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

856. 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. SOLD
857. GAINSBOURG, SERGE: “Anna” (Philips – P 70.391 L) (Record: Near Mint, one hairline on beginning side 2 otherwise it would be Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint). Original 1967 first French pressing in outstanding condition, never seen such a beautiful, well preserved copy like this one. Only defect is a visible scuff hairline, which at the beginning of track 2 causes 3 minimal pops. For the rest just virginal as it was way back in 1967. Original soundtrack from the French musical comedy movie made by Pierre Koralnik. Unnoticed at the time, Anna has since been rehabilitated. Anna (former Mrs. Godard played by Anna Karina) was a hip, youth-oriented TV movie popular enough to spawn an album of its own. Among the cues is "Ballet des Soupirs" (Ballet of Sighs), which is literally that; a grindingly slow pageant of heavy breathing scored to luscious strings, clattery electric guitars, a vacuum cleaner turning on and off, and ample use of negative space. The whole record has the ability to mesmerize you by its psychedelic mod-pop musical. But unlike Melodie Nelson, Anna goes further as a album and as a case for Gainsbourg, as it demonstrates his inventiveness, sexuality, intelligence, as well as his skill in using and choosing collaborators, without cutting the whole thing monochrome as woman crazy. It also spotlights his sense of humor; whenever the melody of Anna Karina’s rendition of the sweeping, caustic “Sous le soleil exactment” peaks, the backing suddenly cuts out to nothing but a rude interjection of a brass section pretending to be a stalling Citroen. To dwell on Karina for a moment, she’s extremely charismatic on the mic, singing with a warmth and character beyond mere panting or sex presence. Maybe this record is more about Gainsbourg the versatile auteur than Gainsbourg the master, but both are important. Stunning LP and above all also in stunning condition as most copies are in bad shape. Price: 500 Euro
858. 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: 200 Euro
859. 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
860. 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! SOLD

861. GARCIA, JERRY: “Cats Under The Stars” (Arista – IES-81087) (Record: Near Mint/ Jacket: Excellent ~ 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. SOLD

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

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

864. The RED GARLAND QUINTET With JOHN COLTRANE: “Dig It” (Prestige/ Nippon Victor – MJ-7053) (Record: Near Mint/ Flip Back Jacket: Near Mint). Very first Japan original pressing same as the one listed here above but this baby has no obi – so you have a cheap deal here. Damned rare Japan 1st original pressing in great shape and so bloody hard to find. Price: 75 Euro
865. The RED GARLAND TRIO PLUS RAY BARRETO, CONGA: “Manteca” (Prestige/ Victor Records – SMJ-7231) (Record: Excellent/ Flipback Sleeve: Excellent/ OBI: Excellent – only front side). Damned rare Japan 1st original press issue, first time ever I see a copy of this one. Comes with the hyper scarce OBI, of which unfortunately only the front side is present. This is a great slide that differs from most sets by pianist Red Garland in that, in addition to bassist Paul Chambers and drummer Art Taylor, he employs Ray Barretto on conga. The Latin flavor does not affect the music much (other than on the title cut), but Barretto does light a fire under the other musicians. A nice, swinging session and one of the best by Red Garland for Prestige. The addition of Barretto makes it a totally cooking record that features some great added conga work. Ray's presence really helps the record live up to its Latin-styled title – and Garland's usual trio with Paul Chambers on bass and Art Taylor on drums seems to get a whole new life from the added percussion – really stepping things up with a bit more of a groove than usual! The title cut – "Manteca" – is an 8-minute jam that's gone onto become a real jazz dance classic. Killer. Price: 175 Euro
866. GARLAND, RED: “Red In Blues-Ville” (Top Rank/ Victor Records – MJ-7032) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan original first pressing in top shape and all complete with hardly ever seen first issue OBI!!! Pianist Red Garland and his trio (with bassist Sam Jones and drummer Art Taylor) explore six veteran blues-based compositions ranging from Nellie Lutcher’s "He's a Real Gone Guy" and "St. Louis Blues" to "Your Red Wagon" and Count Basie’s "M-Squad (Theme)." Throughout, Garland modernizes each of the selections with his distinctive chord voicings, and he makes the songs sound fresh and new. A solid effort from this very consistent pianist, who will always be best remembered for his playing with the classic Miles Davis Quintet. Price: 200 Euro
867. The RED GARLAND QUINTET: “Soul Junction” (Top Rank – Prestige/ Victor – RANK-5084) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Very first 1962 Japan press issue. All complete with first issue obi!!! Pianist Red Garland’s follow-up/ tandem recording to “All Mornin’ Long is a very, very relaxed affair with a marathon blues solo on the 16-minute "Soul Junction" as the most memorable aspect of this amazing LP. With such soloists as tenor saxophonist John Coltrane and trumpeter Donald Byrd plus steady support provided by bassist George Joyner and drummer Art Taylor, Garland gets to stretch out on the title cut and four jazz originals, including "Birk's Works" and "Hallelujah." As expected, Coltrane is in excellent form, playing several stunning sheets of sound solos. Top notch condition Japan 1st original press issue from 1962 with hardly ever seen obi flashing its colors. A stunning beauty but sadly way rarer than the US press. Price: 200 Euro
868. GARRETT LUND: “Almost Grown” (World In Sound – RFR-006) (Record: Near Mint/ Heavy gatefold Jacket: Mint/ Insert: Mint). Long gone and deleted official small numbered reissue of this heavy-duty rarity. “Authorized reissue of this psychedelic rock record from 1975. Incredible over-the-top packaging, heavy textured gatefold sleeve, 180 gram vinyl pressing. There has never been a bootleg version of this LP and supposedly less than 10 original copies exist, so this will be the first chance for almost anyone to hear it. "First reissue (from the mastertape) of this lost Westcoast monster rarity with the blend of those early S.F. Bands like Tripsicord Music Box, Quicksilver Messenger Service, Kak etc. There is a fantastic songwriting with a cosmic lost in time feeling. Just Massive stuff. Long out of print heavy duty deluxe official reissue. Price: 75 Euro
869. The Michael GARRICK SEXTET: “Promises” (Argo – DA-36) (Record: Near Mint/ Laminated Jacket: Excellent ~ Near Mint). Rare UK 1st original 1965 pressing in TOP condition. This is the damned rare MONO pressing of a wicked, wicked British Jazz album, a modal monster!!! Promises is certainly one of the very best recordings within the Garrick canon and sports some equally legendary names including Joe Harriott (alto), Ian Carr (trumpet & flugelhorn) and Tony Coe (Tenor & clarinet). Regular Garrick sideman Shake Keane was scheduled to appear but shortly before the recording session left for Germany to join Kurt Edelhagen’s radio band, hence Ian Carr stepping in. The end result is just jaw-dropping awesome, a true modal jazz monster that bops around loose polyrhythmic grooves that will leave you bruised and hungry for more and hopelessly begging for more. MONO pressing in outstanding condition, I do not believe they come any better than this one here. Price: Offers!!!
870. GARRICK, MICHAEL: “Mr. Smith’s Apocalypse” (London/ King Records – SLC(A)426) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan first press issue from 1972 – all complete with impossibly rare obi. Comes housed in Japan only jacket art. Michael Garrick’s 1971 Argo album was recorded under the name of Garrick’s Fairground (conducted by Peter Mound); it is a jazz cantata with music by Garrick and words by poet and Garrick collaborator John Smith. Alongside the pianist, this compelling work features the Somerford Junior School Choir conducted by Mary Tickner, and the instrumental prowess of Don Rendell and Art Themen (saxes, reeds), Norma Winstone (voice), Coleridge Goode (double bass) and Henry Lowther (trumpet, flugelhorn). Also included is Garrick Fairground’s rare, two-track 1971 Epiphany Argo EP, featuring the same line-up as Mr Smith’s Apocalypse, except that Dave Green (double bass) replaces Coleridge Killer, deep spiritual jazz with vocals of Norma Winstone - sounds like Strata East meets Pharoah Saunders etc in London! Wicked. Never ever before offered all complete copy with obi in total virginal condition. Price: 450 Euro
871. 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
872. 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: 450 Euro
873. GASLINI, GIORGIO QUARTET: “New Sound Jazz” (Cinevox Record – CJ-02) (Record: Near Mint/ Jacket: Near Mint). Pristine condition 1967 Italian first original press issue. Surely one of the hardest to track down Italian jazz slides out there – especially in such a virginal condition as this copy here. This is one fantastic record, blessed with addictive cool cine-jazz sounds combined with some slightly freer & fragile avant outings but overall drifting into marginally melancholic sound sphere. Originally composed as a soundtrack, the music is endowed with beauty, extremely well balanced in its execution, creating a music brimful with poetic resonance but still floating on an intuitive approach lead by Gaslini’s liquid piano playing and Eduardo Volonte’s unique and translucent sax lines that engulf the aural landscape, succeeding in both sounding forlorn one moment and sprightly, displaying poise, concentration and inventiveness the next, without ever skipping a single beat! Deceitfully skeletal, yet deceptively intense, casual in feel, yet meticulously in its musical detail and lyrical economy, that is the scope of this cinematic slide, injecting an austere intimacy through sound right into your pulsing brain. Just a total jaw-dropper of a record and one of the finest to seep out of Italy. Just about never surfaces – especially in such a perfect condition as this one here. No defects at all and the record comes housed in a fantastic thick laminated cardboard sleeve that screams perfection! Highest possible recommendation. Price: Offers!!!!
874. GASLINI, GIORGIO QUARTET  “Africa! Mikrokosmos” (Off Records – GO/LP-301) (Record: Excellent – a very few barely visible paper sleeve lines/ Jacket: Excellent ~ Near Mint/ Imprinted Inner Sleeve: Near Mint). Great condition original press copy of largely overlooked 1970 Italian jazz free jazz masterpiece. Led by Gaslini on pianoforte, he gets flanked by Gianni Bedori on sax & flute, Bruno Crovetto on contrabass and Franco Tonani on drums. Really challenging free – modal avant-garde excursion into a polyrhythmic penthouse groove where the quartet carefully aims acupuncture darts at your aural pleasure spots. Amazing condition, can detect a few barely visible sleeve lines under a bright light, for the rest a real keeper. This one is a real grower that descends into a spartan almost skeleton machinery of an avant-jazz underdog operation that sucks you into its web deeper and deeper upon repeated listening’s. Such a bloody great one!!! Highest recommendation! Price: 100 Euro
875. 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

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


877. GENTLE SOUL: “S/T” (Epic – BN-26374) (Record & Jacket: MINT = SEALED ORIGINAL). Promo issue – has on back the “For Demonstration Use Only – Not For Sale” sticker!!! "The Gentle Soul were the singing-songwriting duo of Pamela Polland and Rick Stanley, and made one LP for Epic in 1968 that bridged the folk-rock and singer-songwriter/soft rock eras. The self-titled album, despite coming out on a major label, is extremely rare, and has never been issued on CD. Produced by Terry Melcher (the Byrds, Paul Revere the Raiders), it had quite a stellar supporting cast of session musicians, including Ry Cooder on guitar, Van Dyke Parks on harpsichord, Paul Horn on flute, and Larry Knechtel (later a founding member of Bread) on organ, plus noted arranger Jack Nitzsche. A nice, though not major, effort, it was indeed a gentle record, usually paced by the close male-female harmonies of Polland and Stanley; they also wrote most of the songs, usually but not always as a team. The folky and acoustic-flavored, but not totally acoustic, ambience and harmonies recalled the Stone Poneys. The balance between male and female vocals, however, was naturally far more even than it was with the Stone Poneys, who were dominated by Linda Ronstadt even on the numbers with harmony lead vocals. Another reference point, though far more obscure, would be the Bay Area folk-rock duo Blackburn and Snow, although the Gentle Soul were more subdued, in fact foreshadowing the soft rock of the early 1970s.” (Richie Unterberger). Much in demand LP, especially in decent condition as most copies are suffering from either heavy storage & ring wear or have been trashed completely. Unearthing one in top condition is not an easy feat, let alone a sealed PROMO one like this copy here. One off chance to wheel in the perfect copy. Price: Offers!!!!
878. 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
879. 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: 400 Euro


880. The GERMS: “Lexicon Devil b/w No God” (Blank Recording Company – BRD-023) (Orange Colored EP Single: Mint/ Picture Sleeve: Mint/ Inner Sleeve: Mint). Long gone and limited RSD release of 2017 of great all time killer & no filler punk slide. First wave Los Angeles punk rock royalty THE GERMS need no introduction to anyone who should care. Their star shone extremely strong for an incredibly short time before their demise. A star that still shines in the aftermath of their end. THE GERMS are still influential to those who came after and ran with the punk rock baton. Lexicon Devil was THE GERMS' second single and the first ever release for the legendary Slash label. This reissue is replicating the original 1978 version. This edition will be made available in the same four sleeve color variations as the original with matching colored vinyl (in red, pink, yellow and orange with each color being limited to 500 for a grand total of 2000 copies). On this reissue the lyrics will be printed on the inner sleeve as opposed to other side of the sleeve like on the original. Price: 40 Euro
881. GERMS: “What We Do Is Secret” (Slash Records – SREP-108) (Record: Near Mint/ Jacket: Near Mint). Top condition 1981 US original pressing of legendary killer punk slide. Originally released in 1981, soon after the death of Darby Crash, it collects odds and ends from the band’s chaotic three-year run. It begins with a cover of Chuck Berry’s “Round and Round” from 1977, when the band was in its infancy. The performance is so sloppy it looks like it can go completely off the rails at any moment and even a simple count-in seems beyond their skill set at this embryonic stage. The three songs from 1978’s Lexicon Devil EP are a much better indication of The Germs’ strengths. Sure, “Lexicon Devil”, “Circle One” and “No God” are sloppy proto-hardcore blasts, but they’re anything but generic thrashers. Beneath the wild exterior lies something mercurial and poetic in Crash’s performances. “Caught In My Eye” is an outtake from 1979’s GI album and you can really feel the white-hot intensity, especially in Crash’s animalistic vocal gnarls. It ends with two songs from the final Germs show, on December 3, 1980 at The Starwood in Los Angeles, just days before Crash’s suicide on December 7th. Darby sounds fall-down drunk, but the sound quality is pretty good. Legendary. Price: 150 Euro
882. GETZ, STAN & CHARLIE BYRD: “Jazz Samba” (Verve/ Nippon Grammophon – SMV-1020) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan very first press issue all complete with rarely offered first issue obi! One of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion. Awesome. Price: 200 Euro
883. GHEDALIA TAZARTES: “Diasporas” (Cobalt Records) (Record: Mint/ Jacket: Mint) First LP ever by this French nomadic one-man orchestra/ singer.He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric nd vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Don’t become a black, an Arab, a Tibetan monk, a Jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalia’s intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification.To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death.” (Description to the Cd release). Rare artifact, first original pressing. Getting impossible to locate these days, just stunningly beautiful. Highest recommendation. Price: 250 Euro
884. GHEDALIA TAZARTES: “Transports” (Cobalt Records) (Clear Vinyl LP: Mint/ Jacket: Near Mint). 2nd, rarest and greatest LP ever recorded by French gypsy maverick Ghedalia Tazartes. Ghédalia Tazartes traces his roots to North African Sephardic tradition. His recordings exemplify the most prosperous marriage ever of ethnic vocalizing and imaginative electronic collage. Tazartes’ strength lies in his dynamic, rhythmic and harmonic restraint. The element of surprise, while ubiquitous, does not rely on the shock of opposites. Rather, his compositions flow naturally, always apportioning tasty ingredients, but in an organic, gradualist fashion.His activity now spans three decades, yet his music is hors temps. Over the years, his bequest has graced many visual performances, but has stood on its own among the most accomplished French creations. From emotional psalms to shamanic hymns, Tazartes vocal eclecticism makes his art unclassifiable and distant from the electro-acoustic orthodoxy in his country. “Utterly disregarding any generic conventions, any categorization, I found ‘Transports’ to unfold in a manner that was both hypnotic and disorienting, full of what seemed to be echoes of other musics, but ending up sounding like nothing else I’d heard. Vocal samples wove their way in and out of the music: often, these were gravely beautiful, Arabic-sounding melodies, sometimes played normally in the midst of much complex electronic trickery, sometimes speeded up, sometimes slowing down, sometimes simply allowed to unfold in a quietly meditative haze. The same samples re-appeared on different tracks, a woman’s laughter sounding light and airy on one piece, sinister and nightmarish on another, dissonant noise building up underneath until, just at the climactic moment, the music unexpectedly switched direction for a moody, vaguely Oriental soundscape full of high-pitched electronic speaks and sqanks and something that sounded like a bird…or a cicada. Screams of “All animals have personalities” added a comedic touch to the fifth piece, and at another point, Tazartès produced something which, for a few seconds, seemed strangely like an Evan Parker saxophone solo. ‘Transports’ was intriguing not just for the sheer variety of sounds, but for the way it merged the human and the machine, the emotional and the robotic, cutting-edge electronic sounds with the simplicity of ancient melody.” (David Grundy). Just one of the most beautiful discs ever to have fallen into one’s lap. Rare 1st original pressing. Price: 500 Euro
885. GHEDALIA TAZARTES: “Une Eclipse Totale De Soleil” (Celluloid – CEL-6661) (Record: Near Mint/ Jacket: Near Mint). Original 1st press copy of Tazartes 3rd album, his finest effort by some, but then again, all of Tazartes recordings is galvanizing masterpieces of sonic art. This was Ghedalia “Tazartes' third album, originally released in 1979. His strange collages do not fit comfortably with any classification of music, but are rather in a universe of their own, in the same way that material by Harry Partch and Jean Dubuffet seem to defy any previous influences. All of his albums are extremely eccentric, but this one is even more so as the most fully realized take on the peculiar Tazartes sound. The two long pieces are actually made up of shorter sections that segue into one another. "Part One" begins with some crunching rhythms and a low droning sound, then there's a canary warbling over some strange rumbling textures and then a baby singing. The group vocal chanting that follows is even stranger, completely outside any existing music boundaries, and the composition continues through one bizarre soundscape after another. The shifts are often quite abrupt, though there's a skewed logic that ties the piece together. There's more energy and craziness in "Part Two," using similar elements of deep drones, weird vocalizing, and other peculiar sounds, textures, and rhythms, and even more loops of babies, to create unworldly bizarre chants. Tazartes is one of those true mavericks, whose music comes out of a vacuum, a complete creation with its own rules and logic, and utterly unlike anything else.” (All Music Guide). Ear candy for the musically adventurous. Price: 250 Euro
886. 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
887. GHETTO ROCKERS/ RICO RODRIGUEZ: “Wareika Dub - Rico” (Island PRE-LP1) (Record: Excellent ~ Near Mint/ Stamped Jacket: Excellent ~ Near Mint). UK original – test press only issue with real (NOT FAKE) stamped original sleeve that came out on Island records in 1977~ 8. Trombonist Rico Rodriguez is a pivotal figure in the reggae/ ska/ jazz scene who was taught by fellow reggae legend Don Drummond. Rodriguez recorded with many of the top reggae producers (including some crucial Coxsone and Prince Buster); played a part in the 70s ska revival (like The Specials’ "A Message To You Rudy"); and even released Man From Warieka on Blue Note in 1977. At the end of that year/ beginning of 1978 a dub version of Warieka was mysteriously released on white label as an Island Records test pressing, scheduled for release but nothing came of it. Still some copies slipped through the cracks, some eager ears picked up on it and before you knew it went on to became a holy grail of reggae-jazz hounds, skyrocketing in value. This copy here is the original 1st press issue of that elusive record and it sounds incredible! The dub is not overpowering, floating on some serious roots and spirituality, swampy atmosphere of echoing vibrations and set firmly upon classic basslines. A very distinctive sound. It hits that sweet spot, letting the instrumentation breathe and flow. Nine bewitching tracks, gracefully housed in rubber stamped all-in old-school plain white rubber-stamped Island promo sleeve. Killer and no filler stripped down old skool dub vibes, rootsy and classy but be aware, highly addictive sonics! Top shape mega rare original pressing!!! Price: 450 Euro
888. The GHOST: “When You’re Dead – One Second” (Gemini – GME-1004) (Record: Near Mint/ Laminated Flip Back Jacket: Near Mint). UK original pressing in top condition. From 1970 the only Ghost that matters, heralding out of sunny Birmingham, it created one of the great UK psych rock monsters with male & female vocal interactions, spooky organ riffage, killer guitar leads and a pounding rhythm section that has in its ranks an ex-Velvett Fogg member. The group succeeds in creating an awesome sonic mixture of dreamy female vocals guiding their sound from folk psych towards loud and full-tilt hard prog brilliance that at times gets uglier than any group of mutants you’d see at a bad insane asylum, so you know you will be in there for a real auditory treat. The crude production values only add to its cult status. Very rare, especially in such perfect nick as this one here and comes housed in the original UK flip-back cover and graced with that beautiful Gemini label pressing. Amazing condition! Price: Offers!!!
889. GIGOLO AUNTS b/w THE POSIES: “I Am The Cosmos b/w I Am The Cosmos” (Munster Records – 7035) (EP Record: Excellent ‾ Near Mint/ Picture Sleeve: Excellent). Rarely seen and largely forgotten 1992 EP single where both bands tackle the great Chris Bell of Big Star composition. Great homage to Chris Bell! Price: 30 Euro
890. 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

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

892. GILBERTO, ASTRUD: “Beach Samba” (Verve – V6-8708) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – faint foxing inside gatefold/ Company Inner Sleeve: Near Mint). US original pressing of all-time classic Gilberto album that brings the sun right into your depressing household and will light up your life. “One of Gilberto’s less impressive '60s Verve outings, primarily due to the more pop-oriented song selection. Much of this is just standard pleasant Gilberto: offhand vocals and a sumptuous Brazil pop-cum-U.S. orchestration feel (Ron Carter & Toots Thielemans are among the sidemen). And some of the pop choices work well, particularly Tim Hardin’s gorgeous "Misty Roses." No vocals or arrangements, however, could save the criminally wrong-headed military march of "A Banda (Parade)," or the exasperatingly coochie-coochie duet between Gilberto and her six-year-old son on the Lovin’ Spoonful’s "You Didn't Have to Be So Nice." Which makes it all the more surprising when the next and concluding track, "Nao Bate O Corocao," has Gilberto cutting loose with confident, sassy scats, as she rarely did before or since.” (All Music Guide). SOLD

893. GILES, GILES & FRIPP: “The Cheerful Insanity of Giles, Giles & Fripp” (Deram/ King Records – DL-31) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Freakingly rare 1972 Japan 1st original pressing with obi in total virginal condition. Originally released in 1968, and selling less than 500 copies - according to Robert Fripp's royalty statements - The Cheerful Insanity of Giles, Giles, & Fripp is, of course, the pre-cursor to King Crimson. The album is one of the more eclectic albums to have been issued during the psychedelic rock movement of the late '60s. The album was initially issued in September of 1968 on the Decca Records subsidiary Deram -- whose releases were aimed specifically at the alternative or progressive rock market. Drawing its influence from folk, pop, classical, and religious music, the album is a masterpiece on par with the greatest records that the British psychedelic and progressive movements had to offer. Musically, Giles, Giles & Fripp are wholly unlike anything before or since. Drawing upon folk, classical, pop, and even sacred music, each track brings a fresh listening experience. Among the highlights is the leadoff track, "North Meadow," which features some stunning fretwork from Fripp. Likewise, "Call Tomorrow" is a trippy noir tale involving an ambiguous practical joke. The classically influenced instrumental "Suite No. 1," as well as another one of Fripp’s more esoteric compositions, "Erudite Eyes," likewise bear some semblance of sounds to come from the trio. Price: 300 Euro
894. GILSON, JEF with Jean-Luc PONTY & Jean-Louis CHAUTEMPS: “Oeil – Vision” (SFP – SFP-13.002) (Record: Near Mint/ Jacket: Near Mint). Top condition 1964 French 1st original pressing of essential Gilson slide. originally released in 1964. One of those early and totally essential albums by legendary French pianist Jef Gilson, recorded in 1963 with Jean-Luc Ponty on violin, Daniel Humair on drums, Jean-Louis Chautemps and Pierre Caron on tenor sax, Guy Pedersen and Henri Texier on bass. A superb line up for this beautiful album including two splendid versions of "Chant-Inca" (a hidden cover of Pharoah Sanders "Creator Has A Masterplan"). Influenced by African spiritual jazz, the songs verge towards the more experimental aspects of jazz before being reigned in for some more classic listening. Original first pressing in top shape… Price: 200 Euro
895. GILSON, JEF & HAL SINGER: “Soul of Africa” (Le Chant Du Monde – LDX-74556) (Record: Near Mint/ Gatefold Jacket: Near Mint – small pen marking inside gatefold upper right corner). Bloody scare 1974 French first original press issue. During the 1960s, pianist and composer Jef Gilson was at the epicenter of all things jazz that happened and passed through Paris, at least in terms of discovering and promoting young talent and the way he initiated his groups. He interacted with just about every key French jazz musician of his era and would regularly enter the orbit of visiting American musicians as they came through Paris. And on one of those occasions, he hooked up with expat & Oklahoma born tenor Hal Singer. Singer himself also was no lightweight and he had already earned his spurs through playing alongside Duke Ellington, Roy Eldridge, Billy Holiday and Earl “Fatha” Hines before moving to Paris in the late 60s. So, teaming up with Gilson was only a matter of time, in who he found a musical kindred spirit. The combustion of this head on collision between the two resulted in the staggering 1974 album ‘Soul of Africa’. A true chef-d'oeuvre of a record, regarded as one of the key documents of the Afro-Parisian jazz scene and very deservedly so as it floats largely on African-influenced jazzy vibes. Heavily thriving on percussion and mutating in a variety of modes, it makes each composition stand out proudly on its own and exhibiting its own characteristics. Ranging from rhythmic modal jazz to groovy soul jazz, all the compositions are impregnated with a warm and deeply resonating black spiritual sensibility, creating sonic pleasures and astonishments with every turn the music takes. The percussion is a dominant throughout the whole set, an overload jumble of animated strive, colorful and full with animated strive, singlehandedly almost responsible for delivering an arresting listening experience. The complex upright basslines, courtesy of Henri Textier provides the perfect counter-balance while Singer cuts through the chaos with his clarion tenor lines and giving its soul to this lethal Afro-Parisian jazz masterpiece. Absolutely a killer slide! Price: Offers!!!
896. GINGER BAKER’S AIRFORCE: “S/T” (Polydor Japan – MP-9341- 42) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Obi: Mint). Bloody rare & obscure Japan ONLY issue of this stunning Baker jam, complete with OBI. Comes housed in completely different gatefold jacket art. Out of the wreckage of Cream & Blind Faith mushroomed hip grooves ignited by Baker. Ginger Baker was the hippest of the group's 3 members. With his new found group Air Force — essentially a 10-piece (which seems to have been expanded beyond even that number for this set) that came up with some of the most monstrous jamming this side of the Atlantic at that point in time. At its base, the group's in the jazz rock mode — with players that include Brit jazz luminaries Phil Seamen, Harold McNair, and Graham Bond, plus rockers like Baker, Steve Winwood, Denny Laine, and Rick Grech. The tracks are all long butt shaking groovers in a post-beat/ psychedelic group mode — and the best tracks have a jamming sound that's pretty over the top! It's full of the propulsive, Afro-influenced bass and percussion, some wild, jazz funk flute and sax, plus amazing work on violin, guitar and occasional, ephemeral vocals. Awesome stuff — one of the best and most innovative live albums of the rea! Top condition, hardly ever touched & seriously rare Japan only issue. Hardly ever turns up, this copy is virginal. Mint all the way. Price: 300 Euro
897. GIRLS AT OUR BEST: “Politics b/w It’s Fashion” (Record Records – R.R.2) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Scarce 1980 UK first original pressing of amazing post punk slide. Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands that cropped up at the turn of the 80s coming out of nowhere (Leeds btw)– long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude ‘Jo’ Evans, forming a song-writing team with guitarist James Alan and bass player Gerard Swift after they met at art college. The band took its new name from a line in their track ‘Warm Girls’, which first appeared on their self-financed 1980 debut single coupled with ‘Getting Nowhere Fast’ on their own Record Records. The song reached No. 9 on the UK Indie Chart, and was followed up by their second single, ‘Politics’ c/w ‘It’s Fashion!’, also initially released on Record Records but picked up by Rough Trade Records, reaching No.12 on the Indie Chart. Single number two was “Politics!” b/w “It’s Fashion” and was a big step up in production caliber due to the presence of Laurence Diana, who would also helm their album. The A-side was a refinement of their early sound with Evans’ vocals more winning than ever. It was on the single’s B-side, that the band first discovered what would become a major component of their sound. “It’s Fashion” sported a singsong, chanted vocal delivery that recalled cheerleader cheers more than anything to do with rock music. Meanwhile, the members of the band seemed nonplussed by the stylistic shifts inherent in this “shakedown cruise” phase. Amazing form start to finish! Price: 50 Euro
898. GIVE PEACE A CHANCE: “Live At Imba!” (Doll Record – KSP-51254) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Impossibly rare 1977 Japan private press issue, released in an edition of 50 ~ 99 copies only. Well you can’t judge a book by its cover or a record/ group by its name as is the case here, but Give Peace A Chance is one hell of a fuck-around spiritual free jazzing combo that surely will set your ears and hearths on fire! Self-funded and privately released in 1977 Kyoto, Give Peace A Change was a mixed race Japanese quartet comprised out of three Japanese free jazz heads being Ikeda Norifumi (sax/ percussion), Beck Shujiro (bass/ percussion), Asayama Kotaro (drums) and Henry Star (trumpet, percussion and student of Nathan Davis and Woody Shaw) an American transplant who brought with him the reigning US spiritual jazz vibe to interbreed with the domestic Nipponised underground jazz narrative. A successful cross-pollination in texture and sound that adds the right musical spice and free-floating vibe to make Give Peace A Chance such an unique unit. The whole affair was recorded live at a small jazz club called Imba, Kyoto on March 27, 1977. Right from the get-go, they unleash an all-incinerating racket, an ominously heavy whirlwind of feverish, infernal blowing. Asayama is a standout in these sessions and exerts explosive and alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. Tight bursts of energy, ripping notes to pieces like there is no tomorrow. With the bell of Star’s trumpet pumping upward the notes seem thrust towards the ceiling of the club where they hammer each other creating deafening claps of unmitigated thunder. Percussive rattles bang and clatter with deliberateness, adding a tribal touch to the live concert session. Parsing out the extraneous sources of bass and percussive sound provides a brief breathing ground for a spiritual interlude, injected with delicate horn punctuations before the thorny vernacular of honks, growls and interval-obliterating skronk to erupt again. Star brings AACM influenced tonal colors to the jam, adding a defining American flavor to it all, creating a sparse, capacious canvas that allows notes singular status and silence its own riffs and accents, boiling down to a rich stew of pungent, gnarly horn passages. It gels the symmetry of the quartet into an elastic flow, with the playing bouncing between freeform freak-outs, frequently sparse interludes but yet ever virtuosic. The focus on fine-grained gestures and methodical placements continues across the concert even during the sections of bulldozing intensity & stripped down improv to create a welcome and varied contrast between the individual players and creating a cross-cultural free-jazzing sound. Highly unique record, impossibly rare and so far I only know of 2 people owning a copy, making this one the 3rd so far out there. Totally unknown to most, but fucking awesome free spiritual improvisation that upon playing it loud makes me toss and turn like a crack baby in a cold hallway. It is just that good! Price: Offers!!!
899. GLASTONBURY FAYRE: “The Electric Score” (Revelations Records - REV 1/2/3) (3 LP Set: Near Mint/ Multiple Gatefold Jacket: Near Mint/ All Inserts & Booklet & Poster & Pyramid: Near Mint/ Plastic Outer Bag: Near Mint with imprint clear and fully readable). TOP COPY! Original 1972 UK pressing. Rare triple LP set. Original green /red Revelations labels. Complete with all inserts and always-elusive imprinted outer plastic bag. 
Includes the following:
1) Large, six-pane, fold-open poster cover made from heavy cardboard. Two-sided. One side is a picture of the pyramid stage at the festival. The other side is a picture of the festival grounds after the festival. 
2) 32-page Glastonbury Fayre program. Includes pictures from the festival, articles on the environment, Worthy Farm, poetry, a new society, building the pyramid stage, listing of bands and playing times, astrological conjunctions, perception of space and distance, chemical messengers, and the meaning of ecology.
3) Four-page fold-open credit booklet. Two-sided. Includes The Electric Score, Gong at Glastonbury, two pieces of psychedelic art, and band listings with photos of bands, personnel, and comments about the band.
4) Four-page fold-open The Void insert. Includes Dome Sweet Dome.
5) Make-your-own pyramid. Black / metallic silver insert. Side 1: The Grateful Dead-Dark Star (recorded live at Empire Pool, Wembley, April 8, 1972.
Side 2: Brinsley Schwarz-Love Song (recorded at Olympic Studios, London), Mighty Baby-A Blanket in My Muesli (recorded live at Glastonbury Fayre on June 25, 1971).
Side 3: Marc Bolan-Sunken Rags (recorded at Marc Bolan's home), Pete Townshend-Classified (recorded at Pete Townshend's home studio), David Bowie-Supermen (recorded live at Trident Studio), Hawkwind-Silver Machine & Welcome (recorded live at the Roundhouse, London, February 13, 1972), and Skin Alley-Sun Music (recorded at Trident Studios).
Side 4: Daevid Allen & Gong-Glad stoned buried fielding flash and fresh fest footprints in my memory . . .
Side 5: The Pink Fairies - Uncle Harry's Last Freak-out & Do It (recorded live at Glastonbury Fayre, June 24, 1971).
Side 6: The Edgar Broughton Band-Out Demons Out (recorded live at Glastonbury Fayre, June 24, 1971). Amazing historic slide. Price: 350 Euro
900. GLOBE UNITY: “Improvisations” (Nadja Records – PAP-9191) (Record: Near Mint/ Jacket: Excellent – faint mildew aging spots against white background but very faint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese pressing all complete with 1st issue obi. WHITE LABEL PROMO issue. Price: 50 Euro
901. GLOBE UNITY: “Compositions” (Nadja Records – PAP-9184) (Record: Near Mint/ Jacket: Excellent – faint mildew aging spots against white background but very faint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese pressing all complete with 1st issue obi. WHITE LABEL PROMO issue. Price: 50 Euro
902. GLOBE UNITY ORCHESTRA: “Globe Unity ‘74” (Free Music Production – FMP-S4) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Rare FMP single release out of 1974 by this group spearheaded by Peter Brotzmann. Free form freak-out brain ripper of a slide. Those FMP single releases appeared originally in small runs – way smaller than the initial 1st pressings on the label and surface only sporadically these days. This copy is as virginal as can be. Heavy free form blow out that will catapult you through the stratosphere and back. Killer. Price: 50 Euro
903. GLOBE UNITY ORCHESTRA: “Bavarian Calypso” (Free Music Production – FMP-S6) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Another early FMP single release by this monster group from 1974. First and sole original pressing with “made in West Germany” on label. Free form improvisation heavy blow out resembling the Big Bang. Rarely surfaces and this condition is the best one can possibly get. Top copy. Price: 50 Euro
904. 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!!!

905. The GOLDEN DAWN: “My Secret World – Spring-Heeled Jack – The Railway Track” (Sarah Records – Sarah Nine) (EP Record: Excellent/ Picture Sleeve: Near Mint/ Poster: Near Mint/ Insert: Near Mint). Rare 1988 original press issue released on the legendary Bristol based Sarah Records imprint. A band spellbound by the occult is hardly a radical concept. However, Glasgow’s the Golden Dawn took that fascination to another level, going as far as naming their band after the Hermetic Order of the Golden Dawn, an organization that traced it roots to a magical fraternity founded in London in the late 1800s. The group also had a penchant for bestowing titles upon gigs, like “Musick In Theory And Practice,” a play on the Aleister Crowley book, Magick In Theory And Practice. Unfortunately, The Golden Dawn’s side interests were discussed as much as their music, thanks to a rather minimal sonic output. The first of just two singles the Scottish outfit ever released (and both with Sarah), the abrasive “My Secret World” is driven by a plodding bass line, the song’s melody neatly tucked away in the background. Amid squalors of distortion and feedback, the song closes with an incantation of its title (fitting, since at the time of this release, the relatively unknown label was starting to gather a stable of fervid followers) before vocals and amps couple to produce a stern “Shhhhhh.” Just awesome!!! Price: 50 Euro


906. GOLOWIN, SERGIUS: “Lord Krishna von Goloka” (Ohr/ Die Kosmischen Kuriere – KK58002) (Record: Near Mint/ Laminated Gatefold Jacket: near Mint). Rare original German pressing of this all time great psychedelic head swirl. Recorded in 1972 and released the year after, “Lord Krishna von Goloka” is again a sort of an all star of the Krautrock scene recording, in this case headed by Swiss spiritual gypsy Sergius Golowin ranting mystic space-age hippy mumbo jumbo while getting flanked and beamed-up towards even higher places by ace scenesters such as Bernd Witthuser (Guitar), Walter Westrupp (Guitar), Jerry Berkers (Guitar), Jurgen Dollase (Keyboards) and Klaus Schulze (Drums, Mellotron, Electronics, Organ, Guitar, Percussion). The album really sounds like a cross between the styles of the participating musicians and comes over as a magic mixture of early Floyd-like spaced out psychedelics, electronic trippy effects from the hand of Schulze and traces of cosmic lysergic folk, all blended together into one potent brew that will have you levitating for weeks on end. A classic, this being here the first original German pressing. TOP condition. Price: 250 Euro
907. GOMEZ, EDDIE: “Down Stretch” (Trio Records – PA-7141) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned scarce and all complete Japan only issue of this all-out amazing slide. Legendary bassist Eddie Gomez hardly ever has a down stretch – especially given all the creative combinations he's worked in over the years – and this rare 70s album from Japan is more of a high point than anything "down" at all! The record's a trio date, with killer work on Fender Rhodes and piano from Takehiro Honda – who's easily one of the key Japanese pianists of the time, and a musician who really brings a different sort of energy to the record than some of Gomez's other sessions with piano players, especially Bill Evans. Drummer Elliot Zigmund is also nicely creative, too – really working the kit in unusual ways, and often staying back a bit so that Eddie can get some wonderful space in the lead, especially at the start of some of the songs. The whole thing's great – an overlooked moment of genius from Gomez. A hard one to catch and quite a shy and largely overlooked little gem. So highly recommended if you are into Japanese jazz/ spiritual vibes slides. Top notch copy, impossible to ever improve upon. Price: 150 Euro
908. 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

909. 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) A consolation maybe, a crispy Japan 1st original press issue, all complete with insert but without the obi, so here is a more economical viable escape route for you if you do not care all that much for the obi. Great shape, killer music and totally indispensable in my desecrating little universe. SOLD


910. 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
911. GONG: “Angels Egg” (Virgin Records/ Nippon Columbia – YX-7028-VR) (Record: Near Mint/ Gatefold jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint/ Rare additional 2nd OBI: Near Mint). Bloody rare Japan 1st original pressing all complete with always-missing booklet and first issue obi. This issue comes with the very RARE DOUBLE VIRGIN OBI – heard rumors about for years but finally managed to track down a copy. This one just does not surface. Hardly ever seen 1st edition Japanese press as issued by Nippon Columbia (2nd issue with different obi came out on Victor) with obi of this groundbreaking subliminal Gong masterpiece. Label has the design of the two Virgin girls with dragon in full color. The second album in the Radio Gnome Invisible trilogy, Angel's Egg features all the familiar sound elements of classic-era Gong. Here the emphasis is not on blissed-out, psychedelic-fusion jams like “You” but more on shorter vignettes developing Allen’s Zero the Hero story. What is most immediately apparent about the album is how different it sounds musically from the previous Gong releases. Truly, Angel's Egg is the epitome of a transitional release: it shares content and structure with the two earlier Gong albums, but the polished sound and synthesizers point towards the band's future. The results are consistent and mostly impressive, although the strict adherence to the concept and the shortness of some of the songs keep things from quite taking off and regularly reaching the highs of the more uneven “Camembert Electrique” and “Flying Teapot”. The vaguely Eastern-sounding opener “Other Side of the Sky” with its all bubbling synthesizers, airy saxophone and the occasional space whisper sets the tone for the new Gong sound. Some excellent groovy numbers capture the essence of past Gong highlights such as “Flying Teapot” and “Fohat Digs Holes in Space”, but they're shorter, slicker and they smooth over some of the previous albums’ edginess. Only “Ooby Scooby” sounds like it could actually have come from one of the previous albums. The other pieces show the band expanding their musical vocabulary, from short guitar and synth interludes, to Pierre Moerlen’s malleted “Love is How You Make It”, Didier Malherbe's zany “Eat That Phone Book Coda” and Gilli Smyth’s erotic cabaret-style “Prostitute Poem”. This is an album that rewards repeated exposure. Its diversity and the shortness of some of the songs can make it elusive to hone in on, but eventually I think it is one of the key releases in the Gong discography. This copy here is the rare 1st edition Japanese press with obi. Vinyl is virginal, just too beautiful to handle. Great…. Price: 400 Euro
912. GONG: “Live At Sheffield 1974” (Mantra – 042LP) (Green Vinyl LP: Excellent ‾ Near Mint/ Gatefold Jacket: Near Mint). France only LP release of this head spinning live set by Gong at their prime. Price: 50 Euro
913. GONG: “Gong Est Mort” (Tapicoca – TP-10002~3) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent). French original 2 LP pressing of killer Gong live set. Classic live recording of Gong at the height of their psychedelic outlaw freak show. Recorded on 28 May 1977 at the Hippodrome in Paris, these 76 minutes include some of the band's highest achievements: songs included in The Radio Gnome Invisible Trilogy (Flying Post, Angel's Egg and You)' and Camembert Electrique' albums contribute to shape Gong's sonic cosmology, foundational to a boundary-crashing music style between jazz and space rock. Essential!!! Price: 50 Euro
914. GORDON, DEXTER: “Clubhouse” (Blue Note/ King Records – GXF-3055) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan only issue of previously unreleased Dexter Gordon recording for which he got flanked by Freddie Hubbard, Barry Harris, Bob Cranshaw and Billy Higgins. One of the enduring mysteries of Blue Note history is that superb sessions such as Dexter Gordon’s Clubhouse (recorded in 1965) remained unreleased in the vault until the late 1970s when King Records in Japan released it. Recorded during the middle of Gordon’s “golden period” career renaissance after he signed with Blue Note in 1961, the tenor saxophone legend is joined by Freddie Hubbard on trumpet and the remarkable rhythm section of Barry Harris on piano, Bob Cranshaw on bass, and the great Billy Higgins on drums. Long Tall Dexter’s rendition of the Sinatra evergreen “I’m a Fool To Want You” stands as one of his all-time greatest ballad performances. Price: 100 Euro
915. GORDON, DEXTER: “Our Man In Paris” (Blue Note/ King Records – GXK-8052) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine Japanese pressing. “In 1963, the year when Our Man In Paris was recorded, Dexter Gordon turned 40 and moved to Europe for what would be a dozen-year stay. Gordon had been the first important bebop tenor-saxophonist and a giant of Jazz since 1945. After some time off the scene in the '50s, he was signed to Blue Note. He returned with full force, playing with power, wit and his trademark huge sound, creating one masterpiece after another. On Our Man In Paris, he is clearly inspired by the playing of the innovative bebop pianist Bud Powell, himself at the peak of his powers, bassist Pierre Michelot and the pioneering bop drummer Kenny Clarke. Gordon plays chorus after chorus of fresh, swinging ideas on such tunes as "Scrapple From The Apple," "Broadway" and "A Night In Tunisia," making these Jazz standards sound as if they were written for him. This blazing bebop date is a constant joy.” (Blue Note). Pristine copy, getting harder and harder to dig up all complete with the glorious King Records obi. SOLD
916. The GOW-DOW EXPERIENCE: “Prof. James Benson – A New Dimension In A Black Musical Art Form” (The Gow-Dow Experience Productions – JB-77707) (Record: Near Mint/ Jacket: Near Mint – still firmly housed in original shrink/ Insert: Near Mint). 1973 US first original pressing in top shape & complete with insert! Seriously deep and super groovy LA spiritual jazz / funk private press burner that kinda stayed under most people’s radar for quite some years. Prof. James Benson was a lecturer/ professor at the Black Studies Department at Cal Poly Pomona. While listening to this slab of jazz-funkiness, it becomes in a way clear that the music cannot be judged solely as entertainment because the record itself was just one part of Benson’s so-called Gow-Dow philosophy of Black unity and empowerment. As he states in the liner notes, the adhoc assembled group form a sense of “Black Functionalism”, which he explains is “doing some consistent kind of activity in the community to show our concern and responsibility as black students, brothers and sisters … within a few weeks we went into action – free public concerts, prisons, festivals, churches, school, educational TV, radio, weddings, etc.” The LP is the result of those community efforts that took place between 1969 up until 1973. Most of the music here is not studied or composed as Benson states on the back cover “these students had very little (if any) formal training”. The whole affair dives deep into the jazz funk territory with the aid of then Cal Poly Pomona student and ace studio session singer Josie James (Jazz Crusaders, Bert Bacharach) and guitarist Roy Gaines (Stevie Wonder, Gladys Knight) amongst others. Benson, who had played with lots of heavyweights such as Harold Land, Ndugu Chancler, Alphonse Mouzon, Freddie Hubbard and even Sun Ra, can be heard on flute, alto & soprano sax and (spoken word) vocals. Heavy percussion, scattered chants, saxophone and flute overblows, cries and active dialogue – it is all here! The whole album is a true delight thriving on loose polyrhythmic funk grooves coming straight down from some Gospel apocalypse against a cauldron of liquid guitar lines, flute vibrations, ecstatic cackles of chanting and liquid jazz vibes, a truly irresistible mix of everything you’d expect of a record with a name, sleeve and title like this one here. It all gets topped off by a nice, free-form private / DIY feel that only adds to its overall appeal. It’s a complete miracle why this head twister is still relatively obscure, although quite difficult to catch in pristine shape. Top copy, still housed in shrink, next to impossible to ever upgrade upon. Price: Offers!!!

917. GOZE: “Dentou Takeda Goze No Kiroku” (Teichiku – BH-1528~9) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint) PROMO issue. Hardly ever seen 2 LP record and the rarest aural document 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 for the last time in the early 1970s at her home in the countryside when she was already in her eighties. 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 the last of the Goze – Sugimoto Kikue in action, documenting a tradition that was already completely extinct and she is also visited and recorded at her home where she tells about the harsh times she lived in, providing a last aural document and musical document to bear witness of their lifestyle. Sugimoto Kikue was recorded during one last session during July and November of 1971. The result 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 rarest and most elusive of all Goze recordings, this stellar and eye-peelingly beautiful 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. The narrative by her is also special, talking about her life while the summer insects are buzzing away in the background and occasionally, she starts to sing, just heart-breaking great. 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. Promo issue. Price: 350 Euro

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

919. GRACHAN MONCUR III: “Aco Dei De Madrugada – One Morning I waked up very early…” (BYG Actuel – BYG-27) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint/ OBI: Mint). Unplayed MINT copy. Comes with freakingly rare first press issue obi. White label test pressing, Japanese original. “Essential stuff -- and one of a few albums recorded for BYG/Actual by trombonist Grachan Moncur III -- some of his best work after his initial classics for Blue Note! The album features Moncur fronting a European rhythm section -- performing one side of interpretations of Brazilian folk tunes: "Aco Dei De Madrugada" and "Ponte Lo"; and another of two originals: "Osmosis" and "Tiny Temper". Anyone familiar with Moncur's style can't help but appreciate his coloristic slides and slurs, or his marvelous textural splashes of tone, or his individual phrasing, shaped more by his unique vision than any standard trombone slide or valve brass tradition. While his wonderful Blue Note sides were very modernist, these BYG sessions find Moncur at his most expansive -- more groundbreaking work from one of our favorite "new thing" artists!” (Dusty Groove) High quality vinyl pressing from December1970 and sounding so much better than the French pressings of that day, it will wrap your ears around your head in pure delight. One of the hardest to come by Actuel titles, especially with OBI present and a white label test press issue. Price: 150 Euro
920. 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!!!
921. GRAHAM COLLIER MUSIC Featuring Harry Beckett: “Songs For My Father” (Fontana – 6309.006) (Record: Near Mint/ Jacket: Near Mint). Top condition 1970 UK first original pressing of subliminal jazz slide. The late 1960s and early 1970s were years when European jazz in general, and British jazz in particular, came into their own in terms of the music making a fundamental break with established, exclusively American precedents. Songs For My Father debuts the core of Graham Collier Music, with Beckett, Taylor, Webb, and saxophonists Alan Wakeman and Bob Sydor at the helm. They’re variously joined by Skidmore, Roberts, trombonist Derek Wadsworth, and guitarist Phil Lee on a suite of seven compositions. The presence of a four-saxophone line necessarily gives this set a woollier feel, but Collier’s deep anchor is perhaps clearer and an insistent bottom keeps things afloat no matter how jostled the improvisations get. “Song One (Seven-Four)” is like a bat out of hell, massive sonic bricks placed atop fleet rhythm and around the rangy choruses of Lee, Beckett and Wakeman. Wakeman’s soprano carries into “Song Two (Ballad),” a minor-key processional that finds the ensemble’s color fields spreading wide under his straight-horn wailing. It’s true that Collier’s third date is his loosest so far, in that the heads are brief and soloists get a harmonically wide berth, driven as well as bolstered by riffs and maddeningly knotty rhythms. Top condition, hard to ever improve upon. SOLD
922. GRAHAM COLLIER SEXTET: “Down Another Road” (Fontana – SFJL-922) (Record: Near Mint/ Jacket: Near Mint). Top condition 1969 UK first original pressing of subliminal jazz slide. Down Another Road has always struck me as one of his most enduring statements committed to tape. Joined by Beckett, Marshall, Sulzmann, trombonist Nick Evans and pianist/reedman Karl Jenkins on five of the leader’s compositions (and Jenkins’ excellent fantasia “Lullaby for a Lonely Child”), Down Another Road is a rowdy follow-up to the gauzy openness of Deep Dark Blue Centre. Sure, there is something of the boogaloo in the breakbeat-backed title tune and its churchy chords, but the unison theme is characterized by an entirely different weight – stately, lush, and out of phase with the expected Horace Silver-esque vibrations. Evans and Sulzmann are both excellently muscular soloists, and comparisons with gruff-toned modernists on this side of the pond may be apt, but what’s interesting is how unquantifiable the tonal shifts are as riffs develop behind them. “Danish Blue” is the date’s lengthiest – and perhaps strongest – statement, a multipart tone poem texturally having much in common with Gil Evans, albeit freer. A languid pastoral quickly gives way to collective improvisation, Jenkins’ classical filigree at once rhapsodic and clamorous. Central here is the mostly unaccompanied Harry Beckett solo, deft and lyrical, resoundingly physical while engaged in an ephemeral self-dialogue. An exposition of this kind of breadth leaves no wonder at why he flowered in the context of Collier’s music, and certainly what he brought to the band’s table. Jenkins’ oboe is in full force, adding pinched exoticism to lush brass and reed textures before exploding in dervish-like tongue speak in a fierce duo with John Marshall. Once the rhythm section kicks in, it’s probably one of the hippest oboe solos this side of Sonny Simmons’ cor anglais. Though starting off the second side of the LP, “The Barley Mow” seems segued in real time, an evenly paced character shift with flugelhorn and oboe trading webbed volleys over bass and bamboo-rods. While not as straight-to-the-gut as some of Collier’s later sides, Down Another Road presents a tipping point between overt structure and the freer forms that have characterized his work since. Top condition, hard to ever improve upon. SOLD
923. GRAHAM COLLIER MUSIC Featuring Harry Beckett: “Mosaics – Recorded Live” (Philips – 6308.051 2) (Record: Near Mint/ Laminated Jacket: Near Mint). Top condition UK first original pressing. The expansion of Graham Collier’s modalist harmonic architecture is continued on Mosaics, which was recorded live in late 1970, and issued in early 1971. Using the same band as on Songs For My Father, with the exception of newcomer Geoff Castle replacing John Taylor on piano, Collier took Eastern motifs and wound them tightly into his intervallic articulations of melody and mode, and composed a pair of longer works, each one a section. Here, themes are striated with cadenzas, and rearticulated in the creation of new themes. African, Asian, and Indian melodic fragments are used inside Collier’s harmonic universe, in which the color of the blues, or the muted emotionalism of swing, is never absent. Here jazz meets the old world, which in turns refashions itself into a newer one; a world where eloquent expressions of harmony, and the convergence of different melodics, are translated as one tongue, with multiple dialects holding discourse. Of particular interest here is the beautiful contrapuntal work between Collier and soprano saxophonist Alan Wakeman, in addition to the rocksteady elegance of trumpeter Harry Beckett. Simultaneously more outside, and yet still firmly "inside the tradition, "Mosaics”is one of Collier’s most provocative works yet, and stands the test of time extremely well.” (AMG). If UK jazz is your thang, than it is impossible to pass up upon this one. So damned beautiful. Top condition, next to impossible to improve upon! SOLD
924. 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!!! SOLD
925. 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
926. 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!!!!!
927. GRATEFUL DEAD: “Anthem Of The Sun” (Warner Bros. – Seven Arts Records – WS-1749) (Record: Near Mint ~ Mint/ Jacket: Near Mint – still housed in original shrink). Very rare 1967 original US pressing on olive green Warner Bros label. Comes housed still in original factory shrink-wrap. Archive condition copy. Price: 450 Euro
928. GRATEFUL DEAD: “Aoxomaxoa” (Warner Bros – Seven Arts Records Japan – BP-8745) (Record: Mint/ Jacket: Near Mint/ OBI: Near Mint ~ Mint/ Insert: Mint). Bloody rare Japan ONLY RED WAX WHITE LABEL PROMO Issue and one of the rarest of all the Grateful Dead related releases is the 1st original Japanese pressing if their 3rd album, complete with 1st issue obi. Never offered for sale before anywhere – it is that rare. One of the rarest records to seep out of Japan and pressed on high quality old skool vintage audiophile vinyl. Total killer and totally unique item. White label PROMO ONLY – RED VINYL and with OBI….. go figure, never surfaces and in this pristine condition? One of the rarest Grateful Dead pressings out there together with Live Dead (which was also promo only red wax issue). Just never gets offered for sale, let alone in such pristine condition as this one here. Do not think twice it is all right… Price: Offers!!!
929. GRATEFUL DEAD: “Live Dead” (Warner Japan – BP-8899〜8900) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint – with mega rare Hojugyo tag still attached on back of the obi). Monster rare Japan 1st original pressing – PROMO ONLY RED WAX issue. HOLY GRAIL all complete with first issue obi – complete with Hojugyo, just never ever turns up, rarest of the rarest Grateful dead recordings and in Top condition. Just never surfaces, first copy I ever see after scorching wide and far for over 15 years. So here it is, all in its delirious splendor, white label promo, Japan ONLY & PROMO ONLY red wax with obi, what’cha gonna do about it??…. Price: Offers!!!
930. 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!!!!
931. GRATEFUL DEAD: “Workingman's Dead” (Warner Pioneer Japan – P-8096W) (Record: Mint/ Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint/ Company Inner Sleeve: Excellent). Rarest of the RARE!!!! BLUE LABEL PROMO COPY!!! Another Holy Grail in the Rock Age Flower Obi saga is this Grateful Dead LP, never surfaces, this copy is just perfect. Blue PROMO only Warner label. “New Speedway Boogie” kills it time and time again, one of the best Dead albums ever. Rarest version in existence without a doubt. Condition is like virginally new…and only a handful of these with the Flower obi do actually circulate, making it rare for eternity. Only once a copy surfaced on eBay and sold for 1900….so go figure. I am not that greedy and reserve set at a fraction of that going rate. Still, rare as hell freezing over on a hot summer day. Price: Offers!!!!

932. GRATEFUL DEAD: “American Beauty” (Warner – P-8007W) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Very First issue OBI: Near Mint). Damned rare very first Japanese press issue with rare first issue obi proudly flashing its colors. To make it even more delirious – BLUE label PROMO issue. “With 1970's Workingman’s Dead, the Grateful Dead went through an overnight metamorphosis, turning abruptly from tripped-out free-form rock toward sublime acoustic folk and Americana. Taking notes on vocal harmonies from friends CSN&Y, the Dead used the softer statements of their fourth studio album as a subtle but moving reflection on the turmoil, heaviness, and hope America's youth was facing as the idealistic '60s ended. American Beauty was recorded just a few months after its predecessor, both expanding and improving on the bluegrass, folk, and psychedelic country explorations of Workingman’s Dead with some of the band's most brilliant compositions. The songs here have a noticeably more relaxed and joyous feel. Having dived headfirst into this new sound with the previous album, the bandmembers found the summit of their collaborative powers here, with lyricist Robert Hunter penning some of his most poetic work, Jerry Garcia focusing more on gliding pedal steel than his regular electric lead guitar work, and standout lead vocal performances coming from Bob Weir (on the anthem to hippie love "Sugar Magnolia"), Ron Pigpen McKernan (on the husky blues of "Operator"), and Phil Lesh (on the near-perfect opening tune, "Box of Rain"). This album also marked the beginning of what would become a long musical friendship between Garcia and David Grisman, whose mandolin playing adds depth and flavor to tracks like the outlaw country-folk of "Friend of the Devil" and the gorgeously devotional "Ripple." American Beauty eventually spawned the band's highest charting single -- "Truckin'," the greasy blues-rock tribute to nomadic counterculture -- but it also contained some of their most spiritual and open-hearted sentiments ever, their newfound love of intricate vocal arrangements finding pristine expression on the lamenting "Brokedown Palace" and the heavenly nostalgia and gratitude of "Attics of My Life." While the Dead eventually amassed a following so devoted that following the band from city to city became the center of many people’s lives, the majority of the band's magic came in the boundless heights it reached in its live sets but rarely managed to capture in the studio setting. American Beauty is a categorical exception to this, offering a look at the Dead transcending even their own exploratory heights and making some of their most powerful music by examining their most gentle and restrained impulses. It’s easily the masterwork of their studio output, and a strong contender for the best music the band ever made, even including the countless hours of live shows captured on tape in the decades that followed.” (All Music Guide) Just about never ever surfaces with obi, clean copy, promo blue label to boot. Essential. Price: 475 Euro

933. 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. SOLD

934. 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…SOLD

935. 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: 125 Euro
936. 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. SOLD
937. 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
938. GRATEFUL DEAD: “Fillmore West 1969” (Rhino Records) (5 LP Set: Near Mint/ Booklet: Near Mint/ Outer Box: Near Mint). Killer 5 LP set that came out in 2019 as a limited-edition set. Long gone and sold out. Price: 175 Euro
939. 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
940. 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
941. GRAVES, MILFORD & DON PULLEN: “In Concert At Yale University – Vol.1” (SRP Records – P.G. 286) (Record: Excellent/ Hand-Painted Jacket: Near Mint / 3 Inserts: Near Mint. The rarest spiritual free jazz slide in Graves’ discography and one of the all-time rarest spiritual private presses around, released in an edition of 30 copies only that saw the light way back in 1966, all of those were hand-painted by Graves and each one of them is unique in its design. Great condition and all complete with the 3 always-missing inserts….present!!! Milford may be one of the most important players in the Free Jazz underground. He enforces the sense of community as a primary exponent of his freely improvised music. His drum kit is homemade and he rarely performs outside of his neighborhood. When he does perform he plays his kit like no other. Wild, slapping, bashing, tribal freak-outs interplexed with silence, serenity and enlightened meditation. This LP was manufactured by the artists in 1967 and is recorded live at Yale University. The interplay between Milford and Don (piano) is remarkable and very free. There’s a second volume, which also is as rare as hen’s teeth but this volume surpasses them all on the rarity scale. Great condition copy, impossible to to dig up and each one of them is utterly unique. And the music is absolutely killer without any filler, one of the cornerstones of the whole Free Jazz pantheon. The holy grail of privately released jazz fire-balls – hand-painted micro pressing of one of the greatest slabs of free music ever recorded! This is so much more than just a rare record, this is a piece of art, so offers are accordingly I guess. Price: Offers!!!

942. GRAVES, MILFORD & DON PULLEN: “Nommo” (SRP Records – LP-290) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). First original pressing housed in 1st pressing 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. Stellar. SOLD

943. GRAVES, MILFORD featuring ARTHUR DOYLE: “Babi Music” (IPS – IPS-ST004) (Record: Near Mint/ Jacket: Near Mint). Another TOP COPY back in stock! Take cover for the ultimate Milford Graves disc… this one is like being engaged in a trench warfare and taking prisoners is out of the question, vicious assaults until the last man is left standing and shredded to pieces. Together with Takayanagi’s “Independence”, Frank Wright’s “Church Number Nine”, Yamashita Yosuke & Dairakudakan, Bennink & Brotzmann’s “Atsugi Concert” and Rashied Ali & Frank Lowe’s “Duo Exchange”, this is one of the most vicious, infernal free jazz epic discs ever to be put down on wax. In short this is Free Jazz Soul Music, star-dusted with magical, free-flowing vibrations. When the other players hit, at moments completely slamming – delirious Doyle sax eruptions of volcanic proportions augmented with ecstatic screaming, it feels like planets collide, cosmic forces at work, the Big Bang reversed. At times the chaos of the gargantuan interplay begins to spin out of control melts eventually into a the thread holding all firm together, without warning it gets astray again, but then something extraordinary breaks through and it all connects. This is religion in sound, an epiphany, an orgasm. The band consists of Hugh Glover on reeds, Arthur Doyle on reeds and voice, and Milford Graves on drums, and they all sound totally crazed for the duration of the LP. A real high-water mark for the whole genre, and possibly Arthur Doyle’s finest hour. Beats sniffing clue at the local gas station. Highest possible recommendation!!! SOLD
944. GRAVES, MILFORD: “Meditation Among Us” (Kitty Records – MKF-1021) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4-Paged Insert: Near Mint). Comes with the 4-paged insert with loads of pictures. Complete with almost always missing obi, getting damned difficult these days to find an all-complete copy. 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 hardcore 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. Finally one with obi present….Price: 125 Euro
945. The GREAT SOCIETY: “The Great Society with Grace Slick” (CBS SONY – SONP-50136) (Record: Near Mint/ Insert: VG++/ Jacket: Near Mint). Rare Japanese first original pressing from 1970. Awesome pre-Jefferson Airplane Grace Slick album that features "Somebody to Love" in its original slower, more menacing version. It also includes the Great Society’s extended version of Grace Slick’s "White Rabbit" along with several other haunting originals, which strike an exhilarating balance between tight songwriting and psychedelic jamming. Japanese 1st pressing rarely sees the light of day, and this one is in real nice condition and sounds awesome! Price: 75 Euro
946. GREEN ON RED: “Gas, Food, Lodging” (Enigma/ Wave – SP25-6012) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese original first pressing that saw the light of day in 1985. One of the best records out of that era, rubbing shoulders with the mighty other Paisely Underground acts like the Gun Club and the Dream Syndicate. Their 1st LP still stand strong as being a path-beater between early ’70s outlaw country and early ’90s No Depressionism and remains a defining example of howling country-punk, featuring Dan Stuart’s vicious rasp. Totally indispensable mind fuck of a record. Price: 75 Euro
947. GRIFFIN, JOHNNY: “The Congregation” (Blue Note/ Toshiba EMI – BN-1580) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Blue Note Card: Near Mint/ Obi: Near Mint). Virginal all complete copy – Japanese high quality press issue of slick Blue Note title. An early killer from Johnny Griffin – a stripped-down quartet session for Blue Note, done in a format that really gave him plenty of room to open up! The rhythm section is a powerful trio led by Sonny Clark on piano, and featuring bassist Paul Chambers alongside the obscure drummer Kenny Dennis – but it's Griff's tone and conception that dominates the set – really blowing in a style that combines the soulful and the modern with incredible spontaneity, all wrapped up in a beautiful early Andy Warhol cover! Tracks are all longish and totally intoxicatingly awesome. Price: 50 Euro
948. GRIFFIN, JOHNNY: “Introducing Johnny Griffin” (Blue Note/ EMI Music Japan – BLP-1533) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). “Johnny Griffin played fast—very fast. The evidence is here in Griffin's very first album, Introducing Johnny Griffin. It's a 1956 date with a quartet that includes Wynston Kelly on piano, Curly Russell on bass and Max Roach on drums. For 70 years, Griffin was a jazz giant, and this album, his first as a leader, is among his very best. And fastest. Griffin could play the hell out of a ballad. His sound is soulful and full-bodied. Two numbers in particular—"These Foolish Things" and "Lover Man" show off Griffin's beautiful tone. But it's speed you're looking for, and you've come to the right place. The very first number, a Griffin original called "Mil Dew," is blazingly fast. So is "Cherokee," the album's closer, but you expect that on "Cherokee." You don't expect it on Jerome Kern's "The Way You Look Tonight," which may be the fastest take of that song ever recorded. And you don't expect a blazing solo on Cole Porter's "It's Alright With Me," but Griffin delivers. He is fast, absolutely, but also crystal clear, and clever. He is a bebopper (or hard bopper?) of the first order. Johnny Griffin would go on to create many great albums. Arguably his best—"A Blowin' Session" with fellow tenors John Coltrane and Hank Mobley—came just one year later. But it's clear from the very beginning, from this album, that Johnny Griffin was destined for a legendary career. It starts here.” (All About Jazz) 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. SOLD
949. 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: 85 Euro
950. GRIOT GALAXY: “Opus Krampus” (Sound Aspects – SAS-004) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Only released in Germany at the time (1985) on the tiny Sound Aspects label in a limited run. “On Opus Krampus, Detroit's Griot Galaxy bring with them their usual sense of weirdness and entropy, all the while injecting incredibly paced rhythms and a mix of avant-garde and straight-ahead beats. Saxophonist Faruq Z. Bey leads the band with his furious accents and choppy rhythms that scurry by so quickly they almost sound smooth. His support's off-kilter time signatures work out minimal phase shifting patterns to temper Bey's perfectly unresolved tones. Considering the recording is culled from a live performance, one can only imagine Griot Galaxy's stage get-up at the time, usually comprising of mime-painted faces and gaudy, new wave-inspired dress, crossing Sun Ra with Art Ensemble of Chicago. Certainly, many of the sounds here match that comparison as well. This 1984 recording from Austria is crisp and true, as its near studio-like quality is definitely a testament to impeccable engineering. It consists of a mere three tracks, one of them utilizing the entire second side. This track, the 25-minute "Necrophilia," is a full-out assault on the audience with deafening sax skronks and squeals, complex percussion, and three-voice poetry lending an eerie, cult-like vibe to the recording. Opus Krampus is hardly a record that one might expect to come out of Detroit in the '80s, one of the city's roughest decades. And partly because of that assumption it proves to be a brilliant one.” (All Music Guide). Price: 75 Euro
951. GRUNTZ, GEORGE; SAHIB SHIHAB; JEAN LUC PONTY; SALAH EL MAHDI & THE BEDUINS: “Noon In Tunisia – Jazz Meets Arabs” (MPS Records – YS-2316-MP) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint, has some mild ageing foxing inside gatefold/ Insert: Near Mint/ Obi: Mint). Bloody rare Japan white label TEST PRESSING. Comes complete with always missing INSERT and rarely offered first issue OBI. George Gruntz organized this studio recording as an opportunity for blending the worlds of jazz and Arabian music, though utilizing original music of his own. With Sahib Shihab (soprano sax, flute, and tambourine), violinist Jean-Luc Ponty, bassist Eberhard Weber and drummer Daniel Humair plus four Bedouin musicians playing traditional Arabian reed, string, and percussion instruments, Gruntz conceived the nearly 31-minute six-part "Maghreb Cantata" as the centerpiece of this amazing ear-bleedingly beautiful disc. The composer's themes are essentially brief modal statements utilized as jumping-off points for the musicians' improvisations. Bracketing the suite are two vocal numbers that incorporate the chanting of centuries-old Arab poems. This unusual session quite an infectious listening experience that is addictive to say the least. It hasn’t left my turntable for days when first discovering it some years ago and still till this day it is one of my favorite genre crossing recordings. Issued by Saba and long out of print, this disc is a must for anyone vaguely interested in either free jazz, ethnographic recordings or the cross-pollination adventures of those two styles. Damned rare all complete with much needed OBI. Price: 200 Euro
952. The GUISEPPI LOGAN QUARTET: “S/T” (ESP Records/ VENUS Records – TKJV-191019) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Original Japan pressing complete with obi and best sounding version in the whole bloody fookin’ universe! “One of the more mysterious figures on the always mysterious label ESP-Disk, Giuseppi Logan was a Philadelphia-born reedman who made only two recordings as a leader and less than a dozen more as a sideman before disappearing entirely. One of the most uncompromisingly "out" free jazz records of its time, this 1964 session features Logan on tenor and alto sax, Pakistani oboe, clarinet, flute, and even bass, backed with a piano-bass-drums trio featuring drummer Milford Graves, the leading free jazz drummer of the New York scene. Graves doubles on tabla, adding the then-unique Indian percussion sound to the chaotic opener, "Tabla Suite." The other four tracks are slightly more restrained than that wild start, but while pianist Don Pullen and bassist Eddie Gomez occasionally slip into recognizable chord patterns and time signatures (particularly on the almost conventional opening section of the 15-minute "Bleeker Partita"), the completely free playing of Logan and Graves keeps the set firmly in free jazz territory. Detractors have long said that Logan went into free jazz because his technique was poor but, while his tone is occasionally a little weak, his solos never sound random in the manner of an undertrained player. The Giuseppi Logan Quartet is definitely only for the free jazz faithful, but it's a solid, often fascinating set.” (All Music Guide). Brilliant slide, one of the highlights in the ESP catalogue. Damned rare Japanese high quality audiophile press issue. Price: 75 Euro

953. The GUISEPPI LOGAN QUARTET: “More Guiseppi Logan” (ESP Disk – ESP-1013) (Record: Near Mint/ Jacket: Excellent – humidity stain on lower left corner). Original US 1966 first pressing on legendary ESP imprint with 180 Riverside ddress printed on labels and sleeve, marking it as the very first issue. Never one of the great virtuosos, Guiseppi Logan showed some potential on his two ESP recordings but he largely disappeared after 1966 and has not been heard from since. This set matches his reeds with the young pianist Don Pullen, either Reggie Johnson or Eddie Gomez  on bass and drummer Milford Graves. Legendary great fire set with Graves pulling out all the stops and stealing the show somewhat. Great copy! Price: 75 Euro

954. GULDA, FRIEDRICH with ALBERT HEATH & JIMMY ROWSER: “Gulda Jazz” (Nippon Columbia – YS-2082-AD) (Record: Near Mint/ Jacket: Excellent/ OBI: Excellent). Damned rare Japan original pressing all complete with rare OBI. WHITE label TEST PRESS issue. Just never surfaces. Been after this one for over a decade and finally could find one copy with obi. Price: 200 Euro
955. GURU GURU: “Hinten” (Ohr Records – OMM-556.017) (Record: Near Mint/ Laminated Gatefold Jacket: Excellent). Original German 1st pressing of Guru Guru’s 2nd LP, following UFO. Stunning krautrock slide that opens up with the long “Electronic Junk” track, which rips the musical system of that day apart like a pile of cheap hay and is so exciting enough to provoke tears and fist-shaking tirades! Very first German press issue, record is super clean, the laminated gatefold jacket is splendid but has some minimal signs of use so strictly graded as Excellent. Top copy. Price: 150 Euro
956. GURYAN, MARGO: “Take A Picture” (Bell Records – BELL-6022) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Top condition US original press issue of Margo Guryan’s sole album. Once you hear the sweet, delicate strain of gently kaleidoscopic music on the sole album from Margo Guryan, you are lost. It is the soft pop of which gauzy dreams are made, full of the hazy changes and transitory variations of autumn, a sonic marvel that you invariably want to wrap up in. Better than most similar efforts from the time, the little oddity maintains a vibrant resonance outside the milieu in which it was created because the songcraft is not only infectious but also highly intelligent, and because Guryan’s performance is so delicious. Quiet hard to track down in perfect condition, first copy I encounter that is virginal and still housed in original shrink. Hard to improve upon!!! Price: Offers!!!!
957. 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
958. The HABIBIYYA: “If Man But Knew” (Island – HELP-7) (Record: Near Mint/ Jacket: Near Mint). Original top condition 1972 UK original of Mighty Baby after they changed their name following their 2nd album. It would be their sole album following their name change and it stands as one of the earliest and most beautiful pieces of world music ever recorded in Britain. The musicians involved (including three members of UK underground legends Mighty Baby) had been profoundly affected, both musically and spiritually, by visiting Morocco in 1971, and became adherents of the Sufi faith. Upon their return to London they made If Man But Knew, featuring exotic instruments such as koto, shakuhachi and mandola alongside guitar, organ and drums, conjuring a hypnotic, otherworldly ambience in the process. Top condition UK original pressing!!! Price: 100 Euro
959. HADAKA NO RALLIZES/ LES RALLIZES DENUDES - 7 Inch: “Kuroi Kanashimi no Romanse Arui Wa Fallin’ Love With b/w Eien Ni Ima Ga” (7-Inch Record: Near Mint/ Picture Sleeve: Near Mint). This is the much sought after official Rallizes, a 33 rpm single that was released in addition to the Etcetera magazine, many decades ago and together with the OZ Days 2 LP set, the only officially released Rallizes recording. These days it is almost impossible to find and getting so damned hard to lay your hands upon. Here you have a stunningly near mint copy. Long deleted and heavily hunted down. Highest recommendation, it beats all the Rallizes bootlegs available, this single alone is so much worth it. Unissued material not available anywhere else. Officially authorized Rallizes release. Fuzz drenched amphetamine fuelled underground psych dementia that spreads a gospel apocalypse against a fuzzed-up cauldron of demonic bass, manic cackles and liquid wah-wah, all turned up to ear-deafening volume. Awesome! Price: 75 Euro

960. HAINO KEIJI: “Watashi Dake” (Pinakotheca Records, 1981) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint) Top condition first press original. 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: 200 Euro

961. HALF JAPANESE: “1/2 Gentlemen-Not Beasts” (3LP Box/ Armageddon Records – 1980) (Records: Excellent ~ Near Mint / Box Set: Excellent ~ Near Mint/ Has all the inserts). Half Japanese was started in the mid-70's by brothers Jad and David Fair, in a Michigan bedroom replete with instruments, electronic devices, and other noisemakers. Neither Fair knew how to play their instruments (at least not in the conventional sense) but nevertheless had the creative vision to manufacture musical sounds from the gadgets at their disposal. With no interest in chords or melody, the duo recorded several homemade cassettes and a couple seven-inches in classic DIY style. These early recordings were spread around the underground, eventually reaching the small British label (Armageddon) that signed Jad and David. The first Half Japanese album followed in1979 which compiled many of the home recordings and a couple live sets. It is said to be, not surprisingly, the only three-record debut album in the history of rock. The Fair brothers alternate between atonal, cacophonous songs and inventive, minimalistic instrumental experiments. The more orthodox songs feature unfixed, primitive rhythms with guitars and percussion (drums, aluminum pots) as the primary noisemakers. The grating vocals of Jad and David fit perfectly with the clatter. Jad's reedy vocals are a particular treat; perhaps no other singer in pop history has been able to combine passionate yearning with detached, cynical irony in the same syllable the way Jad does here. There are also a number of covers included in the box set; songs by the Temptations, Velvet Underground, Buddy Holly and others get turned inside out and rendered alluringly unrecognizable. This box comes with all the inserts complete being poster, insert and booklet. Great historic importance beyond believe, all time classic masterpiece of a disc. Indispensable and quite much in demand these days. Price: 250 Euro
962. HALO OF FLIES: “Singles, Going Nowhere” (Amphetamine Reptile Records – ARR-5) (Record: Near Mint/ Jacket: Near Mint). US original press. Band from Minneapolis, which featured Tom Hazelmeyer (Amphetamine Reptile chief), as well as John Anglim and Tim Mac. They released a number of LPs and 7 records and broke up in 1990. Between 1985 and 1987 they recorded a whole number of 7-inch singles – Rubber Room, Rubber Room Revisited, Snapping Black Roscoe Bottles and Circling The Pile EP – all of which were collected on “Singles Going Steady Compilation” (cover art, just, like the title, reflected an homage to Buzzcocks). So essential, so necessary, just top shelf. Not rare but damned so killer it hurts! Price: 30 Euro
963. HAMPEL, GUNTER GROUP: “Music From Europe” (ESP Disk – ESP-1042) (Record: Excellent/ Jacket: Excellent). US original pressing. Music From Europe is literally a collision of cultures. And it is an oblique early interpretation of the idiom of jazz by arguably one of Europe's most influential musicians. Coming as it did at the height of the avant-garde movement of the 1960s, it stands out as one that has complete sonic architecture—in song form and structure. Hampel on vibes, bass clarinet and flute is ably assisted in his small group master class by another stellar artist, Willem Breuker on saxophones and clarinets, the Dutchman, Piet Veening on bass and Pierre Courbois on percussion. Together they power their way through an impressive program comprising three gigantic songs. "Assemblage," is a seven-part suite that is an energetic romp to the edges of composed music. Complete with a themed head, improvised section for all the instrumentalists and a resolution, the music is wonderfully wild and humorous. It pays oblique tribute to some Ducal music and features some wonderful fiery passages on saxophones, chillingly cool vibraharp and exquisite chromatically tuned percussion by Courbois. "Heroicredolphysiognomystery," a seemingly eccentric dedication to Dolphy shows how completely the musicians have absorbed the legendary Africa-Brass Sessions of Coltrane (Impulse, 1961). And "Make Love Not War to Everybody" is simply an eccentric work of art. Heard as a complete suite, though this could be the definitive modern third-stream report from Europe.” (All About Jazz). Price: 50 Euro
964. HANABUSA ARI: “Hana No Tebyoshi b/w Koi No Nettaigyo” (CBS Sony – SONA-86017) (Single Record: Excellent ~ Near Mint/ Gatefold Picture Sleeve: Excellent). Japan 1968 original press!! Hanabusa Ari is probably not a name that sets off fire detectors and alarm bells and I do not blame you for it. She was a one-off chanteuse, throwing in her bit for fame and glory but crashed and burned instead. It is easy to see why as she tried to appeal to the punters by releasing her debut single and unleashing “Hana No Tebyoshi”, which turned out to be a run off the mill enka pop tune that failed to spark any interest. However, on the B-isde she was set loose to do her thang and she unleashed a heavy floor burning Japanese groover that will blister your feet. Pregnant with simmering organ lines, junked up with slashing wah-wah guitar licks, a pumping bass and Hanabusa singing her soul out like there is no tomorrow…ever!!! Just killer, doped up soulful groove slide that is nothing but infectious!!!! Largely unknown but rare nevertheless due to depressing sales, this is one uncut gemstone of a record. Works perfectly when you enjoy that Bolivian Dancing Dust blowing up your nose and this blasting away at full throttle….so beaware for blistered feet ‘cause it will light your ass on FIRE!!!! Price: 100 Euro
965. 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
966. HANCOCK, HERBIE: “Maiden Voyage” (Blue Note/ King Records – BST-84195) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – minimal foxing on back/ Company Blue Note Inner Sleeve: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japanese press original that came out in 1983 as a limited special cutting audiophile pressing. Comes with rare silver-toned obi. “Less overtly adventurous than its predecessor, Empyrean Isles, Maiden Voyage nevertheless finds Herbie Hancock at a creative peak. In fact, it's arguably his finest record of the '60s, reaching a perfect balance between accessible, lyrical jazz and chance-taking hard bop. By this point, the pianist had been with Miles Davis for two years, and it's clear that Miles' subdued yet challenging modal experiments had been fully integrated by Hancock. Not only that, but through Davis, Hancock became part of the exceptional rhythm section of bassist Ron Carter and drummer Tony Williams, who are both featured on Maiden Voyage, along with trumpeter Freddie Hubbard and tenor saxophonist George Coleman. The quintet plays a selection of five Hancock originals, many of which are simply superb showcases for the group's provocative, unpredictable solos, tonal textures, and harmonies. While the quintet takes risks, the music is lovely and accessible, thanks to Hancock’s understated, melodic compositions and the tasteful group interplay. All of the elements blend together to make Maiden Voyage a shimmering, beautiful album that captures Hancock at his finest as a leader, soloist, and composer.” (All Music Guide). Great condition high quality Japanese pressing. Price: 75 Euro
967. HANCOCK, HERBIE: “Maiden Voyage” (Blue Note/ King Records – GXF-3020) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint/ Obi: VG++). Clean Japanese press issue as issued by King Records, all complete with inserts and obi. Obi has upper tear and small wrinkle on back so… Price: 50 Euro
968. HANCOCK, HERBIE: “Empyrean Isles” (Blue Note/ GXK-8002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean and sonically great Japanese pressing of all time fave jazz slide. “On Empyrean Isles, Hancock returns to hard bop, but the results are anything but conventional. Working with cornetist Freddie Hubbard, bassist Ron Carter and drummer Tony Williams - a trio just as young and adventurous as he was - Hancock pushes at the borders of hard bop, finding a brilliantly evocative balance between traditional bop, soul-injected grooves, and experimental, post-modal jazz. Hancock’s four original concepts are loosely based on the myths of the Empyrean Isles, and they are designed to push the limits of the band and of hard bop. Even "Cantaloupe Island," well-known for its funky piano riff, takes chances and doesn't just ride the groove. "The Egg," with its minimal melody and extended solo improvisations, is the riskiest number on the record, but it works because each musician spins inventive, challenging solos that defy convention. In comparison, "One Finger Snap" and "Oliloqui Valley" adhere to hard bop conventions, but each song finds the quartet vigorously searching for new sonic territory with convincing fire. That passion informs all of Empyrean Isles, a record that officially established Hancock as a major artist in his own right.” (All Music Guide). Hancock was just 24 at the time of recording this masterpiece. A thing of beauty from start to finish that will transport you to galaxies yet to be discovered. Massive!!!. Price: 65 Euro
969. HANCOCK, HERBIE: “The Prisoner” (Blue Note/ King Records – GXK-8138) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine Japan original pressing of essential Hancock slide. “As one of the first albums Herbie Hancock recorded after departing Miles Davis’ quintet in 1968, as well as his final album for Blue Note, The Prisoner is one of Hancock’s most ambitious efforts. Assembling a nonet that features Joe Henderson (tenor sax, alto flute), Johnny Coles (flugelhorn), Garnett Brown (trombone), Buster Williams (bass) and Albert Tootie Heath (drums), he has created his grandest work since My Point of View. Unlike that effort, The Prisoner has a specific concept -- it's a tribute to Dr. Martin Luther King, evoking his spirit and dreams through spacious, exploratory post-bop. Often, the music doesn't follow conventional patterns, but that doesn't mean that it's alienating or inaccessible. It is certainly challenging, but Hancock’s compositions (and his arrangement of Charles Williams’ "Firewater") have enough melody and space to allow listeners into the album. Throughout the record, Hancock, Coles and Henderson exchange provocative, unpredictable solos that build upon the stark melodies and sober mood of the music. The tone is not of sorrow or celebration, but of reflection and contemplation, and on that level, The Prisoner succeeds handsomely, even if the music meanders a little too often to be judged a complete success.” (All Music Guide). Pristine & all complete Japanese press original. Price: 65 Euro
970. HANCOCK HERBIE , YARDBIRDS - OST – BLOW UP: “The Original Soundtrack Album Of Blow Up” (MGM – NIPPON GRAMOPHON – SMM-1138) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint/ Colored Picture Promo Only Booklet: Mint/ Picture Booklet: Mint/ Additional 48 page booklet with B&W Pictures – Promo Only: Mint/ OBI: MINT). Hideously rare 1966 Japan first original pressing of the Blow UP – comes housed in Japan ONLY Alternate jacket art. This one here is the never offered before WHITE LABEL PROMO issue and comes with promo only appendices such as 2 booklets. To make it even better, this one here also comes with the impossibly mega rare OBI as well. TOP CONDITION and impossible to ever upgrade upon. The music of this soundtrack, serendipitously, is provided by jazz composer/keyboardist Herbie Hancock. His songs, as well as a rare Yardbirds’ tune, play a digenetic role in the film, which means that when you’re hearing the music, the characters are hearing it themselves as well during the film. There’s no incidental, omniscient orchestral bursts or keening strings. Thomas – the main character of the movie, plays an LP and we hear it; it’s just that it’s mostly Hancock. The remainder of the soundtrack is the wind, traffic, the rustling of fabric, the snap of the camera’s shutter – the sounds of the day and some live club recordings seeing the Yardbirds in action. Killer soundtrack to Michaelangelo Antonioni’s masterpiece. For the recording, Herbie Hancock, Freddie Hubbard, Joe Henderson, Ron Carter and Jack DeJohnette entered a New York studio to capture the vibe of 'swinging London' in a jazz mode - with grooves that create effective bluesy moods on the slow pieces and funky ones on the up-tempo tracks. Meanwhile in London, the Yardbirds (with Jeff Beck and Jimmy Page) were recording additional material for use in the Blow-Up movie soundtrack. Young Herbie Hancock contributed the bulk of the score, evoking the ambience of swinging London with grooves that create effective bluesy moods on the slow pieces, and funky ones on the up-tempo tracks. The soundtrack also includes a rare Yardbirds number, "Stroll On", one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. Sheer brilliance. The whole affair here is in Near Mint to Mint condition. Never seen before rare Japanese 1st press with alternate jacket art, white label PROMO issue with appendices and freakingly mega rare OBI…making this copy genuinely rare. Virginal condition on all fronts, impossible to ever upgrade upon. Price: Offers!!!!
971. HANCOCK, HERBIE: “Dedication” (CBS Sony – SOPM-165) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japan only 1st original press issue. “In late July 1974, Hancock interrupted his busy touring schedule with The Head Hunters Band to record a solo album for CBS/Sony in Japan, something he had never done before. The only other time he had attempted a solo performance during a recording was an alternate take of “Goodbye To Childhood” from his Blue Note album Speak Like A Child (1968). And even live, Hancock had seldom dabbled in solo performances. A noteworthy exception was a controversially received electronic solo concert at the Newport Jazz Festival exactly one month before the recording of Dedication, alongside acoustic solo performances by Keith Jarrett and McCoy Tyner. On the first side of Dedication, Hancock restricts himself to the grand piano for renditions of his classics “Maiden Voyage” and “Dolphin Dance” (both of which first appeared on the Blue Note album Maiden Voyage in 1965). The second side of the album is drenched in electronic textures and soundscapes. “Nobu,” a song Hancock dedicated to a close Buddhist friend, Nobu Urushiyama, is underpinned by a loop reminiscent of Sextant’s “Rain Dance,” while Hancock’s solo on “Cantaloupe Island” is superimposed over the bass line of an ARP Odyssey synthesizer. Herbie’s contract with Columbia was structured specifically to allow him artistic and creative freedom. He could deliver various projects which were ostensibly not “commercial,” and thus was afforded wide artistic freedom for an artist with an exclusive obligation to a single company. In Japan, Columbia/CBS Records partnered with Sony to form CBS/Sony. The people at Sony Japan had been long-time jazz fans and Herbie aficionados, and they proposed various recording projects, conceived strictly for the Japanese market. His first project with Sony Japan was Dedication (1974). Taking advantage of Sony’s interest in audio technology, Herbie was able to utilize the advances that Sony engineers were developing at the time, often years ahead of the commercial application of the concept. Dedication was a live to PCM digital recording. This was one of the first recordings to use this new technology. One side was acoustic piano and the other side was all synthesized, both recorded live in real time, without any overdubbing.” (Bob Belden) Price: 100 Euro

972. HANCOCK, HERBIE: “Death Wish” (CBS SONY – SOPN-101) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Super clean copy of 1974 Japan only Death Wish soundtrack issue, all complete with obi and insert. Herbie Hancock extends the reach of his Head Hunters- vintage electric music into the soundtrack field, with some switchbacks to earlier styles and old-fashioned movie suspense music thrown into the eclectic mix. Jerry Peters provides the requisite orchestral backgrounds, and the wah-wah guitar licks give some indication as to where Herbie's funk music would be going in the future. The main title music is the best track -- tense, streaked with Hancock’s echo-delayed electric piano and understated orchestrations. A good deal of the record, alas, is filled by listless film cues that are meaningless without the action in front of you. Still, the results are, in general, more intriguing than usual for the film genre. Comes housed in Japan only sleeve art – with obi and insert, all complete! SOLD


973. 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
974. HANDY, JOHN & ALI AKBAR KHAN: “Karuna Supreme” (MPS Records/ Teichiku Records – KUX-12-P) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan 1975 first original pressing all complete with rare obi. Classic outing of East meets West aesthetic with Ali Akbar Khan clearly taking home the prize. First time I could see a copy with obi. Price: 50 Euro
975. HANI MIO & KITAJIMA OSAMU with MIYASHITA FUMIO, SAYU EIICHI, ISHIKAWA KEI and ARAI MINAMI (basically FAR OUT backing up): “Mio To 11 Piki no Neko” (Warner – L-8014W) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint has some faint mildew spots on cover/ Obi: Near Mint/ 12-Paged Booklet: Mint). WHITE LABEL PROMO in top shape!!!Hideously rare and impossible to get Japanese psychedelic masterpiece by ex-Far Out and Far East Family Band main man assisting a 7 year old kid on his trip through the love and death of 11 beloved cats. Original 1972 pressing that comes on the green Warner label and complete with OBI and the hugely detailed picture booklet. Basically this by Kitajima produced album was completely backed up by the band FAR OUT, who did not record their eponymous album until the following year in 1973 but their slowly acidic drenched lysergic jamming is already present on this monster album, only to fully explode when the second side rolls in and which they would perfect for their sole album the following year. The whole affair starts off with a distinct Far Out vibe backing up this young kid singing and talking about her cats. So basically this is a children’s disc where the musicians are tripped out lysergic gunslingers and although it may be deceptively innocent at beginning to dive into this album, it slowly grows darker and darker and acidic intoned. Mio starts singing off in an upbeat, playful and joyous style, interrupted by instrumental breaks where she lovingly raps away about her beloved cats. The scenery is almost folky but with some stoned laidback vibes shimmering throughout. The mood is light, upbeat and optimistic but as soon as side a draws to a close and side b begins the whole affair gets darker and darker as one of the cats gets sick and eventually dies, sucking you into a distorted perceptive and hallucinational vortex of slow bubbling paranoid dementia. And on that moment the true lysergic downer jam-infested riffage of the backing band comes shining through, revealing the true identity of the hired, longhaired acidic gunslingers that are Far Out in the making. Just a splendid record that till this day is still undetected by non-Japanese psychedelic music lovers. The reason for this is that it is a hideously rare album and that it basically always got rightly labeled as a children’s album but no one bothered to point out the lysergic nature of this gem. Largely unknown, but mind-blowingly great, this is one of my all-time treasured and favorite Japanese children/ psychedelic/ hybrid records of all time. Just never shows up on these shores since the album sold so depressingly badly upon its release that only a handful copies remain in circulation. Still affordable at a cheap price until a larger crowd will get air of it and push it through the roof. Just a massive disc and possibly the one to pick up out of this list. Filled with great acid deranged guitar licks and that will please everyone who is into Far Out and Far East Family Band discs. Simply a MUST!!!!! Price: Offers!!!
976. HANNIBAL MARVIN PETERSON & THE SUNSHINE ORCHESTRA: “Conducted by David Amram Performing Children of the Fire” (Sunrise Records – Dimension 1/ Record No. 1944) (Record: Near Mint/ Jacket: Mint – still housed in shrink – perfect condition/ Insert: Mint).1974 US private press original of an all-time lost classic deep jazz album by Hannibal Peterson and The Sunrise Orchestra. Hannibal Peterson was a seasoned cat who has played with Pharoah Sanders, Gil Evans, Roland Kirk, Elvin Jones, Archie Shepp and many more. Influenced by everyone from John Coltrane to Cecil Taylor, the Sunrise Orchestra and Hannibal molded "Children of The Fire" into a unique deep jazz album composed as a suite and featuring a full orchestra. The end result is one of the most beautiful, most sophisticated and most fully-realized sessions from trumpeter Hannibal and a record that features some incredible larger backings from David Amram! The set's a haunting suite dedicated to the children of Vietnam – one that starts out in a darkly brooding mode, but which opens up with some extremely redemptive moments as the set moves on – done in a very spiritual approach to soul jazz that's strongly in the Alice Coltrane tradition! Instrumentation includes a small string group, plus added percussion – and musicians on the set include Art Webb on flute, Richard Davis on bass, Billy Hart on drums, Michael Cochran on piano, and Hannibal himself on both trumpet and koto. The lovely Alpha Johnson sings on a few of the album's tracks, and the whole thing is very warm and deep, and has a lot of variance in tempo and mood, with a strong spiritual feel similar to that of some of the more ambitious Strata East recordings from the time! Rare original in perfect shape, still housed in shrink and complete with insert. Impossible to upgrade upon. Price: 275 Euro
977. HANNIBAL MARVIN PETERSON & THE SUNSHINE ORCHESTRA: “The Light” (Baystate – RVJ-6023) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing – Japan ONLY issue from 1978 all complete with obi and insert. Not only are the contents of this slide amazing, also it is quite a scare title as it was only released in Japan at the time on the influential Baystate label. Hannibal Marvin Peterson put down another spiritual jazz killer, filled with vocal ear waxing excursions and heath throbbing percussive rattles. Produced by Ozawa Yoshio, “The Light” is top shelf spiritual Afro-Jazz in which the piano takes the foreground thriving on shakes, tremulous vibrations and sonorous clatter, deliriously infectious female chanting, interlocking with Hannibal’s highly idiosyncratic trumpet playing, taking the whole album towards an utterly strong and lyrically induced ebbing sound creation, guiding you towards the deepest abysmal regions of spiritually intoned jazz. Listening to this one just brings tears to my eyes… so good it actually hurts! Price: 175 Euro
978. HAPPENINGS FOUR: “Magical Happening Tour” (Capitol – CP-8416) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Mint). Original 1968 pressing on blood red wax. Complete hyper rare item complete with the Obi, which is always missing. The icing on the cake however is that the whole group signed the album inside of the gatefold, making this a highly unique and one of a kind item!!! Comes with beautiful psychedelic designed obi. Comes in a gorgeous fold out jacket, depicting the members of an old 10.000-yen note. Happenings Four were a group centered around Kawauchi Kuni (Kirikyogen fame). This was the band's first released artifact that came out in July 1st, 1968. Great GS psych combo that build up their sound around great vocal harmonies, ripping organ leads, fuzz guitar breaks and has some Sgt Peppers feel attached to some of its compositions such as the track “Happenings Theme” and “Magical Mystery Tour”. Like every self-respectable GS outfit, they sucked in the necessary Beatles influences but managed to transform them and reshape them into their own sonic conquest. European exotism blends neatly with oriental concepts of early psychedelic music, attributing the music with even more mind-bending qualities. Ear candy of the upper echelon that fuses soft rock with garage, psych and swirling sonic excursions. Just so bloody great and an old time favorite of mine. Highest recommendation. Rare original pressing on blood red wax!!! Copies with obi never surface – let alone fully signed ones so…serious offers invited. Price: Offers!!!!!
979. 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!!!
980. HAPPENINGS FOUR + ONE: “Hikishio-Michishio” (Capitol Records – UPJY-9130) (Record: Near Mint ~Mint/ Gatefold Jacket: Mint/ Obi: Mint). Quickly out of print limited high quality and faithful reissue of only 500 copies – all complete with OBI. For some strange reason also known under the name “The Long Trip”. Hideously rare and much sought after psychedelic progressive album by Kawauchi Kuni's Happenings Four group, here augmented with one extra member. Although not mentioned in the album's credits, Mizutani Kimio said he guested on this album and hence the “+ One” tag, referring to his presence during the sessions of this masterpiece. Released on August 5th, 1971, this was the last album by Kuni Kawauchi's Happenings Four outfit and after having dabbled with various styles such as Latin induced sounds, Bugaloo and classic themes, Soft Rock and Underground styled settings, this album would be their finest and see them steering into psyched out progressive rock infested waters spiced up with Mizutani's guitar leads taking the band to that next level of planetarian existence. Although they debuted as GS outfit, this last album by them is surely far removed from their humble origins. This entire disc is a fantastic Japanese progressive rock album stuffed to bursting with heavy organ riffage and superb electric guitar leads. It would be the band's final and their rarest release, venturing into more prog spiked soundings far removed from their early days You may also recognize Kuni Kawauchi from the fantastic album “Kirikyogen” which he made with some Flower Travellin' Band members way back in 1970. This disc is as good and is almost next to impossible to score on these shores. Comes in great gatefold sleeve. Excellent copy containing vicious music for the adventurous mind, lifting up another tip of the veil that enshrouds the hazy world of Japanese early seventies psychedelic and progressive rock. The Happenings Four were the one of the most interesting bands to have survived from the first petal-kissing hey-daze of the GS days and mutate into the schizoid 1971 present and setting in at a level of pioneeringly outrageous exercise in vocal harmonics cross breeding with psyched out progressive touches. A masterpiece and one of the best discs to seep out of Japan. High quality Japanese pressing straight from the original masters, housed in thick gatefold sleeve and with identical original obi reproduction. Long gone and out of print in the blink of an eye. Price: 85 Euro
981. HAPPY END: “S/T” (URC Records – URL-1015) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint) RARE 1st Original Press issue!!!! First issue with first issue obi, priced at 1900 yen, which makes it the very first issue!! Great original copy of this subliminal West Coast rooted psychedelic all time Japanese Psych classic. The band was often compared to the Buffalo Springfield. Great psychedelic gem in stunningly great condition. Originally released in August 1970, here you have the chance to lay your hands upon a great copy of this psychedelic electric folk album, great vocalizations, stunning instrumentation, great psychy influences overall. Just an all time classic and historical album that helped to shape the course of Japanese music to come hereafter. Mega recommended. This one is getting so bloody rare because it comes with the always-missing obi. Last copy to pop up on e-bay went for 283 Dollars and even had no obi. Crazy. It was advertised as the 1st press but actually this is the 2nd press of 1970. First pressings have slightly different obi and fetch prices twice as high. Only one year in difference, this copy is as good as you can possibly get one. This one is a top copy with all intact. They do not come better than this one, ultra rare original copy. One of the all-time best records to seep out of Japan, killer classic that is getting scarcer with every breath you take as 1st press issues are disappearing at an alarming rate and bordering on total extinction. Price: 250 Euro
982. HAPPY END: “Kaze Machi Roman” (URC Records – URG - 4009) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint – has a couple of very faint aging spots but very minimal/ 4-Paged Insert: Mint/ Obi: Near Mint). Complete copy w/ OBI. True 1st pressing. This is a true 1st issue. Originally released in 1971, great copy of this subliminal West Coast influenced psychedelic Japanese Psych classic. The band was often compared to the Buffalo Springfield. Great psychedelic gem in stunning condition seen its age. The disc is considered a milestone in Japan's rock history and here you have the chance to lay your hands upon a great copy of this psychedelic electric folk album, filled up with great vocalizations, stunning instrumentation, great psychy influences overall. You could refer to the Happy End as the Oriental Buffalo Springfield and musically it dwells into similar psychedelic folk induced regions spiked up with some lysergic touches and a downtown Tokyo-esque feeling that got beaten up by seasonal winds coming from the country side, battering down upon the mega-polis concrete jungle and its skyscraping cliffs of madness. In other words a rural feel clashing with city life grandeur at the start of the seventies. Just an all time classic and historical album that helped to shape the course of Japanese music to come hereafter. Mega recommended. Killer stuff. A must for anyone who considers himself vaguely interested in Japanese music, underground and psychedelic rock. No Happy End – No grasp on Japanese rock culture. Indispensable and getting bloody tough to dig up here in Japan in top condition. Price: 275 Euro
983. 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

984. The HAR-YOU PERCUSSION GROUP: “Welcome to The Party b/w Feed Me Good” (Killer Cuts – KC-008) (7 Inch Single Near Mint ~ Mint/ Picture Sleeve: Mint). Long deleted Japan only single issue of brain-melting great slide. A fantastically dynamic blend of Afro-Cuban rhythms with richly melodic jazz overtones capturing the sound of people on the brink of becoming great players. The roaring horn-section is together and on the beat, but yet not quite confident enough to really stretch out, which only adds to the natural, almost naive kind of charm of the songs. Rarely seen Japanese single issue. Price: 85 Euro

985. The HARD-ONS: “Ferdi’s Song b/w All Set To Go” (Waterfront – DAMP-47) (7 Inch Single: Near Mint/ Picture Sleeve: Near Mint/ Fold Out Insert: Near Mint). 1987 original killer punk slide from down-under that comes with eye-gauging artwork both on sleeve and the 2-sided gatefold insert. So killer but kind off evaporated into the clouds of obscurity, which is a damned shame. Price: 50 Euro
986. HARPER, BILLY: “Capra Black” (Strata-East/ Trio Records – PA-7091) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan original 1st pressing in top shape, all complete with obi and insert. “Capra Black remains one of the seminal recordings of jazz’s black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper’s inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper’s tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.” (All Music Guide). What a slide, one of the high-water marks on the label. Price: 175 Euro

987. 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

988. 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
989. HARRIOT JOE & MEYER, JOHN: “Indo Jazz Fusion” (Atlantic) (Record: Excellent/ Jacket: Excellent/ Obi: Excellent) Original US press that got adorned with an obi to accompany its domestic release in Japan, at that time as an import only record. Copies with obi, seen that there was no Japan press of the disc at the time of its release, bloody rare and almost impossible to get. The music on the other hand is just stellar, an unique mixture of spiritual jazzy riffage blending neatly with eastern mysticism, creating quite a hallucinatory listening experience. Original press in excellent condition and with obi, making this item so bloody rare my eyes start bleeding every time I look at it. Bloody cheap price as well seen against its rarity status and condition. Price: 150 Euro
990. 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
991. HARRIOTT, JOE & JOHN MAYER DOUBLE QUINTET: “Indo-Jazz Fusions II” (Columbia Records – SCX-6215) (Record: Excellent ~ has one inaudible but clearly visible long scuff on side 2, for the rest it is virginal, playing is also virginal/ Flip Back Jacket: Excellent/ Company Inner Sleeve: Near Mint). Original 1968 UK pressing – top copy. Legendary LP canned by Brit avant altoist Joe Harriott and Indian musician John Mayer. The album is just totally great, and is certainly one of the rarest Joe Harriott related albums he cut with the famous double quintet, which was led by Mayer and Harriott himself. Like the other LP on the list, the second one also mixes swinging hard-edged jazz with Indian rhythms and melodies, uniting intimately a whole combustible mixture into an incredible trans-world blend of styles that still stands as one of the most successful world/jazz crossover efforts ever! This all resulted out of Harriott teaming up in 1966 with Indian musician/composer John Mayer and together they collaborated on these unique infusions of modern jazz and traditional Indian music. Harriott’s group (alto, trumpet, piano, bass and drums) was juxtaposed with Mayer’s (violin, sitar, tamboura, tabla and flute) in several traditionally structured ragas, as well as scored pieces. The results were dazzling with the two ‘sound worlds’ mingling remarkable well. Whereas many pop musicians of the day were using Indian music in a decorative sense (i.e. adding sitars, tabla or tamboura to accent their music), Harriott and Mayer managed to produce a true concoction in which the jazz players and the traditional Indian players worked in a complementary fashion. As a result the sounds have a distinctly organic feel as if the music was not in fact a fusion but a cohesive, natural ‘whole’. In all it is just jaw-dropping beautiful music that should appeal to free improve headz as well as to swinging butt-shaking chicks. Truly astonishing and fantastic. Original 1968 UK press!! Price: 75 Euro

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

993. 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

994. HARTH, ALFRED with NICOLE VAN DEN PLAS; THOMAS CREMER; PETER STOCK & FRANZ VOLHARD: “4 Januar 1970” (Record-Ton – RS-3000) (Record: Near Mint/ Jacket: Near Mint). Damned rare 1970 German private pressing that came out in a minuscule run. The first recording featuring Alfred Harth. This primeval vinyl, self-released in 300 copies, encloses the recording of a summit that took place in Frankfurt. It is one of the earliest episodes in Alfred Harth's discography, all the more charming given its age – which in any case is not echoed by the material comprised, fresh-sounding to this day. Harth and drummer Thomas Cremer had met pianist Nicole Van Den Plas in 1969 at a jazz festival in San Sebastian, Spain; at the same time, the Just Music collective – also featuring cellist Franz Volhard and bassist Peter Stock – was taking shape so in essence this LP documents the meeting of Just Music plus the extra addition of Van Den Plas. Each member sounds concentrated, eager to actively contribute to the communal improvisation until they all get locked into a communal strive and embarking upon a deep subterranean journey, with Van Den Plas' abstract vocals appearing here and there. 4 Januar 1970 is blessed with an intuitive approach, floating upon an enticing spareness with Harth's soprano work sounding especially wistful. As a whole, the combo turns air to solid with their intimate musings, talking brass, laughter, and abstract vocalizations until something musical takes shape. Just beautiful. Top condition 1st original pressing! Price: 400 Euro

995. HATFIELD and the NORTH: “S/T” (Virgin Records – YX-7027-VR) (Record: Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). First original Japanese press issue of the very first Hatfield and the North debut LP, all complete with first issue obi. Cornerstone Canterbury progressive rock masterpiece that is just indispensable. If you love Wyatt, Soft Machine, Matching Mole, Caravan and cohorts, well this one fits in right in the middle of that group. One of the Canterbury scene's most revered bands, Hatfield and the North made up for the brevity of their career with some fascinating music. Always adventurous, the quartet had the keen sense to realize that only the most hardened jazz fans respond to numerous key changes and exceedingly complex time signatures, and thus enlivened their live set with the odd gnome smashing, suggestive lyrics, and jokey song titles. It worked a charm, with the band quickly amassing a large, loyal following at home in Britain and across the continent. On their eponymous debut, Hatfield stunningly succeeded in translating both their sense of fun and their musical brilliance onto disc. After a bit of light humor, the band slide into "Going Up to People and Tinkling," which glides gloriously across the keys and rhythm shifts. Both "Calyx" and "Aigrette" experiment with vocals as an instrument, while the exuberant "Rifferama" is a master class on the use of riffs. However, it's the expansive "Son of 'There's No Place like Homerton'" that forms the album's centerpiece, a propulsive, keyboard driven piece that still awaits a modern dance troop's attention.” (All Music Guide). Top condition Japan first pressing all complete with much in demand first issue Virgin Obi, impossible to ever upgrade upon. Price: 200 Euro
996. HAVENSTREET: “The End Of The Line” (Rissole Records – KAB-1034) (Record: Excellent ~ Near Mint/ Jacket: Excellent with no splits or damages, has some faint ageing spots visible against white background/ Booklet: Near Mint) Original 1977 UK private press record released in 1977 in an edition of only 250 copies. The genesis of Havenstreet goes back to 1969, when Phil Ridgway and Jeff Vinter played in The Gas, an experimental psychedelic band heavily influenced by Barrett-era Pink Floyd. The two friends started to write songs their own songs, ending up as a folk duo. With the offer to record some of their material at a friend's studio, they recruited more musical friends…so Havenstreet was born. The influences had expanded now to bands and artists such as Peter Hammill, Strawbs, Traffic, Procol Harum, Stackridge, Keith Tippett, Bert Jansch…In the early-mid 70s they recorded a couple of albums which circulated as private cassettes among friends and relatives. Havenstreet became a competent little folk duo who released two albums as private cassettes before making The End Of The Line in 1977. Very much in step with the prog-folk of the time, and ably augmented by an array of instrumentation, the pair weren’t too far away from a minor-league Canterbury sound – and, indeed, Vinter does sound like Caravan’s Richard Sinclair… a bit. In 1977, Havenstreet released 'The End Of The Line', a self-released album in a private edition of 250 copies. It was collection of very English songs with evocative, literate lyrics and a stunning progressive folk-rock sound. It featured one of the earliest known tributes to Syd Barrett on the song 'When the madcap meets the world'. Price: Offers!!
997. 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 single sleeve issue one and got a gatefold sleeve instead of the single sleeve the 1st edition was graced with!!! Second Hawkwind album and the one to put them on the map. Original 1st edition Japanese pressing, complete with 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. SOLD
998. HAWKWIND: “In Search Of Space” (Liberty – LLP-80663) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Near Mint/ Booklet: Near Mint). TOP COPY WHITE LABEL PROMO ISSUE – Japan original, 2nd issue that came out slightly after the above mentioned one and got a gatefold sleeve instead of the single sleeve the 1st edition was graced with!!! Second Hawkwind album and the one to put them on the map. Original 1st edition Japanese pressing, complete with Rock Now obi attached and booklet. Hardly ever turns up, let alone in an exquisite condition like this baby here. Music needs no introduction I guess, filled with space hymns and acid deranged visionary lyrics, enough to fill a lifetime. A classic and I still, ride massively hard for this one. Obligatory mind food. Price: 350 Euro
999. 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
1000. HAWKWIND: “Space Ritual” (Liberty Japan – LLP-93091B) (2 LP Set: Near Mint/ Fold Out Poster Jacket: Near Mint/ Additional Poster: Mint/ 12-Paged Booklet: Mint/ Obi: Mint) Rare superior Japanese pressing out of the seventies of this whirling space rock monster. Comes with a booklet that is not present in the UK edition and an extra poster, which is also not present with the UK edition. The music is as you might know a lysergic throb of seemingly never ending space-deranged pulsations, acid flashbacks, Michael Moore styled SF lunacies set to sound and other intoxicating mindbenders. Dave Brock wailing resembles a jellyfish on an STP binge, while Lemmy’s bass lines and Nik Turner’s sax vibrations provide a perfect ergot induced balance to prevent the amphetamine roller coaster from derailing. How your brain cells will cope with this sonic assault remains an open question, I for all will not be held responsible for any eventual “permanent damage” after sitting through this 2 LP set. Price: 450 Euro
1001. HAWKWIND: “Warrior On The Edge Of Time” (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ BIG POSTER: Mint). Japanese original 1st pressing complete with obi and insert & POSTERFifth Hawkwind album and the final one of that classic first generation era. Essentially based on the Eternal Champion Mythology created by the author Michael Moorcock, “Warrior on the Edge of Time” is on a par with “Hall of the Mountain Grill” as one of the key Hawkwind albums to carve out their space age psychedelic mythology. It was also the last album to have Lemmy in their ranks before he got sacked and formed Motorhead. Hawkwind hit their high water mark here and the musicians were at the height of their stylistic powers. Original 1st edition Japanese pressing, complete with Rock Now obi attached and insert. Hardly ever turns up, let alone in an exquisite condition like this baby here. Music needs no introduction I guess, filled with space hymns and acid deranged visionary lyrics, enough to fill a lifetime. A classic and I still, ride massively hard for this one. Obligatory mind food. Price: 400 Euro
1002. HAYNES, ROY with PHINEAS NEWBORN & PAUL CHAMBERS: “We Three” (New Jazz/ Universal Music Japan – NJLP-8210) (Record: Mint/ Jacket: Mint/ Obi: Mint). Scarce Japan high quality deluxe and original pressing of eons ago that vanished like snow in the sun. 200 gram heavy-duty virginal vinyl pressing that sounds like honey dripping into your ears We Three recorded in a single session on November 14, 1958, was the first American studio date as a bandleader for the diminutive and legendary jazz drummer Roy Haynes although with pianist Phineas Newborn on board (along with bassist Paul Chambers), it really is a set dominated by Newborn, whose busy, two-handed technique here works in tandem balance with Haynes cool refinement. Newborn was all about amazing and dazzling piano runs that on some dates created simply too much flash and clutter to allow pieces to flow and breathe properly, but Haynes has always been about grace and flow throughout his career (if a drummer's style can said to be elegant, Haynes fits the bill), and here he rubs off on Newborn, who exercises just enough restraint to keep him in the proper orbit, resulting in a fine album. Highlights include the easy, pure swing of the opener, a version of Ray Bryant’s "Reflection," a wonderful and bluesy rendition of Avery Parrish’s "After Hours" (which finds Newborn in perfect balance between explosive ornamentation and smooth functionality), and a jaunty, fun spin through Newborn’s own "Sugar Ray," a tribute to boxer Sugar Ray Robinson. This trio had a brief recording career together, but as this solid set shows, they made the best of it.” (All Music Guide). Comes with obi. Price: 75 Euro
1003. ROY HAYNES QUARTET: “Out Of The Afternoon” (Impulse – NY-14) (Record: Near Mint/ Flip-back Jacket: Near Mint). Freakingly rare 1963(!!!) Japan 1st original MONO pressing that comes housed in a fragile flip back sleeve. “Out Of The Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes’s drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan’s piano playing is equally light and delicate; Grimes’ bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk’s sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.” (All Music Guide). Top condition 1963 MONO original 1st press. Price: 150 Euro
1004. ROY HAYNES QUARTET: “Out Of The Afternoon” (Impulse – IMP-88086) (Record: Near Mint/ Gatefold Jacket: Excellent – has some faint foxing spits visible/ Insert: Near Mint/ Obi: Near Mint) Scarce 1971 Japan 2nd press issue that comes housed in a thick gatefold sleeve, all complete with obi. “Out Of The Afternoon is a splendid sounding 1962 set from the Roy Haynes Quartet which, at the time, consisted of Haynes, Henry Grimes on bass, Tommy Flanagan on piano, and Roland Kirk on saxes, manzello, stritch, and flutes. The album is a delightful mix of techniques in arrangement and performance, with all of the musicians delivering terrific work. Haynes’s drumming is absolutely wonderful here, lightly dancing around the other instruments; Flanagan’s piano playing is equally light and delicate; Grimes’ bass work is outstanding (during "Raoul" you have a chance to hear one of the few bowed bass solos on records of that era); and there's no more to be said about Kirk’s sax and flute work that hasn't been said a hundred times, apart from the fact that the flute solos on "Snap Crackle" help this cut emerge as particularly outstanding.” (All Music Guide). Great shape and rare with OBI present. Price: 75 Euro
1005. 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
1006. 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
1007. HELDON: “Stand By” (King/ Egg Records – GP-706) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint/ Obi: Near Mint/ 4-Paged Insert: Near Mint). Original 1st press Japanese edition, complete with obi and in total mint condition. This was Heldon's last studio release. Stand By features the classic trio lineup of the brilliant Francois Auger on percussion, Patrick Gauthier on keyboards and Pinhas on guitars, keyboards and electronics, with some additional assistance from Didier Batard on bass, Didier Badez on sequencers and Klaus Blasquiz doing voices. The two long pieces are an interesting contrast. The title piece starts with some nasty distorted fuzz guitar from Pinhas over ponderous, menacing bass and drums. King Crimson at its most aggressive could be considered a model, but this track is also very close to the so-called zheul sound of Magma, which shared Pinhas' interest in science fiction motifs, among other things. Later in the piece, the band switches gears somewhat with a slightly quicker tempo, but then after a couple of minutes settles back into a grinding, heavy metal sound. After a short and much jauntier electronic interlude comes the second long piece, Bolero, which uses the well-known Spanish rhythm in an opening section, but then moves into a long space jam which is anchored by a strong sequencer pulse. The result is some very effective kosmiche space music, much in the vein of early Klaus Schulze. From a later vantage point, the musical style here is quite familiar, but what makes Heldon's piece a superior thing of its kind is Auger's imaginative percussion, Pinhas' loose, soaring guitar improvisation on top of the precise electronics, and the general interplay among musicians and between acoustic, electric and electronic instruments. Not cookie-cutter stuff by any means, this piece gives the German audionauts such as Schulze and Tangerine Dream some worthy competition.” (William Tilland, All Music Guide). A classic disc, still rules my everyday life. Bloody cheap 1st original Japanese press….Price: 75 Dollars
1008. RICHARD HELL: “Another World b/w Blank Generation – You Gotta Lose” (Stiff Records – BUY-7) (7 Inch EP Record: Near Mint/ Top Loader Picture Sleeve: Near Mint). Original UK pressing of classic Hell slide. On the 18th of November 1976 Richard Hell - later to be Richard Hell and the Voidoids- released the three-track 45rpm 7 inch EP - the Another World EP on Ork Records in the US, closely followed by a UK release on STIFF that came housed in alternate sleeve art. This contained, on the A-side, (I Could Live With You In) Another World, which was a very unpunk-like six minutes long, and it's probably as well that this has more or less sunk without a trace. More importantly, however, was what was on the flipside of the record. There were two tracks, (I Belong To The) Blank Generation and You Gotta Lose. The first of those, Blank Generation, was to go on to inspire the Sex Pistols' Pretty Vacant, amongst other things. Anyway, three killer tracks housed in cool picture sleeve. Price: 40 Euro

1009. RICHARD HELL & the VOIDOIDS: “Blank Generation” (Warner Bros. Records Inc. – SR-6037) (Record: Excellent – has some faint hairlines visible under bright light/ Jacket: Excellent ~ Near Mint). RARE US TEST PRESSING from 1977. As a member of Television & the Heartbreakers, Hell was one of the first men to appear on the US Punk and No Wave scene. He quit both groups before they could record and was into his late twenties when he stepped up to the microphone to record with his tequila-fueled vocals this all-time punk classic. As is the case with the Hell’s lyrics, there’s more to music than first meets the ear and his version of punk wasn't much like anyone else's. Though the vernacular deals in three-chord slang, the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that, largely thanks to guitarists Robert Quine and Ivan Julian who bounced sharp, edgy patterns off each other that were more about psychological tension than brute force. Robert Quine’s was the mature one in the band at that time – he was 35 and as much influenced by Ornette Coleman as the Velvet Underground and this simmers through into his lends the guitar licks that would not be out of place on a on a Captain Beefheart album. That combined with Hell’s truly unique voice brimming with ideas and musical intelligence perfectly encapsulate the environment that spawned them resulting in The Blank Generation bottling up the smell and feel of the whole NY CBGB era, making it a thrilling and improbably poignant listening experience. Rarely offered TEST PRESS issue with jacket!!! Price: 400 Euro


1010. RICHARD HELL & the VOIDOIDS: “Blank Generation” (Philips – RJ-7320) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). WHITE LABEL PROMO ISSUE!!! 1977 original Japanese first pressing that came out on Philips. As a member of Television & the Heartbreakers, Hell was one of the first men to appear on the US Punk and No Wave scene. He quit both groups before they could record and was into his late twenties when he stepped up to the microphone to record with his tequila-fuelled vocals this all time punk classic. As is the case with the Hell’s lyrics, there’s more to music than first meets the ear and his version of punk wasn't much like anyone else's. Though the vernacular deals in three-chord slang, the Voidoids could play fast and loud when they wanted to, but for the most part this group's formula was much more complicated than that, largely thanks to guitarists Robert Quine and Ivan Julian who bounced sharp, edgy patterns off each other that were more about psychological tension than brute force. Robert Quine’s was the mature one in the band at that time – he was 35 and as much influenced by Ornette Coleman as the Velvet Underground and this simmers through into his lends the guitar licks that would not be out of place on a on a Captain Beefheart album. That combined with Hell’s truly unique voice brimming with ideas and musical intelligence perfectly encapsulate the environment that spawned them resulting in The Blank Generation bottling up the smell and feel of the whole NY CBGB era, making it a thrilling and improbably poignant listening experience. Top copy high quality Japan 1977 first press – white label promo!!! Price: 300 Euro
1011. RICHARD HELL & THE VOIDOIDS: “Blank Generation – Mono version b/w Blank Generation – Stereo version” (Sire – SRE-1003) (7 Inch Single Record: Near Mint/ Fragile Picture Sleeve: Excellent). Rare US original 1977 PROMO single. Price: 85 Euro
1012. RICHARD HELL & the VOIDOIDS: “The Kid With The Replaceable Head b/w I’m Your Man” (WEA Records – ADA-30) (7 Inch Record: Near Mint/ Picture Sleeve: Excellent). Original UK pressing from 1979 of subliminal Hell slide. Price: 30 Euro
1013. HELL, RICHARD & The NEON BOYS b/w RICHARD HELL & VOIDOIDS: “That’s All I Know (Right Now) – Love Comes In Spurts b/w Time – Don’t Die” (Shake Records – SHK-101) (EP Record: Excellent/ Picture Sleeve: Excellent). Original US pressing that came out in 1980 of killer 4 track EP. Price: 40 Euro
1014. RICHARD HELL & VOIDOIDS: “I Wanna Be Yer Dog b/w You Gotta Lose – Walk On The Water” (3 Track Ep Record: Excellent/ Picture Sleeve: Near Mint). (Private – No Number). Scare but oh so great live recording of Hell and the Voidoids captured live at CBGB’s somewhere in 1978. Filthy, trashy and sick of glue, just the way you like it. Killer little oddity that hardly ever pops up anymore. Price: 50 Euro
1015. 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!!!!!

1016. HELPFUL SOUL: “Senya Ichiya Monogatari – A Thousand and One Nights” (Victor Records – SJET-8150) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached Illustrated insert: Near Mint/ OBI: Near Mint ~ Mint/ Additional Promotional 31 cm ~ 23 cm & 34 Glossy Paper Booklet: Near Mint/ Attached 55 Cm ~ 22 Cm Poster attached in Booklet: Near Mint). Top condition copy, impossible to ever upgrade upon, perfection!!! Comes with additional Never seen before PROMOTIONAL booklet with poster for the release of the film with cool pictures of the animation and the Helpful Soul in action!!! Well, here you have it, one of the unsung Holy Grails of the Japanese psych pantheon, the second LP (and last) by the Helpful Soul. COMPLETE with always missing OBI and never seen before additional booklet with Poster!!!! This wailing fuzz-drenched and acid-soaked mind bender was used as the soundtrack for the animated film of “A Thousand and One Nights”, designed by and Tetsuka studios released (as a soundtrack LP) in July 1969. After the album's release, the band broke up and Juni Rush went on to form Too Much. But this psychedelic monster was without a doubt the highlight of Juni's short-lived career as spearheading a bluesy hard psych combo with lethal doses of raw guitar assaults, wah-wah lashings, fuzz drenched bass, insane caveman rhythm blasts, you know the real Owsley thing. On this slide, these guys nearly went for the throat. First and only original pressing on the green Victor SJET label. Wilder and lysergically spiked up as their debut album, hallucination induced cover art and blindingly beautiful fold out jacket. Housed in splendid nightmarish acid-leaking cover art in great nick. Copies are virtually impossible to find these days and when they pop up, they are beaten up in most cases. This copy here is near mint, just beautiful and ooh so bloody rare. Hyper collectable screaming fuzz wah-wah blaster that in the years to come will skyrocket through the roof. Copies do not surface anymore and they are getting rarer with each breath you take. If monster oriental psych blasters are your thing, then look not further, this is lysergic madness encapsulated in a time capsule. One of my fave Japanese psych artifacts, this one will frazzle your brain and jacks open your skull, deliriously insane and great greased up fuzz guitar riffage. Hard to believe this was the soundtrack to an animation movie, which in its own right was visually a mind trip. Highest ever-possible recommendation. All complete copies with OBI just do not surface anymore, it has been ages since I had an all-complete copy with attached booklet and additional promo book with poster. Best condition imaginable & with never offered before additional promo book with poster so …. Price: Offers!!!

1017. HENDERSON, JOE: “The Elements” (Milestone/ Victor Records – SMJ-6057) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent/ Obi: Near Mint). Scarce Japan 1st original press issue all complete with obi. One of the greatest Joe Henderson albums of the 70s – a suite of tracks dedicated to the four elements – and served up with some great accompaniment from Alice Coltrane! The style here is a wonderful mix of Coltrane's spirituality and Henderson's down-to-earth soulfulness – in a style that recalls some of the best moments on Coltrane's sublime Ptah The El Daoud album – a set in which Henderson's tenor was a key part. The album, released in 1974, can sit comfortably alongside such contemporaneous classics as Don Cherry’s Brown Rice or Pharoah Sanders’ Love in Us All. Like those efforts, The Elements draws from a heady brew of non-jazz influences from India and Latin America (not to mention hints of dub, funk and soul), resulting in a well-nigh unclassifiable blend. But it’s a blend that always bewitches, whether it’s the appropriately passionate opener “Fire,” which pits Henderson’s rich tenor sax against Coltrane’s cascading harp, or the mystical vibes that fuel “Earth,” with legendary bassist Charlie Haden and drummer  Leon “Ndugu” Chancler  laying down an immovable groove for Henderson, Coltrane and violinist Michael White to float freely over. Price: 250 Euro

1018. 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: 550 Euro

1019. HENNING CHRISTIANSEN: “Abschiedssymphonie” (Edition Block) (Record: Mint/ Gatefold Sleeve: Mint). Henning Christiansen is a sadly neglected and overlooked key figure of the European Fluxus group. This Danish multimedia artist and composer worked in the shadow of the towering Joseph Beuys. This piece de resistance recorded in 1985 is a successful example of Christiansen’s unique combination of mournful melancholy and Fluxus antics. Flanked and performed by Beuys and Nam June Paik, Christiansen combines carefully crafted romantic piano interludes with recordings of nature sounds, birds chirping, primitive but utterly lysergic electronic manipulations, demented telephone call insertions and desolately howling all engulfing feedback noises. The album was issued in extremely limited numbers on the Edition Block gallery label imprint and instead of being sold of as commercial albums; these discs were seen and still have the aura of a artistic artifact shrouded in an air of mystery and high end art. Astonishing recording and an absolute killer disc. Highest possible recommendation. Price: 150 Euro
1020. HENRY FRANKLIN: “The Skipper” (Black Jazz/ Toho Geion Records – YX-6014) (Record: Near Mint/ Jacket: Excellent – small spine indentation/ Insert: Near Mint). High-qiality Japan original pressing of classic Black Jazz slide. One of the greatest moments ever from West Coast bassist Henry Franklin – a set of soaring, spiritual power – and a key demonstration of his rich energy as a leader! Franklin heads a wicked lineup here – playing both Fender and acoustic bass amidst other players who include Bill Henderson on electric piano, Charles Owens on tenor and soprano sax, Oscar Brashear on trumpet, Kenny Climax on guitar, and Michael Carvin on drums – all coming together with a mix of spiritual vibes and soulful undercurrents, in ways that almost give the record a Strata East sort of vibe! The whole thing is certainly one of the most memorable sessions on the Black Jazz label. SOLD

1021. 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

1022. 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
1023. HENRY, PIERRE: “Voile D’Orphee I et II” (Philips Prospective 21 Siècle – 836.887) (Record: Excellent/ Jacket: Excellent, small price tag tear on back). Pierre Henry's 1953 “Veil of Orpheus” is the first example of symphonic “musique concrète”, (the use of non-traditional sources and “real” sounds--like trains, dogs barking, footsteps, etc.-- in place of actual instruments and then electronically manipulating these sounds in new ways.), originally composed for an opera (“Orpheus 53”, written with movement founder Pierre Schaeffer for the Donauescliingen Festival). Despite the quantum leaps made in the field of electronics over the past 50 years, this initial experiment still manages to convey its original importance. The piece uses “concrete sounds” much in the same way a traditional orchestra would use individual instruments. Besides two versions of “Veil of Orpheus” (the original 27 min. version and the second 15 min. version used in the Maurice Bejart-Pierre Henry ballet “Orpheus” in 1958), there are two shorter pieces (“Entity” and “Spiral”), which evoke an unsettling search for meaning that is so often associated with Henry's work. Original pressing as released on the legendary “Silver Philips” series. Price: 75 Euro
1024. 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

1025. HENRY, PIERRE: “Mise En Musique Du Corticalart De Roger Lafosse” (Philips – Prospective 21 Siècle – 6521.022) (Record: Near Mint/ Jacket: Excellent - Near Mint). Very first French original pressing with green colored Philips labels and very first sleeve issue with white back sleeve black silver-foil laminated front sleeve. A strange and furious-sounding electronic opus dating back to the early 1970s and released on the infamous "Prospective 21st century" collection by Philips. The Corticalart (literally: the art of the cortex) was a device imagined and developed by researcher/ musician Roger Lafosse, unsung pioneer of cultural avant-garde action and founder/ director and host of the turbulent Sigma festival in Bordeaux. The Corticalart was a complex device intended to translate the electrical waves of the brain into electronic sounds. Through a system of electrodes that were fixed directly to Pierre Henry's scalp, the Corticalart had to pick up three kinds of electrical signals emanating out of the cerebral cortex. 1. Alpha waves on the back of the skull (state of relaxation, relaxation, rest), 2. Beta waves on the front of the skull (state of wakefulness, attention, activity) and finally arte signals related to eyeball activity. These various very low voltage electrical signals were hooked up to seven electronic sound generators. Pierre Henry had to intervene manually in the form of musical improvisations, through variations of manipulations and amplifications. It was a strange system where the performer was also the basic element and the sound material of the compositions. The music on display here were taken from live recordings from concerts given at the Museum of Modern Art in the city of Paris between February 15 and 21, 1971. Michel Chion witnessed these concerts in 1971 at the Museum of Modern Art in Paris: “The first experience of Corticalart brought a lot of public to the Museum of Modern Art, in its free sessions. a staggering, concentrated Pierre Henry, electrodes on his head, dark glasses on his eyes, enter a wire cage and activate himself on his devices. A television screen transmits the image of his face, tinted in blue for them. Alpha waves, in red for Beta waves, with intermediate nuances. And these are great rhythmic improvisations, on a boiling and obstinate sound flow.” Personally one of the best Henry electronic music recordings to see the light of day, putting on display high tension music that resulted in high voltage reaction, creating an arresting experience as if engaged in trench warfare. Awesome! Top shape. Price: 175 Euro

1026. HENRY, PIERRE: “Messe Pour Le Temps Present” (Philips – 836.893 DSY) (Record: Near Mint/ Jacket: Near Mint). Top condition original French pressing on green colored Philips label. All time classic that is just indispensable. Price: 50 Euro
1027. 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
1028. 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
1029. 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
1030. 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. SOLD
1031. The HERD: “From The Underworld b/w Sweet William” (Philips – SFL-1142) (7 Inch Single Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scare Japan only single issue with picture sleeve. Comes with center piece still attached to single. Price: 50 Euro
1032. HERMAN BROOD & HIS WILD ROMANCE/ LIZARD/ KROKUS/ The VAPORS: “Hot Shot b/w Asakusa Rokku Ku & Tokyo Nights b/w Turning Japanese” (Ariola/ Windmill/ Ariola/ United Artists – CM-288/ CM-289/ CM-293/ CM290) (2 x 7 Inch Single Records: Near Mint/ Thick Gatefold Picture Sleeve: Excellent). Damned scare only released as PROMO issue double singles set that combines 4 derelict bands but Herman Brood & His Wild Romance are especially awesome. Hardly ever surfaces – Japan ONLY 2 singles set promo only derelict issue. Herman Brood fucking kills it! Price: 75 Euro
1033. 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
1034. HILL, ANDREW: “Lift Every Voice” (Blue Note – BST-84330) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Direct Import Obi: Near Mint). US first original 1969 press issue, top condition. NY address on label & EAR mark and “Van Gelder” machine stamped in the dead wax. Comes complete with Direct Import OBI and Japanese linres, damned scarce!!! “A rare and beautiful Andrew Hill session. Hill leads a core jazz group that includes Woody Shaw, Carlos Garnett, Richard Davis, and Freddie Waits — and the group is backed by a vocal ensemble with a very spiritual vibe. The sound is a lot more hip than the Donald Byrd & Voices albums, and the playing of the core jazz group is very very soulful — along the lines of Hill’s Grass Roots album, which was also from the same period. The record’s similar to the Max Roach/Billy Harper vocal work around the same time, and titles include “Ghetto Lights”, “Hey Hey”, “Two Lullabies”, and “Love Chant”. A very unique album for Andrew Hill!” (dusty groove). Great condition Blue Note US original pressing. Jacket has sharp corners, no signs of wear, straight & fully readable spine, etc. Record is Nm all the way, exceptionally well preserved. It is getting damned hard tracking these babies down in great condition and this one is super clean. Awesome slide with salacious OBI. Price: 150 Euro
1035. HILL, ANDREW: “Blue Black” (East Wind – EW-8029) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Japan only issue. Andrew Hill’s Blue Black was one of a series of recordings that he made during the 1970s for the Japanese label East Wind. This 1975 session consists of five challenging originals; joining the pianist are saxophonist Jimmy Vass, bassist Chris White and drummer Leroy Williams. "Golden Spook" is a dense, moody composition full of twists. The somewhat delicate "Mist Flower" showcases Vass on flute, contrasting with the furious "Remnants," a post-bop vehicle leaning toward free jazz. "Blue Black," with Vass playing soprano sax, has a Caribbean rhythm but with wild solos by both Hill and Vass. The final track, "One For," is easily the most conventional post-bop song of the session, though it is no less demanding upon Hill’s musicians. Essential slide that only occasionally turns up it seams…Price: 150 Euro

1036. HINO TERUMASA: “Fuji” (Victor – SMJX-10135) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Cap Obi: Near Mint). First original pressing from 1972 all complete with insert and rare obi. For some weird reason, this one – if it pops up – has always the obi missing, so happy to be able to offer here a top condition and all-complete issue. Largely overlooked but nevertheless amazing slab of Japanese deep jazz out of that fertile early 1970s period. Great early album by trumpeter Hino – with a sound that's reminiscent of some of the Impulse work by artists like Pharaoh Sanders or Gato Barbieri. Takao Uematsu, the tenor player, is on fire and has an excellent hard reed sound and a very spiritual vibe, there where the electric piano player, Mikio Masuda, gives a very cool edge to the sound. Tracks include the excellent originals "Be and Know" and "Reaction", and the album ranks as one of our faves from the Terumasa Hino catalog!  Amazingly great Japanese deep jazz with intoxicating spiritual flavor that is not unlike Pharoah Sanders early Impulse outings. Price: 75 Euro

1037. HINO TERUMASA QUINTET: “Snake Hip b/w Hakuchu No Shugeki Theme” (Columbia – LL-10111-J) (EP Record: Near Mint/ gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve. Near Mint). Japan original pressing of killer two-sider. WHITE label PROMO/ Test pressing! Released in 1970, the movie was directed by an aficionado of Jazz, Kiyoshi Nishimura and starring Toshio Kurosawa in the main role. Originally released in 1969, the big hit "Snake Hip" was edited by Nippon Columbia on 45rpm single. The music breathes out the same vibe that drips out of the great gatefold picture sleeve that has “COOL” written all over it. The A-side has the killer track “Snake Hip”, a smoldering and doped up Japanese jazz-funk slide that has yet to meet its equal. In the movie, the track gets used during a scene shot in a go-go club scene and both the scenery as the youthful vibe that oozes out of the screen sucks you straight into a time-slip vortex! The B-side is also an unrelenting knock-out dope jazz funk slide that is equally addictive as the aforementioned Snake Hip. Not surpringly that the music is so addictive as some of the finest and hippest jazz cats were responsible, being Takeru Muraoka: tenor sax, Hiromasa Suzuki: el-piano, Kunimitsu Inaba: bass, Motohiko Hino: drums and Hino Terumasa on trumpet. Damned scare Japan 1st original pressing, white label promo issue. Top shape! Price: 75 Euro
1038. HINO TERUMASA (Aka Group Everything Everything Everything): “Hino’s Journey to Air” (LOVE – TP-103) (Record: Near Mint/ Silkscreen Jacket: Near Mint). Rare private press issue of killer spiritual jazz slide. Upon blasting “Hino’s Journey to Air” for the first time without knowing what to expect, I found myself catapulted throughout my office, ending up with my back nailed to the wall, screaming around like a guinea pig being just worked over by a pack of wild dogs. The effects of a sonic tsunami are to be treated with caution and in this category belongs this Hino Terumasa beast. Released way back in 1970, the LP was recorded in New York during his first visit to the city and immediately sees Hino flanked by a string of US heavy scenesters and a few Japanese heads such as Steve Grossman (Ts As & Fl), Motohiko Hino (ds & Hp), Pete Yellin (As & Fl), Gary Pribec (As), Dave Liebman (Ts & As), Olu Dara (Tp), Mike Garson (P & Ep), Bobby Moses (Ds), Lanny Fields (B & Gb), Dave Holland (B & Fb) and Teruo Nakamura (B & Gb). Right from when the needle hits the first groove, 2 sidelong free form sonic sprawls spew out mutant variations of electro-distorted jazz freak-outs impregnated with asymmetric grooves, future-primitive tribal rhythmic percussive gravity spinning out of control and heavy-breathing firestorm blowouts. The whole vicious sonic affair comes over like having your nuts set on fire while trying to hold back that silent scream down your throat. Everyone is struggling the hell out of their respective instruments, moving around like heat-seeking missiles locking in onto an agitated demented madness like the rising edge of a speed trip working its way along your spine and up to your cranium. In short, this is king hell fuck-around from start to finish, an emotionally wounded overtone blowout destruction gasping out extremely potent slice of vitriolic illuminated hardcore free jazz. 1970 has never sounded any better than this slide here, just jaw-droppingly amazing. Original 1970 private press in top condition. Price: 200 Euro
1039. 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. SOLD

1040. The HIT PARADE: “In Gunnersby Park b/w Harvey” (Sarah Records – sarah-58) (7 Inch Single Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Insert: Near Mint). Original 1991 press issue on the always-stellar Sarah Records imprint. The first Hit Parade's records were released in 1984. The Hit Parade's second and third singles "My Favourite Girl" and "The Sun Shines in Gerrards Cross" were played on BBC Radio 1 by DJs such as John Peel and Janice Long but were dismissed by the music press as twee and inconsequential. The band originally consisted of three schoolfriends, Julian Henry, Raymond Watts and Matthew Moffatt. Watts moved to Berlin in 1989 to work with KMFDM, Henry developed a business in marketing and journalism, while Moffatt founded his own film lighting company. But they continue to release records, proclaiming the Latin motto "Semper Eadem" ("always the same"). The Hit Parade signed to Sarah Records label and recorded “In Gunnersbury Park b/w Harvey”. Price: 40 Euro

1041. HITCHCOCK, ROBYN & THE EGYPTIANS: “Fegmania!” (Midnight Music – CHIME-00.08D) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). UK 1985 first original pressing. “After the stripped-back collection I Often Dream Of Trains, Robyn Hitchcock slowly formed a backing band called the Egyptians with ex-Soft Boys Andy Metcalfe and Morris Windsor and keyboardist Roger Jackson over the course of the next year. Fegmania!, the Egyptians’ first album, was a distinct departure from both the Soft Boys and Hitchcock’s previous solo work, featuring layered, intertwining guitars and keyboards that created lush and thick sonic textures. Even with the more detailed arrangements, the songs remained twitchy and off-kilter, with melodies that usually went in willfully unpredictable directions, yet remained catchy all the while. Fegmania! Was Hitchcock’s most consistent work to date, featuring such highlights as the Eastern-tinged "Egyptian Cream," and the creepy "My Wife & My Dead Wife," and the relatively straightforward "The Man with the Lightbulb Head." (All Music Guide). Price: 35 Euro
1042. HITLER SS b/w TAMPAX: “Hitler’s Vogue – Slave Naked – No Solution b/w U.F.O Dictator – Tampax (In The Cunt)” (Napalm Records) (EP Single: Near Mint/ 2 Sided Sleeve: Near Mint/ Insert: Near Mint). Long gone and out of print high quality limited reissue of this awesome Italian punk two-sider. Really killer punk single with two bands taken up each one side of the EP. Both are stellar and especially Hitler SS is a head cleaner, blessed with fluid spacey and quite psychedelic sounding guitar playing that stands out against the snotty and snarly vocals, underscored by a primitive but very effective rhythm section. But the guitar is killer and makes me feel like a trigger-happy cop in a fear frenzy! So awesome and one of my all time fave punk releases!!! That aside I love the politically incorrect band names, you can’t hardly go wrong with those without kicking some bourgeois sucker in the crotch. Love these kids embryonic sense of humor!!! A brilliant mix of defiance and despair! What ya want more? Price: 40 Euro
1043. 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
1044. 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
1045. HOLDERIN: “Holderins Traum” (Pilz – 20211314-5) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Top copy first original German pressing on the highly collectible Pilz label. Holderlin established themselves in the mid-seventies as the leading German folk-rock band, in close competition with Ougenweide. The group came together in December 1970. When Rolf- Ulrich Kaiser took over the management of the Pilz label in late 1971 he wanted to transform it into a progressive folk label, and Holderlin gained the opportunity to record their debut album Holderlin's Traum in January 1972 in the Dierks Studio. This collection of seven songs captured the sextet in excellent shape, resulting in an all-time classic album. Several members had a classical music education, which was evident in the refined and complex arrangement. Together they handled 15 different instruments! Even so, three guests were featured: Peter Bursch (sitar, from Broselmaschine), Mike Hellbach (tablas, also from Broselmaschine) and Walter Westrupp (recorder). As the title hinted, the music had a dreamy, sometimes psychedelic atmosphere. Dieter Dierks developed this particular style further on the second Emtidi album. The more folky driving force came from bands like Incredible String Band and more particularly Fairport Convention and Pentangle, who also featured beautiful female singers. Holderlin's further recording career was somewhat delayed by the demise of Pilz and Ohr in 1973.” (Cosmic Dreams At Play). First original German pressing on the collectible PILZ label of this sublime German progressive & psychedelic folk rock unit that balances on the same level as Emtidi and the likes. Getting ever so difficult to find ultra clean copies…Price: 300 Euro

1046. HOLLINS & STARR: “Feelin’ Good b/w Lovable” (Ovation/ Toho Records – OPS-1008) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent). White label PROMO issue of damned rare Japan only issue with nice picture sleeve. Heralding out of Chicago, Hollins & Starr made a gorgeous, ethereal blend of psychedelic folk and offbeat pop; but there are some funk and avant-garde moves too, all supported by an odd assortment of instruments, including flute, bells and a generous helping of fuzz guitar. They only made this one album, and one single which originally appeared in 1970 on the Ovation label and which was picked up in Japan by Toho records, resulting in – needles to say – a commercial failure, making the Japanese issue of the LP and the single sought after and next-to-impossible to get these days. The single did not make it further than the promotional stage in Japan and never saw a commercial release. Took me over a decade to track down a copy, all complete with picture sleeve and it is a beauty. Impossibly rare but still very affordable for the time being as hardly anyone is aware of the existence of a Japanese press issue….until now….Price: 150 Euro

1047. HOLLINS AND STAR: “Sidewalks Talking” (Ovation/ Toho Geion Kabushikikaisha – OPL-3003) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Lyrics Insert: Near Mint/ Obi: Mint). Freakingly rare 1971 Japan original pressing on a Quadraphonic 4 – channel audiophile edition. PROMO issue. Never seen or even knew it existed Japanese pressing with obi. I guess it never got any further than the promo stage as no copies seem to have surfaced apart from this one. What an odd choice to release in 1971 in Japan but here it is. I doubt that once this one is gone it will never surfaces again, a white whale amongst records and probably one of a kind. Top condition. Price: 450 Euro
1048. HOPE SANDOVAL & The WARM INVENTIONS: “Bavarian Fruit Bread” (Rough Trade – RTRADELP031) (Record: Near Mint/ Jacket: Near Mint/ Double Sided Printed Inner Sleeve: Near Mint). Virginal condition UK first pressing. Though it sounds like none of them, this seeming one-off of a release from Hope Sandoval easily stands among Vashti Bunyan's Just Another Diamond Day, Bridget Saint John's Songs for a Gentle Man, and Linda Perhacs' Parallelograms as a dreamy folk classic. It's a breezy, sunny day outside, and I'm just playing this album over and over again searching for the right words to hold it. The thing is, as vaporous as these twelve songs feel, I'm finding myself bowled over by the strength of the songwriting. It's that perfect mix of drift and meticulous arrangements that defies pat conclusions. Much like Colleen's fragile instrumentals, the material is as barely there as it is indelible. Then there's that voice. A mist-borne bubble of collapsed breaths. A tremble in the embrace of the impossibly healing forces of nature. A cool whisper in a rustling of dense, massive velvet curtains. It never fails to send chills all through me, to the point where I feel helpless against it. And the instrumentation (performed by Sandoval, MBV's Colm O'Ciosoig, and eight guests) almost mirrors this sensation, bolstering as much as deferring to her magical intonations. Bavarian Fruit Bread is just a cut above the rest when it comes to mellow perfection. It never quite loses its grip, even during the barely-there instrumental passages, creating an impenetrable cocoon of criss-crossing blue ribbon. Price: 250 Euro
1049. HORACE ANDY: “Showcase” (TAD’S – TRD LP 52880) (Record: Near Mint/ Jacket: Near Mint). 1980 US original pressing in top shape. Amazing collection of singles shows Horace in fine form across well-known riddims, mostly built for Bunny ‘Striker’ Lee. Backing credited to the Roots Radics. The tracks are well known Horace Andy classics. The first tune, “Cus Cus”, is a Harry J. production and relics with verve Lloyd Robinson’s “Cuss Cuss”. “Money Is The Root Of All Evil” (“Money Money”) is one of the hardest reggae riddims of all time and the combination with Horace’s falsetto voice makes this one a winner. A truly strong version of “Cherry Oh Baby” runs across an echo dominated riddim of “Mr. Walker”! The “Heavenless/Entertainment” riddim is used for “Strictly Rub A Dub”, his wish for a non-violence dancehall culture in Jamaica. The album brings two hard hitting roots tunes. First there’s “Chant Rastaman Chant” followed by the awesome “Babylon System”. “Ain’t No Sunshine” is one of Horace’s best-known tunes. The superb sparse but effective backdrop is also used for one of the best deejay tracks of all times, Dr. Alimantado’s “Best Dressed Chicken In A Town”. The album closes with the hit tune “Something’s On My Mind”, an authentic religious tune. So gooood. Price: 150 Euro

1050. HORACE SILVER TRIO: “New Faces – New Sounds” (Blue Note/ Toshiba – Blue Note 5018/ BN-0008) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Nice and cool Japanese press issue of early Horace Silver date for Blue Note. Top shape, crystal-clear pressing for your audiophile needs and complete with obi. Price: 40 Euro

1051. HORACE SILVER TRIO and ART BLAKEY: “S/T” (Blue Note/ Toshiba – Blue Note 5034/ BN-0008) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Companion and follow-up recording to the one listed above. Another early outing for Horace Silver on the Blue Note label but this time flanked by drum mercenary and all-time rhythm wonder Art Blakey. Pure uncut fire! Clean as a baby’s ass, crystal-sounding audiophile Japanese pressing for your late-night listening guilty pleasures. All complete with obi to boot. Price: 40 Euro

1052. The HORACE SILVER QUINTET: “Song For My Father” (Blue Note/ King Records – GXF-3017) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Near Mint/ Obi: Near Mint). Pristine condition Japan original press issue from the mid-1970s all complete with obi. “One of Blue Note's greatest mainstream hard bop dates, Song For My Father is Horace Silver’s signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song For My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver’s flowering fascination with rhythms and modes from overseas -- the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver’s core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. Song For My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands. Still, it hangs together remarkably well, and Silver’s writing is at its tightest and catchiest. The title cut became Silver’s best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non- Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections -- mainstream hard bop rarely comes as good as Song For My Father” (All Music Guide). Top shape & all complete! Price: 65 Euro
1053. HORACE SILVER QUINTET: “The Stylings of Silver” (Blue Note/ King Records – GXK-8063) (Record: Near Mint/ jacket: Excellent – lower middle seam split/ Insert: Near Mint/ Obi: Near Mint). Japan Blue Note pressing. The 1957 Horace Silver Quintet (featuring trumpeter Art Farmer and tenor saxophonist Hank Mobley) is in top form on this date, particularly on "My One and Only Love" and their famous version of "Home Cookin'." All of Silver’s Blue Note quintet recordings are consistently superb and swinging and, although not essential, this is a very enjoyable set. Price: 50 Euro
1054. 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. SOLD
1055. The HORACE SILVER QUINTET & TRIO: “Blowin’ The Blues Away” (Blue Note/ King Records – BST-84017) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Mint/ Blue Note Company Inner Sleeve: Mint/ Obi: Mint). High quality Japanese pressing – legendary BST series flanked with silver toned OBI. Sound quality is astonishing and getting damned hard to unearth as their popularity is reaching new heights. “Blowin’ The Blues Away is one of Horace Silver’s all-time Blue Note classics, only upping the ante established on Finger Poppin' for tightly constructed, joyfully infectious hard bop. This album marks the peak of Silver’s classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor and drummer Louis Hayes. it's also one of the pianist's strongest sets of original compositions, eclipsed only by Song For My Father and Horace Silver and the Jazz Messengers. The pacing of the album is impeccable, offering up enough different feels and slight variations on Silver’s signature style to captivate the listener throughout. Two songs -- the warm, luminous ballad "Peace" and the gospel-based call-and-response swinger "Sister Sadie" -- became oft-covered standards of Silver’s repertoire, and the madly cooking title cut wasn't far behind. And they embody what's right with the album in a nutshell -- the up-tempo tunes ("Break City") are among the hardest-swinging Silver had ever cut, and the slower changes of pace ("Melancholy Mood") are superbly lyrical, adding up to one of the best realizations of Silver’s aesthetic. Also, two cuts ("Melancholy Mood" and the easy-swinging "The St. Vitus Dance") give Silver a chance to show off his trio chops, and "Baghdad Blues" introduces his taste for exotic, foreign-tinged themes. Through it all, Silver remains continually conscious of the groove, playing off the basic rhythms to create funky new time patterns. The typical high-impact economy of his and the rest of the band's statements is at its uppermost level, and everyone swings with exuberant commitment. In short, Blowin’ The Blues Away is one of Silver’s finest albums, and it's virtually impossible to dislike.” (All Music Guide). Perfect condition copy all complete with eye-popping obi setting the tone. Highest recommendation. Price: 75 Euro
1056. HORACE SILVER AND THE JAZZ MESSENGERS: “S/T” (Blue Note/ King Records – GXK8040) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ Obi: Excellent ~ Near Mint). What a record! Probably the most perfect record Silver ever cut. “In 1954, pianist Horace Silver teamed with drummer Art Blakey to form a cooperative ensemble that would combine the dexterity and power of bebop with the mid-tempo, down-home grooves of blues and gospel music. The results are what would become known as hard bop, and the Jazz Messengers were one of the leading exponents of this significant era in jazz history. Before Silver’s departure and Blakey’s lifetime of leadership, this first major session by the original Jazz Messengers set the standard by which future incarnations of the group would be measured. The tunes here are all Silver’s, save the bopping "Hankerin'" by tenor man Hank Mobley. Such cuts as the opening "Room 608," the bluesy "Creepin' In," and "Hippy" are excellent examples of both Silver’s creative composing style and the Messengers’ signature sound. Of course, the most remembered tunes from the session are the classic "The Preacher" and "Doodlin'," two quintessential hard bop standards. In all, this set is not only a stunning snapshot of one of the first groups of its kind, but the very definition of a style that dominated jazz in the 1950s and '60s.” (All Music Guide). Records like this one make me realize I cannot shake off my jazz addiction ever. Honey for your ears and this is a bloody awesome Japanese original high quality pressing all complete with obi. Damn, you need this shit! Price: 60 Euro

1057. HORACE SILVER QUINTET: “Finger Poppin’ with the Horace Silver Quintet” (Blue Note/ King Records – GXK-8065) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint).Clean Japanese press issue. “Finger Poppin' was the first album Horace Silver recorded with the most celebrated version of his quintet, which featured trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor and drummer Louis Hayes. It's also one of Silver’s all-time classics, perfectly blending the pianist's advanced, groundbreaking hard bop style with the winning, gregarious personality conveyed in his eight original tunes. Silver always kept his harmonically sophisticated music firmly grounded in the emotional directness and effortless swing of the blues, and Finger Poppin' is one of the greatest peaks of that approach. A big part of the reason is the chemistry between the group -- it's electrifying and tightly knit, with a palpable sense of discovery and excitement at how well the music is turning out. As a bandleader, Silver helps keep the ensemble's solo statements as concise and rhythmic as his own, concentrating the impact of the performances and keeping the pieces moving along without ever letting the listener's attention span wane. There's a nice variety of tempos and moods over the well-paced program; particularly memorable are the hard-swinging, bluesy "Juicy Lucy"; the bopping, up-tempo "Cookin' at the Continental"; and the gritty groove of "Come on Home." Also breaking things up are a couple of spare, reflective ballads and a frenetic exploration of Brazilian rhythms, "Swingin' the Samba." Finger Poppin' is everything small-group hard bop should be, and it's a terrific example of what made the Blue Note label's mainstream sound so infectious.” (All Music Guide). Top notch Japanese pressing on high-quality vinyl and all complete with insert and OBI. Salacious. Price: 60 Euro

1058. HORACE SILVER TRIO and ART BLAKEY - SABU: “S/T and the spotlight on drums” (Blue Note/ King Records – GXK8027) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ Obi: Near Mint). Japan high-quality issue all complete with insert and obi. This one swings like a bat out of hell, filled with loose polyrhythmic funk grooves avant-la-lettre. “Several early-'50s sessions were culled to produce this must-have collection of pianist Horace Silver in a rare trio setting. Together with longtime partner Art Blakey on drums and the likes of Gene Ramey, Curly Russell and Percy Heath on bass, Silver masterfully swings through several of his most famous compositions and a few standards. Classic tunes like "Horoscope," "Quicksilver," "Ecaroh," and "Opus de Funk" are given superb readings here as Silver and Blakey display their legendary kinship. Silver’s powers of interpretation are in full stride as well, with great standards like "Thou Swell," "I Remember You," and "How About You" getting sparkling, fresh-sounding treatments. Also included in this set are two startling all-percussion jams from Blakey and conga master Sabu Martinez that foreshadow Blakey’s groundbreaking Orgy in Rhythm sessions a few years later.” (All Music Guide). Indispensable! Price: 60 Euro

1059. HORDE CATALYTIQUE POUR LA FIN: “S/T” (Futura – SON-03) (Record: Near Mint/ Jacket: Near Mint). French original pressing and one of the hardest to track down titles on the legendary Futura imprint – but also one of the greatest! “Gestation Sonore" is the only album to be released by the French improvisational quartet "Horde Catalytique Pour La Fin"; which rightfully found its way onto the infamous Nurse With Wound list. The four-piece line-up consisted of Richard Accart (Saxophone tenor, flutes), Francky Bourlier (Harpe de verrer, flute, vibraphone, percussions), Jacques Fassola (Contrebasse, guitar, banjo, Orgue a bouche) and Gil Sterg (Drums and percussion). Released in 1971 on the legendary Futura label, this ultra-rare LP binds the idiocratic tendencies of Free Jazz and Avant-garde into four intriguing tracks. Staying true to their improvisational ideals the album was record entirely without a predetermined score; with each group member focusing their spontaneous creativity to connect an effortless mind flow between the individual musicians. References for this band come from far and wide, with leafs being taken from likes of early improvisational-ist AMM and Limbus 3. The album weaves its way through dark and moody passages crowned with droning psych like characteristics, only to abruptly cut loose with Skronky onslaughts. For an improvisational collection the album possess a rare flow from passage to passage; not to mention the wealth of textures and emotion flaunted. This being said, "Gestation Sonore" will test many casual listens into the point of despair. The albums true beauty works on a more subtle level, so don't abandon hope after the first spin.” (Progarchives) Spot on and totally indispensable mind fuck of a disc. Clean mint copy. One of the hardest to find LP’s on the Futura label. Price: Offers!!!
1060. HORRIFIC CHILD: “L’Etrange Mr. Whinster” (Eurodisc – 87057) (Record: Near Mint/ Jacket: Excellent). TOP COPY!!! This is Massiera’s piece de resistance, a deep subterranean faux horror soundtrack that encapsulates almost everything ranging from weird hell broth voodoo chants, to animated progressive rock-ish freak-outs, tribal percussive hoedowns, long stretches of maniac furious ambi-noise-a-delic exploratory sound excursions that leap into proto kraut and psych moves and stumble eventually back into apocalyptic waves of eerie sound effects. Welcome to the twisted mind of Jean-Pierre Massiera, France’s own Doctor Frankenstein producer who was mainly active around the 60's and 70's and who ripped the system of collective sonic memory, FM sound bites and other musical legacies apart like a cheap pile of hay, rewiring it all into the proper ingredients for a new musical outrage. Although he seemingly did not give one rat’s ass about exposure or audience expectation, his entire catalogue jumps all over non-existent genres. It is exactly there that his strength lies, just as his masterpiece “Horrific Child” so aptly demonstrates. His intuitive approach to sound encapsulates and embraces prog, psychedelic music, ethnic smash’n’grab elements, jungle shoot-outs, disco butt shakes, trashy pop melodies, rock and the sheer lust for raw sounds. These varieties of elements form the sonic wasteland, Massiera smeared out into a mutant sonic blueprint that takes the listener amongst planes devoid of comparison, a peculiar intoxicating mix of low style, high speed and pure dumbness that sweats out heavy psychedelics. “L’Etrange Mr. Whinster” guides you through a psychic maze of demented lunacy and sultry madness, offering a cinematic pan across your or his mental landscape that jacks in directly to your pulsating brain. Filled with cries of rage and lysergic anguish that draws on a clutch of contradictory modes and occasional haunting echoes that hurtle in and out of focus, Horrific Child is the recommended listening experience for late at night with a head full of acid. Price: 350 Euro
1061. HOT TUNA: “S/T” (Victor Records – SRA-5505) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japanese original pressing, all complete with obi and housed in thick gatefold jacket. When Hot Tuna’s self-titled debut album was released in May 1970, it was the perfect spin-off project for Jefferson Airplane’s lead guitarist and bass player indulging in playing a set of old folk-blues tunes at a Berkeley coffeehouse. The music seemed as far removed from the Airplane’s roaring fried acid rock as it did from commercial potential. Still it allowed Kaukonen and Casady to blow off some steam musically and explore their true first love. In retrospect, one can hear that something more was going on. Friends since their teens, both had developed a musical taste that anchored the Airplane sound but also existed independently of it, and shorn of the rock band arrangements and much of the electricity, their interplay was all the more apparent. Kaukonen remained the accomplished kaleidoscopic finger-picking stylist he had been before joining the Airplane, while Casady dispensed with the usual timekeeping duties of the bass in favor of extensive contrapuntal soloing, creating a musical conversation that was unique, carving out a more exploratory sound signature. With a gift for unexpected impact, they manipulated a batch of songs by the likes of the Reverend Gary Davis and Jelly Roll Morton with the occasional Kaukonen original thrown in, making it a sound blessed with austere intimacy. Kaukonen’s wry & raspy singing style showed an intense identification with the material that kept it from seeming repetitious through their intuitive approach to the material. The result was less an indulgence that created an arresting experience. Price: 75 Euro

1062. HOT TUNA: “Double Dose” (RCA – RCA-9141~42) (2 LP Record: Near Mint/ gatefold Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Japan 1977 first original pressing all complete with obi. WHITE label PROMO issue. Double Dose was Jefferson Airplane spinoff band Hot Tuna’s third live album in eight years. It wasn’t quite Frampton Comes Alive!, but nevertheless dented Billboard’s Hot 100 albums; the band then went on hiatus until 1983, and remain active today with founder members Jorma Kaukonen and Jack Casady still at the helm. This set, recorded in San Francisco, begins with the pair as an acoustic guitar and bass duo for four numbers, applause for Airplane track Embryonic Journey revealing the audience’s sympathies. From Billy Boy Arnold’s I Wish You Would onwards, two becomes four as Jorma plugs in; by track eight, a heavy rock version of Talkin’ Bout You, the die is cast. Two songs, Killing Time In Crystal City and Genesis, both Kaukonen compositions, are only available on this album. Airplane/Tuna fans of a certain age rushing to replace their vinyl will be the main takers for a set that only just edges over 80 minutes on two discs. So bloody good. Price: 50 Euro

1063. HOUGAKU – MEIJIN NO SHIGEI: “S/T” (Victor – JV-1036~47) (12 LP Record Set: Near Mint/ Individual LP Sleeves: Near Mint/ Booklet: Excellent/ Outer Cloth Bound Box: Near Mint). Hideously rare 1961 released box set. To summarize this eargasmatic collection of lost turn of the century/ pre-war recordings would be that it is the best collection ever of Japanese pre-war 78-rpm recordings of rural Biwa strummers, shamisen batterers, koto-glissandi excursions and guttural minyo howlers. The source material was all taken from the few surviving 78-rpm recordings that still exist and compiled into this massive box set in 1961 and the recordings date from 1930 up to 1939. Never have seen another copy of this one before. Filled with ghostly quivering rural recordings of a vanish world, which the easiest way to compare it would be the US pre-war blues recordings. Still, these recordings here are hair-risingly impressive, mostly male singers pass the revue, heavy bachi slashing on the strings, beached-whale like vocals pop up out of the mist, biwa’s get beaten into submission while eerie vocals drift in and out of the fogs of time. Stripped down to the bone shamisen accompanied by raw vocals bemoaning songs where a seclusion of modernism creates a more direct desire for simplicity. The whole set is disarmingly lyrical and the music’s attractiveness adds another layer to a music existing on its own plane, rooted deep in local culture and history and giving it – while spinning it now – gives it a deep feeling resonating out vibrant traditional rural feel that succeeded in holding back contemporary conditions. This huge set is crammed to bursting with pre-War music and sound snippets. All is gloriously recorded in mono and the music has a ghostly bone-chilling reverb splashed all over it grooves. Music and sound from a long-gone era, beautiful mostly male vocal tracks, blessed with a crackly and dusty sound coming from the original 78 RPM master recordings, resembling in a vague way the Folkways set Harry Smith compiled for the label, but then this set can be seen as the Japanese counterpart of it. It dwells in the same audio verité/ documentary regions taking the listener back to a musical treasure throve that was largely erased from our collective memory. Bewitchingly beautiful is a word that can be applied here if you are into the arcane field of obscure sounds. From dusty and ghost-like 78 RPM recordings dating back to the late 1920’s up until the beginning of WOII up to obscure vocal madness, this is a glorious set of long-lost Japanese pre-war music. Beautiful!! Most impressive collection of pre-war recordings I have heard so far, emanating from out of a lost world. One of the few discs in the list that deserve the term awesome and rare. Highest recommendation. Price: Offers!!!!
1064. HOWARD McGHEE With SHELLY MANNE, PHINEAS NEWBORN JR. & LEROY VINNEGAR: “Maggie’s Back In Town” (Contemporary/ King Records – SLH-15) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Insert: Near Mint). Very first Japan original press issue from 1964 in TOP condition. White label PROMO issue. In 1961, when he released Maggie's Back in Town on Contemporary Records in the US, brought Howard McGhe after a string of drug related misfortunes, back on the scene--and this time he was there to stay. This classic was cut during the course of a single session, which took place in Los Angeles on June 26, 1961, and finds McGhee in the excellent company of pianist Phineas Newborn, Jr., bassist Leroy Vinnegar, and drummer Shelly Manne. Around this time, McGhee and Vinnegar had been playing at the Town Hill in L.A., and their mutual understanding is obvious on this recording, as is Maggie's affinity with Newborn. The opening track, Demon Chase is the only McGhee original and it starts off with an interesting call-and-response structure that gives way to lovely solos by both McGhee and Newborn. Two of the tunes were composed by Teddy Edwards: his classic Sunset Eyes and Maggie's Back in Town, which Edwards obviously wrote for this session and which is given a ten-minute treatment that allows for plenty of room for everyone to solo. There are also three standards – Willow Weep For Me; Softly As In The Morning Sunrise and Summertime, all of them taken at a rather brisk tempo, with McGhee mainly playing muted trumpet (except in the release of "Willow") and offering some inventive improvisation on the melodies with the help of Newborn and the rhythm section. Finally, the album closes with Brownie Speaks, a masterfully played salute to Clifford Brown, a trumpeter that McGhee influenced and also deeply admired, both as a musician and as a composer. Price: 100 Euro

1065. HOWARD RILEY with KEITH TIPPETT; BARRY GUY & JOHN STEVENS: “Facets” (Impetus Records – IMP-38002) (3 LP Record: Near Mint/ Insert: Near Mint/ Booklet: Near Mint/ Outer Box: Excellent). Rarely seen 1981 UK original pressing, a clash of the titans of the UK jazz scene as released way back in 1981. ‘Facets’ is a collaboration between four giants of modern British jazz improvisational scene: Howard Riley, Keith Tippett (both piano), Barry Guy (double bass) and John Stevens (drums, cornet). This copy here is the original release of 1981, a monster set released as a 3-LP box, the material is sourced from three specific recording sessions, starting in October 1979 (tracks 5-7) with Riley in a trio session with Guy and Stevens (Guy having performed in numerous line-ups with Riley in the previous decade with Stevens in the Spontaneous Music Ensemble and a trio with Trevor Watts). Riley was back in Heiman Studios in London the following years to overdub three pianos into tracks 11-8. He and Tippett recorded remaining tracks (1-4) live at Goldsmith’s College, London in May of the year of release. Just massive. Price: 175 Euro

1066. HUBBARD, FREDDIE: “The Body & The Soul” (Impulse – IMJ-80019) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Stellar Japan original pressing all complete with obi. At age 25, Freddie Hubbard made inroads into modern jazz most trumpeters could not imagine, much less come through with. As a soloist, one of Hubbard’s crowning achievements in his early period was this recording on which he teamed with Wayne Shorter marginally as a performer but prominent in the role of arranger/conductor for his first time ever. Utilizing a septet, 16-piece big band, and orchestra plus stings to play concise, tight tunes, Shorter provides the backdrop to employ Hubbard’s bold toned trumpet and all of its devices in a full display of his powerful melodic talents. Yeoman Reggie Workman plays bass on all selections, with drummer Louis Hayes in the seven-piece combo, and great work from Philly Joe Jones in the larger bands. Interestingly enough, the three tracks with the smaller ensemble are the most interesting, due to the presence of Eric Dolphy, Curtis Fuller, Cedar Aalton and Shorter on the front line. "Clarence's Place" is a post-bop jewel with spiky brass accents and Dolphy’s ribald and outre alto sax solo contrasting Shorter’s relatively reserved tenor, "Dedicated to You" is a wisp of a tune, while "Body & Soul," an atypical choice for the opening selection, is a straight read of the classic ballad with a chart that sounds larger than the small horn section, and a wavering flute via Dolphy. The big band does an unusual soul-jazz treatment of the Brazilian number "Manha de Carnaval" flavored by Robert Northern's French horn, while "Aries" is a hard bop show stopper with two-note accents buoying Hubbard’s great lyrical lines, and goes further into hard bop with "Thermo" as the horns demand attention with the trumpeter as an afterthought. The string section, ten pieces strong, joins the big band on the film noir type Duke Ellington piece "Chocolate Shake," the stock "I Got It Bad," and "Skylark," with its soft clarion intro bubbling underneath with the violins, violas, and cellos. The manner in which this recording is programmed is thoughtful in that it lends to the diversity of the project, but is seamless from track to track.” (All Music Guide). Simply a masterpiece!!! Price: 50 Euro
1067. HUBBARD, FREDDIE: “Here to Stay” (Blue Note/ Toshiba EMI – BN-4135) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Clean as a whistle Japanese press issue for your audiophile needs! A great session that was recorded by Freddie Hubbard in the 60s, but not issued by Blue Note until the mid 70s – and only then as part of a short-lived double length set! This version is the first real issue of the material – with the original cover art intended for the session in the 60s – and as such, it's presented in a way that helps it stand strongly with Freddie's best early albums for Blue Note! The sound here is sharp-edged and soulful – a reflection of the groove that Freddie was hitting in the Jazz Messengers of the early 60s, played by a group that features three members of that ensemble – Wayne Shorter on tenor, Cedar Walton on piano, and Reggie Workman on bass – along with Philly Joe Jones on drums! Tracks are hard, straight, and soulful – not bogged down in some of Hubbard's misdirected modernism. Price: 60 Euro
1068. HUBBARD, FREDDIE w/ ILHAN MIMAROGLU: “Sing Me A Song of Songmy” (Atlantic Records Japan – P-8144A) (Record: Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Mint) Original Japanese 1st pressing complete with rare OBI. On this 1971 release, Hubbard benefited from the vision of Mimaroglu, a Turkish-born electronic musician and a producer at Atlantic Records. Mimaroglu performed most of the work at the Columbia-Princeton Electronic Music Center. Using the equipment at his disposal, he infused a considerable amount of musique concrète, tape-based music and electronic sounds into Hubbard’s jazz piece. Mimaroglu was consequently accorded composition, arrangement and production credits on the album. Sing Me a Song of Songmy is a 41-minute jazz opus augmented with tape collages, string orchestras, recitations and electronic interventions. It is a powerful musical statement with strong political undertones. It is meant to resonate loud and clear. Section titles such as “Threnody for Sharon Tate”, “This is Combat I know” and “What a Good Time for a Kent State” (and poems such as Lullaby for a Child in War as well as Before the Bombs Struck the Dark Breasts) help situate this collaborative effort within its post-1968 context. Brilliant and a complete killer LP with absolutely no filler. Price: 75 Euro
1069. HUMAN ARTS ENSEMBLE: “Under The Sun” (Universal Justice Records) (SEALED CONDITION). 2nd press issue from 1974 with imprinted sleeve in unopened sealed condition. Again a bitch to dig up in pristine nick. “The Human Arts Ensemble, led by drummer Charles Bobo Shaw, was one of the central performing groups to emerge from the Black Artist Group (BAG), a musician's organization founded in St. Louis in the early '70s. In addition to Shaw, this recording features two other fine musicians who would make their mark, Marty Ehrlich and J.D. Parran, as well as guest appearances by trumpeter Lester Bowie and altoist Oliver Lake. The two side-long pieces follow roughly the same model. "A Lover's Desire" uses a theme based on an Afghanistani folk melody with an added very funky bassline to serve as a platform for uninhibited improvisation. The improv is more collective than individual with voices surfacing unpredictably and the beguiling melodic riff coming forward from time to time to act as glue lest things get too far out of hand. Parran’s bass clarinet work is especially luscious on this piece. The other composition, James Marshall’s "Hazrat, the Sufi," also has a Middle Eastern tinge, but here the rhythmic drive fragments into a series of stop and start improvisations more akin to some of the spacier Art Ensemble of Chicago explorations and almost as impressive. Under The Sun is an enjoyable, wildly free, and loose session, and one that should appeal to any fan of the AACM and its descendents.” (All Music Guide). Sealed copy of essential spiritual jazz slide. Price: 200 Euro

1070. 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. SOLD

1071. HUSEYIN ERTUNC TRIO with COSMIC MICHAEL & PHIL MUSRA: “Musiki” (Intex Sound – 4051-12) (Record: Excellent ~ Near Mint – one faint hairline on side A/ Hand Pasted Jacket: Excellent). Released in 1974 as a private press LP on Intex Records, this cosmic free jazz improvisation by this legendary trio guided by Hüseyin Ertunç - on drums - with his then-regular partners Michael Cosmic and Phil Musra - on saxophones and additional percussion - reveals a primitive and physical approach into free improvisational sound, where Ertunç's massive cymbals drumming resembles a carpet-bombing raid steers into a trance-driving vibe where the reeds can freely dance without any retardance by structural curtailment. In 1969, Hüseyin Ertunç was barely 20 years old when he touched down in arrived in Boston. He enrolled in art classes and studied painting while all the time keeping a keen interest in music, which eventually got him acquainted with Michael Cosmic and Phill Musra a couple of years later down the line. The two brothers were on the lookout for a drummer, one with an adventurous enough mindset to interlock with their musical vision and creative approach towards free improvisation. As a trio, they would record three self-released albums, all adorned by Ertunç’s drawings, who had developed in a talented visual artist fluent surrealist noodles that would eventually grace the covers of their classic batch of LPs. “Released in 1974 as a private press LP on Intex Records, this cosmic free jazz improvisation by this legendary trio guided by Hüseyin Ertunç - on drums - with his then-regular partners Michael Cosmic and Phil Musra - on saxophones and additional percussion - reveals the primitive and physical approach of the trio, with Ertunç's massive cymbals drumming building a carpet of trance-driving vibe where the reeds can freely dance without any structure. A new world of improvisational freedom opened up for me when I first heard drummer Huseyin Ertunç's LP "Musiki" bwith reedmen/ multi reedmen/multi-instrumentalists/brothers Phil Musra and Michael Cosmic. Creator Spaces is a bit more spacious than Ertunç's date, though both are quite intense documents of self-produced and spiritually-directed improvisation. Knotty and weird, there's a folksy unhinged-ness that really spoke to me in a way quite different from Albert Ayler, the AACM, and other music I was spending time with when I dropped the needle on the trio's debut album. Ertunç's percussion work really shocked me and it's still absolutely fascinating, and Cosmic's organ playing behind/around Musra's tenor is just...something else” (Clifford Allen – Ni Kantu). Unique document of Boston’s free jazz scene, privately released in a tiny run, these artifacts rarely turn up. Great copy, even better music that descends like a swarm of wild bees on the open soars on a dogs neck, killer art work, this one is bound to make you moving around like a cannonball… Price: Offers!!


  1072. HUSKER DU: “Land Speed Record” (Alternative Tentacles – VIRUS-25) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent). Original UK pressing. On Land Speed Record, the Minnesota trio husker du debuted with a chaotic live recording that presented the band in all its unbridled early fury. 17 songs in 27 minutes. Harsh and unforgiving. 17-track amphetamine blur of an LP–recorded live on a 4-track soundboard tape on August 15, 1981 for $300 bucks. Appropriately titled, on Land Speed Record you can hardly make out where one song ends and the other begins, the lyrics are unintelligible, and good luck finding a melody. Land Speed Record has a savage and nihilist bent that Mould himself would soon lambast in the anthemic “Your Anarchy I Bullshit” anthem “Real World.” “Don’t Have a Life” and “Let’s Go Die” are characteristic hardcore tropes. Some picky audiophiles negate this disc as just a solid wall of noise. Drop the needle, unclench that muscle on your posterior and let yourself be battered and thrown about the room. Endless speed and slashing guitars, crashing cymbals, unintelligible anger. Fucking awesome! Price: 50 Euro
1073. HUTCHERSON, BOBBY with Herbie Hancock; Bob Cranshaw & Joe Chambers: “Happenings” (Blue Note/ King Records – BST-84231/ GXK-8009) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine Japan 1977 original pressing all complete with insert and OBI. “Bobby Hutcherson’s first quartet outing, Happenings casts the brightest spotlight on the vibraphonist's soloing abilities, matching him once again with pianist Herbie Hancock and drummer Joe Chambers, plus bassist Bob Cranshaw. For that matter, the album also leans heavily on Hutcherson’s compositional skills; save for Hancock’s "Maiden Voyage," six of the seven numbers are Hutcherson originals. Given his reputation as a modernist, most of the pieces here are structured pretty simply -- there's a lot of straightforward modal hard bop, giving Hutcherson and Hancock plenty of room to solo. They handle much of the material with a light, mellow touch, trading off meditative licks even on the more up-tempo pieces and poignant, lyrical lines on the ballads "Bouquet" and "When You Are Near." The two exceptions are the opening and closing numbers: "Aquarian Moon" is challenging post-bop, while the sinister "The Omen" finds Hutcherson opening up the bag of tricks he learned from the freely structured group dialogues Chambers wrote for albums past. Sharp stabs from the piano signal transition to a new, sometimes unaccompanied lead instrument, and Hutcherson’s darting marimba lines build up a claustrophobic tension. That doesn't change the overall feel of the album, though, which ends up a charmingly relaxed, low-key outing and a nice addition to Hutcherson’s Blue Note catalog.” (All Music Guide). Clean as a whistle original Japanese high quality pressing with OBI. Price: 75 Euro