RARE RECORDS CATALOGUE
E-F
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

675. EARL “Fatha” HINES: “Here Comes Earl “Fatha” Hines” (Flying Dutchman Records/ King Records – SR-3139) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Classic jazz slide by Hines, beautiful Japanese press original all complete with obi and insert. The sound quality is out of this world. SOLD
676. EARTH: “Hex: or Printing In The Infernal Method” (Southern Lord – Sunn-48) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Great minimal doom metal slide, sounding like La Monte Young on a heavy minimal trip creating mind numbing trance-inducing drones through earth-tremor riffs slowed down to infinity. “Earth have been around the stoner/drone scene for quite some time, but have been pretty silent for a few years until now with the release of Hex- Or Printing In The Infernal Method, a pretty unique and unclassifiable album. While much of their back catalog owes plenty to bands like Black Sabbath, The Melvins, and Saint Vitus (and no doubt influenced sunn0))) ), this latest recording lays off much of the droning sludge guitar work in favor of a more bluesy, textured sound. At times Dylan Carlson sounds like a cross between David Gilmour and Roy Buchanan, as he creates waves of twangly and jangly guitar chords and lead passages, still played at sleep-inducing speed mind you, but the cavernous effect that he and drummer Adrienne Davies create here is pretty different from what other bands in the genre are doing lately. "Mirage" sounds like some long lost Pink Floyd backing track, while "The Dire and Ever Circling Wolves" is a haunting number that could easily be the soundtrack to some dark Western movie, the perfect backdrop to an impending gun battle.” (Sea of Tranquility). The monolithic darkness of previous releases such as “Earth2” and “Pentastar” remains apparent yet is now channeled into a different direction. This new direction is bold, determined and as essential as anything they have ever done in the past. The New Age of minimalist drone music begins with Earth. Price: 75 Euro
677. EARTH & FIRE: “Song Of The Marching Children” (Polydor Japan – MP-2227) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 page Insert: Near Mint/ OBI: Mint). Bloody rare Japan 1st original pressing complete with Obi. Earth and Fire are legends of the Dutch rock scene, first making an impression with their debut single in 1969. Copies with OBI just never turn up and this one is in perfect condition. Earth & Fire quickly established themselves as an international act thanks to the excellence of their material and the powerful vocals of Jerney Kaagman. In 1971 the band released arguably their finest work, 'Song of the Marching Children', a Mellotron soaked masterpiece. Never seen before Japanese 1st press original pressing of this Dutch mellotron infested and guitar based progressive unit fronted by a high vocal soaring female chanteuse. Stuff of legends and one of the best acts to come out of the Low Lands. First issue obi looks amazing & never offered for sale before, this none comes so cheap it almost makes me blush…Perfect copy all complete with bloody rare obi. Price: 250 Euro
678. EAST BIONIC SYMPHONIA: “Recorded Live” (ALM Records – AL-3001) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint). Ultra rare original, top-notch copy. Officially released as a graduation effort in an edition of only 300 copies way back in 1976 by Kosugi Takehisa, this one copy here is one of those, the real thing and comes complete with insert having detailed liner notes by Yuasa Yoji. Not really an outfit with Takehisa Kosugi in its ranks, but consisting out of a collaborative effort of his students and recorded under his auspices was this improvisational ensemble baptized as the East Bionic Symphonia. Its line up consisted out of 10 members, of which some are still active in the today Tokyo underground scene. The band consisted out of Ozawa Yasushi (Fushitsusha’s long time bass player until he passed away this year) Okabe Kaoru, Hamada Kazuaki, Imai Kazuo (Imai Kazuo was the sole person who graduated from Takayanagi Masayuki’s guitar school and remains till this day active as a solo guitar improviser and as a member of the improvisational clitter clatter unit Marginal Consort.), Tada Masami, Koshikawa Kazunao, Sui Hajime, Mukai Chie (Mukai Chie is a legendary figure still today in the Tokyo underground scene, although that she originated from Osaka, still active solo as well as with her outfit Che-Shizu) Minegishi Masaharu and Hattori Tatsuo. Their sole recorded output was registered live and presented in the form of a graduation concert staged at the Kanda-Shi Bigakkô on the 13th of July 1976. Their sound was centered around an avant-garde, improvisational amalgamative sound of different percussion and various snare instruments such as Imai Kazuo’s guitar and Mukai Chie’s kokyu drones, establishing a hypnotic and minimalist sonic universe, reminiscent to the Taj Mahal Travelers. The record itself was released in that same year by the independent record label Kojima ALM Records. Soon thereafter the ensemble ceased all of its activities, until they regrouped in 1998 under the name of Marginal Consort, performing some concerts in the Tokyo area. Although that the group remains active on an irregular basis, some of its key figures retrieved from its ranks due to conflicting interests and personal objectives. Ultra rare original pressing in top-notch condition. First time ever I have a copy to spare of this gem. Just turns up around never…and if TMT is up your alley, you cannot pass up on this one. Highest possible recommendation and rare beyond belief. Price: Offers!!!!

679. EAST OF EDEN: “Snafu” (Deram/King Records – K16P-9082) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine Japanese high-quality pressing from 1976 all complete with insert and obi. Their second album had to be one of the least commercial albums ever to enter the British Top 30, as well as one of the most stylistically diverse. Fusing neatly progressive rock stylings with elements of jazz, rock, Eastern tinted influences and long tracks. Some virtuosic instrumental sections make up for a large part of the LP, spiced up with some out and out weirdness, like the squiggly tape manipulations/musique concrète of "Uno Transito Clapori" and the eerie backwards-sounding effects that run through some of "Habibi Baby Beast of Sweden." A classic in its own right and this one here is a spotless Japanese pressing for your audiophile pleasures. Price: 50 Euro

680. EAST OF EDEN: “S/T” (Odeon – OP-80338) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Damned rare Japan 1971 original press issue with OBI + WHITE label PROMO issue. The band’s third and best LP next to Mercator Projected. Addictive progressive sounds with some experimental and psychedelic touches, long tracks filled to bursting with killer hooks and adventurous playing. One of my fave to come out of that fertile 1971 progressive scene. Damned rare Japan original with obi, first time I have a pristine all complete copy of this gem. Highest recommendation! Price: 250 Euro

681. EAST NEW YORK ENSEMBLE DE MUSIC: “At The Helm” (Folkways – FTS-33867) (Record: Near Mint/ Jacket: Near Mint). Original 1974 US pressing in top condition and one of the oddest records to seep out of the Folkways label. Sold my last copy but luckily could dig up another one but this one is in ever better shape than my last one so… eargasmatic music gel perfectly with amazing condition. East New York Ensemble de Music came out of the diverse community of Bed-Stuy, Brooklyn, where African, West Indian & black American cultures converged. First and foremost, this is a deep Spiritual Jazz record, that succeeds in incorporating elements of the West Indies, and both the Near and Far East. Released as very small pressing by Folkway Records in 1974, it sounds loose and free – spiritually building in a manner that recalls the work of Ahmed Abdul Malik, Phil Cohran, and some of the AACM.. The elaborate tracks brings out the core group that prominently features soprano sax and Korean reeds by Bilal Abdurahman and vibes by Ameen Nuraldeen – plus guest work on bass by James Smith, and appearances by a lot of different world percussion players. Multi-reed player Bilal Abdurrahman was best known for his musical partnership with the trailblazing bassist/oudist Abdul Ahmed Malik from the late '50s into the mid-'60s. At The Helm is the only surviving document of Abdurahman's own Black Magical Music and was mainly a collaboration between Abdurahman and vibraharpist and composer Ameen Nuraldeen. Nuraldeen's compositions deftly mix the somewhat loopy, exotica-derived sounds one might find on Sun Ra's early recordings with an authoritative, groove-oriented, early-'70s Afro-modal jazz sensibility. The cover of Freddie Hubbard's "Little Sunflower" daringly opens with an extended improvisation on a bizarre-sounding non-tempered Korean reed instrument. This is not done merely for exotic effect; Abdurahman plays the untamed, unnamed instrument with the same soul and passion he displays on his main axe. Nuraldeen is a forceful, percussive player who revels in the vibraphone's bright bell-like tones while eschewing the clanky, clangy sounds that many players of this ilk fall prey to. The supporting players provide an organic propulsive rhythmic base throughout. At The Helm presents a convincing fusion of jazz, African, Asian, and Middle Eastern ethnic musics in which the immediacy and power of jazz is never diluted by the ethnic influences, and vice versa. Could dig up another copy but in a slightly even better shape than my last copy so…don’t hold back. Price: Offers!!!

682. EASTANBURIA: “S/T” (Japan Overseas) (Picture Disc: Mint/ Outer Plastic Sleeve: Mint). Released in a limited run in 1999, "Eastanburia" is painter Rita Ackermann, Yoshimi and ATR (Boredoms), David Nuss (No Neck Blues Band), Shoji (Japan Overseas) and Mhayow (Psycho-Baba). Recorded in Osaka at Japan Overseas Studio, they went wild and primitive. During the summer of 1999 Dave Nuss of NNCK and Rita Ackermann traveled to Japan for the book release of Revelations, a chronicle of the Father Yod dynasty penned by Byron Coley and illustrated by Ackermann. While there they scored a record deal for Angelblood with Capt. Trip, and traveled to Osaka to record an album for Japan Overseas with the Yoshimi and Atari of the Boredoms, joined by in-house musician Yoshida. Recording and recording, only breaking to visit the local Shinto shrine, the ensemble found their sound in a blend of NNCK primitive shaman percussion with the Boredoms penchant for electronically-inspired repetition, Ritas Eastern European vocal eccentricities, and the occasional strum of the sitar. Yoshimi handled all mixing and re-mixing. A beautiful full-color picture disc with art by Yoshimi and Rita. Is it middle-eastern? Indeed, it is Eastenburia." Sounds like one long drug overdose. Price: 50 Euro
683. ECHO and the BUNNYMEN: “The Pictures On My Wall b/w I’ve Read It In Books” (Zoo Music – Cage-004) (7 Inch Single: Near Mint/ Picture Sleeve: Near Mint). Rare 1979 first Echo and the Bunnymen single. Given that he once burned a million quid and dumped a dead sheep at the Brit awards, the KLF’s Bill Drummond isn’t a man who’s short on big statements. Still, the Bunnymen’s one-time manager was patently sincere when he described them as “the greatest rock band of all time”. The group certainly made some magical records, and they weren’t far short of greatness on this very first Zoo Records single. Improbably, singer Ian McCulloch had been in a band with two other Liverpool luminaries – Pete Wylie and Julian Cope – when he briefly rehearsed as the Crucial Three. Wylie went on to front Wah! Heat, and Cope was with the Teardrop Explodes, while McCulloch found the perfect vehicle for his big voice, large overcoat and not exactly diminished ego with the Bunnymen. He learned about how to be a rock star from listening to David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars. On The Pictures on My Wall, we hear McCulloch’s formative influences. The embryonic Bunnies are also a trio on this track, with McCulloch joined by Will Sergeant on guitar and Les Pattinson on bass. (“Echo” was the band’s drum machine). Post-punk and psychedelia blend wonderfully with an anthemic chorus and haunting vocal. The Pictures on My Wall would appear in a different form on the band’s 1980 debut, Crocodiles, but with only 4,000 copies pressed, the original seven-inch record is a hard one to get a hold off in decent condition. Here is one complete with the picture sleeve and instantly captures the Bunnymen at their embryonic peak! Price: 100 Euro
684. ECLECTION: “S/T” (Elektra – EKS-74023) (Record: Near Mint/ Gatefold Jacket: Excellent). UK original pressing on the orange Elektra label. “This band’s line-up was eclectic indeed, including members from Australia, Canada, Norway and the UK. The disc has an unusual style, blending complex Beach-Boys like harmonies with dreamy folk-rock backing and some fairly prominent trumpet work and orchestration; the results have a wonderfully quaint and trippy feel. George Hultgren later went on to considerable success with Sailor, but Trevor Lucas and Gerry Conway are likely to be far better-known.” (Galactic ramble). Amazing album filled with beautiful soaring harmonies, stellar songwriting and an ace backing to support it all. Female vocals are intoxicatingly delirious to say the least. Original UK pressing in top condition. Price: 200 Euro
685. EDDIE COSTA: “Eddie Costa Quintet” (Overseas Record/ Teichiku – ULS-1862-V) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Mono high quality Japanese pressing. All complete with obi. Eddie Costa made only a few dates as a leader prior to his sudden death as a result of an automobile accident at the age of 31; this 1957 session is the best of them. Alternating between piano and vibes, Costa leads a quintet that includes Phil Woods, Art Farmer, Teddy Kotick and Paul Motian, featuring enjoyable interpretations of "I Didn't Know What Time It Was" and Dave Brubeck’s still fairly new "In Your Own Sweet Way," the latter of which focuses on Costa’s vibes and Farmer’s muted trumpet, with Woods switching to the piano. Each of the originals by Costa, Woods and Farmer is stimulating, although they have undeservedly languished in obscurity. Recorded for the long-defunct Mode label and this is a high quality Japanese mono pressing that will be glued to your ears. Price: 40 Euro

686. The EDDIE COSTA TRIO: “The House of Blue Lights” (Dot Records/ Victor Records Japan – SMJ-6092) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). 1st original and Scarce Japanese pressing. Eddie Costa was a strange but nevertheless bewildering musician I am quite obsessed with these days. As this recording will demonstrate, Eddie was also an accomplished pianist. He was experimental to the degree similar to Lenny Tristano and we are speaking 1959 here!! In that year during a late February evening, the trio consisting out of Costa, bassist Wendell Marshall and drummer Paul Motian walked into a smoke-filled studio in order to record over 2 consecutive days this unheralded masterpiece. Right from the first notes of the mesmerizing opening track “The House of Blue Lights”, one gets sucked into Costa’s strong left hand swirls, which pounces on the lower reaches of the keyboard with a driving walk and a be bop style much like Bud Powell or Horace Silver, but also brimming over with vibrating originality that was unheard until then. He was after all a pianist, although quite a few people remember him as an uncelebrated vibe player, hence the crossover in his playing mode. The whole track – as well as the rest of this killer-no-filler-smoke-filled late night butt shaker is unrelentless in a laidback and intoxicating way. Simply music to smoke opium to. Costa was after all a cat with a very active career between 1954 and 1962, both playing jazz and as a studio hand, until he died at 31 in a car accident. As is showcased here, he was gifted as a pianist with a fierce attack and was famous for diving into the lower register of the piano, sometimes playing as if it were a set of vibes. Beyond that quite compelling feature, he was also a soloist with a knack for long, fluid improvised lines, devoid of clichés or licks, again similar to Tristano in some perverse way, yet very captivating and once put under his spell, one has a hard time shaking it off. His playing is very rhythmic and intelligent, always impregnated with a standard melody that yet gets sucked into improvisational lines and modes, making it extra compelling and addictive and just as is showcased here his playing is brimming over with spontaneity and inventiveness. He goes off on some interesting nearly avant-garde tangents and like Tristano that is where for me his strength lies. Avant-garde, yet rooted in hard bop with a nicotine stained swing attached to it and still able to churn out intoxicating lines no one else would be able pull out of those ivory keys except Costa himself. This is a masterpiece and it keeps on sucking you in time after time…highest recommendation to these ears!! Price: 50 Euro

687. EDGAR BROUGHTON BAND: “Evil b/w Death Of An Electric Citizen” (Odeon Records – OR-2343) (Red Wax EP: Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only artwork Edgar Broughton Band EP release. This is the WHITE label PROMO issue that comes on BLOOD RED VINYL – only promo issue came on red wax. Has on label record executive catalogue seal. Perfect copy and damned hard to dig up. Price: 200 Euro
688. EDGAR BROUGHTON BAND: “WASA WASA” Odeon Japan – OP-80145) (Record on Red Wax: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Mint). Rare 1st original Japanese WHITE LABEL PROMO pressing that comes on blood RED WAX and with the OBI!! Goes without saying that these red wax Japanese pressings rarely surface, especially in such a top-notch condition as this one here. Formed in Warwick, England, the Edgar Broughton Band arrived on the London underground music scene in 1968. Led by the Broughton brothers, vocalist/guitarist Edgar and drummer Steve, and fleshed out by bassist Arthur Grant and guitarist Victor Unitt (who also briefly served with the Pretty Things), they soon signed with the Harvest label, and issued their debut Wasa Wasa -- a collection of underground electric blues jams anchored by Edgar's Captain Beefheart-like vocals -- in late 1969. The following expose I borrowed since the description is just spot on: "Establishing themselves as an unholy collision between the still-nascent Pink Faries and the legendary Fugs, the debut album by British free-festival favorites the Edgar Broughton Band almost literally re-created the spirit of their natural territory -- a muddy field full of sunbaked hippies -- with eight more or less epic tracks that, though their inspiration has long become the stuff of ancient history, remain essential listening to all but the most jaded ears. All maniacal cackle and frenzied riffing, the band's first single, "Evil," and the brutal bellowing of "Love in the Rain" are the most conventional numbers in that they were certainly written as crowd-pleasing stompers in the days before "Out Demons Out" established itself as the Edgar Broughton Band's all-consuming anthem. More impressive, however, are the numbers which see the band stretching both their capabilities and their audience's expectations -- the lengthy opus "Dawn Crept Away," the evocatively titled "Death of an Electric Citizen," and, best of all, "American Boy Soldier." Ranking alongside Black Sabbath's "War Pigs" as British rock's finest contribution to the Vietnam War, it is a Mothers of Invention-esque piece that blends sneering spoken word with a delightfully doo wop-ish invocation of all that war really has to offer and all that its servants leave behind. "Shot down from my plane/Never be the same again/I was just 16 years old." As jaggedly metallic as it is theatrically ambitious, Wasa Wasa (an Eskimo phrase meaning "from far, far away") stands alongside early albums by the Fairies, the Deviants, and Hawkwind as a dramatic snapshot of a very special moment in time, as the whimsical hopefulness of the late '60s gave way to the chilled cynicism of the early '70s. And, while the band would certainly produce better songs over the next three years, they never again unleashed such a potent mood.” (Dave Thompson, All Music Guide). Insanely great, wasted, doped and fuck up but ready to tear shreds of shrapnel debris out of your already detoriating mind. Killer!!!! Haven’t seen a copy of this one in over 10 years…Price: 500 Euro

689. The EDGAR BROUGHTON BAND: “Sing Brother Sing” (Odeon Records – OP-80059) (Red Wax LP Record: Mint/ Gatefold Jacket: VG++, has water damage on lower side/ Obi: VG++). Rare Japan 1st original pressing, comes on RED WAX – White label PROMO Issue: The band’s second album following the illustrious “Wasa Wasa”. The band continues the hybrid combination of Stooges-meets-Beefheart primal, tortured acidic rock with uncommercial, people’s band street cred that colored their first LP. Sing Brother Sing now sounds like a transitional album between the primal scream of Wasa Wasa and the rather fine self-titled third album. The concepts of alcohol consumption, Beefheart emulation, and a dedication to 'the conspiracy' were certainly well discussed themes in the Broughton Brothers household. If you'd like to pound it out in unison, this will cover your needs quite well. Bloody rare 1st original Japanese pressing on RED wax. Jacket has lower moisture/ water damage, record is stunningly untouched mint. Bloody rare with first issue obi included. Price: 400 Euro

690. EDGAR BROUGHTON BAND: “S/T” (Odeon Records – OP-80357) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Near Mint). White label PROMO issue. TOP CONDITION. Bloody rare 1st original 1971 pressing, complete with obi in immaculate condition. “The most conventional of the Edgar Broughton Band’s first (and best) three albums, 1971's LP finds the group dispensing with the no-holds-barred mania and theatricality responsible for such classics as "Out Demons Out," "Up Yours," and "Apache Drop Out" and concentrating instead on more musical endeavors. It's an approach that arguably captures the band at their very best at the same time as revealing them at their ugliest. The two-part epic "For Dr. Spock" conjures images of Gong as it drifts closer to space rock than the group had hitherto ventured, while "House of Turnabout" certainly restates the group's free-freak credentials with its rumbling percussion and scything guitars, a second cousin to the roars that punctuated Wasa Wasa and Sing Brother Sing. The heart of Edgar Broughton Band however, lies elsewhere. The lilting chant "Thinking About You," with its spectral reminders of John Lennon’s "Working Class Hero," is certainly one of their most rancorous concoctions, while "Evening Over Rooftops" rides an acoustic guitar as pretty as its flowery lyric, but you know there's something rotten squirming just below the surface, even if you can never quite put your finger on it. The pure pop backing vocals, all "sha-la-la" and "doo-be-doo-be-doo," of course, only add to your unease. And, as that is merely the opening number, you can guess what you're in for over the rest of the album long before you actually get it.” (All Music Guide). A stunning LP, so essential. Top copy Japan 1971 original press with obi, hard to ever improve upon and obi is damned RARTE!!!!… Price: 350 Euro

 

691. EDGAR BROUGHTON BAND: “In Side Out” (ODEON Records – EOP-80632) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Insert: Mint/ Additional Lyrics Sheet Insert: Near Mint/ OBI: Near Mint). Original 1972 Japanese press, - WHITE PROMOTIONAL LABEL - top-notch copy, all complete with rare OBI. Another rebellious, anarchic and politically incorrect slab of dusty greasy psych rock by this tremendous band. The Edgar Broughton Band was all of these things and more. In 1972, the band released Inside Out, inspired by the extremely original album sleeve design by Hipgnosis. The front cover of the album was a striking photograph of an ex-Wormwood Scrubs inmate stood by the imposing walls of the prison. In all, the pictured scene is an utterly surreal one, almost claustrophobic. The overall impact of the image is further intensified by the Chinese wallet design, for opened one way, the figures stand at the corner of the uncompromising wall. Opened the other way, the figures appear at the front of a long, daunting corridor. It still causes chills to run down my spine in discomfort of the atmosphere it breathed out and then you have only glanced at the packaging so the music to accompany it is even bleaker, far removed from hippie idealism and rolling in the mud while wearing flowers in your hair. So Musically speaking there are no fillers here. All the songs are totally stripped bare clean of any whimsical pretenses and as a result the whole album stands far removed and in sharp contrasts to the glam of Bowie and Bolan and the pomp of Yes and ELP. Raw emotions and brutal honesty are the order of the day here and for those who are about to experience this classic for the first time; you are in for a caustic shock. These guys were mean social psychopaths armed with guitars, battered drums and raspy vocals to spit out the glorified signs of the times. Doped up working man heroes!!!! Brilliant. White label promo copy with OBI, rare 1st press Japanese original!!! Price: 350 Euro

692. EDGAR BROUGHTON BAND: “Oora” (Harvest – Odeon/ Toshiba Records – EOP-80884) (Record: Near Mint/ Heavy Japan Only Gatefold Jacket: Near Mint/ Japan Only Illustrated Insert: Mint/ Imprinted Inner Sleeve: Mint/ STICKER: Mint/ Insert: Mint/ Obi: Near Mint). WHITE LABEL PROMO issue with OBI. All complete with all the inserts and always-missing sticker. Original 1973 Japanese press that comes on Japanese high quality audiophile vinyl & housed in a Japan only released gatefold jacket. Japanese pressing of this sucker is rare. Oora was released in May 1973, in an elaborate sleeve designed by artist Barney Bubbles (noted for his work with fellow musical anarchists Hawkwind), the album was perhaps the most sophisticated of all The Edgar Broughton Band’s releases for Harvest, notably on the track Face From a Window / Pretty / Hi-Jack Boogie / Slow Down. Last and final album the hairy freaks recorded for the Harvest label and again it is a stunner. The Edgar Broughton Band are still till this day largely overlooked by they never stopped to rock my world with much rigor, filling it with teenage angst and the hovering feeling of a nearing cold turkey. Fantastic & in TOP condition with rare obi present. All complete copies just do not surface anymore. Price: 400 Euro

693. EIJI NAKAYAMA: “Aya’s Samba” (Johnny’s Disk – JD-01) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Absolutely pristine top copy, first original press issue of magnificent private press Japanese Jazz masterpiece. Intoxicating grooves from a cool Japanese combo spearheaded by bassist Eiji Nakayama and flanked by a great electric piano and brilliant tenor sax player! Long & open-ended tracks that are not unlike the Three Blind Mice label style of the period, but blessed with an even more contemplative and spacious feel – especially on some of the piano lines that are outstretched and almost galactic in their own way. But when the tenor sax comes into the mix the whole affair gets more befringed! Aya’s Samba, released in 1978 out of a jazz café in Iwate on a label named after the owner, became the first and most sought-after release on it by far. The group created a mellow and melancholic spiritual journey, a post-bop voyage drifting on Coltrane’s avant-garde fumes and injected with a touch of Brazilian and Latin flavors to spice up the sonic outcome. The electric piano/sax-led jazz/samba fusion track feels simultaneously both extremely familiar and completely unique, floating on a tasteful mix pulling in samba vibes crossbreeding with jazzy molecules. Infectious electronic piano solos intersect with floating bass and sax lines, all underscored by some delicate and subtle drumming that always seems to restrain itself just in time before going completely out of control. Veering off with the memorable classic “Aya’s Samba”, one gets dozed into a potent mix of rhythmic Brazilian samba carried by Nakayama’s elastic bass playing, accentuating perfectly the loose and polyrhythmic funk grooves pulsating out of drummer Atsumi. The rhythm section is in perfect sync, the piano and sax glide over it all, adding a slight spiritual flavor to the already intoxicating mix. This all is driven by Nakayama’s understated molecular shifting bass, displaying his versatility in opting for the bow in his slow build up during the intro of “See Sea Town”. Emotional bowed pulls build the tension towards almost liquified heights that guide you towards the introduction of Takahashi on the sax. Takahashi’s sax runs are brimful with poetic resonance of Coltrane’s playing style around his 1961’s My Favorite Things period, but nevertheless he stands on his own plane. In all, a splendid LP but a damned tough one to unearth on these shores. One has to approach this one with caution cause once you get sucked into this sonic Valhalla, there is no way back. Killer!!! Price: Offers!!!!

694. EJE THELIN GROUP: “S/T” (SWE Disc – SJ25-9011) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press that comes housed in Japan only jacket art. Complete with rare OBI, only 1st time I see the obi on this one! Eje Thelin was an extraordinary and prolific Swedish jazz trombonist during the 60s and 70s. This LP from 1975 (released by Caprice Records but released in Japan with alternative artwork in 1980) includes the musicians Bruno Åberg, Harald Svensson and Leroy Lowe. This album is a cool free jazz gem, but not as far out as you can guess, there's a Swedish kind of vibe of it that shines through and kind of adds to the overall sound. Sadly the whole Swedish jazz scene from the 70s is largely overlooked and this LP is amongst those gems that should have their place in the spotlights. Just a great treasure that hasn't seen the light of day since it's original release. Eje Thelin Group is groovy! So recommended!!!! Price: 100 Euro
695. ELECTRIC EELS: “Accident b/w Wreck & Roll” (Hozac Records – HZR-159) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Unreleased recordings from 1975 not issued until 1997 of untouchable Ohio proto punk outfit, crude & vile, unhinged audio nihilism like this should never feel so uplifting. Top shelf brain smasher!!! Price: 30 Euro

696. Die ELECTRIC EELS: “Cyclotron b/w Agitated” (Rough Trade – RT-008) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Top shape UK original press issue of proto-punk brain freeze. Cleveland's Electric Eels formed in 1972 to record a flurry of catchy and genuinely fucked-up tunes. In their 4-year career, they only played 5 gigs, each one full off confrontation and frustration and at each of these shows, some sort of trouble occurred. The band had been arrested by police on their first gig, they had fist fights with audience members and each other on stage, they had the power shut down during half their set and told to get out of the venue on one occasion. After these five legendary live performances – complete with Dave E. in black leather jacket covered in rat-traps and playing a gas-powered lawnmower on stage – they broke up in 1976 and posthumously released their classic single Agitated on Rough Trade in 1978, blazing a trail for high-art, low-concept rock. As Jon Savage wrote "There is something heroic about the Eels isolation and uncompromising attitude: a fierceness that you can hear in these songs that still resonates in a different time and world." From the loud and snotty "Agitated" and its B-side "Cyclotron", it was clear the Eels exorcised the demonic power of the Stooges and Velvets and captured the mystique of these outsider artists by inventing a new language. "It's 5am and I'm crawling the walls ... just waiting for imaginary telephone calls." Hell yeah, one of the best punk singles ever to see the light of day, here ready to brighten up your day. Price: 75 Euro

697. The ELECTRIC FLAG: “A long Time Comin” (CBS Sony – SONP-50056) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Damned rare Japan first original pressing all complete with the obi, very first issue that came out in May, 1969. “Writer Jeff Tamarkin says "ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin'." That The Electric Flag do so well -- they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival. A Long Time Comin' is the "new soul" described appropriately enough by the late critic Lillian Roxon, and tunes like "She Should Have Just" and "Over-Lovin' You" lean more towards the soul side than the pop so many radio listeners were attuned to back then. Nick Gravenites was too much of a purist to ride his blues on the Top 40 the way Felix Cavaliere gave us "Groovin'," so Janis Joplin's eventual replacement in Big Brother & the Holding Company, Gravenites, and this crew pour out "Groovin' Is Easy" on this disc. It's a classy production, intellectual ideas with lots of musical changes, a subdued version of what Joplin herself would give us on I Got Dem Ole Kozmic Blues Again, Mama two years later, with some of that album written by vocalist Gravenites. Though launched after Al Kooper's the Blues Project, A Long Time Comin' itself influenced bands who would go on to sell more records. In the traditional "Wine," it is proclaimed "you know Janis Joplin, she'll tell you all about that wine, baby." As good as the album is, though, the material is pretty much composed by Mike Bloomfield and Barry Goldberg, when they're not covering Howlin' Wolf's "Killing Floor" and adding spoken-word news broadcasts to the mix. More contributions by Buddy Miles and Gravenites in the songwriting department would have been welcome here. The extended CD version has four additional tracks, Bobby Hebb's "Sunny" and "Mystery," both which appear on the self-titled Electric Flag outing which followed this LP, as well as other material which shows up on Old Glory: The Best of Electric Flag, released in 2000. "Sittin' in Circles" opens like the Doors' "Riders on the Storm," the keyboards as well as the sound effects, and a hook of "hey little girl" which would resurface as the title of a Nick Gravenites tune on the aforementioned follow-up disc, where Gravenites and Miles did pick up the songwriting slack, Bloomfield having wandered off to Super Session with the Blues Project's Al Kooper. Amazing stuff all in all, which could eventually comprise a boxed set of experimental blues rock from the mid- to late sixties. Either version of this recording, original vinyl or extended CD, is fun listening and a revelation.” (All Music Guide). Top condition and so bloody great!!! Price: 250 Euro

698. The ELECTRIC PRUNES: “I Had Too Much To Dream b/w Luvin’” (Reprise/ Victor – JET-1735) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint) Scarce Japan original with cool picture sleeve in top shape, comes with center piece attached. Price: 50 Euro

699. ELECTRIC PRUNES: “I Had Too Much To Dream (Konya Ha Nemurenai) b/w Luvin” (Reprise Records – JET-1735) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Bloody rare Japanese TEST PRESS issue with test press only advance jacket that got eventually changed to another design!!!. Killer US garage classic, sneering fuzz assault, heavy farfisa organ riffage, wailing vox, all the right ingredients for an instant classic, which it eventually became. The Seeds truly made the earth stand still for a brief moment. Stupidly rare Japan test press only issue in outstanding condition, a must for every self-respecting psyched out garage head. Price: 250 Euro

700. The ELECTRIC PRUNES: “Underground” (Victor Records/ Reprise – SJET 8000) (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). First original Japanese pressing and one of the rarest SJET number releases that never surface with obi present. To boot this is a white label PROMO issue that came out in January 1968!!!!! This one is nothing short of being a masterpiece. The Prunes certainly succeeded in combining a big studio production with an anything goes attitude and make it work. This beast is filled with fuzztones, sound effects and a whole pallet of studio gimmickry that really elevate the record to the next level, as it will do with the listener. Some of the material on display is nothing short of being pure magical, especially “The Great Banana Hoax” and “I happen To Love You” and tracks like “Dr. Do-Good” contain some fearsome fuzz sound blasts!!! For the rest most of the album is filled with psychedelic touches that carry the whole and the prunes did something different on every song, making this a true classic. Hopelessly rare Japanese first pressing with OBI and white label promo. These babies sold nothing when they were released in Japan in 1968, making them now hopelessly rare and a bitch to wheel in. Just give it a try. TOP CONDITION. Price: Offers!!!!

701. The ELECTRIC PRUNES: “Mass in F Minor” (Reprise/ Victor Records Japan – SJET-8059) (Record: Mint/ Jacket: Mint/ FIRST ISSUE OBI: MINT). Never offered before original MINT copy Japanese pressing with FIRST ISSUE OBI in top condition. Never surfaces!!!! 1st original rare Japanese pressing. The Electric Prunes themselves had little to do with this album. Their quintessential garage philosophy wouldn't let them come up with the concept themselves; the idea of an 'electric mass' sung in Latin and combining gospel and Gregorian elements with distortion and feedback and rock energy belongs to the band's "spiritual godfather" of the time, David Axelrod. He himself 'wrote' all of the 'songs' on here and took care of all the arrangements. Their third LP, Mass in F Minor, resulted in a quasi-religious concept album of psychedelic versions of prayers; a definitively excessive period piece, its best song ("Kyrie Eleison") was lifted for the Easy Rider soundtrack. Top of the line 1st original Japanese pressing pressed on high quality vinyl. First time ever a copy gets offered with the 1st pressing OBI from 1968. Mega rarity in the best condition imaginable. Price: Offers!!!
702. ELDRIDGE CLEAVER: “DIG! - Recorded at Syracuse” (More Records) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Rare 1968 private press. Powerful live material, recorded at a meeting of the Peace & Freedom Party of Syracuse, during a time when Cleaver was facing some of the greatest trials of his life. The recording quality's a bit shaky, but you'll be more than able to grasp what Cleaver is saying, and to hear the raw power that was charging moments like this in the American struggle for racial equality. Dig was a speech given by Eldridge Cleaver, who was then Minister Of Information for the Black Panther Party and presidential candidate for the Peace And Freedom Party, at Syracuse University in July 1968. Cleaver was a convicted rapist who gained fame with his book Soul On Ice published while he was still in prison. When he was released he joined the Panthers and became famous for his fiery writing and speeches about Black Power. This speech was given as part of his symbolic bid for the presidency. Cleaver starts with telling off his parole officer, and then goes into a variety of subjects. Despite his reputation, the first part of the speech is actually pretty tame. It doesn’t pick up until the second half where he starts cussing and the crowd gets into it. Rare and top copy. Price: 150 Euro
703. ELIS REGINA: “Transversal Do Tempo” (Philips – FDX-395) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original – WHITE label PROMO issue. Hard to find Japan original issue. One of Elis Regina's many qualities was her searching for new composer talent. In this album she recorded two songs from one of her findings, Renato Teixeira. Renato earned his living as a jingle writer when this Elis' recording of 'Romaria' launched him to become one of Brazil's better-known singers/writers. The song was a hit and quickly became a Brazilian standard. The other song by Teixeira, however, was unjustly forgotten, having been recorded only by the author besides this record. It's 'Sentimental Eu Fico', a brilliant tune with amazing lyrics, here receiving no less wonderful arrangement by Cesar Camargo Mariano and, of course, graced by the angelic voice of Elis. She also picked two songs ('Colagem' and 'Vecchio Novo') by the then young composer Claudio Nucci, who would later become famous as the leader of vocal group 'Boca Livre'. 'A Dama do Apocalipse' by Nathan Marques/Crispim completes the set of novelties, all of them excellent picks. The other songs, by the then already accomplished composer duos Milton Nascimento/Fernando Brandt, Ivan Lins/Victor Martins and João Bosco/Aldir Blanc are no less impressive, wrapping up the exceptionally strong song set of this album. Elis singing is as strong and heartfelt as ever, with the brilliant, somewhat baroque arrangements and piano by Cesar Camargo Mariano. In short a dead stone classic. Price: 100 Euro
704. ELIS REGINA: “Cabare” (Philips – FDX-161) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original – WHITE label PROMO issue. “Elis Regina had discovered the duo Joao Bosco/ Aldir Blanc two years later, and they contributed with four songs for this album, the same as Gilberto Gil, leaving only two tracks to be filled by old guard hits ("Folhas Secas," a beautiful samba classic by Nelson cavaquinho/ Guilherme de Brito and "É Com Esse Que Eu Vou" by Pedro Caetano). The fusion-sounding album with arrangements/execution by Cesar camargo Mariano opens with the slow pace of the mysterious "Oriente," "O Caçador de Esmeraldas," and "Doente Morena" until "Agnus Sei" is introduced with its suggestive percussion; the dynamics continue to grow with the swinging samba "Meio de Campo" but recede with the romantic introduction of the tango "Cabaré," which develops until its marked tango beat. Another swinging samba follows, "Ladeira da Preguiça"; "Folhas Secas" receives a cool bossa rendition; "Comadre" is a mid-samba; and "É Com Esse Que Eu Vou" is another bossa interpretation.” (All Music Guide). Another joy to emerge yourself in. Top copy Japanese press original with obi. Perfect summer sounds! Price: 100 Euro
705. ELIS REGINA & TOM JOBIM: “Elis & Tom In L.A.” (Philips – FDX-357) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original 1st press issue with first issue OBI! “This beautiful -- and now legendary -- recording date between iconic Brazilian vocalist  and composer, conductor, and arranger is widely regarded as one of the greatest Brazilian pop recordings. It is nearly ubiquitous among Brazilians as a household item. Regina’s voice is among the most loved in the history of Brazilian music. Her range and acuity, her unique phrasing, and her rainbow of emotional colors are literally unmatched, and no matter the tune or arrangement, she employs most of them on these 14 cuts. Another compelling aspect of this recording is the young band Jobim employs here and allows pretty free rein throughout. He plays piano on eight of these tracks, and guitar on two others, but the fluid, heightened instincts of these players reveal them to be at the top of their game for this rather informal date that does include a few numbers with a full orchestra. That said, most of these songs were completed as first takes with very little overdubbing. The ballads are stunning – check "Modinha," written and arranged by Jobim. The chart, even with an orchestral backing, is amazingly terse because the composer knew Regina worked best within minimal settings. Only two minutes and 16 seconds in length, it nonetheless captures the Portuguese notion of "saudade" perfectly. Of course, most of these tunes are bossa novas. The opening "Águas de Março" features a deceptively simple cat-and-mouse vocal call and response, kicking the disc off on a light, cheerful note; it's a delightful and very sophisticated number, but it feels effortless. "Triste" is one of Jobim’s finest tunes, and there is scarcely a better version of it than this one. Even with electric guitars on top of the nylon strings, the gauzy yet pronounced rhythms and the languid melody delivered by Regina are gorgeous. "Corcovado" is done with an orchestra, full of lilting flutes and a deep string backdrop. It is mournful and sensual. Jobim plays guitar and piano here, and adds a hushed backing vocal to Regina’s refrains. It's an unusual reading, but a stellar one. "Brigas, Nuncas Mais" is a wonderfully accented -- if brief -- bossa nova with all the percussion just above the threshold of hearing. It's all guitars, bass, and Regina in the first verse before the Rhodes piano and counterpoint enter near the end. She does more to express the true elegant sensuality of the bossa nova in a minute and 13 seconds than some singers have in a lifetime. Jobim’s classic jazz ballad "Inútil Paisagem" is very difficult to deliver well, because it requires incredible restraint and emotion. Accompanied only by Jobim’s piano -- and his all-but-whispered backing vocal -- this is truly one of Regina’s greatest performances of the 1970s. It closes the album on a stunning high note, leaving nothing to be desired by the listener.” (All Music Guide). Spot on, this is liquid gold dust for your ears! Price: 100 Euro
706. ELMO HOPE with FRANK FOSTER & FREEMAN LEE: “Elmo Hope Quintet Volume 2” (Blue Note – BLP-5044) 10 Inch LP Record and Jacket: Mint – SEALED with IMPORT OBI STICKER on shrink). Sealed Blue Note copy directly imported to Japan sometime in the 1970s. Perfects condition of classic killer jazz slide. First time I see a copy with the sticker obi still attached to the shrink. SOLD

707. ELOY, JEAN-CLAUDE: “Gaku No Michi – Les Voies De La Musique Pour Sons Electroniques Et Concrets” (Ades – 21.005) (2 LP Set: Mint/ Laminated Gatefold Jacket: Mint). Original 1979 French 1st original pressing. Jean-Claude Eloy's epic electronic work Gaku-no-Michi has long been on my short list for drone classics. Composed at the NHK Studio in Tokyo in 1977-78, the 1979 double LP is without a doubt one of the greatest ever- recorded electro-acoustic works. The composition includes long, interlude drone tracks called “sons de prolongations” intended to put the listener in the appropriate psychological mood to appreciate the more substantial tracks. The final track, Han, is one of the few remaining “sons de prolongations”. The music of Gaku-No-Michi incorporates pure electronic sounds with radically processed musique concrète elements, generally to the point of defacement. The project is to elaborate on the Japanese attitude towards sound, while shying away from the picturesque – in track #1 Tokyo, someone asks: What is Japanese sound? If your idea of Buddhist approach to sound is quiet, sparse sonic clusters, then you’ll be shocked by the ultra-intense, massive, electronic overdubs on here. This is the Buddhism of Pachinko parlor machines, incessant traffic noise and electronic toy boutiques. Some of the sounds used include: Tokaido Shinkansen train’s whistle, Japan’s national anthem, Gagaku, Nô and Shomyo vocal interjections, Geta (wooden sandal) footsteps, temple bells, etc, all slowed down, filtered and processed in the studio. The end result is a dense and combusted sonic cluster bomb of asymmetric grooves and synthetic sounds, beautifully painful and coming straight at you like a pit-bull on crack. One of the greatest electronic music recordings ever. Top mint copy. Price: 150 Euro

708. EMBRYO: “Embryo’s Rache” (United Artists Records/ King Records – SR-774) (Record: Mint/ Gatefold Jacket: Mint/ OBI: MINT). Bloody rare and never before offered for sale TRUE FIRST press of Embryo complete with 1st press OBI. To make it all even more salacious – this is the WHITE LABEL PROMO test issue from 1970. Everything is mint here, and needles to say the 1st Japanese issue is damned rare, only a few copies of this one exist. Embryo, formed by ex-Amon Duul II member Christian Burchard, consisted of Edgar Hofmann (sax, violin), Ralph Fisher (bass, organ), John Kelly (guitar). Their first album, Opal (Ohr, 1970), showed Embryo to be influenced by the mystic free-jazz of John Coltrane and the Canterbury sound amongst others. But the group’s characteristic jazz-rock didn’t took shape until their second album “Embryo’s Rache”, officially released in 1971.The disc is a splendid and fascinating juxtaposition crisscrossing between psychedelic jazz-rock of early embryonic Embryo together with embracing a love and predilection for ethnic music and eastern flavored tunings. It starts off with some tribal drumming, and moves onward into complex rhythms and lots of sax and flute solos that fuse with a lonely violin snare here and there. With some odd vocal chanting on “Sitting At The Moon” and lots of high-energy jazz-funk grooves throughout, Embryo’s performance is quite baffling, especially when the hand percussive rattles move in and add an exorcist rite kind of touch to the timbral palette, only to get squeezed out by eerie and spasmodic organ drones. Stunning all way through, this is the viciously rare 1st original Japanese press out of 1971, complete with never seen before 1st issue OBI. Top-notch condition. Classic album and highest recommendation. Seriously rare and never ever offered for sale before anywhere. Price: Offers!!!

709. EMBRYO: “We Keep On” (BASF – 20.21865-1) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint). Original 1972-3 first German issue in outstanding condition. Embryo favored a jazzy form of space rock with very strong elements of ethnic music sandwiched in between. This is especially audible on “We Keep On”, which is regarded as Embryo’s masterpiece, an overwhelming LP mining West African rhythms that reach deep into unexplored regions of your mind. Partly this was a direct result of Embryo's meeting with American jazzman Charlie Mariano. Perfectly capturing their extended and rollercoastering jams, a dazzling and exotic collision of eastern music with progressive jazz-rock: spellbinding!! With Christian Burchard (drums, percussion, vocals, marimba, vibes, Hackbrett, mellotron), Roman Bunka (guitar, saz, vocals, percussion, electric bass on 'Don't Come Tomorrow'), Dieter Miekautsch (Fender Rhodes piano, piano, bass-piano on Hohner clavinet) and Charlie Mariano (soprano and alto sax, flute, nagasuram, bamboo flute). The 12 minute "No Place to Go" is one of Embryo's heaviest tracks: it is an odd concoction of heavy rock guitar riffing and more jazzy excursions with excellent solos on saxophone by Mariano. The guitar playing here recall Dzyan and Mahavishnu Orchestra. An excellent 70spsychedelic jazz-rock slide that gels all these influences into one solid civilizing force. Price: 150 Euro
710. EMERAUDE: “Geoffrey” (Private – KO/81.0907) (Record: Near Mint/ Jacket: Mint). Bloody rare and obscure French private press acid folk masterpiece that saw the light of day in 1981. This was only released locally in a tiny run of 500 copies, all of which dried up like snow in the sun. Till this day, hardly detected by the masses but that may chance once ears get attuned to this beauty. The music floats on exotic instrumentation, long spun out tracks and dreamy vocals and blessed by a truly haunting vibe that pulls in a magical touch. Light-years better than Book of AM, Subway or Vashti just to name a few. And don’t be fooled by the release date, this sounds like it was 1972 all over. A major favorite of mine and one of the best acid folk discs ever to have waxed my ears. I haven’t seen a copy for over 8 years now and these babies are damned rare. Top copy. Private press French acid folk records are far and few, they just slipped of the face of the earth. Probably the best disc on this time’s list. Highest possible recommendation!!!! Price: Offers!!!

711. EMILY: “S/T” (Odeon Records – EOP-80548) (Record: Near Mint/ Jacket: Excellent/ OBI: VG++ ~ Excellent/ Insert: Near Mint). Original Japan 1st original pressing that came out in 1970. White label PROMO issue. Only released in France (rare but most easy to dig out issue but still far from cheap) and in Japan at the time in 1972. The Japanese pressing is the rarest one and never made it beyond the promo state, so only a handful of copies do exist. Comes complete with never offered before first issue obi as well. Emily started out as a teenager playing clubs in Greenwich Village, then moved to France at 16 where she recorded and released in the spring of 1972, this extremely rare album that has been acclaimed as a psychedelic folk masterpiece. With sensitive backing from local progressive rockers Dynastie Crisis, the eight self-penned songs feature delicate arrangements and lyrics that show remarkable maturity and depth. A firmly established rarity in its original incarnation. Hideously rare female acid folk LP that only was released in France and Japan at the time. TOP COPY!!!! Price: Offers!!!!

712. EMMANUELLE PARRENIN: “Maison Rose” (Ballon Noir – BAL 13001) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint). Original French first pressing of this female vocal acid folk masterpiece. We begin by saying that this is an album unlike any other. A bold statement, perhaps. Yet look in the "Scented Gardens of the Mind" book and you will see this description: "a revelation of a folk album, with songs of incredible beauty and innovative arrangements. It features traditional instruments you’ve hardly ever heard before and touches of the avant-garde. Play this album directly after that of another randomly chosen female folk album, and you will notice the difference! This is one of the best!" Parrenin had been part of a traditional "antique folk" movement in France in the late 1960’s (she was in many ways a French equivalent to Sandy Denny or Mandy Morton); indeed, she had recorded eight albums with musicians from this scene before "Maison Rose"—her best, and last album, recorded in 1976 and released the following year. The record seems to alternate between a cosmic take on an ancient Breton sound, and delicate, multi-tracked ballads—ranging from sounds that would not be out of place on an Ash Ra Tempel album to elements of traditional French folk music (including home-made instruments) that are just as exotic. Certainly, the avant-garde edge lurking beneath the simple folkiness of "Maison Rose" puts in mind the explorations of Brigitte Fontaine with her sometime musical voyager Areski; there are also suggestions of the pastoral caravanserai aesthetic of Vashti Bunyan, as well as the multi-track sensuality of Linda Perhacs (to name two much-touted singers who seem to have a similar ability to enchant). But Parrenin has her own style, her music has its own deeply ethereal quality, and the album itself has its own magic spell to cast that renders comparison with other albums unimportant in the end. Magnificent…” (Lion Productions on the reissue). Original 1st French pressing in TOP CONDITION. Price: 200 Euro
713. The ENDLESS OCTAVE: “S/T” (Evatone Soundsheets – 101375A&BX) (Two-sided 33 RMP Flexi Disc: Mint/ Envelope Sleeve: Near Mint/ Insert: Near Mint). 1975 original pressing out of Palo Alto, California that came out in a micro-edition. Totally obscure but nevertheless awesome single-minded electronic music ball buster that describes itself as an auditory illusion of two and four channel artificial reverberation, an illusion in frequency. Wow, already there is no chance that this can go wrong! On side 1 of the record a diatonic musical scale is repeated over and over. Each and every note sounds higher than the preceding one, yet after any number of octaves have been played the scale is still in the middle of the audible frequency range. On the 2nd band, the scale descends indefinitely. On side 2 the effect is similar except the scale is continuous. This is just tripped out and such a lovely artifact I guess about no one knows about or has. Brain freeze little oddity that will set the fringes of your avant-garde/ electronic music corner on fire, a blaze you will not be able to put out. AWESOME!!! SOLD
714. The ENSEMBLE AL-SALAAM: “The Sojourner” (Strata-East – SES-7418) (Record: Near Mint/ Jacket: Near Mint). Virginal US first original press issue. Sublime spiritual jazz from Strata East -- one of the label's rarest recordings, and one of its hippest too! The set has an incredibly righteous feel -- a blend of keyboards, saxes, guitar, percussion, and vocals that steps off with a very deep feel -- one that's heavy on the best post-Coltrane modes of expression in jazz, and which really takes advantage of the freedoms of the Strata setting to open up the sound in really beautiful ways! Beatrice Parker handles the vocals, with a very warm and spiritual style that's not unlike some of the early, righteous recordings by Dee Dee Bridgewater -- and other group members include Khaliq Abdul Al Rouf on saxes, Bevin Turnbull on keyboards, Mashujaa Aliye Salamu on guitar, Leroy Seals on bass, and Fred Kwaku Crawley on a host of hip percussion instruments. There's a slight undercurrent of funk on a few tunes, but most tracks are focused more in a soaring, spiritual groove. Top condition US original pressing. Price: Offers!!!
715. ENVIRONMENTS: “Induced Meditation: Intonation – Ultimate Heartbeat” (Syntonic/ Nippon Phonogram – FDX-8502) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). White label PROMO issue & never seen before Japanese original pressing of this field recordings gem. Price: 50 Euro
716. ENVIRONMENTS: “Summer Cornfield – Wind In The Trees” (Syntonic/ Nippon Phonogram – FDX-8505) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). White label PROMO issue & never seen before Japanese original pressing of this field recordings gem. Price: 50 Euro
717. ERNIE GRAHAM: “”S/T” (Liberty – NAS – 1114) (Record: Mint/ Textured Jacket: Mint/ Card Insert: Mint). Bloody rare Japan 1st original pressing from 1971 in TOP condition and blows the UK pressing out of the water as far as sonic beauty is concerned. One of the few records from down here that was never issued with obi. “The sole album by the former Eire Apparent guitarist sounds quite a lot like Help Yourself and Brinsley Schwarz, which isn’t much of a surprise – he was briefly a member of the former, and is backed by both here. Dylan-esque opener ‘Sebastian’ comes across as a love song, but may well be an ode to a dope dealer. It’s a beautiful, mellow track propelled by melodic acoustic guitar strumming. Other winners include ‘So Lonely’, which features some lovely tempo shifts, the reflective ‘Sea Fever’ the hard shuffle of ‘Blues For Snowy’ and the gritty violin-driven closer ‘Belfast’. Help Yourself fans will enjoy the country-inflected ‘The Girl That Turned The Lever’ and ‘Don’t Want Me Around You’ though others might feel they outstay their welcome. Nonetheless, this laid-back collection exudes warmth and good cheer, an d is very near the top of the pile for UK West Coast-influenced LPs” (RMJ – Galactic ramble). So dead spot on, glorious album that will be enjoyed if you crave for some West Coast-ish vibes in your dull life, this one will do the trick just neatly. TOP COPY!!! Price: 200 Euro
718. EUPHORIA: “A Gift From Euphoria” (Capitol – SKAO-363) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – has the usual perforated hole in upper right corner). First original US pressing on the green Capitol label. Completely out-of-there psychedelic artifact that has a totally unique sound blending wasted country moves with full fledged lysergic sound effects, Dead moves and West Coast hazy vibes. The jacket has as always the drill hole, but only on front, not pressed through to back of gatefold. The extreme fragile cover shows hardly any wear at all – which makes this copy quite unique. Stunning copy. Price: 250 Euro
719. EUROPE JAZZ ALL STARS AT THE MIDNIGHT with John Surman; Albert Mangelsdorff; Nils Henning Orsted Pedersen, Daniel Humair & Eddy Louis: “Room 1220” (Trio Records – RSP-9014) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint) Original 1970 Japan ONLY issue of free jazz killer slide. First every copy I see all complete with RARE OBI and all is in stunning condition. Recorded live in Japan on August 1970 and released that same year in Japan only, this is one of the key recordings where Surman really profiles himself as a gifted player at the top of his own game. “Three stunning tunes featuring some of the best improvisers in the world today, all of them written -- yes, written -- by trombonist Albert Mangelsdorf. Interestingly, with a band this diverse and dimensionally articulate, the composer has come up with a program addressing each of the band's particular strengths. The title track, clocking in at over 21 minutes, is a study in the spatial relationship of tonalities. Even so, with its slow unwinding passages -- and interesting interplay between Surman on baritone and Mangelsdorf -- there are intervals, which allow for the creation of alternate harmonies and timbral interjections in chromatic architecture. Pianist Eddy Louis, along with Pedersen, are largely responsible for keeping the slowly revolving beast moving, but they add true depth in microtones and chord voicings. "Triple Circle" is quintet jazz, pure and simple, with everybody playing the hard bop line. Pedersen's solo is of particular interest here, in that his pizzicato playing moves through all three registers and offers scalar blues attacks in each. Finally, "My Kind of Beauty" caps it all off with a pastoral, late-night into courtesy of the horns and Louis on organ. It's a shimmering ballad until almost five minutes in, when Surman begins playing the baritone in the upper register and makes it cry with loneliness and an outpouring of what can only be called amorous emotion. Just as he finishes his sojourn, Pedersen and Louis begin to pace off a blues and transform the number into a groove tune with room enough for every body in the slowly evolving mix of textures in the intervallic transition. Louis' own solo is light and airy, whispering itself along the changes until it shifts into a noirish piece of film music with Mangelsdorf's solo. It all ends on a groove in the backbeat somewhere, but not without making the listener smile. Room 1220 is a hell of a Mangelsdorf date to be sure, but this is once in a lifetime ensemble, and the recording proves it.” (Thom Jurek). Top copy Japan only issue of 1970 – first time I have a MINT copy of this truly bewitchingly beautiful slide, highest recommendation!! All complete copy with Obi is seriously rare – TOP CONDITION. Price: 250 Euro
720. EUROPEAN JAZZ ALL STARS: “Jazz Festival ‘70” (Liberty Records – LPC-8045) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Freakingly rare Japan only release of a groovy free jazzing document that is just out of this world. Very first press issue all complete with first issue obi present! The line-up is honey-dripping finger-licking great, bringing together the finest of the European scenesters of that day such as Jean-Luc Ponty; Albert Magelsdorff; Daniel Humair; Eddy Louis; Francy Boland; John Surman; Niels Henning Oersted Pedersen; Karin Krog and Joachim-E. Berendt. The music is top notch, brimming over with loose fire-breathing improvisational licks without being too overly right-in-yer-face free and instead bordering on a hard driving liquid free form groove that is nothing short of being infectious. The whole sounds borders on improvisational fusion, hard hitting free moves, experimental corking drive that at times gets injected by the bewitching vocals of Karin Krog, just adding some extra icing to the already salacious cake. Especially the groove-oriented organ of Eddy Louis brings at times an almost southern soul-like sensibility to the already volatile mix that drives the audience completely nuts. Surman is as always on fire, interlocking with Louis, Krog and Mangelsdorff and ejecting the whole ensemble towards a next level of auditory bliss. Just a killer set!!! Took me ages to unearth an all-complete copy of this irresistible, hard-hitting spell-binding session LP. Just nothing short of pure amazement. Top condition copy all complete with hideously rare first issue obi flashing is colors. Highest possible recommendation!!! Price: Offers!!!
721. EVANS, BILL & JIM HALL: “Undercurrent” (United Artists/ Nippon Columbia – UA-10291) (Record: Near Mint/ Flip Back Sleeve: Near Mint). Hardly ever turns up, top condition very first Japan press issue. Together, throughout the album, Evans and Hall sound like so much more than just a piano and guitar. Here we have minimalism stood on its head. The smallest number of musicians possible for interactive improvisation producing a sound as full and close as those big block chords in Bartok's "Concerto for Orchestra.". (All about jazz). Well, this sums it up so perfectly and nails the whole recording on the head. Recorded in 1962, this was Evans first return to the recording studio after a long hiatus following bassist Scott LaFaro’s untimely death in a car accident. The meeting of Evans and Hall is exquisite, a perfect merger of harmony and an introspective mood, creating more variety and color than first meets the ear thanks to the tranquil approach and poetic use of space which gives the recording its uniquely unconstrained and relaxing, quality. Another indispensable cornerstone recording in my little universe. Price: 100 Euro
722. EVANS, BILL TRIO: “How My Heart Sings” (Riverside/ Nippon Victor – SR-7105) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan very first press issue with rare obi. “Recorded in May and June of 1962, at the same time as the Moonbeams sessions, How My Heart Sings shows a different side of the Bill Evans Trio than that all-ballads album. Here, the eight selections have a much more mid- and even up-tempo flair. Israel appears more comfortable in these settings to be sure, as he is the kind of bassist that relegates himself deeply into the rhythm section, sublimating himself to the pianist. In Evans own words, the band's desire was to "provide a more singing sound" in this material. The set begins with a lyrical waltz in the title track. Evans himself comments that it "contains a delightful 4/4 interlude framed by a delightful 3/4 lyric line." Nowhere does he discuss his solo that literally ripples in delicate waves off the middle register, and Motian’s stick work shimmies up the rhythm and allows it to truly dance and sing. There are a number of standards here, including "Summertime," which sounds so different with its mid-tempo opening and Israel's flaunting bass vamp in front of the piano. When Evans gets to the melody he is following the swinging skip of Motian’s drums, and he digs deep into inverting the melody line with a slew of arpeggios and short, choppy phrases. On Cole Porter’s "Everything I Love," Evans takes the snap in the tune and breaks it, committing it to a driving swing and vaunting lyrical gem that has three seemingly unresolvable harmonic problems in the center that turn out to be a Moebius strip in Evans chromatic language. This is a tough recording; it flies in the face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist's trademark.” (All Music Guide) Simply a bewitching recording and together with Undercurrents one of his most jaw-dropping. Bloody rare 1st original Japan pressing all complete with obi. First one I see in over a decade, so damned rare. Top condition!!! Price: 250 Euro

723. EVANS, GIL ORCHESTRA: “Out Of The Cool” (Impulse – SNY-1) (Record: Near Mint/ Flip Back Sleeve: Near Mint/ Obi: Excellent – has a few wrinkles on the bottom). Very rare 1961 Japan first original pressing in top shape with obi. To make it juicier – this is the never offered before WHITE label PROMO issue. “Out Of Cool released in 1960, was the first recording Gil Evans issued after three straight albums with Miles Davis. Evans had learned much from Davis about improvisation, instinct, and space. Evans orchestrates less here, instead concentrating on the rhythm section built around Elvin Jones, Charlie Persip, bassist Ron Carter and guitarist Ray Crawford. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson and bass trombonist Tony Studd with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in "La Nevada," and "Sunken Treasure." The middle of the record is filled out by the lovely standard "Where Flamingos Fly," Kurt Weill – Bertolt Brecht’s "Bilbao Song," and George Russell’s classic "Stratusphunk." The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford’s solo -- drenched in funky blues -- is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break. Whoa. Things are brought back to the lyrical impressionism Evans is most well-known for at the beginning of "Where Flamingos Fly." Following a four-note theme on guitar, flute, tuba, and trombone, it comes out dramatic and blue, but utterly spacious and warm. The melancholy feels like the tune "Summertime" in the trombone melody, but shifts toward something less impressionistic and more expressionist entirely by the use of gentle dissonance by the second verse as the horns begin to ratchet things up just a bit, allowing Persip and Jones to play in the middle on a variety of percussion instruments before the tune takes on a New Orleans feel, and indeed traces much of orchestral jazz history over the course of its five minutes without breaking a sweat. "Stratusphunk" is the most angular tune here, but Evans and company lend such an element of swing to the tune that its edges are barely experienced by the listener. For all his seriousness, there was a great deal of warmth and humor in Evans’ approach to arranging. His use of the bassoon as a sound effects instrument at the beginning is one such moment emerging right out of the bass trombone. At first, the walking bassline played by Carter feels at odds with the lithe and limber horn lines which begin to assert themselves in full finger popping swing etiquette, but Carter seamlessly blends in. Again, Crawford’s guitar solo in the midst of all that brass is the voice of song itself, but it's funky before Johnny Coles’ fine trumpet solo ushers in an entirely new chart for the brass. The final cut, "Sunken Treasure," is a moody piece of noir that keeps its pulse inside the role of bass trombone and tuba. Percussion here, with maracas, is more of a coloration device, and the blues emerge from the trumpets and from Carter. It's an odd way to close a record, but its deep-night feel is something that may echo the "cool" yet looks toward something deeper and hotter -- which is exactly what followed later with Into The Hot. This set is not only brilliant, it's fun.” (All Music Guide). Hardly ever offered Japan original 1961 press issue with obi and WHITE label PROMO. Dang!!!!! Price: 250 Euro

724. EVANS, GIL: “Big Stuff!” (Prestige/ Victor Records – SMJ-7543) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan original pressing with cool Victor first issue obi. Gil Evans was already a major force in jazz arranging through his work with Claude Thornhill and Miles Davis, but this 1957 date was his first opportunity to record as a leader. The midsize group will recall his influence on the Birth of the Cool sessions. Rather than the uniform instruments of the conventional big band, Evans picked his instruments individually for what they could contribute to distinctive tone colors. Thus the band includes a French horn in the brass and a reed section of soprano and alto saxophones and bassoon. The result is a series of highly distinct textures and a clarity that illuminates each piece. Evans's inventiveness extended to applying his gift for complex harmonies to Leadbelly's "Ella Speed," a sign of the openness that would later lead him to the music of Jimi Hendrix. The excellent soloists here include Evans's longtime associate John Carisi on trumpet, Lee Konitz on alto, and a young Steve Lacy on soprano. Price: 50 Euro 


725. EVERYONE INVOLVED: “Either/ Or” (Arcturus – ARC-48) (Record: VG++ ~ Excellent – has some faint paper sleeve lines visible under bright that that do not affect the ply back/ Embossed white sleeve with group name and title: Excellent/ Poster Insert: Excellent ~ Near Mint). Original 1972 UK private masterpiece of acid folk psych LP with haunting male & female vocals. Beautiful pastoral folk slide not unlike Heron in some ways, displaying a rural open air pastoral feel and blessed with great innocent and slightly naïve songwriting, dreamy garagey playing spiced up with flute, electric leads at times and a strong backing. Housed in fragile embossed sleeve. Minimal general wear on sleeve and record, as can be expected with this micro private pressing. Has rare lyric insert. Clean copy and still largely under-the-radar great UK folk psych that is in urgent need of mass appraisal!!! Price: Offers!!!

726. (Your) EXOTIC PRINCE: “Music That Is In” (RLA Records Co. LP-505) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Impossibly rare private press free jazz/ odd ball/ real people freak out - free jazz funk slide. This is the mega rare original first press issue that just never turns up. This one was bootlegged and released in different cover art, but here is the real thing!!! The holy grail of Spiritual Jazz movement, cosmic echoes and free jazz at the best. "Credited only to "Your Exotic Prince" on the jacket, this record is completely out there and next to impossible to unearth for some perverse reason. As nondefinable as the cover is, the music is even more so. It comprises six tunes, each one essentially a nonstop caterwauling of horns, accordion, banjo (or is that a ukulele?), wah-wah guitar and drums. The musicians, if you can call them that, sound for all the world like a combination of Sun Ra's Arkestra, the Preservation Hall Jazz Band and your local junior-high stage band rolled into one. Even stranger are the bizarrely cut-off endings to each track. Just as the songs are clearly coming to a close, the sound stops, mid-din, as if the tape just ran out on the four-track. Awesome bastard-cum-free jazz-oddball deranged lunatic spiritual jazz slide from beyond the planet Jupiter. Released as a private pressing in a minuscule run, copies just do not surface. This was his 2nd LP and rare forever. Top condition to boot so, probably a one-off chance to wheel this one in. Price: Offers!!!!

727. EXTRADITION: “Hush” (Shadoks) (Record: Near Mint ~ Mint/ Jacket: Near Mint and still in shrink). It was 1971 when this exquisite Australian folk album was released. The trio Extradition who recorded this masterpiece got it released on the Sweet Peach label. Highly acclaimed and regarded by music nuts worldwide these days. The music on the other hand is utterly fragile, rich in texture and even graced by slowly meltdown-like drones. The list of the instruments at use is also impressive and is as far ranging as going from piano over to harmonium, harpsichord, bamboo flute, dulcimer, triangle, glockenspiel, guitar, violin, tablas and austerely beautiful female vocals. Mixing the delicate acoustic textures of British folk legends such as Pentangle and Mellow Candle with a freer more open-ended approach, Extradition recorded their sole album Hush in 1970. While the album revolves predominantly around main songwriter Colin Campbell's carefully understated guitar and piano playing and singer Shayna Karlin's beautifully lush vocals, it's the sounds and instruments that exist between these elements which make this record so unique. The album balances moments of almost hummable catchiness and full on orchestrated arrangements with darker patches of sparse percussion and experimental texture in such a seamlessly effortless manner, the dynamics never feel jarring or forced. In all a splendid example of female acid folk that blows much hyped discs such as Vashty Bunyan’s “Just another Diamond Day” straight out of the water. It has to be heard in order to be believed. Highest possible recommendation. Extremely limited LP reissue housed in a thicker than life jacket. Simply put this is the nectar the gods are drinking from. Eternally beautiful. A must!!! Price: 65 Euro

728. EYDIE GORME: “Blame It On The Bossa Nova b/w Desafinado (Slightly Out Of Tune)” (CBS – LL-2091-C) (Single EP Record: Near Mint/ gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Scarce 1967 Japan only issue that harbors the killing butt-shaking track “Blame It On The Bossa Nova”. Easily the grooviest track that Eydie Gorme ever cut – a set that's well known for its classic title track, but which is filled with breezy bossa vibe throughout! Few other American singers ever got the light, lively spirit of bossa this right back in the 60s – and although Eydie could sometimes be an overly-expressive singer on other records, she's got a compact touch here that's perfect for the jazzy arrangements of Nick Perito and Billy May – which themselves often use a bit of Hammond organ from Dick Hyman to give the tracks lots of Walter Wanderley-ish sort of grooves! Comes housed in gorgeaous gatefold picture sleeve. Damned rare Japan only issue!!!! Price: 75 Euro

729. EYELESS IN GAZA: “Veil Like Calm b/w Taking Steps” (Cherry Red Records – CHERRY-47) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent). Scarce 1982 UK first original press issue. Price: 25 Euro

730. 4 A.D. COMPILATION ALBUM: “Natures Mortes – Still Lives” (WEA Records – P-11149) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent/ Obi: Near Mint). Damned fine Japan only compilation album from 1982 concentrating on the 4 A.D. label and stowing into the pot artists such as The Birthday Party, The Psychotik Tanks, rema-Rema, In Camera, Bauhaus, Mass, Cupol, Modern English, Sort Sol, The The, The Past Seven Days and Dif Juz. To blast away at full volume for optimal satisfaction. Price: 65 Euro

731. 14 ICED BEARS/ THE HERMIT CRABS: “Balloon Song b/w Surfing Mice” (Private/ Frank Label) (7 Inch Flexi Single Record: Near Mint/ Picture Sleeve: Near Mint). 1987 UK original pressing. Brighton’s 14 ICED BEARS emerged in 1986 as part of the C86 generation of Indie-Pop bands. Early singles ‘Inside’ (1986) and ‘Balloon Song’ (1987) were quintessential jangly guitar nuggets, issued on ex-TVPs bassist Mark Flunder’s Frank label. The Hermit Crabs heralded out of Harlow, Essex and these Hermit Crabs loved to surf, and actually they had a song “Surfin’ Vietnam”! Go figure, followed up with the song called “Surfing Mice” which came on this flexi. A lost in space and tyme clusterfuck of early brit indie psychedelica that just is amazing. Price: 50 Euro

 

732. FAHEY, JOHN: “Georgia Stomps, Atlanta Struts And Other Contemporary Dance Favorites” (Table Of The Elements – 38-SR) (2 LP Record Set: Near Mint/ Jacket: Mint, still in Shrink). First pressing released in 1998 and recorded at a Fahey gig in 1997. This is a live album, recorded at the release party for Womblife. Although people have reported being physically sickened by the depth of electric effects that Fahey utilizes, this has been what you'd call a "grower" for me. It's a perfect example of dichotomy of opinion amongst fans - some say he's sloppy, I say he's "with it." Arranged in classic suite format, the playing on here travels into and out of a variety of emotional niches w/o really settling anywhere. The title is typically sardonic: This is as far from dance music as you'll get.Acoustic guitarist Fahey goes electric, swapping his oakentone for a reverberant shimmer. Through the haze, bare-boned melodiesemerge ("House of the Rising Sun", Ellington's "Mood Indigo"), beautifulhymn like in their starkness. Fahey's doing what he's always done:painting highly personal soundscapes using America roots music as his palette.Fahey's dissonant and impressionist guitar work is more predatory than pastoral, eventually careening into cinematic textures of gamelan and sandy rain. The sea theme throughout Womblife is appropriate as it sounds like it was recorded deep in the ocean giving voice to the organic shape-shifting rhythms of its creatures. Price: 75 Euro
733. FAHEY, JOHN: “Hard Time Empty Bottle Blues” (Table of the Elements – Nd-60) (Clear Vinyl: Near Mint/ Jacket: Near Mint). To mark its 10th anniversary (1993-2003), Table of the Elements released the Lanthanides, a series of fourteen limited-edition LPs. Each disk is pressed on clear or transparent vinyl, then silk-screened across the entire area of the B-side in luminous or metallic ink. Fantastic live recording of Fahey caressing the strings in his own idiosyncratic way as recorded at the Table of the Elements Yttrium Festival on November 8th, 1996. Like any other Fahey material, this is also pretty indispensable. Came out almost a decade ago and dried up pretty instantly. Price: 75 Euro
734. FAHEY, JOHN: “The Mill Pond” (Little Brother Records – lb-009) (2 x 7-Inch Records: Near Mint/ Triple gatefold silkscreened Jacket: Mint/ Insert: Mint). The Mill Pond first surfaced in 1997 as a double 7". Characteristic of the great guitarist's work from the period, there's little on The Mill Pond to suggest Fahey's past as a curator of ancient Americana. Instead these four pieces, aided by the electronics of Jeff Allman, are far more esoteric, more in line with the Table Of The Elements classic Womblife than those famous early ragtime jaunts. After the spooky, hummed vocals and vacant strums of 'Ghosts', the ten-minuter 'Garbage' spews blasts of noise and buried, tuneless guitar effects in a hypnotic, dazzling swirl. Yet more ear-shredding dissonance is in store during the almost sludge metal-like 'You Can't Cool Off In The Mill Pond, You Can Only Die' which leads into a more considered finale: 'The Mill Pond Drowns Hope', whose digital effects bolster Fahey's lonesome, echoing guitar picking which eventually leads ferociously into a crescendo of eerily bluesy electronics. Highly Recommended. Price: 75 Euro
735. FAHEY, JOHN: “Hitomi” (Important Records) (2 LP Set: unplayed ~ Mint/ Gatefold Jacket: Mint). Limited edition of 100 copies on clear vinyl. Regular issue was released on regular black vinyl. Top condition copy of this scarce Fahey title out of 2003 shortly before he passed away and one of his finest as far as these ears are concerned. It turned out to be that “Hitomi” would end up John Fahey's final record released in his lifetime. And low key it turned out to be, addictively and gloriously low-key, an album which finds Fahey at peace with all his musical phases, stringing them together through a frail and fragile aesthetic that he interwove with reverb, echo and digital delays, turning it into a mesmerizing and totally intimate confession-like musical statement. The sound he propels forwards is stark and naked, almost ascetic but yet still fundamentally confrontational, stripped of the bare essentials which allows him to spin out a fractured, spectral blues not devoid of any unforgiving glares unto his harsh-toned acoustic excursions. His Japanese girlfriend and Japanese music seemingly inspired the whole affair, so that is maybe where the Spartan like approach originated out from. This limited edition LP was pressed on 180-gram double vinyl and housed in a deluxe gatefold sleeve. It was also Fahey's first studio album since "Womblife" and sees him again finger picking his way through an assortment of folk, blues, and garage numbers. 
The press release also claimed that this was the first album since 1964 that he has produced and recorded entirely unfettered from 'correction' by commercial interest. And it shows, it is to me one of his finest records ever. Top condition mint copy. 100 copies limited clear vinyl issue rarely turns up. Highly recommended. Price: 150 Euro
736. FAIRFIELD PARLOUR: “From Home To Home” (Vertigo – 6360 001) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1970 1st UK pressing on the legendary Vertigo label imprint. Very first pressing with matrix number ending as 1Y//1 2Y//1. The story goes that around 1969 after Kaleidoscope had released two albums on the Fontana label, the band had disputes with the record label and left. They were not able to take along their name, so they became Fairfield Parlour. Compared to the Tangerine Dream album, From Home To Home shows maturity in the bands sound. It is much more mellow and the musicianship is much more precise and drawing in more pastoral, folk tinted sounds. If you like Kaleidoscope, you will more than likely enjoy this album. Beautiful copy, original Vertigo pressing and in amazing condition. Hard to upgrade upon. Price: 550 Euro
737. FAIRPORT CONVENTION: “What We Did On Our Holidays” (Island Records/ King Records Japan – ICL-32) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Mint/ OBI: Mint) Original 1st Japanese Issue press from 1972 – white label PROMO issue and complete with Japan only 4 paged insert and the rare OBI!!! All complete copy. The second Fairport Convention album, originally released in 1969, is the first to feature the beautifully haunting vocals of the legendary Sandy Denny. What We Did On Our Holidays contains some of the Fairport Convention's finest moments, including Denny's own "Fotheringay," Richard Thompson’s "Meet Me On The Ledge" and their stunning take on Bob Dylan's "I'll Keep It With Mine." This LP finds the Fairport Convention moving away from the California folk-rock of their debut album towards a more British approach to similar material. The whole deal is in NM condition and sounds awesome, an upgrade to the UK one. A classic!!!! Price: 250 Euro
738. FAIRPORT CONVENTION: “Unhalfbricking” (Island Records/ King Records – ICL-36) (Record: Near Mint ‾ Mint/ jacket: Near Mint ~ Mint/ 4 Paged Insert: Near Mint/ OBI: Near Mint ‾ Mint). Super clean Japan original all complete with rare OBI. WHITE label PROMO issue. Rare original Japanese press issue complete with hardly ever offered before obi present. “With the 11-minute ‘A sailor’s Life’ Unhalfbricking takes Fairport Convention’s unique concept of folk-rock one major step further. It can be reverential and modern at the same time, can take as much from current hard rock and psychedelic trends as from history., can be as much a framework for stunning musicianship as for tight harmony singing. Unhalfbricking is arguably every bit as good as its predecessor, once again showing off a wide range of emotional colors, and with 3 Dylan covers that rank with (or surpass) the best work of the Byrds or Manfred Mann. The blues element fades on this album, refining their sound even more. At this point they knew exactly who they were, and it appeared they could do anything. Not to be forgotten: Sandy Denny’s finest song ‘Who Knows Where The Time Goes’” (AM – Galactic Ramble). Top condition copy complete with obi and white label promo with insert. TOP COPY!!!!! Price: 250 Euro
739. FAIRPORT CONVENTION: “Full House” (Island – ICL-31) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint/ Insert: Near Mint). Rare Japanese original pressing complete with OBI. White label PROMO issue. Hardly ever surfaces with obi, this copy is in perfect condition. Price: 175 Euro
740. FAIRPORT CONVENTION: “Liege & Lief” (Island/ Nippon Victor – FOX-7022) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan first pressing – never offered before anywhere with first issue Obi present and in top condition. “In much the same way that punk rock was a lightning rod for militant, culturally disaffected kids in the mid-1970s, the folk boom of the 1960s attracted angry young men a decade earlier. Fired up by the Luddite rhetoric that would later inspire punks, new folk attempted to re-forge a music that spoke directly to the ordinary working man in the bedlam of the industrial age; a music that did away with the star system, that was emotionally honest and - most importantly - saw its lineage as stemming directly from its own backyard. Unlike The Stones and their ilk, salivating over the latest US blues imports, musicians such as bassist Ashley Hutchings, guitarist Richard Thompson and vocalist Sandy Denny looked to the pubs and villages of old England for the authentic voice of the underclass, tapping into a rich tradition of romantic balladry. Fairport Convention's masterful 1969 recording Liege and Lief was new electric folk's first real breakthrough. It is still an incredible document, where extended, epic jamming (with obvious nods to the sprawling west coast psychedelia of Jefferson Airplane in Thompson's absolutely stellar fretwork) meets with frail English traditionals, all lit up with plenty of magical midnight air thanks to Denny's bewitchingly beautiful vocals. While their raucous demolitions of folk standards such as Matty Groves and Tam Lin are uniformly exhilarating, it is Thompson's Farewell, Farewell that really steals the show. It may just be the most heartbreaking song of remembrance ever written.” (David Keenan for the Sunday Herald, 2001). I guess that you can catch the drift, just indispensable and if you have to won only one single folk-rock album, be sure to make it this one. Massive. Stunningly clean original 1st Japanese original pressing!!!! Top shape and with monster rare OBI present. Price: Offers!!!!
741. FAIRPORT CONVENTION: “Liege & Lief” (Island – ILC-37) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Japan 2nd press issue – rarely seen WHITE LABEL PROMO issue in top condition. I guess that you can catch the drift, just indispensable and if you have to won only one single folk rock album, be sure to make it this one. Massive. Stunningly clean white label promo Japanese pressing!!!! Top shape. and dead cheap - must be loosing my mind already, drifting into the cheap thrills and chills of a premature Alzheimer condition maybe? Price: 100 Euro

742. FAIRPORT CONVENTION: “Heyday – BBC Radio Sessions 1968‾69” (Hannibal – HNBL-1329) (Record: Near Mint/ Jacket: Near Mint/ Insert Card: Near Mint). Original first pressing that came out way back in 1987 on Joe Boyd’s own Hannibal imprint and which collects 12 performances (ten of them covers) recorded for the BBC during the early period when Sandy Denny and Ian Matthews were both singing for the group (and a bus accident had not yet taken the life of original drummer Martin Lamble). While most of the songs were written by noted American folk-rockers of the day, the Fairports put a very individual stamp on every selection here; if you don't think you ever need to hear another version of Leonard Cohen’s "Suzanne" or Bob Dylan’s "Percy's Song," you might well change your mind after hearing Fairport work their magic with them, and their takes on Joni Mitchell’s "I Don't Know Where I Stand" and Gene Clark’s "Tried So Hard" actually improve on the very worthy originals. Fairport Convention approaches these songs with taste, skill, and subtle but potent fire, and Richard Thompson was already growing into one of the most remarkable guitarists in British rock. While Fairport Convention would create their most lasting work with Liege and Lief and Full House, Heyday offers delightful proof that this band's talents (and influences) took many different directions, and it captures one of the band's better lineups in superb form. Totally indispensable life recording!!!Price: 50 Euro

743. FAITHFULL, MARIANNE: “As Tears Go By – This Little Bird b/w Portland Town – Four Strong Winds” (London/ King Records – LS-83) (4 Track EP Record: Excellent/ Hard Cover Picture Sleeve: Near Mint). Japan only 1966 issue that comes housed in a Japan only cover art sleeve. Sturdy sleeve, housing a neat little EP that brings together four cornerstone tracks out of Marianne’s early oeuvre. Boy I love that cover shot; does not surface too often I must say. SOLD

744. THE FALL: “It’s A New Thing! b/w Various Times” (A Step-Forward Record – SF-9) Single Record: Near Mint/ Flip Back Picture Sleeve: Near Mint). Top condition UK 1978 first press issue of The Fall’s first single. After playing The Fall's 'Various Times' on his show for the first time John Peel uttered these words: "Well, Tony Parsons and Julie Burchill may tell us that rock n' roll is dead but there are times when you listen to a track like that and I suspect it's only just beginning..." here, one finds the Fall squarely between their first two Peel sessions, yet still pre-dating their first LP. Critical acclaim was starting to swell; the lineup was already morphing to include Marc Riley and Yvonne Pawlett (whose globby approach to the cheap keyboard cemented the instrument's place in the band). 'It's the New Thing' is a straightforward punk-out, while 'Various Times' shifts focus to a darker atmosphere of cerebral plod that further hints at the future to come. Just a killer slide, housed in a great picture sleeve with cool band shot. The perfect sound to pierce your cranium with during times of a pandemic steering you away from sanity and right wing idiots trying to rejuvenate the Hitler Jugend. Thank God the Fall is here to guide us through these Various Times!!!  Price: 100 Euro

745. FANKHAUSER, MERRELL: “S/T” (Maui Music – M-101) (Record: Near Mint/ Jacket: Near Mint/ 2-sided Insert: Mint). Top condition & all-complete with insert 1976 US original pressing. “Aka ‘The Maui Album’, this has some great melodic 1970s psych and some less exciting pop. Merrell is joined by female violinist Mary Lee on this LP; she also was part of the earlier Mu scene and lived with Merrell in a Maui jungle hut for several years. The album is enjoyable but not quite on level with the spirituality charged magic of the preceding Mu recordings from 1971 and 1974.” (PL – Acid Archives). A mellow psych classic in my book that again shows what an incredible talent Fankhauser was. Top notch copy, all complete with rare insert. Price: 275 Euro

746. FAPARDOKLY: “S/T” (UIP Records – LP-2250) (Record: Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink). Top copy, US original MONO pressing from 1967 of damned rare Frankhauser psych classic! “A legendary LP, both for its rarity and the appearance of future Mu-wizard Merrell Frankhauser. This is mid-1960’s pop-folk rock rather than the psych it gets hyped for, the hazy “Gone To Pot” excluded. Pretty classy stuff with traces of the Byrds and the Beatles but also obvious remnants of an earlier, pre-Invasion pop era of Buddy Hollyand the Everly Brothers. Merrell’s talent is on clear display even at this early stage, with each track being a finely tuned and completely realized pop song. Personal fave tracks include the dreamy opener “Lila” and the weirdly inspired “Mr Clock”. Enjoyable all through, as long as you don’t expect Lemurian hippie psych magic.” (PL- Acid Archives). Long time favorite around here and finally a clean original still housed in shrink up for nickel and dime grabs. Indispensable genre piece of the highest order! Top condition. Price: Offers!!!

747. The ART FARMER QUARTET Featuring JIM HALL: “Interaction” (Atlantic/ Victor – SMJ-7168) (Record: Near Mint/ Flip Back Jacket: Near Mint). Rare Japan very first original stereo pressing in top shape. “Interaction from 1963, is a vehicle for the intertwining improvisations of guitarist Jim Hall and Farmer, on flügelhorn, who weaves through and around Hall’s sublimely understated lines with disarming ease, elegance, and sensitivity. Their approach draws to mind the great duet outings Hall made with pianist Bill Evans (Undercurrent and Intermodulation). Bassist Steve Swallow, at this time still strictly an acoustic player, and drummer Walter Perkins are also given lots of the spotlight in a intimate mix that highlights the quartet's telepathic interplay. The only misgiving is some occasional distortion in Hall’s and Swallow’s parts. Clean Japanese first original press issue from around 1964. SOLD
748. FARMER, ART QUARTET: “Perception – The Art Farmer Quartet” (Globe/ Victor Records – SMJ-7445) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan very first press issue with obi. “This 1964 release of a 1961 date with pianist Harold Mabern, drummer Ron McCurdy and bassist Tommy Williams is a breezy affair, a stark contrast to the hard bop that was still pervasive at that time. Farmer had fully developed his sensual and lyrical style by this time, and was making records with Benny Golson when he led this date. The set features two fine originals, which are notable because Farmer didn't compose much: the elegant and spring-like "Punsu" and "Kayin," a breezy West Coast affair. Farmer had given up the trumpet completely by this time and concentrated all of his efforts on the flügelhorn. Its large, warm tone and rounded sound fit perfectly with Farmer’s penchant for the exploration of melodic modes within a given tune. On "Lullaby of the Leaves," Farmer’s lead into the melody prefigures his solo by moving both off key and off beat to shape a large conical center in the tune. On Ray Bryant’s "Tonk," Farmer swings out of the blues and into a shimmering solo all around a triplet figure in B flat. Mabern does far more than comp his way through the changes here, extending his chord voicings to let Farmer fall inside the cracks and nest. This is a gorgeous record, full of light and airiness; it showcases the depth rather than the breadth of Farmer’s contribution.” (All Music Guide). Spot on, a true deleight spinning this one! Price: 75 Euro
749. FAUST: “Faust IV” (Virgin/ Nippon Columbia – YX-7058-VR) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Bloody rare 1st original Japanese press, complete with obi. Sold zilch at the time in Japan and immediately became a rarity, making it now the rarest Faust issue out there. First time I have a copy with obi complete. Faust's first album not to be recorded at their own studio at Wümme in north Germany. Having been dropped by Polydor (and lost Wümme in the process) after two brilliant but exceedingly uncommercial albums and signed to Richard Branson's fledgling Virgin label, they were now installed in Virgin's Manor Studios in southern England to make their third "proper" album (Faust tapes not included since it was an album of leftovers out of Wumme). Faust IV was the band’s commercial failure that made them loose their contract with Virgin. But do not let sales fool you, the album is – like you all might know – a total head classic and also the band’s most accessible disc till that point, opening up with the trance-inducing whirlwind of the epic groove driven “Krautrock” which was followed close on its heels by the flirting with ska oddball pop number “The Sad Skinhead” and crossing over into other tracks that play with tape manipulations, folk-infested minimalism and art damaged dilettante rock moves spiked up with boundless hunger for musical experimentation. Still unpredictably sudden shifts in mood and tempo are plentiful abound here, spiked up with several beat-less, heavily electronic infused soundscapes and the always present detuned and demented trademark VU-inspired guitar primitivism, that on “Giggly Smile” even transgresses in a kind of Mothers of Invention-esque jazz-rock passage. By many seen as average Faust LP, to these ears the totally of their 4 first albums are all necessary and stuffed with genial greatness. Impossibly rare complete Japanese pressing. Price: 300 Euro
750. FAUST: “So Far” (Polydor Japan – 23MM.0126) (Record: Near Mint/ jacket: Near Mint/ Obi: Near Mint/ Booklet with illustrations: Mint). First original Japanese pressing with obi. Complete copy of this original Japanese pressing out of 1979. Another vital injection into the Faust sage. Comes with 1st issue obi and fully illustrated booklet. Sounds amazing and in TOP condition. Hardly ever surfaces, 1st Japanese pressings are twice as hard as the UK 1st editions. Price: 100 Euro
751. FAUST: “So Far” (Polydor – 2310 196) (Record: Near Mint/ Fragile Jacket: Excellent/ 10 Individual color Inserts: Near Mint). First original GERMAN press copy. All complete. Original German pressing of this classic and totally innovative Teutonic psych classic. Comes housed in a fragile matte cover and it has all the inserts intact – housed in a separate inner sleeve. Jacket is near perfect, the record is just immaculate and perfect all the way, in short amazing copy. Price: 175 Euro
752. PIERRE FAVRE TRIO: “Santana” (PIP – PIP-1) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT). Rare original 1st press, privately released in 1968. TOP COPY and signed by Favre himself. Another free jazz rarity that always slips through the cracks. Rarest issue of this beast. That said, killer slide with jaw breaking line-up consisting out of Pierre Favre on drums, Irene Schweizer on piano and Peter Kowald on drums. The whole affair was record in 1968 in Zurich and is an excellent example of early European free molting jazz action. The trio is on fire, bringing forth an animated strive of high-tension music and high voltage counter reactions. The recording is crystal clear and this original pressing brings it out loud and crystal clear and makes you feel like witnessing the whole thundering outburst from out the first trench facing the battleground. The trio rips the jazz system as known till that day apart like a pile of cheap hay. Fabulous free roaming fire music, showing that the early day European scene was totally hardcore. Price: 250 Euro
753. PIERRE FAVRE TRIO: “Santana” (Globe – SMJX-10121M) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT/ Insert: Near Mint/ OBI: Mint). Rare Japan original 1st press, all complete with never offered before OBI. TOP COPY!! Another free jazz rarity that always slips through the cracks. Rarest issue of this beast. That said, killer slide with jaw breaking line-up consisting out of Pierre Favre on drums, Irene Schweizer on piano and Peter Kowald on drums. The whole affair was record in 1968 in Zurich and is an excellent example of early European free molting jazz action. The trio is on fire, bringing forth an animated strive of high-tension music and high voltage counter reactions. The recording is crystal clear and this original pressing brings it out loud and crystal clear and makes you feel like witnessing the whole thundering outburst from out the first trench facing the battleground. The trio rips the jazz system as known till that day apart like a pile of cheap hay. Fabulous free roaming fire music, showing that the early day European scene was totally hardcore. Impossibly rare Japan original pressing with never seen OBI present. Price: Offers!!!!
754. FAVREAU, DIDI: “Rebirth of Wonder” (RSVP Records – ES-8004) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Didi Favreau’s sole recorded artifact is just a massively overlooked gemstone of a recording that – at least to these ears – can compete with the Erica Pomerance as far as music and style are concerned. Didi, although under-recorded and under appreciated, was a young struggling composer, and lyricist living in the Village during the late 1960s and early 1970s. She performed and sang regularly at Gerde's Folk City and other coffee houses that littered NY at that time. Surrounded by some ace jazz musicians, she cut the classic “Rebirth of Wonder” LP in late 1968, which was eventually released on RSVP Records in early 1969. Didi wrote all the music and lyrics herself (except the verses on Baby Blue which came from Fitzgerald's translation of Omar Khayyam's The Rubiyat).Musicians include Pat Rebillot (keyboard), Bill Takas (bass), Sam Brown (guitar), John Beal (bass), Arnie Lawrence (alto sax), Dave Frishberg (keyboard), Don MacDonald (drums), John Stauber (guitar), Richard Bock (cello), Bob Dorough (harmonica & voice), and Markie Markowitz (trumpet). The end result is an astonishing Her vocals are both sweet and unhinged in a addictive kind of way. Her poetic lyricism is just like Erica Pomerance a tad strange and original, wonderful, as well as a tad crazy and extremely smart, making her music a high volatile mixture breathing out both an unique as well as a magickal vibe. The choice of the group of musicians she was able to assemble around her is a big part of the magic here and together theycreate a psychedelic stew against which Didi traipse across with calculated atonality and a shrill, shimmering consciousness. Her voice is an involuntary wave of sonic energy. She warbles, groans, scats, splutters, and bounces. The record has a sort of messy charm all splattered across its grooves both sucking in influence ranging from free jazz to communal-folk improv. The end result is a highly addictive freewheeling vibe and highly original and astonishing listening experience. Just awesome. Price: 100 Euro
755. FEATHERS, CHARLIE: “Get With It – Essential Recordings (1954~69)” (Revenant Records – Revenant No. 209) (Clear Vinyl 3 LP Record: Near Mint ~ Mint/ Slip Case Outer Box: Near Mint/ Booklet: Mint). Long out of print killer 3 LP set that came out in 1998. Charlie Feathers: No other performer scaled such heights in both primeval rockabilly and keening hillbilly country. Presley? Nary a hillbilly wail in sight; Feathers’ adenoidal whine could strip paint off walls. Here are all his Sun, Flip, King, Meteor, Kay, Walmay and Holiday Inn sides plus rare, unissued tracks including Sun demos, alternate takes and early home recordings with the likes of Junior Kimbrough. 2 discs, 42 tracks, and a 48 page photo-packed book with notes by Jim Dickinson, Colin Escott, Peter Guralnick and Nick Tosches. Price: 85 Euro
756. The FEELIES: “Crazy Rhythms” (Stiff Records/ Victor Records Japan – VIP-6725) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Mint). Damned scarce Japan 1980 first original pressing – all complete copy. The Feelies' 1980 debut on Stiff Records is a truly outstanding work within the pantheon of new wave/ post-punk classics. The incredibly crisp, guitars-through-the-desk production of this album is especially notable; unlike so many DIY acts of the age The Feelies managed to get an incredibly tight, sculpted sound out of their setup - and all without sabotaging the power of their delivery. Formed in Haledon NJ in 1976, The Feelies reared on a diet of The Velvet Underground, The Modern Lovers and Television and this shone through on Crazy Rhythms. Although punk had been and gone, the record's aloofness and randomly assembled running order ensured a timeless quality soon to be associated with many of their peers who'd influenced the band right from the outset. Although mainly focused on Glenn Mercer and Bill Million's sinewy guitar breaks and occasional veers into solo territories, Crazy Rhythms owes just as much to the way bassist Keith De Nunzio and drummer Anton Fier steer the backline through a crux of additional forms of instrumentation as cowbells, castanets and tom-toms wrestle with their more traditional bed fellows for pride of place throughout the record's nine pieces. What's more, like their undoubted heroes The Velvet Underground, The Feelies wouldn't know the meaning of a concept album if it beat them round the head 15 times with a jackhammer. Instead, Crazy Rhythms continuous lack of flow is what adds to its everlasting charm, in that under no circumstances could this ever be accused of being a calculated record aimed at any particular target market or audience. Crazy Rhythms sounds like it was written and recorded with little purpose other than to create one pulsating musical experiment after another, and for the majority of the time their carefree approach pays dividends. A beast of a record. Price: 150 Euro
757. FELA ANIKULAPO KUTI Of Nigeria And ROY AYERS Of America: “Music Of Many Colours” (Phonodisk – PHD/003) (Record: Near Mint/ Jacket: Near Mint/ Japan Direct Import OBI with Attached Insert: Near Mint). Original Nigerian pressing in top shape. Comes with rare Japan OBI that was used for directly imported copies from Nigeria, never seen before OBI!!! “This meeting of the minds and bands of Afro-funk creator Fela Anikulapo-Kuti and American vibist and R&B/jazz innovator Roy Ayers is a collaboration that shouldn't work on the surface. Fela's music was raw, in your face politically and socially, and musically driven by the same spirit as James Brown's JBs. At the time of this recording in 1979, Ayers had moved out of jazz entirely and become an R&B superstar firmly entrenched in the disco world. Ayers' social concerns -- on record -- were primarily cosmological in nature. So how did these guys pull off one of the most badass jam gigs of all time, with one track led by each man and each taking a full side of a vinyl album? On hand were Fela's 14-piece orchestra and an outrageous chorus made up of seven of his wives and five male voices. For his part, Ayers played vibes, and saxophonist Harold Land blew like the soul master he is. The rest of the Ayers septet performed on his tune only, the funk fest "2,000 Blacks Got to Be Free," an open-ended soul groove overdriven into Afro-funk by Fela's orchestra. Ayers is down on the quick changes, and his band leads the orchestra in pulling down the funk into a hypnotic sway and groove. On Fela's "Africa -- Centre of the World," everything starts out dark and slow with a chant from the master and then the chorus and Fela's trademark tenor honk. The horn section kicks in and Ayers starts playing all around the mix like a restless spirit. He darts in and out of the changes and sometimes hovers above them. The effect is as mesmerizing as it is driving. This is a sure bet for any bash where you want 'em to dance until they drop. For the purpose of musical history, this was a meeting that panned out in all the right ways and left listeners with a stellar gift of a recorded souvenir.” (All Music Guide). This record is so good, it hurts!!! Next to that, this copy here is possibly the best condition ever to fall into your lap. Just perfect and that for a Nigerian pressing is nothing short of a miracle. The icing on the cake is the stupidly rare Japan Direct Import Obi – probably the first and last you will ever see. Stellar!!! Price: 250 Euro
758. FELA RANSOME-KUTI and The AFRICA ’70 with GINGER BAKER: “Live” (Odeon – EOP-80633) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent/ Obi: Near Mint). Scarce Japan original all complete with obi. “Originally released in 1971, this LP had Fela Kuti solidifying the format that would take him into international visibility in the years to come: extended tracks with grooves that mixed African and funk rhythms, punctuated by rudimentary lyrics. There are just four songs on the album, none shorter than seven minutes, and all but one going over the ten-minute mark. More than a dozen strong, his band, the Africa ’70, cooks pretty well on tracks that fuse jazz, soul, and African music in a trancelike fashion that avoids becoming stale, despite the length of the arrangements. Ex- Cream/ Blind Faith drummer Ginger Baker’s name was given prominence in the billing, probably to attract rock- and pop-oriented listeners who might not ordinarily take a chance on music from the African continent. However, it's Fela and Africa ’70, not Baker, who are the dominant presence on a record that sounds much like a mixture of James Brown, fusion, and Nigerian forms.” (All Music guide). All of Fela’s records are kind of obligatory mind food on these shores and the one with the late Ginger Baker is no exception. Still love the slight rockfish approach that Baker injects into the overall African vibe, propelling the whole into a more agitated area. Stunning and comes with bloody nice obi to boot. Price: 150 Euro
759. FELA ANIKULAPO KUTI & THE AFRIKA 70: “Yellow Fever” (London – GXH-1055) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1979 Japanese pressing complete with obi. “Yellow Fever” opens with a couple of measures of guitar and bass interplay that sets up the standard funk-jazz vamp that will prod the entire length. The horn solos are reaching, explosive, and (though the word is overused) funky. Fred Wesley and Maceo Parker have some tough competition here, as these guys are unyielding in their voice. After eight minutes of instrumental eminence, Fela makes his own voice heard and gets to the meat of his product. The words speak of the strange practice of Africans lightening their skin -- this idea just doesn't jive with Fela's strong pan-African sentiments. As he gets progressively worked up, the choir responds to him exemplifying the idea and the vibe. Once Fela feels he's got his point across, he just lets the musicians have their fun until the end of this 15-minute rollick. An unbelievable and hard-hitting groove opens up "Na Poi" and slams in with absolute genius. This is actually another version of the same song from 1972. "Na Poi," banned by the Nigerian Broadcasting Company due to its sexual content, makes one wonder -- what was really going on in the Kalakuta Republic (his walled-in residence)? The instrumentation of "Na Poi" that began as genius settles into the familiar and works itself out until, once again, Fela decides to get down and literally dirty. This is an entertaining piece, but it doesn't really hold up to the rest of his material. (All Music Guide). Excellent disc, stellar even, stupefying….originally released in 1976, this is the original 1978 Japanese press. Hardly ever turns up, especially in such virginal condition as this one here. Brilliant all way through. Price: 100 Euro
760. FELA RANSOME KUTI & AFRICA 70 ORGANIZATION: “Fela Again!!!” (Philips – RJ-7535) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Getting sought after Japan first original pressing, all complete with obi and insert and sounding amazingly! By the mid-'70s, Kuti’s albums had essentially become extended singles in the LP format, with two songs in the 10- to 15-minute range occupying entire sides of the release. The 13-minute "Excuse O" is the title side of this album. It's not much different than his usual excursions into Afro-funk-jazz fusion from the era, though at this point he was moving into rhythms that were more jittery and African-sounding than those he had used on many early-70s efforts. "Mr. Grammarticalogylisationalism Is the Boss" is his bid for the "longest word used in a song title" contest. The novelty of that title aside, it's one of the better cuts from his mid-'70s discography, with remarkably spooky, effective organ, a slow ominous groove, and a blunt critique of Africa's educational system.” (All Music Guide). This is prime period Fela, somewhere at the height of his powers, speaking out against government corruption and the Nigerian elite. Killer slow Afro-beat groove utilizing a distinctive electric organ set to a languid but heavily funky groove that's inspired so many acts since. 'Excuse O' makes great use of studio techniques on another blueprint groove followed by the almost psychedelic 'Mr Grammart (Calogylisationalism Is The Boss)'. Most essential! Price: 100 Euro
761. FELA ANIKULAPO KUTI: “Fela J.J.D Live At Kalakuta Republik” (Afrodisia – DWAPS-2023) (Record: Near Mint/ Gatefold Jacket: Excellent ‾ Near Mint). Original 1977 pressing in awesome condition. This 1977 release consisted solely of one 22-minute song, "J.J.D. (Johnny Just Drop)." It actually wasn't much different in length than most of his releases from this era (which usually contained two songs adding up to half-an-hour), but still made for a rather short value. The song was decent enough, making extensive use of a live crowd and busy hand-drummed rhythm at the beginning, then gliding into a typical (if very long) Afro-funk-jazz vamp. It is another gem in the Fela discography. It was recorded live at Fela's home/club/compound, Kalakuta Republic and released in 1977. This LP is part of what was arguably Fela's greatest period as he released more than a dozen albums between 1975-77! While "Zombie" and "Opposite People" are clearly the essential recordings from this period, this disc, and all of the Fela reissues, are really indispensable! Price: 175 Euro
762. FELA ANIKULAPO KUTI & EGYPT ’80: “Overtake Don Overtake Overtake” (Kalakuta Records – KALP-009) (Record: Near Mint/ Excellent ‾ Near Mint). Top condition 1989 Nigerian original pressing. “Even if American commercial radio did play more world music, they'd have a hard time with Fela Kuti’s albums -- which tend to be very loose and improvisatory and favor extended, jazz-influenced horn solos. Kuti believes in finding an irresistible groove or an appealing theme, staying on it, and working it to death -- something he has in common with everyone from Hindu and Islamic singers to James Brown and George Clinton. It's an approach that works wonders on this set's two extended pieces: the 31-minute "O.D.O.O. (Overtake Don Overtake Overtake)" and the 29-minute "C.B.B. (Confusion Break Bones)," both of which show us how appealing repetition can be with the right theme. Funk and soul fans will appreciate Kuti’s love of the endless groove, while jazz aficionados should pay attention to the long sax solos. Kuti has recorded many good albums over the years, and O.D.O.O. is certainly among them.” (All Music Guide). Original pressing in top condition. Price: 150 Euro
763. FELT: “S/T” (Nasco – Nasco-9006) (Record: Near Mint/ Jacket: Near Mint – with NO drill holes or other defects). Stupidly clean 1971 US first original pressing of all time fave heady psych jammer. Formed in Alabama in the late '60s around the talents of Myke Jackson (guitars), Mike Neel (drums), Tommy Gilstrap (bass), Stan Lee (guitars), and Allan Dalrymple (keyboards), the band's self-titled album, released on the small Nasco label in 1971, contains half-a-dozen original songs. “A strong Southern psych-rock album that’s probably the best thing on the classy Nasco label. Excellent teenage vocals inject personality and soul into Felt’s wide-range spectrum of classic rock influences, which include late-phase Beatle moves, mellow West Coast jamming, and early 1970’s UK hard rock. Further coherence is provided by a good recording and a tight band who obviously put a lot of effort into this work. If released on a major label, Felt may have hit the big time. The album was mastered a little off-center, creating a wavery sound on the last song on side 2.” (PL – Acid Archives). Gritty bluesy inspired, they are full of great guitar work with fine Beatles-esque harmony vocals, swirling keyboards, intense drumming, and blistering guitar solos. These six tracks put on display a young band who, even in this formative part of their career, had a grasp of how to impress through their creativity without toppling over into the torpor of self-indulgence. The overall flow is balanced and thoughtful, dealing with the life of teenagers in redneck America during this era. The album was recorded and released in just two days, and the band were all under 17. Makes this even more of a landmark – or, at least it should have been. SOLD
764. FELT: “Crumbling The Antiseptic Beauty” (Kenwood – AW-20008) (Record: Near Mint ‾ Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Rare and hardly seen Japanese first original press issue from 1981 all complete with obi and housed in uncensored cover. There’s nothing really crumbling on Felt’s debut, but there’s plenty of antiseptic beauty. And while that may seem like damning with faint praise, I mean this in the strongest terms: Crumbling The Antiseptic Beauty is utterly sublime, lack of grit be damned. When Felt started, they made glistening, reverb-heavy intricate pop while the rest of the underground was making either rhythmic and/or dark post-punk and the charts were full of clean, crisp New Pop. The music on their debut quells the darker side of the pop-psych 1980s sub-cultural airwaves with guitarist Maurice Deebank's cascading, euphoric noodlings against Lawrence Hayward's clear acoustic strums -- but overall this is a fairly primitive affair. There is a stripped-down psychedelic feel to certain tracks, with drums pounding out a tribalistic, rolling beat beneath Deebank's complex guitar runs and Hayward's obtuse vocals. It is brimful with a poetic resonance, deceptively intense and blessed with a cinematic sound signature whose aspiration surges out of concealed depths of a V.U. urbanized take on rock that booms downhill towards a cushion of fluffy pink naked snow bunnies. Just beautiful and so essential. Can’t get enough of it!!! Price: 150 Euro
765. FERRARI, LUC: “Heterozygote – J’Ai Ete Coupe” (Philips – 836.885) (Record: Near Mint/ Silver Jacket: Excellent – stamp on back). Original French pressing housed in the eye-popping silver designed Prospective 21ieme Siècle jackets. Early vintage electronic sounds out of the INA GRM studios in Paris. This one in particular is a centerpiece of that era. One of the finest Ferrari records out there. Price: 150 Euro
766. FERRARI, LUC: “Presque Rien” (INA GRM – No.9104fe) (Record: Near Mint/ Foldout Jacket: Mint) Rarest INAGRM title and seemingly on everyone’s want list these days. Subliminal and all time classic electronic music/musique concrete/ filed recordings classic released in 1980 on the highly collectable INA GRM label. I have a problem of cataloguing this disc since it adheres simultaneously to the three styles mentioned here above. In short it is a kind of musical photography, in which unassuming ambient sounds of a small village in Yugoslavia, recorded throughout a long day, are telescoped by means of seamless dissolves into a 21-minute narrative in which no apparent “musical” sounds are included. A sound diary that includes the sounds of insects and other animals, traffic, and human voices. Ferrari referred to this genre of his work, characterized by the use of sounds to tell a story, as 'anecdotal music'. In his words, "The problem is to try to express ideas, feelings, passing intuitions by different means to observe everyday life in all its realities, whether they are social, psychological or sentimental." One of the finest titles on the legendary and highly collectable INA GRM label. Price: 150 Euro
767. FINGLETOAD, STRANGE & SIHO: “Mazzola” (Shadoks – Shadoks Music 055) (2 LP Set: Near Mint/ Heavy Gatefold Jacket: Mint/ Insert: Mint). Long deleted deluxe reissue of 350 copies. This is the first and second album by young bohemian Americans Fingletoad, Strange & Siho. Their self-titled first album was recorded in 1969 in Chicago as Fingletoad & Strange, and very few acetates were pressed. The follow-up Mazzola was recorded in 1970, and perhaps less than 100 records were pressed. This double LP includes all original songs from both albums, taking the listener on a psychedelic trip merging imaginary landscapes and dreamy folk with teenage angst. Clearly influenced by the top musicians of the time, The Beatles, Neil Young and Jimi Hendrix, they undoubtedly manage to create a sound all their own ranging from beautiful lyrical ballads with harmony vocals to over-the-top fuzz and feedback frenzy. All professionally executed while still retaining a garage atmosphere and production, creating the perfect mix. Price: 100 Euro
768. FLEETWOOD MAC: “Maiko-san – Coming Your Way b/w Rattlesnake Shake” (Reprise – JET-1979) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent). Bloody rare Japan only single release, housed in Japan only sleeve art. WHITE label PROMO issue with centerpiece attached and not missing. This is the Mac at the peak of their powers, Greene, Spencer and Kirwan all wielding the axe and not a snotty beached Christine McVie yet in sight and turned it all into brainless FM middle of the road crap. This is the shit, raw and uncut trashy white dirty blues of the highest level. Damn, I ride so hard for this shit, make me shake my fists like standing in the midst of a prison riot! Price: 450 Euro

769. FLEETWOOD MAC: “Oh Well Pt. 1 – Oh Well Pt. 2 b/w Coming Your Way – Rattlesnake Shake” (Reprise/ Victor – SJET-548) (4 Track EP Record: Near Mint/ Flip Back Picture Sleeve: Near Mint with some faint foxing on back of sleeve). One of the rarest Fleetwood Mac releases, Japan only 4 track EP housed in cool picture sleeve. The best line-up and original cast of the Mac before hedonism and pussy power play came into the equation. The music never got any better than during those early daze and here is a prime reminder of them surfing the high crested waves of white trashy blues psych. Killer!!! Price: 275 Euro

770. FLEETWOOD MAC: “Oh Well pt. 1 b/w Oh Well Pt. 2” (Reprise – JET-1938) (EP Single Record: VG++ ~ Excellent/ Picture Sleeve: Excellent – some signs of aging foxing/ Company Inner Sleeve: Excellent). Another bloody rare Mac Japan only single issue. Classic line-up and great picture sleeve shot of the boys in the band performing the classic trashy blues psych jammer Oh Well….heavenly bliss for days on end! Price: 75 Euro
771. FLEETWOOD MAC: “Mr. Wonderful” (Blue Horizon – 7-63205) (Record: Near Mint/ Gatefold Jacket: Near Mint) 1st original UK pressing in top condition – 1968 MONO issue. Released a mere seven months after their self-titled debut. Much like that album, they proved to be extremely popular in the United Kingdom, reaching number ten on their charts. Probably their best effort ever, venturing into the deep murky waters of trashy white boy blues, filthy vicious & snakey guitar leads splattered all over the place, fried vocals from beyond the grave and a delinquent “fuck-it-all” lysergic vibe that makes the whole ordeal quivering with a real underground vibe. Top UK original pressing and MONO is getting damned scarce in a nice nick. Price: 200 Euro
772. FLEETWOOD MAC:“English Rose” (CBS SONY – SONP-50057) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Rare 1st original Japanese pressing from May 1969 with bloody rare capsule OBI present. “For reasons that no one seems to recall in detail -- but for which we can be grateful -- when it was time to release a second Fleetwood Mac LP in America, producer Mike Vernon and the band didn't just send the existing Mr Wonderful album across the Atlantic -- a little fine-tuning and retooling was in order. The band had just expanded by one member, to a quintet -- with the addition of guitarist Danny Kirwan -- by the end of 1968, whereas Mr Wonderful represented them as a four-piece outfit. Additionally, the group had just toured the U.S. for the first time, as a quintet, playing to very enthusiastic audiences, and so there was some point to sending U.S. licensee Epic Records something extra, representing who they were at the start of 1969. And that became the English Rose album, offering three Kirwan-authored instrumentals, plus the hit U.K. single "Albatross," and also their previous single, "Black Magic Woman," which had been a British Top 40 hit (though it was unknown in the U.S., and preceded Santana’s hit recording of it by almost two years). Half of Mr Wonderful was still there, including the opener, "Stop Messin' Round" and "I've Lost My Baby," representing the stronger tracks from that record. Between the paring down of Mr Wonderful and the addition of the single tracks, English Rose ended up being a stronger album than its predecessor, though without a hit single in America to drive sales and get it exposure, it barely brushed the Top 200 LP listings in the U.S. Strangely enough, despite the overlap with Mr Wonderful, English Rose was released in England about six months later, probably to help make up for the loss of the group's contract (due to an oversight) by Blue Horizon.” (All Music Guide). Japanese original with obi. Price: 200 Euro
773. FLEETWOOD MAC: “The Pious Bird of Good Omen” (CBS SONY – SONP-50153) (Record: Near Mint/ Jacket: Mint; still in shrink/ Obi: Mint, still in shrink/ insert: near Mint). Bloody rare 1st Japanese pressing in shrink with capsule obi out of 1969. A classic album, this being the never seen before hideously rare Japanese pressing with capsule obi and top quality Japanese mint vinyl. I guess you know the deal about this LP, Fleetwood Mac were awesome until drugs played tricks on the minds of Green, Kirwen and Spencer,. Causing the band to fall apart and rebirthed as an obnoxious girly third rate bar scum scam act that bore out hit song after hit song, enough to make you go demented, slash your wrists and pour boiling acid down your earlobes. But before they sunk into mediocrity and the three key players went lost in space, the Mac were bloody awesome. “With songs taken from “Fleetwood Mac” and “Mr Wonderful”, “Pious Bird of Good Omen” serves as a worthy 12-track compilation of the band's early Peter Green days. Climbing to number 18 in the U.K., the album managed to catapult Fleetwood Mac's version of Little Willie John's "Need Your Love So Bad" into the English charts for the third time, resting at number 42. The album itself was released by Blue Horizon after the group's contract with them had expired, making it one of the best routes in which to explore their mingling of Chicago and British blues. "Albatross," "Black Magic Woman," and "I Believe My Time Ain't Long" are timeless Fleetwood Mac standards, representing some of the band's best pre-Rumors (puke, Rumor's is hell…..sucks) work. Anyone who isn't familiar with Fleetwood Mac's origins should use “Pious Bird of Good Omen” as a starting point in investigating the first wave of the band, which will almost certainly lead to further interests into albums such as “English Rose”, “Then Play On”, and “Kiln House” which reveal subtle yet effective changes in the band's blues sound. But even aside from its purpose as a collection, “Pious Bird of Good Omen” makes for a terrific laid-back stroll through some of the best British blues music ever made.” (Mike DeGagne, All Music Guide). Later Mac albums suck like no other group could ever suck – at least to some extent. I hate and loathe them. But the early core Mac albums are fantastic, some of the best UK albums to hit these shores, filthy, raw, deranged and mind expanding. This is the shit. Bloody rare Japanese press with obi. Original mint copy. Price: 150 Euro
774. FLEETWOOD MAC: “Kiln House”(Reprise/ Warner Pioneer Japan – P-8010R) (Record: Mint/ Gatefold Jacket: Near Mint/ Japan Only 4 Paged Picture Insert: Near Mint/ OBI: Mint). Original 1971 Japan 1st original press. This was their first release sans-Peter Green and Fleetwood Mac began broadening their sound and gravitating toward more melodic pop material. At the time, the band included: Jeremy Spencer (guitar, vocals, piano), Danny Kirwan (guitar, vocals), John McVie (bass) and Mick Fleetwood (drums). Christine McVie was present at the recording sessions and contributed backing vocals and cover art, but did not become a full member of the band until shortly after the album's completion. Kiln House is quite a mixture. There's a staggering difference between the quieter, country-influenced "This is the Rock" and the louder, more eclectic likes of "Tell Me All the Things You Do". This, if it wasn't obvious already, is a direct cause of different members of the band writing completely different songs to one another. Kiln House is the beginning of the transition for Fleetwood Mac. Green was an accomplished blues purist while Kirwan had some rock leanings. Spencer was unique and basically did what he wanted, which was very apparent on this release. Kiln House is a unique release in the vast Fleetwood Mac catalogue as it was their first move toward a mainstream sound before drowning in the success of crappy records they recorded and which reigned the FM airwaves of Middle Slime USA during the mid and late seventies. If you could never make up your mind whether you liked the blues or pop/rock Fleetwood Mac, give this album a try as it contains elements of both and was the last solid and good LP the band recorded. Comes complete with 1st issue obi. Top copy and the OBI is damned fucking RARE, 1st time ever I have a mint copy with 1st issue obi. Price: 200 Euro
775. FLEETWOOD MAC: “Peter Green’s Fleetwood Mac Live At The BBC” (Nippon Crown – CRJL-4001~2) (2 LP Set: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Obi: Mint/ Insert: Mint/ Pin Up Picture: Mint). Japan only 2 LP release that came out in 1996 as a 2LP only limited edition. Here, one can witness the band in their earliest, and by many accounts, best incarnation. The Mac's style was defined by the scorching guitar and impassioned vocals of Peter Green and the keening slide guitar of Jeremy Spencer. As with the usual BBC tradition, all the songs presented here have a sparer and rougher feel than the studio versions, though they don't either match or redefine them. The sound is excellent, the performances are what you want to hear from this bunch of players at this moment in time. The variety is great, each player is given the chance to show what they can do in an ideal setting. Just a killer set. Japan ONLY 2 LP release, housed in heavy gatefold sleeve with Obi and 2 inserts…Price: 150 Euro

776. FLEETWOOD MAC: “Live At The Boston Tea Party, February 5, 6, 7 1970” (Vinyl Lovers – 900571) (4 LP Set: Near Mint ~ Mint/ Thick Book-Like Gatefold Jacket: Near Mint) Long deleted 2009 official issue of a killer Fleetwood Mac live set in 1970. Stunning vintage live recordings of Peter Green's Fleetwood Mac. This set collects live recordings from1970 and features the classic blues line-up of Mick Fleetwood, Peter Green, Danny Kirwan, John McVie and Jeremy Spencer. Originally recorded at the Boston Tea Party venue over three nights in February 1970, for a planned release later the same year, these recordings were left in the can, unissued, following leader Peter Green's sudden decision to leave the band a few weeks after the dates. Tracks from the shows were eventually released in various forms in the mid-80s but these releases were blighted by poor sound sources. The discovery of the original 8-track tapes and a number of previously unreleased tracks in the late 90s allowed the material to be re-mixed, re-mastered, and substantially overhauled for this massive 3 LP set. Comes lavishly packed in a heavy book-like jacket. Killer recording of the band at the peak of their creative powers before they disintegrated into a swamp of FM junk. Just sheer brilliance. Price: 75 Euro

777. FLORAL: “Namida wa Hanabira / Suiheisen no Bara” (MUSICOLOR - MA-1) (Gatefold Picture Sleeve: Near Mint/ Picture Disc: Excellent ~ Near Mint). Top condition!!! Original released on August 15th, 1968, this artifact is one of the rarest of the rare psych related gems to seep out of Japan. First of all because the Floral only released 2 hideously rare singles (never had a full album accredited to their name) and secondly because each of their singles was released as an eye-popping, acid dripping, jaw-droppingly stunning picture disc. In short their both singles are more like museum pieces and examples of early Akira Uno (of Tenjosajiki fame amongst many other weapon feats) inspired psychedelic pop art. Hideously rare and hardly ever offered for sale …..well these babies are just not easily dug up. The Floral was the predecessor group that would lead to the erection of Apryl Fool. So some slice of historical mumbo jumbo seems in order to set you all off on the right foot. The Floral saw the light of day on the 11th of February 1968 with a line-up that consisted of vocalist Kosaka Chu, Guitar player Kikuchi Eiji, Hiro Yanagida - organ, Sugiyama Kiichi -bass and Yoshimura Koichi on drums. In April the combo enlisted itself for an audition that was being organized by the Japanese Monkees Fanclub. They passed the audition and became the mascot outfit of this club. While still being green behind the ears, the group was taken under the wings of the illustrator Uno Akira who, together with the four members, shaped the image of the band going from back up, costume design and the groups name and even right till the song lyrics. Fully molded and transformed into a model combo, they made their debut for the Columbia/ Musicolor label with the single “The Floral no Niki”, that had as subtitle “Namida wa Hanabira”, a pop-like venture that already hinted at things to come. The single was quickly succeeded by a second single release entitled “Samayo Fune”. Both releases came as a picture disc edition and are now noted down as one – if not – the first ever picture disc releases to come out of Japan, fully designed in full acid demented dayfly artwork by Uno Akira. Nevertheless, the releases sold next to nothing and a much-anticipated big break-through remained out of reach. The closest they ever came towards national fame was by acting as the backing band for the Monkees when they hit Japan for a concert in October 1968. But the times they were a changing quickly and the looming signs heralding the coming of the New Rock didn’t pass The Floral by unnoticed. Gradually the band transformed from an “idol” band towards a more psychedelic oriented outfit that incorporated more space for improvisation. This shift towards a new musical horizon caused differences and discrepancies in opinion to occur which eventually climaxed into Sugiyama Kiichi and Yoshimura Kochi resigning from the band. Hosono Haruomi (later Happy End and YMO member) and Matsumoto Rei were drafted in to fill the gap and replace the two deserters. Together with the shift in personnel the group’s name was also altered into Apryl Fool. This new outfit officially started on the 1st of April 1969 but this is a whole different story. So in short, the floral were the predecessor of Apryl Fool. Top notch ULTRA RARE picture disc museum piece, a slice of history and pop art all rolled into one desirable artifact to blow out your eye-balls and other senses which make you appreciate art. Truly beautiful. Price: 300 Euro
778. FLOWER TRAVELLIN' BAND: “Anywhere” (Philips – FX-8507) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint). Best condition imaginable, just perfect!!! Top copy, near mint to mint stock copy all complete with insert. Best copy I have seen in ages, final upgrade quality. Comes with always-missing insert!!! First Original pressing of this subliminal album. Original copies are just a bitch to dig up and just do not surface here anymore. They are as rare as a hen’s teeth. So here you have a top copy. As far as the music goes, allow me to use the words of the good people over at Aquarius Records to do the talking since they just could cut it with enough passion and love for this beast. “Along with a great take on "House Of The Rising Sun", this album also explicitly demonstrates, via covers, these Japanese freaks' radical recognition of the genius of two of their Western contemporaries, Black Sabbath and King Crimson. Like many other great artists, with humble beginnings Japan's Flower Travellin' Band cut their teeth on the material of their mentors. Though Anywhere is primarily a covers album, it's also quite a testament to both the band's veracity in their reproductions and their creativity in realigning the building blocks of rock & roll. Their cover of Black Sabbath's self-titled track was actually recorded in the same year as the original and their version of King Crimson's "21st Century Schizoid Man" only a year after its release. And they aren't merely content to play only the "Schizoid Man" opening riff, like so many other bands that have attempted to cover it, but take on the entire piece in all its schizophrenic freaked out glory, getting waaay into the improv element of the mid-section. The same is true for "Black Sabbath" and you have to appreciate singer Joe's take on the unique Ozzy voice. The most interesting track on the record though has to be their attempt at straight-up blues rock -- while their "Louisiana Blues" starts and finishes almost pedestrianly enough on the "Minglewood Blues" riff by Gus Cannon that was popularized in the rock scene by the likes of The Grateful Dead and Captain Beefheart, the interior of the song is a complete departure of sorts. Not only devoid of the original progression, it's not even "bluesy" at all. Here in the extended jam that makes up the meat of this musical sandwich, the Flower Travellin' Band's Eastern roots surface a bit. It's a precursor to the sound of their later albums Satori and Made In Japan.” (AQ) Just an essential – if not one of the single most essential Japanese psyched out rock artifacts of all time. Hideously rare 1st original pressing. Rare as HELL freezing over on a hot summer day. Highest recommendation & best condition I have ever had all complete with rare insert. Price: Offers!!!!
779. FLOWER TRAVELING BAND: “Make UP” (Atlantic P-5073‾4A) (2 LP Record Set: Mint/ Gatefold Jacket: Mint/ Outer Leather Bag: Mint/ Obi: Near Mint) Top-notch copy of the Flower Travellin' Band's 1973 double album, which came out housed in a leather bag and complete with the capsule OBI. Second Issue with 3400 Yen stated on OBI and BAG. The leather bag that in most cases is missing or heavily damaged. This copy is just MINT all the way and comes with the leather bag in pristine condition. Overall in near mint condition and getting oooh so rare, Copies without the bag are fairly common, the ones with the leather bag in unripped top condition are getting bloody difficult, since it are mint copies everyone is after these days. The music I think needs no introduction and is comprised here of 2 sides live material and 2 sides studio material. Again Joey and the boys go berserk over psyched out Deep Purple-ian riffs, acidic guitar licks, vicious leads, wailing vocals that would do the Sun City Girls proud. In other words an acid psych masterpiece. Recommended for all you psych heads out there, act now because a more prefect copy will never cross your path, since this one is just near mint and therefore extremely highly collectible. Best copy in existence without a doubt!! And the OBI is seriously rare so a great chance to score and all complete 1st press - 2nd issue with stated price at 3400 Yen on bag and obi. Price: 400 Euro
780. FLOWERS: “Challenge – Yuya Uchida & The Flowers” (Columbia – YS-10063-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint). Best copy I have ever had so far, Japan 1st original pressing from 1969! Without a single doubt the cleanest copy I have had so far as far as the LP is concerned, NM condition…seems to have been played only one or twice. Heavy-duty monster rarity, one of the 5 top heavy psych rarities to seep out of Japan, copies just NEVER turn up. This is the 1st and only original pressing as released in July 1969. Hard riffing psych ball buster with female vocalist Aso Remi at helm. Vicious acidic and lysergic interplay that surfs on the foam crested skies bordering on an intoxicated psychedelic meltdown in Valhalla. Booming rhythm section, insanely deranged fuzz assaults and screaming guitars that spew out ecstatic shards of amped up distortion, bound to leave your mind scattered all over the place. The whole combo surmounts the edges of psychedelia with a lumbering beauty of an all-out assault yet to be matched by anyone, pushing acid rock past the known limits of aural mayhem and balancing on the razor's edge between chaos and slow-burning but fully loaded collective synergy. In short, killer material and just impossible to come by. Jacket is in near mint condition; record is near mint and is the cleanest copy ever I have seen of this LP. One of the best and one of the heaviest insanely rare psych artifacts to seep out of here. One of the best nicest out there. Price: Offers!!!
781. FLUTE AND VOICE: “S/T” (BASF/ Teichiku – UPS-549-B) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint). Impossibly rare and never offered before anywhere 1st press Japanese original pressing in TOP condition all complete with first issue OBI! Never seen a copy with obi before, this is seriously rare all complete. An unusual Berlin duo, Flute & Voice were in fact much more multi-instrumental than their name would suggest! The music is a strongly ethnic concoction that was not at all easy to pin down. An understated kind of folky rock that seemed to step on from King Crimson's "Moonchild" with weird jazzy and raga touches, hinting at Kalacakra or the Third Ear Band, though totally devoid of any emotion. In fact, the whole album sounds "stoned". Top copy, impossible to ever upgrade upon and all complete with OBI. Make your best move and hold your peace forever. Price: Offers!!!!
782. F.M.T: “You Got A Freedom” (ALM Records – UR-1). (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint/ Catalogue Insert: Mint/ Card: Mint) Pristine & TOP copy with obi, released by the legendary Kojima label back in 1979 and the 1st release in ALM’s newly erected side label Uranoia. This sucker does never surface and to boot the copy offered here is all complete with the rare obi. First copy I see in over more than ten years. F.M.T. was in a way a kind of free jazz super group that roamed the Tokyo underbelly during the hedonist late 1970s. The line-up consisted out of the following all-stars trio: Fujikawa Yoshiaki (sax, fl, etc); Midorikawa Keiki (cello etc) and Toyozumi Yoshisaburo (ds, perc, etc). Together they create heavy fire breathing interaction Recorded on 27, 28 June 1978 at Tachikawa, Shakai-Kyoiku Kaikan. The group's acronym was taken from the first letters of the members' surnames (Fujikawa, Midorikawa, Toyozumi), but it also stood for Free Music Trio. Following the recording the group also incinerated a crowd of 5000 people at their first and sole foreign life performance that took place at the German Moers jazz festival. The cover is graced by beautiful design drown out by Akio Suzuki, completed by liner notes on the back sleeve by Japan’s number one free jazz scholar Teruto Soejima. The music on the other hand leaves nothing to the imagination; it is violent and furious as a hot tropical typhoon ripping through the coastal villages, leveling all in its path. Right from the start the disc throws you head on first into a titanic clash of the three members, spinning right away out of control into a brain-erasing whirlpool of classic liberating universal consciousness style freak-out that references fire music coupled to an approach of interaction that throws out notes and licks in favor of devouring and detonating time. The trio is in phenomenal form, riding simultaneous waves of omni-directional rhythm and breath with classic New Directions meets sound art improve noodling-style ferocity and dipping in and out of minimalist improvisational interaction source material infused with all of the modernist rigor of Mototeru Takagi, Abe Kaoru and a whiff of Milford Graves. Their approach to improvised phonetics is as aggressively articulate as meticulously carved out while balancing on a tightrope of fragile interplay and communal freak out to fully develop the aesthetics of freedom. Truly an astonishing disc, insanely rare these days, especially in such a nice condition as this one here with obi intact and in pristine shape. Essential. Price: 350 Euro
783. FONTAINE, BRIGITTE: “Brigitte Fontaine Est …” (Columbia – YS-2670-SH) (Record: Excellent ~ Near Mint, has one hairline on side 2/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). “Brigitte Fontaine’s first album, arranged by Jean Claude Vannier, is her most normal and accessible record. It's still not terribly normal by pop standards, its arty songs dressed up with period Continental orchestration and quirky melodies and vocal deliveries. These can both hark back to Edith Piaf-styled material, or look forward to slight avant-garde/experimentalism. At times it sounds like the kind of thing Francoise Hardy might have done had she continued to develop along adventurous lines and keep pace with progressive pop and rock trends in the late '60s. In fact, songs like "Une Fois Mais Pas Deux" sound rather close to Hardy's best late-'60s material, but Hardy would have never done anything as goofy as "L'Homme Objet," with its music-box backing, or as odd as "Eternelle," with its tribal male backup vocals and rhythms, and "Blanche Neige," with its overdubbed tropical bird effects.” (All Music Guide). Price: 125 Euro
784. FONTAINE BRIGITTE: “L’Incendie” (Japan BYG – YX- 8010) (Record: Near Mint/ Fold Out Jacket: Near Mint/ 4 paged Insert: Near Mint/ Obi: Mint) Quite rare original Japanese pressing, complete with always missing obi. L’Incendie was the first ever collaboration on disc between Fontaine and Areski and as a duo they strung together a lysergic gem that moves through the sounds of gorgeous psychedelic acid folk, string and organ-backed polyphonic liturgical-style chants that advocate power to the people, medieval troubadour stylings, buzz-humming outward bound poetics, spoken word dementia, dislocated improvisational aesthetics, all intertwined with angelic vocals, weird spoken word intermezzo’s, pastoral “dejeuner sur l’herbe” laid back atmospherics that get spiced up with anti-bourgeois and inflamed revolutionary mumbo jumbo. Fontaine breathes out a relocated late-night kind of dada futurism border lining between seductive qualities and drowsed beatnik aspirations, while all the time balancing perfectly between a vast array styles. Just hauntingly beautiful and if acid folk needs a face to stick to the genre, hers would be it. A joyful and brain expanding listening experience. Released in 1971, this is the original Japanese pressing on high quality vinyl and comes with insert. Impossibly rare these days Japanese originals. Accept no substitutes. Price: 150 Euro
785. FONTAINE, BRIGITTE & ARESKI: “Je Ne Connais Pas Cet Homme” (Saravah/ Nippon Columbia – YZ-27-SH) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ 6-Paged Booklet: Near Mint/ Obi: Near Mint). Original 1st Japanese pressing with always elusive obi + insert of this French acid folk masterpiece. First released in Japan in August 1973. 6 paged booklet/ insert comes with extensive liner notes by enfant terrible/ free jazz connoisseur/ concert promoter/ cultural critic Akira Aida illustrated with some nice pics. Brigitte Fontaine was a strange cat. Although some people may file her endeavors next to yeh-yeh girls like Francoise Hardy and Chantal Goya, she definitely inhabited a different intergalactic medium from the voids. The eclectic avant-folk records she has been making with the help of percussionist Areski Belkacem since the seventies take the pop seed and mutate it far beyond the reach of any other French chanteuse. And with each subsequent album she released during those early seventies days she progressed and by the time of this recording, she was beyond any doubt too far out to even be categorized as a popular chanteuse. Together with Areski this odd assortment of tracks is a stunning piece de resistance to lend your ear to. Ranging from sing-song cappella vocal stylings - at times backed by only the sparsest of instrumentation - to dissonant jazz-avant-garde miniatures, spoken poetry insertions – all blended together and infused with hypnotic rhythmic African drumming-like percussion patterns. It all forms the background against which Fontaine and Areski's experimental vocalizing can take root in and flourish into wicked fruits of evil. The disc moves through the fairy sounds of gorgeous tantra-esque psyched-out folk, string and organ-backed polyphonic liturgical-style chants, bizarre poetics, barnyard avant-jazz and the odd bout of screaming or anti-capitalist rallying. Fountaine’s seductive voice breathes out a kind of dada futurism that will keep you immersed and locked into her sonic universe for the duration of the trip. Simply a classic. Rare 1st time Japanese press with all intact, just gorgeous to behold and dive into. Price: 150 Euro
786. FONTAINE, BRIGITTE: “3” (Saravah/ Nippon Columbia – YS-2731-SH) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint/ 12-Paged Illustrated Booklet: Mint) Top original copy with always missing obi!!! Scarce Japanese original pressing out of September 1972 in top-notch condition. Comes with always missing obi and 12 paged booklet, complete with liner notes by enfant-terrible and free jazz promoter Aida Aquirax of Abe/Takayanagi/Graves/ Lacey and Bailey fame This was Fontaine’s third album released on Saravah and produced by Pierre Barouh and flanked by a stellar cast that included Areski, Georges Arvanitas, Jacques Higelin, Phillipe Mate amongst others. “This self-titled LP is a more successful and listenable bridge between her pop and experimental impulses. For one thing, Areski only co-wrote a couple of these tunes and is not often heard on vocals. More importantly, the content is less jarring and more appealing, though equally eclectic. "Brigitte" has the sort of jazz-pop-make out music mix that will entice fans of Francoise Hardy's 1971 album La Question. "L'Auberge," by contrast, could pass muster on a classical LP, sounding like a pious church hymn. Most of the material falls between these two poles, including some spoken poetry and pieces on which Fontaine is backed by little more than African-sounding drums. It's worth checking out for fans of fractured '70s art-pop with progressive and jazz influences.” (Richie Unterberger, All Music Guide). A classic album out or early seventies France that successfully blends avant-garde tendencies with psychedelic folk moves, intoxicating female vocals and a fragrance of pop, in short a masterpiece. Rare original 1972 Japanese pressing with all intact and present. So good. Price: 100 Euro
787. FONTAINE, BRIGITTE & ARESKI BELKACEM: “Vous et Nous” (Saravah – RSL-1071) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original French pressing of 1977. This is the 1st pressing of the album, released as a 2 LP set, second pressing came out as a single LP and is very common there where the 2 LP set is a tuff nut to track down. Brilliant collaboration between these two dark moody French singers. Recorded in 1977, with enough material to make up 2 LPs, this set features 33 tracks that slip and slide into each other with cool sounds, spare instrumentation, and amazing vocals that are difficult to describe, but which cut you to the quick once you've heard them. Extremely haunting, with a feel that sounds like the wind blowing through an empty cottage on a rainy day. Even if you don't know French, this stuff will grab you and send spooky shivers down your spine. Rimbaud used to speak of the female voice having arrived at the depth of volcanoes and artic caves and upon reflecting upon this statement I almost believed he had to have heard Brigitte Fontaine. It is that beautiful and will bring you unlimited listening joys until the end of times. Fantastic!! Price: 100 Euro
788. FOOD BRAIN: “Social Gathering - Bansan” (Polydor – MP-2100) (Record: Near Mint – has only one faint hairline on side A/ Gatefold Jacket: Mint/ Obi: Mint). Complete with ALWAYS MISSING OBI!! WHITE LABEL PROMO!!!! Obi and white label promo in combination is just lethal and impossibly rare. Only 2nd time ever I see a complete copy of this one with OBI present. Top copy of this psychedelic psych beast from the east. Ok, for your mint freaks, here is a top shelf copy; complete with insert and high level quality record. Poster-like insert and OBI are also present. Killer heavy psych record, with Shinki Chen wailing the ax and Yanagida Hiro torturing the keys while Luis Kabe doomsday-thick-as-blood bass lines interlock with Tsunoda Hiro’s jungle drums, forming the perfect ingredients for a psychedelic jungle shoot-out. Shinki Chen’s searing electric guitar cuts through the air here like a buzz saw. The group sweats out heavy psychedelic jams here, a peculiar mix of electric madness, high speedy snorting and pure uncut crystalline lunacy. This is one of the greatest freak-out psych fests to seep out of Japan. Killer all the way with absolutely no filler. Top original copy with all present. Just impossible to get all complete + as a white label promo issue. One of the rarest (with obi) from down here and in top condition, a one off chance!!!! SOLD
789. FOR EXAMPLE: “Workshop Freie Musik 1969 - 1978 – Free Music production Akademie Der Kunste” (FMP - ) (3 LP Set: Near Mint ~ Mint/ Individual LP Sleeves: Near Mint ~ Mint/ Book: Near Mint ~ Mint/ Outer Slip Case Box Set: Near Mint ~ Mint). Top copy. Cleanest and most perfect copy to ever have passed through my hands. The fragile outer slipcase box set has NO wear at all – same goes for its contents. Impossible to ever upgrade upon this one. Released in an edition of 600 copies only in West Germany in 1978, “For Example” is the pinnacle of free jazz dementia housed in one eye-popping box set complete with thick as a brick booklet crammed with FMP related info and live action shots of all the artists involved in this set. The list of big name participants is hallucinational and includes all of the big players emerging out of the US and Europe late sixties and early seventies scene. “This package consists of three records (the first featuring soloists, the second groups and the third orchestras) and an album size book whose 136 pages are filled with photos, statements from artists as well as critical/historical views centering around FMP and the German free jazz scene in general. The impetus for the package stems from an annual event at the Academy of Arts which brings together musicians from all over the world, for a yearly get together. The photo sections of the book are arranged chronologically from the first festival/workshop in 1969, to the most recent and are introduced with a reproduction of each year's poster as well as a complete listing of the participating musicians and groups. The texts are quite excellent and self explanatory. Discussions of history/philosophy/ramifications by Ekkehard Jost and Wolfgang Burde are informative for the uninitiated listener who is not familiar with how the free music scene developed in Germany and are quite objective unlike the often biased posturing by American "critics”. 
The statements by artists Peter Brötzmann, Steve Lacy, Misha Mengelberg, and Nino Malfatti are wry, driving and right on, as are the discussions of the interaction that the musicians had with children at the workshops.” (Milo Fine). First LP is reserved for soloists and includes amongst others: “Steve Lacy; 
Paul Rutherford; 
Hans Reichel; 
Fred Van Hove; 
Derek Bailey; 
Albert Mangelsdorff, etc. The 2nd LP is reserved for group recordings and features: “Schlippenbach Trio; Brötzmann/Van Hove/Bennink plus Mangelsdorff; Frank Wright Unit; Schweizer – Carl Quartet. The 3rd and final LP are recordings from orchestras and include: “Willem Breuker Orchestra; Globe Unity Orchestra; Vinko Globokar & Brass Group; ICP-Tentet. Killer set and one of the corner pieces of the European free music and free jazz scene of that day. Top copy and all complete!!! Never seen this one in such perfect nick as this copy here – without a doubt impossible to ever upgrade upon so has to go for…. Price: Offers!!!
790. FOR EXAMPLE: “Workshop Freie Musik 1969 - 1978 – Free Music production Akademie Der Kunste” (FMP - ) (3 LP Set: Near Mint ~ Mint/ Individual LP Sleeves: Near Mint ~ Mint/ Book: Near Mint ~ Mint/ Outer Slip Case Box Set: Excellent). Top copy. Same as the above but another spare copy. The condition is again out of this world, but a dash below the one listed above, so this one goes cheap. All is perfect, alone the outer box has some very faint sign of handling, so conservatively graded at EX~NM, still amazing copy, this condition never turns up on E-Gay, so rest assured, top shelf copy here!!! Almost cleanest and near perfect copy to ever have passed through my hands. The fragile outer slipcase box set has HARDLY NO wear at all – same goes for its contents. Next to impossible to ever upgrade upon this one. Released in an edition of 600 copies only in West Germany in 1978, “For Example” is the pinnacle of free jazz dementia housed in one eye-popping box set complete with thick as a brick booklet crammed with FMP related info and live action shots of all the artists involved in this set. You know how hard it is to lay your mittens on this artifact in clean and EX~NM condition and the prices it fetches, so I am sure you will agree this one is a steal...Price: 400 Euro
791. FOREST: “S/T” (Harvest – SHVL-760) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). First original UK pressing of this progressive psychedelic folk masterpiece. Comes housed in impressive psychedelic gatefold cover art. “Forest is capable of taking a lead vocal equally well and of playing any one of the wide range of instruments on this LP. Guitars, organ, harmonium, piano, pipes, cello, harpsichord and mandolin go into producing a folksy semi-medieval music leaning towards the Incredible String Band” (NME). A classic in the UK pagan folk hemisphere. Very clean copy. 1st pressing. Price: 600 Euro
792. FOREST: “Full Circle” (Harvest – SHVL-784) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top copy!!! UK original copy of Forrest’s second effort, magickal album filled with bewitching psychy folk touches and blessed with that ancient Albion feel, lysergic medieval fragrances drifting through it all and enchanting female vocals to wrap your ears around. A classic in the UK folk pantheon. Hard to find in great nick and this one is just perfect. Price: 650 Euro
793. LE FORTE FOUR/ DOO DOOETTES: “L.A.F.M.S Live At The Brand” (LAFMS – 003/4) (2 LP Set: Near Mint/ Paste On gatefold Jacket: Near Mint). The rarest LAFMS release following “TD Art”. First original private press issue from 1977 in top condition. 2 LP set that combines a slide each by Le Forte Four and the Doo Dooettes. On July 8th, 1976, the Doo-Dooettes and Le Forte Four (as representatives of the L.A. Free Music Society) gave a performance at the Brand Art Center in Glendale, California. For their portion of the event, Le Forte Four tried to play back prerecorded tapes through 44 pyramid shaped headphones. Both the tapes and the headphones were specifically designed for the concert. The Doo-Dooettes played live. This is the 1976 original pressing of the LP following their illustrious concert, so ya know; this is the stuff of legends!!! Top condition. Price: 400 Euro
794. FORTUNE, SONNY: “Long Before Our Mothers Cried” (Strata-East – SES-7423) (Record: Near Mint/ Jacket: Near Mint). Original 1974 US first pressing in exquisite shape. Three percussionists join drummer Chip Lyle for the 14 minute overly-long afro-centric percussion title track, shades of Solomon Ilori meets Art Blakey’s Afro-drum ensemble. That aside, the four remaining tracks cover all bases: ballad, post-bop modal, new thing, free jazz, funk, cinematic and spiritual. All complete with tricksy song titles. Stanley Cowell’s piano is described repeatedly in reviews as “bracing”, whatever that means. Angular, forceful figures and chords, Cowell switches between acoustic and electric piano, and each sounds equally at home here. Sonny Fortune favors only the upper range saxophone – alto and soprano. He is full of good musical ideas, whether rapid-fire elongated runs, picking out the melody, or shifting harmonies against Charles Sullivan’s bright solid trumpet and his voice is not obviously anyone elses. (LondonJazzCollector). Price: 150 Euro
795. FOUR UNITS (SATO MASAHIKO/ TOGASHI MASAHIKO/ ARAKAWA YASUO & AKIRA MIYAZAWA): “Four Units” (Teichiku – Union Records – UPS-2008) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare original 1969 pressing that came out in the same series that birthed out Takayanagi Masayuki’s “Independence” LP. PROMO issue. This one comes all complete with rare OBI, first time I could get a copy with obi. Brilliant one-time-off Japanese jazz album that throws together 4 heavyweight players into one session group. Sato Masahiko & Togashi Masahiko are both well known I guess by subscribers of this list since both have played extensively with either Takayanagi Masayuki and other free players out of the early Japanese experimental jazz scene. Tenor blower Miyazawa Akira is known to most for his excellent albums “Iwana – Trout” and “Kiso”, both also vicious slabs of embryonic outlaw jazz, there where bassist Arakawa Yasuo was a regular sideman of Sato Masahiko’s Trio. So this disc is a gathering of four veterans. The quartet mutual draw on lifetimes of experience from modern jazz bands to ferocious underground free jazz improvisations and sends them of here working as a well-oiled unit, disciplined freedom punctuated by episodes of controlled anarchy. On the B side, the quartet tackles some one Simon & Garfunkel cover tune combined with some modern pseudo mellow free pieces and it shows that also in these combinations only the bravest and highly schooled players could pull it off. Side A however is the free form efficiency in full action, muscular and fierce, with the rhythm section of Arakawa & Togashi Masahiko creating a trembling trampoline beneath Miyazawa’s tenor and Sato’s piano. Miyazawa sounds wonderfully gnarled and pugnacious, Sato on piano precise and unpredictable, with the music’s initial urgency ebbing and flowing but the overall sonic animated tension remaining constant. In all, the collective vigor that pulses through this deliriously played LP and paced set is nothing short from exhilarating. Just fantastic, original 1st issue in top condition with obi. Price: 500 Euro
796. The FREDDIE REDD QUARTET with JACKIE McLEAN: “Music From The Connection” (Blue Note – BN-4027/ BST-84027) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition & amazing sounding Japanese pressing of killer Blue Note recording. “Freddie Redd composed the music for Jack Gelber's The Connection, a gritty play about musician junkies. Gelber had originally thought that the play would feature real musicians -- who would also double as actors in minor roles -- improvising on blues and jazz standards in the tradition of Charlie Parker, but Redd convinced him to use an original score. The two weaved Redd’s original compositions into the score, making it an integral part of the play, but the music holds up superbly on its own. Using the direction "in the tradition of Charlie Parker as a starting point, the pianist wrote seven pieces of straight-ahead bop, wide open for improvisations, and then assembled a sterling quartet featuring himself, alto saxophonist Jackie McLean, bassist Michael Mattos and drummer Larry Ritchie. The end result was a set of dynamic straight-ahead bop. While both Redd and McLean show signs of their influences -- the pianist blends Monk and Powell, while the saxophonist has built off of Bird’s twisting lines -- they have developed their own voices, which gives the driving, bluesy bop on Music From The Connection an edge. McLean’s full, robust tone often dominates, but he never overshadows Redd’s complex, intricate playing, and both musicians, as well as Mattos and Ritchie, effortlessly keep up with the changes from hard-hitting, up-tempo bop numbers to lyrical, reflective ballads. Musically, Music From The Connection might not offer anything unexpected, but whenever straight-ahead bop is done this well, it should be celebrated.” (All Music Guide). Top shape and all complete, one of the finest titles on the label. Price: 75 Euro

797. The FREDRIC: “Phases And Faces” (Forte Records – 80461) (Record: EX ~ Near Mint with small non-sounding scuff at end of track 3 & a hairline on the opening of Side B/ Jacket: Near Mint – still housed in shrink). Top-notch 1st original 1968 pressing of this eye-wateringly beautiful dreamy folk/ psych album. The Fredric heralded out of Michigan and on their sole recorded album they created some of the most beautiful ear candy ever to caress your earlobes, truly awesome popish songwriting dominated by dreamy harmony vocals and interlaced with wicked fuzzy leads scattered through the hazy late summer atmosphere. In all a solid masterpiece, quite diverse in its totality and leaning strongly towards fuzz-incited garage rock. In all very impressive album, especially seen the fact that it was released on such a minor and small label. Just listening to this, you feel like being in the presence of pure greatness. Total awe-inspiring and salivatingly astonishing teenage mystique. It is a prime example of sublime soft/ dreamy psych with great songwriting, beautiful harmony vox, some fuzz leads scattered through the breeze. Highly recommended and next to impossible to find a better copy. Price: Offers!!!!

798. FREE JAZZ WORKSHOP: “Interfrequences” (A.D.M.I. - /) (Record: Near Mint/ Silk Screen Jacket: Near Mint). Very rare 1973 French private press free jazz beast. The Free Jazz Workshop came into being in 1967 but their first album, Inter Fréquences, only appeared in 1973. Unfortunately there is no recorded trace of the group including the first drummer Pierre Guyon before he was replaced by Christian Rollet in 1970. One of the slogans doing the rounds at the time sets the tone: "Aesthetic liberation is but a prelude to the liberation of humanity." The trajectory of the Free Jazz Workshop (which became the Workshop de Lyon in 1975 with the arrival of clarinetist-saxophonist Louis Sclavis) is emblematic of the emancipation of the mindset of certain French musicians during this period. It has been an exceptionally long-lived trajectory a "half-century" as the members say, during which the group - in Christian Rollet's own words – went from being "an exploratory workshop who claimed to take no account of the musical certitudes of the majority" to becoming something of a classic institution. Right from this first album it is clear that the group would function as a collective with no designated leader. The legacy and influence of American free jazz can be heard throughout: Albert and Don Ayler, or Ornette Coleman and Don Cherry for the horns of Maurice Merle and Jean Mereu; Cecil Taylor for the pianist Patrick Vollat, absent from the group after the second album La Chasse de Shirah Sharibad; Gary Peacock and Barre Phillips for the bass; Sunny Murray or Milford Graves for the rhythmic agitation; but also the Art Ensemble of Chicago for the collective aspect. Cornerstone of the French free jazz underground that was ignited by the US diaspora of free players and it shows, this baby is on fire. Top condition and rarely seen original pressing that only came out in an edition of about 300 copies. Beautiful fragile silk screen sleeve, all is tops. Hardly ever surfaces but when it does the condition is always below any acceptable level. This one here is flawless…Price: Offers!!!
799. FREE MUSIC COMMUNION: “Communion Structures” (Fremuco Records – 10.001) (Record: Near Mint/ Jacket: Near Mint) Killer 1974 German free jazz improvisation private press beast. Another piece of ineffable mystery from the deepest bowels of the West Germany underground. Led by trombone player Peter Nitz, Free Music Communion are a group with no discernable history, who seem to have sprung from nothing to fully formed life. As the name suggests, the group showcase an improvisatory fusion of methodology and sound palette, drawing upon free jazz/free improvisation and delicate improvisatory interplay. This phenomenal set crosses all sorts of wires. Recorded live in 1973, it presents one of the most jaw-dropping amalgams of free jazz energies and all-out avant improvisational interaction, working the kind of constantly-moving-to-the-point-of-stasis style constructions that are normally the preserve of sound art. But it’s not all sculptural: it also features some of Eginhard Oertwig most furiously aggressive and minimal free jazz guitar playing, from skittering dynamics through fast straight-ahead glee, with the pianist just roaring in a skeletal manner over the top adding extra texture to the deep special improvisational structure. Just an amazing slide. Price: 100 Euro
800. FREEDOM UNITY: “Something – Freedom Unity First featuring Takeru Muraoka” (Liberty – LPC-8046) (Red Wax PROMO Record: Near Mint/ Jacket: Excellent – small upper spine & seam rubbing). Bloody rare free jazz beast, 1st original issue that comes on red wax. WHITE label PROMO issue. This was Freedom Unity’s first and all-time best album. In total they recorded only two LP’s but the first one, released in 1970 is nothing but a milestone recording. The line-up alone is already mouth-wateringly great and consisted out of Muraoka Takeru (tenor sax); Suzuki Hiroshi (trombone); Suzuki Hiromasa (Electric Piano); Inaba Kunimitsu (bass) and Ishikawa Akira (drums). Nothing short of a that-day All Star line up of seasoned funked out spiritual jazz spirits. This extremely accomplished super group immediately recorded this first LP after their formation and instantly showed that they could master and excel in whatever troubled jazz waters they decided to steer their raft in, tackling successfully modern jazz, funked-up jazz rock and spiritual intoned spiritual free jazz without even batting an eyelash. It isn’t surprising then that their minimal recorded output is these days high on many collector’s want lists focusing on assembling the Golden Age recordings of Japanese free/ spiritual and jazz rock out of the late 1960s and early 1970s. Their excursions into spiritual jazz territory are nothing but fierce, like a tsunami gushing in and engulfing all in its path, there were their jazz rock inspired compositions never lack a funky aesthetic blessed with brilliant electric piano play, swirling Ishikawa Akira drum moves and Takeru’s intoxicating tenor sax blowouts. A truly bewitching recording that touches on a variety of styles and moving through primitive echoes of free jazz, ethereal dynamic malevolent jazz funk and even laid-back cocktail-jazz blues but then the kind of blues more associated with high end strippers on cocaine, wrapped in barbed wire and tuned to the moon. The arrangements are delicate generating the kind of surreal headspace that would meld operatic Eastern sonorities with spiritual jazz funk stylings and progressive jazz. This recording immediately put all of its participants on the map and today it still stands as one of the greatest marriages of Japanese jazz ever sunk by a major label. Pretty fantastic and next-to-impossible to come by these days. Highly sought-after 1st original pressing that came out on red vinyl. Highest recommendation if you are into the more obscure side of Japanese early 1970s jazz mappings. Has been ages since I last had a copy…Price: Offers!!!!
801. The FREEDOM UNITY: “Down By The Naked City” (Victor Records – SMJX-10116) (Record: Near Mint/ Jacket: Near Mint ~ Mint). Impossibly clean original first pressing of one of the most desirable and rarest Japanese spiritual jazz slides. Bloody rare free jazz beast, 1st original issue. This was Freedom Unity’s second, final and best ever recording. In total they recorded only two LP’s but their swan song, released in 1971 is nothing but a milestone recording. The line-up alone is already mouth-wateringly great and consisted out of Muraoka Takeru (tenor sax); Suzuki Hiroshi (trombone); Suzuki Hiromasa (Electric Piano); Inaba Kunimitsu (bass) and Ishikawa Akira (drums). Nothing short of a that-day All Star line up of seasoned funked out spiritual free jazzing spirits. This extremely accomplished super group immediately recorded this follow-up LP after the completion of their debut and instantly showed that they could master and excel in whatever troubled jazz waters they decided to steer their raft in, tackling successfully modern jazz, funked-up jazz rock and spiritual intoned free jazz without even batting an eyelash. It isn’t surprising then that their minimal recorded output is these days high on many collectors want lists focusing on assembling the Golden Age recordings of Japanese free-improv/ spiritual and jazz-rock out of the late 1960s and early 1970s. Their excursions into free jazz territory are nothing but fierce, like a tsunami gushing in and engulfing all in its path, there were their jazz rock inspired compositions never lack a funky aesthetic blessed with brilliant electric piano play, swirling Ishikawa Akira drum moves and Takeru’s intoxicating tenor sax blowouts. A truly bewitching recording that touches on a variety of styles and moving through primitive echoes of improvised free-soulful jazz, ethereal dynamic malevolent jazz funk and even laid-back cocktail-jazz blues but then the kind of blues more associated with high end strippers on cocaine, wrapped in barbed wire and tuned to the moon. The arrangements are delicate generating the kind of surreal headspace that would meld operatic Eastern sonorities with spiritual jazz funk stylings and progressive jazz. This recording immediately put all of its participants on the map and today it still stands as one of the greatest marriages of Japanese jazz ever sunk by a major label. Pretty fantastic and next-to-impossible to come by these days. Highly sought-after 1st original pressing released on the legendary Victor Records SMJX-series. Highest recommendation if you are into the more obscure side of Japanese early 1970s jazz mappings. SOLD
802. FREEMAN, CHICO: “Spirit Sensitive” (Paddle Wheel/ King Records – K25P-6016) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing with obi of classic India Navigation label slide. This set was a change-of-pace for Chico Freeman for it features the usually adventurous tenor (who doubles on soprano) mostly playing warm versions of standards. With pianist John Hicks, bassist Cecil McBee and either Billy Harper or Don Moye on drums offering fine support, Freeman pushes at but does not break the boundaries of hard bop. A truly sensitive reading of standards by stalwart saxman Chico Freeman, originally released in 1979. Featuring both tenor and soprano horns, Freeman lends his unique blend of passion and taste to compositions by Duke Ellington, Sonny Rollins, Richard Rodgers and Vernon Duke. The strong rhythmic support renders it all into an outstanding recording that jazz-o-philes will treasure. Top condition Japanese original. Price: 60 Euro
803. PAUL & LIMPE FUCHS: “Anima Sound aka Sturmischer Himmel” (Ohr – OMM.56011) (Record: Near Mint/ Jacket: Near Mint) Original 1st German pressing. The 'Anima' sound was extreme for sure: a very spontaneous music, close to extreme free jazz, but lacking the academic approach of this genre. Paul And Limpe Fuchs' (aka Anima Sound) music was more primitive in a way, full of screams, goons, weird sounds and much percussion. For this reason Sturmischer Himmel isn't exactly everybody's taste! This was one of the few Ohr albums to have a standard (non fold-out) cover. Price: 200 Euro
804. The CURTIS FULLER QUINTET: “South American Cookin’” (Epic – EPIA-53008) (Record: Near Mint/ Jacket: Mint – still housed in original shrink/ Cap Obi: Mint – still housed in original shrink/ Insert: Near Mint). All of the material on this LP was recorded in 1961 for Epic, though it was made during two separate pairs of sessions by two different lineups for two individual albums. The group on the first date includes Zoot Sims, Tommy Flanagan, Jymie Merritt and Dave Bailey. The title doesn't give an accurate description of the first half of the disc, though there is a loping treatment of the sad ballad "Besame Mucho" and a very percussive take of "One Note Samba"; more typical for Fuller are the delightful up-tempo bop numbers like J. J. Johnson’s "Wee Dot," in which Sims and the leader lock horns and both play their most stimulating solos, even with a few reed squeaks by the tenor saxophonist. Top shape Japan first original press issue all complete with rare Cap Obi and liner notes. Virginal shape! Price: 50 Euro

805. FUNAMURA TORU: “Enka Junrei” (Polydor – MR-3178) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Top Copy!!!! Original 1979 pressing!! OK how to start rapping about this one? Well, I can be fairly simply; this is a BEAST!!! An enka beast that is since Funamura was the greatest Enka songwriter to have ever crawled the face of the earth and simply gazing at his feats will confirm this. He crafted out songs for such immortal artists such as Chiaki Naomi, Misora Hibari, Fuji Keiko, Sairaiji Hiromi, Kobayashi Akira, Mori Masako, Murata Hideo, Funaki Kazuo, Kitajima Saburo and Mihashi Michiya just to name a select few who scored hits with songs he had penned down. All these artists (apart from maybe Sairaiji Hiromi) are considered demi-gods here in Japan as far as enka is concerned. Amongst his most avid fans one can count apart from me, PSF label owner Ikeezumi Hideo, Tomokawa Kazuki and Mikami Kan, all are awestruck by Funamura’s solo output that is extremely meager to say the least, Still under his own output Funamura is an obscure cat to say the least. Although it is said that he is responsible for writing over 5000 songs for all of these aforementioned renowned artists, Funamura’s solo output gets completely lost in between the mists of time, attracting next to none attention whatsoever and evaporated into thin air immediately upon its release. This not only was so in 1979 when his 1st solo LP came out but also in 2005 when a Japanese Indie label decided to modestly reissue his LP on CD in an edition of 500 copies. Only 50 copies got sold nation wide and Funamura himself bought up the remaining 450 copies in order to give it away as a present to his business relations. This just shows to give you a glance at how utterly unknown he is here although he has worked with the greatest enka singers to have walked this tiny island. Still that aside, Funamura’s 1st solo album is massive. Playing just one acoustic guitar and backed up by a stripped down line-up of a couple of singers and some austere backing, he singlehandedly created out if thin air stripped-down and utterly sincere, no bullshit and barrels hold, minimal form of enka that is totally bewitching. Of course, due to his honest and minimal approach, the disc missed any form of commercial potential and bombed completely upon its release, making that all unsold copies were withdrawn and melted down, making it this day quite a sought after underground enka record that only hardcore aficionados crave for. It is simply a masterpiece and the sole male enka record I ride massively hard for. This copy is top notch and comes with obi and insert present. Took me again for over a 2 years to dig this one up so, go wild … Price: 100 Euro

806. FUREKABEN: “Prinsessevaerelset” (Spectator – SL-1017) (Record: Near Mint/ Hand Painted Jacket: Near Mint). The band’s first LP from 1970. No doubt that this 7-piece underground combo had a preference for far-out and lysergic jam excursions, stretching out primitive tribal improvisations to epic lengths. The detours are endless and spawning forward in a slowly avalanching mode, with the emphasis on acoustic sound. Main man Anthony Barnett plays most exotic, instruments (block, Asiatic flutes, sanza, zither, gong, cymbal, bells, tabla, percussion). The disc is divided in three large sections. all improvised around an infinite sustain of rambling garbage or found bells and cymbals smoothly bass lined cello, tabla, endlessness, hippie-commune like wordless female vocals taking the whole trip to endless heights. While musically perhaps this might sound slightly predictable to some, the final result is quite unique transporting the listener toward an altered state, triggered by the music’s psychoactive components. Perfect music to decompose your body in and along with it your chattering brain. Top condition one and the cleanest sleeve I have seen so far. Price: 500 Euro
807. FUSHITSUSHA: “S/T” (PSF – PSFD 3‾4) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). It has been ages since I had a copy of this vicious beast. They completely vanished and dried up. Fold out jacket and comes with the insert. Well here you have it, one of the holy grails of the Japanese psych pantheon. The first disc by Haino’s super group and his second recording following his solo debut “Watashi Dake” on Pinakotheca Records. Simply housed in a black gatefold sleeve that gives away absolutely nothing about the sonic cesspool one will be catapulted into. This disc was and is the sole recorded document of the short lived four piece Fushitsusha line-up featuring Maki Miura on guitar, Ozawa Yashushi on bass and Murayama Seijiro on drums. Of all of Haino’s recordings and incarnations to date, this one is the most overtly straight-rockin’. Sonic wise, the whole disc is heavily imbedded in a Hadake no Rallizes influence. Nevertheless it is still staggering to hear Haino blasting away on harmonica on the disc’s opening track, which is in a way a dark, throbbing swamp rock infused piece of psychedelia. He has never sounded better than on this recording (apart from the magisterial Watashi Dake) The rest of the disc is meditative psych-out bliss all over, freedom roaring and fuzzed-out guitar brain melting overload. Haino’s voice ventures, also all over this disc, into some other worldly and meditative cloud splitting qualities. Well, in other words, this disc is just IT. Instant classic that tears down barriers and sound genres, only to cumulate into one of the finest examples of “alienesque-avant-peak all-out-soul improvisational black clad psychedelia” on the planet. Sheer sonic masterpiece, this is really IT. Needles to say that this sucker is quite rare and copies have totally dried up these past years. Finally one back in stock and I guess it will take a considerable while for me to find one again. Beautiful copy. SOLD