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

257. CABARET VOLTAIRE: “Red Mecca” (Rough Trade/ Japan Records – RTL-18) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Mint). Promo copy, Japan 1982 first original pressing. It isn't without reason that Red Mecca is often referred to as one of Cabaret Voltaire's most cohesive and brilliant records. There are tangible bumpers (the record is buttressed by squealing/wheezing interpretations of Henry Mancini's music for Orson Welles' Touch of Evil), so by that aspect there's a tangible center. And taken as a whole, the record contains all the characteristics that have made the Sheffield group such an influential entity when it comes to electronic music of the untethered, experimental variety that isn't afraid to shake its tail a little. Unlike a fair portion of CV's studio output, Red Mecca features no failed experiments or anything that could be merely cast off as "interesting." It's a taught, dense, horrific slab lacking a lull. Dashes of Richard H. Kirk's synthesizer are welded to Chris Watson's tape effects for singed lashes of white noise, best heard on the lurching "Sly Doubt" and the jolting "Spread the Virus." Throughout, Mallinder's sinister jibber jabbering punctuates the high-pitched menace. What he's ranting about is rarely obvious, as the clarity of his voice is often obstructed by the tape effects, synth work, and other random whip-cracks (Watson's periodic surges of organ are another treat). Judging from his irritated tone, odds are the lyrics have little to do with bunnies jumping over dandelions or anything nearing pleasant -- it's that lack of definition that makes things all the more unsettling. Several tunes have a thick rhythmic drive. The instrumental "Landslide" is painfully short at two minutes, with a bopping machine beat and barely perceptible vocal samples that dart between the left and right channels. A grainy programmed rhythm and Kirk's sickly guitar manglings dominate the sleazy "Split Second Feeling." Sick, searing, engrossing. Along with 2X45 and The Living Legends, this is their best offering.” (AMG). So necessary and so obliteratingly great, the Cabs still rule. Price: 50 Euro
258. CABARET VOLTAIRE: “The Voice Of America” (Rough Trade/ Japan Record – RTL-2) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ Poster: Mint). “The Voice Of America introduces itself with a Southern policeman delivering instructions to what could be a riot squad. Part of the instructions direct those offering security to a first aid van to obtain earplugs, "so as to keep you from having a headache." A little self-mocking humor? Some thinly veiled advice for the listener, perhaps? Probably both. Like Mix-up, The Voice Of America displays in various ways how noisy, abrasive, and unpleasant an album can be in the oft-used ten-song/40-minute format, providing the nag-nag-nag that Cabaret Voltaire does so well without the drag-drag-drag associated with a lot of electronic experimentalism. Generally speaking, The Voice Of America has more of an anchor than Mix-Up with its increased use of rhythm, whether it's from those rickety drum machines or actual drums. The sickly and sometimes demented drones of cacophony are twisted and doctored in new ways and make for more compelling listening. In "News From Nowhere," it sounds as if recordings of dive-bombing war planes have been intertwined and distorted, which is only part of the thrill; there's a dubby rhythm that's equally anemic in the background. "Premonition" is the most antagonistic moment, placing a number of electro-surges behind a deep, growling voice that can only be described as comic doom. On the closing "Messages Received," the structure is similar to that of "Nag Nag Nag," but all the assaultiveness of that song is wiped away and turned into a melancholy number, helped especially by an emotionally drained vocal turn. Not as spectacular as what would follow, and not without its own set of thrills.” (All Music Guide). Been on constant rotation here, so into the time, so relevant again. Bloody killer!! !Price: 75 Euro
259. CAETANO VELOSO: “S/T” (Philips Brazil – R765-026L) (Record: Excellent~ Near Mint, only has one tiny scuff/ Gatefold Paste On Flimsy Jacket: Near MINT). Original 1st Brazilian MONO pressing out of 1968, hard to get original pressing that comes in such a sweet condition. “The first Caetano Veloso solo album was recorded in 1967. Soon after the III FMPB, where Veloso took fourth place with "Alegria, Alegria," he and his group (which would soon constitute the Tropicalia movement) were news, dividing opinions concerning the group's interest in fusing Brazilian music with international pop culture, lysergic psychedelia, generalized irreverence, and whatever crossed their minds. Three classically trained composers, fully committed to the most adventurous experiments in modern music, did the arrangements: Julio Medaglia, Damiano Cozella and Sandino Hihagen. Veloso's concept was that the album should surpass the Beatles’ Sgt Pepper’s being also very Brazilian and, at the same time, international. The record has immortal classics, such as "Clarice," "Soy Loco por Tí, América", composed under the effect of the recent death of Che Guevara, "Superbacana," "Tropicália," and "Alegria, Alegria." The rest of the album has had less success but consists of excellent tracks that remain modern to this day. "Tropicália," the title track, was an unnamed song when its recording began. By suggestion of the then photographer Luís Carlos Barreto, Veloso used the same name of an installation by the visual artist Hélio Oiticica, which was composed by a labyrinth made with plants and birds and shown on a television set. The suggestion was accepted, and the Tropicalia was born.” (Alvaro Neder). Just a classic of Brazilian bossa/psychedelic and Tropicalia that is hard to dig up in this day and age in such a nice original 1st press condition. Music is a true mind bender. Awesome! Price: 175 Euro
260. CAGE, JOHN: “The 25-Year Retrospective Concert of the Music of John Cage – Recorded in Performance at Town Hall, New York, May 15, 1958” (1958 Avakian S1/KO8Y-1499-1504) (3 LP Set: Near Mint/Box Set: Excellent/ 20-Paged Book: Mint/ 12 Individually Printed Scores: Mint). Personnel: David Tudor; John Cage; Maro Ajemian; Arlene Carmen; Manhattan Percussion Ensemble. George Avakian privately issued this original pressing 3-record set in 1958. It was recorded in performance at Town Hall May 15, 1958; 12 manuscripts with annotations & 12 page booklet on brown paper, Recorded in performance at Town Hall, New York, May 15, 1958. Features many of Cage's best-known works, including the revolutionary and experimental "Williams Mix", a musique concrete project comprised of random sounds. This is an excellent introduction to one of the 20th century's greatest avant-garde composers, covering Cage's material from 1934 to 1958). “This three-LP set documents the concert held in the town hall of New York City on May 15, 1958, where 25 years' worth of John Cage’s compositions were performed, the largest such event at that point in his career. Presented chronologically, the works increasingly tested the patience of the audience, eventually prompting audible protests. Following the "conventionally" modernist "Six Short Inventions for Seven Instruments," listeners hear the delightful "First Construction in Metal," a percussion-driven piece from 1939 that bridges Edgar Varese with the composer's fascination with Balinese gamelan music, which would achieve sublime form in his compositions for prepared piano several years hence. Though almost 20 years old at the time of the concert, the amazing "Imaginary Landscape No. 1," with its high-frequency recordings, struck and stroked cymbals, and piano, must have sorely tested even the most benevolently inclined audience in 1958, but those at town hall appear to have greeted it warmly, if somewhat tentatively. The second disc is given over to a performance by Maro Ajemian of ten of the sonatas and interludes for prepared piano. If these works have been given superior interpretations in the intervening years, their loveliness is still quite apparent here. Disc three begins attractively enough, with David Tudor’s reading of "Music for Carillon No. 1" sent rippling through the theater. But with Cage’s groundbreaking "Williams Mix," things take a more raucous turn and the audience, baffled and perturbed, reacts angrily and noisily. Realized by cage, Earle Brown and Tudor on magnetic tape and eight loudspeakers, the piece, heard more than four decades on, sounds incredibly prescient (it could still easily pass as "avant-garde" at most performance spaces), but even then one could hear some affinities with the work of composers as popular as Carl Stalling. But the boos and catcalls are clearly heard amidst the applause. The final work on the program was "Concert for Piano and Orchestra," completed that very year, and here the audience declines to wait until its conclusion to vent its annoyance. About 18 minutes into the 26-minute piece, prolonged (and sarcastic) applause breaks out in an attempt to stifle the goings on. One can easily imagine that Cage, at least in retrospect, would appreciate this intrusion of the "real world." In any case, this set is a must-have for any fan of the composer, not only capturing a historic occasion in his career, but also affording some fine performances of a number of his key works. Highly recommended.” (Brian Olewnick, All Music Guide). First original pressing and a must for electronic music freaks. Awesome set!! Price: 300 Euro
261. CAGE, JOHN: “S/T” (Cramps Nova Musicha – CRSLP 6101/1) (Record: Near Mint/ Gatefold Jacket: Excellent ‾ Near Mint. Only has a few mildew spots on cover/ Company Inner Sleeve: Near Mint). This was the 1st release on the Cramps records Nova Musicha series. Groundbreaking release of early cage material. This was the first “nova musicha” collection release. The LP contains five John Cage’s compositions for "prepared" piano, played and performed by various artists: Juan Hidalgo, Walter Marchetti, Gianni-Emilio Simonetti and Demetrio Stratos. In these performances, the sound of the piano was altered by placing objects (preparations) between or on the strings or on the hammers or dampers. Toy pianos and radio systems were used too. The most famous composition is “ 4’33” which represents a turning point for Cage’s experience and for contemporary music. Demetrio Stratos performed “Sixty-two mesostics Re Merce Cunningham”. Stunning historical recording on collectible label. Price: 150 Euro
262. CAGE, JOHN with DAVID TUDOR: “Presents Variations IV” (Everest – 6132) (Record: Near Mint/ Jacket: Near Mint). Quitensential avant-garde and electronic music slide. To these ears the single greatest Cage composition – as well as execution due to the participation of David Tudor. The volume levels are raucous and the medium of live electronic music was never more vibrant. Opening with a work performed on a single cymbal with contact microphones agitated by a wide gamut of objects, and concluding with Variations IV in which loudspeakers outside the performance space in various hallways interacted with speakers next to the audience, this was truly an affair to remember. This record mixes from mic to mic in a nice stereo split that puts Cage's theory of indeterminacy to the test. Amazingly awesome and totally indispensable historic recording that definitely will cave in your skull and free your mind. Price: 50 Euro

263. CAGE, JOHN & DAVID TUDOR: “Interdetermancy” (Folkways Records – FT-3704) (Records: Excellent/ Box: Excellent) Seen its age, the overall condition of the box and discs is amazing. Highly historical recording that sees John Cage reading his stories at the rate of one per minute while David Tudor simultaneously and asynchronously performs the piano solo and electronic music modulation noises that infuse the stories with wit and otherworldly bleeps, blips and screeches. Overall, Tudor’s great and Cage’s stories are funny, touching, and intelligent. John Cage tells 90 stories in 90 minutes. Working beyond earshot of Cage, Tudor accompanied Cage with piano and prerecorded tapes to create a delightful and at times whimsical piece. Utterly fantastic 2 LP set housed in a box. A classic and indispensable from any collection. A killer all way through…. Price: 50 Euro

264. CALE, JOHN: “New York In The 1960s” (Table Of The Elements – 87Fr) (5 LP Set: Near Mint/ 4 Paged Insert: Near Mint/ Outer Wooden Box Set: Near Mint). Completely vanished LP version of five LPs in black-lacquered wood box with libretto, bonus tracks and more released in 2005. Quite unbelievable package - and probably the most elaborate, beautiful packaging you will lay your eyes on for an incredibly long time. These amazing 5 LP’s come housed in a black lacquered wooden box, with detailed 4 paged insert included. The recordings in this series come from another underground, a deep vein of labor and experimentation that parallel’s Cale’s time with the Velvets. It is jubilantly private music, made alone and with like minded spirits – Tony Conrad, Terry Jennings, Jack Smith, Sterling Morrison, original velvets percussionist Angus Maclise – far from the hot light of the Velvets’ public notoriety and the rough politics of Cale’s relationship with Lou Reed. Recorded between 1965 and '69, when Cale was part of a community of avant-garde musicians working in a minimalist context, and sought to utilize sound as well as tone, using elements of musique concrete, feedback and tape manipulation. An unbelievable collectors item - here is your one off chance to own it. Price: 150 Euro
265. CAN: “Monster Movie” (Japan Record – JAL-2302) (Record: Near nt/ Jacket: Excellent ~ Near Mint – lower middle split seam/ Obi: Mint/ Insert: Mint). First original Japanese pressing of Can’s “Monster Movie” complete with obi and insert. Monster Movie was the 1969 debut LP from The Can, that band of kraut-rocking, Stockhausen-influenced hippy freaks. This album features the unique vocals of black American singer Malcolm Mooney, and establishes Can's signature style of relentless rhythmic psychedelia with songs such as the 20-minute"Yoo Doo Right". Along with the Velvets and the Stooges, Can were one of the most 'advanced' groups of the era, and certainly one of the best Krautrock bands. Essential, and this copy here was the 1st Japanese pressing to see the light of day, be it a tad late since it came out only in 1980. Comes with obi and liner notes to boot. Price: 150 Euro
266. CAN: “Tago Mago” (Liberty – LP-93025B) (2 LP Set: Near Mint ~ MINT/ Gatefold Sleeve: Near Mint ~ MINT/ Obi: Mint/ Insert: Near Mint). Never seen before rare white label promotional copy. Second copy I see in 10 years time!!! Rarest CAN LP out there next to “Monster Movie”, this 1st issue Japanese pressing with 1st issue obi just never surfaces. 1971's Tago Mago double album was Can's third full-length release, and their first with expatriate Japanese singer Damo Suzuki. It's truly a sprawling masterpiece of krautrock with the weird noise/drone stuff on the 17 minute "Aumgn", or the totally hypnotic rhythmic psych groove of the equally sidelong "Halleluwah". First Japanese press with obi as released in 1972, a true and genuine rarity that just never turns up anymore, at least not in such top-notch condition as this one here. Top rarity as you might already know, this one is the rarely seen promotional copy. All is in near mint to MINT condition. 2nd copy I ever see of this 1st Japanese pressing and impossible to upgrade upon. One of the best records ever made I presume. Price: Offers!!!!
267. CAN: “Tago Mago” (United Artists – UAD-60009〜600010) (2 LP Record Set: Near Mint ~ MINT/ Envelope Cover Jacket: Near Mint ~ MINT). Final upgrade copy – TOP MINT & UTTERLY PERFECT COPY, impossible to upgrade on this one ever!!! Original Top copy 1971 UK pressing that comes housed in different cover art than the German pressing. Killer double album and one of the best records ever to be put down on wax – it is one of those records that upon listening will pulverize your lobes and turns your hardwood floor to wormwood. Tago Mago is so climatic and utterly baffling upon spinning it for the first time it will drive a rational man to the depths of despair and that we know is a good thing brother!!! Because if anything is gonna unhinge your mind and drive you up crawling onto the walls, it might be as well music or in this case a record and since the whole purpose of this absurd quest for cheap thrills and a quick fix towards oblivion is that priceless moment of sheer bewilderment, this one will do the trick just perfectly and you will be never the same again. Life altering experience? Yes Sir! If not, there is something disturbingly wrong with ya or you are a straight bore with no imagination skills at all. So welcome to Tago Mago!!! A bloody fucking milestone of a recording. And since most of us are anal about condition and the enjoyment of their little trip to aural Valhalla, I can assure you that this copy here is totally perfect, both records are pristine and in top MINT condition, no defects whatsoever, virtually untouched. The envelope jacket looks like new – like it was printed and released only yesterday - no seam or edge wear and the little tag that closes the envelope even does not have a single crease. So in short – BEST COPY EVER. Perfect on all fronts. ARCHIVE CONDITION, hence the price but still a small admission fee for a totally perfect guide to lead you towards to the pearly gates of a blissful state…. Price: 375 Euro
268. CAN: “Soundtracks” (Japan Record – JAL-2303) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). First original Japanese pressing in TOP condition. Consisting of music written for various films, ‘Soundtracks’ is Can’s second album, a departure in sound from the more psychedelic jams of their first album, ‘Monster Movie’ and instead a burgeoning exploration into more electronic moments of experimentalism, rhythmic repetition and mystery. The album marks the departure of the band's original vocalist Malcolm Mooney, who sings on two tracks, to be replaced by new member Damo Suzuki. Mooney’s vocals appear in fleeting existence, whilst Can’s brilliance is evermore at play. Malcolm’s final recording with Can, “Soul Desert” is certainly one of the highlights. His voice sounds stretched to the very edge of its limits. Given Can’s habit of editing down long jams, he could well be at the end of a jam session that has gone on for literally hours. Whatever the reason, his scorched delivery really invokes desert dryness and the sparse tribal groove the band lock into behind him is another classic tight Can groove “Mother Sky” is fourteen and a half minutes of utter devastation. Probably the most scorched, searching guitar work Karoli ever unleashed. Here sounds like he is unpicking the skies with his fingers. Underneath that, Holger and Jaki fuse into an inhuman rhythm machine playing some secret, primal, snapping, tribal stomp. When Jaki begins unleashing drum rolls, it is physically impossible not to move in some way. So essential. Top copy 1st original Japanese pressing. WOW!!! Price: 125 Euro
269. CAN: “Delay 1968” (Japan Record – JAL-2301) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT/ Insert: Near Mint ~ MINT/ Obi: Near Mint ~ MINT). Japan 1st original pressing of much in demand Can LP. Getting harder to track down these original Japanese pressings.  "As long as Can plays SOUL they are unbeatable", said the great Conny Plank as Holger Czukay was dusting off the tapes that became "Delay 1968" in the early '80s. Top condition, never seen or had a copy of this LP that is so perfect and just immaculate on all fronts. Impossible to ever find or upgrade to a better copy and I do not even attempt at exaggerating here. Price: 150 Euro
270. CAN: “Soon Over Babaluma” (Japan Record – JAL-2306) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Mint/ Insert: Mint). Japan original 1st press complete with obi. Soon Over Babaluma features five tracks that mark a change in direction for Can as it was their first album without Damo Suzuki. Released in November 1974, the LP featured the ambient sound that Can pioneered on their previous album, Future Days. Featuring a myriad of beeps, squeaks and sci-fi sounds, Soon Over Babaluma is like  musical journey into another, 21st Century dimension. A musical tapestry where layers of music are intertwined during five tracks, filled with moody atmospherics, whispery scats, scratchy strings and minimalistic drumming combined with crystalline wah-wah infested guitar licks. Can are definitely in the groove. And from the groove, the songs emanate, like some sort of spontaneous composition. Everything from ambient, country, electronica, folk, funk, jazz passes the sonic infusion. ‘Soon Over Babaluma’ was the sixth studio album by Can and their first album without a lead vocalist who does not play an instrument, following the departure of Damo Suzuki. The vocals are taken care of by guitarist Michael Karoli and keyboardist Irmin Schmidt. The last Can album to be created using a two- track recorder, ‘Soon Over Babaluma’ took the ambient style of ‘Future Days’ and pushed it even further. Bloody essential and amazing Japanese first original press issue. Price: 120 Euro
271. CAN: “Landed” (Virgin – VIP-4072) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint). Original first Japanese pressing complete with insert and OBI. Another brilliant Can album that saw the group in transition after their previous classic mindrackers. Here the band locks into a laidback hypnotic & narcoleptic groove that slowly sucks its teeth into your membranes and guides you towards an intoxicating hinterland you feel like never ever leaving again. This one here is a stunning copy of the first Japanese pressing to see the light of day of this LP, complete with obi, insert and in mint condition to boot. Rarely surfaces with obi in such a virginal state as this one here. Comes dead cheap as well so don’t sleep on it. Totally essential. Price: 100 Euro

272. CAN: “Landed” (Virgin – V-2041) (Record: Near Mint/ Fully Laminated Jacket: Excellent ~ Near Mint). Original UK pressing – PROMOTIONAL COPY label. Comes on first issue Virgin logo label with 2 girls logo on khaki based color background. Still a great Can album that dwells on some hypnotic grooves and licks, hated by many, loved by others. I myself ride hard for this Can LP, they still sounded awesome, Karoli is on fire and Liebezeit is as steady and single-grooved as ever, propelling that claustrophobic motorik feel. Truly fantastic. Rarest version of “Landed” and in amazing condition. Price: 175 Euro

273. CANNED HEAT: “On The Road Again” (Liberty – LP-8544) (Red Wax LP Record: Near Mint ~ Mint/ Jacket: Near Mint with as sole minor defect a bit of rubbing on upper middle seam/ Insert: Near Mint/ Obi: Near Mint). Very first Japan original pressing that comes on red colored vinyl and complete with first issue obi. The first Canned Heat record to see the light of day in Japan in December 1968. Just never surfaces on these shores with all complete and obi attached, let alone in such pristine condition as this one here. First complete copy I see in over a decade!!! Hard to ever upgrade upon this one…. Price: 500 Euro
274. CANNED HEAT: “Boogie With Canned Heat” (Liberty – LP-8641) (Red Wax Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ OBI: Mint). Rare 1st original pressing complete with rare OBI. Japan ONLY jacket artwork. Original 1st press high quality Japanese pressing from 1969 that comes on bloody red wax. Comes housed in a Japan ONLY jacket art. Top condition and obi is damned rare. Price: 300 Euro
275. CANNED HEAT: “Living the Blues” (Liberty/ Toshiba Japan – LP-93023B) (2 LP Set: Near Mint/ Gatefold Sleeve: Near Mint/ Insert: Near Mint/ OBI: MINT). Bloody rare 1st original Japanese pressing complete with always-missing OBI!! Comes on RED WAX, original 1st Japanese pressing out of 1971, hardly offered in such a “almost like new” nick as this copy here. Tracks include: “Pony Blues, My Mistake, Sandy’s Blues, Going Up The Country, Walking By Myself, Boogie Music, One Kind of Favor, Parthenogenesis, Refried Boogie (part 1) and Refried Boogie (part 2)”. Killer album from start to finish with absolutely no filler. Best copy around of this 1st Japanese pressing on bloody red wax and complete with OBI….Price: 200 Euro
276. CANNED HEAT: “70 Concert – Recorded Live In Concert” (Liberty Records Japan – LP-80018) (Record: Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Excellent). Comes housed in a Japan only gatefold jacket art with a nice live picture of the band in action in Holland. First original press in TOP condition with the rare obi present and flying high its true colors. Hardly ever turns up with obi attached. Price: 200 Euro
277. CANNED HEAT: “Future Blues” (Liberty Records/ Toshiba Japan - LP-80081) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint ~ Mint) First original Japanese pressing in absolutely TOP condition. “Fittingly, the Heat delivered their definitive record in 1970 – the finest vintage for rock albums. Featuring the superb Harvey Mandel (briefly replacing Vestine) and some long overdue variation to their sound, this plain rocks. Mandel has a defter, subtler and more mellifluous style than Vestine, whose sound is closer to straight blues. ‘Shake It And Break It’ is a characteristically light and cheesy Wilson composition. ‘King Bee’ is the best kind of rough and ready Heat boogie, ‘That’s All Right Mama’ is their finest cover to date, ‘Skat’ is a jolly slice of jazz with Dr. John on ivories. ‘Let’s Work Together’ is a joyous slice of up-tempo boogie and Mandel is on fire on ‘My Time Ain’t Long’, contributing an absolute belter of a solo. On balance, it may be his input that lands this LP the full five stars” (GH – Endless Trip). Original first Japanese press from 1970 in absolutely TOP condition, next to impossible to upgrade upon. Price: 50 Euro

278. CANNED HEAT: “Evil Woman b/w Amphetamine Annie” (Liberty/ Toshiba Musical Industries – LR-2292) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only picture sleeve issue that comes on RED WAX!!!! Hardly ever turns up for sale and one of the rarest Japan only Canned Heat EP issues. Price: 100 Euro

279. CAPTAIN BEEFHEART AND HIS MAGIC BAND: “Safe As Milk” (Buddah Records – BDS-5001) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Sticker: Near Mint/ Imprinted Inner Sleeve: Near Mint). Original US first pressing in absolutely TOP condition. Comes complete with mint sticker and imprinted inner. Never seen or had a copy as perfect as this one here. Perfect all the way. I think one can even use the word "virginal" in this case. Just stunning on all fronts. And since condition is all that matters these days --- do give me your best shot. All time classic Beefheart slide that is a bitch to dig up with all complete and in decent shape. Every track is a winner, absolutely killer with no filler. Price: Offers!!!!
280. CAPTAIN BEEFHAERT & HIS MAGIC BAND: “Trout Mask Replica” (Straight – STS-1053) (2 LP Set: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeves: Near Mint/ Booklet: Mint). Top copy!! Rare white label promotional copy, all is as clean as can be, no ring wear, just perfect all way round. Now if you bear with me for a second, let me shed some light on the acute scarceness of this issue/ pressing. According to the Goldmine Price Guide I was pointed to some time ago, they considered this pressing with the catalog number STS-1053 on the label as "unreleased?" Well, we all know how prone to inaccuracies this book has been, but this must be pretty rare, especially a mint copy (jacket and records and inserts) of the white label issue...Price: 450 Euro
281. CAPTAIN BEEFHEART & HIS MAGIC BAND: “Mirror Man” (Buddha Records/ Nippon Columbia – YS-2524-DA) (Record: Near Mint/ Jacket: Excellent/ Insert: Mint). Rare Japan 1st press original – WHITE LABEL PROMO issue. Recorded in November 1967 the four lengthy tracks on Mirror Man are primal and gut driven, surfing on dusted dessert winds. All four are worthwhile, but the key tracks are "Tarotplane Blues," a free-form jam in which Beefheart jumbles together the lyrics of at least half a dozen blues standards into a stream-of-consciousness ramble as the Magic Band vamps on a slide guitar-based, two-chord groove for over 19 minutes, and the similarly expansive "Mirror Man," one of the key tracks of Beefheart’s entire career. Probably the catchiest tune Beefheart ever wrote, "Mirror Man" has an almost funky, hip-swaying groove, and there's a playful lightness to the way Beefheart chants the simplistic lyrics that prefigures the flights of fancy on Trout Mask Replica. This is a killer Beefheart slide, bewitching in its execution and cathartic in its vibe. This copy here is the 1st original Japanese pressing of 1971, WHITE label PROMO copy….Japanese pressing of Mirror Man is extremely rare, 1st time a copy has crossed my path! Price: 200 Euro

282. CAPTAIN BEEFHEART & HIS MAGIC BAND: “Mirror Man” (Buddha Records/ Nippon Columbia – YS-2524-DA) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Rare Japan 1st press original – RARE STOCK COPY issue. Recorded in November 1967 the four lengthy tracks on Mirror Man are primal and gut driven, surfing on dusted dessert winds. All four are worthwhile, but the key tracks are "Tarotplane Blues," a free-form jam in which Beefheart jumbles together the lyrics of at least half a dozen blues standards into a stream-of-consciousness ramble as the Magic Band vamps on a slide guitar-based, two-chord groove for over 19 minutes, and the similarly expansive "Mirror Man," one of the key tracks of Beefheart’s entire career. Probably the catchiest tune Beefheart ever wrote, "Mirror Man" has an almost funky, hip-swaying groove, and there's a playful lightness to the way Beefheart chants the simplistic lyrics that prefigures the flights of fancy on Trout Mask Replica. This is a killer Beefheart slide, bewitching in its execution and cathartic in its vibe. This copy here is the 1st original Japanese pressing of 1971; Stock copy is way rarer than the promo issue as the record sold nothing when it came out in Japan. Most copies that surface here are all promos, first time I come across a stock copy one…. Price: 250 Euro

283. CAPTAIN BEEFHEART: “Flavor Bud Living” (Haro Records) (2 LP Set: Near mint/ Jacket: Excellent). Rare 2 LP boot recorded on November 1st, 1980 in Paradiso, Amsterdam. “1980 European double bootleg from Haro Records CB 1180. A very professional looking job this with nice royal blue labels and white lettering. This is the November 1st 1980 concert at the famous Paradiso in Amsterdam. The Gutbucket sampler must have inspired that cover, which is the most over-the-top I’ve seen. The sound is treetrunk stereo, which has an unpleasant hollow sound that appears to have been mastered at the wrong speed so Beefheart sings too high. The concert itself is tense with Beefheart telling the audience "not to throw things" and really freaking out when they boo him after a splendid Veteran's Day Poppy - it sounds like Beefheart is not responding to their repeated calls for Big Eyed Beans From Venus! It does feature Gary Lucas, manager and band member, reciting Beefheart's poem One Man Sentence. Suction Prints, the instrumental that started many shows, is the penultimate track with Beefheart giving it plenty of horn and the final track, to wild audience appreciation, is Big Eyed Beans From Venus with Beefheart imploring "mister midnite hatsize snyder and mister jeff morris tepper... hit that long lunar note... and let it float...” (from "Glass Finger's Big Bad But Beautiful Book of Beefheart Bootlegs - Volume #1" (Apocalypse) / 1993). Great early Beefheart bootleg that rarely surfaces these days… Price: 100 Euro
284. CAPTAIN BEEFHEART: “The Lives and Times of Captain Beefheart – Somebody in my Home” (Private) (Record: Near Mint/ Jacket: Excellent). “198? single bootleg The Lives And Times Of Captain Beefheart on CB 63-80 (obviously referring to the dates of the recordings featured therein!) is the predecessor to its distant cousin "Another Chapter In The Lives & Times Of Captain Beefheart". Its glossy cover is taken from the 2nd edition of the mid-1970s book of the same title (by far more collectable I'd guess than the LP!). The deluxe sleeve & label design gives it the desired impression of an official release, which was advertised quite openly in the past from mail order companies S/S for as little as £7.99 back in the day. 
Side 1 starts with one of the earliest Zappa / Beefheart collaborations as The Soots - Metal Man Has Lost His Wings from the 1963 Studio Z - sessions! Its source was almost certainly the 1975 KWST radio broadcast which apart from plugging Bongo Fury's release in the USA let Frank play some live and unreleased studio recordings (including pre-Freak Out! material), a studio jam session whilst Don related The Story Of Electricity, and a supposed studio O/T (?) from the '69 Trout Mask sessions - Neon Meate Dream... (sounds like the LP cut to me??) This was all neatly packaged and available with more from the broadcast on a vinyl bootleg called Confidential, in less than a year! Also on side 1 is Avalon Ballroom recording of The Magic Band performing Evil/ Somebody In My Home/ Tuplelo Mississippi and the wonderful Old Folk's Boogie. Side 2 begins strangely with the 1974 un-Magic Band live instrumental followed by edited highlights of Paradiso 1980.” (Rollin Red's Big Bad But Beautiful Book of Beefheart Bootlegs - Volume #2). Price: 100 Euro
285. CARAVAN: “S/T” (Polydor – 23MM0134) (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). Absolutely top condition, impossible to ever upgrade upon. Very first Caravan album, very first Japanese press issue all complete with obi. The five first Caravan albums are all, one for one, masterpieces of Canterburian progressive art rock. Right from the start the band made an artistic statement that put everyone on his toes. And even till this day, their first LP is a monster. Rare Japanese original pressing in top condition. Price: 125 Euro
286. CARAVAN: “If I Could Do It All Over Again, I’d Do It All Over You” (London/ KING Records – SLC-357) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Mint). Top copy Japanese TRUE FIRST ORIGINAL pressing from 1971 of Caravan’s second album. BLOODY RARE WHITE LABEL PROMO ISSUE. Never seen or had a true 1971 Japanese first press before….sadly obi is missing (never ever seen one – would break the bank if it turned up). First of all, the title of the record does say it all. Second Caravan album, original FIRST Japanese 1971 pressing and on this one the band excels even their illustrious debut as far as bloody beautiful songs, compositions and Canterburian escapades driven by organ and intoxicating vocals are concerned. Still rules my daily life this disc. Totally necessary. A masterpiece in every sense of the word. Ride it. Rare 1971 white label promo in TOP condition. Price: 250 Euro
287. CARMEN MAKI: “Adam & Eve” (CBS SONY – SOND-66013) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint) Top copy. Well, here you finally have it. Carmen Maki’s first-ever recorded album, her rarest and ultimately best ever disc. These babies are so scarce they just never turn up. Which is a pity because the material is stunning ranging from female psyched out vocals underscored with fuzz burn-outs and erotic moaning, on this disc Maki does it all, still trying to pin down her trademark style. To these ears at least, this is Maki’s all time best recording, at one time touching the marmalade skies with her psychedelic eyelashes while at other occasions on the disc she just gets down and dirty, igniting a true erotic moaning session set against a backing of fuzz and cheap organ lines. On other songs, she dwells into chanson spiked territories, etc. A varied album of which almost every song is a winner. Comes in a heavy gatefold cover with insert. Overall excellent to almost near mint condition. Hyper rare so do not expect this baby to turn up any time soon. One of the nicest female psych influenced vocal albums to seep out of Japan, largely still undetected by the larger collecting crowd. All time highest recommendation. Just a killer disc. Best copy to ever have crossed my eyes…and getting scarcer by the second. Top copy, impossible to upgrade on this one. Price: 250 Euro

288. CARMEN MAKI: “Carmen Maki Mayonaka Shishuu - Rouzoku Ga Kieru Made – Poems in the Midnight – Till The Candle Goes Out” (CBS Sony – SOND-66010) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule OBI: Mint). Top copy, 1st original pressing!! 1st copy I ever can spare complete with the always-missing capsule obi!!! Hard to dig up in such a pristine condition complete with obi – COMPLETE COPY, which is a small miracle. One of the finest Female folk records from Japan. Carmen Maki released, apart from her involvement with Blues Creation, three stunning artifacts that so beautiful it makes your ears bleed. Needles to say it are her three initial releases, being the hideously rare “Adam and Eve”, its follow-up and almost as rare “Goodbye My Memories ‘70” and her collaborative effort with enfant terrible of the arts Terayama Shuji, which we have here. The music and songs Maki breathes effortlessly into being here is at the same time highly erotically charged, be it in a subdued and held back manner, while at the same time emotionally charged with sentiments that go back to her child day memories when her American father (stationed in Japan) abandoned his wife and kid once his tour of duty was finished. So this work can be seen as partly autobiographical, filled with emotional power blows and lyrical grandeur. A masterpiece of the firmament of the Japanese female vocal pantheon, released in 1971. The disc has however one problem, once you lend your ear to it, it will get you hopelessly hooked and begging for more. One of the crown jewels of the early seventies soft psychedelic, erotic female vocal excursions to have seeped out of Japan. After her first three solo albums and her stint with Blues Creation, Maki teamed up with Oz and gained an immense popularity. Sadly enough from then on her music just sucked and it never attained the greatness of those early recordings that are light years apart and seem to exist on an entirely different plane. This disc was her 3rd solo album and is jaw-droppingly, over the top great. This edition of the disc here is the completely vanished 1st pressing housed in a stunning fold out cover. Second and third pressings in a single cover are quite common, but 1st press editions seem to have fallen of the face of the earth, especially in good or exquisite condition like this copy here and complete with OBI - which is damned RARE. Simply a modern day masterpiece and a timeless classic. It makes you realize once again what it was that made you fall in love with music in the first place. Price: 250 Euro

289. CAROL OF HARVEST: “S/T” (Brutkasten) (Record: Near Mint/ Jacket: Near Mint). Great original 2nd pressing put out by the band themselves in the late eighties/ early nineties. 1st and 2nd pressings of this album are hard to distinguish and I have seen people putting up 2nd presses and selling them for three figure sums by claiming they were 1st pressings. This one is not a first pressing but a genuine 2nd pressing. How can one tell, well here is the deal. The difference all lies buried in the dead wax of the vinyl. So pay attention you all because the 1994 Brutkasten 2nd pressing has been offered and sold often as "Original", but things are not that difficult to distinguish. The original has glossy cover and stamped matrix number "ST-850004 A" on side one and "ST-850004 B" on side 2, there were the reissue has paper cover and matrix number "K-850004 A2" and "K-850004 B2". So with that out of the way, you can be damned sure this is the 2nd pressing. But the music is what counts I guess and that is just bloody amazing. Although the album comes out of Germany in 1978, it really sounds like it was released around 1970 or '71. Acoustic guitar melodies interwoven with superb female vocals by Beate Krause. The sound quality on the pressing is gorgeous, and the entire affair has a otherworldly vibe. Veering straight off with a 15 minute "Put on Your Nightcap" opener, you get instantly treated to a masterpiece enfolding behind your earlobes. Krause reigns throughout almost coming off like a Valkyrie siren. Mesmerizing to say the least. The remainder of the album is as strong as the opening track so you know you are in for a mind blistering listening experience. The album closes off with another highlight, "Try a Little Bit", again spiked up by almost impossibly beautiful vocal melodies. In all again a dead stone classic, this was the 2nd press done by the band themselves, housed in identical jackets and sounding like angels dripping honey into your ears, be it that the honey here is spiked with lysergic qualities. A Must!! Price: 75 Euro
290. CARTER FAMILY: “The Carter Family’s Greatest Hits – Great original Recordings” (CBS Sony – SOPC-57118) (Record: Excellent ~ Near Mint/ Jacket: Mint, still in shrink/ Capsule Obi: Mint/ Insert: Mint). Rare Japanese pressing with always missing capsule obi present. The most influential group in country music history, the Carter Family switched the emphasis from hillbilly instrumentals to vocals, made scores of their songs part of the standard country music canon, and made a style of guitar playing, "Carter picking," the dominant technique for decades. Along with Jimmie Rodgers, the Carter Family were among the first country music stars.Their classic repertoire, haunting vocal harmonies, and Maybelle's distinctive guitar style have kept their old-time music relevant and moving to the modern day. The original group broke up in 1943, and the name was adapted by one member (Mother Maybelle) and her three daughters (June Carter Cash among them), and various combination of Carters performed and recorded in the '50s and '60s. Beyond belief killer stuff and if you are getting all wired up for the whole Americana trip, then no better place to start and end than with the Carter Family. Timeless and priceless music. 1st original Japanese pressing, complete with capsule obi. Price: 70 Euro
291. CASH, JOHNNY: “At Folsom Prison” (CBS SONY – SONP - 50016) (Record: Near Mint/ Jacket: Near Mint – in shrink/ Capsule Obi: Mint/ Insert: Mint). Freakingly rare 1st original Japanese pressing in top condition, jacket still in shrink and complete with rarely seen capsule OBI. I can be fairly short about this album. Simply one of the greatest albums of all time. And I mean it. “Johnny Cash had been breaking new ground for a decade when At Folsom Prison suddenly made the world at large take notice. The interaction of a volatile prison population starved for entertainment and a desperately on-form Johnny Cash was electrifying. His somber machismo finally found a home. The songs, which included every prison song Cash knew ("I Got Stripes," "The Wall," "25 Minutes to Go," "Cocaine Blues," plus his own "Folsom Prison Blues") were tailored to galvanize the crowd. This set is all about atmosphere. Live at the Grand Ole Opry this ain't.” (Colin Escott). If you ever have to own one single album, be sure to make it this one. I cannot believe all those people having a so-call heavy collection of rarities, be it free jazz, psych or whatever but fail to have this beast. If that is the case, then all hope is lost and you better steer away from music all together. Massive. Hardly ever seen before all-complete first Japanese press issue with OBI. Price: 150 Euro
292. CASH, JOHNNY: “Man In Black” (CBS Sony – SONP-50429) (Record: Near Mint/ Jacket: Mint – still in original shrink/ Capsule Obi: Mint, still in original shrink/ Insert: Near Mint). Original 1st Japanese pressing in top condition from 1971 – one of the hardest to track down Cash recordings from over here. That this particular album was the source of the "Man in Black" image for country icon Johnny Cash is a good example of how the public remembers what it wants to and forgets the rest. Indeed, there are few experiences that one might desire being able to forget quicker than the slide show this artist used to present at his concerts, in which all musical action would grind to a dead halt while shots of the extended Cash and Carter families cavorting in the Holy Land flashed across the stage. This album was actually the musical equivalent of these born-again yearnings, not only featuring a cameo by Billy Graham but also at least one or two more gospel numbers than are normally present on a Cash collection not devoted primarily to that genre. The sparse and subtle backup does indeed go a long way toward smoothing out the wrinkles in this project, while the song "Singing in Vietnam Talking Blues" is a fine example of the socially conscious material this artist was coming up with during the late '60s and early '70s.” (All Music Guide). Price: 75 Euro
293. CASH, JOHNNY: “Greatest Hits” (CBS SONY – SOPC-57111) (Record: Near Mint ~ Mint/ Jacket: Mint, still in shrink/ Capsule Obi: Mint, still in shrink/ Insert: Mint) Original 1970 Japan 1st original pressing in TOP condition. Price: 50 Euro
294. CATALOGUE: “Antwerpen Live 11 Aug. 1979 1.30 H Belgie” (POT-7901) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, best condition jacket I have seen so far!!!). Top copy of maybe Catalogue/ Berrocal rarest release. Totally obscure Jac Berrocal/ Catalogue record that never seems to make it inside of lists or is ever offered for sale. Subliminal live performance by France's finest avant-rock combo to have ever mounted the stage. Their live performances are stuff of legends, filled with a boundless spontaneity that bordered at the suicidal; making them blood-curdling stage acts. This recording captures them as a part of several acts appearing at Antwerp's 1979 rendition of the Free Music festival. The surviving recording was released in a tiny quantity and displays the venomous raw punk power of the band mixed up and cut down with an abusing arsenal of gear, grungy free rock and distressing absinthial hardcore jazz that all gels together in the infectious jet blast that is Catalogue. The group's line-up for this gig was probably their most expanded to ever hijack a stage and consisted out of Jean-Francois Pauvros, Patrick Prado, Jacques Berrocal, Michel Potage and Jean-Pierre Arnoux. This disc is a vicious killer slide and captures one of the greatest ever performances. Impossible to come by these days or at the time it was released. Far rarer than hen's teeth. I do not think this one will ever surface again any time soon – at least not in the foreseeable future. Price 550 Euro
295. CEYLEIB PEOPLE: “TANYET” (Vault – SLP-117) (Record: Near Mint/ Jacket: VG++). Original copy of Eastern tranced psych classic. Front cover is OK, but has water damage on the rear bottom. Also bottom seam heavily rubbed and 6" split around middle, so the Cover gets VG++ condition. While the Disc has clean surface, looks and play Near Mint! So in all a great copy. The music on the other hand is a blend of amazing psych-raga bluesy rock project that had in its ranks the young – and by then still totally unknown - Ry Cooder. The music is pregnant with a variety of inventions and tonal variations, fusing together eastern buzzing ragas with the rocking energy of a psychedelic combo. The opening track features a catchy bluesy vibe, nice percussions parts and evocative, dreamy like flute passages. Rapidly, the composition explores a meditative style sitar/ flute combinations which after 3 minutes kicks back into Ry Cooder's typical guitar sound, interlocking with inspired "ethereal" vibe of buzzing sitar strings. In all, “Tanyet” is an impressive feat, filled with acid induced vibrations that flirt simultaneously with blues/ folk/ psychedelic rock molecules and Indian raga elements and bringing it to a fruitier asymmetric groove that is very addictive to shake off, especially if you put on the headphones and like to get away from public agony. A psychic maze of druggy sunshine shining down on your ball. A musical slice of heaven. Price: 125 Euro
296. CHARALAMBIDES: “Historic 6th Ward” (Time-Lag – Time-Lag-003) (2 LP Set: Near Mint/ Triple Gatefold Paste on jacket: Mint/ Insert: Mint)/ Edition of 300 copies, this being 328/500. OK, without a single doubt, this album here is the ultimate and greatest Charalambides disc ever to be put down on wax, recorded when the band was still the original trio. Here is a label description: “Reissue of the essential album recorded 10/91-3/94. On vinyl for the first time and including seven songs previously available only on the original self-released cassette version (30 copies). A massively psychedelic blend of drone rock, folk, and outsider explorations created by a hypnotic mix of Christina’s haunting voice and the trio’s (Christina and Tom Carter, Jason Bill) trance inducing, and often acidic, guitar work. The use of organ, flute, banjo, etc, only adds to the potent effect. eclectic, yet solidified in the group’s unique and beautiful otherness. It could only come from Texas... nearly 1,5 hours of music pressed on audiophile quality double 180 gram vinyl. Packaged in a handmade, screen-printed tri-fold wraparound cover, with full color paste-ons front and back, plus photos and extensive notes by Tom Carter. hand number to 500.” A real mindblower and getting tremendously sought after. I was lucky to dig up a spare copy since I would never ever dream of handing over my copy. No, that one they have to pry from my dead, cold hands. Fantastic!! Best ever Charalambides disc in my book. If you are thinking about purchasing only one Charalambides disc, then this would have to be the one, their finest hour ever! Price: 150 Euro
297. CHARALAMBIDES: “Our Bed Is Green” (Time Lag Records) (2 LP Record Set: Near Mint ~ Mint/ Letter Pressed Gatefold Jacket: Near Mint) This disc is actually a vinyl only reissue of 1992 tape “Our Bed Is Green” which was the first ever Charalambides recording to see the light of day. Time-Lag restored it to a deluxe double vinyl edition housed in eye-blindingly great fold out jacket in an edition of 800 hand numbered copies. So you already know that this pearl won’t be around for long. At the point of this recording, Charalambides acted out as a duo comprised of Christina Carter and Tom Carter, squeezing out some outer worldly echoes of deep-below-the-radar primitive folk embellishments interwoven with ramshackle cheap electronic devises, battered down acoustic instruments and chizzling slow-burning fuzz injections. Psychedelic as hell and highest recommendation. Together with “Songs from the Entropic Garden” and “Historic Six Ward” one of the best ever Charalambides discs to see the light of day (unsurprisingly enough all birthed out by Time-Lag). Everyone one needs a little Charalambides in their lives……all long gone and out of print at the source, here you have an “as new” storage find of this subliminal album. Comes with the highest recommendation. Price: 75 Euro
298. CHARLATANS: “S/T” (Philips – PHS-600-309) (Record: Near Mint/ Jacket: Near Mint). Top copy. Just a near perfect copy, jacket displays only the faintest and barely visible slight wear, but it is so minimal it is neglectable hence the NM grading. But damned close to mint. For some perverse reason, most of the copies I see of this LP have always-severe condition issues, so I was extremely glad to dig up this perfect copy…finally. The Charlatans were, by dint of timing, effort and wardrobe, the first on the scene of the 60s San Francisco psychedelic rock bands. The folkie jug-band scene going down in the Bay Area, circa 1964, was destined to be electrified. The Charlatans achieved this on several levels and they made some big waves in the city for the past few years, but never hit the fame of some of their contemporaries! Still, their debut album is a stunning one with killer tunes such as  'High Coin', and even better 'Folsom Prison Blues', where you can almost hear the action on the lead guitar, or on 'The Blues Ain't Nothin'', where Mike Wilhelm's voice seems like it's in the room with you, and it's possible to hear the woodwinds all spread out instead of compressed and muted, and the lead guitar without any distortion in the playback, and the ethereal harmonizing and flute accompaniment on 'Time To Get Straight', now in smooth, elegant textures. In all, this is a gorgeous and gently challenging piece of San Francisco rock, incorporating elements of blues and big-band swing, as well as '50s rock & roll and elegant '60s pop. It might not be as quite as overpowering creatively as the best records by the Jefferson Airplane, Quicksilver or the Grateful Dead, but it is one of the prettiest and most subtle and beguiling albums to come out of the '60s San Francisco scene. I rate this very high and the Charlatans truly killed it. Condition is also virginal and pristine, perfect all the way. Fantastic!! Price: 375 Euro
299. CHARLEMAGNE PALESTINE: “Four Manifestations On Six Elements” (Sonnabend Gallery – Magne 8A~8D) (2 LP Record: Near Mint/ Heavy Gatefold Jacket: Near Mint). Original 1974 first press issue in TOP condition. Hardly ever surfaces and a genuinely rare and obscure release. This seminal work of early Minimalism was originally released in 1974 as a privately pressed double LP by the Sonnabend Gallery in a limited edition of 2000 they say but personally this was either an overstatement or a printing error and I believe not more than 200 copies of this LP were pressed at the day. (If actually 2000 copies were pressed this one would pop up all over and besides that selling 2000 copies at an art gallery seems a bit optimistic if not commercial suicide). These early-'70s electronic/piano pieces capture composer Charlemagne Palestine at one of his artistic peaks. The two lengthy electronic soundscapes, "Two Fifths" and "Three Fifths," were realized on some sort of acoustic-sounding synthesizer; sounding like pure piano overtones they possess a shimmering hard texture all their own. The three related pieces for Bosendorfer piano, "One + Two + Three Fifths In The Rhythms Three Against Two," are deceptively simple exercises that gradually build in density through the use of pedal and Palestine's "galloping" technique. "Sliding Fifths For Piano" is an overlapping series of sustained arpeggios, a babbling brook of pure sound, prettier than La Monte Young's similar "The Well-Tuned Piano," which it probably derives from. One of the key recordings that went on to define Minimal Music, this one is just as essential as La Monte Young or Taj Mahal Travelers recordings. Massive and top copy, impossible to ever upgrade upon. Price: Offers!!!

300. CHARLIE HADEN LIBERATION MUSIC ORCHESTRA: “Liberation Music Orchestra” (Impulse – AS-9183) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Japan Lyrics Insert: Near Mint/ Company Inner Sleeve: Excellent/ Direct Import OBI: Near Mint). Original US 1st original pressing –that comes with the Japanese first OBI issue, being an obi indicating that this LP was directly imported from the US and made available in ltd numbers before a domestic press would see the light of day. These Import Obi’s are damned rare as they are solely the front and always fall off of the record when taking it out of its protective sleeve, making that only a few are actually preserved. A fascinating and utterly stunning recording that comfortably straddles the lines of jazz, folk, and world music, working up a storm by way of a jazz protest album that points toward the Spanish Civil War in particular and the Vietnam War in passing. Haden leads the charge and contributes material, but the real star here may in fact be Carla Bley, who arranged numbers, wrote several, and contributed typically brilliant piano work. Also of particular note in a particularly talented crew is guitarist Sam Brown, the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la Quince Brigada," a 21-minute marathon. Original Japanese 1st pressing – which sounds amazing. Nice condition US original with Japan ONLY import obi. Price: 125 Euro

301. CHARLIE NOTHING: “The Psychedelic Saxophone of Charlie Nothing” (Takoma – C-1015) (Record: Near Mint/ Jacket: Near Mint). 1967 Original 1st US pressing. “Released on Fahey's Takoma label in 1967. Charlie Nothing was the fractured-psyche pseudonym of author, organic farmer, beekeeper and philosopher/clown Charles Martin Simon, inventor of the dingulator (guitar sculptures made out the metal from American cars). The Psychedelic Saxophone Of Charlie Nothing made a minor splash in the European free jazz melting pot upon its initial release, but the album's non-dingulating psych sax improvisation, accompanied by gong, conga drum and banjo (supposedly borrowed from Tiny Tim), is highly sought-after by the adventurous and heavily medicated.” (FE Blurb) and then this: Asked about it, Fahey would only say, “That was ED Denson’s idea!” But Nothing at this time was a Berkeley fixture and was known for wild alto sax improvisations as well as the huge book of writing and art he was always working on. Well, Charlie passed away a couple of years ago, and he recorded a bunch of interesting stuff that will hopefully see wide distribution one of these days, but this album is his first and it is a masterpiece of free improv—sax and percussion, unbridled from formal constrictions, allowed to weasel around like electrified rats. People have occasionally decried this LP in the same terms they use for Beefheart’s soprano playing (“that’s not playing—that’s just breathing!”), but we say “Fuck You,” to those who would quibble over such outmoded concepts. As Duke Ellington so famously said, “If it sounds good, it is good.” You are so right, Duke. And this Charlie Nothing album sounds GREAT.” (Thurston Moore). So fucking right on!!!! Killer slide from start to finish. Price: 250 Euro
302. CHE-SHIZU: “I Can’t Promise” (Zero Records – 0-1284) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Released in 1984 in an edition of 500 copies, “I Can’t Promise” was Mukai Chie’s Che-Shizu first recorded artifact on which she got flanked by some Maher Shahal Hash Baz members such as Kudo Tori, Tsukasa Takahashi and Nishimura Takuya. The frazzled tunes on display on this debut album drift between a downbeat Velvet Underground-like droning excursions with occasional odd, sour attempts at klezmer and waltz and childlike folk induced melodies, fractionalized and a little twisted at the same time. Mukai's voice has a deadpan quality that brings Nico (especially “The Marble Index”) to mind. Her band’s accompaniment is appropriately spare and mournful, serving mostly as a frame for the kokyu and voice; a determinedly naive quality reigns, shocking in its spare directness. Great!! Price: 100 Euro
303. CHENE NOIR: “Aurora – Theatre Du Chene Noir” (Futura – FUT-2033) (Record: Near Mint/ Jacket: Near Mint). First original pressing on the legendary Futura label. One of the hardest to come by Futura titles as you all know and this one is as perfect as they come. Another insane artifact from that most desirable Futura label. Recorded in 1971 by a theatrical troupe/musical commune led by 
percussionist Gerard Gelas (and still active after 32 years in the 
French province of Avignon), "Aurora" runs the gamut from tribal 
improvisation to grandiose operatic chanting to medieval 
psychedelic woodwind swirl. Blend one part Magma with a jigger of 
Third Ear Band, fold in a dash of Popol Vuh and agitate with a 
pinch of Brigitte Fontaine and we're talkin' one tasty melange! As 
seen on the Nurse With Wound list. Highest recommendation!” [John Gibson]. Top copy and original press of this mega rare French experimental/ psychedelic/ avant-garde disc that every NWW-list adept is craving for. The music is balancing on the very fringes of weirdness, which one can classify next to Taj Mahal Travelers and Tenjosajiki with J.A. Seazer at helm. Total killer with no filler!!! Has been ages since I had an original copy of this beast. Price: Offers!!!
304. CHENE NOIR: “Chant pour le Delta la Lune et le Soleil” (Chene Noir Disques – 1976), (Record: Excellent ~ Near Mint/ Jacket: Near Mint). This the second Chêne Noire disc, following their illustrious debut on the Futura label. According to my opinion is this second disc far better than their debut “Aurora” (Futura), which was more avant-garde and abstract oriented, there were “Chants pour le Delta…” is build up around a trace-inducing, theater like sound approach. Swirling female vocals set against a monotone trance inducing backing, that sound like a tribal improvisation stomp evolving into grandiose operatic chanting and medieval psychedelic woodwind swirl. If I have to compare this album, the closest thing I can come up with is “Magma meets The Third Ear Band, infused with a punch of Brigitte Fontaine”. Get the picture?? Hyper surreal in their approach and excellent for late night dope induced atmosphere. Needles to say that this record is hyper rare, since it came out as a private press on their own label. Comes in a beautiful full color jacket. Mint condition. Highest recommendation. Price: 200 Euro
305. CHERRY, DON: “Mu Second Part” (BYG Records – Actuel 28/ BYG-28) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Scarce Japanese original pressing. Classic Don Cherry title on the legendary BYG Actuel label. Sounds light-years better than the common French pressing. Price: 50 Euro
306. CHERRY, DON: “Eternal Rhythm” (MPS Records/ Nippon Columbia – YS-2210-MP) (Record: Mint/ Gatefold Jacket: Near Mint). Original 1970 high quality Japanese pressing housed in a thicker than life jacket. Eternal Rhythm is a masterpiece on several levels. It was one of the earliest major examples of the idea that it was possible for any and all musical cultures to exist simultaneously, a philosophy that rejected any innate musical hierarchy and had no trouble placing the earthiest blues alongside the most delicate gamelan. It was also a summit meeting between representatives of the American and European jazz avant-garde, black and white, dismissing as meaningless both the cautious attitude of American jazz musicians toward Europeans edging onto their turf and the tentative stance of Europeans playing a music that was not "theirs." More importantly, Eternal Rhythm exists as an utterly spectacular, movingly beautiful musical performance, one of the rare occasions where the listener has a visceral sense of borders falling and vast expanses of territory being revealed for the first time. Cherry balanced compositional clarity, wild free improvisation, and a totally inclusive musical consciousness in a manner seldom achieved, resulting in a cohesive, spellbinding session. His own playing throughout on both trumpet and flute is at his highest levels, but the contributions of his fellow musicians are just as amazing. Special mention should be made of guitarist Sonny Sharrock, whose "glass shards" approach is in full bloom here, and vibraphonist/pianist Karl Berger, who throws himself with sublime abandon into both the gamelan and blues aspects of the piece. If only the pallid "world music" of the succeeding decades had followed this model! Eternal Rhythm is Don Cherry’s masterwork and one of the single finest recordings from the jazz avant-garde of the '60s. It is required listening.” (Brain Olewnick). Awesome spiritual jazz recording that set the standards for all that followed hereafter. This is one of these discs that is necessary in any self respecting collection of good taste. This will set you mind free and not many records get as far out psychedelic as this bay here. Total brain ripper. Top copy. Price: 50 Euro
307. CHERRY, DON: “Where Is Brooklyn” (Blue Note – BST-84311) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Rare Japan original first imported issue with very first issue obi. “Cherry’s final album for Blue Note, and it returned to the quartet format of Complete Communion, this time featuring Pharoah Sanders on tenor sax along with bassist Henry Grimes and drummer Ed Blackwell.  Here, Cherry abandons his concept of recording all the album's compositions as side-long medleys; rather, each is treated separately, with spaces in between the tracks. There wasn't a need to integrate the compositions by periodically returning to their themes, so perhaps that's why Cherry doesn't really focus as much on bringing out his compositions this time around. Where Is Brooklyn is much more about energy and thoughtful group interaction than memorable themes, and so there's just a little something missing in comparison to Cherry’s prior albums, even though they did also emphasize the qualities on display here. Nonetheless, it's still a fine record for what it does concentrate on; Sanders is in typically passionate form, and the rest of the ensemble members have already honed their interplay to a pretty sharp edge.” (All Music Guide) rarely seen Japanese original in awesome condition. Price: 100 Euro.
308. CHERRY, DON: “ORIENT - Don Cherry no Atarashii Sekai” (BYG – YX-4012-13) (2 LP Set: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ OBI: NEAR MINT). Rare Japan only release complete with the very rare OBI present. 1st original copy ever to cross my path with OBI attached. A beauty from Don Cherry – and one of his rarest records! This set was originally only ever issued by the Japanese branch of BYG Records in the early 70s, and it features 2 live performances from France, both of them great! Don's in a spare trance-like mode here – working with one trio comprised of bassist Johnny Dyani and percussionist Okay Temiz; and another trio with Han Bennink on percussion and Moqui on tambura. Tracks from both sets are very long and stretched-out – a mixture percussion, trumpet, flute, piano, and occasional vocals, often done in a globally expansive style. Titles include "Si Ta Ra Ma", "Orient", "Eagle Eye", and "Togetherness". Killer spiritual jazz slide and only released in Japan. Top copy! Price: 175 Euro
309. CHERRY, DON: “Blue Lake” (TOHO/ BYG – YX-4022~3) (2LP Set: Near Mint/ Gatefold Sleeve: Near Mint/ OBI: Mint). Impeccable top copy seems unplayed. Second copy ever to cross my eyes that comes complete with OBI. Original press complete with rare obi, Japan only release that came out in a run of approximately 500 copies. Without a doubt the rarest title in the Don Cherry catalogue since original copies just never surface. Cherry’s global approach and experimentations on Blue Lake depict his nomadic musical-self transitions between pocket trumpet, flutes, piano and chanting. The disc gets underway with tom-tom drum crescendos spilling over Cherry’s Alice Coltrane-like arpeggio runs on piano and humming chants, before segueing dramatically into the frenetic brass playing and Okay Tamiz’s polyrhythmic percussive displays. Wooden sounding drums—as well as gongs, bells, chimes, and "small" instruments also come into the action. The legendary South African bassist Johnny Dyani and percussionist Okay Temiz are seemingly the ideal accompanists for Cherry’s Oriental induced outings. Dyani’s plucked and arco bass get accompanied by a wistful clay flute, wind-like chimes, and sensitive drum tapping, resonates with a certain archaic magic. The second movement is much more rhythmic and borders on an outpouring of emotion. It settles the rhythm into gear with a meditative and melodic humming chant offered to the crowd by Cherry. In all, the disc features masterful improvisational interplay by what would seem greater than a mere threesome; the experience is captured exquisitely. Moreover, this original vinyl copy sound so much fuller than the needle drop bootleg copy Akarma flooded the market with years ago. A joy to hear this disc the way it is supposed to be heard. This baby is mint all the way and copies complete with OBI just never turns up these days. Price: 250 Euro
310. CHERRY, DON: “Don Cherry In Ankara” (Sonet – SNTF-669) (Record: Near Mint/ Jacket: Near Mint). Original 1978 1st pressing in TOP condition. MONO issue. First pressing on the tiny Sonet label, “Live In Ankara” captures Don Cherry’s concert at the American embassy in Turkey on November 23, 1969. Cherry performs with an entirely Turkish rhythm section that includes drummer Okay Temiz, bassist Selçuk Sun, and percussionist/tenor saxophonist Irfan Sümer. The repertoire balances original Cherry themes with Turkish folk melodies arranged by Turkish jazz trumpeter Mafy Falay; sandwiched between a couple of Ornette Coleman themes and a take on Pharoah Sanders’ "The Creator Has a Master Plan." Nothing is really explored for too long; the music is played as two continuous suites, and they usually shift to new material fairly quickly. The ensemble has a pretty sparse sound; with Cherry the sole lead voice for much of the concert. All of this serves to emphasize the melodicism of Cherry’s playing here, and the Turkish material sits pretty comfortably alongside the jazz compositions. Top original copy! Price: 120 Euro

311. CHERRY, DON TRIO: “The Eternal Now” (Sonet – SNTF-653) (Record: Near Mint/ Jacket: Near Mint). Original UK pressing with unlaminated jacket. TOP copy and super clean. “Something of a sequel to Eternal Rhythm, his classic meeting of free jazz and world music from five years prior, Eternal Now found Don Cherry entering the studio for the tiny Sonet label, once again with members of the European avant-garde scene (this time from Sweden). This time around, though, the focus swings decidedly to the world-folk end of things: The only standard Western instrument is the piano, featured on only two of the five pieces (one of which is a non-traditional, African-styled repeated figure for two pianos and three players). The other instruments -- which include a great deal of percussion -- come from Africa, Tibet, China, India, Romania, and Indonesia. The session has a very loose, exploratory feel (four pieces are around eight minutes or more), which leaves lots of room for the musicians to play with the exotic textures of the instruments. The arrangements tend to be sparse, with plenty of open space that allows each instrument to be heard clearly, making for a sound that's similar to some of the Art Ensemble of Chicago's '60s work. Cherry and the rest of his musicians hardly approach the project in a traditional manner (none of these intercontinental instrument combinations had probably been tried before); the whole point is to explore new musical possibilities and commonalities among cultures. While the results do meander occasionally, Eternal Now on the whole remains a fresh, unpredictable listen.” (All Music Guide). Absolutely top copy of amazing jazz slide. Price: 100 Euro

312. CHERRY, DON: “Organic Society” (Caprice Records – CAP-2001) (2LP set: Near Mint/ Fold Out Jacket: Near Mint). Top copy. Ultra rare Don Cherry side recorded live in concert way back in 1972 in Sweden + released only in Sweden. Incredibly difficult to find Holy Grail of spiritual free jazz LP, conceived while Don Cherry was living in a commune in Sweden. The disc in question has become highly sought after for Cherry's stunning rendition of Pharaoh Sander’s “The Creator Has a Master Plan”... but that is not all. The 2 slides conceal many more aural delights of communal free jazzing spirituality, a tribal feel breathing throughout the recording. Just jaw-droppingly stunning. Then there is the ultra psychedelic gatefold cover and the hand lettered inner cover. Boy, a sight for soar eyes. In short, this double LP is a total gem and is generally considered to be Cherry's finest outing by those who are lucky enough to hear it. The psychedelic eye-popping gatefold jacket art is a bonus, both great music and art encapsulated into one glorious artifact. All time highest recommendation & impossible to upgrade on this one. Price: 300 Euro
313. CHERRY, DON: “Relativity Suite” (JCOA Records/ Trio Records Japan – PA-7069) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Mint/ Insert: Mint). Original 1st Japanese pressing of 1973 with obi intact and lyrics sheet present. “Don Cherry appeared on the first two releases by JCOA, albums under the leadership of label founders Carla Bley and Michael Mantler, so their decision to commission him for the third album seemed a wise move, as indeed it was. Using many of the same musicians who contributed to those records and were then established as the loose collective called the Jazz Composer's Orchestra, Cherry molded into a suite a string of the pieces he'd been composing and performing in the previous few years. Under the tutelage of Pandit Pran Nath, Cherry had been studying and increasingly using Indian karnatic singing in his recordings and concerts; he begins this album with a similarly derived chant. As the energy heats up, the orchestra launches into the captivating "Mali Doussn'gouni," featuring a raging tenor solo by Frank Lowe and delightful vocal acrobatics by Cherry. When it slowly dissolves into his achingly beautiful "Desireless," the first half of the album comes to an extremely satisfying conclusion. The remainder of the session is somewhat more of a mixed bag, succeeding off and on. Highlights include Selene Fung's lovely work on the ching, a Chinese koto-like instrument, and Ed Blackwell's exuberant New Orleans marching patterns on the concluding number. While not as breathtaking or cohesive as his Eternal Rhythm, Relativity Suite almost matches that release in its first half and contains many a worthwhile joy. Recommended.” (Brian Olewnick). To these ears a stunning recording by Cherry, reaching outwards bounds. Highly recommended. Price: 75 Euro
314. CHERRY, DON: “Brown Rice” (Horizon – GP-3516) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Insert: Mint/ OBI: Mint) rare 1st Japanese pressing complete with always missing obi of this brain wielding spiritual jazz masterpiece. Indispensable Don Cherry artifact, original Japanese press housed in fold out cover. Tribal jam line-up consisting out of Billy Higgins, Charlie Haden, Frank Lowe, Hakim Jamil, Ricky Cherry and Moki. Not mere free jazz but here cross-pollinated with organic down-to-earth hoe-doe funk moves, tribal Afro-jazz swing beats and a lysergic trans-global synthetic, building a fusion of intrinsic character that yet has to be challenged. Every track is a winner on this one. A Classic disc. Price: 75 Euro
315. CHERRY, DON & PENDERECKI: “Actions” (Philips/ Nippon Gramophon – RJ-5071) (Record: Excellent/ Jacket: Excellent/ Obi: Excellent). Ultra rare Japanese 1st pressing with always and hardly ever seen obi present. First time I ever see a copy with obi intact. Recorded live in 1971 at Donaueschingen, “Actions” featured the “New Eternal Rhythm Orchestra”, a loosely knot group or collective especially erected for this event to operate and explore the boundaries of sonic unexcavated territories and under the guidance and direction of Krystzof Penderecki and Don Cherry. The collective's line-up is a bit mouth-watering by today's standards since it was a veritable who's who of the then emerging European Free Jazz scene with in its ranks Peter Brotzmann, Willem Breuker, Paul Rutherford, Han Bennink, Terje Rypdal, Kenny Wheeler and Tomasz Stanko to name but some of the key players. Don Cherry was also by that time emerging and profiling himself as an advocate of a new musical language erected upon sonic freedom, which he spiced up with different musical and cultural influences that would come to color his musical DNA. Hence the echoes of Turkish folk and classical Indian rhythms on Cherry's pieces “Sita Rama Encores” interspersed with explosive passages of free fire playing. The Penderecki piece “Actions for Free Jazz Orchestra” explores the balance between composition and improvisation in a less playful yet no less meaningful way. Drones and extended techniques (such as overblowing) merge seamless into brass chords which hang in the air. Many episodes showcase that much anticipated explosive playing and fusion between jazz and composition, especially escalating in guitarist Terje Rypdal and saxophonist Brotzmann's excursions into uncharted territories and sounding challenging, far out and awe-inspiring enough to make your hair stand on end. Price: 150 Euro
316. CHERRY, DON – THE THIRD WORLD: “Underground” (Nadja/ Trio Records – PAP-9018) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1972 Japan ONLY issue. A stunning little session – and every bit as wonderful as you'd expect from a lineup that includes Dollar Brand, Don Cherry, and Carlos Ward! The three players work together here in open, spiritual styles – with really long-flowing lines from Brand on piano, in a more modal style that's different from some of his other records – balanced out with bold trumpet lines from Cherry, and soaring alto sax from Ward – a player who doesn't always get the chance to step out this much! All three players vocalize a bit, but more in some sort of rootsy way that echoes the music – and the album's a really unique outing from all three players – and a set we'd rank with their best from the time. Top copy, first original press issue. Price: 125 Euro
317. CHERRY, DON & LATIF KHAN: “S/T” (Europa Records – JP-2009) (Record: Excellent ~ Near Mint/ Jacket: Excellent) Stunning Cherry record from 1982 that for some weird reason is always overlooked and seem to fall in between the cracks. Now that is such a damned shame as this slide is stunning. Legendary trumpeter Don Cherry teams up with tabla maestro Latif Khan for a highly unusual spiritual jazz album, recorded in Paris during 1978. Its Khan who governs the tempo of the record, forming the bedrock of each track via his sparsely laid out, yet highly intricate rhythms, leaving Cherry to solo on a variety of instruments. In addition to his signature trumpet style, you'll also hear Cherry playing bamboo flute, percussion and keyboards. The two players combine without any sort of 'world music' compromise on the spirited opener, each doing what they do best and interlocking the results, while 'Rhythm 58 1/4' and 'Sangam' are more experimental, looking resolutely eastward for inspiration. Just so insanely great, it is a shame it is so overlooked by many. Great copy, near perfect. Price: 60 Euro
318. CHIAKI NAOMI:“Mou Hitori no Watashi” (Columbia – JDX-94) (Record: Near Mint/ Triple Gatefold Jacket: Near Mint/ Obi: Near Mint/ Attached Calendar Poster: Mint). Original 1973 pressing all complete with obi and calendar. Top copy complete with obi. Red label Columbia label out of December 1970. Talking about immortal Japanese Enka singers, well Chiaki Naomi is probably one of the few who can be nominated to take place in this category. One of her most ardent fans is Tomokawa Kazuki, who even penned down some songs for her. On this disc, released in 1970, you have the chance to get acquainted with some of her songs and get enthralled into her lush sounding voice. Came out in November 1970 as a part of Columbia’s Jacket Pocket series, which was albums released in triple fold out jackets that revealed upon opening a poster-like portrait of the artist in question. This record is a real rarity, a clean copy of Naomi’s debut, her all time best period. She will undoubtedly cast a spell upon you with her warm charm a spell that once it settles down over you is impossible to shake off. This disc is one of the early seventies, original press. A real enka and kayokyoku killer. Believe me and apart from Tomokawa, her fan base includes also PSF label boss Ikeezumi and Alchemy Records and Hijokaidan front man Jojo Hiroshige. How is that for solid underground credentials? If you even have the slightest interest in Japanese music, you cannot pass figures like Chiaki Naomi. She will definitely broaden up your horizon. Highest recommendation. Price: 150 Euro
319. CHIAKI NAOMI: “On Stage” (Columbia – ALS-4577~8) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint/ Attached 4pgaed Illustrated Insert: Near Mint). Original 1971 pressing of rare Chiaki Naomi killer slide!!! Recorded live in concert, it becomes clear that Chiaki Naomi was a real diva that shone brightly, even surpassing her already highly acclaimed studio albums. All her best songs pass the revue, and Chiaki shows she is at the top of her game. The backing band is smoking hot and underscores her angelic singing perfectly. This record is a real rarity, a clean copy of Naomi live in action and during her all time best period. Almost every Chiaki Naomi record is heavy collectible material these days (especially her in Japan where she is still revered as one of the all time greatest enka blues singers to have walked the face of the earth) and her early output is almost impossible to come by. Chiaki Naomi was revered by underground artists like Tomokawa and Mikami Kan but due to the passing of her husband, she quit her singing career and just vanished from the face of the earth. Disappeared, nothing was ever heard of her again, leaving us with nothing but her stellar output to fill the gap. Quivering female vocals, lush and sparsely orchestrated background accompaniment, Naomi is able to make you cry like a beaten dog. Price: 100 Euro
320. CHICKEN SHACK: “Imagination Lady” (Deram – SLC-816) (Record: Mint/ Gatefold Jacket: Mint/ OBI: Mint/ Insert: Mint). Top copy, 1st original Japanese pressing with Obi present. Dead mint all the way. “Poor Boy” and “If I Were A Carpenter” still rock heavy like no other, Webb was definitely a force to reckon with. Killer slide!!! Price: 75 Euro

321. CHILTON, ALEX & ALAN VEGA & BEN VAUGHN: “Cubist Blues” (Munster Records – MR-110) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint). Original 1996 original pressing. This 2 LP set was recently reissued with altered jacket art, but this copy here is the seldom seen 1st original pressing. “The unlikely union of Suicide’s Alan Vega, Big Star’s Alex Chilton, and singer-songwriter Ben Vaughn happened in December 1994 in a fog of cigarette smoke at two barely-lit, all-night improv sessions at Dessau Studios in New York. What transpired was the group’s only release, a brilliant album called Cubist Blues. Some kind of alchemy happened. The elements are disparate–Vega, known for Suicide’s grinding, pre-industrial drone, Chilton for his ultra-melodic FM rock, and Vaughn for his outsider art. Put together, what came out was something totally unexpected, a long, mesmeric incantation built on Elvis-meets-Ian Curtis vocals, rockabilly guitar, growling synths, and metronomic drums. So-called super groups get a bad rap for not equaling the sum of their parts. Vega, Chilton, and Vaughn add up to something from a place beyond any of them. Originally released in 1996, the album failed to find any sort of audience–remarkable, considering its players, but reflective of the lull following Kurt Cobain’s death and the collapse of the all-conquering grunge sound. The group played two live shows and then promptly went their separate ways. Timeless, groundbreaking in sound even now, this is a chance to hear a woefully overlooked album that–had it not been so–might have re-shaped the next decade of music.” (Light in the Attic). Stunning piece of late-night drowned & psyched out guttural crooner vibes channeled though Chilton’s postmodern surf-guitar kicking into gear, merging neatly with Vega’s voice that becomes the focus on Cubist Blues from the outset. Vega recites words from the eponymous New York Post story like Elvis Presley cruising around downtown and looking for trouble, channeling the paper’s trademark absurd nonsense into surrealism while an open studio window captures sounds of commotion from the street below. Just brilliant stuff. Price: 75 Euro

322. The CHITINOUS ENSEMBLE: “”S/T” (Deram Records/ King Records – DL-3011) (Record: Mint/ Jacket: Near Mint/ Insert: Mint/ OBI: Near Mint). Freakingly rare first original 1972 Japanese pressing complete with mega rare obi – all is in TOP condition. This long lost Brit-jazz release is a much sought-after collector's item as the original vinyl LP almost never turns up. Released in a small quantity in 1971 on the British Deram label (a Decca company), Chitinous has attained near legendary status amongst British jazz collectors. Many will remember Buckmaster from the pop/rock world as he arranged the strings and orchestral parts (and often played the cello, too!) on such famous recordings as David Bowie's "Space Oddity", The Rolling Stones "Sticky Fingers", The Bee Gees "Odessa" and many Elton John albums including "Tumbleweed Connection" & "Madman Across the Water". In 1972 Buckmaster was introduced to jazz great Miles Davis, which led to a friendship and to Buckmaster's involvement on Davis' landmark "On the Corner" album! In addition to the usual "jazz" instrumentation of keyboards, guitar, bass, drums, sax & trumpet, this uses a large 'classical' ensemble of 18 violins, 5 violas, 7 cellists (including the solos played by Buckmaster himself), 2 double basses, 2 trumpets, trombone, bass trombone, tuba, bass clarinet, baritone sax, and percussion! Then there is the jazz-rock ensemble which reads like a who's who of Brit-jazz: Ian Carr (Nucleus)-trumpet & flugelhorn, Brian Smith (Nucleus)-soprano sax, Peter Robinson (Quatermass, Brand X)-electric piano, Dave Richmond (Manfred Mann) & Brian Odgers (Vangelis)-bass guitar and John Marshall (Nucleus, Soft Machine)-drums - among others!!! Musically this is best described as the perfect marriage of contemporary classical music & the world of jazz-rock. Hints at Nucleus or Soft Machine here & there, some hints at Miles Davis' electric work (which was certainly a general influence on Buckmaster's work) and the classical elements are certainly influenced by a myriad of composers of the latter half of the 20th century. Certainly this was very avant-garde for 1971 and doesn't really sound that dated today. And it is, for something described as a marriage of jazz-rock & 20th century classical music, much more restrained and even beautiful than that might make you think. In conclusion it is fair to say that if you are a fan of British jazz-rock or the Brit-jazz scene then you will simply love this album. If you are a fan of fusion or adventurous rock music then you should know that this is closer to Miles Davis than it is to Brand X. Especially if you love the marriage of an orchestra with the jazz or rock world in a very integral way, that is to say not just window dressing like strings on an Elton John album, then this is right up your alley! BTW, Chitinous comes from chitin meaning the "substance forming horny cover of beetles & crustaceans". (ZNR-cds). Never offered before mint copy, Japanese first original pressing all complete with “Deram” OBI. Price: Offers!!!!
323. CHOCOLATE WATCH BAND: “No Way Out” (Tower – T-5096) (Record: Near Mint/ Jacket: Excellent, totally perfect with no defects but has a few pen marks on back but nothing disturbing). Rare MONO original. Their 1967 debut that supplied what would become two garage classics in "Are You Gonna Be There (At the Love-In)" and "Let's Talk About Girls". No Way Out, the thrilling debut album by the Chocolate Watch Band, immediately finds that cosmic sweet-spot of perfect garage-rock traction: where the rubber meets the road and the train keeps a-rollin.' Nobody ever did Mick Jagger any better than the Watch Band's frighteningly superb front man Dave Aguilar. "Are You Gonna Be There (At The Love-In)" and "Let's Talk About Girls" are on everyone's list of Top 20 garage rock anthems of all time. And that's just the tip of the iceberg for this essential LP. "Come On," an early Stones single, gets the perfect Watch Band overhaul, "Hot Dusty Roads" ventures down back alleys that Buffalo Springfield never dreamed about and "No Way Out" dances rings around the outskirts of your nearest Human Be-In. It is still an extremely impressive and enduring album that nicely straddles the garage punk and psychedelic genres; the four tracks cut by the band themselves are all highly potent, slashing, exciting, clever pieces of music. "Gone and Passes By" and "No Way Out" are sharp works of psychedelic punk music, the former mixing sitar music with a shimmering Bo Diddley beat to superbly seductive effect, while the latter is built on a twisting, jagged blues- and raga-based lead guitar line that recalls the late-1966 vintage Jefferson Airplane’s work. As for the instrumentals, "Dark Side of the Mushroom" and "Expo 2000" are decent filler, even if they have nothing to do with the band. So the record, though flawed from day one of its release history, is still an essential '60s album in any collection.. Rare MONO original in great shape!!!Price: Offers!!!

324. CHOI SUN BAE QUARTET (with UMEZU Kazutoki/ INO Nobuyoshi/ Koyama Shota): “The Sound Of Nature – Live At Pit Inn” (Chap Chap Records – POJE-9006) (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint/ Sticker: Mint). Small pressing of 250 copies of this stunning free jazz blast. Trumpeter Choi Sun Bae really blows me away here – but it is also his well selected sidemen that light fire under it all (especially former Takayanagi Masayuki sideman Ino Nobuyoshi is stellar; Seikatsu Kojoiinkai front man Kazutoki Umezu keeps it all gelled together and Yamashita Yosuke/ Fumio Itabashi Trio side drummer Shota Koyama) who as a unit make for some really marvelous sounds recorded live at Tokyo’s Pit Inn on June 13, 1995. Choi Sun Bae himself is a kind of that inside-out style of the trumpet player that Don Cherry unveiled on some of his key 60s recordings as a leader – but he takes it here a couple of steps further beyond the yonder, exploring some freer heights and blowing open the fringes of exploratory sound! The performance is clearly improvised throughout and all players that work equally to free their instruments from conventional constraints – yet always with the same sort of careful, textural approach as Choi. It is an arresting listening experience and one of the best free jazz blasts I could enjoy of late. Sitting through it, it just hits the nerves like blast of summer lightning across the mountains! Beautifully painful teeth-grinding frenzy!!! Price: 150 Euro

325. CHOPIN, HENRI: “Poesie Sonore” (Igloo Records – IGL-013) (Record: Mint/ Jacket: Mint/ Insert: Mint). Rare Henri Chopin LP as released on the collectible Belgian Igloo Records label way back in 1983 but the bulk of the material was recorded in 1961, 1971, 1982 and 1977. This is at least to my humble ears the best Chopin ever put down on wax, evolving in the same spheres as those early Lettrist and Dadaist pioneers. Fired up and inspired by Dufrene and some of the earlier Dadaists, Chopin again experiments with voice and tape and through using multi-layered vocals and an old battered tape recorder as simple tools, he went far beyond spoken-word, mapping out unchartered territories of the vocal components by stripping it of the language it is always been linked to. The result is just blood chilling sound poetry, text-sound experiments and audio-poems that yet have to be challenged. A rare gem and a must for Fluxus and avant-garde adepts. Simply the best sonic testament ever recorded by Chopin. Total killer & totally vanished artifact and a must. Price: 150 Euro
326. CHRIS McGregor’s BROTHERHOOD OF BREATH: “S/T” (RCA NEEON – SRA-5521) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert with Liner Notes: Near Mint). Chris McGregor, a pianist who had formed the Blue Notes in his native South Africa, hatched the idea of the Brotherhood of Breath in his transplanted home of London. The group got its start at the end of the Blue Notes tenure in 1969. This new group was essentially the same band with the addition of several members of the British jazz community. Among the people who were in the Brotherhood were Harry Beckett, Evan Parker, Nick Evans (Keith Tippett Group), Mike Osborn, and Dudu Pukwana (Blue Notes). The first album, Chris McGregor's Brotherhood of Breath, came out in 1971. The album augmented the group's live legend in establishing their reputation as one of the up-and-coming new jazz groups. This copy here is the freakingly rare Japanese 1st press on the NEON label, this being the white label TEST pressing. Never surfaces and highly collectible. Only a handful of these white label test pressing in existence so rare forever and damned cheap. Price: 150 Euro
327. CHRISTIAN CLOZIER & JACQUES LEJEUNE: “Perspectives Musicales” (EMI Pathe Macconi – 2C-061-11.632) (Record: Near Mint/ Jacket: Near Mint). Top copy! Another mythical musique concrete record that bring out mutant variations in sound through asymmetric grooves and synthetic sounds. Although both Clozier and Lejeune are well established composers in the field, this “Perspectives Musicales” disc does not get stuck in the quicksand of electronics’ music formulaic gridlock and instead opens up viable escape routes into a teeth-grinding outbursts of dusty panoramic sound clusters and exploratory tape splicing effects. Their organization of sound has a gift for the unexpected impact while busily folding and manipulating the space it dwells in. It is just ear-filling consummate art and one of the best ever electronic/ musique concrete and avant-garde testaments to have been grinded into wax. To give you another perspective on the musical identity and the cinematic pulsating sonic landscape that is on display here, I borrow the Creel Pone promotion blurb that came with the bootleg CDR release of this LP. “Released as part of EMI/Pathe Marconi’s mythical “perspectives musicales” series (parodied by sonic youth via their “syr-series”), this lovely LP showcases by far the hardest-to-find title in a series known for being elusive to collectors of “contemporary music”, which isn’t to over-emphasize the scarcity of the object; this is one of the most “happening” sets of musique concrète in the entire INA-GRM canon; Lejeune’s killer “Petite Suite” especially rocks with its ruthless plundering of first the lone free-time hi-hat, then the entire drum-kit of a studio “Funk” drummer, interspersed with blasts of processed guitar & full-on psych-rock. Coupled with the sparse electronics & plunderphonic choir of “d’une multitude en fete”. You certainly begin to get a sense of the sheer scope of Lejeune’s compositional vision...Christian Cozier’s “Dichotomie” uses familiar elements from the concrète lexicon: mutated/extended instrumental techniques & percussion, heavy use of phasing and tape-speed effects, tons of close-mic’ed/distorted sounds interspersed with distant, reverb-laden atmospheres; it’s the dense tapestry that makes the sparse “lettre a une demoiselle” seem so... barren in comparison.” In short, a beast of an electronic disc. Beats most of the French LP’s and German ones that swim in similar sonic waters, Clozier and Lejeune’s “Perspectives Musicales” puts on display a dusty tornado of austere intimacy into sound that offers direct access to the composer’s pulsating brains. Highest possible recommendation!!! Original pressing in top condition. Price: 250 Euro
328. CLIFFORD THORNTON: “Communications Network” (Third World – LP-12272) (Record: Near Mint/ Jacket: Near Mint). Hideously rare 1972 private press free jazz monster. In short this is one crucial side of privately released hard blowing ethnic intoned free jazz, a monster of some sorts. So who was this cat Thornton? Well, he was one of those unsuspicious musicians who just vanished into thin air after leading a few recording dates during the late 1960s through the mid 1970s. But he was not all that shadowy figure like since he popped up on recordings of various well respected and renowned musicians such as Sun Ra, Joe McPhee, Archie Shepp, Sunny Murray, and Marzette Watts to name just a few. I guess dropping these names will give him more than enough rock solid credibility. Although that he was mainly known as a cornet and trombone player, Clifford could also on some occasions be found dabbling the electric keyboards. But that all aside, the few recordings he left behind under his own name show a musician on top of his game, one gifted with a vision and talent able of creating pan-African art music infused with European, African-American and African elements.Clifford’s discs certainly are lyrically endowed but also at the same time kick out the jams while being politically inspired just like the monolithic track “Festivals and Funerals”, featuring poetess Jayne Cortez will show you. The music on display here will not only blow your socks of but also will make you to chill out and think, reflecting on some uncomfortable realities the US struggled with at the time of the conception of this album. That said, even in these times it sounds like an universal truth. The music is filled with anger, an anger channeled into this beautiful and largely overlooked recording. Just awesome and one of my favorite free jazz blasts of all time. Price: 250 Euro
329. The CLIFFORD THORNTON NEW ART ENSEMBLE: “Freedom & Unity” (Third World – LP-9636) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original US 1st pressing. For those who don't know better, the free jazz movement is considered a sharp break with the past heritage of the music. That really wasn't the case. As Albert Ayler and Archie Shepp hearkened back to field hollers and very basic folk forms, musicians like Clifford Thornton went in the opposite direction, building on the music of the sophisticates and expanding the possibilities for jazz. Listening to music with this much space in it, it might be hard for some listeners to hear the Mingus. But it's there. And because that's there, Ellington is here in heaping handfuls as well. Sure this stuff is rough in spots. But the myriad of tones this man uses to express himself keeps things interesting and alive -- the bright clarion of cornet and trumpet, the somber, thoughtful vibes, and a rhythm section that embraces two bass players to keep things rooted. The leader plays valve trombone, an enormously flexible instrument that allows him to meld with a variety of moods and produce music at once heart achingly simple and brain-twistingly complex. This LP is an important acknowledgment of a long-ignored musician. For those with open ears -- and minds.” (All Music Guide). Price: 200 Euro
330. CLIFFORD THORNTON: “Ketchaoua” (BYG Records – actuel 23/ 529.323) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – has a few visible mildew aging spots visible against white background) Actuel 23. One of the rarer titles out of the Actuel free jazz catalogue and also one of its greatest. Tribal fire music. Personnel on this one: Clifford Thornton (cornet, conga, drums), Grachan Moncur III (trombone), Archie Shepp (soprano), Arthur Jones (alto), Dave Burrell (piano, bells), Beb Guerin (bass), Sunny Murray (drums), Earl Freeman (conga, drums, gong, percussion). Totally sick stuff, highest recommendation. Price: 75 Euro
331. CLUSTER: “II” (Brain – brain-1006) (Record: Near MINT/ Coated Gatefold Jacket: MINT). Original 1st German pressing on the green colored Brain label imprint. Stunning copy of this legendary groundbreaking piece of work by German's finest Cluster. The overall record and jacket are in Near Mint to Mint condition, a sight for soar eyes. FIRST press on the highly collectible Brain label. Electronic drones and pulsating synths lay a bed of futuristic tones for Dieter Moebius and Hans-Joachim Roedelius' stripped down but still experimental styled spaced out prog induced psyched out deep space excursions that explored the wide open range possibilities for the music to spin off into, offered by banks of modular synths tied into a stack of echoplexes and space echoes. Half a dozen totally amazing deep space jams, that were way ahead of their time: “Plas”, “Im Suden”, “Fur Dir Katz”, “Georgel”, “Live In Der Fabrik” and “Nabitte”. A killer disc from start to finish with absolutely no filler whatsoever. Top-notch copies like this one here seem to have evaporated into thin air during the last decade and I guess the situation will not improve. All time highest recommendation. Price: 300 Euro
332. CLUSTER & ENO: “S/T” (Sky/ Teichiku Records – SUX-101-K) (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint) Top Japan 1st press original copy, all complete with obi and insert. Originally released when Star Wars was just hitting the cinemas first time round, this collaboration between Brian Eno and "German synth pastoralists" Hans-Joachim Roedelius and Dieter Moebius shares a similarly imperialistic view of the opportunities afforded us by technology; couched throughout by a distinct human touch. The eponymous Cluster and Eno album is some of the loveliest music Krautrock produced. Unsurprisingly, given the band’s personnel history, it contains echoes of Tangerine Dream and NEU!, but it conspicuously lacks that defining NEU! element, the “motorik” drumbeat. In fact, the album has almost no overt beats at all. Eno’s innovations in ambient electronics were a fine match for Cluster’s love of repetition and intertwining looped passages. The songs sail past you almost frictionless, unencumbered by any needless ballast. With Cluster's signature sound of intricate yet broad analogue treatise, it's no real surprise Eno sought a collaboration and it's also no real surprise that it works a treat; fusing both parties strengths into a formidably singular entity. With more than a hint of Vangelis in the likes of 'Fur Louse' and some bubbling synth jauntiness on 'Die Bunge', Cluster and Eno display the forming of a sound which would come to characterize the electronic fringes for decades to come whilst retaining a tacit link to the past which Eno explains as being "a sort of European alternative to the African route that most other pop music had taken". Price: 85 Euro
333. COB: “Spirit Of Love” (CBS – S-69010) (Record: Near Mint ~ Mint/ Gatefold Jacket: Excellent ~ Near Mint). UK FIRST ORIGINAL PRESSING. Ok, one can be fairly short about this album. Why? Because it is simply one of the most beautiful acid folk albums ever to seep out of the British Isles. What makes this copy such a true treasure trove find is that is a truly dead mint copy. Man upon locking my eyes upon this one for the first time, I could not believe mint copies of COB albums existed – you know as in mint in the true sense of the word. This disc comes out of the hands of its 1st owner who sadly passed away. So the one who will snatch this one up will be this LP’s second ever owner (myself not included because I am just the medium passing this one on to you). As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Spirit of Love” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Music of the Ages” and “Serpent’s Kiss” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Evening Air” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Spirit of Love such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the Stringband. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. They are stellar. Rare 1st original pressing in a like new condition, I do not believe they come any better than this, since this copy is bound to be a museum piece some day….Price: 500 Euro
334. COB: “Spirit Of Love” (Epic Japan – ECPL-25) (Record: Near Mint/ Jacket: Near Mint/ Japan ONLY 4 paged illustrated insert: Mint). Bloody rare Japan 1st original pressing from 1972 on high quality vinyl – so fooking rare I did not even has the faintest clue it existed. TOP COPY!!! Ok, one can be fairly short about this album. Why? Because it is simply one of the most beautiful acid folk albums ever to seep out of the British Isles. What makes this copy such a true treasure trove find is that is a truly dead mint copy. Man upon locking my eyes upon this one for the first time, I could not believe mint copies of COB albums existed – you know as in mint in the true sense of the word. This disc comes out of the hands of its 1st owner who sadly passed away. So the one who will snatch this one up will be this LP’s second ever owner (myself not included because I am just the medium passing this one on to you). As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Spirit of Love” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Music of the Ages” and “Serpent’s Kiss” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Evening Air” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Spirit of Love such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the String Band. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. They are stellar. Rare 1st original pressing in a like new condition, I do not believe they come any better than this, since this copy is bound to be a museum piece some day…. Price: 300 Euro
335. COCHRAN, EDDIE: “S/T” (Liberty Japan – LLP-9305B) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Booklet: Near Mint/ Attached Liner Notes: Near Mint). Rare white label promo issue of this Japan only release by this all time quintessential rocker. Promo copies complete with obi are damned scarce. Top copy. Price: 125 Euro
336. COCK C’NELL: “S/T” (Pinakotheka Records - PR17#2) (Record: Excellent ~ Near Mint/ Triangular Silver Fold Out jacket: Near Mint/ Insert: Excellent). One of the almost impossible discs to obtain out of the excellent and utterly obscure Pinakotheka label roster. Cock C’Nell’s first vinyl outing is just impossible to score these days and one of the label’s most in demand artifacts. Partly the insanely designed triangular silver coated jacket has something to do with it. But the music and the heavy underground credentials the disc is bestowed upon with is also partly to blame. The band, which employed even Kudo Tori at one point was mainly active at the legendary Minor cum-after-hours-live venue where they participated in the much rumored about Tengoku Chusha no Yoru events that were thrown together by Kudo and cohorts, staging gigs by early Fushitsusha, Haino, Kosokuya, the remnants of Brast Burn and Kharuna Khyall participants and other deranged underground activity of the early eighties. Released on April 3rd, 1981 in a 17 cm triangular jacket. Cock C’Nell was a band bringing forth a proper and correct rock sound, which was in discrepancy with all the avant-garde activity the label deployed. The band’s sound has a well distinct new wave-like feeling through a straight solid rhythm and a guitar responsible for chopping well-regulated riffs. The female vocalist Nogata Setsu breaths unconnected back rhythms, disgorging word for word “aida” and “tamerai” and propagating volition through a mysterious precision. A gliding violin with an uneasy vibrato elevates at times a shriek. Demented, wicked and totally sick. Hyper rare underground gem that rarely ever surfaces. Exquisite condition and ultra collectable. Price: 150 Euro
337. CODONA: “S/T” (ECM Records/ Trio Records – PAP-9153) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). A mellow but striking blend of world and jazz styles – featuring Walcott on a variety of Indian instruments, Cherry on trumpet, flute, Doussn'Gouni, and voice, and Vasconcelos on berimbau, cuica, and percussion. Titles include "Codona", "Mumakata", "New Light", and "Coleman wonder", a blending of Stevie Wonder and Ornette Coleman tunes! Price: 50 Euro
338. THE RIC COLBECK QUARTET: “The Sun Is Coming Up” (Fontana – 6383.001) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint). Bloody rare 1970 UK free jazz beast. TOP condition. This beast just never surfaces and is all-killer from start to finish. “Issued in the UK only in 1970. Ric was an interesting white cat who came to the U.S. to blow some free e-motion with NYC loft dwellers.
 He’s most well known for his amazing playing on the great Noah Howard’s first ESP-Disk release (ESP 1031). The whole 1000 series of
ESP is critical & crucial to anybody wanting to explore this era of Free Jazz. The picture of Ric on the Noah Howard LP shows a man with racecar shades and a “cool” haircut playing his horn while a ciggie burns nonchalantly from his relaxed grip. A very hip dude. And very FREE. His only solo recording is this Fontana LP, which he recorded while cruising through Europe. He connected with South African drummer Selwyn Lissack (whatever happened to…) and the UK’s famous
avant-altoist Mike Osborne and bassist J.F. ‘Jenny’ Clark (student of
20th century compositionists Lucian Berio and Karlheinz Stockhausen)
to create this exceptional and complex masterpiece.” (Thurston Moore). This Ric Colbeck record just never surfaces, making it one of the hardest to track down UK jazz pieces. Original 1970 press, in MINT condition, they just don’t come better than this one. Music is also ace, Colbeck definitely was one of the hardest blowing trumpet players, he is on fire all over this one. Archival TOP condition, simply perfect. Price: 400 Euro
339. COLEMAN, ORNETTE – THE ORNETTE COLEMAN DOUBLE QUARTET: “Free Jazz” (Atlantic – P-7511A) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint/ Insert: Mint). Original Japanese first pressing in virginal condition. As jazz's first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. Ornette Coleman’s music had already been tagged "free," but this album took the term to a whole new level. Aside from a predetermined order of featured soloists and several brief transition signals cued by Coleman, the entire piece was created spontaneously, right on the spot. The lineup was expanded to a double-quartet format, split into one quartet for each stereo channel: Ornette, trumpeter Don Cherry, bassist Scott LaFaro, and drummer Billy Higgins on the left; trumpeter Freddie Hubbard, bass clarinetist Eric Dolphy, bassist Charlie Haden, and drummer Ed Blackwell on the right. The rhythm sections all play at once, anchoring the whole improvisation with a steady, driving pulse. The six spotlight sections feature each horn in turn, plus a bass duet and drum duet; the "soloists" are really leading dialogues, where the other instruments are free to support, push, or punctuate the featured player's lines. Since there was no road map for this kind of recording, each player simply brought his already established style to the table. That means there are still elements of convention and melody in the individual voices, which makes Free Jazz far more accessible than the efforts that followed once more of the jazz world caught up. Still, the album was enormously controversial in its bare-bones structure and lack of repeated themes. Despite resembling the abstract painting on the cover, it wasn't quite as radical as it seemed; the concept of collective improvisation actually had deep roots in jazz history, going all the way back to the freewheeling early Dixieland ensembles of New Orleans. Jazz had long prided itself on reflecting American freedom and democracy and, with Free Jazz, Coleman simply took those ideals to the next level. A staggering achievement.” (All Music Guide) On the blue/white/ turquoise Atlantic label, first press issue with obi. Price: 50 Euro
340. COLEMAN, ORNETTE TRIO: “At The Golden Circle, Stockholm, Vol. 1” (Blue Note – BST-84224) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with obi. Ornette’s 1965 trio with bassist David Izenzon and drummer Charles Moffett is easily the most underrated of all his bands. This band certainly had no apologies to make. Coleman was deep into creating a new approach to melody, since Haden and Cherry had honed his harmonic sensibilities. Izenzon proved to be the right bassist for Coleman to realize his ambitions. A stunning arco as well as pizzicato player Izenzon offered Coleman the perfect foil. No matter where Coleman’s soloing moved the band, Izenzon was there at exactly the same time with an uncanny sense of counterpoint, and he often changed the harmonic mode by force. The first of these two volumes from December 3 shows Coleman in a playful, mischievous frame of mind, toying with the trio ads well as the audience on "Faces and Places" by inserting standard bop phrases and song quotes into the heart of his free soloing. On "Dee Dee," Coleman moves along to rhythmic counterpoint by Moffett, pushing Izenzon into the unlikely role of beat-keeper -- not simple for such an amazing improviser. But it's on the closer, "Dawn," that the band gels as one inseparable, ethereal unit, cascading through scalar invention and chromatic interplay as if it were second nature.” (All Music Guide). Such a stunning slide, perfect in every way. That aside, top condition first press issue. Price: 75 Euro
341. COLEMAN, ORNETTE: “Love Call” (Blue Note – BST-84356) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Very first Japanese press issue in top condition. “Love Call is other half of the New York Is Now session, which is, in a sense, ridiculous. Blue Note issued two records when they really only had one. There were two dates, April 29 and May 7, 1968. Half the tunes from this volume and half from New York Is Now were recorded at each session. Coleman with Dewey Redman and the rhythm section of Elvin Jones and Jimmy Garrison, work through Coleman’s melodic conceptions and harmonic constructs on five numbers. Coleman plays alto on four tunes and trumpet on three -- better than violin. "Airborne" is the most successful thing here in that Coleman’s music matches the rhythm section's energy for the only time on the session. Redman’s tenor solo is one of the most bleating and emotionally intense of his career, careening across microphonics as he flats fifths and screeches through a series of arpeggios that cause Coleman to begin his solo at 60 mph at the very top of a scale, and cruise through six or seven melodic variations on its theme before bringing it back down. Meanwhile, Elvin barely breaks a sweat and Garrison creates such a taut harmonic template for Coleman and Redman, they have to stretch. The title track is perhaps Coleman’s finest moment on the trumpet. He spatters his notes in such a way that across the B-flat diminished nine scalar invention, he picks up all the tonal qualities in the color palette and chromatically orders them in such a way that they set Redman up with a prime opportunity to alter the melody of the tune one note at a time. Also, the bluesy theme in "Check Out Time," with its echoes of Thelonious Monk’s "Blue Monk," is a nice touch, but it should have opened or closed the album.” (All Music Guide). Price: 75 Euro

342. COLEMAN, COLEMAN: “Chappaqua Suite” (CBS – 62.896/97) (2 LP Records Set: Near Mint ~ Mint/ Gatefold Jacket: Near Mint). First original French pressing in TOP condition, they surely do not come better than this copy here. Divided into four parts, this recording was originally commissioned as a soundtrack for the film "Chappaqua" by Conrad Rocks. However, the music was not used for fear of it "overpowering the imagery" of the film, and Columbia Records instead issued it as a double LP. This was the first studio recording with Coleman's trio featuring David Izenzon on bass and Charles Moffett on drums. It was also Ornette's first recording with a full orchestra, arranged and conducted by Joseph Tekula. Tenor Saxophonist Pharaoh Sanders makes an appearance on the fourth movement of the suite. Although the album quickly went out of print, this under-appreciated recording stands as testament to Coleman's skill as a composer and savvy with orchestral writing. The music is stellar and the condition of this item is….just jaw-dropping great. Final upgrade copy, especially seen against the backdrop of the sorrow state of French pressing out of that era. Top all the way. Price: 100 Euro

343. COLEMAN, ORNETTE: “Chappaqua Suite” (CBS Sony – SONP-50249~250) (2 LP Set: Mint/ Heavy Gatefold Jacket: Mint/ Insert: Mint/ Capsule Obi: Mint). Finally a top copy and the rarest original issue of this record by far, being the 1st original Japanese pressing, complete with always missing capsule obi, which, being present is some sort of a minor miracle. “Recorded in 1965, it was performed by the Ornette Coleman Trio with Charles Moffett on drums and David Izenson on bass; augmenting the session were Pharoah Sanders on tenor and a large studio orchestra arranged by Joseph Tekula. What is most notable is the kind of control Coleman has over the orchestra. His trio is playing by intuition, which was normal for them, but they open to accommodate the more formal constructs of a band who knows little about improvisation and how it works in the free jazz context. Sanders' interaction with Coleman is startling too, in that his normally overpowering voice is tempered here, playing along with the nuances and odd harmonic figures Coleman suggests and then blatantly states from his alto. The improvisation is complementary, not a cutting contest at all. Most of all, the rhythm section carries the balance of power and keeps the entire thing moving, handling the dynamic changes with a feral grace while at the same time suggesting a knottier path for Coleman to follow in the tempting pastoral sections of the work. While not considered a masterwork of Coleman's, perhaps because of its unavailability in the United States in its entirety, Chappaqua Suite is a testament to Coleman's vision as a composer and the power of his orchestral direction. Very worthwhile indeed.” (Thom Jurek, All Music Guide). Music is totally ace, filled with flat-out byzantine blitzkrieg moves, leaning strongly towards the secret Gila monster trip and the fast-rising tide of garbled delirious chaos mixed with euphoric Prussian detuned string madness. Top copy, mint all the way, pristine high quality vinyl and with never-seen capsule obi present. Price: 100 Euro
344. COLEMAN, ORNETTE: “Friends and Neighbors – Ornette Live At Prince Street” (Flying Dutchman/ King Records Japan – SR-3080) (Record: Near Mint/ gatefold Jacket: Near Mint/ Double Obi: Near Mint/ Insert: Mint). Original Japanese 1970 pressing, white label promotional copy in top-notch condition. “The quartet consists out of Charlie Haden, Ed Blackwell and Dewey Redman and the cover photo of neighborhood kids hanging out in front of the building evokes the intended communitarian vibe. Indeed the group seem to have invited the whole neighborhood over to sing the vocal half of the title track, an atypical but awesome bouncy soul groove, over which Ornette unleashes a ripping violin solo. As for the rest, the leader mostly sticks to alto. “Forgotten Songs” finds Haden hammering away at his bass strings, “Long Time No See” is standard issue head/ freak-out/ head harmolodics; “Let's Play” is brief, free and raucous; and “Tomorrow” is 12 breathless minutes of snap and whoop rattled off at top speed. There's no casual, even playful vibe about “Friends and Neighbors” that is rare in Ornette recordings” (The Wire Issue236). Essential. Promo issue with OBI just never surfaces!!! Price: 150 Euro
345. COLLINS, JUDY: “In The Hills Of Shiloh” (Victor Records – SJET-7803) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Never offered before Japan only issue complete with obi as it was released in May 1966. Using the cover art of her 1962 “Golden Apples” debut, “In The Hills of Shiloh” is actually her third LP as far as the contents are concerned but it was the first to be released in Japan and was given an alternate title and the sleeve art of her 2nd US release, making this one without a doubt the rarest Judy Collins LP around. Having established herself as one of the foremost interpreters of traditional material, Collins did the same for contemporary folk songwriters on this album, which mixed standards with pristine covers of compositions by Dylan, Bob Gibson, Pete Seeger. Ewan MacColl, and Shel Silverstein. With Jim (Roger) McGuinn arranging and playing second guitar and banjo, this album, which included a fine version of Seeger’s "Turn! Turn! Turn!," had a clear (if overlooked) influence on the folk-rock he pioneered with the Byrds a couple years later.” (All Music Guide). Never seen a complete Japanese 1st issue before, this one is in pristine condition and comes housed in a fragile flip back sleeve, with insert and rare obi. Price: 200 Euro
346. COLLINS, SHIRLEY: “Adieu To Old England ” (Topic – 12TS238) (Record: Near Mint/ Sleeve: Near Mint). Rare original 1974 copy of this completely vanished album. Another classic Shirley Collins recording, this time from 1974 and long out of print. Beautiful interpretations of Southern English songs and toasts with some fine arrangements by Dolly. In addition to cuts accompanied by the spine chilling sound of sister Dolly's flute organ there are other accompaniments featuring members of the Etchingham Steam Band and The Albion Band in varying combinations - Terry Potter/ mouth organ, John Watcham/ concertina, Bill Molan/ melodeon, vocals & percussion, Ian Holder/ accordion, Geoff Singleton/ fiddle & vocal, Simon Nicol/ guitar and others. The songs are all English traditional and often uncommon ones. Price: 150 Euro
347. COLTRANE, ALICE: “Monastic Trio” (Impulse Records – A-9156) (Record: Mint/ Gatefold Jacket: Mint/ SEALED ORIGINAL US PRESS) Rare US original press in pristine and SEALED condition. The perfect condition and hardly ever turns up this perfect & sealed. Subliminal trance-inducing album, the 1st of Alice Coltrane after her husband John Coltrane passed away. The personnel consist out of Alice Coltrane (harp, piano); John Coltrane (spoken vocals); Pharoah Sanders (tenor saxophone, flute, bass clarinet); Jimmy Garrison (bass); Ben Riley and drum wonder Rashied Ali (drums). Mind bendingly great stuff and highly essential. Best copy imaginable US original pressing!!! Price: 150 Euro

348. COLTRANE, ALICE: “Alice Coltrane with Strings – World Galaxy” (Impulse Records – AS-9218) (Record: Excellent – has a couple of faint paper sleeve marks/ Gatefold Jacket: Excellent). Original 1st US 1972 pressing. Credited on the colorfully Peter Max designed cover to "Alice Coltrane With Strings", it is a design that set this LP apart from all other records she did. The music on the other hand is also out-of-this-world with massive, sweeping strings, sometimes subject to subtle tape manipulation! For this record, Alice Coltrane's trademark harp (as well as her piano, electric organ, and tamboura) was joined by a 15-person string section, including violinist LeRoy Jenkins, who also solos. Other personnel: Reggie Workman on bass, Ben Riley on drums, Frank Lowe on saxophone, and Elayne Jones on tympani. And, respected Indian guru Swami Satchidananda provides a recitation on the subject of love as part of this album's final track, a heartfelt version of John Coltrane's classic "A Love Supreme". The album also begins with a tune closely associated with Alice Coltrane's late husband, "My Favorite Things". The remaining four compositions featured are Alice Coltrane originals, given the "With Strings" treatment, and all are majestic, beautiful, the album sounding like some very spiritual, avant-garde soundtrack music, with shimmering melodies carried aloft by the strings, intertwined and intercut with Eastern-sounding zing and twang and bass drone and keyboard burble, all the layers coming together with passion and power. Just beautiful!!! Price: 75 Euro

349. COLTRANE, ALICE: “Universal Consciousness” (Impulse – AS-9210) (Sealed Copy). Top SEALED copy, 1st US Impulse press original. “In 1972, jazz mysticism was vigorous and holding, not yet bleached out into the whiter-wash purity of Keith Jarrettism. Having explored the small group exoticisms pioneered by her late husband, Alice Coltrane went for broke with Universal Consciousness. This album clearly connects to other dyspeptic jazz traditions - the organ trio, the soloists with strings - yet volleys them into outer space, ancient Egypt, the Ganges, the great beyond. The production is astounding, the quality of improvisation is riveting, the string arrangements are apocalyptic rather than saccharine, the balance of turbulence and calm a genuine dialectic that later mystic/exotic post-jazz copped out of pursuing. Her lack of constraint was dimly regarded by adherents of 70s jazz and its masculine orthodoxies, yet Alice deserved better credit for virtuosity, originality, and the sheer will power needed to realized her vision.” (The Wire). Sealed copies are scarce no matter how you look at it...so the perfect final upgrade. Price: 150 Euro

350. COLTRANE, ALICE: “Lord Of Lords” (Impulse – AS-9224) (Record: Near Mint/ Gatefold Jacket: Near Mint). First original US pressing in outstanding condition. Released in 1973, it was Alice Coltrane’s final album release for the Impulse label. Like its immediate predecessors, the album features a 16-piece string orchestra that Coltrane arranged and conducted, fronted by a trio in which she plays piano, Wurlitzer organ, harp, and timpani with bassist Charlie Haden and drummer Ben Riley. “The first two pieces, "Andromeda's Suffering" and "Sri Rama Ohnedaruth" are, in essence, classical works. There is little improvisation except on the piano underneath the wall of strings. They are scored for large tone clusters and minor-key drone effects, but also engage in creating timbral overtones. They are quite beautiful. Riley and Haden appear on the title track, a long modal piece where drones, rhythms, and time signatures are registered through the direction of Coltrane’s piano and harp, creating a blissful kind of tension and dynamic. It cracks open at about six minutes, and Coltrane (on the organ), Haden and Riley engage in some lively improvisation, with the strings offering trilling high-end swooping in the background. The set ends with Coltrane’s transformation of a gospel hymn called "Going Home." Her harp introduces Riley’s brushes and the strings, which in turn offer a root chord for her to play the melody and improvise upon it on the organ. Here the blues make their presence known. It offers a kind of understanding for the listener that Coltrane, no matter where this musical direction was headed continued to understand perfectly where her musical root was. The interplay between the three principals is lively and engaging, based on droning blues chords, and her soloing -- even amid flurries of notes -- comes right back to the root, and she quotes quite directly from Delta blues riffs and other gospel songs.” (All Music). Just beautiful as is the case with all her albums and so necessary in any collection. Top copy. Price: 120 Euro

351. COLTRANE, ALICE: “Huntington Ashram Monastery” (Impulse – AS-9185) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). Top copy, 1st US Impulse press original. An incredible trio album that features Alice Coltrane primarily on harp, plus a bit of piano, with Ron Carter on bass and Rashied Ali on drums. The sound is lush, yet contemplative and it really shows Alice beginning to express herself in new modes after the death of John Coltrane. Her use of harp is especially incredible here and her mellow, earthy piano undertones ground the entire effort brilliantly, meandering into the transcendent waters of highest echelon spiritual jazz. Price: 75 Euro
352. COLTRANE, JOHN & ALICE: “Cosmic Music” (Impulse – AS-9148) (Record: Near Mint/ Coated gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original Impulse Records first press issue in top condition. Original 1968 Impulse records pressing. Fronting his final quintet with Alice Coltrane, Pharoah Sanders, Jimmy Garrison, Rashied Ali and Ray Appleton adding percussion, John Coltrane recorded the most deeply spiritual album. Love and praise for the universe seemed to flow from his horns like it never had before. His obsession with polyrhythmic drumming had reached new heights and the interplay between dual drummers freed him to explore the furthest possibilities of sound. Alice Coltrane‘s piano work on here is simply beautiful. Melancholy but powerful, she sounds like the grieving widow she must have been at that point, less than a year after her husband’s death, and yet her music has force and gravity. All in all a bewitchingly beautiful spiritual free-floating jazz album. One cannot be without a copy! Top condition. Price: 75 Euro
353. COLTRANE, JOHN & ALICE: “Cosmic Music” (Impulse – IMP-88158) (Record: Excellent/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan first press Impulse Records issue in top condition all complete with damned rare obi. Fronting his final quintet with Alice Coltrane, Pharoah Sanders, Jimmy Garrison, Rashied Ali and Ray Appleton adding percussion, John Coltrane recorded the most deeply spiritual album. Love and praise for the universe seemed to flow from his horns like it never had before. His obsession with polyrhythmic drumming had reached new heights and the interplay between dual drummers freed him to explore the furthest possibilities of sound. Alice Coltrane‘s piano work on here is simply beautiful. Melancholy but powerful, she sounds like the grieving widow she must have been at that point, less than a year after her husband’s death, and yet her music has force and gravity. All in all a bewitchingly beautiful spiritual free-floating jazz album. One cannot be without a copy! Top condition & first time I have a Japanese original with first issue obi. Price: 100 Euro
354. COLTRANE, JOHN & CANNONBALL ADDERLEY: “Cannonball & Coltrane” (Mercury Records/ Victor Records Japan – SM-7250) (Record: Near Mint/ Jacket: Excellent/ OBI: Near Mint) Rare 1st original Japanese press complete with 1st issue obi and housed in Japan only altered jacket art. This LP (whose contents have been reissued many times) features the Miles Davis Sextet of 1959 without the leader. Altoist Cannonball Adderley and tenor saxophonist John Coltrane really push each other on these six selections, with this version of "Limehouse Blues" really burning. Coltrane’s very serious sound is a striking contrast to the jubilant Adderley alto; the latter is showcased on "Stars Fell on Alabama." With pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb playing up to their usual level, this gem is highly recommended.” (All Music Guide). Rare Japan 1st original pressing with obi, first time ever I see a copy of this one up-close. Price: 125 Euro

355. COLTRANE, JOHN: “Ole” (Atlantic – MJ-7040) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Excellent ~ Near Mint). Bloody rare Japan 1st original pressing all complete with 1st issue obi. This is the rare MONO issue. Comes in Japan only color variation sleeve. The complicated rhythm patterns and diverse sonic textures on Ole Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa/ Brass, Coltrane’s debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane’s musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis’ Sketches of Spain. This is taken a bit further as Coltrane’s combo stretches out with inspired improvisations from Dolphy, Hubbard and Coltrane respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that undoubtedly excited Coltrane, who was perpetually searching for sounds outside the norm. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner, the song's author, and Coltrane. The solos from Hubbard, Dolphy and an unaccredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel.” (All Music Guide). Price: 350 Euro

356. COLTRANE, JOHN: “Best Of John Coltrane” (Atlantic Records/ Victor World Group – MJ-7036) (Record: Near Mint/ Fragile Flip Back Sleeve: Near Mint/ OBI: Mint). Bloody rare Japan only issue of the early 1960s in top condition, all complete with rare obi. Never seen this Coltrane variation before, early dayz Japanese press issue, fragile and in absolutely TOP condition…man just love those real-time Japanese Coltrane issues, they are something else! Price: 150 Euro

357. COLTRANE, JOHN: “A Love Supreme” (Impulse Records Japan – SR-3006) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Flexi Single on Blue Wax: Mint – Unplayed/ Flexi Single Picture Sleeve: Near Mint). First original 1967 Japanese pressing. Comes complete with only available with 1st pressing blue flexi-single and picture sleeve. The flexi was never available for sale and contains an interview with Coltrane when he hit Japan on June 18th, 1966. Japanese 1st press issue with flexi rarely surfaces these days. LP in great NM condition, flexi is Unplayed. “One of the most important records ever made, Coltrane’s A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane’s classic quartet stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory bass line at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely attuned to his spiritual vibe. Composed of four parts, each has a thematic progression. "Acknowledgement" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. "Resolution" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. "Pursuance" searches deeply for that experience, while "Psalm" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period become progressively untethered and extremely spirited. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane’s concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. Clocking in at 33 minutes; A Love Supreme conveys much without overstatement. It is almost impossible to imagine any jazz collection without it.” (All Music Guide). Damned scarce the very 1st Japanese Coltrane Impulse pressings. Has been ages since I had a copy of this all time classic. Price: 150 Euro

358. COLTRANE, JOHN: “Live At The Village Vanguard Again!” (Impulse Japan – SH-3085) (Record: Near Mint/ Laminated Flip Back Jacket: Near Mint/ Obi: Mint). Bloody rare Japan 1st original press issue from 1967. All is in pristine condition, never seen this 1st press issue before until now, let alone in such an immaculate state as this one here. Five years after that triumph, Coltrane returned to the Vanguard with his New Thing quintet, expanded to a sextet for the occasion: Coltrane on soprano, tenor, and bass clarinet; Pharoah Sanders on tenor and flute; Alice Coltrane on piano, Jimmy Garrison on bass, Rashied Ali on drums, and Emanuel Rahim on percussion. This album contains only two songs: "Naima" and "My Favorite Things," which were perhaps the two most celebrated numbers, or overplayed chestnuts, of the Coltrane catalogue. Here they are given a treatment like no other. Absolutely fantastic Coltrane slide – this is the very rare 1st original Japanese pressing with 1st issue obi in absolutely stunning condition. Never seen a copy before all complete. Price: 250 Euro

359. COLTRANE, JOHN: “Om” (Impulse – AS-9140) (Record: Near 7t/ Laminated Gatefold Jacket: Mint/ Insert: Mint/ Company Inner Sleeve: Mint/ 1st Issue OBI: Near Mint). Never ever offered before TOP copy of Coltrane’s OM complete with FIRST ISSUE OBI!!!! Never offered anywhere – no eBay or anywhere else – this was the 1st Japanese issue. Just a monster. Derided by many as a wall of noise, OM (Impulse) just happens to be one of my favorite John Coltrane records. “OM was released in 1965, at time when many of best musicians in jazz were experimenting with what was now known as Free Jazz. For me, essentially OM is one long spiritual journey in the framework of the Divine Comedy. In this case, Coltrane (as Dante) travels through the chaotic frenzy that is hell, through the ambivalence of purgatory and then ending in the enlightenment of heaven. OM is heavy, dense and aggressive throughout but as you reach the conclusion you finally feel you've reached that nirvana that Coltrane was constantly seeking throughout his recordings on Impulse. It's definitely and I mean definitely not for everyone. This is one long piece (almost 30 minutes) but if you can handle the aural assault on the senses you will genuinely be rewarded at the end. OM is a difficult record created by one the most innovative musicians in music history along with the albums that proceeded it all have become a benchmark for avant-garde artist of this current generation. An album worth the experience. Even if its just one listen.” (Jazz Wrap). This copy is the seriously rare 1st ever issue that was on sale in Japan complete with the 1st ever Obi, just a plain paper piece strip on the front. Hardly any copies survived with this obi attached since it simply dropped off when opening the record. Top mint copy, 1st time I ever seen this issue with obi. Price: 275 Euro

360. COLTRANE, JOHN: “Live In Paris Vol. 1” (BYG Records/ Toei Records – YX-2026) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Nice Japanese original pressing documenting Coltrane flexing his muscles in Paris and bringing forth incendiary versions of Naima; Afro Blue and Impressions. Killer material. Top condition record & sleeve and all complete with obi. Price: 40 Euro

361. COLTRANE, JOHN: “Live At Birdland” (Impulse – IMP-88078) (Record: Excellent/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan 1st pressing all complete with first issue obi. Arguably John Coltrane’s finest all-around album, this recording has brilliant versions of "Afro Blue" and "I Want to Talk About You"; the second half of the latter features Coltrane on unaccompanied tenor tearing into the piece but never losing sight of the fact that it is a beautiful ballad. The remainder of this album ("Alabama," "The Promise," and "Your Lady") is almost at the same high level. Price: 75 Euro
362. COLTRANE, JOHN: “Coltrane” (Impulse – IMP-88095) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original Impulse pressing complete with obi. Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. Sounds fantastic!!! Price: 75 Euro
363. COLTRANE, JOHN: “Africa / Brass” (Impulse – IMP-88090) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original Japan first issue Impulse pressing all complete with obi. Coltrane’s first release for the Impulse label. Rare Japanese pressing that sounds fantastic. They are getting damned scarce these last years and hardly ever turn up anymore as clean as this one. Archival copy. Price: 75 Euro
364. COLTRANE, JOHN: “The Best Of John Coltrane” (Atlantic – MT-2018) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent). Rare Japan only issue that came out in 1970. Beautiful retrospective that features My Favorite Things; Baima; Giant Steps; Equinox; Cousin Mary and Central Park West. Everything was recorded between 1959 and 1960. Comes housed in thick gatefold jacket and it was a Japan only issue. Rarely surfaces these days. Essential for any Coltrane buff. Price: 75 Euro

365. COLTRANE, JOHN: “John Coltrane No Isan” (Impulse Records Japan – SR-3026~28) (3 LP Set: Near Mint/ 3 Individual Record Jackets: Excellent ~ Near Mint/ EP 7 Inch Single: Mint/ EP Single Picture Sleeve: Near Mint/ Box Set: Excellent ~ Near Mint/ OBI: Excellent, has a small piece missing on the edge/ Picture Booklet: Excellent). Japan ONLY 3 LP box on Impulse with bonus EP single. This was released only in Japan on 10th of July, 1969!!! Comes with rare OBI to boot. Never seen or had a copy before so an obligatory item for any self-respecting Coltrane buff. Price: 250 Euro

366. COLTRANE JOHN: “Sun Ship” (Impulse – AS-9211) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original US first pressing. Recorded in 1965 but not released until after his passing, Sun Ship was the final recording by Coltrane’s classic quartet with drummer Elvin Jones, pianist McCoy Tyner and bassist Jimmy Garrison. Sun Ship is utterly beautiful soaring work from the legendary Quartet – a session that was incredibly far-reaching for the time, and which originally was unissued until after the time of Coltrane's death! The record's got the group really pushing forward strongly – hitting a Love Supreme mode, but also showing even some of the sharper edges that John would explore with the group after this one – a beautiful swan song to the classic line-up. Things soar with a hell of a lot of spirituality, yet never get too overindulgent to lose their groove. Indispensable. Original Impulse Records 1st pressing in top condition. Price: 50 Euro
367. COLTRANE, JOHN: “Meditations” (Impulse – AS-9110) (Record: Near Mint/ Laminated Heavy Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent). Original 1966 US first original pressing with matt clean Impulse labels. It has the following: Matrix / run-out (Side A): AS-9110-A M7 engraved by hand and Matrix / run-out (Side B): AS-9110-B M7 engraved by hand and Van Gelder machine engraved on both sides. Price: 150 Euro
368. COLTRANE, JOHN: “Selflessness Featuring My Favorite Things” (Impulse – AS-9161) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint). US original pressing. Released in 1965, Selfnessness presents long-form pieces, likewise from two very distinct and separate eras of Coltrane’s development. The album's first two-thirds was recorded at the 1963 Newport Jazz Festival and consists of an amazingly deft rendition of Coltrane’s take on "My Favorite Things" as well as the glowingly affectionate "I Want to Talk About You." Coltrane is backed on these numbers by the classic lineup of McCoy Tyner, Jimmy Garrison and Roy Haynes and the quartet absolutely crackles with the flowing joy that characterized its sound. Tyner especially sparkles in his extended spotlight moments on "My Favorite Things," arguably the best version Coltrane put to tape of this favorite. Fast forwarding two years to 1965, the 14-plus-minute extended atmospherics of "Selflessness" find Coltrane ramping up to the free-form spiritual style that he would work in for the short remainder of his life. The large ensemble on this date included Phraroah Sanders’ blistering tenor and Elvin Jones’ sputtering drums working alongside second drummer Frank Butler as well as the reverb-doused percussion sounds of Juno Lewis. The sprawling and sometimes aimless meditation comes off a little dippy as a result of the production and low-key playing, but it hints at a direction that would be fully articulated later on records like Sun Ship and the gorgeous Concert in Japan. Though the rapid changes in Coltrane’s playing between 1963 and 1965 are thoroughly documented on other albums, taken as a whole, the contrast on Selfnessness is striking.” (All Music Guide) Price: 75 Euro
369. COMELADE, PASCALE: “Detail Monochrome” (Les Disques du Soleil et de l’Arcier – 54002) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – small discoloration near spine as always/ Insert: Near Mint). Absolute flawless TOP copy complete with always-missing insert. 1984 release by this master instrumentalist who gets assisted by French underground heavy weights such as Jac Berrocal and Pierre Bastien, helping out. On this LP, Comelade mobilized his usual array of toy instruments, wheezy keys and small percussive objects in a virtual object lesson on how to milk unexpected emotion out of them, resulting in amazing results that still frazzle my brain. Absolute exquisite work. Completely vanished these days, absolutely MINT copy of one of France’s best kept avant-garde free improvising master piece recordings!!! Has been ages since I had a copy and this one is the cleanest by far, ultimate upgrade copy that comes with the insert. Price: 125 Euro
370. COMUS: “First Utterance” (Dawn Japan – YS-2543-YD) (Record: Near Mint ~ Mint/ Laminated Gatefold Sleeve: Near Mint ~ Mint/ 4-Paged Insert: Mint/ OBI: Near Mint). Rarest of the rare, Japan original in TOP condition all-complete with hideously rare DAWN obi present. Original 1971 Japan press on high quality vinyl. Comes with 4 paged illustrated insert and pressed on high quality Japanese vinyl. Comus and their first album “First Utterance” didn't make the big-time. The disruptive postal strike of 1971 apart, selected unfavorable press reviews suggest that Comus' music was an acquired taste; too damn spiky and unruly for the average folkie, yet too concerned with intricate arrangements and acoustic instrumentation to fire up a hard rock fan. The foreboding, quasi-medieval sounds on “First Utterance” give new meaning to the term “cult classic.” As the twisted, emaciated figure on the album's cover may imply, this is a very dark, chilling record. One critic described it as “a cross between a frenzied version of the witches chorus from Macbeth and Marc Bolan being squeezed to death”. Well, at its core it is based in idioms of British folk music, but it is fusionized and rendered with harsh, dissonant strikes with aliens bursting from the chest cavity. It can be rather heavy music -- not metal or hard rock heavy, but heavy in the atonal ferocity. I never thought acoustic instruments could sound so nasty. That raises another point: Comus' music is almost entirely acoustic -- acoustic guitar, electric bass, hand drums, flute, violin and so on. This gives the album a very stark sound, which adds to the genuineness of their doomy, dark fantasy world. The complex arrangements and rocking power of this band are tremendous. The vocals run a remarkable gamut, from evil munchkin snarls to wispy female vocals to normal male singing. Musically and lyrically, Comus evokes visions of pre-Christian pagan nature worship -- but this is starkly anti-Romanticist, dark, paranoid and vengeful. Goblin-like voices sing is a very credible hymn en masse to the eponymous goddess. Most of the lyrics are twisted and sometimes violent.As far as the lyrical content is concerned, it runs the gamut from a violent chase through a moonlit forest, a rape, religious persecution and subsequent hanging, incarceration, torture, and death. “First Utterance” was Comus’ debut. It barely sold anything, and perhaps because of this, they only released one other album with a much less alien musical palette and a sunnier disposition. Comus’ debut has achieved a remarkable cult status, which is decidedly deserved. The astonishing attention to detail and wholly original technique displayed by the group makes the album a uniquely rewarding listening experience, albeit a disturbing one as well. So it definitely is one of Britain’s greatest ever-folk gems recorded along side the two COB albums and Spirogyra’s debut. Call it acid folk, psychedelic folk or whatever trendy tag you have in your bag. To these ears, Comus does not fit any tag, they are best labeled as just Comus. Massive. Top copy and rare 1971 Japanese original press on the Japanese Dawn imprint, complete with mega rare obi in mint condition, impossible to ever upgrade upon. Price: Offers!!!!
371. COMUS: “First Utterance” (Dawn Japan – YS-2543-YD) (Record: Near Mint ~ Mint/ Gatefold Sleeve: Near Mint ~ MINT/ 4-Paged Insert: MINT). Top copy original 1971 Japan press on high quality vinyl. Comes with 4 paged illustrated insert and pressed on high quality Japanese vinyl. Another copy of the highly acclaimed Comus LP. This is - like the one listed above - a top copy very first press issue on Japanese high quality vinyl. This one comes a bit cheaper because the mega rare obi is missing. That aside, the very first Japanese pressing is damned rare, it maby even eclipses the UK pressing in rarity. It also sounds much better!!! This one here is a flawless TOP copy, virginal all the way. Both laminated gatefold sleeve, 4-paged insery and record are in Near Mint to Mint condition, just impossible to ever improve upon. To boot, this is the vene scarces PROMO pressing. Top copy and rare 1971 Japanese original press on the Japanese Dawn imprint. Comes dead cheap and I doubt you ever see such a top copy ever again. Highest recommendation. Price: 450 Euro
372. CONCERT COLLECTIF: “Concert Collectif Du Groupe De Recherches Musicales de L’RTF” (Philips Prospective 21 Siècle – 836.894) (Record: Near Mint/ Jacket: Near Mint) First pressing with white back cover. Scarce Prospective 21 Siècle release on Philips that brings together the crème de la crème of the French musique concrete and electronic music composers. Titles as “Concert Collectif Du Groupe De Recherches Musicales de L’RTF”, it brings forth killer electronic music and musique concrete pieces by heavyweight leading composers of that day such as Francois-Bernard Mache, Luc Ferrari, Ivo Malec, Francois Bayle, Michel Philippot, Philippe Carson, Jean-Etienne Marie, Edgardo Canton and Bernard Parmegiani. Probably my most favorite disc in the whole silver Philips Prospective 21 Siècle series following Xenakis’ “Persepolis”. Rare 1st original issue with the white back cover, top condition. Price: 120 Euro
373. CONRAD, TONY with GASTR DEL SOL: “The Japanese Room At La Pagode” (Table Of The Elements – 29 Cu) (EP Record: Near Mint/ Poster Sleeve: Near Mint). Long gone first original pressing from 1995 that sees Tony Conrad teaming up with Gastr Del Sol. Beautiful droned out bliss. Price: 40 Euro
374. CONRAD, TONY with FAUST: “The Pyre Of Angus Was In Kathmandu b/w The Death Of The Composer Was In 1962” (Table Of The Elements – 3 Li) (Clear Vinyl EP Record: Mint/ Gatefold Picture Sleeve: Near Mint). Recorded in October 1972, two brief tracks - both named with the young death of former Dream Syndicate comrade Angus Maclise in mind - offer the remaining fragments of those three days at the abandoned schoolhouse studio at Wümme. Both the slow burning "The Pyre of Angus was in Kathmandu" and the tremulous "The Death of the Composer Was in 1962" reveal a looser agenda in the sessions. In the latter piece, Conrad abandons the impassive drone of the first disc for an almost celebratory psych-rock. The second disc is rounded out by an alternate production of "From the Side of Man and Womankind", lacking the overdubbed violin lines of the album version. Total killer!!!Price: 50 Euro
375. The CONTEMPORARY JAZZ QUARTET FEARURING SONNY MURRAY: “Action” (Debut – DEB-143) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Original 1965 1st Danish MONO pressing in absolute excellent condition. PERFECT copy, best condition ever for this one, flawless from start to finish, record seems hardly to have been played at all and the jacket is virtually untouched, next to impossible to ever update on this one. John Tchicai was not the only Dane pursuing the "New Thing" in the early '60s. Trumpeter Hugh Steinmetz, alto saxophonist Franz Beckerlee and bassist Steffen Andersen were on the case in 1960, emulating Ornette Coleman's shape of jazz to come. As the core of the Contemporary Jazz Quartet, they began covering Ornette's early compositions, adding originals to their set lists until 1964, when they first recorded Action for the Danish Debut label. The drummer on the date was Sunny Murray, then in Copenhagen with a trio led by Don Cherry, a mentor to Steimetz. Luckily, more attention was paid to the music than to the album's cover, which billed the drummer as "Sonny Murray." While most of the compositions have the agitated, fragmentary feel of Coleman's late Atlantics, there is also a glimpse of the Danish folk lyricism Tchicai would all but trademark. Despite Steinmetz's indebtedness to Cherry, he bypassed the playfulness of Cherry's work on the early Contemporary and Atlantic dates, and articulated an intriguing approach to Cherry's slippery chromatic runs and lyrical positivism. Beckerlee had all but dispensed with Ornette as a role model; his raspy rants at times foreshadowing Peter Brotzmann. Andersen, whose jagged lines were closer to Gary Peacock than either Charlie Haden or Scott LaFaro, reinforced this departure from the model. Add Murray's spattered cymbals and surprisingly light snare touch, and the resulting music is consistently intriguing, and occasionally spellbinding.” (Bill Schoemaker). Perfect condition original 1st MONO pressing from 1965. MONO issue is seriously rare in such a nice nick as this one and one of the finest jazz records of that era. Price: 350 Euro
376. CONTORTIONS: “Buy” (ZE Records/ Island Records Japan – ILS-81356) (Record: Mint/ Jacket: Mint/ Obi: Excellent/ 4-Paged Booklet: Mint) Bloody rare original 1979 Japan 1st pressing of this No wave Punk classic. WHITE LABEL PROMO issue!!! “In 1979 the quintessential no wave group released two albums simultaneously; Buy was effectively the Contortions’ debut, originally appearing on the indie label ZE, while the same project was released as Of White under the adopted alias of James White, one of the many identities of leader James Chance. The Contortions are considered to be one of the most important and influential groups of the New York no wave scene, which spawned the crazed postmodern persona of James Chance alongside Lydia Lunch, Mars, and DNA, among others. James Chance was a sort of avant lounge lizard personality cult who led numerous projects throughout the '80s, yet he never quite topped the warped distillation of punk, funk, and free jazz presented here, making Buy a pivotal recording of the New York post-punk era. His hybrid of free jazz sax blowing and agitated funk takes the contortions up a notch from the four tracks the band contributed to the Eno-produced No New York compilation, which debuted the furious angular syncopation of transfigured funk and disco rhythms which became the Contortions signature. Chance's vocals and discordant sax will sound strangely familiar and appealing to fans of early Roxy Music and Television.” (All Music Guide) Killer classic slide that still sounds as fresh as if it was unleashed only yesterday. Indispensable!!!! First Japanese pressing with insert and booklet just rarely see the light of day and sounds so killer it is contagious!!!! Price: 150 Euro
377. COODER, RY: “S/T” (Reprise – P-8060R) (Record: Mint/ Jacket: Mint/ Obi: Near Mint/ Insert: Mint). Top copy and rare 1st original Japanese pressing of 1971 of Ry Cooder’s first solo album. Never seen the original Japanese pressing with obi before. Ry Cooder first came to prominence in the 60s as part of L.A.'s folk music scene. He was in a band called The Rising Sons, with Taj Mahal, Jesse Lee Kincaid, Gary Marker and Ed Cassidy from 1964 to 1966. He also started to earn himself a reputation as a session musician, working alongside artists as diverse as Captain Beefheart, Pat Boone, Phil Ochs and The Rolling Stones. He proved himself to be a master of stringed instruments, and was much in demand for his guitar and mandolin work. Most importantly he earned himself a reputation as a brilliant bottleneck slide guitarist. Eventually he got himself a recording contract with Reprise Records, and his self-titled debut album came out in 1970. It includes support from bassist Chris Ethridge, drummers Milt Holland and Johnny Barbata, pianist Van Dyke Parks, fiddle player Bobby Bruce, and Ritchie Hayward and Roy Estrada (the original rhythm section of Little Feat, whose debut album he also featured on). Stylistically, it turned out to be a rootsy folk-blues mix, with inventive arrangements highlighted by his distinctive slide guitar. With his song selection he showcased his interest in American roots music, with tunes ranging from those by well known folk performers such as Woodie Guthrie and Leadbelly, to more obscure artists such as Tommy Tucker and Blind Alfred Reed, all put together with scholarly passion. A pretty addictive listening experience not so far removed in vibe and style from Little Feat’s debut, this one is simply great. Rare original 1st Japanese issue with obi. Top condition. Price: 75 Euro
378. CORRUPTED: “Paso Inferior” (Insolito) (Record: Near Mint/ jacket: Near Mint/ Insert: near Mint). This is a rare copy of Corrupted’s vinyl album, they made 2 vinyl LP’s and this is one of them released on the German Insolito label. Rarely turns up. Heavy sledge hammer psychedelic doom riffage that was released on vinyl only in 2001 following an out of print CD version. If you are even remotely interested in Boris and cohorts, I strongly urge you to step into the void of Corrupted, where minimalism meets psyched out dead stone cold stoner rock beefed up with a laxative induced heavy metal attitude, making it a combustible mixture of slow-downed and ever churning heaviness that would make La Monte Young blush if he only had the nerve to hook up with Earth or Sleep. At times it sounds like acid folk turning doom with tuned down goat heads to do the trick. Heavy shit and so deliriously addictive once you are tuned into it. Extremely limited press and appears to be completely dried up. Highest recommendation Price: 50 Euro
379. COSMIC COURIER/ COSMIC JOKERS: “Gilles Zeitschiff” (OHR Records – KM 58.012) (Record: Near Mint/ Jacket: Near Mint/ Poster: Mint). Original 1974 German FIRST original pressing all complete with rare poster. Poster is in absolutely top condition without any signs of use or any pinholes. Not exactly a Cosmic Jokers record, this one contains material plundered from various Kosmische Musik releases, mostly other Jokers tracks as well as those of Ash Ra Temple and Klaus Schulze. Despite its dubious origins, Zeitschiff is another wild ride into the furthest reaches of cosmic space rock, an acid trip set to music and with added narration, mostly by Gille Lettmann and also others, including Timothy Leary and his ominous-voiced cohort, Brian Barritt. With much more mixing and manipulation than the Sci-Fi Party compilation, and again with tracks segued together, this one doesn't quite reach the intensity of the first two albums, but comes pretty close. Three snippets from the weak first side of Ash Ra Tempel’s Seven-Up, with Timothy Leary’s blues-rock singing, are more effective in the short doses on this album. Plenty of exceedingly trippy keyboard work from Klaus Schulze, especially on "Cosmic Courier Bon Chance" and "The Electric Scene," and the usual Ash Ra-style jamming and riffing provide another space rock soundtrack into the cosmos. Top copy. Price: 475 Euro
380. COSTELLO, ELVIS: “My Aim Is True” (Stiff Records/ Victor Japan – VIP-6581) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). 1978 Japan 1st original press with all complete. “Costello was as much a pub rocker as he was a punk rocker and nowhere is that more evident than on his debut. He displays a sensibility that is borrowed from the pile-driving rock & roll and folksy introspection of pub rockers like Brinsley Schwarz, adding touches of cult singer/songwriters like Randy Newman and David Ackles. Then, there's the infusion of pure nastiness and cynical humor, which is pure Costello. That blend of classicist sensibilities and cleverness make this collection of shiny roots rock a punk record -- it informs his nervy performances and his prickly songs. Of all classic punk debuts, this remains perhaps the most idiosyncratic because it's not cathartic in sound, only in spirit. Still, there's no mistaking this for anything other than a punk record, and it's a terrific one at that, since even if he buries his singer/songwriter inclinations, they shine through as brightly as his cheerfully mean humor and immense musical skill; he sounds as comfortable with a '50s knockoff like "No Dancing" as he does on the reggae-inflected "Less Than Zero." Costello went on to more ambitious territory fairly quickly, but My Aim Is True is a phenomenal debut, capturing a songwriter and musician whose words were as rich and clever as his music.” (All Music Guide). Spot on, early Costello rules and this one shines throughout! Rare 1st original Japanese press with obi in MINT condition, what can your teenage heart possibly ask more for? Price: 75 Euro
381. COUNT FIVE: “Psychotic Reaction” (Double Shot – DSS-5001) (Record: Near Mint/ Jacket: Near Mint). US 1st original pressing in top condition. Teenage garage rock crew The Count Five used to stride out on stage dressed as Count Dracula before laying waste to their output including this seminal tune. Based around the dirtiest of fuzzy riffs and piercing harmonica, 'Psychotic Reaction' moves from glam stomp to psych wig-out and was highly regarded enough for rock critic extraordinaire Lester Bangs to name a book after it. Simply all time classic teenage psychedelic garage mayhem from start to finish filled with addictive teenage angst vibes, screaming vocals, fuzzed out wrist-slashing guitar assaults and deranged snotty lead singer – all backed up by an almost Flinestone-ian cave man gang-raped rhythm section. One of the best in the psychedelic garage punk genre. Hard to find are clean as a whistle 1st original pressings of these babies. This one is a top copy. Price: 150 Euro
382. COUNTRY JOE & THE FISH: “Electric Music For The Mind And Body” (Vanguard – VRS-9244) (Record & Jacket – MINT, still SEALED). Original US MONO 1st pressing. This devastating debut stands as the band’s finest moment without a single doubt. One of the key psychedelic LP’s out there that oozed out that authentic sound. Country, blues and rock phase in and out of each other and the whole affair gets dipped in a lysergic bath and gives it at times haunting visions that stay swirling around in your head for long enough after the record reached it final stage. This 1st US MONO press is like a white whale and genuinely rare. Rarely surfaces – let alone in this perfect condition. The Fish never sounded or looked better than here. Price: 250 Euro
383. COUNTRY JOE & THE FISH: “Vol.2” (Vanguard – King Records – SR-308) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Bloody rare Japanese issue, complete with always missing obi. That aside, the record comes also housed in a Japan ONLY alternate jacket art. This album was released in September 1969 and this copy here is MINT all the way, looks like it was released only a fortnight ago. Impossible to dig up on these shores, especially in such pristine nick as this one here and with the OBI!!!! Also pressed on Japanese high quality virgin vinyl, so the sound is brilliant!!! First copy I see in my days, so…one off chance I would say. Price: 575 Euro
384. JACQUES COURSIL UNIT: “Way Ahead” (BYG Records BYG-19) (Record: Mint. Fold Out Jacket: Mint/ Insert: Mint/ Obi: Mint) Actuel 19. Again a monster. Line-up Jacques Coursil (trumpet), Arthur Jones (alto), Beb Guerin (bass) and Claude Delcloo (drums). Again original Japanese pressing with obi and insert, all in mint condition. The sound quality and quality virginal Japanese vinyl pressing make this issue sounding a zillion times better than the French Actuel pressings. It is like almost sounding to a completely different record, the recording and pressing quality is just light-years higher on the evolution scale. No shit. Highest recommendation. Price: 85 Euro

385. COURSIL, JACQUES: “Black Suite” (BYG Actuel – 529.349) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Original 1969 French 1st original pressing. French only deep free jazz LP featuring Arthur Jones, Burton Greene, Beb Guerin and Anthony Braxton! First issue came out on BYG, the 2nd pressing was later released on the America label. "Black Suite" is an album-length composition and moves along in a way that's similar to some of the extended AACM pieces of the time – with spare free moments, and moody chromatic passages by the larger group. Written as a tribute to the struggles of blacks in America, the piece is a very emotional work that offers some excellent performance by all, especially Braxton, who opens up a bit more than usual here. Brutally beautiful piece of fire music. Price: 60 Euro

386. COWELL STANLEY – THE PIANO CHOIR: “Handscapes” (Strata East/ Trio Records – PA-6051~52) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1973 Japan original pressing, all complete with rare obi. A Strata-East classic slide, of which the Japanese press issue with obi just hardly ever surfaces at all. Killer spiritual jazz double LP of piano-only jazz recorded in 1973 for Strata East. The lineup is like a who's who of hip, black piano players from the time, and includes Harold Mabern, Sonelius Smith, Stanley Cowell, and Webster Lewis. Nice original compositions, and a stretched-out groove of spacey keyboards. Just stunning. Price: 120 Euro
387. CREAM: “Disraeli Gears” (Reaction – 593003) (Record: Near Mint/ Front & Back Laminated Jacket: Near Mint). Rare 1st press MONO issue, housed in fully laminated jacket. Later issues have only front lamination. Earliest matrix number ending in A//1 & B//1. Next to that miscredit on side A where the last credit is “Windfall Music” which was later corrected to “Immediate Music”. Top copy, 1967 press issue in fully laminated jacket. Hardly turn up in this shape. Killer!!! Price: 250 Euro
388. CREAM: “Fresh Cream” (Polydor Japan – SMP-1402) (Record: Mint/ Jacket: Mint/ Obi: Mint). Original 1st Japanese pressing complete with obi in immaculate condition. Mint copies with obi intact just…don’t surface at all anymore. Here ya have a museum piece like copy. I guess that music wise you know the drill of this classic milestone so I spare you any mindless ramblings of my part. But the disc/ jacket/ and obi are just…mint, like they were printed and pressed only yesterday. Better copies just simply do not exist take my word for it. Price: 500 Euro
389. CREAM: “Disraeli Gears” (Polydor – SMP-1390) (Record: Near Mint/ Flip Back Jacket: Near Mint/ OBI: Mint). Japan original first pressing from May 1968 in exquisite condition and complete with obi. First original Japanese pressing in fantastic condition. Stunning copy, Japan 1st original pressing of 1968 that comes housed in a fragile flip back jacket. Comes with different Japan only back cover art. Just hardly ever surfaces on these shores all complete with OBI and in superb condition – next to impossible to upgrade upon. Price: 500 Euro
390. CREAM: “Wheels of Fire” (Polydor Japan – SMP-1416) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Original 1st Japanese pressing complete with obi in immaculate condition. Same story as the other Cream record listed. Mint copies with obi intact just…don’t surface at all anymore. Here ya have a museum piece like copy. I guess that music wise you know the drill of this classic milestone so I spare you any mindless ramblings of my part. But the disc/ jacket/ and obi are just…mint, like they were printed and pressed only yesterday. Better copies just simply do not exist take my word for it. Price: 200 Euro
391. CREAM: “Wheels Of Fire – Live At The Fillmore” (Polydor Japan - SMP-1417) (LP: Near Mint/ Gatefold Jacket: Near Mint). Rare Japan 1st press original – rarely offered WHITE Label PROMO issue. Unlike its predecessor, this sleeve comes in a gold-like finish foil jacket art, there were the previous volume came in a silver foil like colored finish jacket art. Amazing condition and sounds utterly great that see the band live at work at the Fillmore. Price: 200 Euro
392. CREAM: “Live Cream” (Polydor – MP-2105) (Record: Excellent/ Gatefold Jacket: Mint/ Attached Photo Insert: Mint/ Obi: Mint). First issue Japanese pressing with obi. Probably the best stunt Clapton pulled off was erecting Cream, a group that till this day keeps me veering up in anticipation when the trio of Clapton – Bruce & Baker catapult off into deranged bluesy psychedelic jams. A sonic slice of heaven. First original Japanese issue with obi. Price: 75 Euro
393. CREAM: “Goodbye” (Polydor Japan – MP-1435) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ OBI: Near Mint). Rare 1969 1st original Japanese pressing complete with obi. Top copy!!!!!! Price: 200 Euro
394. THE CREED TAYLOR ORCHESTRA: “Shock Music in Hi-Fi” (ABC-Paramount – ABC-259) (Record: Excellent/ Jacket: Mint). The jacket already hints vaguely where this early sixties artifact will dwell into with the subtitle captioning in red letters “Don’t Dare Listen to this Music Alone”. So what may you, the 21st century listener expect? Well, best description would be a ‘Shocktail Party” adventure into hi-fi, filled with loungy jazzy moves, howling voices, pre-recorded tape insertions, pounding heart beats, gasps, groans, screams, shrieks and telephonic voices popping out of the after world. Mondo weirdness and cum-sound effects set against a cinematic cocktail jazz escapade. Nice and seemingly lost artifact out of days that the sky still seemed to be the limit. Price: 50 Euro
395. CROSBY, DAVID: “If I Could Only Remember My Name” (Atlantic – P-8052A) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent/ Insert: Near Mint/ Rock Age Flower Obi: Excellent). Bloody rare 1st original all complete Japan press issue with RARE ROCK AGE FLOWER OBI present. Fantastic solo album by David Crosby and one that has been my personal favorite out of that era for many decades now. “Forgotten by rock history, and probably by most of its participants, this 1971 curio is a one-of-a-kind freak-folk apogee. It's a solo album in name only, since the Croz operates as a cosmic cruise director, bringing in pals like Neil Young, Joni Mitchell, Jerry Garcia and Grace Slick. In hydroponic jams like "What Are Their Names," you can hear each guest wander into the studio, plug in, play a few licks, sing a few harmonies ("Peace is not an awful lot to ask" -- dig it!) and raid the fridge. Garcia steals the show, and the two killer tracks are the ones where he burns on guitar, playing in a dark "Wharf Rat" mood: "Song With No Words (Tree With No Leaves)," where Garcia cuts Jorma Kaukonen in a guitar duel, and "Laughing," featuring Jerry's profoundly sad pedal steel.” (Rolling Stone) Never seen before Rock Age obi present, making this slide a minor - major rarity. Price: 475 Euro
396. CROSBY, STILLS, NASH & YOUNG: “Teach Your Children b/w Carry On” (Atlantic – DT-1167) (Record: near Mint/ Tip Back Picture Sleeve: Near Mint). Rarely seen Nippon Grammophon pressing of this Japan-only CSN&Y single release. This is the even more obscure Mono Version!! This was the 2nd single by CSN&Y to see the light of day in Japan. Top-notch condition. Price: 75 Euro
397. CROSBY, STILLS, NASH & YOUNG: “Our House b/w Helpless” (Atlantic – P-1008) (Record: Near Mint/ Picture Sleeve: Near Mint). Great Japan only CSN&Y picture sleeve artwork 7 inch. 1st original pressing in top-notch almost virginal condition. Comes with great live shot to adorn the picture sleeve. This was the 4th and last single by CSN&Y to emerge in Japan and is the hardest to track down. Top condition. Price: 75 Euro
398. CROSBY, STILLS & NASH: “S/T” (Atlantic Japan – MT-1086) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4-Paged Insert: Mint). Bloody rare Japanese TRUE 1st press issue that comes with rare First Issue OBI of this all time great folk vocal album. NIPPON GRAMMOPHON pressing on the green, white and turquoise colored Atlantic label – first pressing of 1970 which also comes in slightly altered front cover – the 1st Japanese pressing has the picture a bit blown up, making that the space beneath CS&N’s feet is smaller as opposed to the US pressing. The 2nd press issue of the mid-seventies altered this and also dismissed the textured sleeve, which the 1st press has. Of course 1st issue black Atlantic OBI with MT numbering was only briefly available and disappeared quickly. People tend to overlook the first CSN album but with the renewed interest in all newly flowering folk activity I strongly suggest you submerge yourself in this gem, it will blow almost all competition straight out of the water. Killer material, thicker than life fold out jacket and rarely seen obi, a true collectible masterpiece. Stunning condition and highest recommendation. First time ever I have a true first pressing with obi of this masterpiece. TOP CONDITION. Price: 200 Euro
399. CROSBY, STILLS, NASH & YOUNG: “Déjà Vu” (Atlantic Records – MT-2023) (Record: Near Mint/ textured Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Rare Japan 1st original pressing that came out in July, 1970. Comes complete with rare very first obi issue and record on the tri-color Atlantic label imprint. Original 1st Nippon Grammophon pressing. Comes housed in heavy textured gatefold jacket. Comes with bloody rare hardly ever seen 1st issue obi! First issue obi’s in mint condition like this one are these days next to impossible to dig up. Jacket is also mint and as for the disc itself, it looks like it hardly has been played. Original 1st issue Japanese pressing from June 1970. Again, to these ears a milestone recording. Top copy!! The condition is so blindingly pristine it will make you go snow-blind. Stellar good sounding pressing and quite rare with all present. Price: 175 Euro

400. CROSBY, STILLS, NASH & YOUNG: “4 Way Street” (Warner Pioneer Japan – P-5008/9A) (2 LP Set: Mint/ Gatefold Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint). Rare blue label promotional copy, top condition and complete with the hardly ever seen “Rock Age” Flower Obi. This 2 LP set caught Crosby, Stills, Nash & Young on their 1970 concert tour and at the height of their success. In all, the album is varied and exciting, and perfectly captures the quartet's remarkable singer/songwriter chemistry and sparkling harmonies. Stephen Still's classics like "Suite: Judy Blue Eyes" and "Love the One You're With" abut David Crosby tunes like the beautiful "Laughing" and Graham Nash's positive, instructional "Teach Your Children." But the real treat of4 Way Street is the inclusion of Neil Young's solo material, including "Cowgirl In the Sand" from Young's first solo album, and the riveting "Ohio," about the Kent State student massacre. By the time the album came out, however, Young had already left the group, and Crosby, Stills & Nash began to work on solo and duo projects. 4 Way Street captures the end of an era, then, and remains an essential part of the remarkable ever-evolving Neil Young saga. This copy here on display is the freakingly rare 1st press Japanese issue, blue label Atlantic PROMO version, complete with eye-poppingly scarce “Rock Age” Flower obi. This whole package – including both LP’s – is as mint as your virgin wife on her wedding day. Just impossible to lay your hands on in such a condition as this one. Top copy. Price: 250 Euro

401. CROSBY, STILLS, NASH & YOUNG: “Long Time Gone” (TMOQ – The Swinging Pig – TSP-032-2) (2 LP Set on green vinyl: Near Mint/ gatefold Jacket: Near Mint). 1989 TMOQ limited release of an amazing CSN&Y gig from June 3, 1970 in Lakehurst, New Jersey. Superb soundboard sound quality. Totally amazing set, showing again that this was actually a super group that could provide firework but sadly clashing egos cut their lifespan short. This recording is a brief glimpse into the band soaring high skies, just magical is all I can think off when listening to this. Totally vanished 2 LP set. Price: 175 Euro
402. CROSBY, STILLS, NASH & YOUNG: “Live At L.A. Forum” (No Label/ private – JL-506) (2 LP Record: near Mint/ gatefold Sleeve: Excellent). Rare Japan 2LP White Label, Gatefold Direct Print Cover Side 1: Suite-Judy Blue Eyes/ One The Way Home/ Teach Your Children/ Tell Me Why/ Find the Cost of Freedom Side 2: Southern Man/ Ohio/ Woodstock Side 3: 49 Reasons/ Love The One Your With/ Pre-road Downs/ Long Time Gone/ Helplessly Hoping Side 4: Guinevere/ Old Man Lying By The Side Of The Road/ Carry On. Japan press that comes with stamped matrix numbers, rarest & best sounding variation. Price: 100 Euro
403. TED CURSON QUARTET: “Urge” (Fontana – 195J-27) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Rare Japan 1st original pressing in immaculate condition. Recorded in Copenhagen during a well-received European tour, the album features tenor-man/clarinetist Bill Barron (pianist Kenny's brother and a regular foil for Curson during this period), as well as bassist Herb Bushler and drummer Dick Berk for a romp through odd meters, Berk keeping a strong forward accent and dissonant head arrangements that seem to mark a turning point in Curson's music. The group met with extraordinary popularity, overstaying a gig at Paris' Blue Note club from two months to six before the musicians' union essentially kicked them out of the country, the Curson-Barron quartet did meet with some hostility for, ironically, the use of a white rhythm section. This was especially true in Holland, where, according to Curson, the German drummer and Jewish bassist were routinely booed and catcalled. Echoes of Curson's previous employers Mingus and Cecil Taylor are here, not to mention the free-bop aesthetic that would inform his work with the New York Contemporary Five (replacing for a time Don Cherry) and Archie Shepp. Curson is somewhat of a missing link between the ephemeral quality held by Miles and the stabbing brilliance of Booker Little, a rare example of brassy bravura in an age marked more by the saxophone's sway. Price: 75 Euro

404. CZUKAY, HOLGER: “On the Way to the Peak of Normal” (Trio Records – AW-25013) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). This disc easily falls into my “opiated listening experience” section of my record collection. To make matters even more delusional is the fact that this copy is the 1st Japanese pressing with obi, a deluxe treatment that such a killer slide deserves. This was Czukay’s second post-Can solo album. The first two tracks took up side 1 can be considered as one continuous piece of music with “Fragrance” acting as a coda to “Ode to Perfume”. Czukay plays all the instruments here, except for Jaki Liebezeit's trademark metronomic drumming, and in many ways it's a revelation. Czukay lays down some surprisingly accomplished guitar over the solid rhythmic backing – reminiscent to Michael Karoli’s guitar excursions. Later in the piece there are interjections on organ and some decidedly non-virtuoso French horn, before the soaring guitar returns to bring the whole thing to a conclusion. Fragrance picks the theme back up and works in some vocoder to interesting effect. The whole thing has a slightly funky motorik feel with short-wave static, treated vocals, and drunken trumpet, all in a hypnotic late-night groove. The remaining tracks continue with varying success along these lines, from the darkness of the title song to the moody bass and Hammond interplay of "Hiss 'n' Listen." Intended as environmental music for some underlit, velvet clad chill-out room, the album can be seen as one long rumination on improvised understatement. A classic without a doubt. Price: 75 Euro

405. DANCERIES: “Kizuna – Musique Medievale et de la Renaissance” (UDC Records/ URC Records – UDC-5001~5002) (2 LP Set: Mint/ Textured Gatefold Jacket: Near Mint/ 10-Paged Insert: Near Mint). Rare 1st LP by this Japanese medieval ensemble that was released through the famous URC Records folk label camp. The group was established in February 1972 by main man Ichiro Okamoto and he toured Japan and played at various URC related folk festivals where he presented the audience with until then quite unknown music played on little known instruments such as lute, viola da gamba, crumhorn, cittern, etc. The brought forth a wide selection of 12th & 13th century folk music which in time got expanded with early renaissance, early gothic and medieval music. So Early Music was their game and they executed it as exactly and authentically as possible, The end result is very pure and simple music of times long gone, rubbing shoulders even with Binkely and other renowned Early Music outfits. So in that light it is easy to see why they got picked up by the URC folk camp and that they distributed their 1st LP. Their first and rarest LP…the others they did turn up quite frequently, this 2 LP set seems to have vanished completely. Comes with inserts, top copy and it has been 7 years since I last saw a copy of this one. Truly bewitchingly beautiful music. Price: 125 Euro
406. DADA FOR NOW: “S/T – A Collection of Futurist and Dada Sound Works” (Ark) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Illustrated Insert: Near Mint) Extremely hard to come by and long vanished collection of Dadaist sound works compiled by Colin Fallows. The record includes highly historical records by Antonio Russolo from 1921, Hugo Ball (1916), Arthur Honegger (1923), Tristan Tzara (1916), Kurt Schwitters (1919 ‾ 1946), Raoul Hausmann (1919), Giacomo Balla (1914) and Luigi Russolo (1914) again as closer. And you thought seventies sound poetry was wicked? Wait till you here this, it will blow your socks off, this is the real thing, where it all started and till this day no one could even remotely surpass these guys. All time highest recommendation. Price: 75 Euro
407. DANDO SHAFT: “Lantaloon” (RCA Victor – SF-8256) (Record: Near int/ Jacket: Excellent ~ Near Mint/ Poster: Near Mint). First press UK copy that includes the rare poster of their rarest LP. Cover and disc are in pristine nick, which is quite uncommon. “Dando Shaft’s third album wasn't all that different from its predecessor, Dando Shaft: rollicking folk-rock tunes that were more folk than rock, heavy on rhythmic interplay among mandolin, guitar, and violin. Nor was it at times all that different from Pentangle, particularly on one of the best tracks, "Road Song," which sounded quite a bit like some of the more up-tempo Pentangle tunes on which Bert Jansch took lead vocals; "The Black Prince of Paradise" trod pretty far into Pentangle territory too. And as with Pentangle, the woman singer, Polly Bolton, was the best of the vocalists, though the male singers weren't bad and served as good counterpoints. Perhaps their songwriting and instrumental approach broadened just a bit to take in more pop and rock influences, with occasional flute (and, on "The Magnetic Beggar," harpsichord). In all, though it's not as original as the best British folk-rock of the period, it's very well played and fairly well written, guaranteed to appeal to fans of bands like Pentangle, to restate the inevitable comparison.” (all music guide). Killer folk LP that will ring for days in your ears if you like Fairport Convention and Pentangle. Price: 300 Euro
408. DANIEL SCHELL – DICK ANNEGARN: “Egmont and the ff Boom” (Free Bird – Fly-05) (Record: Excellent, has a few paper scuffs/ Jacket: Mint). The LP Egmont and the ff Boom’ tells the history of the traditional polyphonic music from the Low Countries, using the personage of Egmont, Count of Gaasbeek (1522-1568) as a theme. All music was recorded in the 70’s, all based around the unique and traditional polyphonic music of the 16th century, featuring, next to the two mentioned artists, an impressive range of guest musicians/artists. Daniel Schell is of course known from the projects Cos and Karo with releases on Made To Measure / Crammed Discs and Pascale Son was part of that Cos project too. Than there’s Michel Berckmans, one of the influential musicians of Univers Zero and Aksak Maboul and Ilona Chale, a cult vocalist who released a track on the ‘Noises’ compilation on Kamikaze, way back… These are just a few of the artists that collaborate on this magnificent but sadly overlooked and largely unknown album. In all it tells about his search for the real traditional music from the low countries and about Egmont, who died on a scaffold on the Grande Place in Brussels. His martyr death represents the cultural genocide ordered by Philippe II, who took the lives of 15.000 other men, mostly Flemish rebels who were against the Spanish occupation of the low lands, the so called Gueux. Music wise the disc dwells into a wide array of music styles without ever loosing its coherent approach that fuses polyphonic Flemish traditions, folk, medieval stylings, psychedelic mindsets and lysergic Gong influenced deep space trekkings into a melting pot of subtle folk shapes with a touch of electricity that in its course birth out evocative flashes of majestic psychedelic architecture and crooning with timeless cocktail folk moves and moments of a culturally defunct Belgian opera. One of the best albums to seep out of Belgium, awesome from beginning to finish. Rarely surfaces these days, even in the Low Countries. Highest recommendation. Price: 100 Euro
409. DANNY DAVIS & TAKASHI KAZAMAKI: “Atmosphere” (Fool Records – FOOL-003) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Original first pressing all complete with insert. First time ever I have a complete copy with the always-missing insert. Former Sun Ra Arkestra member Danny Davis teams up here with previous Chie Mukai & Takehisa Kosugi collaborator Takashi Kazamaki. Like previous encounters with Mukai and Kosugi, this clash was also released on his private Fool Records imprint and it would be the last release to see the light of day on that label in 1985 and released in a tiny edition of only 300 copies. To these ears, this is the best release on Kazamaki’s Fool Records imprint. While Kazamaki fires off austere percussive rattles and shakes, Davis rips through on flute and alto saxophone, creating air pockets of disjointed improvisational interplay that is intense as well as seductively intimate. Especially Kazamaki comes through as a more seasoned player as compared to his previous 2 releases. Now the interplay with the other improv partner is more attuned, augmenting the interplay between the both of them. In all, an excellent disc that sadly enough is quite a hard one to unearth. Don’t think it will be sitting around long in the list, so better move up on it before it vanishes again. Top copy that comes with the insert!!! Price: 150 Euro
410. DARA PUSPITA: “Tabah Dan Cobalah” (Indra – AKL-045) (Record: Near Mint/ Jacket: Excellent)). Original Indonesian pressing in top shape, never seen a cleaner or better copy than this one. Their rarest and best recording. Hailing from the eastern Javanese city of Surabaya, Dara Puspita are reputedly the worlds first all-female garage rock band. This recording here was their last effort, released in 1975 and it sees Dara Puspita steering away a bit from their garage sound and steering instead into more psychedelic pop infested waters, spiked up with ethereal female vocals, fuzzy-wuzzy sneering guitar licks, sweating out psychedelic influences and injecting it with primitive caveman drumming and cheap organ riffage going on in the background. The band sounds more mature and at ease as opposed to their previous 4 albums, less garagey and more psychedelic advanced. The howling fuzzed out guitar sound is especially addictive and together with the low-fidelity recording outburst and the angelic vocals, it forms a combustible mixture and highly addictive sounds. For an Indonesian pressing, this disc is in excellent shape, the record utterly clean, no scratches and the very fragile paper-like jacket is in excellent condition with only a faint trace of wear on upper right side So overall excellent to near mint condition and the best copy I have encountered so far. Solid EX ~ NM all way round. These babies turn hardly ever up in such a nice shape so, this one goes for offers. If you are into female psychedelic wonders, this one has written “you” all over it. Just splendid. Hard to get in decent condition, this Indonesian original is near perfect, beautiful copy!! Price: Offers!!
411. DAVE PIKE SET: “Infra-Red” (MPS/ Nippon Columbia – YS-2504-MP) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint). First original Japan press from 1971 on the first MPS label. WHITE LABEL PROMO ISSUE! Pike joined the MPS label in 1968 and teamed up with a visionary guitarist named Volker Kriegel. Kriegel is the likely introduction of Indian ragas to Pike’s repertoire. This influence showed up immediately on "Four Reasons", Pike’s first album for MPS. From here on, the group solidified around a solid line up of Pike on vibes, Kriegel on guitar, sitar and electric bass, J.A. Rettenbacher on bass, cello and electric bass, and Peter Baumeister on drums. Collectively known as The Dave Pike Set, this lineup would record at least another three albums together. By now, the Dave Pike Set was well established in European jazz circles and was becoming quite popular, though this popularity still didn’t seem to make much of a ripple in America. A studio album was released, titled "Infra-Red". This is one remarkable and solid album, "Infra-Red" features a number of amazing Indian-fused numbers, not the least of which being "Raga Jeeva Swara" and "Soul Eggs". All four members of the set contributed songs to the album, which is a tad unusual, as Peter Baumeister was not nearly as proficient as the other. Bewitchingly beautiful “East meets West” styled crossover jazz album that is lysergically swinging as musically inventive and outward bound. A classic by all means, this one rules!!! Price: 100 Euro
412. The DAVE PIKE SET: “Got The Feeling” (Relax – 30.577) (Record: Excellent, only a couple of barely visible paper sleeve lines/ Jacket: Near Mint). Original 1969 Holland only press!! Released on the same label as the Outsiders and this LP came only out in Holland, making it the hardest to come by Dave Pike recording and also arguably his best ever. US Detroit born master vibraphonist Dave Pike – who worked in Germany, Belgium and the Netherlands between 68 and 73- recorded this mind-bending set that was originally released in Holland only way back in 1968 and the label of choice was Relax, a rock imprint that also sheltered the Outsiders!! For this session, Dave Pike got himself flanked by Rob Franken on organ, Joop Scholten on guitar, Ruud Jacobs on e-bass and Louis de By behind the drums. The band was cookin’ heavy, sweating out groove intoned psychedelic hip shakers and cut 12 irresistible psyched out, jazzed up and funk-down tunes ranging from original compositions (Bacon Fat', ‚Middle Earth Herd') to instrumental cover versions of hits from James Brown (Got The Feelin'), Sam & Dave (You Got It Made') and The Classics (Spooky'). In short, a majestical album from start to finish, showing the band in great form: Pike's super groovy vibes perfectly harmonize with Franken's greasy Hammond play, crispy drum breaks, funky heavy bass lines and some fuzzy wah-wah slashes & rough guitar lines that all boil down to a tough rhythm beat groover that never let loose. A highly collectable Dutch Rare Groove beast that yet has to find its rival. Killer all over. First original pressing!!! Price: 350 Euro
413. The DAVI’S: “Aoi Sasayaki b/w Koi No Psychedelic” (Minoru Phone Records – KA-238) (EP Record: Near Mint/ Picture Sleeve: Mint). Bloody rare 1968 fuzz deranged psychedelic garage monster. If you are after real unadulterated Japanese psychedelic music, well then there is only one way to go…and that is direction GS or Group Sounds, Japanese garage for the uninitiated. One problem though, GS is mainly 7-inch oriented, not many groups were in the ability to cut full length LP’s and most of them only released one or two singles before sailing off into the sunset again without being heard of ever again. The Davi’s were just such an obscure outfit that only left behind two hideously rare and impossible to score 7 inch singles, this being their first release that saw the light of day on September 1st, 1968, blessed with two torpedo jammed psychedelic teenage garage outbursts. The 5-piece group (guitars, bass, drums, organ & vocals) was formed in 1967 in the high north of Hokkaido. In September of 1968 they made their recording debut with this 7-inch and quickly became the talk of the town due to their smart outfits and highly original songs. Still they failed to score a hit with it and remained sadly enough only revered in the shadows by some hardcore fan base. In May of 1969, they released their 2nd single, which did even worse commercially than their first after which they quickly dissolved and evaporated into the sunset. Still that does not change the fact that their 1st single is a kerosene burns stained crude garage artifact complete with beautiful chorus vocals, swirling organ lines, simmering fuzz licks and bottom of the barrel twisting organ key action. Wired electric guitar actions melts down with snotty vocals that possess that real teenage angst driven antique 60s frantic innocent punk feel and resulting in “Koi No Psychedelic” a ravaging song and a tearful organ infested ballad on the B-side. One of my all time favorite Japanese teenage garage psych artifacts that sadly enough only sporadically surfaces. High Time!! Price: 250 Euro
414. DAVIS, BETTY: “Nasty Girl” (Epic Japan – ECPO-86) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Near Mint ~ Mint/ Obi: Mint). Bloody rare Japanese pressing complete with obi and in immaculate condition, as clean as the baby Jesus himself. Japanese press with obi intact is just as rare as gold dust these dayz…only copy to cross my path for the last 15 years or so…destined to become a biggy…and a killer record. Clean as a whistle Betty Davis records complete with obi just NEVER surface and this one will certainly bring the FUNK back into your live. TOP archival copy and damned rare with OBI. Price: 100 Euro
415. DASHIEL HEDAYAT: “Obsolete”(RCA – RCA-6124) (Record: Mint/ Jacket: Mint/ Obi: Mint). Very rare 1973 Japanese only white label promo sample issue of the 1971 LP, unique flipback picture sleeve variant with Japanese text on reverse. Comes with the always missing and hardly ever seen obi, a true nearly monster rarity. . Long referred to as the “missing” Gong album, this LP features Daevid Allen, Gilli Smyth, Pip Pyle & Didier Malherbe throughout & even has William S Burroughs guesting! Superb album, promotional original 1973 Japanese audiophile pressing that seems to surface almost never at rock bottom price. Comes with the almost always-missing obi, making this copy a top rarity. Price: 375 Euro
416. DE DE LIND: “Io Non So Da Dove Vengo E Non So Dove Mai Andro Uomo E Il Nome Che Mi Han Dato” (Mercury – 6323 901A) (Record: Near Mint/ Textured Gatefold Jacket: Excellent ~ Near Mint). Original 1972 Italian first press original in exquisite condition of this heavy progressive masterpiece with long tracks fuelled with insanely wild guitar riffage, swirling keyboard interplay, intoxicating flute playing and much more. The Fragile textured white cover is as clean and as very white as can be, with only a very little foxing – never seen a better copy as this one. Same goes for the record itself – in superb condition, so the whole affair is next to impossible to upgrade upon!!! That aside to these ears the most accomplished and best album ever to seep out of Italy, killer from start to finish!!!! True first textured gatefold pressing, non textured gatefold press came out later. This is the 1st press issue. Top Copy!! Price: Offers!!!
417. DEDALUS: “Materiale Per Tre Esecutori E Nastro Magnetico” (Trident Records – TRI. 1008) (Record: Near Mint/ Jacket: Near Mint). Original 1st pressing by this Italian group. By 1974, sax player Enzo Carabetta joins temporarily the group in a series of concerts leading up to the recordings of the band’s 2nd LP. In the winter they record the LP “Materiale per tre esecutori e nastro magnetico”. The record presents a crucial turn in Dedalus’ music. All references to any codified musical genre are abandoned to go in for a radical experimental approach to electronic music and musique concrete, improvisation and noise. Fiorenzo Bonansone adds new elements coming from contemporary classical, concrete and electronic music and composes most of the pieces. This LP is more avant-garde-ish, with much use of electronics and sounds more experimental than the 1st LP, making this their best moment ever! Released in 1974 and damned difficult to dig up in immaculate condition. Top copy. Price: 300 Euro
418. DEEP PURPLE: “Shades of Deep Purple” (Polydor Japan – SMP-1426) (Record: Near Mint/ Gatefold Jacket: Near Mint). TOP COPY!!!! Freakingly rare 1st original Japanese pressing with matrix numbers A-1-1/B-1-2. The whole package is in pristine condition and comes housed in a Japan only designed gatefold jacket cover art!! First original Japanese pressing of 1969 (Polydor – Grammophon), three times as rare as the UK 1st pressing version. Great condition and the best Purple album in my book. Price: 550 Euro
419. DEEP PURPLE: “Book of Taliesyn” (Polydor Japan – SMP-1434) (Record: Near Mint/ Gatefold Jacket: Excellent ‾ Near Mint) Bloody are 1st original Japanese pressing. Comes housed in a Japan only released gatefold jacket. Never turns up on these shores, so here is the real deal in great condition, jacket only has some humidity stains, apart from that, all is as close to near Mint as a record can be. Price: 200 Euro
420. DEEP PURPLE with Royal Philharmonic Orchestra: “Live In Concert at the Royal Albert Hall” (TOSHIBA/ Warner Bros. – Seven Arts Records – BP-8962) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Mint/ Insert: Mint/ Very First Issue Obi: Mint). Super Purple slide and very rare very first Japanese pressing with first issue obi as released in June 1970. Just never surfaces with first issue obi. Amazing condition for both record, gatefold sleeve and of course the obi. Price: Offers!!!!
421. DEEP PURPLE with Royal Philharmonic Orchestra: “Live In Concert at the Royal Albert Hall” (Warner Japan – P-8093W) (Record: Near Mint/ Gatefold Jacket: Mint/ Company Inner sleeve: Mint/ Insert: Mint/ Rock Age Flower Obi: Mint). Super Purple slide. This copy here is the rare 1971 Japan issue that came with the salacious “Rock Age Flower Obi”, here intact and in mint condition. Only a very limited amount of copies came out with the flower obi, making it these days one of the hardest to track down “obi” series. That aside the music is also brilliant. When vocalist Ian Gillan and bassist Roger Glover joined the band, Deep Purple found a golden lineup, which released some legendary rock albums. Before the formation of this lineup, Jon Lord had written an orchestral album Concerto for Group and Orchestra, and the new lineup performed it in Royal Albert Hall in 1969 (with the Royal Philharmonic Orchestra, conducted by Malcolm Arnold). In addition to its pioneering feature, it is still one of the most influential and best albums in its kind. Just great and the whole package here is as mint as can be, I honestly believe there are no better copies around than this baby here. Price: 400 Euro
422. DEFIANT ONES: “Golden Hit Pops” (Victor – SWG-7151) (Record: Excellent/ Gatefold Jacket: Excellent, has a small rectangular catalogue seal near spine/ Attached Insert: Mint). Freakingly rare Japan only issue. Graded with 5 bloody stars in the Pokora book. So far the story on these guys is a bit shady to say the least but apparently these kids where on a tour of duty towards Vietnam. During a stopover in the Far East, they were stationed in Japan for a while at the Atsugi Naval Air force base. Apart from gearing up for war, they gigged around the local bar scene surrounding the base, which is where a talent shout of Victor Records noticed them and signed them up for an on the spot one off recording deal. As might be expected, The Defiant Ones brought forth a string of cover tunes, just like any well greased and oiled garage combo. The five-piece band (aged all between 19 and 22) recorded their usual live set during two sessions, respectively on April 27th and May 17th, 1969. Next to bringing forth the usual Beatles’ covers, they also launch into some wicked cheesy organ infested and wicked fuzz derailed covers such as “Hello, I Love You”, “You Keep Me Hanging On”, “Purple Haze”, “White Room” and the totally lysergic mind-twisted version of “Fire”. The whole album sounds gloriously primitive – like your typical one single only Mid West US garage sensation at that time, except that these dudes were allowed and lucky enough to cut a whole LP while being stationed in Japan. Snotty vocals pop up here and there filled with teenage angst and acne-infected unanswered love, cheap and paraplegic farfisa organ key action, derailed crude anthropoid fuzz riffage, embryonic bass throbbing and postnatal drum action. “Purple Haze” sounds nothing like the recount of an acid trip but instead is the sonic variant of getting high on cheap kerosene and downers, making it just an infectious listening experience, brimming over with almost barbarian simplistic fuzz action. Glorious. “You Keep Me Hanging On” is vibrating with a coital longing that sounds almost fetal in its teenage rendition. It just gives me the chills and I do get off on it, just marvelous. When the needle hits “Fire”, things get truly spastically insane, apoplectic and maniac in its execution as if facing the firing squat while being high on acid. Fuzz, Acid and Bullets (here swapped for that sneering felonious farfisa wailing organ). The vocalist goes AWOL here, the guitarist riffs through his membranes and the farfisa player is dodging mushrooms flying through his head. Primitively demented and caveman like it its performance, this is gold dust in sound here! When they charge into “Jumping Jack Flash”, the Uncle Sam-supplied amphetamine is finally kicking in and it shows, they are off the tracks now and aiming for the natives. These guys were just high on acne medicine and rocked it out, hoping to make it back alive from Vietnam if sent there and in the mean time dodge any bad bullet vibes by rocking out. They were after all the Defiant Ones…and they ride hard in my book. Total ace in a primitive, teenage snotty and nerdy psyched out kind of way. Highest recommendation if vintage teenage garage angst gets you off. It sure gets my rock off…Price: 500 Euro
423. DEIDRE: “S/T” (Philips – 6416.118) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent) Dutch original 1st press issue. Stunningly beautiful female vocal psychedelic folk from the Low Lands that sounds similar to the Trees and Sandy Denny era Fairport Convention. Bewitching electric leads, fragile late night touch, all the right elements to suck you right in. The band only recorded this one album. One of the nicest psychedelic folk outings to seep out of the Low Lands. Original 1st pressing with insert complete. Price: 175 Euro
424. DELANEY & BONNIE with ERIC CLAPTON: “On Tour” (Atlantic – MT-2031) (Record: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Attached Insert: Mint). Bloody rare 1st Japanese original pressing in immaculate condition complete with obi. 1st issues with obi just never ever surface. This copy here has all intact and present which is something of a small miracle. First mint and complete copy I see in my lifetime. Top condition. Price: 500 Euro
425. DELCLOO, CLAUDE & ARTHUR JONES: “Africanasia” (BYG Actuel Records – Actuel-6) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint). Original 1st French press issue in top condition and one of the highlights – albeit totally overlooked – on the excellent Actuel free jazz series. Africanasia, despite being co-billed to Jones and Delcloo, is not a sax-drums duo album. In fact, it’s more of an unofficial Art Ensemble of Chicago record than anything else—Joseph Jarman, Roscoe Mitchell and Malachi Favors all appear (the former two playing flutes, the latter log drum). The two side-long tracks are much gentler than one might expect; a simple flute melody is blown over and over, then delicately expanded upon by Jones, as Delcloo leads the rhythm section (which also includes Clifford Thornton on conga and Earl Freeman on gongs, bells and other percussion). At no point does it erupt into raucous free blowing; none of the other saxophonists (in addition to Mitchell and Jarman, Kenneth Terroade is also playing flute) ever picks up a man-sized horn to solo, or challenge Jones in any way. And his style here is very calm, even romantic; he rarely indulges in the hard-bitten shrieks that were the dominant saxophone language of the time and the place. He seems much more influenced by Charlie Parker than by Ornette or Jimmy Lyons; his lines are long and limber. Notes seem to slide, rather than leap, out of his horn. At about the 11-minute mark of the second track, he takes an unaccompanied solo that’s just lovely; there’s no other word for it. Then the rhythm section and the flutes come back in, and he murmurs some more gentle, introspective phrases over the band’s steady pulse until it all winds down. A classic!!!! Top copy. Price: 65 Euro
426. DEMIAN: “S/T” (ABC Records/ King Records Japan  – SR-685) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Mint). Bloody rare and hardly ever offered first original Japanese pressing from 1971 that comes housed in Japan ONLY jacket art. Signing Nick St. Nicholas of Steppenwolf as a manager, Bubble Puppy moved to Los Angeles. Their name was changed to Demian. The group signed to ABC-Dunhill Records and released one self-titled album in 1971, but its failure to perform on the charts led to financial difficulties with the label and, in 1972, the group split up. Unless you are a serious connoisseur of all things psych, being told that Demian’s first (and only) LP was actually Bubble Puppy’s second won't help you. Yet, this was not just a change of name, but also a serious change in direction. Bubble Puppy were pure psychedelia, while Demian were solid riff-driven hard rockers. Under that name, the group left only 33 minutes of music -- a very tight eight-song platter. The opener, "Face the Crowd," has a strong Atomic Rooster flavor (minus the organ -- this is a twin-guitar rock quartet), and the rest of the album also has shades of Savoy Brown, early Deep Purple, early Chicago, and American hard rock. The band wrote good songs ("Coming," "Windy City," "Are You with Me, Baby?") and had an efficient rhythm section, imaginative twin-guitar arrangements, and a powerful lead singer. The album was recorded at night at the famous Record Plant in live-in-the-studio mode, which gives the music a lot of soul but also a few wrong notes. With a slightly bigger budget, a good producer who could have smoothed out the rough edges, and record label support, Demian’s eponymous LP could have been something big, maybe as big as Grand Funk Railroad -- the songwriting and delivery are that good.” (All Music Guide). One of those major label one-off classics that are indispensable. Very rare Japanese original press that comes in Japan only jacket art. Price: 250 Euro
427. DEMON FUZZ: “Afreaka” (Dawn Japan – YS2488YD) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Insert: Mint/ Obi: Mint). Ultra rare first original Japanese pressing, this is the even rarer version complete with OBI and insert. Impossibly rare WHITE LABEL PROMO ISSUE. Never encountered a 1st Japanese pressing complete with OBI. Awesome hybrid LP that sounds like a cross-pollination test tube experiment that fuses the Latin rock of Santana with the funky progressions of Sly, slowing it down due to a mixture of barbiturates and laxatives but spiked up again with uncut crystal meth and a slice of sunshine acid and that's about where you'll find Demon Fuzz. But that is not all and there is more to the sonic swirl than meets the eye. Spice it up in some Osibisa, Meters, Funkadelic, very early Chicago, and rope it all in with a smidgen of early prog and psychedelic touches. The outcome is an amorphous blend of intoxicating and highly addictive trippy-delicious funky/ jazzy/ psychedelic/ afro-beat aesthetics brewing over into a mind-blowing, break beat-laden masterpiece. Deep, dark and groovy…Super clean copy, definitely one of the best copies I have ever seen and probably one of the best around. Bloody RARE Japanese pressing with OBI… copies with OBI intact are virtually inexistent. This one is just TOP. Price: Offers!!!!
428. DEREK AND THE DOMINOS: “Layla and Other Assorted Love Songs” (Polydor Japan – MP-9359/60) (2 LP Set: Mint/ Gatefold Jacket: Mint/ OBI: Mint/ Insert: Mint). First original Japan pressing with 1st issue obi present. Top copy, totally immaculate condition and getting quite rare with obi present. Price: 150 Euro
429. DEVIANTS: “Ptooff!” (Underground Impresarios – IMP-1) (Record: Excellent ~ Near Mint/ Poster Jacket: Near Mint). Much in demand original UK pressing that comes housed in a brain peeling psychedelic poster sleeve. Two years before Hawkwind burst on to the underground scene, the Deviants were preaching revolution and creating their own form of musical anarchy. “Ptooff!” was their debut album, released in 1967 and initially only available by mail order from the pages of the International Times. Resplendent in a lavish fold out sleeve, the record caused a sensation, one of the first truly independent British rock albums to be released. Ptooff! combined savage social commentary, overheated sexual lust, psychedelic jamming, blues riffs, and pretty acoustic ballads -- all in the space of seven songs. Mick Farren and his band mates were flying on speed while recording and created a sonic approximation of the rage and defiance behind the Freak Culture. The end result is brilliant, making it a true psychedelic punk record 10 years before punk actually came on the scene. Fragile poster and disc are in perfect nick but the record is not a hi-fi pressing as you might know. Bloody rare in such a nice condition as this copy here. Price: Offers!!!!
430. DEVIANTS: “Disposable” (Stable – SLP-7001) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original UK 1st pressing. Top condition copy, never seen a copy as clean and perfect as this one, both record and gatefold jacket are perfect. Awesome copy, hard to upgrade on this one. Legendary psychedelic underground biker acid anarcho rock. Deviants with Mick Farren just kicked ass. One of the best LP’s the seep out of that UK underground scene at that time. Original 1968 pressing that is perfect all way round. Next to impossible to upgrade upon this one, which is no small feat for a deviants slide. NEAR MINT TOP COPY!!!! Price: 350 Euro
431. DEVIANTS: “S/T” (Transatlantic – TRA-204) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint ~ Mint/ Booklet: Near Mint ~ Mint). Absolutely prefect copy in perfect condition. 3rd and last Deviants record, this one comes complete with the always-missing booklet. 1st original UK pressing in NM ~ M condition. It’s usually a bad sign when a band releases successive LPs on different labels, but in The Deviants’ case, signing to Transatlantic for their third LP resulted in their most economic and punchy work. With new guitarist Paul ‘Blackie’ Rudolph aboard (bringing a distinctively jagged and aggressive guitar style with him from Vancouver, despite having a withered right arm from childhood polio), the band entered its most musically coherent phase. Mick Farren has remarked of the album: “I was convinced in my gut that it sucked. It was the first one created by committee rather than the dictatorship of my personal megalomania,” adding that “I had one idea and the rest of them wanted to be a kind of Led Zeppelin guitar band.” Nonetheless, it’s the concise tracks in the latter style that stand up best today. Produced with admirable crispness by Farren, the album certainly isn’t free of the self-indulgence that marred its predecessors, but it contains some ace proto-punk, most notably the vicious Broken Biscuits, twitchy Billy The Monster and lean First Line (whose new-wave sound is a good decade ahead of its time). As Farren told Melody Maker at the time: “We’re not interested in dexterity, or this big technical thing represented by people like King Crimson. That’s so sterile. The function of rock and roll is to get out and have a good time, not to stand in groups marveling at the guitarist’s technique.” the tiny booklet that accompanied its UK release (in September 1969) has become intensely desirable, pushing the price of complete copies ever higher.” (Galactic Ramble). And ramble it is indeed. That aside, the record is total killer, top copy, 1st UK pressing housed in laminated cover with booklet. The Deviants ruled my world and still do, all of their 3 albums. But sadly enough, this 3rd one with booklet is getting damned rare and hard to get. So you either roll the dice and play or get immersed in this notorious Ladbroke Gove LSD & Crystal Meth soaked bunch of social delinquents. Brutal killer LP nevertheless and all complete + in top condition which is getting near to impossible for this LP with the booklet present so it has to go for…Price: Offers!!!
432. DEWEY REDMAN: “Tarik” (BYG Records – actuel 36/ BYG-36) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Rare Japanese original pressing of one of the hardest to track down BYG/ Actuel titles. This is tenor saxophonist Redman’s second recording as a leader cut for the French Byg label. He has long been one of the most accessible of the avant-garde players due to his large tone, his willingness to swing hard, and his logical if emotional ideas. At the time of this album, he was working regularly with Ornette Coleman and the altoist's free-bop approach definitely had a permanent influence on Redman. Joined by bassist AEOC Malachi Favors and the colorful drummer Ed Blackwell, Redman mostly cooks on five originals; in addition, he plays his atmospheric and often droning musette on the title track. Damned fine record. The pressing quality and sound is so far much better as opposed to the French issue. Price: 60 Euro
433. DHOMONT, FRANCIS: “Sous Le Regard d’Un Soleil Noir” (INA GRM – 9109 dh) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint). Original 1981 French original pressing on cult label. Creative in the possibilities of sound recording, French-born composer Francis Dhomont put together the material on this album between 1979 and 1981. He is both a scholar and innovator of that field of recording experimentation called "electro acoustic composition" across the Atlantic. These eight pieces become episodic as periods of French spoken word, sweeping electronic sounds, and musical instrumentation alternate in subtextually related segments. These transforming works of tape manipulation are shape-shifting phantoms of sonic ectoplasm. Amorphous and unpredictable, they become philosophical mantras, as in the repeating "I'm an individual" of "Le Moi Divise (The Divided Self)," framed in linear, unexpected aural pathways. The titles translates as "Under the Glare of a Black Sun" and in Dhomont’s surreal "acousmatic" world common themes as a monologue (here, the reading in French of psychiatrist R.D. Laing) and a murmuring crowd take on strange and wondrous implications when treated and placed in succession. A single recurring note (B natural) serves to bind each piece to its predecessor. If reality is only perceptions, then a change in these perceptions can alter reality. Through mesmerizing repetition contrasted with jarring polyphony, Dhomont artfully serves to make the common and real uncommon and unreal. The album becomes an intrapersonal voyage. Follow along the provided English translations and take a Conrad-ean journey into the peculiar, dark universe at the heart of each human being.” (All Music). Spot on, and one of the tougher titles to dig up on the INAGRM label. This LP became a classic of the genre and a source of inspiration for many sound artists. Price: 75 Euro
434. DIAMANDA GALAS: “”S/T” (Metalanguage – ML-119) (Record: Near Mint/ Jacket: Mint, still in shrink) Original 1984 1st press issue. Her album, Diamanda Galas on Metalanguage Records, offers only two of her works, “Tragouthia Apo To Aima Exoun Fonos (Song from the Blood of those Murdered)” and “Panopitikon,” but it is enough to make you overdose on sensation. This is the type of record that should be played at high volume, in total darkness, on a rainy night. The second the needle touches the vinyl, it unleashes a legion of sounds from all directions, as powerful as a punch to the solar plexus, or a blast of electric current to the temples. Diamanda sounds like a diva possessed and ready to wreak havoc on her unsuspecting audience. Price: 100 Euro
435. DIAMANDA GALAS: “Faust Eros Tod” (Private) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). 300 copies limited edition Diamanda Galas live recording and to these ears the best Galas recording out there, if only for the inclusion of the devastating version of “Les Litanies des Satan” and the violent fit of madness that becomes apparent on “Hymne a la Beauté”. Deep subterranean and ravaging vocal performance that brings out a maniac fury leaping into apocalyptic waves of sound. The whole was taken from a live concert that took place probably around 1982. Just massive and together with “Metalangue” and “Litanies of Satan” the best Diamanda Galas recording out there. Her work is best summed up adequately by some guy from the Living Theatre who said to her, "You're work is really, uh...the only place you could tour that shit is in mental institutions. They can't leave, they're on Thorazine, they'd probably get a hell of a kick out of it. Not only that, you might wanna stay there for awhile"... Diamanda responded "Fuck you" and started doing it. And this is exactly how this beauty sounds like, filled with cries of rage and anguish that descends like a swarm of wild bees. Sheer beauty!! Price: 100 Euro
436. DIANA ROSS AND THE SUPREMES: “Love Child” (Victor/ Tamla Motown – SJET-8111) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ SJET Obi: Near Mint). By 1968, the group not only lost member Florence Ballard, but also Holland-Dozier-Holland who had written and produced all of their big singles. Cindy Birdsong joins Mary Wilson and Ross for this 1968 effort and the group name was officially changed. Although it's always fun to hear Ross and the Supremes, the most interesting thing about this effort is its production. With a lack of consistently great songs, Love Child had to rely on hooks, choruses, and production values rather than magical songs. The well-produced and controversial title track proved how good Ross is with melodrama. "How Long Has That Evening Train Been Gone" has a great bassline from James Jamerson and Ross oddly having a lot of fun with her supposedly dire romantic prospects. The warm cover of Bobby Taylor and the Vancouvers classic "Does Your Mamma Know About Me" sticks close to the original with good results. Ashford and Simpson offer two of their early tracks, the album's first single "Some Things You Never Get Used To," and the graceful "You Ain't Livin' Until You're Lovin'." For the most part, Love Child’s tracks seem to run together but this offers the late-'60s Motown sound without gimmicks and is more than recommended.” (Jason Elias – AMG). Rare 1968 Japan 1st original pressing in top condition & all complete with very first obi. Just amazing!!! Price: 100 Euro
437. DIETER ROTH & KARL ROTH KARLSSON: “Islenskra Fjalla” (Dieter Roth’s Familienverlag A-2240) (Record: Near Mint/ Silk Screen Jacket: Near Mint). Brutally rare 1975 first original pressing that came out as a numbered edition of only 200 copies, this one being 108/ 200. This copy is hand signed by Dieter Roth and Karl Roth Karlsson respectively. Beautifully designed LP by Roth, signed and numbered. Music wise this LP is a real stunner and is the complete opposite from his sonic excursions with Nitsch and the Selten Gehorte Musik outings. On this one Roth sound so fragile and delicate you could almost mistake him for a US private press loner/ acid folk practitioner. In a way the music breathes out a similar aesthetic and the time frame is also spot on, being 1975. Only accompanied by a asymmetric acoustic guitar strummings and some background mumblings, Roth sings in a highly addictive voice, meandering over a string of melodies and ideas without ever coming over as disjointed but instead displays a deep artistic vision of where he wants to take his delicate cosmic phrasings. Although mainly renowned in art circles of Fluxus and Vienna Actionist aficionados, Roth’s musical vision on this LP could so easily drip over into the acid folk and psych collecting world and stun people with the lysergic beauty he evokes. So much better than 75% of the whole US folk/ acid folk output, Roth surpasses most of them and makes him to these ears the pinnacle of weird outsider/ acid folk excursions. Totally beautiful, brutally honest and spiked with an artistic vision not many are blessed with; this album nailed me to the ground and had me flabbergasted for days. Totally awesome!!! Price: 550 Euro
438. DIETER ROTH & ARNULF RAINER: “Ratio – Konoitio” (Dieter Roth’s Verlag -/ Lebeer – Hossmann – RR-17379) (EP Record: Mint/ Picture Sleeve: Mint). Original 1979 gallery Edition private press. Another Dieter Roth oddity and privately issued gallery edition that sees him teaming up with Rainer as they both fool around and jabbering away in their studio. Roth is unmistakably the most interesting artist to emerge out of the whole Fluxus and Wiener Actionist scene. Throughout his career, he worked with obsessive energy, his prolific output comprising installation, sculpture, drawing, video, assemblages, records and books. A highly influential figure to artists both of his generation and ones which followed, much of Roth’s work can be seen as a diary of sorts – a record of his relentless and impassioned engagement with life. Dieter Roth’s work enacts clutter, chaos, and accumulation. To clutter is to fill with things or noise, is to crowd out thought or space. To clutter is to drown one’s self out, to turn the dial of the mind off. Like drinking alcohol or taking opiates, to clutter, to collect compulsively, is an overture to melancholia. To clutter is to collect, to archive, is to resist. And this little gem fits perfectly into that philosophy and depicting a moment in the life of a great mind. Beautiful designed picture sleeve. All of Roth’s output is getting insanely rare and this is no exception but is still on the cheap side. So… Price: 150 Euro
439. DION: “Abraham, Martin And John” (London/ King Records – SLC-247) (Record: Near Mint/ Jacket: Excellent/ OBI: VG++) rare Japanese pressing of this Dion LP following his heroin addiction. Obi never turns up. Stellar come back album by Dion after shaking of the craving heroin monkey that was clutching to his spine. “Newly drug-free and returning to the label that released his earliest hits, Dion moved to Florida and recorded this meditative set in less than a week. Featuring gut-string guitar-based performances of ‘The Dolphins’, ‘Tomorrow Is A long Time’ and the aching ‘Abraham, Martin and John’, it might have benefited from a few more originals – but then we might have missed out on his transformative reading of ‘Purple Haze’. It’s a gentle, reflective LP but Dion’s voice has an authority and assurance that gives the songs remarkable depth. It’s the voice of a singer set free, and the sound he was to follow throughout his four LPs as a singer-songwriter for Warner Brothers in the early 1970s” (HW – Endless Trip). Amazing Dion slide, totally removed of all crooner sticks and breathing out depth and solitude. Killer. Never seen before Japanese pressing with obi. Price: 75 Euro
440. DISSEVELT, TOM & KID BALTAN: “Electronic Music” (Philips – 430.791.PE) (7 Inch EP Record: Near Mint/ Hard Cover Picture Sleeve: Near Mint). Freakingly obscure and rare 1962 electronic music release by these two Duct pioneers, being Dissevelt and Dick Raaijmakers (aka Kid Baltan), original DUTCH MONO pressing with record center intact. A total classic recorded in 1959 and one of the cornerstone releases of the Dutch electronic music and tape-splicing scene. Monumental and in top condition. Rare as hell freezing over on a hot summer’s day. TOP CONDITION. Price: 150 Euro
441. DISSEVELT, TOM & KID BALTAN: “Electronic Movements” (Philips – 430.736.PE) (7 Inch EP Record: Near Mint/ Hard Cover Picture Sleeve: Near Mint). Freakingly obscure and rare 1962 electronic music release by these two Duct pioneers, being Dissevelt and Dick Raaijmakers (aka Kid Baltan), original DUTCH pressing with record center intact. “Everybody knows the Dutch company Philips for their pioneering, quality electronic products. Their distinctive shield logo a guarantee of the functionality and good looks of their radios and toasters. In parallel their Phonograph division has a proud history of developing the talents of electronic music innovators from Pierre Henry to Kraftwerk, and beyond. Tom Dissevelt and Kid Baltan are home-grown talents who somehow got forgotten along the way. Dissevelt was a composer and conductor, the Kid a circuit board whiz. And in 1959 they got together and cooked up a record of Electronic Movements. A more sophisticated but still gritty approximation of what the Silver Apples would be doodling with five years later, minus the pseudo-mystical flim-flam. ‘Vibrations’ is the killer cut. as described in the sleeve notes it ‘begins with an accompaniment which mingles elements of a steam laundry with those of a science laboratory given over to destructive experiments with acids. This presently dissolves into twanging sounds, as of taut wires being cut, and into gurgling sounds, as of bottles being emptied.’ And that’s not the half ot it. It’s really impressive how these mini-orchestral works are built up and arranged. The endings to all the pieces are particularly intricate and well-developed where lesser talents would have exited with a simple repeat and fade.” (Marc Baines – Sound Projector). A total classic recorded in 1959 and one of the cornerstone releases of the Dutch electronic music and tape-splicing scene. Monumental and in top condition. Rare as hell freezing over on a hot summer’s day. Price: 150 Euro
442. DNA: “You & You b/w Little Ants” (Medical Records – 11-CAN-234) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Original 1978 US pressing. DNA burst onto NYC's underground scene in the late '70s and recorded their lone single at Ultima Sound (the same studio where Suicide made their first album) in May 1978 just weeks prior to the pivotal No New York sessions with Brian Eno. Featuring the original lineup of Arto Lindsay (vocals/guitar), Robin Crutchfield (keyboards) and Ikue Mori (drums), You & You is DNA’s indelible debut that perfectly captures the anti-movement of No Wave: clearly defined and purposely oblique with traditional rock instrumentation completely destroying rock 'n' roll in two minutes or less. Price: 120 Euro
443. DNA: “A Taste of DNA” (American Clave – 1003EP) (Record: Near Mint/ Jacket: Near Mint). First original US pressing of this all time classic. Released in June 1981, this disc is one of those classic recordings everyone should at least own 5 copies of. It is just that an important recording. Five “songs” lasting only nine minutes in which Arto Lindsay, who refuses to corrupt his talent by learning chords, beats his guitar about the neck and body while yelping and ululating and just plain screaming the incomprehensible urban blues. Lester Bangs calls it horrible noise, but I would like to call it a NY bohemian chaos-sludge-punk-psych fest that defined all rules and conventions. Ikue Mori's post-ceremonial drums and Tim Wright's post-Ubu bass perfectly blend into Arto Lindsay’s anarchic art-noise zoned out shronk and strangled vocals approach. Stuff of legends and oh so bloody great. Killer with absolutely no filler, the best post-apocalyptic nine minutes of weirdness you will ever be exposed to. Price: 65 Euro
444. DOCK BOGGS: “S/T” (Folkways – FA-2351) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). First original pressing. Dock Boggs recorded only 12 songs in the 1920s, but his raw, powerful singing and distinctive banjo-playing caused Harry Smith to include him in his Anthology of American Folk Music and Mike Seeger to search for him in the hills of Kentucky in 1963. Banjo player Dock Boggs once said, "Lonesome songs always appealed to me." This collection features classic dark and lonely songs like "Pretty Polly" and "Oh Death." Price: 75 Euro
445. DOCKSTADER, TOD: “Eight Electronic Pieces” (Folkways Records – FM-3434) (Record: Near Mint/ Jacket: Mint – still in shrink/ Booklet: Mint). Top copy. Seminal electronic music classic recording that was originally released on the Folkways label. Eight Electronic Piecessounds like some abstract symphony; wistful bleeping, zigging and zagging, oozing in and out of focus, organic static buzzing and whirling that at times swells up like sonic tornado heading your way, filled with hair-raising static interference, well controlled but nevertheless thunderous outbursts of white noise that never fails to amaze the listener due to its wistful and un-academic playful approach. One of the best examples of old-skool electronic music, recorded in 1961. Killer stuff. Price: 150 Euro
446. DOLPHY, ERIC: “Out To Lunch” (Blue Note – BST-84163) (Record: Mint/ Jacket: Excellent ~ Near Mint/ Obi: Mint/ Insert: 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!!! Also includes deluxe packaging, with a reproduction of the classic Blue Note inner sleeve from 1964, as well as the insert. Recorded in stereo for Blue Note in February 1964. With Freddie Hubbard, Bobby Hutcherson, Richard Davis, Tony Williams. Top condition. Price: 75 Euro
447. DOLPHY, ERIC: “Last Date” (Mercury / Nippon Phonogram – SMX-7009) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Obi: Near Mint). Bloody rare 1st original Japanese press issue complete with obi and comes housed in heavy JAPAN ONLY gatefold sleeve. 1st time EVER I have a copy of this 1st press issue with obi, this is seriously rare. TOP condition. On June 2, 1964, Eric Dolphy played bass clarinet, alto saxophone and flute with a trio of Dutch musicians for a Netherlands radio show called "Jazz Magazine." Most of the time, the show's sessions were broadcast live and were not recorded; Dolphy's set was taped because he was leaving before the day of the show. It was fortuitous. On June 29 he died in Berlin after collapsing onstage; the doctors assumed that the black American jazz musician was on drugs. But Dolphy had slipped into a diabetic coma, and without treatment he never regained consciousness. The Dutch recordings became his album "Last Date." The all-Dutch rhythm section features renowned drummer Han Bennink, the closest living personification of the Muppet's Animal. For someone who later worked with Peter Brötzmann and Derek Bailey, Bennink really sits back on this one. Still, the whole of the recording is astonishing and breathes out an intimate improvisatory feeling, delicate yet brimming over with poetic and shamanistic beauty that keeps you on the edge throughout the session. One of the most beautiful jazz records ever to put down on wax. This is the ultra rare Japanese 1st pressing complete with 1st issue obi. Never seen before, this copy is pristine as can be. Top all the way and seriously rare. Price: 250 Euro
448. DOLPHY, ERIC: “Last Recordings” (DIW – DIW-25020) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint). Released way back in 1988 in an edition of only 500 copies and housed in a gorgeous foldout jacket, this was a Japan only release of Eric Dolphy’s last live appearance at Paris on June 11, 1964. He got assisted by Donald Byrd (trumpet), Nathan Davis (Tenor sax), Jacques Dieval (piano), Jacques B. Hess (bass), Franco Manzecchi (drums) and Jacky Bambou (congas). Utterly lyrical and moving pieces that include “Springtime” (over 19 minutes!!), “245”, “G.W.” and “Serene”. This disc was released on CD by DIW in Japan only got an ultra limited vinyl issue of it at the time that sounds absolutely stellar. Just beautiful and housed in a high quality gatefold cover. This item is in top-notch condition, as new, and mint all the way. Hardly turns up anymore and one of the finest Dolphy recordings out there. Price: 70 Euro
449. DON RENDELL & IAN CARR: “Live” (Columbia – SX-6316) (Record: Excellent ~ Near Mint – has only a very few barely visible under bright light paper sleeve lines that do Not sound/ Flip Back laminated Jacket: Excellent ~ Near Mint). Very clean TOP copy, UK first original pressing from 1969 as released on the highly acclaimed Columbia UK Lansdowne Series. The line up consists out of: Ian Carr (trumpet, flugelhorn), Don Rendell (tenor sax, soprano sax, clarinet, flute), Michael Garrick (piano), Dave Green (bass) and Trevor Tomkins (drums). It’s a live recording but not in the usual sense of a public concert. Rather, it was a studio session in which the band played and recorded live in the presence of a small (40 or so) invited audience of friends. It made for a special atmosphere that combined the relaxed nature of being in familiar company with the party spirit as refreshment flowed freely. For a live one take recording this LP showcases the naked talent of the Quintet. The sleeve notes (Written by Carr go to great lengths describing the atmosphere of Lansdowne studios for the Live gig / recording… “A group of lovely girls with big smiles and twinkling legs had already begun to converge on our drummer…” For me the twinkling legged girls look best in my mind when I listen to ‘Pavanne’ a Tompkins / Carr modal composition that has a faint trace of an African vibe (Particularly in the opening sequence). Hard to find in better condition than this baby here. Price: 350 Euro
450. DON RENDELL & IAN CARR QUINTET: “Changes” (Columbia – SCX-6368) (Record: Near Mint – has one inaudible hairline on side B/ Jacket: Near Mint). Original 1969 UK pressing on the black Columbia label. “Change Is, is the final album by the Don Rendell/ Ian Carr quintet, a small Brit jazz group that took the country by storm and was well received in Europe and in limited circles in the United States. The band developed a unique sound that came out of hard bop and moved through many different phases, developing a unique musical language before they reached the mountaintop of creative expression with this final album. Trumpeter Ian Carr of course went on to form Nucleus and enjoyed continued high-profile success. Saxophonist Rendell took a lower key approach but continues to contribute to the growth of British jazz with numerous projects as a leader and as a sideman. Other players here include pianist and composer Michael Garrick, drummer Trevor Tomkins, and bassist Dave Green. Guests on this set include African percussionist Guy Warren, saxophonist Stan Robinson, bassist Jeff Clyne, and pianist Mike Pyne. The six selections on Change Is run the gamut. The album opens with "Elastic Dreams," featuring all manner of Warren’s percussive imagination. Green bows his bass as Clyne plucks his, and the band enters slowly, following both mode and melody by coloring phrases before breaking into a low-key, swinging, funky kind of Eastern blues before the bassists enter into a bit of contrapuntal duet soloing. This is followed by a swaggering, straight-ahead hard bop in "One Green Eye." Then there's the deep blues experimental groove of "Boy, Dog And Carrot" with Garrick playing harpsichord. "Cold Mountain," with its nod to Eastern blues and harmonics is sparely textured and delicately played, and, the classically tinged post-bop of "Black Hair," is an eye-opener before the set closes with the nocturnal grace of "Mirage." This was a send-off that must have had British jazz fans being simultaneously delighted and in mourning for the passage of an era. It still sounds fresh, brave and innovative in the 21st century.” (All Music). First original UK pressing in awesome condition, killer album. Price: 400 Euro

451. DONOVAN: “Barabajagal” CBS SONY – SONP-50169) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Original Japan 1st original pressing as released on January 1970. Top copy. Rarely surfaces with cap obi present. “Donovan was in a tremendously creative phase during the latter part of 1968, owing to both a tour of the United States (which yielded a live album) and the chemical and social stimulation of his surroundings. Amid all of that activity and his subsequent recordings, his European performances, and the slightly late catch-up of his British career to his American success, Donovan’s work blossomed in several different directions on the resulting album, Barabajagal. He still sounded like a folkie, but on the title track as well as "Superlungs My Supergirl," he was backed by the Jeff Beck Group and an outfit that included Big Jim Sullivan and John Paul Jones respectively. With Barabajagal, Donovan intermingled soft, lyrical, spaced-out folk, hard psychedelia, children's songs, anthems to free love (along with a lusty appreciation of the fairer sex that runs throughout the album), and even antiwar sentiments ("To Susan on the West Coast Waiting"). The result was the most challenging album then issued by Donovan, but also one of his most successful, with album sales driven by the presence of the U.S. hit "Atlantis.” (All Music Guide). Rare original 1st Japanese pressing complete with lovely obi. Price: 150 Euro

452. The DOORS: “S/T” (Elektra – EKS-74007) (Record: Excellent ~ Near Mint/ Fully Laminated Jacket: Excellent ~ Near Mint) Damned rare 1st UK original pressing on the orange Elektra imprint, TOP copy of their awesome debut from 1967. Price: 100 Euro
453. DOORS: “Strange Days – Maboroshi No Sekai” (Elektra – SJET-8017) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Rarest Doors release to seep out of Japan is their 2nd LP released in February 1968. The green Victor World Group SJET obi’s are seriously rare and the 2 first Doors releases rank amongst the rarest on the label as copies with obi just never seem to turn up. Comes on the “blue” colored Elektra guitar player logo label. First time ever I see such a pristine copy of this one. Damned rare so hit me up with your best shot. Price: Offers!!!
454. The DOORS: “Waiting for the Sun” (Elektra/ Nippon Victor – SJET-8075) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 2-paged Insert: Near Mint/ OBI: MINT/ Cardboard Insert: Mint). First original Japanese pressing from 1971. Comes all-complete with NEVER SEEN before 19 cm ~ 24 cm cardboard insert that has great publicity shot of the band!!! JAPAN ONLY always-missing stock card insert!!!! Impossibly rare with obi and the card insert when all is in NM condition. Comes with different inner gatefold design than the US pressing. First Japanese pressings do never surface here anymore, especially not in such a top notch almost like new condition as this baby here. Totally no defects. Music wise, I guess you know the deal. Third Doors album, killer tunes abound, swirling key riffage and Morrison is at his all time best. Deliriously great stuff. Rare pressing, essential in every self respected collection of cool soundz. Copies with immaculate obi present have virtually completely disappeared from the face of the earth, making it a truly endangered species. Price: 350 Euro
455. DOORS: “Morrison Hotel” (Victor Records/ Electra – SJET-8218) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Hopelessly rare Japan 1st original pressing from May, 1970. Complete with booklet and totally rare 1st issue OBI!!! Comes on the blue Elektra Guitar Player label. Top condition and superior sound & pressing. First time ever I could lay my hands on a copy with obi. Seriously scarce on these shores. TOP COPY!! Price: 450 Euro
456. DOORS: “The Soft Parade” (Victor Records/ Elektra – SJET-8161) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Jacket Sized Die-Cut Wrap Around slip case Obi: Mint/ Insert: Mint). Top copy, perfect all the way of Freakingly rare Japanese 1st press issue of this Doors album. Released on Victor’s “World New Rock Series” in 1969, complete with LP-sized die-cut wrap-around obi, all these babies in the series are very high in demand and just never surface. The rarest in the series is the MC5 and Zappa’s “Uncle Meat” with the Doors following in close succession. I haven’t seen a copy in well over 6 years especially in such a perfect condition as this one. Unbelievably clean with absolutely no defects on the fragile die-cut wrap-around obi, the whole package just looks like new. First time ever I can offer a spare in such a perfect condition so don’t sleep on it. Music needs no introduction I guess. Essential Japanese issue on Victor’s blue toned Elektra imprint. Impossible to ever upgrade upon. Best copy possible. Price: Offers!!!!
457. DOORS: “L.A. Woman” (Victor Records/ Electra – SWG-7513) (cord: Excellent 〜 Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1st Japanese pressing from 1970 complete with rare “Now” shaped obi. Comes on the blue Elektra Guitar Player label. Top condition and superior sound & pressing. First time ever I could lay my hands on a copy with obi. Seriously scarce on these shores. TOP COPY!! Price: 300 Euro
458. DOORS: “Absolutely Live” (Elektra/ Victor Japan – SJET-8274~5) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Excellent). First original Japanese pressing complete with elusive obi and insert. Top condition item. Price: 300 Euro

459. The DOORS: “GOLDEN ALBUM” (Electra – SWG-7124) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ Mint/Attached Photo booklet: Near Mint/ 8-Paged Insert Picture Booklet). Top copy, completely virginal and a Japan ONLY issue. Best copy I have ever seen all complete with the RARE Obi and this one comes also with an 8-paged Japan only Elektra Records booklet on the Doors complete with a load of pictures. Never encountered this booklet before. Japan only release best album that comes with an attached photo booklet containing rarely seen shots of band and Jim Morrison. Record was released on the deep blue Electra label with the guitar player logo that has the inscription “Outstanding High Fidelity Recording” printed on top of it. Record contains in total 12 tracks, all killer tunes. Rare album, only released in Japan, totally different cover art. Hard to come by these days even here in the land of the rising noise, especially with OBI and additional 8 pages Elektra Records Doors pamphlet present. Price: 300 Euro

460. The DOORS: “American Prayer” (Elektra – P-6417E) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ (-Paged Illustrated Booklet: Near Mint). Japan 1st original pressing complete with first issue obi in great condition. Price: 75 Euro

461. DOORS: “Riders on the Storm b/w Changeling” (Elektra – JET-2070) (Record: Mint/ Picture Sleeve: Mint). Japan only picture sleeve release of this rare Doors artifact. Just mint condition, they do not come any better than this copy here and of course first original press with single center intact. Comes with rarely seen Japan only picture sleeve. Top condition. Price: 75 Euro
462. DOYLE, ARTHUR PLUS 4: “Alabama Feeling” (AK-BA Records – AK-1030) (Record: Near Mint/ Jacket: Mint). TOP COPY!!! The Holy Grail of the free jazz pantheon, this one being a fantastic copy. Released in 1978 on Charles Tyler private Ak-Ba Records imprint, “Alabama Feeling” is an intense ride from beginning to end, a mind-boggling debut that still sounds as vigorous today as it was nearly 35 years ago. Doyle, along with musicians Richard Williams (bass), Rashied Sinan (drums), Bruce Moore (Drums), and Charles Stephens (trombone), gathered for what may still be one of the most grueling jazz performances ever. His over-the-top abrasive squawking, paired with the dual drummers and bass, is simply ear-shatteringly beautiful as well as a right-in-yer-face sonic attack that will obliterate all the preconceived conceptions you might behold of what free jazz was and is supposed to be. This is hardcore stuff. Doyle has made an art form out of lo-fi free jazz recordings, as well as serving up a unique style of sax playing: the cat can sound like he's playing multiple reeds with just one instrument, and views the various instruments he plays (tenor sax, bass clarinet, and flute on this album) as an extension of the human voice. His approach to the instrument is unique and sounds like no one else out there. Discovering the extraordinarily gritty sound produced by singing and blowing into the horn at the same time, Doyle was soon in demand as a free player, sitting in with Sun Ra's Arkestra at Slug's Saloon on several occasions, and joining saxophonist Noah Howard on the mythic 1969 Black Ark album. In the early 70s he played with Bill Dixon, Sam Rivers, Andrew Cyrille and Dave Burrell, and recorded Babi live with Hugh Glover and Milford Graves in 1976. A beast of a disc that will have you gasping for air every time you spin this one because it simple sucks all of the oxygen right of the room when he starts raping his horn to pieces. One of the rarest and all-time greatest free jazz recordings out there. Getting next-to-impossible to locate a decent copy. TOP CONDITION. Massive!! Price: Offers!!!!
463. DR. JOHN THE NIGHT TRIPPER: “Gris-Gris” (Atco – 33-234) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Rare original US pressing. This is the rare MONO PROMO copy. Has promo copy stamp on label and Promotional sticker on cover. “Authentically creepy and hypnotic bayou voodoo music from New Orleans, which conjures up images of semi-naked slave girls sacrificing hens and drinking their blood. The good Doctor’s haunting spoken vox on ‘Gris-Gris Gumbo Ya-Ya’ are backed by demonic female gospel incantations, while ‘Danse Kalinda Ba-Doom’ doesn’t feature the great man’s voice at all, leaving the gospel voices to weave their spell. ‘Mama Roux’ is wickedly funky, finding the Doctor in an especially louche mood, the trance-inducing ‘Danse Rambeaux’ encourages zombies to rise from the vinyl, and ‘Jump Sturdy’ is catchy and jazzy. The LP closes on an atmospheric high with the oft-covered but never-bettered ‘Walk On Gilded Splinters’. It’s an acquired taste, and probably not best played when left alone on the plantation.” (GH – Endless Trip)
Original 1st US press rare promo & MONO copy. Price: 250 Euro
464. DR .STRANGELY STRANGE: “Kip of the Serenes” (Island – ILPS-9106) (Record: Near Mint/ Jacket: Excellent, some faint ring wear). Original 1st pressing, pink Island “Eye” logo label. Ireland's answer to the Incredible String Band, Dr. Strangely Strange engaged I a similar type of psychedelic acoustic folk music but enriched it with a more experimental and weird angle. Traditional instruments like penny whistle, fiddle, harmonium, and mandolin swirl in and out of focus against Dr. Strangely Strange’s oddball lyrics, making it one of the most idiosyncratic and highly original UK folk units. Produced by British modern folk guru Joe Boyd, Kip of the Serenes is built around simple and repetitious melodies occasionally interrupted by stream-of-consciousness musical and lyrical diversions. Just killer. Top original copy. Price: 250 Euro
465. DR. STRANGELY STRANGE: “Heavy Petting” (Vertigo – 6360-009 with stamped matrix 6360009 2y//1 11) (Record: Near Mint/ Gimmick Gatefold Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). TOP COPY – next to impossible to upgrade upon! Original UK Vertigo swirl press, 1970. The whole affair comes housed in an unique fold-out die-cut picture sleeve with lyrics has nice lamination intact and gimmick folding open cover is also completely unblemished, which is rare for this record. Formed by a group of students active on the fringes of Dublin's rock and folk club circuit during the latter part of the 60s, Dr. Strangely Strange were mainly influenced by The Incredible String Band. By 1968 the troupe’s unique but slightly chaotic style had attracted some attention of a couple of record companies but through Robin Williamson’s recommendation they hooked up with producer Joe Boyd. After that the group made a trip to London and recorded their 1st album “Kip Of The Serenes”. The release was followed by a hectic two-year touring schedule before releasing in1970 their second album on Polygram’s new progressive label Vertigo. “Heavy Petting” was met with favorable reviews and the band continued to gig in support of the new album. Nevertheless all good things happening to the band, they were heading towards voluntary disintegration and consequently played their last gig on 16 May 1971 at the Theatre Royal, sharing the bill with Al Stewart. Their music moves like a butterfly with a broken wing. Relaxed but also unpredictable in approach, the band rarely seems to touch down for a long period, always just brief spasms in time without ever touching down in the same mode that is supposed to last for the length of an entire song. Some of the tracks on the album start of as simple folk lullabies but soon spiral into acidic electric bluesy guitar eruptions that has little to do with what went before. Childlike in its innocence, yet utterly deranged in its execution, “Heavy Petting” seems bound to touch down on various possible flavors without blueprinted characteristics. Keeping this jump start approach in mind it is quite astonishing to see that the whole of the album glues together so remarkably well, making it an instant acid folk classic gem, a cornerstone in the recently often name-dropped and picked clean folk pantheon. That all combined with the ever shining Joe Boyd’s production make this disc as pristine as can be, a true masterpiece. Killer tunes from start to finish with absolutely no filler. TOP copy, very hard to find a better one like this one here. Jacket and record are both near perfect – if not perfect all the way!!! Price: Offers!!!
466. DRAKE, NICK: “Bryter Later” (Island Records/ Universal Japan – UIJV-9031) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Limited Japanese high quality vinyl edition on 200-gram audiophile wax that came out in a limited run in 2007. Very limited and totally identical to the original Japan only issue, jacket manufacturing and labels are identical to the UK original press, making this the perfect high quality Nick Drake issue from Japan. Sold out at the time of its release in a flash. Even label art is identical. Island Pink Rim label, just the same as the 1st issue. Record and jacket are virginal. Top condition. Drake’s second album recorded in 1970 creating a slice of essential fragile folk. Price: 75 Euro
467. DREAMIES: “Dreamies Stone Theatre – Auralgraphic Entertainment” (Stone Theatre – DM-68481) (Record: Near Mint/ Jacket: Near Mint/ Insert Card: Mint). Original 1973 pressing, complete with always missing insert card. Totally stoned and wacked out folk-psychedelic cum record out of 1973. Living and working in Wilmington, Delaware as a state employee, Bill Holt was a closet musician. In the early 1970s he bought an ovation acoustic guitar, a moog sonic six synthesizer and some recording equipment. Quitting his job he spent two years learning how to play the instruments while recording what was to become “auralgraphic entertainment” in his home ‘studio’. A true one-man show, Holt`s two sidelong pieces clocked in at over 50 minutes and made for an amazing concept piece. One of those albums that should be heard on either a high end stereo or through a good pair of headphones, `program ten` and `program eleven` mixed attractive singer/songwriter fair with an almost indescribable mixture of sound effects (broken glass, crickets, gunshots, rain, explosions, a Beatles snippet, etc.), radio broadcast (snippets from interviews with John Kennedy, Muhammad Ali, Robert Kennedy, LBJ and Walter Cronkite), and interesting synthesizer blips and bleeps. It’s one cool aural collage that’s difficult to accurately describe. How Holt managed to put it all together using rather primitive recording equipment (a four track Teac recorder) is simply a mystery to me. Mastered at Philadelphia international’s sigma studios, Holt tried to find a deal with a major label, but ultimately ended up distributing the collection on his own Stone Theatre label with most sales coming through a series of ads placed in rolling stone magazine. Stunning head trip from start to finish. One of the best records to take drugs to and even without the drugs, it will get you places you haven’t visited before. Awesome all way round. Price: 300 Euro
468. DREYBLATT ARNOLD: “The Orchestra of Excited Strings ‘Nodal Excitation’” (India Navigation) (Sealed Copy). Factory sealed original press copy of this minimalist masterpiece. Here is some informative info that came out when the album was reissued on CD: "Nodal Excitation is a reissue of a key minimalist masterwork. Dreyblatt's documentation in the past has been slim, with albums on Hat Art, Tzadik and (shortly) Table of the Elements. This album features a 39-minute performance by Arnold's group known as The Orchestra of Excited Strings, recorded in 1981/82. Dreyblatt only had one record (Nodal Excitation, on the mostly post-AACM jazz label India Navigation), before he packed and moved to Berlin, were he concentrated on other activities, making only 2 more records over the next 10 years. But for those who caught the action, Arnold was the man. He was more rock than any of the other minimalists combined, and he was also the only one to really tap into that massive proto-minimal sound that Conrad had squelched out of his tin-contact mic violin in the early 60s. Indeed, in the early 70s, after being in school in Buffalo, where Conrad taught, Dreyblatt moved into Manhattan to work for LaMonte Young, where he witnessed first hand, and listened first-ear to those legendary recordings of the Theatre of Eternal Music. He got interested in long string sounds, and bought a bass that he wired with piano wire. By hitting the strings instead of bowing them, Dreyblatt was able to get those ringing overtones, but he also had added something new: pure rhythm...So what you have here is Dreyblatt's freshman record, a slice of minimal history that is as potent now, if not more, as it was then. It was a lighthouse that was aiming the wrong way when the tugboat came by, but now it's shining right in your face." (Drag City Press Release). Brilliant. Price: 100 Euro
469. DROSSELBART: "S/T" (Polydor - 2371.126) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint). Top shelf copy, 1st original German pressing. “Drosselbart's album will always be remembered for its outrageous cover showing a damaged globe containing worms. Maybe the group had to express their feelings about mankind's deeds here on earth? The band was from Munich. Their only album was recorded October 1970 with some help from Ralf Nowy (flute). It comprised eleven excellent, classical-influenced, lyrical and/or heavy rock tracks. The German lyrics were well-written, very doomy and aggressive. They dealt with religious symbols and mankind's vicious nature. As with Ihre Kinder, the lyrics were extremely important for the total view of the album. Several members wrote material for the album but Randt did the largest share. Two singles, "Jemina" coupled with "Du Bist Der Eine Weg" and "An Einem Tag Im August" coupled with "O'Driscoll" (a non-LP B-side) were also released.” (Cosmic Dreams At Play). Amazing 1st press original copy. Price: 400 Euro
470. DUB TAYLOR: “Lumiere For Synthesized & Concrete Sounds” (Varese International – VS-81001) (Record: Near Mint/ Jacket: Mint, still in shrink). Original 1973 1st pressing on BLUE wax. The 2nd press came out on black wax, so this one here is the copy to go for…although that the 2nd pressing is as rare as this one here. Anyway, to make a long story short about how mind bendingly awesome this disc is, allow me to hijack Mimaroglu’s blurb for his Creel Pone boot imprint…which sums it up just about rightly as far as how great this sonic slab is, so great it is powerful enough to provoke tears and fists shaking tirades amongst musique concrete buffs who after having sit through this beast will be ready to get loaded and snarl around the neighborhood looking for somebody to chain-whip. That is how great this disc here is. And now back to hijacking the Creel Pone/ Mimaroglu blurb: “This record is zonked. And by that I don’t mean that I can’t conjure up other adjectives (I most certainly can; fried, surrealist, inept, genius, etc...), just that I can’t get my head around describing what it is Mr. Taylor is doing exactly. It almost sounds like someone... as the Brits say “taking the piss” out of musique concrète... but then again there’s this twisted logic to the construction of the whole thing that’s just so... out... (i.e. “I know... let’s just pile everything up on top of itself and not edit it at all...”) - the sound-combinations so seemingly random that’s it’s hard to believe a conscious composer/technician type didn’t lay this to tape back in 1972. My favorite bits are when a voice comes in near the beginning, half-buried: “sounds good...” from there a wave of surging/burbling synths and filtered white noise let loose on the whole frequency range, leaving little in the way of... you know...“musical sense”...There are some bike-horns, what sounds like someone dialing in an fm radio (then leaving it between stations), a jet passing overhead, a guitar-amp feeding back while someone “snaps” into a microphone, etc... Sounds are panned hard left/right for entire sides at a time. Some backwards speaking kind of rises to the top, then it’s back to “normal”... and that’s just the first side...From here on out, any time someone plays me a record like the shaggs or y. bhekhirst, reveling in the fact that it got made in the first place, I’m going to play them this, as it’s so much better on an example. I’m just completely dumbfounded that the sentient folks over at Varese International went the distance...” Yeah, it is quite a stupefying ride; Dub Taylor just came by, ripped the musique concrete/ electronic music system apart like a pile of cheap hay and surpassed it even. Totally awe-inspiring and that is even putting it mildly here. Original 1st pressing on blue wax out of 1973, just a monster, listening to a record like this is just like being stung by ephedrine and crystal meth deranged hornets while sitting in a bath of liquid peyote juice…strap yourself in, it will be a wyld ride. Price: 100 Euro
471. DULCIMER: “And I Turned As I Had Turned As A Boy” (Penny Farthing/ Philips Records Japan – Y-1004-P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original 1971 Japanese original pressing in top condition. Originally released in the UK on the Nepentha label, the Japanese issue came out on the Penny Farthing label, a subsidiary of Philips Records. Dulcimer first came to the attention of producer and manager Larry Page, who signed them to his own newly founded Nepentha Records -- they recorded their debut album, And I Turned As I Had Turned As A Boy at Landsdowne Studios in London with Page producing. Mercury Records picked up the American distribution rights to the LP, and Philips did the same for Japan and released it under the penny Farthing banner. The trio's sound was a strangely haunting mix of acoustic, very traditional-sounding folk-inspired originals, which were often set as more ambitious (and dramatic) suite-like pieces. The melodies were stunning, and the playing and timbre of their music were as well, while their lyrics were steeped in antiquity and fantasy -- somewhere midway between Amazing Blondel and Renaissance. The U.K. rock press of the period, enamored as it was by folk music and progressive rock, gave it enthusiastic reviews, praising their harmony singing as well as their ambitious musical structures, and the trio seemed to be on its way. But it was not to be. Their first LP remains their masterpiece and is a prime example of UK folk galore. Top copy!!! Price: 150 Euro
472. HANS DULFER AND RITMO-NATURAL: “Candy Clouds” (Catfish – 5C-054-24307) (Record: Near Mint/ Jacket: Excellent). Original 1970 Dutch pressing on the highly collectible Catfish label. Great album by tenor-saxophonist Hans Dulfer, who apart from being Candy Dulfer’s father also gained notoriety as a free jazz hard blowing beast (check out his fantastic “Heavy Soul Music” LP) and as a funky rock-jazz tenor whose experiments always bring out unexpected twists and turns. Just like this improvised psych-rock-jazz workout that is a salmagundi of styles, concocted out of Latin-influenced progressive rock moves, deep grooving cluster vibes, butt-shaking percussive rattles, lysergic funky wrist-cutting guitar riffs, ethereal flute insertions, all glazed over and cooked down with Dulfer’s smoked out delirious tenor honks. This disc burns holes on the dance floor, it is intoxicating, abysmal grooving and ecstatically electrifying. A fucking sonic nugget that will leave you simply flabbergasted. The disc itself is a bit hard to track down, as the label Catfish was a tiny and obscure Dutch label who also had the legendary Ahora Mazda on their payroll. Top original copy. Price: 150 Euro
473. DUNCAN BROWNE: “Give Me Take You” (Immediate – Z12-52012) (Record: Mint/ Jacket: Excellent, has perforated upper right corner/ Insert: Excellent). Top copy of this awesome acid folk gem, original US pressing. Psychedelic acid folk masterpiece, “Give Me Take You” was Duncan Browne’s first album. Released in 1968, the album dwells a bit in the same regions as Nick Drake with Browne’s arrangements attributing to it all a more baroque effect, giving the album a more regal, almost ethereal feel. The lyric writing is especially strong with lovely – almost Pre- Raphaelite style phrasings breathing out a youthful melancholic innocence. The album however was badly – if not all – distributed because of the disintegration of the Immediate label due to miss-management and financial troubles, making that this gem almost disappeared from public view instantly. This one here is the US press of the album. Brilliant, over the top with a hard to pin down ethereal feel. A lost masterpiece. Price: 120 Euro
474. DUNCAN BROWNE: “S/T” (Odeon – EOP-80841) (Record: Near Mint/ Gatefold Jacket: Excellent/ 4-Paged Insert: Near Mint). Original Japanese pressing – white label PROMO issue of Duncan Browne’s 2nd self-titled LP. “Duncan Browne’s self-titled second album plays like a direct sequel to his debut long-player, Give Me Take You - he uses the same acoustic guitar and writes in a similar idiom, especially on tracks like "Country Song" and "The Martlet." Indeed, apart from the fact that it's generally better recorded, most of Duncan Browne could easily have slotted into the earlier album; the only exceptions are the more elaborately produced songs, such as "Ragged Rain Life," with its electric guitar sound, the keyboard-embellished "Babe Rainbow," and the bluesier, Dylan-esque "Journey," which was a substantial hit in England. Browne’s style elsewhere on the record is unique unto himself, built around hauntingly beautiful melodies, mostly in a folk idiom, with some choice results, including the exquisite "Over the Reef" and "My Old Friends." He saved the best for last, a valedictory number entitled "Last Time Around," featuring extensive and impressive acoustic guitar ornamentation that gives way to some surprisingly tasteful progressive rock electronic sounds on the choruses.” (All Music Guide). Beautiful and utterly fragile folk album following his staggering debut and it is easily as good! Largely overlooked UK dreamy folk masterpiece that is in urgent need for mass-appraisal. Beautiful sounding Japanese first original pressing that came out in 1072~3, comes housed in heavy gatefold jacket and complete with insert. White label promo issue. So beautiful, it will bring tears to your eyes…Price: 75 Euro
475. DYLAN BOB & SEEGER, PETER: “No More War!!! Protest Songs” (Nippon Columbia – YS-608-C) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ OBI: Mint/ Company Inner Sleeve: Near Mint/ 8-Paged Illustrated Insert Booklet: Excellent). Bloody rare Japan only Dylan release complete with obi. Never surfaces in a condition like this!!! This was released ONLY in Japan way back in April 1966 and the condition is astonishing. Price: Offers!!!!
476. DYLAN, BOB: “Bob Dylan!” (1965 JAPAN ONLY RELEASE!!) (CBS – YS-537-C) (Record: Near MINT/ Flip Back Jacket: Near MINT/ Company Inner Sleeve: Mint). TOP CONDITION 1965 Japan only release in Near Mint ~ MINT condition, appears to have been hardly played at all. The record comes housed in a very flimsy tip back jacket, which usually is bound to be subjected to heavy ring wear and edge wear. This copy here however looks like it has been stored away for over 44 years with the disc out of the jacket, making that the sleeve is just as virginal as the day it rolled of the printing presses. Amazing clean copy, original 1966 Japan only Dylan release. Next to impossible to ever upgrade upon this copy here, virginal condition, which is a small miracle. Price: 200 Euro
477. DYLAN, BOB: “Bob Dylan Vol.3” (1966 JAPAN ONLY RELEASE!!) (CBS – YS-611-C) (Record: Near MINT/ Flip Back Jacket: Near MINT). 1966 Japan only release in Near Mint 〜MINT condition, appears to have been played hardly at all!!. The record comes housed in a very flimsy tip back jacket, which usually is bound to be subjected to heavy ring wear and edge wear. This copy here however looks like it has been stored away for over 50 years with the disc out of the jacket, making that the sleeve is just as virginal as the day it rolled of the printing presses. Amazing clean copy, original 1966 Japan only Dylan release. TOP condition, next to impossible to ever upgrade upon. Price: 200 Euro
478. DYLAN, BOB: “Vol. 4” (Columbia Japan – YS-641) (Record: Near Mint/ Jacket: Near Mint). TOP copy!!! One of the rarest Dylan slides around, Japan ONLY issue out of 1966 in TOP condition. Extremely rare 1966 original Japanese only 10-track '360 sound' stereo LP pressed by Nippon Columbia on the orange CBS label The cover is Japan's original design, laminated and has flaps on both top and bottom. Japanese notes on the back. Never turns up in MINT condition like this baby here. As a bonus this copy has the Columbia Records plastic outer bag present as well that was wrapped around the LP when it was first sold in Japan in 1966. Next to impossible to ever upgrade upon, superb condition. Price: 250 Euro
479. DYLAN, BOB: “The Freewheelin” (CBS SONY – SONP-50181) (Record: Near Mint/ Jacket: Mint, still in shrink/ Insert: Near Mint/ Capsule Obi: Near Mint). Dylan landmark recording that made headz being turned and tuned in. The world was never the same again after this. Recorded in 1963, this is the bloody nice Japanese original pressing from the late 1960s all complete with salacious capsule obi. In most cases always missing but here proudly showing its colors. Price: 175 Euro
480. DYLAN, BOB: “Blonde On Blonde” (Columbia – C2L41) (2 LP Set: Excellent/ gatefold Jacket: Excellent ~ Near Mint). Original 1966 MONO copy, first issue with the Claudia Cardinale picture inside the gatefold. Mono copies in such a nice nick are a bitch to dig up these days. Splendid copy of this all-time classic. Price: 250 Euro
481. DYLAN, BOB: “Blonde On Blonde” (CBS SONY – SONP-50158-9) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint). Bloody rare and hardly ever seen 1st original Japanese press from December 1969, complete with the FIRST ISSUE OBI. One of the finest Dylan slides out there, recorded in Nashville and sounding very 60s in every way as opposed to the garagier sound of Highway 61. On “Absolutely Sweet Marie” Dylan blows his most frantic harmonica playing ever – a thing he won’t ever repeat hereafter and his unique sense of humor seeps through other songs like “Leopard Skin Pill Box”. Blonde on Blonde is so totally awesome…. Here ya have the 1st original Japanese pressing with hopelessly rare & obscure 1st issue ‘capsule obi’. Took me only more than e decade to unearth a copy with obi but here it is. Price: 400 Euro
482. DYLAN, BOB: “John Wesley Harding” (CBS SONY – SONP-50140) (Record: Excellent/ Jacket: Near Mint/ Insert: Excellent/ Capsule Obi: Excellent). Very rare Bob Dylan very first Japanese original pressing from November 1969 all complete with first issue capsule obi. A brilliant electronic adaptation of rural blues and country and western sounds. A swaying harp picks out the title track, "John Wesley Harding." A statement is made about the concept of everyday Good and Evil. This album is informed by the rustic sound of country, as well as many rural myths, with seemingly simple songs like "All Along the Watchtower," "I Dreamed I Saw St. Augustine," and "The Wicked Messenger" revealing several layers of meaning with repeated plays. So essential!!!! Hardly ever turns up in nice nick with first issue obi present. Price: 75 Euro
483. DYLAN, BOB: “Basement Tapes” (CBS Sony Japan – 40AP 287~8) (2 LP Set: Mint/ Gatefold Jacket: Mint/ Obi: Mint/ 8 Paged Booklet: Mint). Original Japanese pressing on high quality vinyl. Top quality vinyl playback pressing. It won’t come any better than this and this album deserves it. Dylan backed up by the Band, but you know the deal. One of the greatest albums of all time…how can you valuate and enjoy your musical obscurities without acknowledging the stupor and greatness of this beast?? This slide leaves me baffled and stunned each time I play it. Dylan and the Band, a marriage made in heaven, deeper than any ocean, this is the shit. Take no substitutes. 1st original Japanese issue with obi…Price: 75 Euro
484. DYLAN, BOB: “Bob Dylan’s Greatest Hits” (CBS SONY – SONX-60044) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Big Poster: Mint/ Capsule OBI: Near Mint). BLOODY RARE 1st & Immediately withdrawn 1st Original Japanese pressing with misprint song listing that was immediately corrected upon withdrawal – making that only a few copies are out there with the wrong track listing. It concerns the Side A, track number six “Love Minus Zero No Limit” that is listed but does not appear on the record and instead one hears “Outlaw Blues”. The track listing is not corrected on the labels and on the jacket. Once withdrawn this was corrected so only a very few copies like this are known to exist. Only the first 1967 pressing has 12 song titles there were later pressings only have 10 songs listed. Comes complete with big poster and obi to boot. Price: 200 Euro
485. DYLAN, BOB: “The Bootleg Series – Volume 5 – Rolling Thunder Revue” (Sony Music Classic Records – C2K-87047 – 1) (3 LP Set: Excellent ~ Near Mint/ Individual Jackets: Near Mint/ Handbill & Concert Ticket: Near Mint/ Poster: Near Mint/ Book: Near Mint/ Outer Box: Near Mint). Long deleted and much acclaimed Dylan box set. “Dylan’s 1974 reunion tour with the Band found the conquering heroes making some of the loudest, most bombastic music of their careers. Dylan wanted something a little more off the cuff for this, the next go-round, and his ramshackle Rolling Thunder Revue was the result, a collection of famous cronies (Joan Baez, Roger McGuinn) and no-names touring the country gypsy-style in the fall of '75. Bob Dylan Live 1975 captures the Fellini-esque splendor and chaos of the caravan. In contrast to the Band's murderously precise country soul, the Rolling Thunder crew at times sounds so loose it threatens to collapse, only to be kept on course by Rob Stoner's pliant bass lines. Scarlett Rivera's swooping, swooning violin was Rolling Thunder's signature instrument, and Dylan sounds liberated, free to attack the songs from almost any angle, his voice feral, his mood frisky. “A Hard Rain's A-Gonna Fall” is taken at a gallop, the guitars surging behind every verse, while “It Ain't Me, Babe” skips with calypso syncopation. “Sara” and “Just Like a Woman” provide an anguished climax. It's possible to read plenty into these performances, with the singer's marriage on the rocks, but what towers above is the singer's fiery commitment to an even more seductive muse: his music.” (Rolling Stone). Pure class!! Price: 250 Euro