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

538. The EAGLES: “Hotel California” (Warner Pioneer Japan – P-10221Y) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Poster: Near Mint/ 4-Paged Insert: Excellent). Original high quality 1976 Japan original pressing of perfectly accomplished and produced Californian classic coke-sniffing masterpiece, creating a high-water mark of where the peak of creativity crashed and everything that came hereafter was forever cast in its shadow. It marked the end of a creative musical generation that still sounds awesome. Perfection in a nutshell. Price: 50 Euro
539. 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: 85 Euro
540. EARTH & FIRE: “S/T” (Nephenta – 6437004) (Record: Excellent/ Die-Cut Gimmick Gatefold Jacket: Excellent ~ Near Mint). Original UK 1st original pressing that was released on the Vertigo subsidiary label Nephenta. Record comes housed in totally brain melting acid leaking gimmicks & fantasy artwork cover. Amazing highest-level heavy progressive rock blessed with deliriously haunting female vocals. Killer from start to finish. Really nice & amazing condition, record has a few barely visible paper sleeve lines (that most would grade as NM, here conservatively graded as EX – plays NM〜M) and comes housed in amazing gatefold sleeve, which is NM, still has some of the gimmick cut outs not yet pushed out – first time I see a sleeve with some of these still present. Top copy & hard to improve upon!!!! Price: Offers!!!!
541. 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
542. 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!!!!
543. 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
544. ECLECTION: “S/T” (Elektra – EKS-74023) (Record: Near Mint/ Gatefold Jacket: Near Mint). 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

545. 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

546. 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
547. 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

548. 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: 375 Euro

549. 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: 300 Euro

 

550. 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

551. 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
552. EGG: “S/T” (Deram – SL-286) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ 4 Paged Illustrated Newspaper Insert: Near Mint). Original 1976 first Japanese pressing in Top condition on the Deram label. Their 2nd and best recording ever. Rare Japanese 1st press issue, first time ever I see the Japanese pressing of this beast with obi attached. Price: 75 Euro
553. EJE THELIN GROUP: “S/T” (SWE Disc – SJ25-9011) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Japan original press that comes housed in Japan only jacket art. 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: 50 Euro
554. 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
555. 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

556. 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!!!!

557. 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!!!
558. The ELECTRIC PRUNES: “Just Good Old Rock And Roll” (Warner Bros. Japan/ Reprise Records – SJET-8174) (Record: Excellent – One hairline on each side/ Jacket: Mint/ Die Cut Jacket Sized Obi: Mint). One of the rarest LP’s to seep out of Japan. Rare beyond believe 1969 Japan only Prunes releases complete with large die cut obi. So far, never ever offered for sale before 1st original Japanese pressing complete with wrap around die cut gimmick obi. The wrap around LP sized obi is in mint condition, which is quite a feat. So far, no copies with obi have surfaced, making this one here seriously rare. Top copy of this 5th and final LP by the Electric Prunes. Price: Offers!!!
559 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

560. 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

561. 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!!!

562. 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
563. 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!!!
564. EMIL RICHARDS & THE MICROTONAL BLUES BAND: “Journey To Bliss” (Impulse – A-9166) (Record: Excellent ~ Near Mint/ gatefold Jacket: Near Mint). First issue Impulse pressing, red rim and with a deep groove. Great Jazz/ eastern exploitation/ cum psych disc on Impulse that tried to cash in on the neo-hippy-eastern craze that raged back then. Upon listening to it now, I must say they pull it off exceptionally well, Richards is fantastic through out and his meditative – wisdom –sprouting nasal voice actually is a mesmerizing feat set against the indo-jazz vibes. Price: 75 Euro

565. 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!!!!

566. 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
567. ENGLAND: “S/T” (DEROY – DER1356) (Record: Excellent – clean without any marks, has a couple of faint sleeve lines only/ Jacket: Excellent ~ Near Mint – signed by drummer Phil Cook). Bloody rare 1976 UK original pressing on cult & micro press label Deroy, issued in a limited run of 99 copies only. Great and very accomplished UK heavy hard rocking psych with a decent basement vibe, greasy riffing, sneering nasty vocals howling at the moon. It breaths out a peculiar mix of low style, high speed and eager malice that move around like a cannonball and feels like burning oil on your legs. It is strange that this never caught on as they could have been so much bigger. Deroy was famed for its 99 pressing only runs so most of their issues are destined to be rare forever. This one is no exception. Great condition, no damages or blemishes at all, jacket is signed on the back by the drummer of the band. Record is exceptionally clean with only a couple of very faint hairlines I can detect under a bright light and which do not affect the play in any way. Hard to find a better one I believe. Such a great record that each time I give it a spin makes me swilling beers at a feverish rate! Price: Offers!!!!
568. ENO, BRIAN: “Another Green World” (Polydor – MPF-1153) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japanese press in top condition all-complete with scarce obi. A universally acknowledged masterpiece, Another Green World represents a departure from song structure and toward a more ethereal, minimalistic approach to sound. Despite the stripped-down arrangements, the album's sumptuous tone quality reflects Eno’s growing virtuosity at handling the recording studio as an instrument in itself. There are a few pop songs scattered here and there ("St. Elmo's Fire," "I'll Come Running," "Golden Hours"), but most of the album consists of deliberately paced instrumentals that, while often closer to ambient music than pop, are both melodic and rhythmic; many, like "Sky Saw," "In Dark Trees," and "Little Fishes," are highly imagistic, like paintings done in sound that actually resemble their titles. Lyrics are infrequent, but when they do pop up, they follow the free-associative style of albums past; this time, though, the humor seems less bizarre than gently whimsical and addled, fitting perfectly into the dreamlike mood of the rest of the album. Most of Another Green World is like experiencing a soothing, dream-filled slumber while awake, and even if some of the pieces have dark or threatening qualities, the moments of unease are temporary, like a passing nightmare whose feeling lingers briefly upon waking but whose content is forgotten. Unlike some of his later, full-fledged ambient work, Eno’s gift for melodicism and tight focus here keep the entirety of the album in the forefront of the listener's consciousness, making it the perfect introduction to his achievements even for those who find ambient music difficult to enjoy.” (All Music Guide). Dead clean amazingly sounding Japanese original pressing. Price: 50 Euro

569. ENSEMBLE GASTON SOUBLETTE: “Trouveres, Troubadours, Minnesanger, Meistersinger” (Edition Az – LD-5837) (Record: Near Mint ~ Mint/ Laminated gatefold Jacket: Near Mint). Original French 1974 1st original pressing. Another hidden highlight – brilliant troubadour music out of the 14th century – the acid folk of that day. Probably the most cheerful and picturesque figures of the age of chivalry were these troubadours who operated mainly in southern France and northern Italy. There have been minstrels and strolling poets before and since them, from the time of Homer to something very like the present, but the troubadours are in many ways distinct. They were among the first indications of a return to culture and they bloomed like flowers in the midst of the darkness and ignorance of the Middle Ages, appearing first among the vine-clad hills and vales of lovely Provence in southern France. A hint of their charm lies in the very music of their name, which comes from the Provencal verb trobaire, to find or to invent, and refers to the finding of rhyme. They sang in the Provencal tongue, an ephemeral one founded on the decadent Latin, out of which grew the Italian, Spanish, French and Portuguese languages, not to mention the influence it exerted in the formation of English, Chaucer using the minstrel-songs as his first models. The troubadours occupied much the same position in France and the south of Europe. The era of the troubadour was comparatively short, scarcely three hundred years, in fact, from the beginning of the Eleventh Century to the close of the Thirteenth. This disc gives a nice insight into some of the songs and type of music they performed. Later in the 20th Century, modern day practitioners such as Rosina de Peira rejuvenated the genre and the Acid Mothers Temple collective based an entire album upon the rich troubadour traditions of the Occitan region. Trouveres records are quite a hard catch these days, this one is the most perfect copy you will ever see. Beautiful female vocals set against a minimal acoustic backing, giving most so-called “Acid Folk” records a run for their money. So beautiful it is almost painful to sit through this one without weeping like a small child. Too much aural beauty to take in at one go. Highly recommended. Price: 50 Euro

570. ENSEMBLE MUNTU: “First Feeding” (Muntu Records – 1001) (Record and Sleeve are MINT – SEALED original with NO defects). Top condition and beautifully sealed 1977 US original pressing that looks just perfectly preserved! Dedicated to the guiding spirits of fellow travelers Cecil Taylor, Sam Rivers, Jimmy Lyons, Andrew Cyrille, Rachid Ali and others, the five-piece here are saxophonist/leader Jemeel Moondoc who wrote the three pieces, trumpeter Arthur Williams, drummer Rashid Bakr, pianist Mark Hennen and William Parker on cello and bass. Hennen brings something between the midpoint of strident or Romantic classical playing and Cecil Taylor's punishing style (with whom he'd studied), and Moondoc and Williams show an intuitive understanding of each other as they converge then pull apart. There is a real discipline at work here, especially when Moondoc and Williams bring martial sounds to the title track and a real pathos and yearning on the closing passages of the 14-minute Flight across the top of turbulent & conflicting sounds of Hennen, Bakr and Parker's astringent bass. The icing on the cake here is the 20-minute “Theme For Milford” which takes up the second side of this album has passages of real and engaging beauty . . . and leaves you just begging for more once it comes to an end. Awesome from start to finish. Price: 300 Euro
571. ERIC BURDON and WAR: “The Black-Man’s Burdon” (Liberty/ Toshiba Japan – LP-9493B) (2 LP Record on RED Wax: Near Mint 〜 Mint/ Gatefold Jacket: Near Mint/ OBI: Excellent/ 4 Paged Insert: Near Mint) Bloody rare white label PROMO issue on RED vinyl. “Eric Burdon’s second and final album with War, Black Man’s Burdon was a double set that could have benefited from quite a bit of judicious editing. Composed mostly of sprawling psychedelic funk jams, it does find War mapping out much of the jazz/Latin/soul grooves that, cut down to much more economical song structures, would shortly bring them success on their own. Highlights include the soulful vamps "Pretty Colors" and "They Can't Take Away Our Music"; the 13-minute "Paint It Black" medley reflects the height of their eccentricity.” (All Music) Only promo copies came out on red wax. Comes with hardly ever seen 1st issue OBI as well. Seriously rare with obi present & on red vinyl!!! Price: 200 Euro
572. 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. “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
573. 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
574. 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: 300 Euro
575. 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!!!
576. 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!!!

577. EVERYTHING IS EVERYTHING: “Just A Flash In The Cosmic Pan – Jazz New York <-> Tokyo” (Columbia – YS-2400-AX) (Record: Near Mint/ Gatefold Jacket: Near Mint – has small perforated hole in upper right corner/ Obi: Excellent). Mega rare Japan only heavy free jazz/ rare groove slide released in 1970, all complete with OBI. This is also the rare test press - promo issues with OBI present and flashing its colors. The group features Randy Brecker, Dave Liebman, Steve Grossman, Reggie Workman, Lanny Fields, Teruo Nakamura, John Carbone, Mike Garson, Joe Bonner, John Abercrombie, Lenny White, Steve Jackson, and Yosuke Tonoki. An incredible lineup and totally spell binding recording that was only briefly released in Japan in 1970 but quickly drifted out of print due to utterly depressing sales (and I mean depressing – it sold next to nothing) and sank to the depths of obscurity were it stayed for over all these years. Copies just never turn up and all complete with obi – well that is almost stuff of legends! Still, Teruo Nakamura & Tonoki Yosuke made it to New York during the summer of 1970 and managed to assemble a string of seasoned jazz heads around them that resulted in this impromptu-assembled session. The end result is nothing short of baffling; in a way that the sonic outcome has pushed the group from the freedom of jazz into the wider challenge of collective free improvisation and flirting with spiritual jazzy vibes. The awareness and openness this demanded on the part of the musicians can be heard throughout this pioneering album. Compared to the magnificent pulsating vibe of Art Ensemble Of Chicago's Les Stances A Sophie (recorded that same year), the music on “Just A Flash In The Cosmic Pan” distances itself not so very far from the throbbing energy and impassioned self-expression of free jazz. Dave Liebman and Steve Grossman (Ex Miles Davis) play with extraordinary closeness, between and beneath them John Abercrombie had already taken the guitar into free floating territory. The rhythmic flexibility of Lenny White’s and Yosuke’s (Miles Davis, Joe Henderson) throbbing rhythmic vibes provides the space for it all to unfold into a long vibrating free form but highly intoxicating spiritual sonic vortex. Like the best of the improvised music that has followed in the ensuing 30 years, it touched on a special kind of intensified awareness, an in-the-moment saying and listening that is enthralling to hear unfold. Top condition & all-complete with hardly ever seen & offered before OBI!!! Price: Offers!!!

578. EVOLUTION ENSEMBLE UNITY: “Concrete Voices” (EEU Records – EEU-001) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Booklet: Near Mint). Hideously scarce Japanese private press free jazz monster released in 1976 in collaboration with the legendary ALM Kojima Records. The line-up for this legendary combo consisted out of sax howling monster Takagi Mototeru, trumpet and alto horn blower Toshinori Kondo and skin mangler/ bass mugger Mori Yoshida. The A-side of this disc was recorded live in concert at the live house Kalavinka on November 2nd, 1976, there were the B-side was conceived live at Space Out on September 24, 1976. Aida Aquirax describes in his liner notes the EEU ensemble as the spear headers of the Japanese New Jazz Scene, the successors of the old school free jazz stages. And it makes sense especially when one realizes that a gutter-like take on jazz academics gets entangled with a fire breathing free improvisation blowout, merging high art and low guts splendidly into one wrenching ball of well balanced but fierce improvisational interplay. The EEU first got together on July 1975 and the sonic voyage they envision on this – their sole - LP blends the aforementioned aesthetic by combining original blow outs with original takes on structural compositions by Steve Lacey and Thelonius Monk (side a), only to fully blossom and pull open all registers on the side long “Concrete Voices” track which can be seen as the total epic that maps out the wide range of free-fall interplay the performance horizon of the EEU can accumulate. It merges a reductionist aesthetic to an impressionistic improvisation that follows no predetermined harmony. Mototeru Takagi again shines through all of this, and for me personally he again proofs he was the hottest free jazz saxophone howler of the archipelago, the hardest gut-wrenching blower the Far East has ever encountered. Toshinori Kondo also shines brightly with uncanny potential and adventurous moves, making this disc one of the unsung cornerstones of improvised music in Japan. Only a shame that almost no-one has ever heard of this beauty, partly due to its scarcity and extremely small pressed numbers….so time to get your collective headz out of yer asses and face the music. This is the shit! Price: 400 Euro
579. 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: 75 Euro
580. FAHEY, JOHN: “Volume 3 – The Dance of Death and Other Plantation Favorites” (Takoma – C-1004) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). US 1970’s pressing on black colored Takoma label in top shape. Yet another plum-amazing Fahey album. The pieces here succeed excellently at crafting atmosphere, this album ranks among his darkest; there are some shocking and sickly excursions into dissonance on tracks like "Wine and Roses" and "What the Sun Said", whilst other tracks employ bare, spidery slide-guitar. Speaking of the title, the titular track is probably the standout here; just in the way it softly swells, almost pastorally, but with little macabre twists and turns and livelier passages. Brilliant. Price: 50 Euro
581. 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
582. 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
583. 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
584. 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

585. FAHEY, JOHN: “Red Cross” (Revenant Records) (SEALED COPY). “Red Cross is John Fahey's last album. Recorded a few months before the guitarist's death in February 2001, it is a tantalizing taste of where he was musically in those final days. If there was one thing about Fahey's recordings that made them distinctive, it was their unpredictability. Fahey was an American original, a crucial figure in expanding the boundaries of the acoustic guitar over the last few decades of the 20th century. On this recording there are expansive and decidedly nontraditional interpretations of such standards as Irving Berlin's "Remember" and George & Ira Gershwin's "Summertime". But there are also a couple of electric guitar musings that are equally haunting and full of intrigue. The final listed track (there's a hidden track so buried most folks may never find it) is called "Untitled with Rain", a mysterious tone poem of sorts that ebbs and flows with an eccentric, psychedelic throb. As with all releases on the Revenant label, the packaging of Red Cross is worth mentioning: It's an odd, rectangular-shaped letter-pressed foldout with booklet that contains a wonderfully warm glimpse of Fahey's last days by confidante Glenn Jones of the Chicago band Cul de Sac.” (Jim Caligiuri). One of his finest recordings, sealed and complete with booklet. Price: 100 Euro

586. 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
587. FAIRPORT CONVENTION: “S/T” (Polydor Japan – MP-2211) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, only slight defect is lower middle seam split/ OBI: MINT) Ok, pay attention, Japan 1st original pressing, WHITE Polydor PROMO pressing, complete with Japan only Gatefold sleeve and NEVER SEEN BEFORE OBI!! Impossible to track down Japanese pressing with obi.. England's Fairport Convention were wielding West Coast harmonies long before any other European band. Released in 1968 and in 1970 in Japan, Fairport Convention's debut album owes more to the Byrds than to let's say Pentangle, since it is brimming over with soaring harmonies and psychedelic infested guitars. Recorded pre-Sandy Denny, Judy Dyble sang like a siren and then left to form Trader Horne. Among the other original material, some of it dating from Richard Thompson's previous band, is a fair smattering of well-chosen songs from contemporary performers. The disc shows the band in a very embryonic form although you can already hear the superlative musicianship that would characterize their glory years. The music is half group compositions and half cover versions of songs by Bob Dylan and Joni Mitchell among others. The band showed their characteristic good taste in their choice of cover versions, kicking off the album with a storming cover of Emitt Rhodes' “Time Will Show The Wiser”. This is one of the many highlight on the album such as the brilliant “Jack O' Diamonds”, an exceedingly pleasant “Chelsea Morning” and the Dylan pastiche “It's Alright Ma, It's Only Witchcraft”. Historically seen, the inclusion of Joni Mitchell covers is quite surprising seen that she was virtually unknown and unreleased on record in 1967 when this album was recorded and her own versions of the two songs here did not appear until her second album, Clouds, in 1969. The Fairports knew her as she had been in the UK at the invitation of their producer, Joe Boyd, and she had played some British dates supporting the Incredible String Band. In all, this debut album is just as magical as the rest of the output the band would become known for, be it that at this point in time they were more harmony and psychedelic tinted as opposed to the folk trademark sound they would become renowned for. Still, elements of things to come do resonate through this album, make no mistake and this LP is just one of the finest to seep out of the UK at that time. This copy here comes with hideously rare beyond belief obi in mint condition + on a white promotional Polydor label. Top condition, impossible to dig up these days with obi intact, so start trembling! Highest recommendation. Price: Offers!!!
588. 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
589. 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
590. 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
591. FAIRPORT CONVENTION: “Liege & Lief” (Island – ILC-37) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original Japan first pressing – rarely seen WHITE LABEL PROMO issue 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 white label promo Japanese original pressing!!!! Top shape. Price: 100 Euro
592. FAIRPORT CONVENTION: “Genesis Hall b/w Si Tu Dois Partir” (Fontana Japan – FON-1060(S) (EP Record: Excellent 〜 Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only picture sleeve single release of Fairport Convention, only surfaces once a decade. RED LABEL PROMOTIONAL COPY!!!! Regular version, which is also damned rare came on the blue label, but red label promo copies are twice as hard to track down. This one was released on February 1970. Stunning condition and the sole picture sleeve EP that was issued of Fairport Convention during their line-up that included both Richard Thompson and Sandy Denny. First copy to ever cross my watery eyes in all these years. Price: 350 Euro

593. 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

594. FAITHFUL, MARIANNE: “All About Marianne Faithful” (London – King Records – SLC-226) (Record: Near Mint/ Jacket: Excellent). Rare Japan only issue that was released in January 1969. Track listing for this LP is as follows: This Little Bird – As tears Go By – Summer Nights – Counting – Come And Stay With Me – Yesterday – Scarborough Fair – Ne Me Quitte Pas – Cockleshels – Wild Mountain Thyme – North Country Maid and I Have Love. Comes housed in fragile flip back jacket. Great Japan only cover shot of Marianne in full leather displaying her glorious self, just stunning. Hardly ever surfaces. Price: 150 Euro

595. 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!!!

596. 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
597. 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
598. 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
599. 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
600. 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: 125 Euro
601. 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.” (Thom Yurek – 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: 350 Euro
602. 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
603. 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
604. 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
605. 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
606. 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
607. 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
608. FI-MI: “Magic Fire b/w Re Mari De Mama” (Teichiku Records – SN-1391) (EP Record: Near Mint/ Picture Sleeve: Mint) Promo copy. Bloody rare ball busting erotic groover that will set any dance floor on fire. Freakingly rare female vocal floor shaker released – surprisingly – on the major Teichiku label. Fi-Mi’s real name was Shau Fiimii, a college dropout from Taiwanese descent. Grudge malice styled lyrics & mystery woman Fi-Mi brings forth a traumatic and utterly groovy double-sider, which is nothing short from shockingly awesome. If you heard it only one, its sounds and upbeat swirling melody will simmer in your head for days on end, her nasal high-toned voice will become a sound that will start to haunt you like a hellhound sniffing your trail determined to track down its prey. Female ass-kicking groovy sound all entangled in a shit-kicking groovy kayokyoku song that starts off shockingly on the A-side starts off with a bolstered up arrangement of grizzly fuzz guitar break that almost immediately get flanked with a “fire” howl against which Fi-Mi starts to wail to compliment the pulsating groovy back beat with her smoke-stained emerging-out-of-the-bottom-of-the-well haunting vocals. Midway through the song, a blistering fuzz guitar break seers up again, staining the erotically swing vibe even further more. A true dance floor burner that will bring down the house in flames!!! Side 2 brings more infected kayokyoku swing vibes, creating a everlasting impact on those of you exposed to this adrenaline spunked, deranged sexy vibe interlaced again jungle like percussion groove to ass-whip your sorry existence into submission of her bewitching spell, a nice attempt to create a more hit potential song that again failed miserably but to a good extent, making it a cult oddity you will get back to endlessly. Unbelievable killer slide by Fi-Mi who only recorded this one single, doomed to be buried in oblivion until now. Totally killer two-tracker that will burn the house down if played at your fetish dance parties, having all attendees begging on their knees for more of this kind of medicine. Best record on this time’s list for sure. Price: 200 Euro
609. 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: 150 Euro
610. FINN, SIMON: “Pass The Distance” (Mushroom – 100MR2) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Excellent ~ Near Mint). Original 1970 UK pressing and one of the best condition copies I have encountered so far. Jacket is always prawn to ring-wear and damages and this one is exceptionally clean!. The music can be best described as "apocalyptic folk", in the vein of the second Bill Fay LP. Simon Finn's sole recorded album originally released on the UK Mushroom label in 1970 and withdrawn shortly after its release is as influential as recently rediscovered obscurities such as Comus, The Trees and Jan Dukes de Grey. To name but a few. Personally, Simon Finn's album is a unique album, be it for its unorthodox musical content, and for its rarity. Just like Bill Fay's output, “Pass the Distance” simply evades any easy categorization. The music is filled with melancholy, doom-laden prophesying (just like Fay), but on tracks like "Jerusalem" and "Big White Car," Finn enters uncharted waters of an unequalled vocal rage, madness and hysteria in an attempt to avenge deities and unleashing a never before encountered ethereal wrath, all combined with primitive but poignant acoustic backing that were contributed by the young multi-instrumentalist David Toop. Toop and percussionist Paul Burwell were given free reign in order to extrapolate on Finn's songs as a blank slate for experimentation and improvisation. It resulted in a free from constraints, anarchic and nihilistic setting for Simon Finn's songs to take shape unto. Mandolin and harmonium lines that defied and neglected any melodic concerns are all over the place, only attributing to the already apocalyptic atmosphere to hover over the session. Add to that the use or misuse of heavy echo, stereo fading and phasing and you get a totally dislocated sense for structure, song which only alters the tension and greatness of the music that resulted out of it all. Just murderously beautiful and one of the best folk albums to seep out of the UK . Originally released as a limited pressing of only 500 copies so no time to drool over this one. One of the nicest and best condition copies out there so… Price: Offers!!!!
611. 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
612. 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
613. 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
614. 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
615. 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

616. 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

617. FLIED EGG: “Dr. Siegel’s Fried Egg Shooting Machine” (Vertigo – FX-8603) (Record: Excellent/ Fold Out Jacket: Near Mint/ Capsule Vertigo Obi: Mint) Original first pressing. This is the promo edition pressing that comes with the hardly ever seen capsule obi sticking on top of the jacket. Another one of those completely vanished heavy psych rarities out of the early seventies Japanese new rock scene. Full blast ahead power psych trio spearheaded by Narumo Shigeru and backed up by ex Escape (Brush) bass player and ex-Jacks drummer Tsunoda Hiro, making it an early Japanese super group. The result is a sub-human slab of all incinerating interplay that upon listening feels like tumbling down an elevator shaft and landing in a pool full of mermaids with biker attitudes to make up for their hardly anything concealing seaweed panties. Vicious, deranged, well constructed but still balancing on the edge of abrasive kerosene fuelled rock, this disc, the band’s first record, captured them molding their brooding menace of a sound in the studio. Flied Egg shone brightly but all too briefly, catapulted instantly into the realms of the super groups. Rare, almost impossible to get these days and this 1st press copy is just in perfect condition. Nice slab of history and insanely collectible. Great Japanese prog psych masterpiece. Price: 350 Euro
618. FLIED EGG: “Goodbye” (Vertigo – FX-8606) (Record: Near Mint/ Fold Out Jacket: Near Mint/ Capsule Obi: Near Mint) Original first pressing. – complete with always elusive capsule obi – 1st truly complete copy I have to offer in over 5 years time!!! Another one of those completely vanished heavy psych rarities out of the early seventies Japanese new rock scene. Full blast ahead power psych trio spearheaded by Narumo Shigeru and backed up by ex Escape (Brush) bass player and ex-Jacks drummer Tsunoda Hiro, making it an early Japanese super group. The result is a sub-human slab of all incinerating interplay that upon listening feels like tumbling down an elevator shaft and landing in a pool full of mermaids with biker attitudes to make up for their hardly anything concealing seaweed panties. Vicious, deranged, well constructed but still balancing on the edge of abrasive kerosene fuelled rock, this disc, the band’s second and final record, captured them while attempting to revitalize their brooding menace in front of a crowd going ballistic and partly while blowing up their gear in the studio. They shone brightly but all too briefly, catapulted instantly into the realms of the super groups. Rare, almost impossible to get these days and this 1st press copy is just in perfect condition. Nice slab of history and insanely collectible. OBI is fucking rare on this one, don’t kid yourself!!!! Price: 350 Euro
619. 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: 350 Euro
620. FLOWER TRAVELLIN' BAND: “Anywhere” (Philips – FX-8507) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Excellent). TOP COPY. First Original pressing of this subliminal album complete with the rare insert and the FIRST ISSUE OBI. Awesome copy, next to impossible to upgrade upon, perfect all the way. Never ever offered before with obi present, let alone in such nice shape as this copy here. First time ever a complete copy comes up for grabs. With obi, this is one of the rarest Japanese heavy psych slides ever. 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. Copies with OBI just NEVER turn up. Highest recommendation & best condition I have ever had all complete with studidly rare OBI and rare insert. Price: Offers!!!!
621. 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. 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 issue. Price: 500 Euro
622. FLOWERS: “Challenge – Yuya Uchida & The Flowers” (Columbia – YS-10063-J) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent – no defects at all but has in faint pen markings inside gatefold song length notations/ Attached Insert: Near Mint). Really nice copy, 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, EX ~ 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 excellent to 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!!!
623. 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!!!!
624. FOLKE RABE/ BO ANDERS PERSSON: “What?” (Wergo – WR-60-047) (Record: Near Mint/ Jacket: Excellent/ 4 paged Insert: Mint). A classic of minimal music is this LP What??, regarded as one of the groundbreaking works of its genre, and though many works utilizing extended timbres and drones have appeared since, this particular piece retains a very special place of artistic originality and hallucinatory sonic illusions, placing it in a quality of its own. Bo Anders Person, the main man in cult Swedish psychedelic groups such as Parson Sound and the first incarnation of Trad, Gras Och Stenar and Harvester shows up here on an LP with his text sound/ electronic/ hypnotic work Proteinimperalism (1967). On the other side of the LP Swedish composer Folke Rabe who was responsible for bringing Riley to Sweden after seeing him in the US, laid down the hypnotic electronic piece What?? (1967). The LP stated that Swedish Radio in Stockholm commissioned both compositions. In the end and in retrospect one can be very bold in stating that this disc is just an amazing artifact. Avant-garde composer’s Folke Rabe's What?? Can easily be considered as one of the groundbreaking electronic works in its genre. The whole affair was recorded and conceived in an utterly primitive, analog studio. History has it that Folke Rabe’s 25-minute piece was first unveiled in 1967 as part of a collective performance by Rabe and fellow sound artists Jan Bark and Trad, Gras & Stenar's Bo Anders Persson. Conceived out of electronically generated tones, each participating tone has been treated to sound fuller and richer and by doing so generating hypnotic qualities of pulsating electronic drones. It is a deep listening affair as the drones and timbres slowly shift and meander, making for one of the most minimal yet psychedelic and hallucinatory pieces of music ever made. Just stunning and totally indispensable. Hardly turns up and this is a top-notch copy. Price: 150 Euro
625. 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
626. FONTAINE, BRIGITTE: “Comme a la Radio” (Columbia – YS-2600-SH) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 4-Paged Insert: Near Mint) Hyper rare 1st edition Japanese press with bloody obi of this stellar Brigitte Fontaine slide where she gets flanked by the Art Ensemble of Chicago. Comes with liner notes by the legendary writer, critique and enfant terrible Akira Aida. First original and hyper rare Japanese press from 1973 in immaculate condition. Pressed on audiophile high quality vinyl that serves the music as no other. This is an amazing collaboration between two totally incredible musical explorers; French chanteuse Brigitte Fontaine (with percussionist partner Areski) and avant-jazz greats Art Ensemble of Chicago, recorded during the Art Ensemble's stay in Paris in 1969. Though coming from very different backgrounds, each artist's idiosyncratic approach, commitment to experimentation, disregard for genre boundaries, and keen sense for improvisation and working collaboratively yields an album that pushes each performer to new heights. The blend of Fontaine's vocals, Areski's understated percussion, and the Art Ensemble's horns is really seamless, evoking the mysterious, intriguing sounds of lounge jazz in a dada cafe, or, well, an intellectual French chanteuse melding avant-folk with free jazz, which is exactly what it is. Brigitte Fontaine is becoming more and more cemented as one of my absolute favorite artists ever. So great, so recommended!. 1st issue Japanese pressings with obi just do not surface anymore. Top condition. Price: 150 Euro
627. 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
628. 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
629. 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: 120 Euro
630. 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: 85 Euro
631. FOOD BRAIN: “Social Gathering - Bansan” (Polydor – MP-2100) (Record: Near Mint ~ Mint, virginal condition!!/ Gatefold Jacket: Mint – just perfect!!!/ Poster-like Insert: Mint/ Obi: Mint). Complete with ALWAYS MISSING OBI!! TOP condition stock copy, best you will ever seen and looks like it is just untouched and seemingly UNPLAYED!!! This condition in combination with the Obi 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 +this is a virginal untouched stock copy, perfection on all fronts. One of the rarest (with obi) from down here and in top condition, a one off chance!!!! Price: Offers!!!!
632. FOOD BRAIN: “Social Gathering - Bansan” (Polydor – MP-2100) (Record: Near Mint – has only one faint hairline on side A/ Gatefold Jacket: Mint/ Poster-like Insert: 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!!!! Price: Offers!!!!
633. 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!!!
634. 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
635. 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: 450 Euro
636. 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: 475 Euro
637. 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
638. FRANCOIS RABBATH: “Les Uns Par Les Autres” (MN Edition/ Warner Pioneer Japan – P-10100H) (Record: Near Mint/ Thick Jacket: Excellent – has a couple of mildew spots visible on front/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Damned scare Japan original press issue all complete with OBI! Till now, I have never encountered the Japanese press issue of this beauty, stunning free jazzing improvisation slide. Whether its plucked bass, bowed bass, avant/free music or traditional forms Rabbath always displays outstanding musicianship and a fantastic technique. This versatility allows him to flourish. Also his tone is always resonant and ascendant, giving the sonic palette a strong foundation on which to improvise on. His solo’s are always well crafted, containing both traditional and free forms that keep oozing out feverish imaginings as a series of vivid audio abstractions, electric with violence and tension. So damned good… Price: 50 Euro
639. FREAK SCENE: “Psychedelic Psoul” (Columbia 360 Sound – CL-2656) (Record: Near Mint/ Jacket: Near Mint). TOP COPY!! Original vinyl pressing of 1967 psychedelic acid freak record out by the group formerly known as The Deep. The Freak Scene was a studio-created ensemble, the brainchild of Rusty Evans, a one-time Greenwich Village folkie turned producer. Evans had crossed paths with Bob Dylan and Felix Pappalardi early in his career, before they went their separate ways, and he ultimately became a producer and dreamed up the Freak Scene as a project. David Bromberg was the first musician tapped for the 'group,' a sort of in-house psychedelic band created to record one album, Psychedelic Psoul. The one album to their credit is a period piece, an effort at making topical psychedelic music at a time when Columbia had nobody who was really good at making those sounds. The record exploits all of the trippy tropes of the times, from Eastern-raga modes to LSD-inspired lyrics. The disc is a dead stone classic, exhilarating music filled with the wild pulse beat of creation. Simply a must and let no one tell you otherwise. Take it as a fact. Amazing copy, hard to improve upon. Price: 250 Euro
640. 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: 150 Euro
641. FROESE, EDGAR: “Aqua” (Virgin/ Nippon Columbia – YX-7015-VR) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Scarce Japan first original pressing that comes housed in great heavy gatefold sleeve, pressed on the dragon ladies logo Virgin label by Nippon Columbia and adorned by rare very first issue obi. The solo debut from the leader of Tangerine Dream is a set of four synthesizer pieces, free-form and pastoral. The lengthy title track is quite naturalistic, organized around a series of synth bubbles and water sounds, while "NGC 891" reflects Froese’s interest in space rock. Price: 100 Euro
642. FROESE, EDGAR: “Epsilon In Malaysian Pale” ‘Virgin/ Nippon Columbia – YX-7077-VR) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Excellent). Scarce Japan first original pressing that comes housed in great heavy gatefold sleeve, pressed on the dragon ladies logo Virgin label by Nippon Columbia and adorned by rare very first issue obi. As lush and entrancing as listeners are led to believe from the exotic foliage on the cover, Epsilon In Malaysian Pale is the Froese solo record closest in sound to Tangerine Dream. The light sequencer trance and waves of statuesque synthesizer effects on "Maroubra Bay" are quite similar to Tangerine Dream’s work on Rubycon (released that same year), and it's just as beautiful and hypnotic. The title track however, is an atmospheric mellotron piece that forsakes the sequencer for most of its length. Price: 100 Euro
643. FRUSCIANTE, JOHN: “Curtains” (Record Collection) (Record: Near Mint ~ Mint/ Textured Jacket: Near Mint ~ Mint/ Insert: Mint). – Rare 2004 first original pressing in top and untouched virginal condition. The sixth of six albums recorded by Red Hot Chilli Peppers guitarist John Frusciante during 2004, Curtains was initially tracked on the musician's living room floor and subsequently overdubbed with Carla Azar of Autolux on drums, Ken Wylde on upright bass, and Omar Rodriguez of the Mars Volta, who lent his guitar playing to a pair of tracks. Initiated by the stellar, Dylanesque coustic tones of "The Past Recedes," Curtains opens to reveal evocative, soulful material like "Lever Pulled" and the bright, melodic reflection known as "A Name." The magical "Ascension -- which uses George Harrison’s "My Sweet Lord" as a touchstone -- offsets the piano dirge "Leap Your Bar," but Frusciante’s increasing comfort as a vocalist during this prolific spell is what is most notable. One needs to look no further than the beauty of "Anne" (which is arguably the best of the lot here) for evidence. But Curtains is the sum of its parts. Nearly always inventive, the 11 tunes here collect to form one magnificent piece of art.” (All Music Guide) Price: 250 Euro
644. FRUSCIANTE, JOHN: “The Will To Death” (Record Collection) (Record: Near Mint ~ Mint/ Textured Jacket: Near Mint ~ Mint/ Insert: Mint). – Rare 2004 first original pressing in top and untouched virginal condition. His first solo record in a string of six personal & haunted slides. “John Frusciante kicked it into high gear in 2004, not only releasing Shadows Collide With People through Warner Bros., but also planning to release an album every other month or so through the rest of the year on the Recordcollection label. The first of these releases is Will To Death, a collaboration with Josh Klinghoffer. Those familiar with Frusciante’s other solo work will know that this material will be far from Red Hot Chilli Peppers lite: Frusciante definitely has his own (somewhat haunted) muse. The songs are basically nice little pop tunes, with hard-panned oddball production and very personal, introspective lyrics. This album also marks a new personal aesthetic for Frusciante: he wanted these songs to be raw and immediate (as inspired by some of his favorite albums), and to this end there were very few takes involved with any of these songs, and mistakes and elements of chance found their way in as well. Frusciante’s voice has come a long way, and there are some really interesting production touches like all the backwards touches on "A Loop" and the double-tracked piano tinkling on "Wishing." There's almost nothing in the way of guitar heroics and it's far from groundbreaking, but fans of darkly personal skewed pop should enjoy Will To Death” (All Music Guide). Top condition original and long gone and evaporated into thin air. Bound to be a future biggie. Price: 250 Euro
645. FRUSCIANTE, JOHN: “Inside Of Emptiness” (Record Collection) (Record: Near Mint ~ Mint/ Textured Jacket: Near Mint ~ Mint/ Insert: Mint). – Rare 2004 first original pressing in top and untouched virginal condition. “Frusciante’s fifth release of 2004, this time principally inspired by the raw production values of Lust For Life and White Light/ White Heat. Considerably more guitar-oriented than Will To Death and more straightforward than Ataxia’s Automatic Writing, Inside of Emptiness rocks hard up until the last track (a gentle rocker), without the polish of Shadows Collide With People. That difference is best exemplified by the leadoff track, "What I Saw," where every level is sent into the red; even the drums are distorted. Many of the songs are sung in falsetto, but when the guitar solos come in, they're all muscle and really benefit from the immediacy of the production. As with the other albums in this series, Frusciante is wearing his influences on his sleeve but following his own vision, and it's quite interesting to track an artist's virtually unfiltered output over the course of a year or so. Inside Of Emptiness won't win any awards for originality, but Frusciante deserves credit for maintaining a high level of quality with such a prodigious output.” (All Music Guide). Price: 250 Euro
646. FRUSCIANTE, JOHN & JOSH KLINGHOFFER: “A Sphere In The Heart Of Influence” (Record Collection) (Record: Near Mint ‾ Mint/ Textured Jacket: Near Mint ‾ Mint/ Insert: Mint). – Rare 2004 first original pressing in top and untouched virginal condition. “Frusciante calls Sphere In The Heart Of Silence, his collaboration with Klinghoffer, "a record of electronic music," but it's not nearly as "electronic" as that statement makes it sound. It's really more an allusion to the fact that his other releases of this year have been mostly comprised of guitar, bass and drums, and that there is some programming, synth-work and overdubbing on this one. "Sphere" starts out like a cross between an organ fugue with sci-fi effects on top and sped-up Frippertronics. After about four minutes and a rough edit, beats come in along with a guitar solo each from Frusciante and Klinghoffer. "Afterglow" was written and performed by Klinghoffer with Frusciante contributing only lyrics and vocals, and sounds reminiscent of early New Order. "Walls" has a more robotic feel and some strong vocals by Frusciante, with some "Planet Rock" influence towards the end. "Communique" was recorded in real time with Klinghoffer singing and playing piano while Frusciante adds winds sounds with a synth. Both singers have sort of a wailing, cathartic vocal style, which might become a bit much for some listeners by the end of the album. "Surrogate People" adds a bit of acoustic guitar to the mix, and the album closes with a brief track of just piano and vocals by Frusciante. Some of these tracks were written around the time of Shadows Collide With People, and others were written for specific performances, so the album feels more like a series of experiments rather than a cohesive album. Still, you've got to give Frusciante credit, as this is his sixth release of 2004, and they've all had some strong moments.” (All Music Guide). Price: 250 Euro
647. 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
648. FUKUSHI RITSU: “Tsugaru San Uta b/w Tsugaru Jangara Bushi” (King Records – EB-5241) (EP Record: Excellent/ Gatefold Picture Sleeve: Mint). Bloody rare 1964 pressing. I heard about this early Fukushi Ritsu slide but I never had seen an actual copy until I landed in this one. Depressingly obscure and ear-bleedingly amazing EP by Yamada Chisato’s spouse and Tsugaru minyo vocalist Fukushi Ritsu. The interplay between the shamisen improvisations and Fukushi’s vocalizations evoke a similar spiritual quality that also lay embedded within black sermon-like songs. Like Yamada said about Tsugaru minyo “Not just because Tsugaru shamisen is an excellent resource that has good melodies but also because it is a music that smells of the earth.” In other words, when listening to the sound of the Tsugaru minyo, the listener should be able to hear a sound that has the scent of Tsugaru attached to it, an eternal and mystical element that fuses neatly with other deeply rooted sounds. However, the doom of extinction hovers over this exquisite musical expression form, Tsugaru minyo is a dying art form and Fukushi Ritsu was the best vocalist to grace the genre as this early 1964 release will show you. The future prospects of Tsugaru minyo are bleak to say the least. What is known today as Tsugaru shamisen is based on Tsugaru minyo and consists out of shamisen accompaniment to Tsugaru minyo, solo shamisen versions of these folk songs and improvisation on its themes. The songs aspect herein consists out of difficult and highly diverse vocal styles, as distinguished by Groemer, that include un-metered inflected speech, uninflected rhythmical speech, chanting on one tone, song-like chanting and highly contoured melodic lines. Yamada commented the following on this scary evolution in 1995: “From now on, we are facing a problem. To say it honestly, there are hardly any young people that are into it. Most or almost all of the famous performers have passed away and my spouse, Fukushi Ritsu, may be the last of these great ones that performs the Tsugaru minyo. So I think that after a span of thirty years the genuine Tsugaru minyo may be completely vanished. This is quite saddening…Also, young people these days seem very fond of karaoke and indulge themselves completely herein, so they won’t become any good at singing minyo. It is a suffering trend of the times…. Another fact that fastens the corrosion of the Tsugaru minyo is the present day attitude towards art forms. In the old days, performers and entertainers were often found saying that art comes before money – it is unheard for artists to think about money. Maybe it was that in the old days everybody was poverty struck and this attitude may have been supportable. But now, this attitude is not compliable anymore. Parents do not want to subject their offspring to poverty. Performing minyo does not bring food on the table anymore.” When Fukushi Ritsu will pass away, one fears that Tsugaru Minyo will also become extinct as a living art form since almost no living sole had the vocation to keep the flame burning in the age of catchy pop tunes and Westernized populist tastes. This rare early 1960s recording sees Fukushi Ritsu in full effect, performing the Tsugaru Minyo to its fullest and upon hearing it you will be baffled and stunned with disbelief simply because you have never heard anything even remotely similar to this vanishing tradition. Simply a masterpiece recording that never turns up. Comes in a beautiful gatefold picture sleeve. Highest possible recommendation for anyone interest in the real core sounds that dwelled Japan. Forget your Rallizes and other rockers, this is the real shit. Price: 200 Euro
649. FUKUSHI RITSU & YAMADA CHISATO: “Fukushi Ritsu no Uta – Tsugaru Minyo” (Toshiba Records – TF-5044) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Depressingly obscure and ear-bleedingly amazing LP that teams up Yamada Chisato with his spouse and Tsugaru minyo vocalist Fukushi Ritsu. The interplay between Yamada’s improvisations on the shamisen and Fukushi’s vocalizations evoke a similar spiritual quality that also lay embedded within black sermon-like songs. The genre crossing activities Yamada hurdled himself into came from a conviction that Tsugaru shamisen can be combined with jazz and other musical genres “not just because Tsugaru shamisen is an excellent resource that has good melodies but also because it is a music that smells of the earth.” In other words, when listening to the sound of the Tsugaru shamisen, the listener should be able to hear a sound that has the scent of Tsugaru attached to it, an eternal and mystical element that fuses neatly with other deeply rooted sounds. However, amidst Yamada’s genre crossing activities and the urge to take the traditional Tsugaru shamisen style into the following century so that it can be preserved for future generations to come, cannot prevail the doom of extinction that hovers over this exquisite musical expression form. Especially the future prospects of Tsugaru minyo – as on display here- are bleak to say the least. What is known today as Tsugaru shamisen is based on Tsugaru minyo and consists out of shamisen accompaniment to Tsugaru minyo, solo shamisen versions of these folk songs and improvisation on its themes. The songs aspect herein consists out of difficult and highly diverse vocal styles, as distinguished by Groemer, that include un-metered inflected speech, uninflected rhythmical speech, chanting on one tone, song-like chanting and highly contoured melodic lines. Yamada commented the following on this scary evolution in 1995: “From now on, we are facing a problem. To say it honestly, there are hardly any young people that are into it. Most or almost all of the famous performers have passed away and my spouse, Fukushi Ritsu, may be the last of these great ones that performs the Tsugaru minyo. So I think that after a span of thirty years the genuine Tsugaru minyo may be completely vanished. This is quite saddening…Also, young people these days seem very fond of karaoke and indulge themselves completely herein, so they won’t become any good at singing minyo. It is a suffering trend of the times…. Another fact that fastens the corrosion of the Tsugaru minyo is the present day attitude towards art forms. In the old days, performers and entertainers were often found saying that art comes before money – it is unheard for artists to think about money. Maybe it was that in the old days everybody was poverty struck and this attitude may have been supportable. But now, this attitude is not compliable anymore. Parents do not want to subject their offspring to poverty. Performing minyo does not bring food on the table anymore.” Yamada Chisato died from a blood congestion related heart imperfection at the age of 72 on April 12th, 2004. Although that he passed the torch on to his successor and star student Sabuo Shibatani, with his demise Japan became robbed of a living relic that kept the rich tradition of Tsugaru shamisen and Tsugaru Minyo alive. Especially for the Tsugaru Minyo is his death a severe blow since he was one of the sole musicians together with his wife to keep this tradition alive. With Yamada gone, one fears that Tsugaru Minyo will also become extinct as a living art form since almost no living sole had the vocation to keep the flame burning in the age of catchy pop tunes and Westernized populist tastes. This rare mid-seventies recording sees Yamada and his spouse in full effect, performing the Tsugaru Minyo to its fullest and upon hearing it you will be baffled and stunned with disbelief simply because you have never heard anything even remotely similar to this vanishing tradition. Simply a masterpiece recording that hardly ever turns up. Comes in a beautiful gatefold jacket. Highest possible recommendation for anyone interest in the real core sounds that dwelled Japan. Forget your Rallizes and other overhyped stuff, this is the real shit. Price: 300 Euro

650. 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: 150 Euro

651. FUNKADELIC: “S/T” (Nippon Columbia/ Janus Records – YS-2385-JN) (Record: Excellent/ Jacket: Excellent/ Insert: Excellent). Bloody rare Japan first original pressing – WHITE LABEL PROMO Issue. The 1970 debut from Detroit's nastiest, most shredding progenitors of funk-rock. Funkadelic formed in the late '60s and, in addition to Clinton, included the blazing guitar of Eddie Hazel, organist Mickey Atkins, rhythm guitarist Tawl Ross, and drummer Tiki Fulwood. Though firmly rooted in funk and soul, Funkadelic incorporates a dark psychedelic element, influenced by Hendrix and Sly Stone, to create a sound that was unparalleled at the time. Sampled by everyone from DJ Shadow to Ice Cube, Funkadelic still sounds fresh today and is the first solid example of George Clinton's eccentric genius. This one here is a rarely offered Japan 1st original pressing, which sold at the time next to nothing so copies are damned scarce! Comes with insert and it is a white label PROMO…sounding magnificent!!! Price: 175 Euro
652. 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: 550 Euro
653. 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. Price: 200 Euro