass and make a solid move. Never ever saw a mint copy offered before for sale complete with obi, hideously rare as you might know, so act accordingly. Price: Offers!!!!!!! |
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311. BUFFALO SPRINGFIELD: “Bluebird b/w For What It’s Worth” (Atlantic – P-1071A) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint) Damned rare BLUE label PROMO issue of first Japanese EP release by Buffalo Springfield that saw the light of day for the first time in September 1971, quite late as opposed to the US release. Comes housed in beautiful Japan only illustrated picture sleeve. This was the 3rd single to come out by the band in Japan. Top condition & rarely seen promo issue. Price: 175 Euro |
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312. The BUFFALO SPRINGFIELD: “Bluebird b/w Mr. Soul” (Atlantic – DAT-1032) (7 Inch Single Record: VG++ ~ Excellent/ Flip Back Picture Sleeve: VG++ ~ Excellent). Nice copy in decent shape of rarest Buffalo Springfield released Japan only picture sleeve issue. Record is EX, has some very faint sleeve lines visible under a bright light and plays EX, really clean. The picture sleeve has a faint wrinkles on sleeve opening side and faint signs of wear but nothing too serious. So price also comes cheap seen in that light. Price: 250 Euro |
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313. BUFFALO SPRINGFIELD: “Buffalo Springfield Again” (Warner Japan/ Reprise – P-8054A) (Record: Near Mint/ Jacket: Near Mint/ Rock Age Flower Obi: Excellent ~ Near Mint/ Insert: Near Mint). Top-notch first Japanese pressing of this Buffalo Springfield album, complete with the salivatingly awesome “Rock Now Flower Obi”, insert in top condition. Their rarest Japanese release!!! Wow, another totally wicked Buffalo Springfield item, Canada’s finest rock combo. Everyone needs some Buffalo in their lives so this one is the perfect side to do it with. Also top-notch condition, I do not believe cleaner copies exist. I must be delusional wanting to part of such unload such gems…Price: 600 Euro |
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314. BUFFALO SPRINGFIELD: “Last Time Around”(Warner Japan/
Reprise – P-8055A) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Rock
Age Flower Obi: Mint/ Insert: Mint). Flawless copy, next to impossible to
upgrade upon this one. Top-notch first Japanese pressing of this Buffalo
Springfield album, complete with the salivatingly awesome “Rock Now Flower Obi”, insert in top condition. Their ultimate rarest
Japanese release!!! Original 1st Japanese pressing of their last
album after which Young, Stills and Murray each went their separate ways.
Containing the ear-shattering “I Am A Child”. Total classic and indispensable. Found another one,
which is a small miracle. Previous copy went out for heavy offers, this one
comes dead cheap...rarest Buffalo Springfield Japan issue!!! Price: 600 Euro |
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315. BUFFALO SPRINGFIELD: “Buffalo Springfield” (Warner Pioneer – P-5124~5A) (2 LP Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Top condition and all complete Japan original pressing throwing together and spread out over 2 LP’s some of the Buffalo Springfield’s finest moments and peaks. Top condition and flawless copy. Price: 50 Euro |
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316. BUNALIM: “S/T” (Shadoks) (Record: Near
Mint/ Faux Leather Heavy Gatefold Jacket: Near Mint). Wow, this baby is a
vicious one, the best Turkish psych album so far to these ears, easily
obliterating the competition of fellow Andalusian fuzz mongers Erkin Koray,
Baris Manco and Edip Akbayran. So with that said you know you are in for a
bloody head spin. Formed in 1969, Bunalim quickly became notorious as Turkey’s
dirtiest and sickest psychedelic combo. Compared to their highly acclaimed
(rightly so) fellow scenesters, Bunalim were probably the sole ones to really
adhere to a brain melting psyched out aesthetic. Lightshows, running naked through
the streets of Istanbul, supporting the use of
hallucinogenic mind candy and other paraphernalia-like elements that would make
up the scene of that day in any given Western country. What makes them so
adventurous and far out is that the setting is not a brain-dead, moron infested
place like the fashionable Haight Ashbury but instead bloody Islamite Turkey
with its repressive political climate. These guys were hardcore and meant
business, which reflects in their music – vicious, fuzz infested deranged
wailing sounds exerted by dope crazy apple tea sipping maniacs. In their
lifetime, the band never released a full length album.
Only 5 singles were cut and distributed amongst those in the know. So
thankfully Shadoks stepped in and released this first full length brain torcher
of an album, stuffed with old material from their hey-days and housed in a
thicker than life fold out jacket. Loads of cool pics inside that make the
wimps of Iron Maiden look like kindergarten yuppies. Long out of print deluxe
issue that was issued in a run of only 400 copies. Price: 75 Euro |
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317. The BURESSUN MAN b/w MOONLIGHT ’71: “Okurete Kita Gekko Gamen” (King – BS-1388) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint). 2nd time only I ever came across this psychedelic rarity. Still totally undiscovered acid fried brain melter!!! Ultra rare 1971 Japanese single only psychedelic weird hell broth masterpiece that is still unknown to the outside world. Here you have a disc where you can wrap your brain around without ever hoping your life will be the same again. So what is this little gem all about? Made up out of two tracks, the first side focuses on a totally off-the-hook rendition of a famous early sixties TV title tune to the series “Gekko Gamen”. But here the title tune has been reworked, raped sideways by some psychedelic hoodlums and spiked up with some deliriously fragmented old-skool rural demented ramblings and tape fragmented snippets of old women choruses running havoc against a rocking and rambling blistered up whirlwind frenzy. This is like pre-war rural Japan meets lysergic acid causalities anno 1971. The second side is more psyched out in its approach and totally instrumental and combines the forces of Happenings Four mastermind Kuni Kawauchi with the sneering acid guitar fuzzadelic licks by hired gunslinger Kimio Mizutani, creating a psychedelic tornado of funked up and beefed down heavy butt shaking acidic dementia. Just totally awesome, much searched after by the hip DJ in-crowd in tune with their psyched out roots in order to spice their tittie shaking sets up. A real ball buster of a disc, very hard to get and unbelievably intoxicatingly great. Unreissued for all these years/ non-LP tracks by this group that only cut this EP and this will probably remain so due to its format. Highest possible recommendation. And you thought to be in tune with Japanese vintage psych? Forget it, this is only just beginning, like peeling the layers of an onion to unearth one treasure after another hidden from the outside world for all these years. This is one of such treasures so forget your Pokora’s, this goes way way deeper. Price: 200 Euro |
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318. BURNING SPEAR: “Rocking Time” (Forward Records/ Studio One – SOL-1123) (Record: Excellent/ Jacket: Near Mint). 1974 very first Jamaica press issue on the Forward label with following Matrix Number being HM-2426. Although label states California USA, it was a straight Jamaican press issue. “Winston Rodney is, hands down, one of reggae's (or any other genre's) most prolific artists. His unorthodox singing styles range from subtle whisper, through mystical chant, to painful wailing without warning. In the late '60s, as the popular dance tunes of the rocksteady era began to give way to an influx of Rasta consciousness, Rodney (who adopted the Burning Spear moniker from a Kenyan freedom fighter) cut two records for Studio One's Clement Dodd that were subsequently overshadowed by his more celebrated releases on Island/Mango Records. Studio One has re-released these gems, many of which are being heard for the first time in 30 years. This is cosmic reggae at its rawest, before the sound became super-produced. The set is the very epitome of conscious music with soul-drenched cuts such as "Bad to Worse" and the haunting "Weeping and Wailing" (later re-recorded as "Wailing" on Burning Spear's 1977 album DRY AND HEAVY). Rocking Time is a highly recommended glimpse into the origins of a legend.” (All Music). Price: 400 Euro |
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319. BURRELL, DAVE: “Echo” (BYG Records/ Nippon Columbia – BYG-20) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Mint/ Obi: Near Mint) Most sought after BYG/ Actuel title – together with Sonny Sharrock – that was issued as a Japanese pressing with OBI. Has been exactly 11 years since I last had a copy with obi. One of the greatest titles to be released on the label, totally burning, all incinerating blast of unrelenting power and freedom. This is IT. Rare Japanese original press with obi. Personnel for this monger consists out of Clifford Thornton (cornet), Granchan Moncur III (trombone), Arthur Jones (alto), Archie Shepp (tenor), Dave Burrell (piano), Alan Silva (bass), Sunny Murray (drums). The title track of Echo is a submergence in sound that begins as a collision. The simultaneous eruption isn’t cacophony so much as a wave of music, which, like the booming churn of the ocean, leaves you awash in particles of piano chords, horn bleats, drum rolls and thrumming bass. It was inspired by the augmented interval Burrell heard between ambulances and police cars while the same septet played at the Pan African Cultural Festival. The horns are Archie Shepp (tenor), Arthur Jones (alto), Grachan Moncur (trombone) and Clifford Thornton (cornet), with Burrell’s piano, bassist Alan Silva and the incomparable drummer Sunny Murray in the rhythm section. The other 20-plus minute track on Echois entitled “Peace,” built around a “do-ri-me” ascension on the scale. It is more orderly, dreamlike and Euro-classical in form, especially in the horn voicings, but quieter and less raucous only by comparison.Heavy duty workout, not for the faith hearted. All time classic and indispensable in any self-respecting collection. Rare to say the least. Price: 250 Euro |
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320. BURRELL, DAVE: “La Vie de Boheme” (BYG Actuel – BYG-29) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Rare JAPAN original pressing – WHITE label PROMO issue. Rarely seen Japan original, top shape. “Joining Burrell on this adaptation of Pucinni's La Vie de Boheme are a number of fine players who should prove familiar to those already acquainted with the BYG Actuel series. This cast would include trombonist Grachan Moncur III, drummer Claude Delcloo, reedman Kenneth Terroade, bassist Beb Guerin and Ric Colbeck on both trumpet and piano harp. Eleanor Burrell is on hand as well and provides periodic vocal accompaniment. This session should serve as a fine example of the similarities between the free jazz and classical worlds. While it would be difficult to argue that Pucinni's original opera had anything to do with avant-garde jazz, the performances found here clearly display a reverence for the aesthetic of the original. There is a great deal of improvisation on this record, to be sure, but the major themes from each act -- when referenced -- are performed in a way that is neither ironic nor overly strict. In this sense, one could consider this an extended improvisation influenced by La Boheme rather than a straight performance. Otherwise, listeners unfamiliar with the original opera should find this to be an enjoyable listen as well. Like most sessions featuring Grachan Moncur III, this set is highly recommended for those who like the quieter, reflective side of free jazz.” (All Music Guide). Price: 75 Euro
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321. BURRELL, DAVE: “La Vie de
Boheme” (BYG Actuel – actuel 30/ 529.330) (Record: Near Mint/ Gatefold Jacket:
Near Mint). French original pressing – black label. One of the more difficult
titles on the Byg Actuel label to track down is this one. “Joining
Burrell on this adaptation of Pucinni's La Vie de Boheme are a number of
fine players who should prove familiar to those already acquainted with the BYG
Actuel series. This cast would include trombonist Grachan Moncur III, drummer
Claude Delcloo, reedman Kenneth Terroade, bassist Beb Guerin and Ric Colbeck on
both trumpet and piano harp. Eleanor Burrell is on hand as well and provides
periodic vocal accompaniment. This session should serve as a fine example of
the similarities between the free jazz and classical worlds. While it would be
difficult to argue that Pucinni's original opera had anything to do with
avant-garde jazz, the performances found here clearly display a reverence for
the aesthetic of the original. There is a great deal of improvisation on this
record, to be sure, but the major themes from each act -- when referenced --
are performed in a way that is neither ironic nor overly strict. In this sense,
one could consider this an extended improvisation influenced by La Boheme
rather than a straight performance. Otherwise, listeners unfamiliar with the
original opera should find this to be an enjoyable listen as well. Like most
sessions featuring Grachan Moncur III, this set is highly recommended for those
who like the quieter, reflective side of free jazz.” (All Music Guide). Price:
65 Euro
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322. BURRELL, DAVE: “Only Me” (Trio Records –
PAP-9025) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI:
Excellent). Rare and hardly offered Japan only issue that saw the light of day
in 1974. This is white label promo issue. Top condition. The side-long track
“8th Ave, Rendezvous Blues” is nothing short of totally bewitchingly awesome,
one which Burrell displays that he is the ultimate free jazzing silver key
pounder par excellence. Largely overlooked in his discography but rubbing
shoulders with his excellent BYG recordings, this one is so
indispensable … highly recommended. Price: 50 Euro |
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323. BURRELL, KENNY: “S/T” (Top Rank – RANK-5053) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ OBI: Near Mint). Top copy of Japan very 1st press issue of subliminal Burrell slide. Deep Groove WHITE label PROMO all complete with rare first issue OBI. Guitarist Kenny Burrell, 25 at the time, is heard during one of his earlier sessions playing in his already recognizable straight-ahead style with a quintet that also features the underrated baritonist Cecil Payne, pianist Tommy Flanagan, bassist Doug Watkins and drummer Elvin Jones. This album is a bit brief in time but contains plenty of fine swinging on tunes such as "Don't Cry Baby," "Drum Boogie," "All of You" and Bud Powell’s "Strictly Confidential." It's highly enjoyable music. Never turns up with obi. Price: 300 Euro |
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324. The KENNY BURRELL TRIO: “A Night at The Vanguard” (Globe/ Victor Records – SMJ-7104) (Record: Excellent/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Scarce japan very first original press issue with obi. A killer and hip live date of Kenny Burrell that may well be highly ranked as one of his very best efforts. The spontaneity and freshness of Burrell’s lyric lines and deft chords is further enhanced by perhaps the most advanced musicians he has ever played with, recorded with a trio that includes Richard Davis on bass and Roy Haynes on drums – both of whom help Kenny find a groove that's a bit lighter and more fluid than usual! The rhythms here are quite gentle, almost spare at times – and always touched with Haynes' great sense of lyricism. Kenny's guitar lines are right out front, freely flowing with plenty of warm chromatic hues, and styles that echo a bit more modernism than we've heard in other work of his from the late 50s. For music done in 1959, this is heady, seat-of-the-pants, brilliantly executed jazz that is mostly based in standards, but stretched to exacting tolerances that bend, but are not close to breaking. Most of the material is very upbeat and energetic as on the fast and quick "Will You Still Be Mine," and the bop swing of "Broadway" mixed up a little melodically by Burrell. So good, it almost hurts! Tears of joy! Price: 125 Euro |
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325. BURRELL, KENNY: “All Day Long” (Prestige/ Nippon Victor – SMJ-7196) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Damned scarce Japan very first press issue all complete with seldom seen or offered first issue obi still present. Guitarist Kenny Burrell and the young all-stars (trumpeter Donald Byrd, Frank Foster on tenor, pianist Tommy Flanagan, bassist Doug Watkins and drummer Art Taylor) sound fine on the four group compositions, but the 18-minute blues "All Day Long" is easily the most memorable selection. Top shape. Price: 75 Euro |
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326. BURRELL, KENNY: “Introducing Kenny Burrell” (Blue Note/ King Records – BLP-1523/ GXK-8011) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean Japan high quality Blue Note MONO pressing from 1977. Despite its title, this LP was actually guitarist Kenny Burrell’s second Blue Note album, although the first to be released. Teamed with pianist Tommy Flanagan, bassist Paul Chambers, drummer Kenny Clarke and the conga of Candido, Burrell displays what was already an immediately recognizable tone. At 24, Burrell had quickly emerged to become one of the top bop guitarists of the era, and he is in particularly excellent form on "This Time the Dreams on Me," "Weaver of Dreams" and "Delilah." A bonus of this set is a percussion duo by Clarke and Candido on "Rhythmorama." Brilliant, awesome – only superlatives apply here! Price: 75 Euro |
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327. BURRELL, KENNY: “At The Five Spot Café” (Blue Note/ King Records – BST-84021) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean Japanese high quality original press issue all complete with obi. One of best albums ever from the great guitarist Kenny Burrell -- a smoking live session, and one that's got a bit more of an edge than some of his other records from the time! Kenny's guitar still has that impeccable tone throughout -- but it's also matched by some wonderful tenor from the great Tina Brooks -- making one of his few key Blue Note appearances here -- in a massively cooking group that also features some piano from Bobby Timmons on three of the album's five tracks (Roland Hanna plays on the two others) -- plus drums from Art Blakey, and bass from Ben Tucker -- a pair who work together wonderfully to create some really great grooves. Kenny himself seems to pick up great energy in the setting and is on fire throughout. Awesome slide. Price: 100 Euro |
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328. BURRELL, KENNY: “Midnight Blue” (Blue Note/ King Records – GXK-8116) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high quality Japanese pressing of classic highflying Blue Note title. This album is one of guitarist Kenny Burrell’s best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You." A classic Blue Note that oozes with all that title suggests... Scarce issue with sweet KING records obi Price: 100 Euro |
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329. BURRELL, KENNY: “Midnight Blue” (Blue Note/ Toshiba EMI – BST-84123) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high quality Japanese pressing of classic highflying Blue Note title. This album is one of guitarist Kenny Burrell’s best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You." A classic Blue Note that oozes with all that title suggests...This is the best sounding pressing out there. Was released in a limited run in 1998, pressed on 180 gram virginal Japan-pressed vinyl, directly taken from the Rudy Van Gelder master tapes and cut my sonic maverick supreme and living mastering legend Kotetsu Toru (revered by audiophile nuts) & comes housed in fully coated sleeve. Also the rarest Japense high quality audiophile pressing out there. Press quantity was not that high at the end of the 1990-ties so these babies do not turn up too often. Price: 100 Euro |
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330. BURRELL, KENNY: “K.B. Blues” (Blue Note/ King Records – GXF-3052) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan ONLY issue released in 1979 of unreleased – until then – Kenny Burrell recording. Recorded on 10 February 1957, Kenny Burrell recorded the hidden gem ‘K.B. Blues’, which was released on Blue Note Japan in 1979. An all-star assembly back Burrell as Hank Mobley, Horace Silver, Doug Watkins and Louis Hayes play compositions such as Silver’s ‘Nica’s Dream’ and Lester Young’s ‘DB Blues’. A stunner from start to finish. Price: 100 Euro |
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331. GARY BURTON QUARTET: “In Concert – Recorded Live at Carnegie Recital Hall” (Victor Records – SHP-5737) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint) Very first Japanese original press issue all complete with obi. The final recording by Gary Burton’s classic quartet (features the vibraphonist/leader, guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses mixing together aspects of rock, country and folk music in their advanced improvisations. The material (by Mike Gibbs, Burton, Coryell and Bob Dylan) is quite strong, and there are some hints of the avant-garde seeping through the cracks. Essential listening material. Top shape with very first obi. Price: 40 Euro |
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332. BURTON, GARY: “The Best of
Gary Burton” (RCA/ Nippon Victor Records – SRA-5167) (Record: Near Mint/
Textured Gatefold Jacket: Near Mint/ Obi: Near Mint). Japan only issue that saw
the light of day in 1969. Misleadingly entitled “The Best of Gary Burton”, this
LP is actually a concert recording that took place in February 1968. Burton
gets flanked by nobody else but Larry Coryell, Steve Swallow, Bobby Moses and
Roy Haynes. What a killer line-up. Pristine condition copy. Price: 40 Euro
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333. The GARY BURTON QUARTET: “Duster” (RCA Records – PG-99) (Record: Near Mint/ Jacket: Mint – still housed
in shrink/ Capsule Obi: Mint – still housed in shrink/ Insert: Near Mint). Top
condition copy of one of Burton’s most adventurous slides. Of all the seminal
jazz records of the 1960s, Duster was and remains the most ignored. Upon its
release, the album’s innovative integration of rock and jazz never gained much
traction outside a circle of well-placed supporters. The subsequent,
decades-long neglect of this still luminous program can be attributed to
several factors, not the least of which are the subsequent activities of its
principals, vibist Gary Burton and guitarist Larry Coryell. Though Burton
continued to produce substantial albums for ECM into the mid-’70s, he faded
into teaching, and now makes amiable, unadventurous albums; it has taken
Coryell most of the intervening years to regain most of his stature after his
’70s fusion excesses. Yet, for a couple of years, Burton and Coryell crystallized
the tenor of the times in four excellent dates for RCA, of which ’67’s Duster
was the first. It also can be considered one of the first fusion records.
Vibraphonist Gary Burton had just added the young rock/blues guitarist Larry
Coryell to his quartet (which also included bassist Steve Swallow and drummer
Roy Haynes), and Coryell's influence can be felt throughout the performances.
Although Burton's basic sound had not changed during from the previous year,
his openness toward other styles made his Quartet one of the most significant
jazz groups of the period. This was the first of the four Burton-Coryell
recordings. Price: 40 Euro
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334. PAUL BUTTERFIELD BLUES BAND: “Walkin’ Blues – Get Out of My Life Woman b/w Work Song – Mary, Mary” (Victor Records – SJET-524) (4 Track Single EP Record: Near Mint/ Flip Back Picture Sleeve: Near Mint). Seldomly seen Japan only 4 track EP that comes with cool sleeve art. One of only a very few Japanese single pressings for the Paul Butterfield Blues Band. First time ever I could lay my hands on a copy and this one is in top shape. Price: 150 Euro |
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335. PAUL BUTTERFIELD BLUES BAND: “S/T” (Victor Records/ Elektra – SJET-8173) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Die Cut Wrap Around Cut-Out Obi: Near Mint ~ Mint). Damned rare Japan 1st original pressing as released on September 1969 on the blue-toned Electra/ Victor LP with the guitar player logo by the Paul Butterfield Blues Band, all complete with hardly ever-seen cut out wrap around obi!!! Bloody rare in this condition with cut out obi present. Music wise I guess you know the drill, top level West Coast prime white blues thrills and chills, Butterfield and Naftalin rule in my hemisphere. This copy is virginal all the way, best condition imaginable with no foxing, obi is pristine and perfect and the record itself appears to be barely touched. Impossible to ever upgrade upon. Price: 475 Euro |
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336. The BUTTERFIELD BLUES BAND: “The
Resurrection of Pigboy Crabshaw” (Victor Records – SJET-8084) (Record:
Excellent ~ Near Mint, has one hairline/ Jacket: Near Mint/ Obi: Near Mint/
Insert: Near Mint). Original 1st Japanese pressing from December
1968 all complete with 1st issue SJET obi, rarely surfaces all
complete. When
guitar virtuoso Mike Bloomfield left the Paul Butterfield Blues Band to form
Electric Flag, many cynical scene watchers thought the Butterfield Blues Band
was down for the count. However, with Elvin Bishop’s magnificent metamorphosis
to lead guitar player on The Resurrection of Pigboy Crabshaw, those
nattering nabobs were quickly quieted. The album, titled in honor of Bishop’s
nickname, found the band moving in an R&B direction, aided by the addition
of a horn section manned by David Sanborn, Gene Dinwiddle and Keith Johnson.
This newly-minted ensemble is especially potent on tracks like “Born Under a
Bad Sign,” “Double Trouble” and “Drivin’ Wheel.” Far from being over, the Butterfield
Blues Band launched a new phase of their career with the release of this
seminal album. Rare 1st original Japanese pressing with rare SJET
obi. Price: 375 Euro |
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337. The BUTTERFIELD BLUES BAND: “In My Own
Dream” (Victor Records – SJET-8102) (Record: Near Mint/ Jacket: Near
Mint/ Obi: Excellent ~ Near Mint/ Insert: Near Mint). Rare Japan 1st original pressing that was released on March 1969. Comes complete with the
insert and the first issue rare SJET type obi. Fresh from their triumphant
appearance at the Monterrey International Pop Festival in June 1967, the Butterfield
Blues Band entered the studio to record their fourth album, In My Own Dream. It
chronicles the evolution of the band, continuing to add elements of jazz and
R&B to its traditional blues approach. The horn section, staffed by David
Sanborn, Gene Dinwiddle and Keith Johnson, was featured throughout the album,
sharing the spotlight with guitarist Elvin Bishop and band leader Butterfield’s
signature harmonica runs. Throughout the tracks, there is a spirit of a band
being reborn and that exuberance jumps from the grooves with each listen. Beautiful condition and damned rare all complete. Price: 375 Euro |
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338. BUZZCOCKS: “A Different Kind Of Tension” (Union Record – GP-766) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Excellent). Rare Japan 1979 original pressing. A Different Kind Of Tension was the Buzzcocks' third studio album, recorded at Eden Studio in West London and released in September 1979. The packaging of the Japanese pressing is a wonder to behold with the nice obi flashing its colors and the nice 4 paged insert. As far as the music is concerned, it's conceivable that internal friction helped inspire the title of the third Buzzcocks LP; the group would splinter shortly after the album's 1979 release. But they went out with a bang, marshaling one of their most diverse and exciting sets of songs under the guidance of producer Martin Rushent. The breakneck pace of their first recordings is well represented by such tracks as opener Paradise, though by the closing sound collage Radio Nine, chief songwriter Pete Shelley has managed to indulge his more experimental side as well – without ever abandoning the trademark Buzzcocks wit and emphasis on melody. Top copy Japan original press that only sporadically surfaces on these shores all complete with obi and insert liners. But that aside, such a killer LP!!! Price: 175 Euro |
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339. BYARD, JAKI: “Hi-Fly” (Prestige/ Nippon Victor – SMJ-7200) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan very first original press issue all complete with damned rare obi. “Following the success of Here’s Jaki, the eclectic pianist continued his explorations in a trio format, with Pete La Roca replacing Roy Haynes on the drums. The set mixes standards with some forgotten gems, plus three originals. The "Excerpts from Yamecraw" is an updated version of the nearly forgotten James P. Johnson orchestral suite, which is complimented here by the Byard original "There Are Many Worlds," which was also written for an orchestra. "Tillie Butterball" is a fun blues romp based on a puppy and a bowling alley. Byard's distinctive approach is evident on Randy Weston’s title track "Hi-Fly" and George Shearing’s "Lullaby of Birdland," while his debt to Thelonius Monk, sprinkled throughout this session, is obvious on "'Round Midnight." What makes this session special, however, is his original "Here to Hear." His multi-influenced compositional style matched by his versatile technique is explored at length. There are certain pieces that can never be interpreted by anyone else but the composer, and that is the case here, for it would be virtually impossible, and futile, to try and duplicate the individual genius of Jaki Byard. This stands as one of his best.” (All Music). Just stellar and top condition original for cheap. Price: 150 Euro |
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340. The BYRDS: “Eight Miles High b/w Why” (CBS – LL-927-C) (Single EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Original 1966 Japan 1st original pressing, housed in Japan only sleeve art and in great condition!!!. One of the harder to track down Japan only Byrds single issue. Killer two-sider!!!! Price: 150 Euro |
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341. The BYRDS: “Mr. Tambourine Man” (Nippon Columbia – YS-510-C) (Record: Near Mint ~ MINT/ Flip Back Jacket: Near Mint ~ MINT/ Insert: Near Mint ~ MINT/ Company Inner Sleeve: Near Mint - MINT/ Obi: Near Mint ~ MINT). Bloody rare Japan 1st original press issue that came out in October 1965 and which comes all complete with hardly ever seen first issue OBI. Flawless condition – time-machine copy that looks untouched and unplayed, impossible to ever upgrade upon. “The album that defined folk-rock still sounds fresh and exciting. The Byrds would move in decidedly more complex directions soon enough, but never again made an album so consistently good, so overflowing with gorgeous harmonies and 12-string guitars. All of the experiments work: the multiple Dylan covers, the re-working of ‘We’ll Meet Again’ into a rock/ pop song, the Beatles-inspired originals and revamped folk songs arranged as if they are one and the same. The only possible criticism is that the album is short on songwriting but since their musical vision is so singular and so consistent, there’s no way to quibble with any of the song choices, which stack up upon each other perfectly. In fact, it’s arguably this rivals or even tops Rolling Stones Now as the best ever rock and roll album not to be predominantly made up of an artist’s own songs (only 4 of the 12 tracks are originals). It’s also noteworthy that Jackie De Shannon, whose work from a year or so before is the most direct and clear forerunner of the folk-rock sound and who may to this day be the most underrated songwriter of the 60s and early 70s, wrote the lovely ‘Don’t Doubt Yourself’ Babe’, understanding The Byrds’ sound and style perfectly” (AM – Endless Trip). Best account and spot on review ever on this magical LP. Top original copy, mint all the way – very first flip back sleeve issue with damned rare OBI complete!! The rarest Byrds album to seep out of Japan or anywhere else for that matter. Price: Offers!!!! |
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342. 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!!!!!! |
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343. The BYRDS: “Younger Than Yesterday” (CBS – NIPPON COLUMBIA – YS-824-C) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT/ 360 OBI: Near Mint ~ MINT/ Company Inner Sleeve: Near Mint). Bloody rare first original Japanese pressing from July 1967, complete with seldom seen OBI and in PERFECT virginal condition. Never seen a more perfect condition copy as this baby here. Younger Than Yesterday, the Byrds' fourth album — and in some people's eyes, the pinnacle of their art — wastes no time, bursting out of the gates with still another national smash, "So You Want To Be A Rock 'N' Roll Star." Spotlighting the jazzy trumpet of Hugh Masekela, this paean to outrageous rock stardom was a highlight of the Byrds' appearance at the Monterey Pop Festival, possibly the most thrilling gathering of the musical tribes, ever. Every bit as exciting was "Have You Seen Her Face," the album's second radio hit. A return to space-rock, "C.T.A.-102," should have been nominated for a Hugo, the annual prize for the best work in science fiction. The standout track of Yesterday, nevertheless, is "My Back Pages," a good bet as the best-ever blend of lush Byrds harmonies and jangling guitar with Bob Dylan at his Finnegan's Wake lyrical best. Insanely rare FIRST ORIGINAL Japanese Pressing of 1967 with never offered before FIRST ISSUE 360 Columbia OBI!!! Top condition. Price: Offers!!! |
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344. The BYRDS: “Younger Than Yesterday” (CBS SONY – SONP-50306) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Second press issue from 1970 complete with rare capsule obi. Although a 2nd press issue, still one that rarely surfaces. It was released by CBS Sony when the license shifted from Columbia to the Sony threshold. Price: 150 Euro |
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345. The BYRDS: “Mr. Tambourine Man” (CBS Sony – SONP-50183)
(Record: Mint/ Jacket: Mint/ Capsule Obi: Mint/ Insert: Mint). Rare original Japanese pressing from 1969 in
totally mint condition!!! “The album that defined folk-rock still sounds
fresh and exciting. The Byrds would move in decidedly more complex directions
soon enough, but never again made an album so consistently good, so overflowing
with gorgeous harmonies and 12-string guitars. All of the experiments work: the
multiple Dylan covers, the re-working of ‘We’ll Meet Again’ into a rock/ pop
song, the Beatles-inspired originals and revamped folk songs arranged as if
they are one and the same. The only possible criticism is that the album is
short on songwriting but since their musical vision is so singular and so
consistent, there’s no way to quibble with any of the song choices, which stack
up upon each other perfectly. In fact, it’s arguably this rivals or even tops
Rolling Stones Now as the best ever rock and roll album not to be predominantly
made up of an artist’s own songs (only 4 of the 12 tracks are originals). It’s
also noteworthy that Jackie De Shannon, whose work from a year or so before is
the most direct and clear forerunner of the folk-rock sound and who may to this
day be the most underrated songwriter of the 60s and early 70s, wrote the
lovely ‘Don’t Doubt Yourself’ Babe’, understanding The Byrds’ sound and style
perfectly” (AM – Endless Trip). Best account and spot on review ever
on this magical LP. Top original copy, mint all the way. Price: 200 Euro |
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346. BYRDS: “Fifth Dimension” (Columbia Records – CL-2549) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – still housed in shrink). Top shape US original MONO pressing on the very first label – two-eye Columbia 360 Sound Non-breakable label. "Fifth Dimension" saw the start of The Byrds' gradual move away from their folk-rock beginnings into psychedelia, driven by McGuinn's chiming, jangling 12 string Rickenbacker, and new influences such as Indian Music & John Coltrane. Truly, like the rest of their output stunning material but “Fifth Dimension” probably stand head and shoulders above the rest. Killer slide and majestically classic LP. Top shape US MONO pressing – still housed in shrink with shop sticker prominently displayed on top of the shrink. The shrink itself is EX with some minimal tears/ due to age but still encapsulating the sleeve perfectly. Price: 200 Euro |
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347. The BYRDS: “The Notorious Byrd Brothers” (CBS Sony – SONP-50241) (Record: Near Mint/ Jacket: Mint, still in original shrink wrap/ Capsule Obi: Mint, still in original shrink wrap/ Insert: Near Mint). First original Japanese pressing that came out in July 1970 in exquisite condition. The Byrds pull no punches kicking off their fifth album, 1968's The Notorious Byrd Brothers, with "Artificial Energy," a devastating haymaker aimed at the go-fast generation. In the blink of an eye, they're into the most beautiful baroque folk-rock ever created, the Carole King/Gerry Goffin-penned "Goin' Back." It was the song that caused David Crosby to leave the band (witness the empty horse stall on the cover photo) an odd reaction, considering most of Notorious was layered with a phased and eerie deep-space vibe that seemed to come from another galaxy. "Space Odyssey" is the perfect post-film mint for Stanley Kubrick's intergalactic thriller 2001: A Space Odyssey. The heartbreak of "Draft Morning" says plenty about being eligible for conscription during the Vietnam War, while "Wasn't Born To Follow" was a perfect fit for silver screen epic Easy Rider, whose main characters were based directly on McGuinn and Crosby. Top copy Japan 1st original pressing all complete with capsule obi!!! Price: 200 Euro |
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348. The BYRDS: “Ballad Of Easy Rider” (CBS SONY – SOPL-255) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Top copy, Japan 1970 original pressing that comes in Japan only jacket art. “If Dr. Byrds & Mr. Hyde found Roger McGuinn having to re-create the Byrds after massive personnel turnovers (and not having an easy time of it), Ballad of Easy Rider was the album where the new lineup really hit its stride. Gracefully moving back and forth between serene folk-rock (the title cut, still one of McGuinn’s most beautiful melodies), sure-footed rock & roll ("Jesus Is Just All Right"), heartfelt country-rock ("Oil In My Lamp" and "Tulsa County"), and even a dash of R&B (the unexpectedly funky "Fido," which even features a percussion solo), Ballad of Easy Rider sounds confident and committed where Dr. Byrds & Mr. Hyde often seemed tentative. The band sounds tight, self-assured, and fully in touch with the music's emotional palette, and Clarence White’s guitar work is truly a pleasure to hear (if Roger McGuinn’s fabled 12-string work seems to take a back seat to White’s superb string bends, it is doubtful that any but the most fanatical fans would think to object). While not generally regarded as one of the group's major works, in retrospect this release stands alongside Untitled as the finest work of the Byrds’ final period.” (All Music Guide) Awesome record, comes in Japan only artwork and all complete with delicious cap obi!!! Price: 150 Euro |
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349. The BYRDS: “Ballad Of Easy Rider” (CBS Sony – SOPL-255) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Japan original 1st press issue in immaculate condition that comes housed in Japan only unique sleeve art. Obi is missing so comes dead cheap. Price: 50 Euro |
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350. The BYRDS: “Untitled – Taitoru No Nai Arubamu” (CBS Sony – SOPJ-136〜7) (2 LP
Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert:
Near Mint). 1970 Japan 1st original pressing. “Among the later Byrds albums, Untitled
was always the one to own, even if you weren't a huge fan. It was one of the
few modest commercial successes for the latter-day group. "Eight Miles
High" is the high point, a 15-minute jam that showcases this band's
prowess. The studio sides aren't to be overlooked, however -- the group by this
time was modifying its established sound into more of a '70s mode, and the
influence of new members Gene Parsons and Skip Battin was showing up, pushing
aside the familiar timbre of Roger McGuinn’s 12-string Rickenbacker in favor of
a leaner country-rock orientation. On some of this material, they sound more
like Crosby, Stills, Nash and Young. The only song on the album to get heard by
people other than serious Byrds fanatics was McGuin’s "Chestnut
Mare," but "Truck Stop Girl," "All the Things," the
group's version of Leadbelly’s "Take a Whiff on Me," and, especially,
"Just a Season" (maybe the prettiest song McGuinn has ever written)
also hold up very well.” (Bruce Eder) rare Japan original with obi – first time I
have a copy of this one and it sounds total killer. Price: 150 Euro |
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351. The BYRDS: “Farther Along” (CBS Sony – SOPJ-1) (Record: Near Mint/ Jacket: Mint – still housed in shrink/ Insert: Near Mint/ Cap Obi: Mint – still housed in shrink). Scarce Japan first original pressing of overlooked Byrds album. Farther Along is the Byrds’ first completely self-produced LP, and exists as a kind of backlash to Terry Melcher’s elaborate string and choir-laden production of Byrdmaniax. Farther Along was recorded within three months of Byrdmaniax, so eager was the band to make amends. Because of their closeness in time, their programmatic similarity is not surprising, though the sound has been considerably cleaned up. The personalities which are projected here are of the same cloth as those which in part reach back beyond Byrdmaniax to Ballad of Easy Rider, the first album to identify the new Byrds. Clarence White continues to sing his tight-lipped white-gospel laments; Gene Parsons his lovelorn ballads. McGuinn and Skip Battin both do novelty songs, though in their more serious moments Battin’s songs tend to have a spiritual cast, while Roger’s tend to be pastel tributes to women. Price: 150 Euro |
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352. The BYRON ALLEN TRIO: “S/T” (ESP Disk – 1005) (Record: Near Mint/ Past on Wrap Around Jacket: Near Mint). Original US MONO pressing as released in 1965. The Byron Allen Trio was among the first batch of ESP-Disk' jazz LPs. Recorded on the afternoon of September 25, 1964, at Mirasound Studio in midtown Manhattan, it was Allen's debut. He had been recommended to ESP-Disk' by Ornette Coleman, and one of the tracks, "Decision for the Cole-Man," reflects this connection. Allen and his trio also play in a style somewhat similar to that of Coleman's trio of that era with bassist David Izenzon and drummer Charles Moffett, though that's not to say that Allen, bassist Maceo Gilchrist, and drummer Ted Robinson don't display a sound of their own on the four tracks here. In the years since, though Allen made only one other album (and that 15 years later), this LP acquired legendary stature among jazz fanatics. Top copy. Price: 150 Euro |
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353. The BYRON ALLEN TRIO: “S/T” (ESP Disk – 1005) (Record: Near
Mint/ Past on Wrap
Around Jacket: Near Mint). Original US STEREO pressing as released
in 1965. The Byron Allen Trio was among the first batch of ESP-Disk' jazz LPs.
Recorded on the afternoon of September 25, 1964, at Mirasound Studio in midtown
Manhattan, it was Allen's debut.
He had been recommended to ESP-Disk' by Ornette
Coleman, and one of the tracks, "Decision for the Cole-Man,"
reflects this connection. Allen and his trio also play in a style somewhat
similar to that of Coleman's trio of that era with bassist David Izenzon and drummer Charles Moffett, though that's not to
say that Allen, bassist Maceo Gilchrist,
and drummer Ted Robinson don't
display a sound of their own on the four tracks here. In the years since,
though Allen made only one other album (and that 15 years later), this LP
acquired legendary stature among jazz fanatics. Top copy. Price: 75 Euro |
