RARE RECORDS CATALOGUE
A-B
Q-R Ethnic Recordings U-V S-T O-P W-X K-L M-N V.A. I-J Y-Z G=H E-F C-D Compact Disk A-B

Last updated: September 25th, 2017

1. ABE KAORU: “Winter 1972” (Sound Works – MN-3039) (Record: Mint/ Plain Cover: Mint). One of the rarest privately released Japanese jazz slides is this one by Abe Kaoru. Stunning saxophone solo action recorded in 1972 and released in 1973 in a tiny minuscule run of about 50 copies only. Definitely one of the all-time rarest and legendary jazz slides ever. Alongside noise guitarist Masayuki Takayanagi, the late saxophonist Kaoru Abe was in the vanguard of Japan's new music, articulating an approach to the saxophone that matched extreme velocity with an elastic facility with the instrument's most phantom registers and a sculptural approach to instant composition that saw him carve poignant shapes from massive blocks of silence. Abe died too young on September 9th, 1978 at the age of 29. This is the rarest of Abe's recorded works, originally released as a private issue in a plain white sleeve on the Osaka Sound Works label in 73/74. The early-70s were Abe's most prolific and inspired years and this live set from 1972 is a stone classic, a powerfully focused set of solo saxophone that works the molten flow of his brain and fingers into lines of dense, ferocious beauty, from drooling, all-out blurt to exactingly articulated ice-cold blues. Mesmerizing. Never surfaces, this one is the 1st original pressing in absolutely Unplayed top condition. This is this now or never moment, one time chance only to wheel in the perfect condition, uber-rare jazz artifact. SOLD
2. ABE KAORU & YOSHIZAWA MOTOHARU: “NORD” (ALM Records – UR-5) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint – SIGNED BY THE LATE YOSHIZAWA MOTOHARU/ Insert: Near Mint ~ Mint/ Obi: Near Mint ~ Mint) Perfect top copy. Impossible to upgrade upon. Comes with the insert & OBI. To make it even better, this one is a signed copy by the late Yoshizawa Motoharu himself. This here is a stunning copy of the completely vanished disc that depicts Abe’s duo with legendary free form bassist Motoharu Yoshizawa. The disc stands as a critical summit between two of the major forces in Japanese free jazz at the time. Recorded in December 1975, it reveals a different side of Abe, with him toning down a bit his wildly over the top rampaging style in order to open up some dialogical space for free-wheeling bass wonder Yoshizawa. It is a fascinating and sadly one-off recording that documents at an important point in time the meeting of two giants and extremes of the free improvisation idiom. The recording itself is state of the art, wonderfully clean and acoustic recording quality. All in all one of the most interesting duo settings Abe can be found in and needles to say of invaluable historic importance. Highest recommendation and getting quite rare on these shores. So here is your change to score a completely mint copy of this disc that has brain-melting qualities embedded within its grooves. Mint all the way and signed by the master who rarely signed anything so it is a totally unique item. Again a give away price. SOLD
3. ABE KAORU: “Mort A Credit – Saxophone Solo Improvisation” (2LP/Kojima ALM Records/ AL-8~AL-9) (Record: Near Mint/ Jacket: Excellent, some aging stains inside of the gatefold sleeve). Beautiful Japanese press original in great condition. Recorded in 1975, 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 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. Historical and much in demand these days. SOLD
4. ABE KAORU: “Overhang Party – Abe-Toyozumi Duo” (ALM Records – UR-2W) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint) Stellar duo head on collision between Abe and free hitter/ skin mangler Toyozumi. The interaction between the two of them creates fireworks of improvisational exquisiteness, free rambling seat sniffing combustion that on some occasions instigated Abe to divert his attention from his beloved sax towards marimba and piano hammerings joined with harmonica blow-outs. Ferocious, ghastly and kerosene charged head slamming action between two of Japan’s first wave free jazz terrorists. Quite rare disc that is getting more and more difficult to track down. Abe is indispensable in any one’s collection that bothers to have an interest in outward-bound sounds. Blows any of the currently hyped wanna-be improvisers straight out of the water since Abe embodied musical greatness, inventiveness and tonal diversity all in one. Why settle for less when greatness is daggling in front of your eyes? SOLD
5. ABE RITSUKO: “Ritsuko no Kisetsu” (King Records – SKA-25) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Huge Poster: Near Mint/ 2 Separate Picture Inserts: Near Mint). Hardly ever offered Iroke record. Born in 1949 in Sapporo, Abe Ritsuko’s first album was released when she was 23 years old in 1972. It is now considered as one of those rare gems that are confined to a below-the-radar existence, concealing their endowed beauty in between the cracks of time and nebulosity. It is a shame because this disc demands to be rediscovered by a new crowd of lovers for female erotic vocals. Ritsuko never hit the big time or became one of those much-documented erotic pop stars or fashion models. Instead, Ritsuko dabbled briefly with a career on the big screen and appeared in a string of films between 1971 and 1973 but failed to make her break through. Modeling came along the way – she appeared in a string of fashion magazines in the early seventies and appeared in some pictures where she was scarcely dressed, making her an object of worship for those who fell under her charming spell. In between all of her career moves she breathed out this delicate beauty of an album. “Ritsuko no Kisetsu” starts off with an enchantingly ear caressing song underscored by a vicious fuzz guitar completed with Hammond organ riffage and orchestrated backing against which Ritsuko laments away in total ecstatic Yakodari –era Kaji Meiko styled setting. The track burns all way through. And that is only the beginning of the album. I fail to see why such an album did not attained wider public appeal. Great stuff, highly recommended if you are into obscure early seventies Japanese female vocals. Comes with the huge promotional poster depicting Ritsuko sun tanned, with a sweaty body to kill for and only dressed in some hip beachwear. Salacious!! Hyper rare these days but still undetected by a larger crowd. First complete copy I have in 10 years time. Price: 350 Euro
6. 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: 50 Euro
7. ACID MOTHERS TEMPLE: “Live in Occident” (Detector – MP-19) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Comes on colored wax!!! Without a doubt the most sought after disc in the never-ending AMT catalogue is this 2 LP side from 1999, just before AMT would become a household name. This one is the rare Japanese edition that comes with obi and Japan-only insert. This live record, which was recorded in various spots around the US and Europe, is a pretty swell document of the kind of retro-psych powerhouse these gents have become. Though the lineup is stripped-down from their earlier recording lineups ("just" five people), Acid Mothers Temple deliver the goods. The music here takes off from the very beginning and doesn't really come down until the end, sometimes with straight heavy jams that wouldn't sound completely out of place on a High Rise record, sometimes Moog-fueled free-form freak-outs, and in some places they even bring in the melody and make this stuff just beautiful. Rare Japanese edition, totally top-notch copy that seems to have dropped of the face of the earth recently. Getting one of their – if not the most – collectible vinyl LP out of the early-days AMT line-up. Highest recommendation. Japan issue with obi is…seldom seen. Price: 125 Euro
8. ACID TEST - KEN KESEY AND THE MERRY PRANKSTERS: “ACID TEST” (Sound City) (Record: Near Mint/ Jacket: Near Mint). 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. This is a dead 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. Price: Offers!!!
9. ACTING TRIO: “S/T” (BYG Records/ ACTUEL – actuel 14/ 529.314) (Record: Near Mint/ Gatefold Jacket: Mint) Scarce French original pressing. 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. Price: 50 Euro
10. AF URSIN: “Aura Legato” (La Scie Doree) (Record: Near Mint/ Jacket: Near Mint). Long out of print mint copy. Upon hearing this disc for the first time at the house of Belgium’s finest experimental sound sculptor Timo Van Luyk, I was baffled, stunned and blown to pieces. In an attempt to gather the remains of my scattered mind after sitting through the “Aura Legato” album, I had a hard time getting a grasp on reality again. In short, it was too much beauty of delicately constructed psyched avant-garde forest dwelling acid folk. Constructed entirely without any collaborators, Timo Van Luyk sculpted a worthy successor for his previous released “Murille” album. But there where “Murille” was a more abstract listening affair, “Aura Legato” sees him graduating with honors by delicately weaving sounds together into a carpet of droney-sounds processed out of a wide acoustic instrumentation. But unlike so many artists who churn out easily conceived middle-of-the-road crappy and cheap drone-like music, Af Ursin injects it with a warm personality reminiscent to the atmospheric and even melancholic acidic music box-like excursions of days long gone, filled with hand percussive rattles, flutes, guitar insertions and completed with dream-like otherworldly layers of ecstatic ritualistic music. The condensed overall effect is one of tripping through mysterious atmospheres that are seemingly filtered by a patina of ritual incantations and magic ceremonials. In short, Af Ursin proves that his music is not conceived as a fashionable whiff within the tides of hyped-up rural European bummer road music but instead betrays a well-rooted foothold within musical history as well as a musical vision erected out of a well-aimed quest towards a sonic divinity. This is without a doubt one of the best discs you will ever hear this year. A hypnotic listening experience. Stunning high quality full color covers with die-cut, black vinyl and red/gold labels in black inner sleeves. The covers make me think of ancient 78-rpm records. Limited edition of 350 copies and long gone and out of print. Highly recommended. Price: 75 Euro
11. AF URSIN: “De Overkant” (Edition La Scie Doree – 1314) (Record: Mint/ Jacket: Mint). I almost cried in desperation upon playing this disc, Af Ursin’s music is composed of such a fragile beauty, it almost evaporates upon spinning it and leaving you behind with a shattered feeling of fleeting beauty that was just a breath away, right before your eyes and in & out of your ears but which you failed to grasp nevertheless. Almost religious in its execution and graced with a deep minimalist vibe without being arty, “De Overkant” is a truly compelling listening experience by an artist that is blessed with a rare gift. The music is skeletal but very warm, yet graced with undercurrents of depth, deceptively intense, yet meticulous in its lyrical detail, it almost hurts listening to it. Hurting because you are bestowed with so much aural Beauty it may be too much to take it in all at once. That is what “De Overkant” will saddle you up with, a delicate sense of aural wonder slowly blossoming right inside of your membranes and evaporating into the mists of time before you can make sense of what you were bestowed upon with. So recommended, best thing I heard in decades!!! Price: 40 Euro
12. AFTERGLOW: “S/T” (TMA Records – MTS-5010) (Record: Near Mint ~ Mint/ Jacket: Near Mint & housed in original shrink, has a small little drill hole – apart from that just perfect). Just beautiful top copy original US pressing of this mellow pop-psych masterpiece. Musically it is in the same league as British North American Act, Frederic 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) Still housed in shrink, top condition. Price: 300 Euro
13. AGATA MORIO: “Chikuonban” (Vivid - VSLP-4017) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Here you have a superb copy, an identical long gone and deleted deluxe reissue of Agata Morio's debut album. The original is impossible to find since it was officially released on August 1970 in an edition of 100 copies on Agata's own private imprint. These babies change hands now for astronomical figures. In 1997, Vivid Sound Corporation released the disc again in limited quantities. So that is the one you have here. It comes out in a beautiful gatefold cover, with insert. This disc is a stunning masterpiece, at which Agata gets flanked by Hosono Haruomi amongst others. Delicate and weird acid folk, hauntingly beautiful and interwoven with psychy & melancholic touches. This is one hell of an over the top fantastic lost and totally overlooked Japanese psychedelic acid folk gem. Highest recommendation. Even this edition is getting very scarce nowadays. Extremely beautiful copy in top-notch condition. Price: 75 Euro
14. AGATA MORIO: “Norimono Zukan” (Vanity Records - Vanity0005) (Record: Near Mint/ Jacket: Near Mint). Bloody RARE Original Vanity press released in an edition of 300 copies, there was also NO obi upon the release of this record, come came only with the 2nd pressing of the disc on Chop records. Norimono Zukan was probably Agata Morio's most rumored about recording, partly due to the fact that Vanity Records birthed this baby and partly due to the fellow sub-cultural scenesters to participate on the disc such as Phew (who had just embarked on her Aunt Sally adventure), SAB and Chie Mukai amongst others. Unlike his early oeuvre he brooded out at the beginning of the seventies, characterized by his loner-acid-folk infested stance, his fondness for delicately balanced atmospheres revitalizing sentiments of long gone eras and evaporated traditional values, Agata sets out here on a totally different voyage. The times they were a changing and especially for Agata who began to embrace the glitching kitsch aesthetic of the burgeoning eighties by throwing himself head over heels into the realms of techno pop and synth-driven new wave. Although a certain pop feeling hovers over the larger part of the recording, still some traces of an unrelenting punk aesthetic and an indelible DIY attitude keep on resurfacing and pressing through a hard to ignore fragrance of anti-commercialism and “Us against Them” attitude. Especially appealing on this recording are the psyched-up choruses of ecstatic female vocals that underscore Agata's songwriting abilities, beefing it up with enough unrelenting teenage virility and unbridled sex appeal to elevate even the most limpid of body parts. Brilliant all way round and original Vanity press copies are hideously scarce these days, just impossible to unearth. First time I have an original copy to offer, so do not think twice it is all right…Price: 250 Euro
15. 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!!!!
16. AGITATION FREE: “2nd” (Vertigo Records – 6360.615) (Record: Excellent ~ - has a few barely visible sleeve lines one can detect under a bright light. Completely harmless and hardly detectable with the naked eye - plays mint/ Laminated Gatefold Jacket: Excellent ~ sole defect is small barely visible ‘white on white’ price tag tear on upper right corner – apart from that I would grade the sleeve as near mint ~ Mint). TOP COPY, first original pressing!!!! Classic German Krautrock masterpiece that was released in 1973. As opposed to Malesch, Second shows some slight change in direction for the band. It becomes readily apparent on the first track that the band's sound is slightly jazzier and the melodies are a little tighter and stronger. The guitar duels between Ulbrich and Diez are utterly gorgeous, and the melodies absolutely shimmer throughout the album. In all a fundamental Krautrock genre piece. Essential. Top copy, getting scarce on the ground clean originals. …. Price: Offers!!!!

17. AGUSA: “Hogtid” (Kommun2 – Kommun2-24) (Record: Mint/ Gatefold Jacket: Mint). Really fantastic Swedish psychedelic outfit that released this LP in limited numbers in 2014. Sold out quite quickly partly due to the limited nature of the release but mainly because this record is just plain awesome. The debut-album from Malmo’s Agusa follows up this tradition with an epic monster of a prog/psych/folk album. “Högtid” sounds like it was recorded in a cabin deep in the Swedish woods sometime in the 70’s with all analogue equipment, colored by lots of beard and incense (probably true at that, except the 70’s part..). With heavy organs, jagged guitars, rock-solid bass lines and plenty of rhythmic change ups and shifts, this is a true adventure waiting to take you on! If you’re a fan of vintage prog and psych, this one will make your facial hair tickle and have you on a barefoot stroll through the woods before you can remember where you put your left slipper (possibly naked, long flowing robe at the most). Pure quality! First pressing on black wax, the 2nd issue came out on color vinyl, but 1st pressing was the black one, which sold out pretty much upon its release date. Price: 50 Euro

18. AIR: “Air Mail” (Black Saint Records – BSR-0049) (Record: Near Mint/ Jacket: Near Mint). Original 1980 first original pressing. The Chicago trio Air was at a high point on this 1980 date, thanks in part to remarkable percussive foundations provided by the late Steve McCall and his interaction with bassist Fred Hopkins, plus the amazing solos and versatility of nominal leader Henry Threadgill. Besides alto and tenor sax, flute, and bass flute, Threadgill plays his own unique instrument called the hubkaphone and makes it just as memorable a weapon as the other horns. Top condition. Price: 50 Euro
19. 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: 200 Euro
20. AIYOKU JINMIN JUJI GEKIJO: “S/T” (Pinakotheca Records – 001) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/Insert: Near Mint ~ Mint) Best copy to ever cross my eyes and one of the key recordings to document the seeding early 1980s Japan seedy underground scene. 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 TOP condition. Getting scarcer with every breath you take, has been ages since I had a copy. Price: 250 Euro
21. AKIYOSHI KUMIKO w/ Yonin Bayashi: “S/T” (Elec Records – ELEC-9 – 1975) (Record: Mint/ Jacket: Mint/ 4 Paged Insert: Mint/Obi: Mint). Comes with insert and in pristine condition. Well acquainted archivists and subscribers to this list may be, I guess, a bit acquainted with Japanese psych so therefore I think that the backing band on this record, the Yonin Bayashi (of Isokuhatsu fame) need no introduction. Akiyoshi Kumiko on the other hand might be a bit unfamiliar for Western music adepts. She was and still is a famous seventies actress that recorded three albums. This was her first recording effort, released on December 1st, 1975. Apart from being a great actress she was also gifted with a stunningly great voice that sounded utterly erotic and innocently at the same time. The record dwells into great psychy and kayokyoku like regions and the songs are interspersed by Kumiko’s taped telephone conversations and interludes on which she tries to set up dates, get rid of stalkers etc. Quite a transfixing listening experience infused with erotically laden atmospheres. Psychedelic meets well-balanced progressive touches all mixed up with lullabies and kayokyoku styled songs. Highest recommendation. Quite hard to come by these days since a new crowd of domestic record geeks has rediscovered her lately who got fed up with the tsunami of mindless J-Pop icons and remodeled R&B bitches. Stunningly great all the way. Price: 50 Euro

22. 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: 350 Euro

23. 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
24. ALAIN SAVEROT: “Original Magma” (Private) (Record: Near Mint/ Jacket: Near Mint). Ultra rare and obscure spaced out avant-psych collage album by this French painter. Fantastic experimental/ avant-garde/ cut-up/ musique concrete/psychedelic album that will rewire your mind completely while listening to it. Saverot creates a real collage-esque tour de force, spitting out a tornado of dusty noise that engulfs the aural landscape and chewing up snippets of Pink Floyd’s “Interstellar Overdrive”, junked out kaleidoscopic guitar picking snippets, exploratory ping pong sonics, raped and trashed out classical music trash and electronic music mishmash cut ups. Voices slowed down and speeded up, lethargic cries of lonely autistic children, mating whale sounds and aquatic bubbles cross-pollinate at the same time with tribal rhythms and shamanistic skeletal undercurrents of waves breaking on the rocks. All these haunting echoes of seemingly contradictory modes glue perfectly together in a sound of barren electronics communicating techniques creating omnivorous, osmotic psychedelic music that is heavily pregnant with ghost voices, snatches of motorcycle sounds, Syd Barrett’s Interstellar Overdrive zooming in and out of focus, Charleston spell-casting while combining the whole with aspects of Gary Kail, Pierre Henry, Luc Ferrari and The Cosmic Couriers. The end result is a seriously austere vision of sheet metal avant-garde music with a lysergic animistic edge. Electronic cut-ups of various sound sources keep on blurring the line between Industrial, psychedelia, avant-garde, electronic music and primitive collage techniques all blessed with the panache of the early Silver Philips and LAFMS sides. Totally amazing!!! One of the best discs I heard lately. Price: 250 Euro
25. 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: 85 Euro
26. The ALAN SKIDMORE QUINTET: “Once Upon A Time” (Deram – SDN-11) (Record: Excellent ~ Near Mint/ Laminated Jacket: Near Mint). Original 1969 first UK pressing on the highly collectible Deram label. 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 UK pressing, amazing condition. Price: 275 Euro
27. The ALAN SKIDMORE QUINTET: “TCB” (Philips – 6308.041) (Record: Excellent has a couple of very faint sleeve lines visible under bright light only/ Laminated Jacket: Near Mint) Great 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. Price: 275 Euro
28. The ALBERT MANGELSDORFF QUINTET: “One Tension” (CBS Sony – SONP-50278) (Record: Near Mint/ Gatefold Jacket: 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: 100 Euro
29. The ALBERT MANGELSDORFF QUARTET: “Never Let It End” (MPS – YS-2507-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Near Mint). Original 1971 high quality Japanese first press issue. This splendid LP is one of the most important albums in the European jazz canon, where Mangelsdorff's quintet is pared down to a mighty foursome—saxophonist Heinz Sauer, bassist Günter Lenz and drummer Ralf Hübner—for seven originals by everyone but Lenz. This document, apart from its fantastic playing and composing, such as the "Flamenco Sketches"-inspired title track, is also the final, perfect, studio document of a seven-year relationship. Top copy and comes housed in a thicker than life gatefold jacket. Price: 75 Euro
30. ALICE COOPER: “Pretties For You” (Straight – STS-1051) (Record: Near Mint / Gatefold Jacket: Excellent, has some sticker residue on front). First Alice Cooper album, released on Frank Zappa’s label. A vicious slab of totally underrated amphetamine soaked underground psychedelic brain ripper. Total killer slide that makes your jaw drop and hit the concrete hard. Price: 100 Euro
31. 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
32. ALLEN, DAEVID: “Banana Moon” (Virgin Records – C-1512) (Record: Near Mint/ Jacket: Near Mint/ Poster: Near Mint). Original 1st UK pressing – comes with Allen designed poster. 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. Comes with very cool poster depicting Allen's own distinctive, suitable stoned notes and drawings. Amazing disc, an all time classic psych beast. Top copy. Price: 75 Euro
33. The ALLMAN BROTHERS BAND: “S/T” (Capricorn Records/ Victor – SWX-6223) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). First Allman Brothers LP, Japanese 2nd press issue complete with obi. Also getting thin on the ground. Top copy. Price: 40 Euro
34. The ALLMAN BROTHERS BAND: “Eat A Peach” (2 LP set: Mint/ Gatefold Jacket: Mint/ 1st Issue Obi: Mint/ 4 – Paged Insert: Mint/ Additional Illustrated Insert: Mint). Blue Warner Pioneer promotional copy, dead mint condition complete with obi and inserts. 1st Japanese press copies with obi and all intact hardly pop up these days, top copy, just mint all the way from start to finish. Original Japanese 1st press issue - stock copy in totally dead mint condition complete with obi and inserts. 1st Japanese press copies with obi and all intact hardly pop up these days, top copy, just mint all the way from start to finish. Condition aside, this record is amazing…always overlooked because it is an easy-getter but still, times are changing a bit and clean 1st press copies are getting a bit of a bitch to dig up. The music on the other hand is top shelf, “Mountain Jam” keeps on resonating through the empty canyons of my mind and Duane is on fire throughout with his infectious expansively soaring riffs — always anchored in solid rock, but also swirling smooth in clouds of jazz-like improvisation. Just brilliant!!! Top virginal copy, Japan 1st original pressing with 1st issue obi & PROMO…what can I say, obi-fetishism rules!!!Price: 250 Euro
35. The ALLMAN BROTHERS: “At Fillmore East” (Capricorn Records/ Victor Records Japan – VIP-5079~80) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Near Mint). Original Japan 1st pressing all complete with obi & insert. Killer and utterly classic slide. Price: 50 Euro
36. The ALLMAN BROTHERS BAND: “Brothers And Sisters” (Warner Bros. – P-8345W) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ OBI: Near Mint). 1973 Japan 1st original pressing with very first obi. First time ever I have a copy of this classic complete with the first issue obi strapped around it. Price: 75 Euro

37. 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!!!!

38. ALMURO ANDRE with ANTONIN ARTAUD/ JEAN COCTEAU/ JEAN GENET/ LORCA/ LARRONDE: “Poesie De Cruaute” (Disques Mouloudji – EMS-13524) (Record: Mint/ Jacket: Mint). Top copy and rare French original pressing on legendary label. André Almuro (1927-2009) was a painter, poet and composer, member of the Pierre Schaeffer's GRM and affiliated with the French surrealist scene. He composed some of the best radio-adaptations of French literature (Artaud, Genet, Hugo for example). He worked with Mouloudji and discovered the young Pierre Clémenti before he became the French cinema's black star. On this record, Almuro composed the music for the texts by Antonin Artaud, Jean Genet, Jean Cocteau, Federico Garcia Lorca and himself. Very strange and dark matter. Highly recommended for the fans of Jacques Doyen, Musique Concrete, Poésie de Cruauté is a fascinating piece of work. Here Almuro makes electronic music behind the narration of various poems by Artaud, Lorca, Genet, Cocteau and Olivier Larronde, unleashing a wash of electronic manipulated noises and sonic debris. Jean Bollery and Pierre Frilay read the poems, quelling the darker side with a certain amount of electronically manipulated effects added to their voices. Deep subterranean sonics that emanate out a weird hell broth of high-tension crackle that interacts perfectly with the high voltage voicing’s. It is an arresting listening experience, working best late at night, hurtling you in and out of focus with Almuro’s sonic manipulations and tiniest gestures triggering apocalyptic waves of subdued sound. Simply a stunning album brimful with poetic resonance. Fascinating. TOP COPY! Price: 200 Euro
39. AMM: “At The Roundhouse” (Incus Records – Incus EP1) (Record: Near Mint/ Jacket: Near Mint). I guess that this baby needs no introduction I guess apart from the act that this one here is probably the best ever copy you will ever see, no shit. Got it from the original owner who bought it back in the day when it came out, spinned it once and shelved it away sealed securely, handling it like a newly born infant (apart from the sealing bit of course). AMM's “At the Roundhouse” has always been regarded as a mythical recording especially since for scavengers hunting down recorded evidence documenting the early British/free improv scenes as it was an obscure 7 inch issued on Incus as their first ever EP release and ever since it has become a hard to track down item, especially in near immaculate condition. Here, you can hear a very different AMM than the one active today. The unit was slimmed down to a duo after Cardew left, leaving just drummer Eddie Prevost and saxophonist Lou Gare. Although a line up of drums and a saxophone may come over as too jazzy at first sight, Prevost could be found proclaiming that their sound was decidedly non jazz. Still the he free improvised music here on display is definitely the most jazz work of the entire AMM catalogue - the element of silence that has become a later trademark of AMM, is present here already, but only for shorter periods. Still a shivering document and like most of you already know almost impossible to track down these days in such a nice nick as this copy here. To these ears it is still a defining era piece…..totally essential like most of the AMM recorded works. Price: 200 Euro
40. 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
41. 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: 175 Euro
42. AMON DUUL II: “Phallus Dei” (Liberty Japan/ Toshiba – LLP-80640) (Record: Near Mint/ Jacket: Near Mint – still partly in shrink/ Obi: Near Mint – still in shrink/ 4-Paged Insert: Near Mint). Bloody rare Japanese original pressing of the 1st Amon Duul II record complete with OBI!!! WHITE LABEL PROMO!!! Top notch copy of this groundbreaking first Amon Duul II record, original 1st Japanese pressing from 1971!!. The disc was first released in Japan, 2 years after its German issue but pressed on superior vinyl. Japanese pressings of that period are so bloody rare, very few copies were sold so these days they are becoming so sought after due to its “scarce as gold dust” qualities. This is the best copy you will ever see, intact with obi. Amon Düül II evolved logically enough from Amon Düül, an experimental German 60's jam-oriented band with political lyrics. Several members decided to drop the political side of the group in favor of more focus on the music, so Amon Düül II was erected, quickly evolving into one of the leading and most important kraut rock bands of that era. Their debut "Phallus Dei" is just a massive beast, psyched out tribal jamming, demented improvisations spiced up with vocal oriented blasphemy. The violin of Chris Karrer dominates a great part of the group’s sound, and his vocals sound like a crazed caveman on a rampage. He gets complemented in his madness by fellow travelers Frank Bornemann and Renate Knaup, a nymph graced with some uncanny cadaverous female vocal chords surfacing to the foreground on their most experimental parts. In all it is a meeting of freaked out mind-blowing hippie hoedowns that makes “Phallus Dei” what it is. Anyway, it's a historical musical document as well as an intriguing art manifesto - heavy, weird, and wild. Rare 1st Japanese pressing in mint condition complete with obi. They do not come better than this one. This is definitely IT!!!!! Top original 1st issue Japanese pressing in dead mint condition complete with never offered before OBI, what could you possibly ask more for? Price: 400 Euro
43. AMON DUUL II: “Phallus Dei” (Liberty Japan/ Toshiba – LLP-80640) (Record: Near Mint/ Jacket: Excellent). Bloody rare Japanese original pressing of the 1st Amon Duul II record but obi is missing. Amazing sound quality. SOLD
44. AMON DUUL II: “Carnival In Babylon” (United Artists Records – UAG-29327) (Record: Near Mint/ Laminated gatefold Jacket: Near Mint) Original UK first pressing of 1972. 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: 85 Euro
45. The ANIMALS: “We’ve Gotta Get Out Of This Place b/w I Can’t Believe It” (Odeon Records – OR-1421) (EP Record: Excellent/ Gatefold Picture Sleeve: Near Mint) Japan 1st original pressing in great condition. Killer Eric Burdon & Animals track that after playing keeps on echoing through the empty canyons of my mind for days on end…just love it!!!! Comes in great Japan only picture sleeve. Price: 30 Euro

46. The ANIMALS: “Inside-Looking Out” (London Records/ King – SLH-69) (Record: Excellent/ Flip Back Jacket: Excellent/ Insert: Excellent). Original Japan that came out in August 1966. Common wisdom suggests the (original) Animals started hitting the skids after they dumped Alan Price and producer Mickie Most. Certainly both men had a hand in the recording of the Geordies' unforgettable string of 1964-65 smashes ("House of the Rising Sun," "Don't Let Me Be Misunderstood", "We Gotta Get Out of This Place" etc.), but frankly, the Animals improved after ditching the pair. This LP covers the material the band recorded with new keyboardist Dave Rowberry and ex-Dylan producer Tom Wilson. Simply put, it's Animals at their peak, combining fierce performances with a new facility in the studio. Moreover, it makes a strong case for Eric Burdon as the most powerful and incendiary R&B singer to ever come out of Europe, let alone the British Invasion. Burdon never sounded so committed, soulful and inspired than on the strutting "See See Rider," the ferocious "Inside Looking Out" and the agonizing "Ginhouse Blues". Yet Burdon's gut-busting never overwhelms the other Animals, whose excellent ensemble playing keeps Eric's occasional hysteria in check without sacrificing emotion. First original pressing, nice condition but side 2 has a long non-sounding hairline scuff. Always a bitch to find in good condition, this one is EX so not bad at all. Price: 75 Euro

47. The ANIMALS: “Animals No Subete – All About The Animals” (Odeon Records – OP-8394) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Near Mint). Original 1967 Japan only Animals release. I know, there ain’t much love lost for the Animals out there but for me, they fucking KILL it. Every track is a winner and it is all there – budding psychedelic ambitions, raw teenage angst, primitive punk feel, anger, etc…brutally insane and great. Stuffed with killer tracks such as “House of the Rising Sun; Bring It On Home To Me; I’m Crying; Don’t Let Me Be Misunderstood; We’ve Gotta Get Out Of This Place; It’s My Life; etc, etc” this is nothing but an all killer with no filler selection. Comes with salacious obi and great gatefold jacket artwork. The Animals fucking RULES, at least in my world!!! Highly recommended. Price: 75 Euro
48. THE ANIMALS: “The Best of Eric Burdon & The Animals” (MGM Records – SMM-2010) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Original 1968 Japan only release complete with obi. Every single track is a winner here. Stunning copy. Copies complete with obi and attached booklet are a tough score these days and this one is just near perfect, a steal. Price: 100 Euro

49. 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: 300 Euro

50. AOI HIROKO & SUIZENJI KIYOKO: “Yakoshima Kouta B/w Yakoshima Ondo” (Crown – PRS-180) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Awesome rural stomper, from the mid sixties. Side A opens up with a stunning female vocal howling singer set against a matsuri slamming vibe and interacting with a call & response chorus of eagerly jiving ladies. The pace is strolling at a leisurely but intoxicating pace, making you feel the summer evening heat working its way through your skin. Side B toned down a bit with some grinding shamisen and shakuhachi moves, which underscore perfectly the sultry but utterly bewitching female vocals of Suizenji Kiyoko. This is almost too beautiful to handle, Kiyoko setting the bar higher as far as zoned out Matsuri jivers go. Totally undetected but stupidly obscure Showa-era hip shaker that made my hot summer nights even a more sweltering affair than they already were. Highest recommendation!! Price: 75 Euro
51. AOKI RIKA: “Konketsu Ji Rika b/w Rika My Girl” (CBS Sony – SOLA-32) (EP Record: Mint/ Picture Sleeve: Mint). Bloody rare top copy of this underground twisted defunked kayokyoku bastard chanteuse. Released during the hazy days of a hot July way back in 1972, “Konketsu Ji Rika” was Aoki Rika’s first of only of two 7-inch EP releases, instantly marking her down as a genuine bitch Kayo chanteuse. Of course the main appeal amongst Japanese collectors hunting down the very few copies in circulation is the high level “BITCH” attitude spread wide across its grooves but also the killer tunes that came into existence due to the galvanizing combination of composer Tsutsumi Kyohei and song writer Hashimoto Atsushi make it quality material and catapult it into deranged groovy & fuzzed out funky realms dripping over with salacious street-cum erotic’s. And these qualities only get augmented with Aoki Rika’s natural kayo singing talent, making it a true undisputed gem that defies categorization and make it simmering with musical butt shaking sleazy qualities you dream of records to have but sadly always lack. This EP just bolsters all of your high hopes into two brain teasing seedy go-go bang up & peach-juicy ball crushing songs. Above all “Konketsu Ji Rika” and its B-side are masterpieces of sleazy bitching groovy floor-shakers. From the beginning Rika was catapulted as a weekly star whose pictures were published serially, making her a minor short-term celebrity. It all escalated with Rika landing her own movie, with her staring in the lead role, a pink violence flick entitled “Konketsu Ji Rika” of which this EP turned out to be the soundtrack. The title itself already hints at the tone of the flick, a depraved slang meaning half-breed Eurasian chick, jacking right into the high wave of cheap exploitation erotic violence movies that dominated back alley theatres at that time. The movie went in premiere on November 26th, 1972, together with the release of this EP but sank as quickly as it came into the murky depths of obscurity. The music on the other hand is earlobe meltingly fantastic. Fuzz breaks, butt-shaking twist and turns, bitchy female vocals guiding you through titillating erotic zones, funky backbone arrangements that put the whole affair just through the roof. This disc just hits the nerves like a blast of summer lightning across the mountains, causing people exposed to it to foam at the mouth and chase their tales in impotent anger. So good, so bloody amazing, so killer and sadly enough…so rare. Top copy. Price: 300 Euro
52. APHRODITE’S CHILD: “666” (Vertigo Japan – SFX-10014 ~ 5) (2 LP Set: Near Mint/ Gatefold Jacket: Excellent, has a neatly barely visible repaired seam split). Original 2 LP on Japanese Vertigo label – BIG SWIRL label – comes housed in JAPAN ONLY JACKET ART. TOP copy, only has some wear on seams that have been repaired. First copy I see in over 10 years time, these are so damned rare, it almost hurt just thinking about them. Rightfully acclaimed as the most psychedelic album ever to come from Greece, this 1971 concept album was based on biblical tales. Including the keyboard talents of Vangelis, and pre "Housewives Choice" Demis Roussos on vocals, this is a staggering epic of awesome proportions that is at once unhinged and inspired. Floyd like guitar work, weird sound collages mystical lyrics...All time classic that needs an urgent reappriciation. Comes housed in Japan ONLY gatefold jacket art. Seriously rare and only the 2nd copy I see in over 10 years time, no shit. Price: 375 Euro
53. APPEL, KAREL: “Musique Barbare” (Philips Records – 99954.1 L) (Record: Near Mint/ Hard Cover Jacket with Picture Book: Near Mint/ Attached Picture Book: Near Mint). Original hideously rare 1963 pressing!!!!! Very first pressing on PHILIPS, not the second issue that came out slightly later on The World’s Window. Original Holland first pressing, MONO issue. Top condition!!! “I paint like a barbarian in these barbarian times” Appel often told journalists and the same can be said about this recording eh made. In 1961, Jan Vrijman made a movie about COBRA expressionist painter Appel and the artist himself provided the soundtrack to it, completely erected and recorded with devises set up according to his directions in the electronic music studio of the Utrecht University. Some conventional instruments were also added to the mix at the Phonogram Studio in Hilversum. The soundtrack – which you see here – came out in a delusion eye popping beautiful book like hard cover jacket with cloth bound spine, contained a 30 pages counting photo book for which Jan Vrijman the text wrote with pictures of Appel taken by Ed van der Eslken. On the LP, Woebot wrote some nice words: “Quite a few famous artists have made records. I have seen LPs by Salvador Dali, Kurt Schwitters, Jean Dubuffet and Jean Tinguley. Usually the great men are assisted by a few musically-inclined chums. I've always been fascinated by Karel Appel, the Dutch "Abstract Expressionist" and founder member of COBRA. That collective's stuff pushes at the boundaries of the acceptable, it takes Expressionism down one of it's ill-trod paths, towards a scatalogical, wilfully out-of-control naiveity. I'm surprised COBRA isn't a bigger touchstone for musical things like Throbbing Gristle, Gabba etc. It's one of those rare instances of a hooligan bourgeois art-form.” (Woebot) In my book, this is one of the best ever recorded electronic art discs ever and Appel just sounds like he painted. Aggressive, wild, going berserk while shouting “My paintbrush is a rocket” which gets carried away in a maelstrom of electronic sounds, a tsunami of noise and assorted debris and we are talking 1961 here!! This is noise avant-la-lettre, but not like the noise salon bourgeois kids shit out these days, this on the contrary is quite mind alteringly innovative, rich in sonic texture and challenging upon spinning it. If I had to choose one disc to cling onto I would probably take this one. Top copy!!! Price: Offers!!!!
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
55. APRYL FOOL/ ICHIYANAGI TOSHI: “Eros Purasu Gyakusatsu/ Eros + Massacre” (Columbia - BSS-52) (Record: Mint/ Gatefold Picture Sleeve: Mint). Bloody rare 1st original pressing and impossible to score these past few years!! 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 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!!!!
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: 450 Euro
57. ARESA YUKI: “Yoru No Aji – Aresa Yuki No Tame Iki” (Private Press – 2768) (2 Flexi Picture Discs: Mint/ 16 Paged gatefold Jacket fully Illustrated: Mint) One of the rarest and most desirable erotic Japanese artifacts, this privately released 2 picture disc set by Aresa Yuki. Bloody rare!!!! First copy to ever to drift into my line of vision! Anyway, this is the shit!!! Aresa Yuki was one of those B-movie erotic actresses that had a huge potential but sadly enough never made it to the major league. Her real name was Tahara Hisako and she was born on January 25th, 1939 in the Miyazaki prefecture, on the island of Kyushu. After graduating from the local high school, she packed up and made the big balls move towards Tokyo, hoping for stardom and fame. She landed her first role in 1960 in the Nikkatsu production “Yakuza Sensei”, followed the following year with the stage play of “Shichioya Gakko”. Still they remained largely unnoticed affairs but a star had been born. She made her first recording debut with the EP “Your no Aji” in which was released in November 1969. Needless to say, the recording debut was hardly noticed at all and the EP sold next to nothing. Which was sad because these days it is regarded as one of the purest unadulterated erotic cum recordings to seep out of the seedy underbelly of Tokyo. The station Radio Kanto used to broadcast at regular intervals her debut single at their late night program that went under the same name “Yoru no Aji” but it is unclear of this EP was ever used as the theme song for the program. Still this was probably the most exposure she ever got and it did not help her singing career to get off the ground one tiny bit. That aside, Aresa’s debut recording is a true erotic stunner. Far from a talented chanteuse, Aresa succeeded nevertheless to breath some ultra depraved erotic vibes unto the wax, a heavy sultry husky voice uttering forth moaning and uttered shrieks of ecstatic pleasure, sibilating suffocated whispers of excitement while the Polydor Orchestra grooves away in the background like an airport hotel lounge band on laxatives, guided towards ecstatic heights by a smokey sax player who has nothing to loose except his virginity. Aresa in fact can’t really hold a tune, which makes this recording even more fantastic, out of tune singing mixed up with depraved moaning and groaning while the band keeps on injecting liquid Prozac. Killer slide and hopelessly rare…never saw a copy in real life…but here is one, complete with booklet, fully illustrated, 2 picture disc and uncut virginal stockings and pants showing lady on back!!!! One of a kind item. Hideously rare and stunning aural and visual IROKE Kayokyoku beast!!! Price: 250 Euro
58. ARESA YUKI: “Itsu Made Mo, Itsu Made Mo (Love Me Forever) b/w Warui Kuse (You Have a Bad Habit)” (Polydor – DP-2075) (Record: Near Mint/ Picture Sleeve: Near Mint). White label promotional copy. Aresa Yuki’s second and final single release. Another erotic kayokyoku vital slide that just never surfaces. This was Aresa’s second and final attempt to cut it as a singer. “Itsu Made Mo” was released in June 1970. Again, Aresa is acting like a bitch in heat grooming around like a caged vixen on downers. The ingredients are largely the same as her debut recording and again, she is trying to make a sexual point here, a fact she succeeds in. Again, she dwells into the realms of a soft core soundtrack, dillitated with tuned down loungey groove jazz, sprayed over with a whiff of playful exotica, some Herb Alpert smokey horns, fluttering jazz flutes, smokey sax, slowed down hip shaking rhythms, very moody and dreamy sometimes, wild and playful at others, but always with Aresa's sexy croon, and of course her very convincing sounds of passion, accompanied by the proper breathless exhalations at the right moments. Killer slide and hopelessly rare…never say a copy in real life…but here is one, complete with flip back picture sleeve + this copy is the WHITE label PROMO issue. One of a kind item. Price: 200 Euro
59. ARESA YUKI: “Yoru no Aji (Taste of the Night) b/w Yoru no Mekanizumu (Night Blues)” (Polydor – DP-2049) (Record: Near Mint/ Picture Sleeve: Near Mint). One of the rarest and most desirable erotic Japanese artifacts, this – one of only 2 EP releases by Aresa Yuki. Bloody rare and this is a top copy white label PROMO issue. First copy to drift into my orbit in 15 years!!!! Anyway, this is the shit!!! Aresa Yuki was one of those B-movie erotic actresses that had a huge potential but sadly enough never made it to the major league. Her real name was Tahara Hisako and she was born on January 25th, 1939 in the Miyazaki prefecture, on the island of Kyushu. After graduating from the local high school, she packed up and made the big balls move towards Tokyo, hoping for stardom and fame. She landed her first role in 1960 in the Nikkatsu production “Yakuza Sensei”, followed the following year with the stage play of “Shichioya Gakko”. Still they remained largely unnoticed affairs but a star had been born. She made her first recording debut with the EP “Your no Aji” in which was released in November 1969 on the Polydor label. Needless to say, the recording debut was hardly noticed at all and the EP sold next to nothing. Which was sad because these days it is regarded as one of the purest unadulterated erotic cum recordings to seep out of the seedy underbelly of Tokyo. The station Radio Kanto used to broadcast at regular intervals her debut single at their late night program that went under the same name “Yoru no Aji” but it is unclear of this EP was ever used as the theme song for the program. Still this was probably the most exposure she ever got and it did not help her singing career to get off the ground one tiny bit. That aside, Aresa’s debut recording is a true erotic stunner. Far from a talented chanteuse, Aresa succeeded nevertheless to breath some ultra depraved erotic vibes unto the wax, a heavy sultry husky voice uttering forth moaning and uttered shrieks of ecstatic pleasure, sibilating suffocated whispers of excitement while the Polydor Orchestra grooves away in the background like an airport hotel lounge band on laxatives, guided towards ecstatic heights by a smokey sax player who has nothing to loose except his virginity. Aresa in fact can’t really hold a tune, which makes this recording even more fantastic, out of tune singing mixed up with depraved moaning and groaning while the band keeps on injecting liquid Prozac. Killer slide and hopelessly rare…never say a copy in real life…but here is one, complete with flip back picture sleeve + this copy is the WHITE label PROMO issue. One of a kind item. Best record I had in the last decade…Price: 250 Euro
60. ARMAN RATIP: “The Spy From Istanbul” (Regal Zonophone – SLRZ-1038) (Record: Near Mint/ Textured Jacket: VG++ ~ Excellent). Original 1973 UK first press issue of absolutely face melting killer jazz slide. Very rare 1973 UK 4-track stereo vinyl LP on Regal Zonophone by the Turkish pianist, one of the hardest releases to find in the Lansdowne Series, recorded by Britain’s greatest jazz producer Denis Preston. Also stars trumpeter Marc Charig [Keith Tippett, Soft Machine], Harry Miller on bass & Keith Bailey, drums, for this exotic freeform session, textured picture sleeve. SOLD
61. 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: 125 Euro
62. ARSENE SOUFFRIAU: “Chapitre Libre Et Souverain Des Amis Philanthropes En La Valee De Bruxelles – Musique Initiatique Du 4e Au 18e Degre Par Arsene Souffriau” (Chapitre Libre Et Souverain Des Amis Philantropes En La Valee De Bruxelles – CSLAP 01 ~ 03) (3 LP Record Set: Mint/ Book-like Heavy Gatefold Mint/ Attached Individual LP sleeves: Mint/ Insert Picture Card: Mint). Ultra rare private release out of the depths of the Belgian Free Masons dungeons that came out as a minuscule private pressing in the mid-1970s. Brilliant Masonic ceremony pieces for electronic – concrete and chamber music. One of the rarest and most obscure Belgian releases to seep out of the electronic music and avant-garde underbelly. This is actually the 1st ever copy I see of this disc after having heard about it for so many moons and this one came straight out of the archive of Souffriau himself. It is no surprise that this release is shrouded in obscurity since it was a Masonic related private issue that was only handed out to other members of the lodge. Copies never made it sale as that was not the intention of the disc but merely served as some sort of initiation rite that was passed on. But that aside, Souffriau is one of Belgian’s best kept electronic music and avant-garde secrets who during his active career worked shoulder to shoulder with Pierre Schaeffer and Ennio Morricone to name but a few. On this LP here, Souffriau steers into distinctively Belgian avant-sounding worlds, blending together medieval sounds for small orchestra with concrete sounds and electro-acoustic/ electronic sounds twists and turns, all completely devoid of any commercial potential and steering into secret realms of Masonic initiation rites and rituals, a music of the spheres so to speak. The insertion of concrete and electronic music elements makes this whole ritualistic music quite eerie and extra-terrestrial sounding. Excursions into tape-splicing and electronic sonics dissect all of the ritualistic classical movements into fractious pieces that suggest Souffriau exploiting an intuitive approach in order to pursue initial experiments into the organization of sound. In short if you are into weird and obscure electronic & concrete music avant-garde recordings, then this LP is as obscure and awesome as they get. Never seen a copy of this one before in my life and I doubt another copy will surface any time soon. Highest possible recommendation!!! Price: 500 Euro
63. ART: “SUPERNATURAL FAIRY TALES” (Island – ILP-967) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top Copy. 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!!!!
64. 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
65. ART BLAKEY & THE JAZZ MESSENGERS: “Moanin’” (Blue Note Records/ Japan – BN-4003) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of Blue Notes finest titles. Immediately Out Of Print in the flash of an eyelid…. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 75 Euro
66. ART BLAKEY & JAZZ MESSENGERS: “Jazz Messengers ‘70” (Victor – SMJX-10086) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Attached Poster: Mint). Freakingly Rare Japan only issue. This LP was recorded and released as a commemorational album for their second visit to Tokyo in order to play a few gigs. Upon arriving, the band consisting out of veteran players such as Blakey himself manhandling the drums, Bill Hardman (trumpet), Carlos Garnett (sax), Joanne Brackeen (piano) and Jan Arnet (bass), dove right into the Victor Records recording studio and put down straight to wax this swinging bat. The date of this happening was late at night of February 19th, 1970, occupying the legendary Victor Dai Ichi recording studio. The end result was a butt-shaking brain torcher of a hard-bop swing jazz album. The album comes in a thicker-than-life deluxe gatefold jacket, with silver imprinted letters; within the gatefold is a poster plus the obi. Top copy of this Japan-only released Art Blakey album that shreds the air to pieces. Highest recommendation. Price: 150 Euro.
67. 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
68. ART BLAKEY: “Ugetsu” (Riverside – RS-3022) (Record: Near Mint/ Jacket: Mint – still in shrink/ OBI: Mint). Top condition original with “direct import” Japanese obi. Top condition, impossible to ever improve upon. “Ugetsu, a 1963 live set from the original Birdland, finds Art Blakey & His Jazz Messengers at the peak of their powers with one of their strongest lineups. The group primarily recorded sessions for Alfred Lion’s Blue Note label, but this Riverside date is as strong as any of their previous outings. Having acquired the services of trombonist Curtis Fuller in 1961, the Messengers’ front line was its most robust ever, with Wayne Shorter and Freddie Hubbard consistently turning in some of their best performances. Rounding out the rhythm section with Blakey are the equally powerful Reggie Workman and Cedar Walton. The Messengers' set list finds the majority of tunes written by musical director Wayne Shorter, as well as a few choice numbers from Curtis Fuller and Cedar Walton’s title cut. The group is spurred on by a very receptive crowd, tempos and solos are spirited for the most part, and Blakey seems exceptionally energetic despite not performing a single extended solo himself. His between-song banter is equally entertaining. Overall, the group is precise, expressive, and swinging hard, delivering its message from the grandest platform of the time.” (All Music Guide). Price: 40 Euro
69. ART BLAKEY’S BIG BAND: “Bethlehem” (Polydor – MP-2272) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan first press issue from 1972 all complete with obi. Mono version. Big Band is an intriguing album. A diversity of players have room to solo or turn in a couple of short bits, which keeps the listener on its toes. Chief among that batch of sidemen are John Coltrane and Donald Byrd. Byrd delivers one song – Tippin’ – and a string of uplifting statements. Then there’s ‘Trane. For one thing, Coltrane has seldom recorded with Art Blakey. They played on Thelonious Monk’s Monk’s Music and Johnny Griffin’s A Blowing Session, both in 1957. Therefore, Big Band is an interesting record for Coltrane and/or Blakey-geeks. You might as well count me in. Price: 50 Euro
70. ART BLAKEY AND THE JAZZ MESSENGERS: “Buhaina’s Delight” (Blue Note – BST-84104) ((Record: Near Mint/ Jacket: Mint, still in shrink/ Obi: Near Mint). Top condition killer Blakey slide all complete with rare Blue Note obi. Arguably the finest lineup of the Jazz Messengers (with the possible exception of the Lee Morgan edition), this incarnation of the band – Blakey, saxophonist Wayne Shorter (here playing tenor), young trumpeter Freddie Hubbard, trombonist Curtis Fuller, pianist Cedar Walton and bassist Jymie Merritt -- set the tone for the hard bop movement of the '60s. This release features six classic modern-jazz icons and four alternate takes. Starting with Shorter’s "Backstage Sally," the band jump into a happy, staccato horn chart and the groove-style shuffle that was their signature sound. Shorter’s tenor-led ballad "Contemplation" finds the brassmen solidly behind him as he unleashes a breathtaking solo, while the Fuller-penned "Bu's Delight" is a supersonic hard bopper featuring Blakey’s cage-rattling drum breaks and a formidable Walton solo. Written and led by Shorter, "Reincarnation Blues" is another good swinger, with counterpoint and unison lines sprinkled in together. The stunner of the set is Walton’s "Shaky Jake," a low, moaning melody with deep-blue harmony soaring over a groove shuffle. On "Moon River," a frisky bopper featuring substantial solos from Hubbard and Fuller and a joyous arrangement modified from the original blue waltz, the song's staggered phrases are introduced and interrupted by drum breaks. The second takes of "Moon River" and "Backstage Sally" are fairly close to the first takes, while the alternate versions of "Reincarnation Blues" and "Bu's Delight" run one to two minutes shorter than the originals. Overall, you won't find a better representation of what modern mainstream jazz sounds like. Blakey and his band are on it from start to finish. (All Music Guide). Price: 50 Euro
71. ART BLAKEY AND THE JAZZ MESSENGERS: “The Big Beat” (Blue Note – BST-84029) (Record: Near Mint/ Jacket: Mint, still in shrink/ Insert: Near Mint/ Obi: Near Mint). Top condition killer Blakey slide all complete with rare Blue Note obi. Perhaps the best known and most loved of Art Blakey’s works, The Big Beat is a testament to the creative progress of one of the best jazz drummers of all time. Now over 40 years old, The Big Beat is as thunderous as ever. Here, Blakey combines his rhythm with tenor saxophonist Wayne Shorter’s brilliant composing to make what could only be termed a "structurally raw" album. Each track rips through bebop as quickly as Blakey ripped through drum heads. "Dat Dere" and "Lester Left Town" stand out as part of the true canons for hot jazz. Two alternate versions of "It's Only a Paper Moon" round out the album, both brimming with the fluid integrity of the song and the drive only Blakey could provide. As one of the few drummers to step out and lead, not just play backup, Blakey created a true jazz treasure in The Big Beat” (AMG). Price: 50 Euro
72. ART BLAKEY QUINTET: “A Night At Birdland” (Blue Note – NR-8839) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Top condition complete with rare obi. On this follow-up volume of recordings done live at Birdland from the second-edition "Jazz Messengers(officially the Art Blakey Quintet), there are extraordinary high points, along with low points that either result from tiredness or a lack or preparation. With trumpeter Clifford Brown taking over briefly for Donald Byrd and alto saxophonist Lou Donaldson in the fray post- Hank Mobley, the band has a very different sound, though pianist Horace Silver, Blakey and bassist Curly Russel (sitting in for Doug Watkins on these recordings only) are solid as a rock. There's some quintessential bop and hard bop in this set, inspired and hard-charging as one might expect, but the Latin tinge of the original band is gone. Because of Donaldson’s predilection for the sound of Charlie Parker, the pure bebop sound is unrelentingly infused into the music. Where "Now's the Time" works well in a relaxed harmonic stance from Brown and Donaldson, you can't help but notice that the amped-up "Confirmation" has sloppily missed notes in the melody, while "The Way You Look Tonight" (included on later reissues) is really loose as the horns come in tentatively and unsure. "Wee-Dot" fares much better in an assertive, bright sound that clearly is more practiced, representing hard bop at its finest. Donaldson is clearly the dominant player here, with Brown surprisingly taking a back seat, as the strong ballad "If I Had You" has the altoist alternately singing, sighing, and brilliantly extrapolating on his horn à la Bird. They play together quite well on the signature version of Silver’s jaunty hard bop anthem "Quicksilver," which famously quotes "Oh You Beautiful Doll," is a quick unison bop for the appropriate end game.” (AMG). Price: 50 Euro
73. ART ENSEMBLE OF CHICAGO: “a.a.c.m, Great Black Music – Message To Our Folks” (BYG Actuel/ Nippon Columbia – BYG-26) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top copy, Japanese very first original pressing all complete with rare very first issue BYG obi. This is in addition also the WHITE label PROMO issue. Originally recorded at Studio Davout in Paris on August 12th, 1969. Classic Art Ensemble spiritual jazz noodlings. Top condition and complete with obi. The sound quality is killer all way round and surpasses the French issue by light-years. Obi is damned rare. Price: 100 Euro
74. ART ENSEMBLE OF CHICAGO: “Reese And The Smooth Ones” (BYG Records/ TOHO Records Japan – YX-6063) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Bloody rare and obscure Japan very first press issue all complete with hardly ever seen very 1st obi issue. In all these years this is the very first time I could lay my mittens upon this first pressing. Looks awesome with the OBI present. Top condition and killer slide to boot. Price: 100 Euro
75. ART ENSEMBLE OF CHICAGO: “a.a.c.m, Great Black Music – Reese And The Smooth Ones” (BYG Actuel – BYG-529.329) (Record: Near Mint/ Gatefold Jacket: Near Mint) Original French 1st original pressing on the great BYG Actuel records label. Released on the French BYG Actuel label, this a classic album recorded in Paris during August 1969 while the Art Ensemble was on its initial stay there with just a quartet featuring Roscoe Mitchell, Lester Bowie, Malachi Favors and Joseph Jarman. Reese And the Smooth Ones has a continuous piece featuring all the members playing lots of little instruments (horns, gongs, logs, bells, sirens, whistles, steel drums, marimba, banjo and more) in addition to their mainstays. Just stunning!!!Price: 50 Euro
76. ART ENSEMBLE OF CHICAGO: “A Jackson in Your House / Message to Our Folks” (Actuel/ BYG – Double Actuel 204) (2 LP Record Set: Near Mint/ Gatefold Jacket: Excellent/ OBI: Near Mint) Original Japanese pressing of this subliminal free jazz spiritual free improvisation monster released on the Actual label. Comes complete with OBI!!! One of the defining discs of that era that helped to broaden up the European scope on US free form musical spirituality. A modern day classic. Everyone needs a Jackson in their house. Copies all complete with obi are getting thin on the ground, has been quite some time since I had one in again. Price: 75 Euro
77. ART ENSEMBLE OF CHICAGO: “Chi Congo” (Odeon – OP-88010) (RED WAX Record: Mint/ Jacket: Mint/ OBI: Mint). Freaking rare original Japanese pressing on Japan ONLY RED wax. This one comes all complete with OBI also. Obi is damned rare on this one. Total mint condition. 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 of 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 on red wax and housed in a Japan only jacket. So nice, so good, so delirious. SOLD
78. ART ENSEMBLE OF CHICAGO: “People In Sorrow” (Odeon – OP-80032) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Unplayed vintage copy, 1st original Japanese pressing with always missing/ never-seen-before psychedelic Odeon Obi!! Original Japanese pressing as released in 1970, one year after the album first saw the light in day in France. “Comprised of just one piece -- split into two long sections as it was on the original LP -- People in Sorrow is a meditation on sound itself. This is the AEC at their most adventurous, yet their most dynamically restrained. There are periods of long silence interrupted sometimes only by a single percussion instrument, bass note, or series of tonal breathing from the horns. The effect is crystalline, sad, beautiful, and haunting. It is heartbreaking in its beauty and poignant in its intent. When tension seems to grow, efforts are made collectively to dispel it in order to stay focused on the thematic elements in the improvisation. When the AEC do engage in sound as a group and the flow becomes more immediate, there are always one or two instrumentalists holding back, anchoring everything in the mystery of sonic inquiry. There is only one section of the piece, about 13 minutes into part two, where edgy dissonance is allowed the space to give utterance, and its more in the form of tonal release than harmonic engagement. Because immediately after, the theme reasserts itself, albeit with Favors playing double time under the long, slow lines by Bowie and Jarman, and then only to underline everything that has taken place previously. The fire then takes hold and the AEC become what most people know them as -- intense free jazzers with a love for smeared textures and tonal white-out. But even here, three minutes before the end of the piece, everything moves back to the seamless and spatial, ushering in the silence that has its own voice as a kind of sixth member. The small, scalar statement made with the horns being breathed through rather than played upon is the heartbreaking exit upon a long, continuous drone upon a sopranino saxophone that takes it out with small notes from a thumb piano that don't so much end as cease to weep.” (Thom Jurek, All Music Guide). Original 1st Japanese pressing with obi just never surfaces and this copy is dead mint.Price: 200 Euro
79. ART ENSEMBLE OF CHICAGO: “Certain Blacks” (Columbia – YP-7061-MU) (Record: Near Mint/ Jacket: Excellent/ Insert: 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. “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. Price: 100 Euro
80. ART ENSEMBLE OF CHICAGO: “Live At Mandel Hall” (TRIO Records/ Delmark – PA-6022‾23) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint) Virginal copy, rare Japan 1st original press issue all complete with insert & rare OBI. One of the best post-Paris live dates by the Art Ensemble Of Chicago – recorded right on their Southside home turf in Chicago, as something of a homecoming after their years abroad! The performance is really one continuous piece, divided up into chapters – and it starts off with an intensity that's bolder than much of the group's previous recordings – an almost-free sort of sound that's quite raw, and which must have been a great way to announce their presence back on the Chicago scene. As the piece moves on, it slows a bit in pace, and opens up more in mood – but always has an edge that's quite distinct – almost free of some of the wit that marked the Ensemble's work from a few years before. The core lineup features Lester Bowie on trumpet and flugelhorn, Roscoe Mitchell and Joseph Jarman on saxes, Malachi Favors on bass, and Don Moye on drums and percussion – but as always, all players get their hands on plenty of other instruments during the performance – an array of horns, gongs, bells, whistles, bike horns, and more – all used to great effect! Original 1st pressing in outstanding condition. Price: 75 Euro
81. ART EMSEMBLE OF CHICAGO: “Bap-Tizum” (Atlantic – P-8344A) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint/ Insert: Near Mint/ OBI: Mint). 1973 Japan first original pressing, all complete with rare first issue obi. A seminal moment for the Art Ensemble Of Chicago – one of their first albums for a widely-distributed label, and an exceptionally strong live performance that really gets to the core of the group's unique approach! The material was recorded at the Ann Arbor Festival in 1972 – and has the Ensemble playing with a sense of focus and power that's even stronger than their previous indie and European records – really hitting their stride before a large live audience who totally gets their groove, and really eggs them on with enthusiastic support! As usual, the range of instrumentation is great – lots of different reeds, percussion, and brass – handled by the legendary lineup of Lester Bowie, Roscoe Mitchell, Joseph Jarman, Malachi Favors, and Don Moye. Classic slide and so killer…audiophile and clean Japanese high quality original pressing. Price: 75 Euro
82. 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
83. ASH RA TEMPEL: “S/T” (Ohr – OMM.56.013) (Record: Excellent ~ Near Mint/ Gimmick Gatefold Jacket: Excellent). Bloody rare 1st original pressing with 56 number on jacket and label. 2nd pressings turn up all the time with the 556 number but the 1st pressing is a bitch to dig up these days. One can be short about this one…it is a monster disc, one of the cornerstones of the Krautrock pantheon. Never has the term "monster" been used to more adequately describe an album than in the case of Ash Ra Tempel's classic debut.  Without a doubt one of the absolute pinnacles of the Krautrock movement, this album is a thundering masterpiece of unrestrained experimentalism and absolutely searing atmospheres. Ash Ra Tempel is a completely instrumental work, and makes use of furious percussion, droning keyboards and guitars, and masterful use of repetitive tension as well as dense, mysterious atmospheres before releasing into explosive solo guitar licks courtesy of Gottching. The album is made up of two tracks, the furious "Amboss" (perhaps one of the finest guitar freak-outs ever put to record), and the more varied "Traummaschine", meaning "Dream Machine" in German, which incidentally gives a pretty good idea of how it sounds. "Amboss" opens with some droning keyboard riffs before gradually building up behind Schulze's unrelenting percussive attack, and then exploding into a cataclysmic orgy of blazing guitar, crashing cymbals and rumbling bass. The song builds and releases in this fashion constantly throughout its 19 minutes, yet without a second wasted. "Traummaschine" takes its time building up, beginning with cosmic synthesizer drones, after which a repetitive guitar line drifts in.  Before you know it, ten minutes have passed, and soft percussive pulses have entered the mix.  By then, the build up has become tangible, gradually becoming faster and more intense, above which huge droning echoes rumble through the speakers like howling solar winds.  The song builds and releases constantly, with the entire bottom falling out occasionally, leaving only wandering guitar notes or a lone bass line amidst the swirling ambiance. Overall, this album propels the listener into the furthest reaches of desolate space like few others.  A clear cut masterpiece.” (Greg Northrup). A total killer with absolutely no filler. This disc is the 1st original issue…comes in a beautiful designed multi-gatefold gimmick cover; all is in top-notch condition. First pressings in clean condition have completely been evaporated these past couple of years…. Price: Offers!!!!
84. 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: 375 Euro
85. ASHBY DOROTHY: “S/T” (Cadet/ Baybridge Records – UPS-2243-BC) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Rare Japan original 1st pressing that came out in 1983. 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 obi. Price: 100 Euro
86. 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
87. ASO AI: “Umeromonoizen” (Tiliqua Records - TILIQUA-003LP). Found one last copy at a dealer’s place, traded with him for it, so final chance to own a slice of heaven and a future heavy hitter. This vinyl release of a 1999 demo tape only by Aso Ai album is by all who know her complete output – like PSF label head Ikeezumi – considered her best work to date. Well, gonna be tough since the pressing was extremely limited (like 250 copies) and they are all gone now, except for this one. So you have to ask yourself “Do I feel lucky punk?”. So here is the deal one more time: The music of this LP is comprised out of Aso’s first demo/home recordings dating back to 1999. The material predates her initial “Umeromono” CD’s contents. Unlike “Umeromono”, the music she slowly breathes into being through her slow-motion like ‘less is more aesthetic’ on this LP-set sounds even more fragile and desolate than her current recordings. This is partly due to the fact that Aso recorded the whole affair in her bedroom, deploying all the instruments herself and capturing the rudimentary gracefulness of her acid folk escapades directly to tape. The overall atmosphere has a strong ‘low-fi’ fragrance hovering over it without ever compromising the rich musical texture Aso succeeds in conveying out of her stripped-to-the-bare minimum textural approach. The general result is one of organic and sincere beauty, embodying fragility reminiscent to a dew-covered spider’s web. This quality gets even intensified by her soft-poetic angel-voiced whisperings and her fragile, fleeting like husky voice breathing out an erotic naiveté that is lyrical as well as introverted, making it in its own humble way nearly a thing of perfection. She is destined to be one of the unsung queens of the female acid folk pantheon and this recording will be one of its Holy Grails. The disc is housed in a beautiful, heavy textured jacket, doing the music justice.” Without being narcissistic, “Umerumonoizen” is to these ears (and others as well) Aso’s finest recording to date, partly due to the unpolished nature of the whole affair and the intimate bedroom recording vibe that oozes out of it in a very lo-fi kind of key. Her recent recordings are a bit too beautifully recorded and on this one the primitivism still comes shining through, making it a modern day masterpiece. Extremely small pressing and this is a last copy. So this is your last chance to own a brilliantly executed female vocals acid folk gem. Price: 200 Euro
88. 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: 350 Euro
89. AT HOME:“S/T” (Accessory Records – ACC-002) (Record: Near Mint/ Flimsy Gatefold Paper Jacket: Near Mint). Finally!!!! After all these years of searching for a spare copy, I am able to offer one of the best oddball psychedelic recordings ever. Apart from my own personal copy, this is the 2nd copy ever to cross my eyes in 12 years time! OK, sorry for the hyperbole but to these ears, At Home is simply one of the best psychedelic oddball & weirdo records ever released and ranks proudly in my top 3 of best recordings ever. Released in the late 1970s or early embryonic 1980s, At Home was a UK studio project of some dodgy scam producer who was good at cooking up strange musical cocktails. He recruited a Frank Hannaway (farfisa accordion & rhythm box) and Michael Barclay (guitar) and without ever meeting each other commanded them to record some tracks. The end result was strung together in some crappy afterhours studio and resulted in the most waked-out Prozac soaked underwater-demented lunacy psychedelia ever to have been put down on wax. Out of tune desert twang guitar swirls interlock with cheap kaleidoscopic farfisa accordion moves and shift gearing rhythm box lines. Together the two protagonists move into some the grey area of the mazed elderly unhinged, taking them to a sub-aquatic world of psychotic anti-depressants reigned by asymmetric grooves and synthetic sounds. At Home sets free a sound that is a peculiar mix of low style, highly effective anti-depressants, liquid Prozac shoot-ups and pure dumbness. Listening to it makes you feel like diving into a pool that got emptied yesterday. Disintegrated Alzheimer symptoms get mixed up with limb numbing psychotic drunkenness and a kind of hysterical fatigue that comes from spending too much time with the elderly insane. The end result is this jangled mix of zombie-like psychotic lysergic madness and degrading lethargic Thorazine shoot-ups that it makes it hard to keep a focus on what is really going on around you. At Home is the best thing ever to hit my aural senses but it comes at a cost and your mental sanity will never be the same again. Don’t come wailing back at me that you haven’t been warned. Best record ever and I mean this!!!!! Price: Offers!!!
90. 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
91. ATSUMI MARI: “I’ll See You In Hawaii” (Daiei Records – G-5004) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Pin Up Poster: Near Mint). Bloody rare 1971 1st original Japanese pressing of this rare erotic artifact. This was Atsumi’s 2nd and last album. After her ultra erotic debut LP, Atsumi took a trip to Hawaii and recorded the perfect follow-up, Hawaiian vibes all over but juiced up with her habitual feminine oriental erotic touch. This LP is much harder to come by as compared to her first album, only surfaces once every decade it seems. Comes housed in a gloriously beautiful gatefold jacket depicting Atsumi Mari in all her glory, and comes with attached fold out pin up poster as well. Classic Japanese erotic kayokyoku artifact that till this day remains highly elusive. First time ever I can offer up a copy. Perfect condition all the way. Highest recommendation. Price: 300 Euro
92. ATSUMI MARI: “Kawai Akuma b/w Mayonaka no Terasu” (Daiei Records – D-104) (7 Inch: Excellent/ Gatefold Picture Sleeve: Near Mint) Iroke chanteuse and actress par excellence. Bloody rare 7 inch by Atsumi that comes with fold out cover and stunning nude jacket art. The sounds are erotic as hell. Saliva drooling sexy and cute songs. All material by Atsumi Mari is so rare and so search after for that it just never pops up and when it does …there is a gastronomical price tag attached to it. This single has only has a very few very faint paper scuffs, nothing serious. If I had to grade the playing quality I would grade it excellent. The A-side has the stellar “Kawaii Akuma” track on it, pure unadulterated lust and hidden desires bold up within one song. Just brilliant. Killer. Extremely collectible erotic material and rare as hell. Hard to dig up in Excellent condition for the EP and with the gatefold picture sleeve in Near Mint condition, in short, this is a steal here. Highest recommendation. Price: 50 Euro
93. AYERS, KEVIN: “Joy of a Toy” (Harvest – SHVL-763) (Record: Near Mint ~ Mint/ Gatefold Jacket: near Mint ~ Mint/ Company Inner Sleeve: Excellent). Original 1st UK pressing out of 1969 with NO EMI on label. Matrix numbers ending in A1 and B1 respectively. Complete with laminated gatefold jacket that has no damages and thick solid spine, perfect condition. Subliminal 1st Kevin Ayers record. 1st UK pressings in near mint condition are a bitch to score these days and this copy is just like new. 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. Super clean copy, disc NM, gatefold jacket is NM~M with thick solid spine and lamination fully intact and no defects. Hard to find a better & cleaner one. Price: 350 Euro
94. AYERS, KEVIN: “Whatevershebringswesing” (Odeon Records – EOP-80478) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Japan only 4 Paged Insert: Near Mint). Original 1st Japanese pressing. White label promo issue. 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, this is the WHITE LABEL PROMO issue. One of the best albums ever recorded without a doubt. Price: 150 Euro
95. AYERS, KEVIN: “Whatevershebringswesing” (Harvest – SHVL-800) (Record: Near Mint ~ Mint/ Textured Gatefold Jacket: Mint). 1971 UK first original pressing in top condition. Melancholic and reflective stunning third solo effort by former Soft Machine member Kevin Ayers. It shows another instance of Ayers' brilliant eclecticism, where there is room for an orchestral suite, music hall atmosphere, a country number, progressive moments and his characteristic psychedelic pop. It is regarded as his most complete album with collaborators that include Robert Wyatt, Mike Oldfield and Didier Malherbe from Gong. Getting extremely tough to dig up virginally clean 1st original pressings. Top copy housed in textured gatefold sleeve with sharp corners and thick spine (spine is untouched and not crushed). Impossible to ever upgrade upon. Price: 220 Euro
96. 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
97. AYERS, KEVIN & THE WHOLE WORLD: “Shooting At The Moon” (Odeon EMI – OP-80172) (Red Wax Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint/ Illustrated 6-Paged Insert: 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. 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. 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. Price: 300 Euro
98. AYERS, KEVIN & THE WHOLE WORLD: “Shooting At The Moon” (Harvest – SHSP-4005) (Record: Near Mint/ Jacket: Near Mint). Top copy, UK very first original pressing with matrix numbers ending in 2G!!!! No EMI on label. Amazing copy, jacket is perfect as can be – which is no minor feat for this record as you know and the record itself is also immaculate. Stunning copy! Hard to find a better one. Price: 250 Euro
99. 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
100. 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
101. 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: 175 Euro
102. 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: 150 Euro
103. AYLER, ALBERT: “Witches & Devils” (Freedom/ Trio Records – PA-7030) (Record: Mint/ Gatefold Jacket: 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
104. 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: 50 Euro
105. AYLER, ALBERT: “Spiritual Unity” (ESP/ Victor – MJ-7101) (Record: Mint/ Jacket: Mint/ Obi: 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: 200 Euro
106. 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
107. 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: 100 Euro
108. 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: 75 Euro
109. AYLER, ALBERT: “Recorded Live At The Village Vanguard In Greenwich Village” (Impulse – SR-3114) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Mint). Rare 1971 Japanese first original pressing all complete with first issue obi. WHITE LABEL PROMO issue. Killer Ayler slide that just open up to the hallucinogenic horn power of Ayler’s 1966 and 1967 Greenwich Village sets where he shares the stage with Joel Freedman, Bill Fowell, Beaver Harris, Sunny Murray, Alan Silva, Henry Grimes and brother Don on trumpet. Totally essential!!! Hardly ever surfaces – first press with obi. Top condition PROMO issue…Don’t think twice it is alright. Price: 175 Euro
110. AYLER, ALBERT: “Last Album” (Impulse – SR-3122) (Record: Near Mint/ Gatefold Jacket: Near 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
111. AYLER, ALBERT QUARTET: “The Hilversum Session” (DIW Records – DIW-25009) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ OBI with Insert: Mint). Original 1st high quality Japanese pressing from 1984 which was originally released on the Dutch small Osmosis label but the Japanese pressing surpasses it by far when quality, and eye for detail are concerned. One of those legendary recordings in free jazz. It was recorded in a Netherlands radio studio in front of a small invited audience, at the end of the Ayler Quartet’s European tour on November 9, 1964. The band -- Ayler, Don Cherry, Gary Peacock and Sunny Murray -- had been playing Ayler’s tunes for months and were uncanny in their ability to hear one another and improvise together at that point. It was also the last time the group would record together under Ayler’s name as a quartet, and they went out at a peak. The recording itself remained unissued until 1980 when it appeared on an LP on the long-defunct Osmosis label. These cats play together with the kind of intuition and foresight only a seasoned group can; they understand the nuances of the language they are speaking and know how to offer those to the listener emotionally, musically, and even culturally. Finally, as for the sound of the recording, it is stellar. Amazing slide and one of the highlights in Ayler’s oeuvre, at least to these ears. Top copy, beautifully laminated sleeve and high quality vinyl pressing. Price: 75 Euro
112. 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. 50 Euro
113. The AYNSLEY DUNBAR RETALIATION: “S/T” (Globe/ Victor – SJET-8162) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT/ Outer Die Cut 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. Price: Offers!!!
114. AZAMA ETHEL: “Exotic Dreams – the Enticing Voice of Ethel Azama” (Liberty – LRP-3104) (Record: Near Mint/ Jacket: Near Mint). Original US press – PROMO copy & rare MONO pressing from 1959!!! “The debut album from Japanese Hawaiian vocalist Ethel Azama is one of the few Exotica albums to feature vocals throughout but that is only part of its special nature. Arranged by Martin Denny associate Paul Conrad, about half this LP plays like a vintage Denny or Arthur Lyman combo backing a Far East vocalist on ‘50s standards like “Harbor Lights” and “Nightingale”. Interesting as that is, the real trip lies in the album’s middle third, where Ms Azama & Co on several tracks crystallize an alien, psychedelic sound that seems a blueprint for the acid queen flavors of Grace Slick or Linda Perhacs. Azama’s Pacific Rim accent and icy vocal style combine with haunting oriental melodies and esoteric instrumentation to create music that isn’t exotic as music as otherworldly. “Green Fire” in particular is an extraordinary experience, sounding like something from a major label femme psych LP from 1969. “Lazy Afternoon” offers a cozier, stoned-out vibe, with a superbly drowsy arrangement that utilizes gong, wind chimes and vibraphone. More conventional tracks like “Mountain High, Valley Low” also take on a cerebral escapist quality that transcends the familiar Exotica trip. As most vintage albums in its genre, it is an excellent production, which contributes to its timeless quality. While not a masterpiece like Eden’s Island, parts of Exotic Dreams work as a female proto-psych complement to Eden Ahbez’ more famous work, and even the less adventurous tracks are a delight” (Acid Archives). Fantastic LP in TOP virginal condition, 1st 1959 pressing!!! Total killer!!! Price: 75 Euro

115. THE BADEN-BADEN FREE JAZZ ORCHESTRA: “Gittin’ To Know Y’All” (MPS – YS-2417-MP – 1971) (Record: Mint/ Gatefold Jacket: Near Mint). Rare Japanese first pressing – TEST PRESS issue with stamped white labels!!! Holy Shit!! This baby burns as hard as you giving head to the scorned tailpipes of a dragster car that has just completed his supersonic run across a melted down concrete speedway course. While you are trying to patch up your blistered lips after sucking down the kerosene fumes, these guys here do not back down one inch and keep on sucking the air out of the auditorium. This is supersonic hardcore jazz, embalmed into a raging ball of fire that is belched out as a collective effort that got name tagged as the Baden-Baden Free Jazz Orchestra. The collective was for this occasion made out of the hottest soul-incinerating players around such as AEC members and representatives of the European free blowing scene, a head on collision with Lester Bowie (tp, cond), Hugh Steinmetz (tp), Kenny Wheeler (tp), Albert Mangelsdorff (tb), Eje Thelin (tb), Joseph Jarman (ss), Roscoe Mitchell (as), Alan Skidmore (ts), Heinz Sauer (ts), Gerd Dudek (ts), Bernt Rosengren (ts), John Surman (bs), Willem Breuker (bcl), Terje Rypdal (g), Dave Burrell (p), Leo Cuypers (prepared p), Barre Phillips (b), Palle Danielsson (b), Steve McCall (dr), Tony Oxley (dr), Claude Delcloo (dr), Karin Krog (vocal). The European free jazz scene merges with their American counterparts, fusing into one inflammable and agitated collision force of communal interplay. Together they create an arresting listening experience and the music unleashed is made up of a torrential stream of powerful blows that creates a whirlwind of unrelenting fire music. Killer stuff. This is the original Japanese press of 1971 and comes in a thicker than life carton foldout jacket. Totally mint and awesome artwork. Rare these days and indispensable in any collection. Price: 75 Euro

116. 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: 350 Euro
117. BAILEY DEREK, PARKER EVAN and BENNINK HAN: “Topography of the Lungs” (Incus Records – Incus 1) (Record: Near Mint/ Jacket: Near Mint). First ever Incus release and one of the best titles on the label, utterly insane and extremely rare these days especially in a condition such as this copy here. First original UK pressing that comes on the DARK BLUE Incus label imprint. But apart from that the music is again stellar. Skin mangler Bennink is on this recording the central figure around which Bailey and Parker interweave their improvisational assault on the senses. While pivoting and fuelling the internal power struggles of Bailey and Parker, Bennink sparkled an inventive interplay locked in with his building and driving pulse. Bailey’s dissonant guitar soars in and out of focus with varying tonal centers, ducking Parker’s saxophone salvos and spluttering out ecstatic shards of metallic dislocated shrapnel fragmentations. The fusillade of Parker’s straight-up and infectious saxophone tones are loud, brash and confident but never sound tailored to fit a group context. Instead the trio unleashes a guerilla-warfare like unabashed attack that resembles acid rock freak-outs set to a free-falling improv background. Just sheer stellar music. All time highest recommendation, a classic unbeatable record. Very rare 1st original UK Incus Blue label pressing, top condition. Price: 300 Euro
118. BAILEY, DEREK: “New Sights, Old Sounds” (Morgue 03/04) (2 LP’s: Near Mint/ Gatefold Jacket: Excellent, sole defect is a lower middle seam split/ Insert: Near Mint) Top copy, 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. However I regret being an infant 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: 250 Euro

119. BAILEY, DEREK: “Aida” (Incus Records – Incus 40) (Record: Near Mint/ Jacket: Near Mint). Possibly the greatest Bailey solo guitar record ever recorded, an homage to the late concert organizer, music critic and writer Aquirax Aida. Attempting to illuminate on the grandeur of this music through a simple narrative proofs to be a totally futile attempt. Words just simply fall short here to express the tonal beauty embedded within the grooves of this disc. Instead, I can assure you that you will be knocked off your feet and get flooded with a wash of impressions upon immersing yourself in this parallel world. Leaping motives set against dissonant harmonics flourishes and scratched chords become the main mode of expression. In his hands, the acoustic guitar becomes an orchestra of disconnected instruments. Complex rhythmic stutters coalesce into an intrinsic logic of their own. The music is at one time utterly sparse and bordering on a high-strung tension that could disintegrate into thin air by merely listening to it, while at other times high scratches and pondering percussive rumbles emanate dense and impenetrable layers reminiscent of a thunderous summer storm raging at the horizon. At times, Bailey’s masterminded improvisational interplay gets interspersed with razor-sharp silences that hint at an imminent decay as the titles to the compositions already hint at such as “Niigata Snow”. This is an unbeatable record and a classic in its genre. I doubt that there are any other solo guitar albums as challenging as this one. All time highest recommendation. Price: 150 Euro

120. 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…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 85 Euro
121. The BAND: “Music from Big Pink”. (Capitol Records – CP-8661) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ Mint/ 2 Inserts: Near Mint/ OBI: Near Mint ~ Mint). TOP COPY - Rare 1st original Japanese press issue that comes on RED VINYL. Comes complete with rare first issue OBI in top shape. Exquisite copy of this all time masterpiece, rare original Japanese press. Wow baby, this album is so bloody perfect that according to these ears it is one of the defining discs to seep out of the 20th century. So further explanation is completely unnecessary I guess. Brilliant record, stunning condition, and rare Japanese press –blood red wax that sounds astonishing. Only the 2nd time I have a true 1st pressing of this all time beast of a record and the very first time I can offer an all complete one with OBI present. A masterpiece and quite a hard one to dig up all complete. Price: Offers!!!!
122. 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: 350 Euro
123. 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: 125 Euro
124. BARDOT, BRIGITTE: “Konya Bardot To Tomo Ni – Bande Originale Du Film Special Brigitte Bardot” (Columbia – XS-83-AZ) (Record: Near Mint/ Gatefold Jacket: Excellent/ 8 Paged Fully Illustrated w/ Pictures booklet: Excellent/ OBI: Excellent). Original 1969 Japan only issue complete with very rare OBI. Obi just never surfaces. Mega rare 1969 Japanese ONLY issue of "Brigitte Bardot Special" that comes with different cover art than 1967 original issue. Many tracks are composed by Francis Lai. Brigitte Bardot sings on all of these tracks, including the brilliant "Contact", "Mister Sun," "Harley Davidson" and more! The whole affair comes housed in an eye-popping gatefold sleeve complete with an 8-page booklet packed with color and black & white pictures of Brigitte Bardot in all her beautiful and lustful incarnations, a sight for soar eyes for sure. The LP itself is an original Japanese first press issue. What makes this item so delusionally rare is that it includes the seldom seen original gold and violet obi strip, which complements this LP perfectly. This is the ONLY time I've ever seen an original obi for this title. The obi is seriously rare, saw only a copy once that sold for 1600$ on the bay. This one I can let go for a fraction of that price so you may have a steal here. Bloody great LP musically and seriously rare and almost impossible to come by. Highest recommendation. Price: 400 Euro
125. BARNEY WILEN & his AMAZING FREE ROCK BAND: “Dear Dr. Leary” (MPS Records – YS-2301-MP) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Mint/ Insert: Mint) ORIGINAL FIRST JAPANESE PRESSING FROM 1970 with heavy foldout cover. WHITE LABEL PROMO & best copy I have seen so far, impossible to upgrade!!!! This is stellar oddball free jazz meets psychedelic pop record, the most perfect hybrid configuration between these two worlds. The result is a galvanizing mercurial mixture that rips through free hardcore jazz while touching elaborately at the lysergic colored mind drops scattered all over the 1968 music scene by the Beatles and other pioneering mind benders. Exotic, weird, out of place and totally in tune, while dropping out of fixed musical straight jackets, Barney and his free rock band artificially fertilize a new musical species and this before sheep Dolly and her test tube babies caused havoc amongst the straight people. They certainly have the ability to turn you on. Great stuff ignited by a defused atomic line-up. Personnel: Barney Wilen (tenor & soprano-saxophone), Joachim Kuhn (piano, organ), Mimi Lorenzini (guitar), Gunter Lenz (bass, electr. bass), Aldo Romano (drums) & Wolfgang Paap (drums). A rarity, first Japanese pressing on the MPS label and pressed on high quality vinyl. Price: 150 Euro
126. BAREY, WILEN: “Auto Jazz – Tragic Destiny of Lorenzo Bandini” (MPS Records Japan – YS-2203-MP) (Record: Near Mint/ Heavy Laminated Gatefold Jacket: Near Mint, has only a few mildew stains inside gatefold visible against white background). Rare white label promotional copy. “French tenorist and racing enthusiast Barney Wilen's arrived at the 1967 Monaco Grand Prix with his Nagra sound recording system in hand, planning nothing more than to tape the race for private use. But when famed Italian Formula One racer Lorenzo Bandini lost control of his car and crashed, suffering horrific burns that claimed his life three days later,, Wilen et to work on integrating the tape into a new composition celebrating the driver's life and career. The resulting Auto Jazz – Tragic Destiny of Lorenzo Bandini remains one of the most adventurous and potent recordings in Wilen’s catalog, its careening, visceral music brilliantly paralleling the exhilaration of its subject matter. Bandini's Ferrari speeds in and out of the musical narrative, jockeying for position amid Wilen's soaring tenor and Eddy Gaumont’s crashing drums while uniting driver and musicians in their reckless abandon and addiction to adrenaline.” (Jason Ankeny – AllMusic) 1969 Japanese 5-track LP featuring the soundtrack of the 1967 Monaco Grand Prix incorporated into the five-movement 'Musique Concrete' suite in which the unfortunate Lorenzo Bandini lost his life after a crash on the 87th lap. Against a crashing free jazz setting with incorporated musique concrete sounds of vintage race cars speeding around, motors humming, race announcements, Wilen churns out an incendiary set fuelled with gut wrenching moves, twists and turns. The race sound s mix perfectly with the burning fire music, a match made in heavens that ended in disaster for Bandini. The whole affair comes housed in a great front laminated gatefold picture sleeve. Top copy original Japanese pressing on high quality vinyl. A feast for your ears and eyes, jacket comes in thick laminated gatefold jacket. Price: 150 Euro
127. BARNEY WILEN: “Moshi” (Saravah Records – SH 10028.10029) (2 LP Record: Near mint/ gatefold Jacket: Near Mint). In 1970 Barney Wilen assembled a team of filmmakers, technicians, and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects, and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier, and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, street-legal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of indeterminate origins. A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz and funky noise, with some cuts that are spacey, and others that are nice and funky. Price: 450 Euro
128. 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: 75 Euro

129. 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!!!

130. BARRETT, SYD: “The Madcap Laughs” (Odeon Records – OP-8927) (Record: Near Mint/ Gatefold Jacket: Near Mint / OBI: Near Mint/ Insert: Excellent). TOP COPY!!!!! Original 1st Japanese pressing complete with rare obi – second issue with 2200-yen price on obi. Music needs hardly any introduction I guess. First solo LP by former acid casualty and Pink Floyd king pin. Original pressing – 2nd issue with 2200 yen stated on OBI is also getting seriously rare on these shores. Record / gatefold jacket and Obi are in near immaculate condition, top copy. Price: 350 Euro
131. BARRETT, SYD: “Barrett” (Odeon – OP-80173) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original Japanese pressing complete with 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. 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 … fabulous museum piece and of great historical as well as musical importance. Hold your breath, make your move and rest in peace for ever…Totally top notch copy, they do not come better than this one. Price: 500 Euro
132. BARRETT, SYD: “The Madcap Laughs & Barrett” (Toshiba EMI – EMS-67014~15) (2 LP Set: Near Mint/ Fold Out jacket: Near Mint/ Obi: Near Mint) First original Japanese press that couples the two first Barrett albums and lavishly adorns it with a broad-banded obi. Very rare early Japanese press Barrett artifact that almost never turns up, especially in mint condition like this one with Obi also mint. Highest recommendation and in pristine, immaculate condition. Price: 150 Euro

133. BASIL KIRCHEN: “The Shuttered Room” (Trunk Records – SHUT001) (Record: Near Mint ~ Mint/ Stamped letter pressed sleeve: Mint/ Insert: Mint). Never before available 1967 soundtrack to UK horror flick which was released completely legitimately and taken from the movies original master reel....and put out in a tiny edition of only … 25 copies, so bound to be rare forever. That aside the music is a stunner. “As for the film and soundtrack, both were made in 1967. It was a horror film starring Gig Young, Oliver Reed and Carol Lynley, all directed by the most interesting director David Greene. Very few people really know about David Greene but his cinematic work includes Sebastian, I Start Counting and this, which is pretty impressive if you ask me. He obviously liked Kirchen and used him for four of his movies., but in all the times I spoke with Basil, I never found out why. And perhaps we’ll never know.” (Trunk) Very beautiful film score that has both that typical 1960s UK jazzy feel as well as the gift for the unexpected impact that quells the darker side, sliding into a deep subterranean slur and cutting across cinematic dustup-jazz again. An austere intimacy as well emanates out of the jazzy tracks that offers direct access to deceptively intense skeletal music that displays nevertheless a meticulous lyrical economy. This score to the Shuttered Room stands shoulder to shoulder with the best slides of that era and should be filled next to John Taylor’s LP on Turtle, Neil Ardley and the likes. Just stunning. Pressed in an edition of only 25 copies, this is bound to be rare forever…. Top condition. Price: Offers!!!!

134. BATOH MASAKI: “Kikaokubeshi” (The Now Sound – 1996). (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Completely vanished original 1st pressing of this beast. 2nd pressing was later reissued by Drag City but this one here is the 1st press issue that was released in an edition of 700 copies way back in 1996. 1996 recordings by Batoh, leader of Japan's epic psychedelic folk-kings Ghost. Solo, he emits beautiful, dark, drone-folk, ambient with nocturnal nature whisperings around the blurry edges of his instruments. This LP is a follow-up to his previous solo LP “Ghost from a Darkened Sea”. Side A concludes with "Death Star," making for another timely tie-in.Sonic wise, it consists of a series of instrumental pieces which range from rainforest ambient to near-Total territory. Quite haunting and affecting, possibly more so than many Ghost releases. The material gets better with every listen, and adds up to something quite special that deserves to be more widely heard. This release was strictly limited to 700 vinyl copies and has since then completely vanished. SOLD

135. 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!!!!

136. 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
137. BAYLE, FRANCOIS: “Grande Polyphonie” (INA GRM – AM727.04) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint). Top copy of this classic electro-accoustic/ electronic music slide by one of France’s top ace composers. Released on the always-stunning INA GRM label. Price: 75 Euro
138. 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: 85 Euro
139. BAYLE, FRANCOIS: “Erosphere” (INA GRM – n9108ba) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 8-Paged Booklet: Mint). 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 in 1985. But do not let the date put you off, the music and the sonic clusters Bayle’s catapults into space sound as eerie and alien as they did during the late 1960s. Although this slide was released in 1985, record sales at INAGRM were on the downhill and pressing quantities were dropped significantly so not so many copies do float around. Still, Bayle is in top form, his tiniest gestures trigger apocalyptic waves of sound, creating a stunningly beautiful tornado of dusty noise that engulfs the aural landscape. Just sheer beautiful. Price: 85 Euro
130. B.B. KING: “1949 ~ 1950” (Victor Records – SWX-6160M) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Quite scarce Japan only issue of stellar blues slide by the master. White label PROMO issue. This excellent compilation presents the very beginning of the B.B. King story as documented on phonograph records made between the years 1949 and 1952. Born in Mississippi, influenced by his uncle Bukka White, he sang his own kind of blues in a high and spirited voice. Moving over to the RPM label, King made a series of recordings in 1950 and 1951 that began to define his style, putting him on the map, as it were, and on the road to popularity. There seems to have been an amiable fire lit under the band during the session of January 8, 1951. "Questionnaire Blues" deals with the troublesome topic of conscription. Solomon Hardy’s screaming tenor sax introduction jacks up "B.B. Blues" to a high level of emotional intensity from the get-go. Rare Japan only issue that comes with OBI and it is a white label promo issue to boot. Top condition!!! Price: 75 Euro
141. The BEACH BOYS: “Summer Days” (Capitol Records – CP-7386) (Red Wax Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Obi: Mint). Bloody rare first original Japanese pressing from September 15th, 1965 in TOP condition. They hardly come better and cleaner than this one and with the first issue obi present as well. "Summer Days" is clearly unfinished record. There is nothing wrong with great singles such as "California Girls", "Help Me Rhonda", "Then I Kissed Her" and album tracks "The Girl From New York City", "Girl Don't Tell Me", "Let Him Run Wild" and a capella chant "And Your Dreams Come True", the problem is that the rest of the album is two steps beyond. It is difficult to hear, for example, "Let Him Run Wild" and after that something like second rate demo. But those great songs are probably among the best BB performances ever. Very rare original Japanese pressing, all complete with obi and pressed on red wax. Best condition possible. Price: 400 Euro
142. The BEACH BOYS: “Party!!” (Capitol Records – CP-7449) (Red Wax Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Obi: Mint). Bloody rare first original Japanese pressing from January 5th, 1966 in TOP condition. They hardly come better and cleaner than this one and with the first issue obi present as well. Capitol, which had already released ten Beach Boys albums in three years, was bugging the group for product that it could release in time for the 1965 Christmas season. To buy time while Brian Wilson began conceiving the Pet Sounds masterpiece, the group issued a set of covers, featuring '50s rock and R&B hits they had listened to as schoolboys, plus some newer sounds. Packaged as if it had been recorded at an actual party, it was in fact recorded in the studio over a few sessions, with friends, family and romantic partners adding sounds and vocals to create an informal atmosphere. With the exception of a bass guitar, all the instruments were acoustic; the acoustic guitar-and-bongo arrangements, in fact, give this a hootenanny campfire feel. Since its release, this album has gone up a few notches in critical esteem, praised for its loose, casual feel and insight into the group's influences. Realistically, though, its lasting appeal lies mostly with dedicated fans of the group, as fun and engaging as it is. It does have the massive hit "Barbara Ann," which actually features Dean Torrence (of Jan & Dean) on much of the lead vocals; other highlights include a rousing run through "Mountain of Love," an unexpected version of "The Times They Are a-Changin' sung by folk fan Al Jardine," and three Beatles covers.” (All Music Guide). Top condition and all complete with rare OBI!!! Price: 400 Euro
143. BEACH BOYS: “Pet Sounds” (Capitol Japan – TOJP-60116) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 8-paged Booklet: Mint). Limited anniversary edition that came out on RED WAX and in MONO, complete with original obi reproduction. Released in 2004 in an edition of a 1000 copies, which were snapped up within days of its release, of course Japan only. Japanese vinyl releases are premium quality pressings, much sought after by audiophiles and collectors alike. Long deleted pressing. A stone drop dead classic, Japanese press with obi and red wax…and rare MONO version…the works!! Price: 75 Euro
144. The BEATLES: “Rubber Soul” (Odeon Records – OP-7450) (Red Wax Record: Excellent/ Flip Back Jacket: Mint/ OBI: Mint/ Insert: Mint/ Company Inner Sleeve: Excellent). Bloody rare 1st original Japanese pressing complete with first issue obi as released March 15, 1966. Comes on Japan only red wax. Stunningly & beautifully preserved first pressing with all complete, which is a bitch to dig up these days. SOLD
145. The BEATLES: “Sgt. Pepper’s Lonely Hearst Club Band” (Apple Records/ Toshiba Records – OP-8163) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1967 first original pressing in great condition, complete with first issue obi. Price: 125 Euro
146. 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

147. BEAUSOLEIL, BOBBY: “The Music Of Bobby Beausoleil – The Lucifer Rising Suite – Original Soundtrack and Sessions Anthology” (The Anja Offensive) (4 LP Set: Near Mint/ 4 Individual LP Jackets: Near Mint/ 4 Paged Insert: Near Mint/ 2 Posters: Near Mint/ Outer Box Set: Near Mint). Limited issue that saw the light of day in 2009. Very first pressing! All the music Bobby Beausoleil composed for the legendary Lucifer Rising soundtrack, crafted by legendary occult/avant-garde filmmaker, Kenneth Anger. Remastered recordings spanning 11 years, from the '67 recording to the Tracy Prison recordings of ’78 spread over 4 LP’s clocking in at just under 3 hours. Marching into the thriving psychedelic street revolution, Beausoleil formed an art rock band, The Orkustra, and began gigging regularly at Be-In events throughout the city. It was during this time, just months before the onset of the Summer of Love, that underground filmmaker Kenneth Anger discovered Beausoleil during a psychedelic arts festival called The Invisible Circus. Anger immediately cast Bobby as the lead man and fallen angel archetype in his latest celluloid ritual, Lucifer Rising. With typical melodramatic pomp, Anger approached Beausoleil in a parking lot after the festival, declaring, “You are Lucifer!” Beausoleil agreed to play the part under the condition that he would also compose the film’s soundtrack.” Now, for the first time, all of the music composed for the soundtrack project has been compiled into a single public release. The Lucifer Rising Suite begins with the 1967 version of the soundtrack and continues through a logical sequence of the recordings made in the years spanning 1976-79. The compositions that comprise the Suite are sequenced in an order that tells a story, after a fashion. It is a story that may be impossible to tell in a strictly literary manner, one that -- like a mirrors reflection into another -- is both personal and allegorical. A complete anthology of the recordings made for the Lucifer Rising motion picture soundtrack by Bobby Beausoleil with The Freedom Orchestra and The Magick Powerhouse Of Oz. This fully authorized and definitive release includes: - Remastered recordings spanning 11 years, from the 67 recording to the Tracy Prison recordings of 78. - 4 full-length LPs worth of Lucifer Rising material with half being never-before-heard sessions personally selected by Bobby Beausoleil. - 9 new pieces of art from Bobby: 8 record sleeve panels and one 2 x 3 poster. - 2 posters: one by Bobby Beausoleil and one by Dennis Dread. - A much-extended version of the Fallen Angel Blues piece by Bobby that originally appeared in the Kenneth Anger DVD set. - Hymns to the Solar Temple -- impressions on a visit to Bobby at the Oregon Correctional Facility in Pendleton, Oregon by Dennis Dread. - The Saga of a Soundtrack by Michael Moynihan. - Art from Dennis Dread for the back of the LP box, also to be included as a 2 x 2 poster. - Art from Dennis Dread for the front lid of the box, which will provide a window into the works of Bobby’s to be found within. All art has been created specifically for this release. Long gone and vanished and so damned awesome!!! Price: 150 Euro

148. BENNINK, HAN (H.J): “Tempo Comodo” (Datarecords - Data:823 – 6814.935.2Y9 (Record: Mint/ Jacket: Mint). Rare and obscure Han Bennink private press release that saw the light of day in 1982, released in tiny numbers. Recorded in 1982, Bennink reveals himself here to be a chameleon with a massive setup composed not only of drums but of exotic percussive and wind instruments. Amid a wave of cymbal crashes and furious tom rolls, Bennink spits out volcanic gibberish. The growls, howls and spluttering outbursts weave in and out of his rhythms, beginning at the point where the other ends and vice versa. He simply pushes jazz’s rhythmic possibilities of the drum as just a percussive instrument to their absolute limit. This is the sound of a man becoming his drum. All is original and in top condition. It perfectly suits the music, which is lo-fi as can be and like the jacket also entirely home-made. This is DIY from way back in 1982 and the recording quality is superb. Price: 150 Euro
149. BERGER, KARL: “We Are You” (Trio Records – PA-7017) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ OBI: Mint). Rare Japan 1st press original from 1972 that comes in total different jacket art as opposed to the Calig issue. Flanked by die-hard free playing scenesters such as Allen Blairman (drums), Peter Kowald (bass) and Ingrid Berger (vocals, percussion), Karl Berger (vibes, piano & marimba) created a sound entirely his own, sounding at once airy and precise, harmonically advanced and still anchored in a distinctive free jazzing hard swing. He succeeded in counterbalancing the rich overtone range of the vibraphone by removing the vibrato mechanism. Ranging far afield melodically and harmonically, Berger's music sounded “free” but was set in an unfailingly rhythmic framework that fitted like a glove with the sidemen he choose for this recording. The end result is bewitchingly free-grooving and hypnotically spell binding with tempos shifting dramatically within the same composition. Karl floats like a butterfly on the vibes, expressing a magical quality of being penetrating and clear at the same time. One of the few free jazz slides where the marimba is the lead instrument and it is a real surprise to see it reach intergalactic proportions. Comes complete with rare obi as well and sounds bloody amazing. Absolutely a largely overlooked but deadly killer slide, every track is a winner and keeps you breathless and gasping for more of the same medicine. Price: 125 Euro
150. BERHMAN, DAVID with TAKEHISA KOSUGI/ BEN NEIL & RHYS CHATHAM: “Leapday Night” (Lovely Music – VR-1042) (Record: Near Mint/ Jacket: Mint). First original pressing as released in 1987. Top condition. “Leapday Night” and “Interspecies Smalltalk” are sets of compositions for instrumental performers and a computer music system, which David Behrman designed and assembled during the 1980s. The system consists of pitch sensors ("ears" with which it listens to the performing musicians), various music synthesizers (some homemade), a computer graphics color video display and a personal computer. Each composition is built upon a computer program governing interaction between performers and the system, and creates situations rather than set pieces. The performers have options rather than instructions, and the exploration of each situation as it unfolds is up to them. “Leapday Night”was developed in the course of rehearsals and performances with Ben Neill and Rhys Chatham from 1983 to 1986. “Interspecies Smalltalk” was commissioned by John Cage and Merce Cunningham as music for the 1984 Cunningham Dance Company repertory work "Pictures," and was made for performance by Takehisa Kosugi. This record – with a heavy participation of Kosugi throughout – is one of those electronic music cornerstone recordings one keeps on referring back to and this record is no exception, even though it was released and conceived as late as in the late 1980s. “Leapday Night” offers viable escape routes from electronic and minimal music’s formulaic gridlock and like acupuncture needles aimed at pleasure points, the music’s minimalist synthetic groove creates a hypnotic mood that reaches its fullest effect when putting on the headphones, crank up the volume and escape from every day’s public agony. Just beautiful. Essential if you are into the La Monte Young and bubbling vintage electronic psychedelic end of things. A must to these humble ears. Price: 100 Euro

151. BERLINER DICHTER WORKSHOP: “S/T with DIETER ROTH – RUHM – WIENER” (Edition Hansjorg Mayer – 1973) (Record: Near Mint/ Jacket: Near Mint). Original 1973 West Germany private press issue of much sought after Dieter Roth record. In 1977, Friedhelm Döhl, director of the Basel Music Academy, described Dieter Roth as “an amateur who can say something to musicians on the subject of music, non-music, not-yet-music, no-longer-music and so on, from which musicians can perhaps learn to ‘speak’ musically, to make something out of nothing, to turn something into something different, something personal, in this case something Dieter-Roth-ish.” This applies perfectly on this 1973 recording of Roth and cohorts in action. Insanely great Fluxus document that balances perfectly on the tightrope between free improvisation and Roth’s primordial, passionate, chaotic, chthonic, and creative audio work. It is a seductive presentation of Roth’s wistfully perverse and reclusive sound art in which he so successfully broke down the distinction between artistic genres. On this here recording, Roth’s link to Fluxus involved, among other things, his interest in music/sound, in ephemeral materials, and in an anarchic, prankster humor. Just insanely brilliant!!! Price: 350 Euro

152. BIG BROTHER & THE HOLDING COMPANY: “S/T” (Mainstream – 56099) (Record: Near Mint/ Jacket: Near Mint) US original 1st pressing, this being the Rare MONO pressing!!!! Amazingly clean top copy. Mono is getting seriously rare!!! Price: 250 Euro
153. BIG BROTHER AND THE HOLDING COMPANY: “S/T” (Mainstream Records – YS-2220-MS) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Very rare Japan only issue that comes with alternate jacket art. Comes complete with VERY RARE OBI – first time ever I see a copy complete with OBI. The record saw its first commercial release in Japan in 1968 and has a totally different jacket as the 2nd pressing that came out in 1969 – which took on the same artwork as the US version. This altered jacket art version was only briefly in print for about 10 months only in Japan, making that copies just do not surface anymore. The whole affair is in great condition; the jacket shows some minimal wear due to age. First time ever a copy crosses my path all-complete with the obi. Seriously rare finding this all-complete, great condition too. Price: 550 Euro
154. BIG BROTHER & THE HOLDING COMPANY: “Piece Of My Heart b/w Turtle Blues” (CBS Sony – SONG-80075) (EP Record: Near Mint/ 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: 200 Euro
155. 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: 150 Euro
156. The BIG SOUND OF THE SPORTS CARS: “S/T” (Capitol Records – CP-7144) (Red wax Record: Mint/ Fragile Gatefold Jacket: Near Mint/ Obi: Mint). Very rare early 1960s Japan 1st original pressing complete with 1st issue obi. LP comes on blood red wax. Top condition and rare item. The aural equivalent of sucking on the red-hot tailpipe of a dragster car gunning its engine and inhaling the vaporized gasoline fumes that come with it. Totally addictive. Price: 100 Euro

157. 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: 150 Euro

158. 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: 400 Euro
159. BIRKIN, JANE: “Di Doo Dah” (Philips Japan – FDX-171) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: MINT). TOP COPY 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: 150 Euro
160. 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: 125 Euro
161. BIRKIN, JANE: “Ex Fan Des Sixties” (Philips Japan – FDX-369) (Record: Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Rare Japanese 1st issue with always-elusive obi. Serge Gainsbourg oversaw 1978’s Ex Fan des Sixties, and his presence hangs heavy over the record. But Birkin's patent, paper-thin vocal is as much a part of the sound as his musical imprimatur, and songs like "Apocalypstick," and "Nicotine" are up there with any of the duo's earlier, and better-known collaborations. Remember, after all, that the late '70s saw Gainsbourg kicking out some of his most contentiously aggressive and questioning music yet, and this pair of albums proves that he had by no means saved all his best material for his own releases. Often overlooked in favor of her earlier, or most recent material, these discs rank amongst Birkin's most instantly enjoyable. Killer slide in my opinion and the 1st press Japanese issue complete with obi is something that rarely seen the light of day in this age of corruption. Highest recommendation, this slide rips my earlobes right of my head and leaves me with a burning desire for more, much more. Price: 100 Euro
162. BLACK ARTISTS GROUP: “In Paris, Aries 1973” (BAG – 1973/ Private Press) (Record: Near Mint/ Jacket: Near Mint). Extremely rare free jazz monster record that resurfaces hardly ever in lists. Original 1st press private issue. This sucker was released privately by the group themselves in very tiny quantities. Sonic-wise, it is a slab right in yer face, pure freedom power of the highest quality. A scorpion sting ridden infectious improvisational interaction that really kicks out the jams on all levels of the intergalactic voodoo hoedown. The line-up consists out of Art Ensemble front man Joseph Bowie (trombone, conga, miscellaneous instruments), Baikida E.J. Carroll (trumpet, flugelhorn, bass, log drum, cowbells, misc. instr.), Charles W. Shaw JR (drums, woodblocks, gong, misc. instr., stylophone), Floyd Le Flore (trumpet, misc. instr., voice) and Oliver Lake (saxophones, flute, marimbas, mud drums, misc. instr.). The record itself is pristine, top copy. Jacket is also in superb condition. Next to impossible to upgrade upon this beast. For free jazz, improvisation and avant-garde psych maniacs. Highly recommended. Price: 200 Euro
163. BLACK FLAG: “My War” (VAP Records – 35148-25) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rarely seen Black Flag record with obi that came out here in Japan in 1985. Probably the single rarest Black Flag record released since copies with obi just never ever are offered for sale here. As soon as the needle hit the groove you will be rewarded with a single, heavy, ominous Greg Ginn chord accompanied by the rapid high hat of Billy Stevenson's drums. That lone, obtuse, painfully sustained note will definitely entrance you and set the stage for the first of many bone-chilling Rollins screams to later grace this record Greg's guitar was mid-rangy and full, mixed way up front, leaving just enough room for Henry's vocals to burst through the cracks. My War - may well be the record in which Black Flag found their sound. Sure, they were a thrash band in 1981, but this mid- to slow-tempo, pain, angst and agony sound became the meat of Black Flag, what the Flagship was all about. The sound is fenced in, sounding like an outbreak of the plague confined to one single quarter of your bedroom - mid-rangy, claustrophobic, airless... Henry is dead-center of the mic but then fades off, a wild man within the confines of a padded cell. At times it's as if he were crouched in a corner, ripe for attack. Hideously massive disc and especially the spun out tracks on the second side can fit rightly for your mentally insane and straight jacket confined days yet to come. Rare Japanese pressing with rarely seen obi. A must and bound never to turn up again, at least not in such a nice nick as this one here. Get it before some of those kamikaze warlords crash into it and burn without glory. Price: 250 Euro
164. BLACK SABBATH: “S/T” (Philips – SFX-7203) (Record Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint ~ Mint/ Insert: Near Mint) TOP COPY, appears Unplayed & untouched. 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. Price: 550 Euro
165. BLACK SABBATH: “Vol.4” (Vertigo Japan – RJ-5049) (Record: Excellent ~ 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 ultra 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!! Boris and Corrupted fans, this is where it all began, the big bang. 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: 300 Euro
166. BLACK SABBATH: “The Best Of” (Vertigo Japan – FD-94) (Record: Mint/ Gatefold Jacket: Mint/ Attached 4-paged insert with gatefold sized band picture: Mint). Japan only release. Comes in heavy textured gatefold jacket and adorned with great picture 4 paged attached insert, making it one of the grail for every self-respecting Black Sabbath fan. Awesome and eye-popping beautiful release. Top copy. Price: 200 Euro
167. 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
168. PAUL BLEY TRIO: “Touching” (Fontana – SFON-70178) (Record: Near Mint/ Jacket: Near Mint, has some little foxing on the back but nothing serious). Original 1966 Japan 1st pressing in top condition of classic Fontana slide. 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. Price: 75 Euro
169. PAUL BLEY TRIO: “Blood” (Fontana – SFON-7098) (Record: near Mint ~ Mint/ Jacket: Near Mint/ Obi: Mint). Very rare 1st original Japanese pressing all complete with FIRST issue obi – all is in TOP condition. Paul Bley – piano, Mark Levinson – bass, Barry Altschul – drums. Totally pristine condition of this legendary jazz slide, recorded in Holland on September 21 and October 4th, 1966 and released in Japan fir the first time as a domestic pressing around 1966~7. This is the very first issue with original obi present. Looks virtually untouched. Stunning slide and first time ever I encounter a first press issue all-complete with obi. Perfect condition, impossible to upgrade upon. Price: 150 Euro
170. BLEY, PAUL - The FABULOUS PAUL BLEY QUINTET: “S/T” (Columbia – YS-2756-MU) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint). Original Japan 1st original pressing on Columbia Records, PROMO issue. 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, totally untouched. Not that rare or anything, but this condition is quite a jaw-dropper….always hammered, this one is flawless. Price: 50 Euro
171. ANNETTE & PAUL BLEY: “Dual Unity” (Freedom / Trio Records – PA-7032) (Record: Near Mint/ Gatefold Jacket: Excellent/ OBI: Mint). 1971 Japan first original pressing – PROMO issue complete with hardly ever seen obi. 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 home made 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 gatefold sleeve art. Price: 250 Euro
172. 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: 175 Euro
173. BLEY, PAUL TRIO with Gary Peacock & Barry Altschul: “Japan Suite” (IAI Records/ Nippon Phonogram – RJ-7414) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press issue. Due to a long delay which resulted in this concert starting very late, the Japanese audience was in an obviously surly mood. Paul Bley (on piano and electric keyboards), bassist Gary Peacock and drummer Barry Altschul reacted by playing with as much intensity as possible, gradually winning over the crowd. This 33-minute continuous performance is one extended piece of music and is certainly more fiery than many of the other recordings by the trio and has its colorful moments. Top copy. Price: 45 Euro
174. BLEY, PAUL: “Open, To Love” (ECM Records/ Trio Records Japan – PA-7073) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Japan original pressing with first issue obi. Hot on the heels of Chick Corea’s diptych for ECM, and certainly not to be outdone, Paul Bley offers up this sizable helping of solo jazz piano. For lack of a better analogy: if Corea’s improvisations were a large family dinner, Bley’s arrangements would be the lemon meringue to follow. Each track doesn’t so much tell a story as try to make us savor its finer details. Bley seems to channel Keith Jarrett at times (or is it the other way around?), as occasionally his voice will creep in with hints of the latter’s seemingly unbounded ebullience. He also directly plucks and strums the strings inside the piano selectively and with tact, adding a fine metallic ring to his otherwise crystalline playing. Bley coaxes our willing ears and leaves us wanting more of his sweet sounds. The album never seems to stray, even if linear melodies are sometimes difficult to pick out. These pieces are duly heartfelt and his version of Carla Bley’s “Ida Lupino” here is stunning. If ever the word “lovely” was at risk of going out of style for its kitschy implications, let me make a case for this music as a means of reclaiming its validity. Bley’s intimacy is refreshing and comes across beautifully in the present recording. And while one might make a case for Corea’s improvisations as being “dated” (and this is not a bad thing, for its archival value is only heightened as such), Open feels somehow timeless. It is an album that one grows into. The music is for the most part calm and reflective, but ends with “Nothing Ever Was, Anyway” on a bit of an aggressive note; a catharsis, if you will. So does Bley leave the listener with an intriguing question mark that can only be erased with another listen. (ECM) Beautiful sounding Japanese pressing all complete with first issue obi. Totally essential!!!Price: 40 Euro
175. BLIND FAITH: “S/T” (Polydor Japan – MP-1456) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Portrait Insert: Near Mint/ Obi: Mint). Original Japan 1st issue complete with band portrait insert and always missing bloody rare obi in top condition. WHITE LABEL PROMO ISSUE!!!! Short-lived classic rock super group Blind Faith's sole 1969 album is a dead on classic. The group fused the psychedelic blues of Eric Clapton with the soulful vocals and keyboards of Steve Winwood, interlocking with the polyrhythmic, Afro-centric skin-shifting of Ginger Baker and the steady bass pulsations of Gretch. "Can't Find My Way Home" is lyrically poignant and bordering on the addictive, making way slowly for a string of even more sonically subtle tunes. The record is simply all over the place stylistically without ever being adrift; "Presence Of The Lord" is rousing and melancholy at the same time, while the way the bass and guitar double-team on the introductory melodic line to "Had To Cry Today" have you glued to your headphones for weeks in a row. The 10-minute drum solo on "Do What You Like" sees Baker doing an exorcist rite and clears the road for more jam aesthetics, making that Blind Faith is not a purchase for the jam-shy. 1st original Japanese pressings with pin-up portrait and obi intact just do not surface anymore and this copy is as clean as they come. WHITE LABEL PROMO is damned rare. Top copy! Price: 400 Euro
176. BLIND LEMON JEFFERSON: “The Best of Blind Lemon Jefferson” (Victor/ Milestone Records – SJET-8339) (Record: Near Mint/ Jacket: Near Mint/ 6 Paged Insert: Excellent/ Obi: Near Mint). Rare Japanese pressing out of the late sixties. Comes in fabulous cover art and on superior vinyl. “Among the influential guitarists of the 1920s only Lonnie Johnson claims a stature comparable to that of Blind LemonJefferson. Blind at birth,Jefferson began performing in his early teens, playing in the streets, at parties, wherever he could find an audience. As the years progressed, his repertoire expanded to include not only blues but also field hollers, work songs, ballads, prison songs, hymns -- all expressed in the idiosyncratic style he had developed. His guitar style is marked by unpredictable riffs and irregular rhythms that are free of any easily pinpointed influence. As a writer Jefferson was given to the dark, brooding tales, but he leavened chilling narratives such as "'Electric Chair Blues" and "Prison Cell Blues" with the light of salvation proffered in gospel numbers ("He Arose from the Dead," "I Want to Be Like Jesus in My Heart") and a randy sense of humor ("Match Box Blues"). Recording steadily during the last four years of his life, Jefferson left a body of work that made a significant impact on succeeding generations of blues artists -- Lightnin' Hopkins, T-Bone Walker, and B.B. King are among the giants who acknowledged Jefferson's impact on their own styles -- and signature songs such as "See That My Grave Is Kept Clean," "Black Snake Moan," and "Easy Rider Blues" that were recognized as genre classics. In addition he became a footnote in early rock & roll history when his "Match Box Blues" served as the foundation for Carl Perkins' 1957 rewrite, "Match Box," which was later covered by the Beatles. The Yazoo and Milestone albums are highly recommended, as all three offer a broad overview of Jefferson's best-known work with a minimum of song duplications and uniformly solid annotation. By contrast, the skimpy nine-track Penitentiary Blues duplicates a few of the songs on the Milestone set, and its generic annotation fails to provide any information about the album itself. Aficionados, however, will find the two versions of "Black Snake Moan" interesting, as well as the starkly rendered title song. The newest Jefferson title, Blue on Blues from Varèse Sarabande, divides a dozen cuts between Jefferson and Charlie Patton, with Jefferson's representative tracks including "See That My Grave Is Kept Clean," "Black Snake Moan," and "Penitentiary Blues.” (DAVID MCGEE – The new Rolling Stone Album Guide) Rare Japanese issue complete with obi. Totally essential bone-chilling stuff. Price: 75 Euro
177. BLO: (Shadoks) (Record: Mint/ Gatefold Jacket: Mint) Tremendous release from Nigeria – ass shaking Afro-booty-shaking funk psychedelic masterpiece. Ltd to 350-hand numbered copies and already sold out at the source, these babies are destined to become extremely sought after. Authentic African ass shaking psych from Nigeria, a trio comprised out of Berkeley, Laolu and Odumosu who had been active with Ginger Baker amongst others. The three of them created the hippest Nigerian funk ensemble from the mid 70ties. Their sound is more complicated than some of their contemporaries, partly due to the insertion of dubbier styles and bits of psychedelic guitar to the more common Afro-Funk percussion and this in such a mode that almost sounds like they administered some fragrances from Can or other prog-like outfits. In short, they sound amazing. A true head bender of a disc that comes with the highest recommendation. Housed in a gorgeous fold out thicker than life jacket. Price: 85 Euro
178. BLOOMFIELD, MIKE & AL KOOPER: “The Adventures of Mike Bloomfield & Al Kooper” (CBS SONY – SONP-50064~65) (2 LP Record: Mint/ Gatefold Jacket: Mint – still in shrink/ Capsule Obi: Mint, still in shrink/ 4 paged promo only(?) Insert: Mint). Rare original 1st Japanese pressing complete with a promo only (?) 4-paged gatefold color insert. Gatefold jacket and capsule obi are still housed in tight original shrink. 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. Impossible to ever upgrade upon. SOLD
179. BLOOMFIELD, MICHAEL & NICK GRAVENITES and others: “Recorded Live At Bill Graham’s Fillmore West” (CBS SONY – SONP-50171) (Record: Mint/ Jacket: Mint, still housed in original shrink/ Capsule Obi: Mint, still covered in original shrink/ Insert: Mint). Top condition original Japanese pressing. This session from early 1969 featured Nick Gravenites, Mark Naftalin, John Kahn and Snooky Flowers (among others), with cameos from Taj Mahal and Jesse Ed Davis but it's clear from the opening notes who the real star is. Over the years, Michael Bloomfield’s titanic solos on "Blues on a Westside" have dwarfed the rest of the album in many listeners' memories, but truthfully, his playing just burns across every track. That said, I ride especially hard for Nick Gravenites and Nick is such a underrated player. On this one he shines throughout and mkes this LP so amazingly good. Gravenites RULES!!!! That said, TOP condition copy, capsule obi and jacket still housed in original shrink. Obi is damned scarce!!!! Price: 60 Euro
180. BLUE CHEER: “Outside Inside” (Victor/Mercury Japan – SM7285) ((Record: Mint/ Jacket: Mint/ Insert: Mint/ OBI: VG++ ~ Excellent - has some storage wear visible). Totally archive copy, untouched for over 45 years and impossible to upgrade upon. COMES COMPLETE WITH OBI – making it one of the single rarest Japan pressings ever...never offered with first issue before. Totally archive copy, untouched for over 45 years and impossible to upgrade upon. 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, which I have never ever seen offered for sale before, let alone – if it did – being in such a splendid mint condition as this one here, a true mega rarity!! “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 and in mint condition but the obi has some storage wear visible so graded at VG++ for that one…I doubt you will ever see a copy of this one surfacing again… Price: Offers!!!!
181. BLUE CHEER: “New! Improved! Blue Cheer” (Philips – PHS-600-305) (Record: Excellent 〜 Near Mint/ Jacket: Near Mint). First original US pressing. “Guitarist Leigh Stephens quit Blue Cheer after touring in support of their second album, Outsideinside, but he may have been amused by the fact it took three men to replace him when the band cut their next LP. There are two different and distinct bands at work on New! Improved! Blue Cheer; on the album's first six tunes, founding members Dickie Peterson (bass and vocals) and Paul Whaley (drums) are joined by Bruce Stephens on guitar and Ralph Burns Kellogg on keyboards, and this lineup bears little musical resemblance to the wildly over-amped power trio that cut Vincebus Eruptum less than two years before. This new edition of Blue Cheer was still strongly influenced by the blues, but the raw physical impact of the band had been significantly buffered, and Bruce Stephens’ rootsy guitar work was in a completely different league from the old band's bone-crushing onslaught. On side two, Blue Cheer return to power trio format with Randy Holden (formerly of the Other Half) on guitar, and while his style is also considerably different from Leigh Stephens’, his fondness for overwhelming volume and fierce, extended solos makes his contributions feel a lot more like the group's formative work; Peterson and Whaley also sound a lot more like their old selves here, calling up a thunderous report to match Holden’s thick but graceful leads, and if Blue Cheer are a more subtle and artful band with Holden on guitar, his contributions suggest an evolution from the towering proto-metal of Vincebus Eruptum and Outsideinside, rather than the dramatic stylistic departure of the album's first half.” (All Music). Price: 75 Euro
182. “BLUE” GENE TYRANNY: “Out of the Blue” (Lovely Music – LML-1061) (Record: Near Mint/ Jacket: Excellent ~ 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. 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. Price: 75 Euro

183. BLUE OYSTER CULT: “Tyranny And Mutation” (CBS SONY – SOPL-182) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Imprinted Inner Sleeve/ Near Mint/ Two Sided Silver printed Insert: Mint/ 4 paged Liner Notes & Lyrics Sheet: Near Mint). Original 1st Japanese pressing all complete with all inserts and the first issue obi. This is a genuine 1st pressing, which is quite rare, as opposed to later issues, which are more common. Price: 175 Euro

184. BLUES AT NEWPORT ’63: “S/T” (Vanguard Japan – SR-660) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Mint/ 4 Paged Insert: Near Mint). Original 1971 Japanese pressing with obi! Copies in pristine condition with obi and booklet present are damned rare these days. Splendid snapshot of the Newport folk festival of 1963 which features killing sliding slides by blues masters such as Sonny Terry & Brownie McGhee; Mississippi John Hurt; Rev. Gary Davis and John Lee Hooker as well as new “white” kids on the block inspired by the race music such as John Hammond and Dave Van Ronk, who in his turn went on to be a major influence on the young Dylan. The recording quality is crystal clear and the vinyl is top of the line as is always the case with Japanese pressings. Stunning artifact that hasn’t left my turntable of late. “Trouble I’ve Had It All My Days” is just bone-chilling….Price: 75 Euro
185. 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 total 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 mint condition. Surfaces just about … never…. Price: 250 Euro
186. BOB JAMES TRIO: “Explosions” (ESP Disc – ESP-1009) (Record: Near Mint/ Jacket: 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: 125 Euro
187. 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: 400 Euro

 

188. BOOK OF AM: “S/T” (Wah Wah Supersonic) (2 LP set housed in a 150 paged hardbound LP sized book – all is MINT). Long gone and out of print deluxe expanded edition of the Book Of AM’s record, this being the expanded full version edition, 2 LP set housed in a fully illustrated 150 paged book. Upon opening this set, you will be floored. This is probably the most lavishly packed LP set I have ever laid eyes upon. Two albums housed in a 144-paged book with hard cover and completely hand colored and illustrated drawings. “The Book of AM stands as a unique combination of recordings and artwork which stands up as an enduring testament of the fertile hippie scene which flourished in the Baleric islands during the seventies. Known to record collectors and psych/folk/prog music aficionados alike, this multicultural band formed in the island of Mallorca in the mid-‘70s and recorded a beautiful (and outrageously scarce) album which has gained cult status as years passed by. The Book of Am was originally devised as a beautifully illustrated book focused on various world folklore and traditions, coupled with 4 LP’s which would represent a musical. This (never completed) 4 LP set would correspond to the four phases of day (dawn, morning, afternoon, night). Only the first of these records (morning) would eventually see the light of day in a tiny private pressing which changes hands nowadays for obscene amounts of money. So now, alongside the reissue of the original Book of Am album we're very proud to present the first-ever release of the previously unissued part II of The Book of Am, which leader Juan Arkotxa remastered recently from the original master tapes. Both albums are housed inside a 144-page book reproducing the original engravings by Juan Arkotxa, 64 of which are full color. Never released back in the day due to its high production costs, now, the central part of the Book of Am, can finally see the light of day. A round-the-world trip through the folklore, legends, lore and cosmogonies of some of the world's cultures, from ancient Egypt to Celtic traditions....” (label description) First ever reissue of this all time zoned European acid folk psych classic masterpiece. The music is truly magical, and the book is equally impressive. Hard cover, beautiful high quality printing, fabric bound, with foil stamped spine. Excellent mastering & sound production. Hand numbered, strictly limited, one time pressing on only 500 copies. Completely sold out since it came out in 2007. But apart from that the music is stellar, one – if not – the best acid folk album ever to be put down on wax. Highest possible recommendation. Price: 150 Euro

189. BORIS & SUNN O))): “Altar” (Daymare Recordings DYMV-999) (3 LP Record Set: Mint/ Outer Box Set: Mint/ Obi: Mint/ Individual LP Jackets: Mint/ Screen Print Textile Insert: Mint/ Booklet: Mint/ Insert: Mint). Rare 2007 LIMITED EDITION 3 LP BOX SET. 3 x 12” 200 gram Black vinyl. Comes in heavy Black cardboard box with Gold & Black print and UV varnish, which is embossed. Comes with grey transparent obi strip. Inside the box is a screen printed (Gold on Black) textile insert, a 30x30cm Full color/Gold booklet, a Japanese and English language 30x30 insert in b/w from Tomoyuki Yamazaki about the project, and printed padded inner LP sleeves. Limited Edition One-time pressing of 1000 copies. UNPLAYED MINT COPY Package: artwork by Fangsanalsatan (Atsuo from Boris) and comes with ultra thick black paper cardboard box: gold print with spot UV-varnish, 16p booklet: in full color + gold print, 1x cloth insert: gold print on black -3x inner bags for vinyl: gold print on black matte paper -obi side strip: black print on vellum paper?-liner notes contribution: in Japanese and English -200g black vinyl - limited edition of 1,000 (one time pressing, no repress) TOP condition. Price: 100 Euro
190. BOUDEWIJN DE GROOT:“Nacht en Ontij” (Decca – NU-370.021) (Record: Near Mint/ Sturdy Gatefold Jacket: Excellent, some writing inside gatefold, dated 1969/ Attached 9-paged Photo Book: Near Mint/ Always Missing Single and Picture Sleeve: Near Mint) Top-notch copy!!!!!! Rare 1st pressing with single included as well as picture sleeve and housed in sturdy thick spined 1st edition jacket, different from the latter pressing. Does simply not turn up with 7-inch included, making it one of Holland’s rarest psychedelic artifacts. Brilliant and trippy as hell Dutch spooky acid folk masterpiece with tons of effects (courtesy of electronic composer Dick Raaijmaekers!!) dark vocals, swirling guitars. Impressive album, if this had been sung in English this disc would have soared over the 800-dollar mark without any doubt and gained massive appreciation in its wake. But due to the fact that it is sung/ narrated in Dutch (and what a stunningly beautiful language it is if you could only grasp the meaning of what he is ranting here about) the larger outside world pulled up their noses and just blatantly ignored this gem. Speaking of throwing pearls before the swines. Still that does not change the fact that this one here is probably one of my all time favorite discs, a piece of plastic that ruled my formative years while spacing away on acid and trying to capture & picture the fairy-tale demented deep dark outer worldly universe Boudewijn de Groot sings here into being. So in a fruitless attempt to hype this one up, here is some background info on this gemstone of a record. Up until this time in his career, which was utterly successful, Boudewijn had been working in tandem with lyricist Nijgh and de Groot with whom he carved out a series of successes that ruled the airwaves in the lowlands at those days (we are speaking ann. 1968 here). However, the following year (1969), his partnership with Nijgh and de Groot dissolved as Boudewijn embarked on a project together with Lucien Duzee, a former fellow student from the Dutch Film Academy. Together they wrote the script for a kind of radio play entitled “Heksensabbath”. This epic constitutes the major part of this album here “Nacht en Ontij”, which further contains the song “Babylon”. Lennaert had written the original lyrics for “Babylon”, but Boudewijn changed them so dramatically that he is mentioned as the lyric writer on the sleeve. The musical intermezzo originated spontaneously in the recording studio, as the studio had a new phenomenon on display: the Mellotron, a keyboard instrument using short tapes consisting of recordings of many instruments, such as strings, wind-instruments, guitar, bass, etc., which could all be evoked by striking the keyboard. And it is here, with all this musique concrete and electronic music gadgetry that renowned composer Dick Raaijmaekers steps into the picture to spice up the overall atmosphere of the record with some eerie sound effects. The song “Heksensabbath” is filled with symbolism, occult scenes, witches, devils, magicians, kobolds and Satan ass-kissing worshippers. It was overloaded with mythical and mystic terms and the Dutch were not buying it. Sales were disappointing compared to the previous albums, although, up till today, a group of hard core fans still cherishes the album as one of their favorites, me one of them and bearing the flag. The album did not appeal to the broad public, the co-operation with Lennaert ceased to exist, the performances across the country led to frustrations as the public expected the album versions of the songs of Boudewijn's repertoire, but was given a simple guitar accompaniment. In the age of beat music this was not appreciated and led to unsatisfied reactions. This was one of the reasons that Boudewijn decided to leave the Dutch repertoire for what it was and to focus on English beat music. A short farewell tour in 1969 with the group Names and Faces as support band took him around the Netherlands and Flemish Belgium. Still that all aside, this disc, together with Karel Appel’s “Musique Barbare” are two of the ultimate best discs ever recorded and released in the Lowlands (being Holland, but if you include Belgium let’s not forget to throw in Burning Plague there as well). Totally essential! If there is one disc on this list you should own – or if you should own just one disc ever period, then this one it would be, take my word for it, you won’t regret it…. Everyone has been talking about acid folk, well it does not come with more blottered acid than this one here, if you can sit this one out without too much brain damage, be sure to call me. Price: 300 Euro
191. BOULDERS: “The Greatest Rock Of All – Presents The Sixties Punk EP Box” (Moxie Records – Moxie Box 1) (4 EP Records: Near Mint/ Outer Box Set: Near Mint/ Poster Insert: Near Mint/ Sealed Bag of 2 Moxie Balloons & Candles: Mint). Absolutely killer sixties garage punk & snot-faced, pimple-scarred psychedelic teenage angst EP box set compilation. Drenched with killer all incinerating fizz assaults on the senses, teenage angst reigns throughout this set. Passing the revue are the Electric Co., Al Quick & Massochists, the Laymen, the Motion, Xcellents, The 5 Canadians, The Dirty Shames, The Emperors, The Era of Sound, The Sparklers, The Denims, Acid Head, Velvet Illusions, Teddy & The Patches, Thee Sixpence, Perils, Petrified Forest, Road Runners, Rear Exit, Pilgrimage. Fuck this beats sniffing glue for sure but is bound to give to the same pleasure. Recommended to all of your thrill seekers. Price: 85 Euro
192. BOWIE, DAVID: “Hunky Dory” (RCA Records – RCA-6005) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint) Bloody rare 1971 Japan 1st original pressing with first obi all in immaculate condition. True first pressing with the “Yokohama” address printed on back, 2nd press issue have altered address stated on back. Now this one just never surfaces, especially in such an immaculate condition as this one here. Bowie recorded this masterpiece in July 1971, several days after his Glastonbury appearance and Hunky Dory captures his transition from the pot-enhanced rock of The Man Who Sold The World to the grand concept of Ziggy Stardust. With themes that encompassed art, gender, other life forms and general strangeness, with Hunky Dory all the component parts of the Spiders From Mars are already set in place – Mick Ronson, Woody Woodmansey and Trevor Bolder. The record displays a kaleidoscopic array of pop styles, tied together only by Bowie’s sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class. Just sheer brilliance. Bloody rare very first Japanese pressing in unbelievable TOP Condition! Never surfaces in such a state as this beauty here so… SOLD
193. BOWIE, DAVID: “Aladdin Sane” (RCA Victor – RS-1001) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). 1973 UK first original pressing complete with the 1st issue imprinted inner sleeve present. This is the very first UK pressing with matrix numbers ending on 3T/ 3T. 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. Very clean NM copies are a bitch to dig up these days, so here is a top condition original to fulfill your needs. Price: 250 Euro
194. 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

195. BOWIE, DAVID: “Pin Ups” (RCA – RCA-6174) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan first original press issue from 1974. Pin Ups was hatched as a way to introduce Bowie’s audience to songs recorded by fellow English acts he loved, including Pink Floyd, The Mojos, Them, Pretty Things and The Easybeats. “These songs are among my favorites from the’64-’67 period of London,” he wrote in the liner notes. The fuzzed-out, filthy Mick Ronson guitar grind combined with the bull-rush Trevor Bolder bass on The Kinks’ thug rocker “Where Have All The Good Times Gone” sounds like it could be a sequel to such Bowie standards as “Watch That Man” or “Suffragette City.” Check out the glam-punky “Anyway, Anyhow, Anywhere,” where Bowie’s soul shouting and the Spiders’ psychedelic thunder reshape The Who’s seeker into . . . just pure Bowie. This is a band at their peak, putting their stamp on their generation’s songs with glimpses of past and future Bowie: hippie, punk, minimalist, pop star and . . . whatever period we’re in now. Here is Bowie introducing you to British Invasion acts like The Yardbirds and Them (featuring Van Morrison) courtesy of his sound and vision, from Ronson’s barreling, lunatic fringe solos to the complete psychedelic transformation of The Who’s “I Can’t Explain” into a sensual, seductive soul stroll. This is the capstone to the Spiders era, and it is a fitting finale, a glitter metal masterpiece as provocative as any of the band’s previous offerings. Price: 150 Euro

196. BOWIE, LESTER: “Numbers 1 & 2” (Nessa – N-1) (Record: Near Mint/ Jacket: Near Mint). Original US press in top shape. Some of the earliest work ever recorded by Lester Bowie as a leader – and a set that stands in importance right next to the early Delmark AACM sides by Anthony Braxton and Roscoe Mitchell! Plus, the album's almost an early Art Ensemble of Chicago effort, given the lineup – which features Bowie on trumpet and flugelhorn; Roscoe Mitchell on alto, soprano, clarinet, and flute; Malachi Favors on bass; and Joseph Jarman on alto, sopranino, and clarinet!. The session was cut in 1967 by Chuck Nessa, and it features performances of the tracks "Number 1" and "Number 2" – very much in the Art Ensemble mode, with alternating instrumentation, sharp attacks and spare moments, plus a good dash of humor! Totally essential recording. Price: 40 Euro
197. BOXER: “Below The Belt” (Virgin Records/ Nippon Columbia – YX-7101-VR) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent/ Insert: Near Mint). Top condition copy, Japan high quality first press issue of 1976 with obi. After the disintegration of Patto, Ollie Halsal & lead Vocalist Patto team up together once again to light a fire under their next collaboration, Boxer, which picked up right there where Patto left off. Totally fabulous, Patto and Halsal is a combination made in heaven….sharing the same musical taste as well as a similar love for quality stimulants. It shows. I just love spinning this one when I am smashed up cause it takes me just that one inch further to oblivion!!! Top condition, Japanese first pressing. Price: 100 Euro
198. 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.” (Rolf Semprebon, All Music Guide). In short, a classic that must have a place in any collection. Massive. Price: 150 Euro
199. BRAINTICKET: “Celestial Ocean” (RCA – LSP-10.406) (Record: Excellent/ Jacket: Excellent ~ Near Mint). Original 1973 German pressing. “Although Cottonwood hill seems to get all the freakish glory in the universe of Brainticket, for my money this is the better album. Although I suppose it's lacking a bit in the full on, balls-to-the-wall freakiness of that earlier album, Celestial Ocean is a more assured and graceful psychedelic voyage through parts unknown. One big plus here is the much more varied sound present here. Instead of spending half the album on a bubbling groove, the band explores a much wider series of sonic vistas. There's a mystical vibe here that manages to evoke Egyptian pyramids, Mayan temples, and Indian countryside’s. The album functions on sort of a bell curve of energy. The tracks, while very different, form sort of a suite. The first three tracks, "Egyptian Kings," "Jardins," and "Rainbow" start things off on a lilting note. Joel Vandroogenbroeck and Dawn Muir share a strange; half spoken duet on "Egyptian Kings" while "rainbow" definitely brings up the images of that aforementioned Indian countryside. Then the gears kick up a notch on the next three percussive tracks that throw in some awesome modular synth squeals. It's almost as wild as the first album, but it's much tighter and has more of a sense of traveling somewhere. There are also plenty of shades of early Popol Vuh and Tangerine Dream added in for fun. "Cosmic Wind" and "Visions" give us a beautiful coda, focusing more on acoustic sounds. This is a more relaxed album than Brainticket is generally known for. I think that it's the sound of a band very much in a prime groove and is a must hear.” (Dr. Schluss Garage of Psychedelic Obscurities). Spot on and nailed right on the head. Price: 150 Euro
200. 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. It is so funny reading through reviews and stuff about this album and each time I am so amazed about the misinformation that is spewed out about this outfit by various sources such as the utter fiction report in Cope’s Japrocksampler/ boots on Phoenix and sorts and smokescreen crumbs dispersed by the Paradigm label of Mr. Clive Graham who also shamelessly bootlegged the LP without ever paying compensation even after we have contacted him about this on several occasions. He always has some lame excuse at hand in order to dodge any responsibility. What a treacherous hyena. 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 Khyal 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: 400 Euro
201. BRAXTON, ANTHONY: “For Alto” (Delmark/ Trio Records – PA-7021~2) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ 2 Obi’s: Near Mint). Rare Japan original pressing all complete with 2 obis. Has on the main obi a comment written by Takayanagi Masayuki. After issuing Anthony Braxton’s Three Compositions of New Jazz in 1968, Chicago's Delmark Records took an enormous chance by issuing the first lengthy solo saxophone improvisation record in 1969 -- and as a double LP no less! And while it's true that hindsight is 20/20, For Alto is still, over 30 years later, a record that is ahead of its time. There is nothing tame or nostalgic about these blasts of jazz futurism from the young Braxton, who sounds here like he's trying to blow his way out of Chicago. Most of the pieces on this set are over nine minutes, and all are dedicated to various influences and friends in the saxophonist's circle. Perhaps the most frightening -- and enlightening -- improvisation here is "To Composer John Cage." Braxton attempts to literally change the entire tonal terrain on which the saxophone plays solo. His skittering skeins of cascading runs are interspersed with huge shouts and screeches all played at lightning speed with a deftness and angularity of approach that is far superior to most of his peers at the time, Messrs. Mitchell and Jarman included. Braxton was introducing tonal possibilities and deconstructions on this record; a solid listen to "Dedicated to Multi-Instrumentalist Leroy Jenkins," with its deep color palette and textural shifts and shapes, is enough to disorient one still. Also, the use of trills as interval markers in "To Artist Murray De Pillars" is remarkable -- especially now, as no one would follow this logic for such an extended period anymore. The reinvention of blues theory on this piece that becomes a kind of muted expressionism is truly remarkable. Many of the recordings from the magical period of the '60s and early-'70s creative movement sound dated now, quaint and diffuse from their original power. For Alto is not one of those records; it still has the literacy and vision to teach us about concentration, vision, emotional aesthetics, and even spiritual possibilities in the world of sound and how that world, that universe, interacts and dovetails with our lives. For Alto is one of the greatest solo saxophone records ever made, and maybe one of the greatest recordings ever issued, period.” (All Music Guide). An amazing slide. Japanese press original with obi is damned scarce and this one comes cheap, so act now and hold your peace forever! Price: 85 Euro
202. 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 it is a different obi variation as the one listed here above – yes there are two obi variations for this one. This copy here has a comment written on the obi by Bill Quin, there were the other obi had a comment by Takayanagi Masayuki. An amazing slide. Japanese press original with obi is damned scarce and this one comes cheap, so act now and hold your peace forever! Price: 60 Euro
203. BRAXTON, ANTHONY with SATO MASAHIKO; MIDORIKAWA KEIKI & TANAKA HOZUMI: “Four Compositions (1973)” (Nippon Columbia – NCP-8504-N) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Mint). First original Japanese pressing from 1973 – Japan only release. Only the first pressing came housed in a gatefold jacket. 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. SOLD
204. BRAXTON, ANTHONY: “This Time…” (BYG Actuel – Vol.47 – 529.347) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1st French press issue of subliminal Braxton slide. 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!!! Price: 50 Euro
205. 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
206. BREAD LOVE AND DREAMS: “The Strange Tale Of Captain Shannon And The Hunchback From Gigha” (Decca – SKL-5048) (Record: Near Mint/ Jacket: Excellent some faint rainwear on back cover, for the rest all is crisp and clean/ Company Inner Sleeve: Mint). Original 1970 UK pressing. Stunning male – female acid folk beauty from the British Isles. Graced with a superb psychedelic fantasy artwork and graced with one of those unlikely lengthy title names, “The Strange Tale of Captain Shannon & Hunchback From Gigha” is a selection of the same session that sprouted out the “Amaryllis” album. Originally the band intended to release the whole as a double album, but management rejection and commercial considerations decided against it, hence the whole affair came out as 2 single albums. For this stunt however, with Pentangle’s Danny Thompson and Tony Cox aiding on the rhythm section, “Tales” resulted in flowering into an excellent example of acid folk rock. “The record opens with "Hymn to Sylvia," concerning McNiven's chance meeting with a female biker in England after he walked across Northern Spain and hitchhiked the length of France. This song and the closing title track (set on a remote Scottish island) are epic, immersing pieces that, along with Danny Thompson's upright bass and Terry Cox's drumming, give the album a solid yet flexible spine. Apart from a few small sections of forgivably pretentious gibberish (it was 1970 after all) the psychedelic or acid aspect to the music is so low-key as to be virtually non-existent. By which I mean that it sounds hypnotic and transporting without being wrapped in obvious elements that have come to be misheard as representative of psychedelic music. I find that, along with the nimble clarity of the guitar work and richness of the voices, the "flawed" lyrics and "dated" production are actually the strengths of this recording. And the fact that the duo still live in the landscape of Scotland lends an air of resilience to their music. After all, anyone could be a hippy troubadour in the Californian sunshine, right? Previous member Carolyn Davis is featured on one song and her voice bears a pleasing resemblance to that of the great Lal Waterson. There is an affecting breeziness to Rew's voice and McNiven's has a sensitivity akin to that of Lindisfarne or (the vastly underrated) Ralph McTell. McTell is best known for his recurring hit single about the plight of London's homeless people, but it's worth hearing The Boy With A Note (his album about Dylan Thomas) and Kenny the Kangaroo and (the imaginary village) Tickle on the Tum are among the best albums of genuinely innocent songs ever made.” (Brainwashed) “Tales” is a stunning album, rubbing shoulders with other jaw-dropping UK folk outfits such as Spirogyra, Trees, Fairport Convention and Comus. Totally indispensable and completely addictive listening experience. Top copy UK original pressing, hard to dig up these days in such a nice nick. Price: 300 Euro
207. BRIGGS, ANNE: “S/T” (Topic – 12T207) (Record: Near Mint ~ Mint/ Jacket: Near Mint). TOP COPY. Virginal all the way. Extremely rare 1st original pressing in near mint condition out of 1971 and one of the hardest Ann Briggs discs to track down these days, especially in such an immaculate condition as this copy here. “Fleeting, volatile, flighty, breathless: a flash of sunlight in the glade. Anne Briggs pure, unmistakable voice and her too short career summon the same images in my mind. A voice like a gentle tremor, as fragile and timeless as a dandelion clock. Her recordings are few and all the more precious for it.” (Boweavil Rec on the Topic Years). She was a free sprit of the 1960s and also one of the most distinctive and influential singers on the UK folk scene of that day – as this album here will prove. June Tabor once commented on Briggs with saying “If I hadn’t heard her, I’d have probably done something entirely different”. Colin Harper reminisces about her in one of his essays as “Ann Briggs was as the best of the music itself, sexy, wild, mysterious, otherworldly and vulnerable all at once”. Brigg's pure yet untutored vocal delivery had tremendous influence on many of the key figures of the British folk revival, namely, Sandy Denny, Maddy Prior, June Tabor and Linda Thompson. By the time of her retirement, she was legendary. But perhaps influenced by the emergence of rock elements in the folk scene, she also updates the arrangements of her guitar and bouzouki accompaniments so that even the traditional tracks are handled with a warm but modernly melancholic pastoral grace. An artist at what now has to stand as her peak. This disc here is probably her rarest LP ever, together with her CBS one. Totally near mint condition, I do not suppose they come any better than this and like you know, near virginal copies of female UK folk out of the sixties and early 1970s are next to impossible to unearth these days and I am afraid it won’t get any better soon. Massive record, stunning awe-inspiring music. Most beautiful, next to impossible to upgrade upon. Price: 400 Euro
208. BROTHER AHH: “Sound Awareness – Featuring Max Roach” (Strata-East – SES-19731) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original 1st pressing. Spiritual and cosmic induced free soul jazz rarity, first original press out of 1975. Cosmic righteousness from Brother Ah -- an enigmatic musician who worked briefly with Sun Ra, and continued an exploration of the sonic heavens on his own! This rare 1975 album features Ah's Sound Awareness ensemble -- a 25-piece group that features a host of voices set to percussion, flutes, and other intimate and evocative instrumentation. The feel's quite hard to describe -- kind of a cross between Sun Ra and Moondog, with the righteous style of vocalization that you might find on some of the Max Roach experiments with voices, recorded in the relaxed and expressive style of the early AACM -- all of which means it's a great little record, with a very striking approach! Original pressing in great condition and a true mind bender of a cosmic jazz psychonaut disc. Not the best pressing as you know so strictly graded at EX~NM. Fabulous in every single way! Price: 150 Euro
209. BROTZMANN, PETER QUARTET: “Nipples” (Calig – CAL-30604) (Record: Near Mint ~ Mint/ Jacket: Excellent/ Attached Frontal Harmonica Fold Out Booklet: Near Mint ~ Mint). Stunning top copy! FIRST ORIGINAL PRESS that comes on the BLACK colored Calig label. Second press issue comes on the “yellow & black” colored 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 was 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 at all but has some faint mildew spots visible against the white background due to age, so graded EX~NM. 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: 250 Euro
210. THE PETER BROTZMANN OCTET: “Machine Gun” (BRO – BRO-2) (Record: Near Mint/ Fragile Silk Screened Jacket: VG++ ~ Excellent). Got in another original copy of one of Free Jazz most defining moments. TOP copy of the rarest Brotzmann LP, 1st original private press on his own BRO label, predating FMP by years. Comes in silkscreened jacket and was issued in a small limited run of just 100 copies. Second and third pressings on FMP are common fair, theoriginal press issue which you have here is damned fookin’ rare. I guess that by now most people with a healthy interest in adventurous music know about this album. The history of the album is well recorded and therefore I thought to safe myself some time and borrow this excellent review. “This historic free jazz album is a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later. Recorded in May 1968, Machine Gun captures some top European improvisers at the beginning of their influential careers, and is regarded by some as the first European — not just German or British — jazz recording. Originally self-released by Peter Brötzmann, the album eventually came out on the FMP label, and set a new high-water mark for free jazz and "energy music" that few have approached since. Brötzmann is joined on sax by British stalwart Evan Parker and Dutch reeds man William Breuker. The rest of the group consists of drummers Han Bennink and Sven-Ake Johanson, Belgian pianist Fred van Hove, and bassists Peter Kowald and Buschi Neibergall. Brötzmann leads this octet in a notoriously concentrated dose of the relentless hard blowing so often characteristic of his music. While Brötzmann has played this powerfully on albums since, never again is it with a group of this size playing just as hard with him. The players declare and exercise their right to bellow and wail all they want; they both send up the stereotype of free playing as simply screaming, and unapologetically revel in it. The sound of Machine Gun is just as aggressive and battering as its namesake, blowing apart all that's timid, immovable, or proper with an unrepentant and furious finality. The years have not managed to temper this fiery furnace blast from hell; it's just as relentless and shocking an assault now as it was then. Even stout-hearted listeners will nearly be sent into hiding — much like standing outside during a violent storm, withstanding this kind of fierce energy is a primal thrill.” (All Music – Joslyn Layne) Simply a European clash of the titans, fierce, violent and plenty of the classic primitive polyphony here but it's all cut up with some great squonking big band honk. Be sure to put the cat out when blearing this one at full blast through your high-end speakers. TOP copy, 1st original private issue….totally bonkers!!! Record appears to be unplayed, sleeve has some minimal wear. First original pressing, silkscreen sleeve, the LP is virginally clean but the fragile sleeve has some spine wear and storage wear, so it comes at a cheaper price. SOLD
211. BROTZMANN/ VAN HOVE/ BENNINK: “Balls” (Free Music Production – FMP-0020) (Record: Near Mint ~ Mint/ Silk screen Jacket: Excellent). 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 is an 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 !!!
212. 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: 175 Euro
213. BROTZMANN/VAN HOVE/ BENNINK PLUS ALBERT MANGELSDORFF FMP 3 LP BOX: “S/T” (FMP – FMP-0030-0040-0050) (3 LP Set: Near Mint ~ MINT/ Silk Screened Outer Box set with back closing lid w/ metal clasps intact: Near Mint ~ MINT/ Large Poster: Mint). 3-LP set on FMP Records 0030, 0040, 0050, recorded August 1971. Comes housed in fragile slip case box set, with back closing flap complete with metal clasps and the always-missing POSTER present. LPs are ELEMENTS, COUSCOUS DE LA MAURESQUE, and THE END. Original deluxe packaging for this now well-circulated music, this was also the first deluxe edition released by FMP. A white box that opens on edge (with removable metal clasps--also original) includes the very plain jane first pressings (before there was even an FMP logo on the label) of the three LPs, all in immaculate condition. The poster is present as well and in TOP condition. This box is a splendid copy, one out of the very limited and very prized edition. Only 300 copies were pressed and some were hand numbered on the silkscreen jacket. The music is fire breathing wrecking ball styled hardcore jazz that will drive your neighbors and loved ones insane – either with envy or despair. A killer item that does not come better as this one. Hyper rare and hardly ever – if almost never – offered up for sale. Top condition, box and records seem hardly to have been touched by mortal hands, next to impossible to upgrade upon this copy. Highest possible recommendation and cleanest copy imaginable – impossible to ever upgrade upon!!! Price: Offers!!!
214. BROTZMANN, PETER: “Tschus” (FMP Records – FMP-0230) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). 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: 200 Euro
215. BROTZMANN, Peter & BENNINK Han: “Atsugi Concert” (Gua-Bunge – GBLP-3388-01) (Record: Near Mint/ Silver laminated Fold Out Jacket: Excellent perfect all the way, has one lower middle seam split of the triple gatefold sleeve/ 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: 450 Euro
216. 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: 120 Euro
217. 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
218. BROWN, MARION: “Why Not?” (ESP Disk – 1040) (Record: Near Mint/ Jacket: Near Mint). First original US pressing with 156 5th Ave address on back. Great condition. Brown’s second release for the ESP label, Why Not?, saw him take a more altruistic approach. He moved away from the semantics of the first album, where he used two bassists—Ronnie Boykins and Reggie Johnson —to a conventional quartet with bassist Norris "Sirone" Jones, the ever-inventive pianist Stanley Cowell, and drummer Rashied Ali, who was also part of his first group. It captures Marion Brown at a transition point (though he'd make a substantial detour) between Coltrane inspired spirituality and his burgeoning tendency toward Latin themes, sometimes in the same piece. Cowell verges on Taylor (while tossing in a few bars of ragtime!), Ali is a boil throughout, Sirone evinces the muscularity he'd soon show with the Revolutionary Ensemble while Brown just dances above, skipping along with grace and sorrow, plangent and earthy. He'd go through the marvelous series of albums on Impulse! before returning in the late 70s to the Latin tinges heard here, but "Why Not?" stands as a unique, powerful statement! Price: 75 Euro
219. BROWN, MARION: “Porto Novo” (Freedom/ Trio Records – PA-9714) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). First original 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: 150 Euro
220. 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: 200 Euro
221. BROWN, MARION: “Three For Shepp” (Impulse – A-9139) (Record: Mint/ Gatefold Jacket: Near Mint). Top condition US original pressing – red rim Impulse logo. “Marion Brown’s Three for Shepp is the image-in-the-mirror companion to Archie Shepp’s Four for Trane recorded the year before. The program is equally divided between Brown’s originals, which occupy the first half of the album, and Shepp tunes that take up the latter half. What is immediately striking is how similar in tone, color, and texture the two men were when it came to composition. Brown arms himself here with crack bands for these recordings. Pianist Dave Burrell and drummer Bobby Capp accompany trombonist Grachan Moncur III and Norris Sirone Jones on bass on Brown’s own material and Stanley Cowell and Beaver Harris sub in the piano and drum chairs on Shepp’s. Brown’s "New Blue" is a slow modal study in blues from the post-modal school. In fact, given the airiness and strange intervals played by Brown and Moncur, it is a new kind of modal blues. "Fortunato" is the vanguard take on post-bop swing. It honks, squeaks, and turns itself around to meet knotty changes from Burrell playing in the middle register. Of the Shepp material, "Spooks" is a kind of political statement that swings like mad. Using an early swing rhythm, 8/12, Cowell vamps his ass off on a three-chord figure and the band careens from New Orleans to minstrel-show stomp to blues to bebop, with Moncur playing a solo that could stop a clock. "West India" is a reverential, shimmering blues number, cooled out from edginess or striated distended harmonics. Despite the title, its simple structure uses both West Indian and almost Caribbean rhythms and melody lines -- calypso anyone? -- and then marries them to an African modal structure for the ultimate celebratory effect. "Delicado" is anything but. It's an out, machine-driven post-hard bop number with Cowell and Brown driving the band into a frenzied free for all, fed in amazing time by Harris. This is a classic Impulse! recording of the period by an overlooked master.” (All Music Guide). Top copy of all time classic!!! Price: 50 Euro
222. BROWN, MARION & HAMPEL, GUNTER: “Gesprachsfetzen” (Calig – CAL-30601) (Record: Mint/ Jacket: Mint). FIRST original pressing on the BLACK Calig label (Not the 2nd issue that came on yellow & Black label). 1st issue is pretty scarce. 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 (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: 75 Euro
223. BROWN, MARION: “Geechee Recollections” (Impulse Japan – IMP-88144) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent). Marion Browns 1973 classic for Impulse! 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. Total mint copy, this record will enlighten your sorry-ass existence, take my word for it. Price: 50 Euro
224. 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. 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! Price: 75 Euro
225. BRUHIN, ANTON: “Rotomotor” (Sunrise – 078-1962y) (Record: Excellent ~ Near Mint/ Jacket: Excellent, has upper and lower middle seam split). Amazing original artifact by this experimental composer from Switzerland. On this LP, Bruhin single-handedly creates some of the most austere and primitively astonishing electro-acoustic compositions, all executed in an almost stone-age primeval and primordial crude manner. This becomes apparent in his modus operandi, mainly only exploiting two cassette machines and the pause-button that he employs to edit his sonic excursions. So how much more sincerely primitive can one possibly get? The sidelong title track is the piece de resistance, an ear-wrapping hypnotic mind bender that cajoles into a mesmerizing and bewitchingly soporific minimal composition for tape and voice. Early on, Nurse With Wound hailed Bruhin as one of the obscure heroic pioneers of experimental music, it is evident that his use of tape-echo and voice techniques and exploring vocal mutation put him alongside sonic poetry artists such as Brion Gysin, Henry Chopin. “Far away sounds coming from a cosmic dimension or from an abyssal space, moving fore and back. The loss of sound quality considered as stoned space improvement. 'rotomotor: ein motorische Idiotikon', the title track, is a 28 minutes long reading, one of Bruhin's major works. Rotomotor is a poetic Idiotikon of the Swiss-German dialect where, instead of the straight alphabetical order, the words are organized according to the similarities of their letters (each word differ from the previous one by just one letter). For this reading a delay equipment which repeated the signal after 0.6 seconds was used and each word is superimposed to the echo of the preceding one. On one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words. Again, a very simple concept perfectly accomplished. What results from the whole program is maybe difficult to describe, maybe more easily perceivable in a state of alternate consciousness. But surely a quite unique sense of acoustics approach; so no surprise to see him mentioned in the mythical Nurse With Wound reference list. Chance meeting in an Alpine chalet of a roto-Bruhin and an AKRE.” (Ubuweb). Price: 250 Euro
226. BRUZDOWICZ – BOGAERT: “S/T” (Pavane Records – PV26-0010) (Record: Excellent/ Jacket: Mint/ OBI/ Mint). Never seen before Japanese issue of this utterly obscure Belgian old skool electronic music LP. COMPLETE with OBI – go figure the scarcity of this baby!! Totally off the radar and obscure Belgian electronic music record that has had me freaking out all day for the past month. So where to start? Well this disc has each side devoted to one composer. The A-side sheds some lights on Joanna Bruzdowicz, a former pupil of Pierre Schaeffer, Olivier Messiaen and Nadia Boulanger. She brings forth two demented totally freaked out vintage electronic compositions that could make even early Merzbow blush. The two compositions date out of 1970 and 1972 and were both recorded at the renowned IPEM (Institute of Psychoacoustics and Electronic Music) Studio in Ghent, Belgium. Criss-crossing in between bleeping speed up noises, broken-word fragmented snippets in Dutch, distorted and cut-up classical music trash and deep-sea depth charges of sonic cluster foil, Bruzdowicz definitely knows how to fuck with your inner earlobes. Freezing flashes of polar winds sweeping the Antarctic plains while being beamed up with flashes of intergalactic invasive forces mutating with electronically charged mutated deep-fried crickets as if they were bombarded with radioactive solar flares is the best description I can come up with to describe the sonic electronic music extravaganza that Bruzdowicz put on display here. Just amazing and possibly the best electronic music LP to have crossed my path in all these years. Even tone-deaf mutants could enjoy this!! Bogaert takes up all the B-side. His two compositions on display here date from respectively 1975 and 1981 and are a perfect match to the bleeping invasion force of Bruzdowicz. Again his pieces also were recorded at IPEM studio, which in a way is the signature sound underlying this disc. Supersonic deep electronic singular sine tones fuse into gradually built up moving pitches of glacial slow molding activity bringing life to a Delvaux painting encapsulated in frozen hibernated dream sequence. Alien-esque in its execution but yet deeply rooted into that sadly under-documented school of Belgian slow budding electronic activity that blows all of the other European and US electronic movements straight out of the water with their tails whopping between their hairy legs. It just shows you that there is definitely life on Mars. Just massive. Highest possible recommendation!! Never seen before Japan issue!!!! With OBI!!! Price: 150 Euro
227. 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!!!
228. BUCKLEY, TIM: “Goodbye & Hello” (Victor Records/ Elektra – SJET-8183) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Outer LP sized Cut Out Obi: Near Mint). TOP COPY!!! The obi, a rare feat these days considering that obis make a unique, attractive addition to the overall package and are becoming increasingly rare, especially on LPs from the 1960s and 70s. Their delicate and disposable nature meant that very early obis were routinely discarded, so that now they can often be worth several times more than the record they accompany. And this 1969 copy has the obi present, given an all-different aura to the disc in question here. Maybe lots of you out there fail to see the unique nature of this paper strip but here in Japan it is a big deal. The music I am sure, most of you are fully acquainted with, one of the key releases out of the totally essential Tim Buckley discography. Top copy mega rare original Japanese high quality pressing with never seen before jacket-size cut-out obi present. Speaking of rare major label records by renowned artists? Well I guess this will do it then. Price: Offers!!!
229. 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: 150 Euro
230. 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
231. 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
232. 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
233. BUDDY GUY: “The Best Of Buddy Guy” (Chess/ Victor Records – SWX-6131M) (Record: Near Mint/ Jacket: Mint/ Insert: Mint). Original Japanese 1st pressing all complete with rare 1st issue green Victor obi. Essential blues slide by the master. Price: 75 Euro
234. BUENA VISTA SOCIAL CLUB: “S/T” (RICE/ World Circuit – WCR-4609) (2 LP set: MINT/ Gatefold Jacket: Mint/ OBI: Mint/ 20 Paged Booklet: Mint === SEALED COPY) Japan only 2 LP version that came out in 1997 of this stunning Cuba salsa infested disc. Amidst the multi-layered percussion, piano and Cuban guitar rhythms, Cooder's slide simultaneously finds a home and eggs the ensemble on. The natural beauty of the Cuban tonal and rhythmic palette is the real star of BUENA VISTA SOCIAL CLUB, evoking both a sense of mystery and a feeling of intense emotional satisfaction. This disc spilled out all over the airwaves for years in a row and I guess almost every single soul with a radio has heard it at one point. This does not diminish the aural splendor of this masterpiece. However it is sad that only a CD version was released until the Japanese arm of Nonesuch released it as well as a 2 LP set, housed in a single sleeve jacket, following the ultra limited 2 LP gatefold sleeve issue that came out before that as a limited edition, all complete with obi. That was 1997 and this one is that very first issue, still sealed and pressed on 180 gram high quality Japanese audiophile vinyl. The only Japanese pressing that ever surfaces is the Nonesuch one, which is a 2nd press issue, the Rice Records one just never surfaces and surpasses the Nonesuch one on every possible level. Justice after all. Highly recommended!!! Price: 200 Euro
235. BUFFALO SPRINGFIELD: “For What It’s Worth b/w Do I have To Come Right Out And Say It” (Atlantic – DAT-1007) (EP Record: Near Mint/ Picture Sleeve: Near Mint, has a barely visible little foxing on back/ Lyrics Insert: Mint). Very rare Japanese 1967 1st original Buffalo Springfield EP release that comes housed in a Japan only picture sleeve. Top Condition. Price: 250 Euro
236. BUFFALO SPRINGFIELD: “Bluebird b/w For What It’s Worth” (Atlantic – P-1071A) (EP Record: Near Mint/ Picture Sleeve: Near Mint) 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. Price: 70 Euro
237. BUFFALO SPRINGFIELD: “Retrospective” (Atlantic – Nippon Grammophon – SMT-1072) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Bloody rare first Japanese Buffalo Springfield release that came out in 1969. Comes complete with the Freakingly rare 1st issue obi and comes housed in a Japan ONLY heavy gatefold jacket. Never seen a copy of this 1st domestic Buffalo Springfield issue before. The condition is amazing, all is in Near Mint To Mint condition. Price: 575 Euro
238. BUFFALO SPRINGFIELD: “S/T” (Warner Japan/ Reprise – P-8053A) (Record: Near Mint/ Jacket: Near Mint/ Rock Age Flower Obi: Excellent/ Insert: Mint/ Card: Mint/ Company Inner Sleeve: Mint). Top-notch first Japanese pressing of this Buffalo Springfield album, complete with the salivatingly awesome “Rock Now Flower Obi”, insert and card present and in top condition. 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…SOLD
239. 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: 500 Euro
240. 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!!! SOLD
241. 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
242. 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: 250 Euro
243. BURRELL, DAVE: “Echo” (BYG Records/ ACTUEL – Acruel 20/ 529.320) (Record: Near Mint/ Gatefold Jacket: Near Mint) Actuel 20, rare French original pressing from 1969!! 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: 75 Euro
244. 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
245. BUSTMONSTERS: “Weedhead EP” (Wildwest Records/ Alchemy Co – AWWR-011). (Disc: Near Mint/ Gatefold Picture sleeve: Near Mint). Clash of the titans like noise collaboration/ one-time-off-unit all-star noise super group that was erected out of Yamazaki Maso (Masonna), Akita Masami (Merzbow), Ohno (Solmania), Shohei Iwasaki (Monde Bruits), Fumio Kosakai (CCCC, Incapacitants), and other depraved noise-nicks. They recorded this one 7 inch graced with the awesome melon super-booty balloon vixen. Splendid noise artifact that rarely surfaces and is a tad overlooked, here on display in all its glory. Awesome! Price: 50 Euro
246. The PAUL BUTTERFIELD BLUES BAND: “East - West” (Elektra Records/ Victor Records Japan – SJET-8071) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan 1st original press issue from October 1968, all complete with original first issue SJET obi. The raw immediacy and tight instrumental attack of the Paul Butterfield Blues Band's self-titled debut album were startling and impressive in 1965, but the following year, the group significantly upped the ante with its second LP, East-West. The debut showed that Butterfield and his band mates could cut tough, authentic blues with the energy of rock & roll, but East-West was a far more ambitious set, with the band showing an effective command of jazz, Indian raga, and garagey proto-psychedelia as well as razor-sharp electric blues. Butterfield was the front man, and his harp work was fierce and potent, but the core of the band was the dueling guitar work of Mike Bloomfield and Elvin Bishop, especially Bloomfield's ferocious, acrobatic solos, while Mark Naftalin's keyboards added welcome washes of melodic color, and the rhythm section of bassist Jerome Arnold and drummer Billy Davenport were capable of both the rock-solid support of veteran blues players and the more flexible and artful pulse of a jazz combo, rising and relaxing with the dynamics of a performance. The Butterfield Blues Band sounded muscular and exciting on classic blues workouts like "Walkin' Blues," "Two Trains Running," and "I Got a Mind to Give Up Living," but the highlights came when the band pushed into new territory, such as the taut New Orleans proto-funk of "Get Out of My Life, Woman," the buzzy and mildly trippy "Mary, Mary," and especially two lengthy instrumental workouts, the free-flowing jazz of Nat Adderley's "Work Song" and the title track, a fiery mix of blues, psychedelia, Indian musical patterns, and several other stops in between, with Butterfield, Bloomfield, and Bishop blowing for all their worth. East-West would prove to be a pivotal album in the new blues-rock movement, and it was the Paul Butterfield Blues Band's greatest achievement; Bloomfield would be gone by the time they cut their next LP to form the Electric Flag, and as good as Bishop was, losing the thrust and parry between the two guitarists was a major blow. But East-West captures a great group in high flight as the band members join together in something even more remarkable than their estimable skills as individuals would suggest, and its importance as a nexus point between rock, blues, jazz, and world music cannot be overestimated.” (All Music Guide). Absolute killer slide, top copy first original Japanese pressing on the blue colored Elektra “guitar playing” logo label and complete with 1st issue obi. Price: 375 Euro
247. 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: 350 Euro
248. 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: 350 Euro
249. Paul BUTTERFIELD BLUES BAND: “S/T” (Victor Records/ Elektra – SJET-8173) (Record: Mint/ Jacket: Excellent/ Outer Jacket Cut-Out Obi: Near Mint). Ok boys and girls, time to get down and dirty with a heavy hitting monster rarity out of Japan, being this September 1969 released original Electra/ Victor LP by the Paul Butterfield Blues Band, all complete with the never-seen-before 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. Price: 350 Euro
250. Paul BUTTERFIELD BLUES BAND: “Golden Paul Butterfield Blues Band” (Elektra/ Victor Japan – SWG-7186) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Near Mint/ Attached Insert: Near Mint). Original Japan only issue out of June 1970, complete with obi and housed in a Japan only gatefold cover art. First time ever I come across a complete top copy with obi!! Yes, these days it is all about the obi, a trend that will only get more frantically played in the years to come. Here the obi is shimmering and brightly present, 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 1970 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. Next to that, you get a killer early day white boy blues trash executed by the finest musicians of their generation, a Japan only compilation housed in Japan only gatefold designed jacket. Just massive. Price: 175 Euro
251. BUTZMANN, FRIEDER: “Das Madchen Auf Der Schaukel” (Zensor) (2 LP Set: Near Mint/ Jacket: Excellent 〜 Near Mint). Original 1983 German press issue. “Butzmann has been plying overt eccentricity for quite some time, as "Wundershone Ruckkoppelungen" documents via his work from the late 60's/early 70's, though he'd find his true métier during the NDW zeitgeist, a period during which his work was hugely influential, having been an early member of D.A.F. "Das Madchen..." was Butzmann's second full length missive to gain release under his own name (he also operated as Din-A Testbild), after "Vertrauensmann Des Volkes" and it's a stunner. While the Dadaist tendencies and overt Residentialisms that he's become known for are much in evidence here, the sleeve's Sky Records-like graphics are no mistake either, as much of this successfully situates his mad hatter gambits within more overtly synthy climates, climaxing with the brain damaging "Incendio", a monster track with a vertigo-inducing electronic hysteria to it that begs comparison with none other than Igor Wakhevitch's Dr. Faust!” (Sound Ohm). A modern day classic. Price: 50 Euro
252. The BYRDS: “Turn! Turn! Turn!” (Columbia – CL-2454) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original 1966 US first pressing, Columbia Records 360 Sound press, rare MONO issue with matrix numbers ending in 1C and 1D, making this the very first issue. Great condition, hardly ever surfaces this clean. Price: 125 Euro
253. The BYRDS: “Mr. Tambourine Man b/w I Knew I’d Want You” (CBS – LL-787-C) (EP Record: Mint/ Gatefold Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Original 1965 Japan 1st original pressing, housed in Japan only sleeve art and in top condition, like new!!!. Best condition possible!!! Price: 80 Euro
254. The BYRDS: Turn! Turn! Turn! (To Everything There Is A Season) b/w She Don’t Care About Me” (CBS – LL-855-C) (EP Record: Mint/ Gatefold Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Original 1965 Japan 1st original pressing, housed in Japan only sleeve art and in top condition, like new!!!. Price: 125 Euro
255. The BYRDS: “It Won’t Be Wrong b/w Set You Free This Time” (CBS – LL-895-C) (EP Record: Mint/ Gatefold Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Original 1966 Japan 1st original pressing, housed in Japan only sleeve art and in top condition, like new!!!. Price: 200 Euro
256. The BYRDS: “Cancelled Flytes” (Sundazed EP Box Set) (5 EP Set: Near Mint/ Five Individual Picture Sleeves: Near Mint/ Outer Box Set: Near Mint/ 4-Paged Insert: Mint). Here’s your chance to own five Byrds singles from 1965 and 1966 that almost existed... Comprised of unique mono mixes readied for release and then shelved at the last minute by Columbia Records, several of the cancelled songs on these 10 sides were later revisited and re-recorded; others, for reasons unknown, would remain unissued until now. The ’65-’66 era-Byrds possessed an unimaginable wealth of talent and vision. The group produced so many wonderful recordings that the process of choosing the next “hit single” was no easy task. The writing and recording skills of the band were being honed at lightning speed; as one session was nearing its end, the next studio date was already being envisioned. This scenario created an absolute wealth of finished Byrds’ masters, many of which served as candidates for potentially successful 45rpm single release. The Byrds’ studio experiences captured herein were nurtured and guided by some of Columbia Records’ most visionary producers of the time: from the assertive, hands-on approach of Terry Melcher, who would shape and mold the obvious but raw talent of the defiant young Byrds into one of Columbia’s hottest properties on the teen market; and Allen Stanton who, amid the turmoil of the group’s first personnel change, helped guide the members through major artistic-growth during the masterful Fifth Dimension sessions; to Gary Usher, whose laid-back style and studio-diplomacy allowed the band to exercise near-complete artistic control and creative freedom, while simultaneously maintaining the unique Byrds Sound. Housed in beautiful full-color picture sleeves featuring previously unseen photos, these gorgeous singles also feature period-accurate Columbia labels. Price: 50 Euro
257. 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!!!!!!
258. BYRDS: “Turn! Turn! Turn!” (CBS Japan – YS-597-C) (Record: Excellent ~ Near Mint, has a little hazing but plays NM, no defects or marks/ Tip Back Jacket: Near Mint). RARE Japan 1st issue TEST Pressing, predating the actual release and never offered for sale before. 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. TOP COPY, the vinyl has some hazing visible but has no marks or defects hence the EX grading. Test press copy!!!!! Rarest Byrds release!!!! TOP COPY!!!! SOLD

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

260. The BYRDS: “Turn! Turn! Turn!” (CBS SONY – SONP-50211) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, still largely housed in original shrink/ Capsule Obi: Excellent ~ Near Mint, still in shrink/ Insert: VG++). Japanese pressing complete with rare capsule obi that came out in May, 1970. Originally released in Japan in 1966 on the Columbia label, “Turn1 Turn! Turn!” was blessed with a 2nd press run when the rights of the Byrds’ music in Japan shifted companies and CBS Sony became the rights holder. Beautiful condition, still in shrink and with cap obi present. Price: 100 Euro

261. 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

262. 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
263. BYRDS: “Fifth Dimension” (CBS Sony – SONP-50267) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Mint). Top copy, 1st original Japanese pressing complete with the always missing capsule obi. This record was first released in Japan on August 1970; 4 years after the release saw the light of day in the US. "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. Rare 1st Japanese original pressing complete with always missing capsule obi. Price: 200 Euro

264. 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

265. 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

266. 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
267. The BYRDS: “Sweetheart Of The Rodeo” (CBS SONY – SONP-50022) (Record: Near Mint/ jacket: Near Mint/ Insert: Near Mint) 1st original Japanese pressing. Released in August 1968, with both Crosby and drummer Michael Clarke gone, Roger McGuinn and Chris Hillman, the only original members left, began eyeing their future, which looked bleak to say the least. It was a recipe for commercial disaster. That year, as psychedelic rock was still at its peak, and rock music became more adventurous, more surreal, and much darker, The Byrds had other ideas. They had dipped into country music and McGuinn wanted to expand the concept on an entire album based on the sounds of Americana — bluegrass, Western swing, jazz. Problem was, he and Hillman couldn’t do it alone so they recruited Hillman’s cousin Kevin Kelley on drums and a young singer-songwriter named Gram Parsons, who led the country-rock psychedelic group the International Submarine Band, on guitar, keyboards and vocals. Parsons became a major presence and influence on the sessions; McGuinn’s concept was downscaled to a country album punctuated with rock ‘n’ roll grace notes. Parsons left the band soon after and formed the Flying Burrito Brothers, taking Hillman with him. And the album became – in hindsight - a landmark recording — the birth of country-rock and one of the most important and influential LPs ever made. But that didn’t help sales any. Released on Aug. 30, 1968, ‘Sweetheart of the Rodeo’ was the Byrds’ lowest-charting album up to that point and a commercial disaster. It would take at least 2 decades for the general public to acknowledge the tidal wave of importance left behind in its trail of frustrated hostility and setting up its far reaching musical influence for years to come in the calm eye of the hurricane. Top copy pressed on high quality Japanese vinyl dating back to November 1968. Price: 50 Euro
268. The BYRON ALLEN TRIO: “S/T” (ESP Disk – 1005) (Record: Near Mint/ Past on Wrap Around Jacket: Near Mint). Original US 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: 85 Euro