RARE RECORDS CATALOGUE
G-H
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

587. GABOR SZABO: “”Jazz Raga” (Impulse – A-9128) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). First original US pressing of 1967 in TOP condition. 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. Price: 75 Euro

588. GAINSBOURG, SERGE: “Histoire De Melodie Nelson” (Philips – FDX-193) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Bloody scarce Japanese first original pressing all complete with obi. No need to waste any ink on this well know masterpiece. Still, the original Japanese pressing is a damned difficult one to dig up. First time ever I have a truly exquisite condition copy of this gem. And the obi just looks as sexy as the sonic marvels tucked away within the disc’s grooves. Top copy & indispensable in any collection worthy of that name. Price: 175 Euro

589. 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: 450 Euro
590. 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: 150 Euro

591. GAINSBOURG, SERGE: “L’Homme A Tete De Chou” (Philips – 9191.097) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). Original 1976 French pressing. L’Homme A Tete De Chou is an underrated Gainsbourg album. This was his second "concept" record, after the stone classic Histoire De Melody Nelson, and probably second only in quality to that record in his deep, storied catalog. Translating to "The Man With The Cabbage Head," L' Homme A Tete De Chou is a brutal story of lust and obsession in which, over the course of the album, the narrator falls in love with a black shampoo girl (Marilou), beats her to death with a fire extinguisher and ends up in a psychiatric hospital. Featuring lush orchestration and a variety of influences, from reggae to rock to funk to country, L'Homme A Tete Du Chou is a crucial part of the musical history of one of France's most famous, and certainly most controversial, stars. Notwithstanding some dubious synth coloring, it's his second-best '70s release, ranking among his finest recordings. Price: 70 Euro

592. 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
593. GALLIARD: “Strange Pleasure By..” (Deram – SDN-4) (Record: Near Mint/ Laminated Jacket: Excellent ~ Near Mint) Top copy, first UK 1969 original pressing. Heralding out of Birmingham, Galliard melted UK jazz together with progressive rock vibes and actually pulled it off successfully and releasing this, their first album from 1969. Galliard set out as an extremely eclectic band juxtaposing a woodwind/horn section slyly with rural compositions, creating a pastoral, even medieval atmosphere, starkly contrasting to nervously urban passages, although they borrow from Art Nova's "Wrapped Her In Ribbons" and give the credits to Geoff Brown. An very interesting effort. And to these ears one of the better UK albums of its sort. First original pressing in awesome condition. Price: 400 Euro
594. GAMELAN SON OF LION: “Gamelan in the New World” (Folkways – FTS-31313) (Record: Excellent/ Jacket: Excellent, catalogue number on upper right corner/ Booklet: Excellent). American composers and musicians design and perform Indonesian gong ensembles in repertory ranging from traditional Balinese and Javanese music to modern compositions. This New York performance group has counted as its founding members Fluxus pioneer Phillip Corner, electronics composer Daniel Goode, and core member Barbara Benary. Equally inspired by the resonant decaying sounds of New York school composers like Morton Feldman, the stunning pacific gamelan music of its namesake & the wild antics of Fluxus, their sound is trancelike and beautifully inspiring collection. Price: 75 Euro
595. GANDALF: “S/T” (Capitol – ST-121) (Record: Excellent / Jacket: Near Mint). Original US 1st pressing. 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. Price: 450 Euro
596. GANDALF THE GREY: “The Grey Wizard I Am” (Private – GWR-007) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original US press copy of this magickal folk rock album with psychy touches, loud fuzzy leads and dreamy stoned vocals. The whole album breathes out an innocent and stoned feeling that is nothing short of being utterly bewitching. So beautiful with a compelling basement vibe simmering throughout. The innocent dopey feel of the track “Here On Eight Street” is nothing short of ear shredding beautiful, making it one of my all time favorite songs ever to be put down on wax. Killer slide. Original US private press copy in top condition! Price: Offers!!!

597. GARCIA, JERRY: “Cats Under The Stars” (Arista – IES-81087) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare Japan 1st original pressing WHITE LABEL PROMO issue, complete with 1st issue obi. “Jerry Garcia’s fourth solo album was the first to be released under the collective title of the Jerry Garcia Band, although the change was primarily in name, as there was little alteration in the personnel between this disc and the non- Grateful Dead tracks from his previous studio effort, Reflections (1976). However, unlike his previous effort, Cats Under The Stars contains all new original material. Garcia’s longtime collaborator and bassist, John Kahn also serves up a pair of melodic contributions. These include the brief gospel-flavored interlude "Down Home," featuring some ingenious lead non-verbal vocalizations from Donna Jean Godchaux underneath an equally affective melody. Khan also joins Robert Hunter on the slinky and slightly Caribbean-tinged "Love in the Afternoon." Once again Garcia and lyricist Hunter come up aces with some of their most poignant collaborative efforts. Chief among these is the bittersweet love triangle of "Rubin and Cherise." Drawing upon elements of mythology, Shakespeare, and even incorporating some rather Bob Dylan-esque phrasing, Hunter reveals one of his crowning lyrical achievements. The biblically derived "Gomorrah" recalls the same sympathetic and hapless humanity, which likewise embodies compositions such as "Wharf Rat" and "Foolish Heart." The title track, "Cats Under the Stars," is a lilting, up-tempo rocker that was quickly adopted by Garcia fans and Deadheads to refer to the unspoken union connecting themselves with the band. Of arguably equal aesthetic pleasure is Anton Kelley's Egyptian-influenced cover artwork, which would become the subject of many a car window sticker and T-shirt. Many Deadheads and critics alike feel as if Cats Under The Stars is Garcia’s best non-Dead effort, and sadly it would not be reprised on his final studio album to feature the Jerry Garcia Band, Run For The Roses” (All Music Guide). Top copy with 1st issue obi. Price: 75 Euro

598. 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: 60 Euro
599. 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: 250 Euro
600. 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: Offers!!!!
601. 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
602. GAYE, MARVIN: “M.P.G.” (Victor Records – SJET-8154) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Illustrated Insert: Mint/ SJET OBI: Mint). Rare Japan original 1st press all complete with obi. Comes housed in Japan only jacket art. An totally underrated late '60s album, this one has sometimes been overlooked because it seemed like a generic throwaway. But it included some outstanding songs. M.P.G. treats the listener to the same infectious music and subtly varied singing that made Gaye's last two singles so popular. Since the days of "Hitch-Hike" and "Pride and Joy," Marvin has mellowed and expanded his emotional range to include a versatile series of voices. He can bite into the words of a song, suddenly sing against the rhythm of the arrangement, and then slide into a smooth and flexible falsetto for an emphatic "oooh" or "oh yeah" or drive up to a note with an amazing burst of power. Marvin Gaye does not aim for spectacular effects — he screams and shouts with restraint, if that's not a contradiction. His control of the rhythm and momentum of a song is unique to him, and his specialty is still the delivery of a staccato vocal with a syncopated assurance and conviction. Judging from the way he projects the songs on this album, Marvin still "just wants to testify." (Rolling Stone – 1969). Price: 150 Euro
603. GAYE, MARVIN: “In The Groove” (Victor Records – SJET-8116) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Never overly reliant on the Holland-Dozier-Holland machine, Marvin Gaye weathered their departure pretty well, turning to Norman Whitfield (for the epochal "I Heard It Through the Grapevine") as well as Ivory Joe Hunter, Ashford & Simpson, Frank Wilson, and, for two songs, his own pen. One of Gaye’s other R&B hits from In The Groove, the impassioned "You," is in the Four Tops style (it's patterned after "Reach Out"), while "Chained" is another brilliant performance and production of a sub-standard tune. The Brill Building standard "Some Kind of Wonderful" and "There Goes My Baby" were early-'60s throwbacks in sound and feel, quite a jarring effect in context. After "I Heard It Through the Grapevine" became one of the biggest hits of 1968, Motown re-released the LP as I Heard It Through The Grapevine.” (All Music Guide) Price: 125 Euro
604. GEINO YAMASHIROGUMI: “Osorezan” (Victor – SF-10056) (Record: Near Mint ~ Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). White label PROMO issue cmplete with obi and earliest pressing possible. Comes with Obi. Rare first press original copy of 1976 on the white colored Victor label used only for promo purposes. First press. The ‘Invitation’ ones, who are more easily to come by are second and third press editions. This one is the rare original first pressing. 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. This copy is mint all the way. First time ever a white label promo issue crosses my path. Price: 100 Euro
605. 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/ Fold Out Jacket: Mint/ Obi: Excellent) Woooow, baby, here is another heavy scorcher for ya! Without a single doubt, this one takes place amongst the select club of true Japanese rarities, one of those discs that never surface but are nevertheless much rumored about. 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…without obi it becomes 50% cheaper, strange world… Price: Offers!!!
606. GEORGES ARVANITAS TRIO: “Porgy And Bess” (AFA Records – N.E.C. 20777) (Record: Near Mint/ Laminated Jacket: Near Mint). Original 1973 French 1st pressing in TOP condition. Largely overlooked but quite rare jazz slide. Probably the best rendition so far of Porgy & Bess, bursting with a vibrant throbbing rhythm and warm sounds that give free-soul and swing a whole new and different dimension. An absolute orgy in rhythm and vibrations!!!! Top condition French first original pressing, next to impossible to improve upon. Price: 75 Euro
607. GERMAN ALL-STARS: “German All-Stars In Japan ---- Out Of Reach” (Columbia – YS-2500-N) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). 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 loosing 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. KILLER!!!! Price: 500 Euro

 

608. 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: 200 Euro
609. 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: 400 Euro
610. 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: 200 Euro
611. GHEDALIA TAZARTES: “Tazartes” (AYAA – DT-0387) (Record: Excellent/ Jacket: Excellent, has a slightly bent upper right corner). Tazartes may be France’s best-kept secret as far as musical treasures are concerned. And fore some strange reason he continues after all these years to fill with a strange fascination, an undefined awe and admiration for the sonic worlds he exerts into my humble every day existence. Tazartes’ main instrument is voice, a peculiar voice that evokes images of the gypsies, traveling nomads of the Sahara desert plains, wailing muezzin trance like vocal stylings and so much more, all embedded into the voice of one single man. So it may come as no surprise that although he is an avant-garde composer, much of his music sounds like songs. Basically Tazartes creates a bed of loops and drones using taped samples and synths as a background over which he sings in a gypsy like way. This basic concepts gets then sliced up and interrupted by sudden cuts taped vocal interactions, string instruments embellishments, found sounds, which he then cutsback into a different loop and another song. “Tazartes wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker.” The basic concept on this disc here is the same as “Diasporas” but the recording sounds like a different affair altogether. Some of the vocals sound like they are being played back on actual keyboard sampler and there is more extensive use of electronic synthesizer sounds. The whole comes together in some sort of a call to prayer that fuses into a woman singing an operatic aria that is slowly interrupted by short samples of applause triggered by taps on a drum, which sounds a lot like fireworks at first. Listening to such strangely unique music is truly a beautiful thing and will leave you – if you are unacquainted with Tazartes sound sculptures – baffled with disbelief. Truly one of a kind type of music and everything by Tazartes is just indispensable. Music for the gods! Price: 65 Euro
612. GIL MELLE: “Andromeda Strain OST” (Kapp – KRS-5513) (Record: Excellent/ Gimmick Silver Jacket: Excellent). Rare original US pressing. “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 iii, 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: 150 Euro

613. 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: 275 Euro

614. GILBERTO GIL: “S/T” (Philips – R765.024L) (Record: Excellent/ Jacket: Near Mint). Original blue label Brazilian pressing of 1968. “Gilberto Gil's second album, 1968's Frevo Rasgado. These was the record on which Gil broke relatively radically with Brazilian folk traditions to absorb many psychedelic rock and pop influences. There were still quite identifiable Brazilian pop and folk traits from his roots, however; it wasn't simply a matter of a Brazilian artist trying to emulate the rock sounds of the U.K. and U.S., as many South American bands were, but the sound of someone trying to combine good elements of both worlds. Frevo Rasgado is certainly the more accessible of the pair to international ears, due in part to the backing of cult favorites Os Mutantes, and also to some overt if quality pop melodies and harmonies. He's as apt to break into a lush flower-powery ballad ("Luzia Luluza"), cuckoo psychedelia, and bossa nova-cum-surf music as more psychedelic rock.” (All Music Guide). Killer slide and one of the best LP’s Gilberto Gil ever did. One of the flagship recordings of the Tropicallia scene. Original 1st Brazilian pressing. in amazing condition. Price: 200 Euro
615. 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: 350 Euro
616. 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: 350 Euro
617. The GIUSEPPI LOGAN QUARTET: “S/T” (ESP Disk – 1007) (Record: Near Mint/ Past on Wrap Around Jacket: Near Mint/ ESP Records Poster Insert: Near Mint). Original US pressing. Top condition. MONO issue. “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 according to these humble ears. Great copy, original 1st US pressing. Price: 125 Euro
618. GLASS, PHILIP: “Music With Changing Parts” (Chatham Square – 1001/2) (2 LP Record Set: Excellent/ Gatefold Jacket: Excellent). Another classic in the minimalist music canon, again as released on the Chatham Square label, 1st original US pressing. “Music With Changing Parts is one of the seminal works in Philip Glass' career, and a defining point for the genre known as minimalism. Recorded in 1971, five years before he would break through to the public consciousness with Einstein on the Beach (which sucked heavily btw) (which, arguably, was the moment his music ceased to be minimalist in the strict sense of the term), it represents the genre in a very pure form. Over its hour-long course, it both maintains a steady state of sameness while percolating with all manner of variations. In retrospect, it's easy to see the affinities to the contemporaneous work of Terry Reily and Steve Reich, though all would soon branch apart. Here, the electric keyboards provide a pulsating substructure over which the winds, violin, and voice cast long, sighing lines forming the essential tension between dreaminess and rigor. There's also a palpable sense of excitement in the performance, the musicians very aware that they're on to something new and wonderful. This is an aspect of Glass' work, which would diminish over time as his compositions became increasingly rote and academic. Listeners who only know his music from the period after he had attained a degree of pop stardom should certainly hear his more vital, formative compositions including this one and Music in Similar Motion.” (Brian Olewnick, All Music Guide). Mind-liftingly transcendentally great stuff. Price: 75 Euro
619. 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: 400 Euro
620. GLOBAL VILLAGE SUITE – DANNY DAVIS/ KOSUGI TAKEHISA & KOWALD PETER: “Improvised” (FMP – SAJ-60) (Record: Mint/ Jacket: Mint) Original 1988 rare FMP title. Despite the Tokyo recording location and presence of Japanese violinist Takehisa Kosugi this is very much out of the European improvising mould. Another immediate impression is that Davis presents a rather different style than the stratospheric soloist of his Sun Ra days - indeed with his staccato attack there's more than a passing similarity to some of Anthony Braxton's later work. Divided into ten shortish and separate pieces, the session titling emphasizes "improvised" but with the clear delineations either this was substantially pre-meditated or some very shrewd editing went on. It's an intense (but not "ecstatic") trio, clearly listening hard to one another - making assignation of "leader" a bit arbitrary. Extremely hard to come by these days. Pristine condition. The music is also stellar, housed in three eye-popping jacket. Kowald teams up with every single improviser that has any meaning in that day Japan, stature and stamina to unleash some of the best improve ever to be put down on wax. One of the key releases on the FMP label. Highest recommendation. Price: 200 Euro
621. 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: 75 Euro
622. 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: 75 Euro
623. GNIDROLOG: “Lady Lake” (RCA – SF-8322) (Record: Excellent – has some faint paper sleeve marks only/ Jacket: Excellent – has the faint usual minimal ring wear/ Insert: Near Mint). The band was originally formed in 1969 and signed to RCA Records in 1971. Following on the heels of the album "In Spite Of Harry’s Toenail", "Lady Lake" featured a line up of Colin Goldring (lead vocals, guitars, recorder, tenor sax, horn, harmonica), Stewart Goldring (lead guitar, vocals), Peter Cowling (bass, cello) and Nigel Pegrum (percussion, flute, oboe).
The album saw Gnidrilog continue to develop their unique form of Progressive Rock, with an album that apart from two shorter songs is entirely made up of four lengthy progressive tracks that are surpassing their debut album and have a more appealing feel. The 11-minute track “I Could never be a Soldier” is the standout piece the resistance, loaded with flute, recorder and visceral guitar. A classic! Price: 350 Euro

624. GO HIRANO: “Distance” (PSF Records, PSF-51) (Record: Mint/ Jacket: Mint/ Insert: Mint) One of the best and most obscured releases on the PSF label is this debut LP by Go Hirano. First LP by Hirano Go (amongst others White Heaven, Stars and Aso Ai collaborator, as well as expert on avant-garde and Canadian vintage psych) for PSF Records pressed in a minuscule edition of only 300 copies and released in 1993. A virtually flawless late night psychedelic gem of an album that fuses breath, piano and small percussive instruments with each other, making it simultaneously an avant-garde outing as well as a melted down soft psychedelic wonder of a disc. According to these humble ears, it is one of PSF Record’s most delicate and stunning aural artifacts that urgently need more appreciation. People tend to stargaze at heavy psyched-out fuzz metal pyrotechnics and overlook the true pearls lurking in between the label’s so far almost flawless roster. The disc unfolds an absolutely exquisite instrumental palette that will guide you along a dreamy path of insubstantial, lysergic and all-too breakable sounds. Stunning to behold and getting rare, oh so rare. Only 300 copies pressed on vinyl and long gone. Finest PSF release for sure and its most obscure one that disappeared into the cracks of time and deep collections of the people in the know. Highest recommendation. This one will shatter your earlobes plasma with its sheer delicate beauty. Price: 75 Euro

625. GO HIRANO: “Reflection of Dreams” (PSF Records, PSFD-71) (Record: Mint/ Jacket: Mint) Second LP by Hirano Go (amongst others White Heaven, Stars and Aso Ai Collaborator, as well as expert on avant-garde and Canadian vintage psych) for PSF Records, pressed in a minuscule edition of only 300 copies. A virtually flawless late night psychedelic gem of an album that fuses breath, piano and small percussive instruments with each other, making it simultaneously an avant-garde outing as well as a melted down soft psychedelic wonder of a disc. According to these humble ears, it is one of PSF Record’s most delicate and stunning aural artifacts that urgently need more appreciation. People tend to stargaze at heavy psyched-out fuzz metal pyrotechnics and overlook the true pearls lurking in between the label’s so far almost flawless roster. The disc unfolds an absolutely exquisite instrumental palette that will guide you along a dreamy path of insubstantial, lysergic and all-too breakable sounds. Comes in a stunning handcrafted textured paper heavy carton sleeve. Stunning to behold and getting rare, oh so rare. Only 300 copies pressed ion vinyl and long gone. Price: 100 Euro
626. GOLDEN CUPS: “The Golden Cups Album” (Capitol Records – CP-8339) (Record on red wax: Near Mint/ Gatefold Jacket: Near Mint ~ MINT/ OBI: Mint/ Attached Insert: Near Mint). Top copy, all complete with attached insert and OBI and on BLOOD RED WAX!!! Another indispensable milestone birthed out by the key component groups to characterize Japan’s first wave of psychedelic storm troopers. Together with their 3rd LP “Blues Message” and their live album, this was the best the Cups ever put down to wax. This album here came out in March 1968 (first original press here in foldout cover and disc on red wax!) was largely made up out of a diverse collection of original compositions and omnipresent cover tunes. Right from the start, the album hints already at some conflicts and disagreements the band was having with the management of Capitol Records as far as the musical direction they intended to steer the group into. But it didn’t prevent them to insert the album with its fair share of brain ripping killer tunes that easily blowtorch any gray cell left roaming freely into the vast empty canyons of your mind. Vicious grease ball psychedelic rockers as they were, the Cups liked to play R&B cover tunes such as “I Feel Good” or “Got My Mojo Working” while fuzzed out and frazzled brain rippers such as “Giniro no Glass”, “LSD Blues” (can hardly go wrong with a title like that) and other originals stand as prime examples of totally deranged fuzzed-out punk mayhem! Their take on Hendrix’ “Hey Joe” showcases what the Cups really stood for. The slowed down version of Hendrix was big hit at the time in Japan and many groups copied the style down, complete with the spaced out, laxative induced feeling. But not the Golden Cups, they re-injected the song with an ephedrine-kerosene–amphetamine-psilocybin combustible mixture and jacked it up further to planetary heights where the garage version of the Leaves had left off and revamped it with a totally berserk, wild and extended psychedelic freak-out in the middle. Upon hearing this, it is hard to believe the Cups also recorded sappy, orchestrated ballads like “Jezabel” or “Unchained Melody”, songs the Capitol management insisted on including. Nevertheless, the Cups were definitely it and without emerging yourself into their sonic universe, your hopeless effort to come to terms with the vast output birthed out by the Japanese rock scene, be it avant-garde, psych or experimental, will remain an attempt in vain and totally useless. Great garage psychedelic gem, original press on red wax out of 1968. Rare but ooh so great. Indispensable in any collection. Brain ripping fuzz outbursts inferno. Price: 300 Euro
627. GOLDEN CUPS: “Album Vol.2” (Capitol Records – CP-8473) (Record: MINT/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare TEST PRESSING with hand typed labels green & white. Total mint copy on blood red wax of this psychedelic mind fuck!! Second Golden Cups album and as usual every Cups album is bound to be an aural delight. This one is no different. However, compared to their first album there are some notable changes, stylistically as well as member-wise. First of all one of the Cups' members, Kenneth Ito was denied a Japanese work visa and was forced to return to Hawaii. Rather than replacing him, the band used this opportunity to rearrange their sound and wheeled in the 16 year old Mickey Yoshino to assist on keyboards. Despite his age, Mickey was a veteran GS musician who has earned his spores while playing with other bands the teen clubs scattered around the US Army base in Yokohama for two years. The personnel changes took place during the recording of The Golden Cups Album Vol. 2 so both Kenneth and Mickey are featured. But that aside it is perhaps the band's choice of material that stuck out most prominently against their first album and their follow-up “Blues Message”. Tracks such as “Woman Woman”, “My Love Only For You: Aisuru Kimini” (which was their 4th single climbing all the way to #13 place on the charts), “Goodbye My Love: Sugisarishi Koi” and “Gimme Little Sign” were all indicators of the Cups' current fascination with Motown R&B which they spiced up with some nice fuzz licks. Possibly this is the most soulful album the Cups ever put down, standing out between the rest of their output. But that aside it is still a excellent effort and – as goes for all early Cups recordings – indispensable in any collection that has a special spot for Japanese psych. Great copy, original bloody rare 1st 1968 pressing on red wax. Copies with obi present are next to impossible to locate these days, so seen against that and the virginal condition of the disc, you have a steal here. Test press issue, never surfaces!!! Price: 300 Euro
628. 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!!!
629. GOLDEN CUPS: “Blues Message” (Capitol – CPC-8005) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). TOP COPY! Disc comes on red wax and is a first pressing out of 1969 – complete with OBI. Without a single doubt, “Blues Message” was the Golden Cups best ever recorded album, filled to the top with deranged wailing fuzz licks that will scrape-burn the skin of your body, leaving instead acidic tire tracks all over your sorry ass. The Cups never sounded as “way out there” as on this recording. Put down to wax at the height of their creative powers, “Blues Message” leaned stylistically close to the Butterfield Blues Band's East/West album and tracks such as “Walkin’ Blues”, “Get Out Of My Life” and “I Got A Mind To Give Up Living” all show up on the first side of the LP, For the rest they viciously rip through some churning riff loaded lysergic blues tracks like Canned Heat's “Evil Woman” and “Can't Keep From Cryin'” by the Blues Project, which metamorphoses into a real killer rendition, whapping your eardrums around without showing any mercy, leaving you breathless and gasping for air. This disc can be regarded as a transition period in Japan’s musical history when the GS slowly came to terms with its own rapidly declining popularity, realized mortality was looming just behind the corner and in order to ward off evil spells, a drastically shifting of gears was called for, heading straight on towards the up and coming hype that would be New Rock. “Blues Message” was such a transitional cornerstone. The band sensed a shift in trends to come, derailed from the GS tracks and headed for more psychedelic infested waters. Nevertheless, the Cups would not last long enough for the new wave to fully catch on. But this does not diminish one tiny bit the brain ripping qualities of this disc. Wailing fuzz mayhem all over and then I do not even mention the pulsating throbbing and fully-fledged up frontal bass lines of Masayoshi Kabe. In one word, this record is a KILLER!! No surrender. First press on red wax in TOP condition- complete with always-missing obi. All complete final upgrade copy. Price: 250 Euro
630. GOLDEN CUPS: “The Golden Cups Recital – Recorded Live at Shibuya Concert Hall 1969” (Capitol – CPC-8011) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi Excellent). Bloody rare original copy, complete with always missing obi!!. Original 1969 copy and probably one of the rarest Cups albums. First copy I see with obi. That aside, this disc is together with the awesome “Blues Message” my all time favorite Golden Cups record. Although many disregarded this one due to the full big band orchestra – the Dan Ikeda & New Breed - backing them up, to me it just added a touch of dislocated lysergic dementia to the Cup’s psyched out pop madness unfolding itself in full Technicolor splendor before a crowd of screaming fans. Eddie Ban is wielding the ax drenched in a fuzz-distorted bath of greased lightning, while Masayoshi Kabe’s pulsating bass lines act out the pulsating vein around which the rest of the groups unfold their splendor. Crowd pleasers freak out dementia and ballads go hand in hand on this recording, fusing killer tunes with hit songs. In all this is an awesome sonic document that had me floored and gasping for air for days in a row. Rare does not even come close to describe the scarcity of this monster. Insane!! Complete copies with OBI just don’ surface at all…so a one off chance here, TOP copy. Price: 500 Euro.
631. GOLDEN DAWN: “Power Plant” (International Artist – IA-LP-4) (Record: Near Mint ~ Mint/ Jacket: Near Mint). True 1st original pressing in unbelievable condition, impossible to upgrade on this one. Has matrix numbers “IAS 4 Side 1 IA” in the dead wax indicating this was the first original US pressing.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 Roky 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 Roky Erickson saga wasn't finished when the Golden Dawn broke up; he financed the publication of Erickson's book, Openers, which helped get Roky 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 perfect and will never ever need an upgrade again. Total classic. Price: 500 Euro
632. GONG -- DASHIEL HEDAYAT: “Obsolete”(RCA – RCA-6124) (Record: Mint/ Jacket: Mint/ Obi: Mint). Very rare 1973 Japanese only white label promo sample issue of the 1971 LP, unique flipback picture sleeve variant with Japanese text on reverse. Comes with the always missing and hardly ever seen obi, a true nearly monster rarity. . Long referred to as the “missing” Gong album, this LP features Daevid Allen, Gilli Smyth, Pip Pyle & Didier Malherbe throughout & even has William S Burroughs guesting! Superb album, promotional original 1973 Japanese audiophile pressing that seems to surface almost never at rock bottom price. Comes with the almost always-missing obi, making this copy a top rarity. Price: 375 Euro
633. GONG: “Camembert Electrique” (Actuel – actuel-53) (Record: Near Mint - has a slight visible bubbles that do not affect the play due to pressing which is only cosmetic of nature - no signs of play or any damage/ Gatefold Jacket: Near Mint/ 2 Inserts: Near Mint). Original French pressing – 1st press issue on the BLACK Actuel label imprint, 2nd issue came out on the brown Actuel label. Like you might now, some of the hardest Actuel records to come by are those of Gong. This copy here is complete and comes with a 2 fully illustrated insert, complete with Daevid Allen’s spaghetti like designs. The music needs hardly any introduction and is next to the band’s “Continental Circus” and “Magick Brother” discs one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Top original copy. Price: 220 Euro
634. GONG: “Camembert Electrique” (Japanese Actuel – BYG Records – YX-6080/ Released in August 1971) (Record: Excellent ~ Near Mint/ Fold Out Jacket: Near Mint/ Insert: Near Mint) Like you might now, some of the hardest Actuel records to come by are those of Gong. But still if you search hard enough and scout out e-bay they eventually turn up. What however never turns up are the Japanese pressings of Gong on the Actuel label. Those were released almost simultaneously with the French Actuel editions but had two different characteristics. One was the superior vinyl quality (Japanese vinyl as opposed to the crappy French pressings) and totally different cover art in some cases. This copy here the inside of the gatefold has a different color tone to the French issue and on top of that comes with a 4 paged fully illustrated insert, complete with Daevid Allen’s spaghetti like designs. A couple of months ago a similar copy with obi attached was sold for 600 euro here, so you might get an idea about those records scarcity (there were regular Actuel titles here in Japan change hands for about 10 dollars – a whole world of difference). The music needs hardly any introduction and is next to the band’s “Continental Circus” and “Magick Brother” discs 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 excellent condition. Highly recommended and mega collectible. Price: 175 Euro
635. GONG: “Soft Machine + Gong” (Actuel Records – Double Actuel-201) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original French press that couples two classic Gong and early Soft Machine and Gong incarnations into one deliriously great double LP. Surfaces only sporadically these days and when it does there are in most cases condition issues as with most Actuel/ BYG titles. This is possibly one of the cleanest copies around leaning towards mint as can be. Comes with great cover art to boot. Highly recommended and a disc that ruled my teenage adolescent life for years on a row when trying to chase that next ride to the stars – and this disc certainly facilitated the trip towards that ever uncertain destination. Highly recommended and essential!! Price: 150 Euro
636. 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
637. 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 2 obis of this groundbreaking subliminal Gong masterpiece. Label has the design of the two Virgin girls with dragon in full color. Price: 400 Euro
638. GONG: “Angels Egg” (Virgin Records/ Nippon Columbia – YX-7028-VR) (Record: Near Mint/ gatefold jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Bloody rare Japan 1st original pressing all complete with always-missing booklet and first issue obi. 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: 350 Euro

639. 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: 175 Euro

640. 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: 60 Euro

641. GOZE: “S/T” (Jikaban – TPL-3026〜3027)) (2 LP Set: Near Mint/ Gatefold Box Set Jacket: Near Mint/ 2 Individual Record Sleeves: Near Mint/ 4 Paged Insert: Excellent) First time ever I have a copy of this privately released 2 LP record box set that came out in a limited run way back in 1973 and which is one of the hardest to track down aural documents on the Goze women. Now this is a totally obscure and rare slide, 1st copy I ever see or can offer for that matter. Massively important and jaw droppingly great 2 LP set that documents the music and culture of the Sugimoto Kikue, the last surviving Goze, recorded during the late 1960s and the beginning of 1970. The Goze became extinct due to the 21 century catching up with their rural lifestyle, tradition and handicap. Goze were blind, itinerant female singers and shamisen players mainly active and traveling from one rural village to the next weather beaten hamlet. They were mostly active in the Niigata Prefecture. These blind women from Niigata were due to their handicap excluded from regular society and had to struggle to survive and the sole option they had in order to scrape some money together to get through the day was giving door-to-door performances of songs with shamisen accompaniment. (the rural blind were desperately poor and accorded few rights or privileges). The reason why these women limited their activities to mainly Niigata and not further north was that Tsugaru and Akita were poorer regions and more inhospitable than their home turf. These traveling blind women mainly made a living by singing songs known as Kudoki Bushi, which were basically long narratives cast in a repetitive seven-syllabic meter. These songs often recounted melodramatic plots of double love-suicides or vendettas, mostly sung in a short strophic melody, punctuated by interludes on the shamisen and sometimes by comic lines spoken in a rapid-fire manner. However as time went by audiences grew tired of these long songs and Naniwa Bushi drifted into the repertoire, including a large variety of vocal styles ranging from lyrical singing to speech-like recitation. This stunning collection here captures Sugimoto Kikue in action, documenting a tradition that was already completely extinct and providing a bone-chilling aural document and musical document to bear witness of their lifestyle. The music is bone crushing and heart shriveling performance recorded, wailing itinerant blind female performer armed with battered down and strummed out shamisen, riffing away and wailing songs into being in return for a cheap meal and a place to rest. This is some of the best music I have ever heard and since discovering them the Goze have ruled my waking hours and dreaming days. Now finally I can present the one of the rarest and most elusive of all Goze recordings, this stellar and eye-peelingly beautiful & privately released in tiny numbers unique 2 LP set. A unique and oblique recording that shouldered a disappearing and now completely vanished tradition, trying in vein to keep modernity at hold and record the then last surviving performing Goze. Fan-fucking-tastic!! Impossible to get and track down, just one of a kind document. Never saw another copy of this LP, rare forever and this one is so essential. Price: 300 Euro

642. 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: 85 Euro

643. 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: 100 Euro
644. GRAFFITI: “S/T” (ABC Records – ABCS-663) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint) One of the very best US psych albums floating around in the lower price range. 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: 100 Euro
645. GRAHAM BOND: “Holy Magic” (Philips Japan – SFX-7313) (Record: Near Mint/ gatefold Jacket: Near Mint/ Obi: Near Mint, has a folding crease). Hopelessly rare Japan 1st original pressing all complete with the “vertigo – Do It Rock” obi. Quite an unusual little album from Graham Bond – quite spiritual, almost supernatural at times – very much what you'd expect from the cover and title! The record's light years away from Bond's British beat group work of a few years before – and has a quality that almost mixes headier rock influences with the spiritualism of the post-Coltrane generation – as the record almost goes farther in a direction that was somewhat initiated by Albert Ayler's more rock-like leanings at the end of his life. Many numbers have chorus vocals rising up behind Bond's lead – and while his own work on alto sax is somewhat displaced by strong use of guitar on many tracks, there's still a fair bit of jazzy elements going on in the mix – particularly on side two, which features Graham laying down some strong lines on the Hammond. Never seen before a copy with the obi present as they sold next to nothing when it was released in Japan back in the day. Price: Offers!!!
646. GRAHAM, DAVY: “Folk, Blues & Beyond” (Decca – LK-4649) (Record: Excellent, side 2 has a few paper scuffs/ Jacket: Excellent). Original 1965 pressing, unboxed red Decca label, mono pressing. "Certainly he is one of the more extraordinary artists that the world of folk has produced: the most original young guitarist in Europe, a gifted, natural arranger and a singer who sings as he feels. Moreover, he is too large a personality for the folk scene to entirely contain, although he is one of its favorite sons. By this I mean that Davy is constantly drawing other musical forms into his own orbit: blues, modern jazz, Indian or Arabic forms, and so on. All have joined the basic folk repertoire he began with, coloring his overall output in a quite remarkable way." And Colin Harper writes in the Mojo's booklet about the 100 Greatest Guitar Albums: "Before Elvis, said Lennon, there was nothing. Well, before Davy Graham - six-stringed alchemist of Indian, Arabic, Elizabethan, Celtic, modern jazz, country blues, Broadway and pretty much everything else - the world of acoustic virtuosity (Julian Bream notwithstanding) was similarly void. Having already notified the post-Lonnie cognoscenti of where it was at with Angi - as if 1962 was the first year of contrapuntal bass lines since Bach - this era- and career- defining album, with muscular bass and drums off-setting the maestro's almost incongruously mannered vocal, arrived at precisely the moment to set the bar for Britain's young, vibrant, Soho-centred 'folk-baroque' movement of Jansch, Renbourn, Harper, Drake et al. And these were high times". (Ray Horricks). One of the best UK folk records ever to be put down on wax. First original UK pressing. Price: 350 Euro

647. GRANT GREEN: “Green Street” (Blue Note – BLP-4071) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint, some mild foxing on back). Original Blue Note 1st pressing – with RVG and Ear logo stamp in the dead wax & New York USA label pressing. 43 West 61st St., New York 23 address on jacket; RVG stamped in dead wax; ear; laminated cover; safety rim. Matrix numbers: BN LP 4071 A, BN LP 4071 B. Green's sophomore effort for Blue Note has a somewhat unusual trio line-up in that it sports a bass-drums rhythm section rather than the more common organ-drums one. This gives the album an overall more concentrated tone, as the absence of an organ focuses the attention much more on Green's guitar, which is basically the only solo instrument. Ben Tucker's bass takes away none of the spotlight from Green (except for two excellent solos on "Grant's Dimensions" and "Green with Envy") and his lightly moving lines provide significantly more space for Green to move around in. While there is a lot of guitar to be heard on this album (which may be the only drawback really), Green is rarely ever heard in a context where he can stretch out and move around as freely as on this trio date, and he seems to thoroughly enjoy this freedom. Extremely clean and amazing condition that will be hard to ever improve upon. Highly recommended. Price: 450 Euro

648. GRANT GREEN: “Idle Moments’” (Blue Note Records/ Japan – BN-4154) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 75 Euro
649. GRATEFUL DEAD: “Viola Lee Blues (part 1) b/w Viola Lee Blues (part 2)" aka Cisco Sound” (7-Inch) (Toshiba Records -BR-1781 ) (EP Record: Excellent ~ Near Mint/ Fold Out jacket: 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: 200 Euro
650. GRATEFUL DEAD: “Good Morning Little Schoolgirl b/w The Golden Road” (Warner Japan – BR-2227) (EP Record: Excellent ~ Near Mint/ Sleeve: Near Mint). Monster rarity, Japan only 7-inch release of the Dead in order to boast up the sales of the accompanying first album when it was released in Japan. Great cover art, green Warner label, totally wicked and bloody rare. Top-notch condition. Price: 200 Euro
651. GRATEFUL DEAD: “Dark Star b/w Born Cross-Eyed” (Warner Bros. Records – BR-1965) (Red Wax EP Record: Near Mint/ Picture Sleeve: Near Mint). Original Japan only issue of Dark Star that comes on red vinyl. A single released in Japan by the Toshiba label, on a red label with dark red, translucent vinyl. The front picture sleeve shows the band (Lesh, Kreutzmann, Garcia, Weir, and Pigpen). The upper part of the sleeve shows a light green band with the band name in Japanese and the two song titles in English, and "THE GRATEFUL DEAD" across the lower portion of the photo. The single version of Dark Star is completely different to the album version. It was recorded during the Anthem Of The Sun studio recording sessions. The version of Born Cross-Eyed is also different mix of the version that was released on Anthem Of The Sun. Without a doubt, the rarest Grateful Dead artifact out there, just hardly ever turns up and this copy is top all the way. Price: Offers!!!!
652. GRATEFUL DEAD: “Uncle John’s Band b/w Cumberland Blues” (Toshiba Records Japan/ Warner Bros. – BR-2599) (RED WAX EP: Mint/ Gatefold Picture Sleeve: Mint). The rarest Grateful Dead Japan only EP release after dark Star is this baby, very few around and especially red wax copies are sought after. Price: 400 Euro
653. GRATEFUL DEAD/ ELVIN BISHOP GROUP: “Johnny B. Good B/w So Fine” (Warner – P-1172W). (EP Record: Mint/ Picture Sleeve: Mint). Japanese green Warner Bros. press of this Dead track, released in 1972 to promote the Last Days of the Fillmore album. B-side is by the Elvin Bishop Group. Great picture sleeve of the dead. Top notch condition. Price: 50 Euro
654. GRATEFUL DEAD: “Vintage Dead” (Sunflower – SUN-5001) (Record: Excellent/ Jacket: Near Mint). Original 1st US pressing in great condition documenting the initial Dead years. Price: 50 Euro
655. 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
656. GRATEFUL DEAD: “S/T” (Warner Bros. – BP-8222) (Record: Near Mint = MINT/ Jacket: Near Mint). Never offered before WHITE LABEL promo/ TEST PRESS issue of the 1st dead album to be released in Japan on November 1967. Top condition. “Fresh-sounding, upbeat and strongly melodic, the Dead’s debut contains elements of rock and roll, blues and their own inimitable brand of psychedelia. Opener ‘The Golden Road (To Unlimited Devotion)’ is a keyboard-driven psych-monster that hooks you in with its stupidly catchy chorus. The unique-sike sound of ‘Cold Rain And Snow’ keeps the album anchored firmly in a contemporary setting, leaving behind the rock and roll/ blues of the 2 previous tracks. The 1st side ends with the best cut ‘Cream Puff War’ a Love-like sound binge that is underpinned by Pigpen’s masterful keyboards and Garcia’s ferocious guitar. The 2nd side is all about ‘Morning Dew’ and ‘Viola Lee Bleus’. The first is an expansive, spatial excursion that introduces the listener to the sound that would pretty much become to define them, partially when they played live. ‘Viola Lee Bleus’ is an epic 10-minute jam that serves as a showcase for their instrumental skills, in particular Pigpen’s ‘board wizardry. Rarely given the credit it deserves, this record stands alongside ‘American beauty’ and ‘Anthem Of The Sun’ as one of the Dead’s very best.” (JE – Endless Trip). TOP condition, impossible to upgrade upon. Never seen before Japan 1st press WHITE LABEL/ TEST PRESS PROMO issue of 1967, seriously rare!!! Price: Offers!!!
657. 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!!!!!
658 GRATEFUL DEAD: “Anthem of the Sun” (Warner Bros – Seven Arts Records Japan – BP-8522) (Blood Red Wax Record: Mint/Flip Back Cover: Mint/Company Inner Sleeve: Near Mint/ OBI: MINT). Top copy in near mint condition, best copy to ever cross my eyes. Toshiba pressing on red wax, 1st Japanese pressing of this Dead album, which is impossible to dig up these days. COMPLETE WITH 1st ISSUE OBI, which has never surfaced before, beyond a doubt rarest of the rare Japan press issues!!! "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, complete with monstrously rare OBI. So serious offers needed on this one.Price: Offers!!!!
659. 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: 475 Euro
660. GRATEFUL DEAD: “Aoxomaxoa” (Warner Bros – Seven Arts Records Japan – BP-8745) (Record: Mint/ Jacket: Near Mint/ OBI: Near Mint/ Insert: Mint). Without a single doubt, 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. Price: Offers!!!
661. 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!!!!
662. 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 RAE!!!! 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!!!!
663. GRATEFUL DEAD: “Live Dead” (Warner Japan – BP-8899〜8900) (2 LP Record Set: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Monster rare Japan 1st original pressing – PROMO ONLY RED WAX issue. 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 ONLY red wax…. Price: Offers!!!
664. GRATEFUL DEAD: “Live Dead” (Warner Bros.-Seven Arts Records – 2WS1830) (2 LP Set: Excellent/ Gatefold Jacket: Near Mint/ Booklet: Near Mint). Rare white label promotional copy. 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 transmutates 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 in EX-NM. No seam split, no tears, no writings, no stickers, no cut holes! Both records have clean shiny surface. Overall record is very, very clean between EX- and NM. White labels are clean with no noticeable damage. Have a few spindle marks around the center holes. Comes with a foldout insert in excellent shape. Price: 300 Euro
665. GRATEFUL DEAD: “Europe ‘72” (Warner Pioneer Japan – P-5070~72W) (3 LP Set: Near Mint/ Triple Gatefold Jacket: Near Mint/ Booklet: Mint/ Obi: VG++). Rare Japan pressing, white label promotional copy. 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: 200 Euro

666. GRATEFUL DEAD: “Steal Your Face” (Liberty Japan – LLS-67095~96) (2 LP Set: Near Mint/ Gatefold jacket: Near Mint/ 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 then 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…(just saw the Festival Express DVD…man again the Dead blew me to smithereens on that one…). 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: 200 Euro

667. 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: 100 Euro
668. GRATEFUL DEAD: “Terrapin Station” (Arista Records – IES-80892) (Record: Mint/ Jacket: Excellent/ Insert: Excellent/ Obi: Excellent). Original first Japanese pressing all complete with obi & insert from 1977. Price: 50 Euro
669. 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
670. GRATEFUL DEAD: “Pop History Vol. 23” (Polydor – 2335 058~059) (2 LP Record: Near Mint/ Laminated Gatefold Jacket: Near Mint). Rare German only 2 LP release. Price: 75 Euro
671. GRATEFUL DEAD: “Live In Gizah, Egypt”(Private) (3 LP Record: Near Mint/ Outer Box: Excellent/ Poster: Mint/ Sticker: Mint/ Book: Mint). Long time gone vintage boot of the Dead shining in action and displaying their brightest colors. This is a very rare Italian pressed 1978 Grateful Dead Live In Gizah Egypt LP box set. This was a very well packaged limited edition box set with three albums, a poster, sticker and booklet from their 1978 concert in Egypt. The back of the box has a label stating that it is #154 of 500 copies pressed. Top condition and rarely seen in complete condition. Price: 200 Euro
672. 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
673. 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
674. GRAVES, MILFORD & DON PULLEN: “In Concert At Yale University – Vol.1” (SRP Records – P.G. 286) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ 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 100 copies only that saw the light way back in 1966. Top condition. 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. Top condition copy, impossible to upgrade upon this one. And the music is absolutely killer without any filler, one of the cornerstones of the whole Free Jazz pantheon. Price: Offers!!!
675. GRAVES, MILFORD & DON PULLEN: “Nommo – Don Pullen & Milford Graves In Concert At Yale University” (SRP Records – LP-290) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). First original pressing housed in 2nd state jacket art. Extremely nice and super clean copy of this all time free jazz classic disc that these days rarely surfaces at all. I guess reputation precedes this disc, making all attempts to describe it futile and in vain. I guess that most people subscribed to this list or browsing through these pages are more than familiar with its reputation, stature and historic value within the free jazz sub-underground. Indispensable private press that is getting bloody rare. Fantastic copy that contains even better mind shifting music. Jacket still housed in original shrink – hard to improve upon this copy. Stellar. Price: 200 Euro
676. GRAVES, MILFORD featuring ARTHUR DOYLE: “Babi Music” (IPS – IPS-ST004) (Record: Near Mint/ Jacket: Near Mint). Another TOP COPY back in stock! TOP COPY! 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: 350 Euro
677. GRAVES, MILFORD & ANDREW CYRILLE: “Dialogue of the Drums” (IPS 001) (Record: Excellent/ Jacket: Excellent) American original press. Recorded in 1974 in New York at the Wollman Auditorium of Columbia University. This is probably the most challenging percussion album ever to have been put down on wax and upon glaring at the variety of rattles and shakers brought to the stage by these two monster percussionist you can get a hint of the adventurous territory these two are bound to cover. Andrew Cyrille comes armed with tom-tom, gongs, whistles, hand clapping, words, phonetics, temple blocks, agogo bells, chimes, tympani, cymbals, darabukkeh, foot rhythms, osi-d, castanets there were Milford Graves spices up the palette of percussive rattles with phonetics, bgo, darabukkeh, whistle, gongs, osi-d, galloping, tympani, cymbals, balafon, agogo bells, foot rhythms, bells, tambourine, shakers, words, African talking-drum, mnemonics, etc. In short, this sonic Valhalla is a summit between drum-masters whose rhythmic arsenals stretched far beyond the traditional drum kit and incorporated ingredients from Africa, Asia, India, and the Caribbean, Dialogue of Drums was and is still a difficult and noisy listen, however, it’s display of virtuosity and sense freedom is without equal. A must!! Price: 75 Euro
678. GRAVES, MILFORD with ABE KAORU, TAKAGI MOTOTERU, etc: “Meditation Among Us” (Kitty Records – MKF-1021) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint). Comes with the 4-paged insert with loads of pictures. Great historical disc that documents Milford Graves’ trip to Japan in 1977 for a series of concerts booked by the late Aida Aquirax and for which he got flanked by Japan’s finest hard core free jazz improvisers, being Tsuchitori Toshiyuki, Kondo Toshinori, Abe Kaoru and Takagi Mototeru. Hard core free blowing interaction. Sublime does not even come close to describe the greatness that lies embedded within the disc’s grooves. Historical masterpiece that is getting scarcer every minute. Great copy in immaculate condition. Stunningly great record and it has been a while since I had a copy. These beauties just dried up completely. Price: 75 Euro

679. GRAVITY ADJUSTERS EXPANSION BAND: “One” (Nocturne Records - NRS332) (Record: Near Mint/ Jacket: Mint, still in shrink). Although the Gravity Adjusters Expansion Band (GAEB) started in 1967 they remain one of the long lost and underestimated groups that explored the areas of sound sculpture, improvisation, experimental music and free jazz. The group had their roots in playing in and around the San Francisco bay area, and finally recorded their first LP in Los Angeles. Free jazz drummer Lee Charlton seamlessly shifts the moods from jazzy phrasing into the far more abstracted ideas of the world of sound sculpture. It is this abstract world where the GAEB mostly reside, using the invented instruments of multi-media artist Richard Waters, many of whose percussive and bowed instruments incorporate water filled resonators to bend and tune the sound. This was their first LP “One”, which appeared in 1973 on Nocturne Records, a small Californian label. it would be the first of their 2 released album’s, the second one appearing 8 years later. The music is totally spell binding and by gazing at the list of instruments deployed you can imagine in what territories the unit tend to dwell in: diatonic sound generator, bazooki, pipe drums, Aeolian space horn, synthesizer, waterphones, mytar, saws, bass violin, horizontal and upright phoniums, birdcalls, microtonal revolving sound generator, sgourd (?), superball mallets, water gong drums, log drums, springs, keyboards, assorted gourds, Princess oil can and more. So with these you can pretty much deduce that the sound of One is mainly percussive, but then again shagging this masterpiece of as just another rattling slab of a percussion record would be way too reductive. Instead, this is a sprawling exploration of ambient sound, very reminiscent of GAEB's sonic compatriots Taj Mahal Travelers and AMM. The Gravity Adjusters Expansion Band take percussive sounds and spread them way out, letting the overtones and reverberations shimmer and merge, so while these are still distinctly rhythmic arrangements, with plenty of tolling and chiming and ringing peppered with random bits of clatter and clang, the various sounds and their after affects create soft billows of background burble, muted melodic murmurs and all manner of sweetly sonorous and slow shifting soundscapes, each track a lush sonic exploration of bowed metals and vibrating strings, of objects both struck and stroked, a potential cacophony smoothed into lengthy dreamlike shimmers. So completely mesmerizing. TOP copy, original press so they do not come any better than this one…..Price: 150 Euro

680. 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: 125 Euro
681. GRIM: “Message” (Eskimo Records – LM-1808) (Record: Mint/ Jacket: Mint/ Insert: Mint). Original & hideously rare 2nd release by Grim after the disbandment of White Hospital. 1987 pressing that came out in an hideously small run, making this one their rarest release. They only made one LP and one EP and this record. Never had a copy before, and after spinning this slide I am convinced that this is the best Industrial/ Noise release ever to seep out of Japan. So it is no surprise that every noise/industrial/ avant-garde collector scumbag out there seems to be after a copy of this disc here. Ultra rare post – White Hospital outfit of which not that much information is floating around. Grim emerged out of the ashes of White Hospital and was comprised out of Jun Konagaya, Tomosada Kuwahara (both of White Hospital), Y. Nagoshi and A. Takahashi. In 1986 after White Hospital folded, Jun formed Grim together with Tomasada Kuwahara. They released one album an EP in 1986 and followed by their 1st album and this recording, which is their most sought after. One would expect the album to by harsh noise in the Japanese tradition but has a highly dark experimental sound with some industrial outbursts. The applied instruments are also off the wall with Tomosada gassing the sonic possibilities out of a corrugated tapes, various synths, bass, drums, percussion and howling backing vocals there where Takahashi puts down harrowing vocal performance tricks while molesting some synths, tapes and metal percussions in the mean time. Totally awesome album. Message was released on vinyl as a 12" on Eskimo Records in 1987 in a tiny run of 300 copies. Hideously rare beyond belief and 1st copy I see in all those years of prowling around dusty bins. Top copy. Price: 250 Euro
682. 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: 75 Euro
683. GROUNDHOGS: “Scratching The Surface” (Liberty/ Toshiba Records – LP-8686) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Insanely rare first original Japanese press issue from 1969 all complete with the always elusive and never seen before OBI. To make it even more delusional, this is the 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. Never offered for sale anywhere, this Japanese original pressing with OBI present is an enigma on these shores. The sole evidence so far of its existence was a small picture in a book. Until know, most have never even seen an original with obi, let alone a white label promo one, making it one of the rarest Japanese pressings of that late 1960s era. Amazing condition and even better music. Price: Offers!!!!
684. GROUP 1850: “Paradise Now” (Discofoon – VD-7063) (Record: Excellent ~ Near Mint/ Tip Back Jacket: Near Mint). Original Dutch pressing, top copy. Second album by these Dutch Pink Floyd infected dope heads. With “Paradise Now”, the band picked up where they left the spaced out vibe hanging on their previous outing “Agemo’s Trip To Mother Earth”. Diluted doped up tracks filed with demented keyboards, lysergic guitar lines, reverb-soaked vocals, primitive drum patters and enough LSD-induced soundscapes to fill up a whole universe with. Definitely one of the best groups to come out of the Low Countries, soaked in a jangled mix of heavy psychedelics, demented lunacy ravings, sultry madness and mutant variations of cosmic phrasing. Throw in there a searing acid drenched electric guitar that cuts through the air like a buzz saw emanating out of a bad flashback and you have a killer disc. Just fantastic, original 1st pressing and rubbing shoulders with the best classics you can come up with out of that hole in time. Highest recommendation!! Price: 200 Euro
685. GROUP ONGAKU: “Music Of Group Ongaku” (SEER Sound Archive – SEER001) (Record: Near Mint/ Jacket: Near Mint – still in shrink/ Insert: Near Mint). Long gone limited release and 1st vinyl issue that came out years ago documenting the early sonic experiments of Takehisa Kosugi (of Taj Mahal Travelers fame) during the years 1960~61. “Group Ongaku was a pre-Taj Mahal Travellers/East Bionic Symphonia/Marginal Consort avant-garde/free improvising unit that featured Takehisa Kosugi of Taj Mahal Travellers on violin, saxophone and tape, Yasunao Tone on saxophone and tape, Chieko Shiomi on piano, Mikio Tojima on cello, Genichi Tsuge on guitar and Shukou Mizuno on cello, drums and tape. This is pre-Beatles, pre-Rock, pre-Free Jazz and yet it sounds as if it could have been recorded this year. Forming in 1958, Ongaku were primarily influenced by the avant-garde strategies of Cage, Stockhausen and the Fluxus movement but they quickly extrapolated into a form of instant, communal composition that pretty much set the seeds for much of what was to come in their wake. There are two sessions featured on the album, which was originally available in an elusive CD edition back in the day. The first side features recordings made at Mizuno’s house in May 1960 while the flip features two pieces recorded live in concert at Sogetsu Kaikan Hall in Tokyo in September of 1961. The sound combines aspects of jarring tape work with free saxophone blurt, long passages of nocturnal drone, Industrial percussion, strange vortices of strings, psych/noise guitar and a dosed/peaking atmosphere that is deeply psychedelic. In these grooves you can hear the first of echoes of what would become the whole Alchemy/PSF aesthetic while joining the dots between all of your favorite Nurse With Wound listees. Indeed it has been described as “sounding like the COMPLETE Nurse With Wound List playing at once... and when you realize that said posse includes Airway, Cromagnon, Don Bradshaw Leather & Throbbing Gristle among its formidable ranks, then one must understand that what is passing between their ears is an aural Excalibur of avant/experimental freakdom that almost no one knew existed.” (D. Keenan) A massively potent unearthing of some of the most historically confounding avant/drone/tape work ever to escape the prodigious gravity of the Japanese underground and a vital addition to any shelf. Edition of 300 copies that came out 10 years ago and long evaporated into thin air. Price: 50 Euro
686. GROUPOID: “Debut” (Private Press/ Groupoid Records – PLS-305-NP/ Groupoid-0001) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Still undiscovered Japanese privately released free jazz beast from 1980, a release that came out in an edition of 200 copies. Finally a spare so for once I have a copy to offer. 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 bring to mind 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 is 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. Price: 400 Euro
687. GUALBERTO: “Vericuetos” (Movie Play – 17.0826/8) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). Original 1st 1975 pressing of this ex-Smash main man, venturing into mystic & trippy psychedelic acid rock moves injected with eastern influences. Gualberto is the name of the guitarist/ sitar player who formerly was active within Smash, whose first two albums ranks amongst the best ever to seep out of Spain. Whilst recording “Vericuetos”, Gualberto changed directions dramatically turning more towards Indian music spiked up with adventuresome progressive rock touches. Mystic Indian influences float abound and are well integrated, blending in perfectly with the overall feel of the music. The opening track fuses perfectly Western classical influences with Arabic and sitar-laced themes that dodge further categorization, creating a bewitching sound palette. The follow-up track is a compelling marriage between romantic classical into rock rhythms loaded with synth layers, elaborating further on the Eastern/ Western classical connection and injecting some psychedelic touches into the overall mix. It might sound a bit “too much” on paper but it all gels wonderfully well together, guiding me towards an embryonic dream-state from which I wish not to wake up again. It is hauntingly beautiful. The remainder of the LP dwells into similar intoxicating realms filled with compelling drone moods, moody crescendos and soft progressive/ symphonic touches that are bewitching instead of appalling. I am an avid hater of anything progressive, but this album, albeit heralded by many as progressive does not sound like it to my ears. It is a more challenged listening experience where East meets West, cross-pollinates with progressive/psychedelic touches and meanders into a compelling sound palette that never fails to suck you into its ever evolving vortex. That all seen against the political backdrop of Spain’s ugly dictatorship at that time makes this album even more mind boggling and arouses my electrification to even more to previous unattained heights. Bloody amazing!!!! Original 1st pressing in top condition, what can you possibly ask more for?? Price: 120 Euro

688. GUILLAUME DE MACHAUT: “Le Livre Du Voir – La Messe De Nostre Dame” (Mirror Music – 0000&~00009) (4 LP Record Set: Near Mint ~ Mint/ Box: Near Mint/ Thick 68 Paged Booklet: Near Mint) Original 1979 pressing in immaculate condition. Guillaume de Machaut (1300-1377), from Machaut in northern France, was a poet/musician and became a cleric, so some of his work is sacred. But he is best known for his secular music and was very influential on Chaucer. Machaut is known for his use of pan-isorhythm -- isorhythm appearing in all parts -- and his through-composed monophonic lais. He oversaw his own collected works, the six "Machaut Manuscripts," so we're beginning to move out of the generally anonymous medieval period with the "rise of the artist." In his Livre du voir dit (Book of the True Poem), Machaut amassed assorted poems, letters, and songs into a semi-autobiographical scrapbook dedicated to Péronne d'Armentières, a young woman with whom a much older Machaut was infatuated. Machaut's Messe de Nostre Dame (Mass of Our Lady), composed in the 1350s or '60s is the only 14th-century complete setting of the Mass Ordinary attributable to a known composer -- what later would be called a Mass Cycle. Though the movements are not all unified by any particular theme, each movement is based on the appropriate chant for that part of the Mass, and Machaut uses isorhythm in each. Thus, the Kyrie is based on the plainchant Kyrie Cunctipotens Genitor Deus. This four-voice medieval polyphony is characteristic in its being very horizontally composed, line overlaid by line, rather than displaying the vertical sensitivity and even chord functions of later composition. Double leading-tone cadences are also distinctive. Truly beautiful music that has at least to these ears a deep psychedelic vibe. Rare 1st original press housed in lavish box in top condition. For sure, one of the highlights in this list – at least for those with ears. Price: 125 Euro

689. 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: 200 Euro
690. HAAZZ & COMPANY: “Unlawful Noise” (KGB – KGB-7076) (Record: Near Mint/ Jacket: Excellent). "Unlawful noise" is hardly an exaggeration in terms of describing this music: It is free jazz at its most brutal, intense, and unyielding. Over the album's two tracks, this six-piece group -- nominally led by little-known Dutch pianist Kees Hazevoet and rounded out by Peter Brötzmann reeds, Peter Bennink reeds, bagpipes, Han Bennink reeds, percussion, Johnny Dyani bass, and Louis Moholo drums -- goes at it full-throttle, with little reprieve and apparently not much of a predetermined structure. It is hard to tell, though, since there are certain changes that make it seem like some sort of visual cue, at least, might have been involved. The title piece begins with several minutes of piercing high-pitched clarinet wailing prior to the rhythm section entering; following this shell-shocked intro, things steadily build up to a dense mass of piano clusters, raging percussion, and combative horns before thinning out just as the tension threatens to become unbearable. The rest of the music continues in a like manner, rising up to incredibly intense peaks before dissolving and then ultimately building back up. There are no written melodic themes, few clearly defined solos, and little change in mood; in fact, it is questionable whether the second piece really adds anything that the first hasn't already said, although this doesn't seem to concern the players. Listeners can deal with this type of album either by turning off the stereo or by just submitting to the flood of noise, which -- when done with the type of skill and single-minded focus heard here -- can yield an almost trance-inducing effect, in spite of its harshness. That said, there are a few plainly audible tape splices, seemingly done that way on purpose, which will probably snap listeners out of whatever trance they're in, at least momentarily. It's not for all tastes, but for those who appreciate the full-scale ensemble blowouts of Cecil Taylor or Peter Brötzmann, this inspired -- if exhausting -- album does come recommended.” (All Music Guide – William York) Price: 250 Euro

691. HAINO KEIJI: “Watashi Dake” (Pinakotheca Records, 1981) (Jacket: Excellent – has lower middle seam split/ Record: Near Mint/ Insert: Mint) Getting also here in Japan almost impossible to track down. Haino’s first solo release dating from 1981, released on the historical and highly collectable Pinakotheca label. Needles to say that Pinakotheca discs are bloody rare. But this Haino recording is definitely his best record till this date, together with the initial Fushitsusha album. “This debut recording is a stunning introduction to the Japanese noise guitarist's earliest work. Those expecting a primitive guitar workout will be surprised to learn that his first recording is a Cecil Taylor-like free form piano improvisation. Proving that he never needed the feedback and noise of electric guitar to send shivers down the spine, this acoustic ritual has all the dark magic of his later work. Impassioned free jazz may have been the springboard from which he launched in the '70s, and his affection for that form can be heard through into his psychedelic rock with Fushitsusha and his dark solo electric rituals. ‘Watashi Dake’ is an essential document of the Japanese outsiders enormous body of work.” – (Martin Walters, All Music Guide). Haino’s solo electric guitar/vocal music on Watashi Dake veers from soul-pulverizing heaviness to haunted songs where he sounds faint chords inside a tunnel of gently ringing feedback harmonics, from which his high keening voice emerges, expressing who knows what anguish. They suggest a soul even more troubled than Alex Chilton's on Big Star's broken-backed third album, or Neil Young's sweet, cracked alto elegizing dead friends on Tonight's The Night. The difference with Haino's songs is that they're arrived at with their singer fully conscious and capable of making some kind of sense of the despair they encapsulate, no matter how shredded full of holes they may be. Whatever condition they describe, Haino's works don't swell in misery. So what else do you need? This is a classic unbeatable record. Price: 220 Euro

692. THE HAIR: “R&B in Tokyo” (Record: Near Mint/ Jacket: Near Mint). Top copy of this completely vanished psychedelic floor stomper. Nineties group that roamed through Tokyo’s underbelly whilst rejuvenating the long lost butt shaking and ass whipping splendors of the mid-sixties R&B and GS sounds. They did a wonderful job at it and the record swings like a bat out of hell on a feeding frenzy. The disc was released in an ultra limited run and was soon hyped by downtown DJ’S for its hip-shaking psychedelic qualities and lysergic sonic colorations. The result was that the disc completely vanished and began changing hands for ludicrous sums, while the outside world was left ignorant of its existence. Until now, with this copy way below the current Japanese market value. So after all how does this disc sound like? Well the best description I could come up with is it simulates an aural sensation similar to snorting an electric line of coke off the pulsating ass of a porn star equipped with headlights like laser guns. Excellent for your decadent night-clubbing retro trips down to Wonderland Avenue. Price: 75 Euro
693. 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: 200 Euro
694. HALLELUJAHS: “Niku O Kuraite Chikai O Tatejo” (ORG Records – ORG001) (Record: Mint/ Jacket: Mint/ Insert: Mint). Released in 1986 in a tiny run of only 300 copies that evaporated into thin air in a matter of moments. Hallelujahs were a Japanese group led by Shinji Shibayama during the mid-eighties. This was their sole album, released in 1986 in an edition of 300 on Shibayama’s fledgling ORG Records label. ORG went on to release some great records by Maher Shalal Hash Baz, Reiko Kudo and Love Beach (or Nagisa Nite - Shibayama’s current dream-pop psych band). Musically, pop psych is about as close as I’m going to want to get to a description of what they do. There’s something about this record that’s hard to get a grip on. It seems to float on layers of melody rather than rhythm, and in places it has an incomparable start of autumn melancholic atmosphere. Subtle, but a grower if you give it enough time. Part of yet another invisible Japanese scene.”–Alan Cummings. Hallelujahs present a truly memorable vision, providing mostly hushed acoustic guitars, long meandering solos, tasteful percussion; occasionally adding synthesizers, piano, and additional vocals to create a lush sound akin to the feeling of seasons changing. First original pressing that just never surfaces. Beautiful acid folk tinted melodies that will wax your ears to infinity. Price: 275 Euro
695. 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
696. HANATARASH: “S/T – 1st album” (Alchemy Records – ARLP-007) (Record: Near Mint/ Jacket: Excellent – Near Mint) rare early Alchemy records release from 1985. Without a single doubt, Hanatarash were the quintessential noise outfit that no one could surpass, not even these days but then again that will come as no surprise to no one. Pimple-faced noise escapism reigns again amongst the kiddies but it has never sounded as lame and pale as it does now. Conclusion – boredom is hip. Churning out one micro release after another, one starts to wonder what’s the point of such a carefully crafted commercial strategy. Apart from creating one’s self sustained and lubricated cult status to show off with at numerous blog sites, it also helps to conceal the mediocre nature of the releases in question and the music it acclaims to contain. This last aspect comes especially to the foreground when comparing it to the vary-colored sound palette, inventiveness and originality that only a very few noise practitioners were blessed with and Yamatsuka Eye’s Hanatarash is certainly one of truly gifted outfits. A true gem in unadulterated brutality and witty humor fusing neatly with an untamed kamikaze spirit. An assault on the senses and good taste as their hilarious song titles hint such as “Ultra Cocker, Power Cock, Domination in Spunked Cock, Megaton Cock, Cock Rising and Hunging Cunt” etc, the list goes on, the next even more hilarious than the previous one. Just one word to describe this band – utter greatness, many were called for this kind of music but only Hanatarash got up and delivered the good, leaving all the other poser enough room to jerk off on meaningless blog sites. This is the one and only real thing and please do not go with cheap substitutes. Killer disc & almost impossible to track down these days, at least here in Japan. Price: 150 Euro
697. HANATARASH: “3 – William Bennett Has No Dick” (RRR Records – RRR-049) (Record: Near Mint/ Jacket: Near Mint). Third and rarest Hanatarash slide. Released way back in 1989, the material was recorded on the 21st of February, 1988 at Shinjuku’s famed Anti-Knock live house. There are 2 pressings of this album circulating, this copy here however was the 1st pressing to hit the streets, which rarely surfaces. 2nd edition copies are more common. Price: 150 Euro
698. HANCOCK, HERBIE: “Flood” (CBS Sony Japan – SOPZ-98‾99) (“ LP Set: Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ 8 Paged Booklet: Mint). Japan only issue, complete with obi & booklet, all in immaculate condition. “Herbie Hancock and The Headhunters take to the road in the live double album Flood, recorded and released only in Japan. Contrary to the impression left by his American releases at this time, Hancock was still very much attached to the acoustic piano, as his erudite opening workout on "Maiden Voyage/Actual Proof" with his funk rhythm section makes clear. The electric keyboards, mostly Rhodes piano and clavinet, make their first appearances on side two, where Hancock now becomes more of a funky adjunct to the rhythm section, bumping along with a superb feeling for the groove while Bennie Maupin takes the high road above on a panoply of winds. Except for "Voyage," the tunes come from the Head Hunters, Thrust and Man-Child albums (another reason why this was not released in the U.S.). "Chameleon" comes with a lengthy outbreak of machine pink noise that attests to Hancock’s wide-eyed love of gadgetry. In all, this was a great funk band, not all that danceable because of the rapid complexities of Mike Clark’s drumming, and quite often, full of harmonic depth and adventure.” (All Music Guide). Stellar funky jazz slide, Japan only release and without any doubt the best groover in the Hancock discography. TOP condition. Price: 150 Euro
699. 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
700. 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: Mint/ Gatefold Jacket: Excellent, has some aging mildew stains/ Obi: Near Mint/ 12-Paged Booklet: Mint). 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!!!
701. 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!!!
702. HAPPENINGS FOUR + ONE: “Hikishio-Michishio” (Capitol Records – CTP-9037) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent). Bloody rare original pressing top copy!!!! 1st copy I can offer complete with obi. WHITE LABEL PROMO ISSUE!! As you know, copies with obi never surface, making this a truly rare gem. 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 heydaze 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. Hideously rare and still largely undetected by most psych buffs. Awesome and all time possible highest recommendation. Copies with OBI just DON'T surface, let alone combined with a white label promo issue… Price: Offers!!!
703. HAPPENINGS FOUR: “Outsider No Sekai – World Of The Outsiders” (Express Records – EP-7763) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Top copy, 1st original pressing all complete with obi. I only had this LP like 10 years before, only once and then it was without obi. So pleased to offer this original all-complete with obi. Well at times I think I am one of the last to harbors of good taste….maybe it is some sort of idle thinking on my behalf… probably it is but for some years now I have developed a serious affection for the Happenings Four, sucking up all these guys ever did (not a whole lot) and digging it immensely. Each single record they did (4 in total, a bunch of singles and one eight track tape with Itoh Kiyoko) covers a total different musical horizon from the previous one and this one is no different, only showing how versatile and chameleon-like this band was. At the time of this particular recording, we have entered sadly enough the final stage of the band. Released on July 5th, 1970, “Outsider no Sekai” might for most of you a tough nut to crack since it again depicts another side of the band and highlighting again their versatile musical identity and the high musicianship and songwriter talents that they brimmed over with. This 3rd album is a beast in this sense that it crosses and flawlessly incorporates many styles and crossing musical boundaries that encapsulate a wide variety ranging from garagey songs to minyo induced excursions over to ballads, enka tunes and traditional folk songs inspired compositions while never failing to add a well-concealed psychedelic undertone to it all. Setting music to the lyrics of musician, medical university professor and psychologist Kitayama Osamu, the Happenings Four entered previous uncharted waters. Kitayama’s lyrics embraced allegorical social sarcasm, which can be seen as a novelty at that time and therefore breathes out a certain counter cultural feeling – but not in a sense we westerners conceive or see it. The musical amplitude of this exciting band has many faces, simultaneously touching on rock, soft psych moves, Enka ballads, fucked up Kayokyoku escapades, studio gimmickry, deep country tinted minyo infested moves and much more amalgamated twists and turns. Again this is a deep album that will only appeal to the more seasoned listener who has a grasp on the wide diversity of music that has sprouted out of Japan during the last 70 years, being the period between 1900 leading up to the 1970ties. If you are after an easy fix, this record will bum you out because it will surpass your comprehension abilities. But if challenging and impregnated with historical and social references deep Japanese music is something you are after then this record will widen up with each spin. One of those all time greatest but sadly vastly overlooked Japanese psychedelic masterpiece recordings I find utterly lysergic in its nature. Massive stuff and only for the more experienced deep taste music listener. Comes with my all time highest recommendation!! (and bloody rare too). Never had a copy with obi, let alone in such a pristine condition as this one here. Price: 500 Euro
704. HAPPY END: “S/T” (URC Records – URL-1015) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ Insert: Near Mint) RARE 1st Original Press 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: 250 Euro
705. HAPPY END: “Kaze Machi Roman” (URC Records – URG - 4009) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ 4-Paged Insert: Near Mint/ OBI: Near Mint). True 1st pressing with the 1700 Yen pricing on the spine and not the later 2200 Yen version that gets hyped as a original 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. Only the obi is missing, apart from that this copy is just perfect. 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. Price: 300 Euro
706. 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

707. HARMONIA: “Music Von Harmonia” (Brain Metronome– 1044) (Record: MINT/ Gatefold Jacket: MINT) Original German press in dead MINT condition all way round. Mint copies are becoming bloody hard to track down and this copy is totally virginal, record seems untouched and gatefold jacket has a firm thick spine, untouched corners and NO lamination peel at all, maybe the best copy around for ages. Recorded in 1974 as collaboration between Cluster and Neu members. Michael Rother of Neu! brings a sense of structure to Clusters sometimes aimless soundscapes, while Cluster add a warmth of feeling to Rother’s palette. The slightly ramshackle feel to the whole affair is extremely charming and intoxicatingly disarming - the rhythm is exerted by prehistoric drum machines that display still some bodily warmth as opposed to today’s pro-tools soft. Recorded in a home made studio sheltered in an old farmhouse, the trio mainly operated with home made equipment, so despite the exclusively electronic instrumentation there's an almost animalistic and home-grown feel to much of the album. Because of that, the whole affair breathes out for what many is the Krautrock ideal, or more accurately, the motorik ideal. It's not Kraftwerk's all-synth, driven and clinically clean, rotating pulsating stomp, nor is it Neu!'s seemingly effortless glide or Can's stomping lysergic art world funk. Instead it's at once playful and murky, steady and mechanical, a super group of sorts who embody a variety of approaches that work wonders. About half of the album displays an obvious Neu! influence in the form of rhythmic, repetitive pieces with Rother's guitar upfront, whilst the remainder is the more atmospheric proto ambient style of music that was Cluster's trademark. Harmonia were about 15 years ahead of their time. An all time classic and killer cool album that must be present in any serious music collection. Hardly ever turns up thee days it seems. Top condition, MINT all the way!!! A must. Price: 400 Euro

708. HARMONIA: “Music Von Harmonia” (Brain Metronome– 1044) (Record: Excellent ~ Near Mint only has a few paper sleeve lines visible under very bright light – record plays mint/ Gatefold Jacket: Mint) Original German press in dead EX‾NM condition all way round. Amazing copy but a dash below the perfect copy mentioned above. So… Price: 275 Euro
709. HARRIOTT, JOE QUINTET: “Free Form” (Jazzland – JLP-49) (Record: Near Mint/ Jacket: Excellent). Original 1960 pressing, this is the very scarce MONO press issue. Stereo pressings are common but MONO pressings are bloody hard to come by especially in such fantastic condition. “The few recordings of Jamaican born saxophonist Joe Harriott have been hard to come by since they were initially released in the early '60s. One of the most famous is Free Form, recorded in London and released in 1960. Comparable to Ornette Coleman's recordings of the period, these eight pieces incorporate Harriott's hard bop influence, cutting through adventurous compositions including "Abstract," "Straight Lines," and "Impression." When listening to Free Form (or early Coleman for that matter) with a 21st century perspective, it's hard to imagine that this music was often considered intolerable upon release. It's unfortunate that Harriott and trumpeter/flügelhornist Shane Keane missed out on being as widely lauded as Coleman and Don Cherry finally became.” (Al Campbell, All Music Guide). Top condition MONO press issue, 1st original issue. Price: 250 Euro

710. 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

711. 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
712. 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: 125 Euro
713. 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
714. 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
715. HASEGAWA – SHIZUO: “Songs Of An Umbilical Cord” (Tiliqua Records - TILIQUA-005LP) (Record: Mint/ Jacket: Mint/ Obi: Mint). Long gone first press issue that came out over 10 years ago. Ltd edition LP of their 2nd release following their debut on PSF. Imagine La Monte Young crossbreeding with Takayanagi Masayuki. The disc is made up out of 2 sidelong tracks that entwine around a minimal music aesthetic junked up with an improvisational free jazz like exploratory approach. The panoramic sonic outcome floats somewhere between the controlled burn of a detuned jet engine and the boundless fury of nomadic hordes on a rampage through the open Mongolian plains. Sucking in influences as wide ranging as Takayanagi, La Monte Young, esoteric Buddhist ritualistic mantras, Gagaku and a free-form psychedelic aesthetic, Hasegawa Shizuo succeeds brilliantly in resonating out a Dionysian vibration of harmonical tones pregnant with a pulsating intensity. Without a doubt one of the most interesting and intuitive sounds graced with a shamanistic sense of poetry to emerge out of deep subterranean belly of Tokyo. It came out in an edition of 400 copies housed in thick jacket and high quality Japan pressed vinyl. Comes with OBI!.Price: 100 Euro

716. HAWKWIND: “S/T” (Liberty Japan – LP-80408) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: MINT). TOP COPY!!!! First original Japanese pressing of 1970 of Hawkwind’s 1st ever LP, on high quality Japanese vinyl. Japanese issue of this LP is damned scarce these days, top copy. Comes complete with always missing killer obi. Best condition imaginable. Price: 350

717. HAWKWIND: “In Search Of Space” (Liberty Records/ Toshiba Musical Industries – LLP-80463) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ OBI: Excellent/ Insert: Excellent). Very rare first press issue that comes housed in single sleeve jacket (2nd press has a gatefold) and comes with totally different obi design as opposed to the 2nd pressing that came out only a couple of months after this one. Genuinely rare first pressing, first copy that I see all-complete in over 15 years. Price: 500 Euro
718. 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 mentionned one and got a gatefold slkeeve 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: 250 Euro
719. 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
720. HAWKWIND: “Doremi Fasol Latido” (Liberty Japan – LLP-80700) (Record: Mint/ Gatefold Jacket: Near Mint/ 8-Paged Illustrated Booklet: Near Mint/ Obi: Near Mint). Original Japanese pressing but this one here comes with the always-missing obi in its full glory. Pink Rock Age issue obi. 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 Rock Age obi…and getting impossible to dig up. Price: 200 Euro
721. HAWKWIND: “Warrior On The Edge Of Time” (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ BIG POSTER: Mint). White label promo issue. Japanese original 1st pressing complete with obi and insert & POSTER. Fifth 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: 300 Euro
722. 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 white label promotional copy complete with OBI!!!! 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. ALL COMPLETE ISSUE!!! 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. Top copy, all complete with poster – booklet – Obi & white label PROMO!!! Price: 450 Euro
723. 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. “The band's best studio album, coming off of 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, dead mint. Price: 250 Euro
724. HELDON: “Soutien A La RAF” (Disjuncta – 101) (7 Inch: Excellent/ Picture Sleeve: Excellent). Original 1975 7 inch that was never officially available for sale, making it the white elephant in the Heldon discography. Price: 50 Euro
725. 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
726. 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
727. 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!!!!!
728. HELPFUL SOUL: “Senya Ichiya Monogatari – A Thousand and One Nights” (Victor Records – SJET-8150) (Record: Near Mint/ Fold Out jacket: Near Mint / Attached Illustrated insert: Near Mint/ OBI: Mint). 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!!!! 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. Copies with OBI just do not surface anymore, it has been ages since I had an all-complete copy. Price: 600 Euro
729. HENDERSON, JOE with Kenny Dorham; Butch Warren; Pete La Rocca; etc.: “Page One” (Blue Note/ EMI Music Japan – BLP-4140) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. The title Page One is fitting for this disc, as it marks the beginning of the first chapter in the long career of tenor man Joe Henderson. And what a beginning it is; no less than Kenny Dorham, McCoy Tyner, Butch Warren and Pete La Roca join the saxophonist for a stunning set that includes "Blue Bossa" and "Recorda Me," two works that would be forever associated with Henderson. Both are bossa novas that offer a hip alternative to the easy listening Brazilian trend that would become popular with the masses. Henderson and Dorham make an ideal pair on these and other choice cuts like the blistering "Homestretch" and the engaging swinger "Jinrikisha." These both show the already mature compositional prowess that would become Henderson’s trademark throughout his career. The final blues number, "Out of the Night," features powerful work by the leader that only hints of things to come in subsequent chapters. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 75 Euro

730. The JIMI HENDRIX EXPERIENCE: “Are You Experienced” (Polydor – SMP-1391) (Record: Excellent/ Flip Back jacket: Near Mint/ OBI: Excellent). Rare Japan Original pressing of the first Hendrix album complete with obi and all is in great condition. Comes in glorious mono as well. Fragile flip back sleeve is in perfect condition, very white back, sharp corners and intact non-crushed spine. I think a better jacket does not exist. The record is also near mint, only side 2 has some very faint trace of inner sleeve gas that is barely visible but causes some faint background surface noise in quiet parts. Amazing copy without a single doubt. The obi is also in great shape and rarely surfaces. First pressing with obi just never turns up in Japan anymore, let alone is such perfect condition as this beauty here. Price: 500 Euro

731. HENDRIX, JIMI EXPERIENCE: “Axis Bold As Love” (Polydor – SLPM-1398) (Record: Near Mint ~ Mint with NO defects. Label has exactly only one spindle mark/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ faint discoloration in white part and a small needle point on top & bottom - no damages or splits, beautiful condition obi). Top copy!!!! Freakingly rare 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. To make it even more insane, this is the very first press issue with also the very first issue OBI present, both record, OBI and sleeve have the SLPM numbering. Impossibly rare!!! 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 & matching OBI 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. Obi is Excellent with no tears or damages, just a faint discoloration in the white part. Highest recommendation and sadly insanely rare, especially in this condition. First time ever I have a very first pressing in over 15 years. Price: Offers!!!!
732. THE JIMI HENDRIX EXPERIENCE: “Axis Bold As Love” (Track Record – 613 003) (Record: Excellent ~ Near Mint/ Laminated Gatefold Jacket: Near Mint/ Poster: Near Mint) 1967 UK 1st original pressing in TOP condition. Laminated gatefold flip back jacket printed by Ernest J. Day is in perfect shape with sharp corners and sturdy spine, no damages at all. Same goes for the record, extremely clean copy. Of course the insert poster is there as well and in perfect shape. Original 1967 UK pressing in top condition complete with poster. To make it even tastier, this is the MONO version pressing. Probably most people would grade this disc as Mint or Mint minus, but I choose to play it safe so EX ~ NM, but that does not change the fact that this is a top copy. Just beautiful. They do not often turn up in such a nice shape as this one here. Comes with the earliest possible matrix numbers: Side one : 613 003 A-1 and Side two : 613 003 B-1. Really top copy, hard to upgrade upon this one. Price: Offers!!!!
733. THE JMI HENDRIX EXPERIENCE: “Electric Ladyland” (Barclay – 920060~61) (2 LP Record Set: Excellent/ Gatefold Jacket: Excellent). Original 1st French pressing that comes housed in a France only jacket art. Price: 75 Euro
734. The JIMI HENDRIX EXPERIENCE: “Electric Ladyland” (Reprise PROMO – 2RS-6307) (2 LP Set: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Rare US only WHITE LABEL PROMO issue in great shape. The cover has light ring wear but no splits or other defects and has the promotional sticker on front also present. The disc itself have no defects and range between EX~NM….very clean copy that plays superb. Price: 500 Euro
735. HENMI MARI: “20 Sai no Onna” (Pioneer – L-6010P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Poster: Near Mint/ Obi: Mint). Comes with the always-missing pin up poster and obi. It has been a while since I have seen a copy of this LP, last time I had a spare was about 5 years ago. Recorded and released in 1970, when she was merely 20 years old, this Henmi Mari disc is a real stunner. Like so many upcoming stars in that period, Mari tackled singing as well as acting but it was the former she really got renowned for. Tackling a variety of styles, Henmi Mari crosses on this one various waters but the sole constant factor that ties all together is her unique voice, a whiff of sensuality and unbridled lust. Although that – as with most of these recordings – the back is heavily orchestrated, still one can detect some buried fuzz guitar sticking its head out, a nice element that tried to connect the dots between the old-skool kayokyoku arrangements and the change of the times that tried to insert an element of psychedelic (although considerably veiled over) bliss. In all, this disc makes the ideal companion for some late night listening, sake bottle in hand and lustful vixen by your side, together wasting the night away, hell even placing a foot on the dance floor, drifting away…Great record and like all early Henmi Mari material hard to track down. Highly recommended. Price: 150 Euro
736. 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: 175 Euro

737. 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

738. 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
739. 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: 85 Euro
740. 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
741. HENRY, PIERRE: “La Reine Verte – Musique Originale du Spectacle de Maurice Bejart” (Philips) (Record: Excellent/ Jacket: VG++ ~ Excellent, has some edge wear). Original French Pressing. Amazing 30-minute electronic/ orchestral work also from 1963. Henry’s intent lay in combining the artificial sonorities of musique concrete with the timbres of orchestral instruments, and was like he stated "not only in search of unwonted conceits, but also after a lyrical or even a poetic counterpoint to the different forms of this spectacle." A dead stone classic to wrap your head around. Price: 50 Euro
742. 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
743. 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
744. HENRY, PIERRE : “Messe de Liverpool” (Philips – PHILIPS 6510-001) (Record: Near Mint/ Fold Out jacket: near Mint). Original early seventies French pressing in pristine condition. Fold out jacket with flip out cardboard. Music-wise this is again a vicious brain ripper that reminds me in some ways at the cut-up and molested sound poetry of Henri Chopin and Arthur Petronio. The discs jumps right in the action with fucked up and cut up readings of “Kyrie – Krist - Kri…”..like a demented liturgy going satanic on you. Hallucinating listening experience, exorcising your demons back out of the hole. Commissioned and recorded in 1967 and brought to live in a church in Liverpool , Messe de Liverpool is structured as a classical Catholic mass. Starting with a Kyrie, moving on with Gloria, Sanctus, Agnus Dei, and finishing with Communion. The work consists of recitation of the traditional texts in a way that is definitely Buddhist. These voices are supported by traditional musical instruments that are traditionally played at first but after some ten minutes they are played in a typically Henry-esque fashion: plucking and scratching the snares. An anarchic effect results out of it, leaving you totally mesmerized and gasping for air. Great all way round. Top notch copy. Price: 60 Euro
745. 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
746. HERATIUS: “Gwendolyne” (Heratius Corporation/ Frigico Records Montpellier – FLVM-3004) (Record: Mint/ Jacket: Mint). Through the roof fantastic and eccentric French outfit out of Montpellier who’s sole LP, released in 1978, is this one here “Gwendolyne”. Electric guitars, reeds, organ, percussion and demented lunatic voices crossbreed with detuned exalted guitar trills that get infiltrated by masochistic reed lines, pseudo-Neanderthal-like primitive percussion rattles and shakes. In some weird kind of way one could look at this bunch of secluded misfits as the spiritual ancestor to Fille Qui Mousse since the overall sonic outcome is as reckless and anarchic infected as the former. Heratius was comprised of Armand Miralles, Robert Diaz, and the nicotine stained butterfly named Florence. What they created is a gloriously confusing album, exploring a field of drug-derelict poetry, sputtering voltage instrumentation and Dadaist ecstatic impulses impregnated with on-the-spot change experiments. None of these sounds alike, ranging from keyboard and vocal miniatures of disturbed yelps, sighs and howls, interfacing with pointillist washes of sound here and there, lulling in tongues cut up with tape-snippets and Faust like experimentation before cutting loose into a bizarre six-minute rollercoaster of backwards sounds and shifting moods. Heratius are literally all over the place on this slab of vinyl; even in the course of one simple track they attack various awkward contours of structural catatonic dementia, injecting it all with twisted lyrics that are as emotionally evacuated as the entrails of a junkie. Just brilliant!!! Beefed up with entropic hissing off sounds out of place and you get a vague notion as to where the music of Heratius steers into. It’s all over the place, it is more art than music, yet more music than art in the single span of one second. A musical expression of a fractured 20th century subjectivity through shattered poetry and a junk musical approach. Just brilliant, I keep on getting back to this disc because it is one of the most singular idiosyncratic pieces to populate my tiny and meaningless collection of recorded sound. Highest recommendation. Price: 150 Euro
747. HIGH TIDE: “Sea Shanties” (Liberty – LBS-83264) (Record: Near Mint/ Gatefold Jacket: Excellent). First original UK pressing from 1969!!! This album is a true skull-fucking experience! From beginning to end, “Sea Shanties” is a mammoth and early UK power trio trip despite the fact they had future Hawkwind keyboardist/violinist, Simon House as a fourth member. But the absolute dementedness of the guitar-based energy field is so high throughout that the sneering amounts of the violin and swirling organ passages are practically completely wiped out – next to extinct!! The hired guitar gunslinger responsible for this Tony Hill with a fierce, take no prisoners kind of approach to the instrument that burns all in his path. A soarched earth strategy applied to sound if you like. He pushes his entire guitar into a grinder of wah-wah, fuzz and supreme tearing at its throat distortion in a revolving fever dream kept barely grounded by Pete Pavli’s bass and Roger Hadden’s explosive Keith Moon-like drum presence, which is everywhere at once effortlessly. The whole of the LP is completely unrelenting, full  blown screeching guitar and muscular backing that sound like Sabbath and The Groundhogs joined by Dave Swarbrick during the highlights of a messy methedrine binge. They fucking ruled!!! Play at full volume and set your head on fire!!! First press UK original, record is mint, white gatefold jacket is as usual excellent. Amazing copy!!! Price: 350 Euro
748. 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
749. HIJOKAIDAN: “Viva Angel” (Alchemy Records – ARLP-004) (Record: Mint/ Jacket: Near Mint/ Insert: Mint). For starters I would like to borrow some lines from good friend Alan Cummings that he wrote about the recent CD reissue of this album. By doing so you will notice that my personal view on this monster is not so biased after all. “Viva Angel was the 2nd Hijokaidan album, released in 1984, and for many years has been the most difficult to locate. Stylistically this album is the group’s most diffuse album. The performance artists that made early Hijokaidan live shows such a spectacle had begun to drift away and the album’s 7 studio tracks capture a stripped down trio version of the group. (…) Far more unexpected (as opposed to the sidelong track “Bad Character But Great Sounds”) are the shorter and sparser tracks that make up the 1st side. “Seeds Rock N Roll” places a lunatic rant from late Auschwitz vocalist Hayashi Naoto over a fast drum machine rhythm. “Secret Desire” sounds like Evan Parker soprano ultrasonics over tapes of a bicycle wheel rotating in a distant typhoon while the title track is just is a heads-down guitar and drum jam that Neu! Would have been proud to call their own. It’s aged remarkably well” (Alan Cummings) According to these ears, this set is one of THE defining Hijokaidan and one of the greatest noise artifacts ever to be unleashed upon innocent ears. The disc is bound to blowtorch your soul and will scorn the soil you walk on. Here Hijokaidan aptly demonstrate that they are the kings of noise with their abrasive rich tonal textured slabs of sonic inquisitional hotwired circuits geared up to the max. Hedonistic electronic tape abuse, layered and fuzzed-out swirl of dilated sonic gestures, spin-off speedway feedback, feral holocaust analogue torture and musique concrete collages can be considered as key words here. A real blood-churning racket. Ultimate high recommendation and X-rated hard to come by these days. Price 75 Euro
750. HIJOKAIDAN: “Tapes” (Alchemy Records – ARLP-012) (Record: Near Mint/ Jacket: Near Mint). Compiled out of rare tracks ranging from the early days of 1979 up until 1986, Hijokaidan aptly demonstrate that they are the kings of noise with their abrasive and rich tonal textured slabs of sonic inquisitional hotwired circuits geared up to the max. This disc collects the early and best period of Hijokaidan and although the band went even then through various line-ups, all the names of the participants to pass the footlights is just mouth watering, ranging from Jojo Hiroshige to Zushi, Mikawa, the goddess like queen of urination Semimaru, sax howler Kami, Boredoms Yamatsuka Eye and others. When the first salvo erupts from your speakers you know already that they will leave any present day wanna-be noiz-nick gasping for air, sucking the living daylights out of those snot-nosed pimple faced bedroom/ballroom anarchists. Hijokaidan were the real deal and travels into the same space-way realms as LAFMS’ Airway collective. Hedonistic electronic tape abuse, layered and fuzzed-out swirl of dilated sonic gestures, spin-off speedway feedback, feral holocaust analogue torture and musique concrete collages can be considered as key words here. A real blood-churning racket. I guess your roommates will not be prepared to sit through this glorious hedonistic radioactive leftover of the Hiroshima blast, disguised in the form of designer flypaper being bombarded by killer Amazonian bees. In a way the whole creates a trance like looped soundtrack emphasizing this continuous restart of in- and description, passing and crossing, measuring and appropriating the dimensions of extreme brutality that guide this performance towards a foggy wonder world of a meat grinding whirlpool-like climax. The octane high from the radiation fall-out embedded within the disc’s grooves obliterates all who get exposed to it. Price: 75 Euro
751. HIKITA TENKOU: “Hikita Tenkou no Saiminjutsu” (Tengu Records – LP-0001) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Hyper rare private press psychedelic masterpiece that came out on the same label as Gaulois Asterix, only 2 releases saw the light on Tengu label. Top-notch copy of this beyond belief rarity out of the bowels of Osaka’s early seventies scum psych weirdness. On the look out for totally obscure and below the radar early seventies Japanese weirdness to impress your few friends and records buffs with? Well then look no further, this will certainly do the trick. First of all Hikita Tenkou is not exactly a name that will catapult your ass out of that lazy chair, unless you are acquainted with either the Japanese early seventies hypnotism community or with much sought after underground labels such as Tengu Records out of Osaka that released such cultural oddities like Tenjosajiki’s “Baramon” Gaulois Asterix “Inochi”. Either way the Teng label was well known – be it in a very small circle of Japanese music freaks – as an unconventional underground imprint that just released the strangest of marginal music art forms. And it is in this aesthetic that this Hikita Tenkou disc falls into place. Hikita Tenkou was an illusionist and hypnotist who got quite famous in Japan in the years to follow, so famous that he could have disciples who carry on his name till this day, appearing in a wide variety of entertainment programs. But at the time of this recording, Hikita was just a struggling and largely unknown hypnotist who recorded this one oddity for Teng Records. As might be expected, he tries on this recording to convince you of his powers, drowsing you off into a deep slumber as well as demonstrating his ability to let a female recipient to bark like a dog. Still that is not all that goes on and while Hikita is doing his thing, there is quite some submerged musical activity going on in the background. The music is created by Kato Hiroshi, a name that keeps on popping up throughout the Tengu Records catalogue such as also on the “Inochi” disc. Advertised as “musical hypnotism illusion” Kato and Hikita are boarding on some weird musical endeavors, balancing on a loungey psyched out cocktail act that is trying to catch you off guard and let you seep into a deep slumber. The comforting voice of Hikita combined with the soft psychedelic vibes excreted by Kato and deploying feedback and some other eerie effects that at no time sound disturbing create a weird atmosphere. The vibe is distinctly early seventies, spiced up with swirling light effects, velvet couches and a slightly drugged out vibe. This one will appeal to all of you insomniacs out there. Needles to say, this beauty is hideously rare and just never turns up here due to the limited pressing (around 300) and depressing sales. Last copy I saw up for sale here came without obi and insert and sold within 5 minutes for 750 Euro. This copy is complete with obi and insert, disc is near mint so a better copy does not exist I believe and seen in that light, combined with the scarcity of this artifact I think we have a fair price. Recommended for all of you hyper rare vinyl enthusiasts, borderline music and just plain weirdness lovers. Price: 400 Euro
752. HINO TERUMASA (Aka Group Everything Everything Everything): “Hino’s Journey to Air” (Canyon Records – CAJ-1001) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Original pressing, complete with always missing obi. 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 press in top condition. Price: 250 Euro
753. HIROSE JUNJI and OTOMO YOSHIHIDE:“Silanganan Ingay” (Tanga Tanga R-001) (Record: Mint/ Jacket: Mint/ insert: Mint). If you are looking for a truly obscure and rare record, well here you have one and I bet you have never seen this one too often before. This was actually Otomo Yoshihide’s first ever record, released in tiny quantities in 1989 on the private Tanga Tanga label, following some cassette only releases. Undoubtedly it was (and still is) his sole and best-recorded disc till this date. I am no fan of his music, but this disc is truly stunningly and jaw dropping great. Otomo deploys here turntables with hand-made mixer, cassette tapes, hand-made guitar, various small instruments and toys. Hirose Junji on the other hand completes the musical sonic palette with self-made instruments, toy-rhythm box, toy-voice changer, auto-harp and tenor sax. The music balances on the verge of free improvisation, sheer noise, accidental music, tape collage and musique concrete. The two performers interact in a perfect way, responding to each other’s individual moves and rip through various sonic universes in a mind chattering way. At times, Otomo’s tape insertions and collages depict recognizable bits and pieces of all time classic recordings, before getting demolished and raped by Hirose, at which Otomo in return responds with mush vehemently tonal color. This is undoubtedly to sole great disc he ever made and since it release in 1989 it vanished into oblivion, forgotten by the rest of the world. Until now, so here you have a chance to lay your hands upon this sonic gem. Over the top super, recommended for lovers of improvised music, musique concrete, free jazz, musique brut and adventurous sounds. Quite difficult to come by and I doubt that another copy will cross your path within the next decade. Price: 150 Euro
754. HOBURAKIN: “Watashi Wa Raion” (My Record/ Disk Port – SE-1104) (Record: Near Mint/ Jacket: Excellent). One of the all-time rarest Japanese pre-punk demented outfit’s releases was this 1st EP by the band, released privately in 1979 in an edition of only 50 copies which were sold & given away during their early Kansai gigs. First time ever I could lay my hands on a copy of this totally sick artifact. Dadaistic Punk spiraling out of its orbit. Without a doubt one of the rarest punk artifacts out there but also one of the best ever! Hoburakin sounded like no one else, totally original sound, moving around in curiously zombie-like tones and rhythms, screaming like a guinea hen that has just been worked over by a pack of wild dogs acting out on the rising edge of a speed trip and which causes listeners to foam at their mouths and chase their tales in impotent anger. I guess you catch my drift. Viciously rare and most sought after Dadaistic punk artifact to seep out of the deep bowels of Japan7s embryonic punk scene way back in 1979. Awesome!!!! Price: 350 Euro
755. HOBURAKIN: Gôsun no Isshô (Olsen Records - E-6930 – E6933) (2 flexi discs) Flexis come on red wax and blue wax. Fold out cover that holds at the inside a weird/ Excellent/ Gatefold Jacket and attached designed 8 paged booklet: Near Mint). Great artwork totally deranged. Massive underground shit. One of the weirdest and highly unique bands to emerge out of the Kansai region was likely the primitive, in an utterly childish-like way, twisted outfit Hoburakin. The band heralded from Shiga-Ken area, was formed in 1979 and remained active until 1983, mainly in and around the Kansai region. The music of Hoburakin is, once one has been exposed to it, not easily forgotten and has, even listening to it now, its very own range of impact. Admits their Dadaistic sonic universe, one can distinguish nostalgic melody lines like the ones hummed to during one’s childhood, a strange world similar to being exposed before going to sleep to nursery rhymes of one’s parents and grandparents. These rhymes twine themselves around a sensation of contemporary TV and commercials, creating confused and disordered scenery of everyday Japanese livelihood, brimming over with elements of locality, pro-wrestling, period drama and lyrics concealing malice and evil intentions. They produced dozens of marvelous songs that brought forth elements madness, insanity, insubordination, sarcasm and calculated unbridled talent. Hoburakin was certainly one of the most difficult bands to pin down and categorize. The instruments they played on can hardly be labeled as decent since most of it consisted out of battered down, extremely cheap second hand gear and sound generating gadgets and toys. Their deranged instrument organization, comic dialogues and complete nonsense song approach induced spontaneous explosive laughter from out of the audience. Hoburakin brought forth utter chaos and anarchy out of a childish, unstructured and comical approach. The band only released a handful of flexi discs that these days are almost impossible to attain due to the limited press and the fact that not many have survived the wrath of the times. Their complete output has been reissued on CD by Alchemy records but here you have a change to lay your hands upon one of their original released demented sonic artifacts housed in stunning artwork. Totally sick and highest recommendation. Of course incredibly rare. Price: 75 Euro
756. HOBURAKIN: “Homerun” (Unbalance Records – OUT-5) (7 Inch EP – Mint/ Picture Sleeve: Mint/ 6 Inserts: Mint). One of the weirdest and highly unique bands to emerge out of the Kansai region was likely the primitive, in an utterly childish-like way, twisted outfit Hoburakin. Singles are one of the earliest examples of self-released and produced records out of that era. As expected, these recordings appeared in a very limited quantity that went by almost unnoticed. However, the band was witnessed by Hayashi Naoto of Unbalance Records, who decided to release their third album “Indo no Toragari”. The release gave the band a bit more exposure and made them renowned amongst the Kansai new wave and music aficionados. Unbalance also released in 1983 their live recorded 14 song EP “Hômuran”. The EP was not an honest reproduction from the original masters due to the fact the Nara located record pressing factory “Myûjikarâ” (or Music Color) had lost them at the time they went bankrupt. The “Hômuran” song selections were taken from live takes of Hoburakin’s concerts at Kyoto’s Taku Taku (April 19th, 1981), Osaka’s Tetsukayama Gakuin University (May 17th, 1981), Shinjuku Loft (August 28th, 1981) and Osaka’s Mantohihi (October 10th, 1981). The idea of reproducing the EP from the original masters by Alchemy Records in 2001 was abandoned because one couldn’t detect a tape with a good sound quality of the Loft, Tetsukayama and Taku Taku gigs. However, the recorded songs of the EP that formed the base of the Mantohihi live recorded master tape resurfaced and were included on the “Ranningu Hômuran/ Hoburakin Live” CD issue, comprising also all the blabbering nonsense between songs, giving a detailed atmospheric picture of the band on stage at the time. The music of Hoburakin is, once one has been exposed to it, not easily forgotten and has, even listening to it now, its very own range of impact. Admits their Dadaistic sonic universe, one can distinguish nostalgic melody lines like the ones hummed to during one’s childhood, a strange world like being exposed before going to sleep to nursery rhymes of one’s parents and grandparents. These rhymes twine themselves around a sensation of contemporary TV and commercials, creating confused and disordered scenery of everyday Japanese livelihood, brimming over with elements of locality, pro-wrestling, period drama and lyrics concealing malice and evil intentions. They produced dozens of marvelous songs that brought forth elements madness, insanity, insubordination, sarcasm and calculated unbridled talent. Hoburakin was certainly one of the most difficult bands to pin down and categorize. The instruments they played on can hardly be labeled as decent since most of it consisted out of battered down, extremely cheap second hand gear and sound generating gadgets and toys. Their deranged instrument organization, comic dialogues and complete nonsense song approach induced spontaneous explosive laughter from out of the audience. Hoburakin brought forth utter chaos and anarchy out of a childish, unstructured and comical approach. Price: 150 Euro
757. 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
758. 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
759. HOLDERIN: “Holderins Traum” (Pilz – 20211314-5) (Record: Near Mint/ Gatefold Jacket: 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: 350 Euro
760. 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: 400 Euro
761. HOLY ANGELS: “Metaphysics Meditation” (Prescription/ La Musica Records – 1998) (Record: Mint/ Jacket: Mint/ Insert: Mint). Limited one-time only artifact released in an edition of 99 numbered copies, this one being 05/99. A complete female psychedelic freak out drone group centered around bass player Mineko Itakura of Angel’In Heavy Syrup and Nanjo Asahito of High Rise. Nanjo describes this outfit in the liner notes of the album as follows: “Japanese underground psychedelic group centering around female members. This album curiously fuses delicate trip-psychedelic vibes with heavy progressive sounds. Cult female group who base their activities around ideas of the micro cosmos as a holy space.” This album is one of the rarest albums that feature Nanjo of High Rise fame since it was released in an extremely limited edition of 99 copies. The album was recorded in 1994. Track listing is as follows: Side a – Holy Trip, Side b – Metaphysics Meditation. The vibes it breathes out is heavy tribal jamming, brimming over with deep sea charged lysergic Amon Duul-rocking cluster bombs, all injected with eerie angelic female esoteric humming. Totally stoned tranced out vibe, pregnant with heavy psychedelic shots of deep subterranean exploratory sounds. Just massive. Highest recommendation. Price: 300 Euro
762. HONEY CONE: “Love, Peace & Soul” (Hot Wax Records/ Toshiba Musical Industries – IQP-80670) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Very scarce 1972 Japan original pressing all complete with obi. “Three beautiful R&B classics -- "Ooh Baby Baby," "Stay in My Corner," and Smokey Robinson’s endearing "Who's Loving You" -- are disrespected big time. The arrangements are poor and the vocals are uninspired, but don't blame L.A. natives Edna Wright, Shellie Clark and Carolyn Wills -- these charts would have dampened James Brown’s fire. "Sittin' on a Time Bomb (Waitin' for the Hurt to Come)" climbed the charts and made a respectable showing; it's the Honey Cone’s style, it's what they're about. The piano-driven "Ace in the Hole" is the LP's other gem; this should have rocketed up the charts, but it did little, probably because Hot Wax was in the process of dissolving and the promotion was little or nil.(All Music). Beautiful ear waxing soulful female vocals that ooze the soul and soothe the mind. Honey dripping sweetness from another planet. So good…. Price: 150 Euro
763. HORACE SILVER QUINTET: “6 Pieces Of Silver” (Blue Note/ EMI Music Japan – BLP-1539) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. The first classic album by the Horace Silver Quintet, this set is highlighted by "Señor Blues" and "Cool Eyes." The early Silver quintet of 1956 was essentially the Jazz Messengers of the year before, with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins, but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map, and the album is a hard bop and gospel-tinged jazz gem. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 75 Euro
764. HORDE CATALYTIQUE POUR LA FIN: “S/T” (Futura – SON-03) (Record: Near Mint/ Jacket: Near Mint). “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: 500 Euro
765. HORRIFIC CHILD: “L’Etrange Mr. Whinster” (Eurodisc – 87057) (Record: Near Mint/ Jacket: Near Mint). 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: 500 Euro
766. 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: 60 Euro

767. HUMAN BEINZ: “Human Beinz in Japan” (Capitol – CP-8737) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint/ OBI: Near Mint) Bloody rare WHITE LABEL PROMO issue. One of the rarest Japanese releases, MINT copy with NEVER offered before OBI, all in NM condition, like now, record is a promo copy, rarest version of them all! Archival copy, all is perfect. Here you have it, the rarest Human Beinz record, one that just never seems to surface, Japan only release from back in 1969. Japan only late 1969 original release of this subliminal New Zealand garage psych combo. Seen the levels of popularity the band attained in Japan, a tour was called for and the Human Beinz touched down in the land of the rising yen for a couple of live dates. This disc sees them live in action at the Shibuya Kokaido, a concert that took place on March 29th, 1969. The Beinz blaze out some of the most brilliant tracks, all buried in a fuzz drenched and wah-wah infested setting, scorching out popular songs such as “Mr. Soul”, “Nobody but Me”, “Foxey Lady”, Turn on Your Lovelight” and a bunch of other throat slashers. Especially their rendition of the classic “Foxey Lady” is creepy and chilling to the bone like voices and detuned howling guitars making it out from beneath the grave. This disc is like impossible to score these days. Mega rarity in MINT condition, copies with obi just DO NOT exists – complete copy, all is in Mint condition, which is nothing short of a miracle. Highest recommendation. Price: Offers!!!

768. The HUMAN INSTINCT: “Stoned Guitar” (Pye/ Air – ARBS-107) (Record: side A = Near Mint & Side B = Excellent/ Jacket: Excellent). Original New Zealand pressing. Great copy, one of the best – if not THE best to have crossed my eyes. Record is Near Mint/ Mint with no defects or visible marks. Side B is graded Excellent due to two hairline scuffs that are inaudible. Hard to upgrade on this one I believe. The extremely fragile cover has very minimal ring wear as usual and very light creasing on left corners. EX all way round for the jacket, which is also in the best possible shape, I can imagine. Normally these are – as you might know – always trashed due to their fragile nature. So top copy. The music is as you know an all time classic heavy fuzzed out psych monster from down under. Spleen-splitting insane guitar leads that cut through the air like a buzzsaw; blood-thumbing heavy bass throbbing & caveman-like power drumming make this a brain-melting ferocious heavy psychedelic monster oozing out a totally addictive underground vibe. A classic in awesome nick, so reasonable offers are invited on this one. Price: Offers!!

769. The HUNGER: “Strictly From Hunger” (Public – P1006) (Record: Excellent ~ Near Mint/ Jacket: Near Mint ~ Mint, still housed in original shrink-wrap). Original US copy of top shelf Oregon psych monster. Super clean jacket that comes WITHOUT the always-present hideous DJ stamp on back cover, so clean as a whistle. Top condition without a doubt. Truly a stunning top copy! Record is clean just like cover but it has one little spot of spider-like marks that are a typical pressing fault on the last track of side one which is pretty loud song. This track plays fine with some occasional minor ticks but nothing annoying. So strictly graded side one is EX~NM, side two is NM. I do not believe they come any better than this one copy here. Five-piece band that sadly only recorded and released this sole album at the time, who delivered this magestical album filled with swirling organ lines, phased out vocals, fuzzy guitars and an overall trippy feel combined with teenage angst ridden demons splattered all over their original compositions. Definitely drug-influenced snotty-vox songwriting on tracks like “Workshop”, “Colors”, “Mind Machine”, the Hunger also churned out acidic snake-charming instrumentals filled with lysergic fuzz leads like “Portland 69” that will have you crawling the walls in desperation for that next fix of musical greatness. To these humble ears, one of the best psyched out garage artifacts to seep out of that golden era. Massive and stunning copy to boot of this hideously rare original US pressing that is seriously high in demand these past years and getting seriously touch to score in a top condition. Price: Offers!!!