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

932. GABOR SZABO: “Spellbinder” (Impulse – AS-9123) (Record: Near Mint/ Gatefold Jacket: Near Mint – still firmly housed in original shrink!!!/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Direct Import Obi: Mint). Very first original US pressing of 1967 in TOP condition with “Van Gelder” machine-stamped in the trail-off. Spellbinder is breezy brilliance from the legendary Gabor Szabo – and one of the grooviest albums the Hungarian guitarist recorded during the 60s! The set's almost a tightening up of the style that Szabo first brought to prominence in his work with Chico Hamilton – a sound that's got roots in gypsy guitar, but which is also influenced by modern, Latin, and soulful styles of the 60s. There's an airiness to Gabor's guitar that's almost trippy – but which never goes too far out on the set, and really keeps a focus on the backings laid down by the album's highly rhythmic combo of Chico Hamilton, Ron Carter, Victor Pantoja, and Willie Bobo. Szabo makes a surprisingly great vocal appearance on 2 tracks – "Bang Bang" and "Autumn Leaves" – both sung in this weirdly dark style that's a great contrast to the lightness of his work on guitar. Time-machine copy – virginal all the way, sleeve still housed in shrink and comes with impossibly rare Japan Direct Import OBI!!!! Price: 175 Euro
933. GABOR SZABO: “Jazz Raga” (Impulse – AS-9128) (Record: Near Mint/ Gatefold Jacket: Near Mint – still firmly housed in original shrink!!!/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Direct Import Obi: Mint). Very first original US pressing of 1967 in TOP condition with “Van Gelder” machine-stamped in the trail-off. Time-machine copy – virginal all the way, sleeve still housed in shrink and comes with impossibly rare Japan Direct Import OBI!!!! The Hungarian jazz guitarist Szabo was so influenced by the music of his homeland that he incorporated folk and world music with West Coast jazz on his 3rd LP Jazz Raga. On it, he harmonizes two different but equally complex components of music – the off-the-cuff, improvised, feel-it-within-and-go approach of jazz, and the musical “skeleton” of Indian classical music, the raga. The LP dwells in the no man's lands between jazz, psych rock, Indian, and Eastern European music. Its track selection includes two standards -- "Caravan" and "Summertime" -- a smoking cover of the Rolling Stones "Paint It Black," and eight Szabo originals like "Mizrab," with its driving tablas, mantra-like bass line, open-tuned, droning guitar and a call-and- response sitar, creates a melody that is at once haunting, inviting, and affecting. The groove is monstrous, infectious, and dizzying. The relationship between sound styles is so intimate, involved, and symbiotic, weaving music that’s a melding of Eastern and European styles and culture with ’60s psychedelia. Just a bewitching slide. First original pressing in TOP condition – housed in virginal shrink and with rare Direct Import Obi flashing its colors. Price: 200 Euro
934. GAINSBOURG, SERGE: “Anna” (Philips – P 70.391 L) (Record: Near Mint, one hairline on beginning side 2 otherwise it would be Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint). Original 1967 first French pressing in outstanding condition, never seen such a beautiful, well preserved copy like this one. Only defect is a visible scuff hairline, which at the beginning of track 2 causes 3 minimal pops. For the rest just virginal as it was way back in 1967. Original soundtrack from the French musical comedy movie made by Pierre Koralnik. Unnoticed at the time, Anna has since been rehabilitated. Anna (former Mrs. Godard played by Anna Karina) was a hip, youth-oriented TV movie popular enough to spawn an album of its own. Among the cues is "Ballet des Soupirs" (Ballet of Sighs), which is literally that; a grindingly slow pageant of heavy breathing scored to luscious strings, clattery electric guitars, a vacuum cleaner turning on and off, and ample use of negative space. The whole record has the ability to mesmerize you by its psychedelic mod-pop musical. But unlike Melodie Nelson, Anna goes further as a album and as a case for Gainsbourg, as it demonstrates his inventiveness, sexuality, intelligence, as well as his skill in using and choosing collaborators, without cutting the whole thing monochrome as woman crazy. It also spotlights his sense of humor; whenever the melody of Anna Karina’s rendition of the sweeping, caustic “Sous le soleil exactment” peaks, the backing suddenly cuts out to nothing but a rude interjection of a brass section pretending to be a stalling Citroen. To dwell on Karina for a moment, she’s extremely charismatic on the mic, singing with a warmth and character beyond mere panting or sex presence. Maybe this record is more about Gainsbourg the versatile auteur than Gainsbourg the master, but both are important. Stunning LP and above all also in stunning condition as most copies are in bad shape. Price: 500 Euro
935. GAINSBOURG, SERGE: “Je T’Aime Moi Non Plus – La Ballade De Johnny-Jane” (Philips Japan – FDX-240) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1st press issue from Japan complete with always missing obi. Getting damned rare in top condition with 1st issue obi intact. Price: 175 Euro
936. GAL COSTA: “JA & Gal” (Philips – R765.098L) (Record: Excellent/ Gatefold Gimmick Jacket with Attached Booklet: Excellent) 1969 Brazilian original pressing of Gal’s 2nd LP but this time it was released in collaboration with the JA magazine and got housed in a gimmick gatefold jacket with attached picture booklet. If the term killer is applicable to a disc, then it should be pasted upon this one. Gal Costa’s first ever-solo album (or was it her second?) from the late sixties (1969). She spits out an unique mixture of demented tropicalia, filled with forlorn Foho influences, fragrances of Bossa Nova, sneering acid fuzz licks, bitching wailing vocals in a smothering Portuguese tongue, Berimbau strummings, smoked out percussive rattles and so much more. Hybrid in its totality, demented in its overall sound and utterly lysergic upon digesting it. Over the top brilliant and without a doubt one of the singular most beautifully experimental psyched out discs to emerge out of Brazil. All time highest recommendation. Price: 150 Euro
937. GAL COSTA: “India” (Philips – SFX-6009) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan first press with obi – WHITE label PROMO issue. “India is a subtle yet revolutionary statement, one in which Costa stands her ground by remaining her uncompromising self. Brave, generous, and genuine, the nine performances marvel across the record like Vaganova ballet. Groundbreaking, Índia boasts a sense of elegant futurism, one that includes the proto-new wave defiance of “Relance;” the graceful swoon of bossa-nova spells “Da Maior Importância and “Desafinado;” and the art-rock fusion of “Passarinho” and “Pontos de Luz.” A consummate interpreter, Costa treasured the material of her peers and predecessors with an adventurous sense of gratitude and wonder. The results were, however, always unmistakably her own. Costa’s rendering of the Portuguese folk song “Milho Verde” (“Green Corn”) is something of its own ceremonial — a freeform ritual of joyous, ecstatic dance between voice and percussion. Sensual, tribal, earthly, Costa’s presence and spirit is hers and hers alone.” (Aquarium Drunkard) Original first press out of Japan w/ obi and on high quality wax. A bit of a tough one to locate as of late with all present. Price: 200 Euro
938. GANDALF: “S/T” (Capitol – ST-121) (Record: Near Mint ~ Mint / Jacket: Near Mint ~ Mint WITHOUT the always perforated “Free” holes in the upper right corner). Original US 1st pressing. Best condition copy around and this one comes WITHOUT the “Free” perforation in the right corner!!! Probably one of the greatest mind-bending bewitching psychedelic slides ever recorded. “With spellbinding, atmospheric songs, which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin’ Spoonful producers Charlie Koppelman and Don Rubin and conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf features swirls of Hammond B3 organ, caressing vibraphone runs and electric sitar on Sando’s originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner/Alan Gordon, and Eden Ahbez.” (Sundazed review) and “Bands that focus on cover versions often lack identity, but that is emphatically not the case here. Though only two of the ten songs are originals, Gandalf have a strong sound, mixing Peter Sando’s ghostly vocals with intricate, keyboard-heavy arrangements and an echoing, spacey production to present a haunting, compelling experience. The material they tackle varies from old standards (‘Golden Earrings’, ‘Scarlet Ribbons’) to three exquisitely handled Tim Hardin numbers, while their densely psychedelic take on ‘Nature Boy’ is a revelation, complete with a ripping fuzz solo to rival anything from the era. Sando’s two originals, the spooky ‘Could You Travel In The Dark Alone?’ and thunderous ‘I Watch The Moon’, are pretty great too. On a first listen the album might seem shallow and sugary, but don’t be fooled. I have listened to it as often as anything in this book, and never tire of it. A measure of the esteem in which it is held is that, though it’s not especially rare, original copies always sell for hundreds of dollars – seemingly everyone into 60s psychedelia has to have one. And does it have the best sleeve of any US psych LP? It was in fact completed for release (as by Gandalf & The Wizards) in mid-1968, but its release was delayed for several months. A tiny number of copies that play the tracks in a different order have surfaced; this was presumably a pressing fault.” (RMJ – Endless Trip) This disc never fails to suck you in and seduce you. Massive killer slide. Best condition imaginable so….. Price: Offers!!!!
939. GANDALF: “S/T” (Capitol – ST-121) (Record: Near Mint ~ Mint / Jacket: Near Mint – still housed in SHRINK but with perforated “Free” holes in the upper right corner). Original US 1st pressing. Awesome condition copy around and this one comes housed still in original shrink and with the “Free” perforation in the right corner!!! Price: Offers!!!!
940. GARBAREK, JAN: “Aftenland” (ECM/ Trio Records – PAP-9226) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Japanese first press original all complete with insert and obi. Does not pop up all that often. Saxophonist Jan Garbarek has always had a great ear for an unusual setting for his horns – and here, he continues that strong legacy by working with Kjell Johnsen – a keyboardist who plays a pipe organ in a very spacious way! The mix of the large instrument and the ECM production style comes across beautifully – slightly sinister at some times, moodier at others – all with Garbarek spinning his loose, open lines on both tenor and soprano sax, and a bit of wood flute at one point. The music is very painterly and evocative. Top condition. Price: 40 Euro
941. The RED GARLAND QUINTET: “All Mornin’ Long” (Victor Records/ Prestige – MJ-7120) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Second press issue in great shape & all complete with always-missing obi. On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. On All Mornin’ Long, one can get lost in the 20-minute version of its title composition along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tad Dameron’s "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. The latter was on his way to getting his sound together, while Trane was very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. This is an excellent and often quite colorful jam session-flavored hard bop set. Great condition and scarce 2nd press with OBI. Price: 75 Euro

942. The RED GARLAND QUINTET: “All Mornin’ Long” (Top Rank – RANK-5023) (Record: Excellent/ Flip Back Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Very first Japan original 1st press issue in great shape & all complete with always-missing obi and rarely seen first issue OBI. Near perfect apart from a couple of faint sleeve lines I can detect under a bright light. On November 15, 1957, a quintet headed by pianist Red Garland recorded enough material for two records. On All Mornin’ Long, one can get lost in the 20-minute version of its title composition along with briefer renditions of "They Can't Take That Away from Me" (a mere ten minutes) and Tad Dameron’s "Our Delight." More important than the material is that, in addition to Garland, the main soloists are John Coltrane and trumpeter Donald Byrd. The latter was on his way to getting his sound together, while Trane was very much in his sheets-of-sound period, was already blazing a new path for jazz to follow. This is an excellent and often quite colorful jam session-flavored hard bop set. Damned rare all complete first pressing. Price: 200 Euro

943. RED GARLAND: “Red Garland At The Prelude” (Top Rank – RANK-5045) (Record: Excellent/ Flip Back Jacket: Near Mint/ Company Inner Sleeve: Excellent/ Obi: Near Mint). Rare and hardly ever seen Japanese very first press issue, housed in fragile flip back sleeve and complete with rare first issue obi. On the night of October 2, 1959 William "Red" Garland, a former prizefighter turned winsome jazz pianist, delivered a knockout performance. Garland, best known for his work from 1955 to 1958 with Miles Davis’s first great quintet, had since 1956 also made a series of well-received LPs for Prestige that balanced standards and jazz tunes, ballads and bounce tempos and—always—the blues. Known for his crystalline keyboard touch, punchy left hand, fleet single-note lines and, most of all, chiming block chords, Garland was among the most popular and influential piano stylists of his day. Backed by two friends from Philadelphia, the rock-steady bassist Jimmy Rowser and the drummer Charles "Specs" Wright, who played the brushes (and sticks) as adroitly as Minnesota Fats handled his pool cue, Garland was at the very top of his game. Luckily, Rudy Van Gelder, jazz’s foremost engineer, was on the premises with his recording equipment, capturing every golden note. Price: 250 Euro


944. The RED GARLAND QUINTET With JOHN COLTRANE: “High Pressure” (Top Rank/ Prestige – MJ-7037) (Record: Excellent ~ Near Mint – Has one sidelong inaudible hairline mark on side 1/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan very 1st press issue all complete with hardly ever offered first issue obi. The distinctive pianist Red Garland, tenor saxophonist John Coltrane (then 31 and already breaking away from the pack), and trumpeter Donald Byrd along with the supportive bassist George Joyner and drummer Art Taylor, perform five jazz standards on this recording. Highlights include "Soft Winds," "Undecided," and an explosive version of "Two Bass Hit" that foreshadowed the rendition that Trane would record with Miles Davis and Cannonball Adderley the following year. High-quality hard bop from some true "Young Lions." Rare Japan 1959 original press issue with damned rare obi in awesome condition! Price: 175 Euro


945. The RED GARLAND QUINTET With JOHN COLTRANE: “Dig It” (Prestige/ Nippon Victor – MJ-7053) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Very first Japan original pressing complete with rare obi. “Taken from "scraps" or "leftovers" of three different sessions, Dig It! presents distinct sides of Red Garland’s straight-ahead jazz persona that manifests in trio, quartet, and quintet formats. One track was issued as led by drummer Art Taylor, ostensibly John Coltrane in Garland’s quartet apart from their association with Miles Davis and two separate recordings have trumpeter Donald Byrd added to comprise a five-piece combo. Memphis bassist George Joyner (aka Jamil Nasser) is on three cuts, with Taylor present throughout. Though the total time is shy of 34 minutes, this recording represents all of these musicians in transition from their sideman associations to the leadership roles they were in the process of wresting hold of. What have always been Garland’s strong suits -- high-class discourse and fleet and fluid bebop -- are heartily dished out with no trace of arrogance. On the swing-era standard "Crazy Rhythm," the Garland trio with bassist Paul Chambers and Taylor plays a concise, hard-charging version with no wasted motion and the two-fisted chord progressions of the pianist. Coltrane’s feature during Jimmy Heath’s hard bop icon "C.T.A." is a bit tentative, as he plays only eighth notes in a reserved fashion. But the quintet take of "Billie's Bounce" has Trane rippin' it up in a fervor that doubles the note volume, animated and fast, while also expressing a soulful side. Byrd is fairly inconsequential, only soloing on this and the 16-minute vintage blues "Lazy Mae." It's Garland’s who takes liberties on this slow, languorous, sleepy-time jam, where he evokes the classic sounds of Teddy Wilson, Early Fatha Hines and especially the elegant Erroll Garner for a full eight minutes, also quoting the pop tune "Send for Me" and the rambling staircase triplet midsection of "After Hours" before Coltrane and Byrd settle into their own bluesy solos.” (All Music Guide). Damned rare Japan 1st original pressing with hardly ever seen obi. Great shape and so bloody hard to find. Price: 200 Euro

946. The RED GARLAND TRIO PLUS RAY BARRETO, CONGA: “Manteca” (Prestige/ Victor Records – SMJ-7231) (Record: Near Mint ~ Mint/ Flipback Sleeve: Near Mint ~ Mint/ OBI: Mint). Damned rare Japan 1st original press issue, first time ever I see a copy of this one and it is in virginal condition. Comes with the hyper scarce OBI, all complete. This is a great slide that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session and one of the best by Red Garland for Prestige. The addition of Barretto makes it a totally cooking record that features some great added conga work. Ray's presence really helps the record live up to its Latin-styled title – and Garland's usual trio with Paul Chambers on bass and Art Taylor on drums seems to get a whole new life from the added percussion – really stepping things up with a bit more of a groove than usual! The title cut – "Manteca" – is an 8-minute jam that's gone onto become a real jazz dance classic. Killer. Price: 250 Euro
947. The RED GARLAND TRIO PLUS RAY BARRETO, CONGA: “Manteca” (Prestige Records – PRLP-7139) (Record: Excellent – has some faint non-sounding sleeve lines/ Jacket: Near Mint). Impossibly rare US TEST PRESSING for Prestige – with Abbey Record MFG. CO. printed on label + hand written annotations with date marked 6/ 25/ 58 and PRLP7139 A/B. never seen before original TEST PRESS. This is a great slide that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session and one of the best by Red Garland for Prestige. The addition of Barretto makes it a totally cooking record that features some great added conga work. Ray's presence really helps the record live up to its Latin-styled title – and Garland's usual trio with Paul Chambers on bass and Art Taylor on drums seems to get a whole new life from the added percussion – really stepping things up with a bit more of a groove than usual! The title cut – "Manteca" – is an 8-minute jam that's gone onto become a real jazz dance classic. Test pressing comes housed in 2nd state cover as a bonus as originally it was handed out without any cover. Historical and one of a kind item in great shape. Price: Offers!!!!!
948. The RED GARLAND TRIO PLUS RAY BARRETO, CONGA: “Manteca” (Prestige Records – PRLP-7139) (Record: Near Mint ~ Mint – not even a spindle mark/ Jacket: Near Mint ~ Mint – without any defects and completely white back cover without stains or discoloration). Damned rare US first original MONO issue – first pressing with 446 W. 5oth ST., N.Y.C. address on label and jacket. This is a great slide that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session and one of the best by Red Garland for Prestige. The addition of Barretto makes it a totally cooking record that features some great added conga work. Ray's presence really helps the record live up to its Latin-styled title – and Garland's usual trio with Paul Chambers on bass and Art Taylor on drums seems to get a whole new life from the added percussion – really stepping things up with a bit more of a groove than usual! The title cut – "Manteca" – is an 8-minute jam that's gone onto become a real jazz dance classic. Amazing condition, best ever and impossible to upgrade upon. Sleeve is flawless without any signs of discoloration or damages. Record is perfect, without any signs of play and not even a spindle mar. Impossible to upgrade upon. Killer. Price: 475 Euro
949. The RED GARLAND TRIO PLUS RAY BARRETO, CONGA: “Manteca” (Prestige – PRST-7139) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – stamp on back sleeve upper right corner). Rare US 1st original STEREO press issue, on the black & silver colored New Jersey Prestige labels. Comes in alternate Stereo only blue colored sleeve art. This is a great slide that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session and one of the best by Red Garland for Prestige. The addition of Barretto makes it a totally cooking record that features some great added conga work. Ray's presence really helps the record live up to its Latin-styled title – and Garland's usual trio with Paul Chambers on bass and Art Taylor on drums seems to get a whole new life from the added percussion – really stepping things up with a bit more of a groove than usual! The title cut – "Manteca" – is an 8-minute jam that's gone onto become a real jazz dance classic. Killer & top condition. Price: 400 Euro
950. GARLAND, RED: “Red In Blues-Ville” (Top Rank/ Victor Records – MJ-7032) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan original first pressing in top shape and all complete with hardly ever seen first issue OBI!!! Pianist Red Garland and his trio (with bassist Sam Jones and drummer Art Taylor) explore six veteran blues-based compositions ranging from Nellie Lutcher’s "He's a Real Gone Guy" and "St. Louis Blues" to "Your Red Wagon" and Count Basie’s "M-Squad (Theme)." Throughout, Garland modernizes each of the selections with his distinctive chord voicings, and he makes the songs sound fresh and new. A solid effort from this very consistent pianist, who will always be best remembered for his playing with the classic Miles Davis Quintet. Price: 200 Euro
951. The RED GARLAND QUINTET: “Soul Junction” (Top Rank – Prestige/ Victor – RANK-5084) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Very first 1962 Japan press issue. All complete with first issue obi!!! Pianist Red Garland’s follow-up/ tandem recording to “All Mornin’ Long is a very, very relaxed affair with a marathon blues solo on the 16-minute "Soul Junction" as the most memorable aspect of this amazing LP. With such soloists as tenor saxophonist John Coltrane and trumpeter Donald Byrd plus steady support provided by bassist George Joyner and drummer Art Taylor, Garland gets to stretch out on the title cut and four jazz originals, including "Birk's Works" and "Hallelujah." As expected, Coltrane is in excellent form, playing several stunning sheets of sound solos. Top notch condition Japan 1st original press issue from 1962 with hardly ever seen obi flashing its colors. A stunning beauty but sadly way rarer than the US press. Price: 200 Euro
952. GARRETT LUND: “Almost Grown” (World In Sound – RFR-006) (Record: Near Mint/ Heavy gatefold Jacket: Mint/ Insert: Mint). Long gone and deleted official small numbered reissue of this heavy-duty rarity. “Authorized reissue of this psychedelic rock record from 1975. Incredible over-the-top packaging, heavy textured gatefold sleeve, 180 gram vinyl pressing. There has never been a bootleg version of this LP and supposedly less than 10 original copies exist, so this will be the first chance for almost anyone to hear it. "First reissue (from the mastertape) of this lost Westcoast monster rarity with the blend of those early S.F. Bands like Tripsicord Music Box, Quicksilver Messenger Service, Kak etc. There is a fantastic songwriting with a cosmic lost in time feeling. Just Massive stuff. Long out of print heavy duty deluxe official reissue. Price: 75 Euro
953. GARRICK, MICHAEL: “Mr. Smith’s Apocalypse” (London/ King Records – SLC(A)426) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan first press issue from 1972 – all complete with impossibly rare obi. Comes housed in Japan only jacket art. Michael Garrick’s 1971 Argo album was recorded under the name of Garrick’s Fairground (conducted by Peter Mound); it is a jazz cantata with music by Garrick and words by poet and Garrick collaborator John Smith. Alongside the pianist, this compelling work features the Somerford Junior School Choir conducted by Mary Tickner, and the instrumental prowess of Don Rendell and Art Themen (saxes, reeds), Norma Winstone (voice), Coleridge Goode (double bass) and Henry Lowther (trumpet, flugelhorn). Also included is Garrick Fairground’s rare, two-track 1971 Epiphany Argo EP, featuring the same line-up as Mr Smith’s Apocalypse, except that Dave Green (double bass) replaces Coleridge Killer, deep spiritual jazz with vocals of Norma Winstone - sounds like Strata East meets Pharoah Saunders etc in London! Wicked. Never ever before offered all complete copy with obi in total virginal condition. Price: 450 Euro
954. GARY KAIL/ ZURICH 1916: “Creative Nihilism” (Iridescence) (2 LP’s: Near Mint/ Gatefold Jacket: Near Mint) Top-notch copy. Stupefying great 2 LP set released in 1984, documenting the musique concrete, tape loop, rapid-fire media barrages and sound experiments by Gary Kail. Kail was heavily involved at that time within the 80’s LA punk scene but upon listening to this vicious slide, you won’t notice such a thing. Recorded between 1979 – 1083, Gary Kail and some collaborators recorded this two hour collection of sound art, that resembles in a way the Dadaist sound collages of LAFMS collective and the early Destroy All Monsters output, although Kail’s sonic quest is more primitively structured (can you get more primitively derailed?) like for example taking the opening chord from the Beatles “A Hard Day’s Night” and altering it through a primitive feedback loop system, messing it up completely and degrading it to mere hypnotic noise. Just awesome. For the rest he uses kitchen utensils, primitive guitar amps hotwired to each other and self made field recordings in order to create an utterly complex sonic collage through cutting and splicing tapes over a period of two years. This is a record made by a genius, a sadly overlooked masterpiece and eye-poppingly great disc. Highest possible recommendation. Price: 200 Euro
955. GASHO ONGAKU NO RYOIKI. Featuring amongst others Takehisa Kosugi, Takemitsu Toru, Takahashi Yuji, Yuasa Yoji, etc.: “S/T” (Victor – SJX-1067〜73) (7 LP Set: Near Mint/ Cloth Bound Box Set: Near Mint/ 48 Paged Illustrated Booklet: Near Mint/ Outer Cardboard Slip Case OBI: Excellent). Totally complete copy with slipcase cardboard obi – all in TOP CONDITION!!!! It seems Kosugi Takehisa related items are mushrooming all over the list this time around. Here we have another obscurity for you, released here in Japan in a tiny edition way back in the mid-seventies. Ultra rare item and first copy I see for real. These babies just never ever turn up and are only referred to in hush voices in dark hallways. Great ultra rare 7 LP box set that came out in 1975. The whole set is comprised out of compositions by some of Japan’s finest avant-garde composers who each wrote new compositions especially for this release that were to be executed by the Tokyo Philharmonic Chorus. The end result is baffling and had me floored, stupefied and mesmerized. I had never expected choral music to be such a challenging and mind blowing listening experience as on display on this box. The box is literally filled with highlights but my personal entrance point was Takehisa Kosugi’s contribution “South No. 5”, which comes close to sounding like insect hissing and chirping descending from the heavens, a plague of ghost like cave dwelling locusts to infest your dreams. Hard to believe this is merely voices at work, sounds at times like electronic music or musique concrete. Compelling to say the least. Other tracks sound like wild esoteric Buddhist chanting as if Magma had invaded the local monastery. On other pieces Akira and Osorezan era Geino Yamashirogumi spring clearly to mind. Still these are all first impressions since it will take me a couple of weeks to fully come to terms with the richness buried within this set. In all mind bending great stuff, austere and esoteric at the same time and a chilling listening experience. Highest possible recommendation and nowhere else available so take your chance and hold your piece forever. Rare beyond belief and bound to not surface again for years or decades to come. Massive original pressing!! Price: 300 Euro
956. GASLINI, GIORGIO QUARTET: “New Sound Jazz” (Cinevox Record – CJ-02) (Record: Near Mint/ Jacket: Near Mint). Pristine condition 1967 Italian first original press issue. Surely one of the hardest to track down Italian jazz slides out there – especially in such a virginal condition as this copy here. This is one fantastic record, blessed with addictive cool cine-jazz sounds combined with some slightly freer & fragile avant outings but overall drifting into marginally melancholic sound sphere. Originally composed as a soundtrack, the music is endowed with beauty, extremely well balanced in its execution, creating a music brimful with poetic resonance but still floating on an intuitive approach lead by Gaslini’s liquid piano playing and Eduardo Volonte’s unique and translucent sax lines that engulf the aural landscape, succeeding in both sounding forlorn one moment and sprightly, displaying poise, concentration and inventiveness the next, without ever skipping a single beat! Deceitfully skeletal, yet deceptively intense, casual in feel, yet meticulously in its musical detail and lyrical economy, that is the scope of this cinematic slide, injecting an austere intimacy through sound right into your pulsing brain. Just a total jaw-dropper of a record and one of the finest to seep out of Italy. Just about never surfaces – especially in such a perfect condition as this one here. No defects at all and the record comes housed in a fantastic thick laminated cardboard sleeve that screams perfection! Highest possible recommendation. Price: Offers!!!!
957. GASLINI, GIORGIO QUARTET  “Africa! Mikrokosmos” (Off Records – GO/LP-301) (Record: Excellent – a very few barely visible paper sleeve lines/ Jacket: Excellent ~ Near Mint/ Imprinted Inner Sleeve: Near Mint). Great condition original press copy of largely overlooked 1970 Italian jazz free jazz masterpiece. Led by Gaslini on pianoforte, he gets flanked by Gianni Bedori on sax & flute, Bruno Crovetto on contrabass and Franco Tonani on drums. Really challenging free – modal avant-garde excursion into a polyrhythmic penthouse groove where the quartet carefully aims acupuncture darts at your aural pleasure spots. Amazing condition, can detect a few barely visible sleeve lines under a bright light, for the rest a real keeper. This one is a real grower that descends into a spartan almost skeleton machinery of an avant-jazz underdog operation that sucks you into its web deeper and deeper upon repeated listening’s. Such a bloody great one!!! Highest recommendation! Price: 100 Euro
958. GATO BARBIERI: “In Search Of The Mystery” (ESP Disk/ Nippon Phonogram – SFX-10724) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean as a whistle Japan first press original all complete with scarce obi. “In his early days, Gato Barbieri was a fiery improviser who rarely held back his emotional intent to play music that was less interested in formal structure. While not to the level of Sanders, Shepp or Coltrane, you could hear he was striving for that type of expressionism. Accompanying the young Argentine tenor saxophonist is a unique collection of musicians including the legendary cellist Calo Scott, bassist Sirone and drummer Bobby Kapp. While the string players swim around the rhythms of Kapp, Barbieri dives right in with no fear of the outcome, allowing the others to stretch into harmonic and sonic arenas of their own choosing. This democratic approach enhances the music without need for time signatures, although a sense of free-style bop does work its way into the pieces. Sirone is startlingly fresh, Scott’s famed work with Eric Dolphy only scratched the surface of what he accomplished in this group. Barbieri is on fire for the most part, but tends to snuff out the flames; then he roars back to life for most of these two extended improvisations. The difference in these tracks is both stark and subtle, as "In Search of the Mystery" and "Michelle" start low-key with Scott’s bowed cello, then roar free and spiritual à la Coltrane, go off in free-bop style with intensified high-pitched wails, and offer up solos from the string players. This in-and-out concept is further advanced during "Obsession #2" and "Cinematique," in that Barbieri’s squawking tones are matched in time by the wafting cello of Scott, Sirone’s insistent bass, and the roiling drumming of Kapp.  This clearly is visceral, forceful, and powerful creative music. A no-holds-barred drum solo and the uncomplicated blowing session mindset of the performers keep things ever interesting, whether a bit calmed or angered up. This unique recording is the one that ostensibly started it all, and must be considered one of his prime -- if not primal -- early works.” (All Music) Price: 45 Euro
959. GAULOIS ASTERIX aka KATO HIROSHI: “INOCHI” (Tengu – LP-0002) (Record: Near Mint ~ Mint – not even a spindle mark/ Jacket: Near Mint/ Obi: Near Mint). TOP copy, complete with obi and best condition one to ever cross my eyes. Seriously rare and only the 2nd copy ever to cross my path with obi. Another Japanese psych cum rarity that seems a bitch to get a hold off. One of the weirdest and deep acid fried erotic psychedelic cum records to ever have seeped out of Japan is this effort by Kato Hiroshi (with the little help of some local musicians and a handful of French-Canadian freaks passing through town), also credited to Gaulois Asterix by some. Tengu Records was a privately run small imprint that operated out of Osaka back in the late sixties/ early seventies and only released two LP's and a handful of singles. The LP opens up with the side-long “Love In” and is basically what the title suggests, a sexed up moaning and groaning erotic experience by some hippie lady and some guys set out against an acid rock tinted slow-downed improvisation set against some jungle detuned drums and some defractured blistering lysergic guitar lines. The moaning and groaning, sultry orgasmatic ecstatic sounds never let down and make you wanna join the little orgy that is on display here. In a way it sounds like Ike Reiko on an acid trip, spreading her legs for whoever was present at the session. Erotics melted into psychedelic avant-garde sound art moves spiked up with hallucinogenic Bella Donna seeds until it all explodes into the final “cumming together” scene. Pretty voyeuristic and wild ride for sure! The B-side is a more frantic and wild psyched out ride, since everyone could unload their sexual pressures and fantasies, it sounds like a lot of pressure fell of their shoulders that now could get channeled into some serious acid drenched musical agitation moves. Again it starts of with the tribal drumming that soon melts down into an amalgam of wind chimes and bells, creating an almost religious experience. However, this doesn't last long, lost and found cheap electronic sequences drift into the mix, sounding like detuned fire engines that quickly fuse into some intoxicating bass moves. And with this the opening moves of the second side came into play. From then on, your typical almost West Coast styled hippie idealism sing a long drifts in, be it in snippets but soon boils down in some wicked deep fried fuzz-a-delic action, amphetamine indulging bass lines and cave man drumming moves, creating swirling freak out acid jam. Savage fuzz leads crawl all over this one, interlocking fists and knuckles with the second guitar, creating a pulverizing acid dripping, psychedelic tripped out stoned free improvisation like lysergic jam. No other Japanese psych record sounds as wasted as this baby here, that is in a freeform kind of way. Not as doped up as Speed Glue and Shinki, “Inochi” is more of a loose acid fried beast stampeding through the desolate canyons of your mind. A lethal mixture of free love, depraved hedonist sex, hallucinogenic drugs and orange-soaked fuzz pedals. Massive. First time ever I have a spare of this monster, next to impossible to dig up here and seen its scarcity status it still is quite affordable. Will double in price in the next 5 years, just mark my words… NM copy all the way, highest possible recommendation!!! Price: Offers!!!!!
960. GAYATHRI RAJAPUR; HARIHAR RAO & DOROTHY MOSKOWITZ: “Vocal and Instrumental Ragas From South India” (Folkways – FW-8854) (Record: Excellent/ Jacket: Near Mint/ 6 Paged Liner Notes: Excellent). Here is a disc that will plug a little side note like hole in your collection, that is if the name of Dorothy Moskowitz rings any bells. And it should as a matter of fact trigger alarm bells, that is if you dig the United States of America . No? Well they were much more than a one-track band. Formed and master-minded by experimental composer Joe Byrd, in Dorothy Moskowitz the United States of America featured one of the most captivating vocalists in rock, and together they penned some truly memorable songs – ‘The American Metaphysical Circus', ‘The Garden of Earthly Delights' and ‘Coming Down' to name but a few personal favorites. Well now that I have your attention and you are going through this “Aha-erlebnis” about recalling Moskowitz, it is funny to know that she also appeared on a splendid Folkways album dedicated to Indian ragas, one side of the LP is dedicated to vocal induced ragas there where the second side is all instrumental. If you are looking for a heavy psych injection, stop reading here but if this sound awesome to you anyhow like it does to me, then here is what Moskowitz had to say on the recording of this fantastic slice of musical history. “There were Japanese, Balinese, and African teachers at UCLA, but the most compelling were the Indian musicians. There was Harihar Rao, who taught North Indian music and Gayathri Rajapur, a remarkable singer /Gottuvadyam virtuoso from South India. Joseph was officially enrolled in the department. I was officially enrolled in another department altogether, but I managed to sneak in on the ethnomusicology classes. Joe and I became quite close to Gayathri and in fact the three of us shared an apartment together for a period. We studied both North and South Indian music and Joseph became reasonably adept at South Indian drumming. I think it must have been his idea to do a recording with Gayathri and Harihar. He asked me in to play Tambura, wrote some scholarly liner notes, and shipped the whole package off to Folkways I'm sure it's still available. Gayathri has since gotten her Doctorate and teaches and performs in Hawaii.” (Dorothy Moskowitz shedding some light on the creation of this album for Ptolomeic Terrascope magazine, 2003). Fantastic LP and a though one these day to unearth. Highly recommended. Price: 75 Euro
961. GAYE, MARVIN: “What’s Going On b/w Let’s Get It On” (Motown/ Victor Records – VIP-2009) (Single Record: Excellent/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Japan issue with picture sleeve. Price: 50 Euro

962. GEINO YAMASHIROGUMI: “Osorezan” (Victor – SF-10056) (Record: Near Mint/ Jacket: Mint/ Obi: Near Mint/ 4-Paged Insert: Near Mint). First original press on green Victor label, near mint copy & not the 2nd common press issue on Invitation. Recently picking up in popularity. Comes with 4-paged insert. Well, here you have a completely vanished disc by an utterly fantastic but nevertheless totally unknown ensemble out of Japan, the Geino Yamashirogumi or the Yamashirogumi Performing Arts Group. This was the band’s first disc, the much-acclaimed “Osorezan”, an over the top, completely ecstatic, haunting and esoteric psychedelic whirlwind masterpiece that leaves no stone unturned. The beginning of the disc alone, kicking in with a primal scream that will chase your cat into the curtains, is worth the admission price. Killer all around, demented female vocals, esoteric Buddhist chanting, wailing fuzz drenched and amped up guitars, pounding percussion, enchanting choruses, drugged out vibes, etc. I think you get the picture. An all-time and hard to find monster disc. Getting tougher to dig up as of late. Price: 150 Euro


963. GENYA: “S/T with BLUES CREATION, DEW, TAKAGI MOTOTERU TRIO, TAKAYANAGI MASAYUKI NEW DIRECTION UNIT, LOST AARAAFF, ZUNOKEISATSU” (TV Man Union – GNS-1001-2) (2 LP Set: Near Mint/Gatefold Jacket: Near Mint/ Obi: Near Mint) Woooow, baby, here is another heavy scorcher for ya! Without a single doubt, this one take place amongst the select club of true Japanese rarities, one of those discs that never surface but are nevertheless much rumored about – private ptress original pressing from 1971. And this is a copy with obi, rarely seen with obi attached but often whispered about. Legendary and historical recording that took place during three days in August 1971 as reaction against the scheduled enlargement of Tokyo’s Narita International Airport and subsequent expatriation of the farmers inhabiting the land. The festival brought together an amalgam of people, such as farmers, street beatnik hippies, student radicals and underground outsider musicians. This recording depicts the heated-up atmosphere of the festival with its ideological arguments, angry insults and doomsday desperation hovering over the event. However, some staggering recordings by legendary artists were recorded for posteriori and are all included here, making hard-core music addicts and scholars of Japanese underground history quiet delighted. Released privately in 1971 in a tiny minuscule run, the disc collects a great selection of material and without a doubt the most insane piece of music on it is the side-long contribution by Takayanagi Masayuki and his New Direction Unit, flooding the gates of hell with his sonic assault that shook up farmers and student radicals alike, both parties failing to get a grasp on this sonic whirlwind of unrelenting power and soul scorching dementia. Other wild contributions are delivered by the Takagi Mototeru Trio, another prime example of Japan’s kerosene fuelled fire-music that whipped out the tails of any Mig fighter or B-52 that happened to cross the stratospheres high above the festival grounds. But that is not all, another staggering recording to appear on this record is the right in your face sonic assault performance by the first ever recorded ear imploding performance by Haino Keiji’s Lost Aaraaff unit, radical politically charged folk duo Zunokeisatsu, the heavy blues hitters DEW and Blues Creation, delivering wailing and electrically heated up performances, balancing on the verge of sheer riot, chaos and collective frustration. But that is not all, also the interactions, comments, verbal fights of student radicals, farmers and locals add as a great document to fully illustrate the heated-up atmosphere of the festival. Listening to this, one comes to fully understand that Woodstock was for pussies. Great disc in top notch condition and rare as hell. Mint copy with obi and due to the always present obi, prices for this disc suddenly skyrocket into stratospheric realms…has been over a decade since I had a pristine one all complete with obi so…if you are in for a heavy fix of Japanese free jazz and underground freeform action with OBI, give me your best shot... Price: Offers!!!!
964. GERMAN ALL-STARS: “German All-Stars In Japan ---- Out Of Reach” (Columbia – YS-2500-N) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Seriously rare all complete issue with mega rare OBI! White label promo issue. Hideously rare and obscure Japan only issue of brilliant free jazz blast featuring the high priests of the German jazz scene in full blowing swing. The line-up of this super free growling group in action is just bewitchingly awesome and features the world-beating line-up of Wolfgang Dauner, Willie Johanns, Emil Mangelsdorff, Manfred Schoof, Ralf Hubner, Ack Van Rooyen, Albert Mangelsdorff, Michel Pilz, Heinz Sauer, Gerd Dudek, Gunter Lenz and Rudi Fuesers. Recorded live Columbia Studio on February 25th, 1971 The German All Stars – as they were dubbed for the occasion – came down to Japan for a month’s resident stay over following a tour they undertook through the Far East, India, Thailand and Vietnam that previous month. Right from the start, you are treated to some heady free blowing music of the highest order. The group operates as a well-oiled machine and the interaction between the players is flawless, without ever losing its high-tension feel for on-the-spot improvisational impact! A ferocious 12-tet performance recorded crystal clear that allows one to nosedive straight into the radically-formulated free improvisation that gives the nod to the high-wire school of wall destroying force while furthering the form with a heavy punk-blunt approach to instant composition. Still, it’s not all balls-to-the-wall force by any means, Hubner in particular is a very inquisitive player on percussion here, while Lenz let out sounding the odd aspects of the bass and worrying tiny textural details that means Dauner, Schoof and Mangelsdorff can really get into the exploration of their oozing horn textures that dominates throughout. And when they do take off, Schoof & Mangelsdorff comes on like a goddamn freight train. A great marriage of Mangeldorff’s orchestral compositional vision and break-out firebrand performances from these seasoned European free roaming improv punks, short-lived German All Stars remain – sadly an under-documented - key European free jazz side that only saw a release of their high powers in Japan in 1971, yet their sound is huge, with a reverberant feel that gives the music a heady devotional/testifying feel. Never seen a complete copy with OBI until now… KILLER!!!! Price: Offers!!!!!
965. The GERMS: “Lexicon Devil b/w No God” (Blank Recording Company – BRD-023) (Orange Colored EP Single: Mint/ Picture Sleeve: Mint/ Inner Sleeve: Mint). Long gone and limited RSD release of 2017 of great all time killer & no filler punk slide. First wave Los Angeles punk rock royalty THE GERMS need no introduction to anyone who should care. Their star shone extremely strong for an incredibly short time before their demise. A star that still shines in the aftermath of their end. THE GERMS are still influential to those who came after and ran with the punk rock baton. Lexicon Devil was THE GERMS' second single and the first ever release for the legendary Slash label. This reissue is replicating the original 1978 version. This edition will be made available in the same four sleeve color variations as the original with matching colored vinyl (in red, pink, yellow and orange with each color being limited to 500 for a grand total of 2000 copies). On this reissue the lyrics will be printed on the inner sleeve as opposed to other side of the sleeve like on the original. Price: 40 Euro
966. GERMS: “What We Do Is Secret” (Slash Records – SREP-108) (Record: Near Mint/ Jacket: Near Mint). Top condition 1981 US original pressing of legendary killer punk slide. Originally released in 1981, soon after the death of Darby Crash, it collects odds and ends from the band’s chaotic three-year run. It begins with a cover of Chuck Berry’s “Round and Round” from 1977, when the band was in its infancy. The performance is so sloppy it looks like it can go completely off the rails at any moment and even a simple count-in seems beyond their skill set at this embryonic stage. The three songs from 1978’s Lexicon Devil EP are a much better indication of The Germs’ strengths. Sure, “Lexicon Devil”, “Circle One” and “No God” are sloppy proto-hardcore blasts, but they’re anything but generic thrashers. Beneath the wild exterior lies something mercurial and poetic in Crash’s performances. “Caught In My Eye” is an outtake from 1979’s GI album and you can really feel the white-hot intensity, especially in Crash’s animalistic vocal gnarls. It ends with two songs from the final Germs show, on December 3, 1980 at The Starwood in Los Angeles, just days before Crash’s suicide on December 7th. Darby sounds fall-down drunk, but the sound quality is pretty good. Legendary. Price: 150 Euro
967. GETZ, STAN & CHARLIE BYRD: “Jazz Samba” (Verve/ Nippon Grammophon – SMV-1020) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan very first press issue all complete with rarely offered first issue obi! One of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion. Awesome. Price: 175 Euro
968. GHEDALIA TAZARTES: “Diasporas” (Cobalt Records) (Record: Mint/ Jacket: Mint) First LP ever by this French nomadic one-man orchestra/ singer.He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric nd vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Don’t become a black, an Arab, a Tibetan monk, a Jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalia’s intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification.To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death.” (Description to the Cd release). Rare artifact, first original pressing. Getting impossible to locate these days, just stunningly beautiful. Highest recommendation. Price: 250 Euro
969. GHEDALIA TAZARTES: “Transports” (Cobalt Records) (Clear Vinyl LP: Mint/ Jacket: Near Mint). 2nd, rarest and greatest LP ever recorded by French gypsy maverick Ghedalia Tazartes. Ghédalia Tazartes traces his roots to North African Sephardic tradition. His recordings exemplify the most prosperous marriage ever of ethnic vocalizing and imaginative electronic collage. Tazartes’ strength lies in his dynamic, rhythmic and harmonic restraint. The element of surprise, while ubiquitous, does not rely on the shock of opposites. Rather, his compositions flow naturally, always apportioning tasty ingredients, but in an organic, gradualist fashion.His activity now spans three decades, yet his music is hors temps. Over the years, his bequest has graced many visual performances, but has stood on its own among the most accomplished French creations. From emotional psalms to shamanic hymns, Tazartes vocal eclecticism makes his art unclassifiable and distant from the electro-acoustic orthodoxy in his country. “Utterly disregarding any generic conventions, any categorization, I found ‘Transports’ to unfold in a manner that was both hypnotic and disorienting, full of what seemed to be echoes of other musics, but ending up sounding like nothing else I’d heard. Vocal samples wove their way in and out of the music: often, these were gravely beautiful, Arabic-sounding melodies, sometimes played normally in the midst of much complex electronic trickery, sometimes speeded up, sometimes slowing down, sometimes simply allowed to unfold in a quietly meditative haze. The same samples re-appeared on different tracks, a woman’s laughter sounding light and airy on one piece, sinister and nightmarish on another, dissonant noise building up underneath until, just at the climactic moment, the music unexpectedly switched direction for a moody, vaguely Oriental soundscape full of high-pitched electronic speaks and sqanks and something that sounded like a bird…or a cicada. Screams of “All animals have personalities” added a comedic touch to the fifth piece, and at another point, Tazartès produced something which, for a few seconds, seemed strangely like an Evan Parker saxophone solo. ‘Transports’ was intriguing not just for the sheer variety of sounds, but for the way it merged the human and the machine, the emotional and the robotic, cutting-edge electronic sounds with the simplicity of ancient melody.” (David Grundy). Just one of the most beautiful discs ever to have fallen into one’s lap. Rare 1st original pressing. Price: 500 Euro
970. GHEDALIA TAZARTES: “Une Eclipse Totale De Soleil” (Celluloid – CEL-6661) (Record: Near Mint/ Jacket: Near Mint). Original 1st press copy of Tazartes 3rd album, his finest effort by some, but then again, all of Tazartes recordings is galvanizing masterpieces of sonic art. This was Ghedalia “Tazartes' third album, originally released in 1979. His strange collages do not fit comfortably with any classification of music, but are rather in a universe of their own, in the same way that material by Harry Partch and Jean Dubuffet seem to defy any previous influences. All of his albums are extremely eccentric, but this one is even more so as the most fully realized take on the peculiar Tazartes sound. The two long pieces are actually made up of shorter sections that segue into one another. "Part One" begins with some crunching rhythms and a low droning sound, then there's a canary warbling over some strange rumbling textures and then a baby singing. The group vocal chanting that follows is even stranger, completely outside any existing music boundaries, and the composition continues through one bizarre soundscape after another. The shifts are often quite abrupt, though there's a skewed logic that ties the piece together. There's more energy and craziness in "Part Two," using similar elements of deep drones, weird vocalizing, and other peculiar sounds, textures, and rhythms, and even more loops of babies, to create unworldly bizarre chants. Tazartes is one of those true mavericks, whose music comes out of a vacuum, a complete creation with its own rules and logic, and utterly unlike anything else.” (All Music Guide). Ear candy for the musically adventurous. Price: 250 Euro
971. GHETTO ROCKERS/ RICO RODRIGUEZ: “Wareika Dub - Rico” (Island PRE-LP1) (Record: Excellent ~ Near Mint/ Stamped Jacket: Excellent ~ Near Mint). UK original – test press only issue with real (NOT FAKE) stamped original sleeve that came out on Island records in 1977~ 8. Trombonist Rico Rodriguez is a pivotal figure in the reggae/ ska/ jazz scene who was taught by fellow reggae legend Don Drummond. Rodriguez recorded with many of the top reggae producers (including some crucial Coxsone and Prince Buster); played a part in the 70s ska revival (like The Specials’ "A Message To You Rudy"); and even released Man From Warieka on Blue Note in 1977. At the end of that year/ beginning of 1978 a dub version of Warieka was mysteriously released on white label as an Island Records test pressing, scheduled for release but nothing came of it. Still some copies slipped through the cracks, some eager ears picked up on it and before you knew it went on to became a holy grail of reggae-jazz hounds, skyrocketing in value. This copy here is the original 1st press issue of that elusive record and it sounds incredible! The dub is not overpowering, floating on some serious roots and spirituality, swampy atmosphere of echoing vibrations and set firmly upon classic basslines. A very distinctive sound. It hits that sweet spot, letting the instrumentation breathe and flow. Nine bewitching tracks, gracefully housed in rubber stamped all-in old-school plain white rubber-stamped Island promo sleeve. Killer and no filler stripped down old skool dub vibes, rootsy and classy but be aware, highly addictive sonics! Top shape mega rare original pressing!!! Price: 450 Euro
972. The GHOST: “When You’re Dead – One Second” (Gemini – GME-1004) (Record: Near Mint/ Laminated Flip Back Jacket: Near Mint). UK original pressing in top condition. From 1970 the only Ghost that matters, heralding out of sunny Birmingham, it created one of the great UK psych rock monsters with male & female vocal interactions, spooky organ riffage, killer guitar leads and a pounding rhythm section that has in its ranks an ex-Velvett Fogg member. The group succeeds in creating an awesome sonic mixture of dreamy female vocals guiding their sound from folk psych towards loud and full-tilt hard prog brilliance that at times gets uglier than any group of mutants you’d see at a bad insane asylum, so you know you will be in there for a real auditory treat. The crude production values only add to its cult status. Very rare, especially in such perfect nick as this one here and comes housed in the original UK flip-back cover and graced with that beautiful Gemini label pressing. Amazing condition! Price: Offers!!!
973. GIBBS. MICHAEL: “Tanglewood 63” (Deram/ King Records – DL-3009) (Record: Near Mint/ Jacket: Near Mint/Insert: Near Mint/ Obi: Near Mint). Rare 1972 Japan original pressing with obi + WHITE label PROMO issue. features almost everyone on the London-scene of the times, with a few exceptions. Wheeler, Beckett, Lowther, Pyne, Roberts, Surman, Skidmore, Smith, Marshall, Thacker, Ricotti, Spedding, Babbington, G. Beck and John Taylor…they are all present and accounted for. Tanglewood 63 endures as a bona fide five-star masterpiece. Gibbs rewrote the rule book for orchestral jazz, taking in everything from immense soundscapes that rival Igor Stravinsky in vigor and scale through small group breakouts, in a style which embraces the American big band tradition, contemporary classics, jazz rock and even occasional flashes of Southern African township jazz. The orchestra is peopled by contemporary giants of British jazz and, though the emphasis is on through-composed ensemble work, there are superlative solos. The real meat of the album is on the B-side with the two 10-mins+ epics, starting with the haunting and drone-filled Canticle, and it sounds much more like Beethoven’s Pastorale than an Ellington big band piece. It stays a low-key piece for its 13-mins duration where the strings lay the slow and low foundations; and it contrasts heavily with the next piece. Closing the album is the awesome Five For England, with Chris Spedding’s awesome jazz-rock guitar, but it’s the whole band that’s out for blood, but it’s really Spedding’s moment, doubled by Gordon Back’s Rhodes. Pigeonholes can be a helpful signpost as to what sort of music is in the box. Initially, I thought “Jazz Rock”. Repeated listening confirms it is much more complex, an idiosyncratic mixture of many styles. If it can be pigeonholed at all, it belongs in the pigeonholed for music that is, frankly, difficult to pigeonhole. A real treasure, unearthed. Price: 400 Euro

974. GIL MELLE: “Andromeda Strain OST” (MCA Japan – MCA-5094) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint). TOP COPY, all complete with obi. Rare Japanese pressing of early 1970’s, comes with total different jacket design than the Kapp label ones. Very few copies of this one were pressed at the time in Japan and the sole two copies that have ever crossed my eyes were in both cases promotional copies so I am uncertain if a proper release ever saw the light of day. “Gil Melle, one of the most important composers today, has achieved an impressive landmark in creating the first all-electronic score for a major motion picture, the Andromeda strain. The work embodies the most revolutionary techniques in the annals of avant-garde music as well as film literature. Melle's central idea was to compose directly to the film and for this, he designed a special electronic music studio on the universal lot. it housed a complete rear-image projection facility as well as a number of one-of-a-kind electronic musical instruments. The most important of these is the percussotron, which the composer designed especially for Andromeda. it is important to note that an instrument has never been created specifically for a film score in the history of the medium. It is indeed percussionistic as its name implies, and is heard throughout the various tracks. Musique concrete also plays an important role here. Many field trips were made by the artist in order to record the natural sounds of 20th century life. Liberally woven into the fabric of this music are the indigenous sounds of the jet propulsion labs in southern California, buzz saws, wind, bowling alleys and even the railways. Orchestral instruments are also included and many important soloists are represented. All of these elements were eventually electronically transformed to suit the needs of the Andromeda strain score. As futuristic as all of these sounds, it nevertheless owes its direct ancestry to the very first form of film music, the nickelodeon. The compositional method is essentially one of creatively shooting from the hip and in turn gaining a vast amount of artistic flexibility as well as a very personal. Representation of the composer's musical thinking”. (From Mimaroglu website). Melle’s pieces ranks as cinema's first true electronic musical score. Using a battery of electronic instruments combined with reprocessed musique concrete sounds, Melle crafted a bizarre and compelling score that laced the picture with an unrelenting undercurrent of aimless, microscopic evil. The score's single repetitive theme is a rhythmically seething, cricket-like undulation for low-octave electronics and piano, associated with the mutating bacterial entity. Stunning piece of electronic music/ musique concrete and hard to track down these days. Highest recommendation. Price: 300 Euro

975. GILES, GILES & FRIPP: “The Cheerful Insanity of Giles, Giles & Fripp” (Deram/ King Records – DL-31) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Freakingly rare 1972 Japan 1st original pressing with obi in total virginal condition. Originally released in 1968, and selling less than 500 copies - according to Robert Fripp's royalty statements - The Cheerful Insanity of Giles, Giles, & Fripp is, of course, the pre-cursor to King Crimson. The album is one of the more eclectic albums to have been issued during the psychedelic rock movement of the late '60s. The album was initially issued in September of 1968 on the Decca Records subsidiary Deram -- whose releases were aimed specifically at the alternative or progressive rock market. Drawing its influence from folk, pop, classical, and religious music, the album is a masterpiece on par with the greatest records that the British psychedelic and progressive movements had to offer. Musically, Giles, Giles & Fripp are wholly unlike anything before or since. Drawing upon folk, classical, pop, and even sacred music, each track brings a fresh listening experience. Among the highlights is the leadoff track, "North Meadow," which features some stunning fretwork from Fripp. Likewise, "Call Tomorrow" is a trippy noir tale involving an ambiguous practical joke. The classically influenced instrumental "Suite No. 1," as well as another one of Fripp’s more esoteric compositions, "Erudite Eyes," likewise bear some semblance of sounds to come from the trio. Price: 300 Euro
976. GINGER BAKER’S AIRFORCE: “S/T” (Polydor Japan – MP-9341- 42) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Obi: Mint). Bloody rare & obscure Japan ONLY issue of this stunning Baker jam, complete with OBI. Comes housed in completely different gatefold jacket art. Out of the wreckage of Cream & Blind Faith mushroomed hip grooves ignited by Baker. Ginger Baker was the hippest of the group's 3 members. With his new found group Air Force — essentially a 10-piece (which seems to have been expanded beyond even that number for this set) that came up with some of the most monstrous jamming this side of the Atlantic at that point in time. At its base, the group's in the jazz rock mode — with players that include Brit jazz luminaries Phil Seamen, Harold McNair, and Graham Bond, plus rockers like Baker, Steve Winwood, Denny Laine, and Rick Grech. The tracks are all long butt shaking groovers in a post-beat/ psychedelic group mode — and the best tracks have a jamming sound that's pretty over the top! It's full of the propulsive, Afro-influenced bass and percussion, some wild, jazz funk flute and sax, plus amazing work on violin, guitar and occasional, ephemeral vocals. Awesome stuff — one of the best and most innovative live albums of the rea! Top condition, hardly ever touched & seriously rare Japan only issue. Hardly ever turns up, this copy is virginal. Mint all the way. Price: 300 Euro
977. GINGER BAKER’S AIRFORCE: “S/T” (Polydor Japan – MP-9341- 42) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Near Mint). Rare Japan ONLY issue of this stunning Baker jam. Comes housed in completely different gatefold jacket art. Comes dead cheap as the Obi is missing – top condition all the way. Price: 50 Euro
978. GIRLS AT OUR BEST: “Politics b/w It’s Fashion” (Record Records – R.R.2) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Scarce 1980 UK first original pressing of amazing post punk slide. Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands that cropped up at the turn of the 80s coming out of nowhere (Leeds btw)– long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude ‘Jo’ Evans, forming a song-writing team with guitarist James Alan and bass player Gerard Swift after they met at art college. The band took its new name from a line in their track ‘Warm Girls’, which first appeared on their self-financed 1980 debut single coupled with ‘Getting Nowhere Fast’ on their own Record Records. The song reached No. 9 on the UK Indie Chart, and was followed up by their second single, ‘Politics’ c/w ‘It’s Fashion!’, also initially released on Record Records but picked up by Rough Trade Records, reaching No.12 on the Indie Chart. Single number two was “Politics!” b/w “It’s Fashion” and was a big step up in production caliber due to the presence of Laurence Diana, who would also helm their album. The A-side was a refinement of their early sound with Evans’ vocals more winning than ever. It was on the single’s B-side, that the band first discovered what would become a major component of their sound. “It’s Fashion” sported a singsong, chanted vocal delivery that recalled cheerleader cheers more than anything to do with rock music. Meanwhile, the members of the band seemed nonplussed by the stylistic shifts inherent in this “shakedown cruise” phase. Amazing form start to finish! Price: 50 Euro
979. GISMONTI, EGBERTO & NANA VASCONCELOS: “Duas Vozes” (ECM/ Polydor Japan – 25MJ.3463) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original pressing from 1985. “Aquarela do Brasil," an unofficial anthem of Brazil, may have received literally thousands of different version and interpretations, but even then, Egberto and Brazilian percussionist Nana Vasconcelos (his sole accompanist here) were able to devise an extremely original version, which opens with an unassuming stylized samba introduction, slowly bringing elements which conduce the listener to the piece's identification. Egberto is very fond of percussive attacks and ethereal configurations, both acquiring superior importance in his music, not being necessarily attached to or supportive for a musical theme or melody. Therefore, the next defined melody presented (in the low strings of his 10 string violão) is at track six, "Bianca," which is a complex yet lyrical construction based in which seems a folkloric rhythm motif. Follows "Dom Quixote," another beautiful, lyrical, courageously simple theme delivered at the piano, with Nana’s emulating of an African chant and his triangle playing in the forró tradition.” (All Music). Scarce Japan original pressing in top shape. Amazing sounding pressing. Price: 50 Euro
980. The GIUSEPPI LOGAN QUARTET: “S/T” (ESP Records/ ESP-DISK 1007) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint – still housed in shrink with no defects but faint foxing under shrink due to age). Original 1965 US first original stereo pressing! “One of the more mysterious figures on the always mysterious label ESP-Disk, Giuseppi Logan was a Philadelphia-born reedman who made only two recordings as a leader and less than a dozen more as a sideman before disappearing entirely. One of the most uncompromisingly "out" free jazz records of its time, this 1964 session features Logan on tenor and alto sax, Pakistani oboe, clarinet, flute, and even bass, backed with a piano-bass-drums trio featuring drummer Milford Graves, the leading free jazz drummer of the New York scene. Graves doubles on tabla, adding the then-unique Indian percussion sound to the chaotic opener, "Tabla Suite." The other four tracks are slightly more restrained than that wild start, but while pianist Don Pullen and bassist Eddie Gomez occasionally slip into recognizable chord patterns and time signatures (particularly on the almost conventional opening section of the 15-minute "Bleeker Partita"), the completely free playing of Logan and Graves keeps the set firmly in free jazz territory. Detractors have long said that Logan went into free jazz because his technique was poor but, while his tone is occasionally a little weak, his solos never sound random in the manner of an undertrained player. The Giuseppi Logan Quartet is definitely only for the free jazz faithful, but it's a solid, often fascinating set.” (All Music Guide). Brilliant slide, one of the highlights in the ESP catalogue. Damned rare US 1st press original with 180 Riverside Drive address noted on wrap around first issue sleeve. Top shape! Price: 175 Euro
981. GIVE PEACE A CHANCE: “Live At Imba!” (Doll Record – KSP-51254) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Impossibly rare 1977 Japan private press issue, released in an edition of 50 ~ 99 copies only. Well you can’t judge a book by its cover or a record/ group by its name as is the case here, but Give Peace A Chance is one hell of a fuck-around spiritual free jazzing combo that surely will set your ears and hearths on fire! Self-funded and privately released in 1977 Kyoto, Give Peace A Change was a mixed race Japanese quartet comprised out of three Japanese free jazz heads being Ikeda Norifumi (sax/ percussion), Beck Shujiro (bass/ percussion), Asayama Kotaro (drums) and Henry Star (trumpet, percussion and student of Nathan Davis and Woody Shaw) an American transplant who brought with him the reigning US spiritual jazz vibe to interbreed with the domestic Nipponised underground jazz narrative. A successful cross-pollination in texture and sound that adds the right musical spice and free-floating vibe to make Give Peace A Chance such an unique unit. The whole affair was recorded live at a small jazz club called Imba, Kyoto on March 27, 1977. Right from the get-go, they unleash an all-incinerating racket, an ominously heavy whirlwind of feverish, infernal blowing. Asayama is a standout in these sessions and exerts explosive and alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. Tight bursts of energy, ripping notes to pieces like there is no tomorrow. With the bell of Star’s trumpet pumping upward the notes seem thrust towards the ceiling of the club where they hammer each other creating deafening claps of unmitigated thunder. Percussive rattles bang and clatter with deliberateness, adding a tribal touch to the live concert session. Parsing out the extraneous sources of bass and percussive sound provides a brief breathing ground for a spiritual interlude, injected with delicate horn punctuations before the thorny vernacular of honks, growls and interval-obliterating skronk to erupt again. Star brings AACM influenced tonal colors to the jam, adding a defining American flavor to it all, creating a sparse, capacious canvas that allows notes singular status and silence its own riffs and accents, boiling down to a rich stew of pungent, gnarly horn passages. It gels the symmetry of the quartet into an elastic flow, with the playing bouncing between freeform freak-outs, frequently sparse interludes but yet ever virtuosic. The focus on fine-grained gestures and methodical placements continues across the concert even during the sections of bulldozing intensity & stripped down improv to create a welcome and varied contrast between the individual players and creating a cross-cultural free-jazzing sound. Highly unique record, impossibly rare and so far I only know of 2 people owning a copy, making this one the 3rd so far out there. Totally unknown to most, but fucking awesome free spiritual improvisation that upon playing it loud makes me toss and turn like a crack baby in a cold hallway. It is just that good! Price: Offers!!!
982. GLASTONBURY FAYRE: “The Electric Score” (Revelations Records - REV 1/2/3) (3 LP Set: Near Mint/ Multiple Gatefold Jacket: Near Mint/ All Inserts & Booklet & Poster & Pyramid: Near Mint/ Plastic Outer Bag: Near Mint with imprint clear and fully readable). TOP COPY! Original 1972 UK pressing. Rare triple LP set. Original green /red Revelations labels. Complete with all inserts and always-elusive imprinted outer plastic bag. 
Includes the following:
1) Large, six-pane, fold-open poster cover made from heavy cardboard. Two-sided. One side is a picture of the pyramid stage at the festival. The other side is a picture of the festival grounds after the festival. 
2) 32-page Glastonbury Fayre program. Includes pictures from the festival, articles on the environment, Worthy Farm, poetry, a new society, building the pyramid stage, listing of bands and playing times, astrological conjunctions, perception of space and distance, chemical messengers, and the meaning of ecology.
3) Four-page fold-open credit booklet. Two-sided. Includes The Electric Score, Gong at Glastonbury, two pieces of psychedelic art, and band listings with photos of bands, personnel, and comments about the band.
4) Four-page fold-open The Void insert. Includes Dome Sweet Dome.
5) Make-your-own pyramid. Black / metallic silver insert. Side 1: The Grateful Dead-Dark Star (recorded live at Empire Pool, Wembley, April 8, 1972.
Side 2: Brinsley Schwarz-Love Song (recorded at Olympic Studios, London), Mighty Baby-A Blanket in My Muesli (recorded live at Glastonbury Fayre on June 25, 1971).
Side 3: Marc Bolan-Sunken Rags (recorded at Marc Bolan's home), Pete Townshend-Classified (recorded at Pete Townshend's home studio), David Bowie-Supermen (recorded live at Trident Studio), Hawkwind-Silver Machine & Welcome (recorded live at the Roundhouse, London, February 13, 1972), and Skin Alley-Sun Music (recorded at Trident Studios).
Side 4: Daevid Allen & Gong-Glad stoned buried fielding flash and fresh fest footprints in my memory . . .
Side 5: The Pink Fairies - Uncle Harry's Last Freak-out & Do It (recorded live at Glastonbury Fayre, June 24, 1971).
Side 6: The Edgar Broughton Band-Out Demons Out (recorded live at Glastonbury Fayre, June 24, 1971). Amazing historic slide. Price: 350 Euro
983. GLOBE UNITY: “Improvisations” (Nadja Records – PAP-9191) (Record: Near Mint/ Jacket: Excellent – faint mildew aging spots against white background but very faint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese pressing all complete with 1st issue obi. WHITE LABEL PROMO issue. Price: 50 Euro
984. GLOBE UNITY: “Compositions” (Nadja Records – PAP-9184) (Record: Near Mint/ Jacket: Excellent – faint mildew aging spots against white background but very faint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese pressing all complete with 1st issue obi. WHITE LABEL PROMO issue. Price: 50 Euro
985. GLOBE UNITY ORCHESTRA: “Globe Unity ‘74” (Free Music Production – FMP-S4) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Rare FMP single release out of 1974 by this group spearheaded by Peter Brotzmann. Free form freak-out brain ripper of a slide. Those FMP single releases appeared originally in small runs – way smaller than the initial 1st pressings on the label and surface only sporadically these days. This copy is as virginal as can be. Heavy free form blow out that will catapult you through the stratosphere and back. Killer. Price: 50 Euro
986. GLOBE UNITY ORCHESTRA: “Bavarian Calypso” (Free Music Production – FMP-S6) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Another early FMP single release by this monster group from 1974. First and sole original pressing with “made in West Germany” on label. Free form improvisation heavy blow out resembling the Big Bang. Rarely surfaces and this condition is the best one can possibly get. Top copy. Price: 50 Euro
987. The GODS: “Hey Bulldog b/w Real Love Guaranteed” (Odeon – OR-2243) (Two Track Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only issue with picture sleeve – WHITE label PROMO issue. Two killer tracks on each side, with the highlight being “Real Love Guaranteed”, a thundering freakbeat garage outburst that just rips the system apart like a pile of cheap hay and makes you feel as worthless as tits on a boar hog. Japan picture sleeve issue that just surfaces once every decade and this bay here is in pristine condition. Rare forever so…. Price: Offers!!!


988. GOLDEN CUPS: “Live Session – Recorded Live At Yokohama Zen” (Capitol Records – CPC-8009) (Record: Mint, not even a spindle mark in sight/ Fold Out jacket: Mint/ Attached Picture Insert: Mint/ OBI: MINT) Top-notch copy that comes on blood RED WAX!! Comes with OBI, the obi of this one is seriously RARE!!! First time ever I have a copy with obi to spare of this psych monster. Total dead mint. Rare 1st pressing. Without a doubt the single rarest Golden Cups disc is this one, their live album recorded at Yokohama Zen in 1969, an event for which they were joined on staged by Yanagida Hiro (Food Brain, Apryl Fool fame) and Speed Glue and Shinki's Shinki Chen. Blistering fuzz crescendos, heart pumping bass throbbing, nasal wailing vox, all the works. The disc is housed in a fold out jacket and comes on red wax. Quality all way round. The music is even more stellar and documents the Cups at the height of their glory, R&B, filthy greasy rock covers and just plain trashy surf punk in the best tradition like “I'm So Glad”, “Season of the Witch” and the 10 minute lysergic “Zen Blues” amongst others. Great late sixties Japanese psychedelic trash. Highest recommendation and getting almost impossible top track down on these shores with obi present, first complete copy I see in over a decade!!! Top and mint condition. Impossibly rare and hard to get with obi present....without obi it is an easy getter but complete with obi is damned near impossible. Price: Offers!!!
989. GOLDEN DAWN: “Power Plant” (International Artist – IA-LP-4) (Record & Jacket: Mint – Perfectly SEALED ORIGINAL). True 1st original pressing in unbelievable condition, impossible to upgrade on this one as this one is SEALED and in perfect shape, absolutely no defects – a time-machine copy. No discoloration, no defects in shrink, just as it came out over half of a century ago. Sealed copies of this beast are rare, only less than a handful seem to be around so the final upgrade copy for a record that is firmly on the rise these past years. “One of the Texas psychedelic '60s groups on the legendary International Artists label, most famous for the 13th Floor Elevators. In fact, the Golden Dawn sounded a lot like the Elevators, although their lead singer had a gentler, more fragile delivery than Rocky Erickson. The similarity wasn't terribly surprising given that lead singer George Kinney had grown up with Erickson, and had once played with him in a pre-Elevators group, the Fugitives. Kinney also played in the Chelsea, which for a time included 13th Floor Elevator Powell St. John. The Golden Dawn became a part of the International Artists roster with the Elevators' help. They released a decent album in the late '60s, Power Plant, that (again, like the Elevators) featured a florid cover, inscrutable liner notes, and inscrutable lyrics. George Kinney's role in the Rocky Erickson saga wasn't finished when the Golden Dawn broke up; he financed the publication of Erickson's book, Openers, which helped get Rocky out of Rusk State Hospital.” (Richie Unterberger, All Music Guide). One lost classic of Texas psych that rips through similar sonic wastelands as the 13th Floor Elevators. And it is easy to see why since many people exposed to this fabulous album rate it as the second-best International Artists album after “Easter Everywhere”. With a more youthful and energetic snotty-psyched out garage punk feel than the Elevators, the Golden Dawn recorded this classic way back in July 1967 and it has withstood the ageing process better than any other album. In all a dead stone classic of psychedelic garage punk out of an era when dope was great and the high long and lasting. A masterpiece. Recently demand is rising on this one and especially virginally clean copies are a bitch to dig up. This copy is perfectly SEALED and will be the much-needed incentive for your low-rider perverted wet dreams at night. Total classic. Price: Offers!!!!

990. The GOLDEN DAWN: “My Secret World – Spring-Heeled Jack – The Railway Track” (Sarah Records – Sarah Nine) (EP Record: Excellent/ Picture Sleeve: Near Mint/ Poster: Near Mint/ Insert: Near Mint). Rare 1988 original press issue released on the legendary Bristol based Sarah Records imprint. A band spellbound by the occult is hardly a radical concept. However, Glasgow’s the Golden Dawn took that fascination to another level, going as far as naming their band after the Hermetic Order of the Golden Dawn, an organization that traced it roots to a magical fraternity founded in London in the late 1800s. The group also had a penchant for bestowing titles upon gigs, like “Musick In Theory And Practice,” a play on the Aleister Crowley book, Magick In Theory And Practice. Unfortunately, The Golden Dawn’s side interests were discussed as much as their music, thanks to a rather minimal sonic output. The first of just two singles the Scottish outfit ever released (and both with Sarah), the abrasive “My Secret World” is driven by a plodding bass line, the song’s melody neatly tucked away in the background. Amid squalors of distortion and feedback, the song closes with an incantation of its title (fitting, since at the time of this release, the relatively unknown label was starting to gather a stable of fervid followers) before vocals and amps couple to produce a stern “Shhhhhh.” Just awesome!!! Price: 60 Euro


991. GOLOWIN, SERGIUS: “Lord Krishna von Goloka” (Ohr/ Die Kosmischen Kuriere – KK58002) (Record: Near Mint/ Laminated Gatefold Jacket: near Mint). Rare original German pressing of this all time great psychedelic head swirl. Recorded in 1972 and released the year after, “Lord Krishna von Goloka” is again a sort of an all star of the Krautrock scene recording, in this case headed by Swiss spiritual gypsy Sergius Golowin ranting mystic space-age hippy mumbo jumbo while getting flanked and beamed-up towards even higher places by ace scenesters such as Bernd Witthuser (Guitar), Walter Westrupp (Guitar), Jerry Berkers (Guitar), Jurgen Dollase (Keyboards) and Klaus Schulze (Drums, Mellotron, Electronics, Organ, Guitar, Percussion). The album really sounds like a cross between the styles of the participating musicians and comes over as a magic mixture of early Floyd-like spaced out psychedelics, electronic trippy effects from the hand of Schulze and traces of cosmic lysergic folk, all blended together into one potent brew that will have you levitating for weeks on end. A classic, this being here the first original German pressing. TOP condition. Price: 275 Euro
992. GOLSON, BENNY: “Gone With Golson” (Prestige New Jazz/ Nippon Victor – RANK-5067) (Record: Excellent ~ near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan first press original all complete with seldomly seen first issue obi. Top shape and damned – seriously rare all complete and in great nick. Shortly before the formation of The Jazztet, tenor-saxophonist Benny Golson and trombonist Curtis Fuller teamed up for this quintet set with pianist Ray Bryant, bassist Tommy Bryant and drummer Al Harewood. Although Golson contributed three of the six songs ("Blues After Dark" is the best-known one), the emphasis is on his playing; the tenor is quite heated on the up-tempo blues "Jam for Bobbie." A fine example of hard bop of the late '50s.Price: 200 Euro
993. GOMEZ, EDDIE: “Down Stretch” (Trio Records – PA-7141) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned scarce and all complete Japan only issue of this all-out amazing slide. Legendary bassist Eddie Gomez hardly ever has a down stretch – especially given all the creative combinations he's worked in over the years – and this rare 70s album from Japan is more of a high point than anything "down" at all! The record's a trio date, with killer work on Fender Rhodes and piano from Takehiro Honda – who's easily one of the key Japanese pianists of the time, and a musician who really brings a different sort of energy to the record than some of Gomez's other sessions with piano players, especially Bill Evans. Drummer Elliot Zigmund is also nicely creative, too – really working the kit in unusual ways, and often staying back a bit so that Eddie can get some wonderful space in the lead, especially at the start of some of the songs. The whole thing's great – an overlooked moment of genius from Gomez. A hard one to catch and quite a shy and largely overlooked little gem. So highly recommended if you are into Japanese jazz/ spiritual vibes slides. Top notch copy, impossible to ever improve upon. Price: 150 Euro
994. GONG: “Magick Brother” (BYG/ Geion – YX-6054) (Record: Near Mint/ Gatefold Jacket: Near Mint – some faint foxing inside gatefold). Rare Japan original that comes housed in Japan only gatefold sleeve art. The music needs hardly any introduction and is next to the band’s “Continental Circus” disc one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Excellent music housed in extremely rare different jacket. Hardly ever surfaces and this copy is in great condition. Highly recommended and mega collectible. No obi so this one comes dirt cheap. Price: 200 Euro
995. GONG: “Flying Teapot” (BYG Japan – YX-7024) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Excellent/ Insert: Near Mint). Totally clean copy of this early Gong Album that comes with obi and Japanese only altered jacket. The original OBI IS DAMNED rare, only 2nd copy I ever see. Flying Teapot is Gong's first major foray into their Radio Gnome Invisible universe. Here, titular teapot transmits telepathic radio signals, disgorges its Pot Head Pixies onto the prayer mat of an angry alien named Lawrence, who are then rescued by a yogi named Banana, encounter Zero The Hero and are ultimately seduced by The Good Witch Yoni. And so much more delirious outer space rantings. Gong is definitely an acquired taste, arguably one of the trippiest bands ever to have mounted a stage. The 12-minute title track “Flying Teapot” devolves from soundscape to sax solo to deep space explorative dancing on a thin wire, which may match the story line. Even better are the humorous songs that set up a specific scene like “Radio Gnome Invisible” and “The Pot Head Pixies”. However, the highlights are the blissed-out electronic passage “The Octave Doctors And The Crystal Machine” and the zany erotic “Witches’ Song/I Am Your Pussy” sung by sexy underground almost sex kitten like witch Gilli Smyth. In the spirit of chemical experimentation, Gong acknowledges no boundaries and seeks no destination twice. Like Pink Floyd and Hawkwind and the other spaceships of the Sixties, they sail through space at their leisure, tell jokes to one another, slip into interstellar overdrive sometimes, and arrive where they arrive and when they arrive. What separates them from their fellow spacemen is their absurd sense of humor; Floyd and Hawkwind were usually far more serious. The Flying Teapot is like a sonic sculpture that suggests the human form; maybe it says something deep about the universal human experience or maybe it just knows that naked people like to stare at fully clothed mammals. A classic. This is the rarely seen 1st Japanese pressing, complete with obi, gatefold, insert and virginal high quality vinyl. Just intoxicatingly and mind bending, skull scrapingly great. Price: 250 Euro
996. GONG: “Angels Egg” (Virgin Records/ Nippon Columbia – YX-7028-VR) (Record: Near Mint/ Gatefold jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint/ Rare additional 2nd OBI: Near Mint). Bloody rare Japan 1st original pressing all complete with always-missing booklet and first issue obi. This issue comes with the very RARE DOUBLE VIRGIN OBI – heard rumors about for years but finally managed to track down a copy. This one just does not surface. Hardly ever seen 1st edition Japanese press as issued by Nippon Columbia (2nd issue with different obi came out on Victor) with obi of this groundbreaking subliminal Gong masterpiece. Label has the design of the two Virgin girls with dragon in full color. The second album in the Radio Gnome Invisible trilogy, Angel's Egg features all the familiar sound elements of classic-era Gong. Here the emphasis is not on blissed-out, psychedelic-fusion jams like “You” but more on shorter vignettes developing Allen’s Zero the Hero story. What is most immediately apparent about the album is how different it sounds musically from the previous Gong releases. Truly, Angel's Egg is the epitome of a transitional release: it shares content and structure with the two earlier Gong albums, but the polished sound and synthesizers point towards the band's future. The results are consistent and mostly impressive, although the strict adherence to the concept and the shortness of some of the songs keep things from quite taking off and regularly reaching the highs of the more uneven “Camembert Electrique” and “Flying Teapot”. The vaguely Eastern-sounding opener “Other Side of the Sky” with its all bubbling synthesizers, airy saxophone and the occasional space whisper sets the tone for the new Gong sound. Some excellent groovy numbers capture the essence of past Gong highlights such as “Flying Teapot” and “Fohat Digs Holes in Space”, but they're shorter, slicker and they smooth over some of the previous albums’ edginess. Only “Ooby Scooby” sounds like it could actually have come from one of the previous albums. The other pieces show the band expanding their musical vocabulary, from short guitar and synth interludes, to Pierre Moerlen’s malleted “Love is How You Make It”, Didier Malherbe's zany “Eat That Phone Book Coda” and Gilli Smyth’s erotic cabaret-style “Prostitute Poem”. This is an album that rewards repeated exposure. Its diversity and the shortness of some of the songs can make it elusive to hone in on, but eventually I think it is one of the key releases in the Gong discography. This copy here is the rare 1st edition Japanese press with obi. Vinyl is virginal, just too beautiful to handle. Great…. Price: 400 Euro
997. GONG: “You” (Nippon Columbia – Virgin Records – YX-7014-VR) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Mint/ OBI: Near Mint). Rare Japanese 1st original pressing. Complete with always missing first OBI!!! Comes on the 1st print Virgin label, probably the coolest label design ever. High quality Japanese virgin vinyl pressing that totally waxes the ears and oozes the brain. Master Builder still rules here. Top copy and dead mint. Price: 125 Euro
998. GONG: “Live At Sheffield 1974” (Mantra – 042LP) (Green Vinyl LP: Excellent ‾ Near Mint/ Gatefold Jacket: Near Mint). France only LP release of this head spinning live set by Gong at their prime. Price: 50 Euro
999. GONG: “Gong Est Mort” (Tapicoca – TP-10002~3) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent). French original 2 LP pressing of killer Gong live set. Classic live recording of Gong at the height of their psychedelic outlaw freak show. Recorded on 28 May 1977 at the Hippodrome in Paris, these 76 minutes include some of the band's highest achievements: songs included in The Radio Gnome Invisible Trilogy (Flying Post, Angel's Egg and You)' and Camembert Electrique' albums contribute to shape Gong's sonic cosmology, foundational to a boundary-crashing music style between jazz and space rock. Essential!!! Price: 50 Euro
1000. GORDON, DEXTER: “Clubhouse” (Blue Note/ King Records – GXF-3055) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan only issue of previously unreleased Dexter Gordon recording for which he got flanked by Freddie Hubbard, Barry Harris, Bob Cranshaw and Billy Higgins. One of the enduring mysteries of Blue Note history is that superb sessions such as Dexter Gordon’s Clubhouse (recorded in 1965) remained unreleased in the vault until the late 1970s when King Records in Japan released it. Recorded during the middle of Gordon’s “golden period” career renaissance after he signed with Blue Note in 1961, the tenor saxophone legend is joined by Freddie Hubbard on trumpet and the remarkable rhythm section of Barry Harris on piano, Bob Cranshaw on bass, and the great Billy Higgins on drums. Long Tall Dexter’s rendition of the Sinatra evergreen “I’m a Fool To Want You” stands as one of his all-time greatest ballad performances. Price: 100 Euro

1001. GRACHAN MONCUR III: “New Africa” (BYG Actuel – Actuel 22/ BYG-22) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Near Mint). Original 1970 Japan 1st original pressing all complete with attached insert and first issue obi. New Africa was recorded 1969 in Paris.  The sidemen are all celebrated in their own right in jazz circles.  Drummer Andrew Cyrille and bassist Alan Silva played with Cecil Taylor. Roscoe Mitchell is alto saxophonist for the Art Ensemble of Chicago, who were just making a name for themselves in Paris the same year.  Tenor saxman Archie Shepp, a protégé of John Coltrane, had released critically acclaimed albums on Trane's own Impulse label.  Three years out of Berklee College of Music, pianist/composer Dave Burrell had been experimenting with improvisational music in New York City. Archie Shepp's solo in "When," calling it "one of the best tenor sax solos on record. Beginning with a low guttural cry, Archie Shepp announces that this will not be a typical outing.  The next three minutes, the tenor sax master is in complete command of every second, including the prescient moments he chooses not to play.  Without a trace of pedantry, Shepp shows he's completely digested New Orleans early jazz, Ellington's coloratura, honkers like Big Jay McNeely, Thelonious Monk's dramatic spacing of notes, and John Coltrane's wall-of-sound. When the tour de force is finished, Dave Burrell still has a piano solo to perform.  He wisely restrains himself from grandstanding nor one-upmanship and his understatement helps cool the proceedings down to a satisfying finish. Price: 150 Euro

1002. GRACHAN MONCUR III: “Aco Dei De Madrugada – One Morning I waked up very early…” (BYG Actuel – BYG-27) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint/ OBI: Mint). Unplayed MINT copy. Comes with freakingly rare first press issue obi. White label test pressing, Japanese original. “Essential stuff -- and one of a few albums recorded for BYG/Actual by trombonist Grachan Moncur III -- some of his best work after his initial classics for Blue Note! The album features Moncur fronting a European rhythm section -- performing one side of interpretations of Brazilian folk tunes: "Aco Dei De Madrugada" and "Ponte Lo"; and another of two originals: "Osmosis" and "Tiny Temper". Anyone familiar with Moncur's style can't help but appreciate his coloristic slides and slurs, or his marvelous textural splashes of tone, or his individual phrasing, shaped more by his unique vision than any standard trombone slide or valve brass tradition. While his wonderful Blue Note sides were very modernist, these BYG sessions find Moncur at his most expansive -- more groundbreaking work from one of our favorite "new thing" artists!” (Dusty Groove) High quality vinyl pressing from December1970 and sounding so much better than the French pressings of that day, it will wrap your ears around your head in pure delight. One of the hardest to come by Actuel titles, especially with OBI present and a white label test press issue. Price: 150 Euro
1003. GRACHAN MONCUR III & The JAZZ COMPOSER’S ORCHESTRA: “Echoes of Prayer” (JCOA Records/ Trio Records – PA-7108) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Promo issue of scarce Japan press issue of amazing free jazz classic. Trombonist Grachan Moncur, one of the unsung and under recorded heroes of the avant-garde, has recorded far too infrequently as a leader. This obscure LP, his fourth major project, preceded a long period in obscurity. The Jazz Composer’s Orchestra commissioned the lengthy four-movement piece "Echoes of Prayer" from Moncur, and the all-star orchestra performs the work with its composer. Among the soloists during the many sections are Moncur, altoist Carlos Ward, Both Cecil McBee and Charlie Haden on basses, Pat Patrick on flute, trumpeter Marvin Hannibal Peterson, violinist Leroy Jenkins and clarinetist Perry Robinson. Also on the album are a dance ensemble (who play percussion) and the voices of Jeanne Lee and Mervine Grady. The music is quite advanced, highly adventurous, sometimes pretty dense, and will take you to intense freeform workouts. Massive slide – here you have the scarce Japanese original high-quality press issue with OBI. Price: 125 Euro
1004. GRACIOUS: “S/T” (Vertigo/ Nippon Phonogram – SFX-7362) (Record: Near Mint/ Gatefold Jacket: Near Mint with the slightest and faintest trace of foxing near bottom seam/ Insert: Excellent ~ near Mint/ Obi: Near Mint). Ok, here you have it, one of the rarest Japanese press issues out there that just about never ever surface with OBI present – let alone in such pristine shape as this copy here. Japan press original copy on Japanese Vertigo Swirl label. Magisterial debut album by these UK psych proggers. The music is spiced up with loads of mellotron and harpsichord with floating mellotron lines and symphonic touches. Still along the way greasy and distorted organ riffage comes into the picture, baroque tinted elements zoom in and out of focus and the band takes you through many mood sets and atmospheres ranging from the earbleedingly beautiful to the disharmoniously energetic. In short, this all-time classic monster is an impressive and truly fabulous progressive rock album. Original Japanese Vertigo Swirl label, a TOP copy and complete with never offered before stupidly rare OBI. Massive and highly essential to these ears. Price: Offers!!!!

1005. GRAFFITI: “S/T” (ABC Records – ABCS-663) (Record: Near Mint/ Gatefold Jacket: Near Mint) Top condition US 1st original press issue. One of the very best US psych albums floating around in the lower price range but one that also seems to have fallen of the map as of late. The music is total killer with no filler, psychedelic dreams spiked with addictive fuzz licks, swirling effects, strong songs and superb vocals. This disc has been an overlooked gem for many decades, lingering around in the discount bins but belated but nevertheless long overdue reappraisal has condemned it for slowly shooting out of the mud and into a place where it belongs and getting rarer and tougher to score. Comes highly recommended. Price: 150 Euro

1006. GRAPEFRUIT: “C’mon Marianne” Stateside Dunhill/ Toshiba Musical Industries – HP-8651) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ Obi: Near Mint) Bloody rare Japan original pressing all complete with mega rare obi. Comes pressed on RED wax. “Like the fruit after it was named, Grapefruit's debut album was at times too sweet, but was on the whole a promising and worthy effort. Devoted almost wholly to songs written by leader George Alexander, the record featured tuneful, upbeat mid-tempo late-'60s British rock with good harmonies, creative ornate arrangements, and a very slight and very sunny psychedelic tinge. Certainly, similarities to the Paul McCartney-penned tracks from the Beatles’ own psych-pop era are evident, and if George Alexander’s songs weren't in nearly the same league as McCartney's, well, no one working the style was in McCartney's league. Grapefruit was at their best on the occasional songs in which they reached into slightly darker and more melancholy territory, particularly when they made creative use of strings, organ, baroque keyboards, and Mellotron, as on "This Little Man" and "Dear Delilah" and the instrumental "Theme for Twiggy." The latter tune sounds like something that could have been killer had words been devised; as it is, it seems like something that wasn't quite seen through to completion. There's also the Four Seasons cover "C'mon Marianne," which, although it wasn't one of their better tracks, was (along with "Dear Delilah") one of their two small U.K. hits.” (All Music Guide) Complete copies with obi are virtually non-existent as sales were depressingly low upon its release in Japan in 1968. First copy with obi to surface in 20 years’ time. Top condition. Price: Offers!!!
1007. GRATEFUL DEAD: “Viola Lee Blues (part 1) b/w Viola Lee Blues (part 2)" aka Cisco Sound” (7-Inch) (Toshiba Records – BR-1781) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve Jacket: Mint/ Company Inner Sleeve: Near Mint) Wooow, another true killer of a disc and a monster rarity, an original single release by the Grateful Dead to accompany their 1st album release in Japan way back in 1967!! Housed in a rarely seen sleeve, only used for this single to accompany this Japan release, the disc covers the track Viola Lee Blues, split over the two sides. Killer all way round in super condition and true rare find, virtually impossible to lay your claws upon. Extremely collectible, Dead singles of their early days are almost impossible to find, especially those issued in Japan since they were put out in extremely little runs. Due to poor sales they were pulled out of circulation, making them these days almost impossible to find. The music is also stellar and Viola Lee Blues is a true acid drenched stopper of a track. Comes in nice fold out sleeve. Price: 275 Euro
1008. GRATEFUL DEAD: “Good Morning Little Schoolgirl b/w The Golden Road” (Warner Japan – BR-2227) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Another true killer of a disc and a rarity, an original single release by the Grateful Dead to accompany their 1st album release in Japan way back in 1967!! Housed in a rarely seen sleeve, only used for this single to accompany this Japan release. Killer all way round in super condition and true rare find, virtually impossible to lay your claws upon. Extremely collectible, Dead singles of their early days are almost impossible to find, especially those issued in Japan since they were put out in extremely little runs. Due to poor sales they were pulled out of circulation, making them these days almost impossible to find. Great cover art, green Warner label, totally wicked and bloody rare. Top-notch condition. Price: 275 Euro
1009. GRATEFUL DEAD: “China Cat Sunflower b/w St. Stephen” (Warner – BR-2334) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only Grateful Dead EP release, by far the rarest Grateful Dead related item to seep out of Japan, even eclipsing the Dark Star single. So, as rare as their Japanese EP single of “Dark Star”, but offered less frequently, “China Cat Sunflower” is one of the Dead’s rarest releases. Top condition, rarely seen or offered stock copy issue. Price: Offers!!!!
1010. GRATEFUL DEAD: “Uncle John’s Band b/w Cumberland Blues” (Warner Bros Japan – BR-2599) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent/ Company Inner Sleeve: Excellent). Damned rare Japan only single issue complete with unique picture sleeve. The single record comes pressed on blood red wax. Only the 2nd copy to cross my path during the last decade, another elusive Dead artifact from these foreign shores. Great copy. Price: 450 Euro
1011. GRATEFUL DEAD/ ELVIN BISHOP GROUP: “Johnny B. Goode b/w So Fine” (Warner – P-1172W) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent – discoloration of tape residue on left side as always with Japan Promo issue/ Company Inner Sleeve: Near Mint). 1982 Japan only picture sleeve issue – WHITE label PROMO issue. Price: 100 Euro
1012. GRATEFUL DEAD: “S/T” (Warner Bros – W-1689) (Record: Mint/ Jacket: Mint). First original US MONO pressing on gold Warner label. Stunning condition, like new and when you blast the mono version at full force through your speakers, the world will never be the same. Total killer that blows the stereo version straight out of this solar system. Top copy, impossible to upgrade upon. Price: 300 Euro
1013. GRATEFUL DEAD: “S/T” (Warner Bros. Japan – BP-8222) (Red Wax LP Record: Near Mint/ Flip Back Jacket: Near Mint ~ Mint/ Insert: Mint/ OBI: Mint) Impossibility rare 1967 original all complete with first issue OBI. Bloody rare 1st original Japanese pressing of the 1st Dead LP, as released in Japan in November 1967. Record is the rare Gold label Warner Bros version, earliest pressing and comes on blood RED vinyl. The 1st Dead album sold poorly in Japan, making that the surviving copies of this slide are quite rare and much in demand. This one here is a TOP copy, just stunning and the sound quality blows holes in your earlobes. One of the best LP’s out there, the Dead keep on ruling my world. Never turns up with obi, I guess an ultimate fetish object to accompany some of the best music ever recorded and in a condition that is impossible to ever upgrade upon. Complete 1967 original with OBI is just impossible to dig up these days. Museum quality!! Price: Offers!!!!
1014. GRATEFUL DEAD: “Anthem Of The Sun” (Warner Bros. – Seven Arts Records – WS-1749) (Record: Near Mint ~ Mint/ Jacket: Near Mint – still housed in original shrink). Very rare 1967 original US pressing on olive green Warner Bros label. Comes housed still in original factory shrink-wrap. Archive condition copy. Price: 450 Euro
1015. GRATEFUL DEAD: “Anthem of the Sun” (Warner Bros – Seven Arts Records Japan – BP-8522) (Blood Red Wax Record: Excellent/ Flip back Cover: Excellent ~ Near Mint). Freakingly rare WHITE label TEST PRESS on RED wax!!!. Toshiba pressing on red wax, 1st Japanese pressing of this Dead album, which is impossible to dig up these days. "Anthem Of The Sun" is The Grateful Dead's second album originally released in 1968. Even at this stage, the band was already turning new corners and had reinvented itself both in the studio and onstage. The original five-piece Dead line-up had expanded with the addition of second drummer/percussionist Mickey Hart and additional keyboardist Tom Constanten giving a fuller muscular sound to the entire band. This has simply got to be the most "far out" album to come out of the late '60s Bay Area. For this album, the band recorded a bunch of stuff in the studio, and included a bunch of live snippets, which they spliced in. Phil Lesh was apparently a big fan of avant-garde classical like John Cage and Karlheinz Stockhausen, and it shows here. The Grateful Dead were at their most experimental when they recorded this recorded in late 67 and early 68. This was their second studio record and they wanted to capture the energy and organized chaos of their famed live show in a studio environment. They decided that the best way to do this was to mix live versions and studio versions of the songs into one big sonic collage. Most of the live material was pulled from the 2/14/68 show and layered and mixed into the studio recordings. A truly psychedelic experience. The album flows from track to track, creating a swirling mind melting listening experience... Rare 1st Japanese pressing on Toshiba's famed BLOOD RED WAX & TEST PRESS Issue with Type-faced white label. Price: Offers!!!
1016. GRATEFUL DEAD: “Anthem of the Sun” (Warner Pioneer – SP-8601W) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Scarce Japan 2nd press issue complete with OBI and insert. WHITE label PROMO issue! Top condition of obligatory Weast Coast mind bender! Price: 175 Euro
1017. GRATEFUL DEAD: “Aoxomoxoa” (Warner Bros. – Seven Arts Records – WS-1790) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Pristine condition WHITE label PROMO issue – US first original press issue – with “Promotion – Not For Sale” sticker also present on sleeve. Sleeve has faintest trace of wear (minimal) on lower side but is hardly noticeable. The ultimate acid rock vibe – hell it even surpasses lysergic acid as this record is a drug itself. Real heatwave brain-frying music, the real search party sound to accompany your brain lobotomy operation. Body and brain that spells “Acid”, the inner search light, lysergic pleasures in slow motion. The results of sitting through this slide are alchemical, morphine for your phantasmagorical hallucinations, hypnotic sweet dreams! A dizzy ritual of color and sound, a dazzling mortal mergence of the spastic magic and the hot dance of life. Aoxomoxoa! 4-D gold liquid sonic travels. This s the shit! Super clean PROMO copy for your pure head motion vibes. Hard to improve upon condition. Price: 400 Euro
1018. GRATEFUL DEAD: “Aoxomaxoa” (Warner Bros – Seven Arts Records Japan – BP-8745) (Record: Mint/ Jacket: Near Mint/ OBI: Near Mint ~ Mint/ Insert: Mint). Bloody rare Japan ONLY RED WAX WHITE LABEL PROMO Issue and one of the rarest of all the Grateful Dead related releases is the 1st original Japanese pressing if their 3rd album, complete with 1st issue obi. Never offered for sale before anywhere – it is that rare. One of the rarest records to seep out of Japan and pressed on high quality old skool vintage audiophile vinyl. Total killer and totally unique item. White label PROMO ONLY – RED VINYL and with OBI….. go figure, never surfaces and in this pristine condition? One of the rarest Grateful Dead pressings out there together with Live Dead (which was also promo only red wax issue). Just never gets offered for sale, let alone in such pristine condition as this one here. Do not think twice it is all right… Price: Offers!!!
1019. GRATEFUL DEAD: “Live Dead” (Warner Japan – BP-8899~8900) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint – with mega rare Hojugyo tag still attached on back of the obi). Monster rare Japan 1st original pressing – hardly ever seen stock copy (most copies that surface are promo) with the olive green colored Warner Bros labels. This issue sold so poorly upon its release in Japan that only a handful of promo issues and even fewer stock copies are around. HOLY GRAIL all complete with first issue obi – complete with Hojugyo, just never ever turns up, rarest of the rarest Grateful dead recordings and in Top condition. Just never surfaces, first copy I ever see after scorching wide and far for over 15 years. So here it is, all in its delirious splendor, white label promo, Japan high quality 1st press issue with insanely rare obi, what’cha gonna do about it??…. Price: Offers!!!
1020. GRATEFUL DEAD: “Live Dead” (Warner Bros.-Seven Arts Records – 2WS1830) (2 LP Set: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint – still housed in shrink/ Booklet: Near Mint/ 2 Inner Sleeves: Excellent). Rare WHITE label PROMO copy on awesome condition. This album has it all: the overwrought psychedelic lyrics and feedback solos, the chimes and the mood music, but it also has the driving blues and the backbeat. And, of course, it's live. On that score, it succeeded wildly, pulling parts of shows from February and March of 1969 at the Fillmore West and the Avalon Ballroom, and it came out in the fall just after the Summer of Woodstock (where the Dead played, getting electrocuted whenever they touched their instruments). The total time of the album is just over 73 minutes, an abbreviated representation of their marathon concerts, but it is the show all Dead fans wish they had been to, and which some think they were at. The music on display is a primordial soup, the swirling of matter and antimatter, pops of the bass, chips of the drums, taps of the cymbals, plunks of the guitar all subatomic particles in chaos. Then, slowly, a rhythm emerges, the celestial bodies start coming together, arpeggios are sprung, and we're moving. Then real form develops, and we have a guitar line, a bass line, a beat. It gets stronger, and then Jerry's guitar, the voice rises above the rest, and we're off into a 23-minute version of the ultimate trip song, “Dark Star”, which from then on transmutes into various songs as an excuse for extended improvisational jams and freaks outs disguised as “St Stephen”, “The Eleven”, “Lovelight”, the bone-chilling creepy “Death Don't Have No Mercy” before stumbling down in a grand finale of unwrought feedback that fades out in the hymn “And We Bid You Goodnight”. Original double LP, very rare WHITE LABEL PROMO!! Housed in thick gatefold cover, and is NM. No seam split, no tears, no writings, no stickers, no cut holes + still housed in shrink! Both records have clean shiny surface. Overall record is very, very clean between EX- and NM. White labels are clean with no noticeable damages. Hard to get a hold of in a condition like this one here. Price: 500 Euro
1021. GRATEFUL DEAD: “Workingman’s Dead” (Warner Bros. Japan – BP-80022) (RED WAX PROMO LP: Mint/ Jacket: Excellent ~ Near Mint/ 4-Paged Insert: Near Mint/ OBI: Near Mint). Rarest of the RARE!!!! WHITE LABEL PROMO COPY on RED WAX complete with the very first OBI present!! Only the 1st issue promo came on red wax. This version is way rarer than the rock age obi one, predating it by more than a year!!! Never surfaces & never before offered for sale anywhere, it is that rare. White label – red vinyl PROMO only Warner label. “New Speedway Boogie” kills it time and time again, one of the best Dead albums ever. Rarest version in existence without a doubt. Condition is like virginally new…copies just never surface, heard about it but for more than a decade looking for it I never saw an actual copy until now. This 1st press version with FIRST ISSUE OBI is a true gem that fits the music perfectly. Killer album and sounding like a monster here on Japan’s audiophile 1970’s red wax…. Second time I see of copy of this one in real life and this copy is the most perfect one, next to impossible to ever upgrade upon!!! Price: Offers!!!!
1022. GRATEFUL DEAD: “Workingman's Dead” (Warner Pioneer Japan – P-8096W) (Record: Mint/ Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint/ Company Inner Sleeve: Excellent). Rarest of the RARE!!!! BLUE LABEL PROMO COPY!!! Another Holy Grail in the Rock Age Flower Obi saga is this Grateful Dead LP, never surfaces, this copy is just perfect. Blue PROMO only Warner label. “New Speedway Boogie” kills it time and time again, one of the best Dead albums ever. Rarest version in existence without a doubt. Condition is like virginally new…and only a handful of these with the Flower obi do actually circulate, making it rare for eternity. Only once a copy surfaced on eBay and sold for 1900….so go figure. I am not that greedy and reserve set at a fraction of that going rate. Still, rare as hell freezing over on a hot summer day. Price: Offers!!!!

1023. GRATEFUL DEAD: “Europe ‘72” (Warner Pioneer Japan – P-5070~72W) (3 LP Set: Near Mint/ Triple Gatefold Jacket: Near Mint/ Booklet: Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Rare Japan pressing, first original pressing – stock copy on the olive-green colored Warner Bros label. Issued as a beautifully packaged 3LP tri-fold album. There weren’t many bands that got that treatment and the applied expense given The Dead. But Warner Brothers Records knew they had something special and they were not wrong. Give this set a listen and you’re immediately struck by the cohesiveness of the band. “Europe ‘72” encapsulates a time of great clarity for the band. Pigpen, a popular mainstay of the band was still around. The Dead themselves were as expansive and as perfected as they were ever going to get. Popularity was at an all-time high. It was an excellent time to tour Europe and to treat the growing Euro audiences to the Dead’s legendary shows and mellifluous styles. “Europe ‘72” is the capture of that trip. What it has become is a documented legend, showcasing the essence of rock and roll. Price: 300 Euro

1024. GRATEFUL DEAD: “Europe ’72 – Volume 2” (Rhino Records – 8122 79755 3) (SEALED 4 LP Set) Long gone and out of print 2011 limited release. Highlights includes a magical “Sugaree” from Paris, a heart-stopping “Black-throated Wind” from Copenhagen, and a cosmic, hour-long-plus slice of heavenly “Dark Star>Drums> Sing Me Back Home” from England. Best of all, the sound has been mastered from the original 16-track recordings in order to cater to your audiophile needs. The cover also complements Europe ’72 with new artwork from Stanley Mouse, the artist behind the original cover, as well as other major Grateful Dead art. In this case, it’s new renderings of the Ice Cream Kid without the ice cream in the head routine. Essential! Price: 300 Euro
1025. GRATEFUL DEAD: “S/T” (Warner Bros. – P-5042~3W) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Skull Sticker: Near Mint and Unused/ Obi: Near Mint). Scarce Japan 1st original press issue of scarce Grateful Dead title, all complete with obi, insert and always missing skull sticker. Classic Skull & Roses cover. Clean as a whistle olive green colored warner Bros stock copy label issue in top shape!!! Price: 375 Euro
1026. GRATEFUL DEAD: “Grateful Dead From The Mars Hotel” (Warner Pioneer Japan – P-8470G) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint/ Very First Issue Obi: Near Mint). Rarely surfacing true first Japan 1974 press issue all complete with very first issue obi. Immaculate condition. Welcome to the Mars Hotel and the Dead’s Wall of Sound, the greatest PA system ever constructed, is freshly built and ready to go. Phil Lesh is busy experimenting with a low-frequency concept known as "Earthquake Bass." Jerry Garcia is smiling, fresh from blaring a tongue-in-cheek anthem titled "U.S. Blues" that serves as both an irresistible rallying cry of pride and ironic commentary. And the Grateful Dead's interplay continues to wow, peaking on "Unbroken Chain," the most obvious example yet of the group's shared chemistry and individual talents. Classic and rare Japan 1st press original all complete and pristine as can be! Price: 175 Euro
1027. GRATEFUL DEAD: “Blues for Allah” (Liberty Japan – LLS-80373) (Record: Near Mint/ Jacket: Near Mint/ 6-Paged Japan only Insert: Near Mint). Rare Japanese stock copy of subliminal Dead slide. Top shape, no obi but dirt cheap. Price: 40 Euro
1028. GRATEFUL DEAD: “Blues for Allah” (Liberty Japan – LLS-80373) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 6-Paged Japan only Insert: Mint). Rare Japanese WHITE LABEL PROMO pressing with obi present. “The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir’s Ace Studios to record Blues for Allah. The disc was likewise the third to be issued on their own Grateful Dead Records label. When the LP hit shelves in September of 1975, the Dead were still not back on the road — although they had played a few gigs throughout San Francisco. Obviously, the time off had done the band worlds of good, as Blues for Allah — more than any past or future studio album — captures the Dead at their most natural and inspired. The opening combo of "Help on the Way," "Slipknot!," and "Franklin's Tower" is a multifaceted suite, owing as much to Miles Davis circa the E.S.P album as to anything the Grateful Dead had been associated with. "Slipknot!" contains chord changes, progressions, and time signatures, which become musical riddles for the band to solve — which they do in the form of "Franklin's Tower." Another highly evolved piece is the rarely performed "King Solomon's Marbles," an instrumental that spotlights, among other things, Keith Godchaux’s tastefully unrestrained Fender Rhodes finger work displaying more than just a tinge of Herbie Hancock inspiration. These more aggressive works contrast the delicate musical and lyrical haiku on "Crazy Fingers" containing some of lyricist Robert Hunter’s finest and most beautifully arranged verbal images for the band. Weir’s guitar solo in "Sage & Spirit" is based on one of his warm-up fingering exercises. Without a doubt, this is one of Weir’s finest moments. The light acoustic melody is tinged with an equally beautiful arrangement. While there is definite merit in Blues for Allah's title suite, the subdued chant-like vocals and meandering melody seems incongruous when compared to the remainder of this thoroughly solid effort.” (Lindsay Planer). Price: 250 Euro
1029. GRATEFUL DEAD: “Steal Your Face” (Liberty Japan – LLS-67095~96) (2 LP Set: Near Mint/ Gatefold jacket: Excellent ~ Near Mint – some faint foxing/ Obi: Near Mint/ 6-Paged Insert: Near Mint). Very Rare Japan 1st press original WHITE LABEL PROMO Issue with OBI!!!! Hard to come by Japanese pressing with obi and booklet of this all-time classic Grateful dead album. If psyched out bliss and improvisational interplay are standards you live by, how can you then pass on the Dead? Right you can’t and once you get in their sonic maze of styles, moods and deep spaces that shift through the ages, I am sure that you will have to agree with me. What makes this Dead album so freaking special is that all Japanese pressings of Dead albums up to 1977 are just virtually impossible to get and this one is no exception. They sold poorly at the time in Japan just because of the fact that they were bloody expensive seen against the minimum wage one received in those days. And here you have a totally mint copy of such a Dead artifact. “Steal Your Face” however is definitely not for everybody. If you consider yourself a "deadhead" and have only heard “Touch of Grey”, “Casey Jones” and “Sugar Magnolia” you probably won't like this album. This is an album for the true dead aficionado. “Casey Jones” is the only "popular" song on the album, and may be the worst one on it. You should purchase this album if for no other reason than to have these renditions of “Promised Land”, “El Paso”, “Sugaree” and “Cold Rain & Snow”. These and other tracks on this album show the band's diverse and sometimes eclectic musical tastes, one of the things that makes the Dead so bloody great. This is classic early to mid 70's Dead, be it a bit in a slum but still awesome to these ears and totally laidback and doped out. Recorded during a stretch of live shows at San Francisco's Winterland venue in 1974, this two-LP set contains some of the best Grateful Dead performances ever officially released of that period. The first LP starts with two Chuck Berry songs and an old traditional tune “Cold Rain & Snow”, highlighting the band's roots. The touching “Stella Blue” and the wryly melancholic “Ship of Fools” follow. The second LP is exceptional. Vigorous interpretations of Johnny Cash's “Big River” and Marty Robbins' “El Paso” spike a quintet of classic Dead songs, from the crowd-pleasing “Casey Jones” to the beloved shuffle of “Sugaree” and “U.S. Blues”, one of their most exuberant and freewheeling compositions, is a blast of orange sunshine. “Black-Throated Wind” reveals itself as perhaps the band’s most underrated composition. If this wasn't enough, “Steal Your Face” also includes the definitive version of “It Must Have Been the Roses” itself a charming study in the Grateful Dead’s unique brand of folk/country/psychedelic/rock. Me, I love it, all of it, but then what do I know, I am just a sucker who happens to like fantastic music…with the Dead as one of my all-time heroes. Personally, I can only say, get all you can by the Dead, in the studio they sucked majorly but live they burned all in their wake… White label promo copy on virginal high quality Japanese vinyl, damned rare…Price: 250 Euro
1030. GRATEFUL DEAD: “Without A Net” (Arista – AL3-8634-1‾3) (3 LP Set: Near Mint/ Triple Gatefold Jacket: Excellent) Massive 3 LP live set by the dead documenting their 1990 US & European Tour, which was released in tiny numbers. Price: 150 Euro
1031. GRATEFUL DEAD: “Fillmore West 1969” (Rhino Records) (5 LP Set: Near Mint/ Booklet: Near Mint/ Outer Box: Near Mint). Killer 5 LP set that came out in 2019 as a limited-edition set. Long gone and sold out. Price: 175 Euro
1032. GRATEFUL DEAD: “Sunshine Daydream - Veneta Oregon, August 27, 1972” (Rhino Records – R1-536031) (4 Lp Record: Near Mint/ 4 Panel Gatefold Jacket: Near Mint) Released in 2013 in a limited edition of only 5000 copies. Soaring high and higher skies as of recent so here is a chance to wheel in a cornerstone Dead live set. “ "Sunshine Daydream is more than a simple concert, it’s been turned into a HD movie … an extensive documentary movie, a movie that many have walked out on, saying, “It feels like one long power point presentation.” But for Dead fans, Sunshine Daydream [a name taken from the lyrics of “Sugar Magnolia”] is a tour de force, an unparalleled vision of a Dead show at its very best, one laced with kaleidoscope images, bizarre animations, flower power on acid, and with more dripping tie dye and naked dancing girls, than one can stand.  Considering all this, unless you’r on some mild hallucinatory medication, the movie may at some point click into slow gear, and seem to drag on much too long. Of course … if you were there, like your high school yearbook, no matter how tedious it is, you’ll happily spend hours reading every handwritten remark, indulge every goofy picture, and smile with a sense of satisfaction when the last page is turned, and the book re-shelved. Though with Sunshine Daydream, it’s not necessary to re-shelve the entire package, you’re free to explore the concert music anytime you wish, jump in and out at any spot, and truly be treaded to a concert recording that stands heads above all other Dead shows you may, or think you may, have heard. The truth being the curtain is that this event has been around for a while, mainly as a bootleg of the August 27th, 1972 show at the Old Renaissance Faire Grounds in Veneta, Oregon, where in 103-degree temperatures, and with little water, 30,000 plus fans stood strong while The Grateful Dead ripped through twenty blistering numbers, often challenged by out of tun instruments, but hanging tight with the audience, delivering all, and giving no quarter. On the street where I live, there have always been two types of neighbors, those who love The Grateful Dead, and those who hate them … with possibly a third type waiting in the wings, those who are too young to know them.  In any event, this outing has something for everyone, and may just open the doors for a new generation to discover the essence, splendor, and makeup of the one true jam-band.” (Jenell Kesler). Top condition! Price: Offers!!!
1033. GRATEFUL DEAD: “Capitol Theatre, Passaic, NJ, 4/25/1977” (Rhino Records – R1 553449) (4 LP Record: Near Mint/ Outer Box: Excellent ~ Near Mint). Another long gone quality Grateful Dead live LP box set. 1977 was a golden year in Grateful Dead history. The band had thoroughly settled in with their newest additions, the Godchauxs, and were playing some of the best music of their career. As with most years of their career, the Dead spent most of the year on the road, performing across the country with eager fans following their every beckon call.The group kicked off a major spring tour on April 22nd, before settling into the Passaic, NJ Capitol Theatre for a three night run from 4/25 through 4/27. Long gone issue that came out in 2016. Price: 300 Euro
1034. GRATEFUL DEAD: “San Francisco” (Trade mark Of Quality – TMOQ) (Record: Near Mint/ Paste on Cover, Front & back: Near Mint). Rare Dead Live recording, released in late 1970s and in superb condition. Price: 100 Euro
1035. GRATEFUL DEAD: “Fillmore West” (Trade Mark Of Quality – TMOQ) (Splattered Colored wax 2 LP Set: Near Mint/ Paste On Jacket: Near Mint). TMOQ first pressing from mid-1970 that comes on salivatingly and eye-popping great splattered colored vinyl. Top copy. Price: 300 Euro
1036. GRATEFUL DEAD: “Live In Gizah, Egypt” (Amazing Kornyfone – DEAD 1 ~ 3) (3 LP Set: Near Mint/ outer Box Set: Excellent/ Poster: Mint/ Bumper Sticker: Mint/ Booklet: Mint). Old skool boot in pristine condition with paste on slicks on box, back slick stating “Limited Edition 500 copies – Copy Number 154”. Fabulous fetish item documenting the Dead on their legendary stint before the pyramids. Comes all complete with booklet, poster and bumper sticker. Has been over a decade since I last saw a copy. Essential!!! Price: 300 Euro
1037. GRAVES, MILFORD & DON PULLEN: “In Concert At Yale University – Vol.1” (SRP Records – P.G. 286) (Record: Excellent/ Hand-Painted Jacket: Near Mint / 3 Inserts: Near Mint.) The rarest spiritual free jazz slide in Graves’ discography and one of the all-time rarest spiritual private presses around, released in an edition of 30 copies only that saw the light way back in 1966, all of those were hand-painted by Graves and each one of them is unique in its design. Great condition and all complete with the 3 always-missing inserts….present!!! Milford may be one of the most important players in the Free Jazz underground. He enforces the sense of community as a primary exponent of his freely improvised music. His drum kit is homemade and he rarely performs outside of his neighborhood. When he does perform he plays his kit like no other. Wild, slapping, bashing, tribal freak-outs interplexed with silence, serenity and enlightened meditation. This LP was manufactured by the artists in 1967 and is recorded live at Yale University. The interplay between Milford and Don (piano) is remarkable and very free. There’s a second volume, which also is as rare as hen’s teeth but this volume surpasses them all on the rarity scale. Great condition copy, impossible to to dig up and each one of them is utterly unique. And the music is absolutely killer without any filler, one of the cornerstones of the whole Free Jazz pantheon. The holy grail of privately released jazz fire-balls – hand-painted micro pressing of one of the greatest slabs of free music ever recorded! This is so much more than just a rare record, this is a piece of art, so offers are accordingly I guess. Price: Offers!!!
1038. GRAVES, MILFORD featuring ARTHUR DOYLE: “Babi Music” (IPS – IPS-ST004) (Record: Near Mint/ Jacket: Near Mint). Another TOP COPY back in stock! Take cover for the ultimate Milford Graves disc… this one is like being engaged in a trench warfare and taking prisoners is out of the question, vicious assaults until the last man is left standing and shredded to pieces. Together with Takayanagi’s “Independence”, Frank Wright’s “Church Number Nine”, Yamashita Yosuke & Dairakudakan, Bennink & Brotzmann’s “Atsugi Concert” and Rashied Ali & Frank Lowe’s “Duo Exchange”, this is one of the most vicious, infernal free jazz epic discs ever to be put down on wax. In short this is Free Jazz Soul Music, star-dusted with magical, free-flowing vibrations. When the other players hit, at moments completely slamming – delirious Doyle sax eruptions of volcanic proportions augmented with ecstatic screaming, it feels like planets collide, cosmic forces at work, the Big Bang reversed. At times the chaos of the gargantuan interplay begins to spin out of control melts eventually into a the thread holding all firm together, without warning it gets astray again, but then something extraordinary breaks through and it all connects. This is religion in sound, an epiphany, an orgasm. The band consists of Hugh Glover on reeds, Arthur Doyle on reeds and voice, and Milford Graves on drums, and they all sound totally crazed for the duration of the LP. A real high-water mark for the whole genre, and possibly Arthur Doyle’s finest hour. Beats sniffing clue at the local gas station. Highest possible recommendation!! Price: 500 Euro
1039. GRAVY TRAIN: “S/T” (Philips – SFX-7315) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Obi: VG++ ~ Excellent – has left side crease and a few wrinkles). Rare Japan 1st original pressing – WHITE label PROMO that comes with rare OBI present! Monster rare Japan original press with obi, just about never surfaces since it sold zilch when it came out on these shores. A minor classic hopelessly lost among all the innumerable "biggies" of the year 1970, it's also absolutely different from everything Gravy Train would do later, and too bad about it: no matter how much the group's limited following gushes over (A Ballad Of) A Peaceful Man or Staircase To The Day, their debut surpasses in my humble opinion both follow-ups and shows Gravy Train as a brave and daring underground band, heavily influenced by and derivative of other prog/hard acts of the time, yet actually trying to push the boundaries forward. Unfortunately, since the album bombed, the guys preferred to dump all the experimentation of these songs in favor of a smoother, more commercial sound later on, which totally destroyed their idiosyncrasy and forever nailed them as second-rate good-for-nothings. Killer debut and bloody rare Japan original pressing with obi. Price: Offers!!!
1040. The GREAT SOCIETY: “The Great Society with Grace Slick” (CBS SONY – SONP-50136) (Record: Near Mint/ Insert: VG++/ Jacket: Near Mint). Rare Japanese first original pressing from 1970. Awesome pre-Jefferson Airplane Grace Slick album that features "Somebody to Love" in its original slower, more menacing version. It also includes the Great Society’s extended version of Grace Slick’s "White Rabbit" along with several other haunting originals, which strike an exhilarating balance between tight songwriting and psychedelic jamming. Japanese 1st pressing rarely sees the light of day, and this one is in real nice condition and sounds awesome! Price: 75 Euro
1041. GREEN ON RED: “Gas, Food, Lodging” (Enigma/ Wave – SP25-6012) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese original first pressing that saw the light of day in 1985. One of the best records out of that era, rubbing shoulders with the mighty other Paisely Underground acts like the Gun Club and the Dream Syndicate. Their 1st LP still stand strong as being a path-beater between early ’70s outlaw country and early ’90s No Depressionism and remains a defining example of howling country-punk, featuring Dan Stuart’s vicious rasp. Totally indispensable mind fuck of a record. Price: 75 Euro
1042. GREEN, PETER: “The End of The Game” (Reprise – P-8031R) (Record: Near Mint/ Jacket: near Mint/ Insert: Excellent – has date written on lower corner/ Obi: Near Mint). Damned rare Japan original all complete with rarely seen OBI. Within a month after finishing “The Green Manalishi” -- Peter Green’s swansong as guiding creative force behind the earliest version of Fleetwood Mac -- he departed the group to record with a rhythm section. What emerged was his first solo album, “The End of The Game” and it was as much a departure from “The Green Manalishi” as that same track had been from the rest of Fleetwood Mac’s entire output. By enlisting the assistance of Zoot Money (keyboards), Alex Dmochowski (bass), Nick Buck (organ) and Godfrey Maclean (percussion), The End of the Game became an entirely instrumental affair, quite different in feel from Green’s work with Fleetwood Mac. Released to very little fanfare, unjustly so as it was an imaginative work with Green’s instantly recognizable guitar playing. Price: 250 Euro
1043. GRIFFIN, DICK: “The Eight Wonder” (Strata-East/ Tokuma Musical Industries – JC-7508) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent). Damned scare Japan original press issue all complete with OBI. “Trombonist Dick Griffins big, hearty sound has been a well-defined asset in any of the musical buffets he has taken part in during his long career. Whether part of a James Brown horn section or a small modern jazz band, Griffin’s trombone is a steaming dish -- if it was literally part of a smorgasbord spread there would always be several hungry customers lined up behind it, ladles ready. Jazz buffs wanted to dig right in when the trombonist served up his own album for the Strata-East co-operative label in the '70s, but the result was more like a stew that is not fully cooked at mealtime. By the time this one gets to full boil, many of the guests have gone home and hit the hay, to continue the analogy. When Sam Rivers takes off on a tenor solo during "Flying Back Home," the listener does the usual standing at attention, ears cocked, that is a required part of experiencing a Rivers solo. Yet by this time the record has already been flipped, it is only a bit more than ten minutes until the whole thing is over, and worst of all, the Rivers fan has already contemplated in sullen sadness why the first side went by without much more than a few peeps from the man. Bassist Cecil McBee does get in one of his gorgeous bass solos on the first side. He is part of an exceptional rhythm section partly made up of Griffin associates from Rahsaan Roland Kirk’s Vibration Society. Kirk would never had let the first side of one of his albums drag so badly, despite his love of ballads. He would have known when enough was enough in terms of a beautiful sound and would have made an effort to shake things up. Recorded sound and technical execution is as flawless as the multi-phonic chops he displays when the needle first hits, but there isn't much sign of the expressive drive that makes the music of many of Griffin’s employers over the years so compelling.” (All Music Guide) Scarce Japanese original press issue with Strata-East Obi, Price: 400 Euro
1044. GRIFFIN, JOHNNY: “The Congregation” (Blue Note/ Toshiba EMI – BN-1580) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Blue Note Card: Near Mint/ Obi: Near Mint). Virginal all complete copy – Japanese high quality press issue of slick Blue Note title. An early killer from Johnny Griffin – a stripped-down quartet session for Blue Note, done in a format that really gave him plenty of room to open up! The rhythm section is a powerful trio led by Sonny Clark on piano, and featuring bassist Paul Chambers alongside the obscure drummer Kenny Dennis – but it's Griff's tone and conception that dominates the set – really blowing in a style that combines the soulful and the modern with incredible spontaneity, all wrapped up in a beautiful early Andy Warhol cover! Tracks are all longish and totally intoxicatingly awesome. Price: 50 Euro
1045. GRIFFIN, JOHNNY: “Introducing” (Blue Note/ King Records – GXK-8015) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japanese high quality press issue. If you've ever needed a definition of hardbop, this is it! The set's a crack quartet session for Blue Note, recorded in the mid 50s by a young Johnny Griffin – fresh in from Chicago, and playing with tons of fire and loads of imagination! Wynton Kelly's on piano and Max Roach is on drums – and the excitement never stops as the group rolls their way through the tightly-crafted tunes on the set. And don't mistake the session as just a head-blowing album with no creativity – because the whole thing's incredibly precise, and the real charm is the way in which the razor-sharp group manages to twist and turn so deftly – yet still always plays with creative imagination and thoughtful solos! Price: 65 Euro
1046. GRIMES, HENRY TRIO: “The Call” (ESP Records – 1026) (Record: Near Mint/ Jacket: Near Mint). The mysterious bassist Henry Grimes who disappeared altogether in 1967, only led this one recording session; it has been reissued on CD. Although Grimes played in a wide variety of settings in the late 1950s, he was working exclusively in the avant-garde by 1965. Teamed with clarinetist Perry Robinson in one of his earliest recordings and the obscure drummer Tom Robinson, Grimes gets a fair amount of solo space on these six group originals. However, it is for Robinson’s playing that the adventurous but not overly memorable disc is chiefly recommended. Price: 125 Euro
1047. GRIOT GALAXY: “Opus Krampus” (Sound Aspects – SAS-004) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Only released in Germany at the time (1985) on the tiny Sound Aspects label in a limited run. “On Opus Krampus, Detroit's Griot Galaxy bring with them their usual sense of weirdness and entropy, all the while injecting incredibly paced rhythms and a mix of avant-garde and straight-ahead beats. Saxophonist Faruq Z. Bey leads the band with his furious accents and choppy rhythms that scurry by so quickly they almost sound smooth. His support's off-kilter time signatures work out minimal phase shifting patterns to temper Bey's perfectly unresolved tones. Considering the recording is culled from a live performance, one can only imagine Griot Galaxy's stage get-up at the time, usually comprising of mime-painted faces and gaudy, new wave-inspired dress, crossing Sun Ra with Art Ensemble of Chicago. Certainly, many of the sounds here match that comparison as well. This 1984 recording from Austria is crisp and true, as its near studio-like quality is definitely a testament to impeccable engineering. It consists of a mere three tracks, one of them utilizing the entire second side. This track, the 25-minute "Necrophilia," is a full-out assault on the audience with deafening sax skronks and squeals, complex percussion, and three-voice poetry lending an eerie, cult-like vibe to the recording. Opus Krampus is hardly a record that one might expect to come out of Detroit in the '80s, one of the city's roughest decades. And partly because of that assumption it proves to be a brilliant one.” (All Music Guide). Price: 75 Euro
1048. The GROUNDHOGS: “Scratching The Surface” (Liberty – LP-8686) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – faint trace of foxing on white back sleeve). Rare Japan original first press issue – WHITE label PROMO issue. The raw, rootsy Scratching the Surface ranks among the finest albums to emerge from the British blues-rock boom, matching McPhee’s memorable original tunes with a blistering reworking of the Muddy Waters classic “Still a Fool.” The album features the Groundhogs’ original recording lineup of McPhee, bassist Peter Cruickshank, drummer Ken Pustelnik and harmonica player Steve Rye. Without a single doubt, Scratching The Surface ranks among the finest albums to emerge out of that entire period, a moody shuffle that includes an epic recounting of the Chicago classic "Still a Fool" and which matches five solid McPhee originals with a pair of blistering contributions from outgoing harmonica whiz Steve Rye. In fact, his "Early in the Morning" and "You Don't Love Me" might well be the album's best numbers If you want to hear the blues sluicing straight out of the Southern England Delta, there are precious few better introductions than this one here. Hardly ever offered for sale anywhere, amazing condition and even better music. Price: 350 Euro
1049. The GROUNDHOGS: “Hoggin’ The Stage” (Psycho – PSYCHO-24) ( 2 Lp Record: Near Mint/ Bonus 7 Inch Single Record: Near Mint/ gatefold Jacket: Excellent). Long gone and deleted Psycho issue of unreleased Groundhogs gig. Blistering performances that sound like a proto-punk trio incinerating all in their wake. Probably the best Groundhogs release out there. Comes with always-missing single present. Price: 60 Euro
1050. GROUPOID: “Debut” (Private Press/ Groupoid Records – PLS-305-NP/ Groupoid-0001) (Record: Near Mint/ Jacket: Near Mint). Still largely undiscovered Japanese privately released free jazz beast from June 1980, a release that came out in an edition of 200 copies. Finally, a spare so for once I have a copy to offer of this killer free jazz beast that incorporates wailing Shakuhachi flutes in its improvisational interplay. Pure FIRE!!! Groupoid was a collective active in Osaka at the end of the 1970s and the early 1980s but only recorded and privately released this one masterpiece called “Debut”. The collective consisted out of 9 free form players being Tomoaki Itoh (tenor saxophone); Toshimichi Kubo (drums, percussion); Shinji Nozaki (bass); Fumiaki Kurokawa (Trombone and handmade bamboo flutes, shakuhachi); Etsuo Yamada (Alto saxophone, baritone sax, soprano sax, piccolo, flute, oboe & shakuhachi); Akira Kurimoto (cornet, drums, percussion); Mitsuru Nakamura (tuba, euphonium, sopranino recorder, tenor recorder); Emi Inoue (cello) and Tomotaka Nishitani (soprano saxophone, clarinet, bass clarinet, contrabass, etc). From the first notes on of the sidelong opening track, Tomoaki Itoh’s tenor howlings recall the brute but lyrically charged force of Takagi Mototeru and splutters the whole collective slowly into existence and overdrive. A turbulent ensemble binge gets initiated, Itoh’s slower tenor saxophone stubbornly tests the boundaries of how much unlimited freedom he can get away with and the Groupoid collective bites back in return with sudden holes and vast disembodied expositions of highly charged static energy and a collective rise to the surface, all gasping for air. There is something shockingly unique about Groupoid’s approach to free music, which melts the cries of Takagi/Abe and the fire-breathing tsunami approach of the 1st generation howlers into an intoxicating strain of sentimentalist deconstruction that melts down into a massive brain-buzzsaw bordering on spiritual salvation. Side 2 is also blessed with a sidelong slab of super breathe throne but now more room and air are generated to leave beautiful and delicate passages that slowly flower into all-star collectivism. This is just a jaw-dropping great recording and the sole one to document the short but highly charged existence of Groupoid, again providing poof that most of the 2nd generation free jazz blowouts were occurring in the Kansai region, getting document on small private press labels like this one here. This record was mostly sold at gigs and only very sporadically turns up these days. A true testament of musical greatness that most European and US improvisers could only wish for of having even a fraction of. Just brilliant. Rare to say the least and next to unobtainable since the day it came out. Price: Offers!!!!
1051. GROWING CONCERN: “S/T” (Mainstream – S/6108) (Record: Near Mint/ Jacket: Near Mint). Original 1968 pressing of this getting scarcer by the minute psychedelic masterpiece. Top condition copy! This self-titled album by The Growing Concern curiously first saw the light of day in 1968 on Bob Shad's Mainstream label. This mystery band was an odd one on the label with its emphasis on beautiful vocal harmonies and fantastic guitar and organ work, drenched in never-ending reverb, creating an arresting listening experience. Still, for the label it was a bitter sonic pill to swallow and the band was quickly dropped after their eponymous debut. The album, which is brilliantly recorded, is of a consistently high musical quality and the band surely deserved a better fate than the obscurity the Mainstream label indifference consigned them to. Used to be a very affordable album a decade or so ago but as of recent clean originals are getting scarce and are much in demand. Easy to understand why as it is a stone-cold classic! Top copies are getting tougher to dig up these days and they are getting insanely thin on the ground. Price: Offers!!!
1052. GRUNTZ, GEORGE; SAHIB SHIHAB; JEAN LUC PONTY; SALAH EL MAHDI & THE BEDUINS: “Noon In Tunisia – Jazz Meets Arabs” (MPS Records – YS-2316-MP) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint, has some mild ageing foxing inside gatefold/ Insert: Near Mint/ Obi: Mint). Bloody rare Japan white label TEST PRESSING. Comes complete with always missing INSERT and rarely offered first issue OBI. George Gruntz organized this studio recording as an opportunity for blending the worlds of jazz and Arabian music, though utilizing original music of his own. With Sahib Shihab (soprano sax, flute, and tambourine), violinist Jean-Luc Ponty, bassist Eberhard Weber and drummer Daniel Humair plus four Bedouin musicians playing traditional Arabian reed, string, and percussion instruments, Gruntz conceived the nearly 31-minute six-part "Maghreb Cantata" as the centerpiece of this amazing ear-bleedingly beautiful disc. The composer's themes are essentially brief modal statements utilized as jumping-off points for the musicians' improvisations. Bracketing the suite are two vocal numbers that incorporate the chanting of centuries-old Arab poems. This unusual session quite an infectious listening experience that is addictive to say the least. It hasn’t left my turntable for days when first discovering it some years ago and still till this day it is one of my favorite genre crossing recordings. Issued by Saba and long out of print, this disc is a must for anyone vaguely interested in either free jazz, ethnographic recordings or the cross-pollination adventures of those two styles. Damned rare all complete with much needed OBI. Price: 200 Euro
1053. GULDA, FRIEDRICH with ALBERT HEATH & JIMMY ROWSER: “Gulda Jazz” (Nippon Columbia – YS-2082-AD) (Record: Near Mint/ Jacket: Excellent/ OBI: Excellent). Damned rare Japan original pressing all complete with rare OBI. WHITE label TEST PRESS issue. Just never surfaces. Been after this one for over a decade and finally could find one copy with obi. Price: 150 Euro
1054. GURU GURU: “Hinten” (Ohr Records – OMM-556.017) (Record: Near Mint/ Laminated Gatefold Jacket: Excellent). Original German 1st pressing of Guru Guru’s 2nd LP, following UFO. Stunning krautrock slide that opens up with the long “Electronic Junk” track, which rips the musical system of that day apart like a pile of cheap hay and is so exciting enough to provoke tears and fist-shaking tirades! Very first German press issue, record is super clean, the laminated gatefold jacket is splendid but has some minimal signs of use so strictly graded as Excellent. Top copy. Price: 150 Euro
1055. GURYAN, MARGO: “Take A Picture” (Bell Records – BELL-6022) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Top condition US original press issue of Margo Guryan’s sole album. Once you hear the sweet, delicate strain of gently kaleidoscopic music on the sole album from Margo Guryan, you are lost. It is the soft pop of which gauzy dreams are made, full of the hazy changes and transitory variations of autumn, a sonic marvel that you invariably want to wrap up in. Better than most similar efforts from the time, the little oddity maintains a vibrant resonance outside the milieu in which it was created because the songcraft is not only infectious but also highly intelligent, and because Guryan’s performance is so delicious. Quiet hard to track down in perfect condition, first copy I encounter that is virginal and still housed in original shrink. Hard to improve upon!!! Price: Offers!!!!
1056. 100% UNKNOWN FIBERS: “Odd-Lots” (Private Press - /) (Record: Near Mint/ Rubber Stamped Jacket: Near Mint/ 4 various sized xeroxed inserts: Excellent). Rare private pressing that was probably released around 1970~71 and features a string of local unknown bands such as Sea & East Utopian Mission, Live Wire, Sound System and Primal Scream. "About 25 years later, in the late 1990s, word was starting to spread among rare record specialists about a mysterious album titled “100% Unknown Fibers”. The record showed no track list or credits whatsoever, and from the rubber-stamped sleeve and old pressing it was assumed to be a bootleg, manufactured in the early 1970s. The problem was that no one could figure out who the artist being bootlegged was, as it didn’t sound remotely like anyone famous. As questions were asked, a few more copies of “100% Unknown Fibers” were identified in collections around the US; in total about a half-dozen were accounted for. An Orange County newspaper back in 1970 mentioned a few participating bands such as Sound Spectrum and Primal Scream, as well as the aforementioned Sea & East Utopian Mission, but gave no details of their performances. It must be mentioned that “100% Unknown Fibers” is a primitive recording with poor sound quality, even as private pressings go. It’s likely to be an audience tape, rather than from soundboard. The music is mostly jammy acid-rock typical of the era, predominantly instrumental workouts on Hendrix and Cream riffs, with lots of raw fuzz leads and some vocals. One track has a trancey folk rock feeling, including flute. All over it is reminiscent of some of the Yahowa 13 basement jams, like those heard on “I’m Gonna Take You Home”, minus Father Yod. There’s some nice grooves and feedback soloing here and there. It’s hard to determine how many different groups are featured on the album, but my guess is that it’s at least four different outfits, as the mixing and soundscapes differ, even while most of them are stylistically similar. A high point of the LP is the inclusion of several microphone raps from the Laguna Greeter and others, including the plea for Thorazine quoted above. One guy goes into a hostile rant about war, Nixon and Angela Davis, before being cut off with the reminder that the festival is about “love, not aggression”. The stage announcements combine with the crowd ambience, hovering police helicopters, and raw, improvised music to capture a moment in time, warts and all.” (Acid Archives) Comes with xeroxed inserts which originally may or may not have come with the LP when it was released. Deep acid fried early 1970s underground jams that will scatter your diminished brain cells around like confetti. Sure sounds like right up my alley. Top shape. Price: Offers!!!!
1057. The HABIBIYYA: “If Man But Knew” (Island – HELP-7) (Record: Near Mint/ Jacket: Near Mint). Original top condition 1972 UK original of Mighty Baby after they changed their name following their 2nd album. It would be their sole album following their name change and it stands as one of the earliest and most beautiful pieces of world music ever recorded in Britain. The musicians involved (including three members of UK underground legends Mighty Baby) had been profoundly affected, both musically and spiritually, by visiting Morocco in 1971, and became adherents of the Sufi faith. Upon their return to London they made If Man But Knew, featuring exotic instruments such as koto, shakuhachi and mandola alongside guitar, organ and drums, conjuring a hypnotic, otherworldly ambience in the process. Top condition UK original pressing!!! Price: 100 Euro
1058. HADAKA NO RALLIZES/ LES RALLIZES DENUDES - 7 Inch: “Kuroi Kanashimi no Romanse Arui Wa Fallin’ Love With b/w Eien Ni Ima Ga” (7-Inch Record: Near Mint/ Picture Sleeve: Near Mint). This is the much sought after official Rallizes, a 33 rpm single that was released in addition to the Etcetera magazine, many decades ago and together with the OZ Days 2 LP set, the only officially released Rallizes recording. These days it is almost impossible to find and getting so damned hard to lay your hands upon. Here you have a stunningly near mint copy. Long deleted and heavily hunted down. Highest recommendation, it beats all the Rallizes bootlegs available, this single alone is so much worth it. Unissued material not available anywhere else. Officially authorized Rallizes release. Fuzz drenched amphetamine fuelled underground psych dementia that spreads a gospel apocalypse against a fuzzed-up cauldron of demonic bass, manic cackles and liquid wah-wah, all turned up to ear-deafening volume. Awesome! Price: 75 Euro
1059. HADEN, CHARLIE with ORNETTE COLEMAN; ALICE COLTRANE, KEITH JARRETT and PAUL MOTIAN: “Closeness” (A&M Records/ King Records – GP-3510) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint). Pristine and virginal condition Japan original press issue. Charlie Haden has made many wonderful albums over the years, in many different formats, both large and small – but this set holds a really special place in our heart, as it's got this close-up and intimate approach that really shows the world what a special musician Haden can be! Each track on the album is a duet – one with Ornette Coleman on alto, one with Keith Jarrett on piano, one with Alice Coltrane on harp, and the last with Paul Motian on drums – on long tracks that feature some really magical interplay between the musicians. The spare format is an extremely wonderful showcase for Haden's expressive bass work – and the intimacy of the tracks is different from some of the ECM recordings made during the same stretch – as the feel here is less a muted exploration of sound than it is a deeply personal interaction with some of the best talents of his generation. Price: 25 Euro

1060. HAHN, JERRY: “Moses” (Fantasy Records/ Toshiba – LFP-88127) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1973 first original pressing all complete with rare obi. Jerry Hahn's second album is a fairly definitive effort by the talented but greatly underrated guitarist. Best known as an educator and an alumnus of Gary Burton's group, Hahn shows a lot of potential on this quartet set with organist Merl Saunders, bassist Mel Graves and drummer George Marsh. In addition to his diverse originals, Hahn performs swinging versions of "All Blues" and Clifford Brown's "Joy Spring." It is a pity that Hahn was not more extensively recorded in the 1970s. Does not surface all that often, especially with obi. Has been ages since I last had a copy with obi. Top shape. Price: 75 Euro

1061. HALF JAPANESE: “1/2 Gentlemen-Not Beasts” (3LP Box/ Armageddon Records – 1980) (Records: Excellent ~ Near Mint / Box Set: Excellent ~ Near Mint/ Has all the inserts). Half Japanese was started in the mid-70's by brothers Jad and David Fair, in a Michigan bedroom replete with instruments, electronic devices, and other noisemakers. Neither Fair knew how to play their instruments (at least not in the conventional sense) but nevertheless had the creative vision to manufacture musical sounds from the gadgets at their disposal. With no interest in chords or melody, the duo recorded several homemade cassettes and a couple seven-inches in classic DIY style. These early recordings were spread around the underground, eventually reaching the small British label (Armageddon) that signed Jad and David. The first Half Japanese album followed in1979 which compiled many of the home recordings and a couple live sets. It is said to be, not surprisingly, the only three-record debut album in the history of rock. The Fair brothers alternate between atonal, cacophonous songs and inventive, minimalistic instrumental experiments. The more orthodox songs feature unfixed, primitive rhythms with guitars and percussion (drums, aluminum pots) as the primary noisemakers. The grating vocals of Jad and David fit perfectly with the clatter. Jad's reedy vocals are a particular treat; perhaps no other singer in pop history has been able to combine passionate yearning with detached, cynical irony in the same syllable the way Jad does here. There are also a number of covers included in the box set; songs by the Temptations, Velvet Underground, Buddy Holly and others get turned inside out and rendered alluringly unrecognizable. This box comes with all the inserts complete being poster, insert and booklet. Great historic importance beyond believe, all time classic masterpiece of a disc. Indispensable and quite much in demand these days. Price: 250 Euro
1062. HALO OF FLIES: “Singles, Going Nowhere” (Amphetamine Reptile Records – ARR-5) (Record: Near Mint/ Jacket: Near Mint). US original press. Band from Minneapolis, which featured Tom Hazelmeyer (Amphetamine Reptile chief), as well as John Anglim and Tim Mac. They released a number of LPs and 7 records and broke up in 1990. Between 1985 and 1987 they recorded a whole number of 7-inch singles – Rubber Room, Rubber Room Revisited, Snapping Black Roscoe Bottles and Circling The Pile EP – all of which were collected on “Singles Going Steady Compilation” (cover art, just, like the title, reflected an homage to Buzzcocks). So essential, so necessary, just top shelf. Not rare but damned so killer it hurts! Price: 30 Euro
1063. HAMIET BLUIETT QUARTET: “Birthright – A Solo Blues Concert” (India Navigation/ Paddle Wheel – GP-3198) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan original 1st press issue all-complete with seldom seen OBI – WHITE label PROMO issue. Price: 200 Euro
1064. HAMIET BLUIETT QUARTET: “SOS – Hamiet Bluiett Quartet Live In New York City” (India Navigation/ Paddle Wheel – GP-3215) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan original 1st press issue all-complete with seldom seen OBI – PROMO issue. Comes housed in unique Japan only sleeve art! Price: 200 Euro
1065. HAMMOND, DOUG: “Spaces” (Idibib – DB-105) (record: Near Mint/ Jacket: Mint – still housed in original shrink) US original press issue from 1982. A spiritual jazz treasure from drummer Doug Hammond – and a set that also features a very unusual group! The lineup features Doug's core trio with Muneer Abdul Fataah on cello and a very young Steve Coleman on alto – the latter of whom is free and fantastic, and maybe looser here in Hammond's company than on some of his own recordings to come! Byard Lancaster joins the group on alto and flute for one track, and Kirk Lightsey's piano makes an appearance on another – but the core delight of the set comes from the mix of drums, alto, and cello – used by Fataah in a mode that's more bass-like than usual for the instrument. Just a splendid recording. Price: 350 Euro
1066. HAMPEL, GUNTER GROUP: “Music From Europe” (ESP Disk – ESP-1042) (Record: Excellent/ Jacket: Excellent). US original pressing. Music From Europe is literally a collision of cultures. And it is an oblique early interpretation of the idiom of jazz by arguably one of Europe's most influential musicians. Coming as it did at the height of the avant-garde movement of the 1960s, it stands out as one that has complete sonic architecture—in song form and structure. Hampel on vibes, bass clarinet and flute is ably assisted in his small group master class by another stellar artist, Willem Breuker on saxophones and clarinets, the Dutchman, Piet Veening on bass and Pierre Courbois on percussion. Together they power their way through an impressive program comprising three gigantic songs. "Assemblage," is a seven-part suite that is an energetic romp to the edges of composed music. Complete with a themed head, improvised section for all the instrumentalists and a resolution, the music is wonderfully wild and humorous. It pays oblique tribute to some Ducal music and features some wonderful fiery passages on saxophones, chillingly cool vibraharp and exquisite chromatically tuned percussion by Courbois. "Heroicredolphysiognomystery," a seemingly eccentric dedication to Dolphy shows how completely the musicians have absorbed the legendary Africa-Brass Sessions of Coltrane (Impulse, 1961). And "Make Love Not War to Everybody" is simply an eccentric work of art. Heard as a complete suite, though this could be the definitive modern third-stream report from Europe.” (All About Jazz). Price: 50 Euro
1067. HAMPTON HAWES QUARTET: “All Night Session 1” (Contemporary Records/ King Records – SH-3072) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint) Seldom offered 1966 Japan first original press issue that comes housed in Japan only sleeve art and all complete with rare first issue obi. “The music resulting from Hampton Hawes’ All Night Session was stereophonically recorded for the Contemporary label in Los Angeles on the night of November 12 and into the morning of November 13, 1956. This session transcended the conventions of studio production by moving steadily from one tune to the next like a live gig with no alternate takes. Here is West Coast bop at its most spontaneous and exciting. Prior to this highly successful quartet experiment, Hawes had recorded mainly with his trio. He said that the addition of guitarist Jim Hall opened more rhythmic possibilities. The currents passing between Hawes and bassist Red Mitchell were the metabolic pulse of this group; drummer Eldrige “Bruz” Freeman was a replacement for Chuck Tompson, whose heroin habit had forced him out of the band earlier that year. On this night Hawes chose to reinterpret a Dizzy Gillespie composition, along with a theme Duke Jordan by as well as some chestnuts from the standard jazz repertoire. But there's nothing "standardized" about this music. Like his main influence, Charlie Parker, Hampton Hawes was a strikingly inventive blues-based improviser; this element is strongly present throughout, particularly during spontaneously composed Hawes originals that materialized during this monumentally creative All Night Session! This to be acknowledged and appreciated as one of the truly essential jazz recordings of all time.” (All Music Guide). Price: 150 Euro
1068. HAMPTON HAWES QUARTET: “All Night Session 2” (Contemporary Records/ King Records – SH-3073) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint) Seldom offered 1966 Japan first original press issue that comes housed in Japan only sleeve art and all complete with rare first issue obi. Part two of the trilogy and follow-up to the above-listed session. Rarely if ever offered all complete Japan 1st original press issue in stupendously awesome shape and complete with obi. Price: 150 Euro
1069. HAMPTON HAWES QUARTET: “All Night Session 3” (Contemporary Records/ King Records – SH-3074) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint) Seldom offered 1966 Japan first original press issue that comes housed in Japan only sleeve art and all complete with rare first issue obi. Part three of the trilogy and follow-up to the above-listed session. Rarely if ever offered all complete Japan 1st original press issue in stupendously awesome shape and complete with obi. Price: 150 Euro
1070. HANABUSA ARI: “Hana No Tebyoshi b/w Koi No Nettaigyo” (CBS Sony – SONA-86017) (Single Record: Excellent ~ Near Mint/ Gatefold Picture Sleeve: Excellent). Japan 1968 original press!! Hanabusa Ari is probably not a name that sets off fire detectors and alarm bells and I do not blame you for it. She was a one-off chanteuse, throwing in her bit for fame and glory but crashed and burned instead. It is easy to see why as she tried to appeal to the punters by releasing her debut single and unleashing “Hana No Tebyoshi”, which turned out to be a run off the mill enka pop tune that failed to spark any interest. However, on the B-isde she was set loose to do her thang and she unleashed a heavy floor burning Japanese groover that will blister your feet. Pregnant with simmering organ lines, junked up with slashing wah-wah guitar licks, a pumping bass and Hanabusa singing her soul out like there is no tomorrow…ever!!! Just killer, doped up soulful groove slide that is nothing but infectious!!!! Largely unknown but rare nevertheless due to depressing sales, this is one uncut gemstone of a record. Works perfectly when you enjoy that Bolivian Dancing Dust blowing up your nose and this blasting away at full throttle….so beaware for blistered feet ‘cause it will light your ass on FIRE!!!! Price: 100 Euro
1071. HANADENSHA: “Heavy Blood” (Alchemy Records – ARLP-25) (Disc: Near Mint/ Insert: Mint/ Jacket: Excellent, lower seam split in middle). Released in 1989, this record is such a vicious slab of unrelenting heavy psychedelic power that it will incinerate you and all your loved ones when you attempt to sit through this brain-peeling mind-fuck of uncompromising acidic power. Heralding out of the deep bowels of the Kansai scene, Hanadensha was fronted by Boredoms bass player Hira, who acts here as a demonic howling werewolf high on rabies induced hallucinations and burning up with ergot fever. The rest of the outlaws to back him up on his derailed transonic whirl-winding fear and loathing escapade rip through all the heavy rock modes known to man, beefed up with enough lysergic qualities to make even Abbie Hoffmann blush. Especially the guitar slashing wailing style of Noma-chan is extremely incendiary and will leave you floored, gasping for air while the living daylights are being sucked out of your eye sockets. Hard to believe that such a hard-rocking combo even existed. (and you though Boris was heavy? Boy, you are in for a head spinning surprise, these guys were the real “Raw Power on speed meets Black Sabbath crossbreeding with ephedrine beefed up Damo Suzuki of Can skull fucking Beefheart” surprise). Hanadensha made two excellent albums, their debut (this one) and their follow-up, the 2CD “God Bless Hanaden”. After that, the band shifted labels, dropped of some core members and lost their identity, brain melting sound and turned to pulp. Shame though since foreign nitwits suddenly detected their mediocre second lease on life and started to hype the band. Believe me kiddies, after their Alchemy Records period, Hanadensha shape-shifted into mindless pseudo-psych crappy outfit that bore no resembles to their initial “take no prisoners and leave no survivors” heavy psychedelic meltdown sound. This disc is a KILLER – do not doubt it. Released in 1989 in an edition of 500 copies, this baby is rare and getting rarer every minute. I saw it once listed in a foreign list for 160 dollars; here you have the opportunity to walk away with a copy for half the price. It will floor you. Only superlatives apply to this disc. Price: 100 Euro
1072. HANCOCK, HERBIE: “Takin’ Off” (Blue Note/ Toshiba EMI – BST-84109) (Record: Excellent ~ Near Mint – has 2 inaudible hairlines on side 2/ Jacket: Near Mint – still housed in shrink/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Near Mint). Clean pressing all complete with Direct Import obi. Herbie Hancock is certainly Takin Off at this point in his career – stepping into the limelight with an excellent batch of soul jazz tunes, including the first recording of his classic "Watermelon Man", the one track that probably put all his kids through school! Although that one went on to become a standard within a few short years in 60s jazz, it still sounds great here in the original – a very fresh take on the sound of soul jazz in the 60s – offered up here in a 7-minute version that has more sharp soloing than most other takes on the tune! The group here is great too – with Dexter Gordon on tenor, Freddie Hubbard on trumpet, Butch Warren on bass, and Billy Higgins on drums – and the tracks are all also originals by a young Herbie. Price: 75 Euro
1073. HANCOCK, HERBIE: “Takin’ Off” (Blue Note/ Toshiba EMI – BNJ-71015) (Record: Near Mint/ Jacket: Excellent – some faint foxing/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Clean high quality Japanese press issue of classic slide. Herbie Hancock is certainly Takin Off at this point in his career – stepping into the limelight with an excellent batch of soul jazz tunes, including the first recording of his classic "Watermelon Man", the one track that probably put all his kids through school! Although that one went on to become a standard within a few short years in 60s jazz, it still sounds great here in the original – a very fresh take on the sound of soul jazz in the 60s – offered up here in a 7-minute version that has more sharp soloing than most other takes on the tune! The group here is great too – with Dexter Gordon on tenor, Freddie Hubbard on trumpet, Butch Warren on bass, and Billy Higgins on drums – and the tracks are all also originals by a young Herbie. Price: 50 Euro
1074. HANCOCK, HERBIE: “Maiden Voyage” (Blue Note/ King Records – BST-84195) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – minimal foxing on back/ Company Blue Note Inner Sleeve: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japanese press original that came out in 1983 as a limited special cutting audiophile pressing. Comes with rare silver-toned obi. “Less overtly adventurous than its predecessor, Empyrean Isles, Maiden Voyage nevertheless finds Herbie Hancock at a creative peak. In fact, it's arguably his finest record of the '60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop. By this point, the pianist had been with Miles Davis for two years, and it's clear that Miles' subdued yet challenging modal experiments had been fully integrated by Hancock. Not only that, but through Davis, Hancock became part of the exceptional rhythm section of bassist Ron Carter and drummer Tony Williams, who are both featured on Maiden Voyage, along with trumpeter Freddie Hubbard and tenor saxophonist George Coleman. The quintet plays a selection of five Hancock originals, many of which are simply superb showcases for the group's provocative, unpredictable solos, tonal textures, and harmonies. While the quintet takes risks, the music is lovely and accessible, thanks to Hancock’s understated, melodic compositions and the tasteful group interplay. All of the elements blend together to make Maiden Voyage a shimmering, beautiful album that captures Hancock at his finest as a leader, soloist, and composer.” (All Music Guide). Great condition high quality Japanese pressing. Price: 75 Euro
1075. HANCOCK, HERBIE: “Maiden Voyage” (Blue Note/ King Records – GXF-3020) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint/ Obi: VG++). Clean Japanese press issue as issued by King Records, all complete with inserts and obi. Obi has upper tear and small wrinkle on back so… Price: 50 Euro
1076. HANCOCK, HERBIE: “Speak Like A Child” (Blue Note/ King Records – GXK-8001) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original 1977 King Records high quality pressing. “Between 1965's Maiden Voyage and 1968's Speak Like A Child, Herbie Hancock was consumed with his duties as part of the Miles Davis Quintet, who happened to be at their creative and popular peak during those three years. When Hancock did return to a leadership position on Speak Like a Child, it was clear that he had assimilated not only the group's experiments, but also many ideas Miles initially sketched out with Gil Evans. Like Maiden Voyage, the album is laid-back, melodic, and quite beautiful, but there are noticeable differences between the two records. Hancock’s melodies and themes have become simpler and more memorable, particularly on the title track, but that hasn't cut out room for improvisation. Instead, he has found a balance between accessible themes and searching improvisations that work a middle ground between post-bop and rock. Similarly, the horns and reeds are unconventional. He has selected three parts - Thad Jones’ flügelhorn, Peter Phillips’ bass trombone, Jerry Dodgion’s alto flute -- with unusual voicings, and he uses them for tonal texture and melodic statements, not solos. The rhythm section of bassist Ron Carter and drummer Mickey Roker keeps things light, subtle, and forever shifting, emphasizing the hybrid nature of Hancock’s original compositions. But the key to Speak Like a Child is in Hancock’s graceful, lyrical playing and compositions, which are lovely on the surface and provocative and challenging upon closer listening.” (All Music Guide). Top shape! Price: 65 Euro
1077. HANCOCK, HERBIE: “My Point Of View” (Blue Note/ Toshiba EMI – BN-4126) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Excellent). Long gone Japanese high quality pressing of stellar Blue Note slide. “Takin’ Off was an impressive debut effort from Herbie Hancock and his second record, My Point Of View, proved that it was no fluke. Hancock took two risks with the album -- his five original compositions covered more diverse stylistic ground than his debut, and he assembled a large septet for the sessions; the band features such stellar musicians as trumpeter Donald Byrd, tenor saxophonist Hank Mobley, drummer Tony Williams, guitarist Grant Green, bassist Chuck Israels and trombonist Grachan Moncur III. It's a rare occasion that all seven musicians appear on the same track, which speaks well for the pianist's arranging capabilities. Hancock knows how to get the best out of his songs and musicians, which is one of the reasons why My Point of View is a captivating listen. The other is the sheer musicality of the record. Hard bop remains the foundation for Hancock’s music, but he explores its limitations, finding its soulful side (the successful "Watermelon Man" rewrite "Blind Man, Blind Man"), its probing, adventurous leanings (the edgy "King Cobra"), and its ballad side. "The Pleasure Is Mine" is a lovely, simple ballad, while "A Tribute to Someone" takes the form to more challenging territory -- it's lyrical, but it takes chances. The closer "And What if I Don't" finds the band working a relaxed, bluesy groove that gives them opportunities to spin out rich, tasteful solos. It's a little more relaxed than Takin’ Off but in its own way My Point of View is nearly as stunning.” (All Music Guide). Classic and stunning Hancock slide, indispensable but getting scarcer by the minute. Top condition. Price: 75 Euro
1078. HANCOCK HERBIE , YARDBIRDS - OST – BLOW UP: “The Original Soundtrack Album Of Blow Up” (MGM – NIPPON GRAMOPHON – SMM-1138) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint/ Colored Picture Promo Only Booklet: Mint/ Picture Booklet: Mint/ Additional 48 page booklet with B&W Pictures – Promo Only: Mint/ OBI: MINT). Hideously rare 1966 Japan first original pressing of the Blow UP – comes housed in Japan ONLY Alternate jacket art. This one here is the never offered before WHITE LABEL PROMO issue and comes with promo only appendices such as 2 booklets. To make it even better, this one here also comes with the impossibly mega rare OBI as well. TOP CONDITION and impossible to ever upgrade upon. The music of this soundtrack, serendipitously, is provided by jazz composer/keyboardist Herbie Hancock. His songs, as well as a rare Yardbirds’ tune, play a digenetic role in the film, which means that when you’re hearing the music, the characters are hearing it themselves as well during the film. There’s no incidental, omniscient orchestral bursts or keening strings. Thomas – the main character of the movie, plays an LP and we hear it; it’s just that it’s mostly Hancock. The remainder of the soundtrack is the wind, traffic, the rustling of fabric, the snap of the camera’s shutter – the sounds of the day and some live club recordings seeing the Yardbirds in action. Killer soundtrack to Michaelangelo Antonioni’s masterpiece. For the recording, Herbie Hancock, Freddie Hubbard, Joe Henderson, Ron Carter and Jack DeJohnette entered a New York studio to capture the vibe of 'swinging London' in a jazz mode - with grooves that create effective bluesy moods on the slow pieces and funky ones on the up-tempo tracks. Meanwhile in London, the Yardbirds (with Jeff Beck and Jimmy Page) were recording additional material for use in the Blow-Up movie soundtrack. Young Herbie Hancock contributed the bulk of the score, evoking the ambience of swinging London with grooves that create effective bluesy moods on the slow pieces, and funky ones on the up-tempo tracks. The soundtrack also includes a rare Yardbirds number, "Stroll On", one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. Sheer brilliance. The whole affair here is in Near Mint to Mint condition. Never seen before rare Japanese 1st press with alternate jacket art, white label PROMO issue with appendices and freakingly mega rare OBI…making this copy genuinely rare. Virginal condition on all fronts, impossible to ever upgrade upon. Price: Offers!!!!
1079. HANCOCK, HERBIE: “Dedication” (CBS Sony – SOPM-165) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japan only 1st original press issue. “In late July 1974, Hancock interrupted his busy touring schedule with The Head Hunters Band to record a solo album for CBS/Sony in Japan, something he had never done before. The only other time he had attempted a solo performance during a recording was an alternate take of “Goodbye To Childhood” from his Blue Note album Speak Like A Child (1968). And even live, Hancock had seldom dabbled in solo performances. A noteworthy exception was a controversially received electronic solo concert at the Newport Jazz Festival exactly one month before the recording of Dedication, alongside acoustic solo performances by Keith Jarrett and McCoy Tyner. On the first side of Dedication, Hancock restricts himself to the grand piano for renditions of his classics “Maiden Voyage” and “Dolphin Dance” (both of which first appeared on the Blue Note album Maiden Voyage in 1965). The second side of the album is drenched in electronic textures and soundscapes. “Nobu,” a song Hancock dedicated to a close Buddhist friend, Nobu Urushiyama, is underpinned by a loop reminiscent of Sextant’s “Rain Dance,” while Hancock’s solo on “Cantaloupe Island” is superimposed over the bass line of an ARP Odyssey synthesizer. Herbie’s contract with Columbia was structured specifically to allow him artistic and creative freedom. He could deliver various projects which were ostensibly not “commercial,” and thus was afforded wide artistic freedom for an artist with an exclusive obligation to a single company. In Japan, Columbia/CBS Records partnered with Sony to form CBS/Sony. The people at Sony Japan had been long-time jazz fans and Herbie aficionados, and they proposed various recording projects, conceived strictly for the Japanese market. His first project with Sony Japan was Dedication (1974). Taking advantage of Sony’s interest in audio technology, Herbie was able to utilize the advances that Sony engineers were developing at the time, often years ahead of the commercial application of the concept. Dedication was a live to PCM digital recording. This was one of the first recordings to use this new technology. One side was acoustic piano and the other side was all synthesized, both recorded live in real time, without any overdubbing.” (Bob Belden) Price: 100 Euro

1080. HANCOCK, HERBIE: “Directstep” (CBS Sony – 30AP 1032) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Master Sound Inner Sleeve: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Excellent ~ Near Mint). All complete Japan original & Japan only issue that came out in 1979. For the rabid audiophiles in Japan, Hancock went to Tokyo to record a direct-to-disc LP that later became one of the world's earliest CD releases. Due perhaps to the arduous one-take-only nature of the direct-to-disc process, Hancock takes the rare step of using a second keyboardist, Webster Lewis to handle the multiple electronic textures; the rest of the cast is a quorum of Headhunters (Bennie Maupin reeds; Paul Jackson bass; Bill Summers percussion), plus guitarist Ray Obiedo and drummer Alphonse Mouzon. Understandably, the music sometimes sounds a bit inhibited and structured, but there are some refreshingly jarring rhythmic disruptions in "Butterfly," "Shiftless Shuffle" eventually develops a fine roadhouse groove, and the extended "I Thought It Was You" cuts the original version on Sunlight. The LP sound is excellent, especially the rock-solid bass and drums.” (All Music Guide). Price: 60 Euro

1081. HANDGJORT: “S/T” (Silence – SRS-4602) (Record: Excellent/ Jacket: Near Mint/ Printed Inner sleeve: Near Mint). Original 1971 Swedish pressing. Supposedly the disc was issued in a 300 to 500 pressing run, of which 70% of the jackets were hand-painted and only 30% of the jackets (maybe due to financial woes and hoes) came with a printed jacket. This copy here is one of the scarcer that comes with a seldom seen printed jacket. This copy also comes with the original printed inner sleeve, with two great photos from the band's performance at the legendary Gardet Festival. Handgjort ("Handmade") recorded a legendary album in 1970 released by Silence Records. The line-up consisted out of: Marcus Brandelius aka Greg Fitzpatrick, esraj and vocals; Guy Öhrström, acoustic guitar; Stig Arne Karlsson, sitar; Theo Greyerz, tablas.The music is mystic psychedelic acid tinted underground folk vibrating with eastern influences; rural cosmic phrasing and primitive psychedelic ethnic toned jungle shout outs. The album sold very poorly and sank towards the depths of obscurity. In all a stunning album, nicely drugged and the music moves from avalanching acoustic downers ala Furekaaben through weird flute and field recordings that reflect on the more ‘environmental’ aspects of the 1st Siloah and such. Handgjort have a proto-monolithic style that’s so distinctive to the Silence-era greats but it’s the moments of low-level space whispering form and weird webs of electro-acoustic confusion, super intimate in their construction and understated in their appeal - that will keep you coming back to them since it is quite a mesmerizing and addictive listening experience. Another excellent obscurity from the vaults of Thor. Price: 375 Euro
1082. HANDY, JOHN & ALI AKBAR KHAN: “Karuna Supreme” (MPS Records/ Teichiku Records – KUX-12-P) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan 1975 first original pressing all complete with rare obi. Classic outing of East meets West aesthetic with Ali Akbar Khan clearly taking home the prize. First time I could see a copy with obi. Price: 50 Euro
1083. HANI MIO & KITAJIMA OSAMU with MIYASHITA FUMIO, SAYU EIICHI, ISHIKAWA KEI and ARAI MINAMI (basically FAR OUT backing up): “Mio To 11 Piki no Neko” (Warner – L-8014W) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint has some faint mildew spots on cover/ Obi: Near Mint/ 12-Paged Booklet: Mint). WHITE LABEL PROMO in top shape!!!Hideously rare and impossible to get Japanese psychedelic masterpiece by ex-Far Out and Far East Family Band main man assisting a 7 year old kid on his trip through the love and death of 11 beloved cats. Original 1972 pressing that comes on the green Warner label and complete with OBI and the hugely detailed picture booklet. Basically this by Kitajima produced album was completely backed up by the band FAR OUT, who did not record their eponymous album until the following year in 1973 but their slowly acidic drenched lysergic jamming is already present on this monster album, only to fully explode when the second side rolls in and which they would perfect for their sole album the following year. The whole affair starts off with a distinct Far Out vibe backing up this young kid singing and talking about her cats. So basically this is a children’s disc where the musicians are tripped out lysergic gunslingers and although it may be deceptively innocent at beginning to dive into this album, it slowly grows darker and darker and acidic intoned. Mio starts singing off in an upbeat, playful and joyous style, interrupted by instrumental breaks where she lovingly raps away about her beloved cats. The scenery is almost folky but with some stoned laidback vibes shimmering throughout. The mood is light, upbeat and optimistic but as soon as side a draws to a close and side b begins the whole affair gets darker and darker as one of the cats gets sick and eventually dies, sucking you into a distorted perceptive and hallucinational vortex of slow bubbling paranoid dementia. And on that moment the true lysergic downer jam-infested riffage of the backing band comes shining through, revealing the true identity of the hired, longhaired acidic gunslingers that are Far Out in the making. Just a splendid record that till this day is still undetected by non-Japanese psychedelic music lovers. The reason for this is that it is a hideously rare album and that it basically always got rightly labeled as a children’s album but no one bothered to point out the lysergic nature of this gem. Largely unknown, but mind-blowingly great, this is one of my all-time treasured and favorite Japanese children/ psychedelic/ hybrid records of all time. Just never shows up on these shores since the album sold so depressingly badly upon its release that only a handful copies remain in circulation. Still affordable at a cheap price until a larger crowd will get air of it and push it through the roof. Just a massive disc and possibly the one to pick up out of this list. Filled with great acid deranged guitar licks and that will please everyone who is into Far Out and Far East Family Band discs. Simply a MUST!!!!! Price: Offers!!!
1084. HANNIBAL MARVIN PETERSON & THE SUNSHINE ORCHESTRA: “Conducted by David Amram Performing Children of the Fire” (Sunrise Records – Dimension 1/ Record No. 1944) (Record: Near Mint/ Jacket: Mint – still housed in shrink – perfect condition/ Insert: Mint).1974 US private press original of an all-time lost classic deep jazz album by Hannibal Peterson and The Sunrise Orchestra. Hannibal Peterson was a seasoned cat who has played with Pharoah Sanders, Gil Evans, Roland Kirk, Elvin Jones, Archie Shepp and many more. Influenced by everyone from John Coltrane to Cecil Taylor, the Sunrise Orchestra and Hannibal molded "Children of The Fire" into a unique deep jazz album composed as a suite and featuring a full orchestra. The end result is one of the most beautiful, most sophisticated and most fully-realized sessions from trumpeter Hannibal and a record that features some incredible larger backings from David Amram! The set's a haunting suite dedicated to the children of Vietnam – one that starts out in a darkly brooding mode, but which opens up with some extremely redemptive moments as the set moves on – done in a very spiritual approach to soul jazz that's strongly in the Alice Coltrane tradition! Instrumentation includes a small string group, plus added percussion – and musicians on the set include Art Webb on flute, Richard Davis on bass, Billy Hart on drums, Michael Cochran on piano, and Hannibal himself on both trumpet and koto. The lovely Alpha Johnson sings on a few of the album's tracks, and the whole thing is very warm and deep, and has a lot of variance in tempo and mood, with a strong spiritual feel similar to that of some of the more ambitious Strata East recordings from the time! Rare original in perfect shape, still housed in shrink and complete with insert. Impossible to upgrade upon. Price: 275 Euro
1085. HANNIBAL MARVIN PETERSON & THE SUNSHINE ORCHESTRA: “The Light” (Baystate – RVJ-6023) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing – Japan ONLY issue from 1978 all complete with obi and insert. Not only are the contents of this slide amazing, also it is quite a scare title as it was only released in Japan at the time on the influential Baystate label. Hannibal Marvin Peterson put down another spiritual jazz killer, filled with vocal ear waxing excursions and heath throbbing percussive rattles. Produced by Ozawa Yoshio, “The Light” is top shelf spiritual Afro-Jazz in which the piano takes the foreground thriving on shakes, tremulous vibrations and sonorous clatter, deliriously infectious female chanting, interlocking with Hannibal’s highly idiosyncratic trumpet playing, taking the whole album towards an utterly strong and lyrically induced ebbing sound creation, guiding you towards the deepest abysmal regions of spiritually intoned jazz. Listening to this one just brings tears to my eyes… so good it actually hurts! Price: 175 Euro
1086. HANNIBAL MARVIN PETERSON & THE SUNSHINE ORCHESTRA: “Live In Lausanne” (Baystate – RVJ-6011) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan only issue that came out in 1978. In a way, Hannibal can be seen as "trumpet version Coltrane". It already become evident on the opening track "My Favorite Things", with a rhythm section sounding not unlike McCoy Tyner or Elvin Jones, and is blessed with a Coltrane cult-like atmosphere. Still like the sleeve art already hints at, this is "blue sky free jazz" and it is intoxicating. A blue sky, white clouds, penetrated by Hannibal’s trumpet. After the rendition of “My Favorite Things”, he crawled out of Coltrane's curse and interlocks with the saw-type cello. Melancholy creeps into his playing and dissolves again before meandering and culminating into an Asian tinted cello solo rendition. It is a very moving piece spiritual in nature and free in its execution. Essential listening, Japan only release that saw the light of day in 1976 and all complete with obi. Top condition! Price: 150 Euro
1087. HAPPENINGS FOUR: “Magical Happening Tour” (Capitol – CP-8416) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Mint). Original 1968 pressing on blood red wax. Complete hyper rare item complete with the Obi, which is always missing. The icing on the cake however is that the whole group signed the album inside of the gatefold, making this a highly unique and one of a kind item!!! Comes with beautiful psychedelic designed obi. Comes in a gorgeous fold out jacket, depicting the members of an old 10.000-yen note. Happenings Four were a group centered around Kawauchi Kuni (Kirikyogen fame). This was the band's first released artifact that came out in July 1st, 1968. Great GS psych combo that build up their sound around great vocal harmonies, ripping organ leads, fuzz guitar breaks and has some Sgt Peppers feel attached to some of its compositions such as the track “Happenings Theme” and “Magical Mystery Tour”. Like every self-respectable GS outfit, they sucked in the necessary Beatles influences but managed to transform them and reshape them into their own sonic conquest. European exotism blends neatly with oriental concepts of early psychedelic music, attributing the music with even more mind-bending qualities. Ear candy of the upper echelon that fuses soft rock with garage, psych and swirling sonic excursions. Just so bloody great and an old time favorite of mine. Highest recommendation. Rare original pressing on blood red wax!!! Copies with obi never surface – let alone fully signed ones so…serious offers invited. Price: Offers!!!!!
1088. HAPPENINGS FOUR: “Classical Elegance Baroque ‘N’ Roll” (Capitol – CPC-8008) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ OBI: Mint). Rare 1st original pressing on red wax complete with hideously rare first issue obi. Never had a complete copy with obi before until now… This is the 2nd album by the Happenings Four, the brainchild of Kawauchi Kuni (later of Kirikyogen and others), officially released on May 10th, 1968. Like all of their 4 albums, each one sounds completely different from the others and this one is no exception at all. Influenced by Baroque art, Kawauchi went on and tried to apply this baroque aesthetic on some tunes, blending them instead into a soft pop/ easy listening/ cheesy psychedelic masterpiece that it totally laid back in nature. Ranging from some original tunes to cover versions of the Eleanor Rigby, Scarborough Fair, Hey Jude, Love is Blue and other standards of that time, Kawauchi proofed that is was an excellent arranger, rendering new life to those classics and creating a mind numbing listening experience. Some people tend to hate this album; I myself am totally in love with it. Fragile and beautiful, still at the same time lysergic in nature this album is an all time classic on my list. Forget about scoring an original with obi, because they tend to torpedo your savings. Until now, first copy ever for sale all complete with obi and disc comes on gloriously blood red wax. TOP all complete first original pressing and bloody fucking rare… Price: Offers!!!
1089. HAPPENINGS FOUR + ONE: “Hikishio-Michishio” (Capitol Records – UPJY-9130) (Record: Near Mint ~Mint/ Gatefold Jacket: Mint/ Obi: Mint). Quickly out of print limited high quality and faithful reissue of only 500 copies – all complete with OBI. For some strange reason also known under the name “The Long Trip”. Hideously rare and much sought after psychedelic progressive album by Kawauchi Kuni's Happenings Four group, here augmented with one extra member. Although not mentioned in the album's credits, Mizutani Kimio said he guested on this album and hence the “+ One” tag, referring to his presence during the sessions of this masterpiece. Released on August 5th, 1971, this was the last album by Kuni Kawauchi's Happenings Four outfit and after having dabbled with various styles such as Latin induced sounds, Bugaloo and classic themes, Soft Rock and Underground styled settings, this album would be their finest and see them steering into psyched out progressive rock infested waters spiced up with Mizutani's guitar leads taking the band to that next level of planetarian existence. Although they debuted as GS outfit, this last album by them is surely far removed from their humble origins. This entire disc is a fantastic Japanese progressive rock album stuffed to bursting with heavy organ riffage and superb electric guitar leads. It would be the band's final and their rarest release, venturing into more prog spiked soundings far removed from their early days You may also recognize Kuni Kawauchi from the fantastic album “Kirikyogen” which he made with some Flower Travellin' Band members way back in 1970. This disc is as good and is almost next to impossible to score on these shores. Comes in great gatefold sleeve. Excellent copy containing vicious music for the adventurous mind, lifting up another tip of the veil that enshrouds the hazy world of Japanese early seventies psychedelic and progressive rock. The Happenings Four were the one of the most interesting bands to have survived from the first petal-kissing hey-daze of the GS days and mutate into the schizoid 1971 present and setting in at a level of pioneeringly outrageous exercise in vocal harmonics cross breeding with psyched out progressive touches. A masterpiece and one of the best discs to seep out of Japan. High quality Japanese pressing straight from the original masters, housed in thick gatefold sleeve and with identical original obi reproduction. Long gone and out of print in the blink of an eye. Price: 85 Euro
1090. HAPPY END: “S/T” (URC Records – URL-1015) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint) RARE 1st Original Press issue!!!! First issue with first issue obi, priced at 1900 yen, which makes it the very first issue!! Great original copy of this subliminal West Coast rooted psychedelic all time Japanese Psych classic. The band was often compared to the Buffalo Springfield. Great psychedelic gem in stunningly great condition. Originally released in August 1970, here you have the chance to lay your hands upon a great copy of this psychedelic electric folk album, great vocalizations, stunning instrumentation, great psychy influences overall. Just an all time classic and historical album that helped to shape the course of Japanese music to come hereafter. Mega recommended. This one is getting so bloody rare because it comes with the always-missing obi. Last copy to pop up on e-bay went for 283 Dollars and even had no obi. Crazy. It was advertised as the 1st press but actually this is the 2nd press of 1970. First pressings have slightly different obi and fetch prices twice as high. Only one year in difference, this copy is as good as you can possibly get one. This one is a top copy with all intact. They do not come better than this one, ultra rare original copy. One of the all-time best records to seep out of Japan, killer classic that is getting scarcer with every breath you take as 1st press issues are disappearing at an alarming rate and bordering on total extinction. Price: 300 Euro
1091. HAPPY END: “Kaze Machi Roman” (URC Records – URG - 4009) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint – has a couple of very faint aging spots but very minimal/ 4-Paged Insert: Mint/ Obi: Near Mint). Complete copy w/ OBI. True 1st pressing. This is a true 1st issue. Originally released in 1971, great copy of this subliminal West Coast influenced psychedelic Japanese Psych classic. The band was often compared to the Buffalo Springfield. Great psychedelic gem in stunning condition seen its age. The disc is considered a milestone in Japan's rock history and here you have the chance to lay your hands upon a great copy of this psychedelic electric folk album, filled up with great vocalizations, stunning instrumentation, great psychy influences overall. You could refer to the Happy End as the Oriental Buffalo Springfield and musically it dwells into similar psychedelic folk induced regions spiked up with some lysergic touches and a downtown Tokyo-esque feeling that got beaten up by seasonal winds coming from the country side, battering down upon the mega-polis concrete jungle and its skyscraping cliffs of madness. In other words a rural feel clashing with city life grandeur at the start of the seventies. Just an all time classic and historical album that helped to shape the course of Japanese music to come hereafter. Mega recommended. Killer stuff. A must for anyone who considers himself vaguely interested in Japanese music, underground and psychedelic rock. No Happy End – No grasp on Japanese rock culture. Indispensable and getting bloody tough to dig up here in Japan in top condition. Price: 300 Euro
1092. HAPSHASH AND THE COLOURED COAT: “Human Host And The Heavy Metal Kids” (Minit – MLS-40001) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent/ Silver Layered Picture Insert: Mint). 1st original 1967 UK pressing on BLACK vinyl. Was also released on red wax but the sound quality of the red vinyl is so inferior that everyone is after a black one, making it the item of choice & hence much sought after. Orbiting out of The OZ magazine and the International Times sphere of influence, Hapshash and the Coloured Coat nailed down perfectly the hardcore essence of what invented British underground rock music. They succeeded brilliantly in sounding pretty anonymous, which probably originated out of the desire of not really trying to make "Music" but instead just aimed at freaking out. The end result is that to thee ears they blow the Deviants right out of the sky and unleash a tribal psyched out hoedown that sucks you right into the vortex of some stone age initiation rite. The overall result being an utterly captivating and submerging experience that sucks you in and peels you off from one chord to the next carried on a flutter of notes akin to Mick Farren’s Anarchic freak-outs. This is the type of jam to lose yourself in and not being able to return back to civilization for over a week. And when you finally make it back again, nothing will ever be the same again. Fantastic!!! 1st original press copy in top condition. Price: 300 Euro

1093. The HAR-YOU PERCUSSION GROUP: “Welcome to The Party b/w Feed Me Good” (Killer Cuts – KC-008) (7 Inch Single Near Mint ~ Mint/ Picture Sleeve: Mint). Long deleted Japan only single issue of brain-melting great slide. A fantastically dynamic blend of Afro-Cuban rhythms with richly melodic jazz overtones capturing the sound of people on the brink of becoming great players. The roaring horn-section is together and on the beat, but yet not quite confident enough to really stretch out, which only adds to the natural, almost naive kind of charm of the songs. Rarely seen Japanese single issue. Price: 75 Euro

1094. The HARD-ONS: “Ferdi’s Song b/w All Set To Go” (Waterfront – DAMP-47) (7 Inch Single: Near Mint/ Picture Sleeve: Near Mint/ Fold Out Insert: Near Mint). 1987 original killer punk slide from down-under that comes with eye-gauging artwork both on sleeve and the 2-sided gatefold insert. So killer but kind off evaporated into the clouds of obscurity, which is a damned shame. Price: 50 Euro
1095. HARPER, BILLY: “Capra Black” (Strata-East/ Trio Records – PA-7091) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan original 1st pressing in top shape, all complete with obi and insert. “Capra Black remains one of the seminal recordings of jazz’s black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper’s inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper’s tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.” (All Music Guide). What a slide, one of the high-water marks on the label. Price: 200 Euro
1096. The JOE HARRIOT QUINTET: “Swings High” (Melodisc – SMLP-12-150) (Record: Near Mint/ Laminated Jacket: Near Mint). Amazing 1967 UK original first pressing of totally overlooked and criminally underrated hard bop slide by Jamaica-born altoist that leaves no stone unturned. Recorded 20 June 1967, with Joe Harriot getting back to the hard bop roots of his 50s recordings but with a heavy twist. Backed by a great band, featuring Coleridge Goode and Phil Seaman, Harriot rocks through a selection of standards. As Coleridge stated later “Joe plays so fiercely on the record that at times it seems as though he is about to blow his alto apart”. Indeed it is…. Such a great album in top shape. Highest recommendation. Price: 200 Euro

1097. HARRIOTT JOE & Mayer, John Double Quintet: “Indo-Jazz Fusions” (Columbia Records – SCX-6122) (Record: Near Mint/ Flip Back Jacket: Near Mint). Original 1967 UK pressing – top copy. Legendary LP canned by Brit avant altoist Joe Harriott and Indian musician John Mayer. The album is just totally great, and is certainly one of the rarest Joe Harriott related albums he cut with the famous double quintet, which was led by Mayer and Harriott himself. Like the other LP on the list, the second one also mixes swinging hard-edged jazz with Indian rhythms and melodies, uniting intimately a whole combustible mixture into an incredible trans-world blend of styles that still stands as one of the most successful world/jazz crossover efforts ever! Tracks such as “Partita” and “Gana” are feverish in their execution, hot and boiling. This all resulted out of Harriott teaming up in 1966 with Indian musician/composer John Mayer and together they collaborated on these unique infusions of modern jazz and traditional Indian music. Harriott’s group (alto, trumpet, piano, bass and drums) was juxtaposed with Mayer’s (violin, sitar, tamboura, tabla and flute) in several traditionally structured ragas, as well as scored pieces. The results were dazzling with the two ‘sound worlds’ mingling remarkable well. Whereas many pop musicians of the day were using Indian music in a decorative sense (i.e adding sitars, tabla or tamboura to accent their music), Harriott and Mayer managed to produce a true concoction in which the jazz players and the traditional Indian players worked in a complementary fashion. As a result the sounds have a distinctly organic feel as if the music was not in fact a fusion but a cohesive, natural ‘whole’. In all it is just jaw-dropping beautiful music that should appeal to free improve headz as well as to swinging butt-shaking chicks. Truly astonishing and fantastic. Original 1967 UK press!! Price: 100 Euro

1098. HARRIOTT JOE & Mayer, John Double Quintet: “Indo-Jazz Fusions” (ODEON Records – OP-8257) (Record: Near Mint/Flip Back Jacket: Excellent). Original 1968 JAPAN pressing – on RED WAX!!!!! Never turns up as Japan original on glorious red vinyl. Legendary LP canned by Brit avant altoist Joe Harriott and Indian musician John Mayer. The album is just totally great, and is certainly one of the rarest Joe Harriott related albums he cut with the famous double quintet, which was led by Mayer and Harriott himself. Like the other LP on the list, the second one also mixes swinging hard-edged jazz with Indian rhythms and melodies, uniting intimately a whole combustible mixture into an incredible trans-world blend of styles that still stands as one of the most successful world/jazz crossover efforts ever! Tracks such as “Partita” and “Gana” are feverish in their execution, hot and boiling. This all resulted out of Harriott teaming up in 1966 with Indian musician/composer John Mayer and together they collaborated on these unique infusions of modern jazz and traditional Indian music. Harriott’s group (alto, trumpet, piano, bass and drums) was juxtaposed with Mayer’s (violin, sitar, tambura, tabla and flute) in several traditionally structured ragas, as well as scored pieces. The results were dazzling with the two ‘sound worlds’ mingling remarkable well. Whereas many pop musicians of the day were using Indian music in a decorative sense (i.e. adding sitars, tabla or tambura to accent their music), Harriott and Mayer managed to produce a true concoction in which the jazz players and the traditional Indian players worked in a complementary fashion. As a result the sounds have a distinctly organic feel as if the music was not in fact a fusion but a cohesive, natural ‘whole’. In all it is just jaw-dropping beautiful music that should appeal to free improve headz as well as to swinging butt-shaking chicks. Truly astonishing and fantastic. Original 1968 JAPAN press on RED VINYL!! Much rarer than the UK pressing and sounding also bloody awesome! Seriously rare and bloody cheap. Price: 150 Euro
1099. HARRIOT JOE & MEYER, JOHN: “Indo Jazz Fusion” (Atlantic) (Record: Excellent/ Jacket: Excellent/ Obi: Excellent) Original US press that got adorned with an obi to accompany its domestic release in Japan, at that time as an import only record. Copies with obi, seen that there was no Japan press of the disc at the time of its release, bloody rare and almost impossible to get. The music on the other hand is just stellar, an unique mixture of spiritual jazzy riffage blending neatly with eastern mysticism, creating quite a hallucinatory listening experience. Original press in excellent condition and with obi, making this item so bloody rare my eyes start bleeding every time I look at it. Bloody cheap price as well seen against its rarity status and condition. Price: 150 Euro
1100. HARRIOT, JOE & JOHN MAYER: “Indo-Jazz Suite” (Columbia Records – SX-6025) (Record: Excellent, has one tiny hairline on side one that is inaudible/ Flip Back Laminated Jacket: Excellent ~ Near Mint). 1969 UK original MONO pressing. Beautiful copy and 1st original UK pressings in nice nick are getting a bitch to dig up. That aside, this combo ruled big time!!! Price: 150 Euro
1101. HARRIOTT, JOE & JOHN MAYER DOUBLE QUINTET: “Indo-Jazz Fusions II” (Columbia Records – SCX-6215) (Record: Excellent ~ has one inaudible but clearly visible long scuff on side 2, for the rest it is virginal, playing is also virginal/ Flip Back Jacket: Excellent/ Company Inner Sleeve: Near Mint). Original 1968 UK pressing – top copy. Legendary LP canned by Brit avant altoist Joe Harriott and Indian musician John Mayer. The album is just totally great, and is certainly one of the rarest Joe Harriott related albums he cut with the famous double quintet, which was led by Mayer and Harriott himself. Like the other LP on the list, the second one also mixes swinging hard-edged jazz with Indian rhythms and melodies, uniting intimately a whole combustible mixture into an incredible trans-world blend of styles that still stands as one of the most successful world/jazz crossover efforts ever! This all resulted out of Harriott teaming up in 1966 with Indian musician/composer John Mayer and together they collaborated on these unique infusions of modern jazz and traditional Indian music. Harriott’s group (alto, trumpet, piano, bass and drums) was juxtaposed with Mayer’s (violin, sitar, tamboura, tabla and flute) in several traditionally structured ragas, as well as scored pieces. The results were dazzling with the two ‘sound worlds’ mingling remarkable well. Whereas many pop musicians of the day were using Indian music in a decorative sense (i.e. adding sitars, tabla or tamboura to accent their music), Harriott and Mayer managed to produce a true concoction in which the jazz players and the traditional Indian players worked in a complementary fashion. As a result the sounds have a distinctly organic feel as if the music was not in fact a fusion but a cohesive, natural ‘whole’. In all it is just jaw-dropping beautiful music that should appeal to free improve headz as well as to swinging butt-shaking chicks. Truly astonishing and fantastic. Original 1968 UK press!! Price: 75 Euro

1102. HARRIS, BARRY: “At the Jazz Workshop – Recorded Live in San Francisco with Sam Jones, Louis Hayes” (Riverside/ Nippon Victor – SR-7034) (Record: Near Mint/ Fragile Flip Back Sleeve: Near Mint/ Obi: Near Mint). Damned rare Japan 1st original pressing – flip back sleeve all complete with never seen before very first obi issue. Pianist Barry Harris’ second recording as a leader (he led a set for Argo in 1958) finds him at the age of 30 playing in the same boppish style he would have throughout his career. Teamed up with bassist Dam Jones and drummer Louis Hayes,t his live recording is an excellent example of Harris’ playing. Highlights of the enthusiastic straight-ahead set include "Is You Is or Is You Ain't My Baby," "Moose the Mooche" and "Woody'N You." Top notch condition of very first Japanese pressing with obi. Price: 150 Euro

1103. HARRY SPARNAAY ~ LUCIEN GOETHALS ~ LOUIS De MEESTER: “S/T” (Alpha – SP-6028) (Record: Near Mint/ Jacket: Near Mint). Original 1975 pressing, 1st time ever I could encounter a copy of this gem. If you are after seriously mind-bendingly awesome and obscure beyond belief vintage electronic music recordings out of BELGIUM of all places (how many electronic recordings out of this country do you actually have? Right…it needs some seriously spicing up then since Belgian electronic music records are virtually inexistent), then I guess you came to the end of your quest. Look no further, this here is as obscure as it can humanly possibly get. The music on the other hand is also top shelf material, and after being exposed to it I am sure you will burn down the larger part of your musique concrete and electronic music collection because it will sound utterly boring when put down next to greatness like this recording here. I tell you, this is no hyperbole or delusional ranting but a fact of life. The record is made up out of one side for each composer and starts off with two contributions by Lucien Goethals. “Difonium” was composed for bass clarinet (played by Harry Sparnaay) and magnetophon and dates back to 1974. It became Goethals’s first work dedicated to the mixed genre. Here it is composed out of a complete complementary approach to the used instrumental and electro-acoustic mediums at his disposal. The serialist method came in handy for Goethals. The relation to electronic live performance poses the instrumental virtuosity into a new light, the never-ending pulsating vibration of the tape urges the instrumentalist to ever and never-ending response while all the time he has enough space to demonstrate his own inventiveness. “Studie V” on the other hand is completely electronic in its nature, mixed electronic and concrete material, filtered and ring modulated sounds interact with metallic thunder drones, taking you beyond the abyss and back again. Louis De Meester dedicates the second side to the sidelong composition “Mimodrama” (1971). Here we enter more austere and wicked waters brimming over with pulsating electro-acoustic impulses that interlock with magnetophonic manipulations of sound clusters. The method of composition goes back to the earliest manipulation techniques of musique concrete with voices popping up out of the fog, creating a monographic drama that dissects all of the movements into fractious pieces that in their turn bounce back into apocalyptic tidal waves of ever emanating sound. Killer with absolutely not a second of filler. Hideously rare and obscure LP that just never turns up and is unknown to most electronic music scholars and collectors. Highest possible recommendation. Price: 250 Euro
1104. HARTH, ALFRED with Thomas Cremer; Dieter Herrmann; Johannes Kramer; Peter Stock; Thomas Stowsand & Franz Volhard: “Just Music” (ECM – 1002) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Never offered before TEST PRESS issue – one of a kind! Damned scarce first print with first edition sleeve ECM pressing. “Just Music was the moniker for a rotating West German collective whose musical “happenings” were a nascent challenge to mainstream sociopolitical strictures. Although the classical training of these musicians is readily apparent from their technical prowess, the opening outburst tells us we’re in for something less rule-bound. Alfred Harth tears the ether with his sax amid wordless chanting as a cornucopia of musical ideas is thrown into our ears. That said, these two 20-minute free-for-alls weave a quietude broken only by the occasional peak of intensity. Released in 1969, this self-titled date was the second for ECM Records and is still out of print. It remains a veritable zoo of musical languages in which each dialect is its own animal: caricature of an impossible ideal. Sax and trombone roar like elephants; the flute is a bird that would just as soon go into feathery convulsions as fly; the cellos are reptilian; the bass lumbers like a lion from its den; drums trip over themselves like a drowsy bear; and a guitar chatters with the insistence of an agitated monkey. This leaves only the human voices, a mockery in and of themselves. Just Music flips through a mental file of everything learned at the academy, scribbling in addendums of extended techniques for good measure. Where one moment finds us in our comfort zones, the next proves our power of direction to be fallible, forcing us to wander everyday streets as if for the first time.” (ECM) Only pressed in an edition of 300 copies in 1969, it quickly evaporated into thin air. It was later reissued on ECM again with different sleeve. This is the never offered before TEST PRESS press issue and an impossible to dig up these past years. Top shape and one-of-a-kind unique item and probably only a few copies (2 to 3??) in existence of this test pressing!! Price: Offers!!!!
1105. HAVENSTREET: “The End Of The Line” (Rissole Records – KAB-1034) (Record: Excellent ~ Near Mint/ Jacket: Excellent with no splits or damages, has some faint ageing spots visible against white background/ Booklet: Near Mint) Original 1977 UK private press record released in 1977 in an edition of only 250 copies. The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born. The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. Havenstreet became a competent little folk duo who released two albums as private cassettes before making The End Of The Line in 1977. Very much in step with the prog-folk of the time, and ably augmented by an array of instrumentation, the pair weren’t too far away from a minor-league Canterbury sound – and, indeed, Vinter does sound like Caravan’s Richard Sinclair… a bit. In 1977, Havenstreet released 'The End Of The Line', a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song 'When the madcap meets the world'. Price: Offers!!
1106. HAWKIND: “Urban Guerrilla b/w Brainbox Pollution” (Liberty – LLR-10437) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Hawkwind Japan only picture sleeve issue in top condition. Two brain-fryers on each side, bound to catapult your mind towards the outskirts of amphetamine-soaked deep space!. Rarely seen this clean and a tough one to dig up. Essential piece for any Hawk-fan out there! Price: 300 Euro
1107. HAWKWIND: “In Search Of Space” (Liberty – LLP-80663) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Near Mint/ Booklet: Near Mint). TOP COPY Japan original, 2nd issue that came out slightly after the above mentioned one and got a gatefold sleeve instead of the single sleeve the 1st edition was graced with!!! Second Hawkwind album and the one to put them on the map. Original 1st edition Japanese pressing, complete with Rock Now obi attached and booklet. Hardly ever turns up, let alone in an exquisite condition like this baby here. Music needs no introduction I guess, filled with space hymns and acid deranged visionary lyrics, enough to fill a lifetime. A classic and I still, ride massively hard for this one. Obligatory mind food. Top condition!! Price: 250 Euro
1108. HAWKWIND: “In Search Of Space” (Liberty – LLP-80663) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Near Mint/ Booklet: Near Mint). TOP COPY WHITE LABEL PROMO ISSUE – Japan original, 2nd issue that came out slightly after the above mentioned one and got a gatefold sleeve instead of the single sleeve the 1st edition was graced with!!! Second Hawkwind album and the one to put them on the map. Original 1st edition Japanese pressing, complete with Rock Now obi attached and booklet. Hardly ever turns up, let alone in an exquisite condition like this baby here. Music needs no introduction I guess, filled with space hymns and acid deranged visionary lyrics, enough to fill a lifetime. A classic and I still, ride massively hard for this one. Obligatory mind food. Price: 425 Euro
1109. HAWKWIND: “Doremi Fasol Latido” (Liberty Japan – LLP-80700) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ 8-Paged Illustrated Booklet: Near Mint/ Obi: Excellent). Original Japanese pressing but this one here comes with the always-missing obi in its full glory. First issue gold obi, 2nd issue obi was red. First issue obi is damned rare these days. Copies with obi attached are scarce and seldom turn up. The first of the classic line-up with Lemmy as bassist and Simon King as the drummer. The name Lemmy would from then on be stuck in history. Originally recruited as a guitarist, Lemmy was thrown a bass when Dave Brock decided he could play lead and Dave Anderson failed turn up. Having no idea how to play the instrument, he just played it like lead guitar and with it he instantly was co-responsible to generate that classic Hawkwind sound. Lemmy’s bass added far more interest to those drawn-out extraterrestrial heavy space-trucking jams on the earlier albums and raised the level of the band as a whole. Maybe the best album by the band? Certainly has my vote, although I swear by all their early output. Comes with always missing first issue obi…and getting impossible to dig up. Price: 350 Euro
1110. HAWKWIND: “Doremi Fasol Latido” (Liberty Japan – LLP-80700) (Record: Excellent ~ Near Mint – has inaudible hairline mark on side one/ Gatefold Jacket: Near Mint/ 8-Paged Illustrated Booklet: Near Mint/ Obi: Excellent). Original Japanese pressing but this one here comes with the always-missing obi in its full glory. 2nd issue pink obi, following the gold-colored 1st issue obi. Getting damned rare these days. Copies with obi attached are scarce and seldom turn up. The first of the classic line-up with Lemmy as bassist and Simon King as the drummer. The name Lemmy would from then on be stuck in history. Originally recruited as a guitarist, Lemmy was thrown a bass when Dave Brock decided he could play lead and Dave Anderson failed turn up. Having no idea how to play the instrument, he just played it like lead guitar and with it he instantly was co-responsible to generate that classic Hawkwind sound. Lemmy’s bass added far more interest to those drawn-out extraterrestrial heavy space-trucking jams on the earlier albums and raised the level of the band as a whole. Maybe the best album by the band? Certainly has my vote, although I swear by all their early output. Comes with always missing obi…and getting hard to dig up in great shape. Price: 200 Euro
1111. HAWKWIND: “Space Ritual” (Liberty Japan – LLP-93091B) (2 LP Set: Near Mint/ Fold Out Poster Jacket: Near Mint/ Additional Poster: Mint/ 12-Paged Booklet: Mint/ Obi: Mint) Rare superior Japanese pressing out of the seventies of this whirling space rock monster. Comes with a booklet that is not present in the UK edition and an extra poster, which is also not present with the UK edition. The music is as you might know a lysergic throb of seemingly never ending space-deranged pulsations, acid flashbacks, Michael Moore styled SF lunacies set to sound and other intoxicating mindbenders. Dave Brock wailing resembles a jellyfish on an STP binge, while Lemmy’s bass lines and Nik Turner’s sax vibrations provide a perfect ergot induced balance to prevent the amphetamine roller coaster from derailing. How your brain cells will cope with this sonic assault remains an open question, I for all will not be held responsible for any eventual “permanent damage” after sitting through this 2 LP set. Price: 450 Euro
1112. HAWKWIND: “Warrior On The Edge Of Time” (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ BIG POSTER: Mint). Japanese original 1st pressing complete with obi and insert & POSTERFifth Hawkwind album and the final one of that classic first generation era. Essentially based on the Eternal Champion Mythology created by the author Michael Moorcock, “Warrior on the Edge of Time” is on a par with “Hall of the Mountain Grill” as one of the key Hawkwind albums to carve out their space age psychedelic mythology. It was also the last album to have Lemmy in their ranks before he got sacked and formed Motorhead. Hawkwind hit their high water mark here and the musicians were at the height of their stylistic powers. Original 1st edition Japanese pressing, complete with Rock Now obi attached and insert. Hardly ever turns up, let alone in an exquisite condition like this baby here. Music needs no introduction I guess, filled with space hymns and acid deranged visionary lyrics, enough to fill a lifetime. A classic and I still, ride massively hard for this one. Obligatory mind food. Price: 400 Euro
1113. HAWKWIND: “Hall of the Mountain Grill” (Liberty/ Toshiba Records Japan – LLS-80068) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ Imprinted picture Inner Sleeve: Mint). 1st original Japanese pressing, all complete an in immaculate condition. WHITE label PROMO issue. “The band's best studio album, coming off the success of Space Ritual. The group's rock roots are juxtaposed effectively with the swelling synthesizer flourishes and pretentious song ideas, creating the quintessential guitar-oriented space rock record. The highlight was the live recording of "You'd Better Believe It," with its crunchy guitars, but nobody minded keyboard man Simon House’s languid synthesizer-laden "Hall of the Mountain Grill" (especially as it was followed by the Lemmy-sung "Lost Johnny," a great all-out rocker). The sound, especially the mix of ballsy high-volume guitar playing and soaring electronic keyboards ("The Psychedelic Warlords," "D-Rider"), would later get co-opted by outfits such as Blue Oyster Cult ("(Don't Fear) The Reaper") and Kansas. Overall, this is the sound and imagery that the punkier kids and druggies who went to shows like Laserium were looking for, and if the producers of Laserium had devised something hooked around this record, it could have run 20 years or better.” (Bruce Eder - AllMusic). All Japan originals of early period Hawkwind with obi are getting a bitch to dig up. They were pressed and sold in small quantities making them rare forever. TOP copy, White Label PROMO & dead mint. Price: 275 Euro
1114. ROY HAYNES QUARTET: “Out Of The Afternoon” (Impulse – AS-23) (Record: Near Mint/ Flip-back Jacket: Near Mint ~ Mint – still firmly housed in shring and unopened gatefold/ Company Inner Sleeve: Near Mint). Freakingly rare 1963 original 2nd state US pressing with Paramount Records notification imprinted on labels and sleeve. Time-machine like virginal condition with gatefold sleeve still firmly housed in shrink! “Out Of The Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes’s drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan’s piano playing is equally light and delicate; Grimes’ bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk’s sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.” (All Music Guide). Top condition next-to-impossible to upgrade upon. Price: 350 Euro
1115. ROY HAYNES QUARTET: “Out Of The Afternoon” (Impulse – NY-14) (Record: Near Mint/ Flip-back Jacket: Near Mint). Freakingly rare 1963(!!!) Japan 1st original MONO pressing that comes housed in a fragile flip back sleeve. “Out Of The Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes’s drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan’s piano playing is equally light and delicate; Grimes’ bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk’s sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.” (All Music Guide). Top condition 1963 MONO original 1st press. Price: 150 Euro
1116. ROY HAYNES QUARTET: “Out Of The Afternoon” (Impulse – IMP-88086) (Record: Near Mint/ Gatefold Jacket: Excellent – has some faint foxing spits visible/ Insert: Near Mint/ Obi: Near Mint) Scarce 1971 Japan 2nd press issue that comes housed in a thick gatefold sleeve, all complete with obi. “Out Of The Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes’s drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan’s piano playing is equally light and delicate; Grimes’ bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk’s sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.” (All Music Guide). Great shape and rare with OBI present. Price: 75 Euro
1117. HELDON: “Interface” (Cobra – COB37.013) (Record: Excellent/ gatefold Jacket: Excellent, has humidity stain near lower side). Original 1st French pressing. This is France's answer to krautrock, melding the rhythmic aesthetic of French Zeuhl with the electronic experimentation and guitar jams of German Kraut. There are two flavors on this album. The first features juicy fat sequenced bass synthesizer parts repeated over and over with steady drums and furious guitar wailing, the execution of this is perfect and amounts to far more than the sum of its parts. The second part is more focused on dual synthesizer battles with jamming in the background. The way these two approaches compliment each other really makes this album something special. Original 1978 press issue. Price: 50 Euro
1118. HELDON: “Third” (DISJUNCTA/ Urus Records - 000006-7) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint). TOP COPY!!! Original 1975 first original French pressing of probably the best Heldon slide ever!!! This monstrous and schizophrenic double album is on Masami Akita's all time top ten favorite records list and it is not too difficult to see why. The guitar tracks on this album are so over the top delayed and distorted they will make your speakers squeal and pop in crackling terror. We're talking endless gurgling all-out guitar fuzz. The schizophrenia comes in on the long electronic tracks, which are less dense than what one has come to expect from Richard's hand. "Aurore" is a floating one-finger synth drone - very static but very tranced out for those so inclined - odd effects disrupt the mood, like weird clicks and whirrs towards the beginning, and a dog barking towards the end. All in all this feels like a collection of outtakes from Allez Teia and demos for Agnetta Nilsson - sprawling, yes, in the great double album tradition. Price: 150 Euro
1119. HELDON: “Stand By” (King/ Egg Records – GP-706) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint/ Obi: Near Mint/ 4-Paged Insert: Near Mint). Original 1st press Japanese edition, complete with obi and in total mint condition. This was Heldon's last studio release. Stand By features the classic trio lineup of the brilliant Francois Auger on percussion, Patrick Gauthier on keyboards and Pinhas on guitars, keyboards and electronics, with some additional assistance from Didier Batard on bass, Didier Badez on sequencers and Klaus Blasquiz doing voices. The two long pieces are an interesting contrast. The title piece starts with some nasty distorted fuzz guitar from Pinhas over ponderous, menacing bass and drums. King Crimson at its most aggressive could be considered a model, but this track is also very close to the so-called zheul sound of Magma, which shared Pinhas' interest in science fiction motifs, among other things. Later in the piece, the band switches gears somewhat with a slightly quicker tempo, but then after a couple of minutes settles back into a grinding, heavy metal sound. After a short and much jauntier electronic interlude comes the second long piece, Bolero, which uses the well-known Spanish rhythm in an opening section, but then moves into a long space jam which is anchored by a strong sequencer pulse. The result is some very effective kosmiche space music, much in the vein of early Klaus Schulze. From a later vantage point, the musical style here is quite familiar, but what makes Heldon's piece a superior thing of its kind is Auger's imaginative percussion, Pinhas' loose, soaring guitar improvisation on top of the precise electronics, and the general interplay among musicians and between acoustic, electric and electronic instruments. Not cookie-cutter stuff by any means, this piece gives the German audionauts such as Schulze and Tangerine Dream some worthy competition.” (William Tilland, All Music Guide). A classic disc, still rules my everyday life. Bloody cheap 1st original Japanese press….Price: 75 Dollars
1120. RICHARD HELL: “Another World b/w Blank Generation – You Gotta Lose” (Stiff Records – BUY-7) (7 Inch EP Record: Near Mint/ Top Loader Picture Sleeve: Near Mint). Original UK pressing of classic Hell slide. On the 18th of November 1976 Richard Hell - later to be Richard Hell and the Voidoids- released the three-track 45rpm 7 inch EP - the Another World EP on Ork Records in the US, closely followed by a UK release on STIFF that came housed in alternate sleeve art. This contained, on the A-side, (I Could Live With You In) Another World, which was a very unpunk-like six minutes long, and it's probably as well that this has more or less sunk without a trace. More importantly, however, was what was on the flipside of the record. There were two tracks, (I Belong To The) Blank Generation and You Gotta Lose. The first of those, Blank Generation, was to go on to inspire the Sex Pistols' Pretty Vacant, amongst other things. Anyway, three killer tracks housed in cool picture sleeve. Price: 40 Euro

1121. RICHARD HELL & the VOIDOIDS: “Blank Generation” (Warner Bros. Records Inc. – SR-6037) (Record: Excellent – has some faint hairlines visible under bright light/ Jacket: Excellent ~ Near Mint). RARE US TEST PRESSING from 1977. As a member of Television & the Heartbreakers, Hell was one of the first men to appear on the US Punk and No Wave scene. He quit both groups before they could record and was into his late twenties when he stepped up to the microphone to record with his tequila-fueled vocals this all-time punk classic. As is the case with the Hell’s lyrics, there’s more to music than first meets the ear and his version of punk wasn't much like anyone else's. Though the vernacular deals in three-chord slang, the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that, largely thanks to guitarists Robert Quine and Ivan Julian who bounced sharp, edgy patterns off each other that were more about psychological tension than brute force. Robert Quine’s was the mature one in the band at that time – he was 35 and as much influenced by Ornette Coleman as the Velvet Underground and this simmers through into his lends the guitar licks that would not be out of place on a on a Captain Beefheart album. That combined with Hell’s truly unique voice brimming with ideas and musical intelligence perfectly encapsulate the environment that spawned them resulting in The Blank Generation bottling up the smell and feel of the whole NY CBGB era, making it a thrilling and improbably poignant listening experience. Rarely offered TEST PRESS issue with jacket!!! Price: 400 Euro


1122. RICHARD HELL & the VOIDOIDS: “Blank Generation” (Philips – RJ-7320) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). WHITE LABEL PROMO ISSUE!!! 1977 original Japanese first pressing that came out on Philips. As a member of Television & the Heartbreakers, Hell was one of the first men to appear on the US Punk and No Wave scene. He quit both groups before they could record and was into his late twenties when he stepped up to the microphone to record with his tequila-fuelled vocals this all time punk classic. As is the case with the Hell’s lyrics, there’s more to music than first meets the ear and his version of punk wasn't much like anyone else's. Though the vernacular deals in three-chord slang, the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that, largely thanks to guitarists Robert Quine and Ivan Julian who bounced sharp, edgy patterns off each other that were more about psychological tension than brute force. Robert Quine’s was the mature one in the band at that time – he was 35 and as much influenced by Ornette Coleman as the Velvet Underground and this simmers through into his lends the guitar licks that would not be out of place on a on a Captain Beefheart album. That combined with Hell’s truly unique voice brimming with ideas and musical intelligence perfectly encapsulate the environment that spawned them resulting in The Blank Generation bottling up the smell and feel of the whole NY CBGB era, making it a thrilling and improbably poignant listening experience. Top copy high quality Japan 1977 first press – white label promo!!! Price: 450 Euro
1123. RICHARD HELL & THE VOIDOIDS: “Blank Generation – Mono version b/w Blank Generation – Stereo version” (Sire – SRE-1003) (7 Inch Single Record: Near Mint/ Fragile Picture Sleeve: Excellent). Rare US original 1977 PROMO single. Price: 75 Euro
1124. RICHARD HELL & the VOIDOIDS: “The Kid With The Replaceable Head b/w I’m Your Man” (WEA Records – ADA-30) (7 Inch Record: Near Mint/ Picture Sleeve: Excellent). Original UK pressing from 1979 of subliminal Hell slide. Price: 30 Euro
1125. HELL, RICHARD & The NEON BOYS b/w RICHARD HELL & VOIDOIDS: “That’s All I Know (Right Now) – Love Comes In Spurts b/w Time – Don’t Die” (Shake Records – SHK-101) (EP Record: Excellent/ Picture Sleeve: Excellent). Original US pressing that came out in 1980 of killer 4 track EP. Price: 40 Euro
1126. RICHARD HELL & VOIDOIDS: “I Wanna Be Yer Dog b/w You Gotta Lose – Walk On The Water” (3 Track Ep Record: Excellent/ Picture Sleeve: Near Mint). (Private – No Number). Scare but oh so great live recording of Hell and the Voidoids captured live at CBGB’s somewhere in 1978. Filthy, trashy and sick of glue, just the way you like it. Killer little oddity that hardly ever pops up anymore. Price: 50 Euro
1127. HELPFUL SOUL: “The Helpful Soul First Album” (Victor – SJET-8118) (Record: Excellent/ Gatefold Jacket: Near Mint). One of the rarest Japanese psych records. First original 1968 pressing in amazing condition that just about never surfaces on these shores. One of the cleanest copies I have had so far, gatefold sleeve is NM, record is EX with only a couple of non sounding very faint hairlines so graded at EX~NM. In 1965 three students from the American School of Kyoto, being Junio Nakahara, guitarist and singer, Charles Chei, bass and Tsukasa Eiichi drums, formed the high school combo The Youngbeats. The trio’s song repertoire at that point consisted mainly out of covering hit songs from that period such as songs by the Shadows, the Rolling Stones and the Beatles. Around March 1968 the trio evolved into a quartet with to the addition of fellow student-musician Gene Shoji, who filled the gap of lead guitarist. Simultaneously with the opening up of the band’s ranks was the name of The Youngbeats also being altered in The Helpful Soul. Apart from having appeared already one time on the popular youth television program “Young 720”, the band’s action radius covered was mainly restricted to go-go clubs in the Kansai area (mainly Osaka and Kyoto). While roaming the nightclub and Go-go scene around Osaka, the band’s most eye-catching achievement was taking the stage at an event that took place in Osaka’s Date Line Club on November 24, 1968 when they acted as backing band for the famous singer Shoumeike Arima Hirotoshi. This combined performance was repeated once more for a concert taking place in the Kansai region, at which the show was opened with a light spectacle consisting of psychedelic liquid and fluid light projections, just like their American equivalents had done before them at such illustrious places like the Avalon Ballroom and the Fillmore Auditoriums. All their efforts of gigging paid off eventually and The Helpful Soul was finally noticed by Victor, who enabled them to release their first album in April 1969, entitled plain and simple “The Helpful Soul First Album”. The album clearly depicted the band as a knowledgeable psychedelic combo deeply rooted and familiar with the reigning American fuzzed-out rock trends. They clearly surpassed most of their contemporary G.S. fellow practitioners by bringing forth an album brimming over with skillful craftsmanship, originality and deeply rooted psychedelic undertones. As a worthy successor, the Helpful Soul’s second album “Senya Ichiya Monogatari”), that was also the soundtrack for the likely named animation movie, appeared three months later in July 1969. Apart from some orchestral insertions in between tracks, the band ventured into some heavy fuzz mayhem infested territory, dripping over with greasy heavy fretting, acidic riffage and distorted slow burning tracks. Sadly enough the band disbanded during the summer of 1969, but still their 1st ever record is seen as a demented and fuzz deranged masterpiece of early Japanese vintage psychedelia. Impossible to score these days, this is a rare original copy in nice condition. Filthy fuzz licks, wasted vocals, delirious playing. A masterpiece. Great condition. Price: Offers!!!!!

1128. HELPFUL SOUL: “Senya Ichiya Monogatari – A Thousand and One Nights” (Victor Records – SJET-8150) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached Illustrated insert: Near Mint/ OBI: Near Mint ~ Mint/ Additional Promotional 31 cm ~ 23 cm & 34 Glossy Paper Booklet: Near Mint/ Attached 55 Cm ~ 22 Cm Poster attached in Booklet: Near Mint). Top condition copy, impossible to ever upgrade upon, perfection!!! Comes with additional Never seen before PROMOTIONAL booklet with poster for the release of the film with cool pictures of the animation and the Helpful Soul in action!!! Well, here you have it, one of the unsung Holy Grails of the Japanese psych pantheon, the second LP (and last) by the Helpful Soul. COMPLETE with always missing OBI and never seen before additional booklet with Poster!!!! This wailing fuzz-drenched and acid-soaked mind bender was used as the soundtrack for the animated film of “A Thousand and One Nights”, designed by and Tetsuka studios released (as a soundtrack LP) in July 1969. After the album's release, the band broke up and Juni Rush went on to form Too Much. But this psychedelic monster was without a doubt the highlight of Juni's short-lived career as spearheading a bluesy hard psych combo with lethal doses of raw guitar assaults, wah-wah lashings, fuzz drenched bass, insane caveman rhythm blasts, you know the real Owsley thing. On this slide, these guys nearly went for the throat. First and only original pressing on the green Victor SJET label. Wilder and lysergically spiked up as their debut album, hallucination induced cover art and blindingly beautiful fold out jacket. Housed in splendid nightmarish acid-leaking cover art in great nick. Copies are virtually impossible to find these days and when they pop up, they are beaten up in most cases. This copy here is near mint, just beautiful and ooh so bloody rare. Hyper collectable screaming fuzz wah-wah blaster that in the years to come will skyrocket through the roof. Copies do not surface anymore and they are getting rarer with each breath you take. If monster oriental psych blasters are your thing, then look not further, this is lysergic madness encapsulated in a time capsule. One of my fave Japanese psych artifacts, this one will frazzle your brain and jacks open your skull, deliriously insane and great greased up fuzz guitar riffage. Hard to believe this was the soundtrack to an animation movie, which in its own right was visually a mind trip. Highest ever-possible recommendation. All complete copies with OBI just do not surface anymore, it has been ages since I had an all-complete copy with attached booklet and additional promo book with poster. Best condition imaginable & with never offered before additional promo book with poster so …. Price: Offers!!!

1129. HENDERSON, JOE: “The Elements” (Milestone/ Victor Records – SMJ-6057) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent/ Obi: Near Mint). Scarce Japan 1st original press issue all complete with obi. One of the greatest Joe Henderson albums of the 70s – a suite of tracks dedicated to the four elements – and served up with some great accompaniment from Alice Coltrane! The style here is a wonderful mix of Coltrane's spirituality and Henderson's down-to-earth soulfulness – in a style that recalls some of the best moments on Coltrane's sublime Ptah The El Daoud album – a set in which Henderson's tenor was a key part. The album, released in 1974, can sit comfortably alongside such contemporaneous classics as Don Cherry’s Brown Rice or Pharoah Sanders’ Love in Us All. Like those efforts, The Elements draws from a heady brew of non-jazz influences from India and Latin America (not to mention hints of dub, funk and soul), resulting in a well-nigh unclassifiable blend. But it’s a blend that always bewitches, whether it’s the appropriately passionate opener “Fire,” which pits Henderson’s rich tenor sax against Coltrane’s cascading harp, or the mystical vibes that fuel “Earth,” with legendary bassist Charlie Haden and drummer  Leon “Ndugu” Chancler  laying down an immovable groove for Henderson, Coltrane and violinist Michael White to float freely over. Price: 250 Euro
1130. JOE HENDERSON QUARTETS: “Tetragon” (Milestone – MSP-9017) (Record: Excellent ~ Near Mint with a few harmless sleeve lines/ Jacket: Near Mint) First US original pressing on the dark blue Milestone label (later issues have different label colors). An excellent set that really shows Joe Henderson perched on the edge – hanging between his Blue Note hardbop work of the 60s, and his freer work of the early 70s! The lineup's a great one – with Kenny Barron on piano, Ron Carter on bass, and either Louis Hayes or Jack DeJohnette on drums – and although there's no electric instrumentation in the lineup, there's plenty of electricity in Henderson's playing – an edge that crackles throughout, even on more familiar numbers! Getting a push up in demand recently and true first pressings are getting a tough one to get a hold off. Great copy up for grabs. Price: 275 Euro
1131. HENDERSON, JOE: “In’ N Out” (BLP-4166) (Record: Near Mint/ Jacket: Near Mint/ OBI: MINT/ Insert: Mint/ Inner Sleeve: Near Mint) Immediately Out of Print in the flash of an eyelid when it was released over a decade and a half ago…. Japan’s uber-quality super limited deluxe high-quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all off, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 225 Euro

1132. The JIMI HENDRIX EXPERIENCE: “Crosstown Traffic b/w Gypsy Eyes” (Polydor – DP-1625) (7 Inch Single Record: Near Mint/ Flip Back Picture Sleeve: Excellent – has faint crease on back/ Lyrics Insert: Near Mint). Hard to find in top shape. Comes housed in awesome 1969 Japan only picture sleeve art. Price: 75 Euro

1133. The JIMI HENDRIX EXPERIENCE: “Axis Bold As Love” (Polydor – SLPM-1398) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Top condition!!!! Freakingly rare WHITE label PROMO issue that comes housed in Japan ONLY psychedelic jacket design and one of the hardest to track down Jimi Hendrix variation jackets. This was the VERY FIRST Press issue with SLPM catalogue number that came out in August 1968. The 2nd press issue has the SMP label number and came out a full year later. Impossibly rare – especially the PROMO issue, only 2nd copy I see in over a decade!!! Comes housed in a Japan only alternate psychedelic cover. Amazing condition, simply the best I have seen so far. Comes with always missing insert as well. The music needs no introduction, I guess. This Japanese 1st pressing is just impossible to dig up. The 2nd press issue with SMP numbering is quite common but the very 1st pressing with SLPM numbering and sleeve is impossible. Jacket is stunningly beautiful. Getting damned bloody rare. Top copy, disc is virginally clean, no marks or defects so graded strictly NM, jacket is just perfect with no foxing at all. Highest recommendation and sadly insanely rare, especially in this condition. First time ever I have a very first pressing in virginal condition in over 15 years – as a WHITE label PROMO issue. Price: Offers!!!
1134. HENNING CHRISTIANSEN: “Abschiedssymphonie” (Edition Block) (Record: Mint/ Gatefold Sleeve: Mint). Henning Christiansen is a sadly neglected and overlooked key figure of the European Fluxus group. This Danish multimedia artist and composer worked in the shadow of the towering Joseph Beuys. This piece de resistance recorded in 1985 is a successful example of Christiansen’s unique combination of mournful melancholy and Fluxus antics. Flanked and performed by Beuys and Nam June Paik, Christiansen combines carefully crafted romantic piano interludes with recordings of nature sounds, birds chirping, primitive but utterly lysergic electronic manipulations, demented telephone call insertions and desolately howling all engulfing feedback noises. The album was issued in extremely limited numbers on the Edition Block gallery label imprint and instead of being sold of as commercial albums; these discs were seen and still have the aura of a artistic artifact shrouded in an air of mystery and high end art. Astonishing recording and an absolute killer disc. Highest possible recommendation. Price: 150 Euro

1135. HENRY JACOBS: “Vortex” (Folkways Records – FSS-6301) (Record: Mint/ Jacket: Mint/ Insert: Mint). Top-notch copy, original 1959 pressing. Sought-after original LP of electronic music from the legendary multimedia theater happenings which took place at the Morrison Planetarium in San Francisco during the late 1950s. Vortex was a series of events founded by sound artist/experimental DJ Henry Jacobs and filmmaker Jordan Belson in association with Berkeley radio station KPFA and the California Academy of Sciences, presenting "a new form of theatre based on the combination of electronics, optics and architecture." Its soundtrack consisted of musique concrete made by Jacobs along with a host of obscure local composers, ethnic field recordings, and avant-garde works by composers such as Toru Takemitsu, Karlheinz Stockhausen, and Luciano Berio, while a room-filling light show entranced the audience, and 40 speakers rotated around them creating "a whirlpool of sound." The stunning early tape music compositions on this LP incorporate field recordings, percussive tape loops, primitive delay systems and filters, and processed sounds derived from diverse sources including voices, the incorporation of the use eerie combinations of percussive noises, electronic, distortion, and loops to create a creepy sci-fi atmosphere. Some of the pieces, such as Jacobs' "Chan" and "Rhythm Study #8," are also forward-looking in their use of improvisational ethnic-flavored music on flute and guitar, along with an Indian tabla and Haitian drums. All in all, an essential artifact of obscure early American musique concrete! This copy also includes the insert. Price: 150 Euro

1136. HENRY JACOBS: “Radio Programme No.1 – Henry Jacobs’ Music and Folklore” (Folkways Records – FS-3861) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). 1st original pressing, top copy. Sheer fantastic electronic music and sound art recording that defies any attempt at categorization. “Experimental radio programs from San Francisco’s KPFA station produced this series of "audio collages," which includes an eclectic mix of electronic music, a "sonata for loudspeaker," a polyrhythmic improvisation created by sampling "primitive percussion instruments and voice," and spoofed interviews with a phony scholar and musicians. Locust Music continues its foray into the many sided head of Henry Jacobs with the rerelease of his coveted 1955 Folkways debut. Culled from hours and hours of bits from his weekly radio program "Music & Folklore" which originally aired on Berkeley's once revolutionary KPFA radio station, Radio Programme no. 1: Henry Jacobs' Music & Folklore is a stunningly surreal sonic goulash of brilliantly conceived, tight rhythmic loops & tape collages, ethnic and experimental musics, twisted satirical interviews with Shorty Petterstein (Henry's beat hipster alter ego), phony academic authorities (the muttering Jocko on Raga and politics, imagined Hebrew scholar Sholem Stein waxing bogus on the subject of calypso!) to Berkeley field recordings of Kay Dunham (nephew of the legendary Katherine Dunham) and friends getting lost in an informal drumming session. An essential document in the annals of early American oddball recordings.” (Folkways Records). Sonic surrealism housed in a claustrophobic atmosphere that moves from deep wells of suspended sound ala early-insane asylum rantings into distant abstract theorized scrapings going absolutely nowhere all drenched in haunting shortwave zonk manipulated space. A great exhumation of an under-the-radar classic. This was a sideways step into demented electronic experiments and heard with 21st century ears it’s massively potent. Price: 150 Euro
1137. HENRY, PIERRE: “Voile D’Orphee I et II” (Philips Prospective 21 Siècle – 836.887) (Record: Excellent/ Jacket: Excellent, small price tag tear on back). Pierre Henry's 1953 “Veil of Orpheus” is the first example of symphonic “musique concrète”, (the use of non-traditional sources and “real” sounds--like trains, dogs barking, footsteps, etc.-- in place of actual instruments and then electronically manipulating these sounds in new ways.), originally composed for an opera (“Orpheus 53”, written with movement founder Pierre Schaeffer for the Donauescliingen Festival). Despite the quantum leaps made in the field of electronics over the past 50 years, this initial experiment still manages to convey its original importance. The piece uses “concrete sounds” much in the same way a traditional orchestra would use individual instruments. Besides two versions of “Veil of Orpheus” (the original 27 min. version and the second 15 min. version used in the Maurice Bejart-Pierre Henry ballet “Orpheus” in 1958), there are two shorter pieces (“Entity” and “Spiral”), which evoke an unsettling search for meaning that is so often associated with Henry's work. Original pressing as released on the legendary “Silver Philips” series. Price: 75 Euro
1138. HENRY, PIERRE: “Variations Pour Une Porte Et Un Soupir” (Philips – 836.898.DSY) (Record: Excellent, has 3 faint hairlines on side One/ Jacket: Excellent, has stamp on back). Great copy, 1st original French pressing. Out of the RTF collection. Has RTF sticker on label. "Variations For a Door and a Sigh" may in fact be Pierre Henry's most well known piece, simply because it has become the unwitting self-parody/ archetype of musique concrete as a solipsistic study by academic farts recording creaking doors and passing the results off as high art. Conceived and realized in 1963, this piece is an elaboration upon the individual colors of three distinct sounds: a sigh, a musical saw, and squeaking door. It appears that Henry's decision to limit his palette to only three sources was in direct opposition to near limitless sounds he had developed through the mutable techniques of musique concrete. To be fair, "Variations For a Door and a Sigh" wouldn't have received so many emulations and homage’s if there weren't something worthwhile in the recordings. (AQ). A musique concrete classic. Price: 125 Euro

1139. HENRY, PIERRE: “Mise En Musique Du Corticalart De Roger Lafosse” (Philips – Prospective 21 Siècle – 6521.022) (Record: Near Mint/ Jacket: Excellent - Near Mint). Very first French original pressing with green colored Philips labels and very first sleeve issue with white back sleeve black silver-foil laminated front sleeve. A strange and furious-sounding electronic opus dating back to the early 1970s and released on the infamous "Prospective 21st century" collection by Philips. The Corticalart (literally: the art of the cortex) was a device imagined and developed by researcher/ musician Roger Lafosse, unsung pioneer of cultural avant-garde action and founder/ director and host of the turbulent Sigma festival in Bordeaux. The Corticalart was a complex device intended to translate the electrical waves of the brain into electronic sounds. Through a system of electrodes that were fixed directly to Pierre Henry's scalp, the Corticalart had to pick up three kinds of electrical signals emanating out of the cerebral cortex. 1. Alpha waves on the back of the skull (state of relaxation, relaxation, rest), 2. Beta waves on the front of the skull (state of wakefulness, attention, activity) and finally arte signals related to eyeball activity. These various very low voltage electrical signals were hooked up to seven electronic sound generators. Pierre Henry had to intervene manually in the form of musical improvisations, through variations of manipulations and amplifications. It was a strange system where the performer was also the basic element and the sound material of the compositions. The music on display here were taken from live recordings from concerts given at the Museum of Modern Art in the city of Paris between February 15 and 21, 1971. Michel Chion witnessed these concerts in 1971 at the Museum of Modern Art in Paris: “The first experience of Corticalart brought a lot of public to the Museum of Modern Art, in its free sessions. a staggering, concentrated Pierre Henry, electrodes on his head, dark glasses on his eyes, enter a wire cage and activate himself on his devices. A television screen transmits the image of his face, tinted in blue for them. Alpha waves, in red for Beta waves, with intermediate nuances. And these are great rhythmic improvisations, on a boiling and obstinate sound flow.” Personally one of the best Henry electronic music recordings to see the light of day, putting on display high tension music that resulted in high voltage reaction, creating an arresting experience as if engaged in trench warfare. Awesome! Top shape. Price: 175 Euro

1140. HENRY, PIERRE: “Messe Pour Le Temps Present” (Philips – 836.893 DSY) (Record: Near Mint/ Jacket: Near Mint). Top condition original French pressing on green colored Philips label. All time classic that is just indispensable. Price: 50 Euro
1141. HENRY, PIERRE: “Futuristie” (Philips – 6510.020) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original French 1st pressing of one of Henry’s hardest to track down recordings but also one of his best!!! Composed in 1980 as an homage to Luigi Russolo, author of the Futurist manifesto "The Art of Noise," Pierre Henry's "Futuristie" centered around the recreation of Russolo's "intonarumori." Henry designed similar looking noise intoners (which are odd shaped boxed with huge metal speakers sticking out their sides) based on the photographs of the objects, as the originals had long been dismantled. I've often wondered what these "intonarumori" would sound like, and what they were amplifying. All that any historian seems to say about Russolo's "intonarumori" is that they made noise. Come on, can't anybody do better than that? What kind of noise? Anyway, I doubt that Pierre Henry knew either as the dense collage of sounds that he broadcast through those loudspeakers falls well within his musique concrete signature. Henry does claim a strong influence from Futurism, as a manifesto, which promoted the removal of semiotic barriers between noise and music. His complex abstraction scrounges for the sounds of aluminum cans getting crushed, the clatter of wooden pegs falling, scraped metal wires, sporadic electronic bleeping, and layered rhythmic grunts and vocalizations sounding like a multi-dubbed Jaap Blonk. Henry certainly is following the spirit of Futurism, but if he is actually following its sonorous aesthetics, I guess we'll never know. 
The liner notes are all in French, compounding the quandry.” (AQ). Top copy and one of the hardest to track down Henry slides. Next to impossible to upgrade upon. Price: 150 Euro
1142. HENRY, PIERRE: “Dieu” (Philips – 6510.019) (Record: Near Mint/ Gatefold Jacket: Excellent - Near Mint). Original 1978 French 1st original pressing in Top condition. Although released in 1978, “Dieu” sounds just like his early electronic music manifestations, spiced up with swirling femme vocal manipulations and horror soundtrack-like eerie approach with an indispensable sonic texture that ticks every box and crosses out every line in the rulebook. Based on texts by Victor Hugo, the piece is brimming over with primitive tape-music mutations that make Henry’s foresight to fuse the academic with thematic ideas that lead to the birth of a fantastic electronic sound design, which on this recording gets exemplified into the macabre. Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind and brooding industrial treated piano textures Henry provides a series of conceptual poison peons to wrap your ears around. Just stunning!!! Price: 75 Euro
1143. HENRY, PIERRE: “Le Microphone Bien Tempere” (INA GRM – AM006.08) (Record: Mint/ Gatefold Jacket: Mint). Original 1st pressing!! Top condition. Le Microphone Bien Tempere (1950-52) was Pierre Henry's first solo work (Symphonie Pour un Homme Seul having been written in collaboration with his mentor Pierre Schaeffer), and one of the earliest pieces of electro acoustic music. The microphone of the title was used to record various sounds produced by a prepared piano. The work comprises sixteen movements, almost all of which were realized using flexible discs rather than magnetic tape, as the latter recording technology was just coming into general use at that time. The sound of these works is primitive, with an earthy sound that has little power at the frequency extremes. Even so, it is remarkable how Henry reconceived the ideas of rhythm, timbre, and musical structure in taking advantage of this new compositional medium. Price: 125 Euro
1144. The HERD: “From The Underworld b/w Sweet William” (Philips – SFL-1142) (7 Inch Single Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scare Japan only single issue with picture sleeve. Comes with center piece still attached to single. Price: 50 Euro

1145. HIBIKI: “Contemporary Music For Japanese Traditional Instruments” (RCA – JRZ-2505 ~ 08) (4 LP Set: Near Mint/ Cloth Covered Box: Near Mint/ Obi: Near Mint/ 30 paged Book: Near Mint). Original 1970 monumental box set bound to wax your ears beyond your wildest imagination. Totally massive historical box set that will keep you busy and up for weeks on end. This set has been on my personal want list for many moons and when I finally could wheel in a copy some years ago, the heavens parted and I encountered a musical revelation beholding too much beauty for a man to take in all at once. Now I can offer my first spare copy and it is a beauty. Legendary Japanese avant-garde box set that throws together rare and obscure recordings by the leading avant-garde composers of that day. The aim was to create contemporary Japanese avant-garde music based on Japanese traditional instruments and assembled to tackle the job were heavy-weight composers such as Takemitsu Toru; Moroi Makoto, Hirose Ryohei, Nagasawa Katsutoshi, Makino Yutaka, Kiyose Yasuji, Ito Ryuta, Koyama Kiyoshige, Shimizu Osamu, Mamiya Michio, Irino Yoshiro, Ishiketa Mareo and Hachimura Yoshio. The end result was nothing short of being totally out-of-this-world, transcending waves of koto glissandos, biwa strummings, weather-beaten shamisen slappings, harshly-blown shakuhachi and primitive percussion moves all married to a contemporary avant-garde approach where the “less is more” aesthetic laments with investigations of the furthest reaches of each instrument and in return giving a whole new approach to the sound 3-dimensional sculptural canvas. It’s a mesmerizing box set, one that fully occupies and takes over whatever space it’s played in, a classic slice of minimal avant-garde psychedelia. The whole set has the distant topographical dreamtone appeal of ethnic recordings married with a Nipponized feel for minimalist beauty, with far-off horizons and silent landscapes seeming to flicker into view beneath the movement of tiny tonal clouds. Absolutely mesmerizing and highly recommended. The whole affair comes housed in a heavy cloth bound box, complete with detailed and fully illustrated booklet and obi. Absolute TOP condition. Price: 350 Euro


1146. HIGH RISE: “S/T” (PSF Records – PSF-1) (Record: Near Mint/ Jacket: Mint). TOP COPY!! The band’s untitled debut album, released in 1982 in a tiny edition of only 300 copies. The disc is a historic one, a recorded testimony junked up with a vicious hardcore, amphetamine drenched, roaring fuzz driven and jest engine boasted blast of unrelenting psyched-out extremities set loose out of the bowels of Tokyo’s underground scene. The disc here in question is a blurred over the top distorted affair, all stirred up and inflamed by Narita Munehiro’s seemingly indestructible and unstoppable greased up motor-psycho guitar pyrotechnics, unleashing enough mayhem and havoc to keep your ears sizzling for days to come. They never sounded any better than on this disc, unleashing a vicious hardcore, amphetamine drenched, roaring fuzz driven and jet engine boasted blast of unrelenting psyched-out extremities. Narita’s psychedelic mayhem guitar pyrotechnics are all over the place, stirring up and single handedly inflaming an indestructible, greased-up and mayhem filled blitzkrieg of distorted madness. Riding the turmoil boiled up crest is vocalist and bass hopper Asahito Nanjo, who’s bleak and buried in the mix-vocals sound as a nuclear fall-out spiked up with drizzling acid rain. In other words a fix of Tokyo psych heaviness right into your bloodstream. Vicious, loud, abrasive, unstoppable and of great historical importance. This disc is as rare as hell freezing over on a summer’s day. A must and one of the finest Japanese underground artifact ever to put down on wax. Virginal copy, I doubt this one has been played more than once. Rarest and first release on PSF records, copies just NEVER surface, at least not as clean as this one. One of the best Japanese psych records of all time, heck probably one of the best heavy junked up psych artifacts ever to be put down on wax. KILLER SHIT!!! Price: 300 Euro

1147. HILL, ANDREW: “Point Of Departure” (Blue Note – BST-84167) (Record: Near Mint/ jacket: near Mint/ Company Inner Sleeve: Near Mint). US original 1st press issue – Stereo – in outstanding condition. Comes with New York address on both labels + Van Gelder stamped in dead-wax. Ear mark or Plastylite "P" etched in runout groove. A classic "new thing" album recorded with the cream of Blue Note's avant 60s players – like Eric Dolphy, Joe Henderson, and Tony Williams – standing out with Hill as some of the most adventurous players for the label at the time! The album's awash with jagged piano likes from Hill – supported by a modernist 3 horn frontline of Henderson, Dolphy, and Kenny Dorham – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! Price: Offers!!!!


1148. HILL, ANDREW: “Lift Every Voice” (Blue Note – BST-84330) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Direct Import Obi: Near Mint). US first original 1969 press issue, top condition. NY address on label & EAR mark and “Van Gelder” machine stamped in the dead wax. Comes complete with Direct Import OBI and Japanese linres, damned scarce!!! “A rare and beautiful Andrew Hill session. Hill leads a core jazz group that includes Woody Shaw, Carlos Garnett, Richard Davis, and Freddie Waits — and the group is backed by a vocal ensemble with a very spiritual vibe. The sound is a lot more hip than the Donald Byrd & Voices albums, and the playing of the core jazz group is very very soulful — along the lines of Hill’s Grass Roots album, which was also from the same period. The record’s similar to the Max Roach/Billy Harper vocal work around the same time, and titles include “Ghetto Lights”, “Hey Hey”, “Two Lullabies”, and “Love Chant”. A very unique album for Andrew Hill!” (dusty groove). Great condition Blue Note US original pressing. Jacket has sharp corners, no signs of wear, straight & fully readable spine, etc. Record is Nm all the way, exceptionally well preserved. It is getting damned hard tracking these babies down in great condition and this one is super clean. Awesome slide with salacious OBI. Price: 150 Euro
1149. HILL, ANDREW: “Blue Black” (East Wind – EW-8029) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Japan only issue. Andrew Hill’s Blue Black was one of a series of recordings that he made during the 1970s for the Japanese label East Wind. This 1975 session consists of five challenging originals; joining the pianist are saxophonist Jimmy Vass, bassist Chris White and drummer Leroy Williams. "Golden Spook" is a dense, moody composition full of twists. The somewhat delicate "Mist Flower" showcases Vass on flute, contrasting with the furious "Remnants," a post-bop vehicle leaning toward free jazz. "Blue Black," with Vass playing soprano sax, has a Caribbean rhythm but with wild solos by both Hill and Vass. The final track, "One For," is easily the most conventional post-bop song of the session, though it is no less demanding upon Hill’s musicians. Essential slide that only occasionally turns up it seams…Price: 150 Euro
1150. HINO TERUMASA QUINTET: “Snake Hip b/w Hakuchu No Shugeki Theme” (Columbia – LL-10111-J) (EP Record: Near Mint/ gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve. Near Mint). Japan original pressing of killer two-sider. WHITE label PROMO/ Test pressing! Released in 1970, the movie was directed by an aficionado of Jazz, Kiyoshi Nishimura and starring Toshio Kurosawa in the main role. Originally released in 1969, the big hit "Snake Hip" was edited by Nippon Columbia on 45rpm single. The music breathes out the same vibe that drips out of the great gatefold picture sleeve that has “COOL” written all over it. The A-side has the killer track “Snake Hip”, a smoldering and doped up Japanese jazz-funk slide that has yet to meet its equal. In the movie, the track gets used during a scene shot in a go-go club scene and both the scenery as the youthful vibe that oozes out of the screen sucks you straight into a time-slip vortex! The B-side is also an unrelenting knock-out dope jazz funk slide that is equally addictive as the aforementioned Snake Hip. Not surpringly that the music is so addictive as some of the finest and hippest jazz cats were responsible, being Takeru Muraoka: tenor sax, Hiromasa Suzuki: el-piano, Kunimitsu Inaba: bass, Motohiko Hino: drums and Hino Terumasa on trumpet. Damned scare Japan 1st original pressing, white label promo issue. Top shape! Price: 75 Euro
1151. HINO TERUMASA (Aka Group Everything Everything Everything): “Hino’s Journey to Air” (LOVE – TP-103) (Record: Near Mint/ Silkscreen Jacket: Near Mint). Rare private press issue of killer spiritual jazz slide. Upon blasting “Hino’s Journey to Air” for the first time without knowing what to expect, I found myself catapulted throughout my office, ending up with my back nailed to the wall, screaming around like a guinea pig being just worked over by a pack of wild dogs. The effects of a sonic tsunami are to be treated with caution and in this category belongs this Hino Terumasa beast. Released way back in 1970, the LP was recorded in New York during his first visit to the city and immediately sees Hino flanked by a string of US heavy scenesters and a few Japanese heads such as Steve Grossman (Ts As & Fl), Motohiko Hino (ds & Hp), Pete Yellin (As & Fl), Gary Pribec (As), Dave Liebman (Ts & As), Olu Dara (Tp), Mike Garson (P & Ep), Bobby Moses (Ds), Lanny Fields (B & Gb), Dave Holland (B & Fb) and Teruo Nakamura (B & Gb). Right from when the needle hits the first groove, 2 sidelong free form sonic sprawls spew out mutant variations of electro-distorted jazz freak-outs impregnated with asymmetric grooves, future-primitive tribal rhythmic percussive gravity spinning out of control and heavy-breathing firestorm blowouts. The whole vicious sonic affair comes over like having your nuts set on fire while trying to hold back that silent scream down your throat. Everyone is struggling the hell out of their respective instruments, moving around like heat-seeking missiles locking in onto an agitated demented madness like the rising edge of a speed trip working its way along your spine and up to your cranium. In short, this is king hell fuck-around from start to finish, an emotionally wounded overtone blowout destruction gasping out extremely potent slice of vitriolic illuminated hardcore free jazz. 1970 has never sounded any better than this slide here, just jaw-droppingly amazing. Original 1970 private press in top condition. Price: 200 Euro
1152, HINO TERUMASA QUINTET: “Peace & Love” (Canyon Records – CAJ-1004) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Killer 1971 Japanese spiritual jazz slide, original 1st press issue all complete with damned rare OBI. Groundbreaking work from Japanese trumpeter Terumasa Hino, recorded after returning from an earlier trip to New York, back in 1970, working with a sextet that include some of his own Japanese scenesters like drummer & brother Motohiko Hino, Sugimoto Kiyoshi and pianist Hideo Ishikawa plus the great American bassist Reggie Workman, who was visiting Japan at the time. Spread over two-sidelong tracks – “Gongen” and “Peace and Love” – both bordering on the slightly free side of the spectrum and infused with a post-Coltrane deep sense of spiritual explosion. Hino’s really changing his style a lot in this setting, taking a lot more chances than on earlier Japanese sessions, reaching out towards a future jazz approach for the 70s. Quite a powerful head-twister. Record is clean as can be so awesome copy up for grabs here…. Price: 550 Euro

1153. The HIT PARADE: “In Gunnersby Park b/w Harvey” (Sarah Records – sarah-58) (7 Inch Single Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Insert: Near Mint). Original 1991 press issue on the always-stellar Sarah Records imprint. The first Hit Parade's records were released in 1984. The Hit Parade's second and third singles "My Favourite Girl" and "The Sun Shines in Gerrards Cross" were played on BBC Radio 1 by DJs such as John Peel and Janice Long but were dismissed by the music press as twee and inconsequential. The band originally consisted of three schoolfriends, Julian Henry, Raymond Watts and Matthew Moffatt. Watts moved to Berlin in 1989 to work with KMFDM, Henry developed a business in marketing and journalism, while Moffatt founded his own film lighting company. But they continue to release records, proclaiming the Latin motto "Semper Eadem" ("always the same"). The Hit Parade signed to Sarah Records label and recorded “In Gunnersbury Park b/w Harvey”. Price: 40 Euro

1154. HITLER SS b/w TAMPAX: “Hitler’s Vogue – Slave Naked – No Solution b/w U.F.O Dictator – Tampax (In The Cunt)” (Napalm Records) (EP Single: Near Mint/ 2 Sided Sleeve: Near Mint/ Insert: Near Mint). Long gone and out of print high quality limited reissue of this awesome Italian punk two-sider. Really killer punk single with two bands taken up each one side of the EP. Both are stellar and especially Hitler SS is a head cleaner, blessed with fluid spacey and quite psychedelic sounding guitar playing that stands out against the snotty and snarly vocals, underscored by a primitive but very effective rhythm section. But the guitar is killer and makes me feel like a trigger-happy cop in a fear frenzy! So awesome and one of my all time fave punk releases!!! That aside I love the politically incorrect band names, you can’t hardly go wrong with those without kicking some bourgeois sucker in the crotch. Love these kids embryonic sense of humor!!! A brilliant mix of defiance and despair! What ya want more? Price: 40 Euro
1155. HOLCOMB, ROSCOE: “Close To Home” (Folkways – FA-2374) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original Folkways issue. “Recorded in Holcomb's home in eastern Kentucky, this album portrays the music of a master musician whose identification with his songs is intense, innate, and above all, honest. It's not for nothing that John Cohen, the man who recorded Close to Home, coined the phrase "the high lonesome sound" to describe Holcomb's voice.” (Folkways Records).  He was one of the most authentic exponents of American mountain folk music. His style is stark, epitomizing the keening, at times pained vocals associated with Appalachian music, with a repertoire stuffed with traditional songs that had passed among generations, as well as some songs that he likely learned from early country records. Price: 75 Euro
1156. HOLCOMB, ROSCOE e.a: “Mountain Music Of Kentucky” (Folkways – FA-2317) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Original 1960 US first press issue. In 1959, John Cohen of the New Lost City Ramblers made field recordings in the mountains of Kentucky of Appalachian folk performers who were virtually unknown to the record-buying public. This is no-nonsense, sometimes raw stuff, with fiddlers, banjos, a cappella singers, and Baptist church choirs presenting folk standards, blues-influenced numbers, stomping bluegrass, even the odd country song. It's got as much of the unadulterated American white folk feel as the older recordings on Harry Smith's Anthology of American Folk Music box to use a celebrated example, though the material here is of better fidelity. Although some of these artists would make other recordings, only Roscoe Holcomb -- the most passionate and arresting of them -- would gain anything like substantial recognition. This is too basic and unschooled, not to mention too long, to hold the attention of the average folk or bluegrass fan, but scholars and roots aficionados will value its no-frills authenticity. Originally issued as a single LP in 1960.” (Richie Unterberger) Price: 75 Euro
1157. HOLDERIN: “Holderins Traum” (Pilz – 20211314-5) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Top copy first original German pressing on the highly collectible Pilz label. Holderlin established themselves in the mid-seventies as the leading German folk-rock band, in close competition with Ougenweide. The group came together in December 1970. When Rolf- Ulrich Kaiser took over the management of the Pilz label in late 1971 he wanted to transform it into a progressive folk label, and Holderlin gained the opportunity to record their debut album Holderlin's Traum in January 1972 in the Dierks Studio. This collection of seven songs captured the sextet in excellent shape, resulting in an all-time classic album. Several members had a classical music education, which was evident in the refined and complex arrangement. Together they handled 15 different instruments! Even so, three guests were featured: Peter Bursch (sitar, from Broselmaschine), Mike Hellbach (tablas, also from Broselmaschine) and Walter Westrupp (recorder). As the title hinted, the music had a dreamy, sometimes psychedelic atmosphere. Dieter Dierks developed this particular style further on the second Emtidi album. The more folky driving force came from bands like Incredible String Band and more particularly Fairport Convention and Pentangle, who also featured beautiful female singers. Holderlin's further recording career was somewhat delayed by the demise of Pilz and Ohr in 1973.” (Cosmic Dreams At Play). First original German pressing on the collectible PILZ label of this sublime German progressive & psychedelic folk rock unit that balances on the same level as Emtidi and the likes. Getting ever so difficult to find ultra clean copies…Price: 300 Euro
1158. HOLIDAY, BILLIE: “S/T aka Billie Holiday No Geijutsu” (Top Rank – RANK-5010) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Freakingly rare Japan very first original pressing that comes housed in fragile flip back sleeve and all complete with insert and hardly ever seen first issue OBI. Price: 250 Euro

1159. HOLLINS & STARR: “Feelin’ Good b/w Lovable” (Ovation/ Toho Records – OPS-1008) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent). White label PROMO issue of damned rare Japan only issue with nice picture sleeve. Heralding out of Chicago, Hollins & Starr made a gorgeous, ethereal blend of psychedelic folk and offbeat pop; but there are some funk and avant-garde moves too, all supported by an odd assortment of instruments, including flute, bells and a generous helping of fuzz guitar. They only made this one album, and one single which originally appeared in 1970 on the Ovation label and which was picked up in Japan by Toho records, resulting in – needles to say – a commercial failure, making the Japanese issue of the LP and the single sought after and next-to-impossible to get these days. The single did not make it further than the promotional stage in Japan and never saw a commercial release. Took me over a decade to track down a copy, all complete with picture sleeve and it is a beauty. Impossibly rare but still very affordable for the time being as hardly anyone is aware of the existence of a Japanese press issue….until now….Price: 150 Euro

1160. HOLLINS AND STAR: “Sidewalks Talking” (Ovation/ Toho Geion Kabushikikaisha – OPL-3003) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Lyrics Insert: Near Mint/ Obi: Mint). Freakingly rare 1971 Japan original pressing on a Quadraphonic 4 – channel audiophile edition. PROMO issue. Never seen or even knew it existed Japanese pressing with obi. I guess it never got any further than the promo stage as no copies seem to have surfaced apart from this one. What an odd choice to release in 1971 in Japan but here it is. I doubt that once this one is gone it will never surfaces again, a white whale amongst records and probably one of a kind. Top condition. Price: 450 Euro
1161. HOPE SANDOVAL & The WARM INVENTIONS: “Bavarian Fruit Bread” (Rough Trade – RTRADELP031) (Record: Near Mint/ Jacket: Near Mint/ Double Sided Printed Inner Sleeve: Near Mint). Virginal condition UK first pressing. Though it sounds like none of them, this seeming one-off of a release from Hope Sandoval easily stands among Vashti Bunyan's Just Another Diamond Day, Bridget Saint John's Songs for a Gentle Man, and Linda Perhacs' Parallelograms as a dreamy folk classic. It's a breezy, sunny day outside, and I'm just playing this album over and over again searching for the right words to hold it. The thing is, as vaporous as these twelve songs feel, I'm finding myself bowled over by the strength of the songwriting. It's that perfect mix of drift and meticulous arrangements that defies pat conclusions. Much like Colleen's fragile instrumentals, the material is as barely there as it is indelible. Then there's that voice. A mist-borne bubble of collapsed breaths. A tremble in the embrace of the impossibly healing forces of nature. A cool whisper in a rustling of dense, massive velvet curtains. It never fails to send chills all through me, to the point where I feel helpless against it. And the instrumentation (performed by Sandoval, MBV's Colm O'Ciosoig, and eight guests) almost mirrors this sensation, bolstering as much as deferring to her magical intonations. Bavarian Fruit Bread is just a cut above the rest when it comes to mellow perfection. It never quite loses its grip, even during the barely-there instrumental passages, creating an impenetrable cocoon of criss-crossing blue ribbon. Price: 250 Euro
1162. HORI JUN: “Otazuneitashimasu b/w Toriko” (Malion – W-1032) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint/ PROMO Only Pin Up Picture: Mint). Freakingly rare female vocal floor shaker, released on a tiny subsidiary label of Victor records called “Malion”, a side venture where they dropped minor and smalltime artists who were bound to evaporate into thin air after only one release. This copy comes with rare promo picture for this release with catalogue number and title imprinted in the frame. Hori Jun’s real name was Kanemoto Sumie. Grudge malice styled lyrics & mystery woman Hori Jun 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 love and hatred all entangled in a shit-kicking groovy kayokyoku song that starts off shockingly on the A-side. Kickstarting with a bolstered-up arrangement of wooden temple drums (mokugyo) that almost immediately get flanked with a staccato horn section against which Hori 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, mid-through a blistering fuzz guitar break seers up, staining the erotically swing vibe with its unconventional lyrics even further more. Side 2 brings more infected kayokyoku swing vibes, creating an everlasting impact on those of you exposed to this adrenaline spunked, deranged sexy vibe interlaced again with blistering fuzz guitar slashes to ass-whip your sorry existence into submission of her bewitching spell. Unbelievable killer slide by Hori Jun 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. Has been over a decade since I last had a copy and this one is pristine complete with promo still!!! Price: 350 Euro
1163. HORANCE ANDY: “In The Light Dub” (Hungry Town - ) (Record: Excellent ~ Near Mint/ Silk Screen Jacket: Excellent – no defects, beautiful condition only faint trace of shelf wear against white background). Original Jamaican pressing of killer dub slide. “Regarded as one of reggae's most distinctive voices, vocalist Horace Andy had wild success early on with his career-defining single "Skylarking" as well as a host of other hits. As far as full-length statements are concerned, Andy's 1977 album In the Light may be his strongest. The album's ten tracks found Andy's quivering vocals floating in a dreamlike tension above tightly wound rocksteady rhythms, looming darkly on pensive tracks like "Problems" (a tune that revisits the burning bassline from one of Andy's earlier hits, "Mr. Bassie"), exploding on fun jaunts like "Do You Love My Music," and lingering meditatively on the lighthearted anthem of self-awareness and cultural pride that is the title track. Understated synthesizers and a simmering rock & roll-minded production denote the evolution roots reggae was undergoing year to year by the late '70s, showing up on the especially swaggering "Collie Herb." As razor sharp as the record is on its own, the King Jammy-mixed dub album In the Light Dub offers even thicker versions of the tunes, swimming in psychedelic reverb and splintered echo effects, bringing instrumental contributors like Augustus Pablo more into the spotlight. About as nuanced and motion-heavy as dub albums get, In the Light Dub transcends mere companion-piece status and stands beside the original mix as an equally interesting (and on some tracks even superior) artistic statement. Compiled and reissued in 1995 by first-class reggae label Blood and Fire, the collection delivered Andy's finest hour from the obscurity that poor distribution and shoddy manufacturing had hoisted upon the record in its time. Skillfully remastered and even stronger with both originals and dubs occupying the same space, In the Light/In the Light Dub is a triumph of roots reggae and a necessary chapter for anyone even remotely enthusiastic about Jamaican music and culture, especially at this critical point of reggae's evolution in the late '70s.” (All Music) Price: Offers!!!
1164. HORACE ANDY: “Showcase” (TAD’S – TRD LP 52880) (Record: Near Mint/ Jacket: Near Mint). 1980 US original pressing in top shape. Amazing collection of singles shows Horace in fine form across well-known riddims, mostly built for Bunny ‘Striker’ Lee. Backing credited to the Roots Radics. The tracks are well known Horace Andy classics. The first tune, “Cus Cus”, is a Harry J. production and relics with verve Lloyd Robinson’s “Cuss Cuss”. “Money Is The Root Of All Evil” (“Money Money”) is one of the hardest reggae riddims of all time and the combination with Horace’s falsetto voice makes this one a winner. A truly strong version of “Cherry Oh Baby” runs across an echo dominated riddim of “Mr. Walker”! The “Heavenless/Entertainment” riddim is used for “Strictly Rub A Dub”, his wish for a non-violence dancehall culture in Jamaica. The album brings two hard hitting roots tunes. First there’s “Chant Rastaman Chant” followed by the awesome “Babylon System”. “Ain’t No Sunshine” is one of Horace’s best-known tunes. The superb sparse but effective backdrop is also used for one of the best deejay tracks of all times, Dr. Alimantado’s “Best Dressed Chicken In A Town”. The album closes with the hit tune “Something’s On My Mind”, an authentic religious tune. So gooood. Price: 150 Euro

1165. HORACE SILVER TRIO: “New Faces – New Sounds” (Blue Note/ Toshiba – Blue Note 5018/ BN-0008) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Nice and cool Japanese press issue of early Horace Silver date for Blue Note. Top shape, crystal-clear pressing for your audiophile needs and complete with obi. Price: 40 Euro

1166. HORACE SILVER TRIO and ART BLAKEY: “S/T” (Blue Note/ Toshiba – Blue Note 5034/ BN-0008) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Companion and follow-up recording to the one listed above. Another early outing for Horace Silver on the Blue Note label but this time flanked by drum mercenary and all-time rhythm wonder Art Blakey. Pure uncut fire! Clean as a baby’s ass, crystal-sounding audiophile Japanese pressing for your late-night listening guilty pleasures. All complete with obi to boot. Price: 40 Euro

1167. The HORACE SILVER QUINTET: “Song For My Father” (Blue Note/ King Records – GXF-3017) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint/ Obi: Near Mint). Pristine condition Japan original press issue from the mid-1970s all complete with obi. “One of Blue Note's greatest mainstream hard bop dates, Song For My Father is Horace Silver’s signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song For My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver’s flowering fascination with rhythms and modes from overseas -- the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver’s core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. Song For My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands. Still, it hangs together remarkably well, and Silver’s writing is at its tightest and catchiest. The title cut became Silver’s best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non- Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections -- mainstream hard bop rarely comes as good as Song For My Father” (All Music Guide). Top shape & all complete! Price: 65 Euro
1168. HORACE SILVER QUINTET: “The Stylings of Silver” (Blue Note/ King Records – GXK-8063) (Record: Near Mint/ jacket: Excellent – lower middle seam split/ Insert: Near Mint/ Obi: Near Mint). Japan Blue Note pressing. The 1957 Horace Silver Quintet (featuring trumpeter Art Farmer and tenor saxophonist Hank Mobley) is in top form on this date, particularly on "My One and Only Love" and their famous version of "Home Cookin'." All of Silver’s Blue Note quintet recordings are consistently superb and swinging and, although not essential, this is a very enjoyable set. Price: 50 Euro
1169. The HORACE SILVER QUINTET & TRIO: “Blowin’ The Blues Away” (Blue Note/ King Records – BST-84017) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Mint/ Blue Note Company Inner Sleeve: Mint/ Obi: Mint). High quality Japanese pressing – legendary BST series flanked with silver toned OBI. Sound quality is astonishing and getting damned hard to unearth as their popularity is reaching new heights. “Blowin’ The Blues Away is one of Horace Silver’s all-time Blue Note classics, only upping the ante established on Finger Poppin' for tightly constructed, joyfully infectious hard bop. This album marks the peak of Silver’s classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor and drummer Louis Hayes. it's also one of the pianist's strongest sets of original compositions, eclipsed only by Song For My Father and Horace Silver and the Jazz Messengers. The pacing of the album is impeccable, offering up enough different feels and slight variations on Silver’s signature style to captivate the listener throughout. Two songs -- the warm, luminous ballad "Peace" and the gospel-based call-and-response swinger "Sister Sadie" -- became oft-covered standards of Silver’s repertoire, and the madly cooking title cut wasn't far behind. And they embody what's right with the album in a nutshell -- the up-tempo tunes ("Break City") are among the hardest-swinging Silver had ever cut, and the slower changes of pace ("Melancholy Mood") are superbly lyrical, adding up to one of the best realizations of Silver’s aesthetic. Also, two cuts ("Melancholy Mood" and the easy-swinging "The St. Vitus Dance") give Silver a chance to show off his trio chops, and "Baghdad Blues" introduces his taste for exotic, foreign-tinged themes. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, Blowin’ The Blues Away is one of Silver’s finest albums, and it's virtually impossible to dislike.” (All Music Guide). Perfect condition copy all complete with eye-popping obi setting the tone. Highest recommendation. Price: 75 Euro

1170. HORACE SILVER QUINTET: “Finger Poppin’ with the Horace Silver Quintet” (Blue Note/ King Records – GXK-8065) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint).Clean Japanese press issue. “Finger Poppin' was the first album Horace Silver recorded with the most celebrated version of his quintet, which featured trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor and drummer Louis Hayes. It's also one of Silver’s all-time classics, perfectly blending the pianist's advanced, groundbreaking hard bop style with the winning, gregarious personality conveyed in his eight original tunes. Silver always kept his harmonically sophisticated music firmly grounded in the emotional directness and effortless swing of the blues, and Finger Poppin' is one of the greatest peaks of that approach. A big part of the reason is the chemistry between the group -- it's electrifying and tightly knit, with a palpable sense of discovery and excitement at how well the music is turning out. As a bandleader, Silver helps keep the ensemble's solo statements as concise and rhythmic as his own, concentrating the impact of the performances and keeping the pieces moving along without ever letting the listener's attention span wane. There's a nice variety of tempos and moods over the well-paced program; particularly memorable are the hard-swinging, bluesy "Juicy Lucy"; the bopping, up-tempo "Cookin' at the Continental"; and the gritty groove of "Come on Home." Also breaking things up are a couple of spare, reflective ballads and a frenetic exploration of Brazilian rhythms, "Swingin' the Samba." Finger Poppin' is everything small-group hard bop should be, and it's a terrific example of what made the Blue Note label's mainstream sound so infectious.” (All Music Guide). Top notch Japanese pressing on high-quality vinyl and all complete with insert and OBI. Salacious. Price: 60 Euro

1171. HORACE SILVER TRIO and ART BLAKEY - SABU: “S/T and the spotlight on drums” (Blue Note/ King Records – GXK8027) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ Obi: Near Mint). Japan high-quality issue all complete with insert and obi. This one swings like a bat out of hell, filled with loose polyrhythmic funk grooves avant-la-lettre. “Several early-'50s sessions were culled to produce this must-have collection of pianist Horace Silver in a rare trio setting. Together with longtime partner Art Blakey on drums and the likes of Gene Ramey, Curly Russell and Percy Heath on bass, Silver masterfully swings through several of his most famous compositions and a few standards. Classic tunes like "Horoscope," "Quicksilver," "Ecaroh," and "Opus de Funk" are given superb readings here as Silver and Blakey display their legendary kinship. Silver’s powers of interpretation are in full stride as well, with great standards like "Thou Swell," "I Remember You," and "How About You" getting sparkling, fresh-sounding treatments. Also included in this set are two startling all-percussion jams from Blakey and conga master Sabu Martinez that foreshadow Blakey’s groundbreaking Orgy in Rhythm sessions a few years later.” (All Music Guide). Indispensable! Price: 60 Euro

1172. HORACE SILVER QUINTET: “Further Explorations” (Blue Note/ Toshiba EMI – BN-1589) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine condition of high-quality Japanese press issue. For a brief time, tenor saxophonist Clifford Jordan and trumpeter Art Farmer were the frontline of the Horace Silver Quintet. This Japanese press issue finds the group (which also includes bassist Teddy Kotick and drummer Louis Haynes) performing five of Silver’s lesser-known originals and the standard "Ill Wind." The lyrical Farmer and the up-and-coming Jordan have plenty of fine solos, as does the influential Silver, whose funky, witty style stood apart from the prevailing Bud Powell influence of the era. Although none of the newer songs caught on as standards, this set (which has plenty of mood and groove variation) holds together very well and still sounds fresh 40 years later. Price: 50 Euro
1173. The HORRACE SILVER QUINTET Plus J. J. JOHNSON: “The Cape Verdean Blues” (Blue Note/ Toshiba – BN-4220) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Virginally clean Japan audiophile pressing all complete with scarce obi. A classic set from Horace Silver – one in which his quintet is expanded by some great guest work from trombonist JJ Johnson! Johnson's at the height of his 60s powers here – blowing with that lean, soulful style that always made any record sparkle – and although he's only on half of the tracks on the date, his presence is more than worth the heavy billing he gets on the cover! Other great members of the group include Woody Shaw on trumpet, Joe Henderson on tenor, and rhythm from Bob Cranshaw on bass and Roger Humphries on drums – all coming together with that wonderful 60s Silver groove. The set's filled with sweetly grooving originals by Horace – a blueprint for the exotic style of soul jazz he helped to forge at the time – great writing all around. Price: 75 Euro
1174. HORDE CATALYTIQUE POUR LA FIN: “S/T” (Futura – SON-03) (Record: Near Mint/ Jacket: Near Mint). French original pressing and one of the hardest to track down titles on the legendary Futura imprint – but also one of the greatest! “Gestation Sonore" is the only album to be released by the French improvisational quartet "Horde Catalytique Pour La Fin"; which rightfully found its way onto the infamous Nurse With Wound list. The four-piece line-up consisted of Richard Accart (Saxophone tenor, flutes), Francky Bourlier (Harpe de verrer, flute, vibraphone, percussions), Jacques Fassola (Contrebasse, guitar, banjo, Orgue a bouche) and Gil Sterg (Drums and percussion). Released in 1971 on the legendary Futura label, this ultra-rare LP binds the idiocratic tendencies of Free Jazz and Avant-garde into four intriguing tracks. Staying true to their improvisational ideals the album was record entirely without a predetermined score; with each group member focusing their spontaneous creativity to connect an effortless mind flow between the individual musicians. References for this band come from far and wide, with leafs being taken from likes of early improvisational-ist AMM and Limbus 3. The album weaves its way through dark and moody passages crowned with droning psych like characteristics, only to abruptly cut loose with Skronky onslaughts. For an improvisational collection the album possess a rare flow from passage to passage; not to mention the wealth of textures and emotion flaunted. This being said, "Gestation Sonore" will test many casual listens into the point of despair. The albums true beauty works on a more subtle level, so don't abandon hope after the first spin.” (Progarchives) Spot on and totally indispensable mind fuck of a disc. Clean mint copy. One of the hardest to find LP’s on the Futura label. Price: Offers!!!
1175. HORRIFIC CHILD: “L’Etrange Mr. Whinster” (Eurodisc – 87057) (Record: Near Mint/ Jacket: Excellent). TOP COPY!!! This is Massiera’s piece de resistance, a deep subterranean faux horror soundtrack that encapsulates almost everything ranging from weird hell broth voodoo chants, to animated progressive rock-ish freak-outs, tribal percussive hoedowns, long stretches of maniac furious ambi-noise-a-delic exploratory sound excursions that leap into proto kraut and psych moves and stumble eventually back into apocalyptic waves of eerie sound effects. Welcome to the twisted mind of Jean-Pierre Massiera, France’s own Doctor Frankenstein producer who was mainly active around the 60's and 70's and who ripped the system of collective sonic memory, FM sound bites and other musical legacies apart like a cheap pile of hay, rewiring it all into the proper ingredients for a new musical outrage. Although he seemingly did not give one rat’s ass about exposure or audience expectation, his entire catalogue jumps all over non-existent genres. It is exactly there that his strength lies, just as his masterpiece “Horrific Child” so aptly demonstrates. His intuitive approach to sound encapsulates and embraces prog, psychedelic music, ethnic smash’n’grab elements, jungle shoot-outs, disco butt shakes, trashy pop melodies, rock and the sheer lust for raw sounds. These varieties of elements form the sonic wasteland, Massiera smeared out into a mutant sonic blueprint that takes the listener amongst planes devoid of comparison, a peculiar intoxicating mix of low style, high speed and pure dumbness that sweats out heavy psychedelics. “L’Etrange Mr. Whinster” guides you through a psychic maze of demented lunacy and sultry madness, offering a cinematic pan across your or his mental landscape that jacks in directly to your pulsating brain. Filled with cries of rage and lysergic anguish that draws on a clutch of contradictory modes and occasional haunting echoes that hurtle in and out of focus, Horrific Child is the recommended listening experience for late at night with a head full of acid. Price: 350 Euro
1176. HOT TUNA: “S/T” (Victor Records – SRA-5505) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japanese original pressing, all complete with obi and housed in thick gatefold jacket. When Hot Tuna’s self-titled debut album was released in May 1970, it was the perfect spin-off project for Jefferson Airplane’s lead guitarist and bass player indulging in playing a set of old folk-blues tunes at a Berkeley coffeehouse. The music seemed as far removed from the Airplane’s roaring fried acid rock as it did from commercial potential. Still it allowed Kaukonen and Casady to blow off some steam musically and explore their true first love. In retrospect, one can hear that something more was going on. Friends since their teens, both had developed a musical taste that anchored the Airplane sound but also existed independently of it, and shorn of the rock band arrangements and much of the electricity, their interplay was all the more apparent. Kaukonen remained the accomplished kaleidoscopic finger-picking stylist he had been before joining the Airplane, while Casady dispensed with the usual timekeeping duties of the bass in favor of extensive contrapuntal soloing, creating a musical conversation that was unique, carving out a more exploratory sound signature. With a gift for unexpected impact, they manipulated a batch of songs by the likes of the Reverend Gary Davis and Jelly Roll Morton with the occasional Kaukonen original thrown in, making it a sound blessed with austere intimacy. Kaukonen’s wry & raspy singing style showed an intense identification with the material that kept it from seeming repetitious through their intuitive approach to the material. The result was less an indulgence that created an arresting experience. Price: 75 Euro
1177. HOUGAKU – MEIJIN NO SHIGEI: “S/T” (Victor – JV-1036~47) (12 LP Record Set: Near Mint/ Individual LP Sleeves: Near Mint/ Booklet: Excellent/ Outer Cloth Bound Box: Near Mint). Hideously rare 1961 released box set. To summarize this eargasmatic collection of lost turn of the century/ pre-war recordings would be that it is the best collection ever of Japanese pre-war 78-rpm recordings of rural Biwa strummers, shamisen batterers, koto-glissandi excursions and guttural minyo howlers. The source material was all taken from the few surviving 78-rpm recordings that still exist and compiled into this massive box set in 1961 and the recordings date from 1930 up to 1939. Never have seen another copy of this one before. Filled with ghostly quivering rural recordings of a vanish world, which the easiest way to compare it would be the US pre-war blues recordings. Still, these recordings here are hair-risingly impressive, mostly male singers pass the revue, heavy bachi slashing on the strings, beached-whale like vocals pop up out of the mist, biwa’s get beaten into submission while eerie vocals drift in and out of the fogs of time. Stripped down to the bone shamisen accompanied by raw vocals bemoaning songs where a seclusion of modernism creates a more direct desire for simplicity. The whole set is disarmingly lyrical and the music’s attractiveness adds another layer to a music existing on its own plane, rooted deep in local culture and history and giving it – while spinning it now – gives it a deep feeling resonating out vibrant traditional rural feel that succeeded in holding back contemporary conditions. This huge set is crammed to bursting with pre-War music and sound snippets. All is gloriously recorded in mono and the music has a ghostly bone-chilling reverb splashed all over it grooves. Music and sound from a long-gone era, beautiful mostly male vocal tracks, blessed with a crackly and dusty sound coming from the original 78 RPM master recordings, resembling in a vague way the Folkways set Harry Smith compiled for the label, but then this set can be seen as the Japanese counterpart of it. It dwells in the same audio verité/ documentary regions taking the listener back to a musical treasure throve that was largely erased from our collective memory. Bewitchingly beautiful is a word that can be applied here if you are into the arcane field of obscure sounds. From dusty and ghost-like 78 RPM recordings dating back to the late 1920’s up until the beginning of WOII up to obscure vocal madness, this is a glorious set of long-lost Japanese pre-war music. Beautiful!! Most impressive collection of pre-war recordings I have heard so far, emanating from out of a lost world. One of the few discs in the list that deserve the term awesome and rare. Highest recommendation. Price: Offers!!!!
1178. HUBBARD, FREDDIE: “Here to Stay” (Blue Note/ Toshiba EMI – BN-4135) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Clean as a whistle Japanese press issue for your audiophile needs! A great session that was recorded by Freddie Hubbard in the 60s, but not issued by Blue Note until the mid 70s – and only then as part of a short-lived double length set! This version is the first real issue of the material – with the original cover art intended for the session in the 60s – and as such, it's presented in a way that helps it stand strongly with Freddie's best early albums for Blue Note! The sound here is sharp-edged and soulful – a reflection of the groove that Freddie was hitting in the Jazz Messengers of the early 60s, played by a group that features three members of that ensemble – Wayne Shorter on tenor, Cedar Walton on piano, and Reggie Workman on bass – along with Philly Joe Jones on drums! Tracks are hard, straight, and soulful – not bogged down in some of Hubbard's misdirected modernism. Price 60 Euro
1179. HUBBARD, FREDDIE w/ ILHAN MIMAROGLU: “Sing Me A Song of Songmy” (Atlantic Records Japan – P-8144A) (Record: Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Mint) Original Japanese 1st pressing complete with rare OBI. On this 1971 release, Hubbard benefited from the vision of Mimaroglu, a Turkish-born electronic musician and a producer at Atlantic Records. Mimaroglu performed most of the work at the Columbia-Princeton Electronic Music Center. Using the equipment at his disposal, he infused a considerable amount of musique concrète, tape-based music and electronic sounds into Hubbard’s jazz piece. Mimaroglu was consequently accorded composition, arrangement and production credits on the album. Sing Me a Song of Songmy is a 41-minute jazz opus augmented with tape collages, string orchestras, recitations and electronic interventions. It is a powerful musical statement with strong political undertones. It is meant to resonate loud and clear. Section titles such as “Threnody for Sharon Tate”, “This is Combat I know” and “What a Good Time for a Kent State” (and poems such as Lullaby for a Child in War as well as Before the Bombs Struck the Dark Breasts) help situate this collaborative effort within its post-1968 context. Brilliant and a complete killer LP with absolutely no filler. Price: 75 Euro
1180. HUMAN ARTS ENSEMBLE: “Under The Sun” (Universal Justice Records) (SEALED CONDITION). 2nd press issue from 1974 with imprinted sleeve in unopened sealed condition. Again a bitch to dig up in pristine nick. “The Human Arts Ensemble, led by drummer Charles Bobo Shaw, was one of the central performing groups to emerge from the Black Artist Group (BAG), a musician's organization founded in St. Louis in the early '70s. In addition to Shaw, this recording features two other fine musicians who would make their mark, Marty Ehrlich and J.D. Parran, as well as guest appearances by trumpeter Lester Bowie and altoist Oliver Lake. The two side-long pieces follow roughly the same model. "A Lover's Desire" uses a theme based on an Afghanistani folk melody with an added very funky bassline to serve as a platform for uninhibited improvisation. The improv is more collective than individual with voices surfacing unpredictably and the beguiling melodic riff coming forward from time to time to act as glue lest things get too far out of hand. Parran’s bass clarinet work is especially luscious on this piece. The other composition, James Marshall’s "Hazrat, the Sufi," also has a Middle Eastern tinge, but here the rhythmic drive fragments into a series of stop and start improvisations more akin to some of the spacier Art Ensemble of Chicago explorations and almost as impressive. Under The Sun is an enjoyable, wildly free, and loose session, and one that should appeal to any fan of the AACM and its descendents.” (All Music Guide). Sealed copy of essential spiritual jazz slide. Price: 200 Euro
1181. HUMAN BEINZ: “Foxey Lady b/w The Face” (Capitol – CR-1990) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Japan original pressing that comes housed in Japan only unique picture sleeve artwork. Classic Human Beinz in action. Price: 50 Euro
1182. HUMAN BEINZ: “Evolutions” (Capitol – CP-8519) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan 1st original pressing all complete with seldom seen OBI. This is the never offered before RED WAX TEST PRESSING with hand-typed labels. Producer De Azevedo and the Human Beinz took things a good bit further with their second LP, Evolutions; the trippy psychodrama of "My Animal," the acoustic-based plea for compassion of "Close Your Eyes," the Mellotron-accented smirk of "If You Don't Mind, Mrs. Applebee," and the noisy freak-out coda of "Two of a Kind" (complete with the sound of a piano being dismantled) make this album some sort of landmark among frat rock guys who discovered the wonders of LSD. The album also gave lead guitarist Richard Belley a lot more room for his fuzzed-out solos, and if he was no Hendrix (or even Leigh Stephens), his sound brings a bit of welcome sonic unity to this wildly eclectic LP. Despite the presence of the Nuggets-approved hit single, Nobody But Me/Evolutions is probably more interesting for fans of the lesser-known branches of '60s psychedelia than anyone else, and if the Human Beinz's exploration of inner space was a bit cheesy, it's also amusing and still makes its case well all these years later. Price: Offers!!!
  1183 HUSKER DU: “Land Speed Record” (Alternative Tentacles – VIRUS-25) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent). Original UK pressing. On Land Speed Record, the Minnesota trio husker du debuted with a chaotic live recording that presented the band in all its unbridled early fury. 17 songs in 27 minutes. Harsh and unforgiving. 17-track amphetamine blur of an LP–recorded live on a 4-track soundboard tape on August 15, 1981 for $300 bucks. Appropriately titled, on Land Speed Record you can hardly make out where one song ends and the other begins, the lyrics are unintelligible, and good luck finding a melody. Land Speed Record has a savage and nihilist bent that Mould himself would soon lambast in the anthemic “Your Anarchy I Bullshit” anthem “Real World.” “Don’t Have a Life” and “Let’s Go Die” are characteristic hardcore tropes. Some picky audiophiles negate this disc as just a solid wall of noise. Drop the needle, unclench that muscle on your posterior and let yourself be battered and thrown about the room. Endless speed and slashing guitars, crashing cymbals, unintelligible anger. Fucking awesome! Price: 50 Euro
1184. HUTCHERSON, BOBBY: “Total Eclipse” (Blue Note – BST-84291) (Record: Excellent – 3 faint non-sounding hairlines on side one/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US 1968 original pressing. Before fusion began suffocating jazz, before oversized sunglasses and tight bell-bottoms became popular stage dress, and before jazz lost its curves, there was Bobby Hutcherson. In the late 1960s, the vibraphonist picked up where Wayne Shorter left off, developing a sensual modal sound that resonated with spiritual awakening and depth. One of his finest albums as a leader during this period was Total Eclipse, recorded in 1968. The album features tenor saxophonist Harold Land, pianist Chick Corea, bassist Reggie Johnson and drummer Joe Chambers. It is one of his most lyrical and free albums of the 1960s. Four of the five compositions were by Hutcherson (the fifth, Matrix, a 12-bar blues, was by Chick Corea). The first of Hutcherson's originals, Herzog, is an up-tempo modal piece that soars with energy. His Total Eclipse and Same Shame are ballads. Pompeian, the album's final track, starts as a mid-tempo waltz but soon dissolves into free form, with Hutcherson playing bells and Land on flute. Few albums sound as late 1960s a s this one, complete with experimentation, freedom and spiritual consciousness. Clean original copy. Price: 75 Euro
1185. The JAN HUYDTS/ PETER TRUNK/ JOE NAY TRIO: “Trio Conception” (Philips/ Victor Records – SFL-7209) (Record: Near Mint/ Flip Back Jacket: Near Mint) Hardly ever seen Japan very first press original from 1964 in outstanding condition. Jan Huydts (piano), Peter Trunk (bass) and Joe Nay (drums) were the house rhythm section of the Berlin jazz club "Blue Note" in the early 1960s. As such, they accompanied jazz musicians from all over the world with great success. In 1963 the producer Siegfried E. Loch, who was then working for Philips, had the idea of ​​making a live recording with this formidable trio. The result could and can be heard. Huydts plays in the manner of Bill Evans, Peter Trunk is simply Peter Trunk, i.e. impeccable craftsmanship, inventive and melodic, harmonious and rhythmic, and Joe Nay shows clearly but not obtrusively that he is one of the most gifted students of the legendary Kenny Clarke. The three musicians play together as being in a dreamlike state and the repertoire on display is extremely varied. Anyone who is interested in jazz in Germany or simply in very good jazz should immerse himself in these recordings. Just a slice of bewitching beauty lost in the fogs of time and enshrouded by mystique that slowly unravels itself when jamming this killer slide. Damned rare first Japanese original press issue in outstanding shape. Price: 150 Euro