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

265. 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
266. 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: 200 Euro
267. 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
268. 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

269. 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

270. 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
271. 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!!!!
272. CAN: “Ege Bamyasi” (Liberty Records – LLP-80759) (Record: Near Mint/ Jacket: Near Mint/ 4 paged Illustrated Insert: Near Mint/ First issue OBI: Near Mint). Hopelessly rare Japan very first pressing, white label PROMO issue with 4 paged illustrated booklet and first issue obi. Only 2 Can LP’s were released in real time back in the day, being Tago Mago and Ege Bamyasi. Both never had a regular release and didn’t pass the promo stage, so copies are almost non-existent. Ege Bamyasi was Can's fourth album features the most fantastical vocalist, Damo Suzuki. Can's Ege Bamyasi is absolutely brilliant. With Japanese singer Damo Suzuki at the mic on this he sings some of their best songs, like "Sing Swan Song" and "Vitamin C" and "I'm So Green". Actually EVERY song on here is wonderful. Languid and laidback, yet rhythmically insistent. Mellow and gorgeous and deep. Right on. Dead stone classic and this is a very nice 1st Japanese press issue with obi, what can you possibly ask more for? Seriously rare and hardest to track down Can release anywhere. Top condition white label PROMO issue with insanely rare first issue obi. Price: Offers!!!!!
273. 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
274. 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
275. 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
276. 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: 125 Euro
277. 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: 125 Euro

278. 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. SOLD

279. 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
280. 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
281. CANNED HEAT: “Hallelujah” (Liberty Records Japan – LP-8777) (Red Wax LP Record: Near Mint/ Jacket: Near Mint/ Lyrics Insert: Mint). Original Japan 1st pressing on red wax & all complete with rare obi. The best Canned Heat LP solely because it contains four (of 11) cuts by Alan Wilson, who has one of the great freak voices and writes songs to match. Still, Wilson's talent is too peculiar to fill an album. I wonder what should be done with him. The record was made up of mostly original compositions. Within days of the album’s release, Vestine left Canned Heat after a dispute with Taylor on-stage at the Fillmore West. The next night, Mike Bloomfield and Mandel were offered Vestine’s spot. Mandel accepted and the new lineup played two shows at the Fillmore before appearing at Woodstock. The rest is history as the band gradually defractured. Still “Hallelujah” is without a doubt the greatest slide the Heat ever put down on wax with Wilson riding the high crest of a wave before it came crashing down on the shores. Never get tired of blasting this one through the house, the demon genius that hit that chord, speed and slow motion, the perfect snow job! Top condition copy on red wax with eyeballing great obi to boot. Seriously a bitch to dig up these days in nice condition. Price: 450 Euro
282. CANNED HEAT: “70 Concert – Recorded Live In Concert” (Liberty Records Japan – LP-80018) (Record: Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Excellent). Bloody rare WHITE LABEL PROMO issue that comes on RED COLORED WAX, promo only red wax issue. 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: 250 Euro
283. CANNED HEAT: “Best Of White Blues” (Liberty Records – LP=9505) (Record: Near Mint/ Silver Foil Textured Gatefold Jacket: Near Mint/ OBI: Excellent). Bloody rare Japan only Canned Heat Issue, all complete with never seen before obi. This is the rare red wax/ white label PROMO only issue that was released in 1969. Just never surfaces all complete with OBI, first copy I encounter in over 12 years. So killer on all fronts, it boggles the mind…Price: 175 Euro
284. CANNED HEAT & JOHN LEE HOOKER: “Hooker ‘N Heat” (Liberty Records – LP-9495B) (2 LP Record: Near Mint/ gatefold Jacket: Excellent/ Obi: Excellent). RED WAX LP – White Label Promo, Japan first press issue. Hooker 'n Heat is a relaxed affair that is split between unaccompanied solo John Lee Hooker tunes, collaborations between Hooker and Alan Wilson and full-blown Hooker and Canned Heat joints. Encompassing a mixture of new material and old favorites, Hooker 'n' Heat is surely one of Canned Heat's crowning moments and a milestone in Hooker's legendary career. A lasting homage to the true blues from some of its finest purveyors. Price: 250 Euro
285. 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
286. CANNED HEAT: “One More River To Cross” (Atlantic – P-8414A) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Rare 1973 Japanese original pressing with OBI, white label promotional copy. Damned near impossible to score all complete with obi, let alone in a pristine condition as this one here. Price: 75 Euro

287. 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

288. CANNONBALL ADDERLEY QUINTET: “Accent On Africa” (Capitol Records – CP-8555) (Red Wax Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Company Inner Sleeve: Near Mint/ Obi: Mint). Scarce and seldom seen Japan first original pressing all complete with obi. LP comes pressed on glorious red wax!!! Though labeled as a Cannonball Adderley Quintet session, this is actually a workout with a percussion section loaded with African drums, a big band, and in spots, voices -- all unidentified. Nevertheless, this is one of the best and most overlooked of the Cannonball Adderley Capitols, a rumbling session that bursts with the joy of working in an unfamiliar yet vital rhythmic context. Cannonball turns in one of his swinging-est solos through a Varitone electronic attachment on Calphus Semenya’s "Gumba Gumba" and "Marabi" is a real hip-jiggler; you can't sit still through it. Other highlights include Cannon preaching blue smoke in his own Afro-Cuban-blues-flavored "Hamba Nami," a dignified trip through Wes Montgomery’s "Up and At It," and Nat Adderley’s commanding work on cornet at all times. (All Music Guide). Produced by David Axelrod...just never turns up with obi present and flashing its colors. Price: 175 Euro
289. 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!!!!
290. 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

291. 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

292. 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: 75 Euro
293. 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: 75 Euro
294. 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
295. 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
296. 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: 200 Euro
297. 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
298. 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: 50 Euro
299. 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
300. 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
301. 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
302. 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
303. CATHERINE RIBEIRO + ALPES:Paix” (Philips – 9101-037) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). TOP COPY, original 1st pressing, sharp corners and thick spine, beautiful all way round. Considered as their most progressive output, the 1972 “Paix” album (released in 1974) features two excellent long pieces, the 15 minutes long eponym track Paix and the 24 minutes haunting “Un jour… la Mort”. The beginning of the Paix piece has some sonic flavors reminiscent to German progressive psych excursions due to a dark lysergic intro infused with intergalactic sounding keyboard riffage and a deep haunting bass sound to underscore it all. And when all gets underway, Catherine Ribeiro makes an entrance with some starkly proclaimed lyrics, catapulting the song into a higher gear and beefing up its progressive intensity. But just when you thought you had heard it all, side 2 is about to hit you with the breathtaking “Un jour…la Mort”, taking the whole intensity towards another level with intense lyrics wandering into some dark territories while multi-layered keys and guitars collide with pulsating drive of morbid percussive rattles. The music is bagged in a fabulous gatefold sleeve depicting an image of Ribeiro, stark and empowered yet all-welcoming, sitting easily amongst her band mates, flowering branch in hand, bearded, bedazzled co-conspirator Patrice Mouliet at her back, and a massive tree trunk shooting heavenward supporting their combined weight. Ribeiro herself comes across as goddess, white witch and peasant, which is no less than the multiple effect of her voice on record. The magnetic quality of this metaphysical nature scene is undeniable; a staggering example of the early 70's earthy aesthetic and the penetrating influence of honest idealism. One of the most original discs from the 70’s French underground. Price: 125 Euro
304. CHAMBERS, PAUL QUARTET: “Bass On Top” (Blue Note – BLP-1569) (Record: Excellent/ Coated Jacket: Near Mint). Original US MONO pressing, 2nd issue with 43 West 61st St., New York 23” address on label. “RVG” machine-stamped in the dead wax. Clean mono issues with 2nd address on sleeve are damned rare if clean and this one comes cheap as hell. Price: 350 Euro
305. CHAMBERS, PAUL QUARTET: “Bass On Top” (Blue Note Records/ Japan – BLP-1569) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of Blue Notes finest titles. Immediately Out Of Print in the flash of an eyelid…. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned This is another thoroughly engaging set of straight-ahead, mainstream jazz from Paul Chambers. The bassist leads a quartet comprised of guitarist Kenny Burrell, pianist Hank Jones and drummer Art Taylor through a selection of standards, including "Yesterdays," "You'd Be So Nice to Come Home To," and "Dear Old Stockholm," as well as a handful of contemporary jazz numbers and originals. There's a relaxed, friendly atmosphere to the music, both in its tone and in the fact that Chambers lets Jones and Burrell have some time in the spotlight. The result is a warm, entertaining collection of mainstream jazz that nevertheless rewards close listening. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 125 Euro
306. 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
307. 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
308. 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: 350 Euro
309. 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!!!
310. CHARLES TOLLIVER’S MUSIC INC.: “Live At The Loosdrechdt Jazz Festival” (Black Lion Records/ Trio Records Japan – PA-3001/2) (2 LP Record: Excellent ‾ Near Mint, one tiny hairline on last side/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original Japan press issue all complete with obi. led by the great and vastly underrated trumpeter Charles Tolliver are few and far between. This live set finds Tolliver leading his Music Inc. group, a quartet with pianist John Hicks, bassist Reggie Workman and drummer Alvin Queen. The band delivers strong post-bop & spiritual jazz set that only shows how largely underrated Tolliver really was. He shines through exceptionally well and plays awesome, stretching out on three sidelong tracks and two finger licking eargasmatic fluid pieces. Just bewitchingly beautiful. Everybody needs some more Tolliver in their lives! Killer Japanese pressing with obi. Price: 75 Euro

311. CHARLIE CHRISTIAN: “Charlie Christian at Mintons” (Columbia Records – SL-5001-EV) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent/ Attached 4 paged Booklet: Near Mint/ OBI: Excellent). Bloody rare Japan 1st original pressing all complete with rare first issue obi as released in November 1969. If there is such a thing as a Holy Grail of bebop, this disc is it. While the sound quality may be lacking, Christian’s guitar experiments are sublime. This disc is indispensable as an essential document in jazz history, and this first original Japanese pressing boasts cleaner sound than most. Charlie Christian is to jazz what Robert Johnson is to the blues – a pioneer, an exceptional guitarist, a man who died way too young and a player only truly appreciated after he passed away. Christian introduced a whole new soloing vocabulary to jazz and the electric guitar itself. Cut in May of 1941 this music features, among others, electric guitar pioneer Charlie Christian, Dizzy Gillespie then a young trumpeter just beginning to emerge from Roy Eldridge's shadow, the cool toned tenor of Don Byas, a young drummer who was radically altering the approach of jazz drummers named Kenny Clarke, and a little known house pianist named Thelonious Monk. There are two reasons this music is so vital. First, the performances are outstanding. Christian is transcendent in his soloing. His lines are crisp, and swing hard as anyone, and for this listener THE reason to pick up this disc. He is afforded the opportunity to really stretch out and dig into the music that the standard three minute record of the day simply could not allow, just listen to "Swing to Bop" and "Up on Teddy's Hill". Gillespie is in a transitional phase of his playing, only just beginning to come into his own, but one hears glimpses of his greatness on "Kerouac". Monk is identified as the pianist on "Swing to Bop" and "Stomping at the Savoy". One has to strain to listen even as he solos as the piano is very soft, most likely far from the mic, but one hears enough to tell his playing is still stride based and displays little of his trademark style. These performances of Monk and Gillespie at such a stage gives the fan a perspective of just how young they were, and how far they would come. As with Robert Johnson and the similarly baffling English folk finger-stylist Nick Drake, there exists no film of Charlie Christian playing guitar. He died at just 25 years old, a trailblazer cut down by tuberculosis. Who can imagine what Charlie Christian would have brought to the bebop era, or even rock and roll? He was a rare talent. Rare Japanese 1st original press with amazing silver toned Columbia obi. Only the 2nd time ever I see a copy complete with obi!!! Price: 75 Euro

312. CHARLIE CHRISTIAN & EDMOND HALL: “Memorable Sessions” (Blue Note/ Toshiba Japan – NR-8101) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Bloody rare Japan 1st original pressing all complete with rare first issue obi as released on March, 21 1969. TOP CONDITION!!! Between 1969 and 1971 Toshiba Musical Industries started to release 16 LPs (NR-8800 series) pressed in their own plant. This series has NR prefix. This LP was their 2nd release in the series. Charlie Christian is to jazz what Robert Johnson is to the blues – a pioneer, an exceptional guitarist, a man who died way too young and a player only truly appreciated after he passed away. Christian introduced a whole new soloing vocabulary to jazz and the electric guitar itself. Christian played with the fluidity, confidence and swing of a saxophonist and his style set the template for the likes of Barney Kessel, Herb Ellis, Wes Montgomery and George Benson, who followed. As with Robert Johnson and the similarly baffling English folk finger-stylist Nick Drake, there exists no film of Charlie Christian playing guitar. He died at just 25 years old, a trailblazer cut down by tuberculosis. Who can imagine what Charlie Christian would have brought to the bebop era, or even rock and roll? He was a rare talent. SOLD

313. 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

314. 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
315. 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!!!
316. 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
317. CHERRY, DON: “Mu Second Part” (BYG Records – Actuel 28/ BYG-28) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: VG++, tear on bottom and creases). Scarce Japanese original pressing. Comes with rare OBI. Classic Don Cherry title on the legendary BYG Actuel label. Sounds light-years better than the common French pressing. Price: 75 Euro
318. 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
319. CHERRY, DON & GATO BARBIERI: “Togetherness” (Globe – SMJ-7414) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare mid 1960s Japanese first original pressing that comes housed in fragile flip back textured sleeve. Top condition. Never seen a Japanese press before of this amazing Don Cherry title. This LP features tenor-saxophonist Gato Barbieri (at the beginning of his career) and trumpeter Don Cherry teaming up with a French rhythm section for the trumpeter's five-part "Togetherness." While Cherry plays pretty free, he sounds conservative next to the often-violent wails of Barbieri. Great free flowing and free blowing slide, fire music in motion and killing it. Comes dead cheap…. Price: 100 Euro
320. 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.
321. 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
322. CHERRY, DON – THE THIRD WORLD: “Underground” (Nadja/ Trio Records – PAP-9018) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original 1972 Japan ONLY issue. Comes all-complete with rare obi. 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. Copies with obi are so damned hard to dig up these days, let alone in such a pristine condition as this one here. Price: 175 Euro
323. 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

324. 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

325. CHERRY, DON TRIO: “The Eternal Now” (Sonet/ King Records – K23P-6085) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Original JAPANESE first pressing, complete with first issue obi as released in 1981. WHITE LABEL PROMO issue. 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. Rarely surfaces with obi present! Price: 150 Euro
326. 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
327. 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
328. 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
329. 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
330. CHERRY, DON with DEWEY REDMAN; CHARLIE HADEN; ED BLACKWELL: “Playing” (ECM Records/ TRIO Records – PAP-25517) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ OBI: Mint). Japan original press in top condition, WHITE LABEL PROMO issue. This fantastic set, recorded live in Austria, is the place to start for anyone wanting a glimpse into the attic of Old And New Dreams. The playing is on point, the crowd riled, and the stakes high. From that first lively jump into “Happy House,” one of three extended Ornette Coleman tunes, we are plunged into the group’s quintessential sonic parameters. Lithe syncopations from Dewey Redman relate to Ed Blackwell’s drumming like family, while the free-flowing trumpeting of Don Cherry loosens its grip on predictability for a style that is utterly devoid of pretense and ever eager to communicate. Charlie Haden’s melodious plasticity completes a formula that carries through to the last drop. Just listen to the gut-wrenching tenor solo in “New Dream,” the liquid horns and percolating toms of “Broken Shadows,” where Redman’s musette also unfurls for a fantastically Codona-like sound, and tell me there isn’t something special going on here. Cherry drops a groovy hit of his own with the pointillist “Mopti,” of which the infectious pianism from the composer and attuned percussion delight. Redman contributes “Rushour,” the album’s most incendiary flush. The incredible saxophonism and expansive lyric trumpeting spread their joys far and wide. The title track comes from the hand of Haden, around whose spine horns weave like a medical caduceus before being lobbed back into their familiar station like ping-pong balls at the ready. Considering the heft of talents assembled here, the results are weightlessly executed. This shows not weakness or lack of fortitude, but the maturity everyone brings to the sonic table. This is a solid date from musicians who know the business inside and out, and then some. About as good as it gets.” (Tyrro Grillo). Top condition Japanese pressing with obi. Price: 50 Euro
331. 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: 125 Euro
332. CHICK COREA & HIS FRIENDS: “Nichirin – The Sun” (Express – ETP-9016) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent ~ Near Mint). Freakingly rare and never-ever before 1970 Japan only issue that is all complete with mega rare obi. So far only a handful (3 to be exact at this point that I know off) complete copies are accounted for. Without obi it surfaces from time to time – as does a 2nd pressing with different cover art - and is very affordable. With the 1st issue obi gracing the sleeve on the other hand, it is a slightly different ballgame. That said, this is a vicious, tear-gas-smoking fuck-around spiritual free jazz slide from start to finish. Corea gets flanked by Steve Grossman – tenor saxophone, Dave Holland on bass, Jack DeJohnette on drums and Steve Jackson manhandling miscellaneous percussive instruments. The group gels together like butter on toast and right from when the needle hits the groove they steer into telepathic interplay that just never stops, combining propulsion, eloquent ornamentation and cosmic phrasing to create a bewitchingly asymmetric groovy vibe that sweats out a psychic aura. Choice cuts are the deep and aggressive “Moon Dance” that propels forward without loosing its addictive liquid and hypnotic swing, “Slumber” and the side-long free jazz masterpiece “The Sun” pushing its scope intergalactically and aiming to find the kingdom of heaven within and, on its journey there, finding the face of God to be highly irresolute. In short, utterly jaw-dropping amazing record but sadly an all-complete near mint 1st press original with obi present is rare beyond belief. Just never surfaces and here is a pristine copy for you, a spiritual jazz milestone record! Highest possible recommendation! Price: Offers!!!
333. CHICK COREA: “Circulus Vol. 1” (Blue Note – GXF-3026) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Rare Japanese press original all complete with obi, which was released in 1978. “Chick Corea has had a very diverse career and has consistently been among the most popular of all jazzmen, but his avant-garde music of 1970-1971 certainly will not appeal to fans of his fusion band, Return To Forever. His group, Circle is well-showcased on this LP which finds Corea, Reed master Anthony Braxton, bassist Dave Holland and drummer Barry Altschul performing two lengthy group improvisations. In addition, Braxton sits out on the trio selection "Drone." The music is generally quite difficult with sound explorations emphasized over melodic development, and is much closer to the direction that Braxton would explore than what Corea would be playing two years later. But open-eared listeners who enjoy avant-garde jazz will find much to savor during these fascinating performances from one of the new music's top (if short-lived) regular groups. (All Music Guide). So much better and totally jaw-dropping slide that set to shame all Corea did hereafter. Price: 75 Euro
334. CHICKEN SHACK: “Imagination Lady” (Deram/ King Records – DL-33) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ First Issue OBI: Mint) Very first Japanese pressing with rare first issue Red colored Deram obi. WHITE LABEL PROMO issue in just flawless condition of scarce title. Stone cold 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 from start to finish and a must for every guitar/ heavy white blues aficionado!!! Price: 150 Euro
335. CHICO MAGNETIC BAND: “S/T” (Disques Vogue- LOXV.17001) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top original press copy of this all time subliminal French heavy psychedelic monster of a disc. Chico is the vocalist/leader of this ramshackle outfit and he certainly knows how to pull a crowd by mumbling, moaning, speaking, singing, screaming, laughing, and freaking out in front of the microphone in every possible mode imaginable. Guitarist Bernard Monneri provides the perfect accompaniment for Chico’s vocal histrionics with both funky and heavy chunks of riffage and shredding fuzz/wah leads. The band manages to synthesize almost every classic influence of late-60’s psychedelia and heavy rock and were aided by producer Jean-Pierre Rawson and electronics whiz Jean-Pierre Massiera (who employs every trick in the book - backwards tape loops, electronic exotica, and so on - to devastating effect!) to create these eight incredible tracks of loose, funky, heavy, over-the-top, psychedelic rock. The heavy-handed use of studio trickery (phasing, radical dynamic shifts, backwards tape, etc…), add only to infuse the whole ordeal with more lysergic teenage angst. Chico, fronting the whole exorcism makes the listener witnesses a man on the edge – a true freak-out captured on tape for all time. In all, it’s pure madness, but it sends a chill down my spine especially when paired with raging wah-wah guitar solos and a cacophony of tribal percussion. It’s funny today to watch bands try to recreate this same sound. Get the real deal and check out Chico Magnetic Band. Massive, explosive, demented, wicked, doped up and frantic like sharks going insane on a feeding frenzy. Amazing copy, hard to upgrade on this one. Rarely if never surfaces in such nice nick as this one here. Price: Offers!!
336. CHILDREN OF ONE: “S/T” (Real – REAL-101) (Record: Excellent/ Jacket: Near Mint). First issue original US private press, a stunning spiritual intoned female vocal freak folk album that is in need for rediscovery. TOP COPY!!! “Not much is known about the origins of this highly interesting early communal head-trip. Although broken up into separate tracks like a conventional pop LP, Children Of One plays like an extended suite that offers subtle variations of its eerie, nocturnal moods. The combination of wordless female vocal harmonies cello makes for a sound similar to Denmark’s great Furekaaben, except more hi-fi and entirely instrumental. Kalacakra from Germany also springs to mind as the undoubtedly psychedelic drone music flows out of the speakers, but the New York based group eschew the stoned crashpad vibes of such European classics for a more cerebral, refined and chilling atmosphere. The more advanced parts of the Trees’ “Christ Tree” spring to mind as siren-like female vocals mix with sitar and flute, and beyond the modern art music influence, traces of Exotica seem to be present. Whatever went into this, a damn good album came out, in fact one of the best I’ve heard in the communal-avant-acid drone filed, and one that could appeal to contemporary listeners with no interest in old hippie music. Except for a somewhat ill-conceived drum solo, this really isn’t rock music at all, but an engaging aural experience of eerie late-night moods that aren’t ahead of their time as much as timeless. Fans of Christian Yoga Church need to check this out; it’s a much better recording that hits roughly the same lysergic semi-improv spot. A Spooky cover showing a giant, anthropomorphic sunflower contributes too. Get a copy before this gets truly expensive” (PL – Acid Archives). This description hits its on the head, spot on, a truly unique stoned vibed album. Turns up hardly anymore, this copy is just near perfect with only a few sleeve lines visible under a bright light. Killer. Price: 450 Euro
337. 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!!!!
338. 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!!!

339. 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: 125 Euro

340. 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
341. The CHRIS MCGREGOR Group with BARRE PHILIPS – LOUIS MOHOLO – MONGEZI FEZA – MIKE OSBORNE – EVAN PARKER & JOHN SURMAN: “Recorded in London, England – August 1968) (No Label/ Witchseason – RGG 1107-8) (Record: Near Mint/ Paste on Sleeve: Excellent, no defects at all but has some mildew spots visible against the white background due to age). Bloody rare unreleased recording that only was briefly in the running as a test pressing only and of which only a handful of copies exist!!! Never seen a copy before and this is a beast of a slide. The music is nothing short of astonishing, which producer Joe Boyd almost glibly claims that he doesn't know exactly why this session by pianist Chris McGregor’s transnational septet initially went unreleased. He claims he was on poor terms with Polydor at the time, and that Chris Blackwell’s Island Records was "not exactly a jazz label." Still these sessions were recorded in August 1968 in London with trumpeter Mongezi Feza, drummer Moholo and McGregor flanked with then-young Brit saxophonists Evan Parker, John Surman, Mike Osborne and Barre Philip. These tracks certainly walk on the outside edge of jazz and more than flirt with plenty of free playing. Still great structure is abound to the music, inspired arrangements that allow a maximum of freedom without an ounce of self-indulgence. McGregor’s piano work on his pieces creates not only themes, but vast colorful scales and extended chord reaches for the soloists to work out from; where Parker plays right toward the piano as Moholo creates a specific adrenalized rhythm toward all three players. It's Feza and Surman who respond to McGregor’s South African folk themes with something akin to glee. Then there are the joint sections where all the horns, stretched in boundary-breaking harmonics, are paying composed lines as an ensemble. This was a new kind of free jazz -- one seldom heard in America -- with great humor, warmth, and a genuinely celebratory vibe from the South Africans, who were establishing their own rules; it's a safe wager that Parker and Surman haven't played like this since then either. This session is one with excellent sound and presence. Awesome!!! Price: Offers!!!!
342. 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
343. CHUCK & MARY PERRIN: “S/T” (Webster’s Last Word – WLW-S-2101) (Record: Excellent ~ Near Mint, has one inaudible hairline on Side 2, Track 2, hence the EX~NM grading/ Thick Gatefold Jacket: Near Mint). Original 1968 first original private pressing by brother & sister duo of Chuck and Mary Perrin out of Illinois. Recorded in 1968, this gem was one of the biggest secrets of US folk. Full of amazing melodies and beautiful songs, this is one of the hardest to find records for collectors of folk, psych and singer/songwriters style records. Includes covers by Donovan or John Sebastian plus stunning originals like “Commencement”, “Mornings” or “Babe can you see”. Chuck’s guitar is stylistically stripped to the bare minimum, giving it a magical charm that interlocks perfect with Mary’s transparent and heartfelt vocals. The harmonies between them both also work miracles and drift in and out your earlobes like liquid honey. This copy here is exceptionally nice and in amazing condition as many of the copies suffer of water damage, which this one has been spared from. The record is also amazingly clean and plays dead quiet, which is a must for the delicate sound it exhibits. Amazing slide and one of my fave folk slides. Price: Offers!!!
344. CIRCUS 2000: “S/T” (Rifi Records – RFL ST-14049) (Record: Near Mint/ Jacket: Near Mint). Original Italian pressing in great condition. A band from the Turin area, Circus 2000 debuted in 1970 on RiFi label with an eponymous LP that, although it did not represent a new level of sound, it fell like a bolt from the blue on an Italian scene still anchored to the beat schemes of the '60s. Circus 2000 was not a real progressive album, since it derived from the psychedelic and west-coast scenes from the USA, but it's still considered one of the LPs that opened to the florid Italian 'pop season,' which would explode just a couple of years later. The album cover artwork, the English lyrics, the psychedelic sound supporting the beautiful voice of singer Silvana Aliotta, all these ingredients made Circus 2000 an unique phenomenon in the musical Italian panorama, and many believed that the band was actually American. Top condition, 1st press original and hard to improve upon. Price: Offers!!!
345. 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
346. 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
347. 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
348. 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: 350 Euro
349. 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: 125 Euro
350. 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
351. 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: 250 Euro

352. COB: “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” (Polydor – 2383161) (Record: Near Mint/ Extremely Fragile Gatefold Jacket: Near Mint). TOP Original UK copy of monster acid folk gem. As far as the music is concerned, I guess you all know the deal. COB were ex-Incredible String Band founding member Clive Palmer’s band and after quitting the Incredible String Band when their debut album was canned he simply vanished from the scene, only to surface again a year later in the disguise of COB, which aptly stood for Clive’s Original Band. “Moyshe McStiff and the Tartan Lancers of the Sacred Heart” has a hymnal, rural English vibe attached to it that is definitely heading towards folk infested waters instead of cross-mutating into a folk-rock sound. Palmer’s vocals are just exquisite, calm, soothing, levitating even at times which only attributes to the completely acoustic nature of this disc. “Let It Be You” (the best love song ever recorded, every time I play it makes me cry like a baby) and “Heart Dancer” are some of the tracks on the LP that are just mesmerizing in their beauty and execution. But it would be totally unfair to slag of COB as just another folk band. Nope, they sound quite exotic at times, otherworldly and even lysergic due to enriching their tonal palette with unusual instruments for that day like the harmonium and dulcitone. It makes the group sound at times even completely spaceward bound and psychedelic such as the track “Martha & Mary” will show and unveil upon spinning it. But it’s this naive charm and willingness to sound different that makes Moyshe McStiff and the Tartan Lancers of the Sacred Heart such a magical album. Although maybe too low-key for some, it is definitely to these ears one of the best English folk albums out there. The band effectively hit a rural English country folk-psych sound that’s visionary and highly original, completely different to the Stringband. To me it is a classic UK psych tinted folk album that defies even the greatness of Trees, Mellow Candle and Spirogyra and you know when you are catapulted into those regions you better sound good and deliver the goods. And COB definitely lives up to that promise. Probably the best copy for light-years around. Price: Offers!!!!

353. COBHAM, BILLY: “Spectrum” (Atlantic – P-8384-A) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original pressing with very first issue obi that saw the light of day in 1973. Drummer Billy Cobham was fresh from his success with the Mahavishnu Orchestra when he recorded his debut album, which is still his best. Most of the selections showcase Cobham in a quartet with keyboardist Jan Hammer, guitarist Tommy Bolin and electric bassist Lee Sklar. Two other numbers include Joe Farrell on flute and soprano and trumpeter Jimmy Owens with guitarist John Tropea, Hammer bassist Ron Carter and Ray Barretto on congas. The generally high-quality compositions (which include "Red Baron") make this fusion set a standout, a strong mixture of rock-ish rhythms and jazz improvising. Top condition. SOLD
354. 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: 100 Euro
355. 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
356. 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
357. 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
358. COLEMAN, ORNETTE: “Man on the Moon b/w Growing Up” (EMI – 2 C 006-90643 M) (7-Inch Record: Near Mint/ Picture Sleeve with Langluette attached: Mint). Only released as a single in France and with the musical contents only available on this release, this is a very rare 1969 France only issue. The avant-jazz single Man on the Moon by Ornette Coleman, released in 1969 in response to the first moon landing, features my father, Emmanuel Ghent, on ‘electronic devices’ jamming with Ornette & an all-star band: Ornette Coleman – alto sax; Don Cherry – trumpet; Dewey Redman – tenor sax; Charlie Haden – bass; Ed Blackwell – drums; Emmanuel Ghent – electronic devices. Interestingly, this record — recorded on July 7, 1969, and apparently made in anticipation of the Apollo 11 moonshot, which was scheduled to launch a few days later on July 16 — is itself something of an artifact of 131 Prince, since it captured the collaboration between Coleman and the other composer in the building, Emmanuel Ghent, who lived with his wife Natasha and their three daughters on the fifth floor. A French Canadian composer as well as a practicing psychoanalyst, Ghent became known in the 1960s for a series of chamber works using multi-tempo rhythmic relationships among the players. With the assistance of a Guggenheim Fellowship in 1967 Ghent started working at the Columbia Princeton Electronic Music Center and then, in 1969, began a ten-year residency at the electronic music studio of Bell Telephone Laboratories. According to the session records filed with the American Federation of Musicians, on July 7 Ornette Coleman, Don Cherry, Dewey Redman, Charlie Haden and Ed Blackwell recorded two tracks at Town Sound Studios in Englewood, New Jersey, working with audio engineer Orville O’Brien. On one of the tracks, “Man on the Moon,” Ornette’s quintet plays against the backdrop of a pre-recorded selection of electronic music made by Ghent, and Coleman takes a long solo feature in the middle section of the tune. As Ben Young has observed, “Man on the Moon” is notable first of all because it features an extended ensemble improvisation at the close of the track (indeed, the tune contains as much tutti improvisation as any Coleman recording since the double quartet of the classic 1960 LP Free Jazz). The record may have been simply an occasional piece, or it may have served as a promotional tool for Ornette at 12, the full-length album Impulse! released about the same time. Rare totally unplayed mint stock copy with langluette attached. Never surfaces in this exquisite condition. SOLD
359. 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
360. COLEMAN, ORNETTE TRIO: “At The Golden Circle, Stockholm, Vol. 2” (Blue Note – BST-84225) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink/ Obi: Near Mint). Japan 1st original pressing all complete with obi. Follow up slide to the above listed one. Such a stunning slide, perfect in every way. That aside, top condition first press issue. Price: 75 Euro
361. 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

362. 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

363. 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: 150 Euro
364. 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. SOLD
365. 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
366. COLTRANE, ALICE & TERRY GIBBS: “El Nutto” (Mercury – SFX-7237) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint) Pretty scarce Japan original 1st pressing that comes housed in Japan ONLY eye-popping gatefold sleeve art. This would be a routine Terry Gibbs quartet set except for one fact: the pianist is Alice McLeod, who after getting married would change her name to Alice Coltrane. The third of three albums she recorded with Gibbs (decades later, her son Ravi Coltrane would work for the vibraphonist's son, drummer Gerry Gibbs), McLeod sounds fine on ten obscure tunes, all Gibbs originals. Certainly, none of the songs (which include "El Nutto," "The Nightie Night Waltz," "Hey Pretty" and "Just For Laughs") caught on, and their melodies are not particularly memorable, but the solos of Gibbs and the appearance of the pianist make this album of historic interest.” (All Music Guide). Top condition. Price: 75 Euro

367. 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

368. 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: 125 Euro

369. 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
370. COLTRANE, JOHN: “Ketteiban – Kore Ga Coltrane – John Coltrane Golden Disk” (Atlantic Records/ Nippon Victor – SMJ-7277) (Record: Near Mint/ Fragile gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare Japan only Coltrane issue that came out around 1964. In absolutely top condition and damned rare, first complete copy to pass through my hands. Japan only issue that compiles some earlt Trane tunes such as “The Night Has A Thousand Eyes”; “Bags & Trane”, “Syeeda’s Song Flute”, “My Favorite Things”, “Harmonique” and “Giant Steps”. Top condition, absolutely perfect and that for a 1964 first original pressing with obi. Damned rare title!!! Price: 200 Euro
371. 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

372. 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: 300 Euro

373. COLTRANE, JOHN: “Coltrane’s Sound” (Atlantic Records – SMJ-7219) (Record: Excellent/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Bloody rare 1964 Japanese original pressing all complete with hardly ever seen “’64 Modern Jazz” Atlantic Obi. This is one of the most highly underrated entries in Coltrane’s voluminous catalog. Although the same overwhelming attention bestowed upon My Favorite Things was not given to Coltrane’s Sound upon its initial release, both were actually recorded during the same three-day period in the fall of 1960. So prolific were those recording dates, they informed no less than five different Coltrane albums on Atlantic. The title could not have been more accurate, as each of the six pieces bear the unmistakable and indelible stamp of Coltrane’s early-'60s style. "The Night Has a Thousand Eyes" and "Body and Soul" (the only tracks not penned by Coltrane) are given unique and distinctive voices. Animating the arrangements on these sessions were Coltrane (soprano/tenor sax), Steve Davis (bass), Elvin Jones (drums), and McCoy Tyner (piano). It's perhaps Tyner’s recollection of the quartet as "four pistons in an engine" that most aptly explains the singular drive heard during Coltrane’s extended runs on "Liberia." Tyner flawlessly complements Coltrane with full resonating chords that cling to his volley of sound. The rhythmic gymnastics of percussionist Jones is also showcased as his double-jointed bop swing and military band precision are distinctly displayed on the blues "Equinox." The opening six bars give Jones a chance to make a contrasting statement -- which he takes full advantage of. Regardless of the lack of attention, these recordings remain among Trane's finest.” (AMG). Very rare and seldom offered 1964 Japanese first original pressing all complete with rare obi. Just never surfaces!!! Price: 300 Euro

374. 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

375. COLTRANE, JOHN: “A Love Supreme” (Impulse Records Japan – SH-30636) (Record: Near Mint/ Fragile Flip-back Jacket: Near Mint/ OBI: Excellent). VERY First original 1965 Japanese pressing. Never seen before very first Japanese press original with very first issue obi. Seriously rare. “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. Never seen before first press copy of this all time classic. Price: 350 Euro
376. COLTRANE, JOHN: “A Love Supreme” (Impulse Records – SR-3006) (Record: Near Mint/ Gatefold Jacket: Excellent – Near Mint, has some mildew aging spots visible inside of the Gatefold/ Obi: Near Mint). 1967 high quality Japanese pressing, 2nd issue but first issue that came housed in gatefold sleeve. Rarely surfaces with obi. Killer sound quality. SOLD
377. COLTRANE, JOHN: “Africa / Brass” (Impulse – SNY-3) (Record: Near Mint/ Fragile Flip-back Jacket: Near Mint). Damned rare original Japan first issue Impulse pressing from 1961. Stupidly rare and never offered before white label PROMO issue in TOP condition. 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: 250 Euro
378. COLTRANE, JOHN/ ARCHIE SHEPP: “New Thing At Newport” (Impulse – SH-3075) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint) Very first 1966 Japanese pressing that comes housed in a fragile flip back sleeve. This one came out slightly behind the direct imported version on which an obi was slapped, this one was the first in Japan pressed original that comes housed in a single fragile flip back sleeve. Top condition and damned scarce issue. Price: 75 Euro

379. 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: 30 Euro

380. COLTRANE, JOHN: “Live In Paris” (BYG TOHO Records Japan – YX-4001~2) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). 1974 Japan only release, all complete with obi & insert. Top condition!!. By the time of this recording, Coltrane's classic quartet with Jimmy Garrison, McCoy Tyner, and Elvin Jones had already broken an unprecedented amount of ground in jazz with their revolutionary modal approach, breaking free from the boundaries of bop. The band began to come apart by the end of the year, but they were running on full steam here. On "Naima," written for Coltrane's first wife, the saxophonist's lyrical legato phrases match the wistful open feel created by the rhythm section. Tyner shows off his angular style to fine effect on "Impressions," and Jones is a marvel of sympathetic accompaniment throughout. The sound quality here is less than ideal, but Coltrane and company burn with such intensity that you'll barely notice. Top copy with OBI!! Price: 75 Euro

381. COLTRANE, JOHN: “Live At The Village Vanguard” (Impulse Records – IMP-88073) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition. “The four nights in November, 1961 that John Coltrane and various lineups of his group were recorded at a Manhattan club yielded a lot more music than the three tracks here — most of his subsequent album, Impressions, was drawn from those gigs, too. But Live! At the Village Vanguard is an argument as much as it is an album. At the time, the jazz world was bitterly divided over whether what John Coltrane's extended, discursive soloing was brilliant innovation or, as one review called the album, "musical nonsense...being peddled in the name of jazz." When DownBeat magazine asked Coltrane to defend himself upon its release, he patiently explained that "the main thing a musician would like to do is to give a picture to the listener of the many wonderful things he knows of and senses in the universe." The music on Live! At the Village Vanguard puts it more bluntly: We are the train to the future, and you'd better chase us.” (Douglas Wolk) Price: 50 Euro

382. 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
383. 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. SOLD
384. COLTRANE, JOHN: “Ascension” (Impulse Records – IMP-88119) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Totally clean Japanese original with obi of all-time classic free jazz slide. Top copy, Japanese pressing housed in heavy gatefold and with obi intact. Music needs hardly any introduction, groundbreaking recording with Coltrane ripping the air to pieces, setting the standard for free improvisation to evolve into. Together with fellow scenesters such as Freddie Hubbard, Art Davis, Elvin Jones, McCoy Tyner, Pharaoh Sanders, Archie Shepp, John Tchicai, Dewey Johnson, Marion Brown and Jimmy Garrison, this beast reads like a who is who of the free-roaming-jazz community. Stuff of legends that shreds the air to pieces. Total dead mint original Japanese press copy with obi. Time to get real and drag in some greatness into your sorry-ass life. Price: 60 Euro
385. COLTRANE, JOHN: “Meditations” (Impulse – AS-9110) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Top condition Japan original press issue with salacious obi flashing its true colors!!! Price: 50 Euro
386. COLTRANE JOHN & RASHIED ALI: “Interstellar Space” (Impulse – YP-8578-AI) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ 4 Paged Insert: Near Mint). 1974 original Japanese pressing of this quintessential album. When John Coltrane recorded Interstellar Space he had only five more months to live and consequently this album became his last great statement, released posthumously. After Ascension the fire breathing quality of his work escalated, peaking with the mind numbing blow-outs issued Live In Seattle and Concert In Japan. He not only pushed his horn, but also his musicians, his audience, and his own stamina to the limit. In a way, Interstellar Space may be considered the apex of his legacy and the four duets on the album distill some of the extremes of his immediately preceding work into a clearer, more concise language. Of course, that conciseness is relative -- the tunes still average up to nine minutes in duration. But every extension beyond the ordinary limit of his tone, every hoarse exhortation counts. He stretched the scope of jazz and its possibilities. Also the importance of Rashied Ali cannot be overstated. His contribution is vital, his percussive pulse and skin rattling riffs feel more like a blast of unadulterated pure steaming sound, rising like vapor and transcending the mere succession of beats a drummer is usually granted with. He definitely fired up Coltrane, taking him higher than ever before without even mandating a direction as to where to set off to. Merely once does he on “Saturn” hints at swing, opening the door for the debate if this racket of vigorous interplay could be called Jazz. So there is only one reply to that, being that it is totally beyond the topic whether you call it jazz or not but that the sole importance is what you hear upon sitting through this monster. So just listen, it is a vital piece of music…Price: 75 Euro
387. 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
388. COLTRANE, JOHN: “Live At The Village Vanguard – Softly As In A Morning Sunrise b/w Spiritual” (Impulse – PS-116) (EP Record: Excellent ~ Near Mint/ Flipback Picture Sleeve: Excellent ~ Near Mint). Bloody rare 1969 Japan only EP single release on the Impulse imprint. Comes housed in Japan only issued picture sleeve. Seriously rare Coltrane artifact. Great condition and such a bloody cool picture sleeve. Beautiful condition! Hard to improve upon. SOLD
389. COLTRANE, JOHN: “Kulu Se Mama” (Impulse – AS-9106) (Record: Excellent ~ Near Mint/ Laminated Gatefold Jacket: Excellent ~ Near Mint). Original US stereo pressing, in nice condition. Great whirlwind like performance by the classic quartet consisting out of Coltrane, McCoy Tyner, Jimmy Garrison and Elvin Jones, there where on side one the quartet gets flanked by fellow heavy weights Donald Garrett, Pharaoh Sanders, Frank Butler and Juno Lewis. Stuff of legends, beautiful condition US press with “Van Gelder” machine stamped in trail off. Wicked and highly essential. Price: 125 Euro
390. 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: 75 Euro
391. 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
392. COLTRANE, JOHN: “Meditations” (Impulse – AS-9119) (Record: Near Mint/ Coated Gatefold Jacket: Excellent ~ Near Mint – has a humidity stain inside of the gatefold/ Company Inner Sleeve: Near Mint). Top condition US first original pressing with “Van Gelder” machine stamped in the dead wax. This is it, friends: the last recording (November 23, 1965) McCoy Tyner and Elvin Jones made with John Coltrane. One need only turn from this to The Real McCoy or any other McCoy Tyner or Elvin Jones album of the period to get a clue as to why they left the "classic quartet." In the first place, Meditations isn't a quartet album at all: the leader has added an additional drummer, Rashied Ali, and another tenor saxophonist, Pharoah Sanders, to his own tenor, Tyner's piano, Jones' drums, and the mostly inaudible bass stylings of the nevertheless underappreciated Jimmy Garrison. Garrison wasn't the only inaudible one. Tyner left the group lamenting that he couldn't be heard either; Jones' drums had to compete with Ali's for attention. The sound is crisp and clear on this new 20-bit reissue, but clearly Tyner and Jones had a point. The opening section, "The Father and the Son and the Holy Ghost," which steams uninterrupted into the second part, "Compassion," is a maelstrom of unrelieved intensity. Jones and Ali put up a tremendous din, challenged by Coltrane's freest-ever solo and Sanders' chicken-slaughtering act. "Compassion" signals a certain calming, in which Tyner returns to the prominence he normally enjoyed in the quartet. Here it's a prelude to one of his most passionate and inventive solos. Then Coltrane wraps it up cleanly, with a brief coda featuring Garrison, backed skillfully by his old mates. Rashied Ali's band Prima Materia recently released a version of Meditations in which "Compassion" devolves into a bass solo that begins the third section, "Love." Probably Coltrane would have opted for such an arrangement in this age of the CD, but when this original version was recorded it was time to get up and turn the record over. Garrison's angular solo thus begins "Love," preparing the way for a gorgeous entrance from the leader, after which the heat steadily rises, Sanders returns, and it's time for "Consequences," another maelstrom. Tyner's solo following this one is especially striking in its originality and emotional power; for my money, it's his best ever. "Serenity" is another brief coda, and the meditation is over.” (Robert Spencer – All About Jazz). Damned clean US original pressing of killer Trane. Price: 85 Euro
393. COLTRANE, JOHN: “Ascension” (Impulse – A95) (Record: Excellent/ Gatefold Jacket: Excellent/ Company Inner Sleeve: Excellent) US first original pressing, MONO issue with “Van Gelder” Machine stamped in the dead wax. Has “Edition II” engraved in run out groove, edition II MONO pressings are so damned rare, hardly ever surface as opposed to “Edition I”, where mono is frequent. Music needs hardly any introduction, groundbreaking recording with Coltrane ripping the air to pieces, setting the standard for free improvisation to evolve into. Together with fellow scenesters such as Freddie Hubbard, Art Davis, Elvin Jones, McCoy Tyner, Pharaoh Sanders, Archie Shepp, John Tchicai, Dewey Johnson, Marion Brown and Jimmy Garrison, this beast reads like a who is who of the free-roaming-jazz community. Stuff of legends that shreds the air to pieces. Time to get real and drag in some greatness into your sorry-ass life. Great MONO copy of all-time classic slide, mono pressing is quite scarce. Comes with accompanying monaural imprinted gatefold jacket. Price: 150 Euro
394. COLTRANE, JOHN: “Om” (Impulse – AS-9140) (Record: Near Mint/ Coated gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Clean copy, US first original press issue with “Bell Sound” machine stamped in the dead wax. Also issued in 1965, Ascension had stunned the jazz world with the blunt force of its innovation -- a swirling maelstrom of noise, it was an answer to the challenge that had been posed by Ornette Coleman’s Free Jazz several years earlier. For all the sonic assault that Pharoah Sanders and Coltrane mustered up on Ascension, however, it contained some surprisingly clear solos and had the feel of a well-thought-out interplay between all of the musicians on the date, including classic quartet members Elvin Jones, Jimmy Garrison and McCoy Tyne. Om, in contrast, seems more like a pure release of energy. Expressions of sanity and organization by the rhythm section seem detached from the wall of sound that Sanders and Coltrane have erected. The best moments come when Coltrane breaks away from Sanders for solos -- echoes of Love Supreme can be heard in the repetitive, circular themes. Regardless of its seeming chaos, this is a deeply spiritual work, and can be seen as a darker, more unhinged version of the invocations heard on that album. Indeed, Om resonates with passion and yearning, but has a frantic edge that suggests that opening up to all of that powerful spiritual energy might have been a frightening experience. The music isn't perfect, as the thematic flow sometimes seems a bit segmented, and talented members of the band are relegated a little too far to the background. Regardless, Om doesn't deserve the dismissal it has been given by critics. It is an important work in the history of free jazz that opens up considerably by the end of its 29 minutes, revealing the expansive contents of a jazz master's mind.” (All Music Guide). Total killer slide and one of the best Coltrane outings put down on wax. Dead clean first original US pressing of all time classic. Price: 85 Euro
395. 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
396. 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!!!!
397. 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

398. The CONQUEROO: “From The Vulcan Gas Company” (5 Hours Back – TOCK-008) (Record: Excellent/ Jacket: Near Mint/ Printed & fully Illustrated Inner Sleeve: Near Mint). The Conqueroo’s retrospective album is a live recording from 1968. It features fine acidic brain-frying guitar work on Passenger and Banana And The Cat, it makes you realize how great this band could have been if they only could have released a full length LP at the time. This record, released in the U.K. in 1987, is the original first issue of the only album ever released by The Conqueroo, one of Texas' most legendary psychedelic bands. They released only one 45, in 1968 on the Sonobeat label, with a pic sleeve by Gilbert Shelton (Freak Bros). This LP has both of these tracks, plus four other songs recorded live in '67-'68 at Austin's notorious nightclub, The Vulcan Gas Company, as well as three amazing never-before-released tunes recorded at San Francisco's Pacific High Recording Studios in 1968 as a demo to shop around to record labels. Top-shelf stuff! A full band history with rare photos & reproductions of more great Shelton poster art is also included on the illustrated imprinted inner sleeve. Brilliant guitar-based lysergic psychedelic rock! Totally essential!!! Price: 50 Euro

399. 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. Zonked and beautiful droned out bliss. Price: 40 Euro
400. 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
401. 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
402. COOPER, JEROME – KALAPARUSHA – FRANK LOWE: “Positions 3 6 9” (Kharma Records – PK3/4) (2LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original 1977 US pressing of classic free jazz slide, released in a tiny run on the small and briefly active Kharma label. Three key players of the 1970’s loft jazz scene collide head on first on a totally free and delicate deep subterranean free improvisation slide that sounds as if the individual players are engaged in a trench warfare. The tiniest gestures trigger apocalyptic waves of sound that hurtle in and out of focus. Each player’s intuitive approach comes fully into the spotlight and together they generate a truly exploratory soundscape. Brilliant and top condition original pressing!!! SOLD
403. 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
404. CORYELL, LARRY: “Lady Coryell” (Vanguard/ King Records Japan – SR-331) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1969 Japan first original pressing with rare King Records obi. White label PROMO issue. On Lady Coryell, the 25-year-old Larry Coryell already possessed a virtuoso's technique and a rich harmonic and melodic imagination. He uses these gifts here to build swirling, multi-tracked, oftentimes intensely psychedelic performances that range seamlessly across the jazz and rock landscape. The most important tracks are "Treats Style" and "Stiff Neck." On the former, the guitarist is teamed with jazz masters Jimmy Garrison (bass) and Elvin Jones (drums) in a power trio of cool swagger and screaming blues. "Stiff Neck" is a furious duet between Jones and the guitarist. Coryell begins in a driving, post-bop vein, segues to a raw, acid blues and then out into a splintered, barrage of power chords and feedback. Jones navigates the way ahead, countering Coryell’s audacity with controlled fury and an assured, muscular pulse. On the rest of the session, Bob Moses, a band mate from the guitarist's first recordings, takes the drum chair, while Coryell overdubs the bass parts. Together they calmly probe the shifting sections and layers of the title track before transforming a Junior Walker R&B shuffle, "Cleo's Mood," into a mind-bending, rave-up. Even Coryell’s hoarse-throated singing is effective. On "Sunday Telephone," -- over a maelstrom of phased, fuzzed, and wah-wahed guitars -- he yowls dementedly, "One more dime operator, can't you see it's Dr. Strange on the line." The album's only lapse is the country corn of "Love Child Is Coming Home," where Coryell tries to transcend one genre too many.” (All Music). Fantastic fuzzy & wah-wah drenched psychedelic jazz slide that is just massively overlooked. Price: 100 Euro
405. CORYELL, LARRY: “Coryell” (Vanguard/ King Records Japan – SR-379) (Record: Near Mint/ Jacket: Excellent, lower seam middle rubbing/ Insert: Near Mint/ Obi: Near Mint). Original 1970 Japan first press issue all complete with rare King Records obi. His second solo album, 1969's Coryell is a great example, and finds him fearlessly blurring the lines between hardcore blues-inflected jazz, pop, and rock. Helping Coryell to achieve this boundary-crossing vibe are his stellar sidemen including innovative funk-friendly drummer Bernard Purdie and organist Mike Mandel. Also on board are a cadre of illustrious bassists Ron Carter, Chuck Rainey and the lesser known Albert Stinson, who died tragically not long after recording this album. Together, they laid down a vibrant, organic sound that touches upon groove-oriented blues, acid funk, and searingly amped-up jazz-rock. While certainly a gifted and adroit guitarist, as a singer, Coryell had his own laid-back, lo-fi charm. Years before influential indie bands like Pavement and Wilco defined a whole sub-category of hard-to-classify rock with their noodly guitars and jam-out tunes, Coryell was essentially doing the same thing, albeit from a jazz-oriented perspective. On the cheeky, semi-satirical "Sex" (a title inspired by hearing a woman yell "Sex! That's all you people are interested in!" at hippie anti-war protest marchers in the late '60s), Coryell belts out the chorus à la Jimi Hendrix before launching into a reverb- and wah-wah-pedal-soaked solo. Conversely, on the sweetly delivered, off-kilter ballad "Beautiful Woman," he sings softly in a flat yet soulful falsetto offset by bluesy guitar punctuations. What's so fascinating about Coryell’s vocal songs is his almost naive eschewing of genre conventions. This is a guy who can play classical guitar one minute, rip into reverb-soaked blues solo the next, and finish by evincing the hollow-body lyricism of Wes Montgomery. Here he is, in the same year that Miles Davis recorded Bitches Brew and the Beatles delivered Abbey Road, casually knocking out what sounds like Pavement’s Stephen Malkmus backed by John McLaughlin. Even his instrumental cuts, like the quirkily titled "Ah Wuv Ooh" (co-written with his wife), are dynamically cross-pollinated nuggets of nuanced jazz, soul, and intricately virtuosic guitar heroics. Coryell’s singing waned during the '70s, as he focused more on progressive instrumental fusion and his reputation grew as a highly respected jazz artist. However, listening to this album decades after its initial release only reinforces the notion that Coryell was a dynamic, creative visionary, as much in tune with swinging, blues-informed jazz as the psychedelic rock and folk that increasing dominated the airwaves. Ultimately, Coryel’s Coryell remains an embryonic artifact of a transitional era both in his own career and popular musical culture.” (All Music). Another totally indispensable and awesome eargasmatic slide that for some perverse reason always gets ignored. Price: 100 Euro
406. CORYELL, LARRY: “Spaces” (Vanguard/ King Records Japan – SR-3109) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1969 Japan first original pressing with rare King Records obi. White label PROMO issue. This album features the pioneer fusion guitarist Coryell with quite an all-star group. Two selections match Coryell with fellow guitarist John McLaughlin, bassist Miroslav Vitous (doubling on cello) and drummer Billy Cobham, all important fusion players at the time. "Rene's Theme" is a guitar duet with McLaughlin while "Gloria's Steps" has Coryell, Vitous and Cobham jamming as a trio. Chick Corea sits in on electric keyboard for "Chris," and the 20-second closer finds Coryell playing alone. Overall, the music has its energetic moments, but also contains some lyricism often lacking in fusion of the mid-'70s. In addition, all of the musicians already had their own original voices, making Spaces a stimulating album worth searching for.” (All Msuic Guide). Price: 100 Euro
407. COSMIC JOKERS: “Gilles ZeitschiffSternenmadchen Zu Besuch Bei Den Magiern” (Ohr/ Kosmische Musik – KM-58.012) (Record: Mint/ Jacket: Mint. Small punctured Hole Right Side bottom). Top copy. Coated Jacket. 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 Tempel and Klaus Schulze. 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. Be sure to strap your self in, glue on those headphones and relax because it will be a deep cosmic voyage into the furthest unknown deep galaxian super highways. A classic, mint copy, 1st original German pressing. Price: 150 Euro
408. 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
409. COUNT OSSIE And The MYSTIC REVELATION Of RASTAFARI: “Grounation” (Ashanti – NTI.301) (3 LP Record: VG++ ~ Excellent/ Triple Gatefold Jacket: VG++/ Booklet: Excellent). Rare original 1973 pressing on the gold colored Ashanti label. An unimpeachable classic. Master drummer Count Ossie's band, including the incomparable tenor saxophonist Cedric 'I'm' Brooks, recreate a Rasta grounation, or gathering, playing and chanting a sublime supplication, including Bible readings, in praise of Emperor Haile Selassie I. The Mystic Revelation of Rastafari is a fusion of the Mystics, led by Cedric Im Brooks and the Count Ossie Rastafarian Drummers. These two groups in the past were responsible for some of the most colorful and creative music that has emerged from this island of Jamaica. In 1973, Count Ossie and his group joined forces with the Mystics, a jazz-influenced band led by saxophonist Cedric Im Brooks, and the resulting combo was known as the Mystic Revelation of Rastafari. Though serious musicologists had made occasional field recordings of nyahbingi sessions, the first album to give the music the studio time it deserved, while remaining as true to its original forms as possible, was the triple LP set Grounation, from Count Ossie & the Mystic Revelation of Rastafari. The MRR was an aggregation of accomplished musicians, which brought together both Count Ossie’s African-style hand drummers and the horns, and bass of tenor-sax man Cedric Brooks’s Mystics band. A stunning 3 LP set filled with bewitching rhythms. First press original on the Gold colored Ashanti label. Comes with the booklet. Price: 150 Euro
410. COUNTRY JOE & THE FISH: “Art Rock Number 1 – Rock And Soul Music (Part 1) b/w Rock And Soul Music (Part 2)” (Vanguard/ King Records – HIT-1591) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Hardly ever surfaces this Japan only Country Joe & The Fish single issue that came out in 1968. Quite a strange selection to put on their debut single for Japan. No hit song like “I Feel Like I Am Fixin’ Do Die Rag” or any other but instead King Records opted for commercial suicide and put the long track “Rock And Soul Music” on it, spread over 2 sides. Well, understandable the single failed to make any waves and sunk to the bottoms of the sales pit and died a silent death. Hence that now copies are far and few in between. First time I can lay my hands on one in over a decade. Comes housed in great acid leaking Japan only picture sleeve art. Amazing condition and damned rare. Price: 300 Euro
411. 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
412. 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

413. 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

414. 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: 125 Euro
415. 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
416. 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
417. 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
418. 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
419. CREATION REBEL: “Psychotic Jonkaboo” (Statik Records/ Trio Records – AW-23015) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Original 1982 Japanese pressing. “Creation Rebel’s penultimate album, Psychotic Junkanoo might not be the most revolutionary collection in the band's catalog, but it is one of the most enjoyable. Indeed, if it demands any comparisons, it is period Black Uhuru that comes fastest to mind, with Crucial Tony’s militant vocals riding on a bed of delicious harmonies and, on the opening "The Dope," a guest appearance from sax legend Daedly Headley. Anthem by anthem, the album takes shape. Reworking Jah Woosh’s "Woodpecker Sound" rhythm, "Chatti Mouth" is a frenetic singsong toast laid over a haunted, effects-riven rhythm. With backing vocals from John Lydon, "Mother Don't Cry" echoes Black Uhuru’s "Abortion" in its stark delivery, and "African Space" is propelled by so startlingly evocative a wah-wah guitar that one doesn't even realize it's an instrumental till it's over. Across the board, Adrian Sherwood’s production and mix are as crisply clean as any "mainstream" roots album -- cleaner, in fact, as the rhythms float in a space all of their own, and the echoes simply ricochet off one another. Anybody searching Sherwood’s catalog for an easy point of entry would do well to start here, and everyone else can simply applaud Psychotic Junkanoo as the last truly great roots reggae album of the 1980s.” (All Music Guide). Price: 65 Euro
420. CROMAGNON: “S/T” (ESP – ESP-Disk 2001) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). First original US pressing, 2nd state jacket art. Already commercially successful as tune-smiths for teenyboppers, Austin Grasmere and Brian Elliot approached Bernard Stollman looking to focus their talents on something more original and unrestrained. Stollman asked, “What would be your theme?” and Elliot replied: “Everything is one.” Bernard said, “Go do it.” What followed was Cromagnon's (Grasmere, Elliot and the Connecticut Tribe) non-linear journey through the subconscious, weaving together bizarre instrumentation and meter with a psychotic blending of musical styles. Bagpipes, pounding percussion, blood-curdling yelps, chanting, laughing, and billowing subterranean rumblings create the otherworldly soundscape that is Cave Rock. Heralded as one of the best freak-out records of all time, Cave Rock was ridiculously ahead of its time and brings to mind the savage sound-fuckery of Nurse with Wound and Throbbing Gristle as well as the hallucinations of early Red Krayola.” (ESP label description). Killer slide, great condition and just gloriously weird ass freak out sonics for your pleasure. One of the best titles on the label. Price: 150 Euro
421. 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: 500 Euro
422. 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
423. 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
424. 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 1stJapanese 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: 250 Euro
425. 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 1stissue 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. Top condition. Price: 250 Euro
426. CROSBY, STILLS, NASH & YOUNG: “Déjà Vu” (Atlantic Records – P-8036A) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Rock Age Flower Obi: Near Mint/ Lyrics Insert: Near Mint). Freakingly rare Japanese press original with rarest obi variation, the “Rock Age” Flower Obi. Just never surfaces with this obi as it was only briefly available for sale in 1971 and quickly disappeared. First time I have a copy of this version up for grabs with the Rock Age ‾ Flower obi present. Top condition. Price: Offers!!!!

427. 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: 200 Euro

428. 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: 150 Euro
429. 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
430. 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
431. TED CURSON: “Tears For Dolphy” (Freedom/ Trio Records – PA-9711) (Record: Record: Near Mint/ Jacket: Excellent – has a few faint mildew spots/ Insert: Near Mint/ Obi: Near Mint). Rare Japan only jacket art issue. this quartet outing by trumpeter Ted Curson, tenor saxophonist Bill Barron, bassist Herb Bushler and drummer Dick Berk actually falls between hard bop and free bop. Curson and Barron in particular make up a potent team and their interplay on nine originals is quite impressive, swinging and occasionally witty. It’s an outstanding album that captures many of the outward directions in which jazz was headed at that point in its history. It is only natural that Curson would coalesce different elements of the new jazz. Several of the tunes have a Mingus-like flavor, particularly the romping, stomping "Quicksand" and "Reava's Waltz," which is understandable since Curson was a Mingus band member and contributor to such fine recordings as "At Antibes" and "CM Presents CM." Since this recording is a piano-less quartet, some tunes have a feel similar to Ornette's work on Atlantic, particularly "7/4 Funny Time." Although the title cut does not live up to its potential, such tunes as "Kassim," with its middle-eastern like rhythm and melody "7/4 Funny Time," and "Quicksand" manage to be both explorative and surprisingly accessible. Dolphy and Curson had played together with Mingus, and this recording was made a matter of weeks after Eric's tragic death, hence mournful elegy "Tears For Dolphy" for which the album is named. Price: 100 Euro
432. DADISI KOMOLAFE: “Hassan’s Walk” (NIMBUS – NS-3035) (Record: Near Mint/ Jacket: Near Mint). 1983 US first original pressing in amazing condition that is increasingly getting tough to find. Don’t let the date fool you, released back in 1983 this modal to slightly free jazz outfit from California takes you on a journey back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis among others. A soul jazz treasure from the LA scene of the early 80s – a fantastic record that I rank with the best Strata East sides of the time! The group's led by alto saxophonist Dadisi Komolafe, and features vibes by Ricky Kelly, piano by Eric Tillman, bass by Roberto Miranda, and drums by Sunship Theus – all working together in a style that's infused with soulful, post-Coltrane exploratory energy, never going too far outside, and always staying true to the rhythmic pulse at its core. Kelly's vibes are really great – sparkling underneath solos by Komolafe that remind me a lot of Gary Bartz's earliest work. SOLD
433. DANDO SHAFT: “S/T” (Neon/ Victor Records – SRA-5525) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Stupidly rare 1971 Japan first original pressing that comes with hardly ever seen first issue obi!!! First copy I encounter with obi and all is in outstanding condition. High quality all acoustic UK folk of the highest order, Dando Shaft's 2nd LP from 1971 does not disappoint one tiny bit. The complicated rhythmic fabrics -- woven together by intricate guitar, mandolin and violin, and joined by the expressive vocals of Polly Bolton -- create unique progressive folk atmospheres that are definitely some of the best of the period. Impossible to improve upon. Price: Offers!!!
434. DANDO SHAFT: “Lantaloon” (RCA Victor – SF-8256) (Record: Near Mint/ 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
435. 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
436. The DAVE BRUBECK QUARTET: “Jazz Impressions Of New York” CBS/ Nippon Columbia – YS-475-C) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint). Rare 1965 Japan first original pressing in top condition with rare “360” obi. Recorded in New York, New York between June 16 and August 21, 1964.Quite an enjoyable LP, contains 11 songs written for the soundtrack of the long-forgotten television series Mr. Broadway. It pays tribute to New York in a more abstract way than Jazz Impressions of Japan celebrated Japan for Brubeck had to concern himself with having the music fit in with the show. In general these themes and the melodic improvisations of Brubeck and altoist Paul Desmond hold their own without the show although none of the songs became standards. It's amazing how well Brubeck captures the vibe of New York City, especially given the fact that he is a California native. But Brubeck knew the Big Apple well, and his ability to invoke the mood and overall atmosphere of New York is uncanny. This is especially apparent on the sprightly waltz "Spring in Central Park," which conveys a blithe, carefree spirit. Other pieces, particularly "Lonely Mr. Broadway," are more somber, revealing the dejection sometimes associated with life in the big city. Alto saxophonist Paul Desmond is in fine form here, as are drummer Joe Morello and bassist Gene Wright, and together they incite terrific group interplay. Brubeck himself performs unrestrained solos on many of these outstanding tunes, most notably on the upbeat "Summer on the Sound." Price: 100 Euro
437. The DAVE BRUBECK QUARTET: “Gone With The Wind” (CBS/ Nippon Columbia – YS-507-C) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint). Rare 1965 Japan first original pressing in top condition with rare very first issue obi. “The album as a whole is filled with wonderful surprises and contains some of the best that the cool jazz style has to offer. The recording is masterful in scope and very stimulating in style and detail. The percussion of Morello and the bass playing of Wright are quite colorful and filled with texture and majestic rhythmic quality. Desmond’s lead on the alto sax is compelling and passionate, filled with joyous melodies and his ability to surf up, down, and through scale passages with a sense of effortlessness is certainly full proof as to why he is regarded with such high esteem within the entire spectrum of jazz. Dave Brubeck’s proficiency resonates throughout the record as he shows off his classically trained ear. Brubeck is one of the few pianists who, during his day, clearly avoided standard bop melodic conceptions and rhythmic feeling, and played within a unique style very much his own. Strongly recommended not only for the seasoned jazz fan, but also for first-time listeners who wish to be thoroughly captivated.” (All Music Guide) Hardly ever seen Japan 1st original press in top condition with damned rare first issue obi! Price: 100 Euro
438. 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: 125 Euro
439. 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: 300 Euro
440. 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
441. DAVIS, BETTY: “They Say I Am Different a.k.a Funky Betty” (Epic - ECPO 49) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Japan ONLY Poster: Mint with no pin holes or any signs of use). Original 1974 Japan high quality press original all complete with obi and Japan ONLY poster + comes housed in killer gatefold sleeve. Killer work from Betty Davis – one of the most impressive female funk talents ever! If you ever needed a definition of funk, this record may well be it – snapping drums, sharp-edged guitars, and sex-filled basslines that slink and slide all over the bottom of the grooves – a perfect setting for Betty's incredible vocals – which themselves have a smokey, raspy quality that's completely unique! At times, Davis is almost speaking, but at others she's practically screaming – belting out the lyrics in a way that makes you feel like you're sharing some space with her at the end of the bar as she gets more and more wound up about issues and people who are on her mind. And as if the vocals weren't enough, the backings are incredible too – filled with drum breaks and basslines that few other albums can match – all wrapped around badass tunes that include "Shoo-B-Doop & Cop Him", "He Was A Big Freak", "70's Blues", "Git In There", "Special People", "Don't Call Her No Tramp", and "Your Mama Wants Ya Back". Top condition. Price: 120 Euro
442. 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
443. 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
444. DEAD BOYS: “Young, Loud & Snotty” (Philips – RJ-7322) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare white label promo – Japan original pressing all complete with rare obi, released in 1977. New York and London weren't the only places with punk scenes in 1977 - Cleveland had one too, and Dead Boys were the new music's leading exponent there. Nonetheless, the quintet felt the pull of Manhattan and cut almost all of their Sire Records debut, YOUNG, LOUD AND SNOTTY, in the city's Electric Lady Studios with producer Genya Ravan (a live cover of “Hey Little Girl” was recorded at CBGB). From the opening classic “Sonic Reducer” to the closing complaint “Ain't Nothin' To Do,” the collection has attitude to burn and pulverizing riffs that would be the envy of The Stooges or Ramones. But the “Sonic Reducer” song would make them legends forever, but the rest of the album is equally stunning. Sadly, the volatile group wasn't built to last and they split after just one more album the following year. Bators died in 1990 when he was hit by a taxi in Paris. Price: 350 Euro
445. The DEEP: “Psychedelic Moods” (Cameo Parkway Records – P-7051) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – has a little minor drill hole on the bottom left corner, otherwise clean all way round). Bloody rare original US STEREO copy. Mono copies surface regularly but STEREO issue is the rarest and the ultimate version to enjoy this brain freeze! Rusty Evans discovered the nascent psychedelic scene during a brief stop in Los Angeles, where he also recorded the 1965 Musicor single "1983"; upon returning east, he landed in Philadelphia and formed his own psych band, the Deep, with Mark Barkan, David Bromberg and others. Signing to Cameo-Parkway, over just two days in August 1966 the Deep recorded their lone official album Psychedelic Moods of the Deep, one of the more rare and fascinating byproducts of its time; virtually the same lineup later reunited as Freak Scene, releasing 1967's Psychedelic Psoul on CBS. “Take A Trip – Freak Out – Blow Your Mind – You’re On Your Way to the Psychedelic Mood – A Way of Life – A State of Mind.” So begins the blurb on the cover of Psychedelic Moods: A Mind Expanding Phenomenon. An album recorded, if the blurb is to be believed, in pitch darkness in the “wee hours of the morning” at Cameo-Parkway Studios, Philadelphia by studio-only band, The Deep, back in August 1966. Pitch black or not, Psychedelic Moods is still an impressive, if not unusual, piece of Psychedelia. Unusual in that only one of its twelve tracks weighs in at over three minutes, with several not even going beyond the two-minute mark. Stunning clean original stereo issue of full blown psych extravaganza filled with effects, snarling leads, totally wacked and spaced out vocals…dementia for weeks on end!!! Price: Offers!!!
446. 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: 375 Euro
447. 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
448. DEEP PURPLE: “The Best Of Deep Purple” (Polydor – MP-2103) (Record: Near Mint/ Gatefold Jacket: Excellent/ OBI: Near Mint). Rare Japan only 1970 first original pressing all complete with first issue straight obi. Second pressing has a triangular obi and that one surfaces from time to time, but this one is genuinely hard to track down. First copy I see in over a decade. Great condition. Price: Offers!!!
449. 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!!!!
450. 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
451. 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: 575 Euro
452. 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
453. 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
454. DEMA: “S/T” (CBS Sony – SOLL-28) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Insert: Near Mint). OK I am bringing out one of the cornerstones of Japanese psychedelic jazz, a disc whose rarity is heavy enough to bounce the Richter scale out of balance and cause seismic tremors to erupt, setting landslides in motion, heading straight for your safe sanctuary. Dema was a one time off session band in the style of Satoh Masahiko’s previous one-off adventure with the Soundbreakers. Based around the likely named avant-garde science-fiction story by writer Yasutaka Tsutui, Dema got set to music. For this project, star rock and jazz players were assembled into Kohsuke Ichihara All Stars (which included Kohsuke Ichihara, Takao Naoi, Kimio Mizutani, Akira Ishikawa, Masaoka Terakawa and Hideo Ichikawa) and free jazz players assembled under the Sato Masahiko & Garandoh banner (including Masahiko Sato, Keiki Midorikawa and Hozumi Tanaka). The result of bringing all these heavy weight veteran players under one studio roof was a double casting of two groups assembled adhoc in order to create a sonic atmosphere to Yasutaka’s SF story which resulted in Sato Masahiko acting as center mediator for it all and guiding the smoldering interplay into well glued psyched-out spiritual epic sounding manifest that till this day is regarded as a masterpiece within the dark underworld of Japanese jazz rock. So if Sato Masahiko & Soundbreakers “Amalgamation – Showa Kokotsu Genroku” was up your alley, then this smothering psychedelic spaced out jazz funk brain melter might just be the follow-up you need. Hideously rare on these shores, first copy I have to spare in like a decade. Highest possible recommendation, just a vicious slab of Japanese psyched out Bitches Brew styled space jazz. Awesome and one of the top 10 greatest discs to come out of Japan. Price: Offers!!!!!
455. 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
456. 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!!!!
457. DENNY, SANDY: “The North Star Grassman And The Raves” (Island Records – AML(i)-1011) (Record: Near Mint/ Thick Gatefold Jacket: Near Mint/ 4-Paged Insert: Near Mint). Original 1972 high quality Japanese pressing. White label promo in top shape. The North Star Grassman And The Ravens showcases both the potential of the sequined singer Denny wanted to be, and the clumsy tomboy who was happiest singing old songs in a smoky club, whiskey glass never far from hand. The pull of the past weighed heavily on the future, and The North Star Grassman And The Ravens fell between the cracks of two decades and two musical eras, between folk's institutional and experimental pathways. Denny is introspective and sentimental; her covers of Brenda Lee's bluesy "Let's Jump The Broomstick" and Dylan’s honky-tonk "Down In The Flood" almost seem out of place. The traditional folk singer had found her own voice, and in this process, unmasked her fragility and innocence. Eight of the album's 11 songs were written by Denny; they reflect upon broken hearts ("Next Time Around," "The Optimist") and absent friends ("Late November," "The Sea Captain"), including the introspective finale, "Crazy Lady Blues." The anti-war "John The Gun" and tragic tale of "Wretched Wilbur" show Denny as a master of writing traditional-sounding ballads that could fool any folk historian. But Denny could not forget her roots. Central to the album is arguably the benchmark recording of the traditional song "Blackwaterside." It was taught to her by her mentor, Anne Briggs, who in turn taught it to Pentangle's Bert Jansch, who taught it to Led Zeppelin. But Denny's version, backed on guitar by Fairport Convention colleague Richard Thompson, is the album's ray of light. Price: 150 Euro
458. 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

459. DESPER, BOB: “New Sounds” (Rose City Sound) (Record: Near Mint/ Jacket: Near Mint – still housed on original shrink!). Bloody rare & still in shrink top copy original of this suicidal downer folk masterpiece. “The Pacific Northwest is a dark, dank place, with a suicide rate higher than Keith Richards on a four day binge. Even their most articulate native son, Kurt Cobain, drowned in the sea of despair and offed himself. And what’s the cause of this environmental depression??? It may be the constant grey skies and rain, it may be the extremely high runaway and homeless rate or it just may very well be the music of Bob Desper. Bob recorded his New Sounds LP in one take at the local Rose City Sound studios. Just him, his acoustic guitar and an amazing insight to the dark side of the human psyche. So dark in fact, that only a blind man can see it. Bob is that man, and on this LP he taps into a place that very few people have visited. His voice is quiet with an edge sharper than a Ginzu knife. His lyrics reflect a lonely man who recognizes the shortcomings of human kind. This LP gives me goose bumps each and every time I play it. Side one starts off with “Darkness Is Like A Shadow”. A spooky, echoey tune where Bob introduces a topic that becomes a re-occurring theme throughout the entire LP, the fact that people with eyesight are blind to the things that are truly important in life. “It’s Too Late” and “Lonely Man” follow and continue the introspective soul search, all accompanied by Bob’s extraordinary guitar playing. The fourth and last cut on side one is “To A Friend Of Mine”. This is where I usually start thinking about going into the bathroom and slitting my wrist with a razor blade just to prove to Bob that I could begin to understand what true suffering is. This 15+ minute journey is, in my opinion, the most flawless chunk of downer/loner folk music ever recorded. Side two is good, but pales in comparison to it’s flip side. Songs are “Let It Shine For You”, “Don’t You Cry For Me”, “Liberty” and “Time Is Almost Over”. (RH – Acid Archives). Spot on, just a massive LP of higher-key and loner folk. Talking about real feelings, then this beast is not holding back. This album is so down, everything will look like up to you. Tremendous slide…and this being a perfectly clean original copy. Price: Offers!!!

460. 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!!!!
461. 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: 400 Euro
462. 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!!!
463. 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
464. 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
465. 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
466. 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
467. 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
468. 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
469. 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
470. 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
471. DJANGO REINHARDT: “Django Reinhardt & Stephane Grappelly – Maboroshi No Guitarist” (London Records – SLC(M)-364~5) (2 LP Record Set: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) Japan original 2 LP record set by legendary guitar mangles. Released in the late 1960s, this is this compendium does cover a lot of ground. 26 selections recorded between 1935 and 46 recorded with the Quintet Of The Hot Club Of France and features Reinhart and several of Europe's best jazz players While every interaction Reinhardt ever had with U.S. improvisers would require multiple compact discs, this historic overview does a fine job of commemorating the inter-national collectivity of jazz during the mid-'30s and 40’s. Just killer and sadly overlooked king of gypsy jazz!! Top condition Japan only issue with obi! SOLD
472. 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: 125 Euro
473. 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
474. 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
475. 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
476. DOCKSTADER, TOD: “Drone – Two Fragments From Apocalypse – Water Music” (Owl Records – ORLP-7) (Sealed). Original US first pressing – still factory sealed! ‘Dockstader deserves shelf space next to Schaeffer, Henry, Stockhausen, Varése, etc. -- historically vital, minutely detailed experimental electronic music and tape composition. "My choice of the term 'Organized Sound' for my own work was, in part, a tribute to the 'Poéme' and to Varése. I also chose it because, in the 60s, the term 'electronic music' was coming to mean music made purely of synthetic sound, and I was working in both' concrete' and electronically generated sounds...my 'synthesizer' for everything on this LP was one or two sine-wave test generators ('oscillators' in those days) which were 'played' by turning a dial. I forced them to produce harmonics (square waves) by amplifying them into distortion, and got pulse-trains out of them by temporarily rewiring them into instability. The 'notes' they produced were achieved by editing tape, note by note (by note by note...)...it had a muscular joy to it. I think a lot of us had fun up on that singing high wire, teetering between control and chaos, trying to push the sound a little farther toward Something we hadn't heard before, working in it ...listening." Water Music’ is made almost exclusively from the source sound of water, which was processed to create all manner of reverberating, shimmering harmony. The first begins predictably with a few water drips but gradually builds to a series of climaxes via sequences of amazing electronic transformations. Price: 150 Euro
477. DOCKSTADER, TOD: “Quatermass” (Owl records – ORLP-8) (SEALED). Original US frst pressing – still factory sealed! “Tod Dockstader may not have had the musical training of some of his more distinguished peers but what he lacked in study, he made up for in virtuoso skill. His aptitude for tape music was almost unmatched, and this collection of pieces from the early 60s is a stunning example of why people still mention his name in hushed tones. Synthesis is only a part of the process, and Dockstader chopped and edited his synthetically produced tones to create buzzing clouds, clicks, rhythms and throbbing basses. ‘Quatermass’ was perceived by Dockstader as an antidote to ‘Water Music’, adding a certain playfulness to the rhythms, tones and textures on show. Together the pieces work together blissfully and give proof of Dockstader’s rightful place as one of key composers of his era. Hugely recommended.” (Boomkat) Price 150 Euro
478. DOLLAR BRAND: “African Piano” (Trio Records – PA-7057) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Rare Japan original pressing with rarely seen obi. It’s remarkable how much of Abdullah Ibrahim’s character comes over in the simplest of materials. From the very opening chords of the opening track Bra Joe From Kilimanjaro, this is unmistakably Ibrahim playing — rolling musically, staking out territory with ringing commentary and gradually establishing supremacy over the café conversation at the Jazzhus, which soon falls respectfully silent. Swirling scales spread out like glittering tributaries of a river and swift rhythmic runs descend like waterfalls. The piece comes to a contemplative conclusion, which is both precise and spacious. Ibrahim’s playing is continuous and without appreciable pause and we flow swiftly through the brief second track whose title is almost longer than its duration —Selby That the Eternal Spirit is the Only Reality. Then we are into the crowded rhythm of The Moon, a tour de force which dominates Side 1 of the album. Dense exposition yields to jaunty celebration and soon we’re chiming and churning, a runaway train through the African landscape. This tune is a benign juggernaut hurtling to a joyful destination. Ibrahim goes right past the stop signal, straight into the final tune of the first side, Xaba with bright right hand block chords suggesting token attempts at braking the express. But the wheels slow, the steam subsides and Abdullah Ibrahim’s piano fades out. Although Side 2 nominally begins with a new track, Sunset in Blue, it sounds like a straight fade up of Side 1, with a cheerful lilting theme. The relentless, melodic excursion slows to a thoughtful lyricism in the shape of the slipping, slow and delicate Kippy, a pondering, poetic meditation with clean, open chords and a lot of space. The album wraps up with the infectious affirmation of Tintiyana, a sunny Sunday-go-to-church piece. The ECM stated that “the flavour of this album is ‘documentary’ rather than luxuriantly hi-fidelity.” But there’s no need for apologies or caveats; the sound is lovely, immediate and alive, the piano sharp, clean-cut and resonant. This is a great sound document catching the then Dollar Brand at his raw and virile best. (Andrew Cartmel - LondonJazz) Bloody scare Japan original with rarely seen OBI!!! Price: 50 Euro
479. 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: 150 Euro
480. DOLPHY, ERIC: “At The Five Spot” (Prestige Records/ Victor Records – SMJ-9003~4) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Never seen before Japan 1st original pressing from around 1965 of legendary recording all-complete with first issue obi. Without obi it pops up from now and then, but with obi it is a damned tough one.After having left the ensemble of Charles Mingus and upon working with John Coltrane, Eric Dolphy formed a short-lived but potent quintet with trumpeter Booker Little, who would pass away three months after this recording. Despite all of the obstacles and subsequent tragedy, this quintet became legendary over the years -- justifiably so -- and developed into a role model for all progressive jazz combos to come. The combined power of Dolphy and Little -- exploring overt but in retrospect not excessive dissonance and atonality -- made them a target for critics but admired among the burgeoning progressive post-bop scene. With the always stunning shadings of pianist Mal Waldron, the classical-cum-daring bass playing of Richard Davis, and the colorful drumming of alchemistic Ed Blackwell, there was no stopping this group. Live at the legendary Five Spot Café in New York City, this band set the Apple, and the entire jazz world on their collective ears. "Fire Waltz" demonstrates perfectly how the bonfire burns from inside the soul of these five brilliant provocateurs, as Dolphy’s sour alto and Little’s dour trumpet signify their new thing. Dolphy’s solo is positively furious, while Blackwell nimbly switches up sounds within the steady 3/4 beat. "Bee Vamp" does not buzz so much as it roars in hard bop trim. A heavy tandem line breaks and separates in the horn parts like booster rockets. Blackwell is even more amazing, and Dolphy’s ribald bass clarinet set standards that still influences players of the instrument. Where "The Prophet" is a puckery blues, it is also open armed with minor phrasings and stretched harmonics. This is where Waldron and Davis shine in their terra cotta facades of roughly hewn accompaniments to Dolphy and Little’s bold flavored statements. A shorter alternate take of "Bee Vamp" is newly available, shorter by two-and-a-half minutes and with a clipped introductory melody. Most hail this first volume, and a second companion album from the same sessions, as music that changed the jazz world as much as Ornette Coleman and John Coletrane’s innovative excursions of the same era. All forward thinking and challenged listeners need to own these epic club dates.” (All Music Guide) So good, it almost hurts. Price: 150 Euro
481. 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: 150 Euro
482. DOLPHY, ERIC: “Last Recordings” (DIW – DIW-25020) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint/ Obi: Mint). Long time no see all-complete copy with OBI. 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: 75 Euro
483. DON RENDELL – IAN CARR – NEIL ARDLEY: “Greek Variations & Other Aegean Exercises” (Philips – RJ-5004) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Bloody rare Japan first original press issue, WHITE LABEL PROMO COPY and all complete with rare OBI!!!. Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes. The first half of the album has composer Neil Ardley directing a fourteen-piece chamber orchestra featuring Rendell and Carr, plus a supporting cast of creme de la creme British musicians in "The Greek Variations," a six-part suite based on a traditional Greek folk tune. The second half features in turn a quintet led by Carr—Nucleus in all but name—and a quartet led by Rendell, on shorter suites maintaining a Greek flavour and ambience. An undercurrent of brooding turbulence surfaces at various points in the "Variations" suite, as though some sort of tidal wave might erupt from the Aegean at any moment, but at other times the mood is sunnier and vivacious (or delicately moonlit), and there are lovely solo passages, both improvised and composed, from Frank Ricotti on marimba/vibraphone, Karl Jenkins on oboe, Rendell on alto flute (on which he has a voice as distinctive as on tenor sax) and Carr on flugelhorn. Comparisons with the Miles Davis and Gil Evans collaborations inevitably spring to mind. But Carr, though strongly influenced by Davis, is ultimately his own man, and Ardley is absolutely so too, and the result is an entirely fresh approach to composed/improvised orchestral jazz. The three Carr-composed tracks are performed by Carr plus Nucleus founding members Brian Smith, Chris Spedding, Jeff Clyne and John Marhsall. "Wine Dark Lullaby" and "Orpheus" conjure up balmy Mediterranean nights, soft and lush, while "Persephone's Jive" is a wild Greek dance made ever more urgent by the sustained clatter of Afrobeat in Spedding's aggressive, staccato comping. Only a few minutes long, but still one of the highlights of the set. (All About Jazz) Price: 500 Euro
484. DONALD BYRD: “Byrd Blows On Beacon Hill” ((Transition – trlp-17) (Record: Mint/ Textured Heavy Jacket: Mint/ Booklet: Mint/ Inner Sleeve: Mint/ Sticker: Mint/ Liner Notes: Mint/ Obi: Mint). This 1956 (released in 1957) session is Donald Byrd’s quartet session. Utilizing a rhythm section of Beacon Hill's finest – bassist Doug Watkins, pianist Ray Santisi and drummer Jim Zitano – Byrd establishes himself here as an individual voice on the trumpet and as a leader as well. The material is comprised of well-known standards and catalog jazz tunes such as "Stella by Starlight," "Polka Dots and Moonbeams," "People Will Say We're in Love," "If I Love Again," and "What's New"; it's hardly the high-flying hard bop material that became his signature during his early years at Blue Note. Mostly the pace is slow, easy, and swinging, with enough of the funky blues Byrd would blow later to make these nuggets sound interesting. Byrd’s interpretation of older material like this was one of both observance and phrasing. He never overplays either on the vamping lyric or in his solos. Likewise, his rhythm section keeps things spare, if not necessarily simple. Nowhere is this more evident than in "Polka Dots and Moonbeams," where the melody is inverted after the first three choruses have been played, but it is never overstated or broken apart, just observed and actively pursued for its chromatic richness. Byrd’s tone is not quite as biting as it would become in later years, though it is imbued with the same ghostly timbral grace that distinguished him as a soloist.(AMG). Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 150 Euro

485. 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

486. 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!!!
487. 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
488. 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
489. 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: 450 Euro
490. 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
491. 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: 200 Euro

492. 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

493. The DOORS: “Golden Doors Vol.2” (Elektra/ Victor World Group – SWG-7188) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Near Mint). Japan ONLY issue that was released in July 1970. Rarest Doors LP release, just never surfaces all-complete with OBI. To make it even more insane, this is the never seen before WHITE LABEL PROMO ISSUE. Comes housed in a thick gatefold sleeve adorned with stunning Japan only artwork. Sometimes this one surfaces without obi and in not the best condition but a copy like this one here, with all complete and in top shake + promo is something utterly unique. One-off chance to wheel in the rarest Doors-related pressing. Totally unique issue and in top condition. Price: 500 Euro

494. 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

495. 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
496. DORHAM, KENNY: “Quiet Kenny” (Victor/ Prestige – SMJ-7380) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint). Stupidly rare 1966 Japanese first pressing with rare original obi. Just never surfaces and this one is seriously rare. “The title of the 1959 date, Quiet Kenny, is almost redundant, less descriptive of the session than of Dorham himself, who plays no differently here than in the explosive groups of Blakey or Silver. Thoughtful, playful, lyrical but never effusive, Dorham is, as Dan Morgenstern calls him in the notes for this latest RVG edition, the most "poetic" of trumpet players. The playing is on a level with Dorham's best work elsewhere (Whistle Stop, Blue Note, 1961; Una Mas, Blue Note, 1963), but there are two undeniable bonuses: Dorham's is the only horn, giving him more valuable time to tell his compelling stories; and the pianist is Tommy Flanagan, whose dynamically nuanced, carefully sculpted lines are the perfect match for the trumpet's exquisitely crafted statements.” (all about jazz). Top condition & comes quite cheap for a rarity of this stature. Price: 550 Euro
497. DOYLE, ARTHUR PLUS 4: “Alabama Feeling” (AK-BA Records – AK-1030) (Record: Near Mint/ Jacket: Near Mint). TOP COPY!!! The Holy Grail of the free jazz pantheon, this one being a fantastic copy. Released in 1978 on Charles Tyler private Ak-Ba Records imprint, “Alabama Feeling” is an intense ride from beginning to end, a mind-boggling debut that still sounds as vigorous today as it was nearly 35 years ago. Doyle, along with musicians Richard Williams (bass), Rashied Sinan (drums), Bruce Moore (Drums), and Charles Stephens (trombone), gathered for what may still be one of the most grueling jazz performances ever. His over-the-top abrasive squawking, paired with the dual drummers and bass, is simply ear-shatteringly beautiful as well as a right-in-yer-face sonic attack that will obliterate all the preconceived conceptions you might behold of what free jazz was and is supposed to be. This is hardcore stuff. Doyle has made an art form out of lo-fi free jazz recordings, as well as serving up a unique style of sax playing: the cat can sound like he's playing multiple reeds with just one instrument, and views the various instruments he plays (tenor sax, bass clarinet, and flute on this album) as an extension of the human voice. His approach to the instrument is unique and sounds like no one else out there. Discovering the extraordinarily gritty sound produced by singing and blowing into the horn at the same time, Doyle was soon in demand as a free player, sitting in with Sun Ra's Arkestra at Slug's Saloon on several occasions, and joining saxophonist Noah Howard on the mythic 1969 Black Ark album. In the early 70s he played with Bill Dixon, Sam Rivers, Andrew Cyrille and Dave Burrell, and recorded Babi live with Hugh Glover and Milford Graves in 1976. A beast of a disc that will have you gasping for air every time you spin this one because it simple sucks all of the oxygen right of the room when he starts raping his horn to pieces. One of the rarest and all-time greatest free jazz recordings out there. Getting next-to-impossible to locate a decent copy. TOP CONDITION. Massive!! Price: Offers!!!
498. 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
499. 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. SOLD
500. 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!!!
501. 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
502. The DREAM SYNDICATE: “The Days Of Wine And Roses” (Rough Trade Japan – 25RTL-15) (Record: Near Mint/ Jacket: Excellent, has some mild foxing/ Obi: Near Mint/ Insert: Near Mint). Original Japanese pressing with obi, promo issue. The Dream Syndicate’s The Days Of Wine And Roses has long been considered the cornerstone album of L.A.’s early ’80s Paisley Underground scene, from which the band emerged. The original lineup of Steve Wynn, Karl Precoda, Kendra Smith (later of Opal), and Dennis Duck (see LAFMS) took seminal ’60s rock — most obviously the Velvet Underground along with Buffalo Springfield and The Rolling Stones — and filtered it through the more modern sounds of The Fall and L.A. punk bands Flesh Eaters, The Gun Club, et al. The band’s first full-length album, ‘82s’s The Days of Wine and Roses, is not only one of the highlights of the Paisley Underground scene, but one of the most lasting alternative rock albums made during an explosive time for left-of-center music. With Steve Wynn’s Lou Reed vocal style and Karl Precoda’s scorching guitar blasts, along with the bass playing and occasional singing by the enigmatic Kendra Smith, and propulsive drumming by Dennis Duck, it’s a timeless album on which nearly ever other song is a classic. In 1982 it was a cacophonous siren’s call, and it more than holds up now. One of the all time greatest LP’s ever!!!Price: 100 Euro
503. 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
504. 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
505. 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
506. DUFAY, GUILLAUME: “Complete Secular Music” (London Records – L00C-1260/5) (6 LP Record Set: Near Mint/ Outer Box Set: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Rare and almost impossible to find high quality Japanese first original audiophile pressing, housed in a lavishly illustrated 6 LP box complete with obi. This recording first appeared 37 years ago, and the passage of time hasn’t diminished the grandeur of the achievement of the Medieval Ensemble of London. DF suggested then that the opportunity of hearing the entire corpus of Dufay’s songs from the same interpretative perspective is irreplaceable – indeed, I wonder whether any record company today would be willing to undertake such an ambitious project. I could also say with DF that the six hours spent in the company of this set positively flew by. More than just the scope of Dufay’s invention (that is hardly surprising in a career that spanned nearly 60 years), it is its astonishing consistency that strikes the listener – nearly every song has something to delight, to intrigue, to teach. The rough chronology, traced from first to last, is a programme in itself, beginning with the jaunty, seemingly effortless songs of his youth, catchy and dazzling by turns, to the increasingly involving works of maturity, culminating in the sublime poise of his last years. I’d promised myself that I wouldn’t name any particular songs, but can’t resist mentioning the very last, the canonic Les doleurs, which I played over and over again, scarcely daring to believe that anything so perfect could ever have been written. What seemed 37 years ago like justified quibbles now seem to matter less, for while one has come to accept the series’s limitations, its many virtues endure. Although the ensemble doesn’t always match Dufay’s phenomenal consistency, it’s hard to argue with a line-up that includes Paul Elliott, Rogers Covey-Crump and John Elwes, all of them in their prime. And yes, one can disagree with the odd phrase here, spot a fluffed note among the instrumentalists (or, rather more rarely, the singers), or wonder at some surprising glitches in the LP transfer; but with Les doleurs lingering in the mind’s ear, I haven’t the heart to complain. DF’s original summing-up remains valid: every serious collector should have this. (Fabrice Fitch). Totally awe-inspiring acid-folk-avant-la-lettre, smack in yer face, deliriously beautiful, life will never ever be the same after this. Simply one of the most stunning and ear-shatteringly beautiful pieces of music ever made. In the shadow of this set, all rock becomes stale as cold dog shit. Price: 75 Euro
507. 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
508. 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
509. 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: 150 Euro
510. 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
511. 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!!!!
512. 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
513. 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
514. 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
515. 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
516. 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
517. 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