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

654. GABOR SZABO: “”Jazz Raga” (Impulse – A-9128) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). First original US pressing of 1967 in TOP condition. The Hungarian jazz guitarist Szabo was so influenced by the music of his homeland that he incorporated folk and world music with West Coast jazz on his 3rd LP Jazz Raga. On it, he harmonizes two different but equally complex components of music – the off-the-cuff, improvised, feel-it-within-and-go approach of jazz, and the musical “skeleton” of Indian classical music, the raga. The LP dwells in the no man's lands between jazz, psych rock, Indian, and Eastern European music. Its track selection includes two standards -- "Caravan" and "Summertime" -- a smoking cover of the Rolling Stones "Paint It Black," and eight Szabo originals like "Mizrab," with its driving tablas, mantra-like bass line, open-tuned, droning guitar and a call-and- response sitar, creates a melody that is at once haunting, inviting, and affecting. The groove is monstrous, infectious, and dizzying. The relationship between sound styles is so intimate, involved, and symbiotic, weaving music that’s a melding of Eastern and European styles and culture with ’60s psychedelia. Just a bewitching slide. First original pressing in TOP condition. Price: 75 Euro
655. GAINSBOURG, SERGE: “Anna” (Philips – P 70.391 L) (Record: Near Mint, one hairline on beginning side 2 otherwise it would be Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint). Original 1967 first French pressing in outstanding condition, never seen such a beautiful, well preserved copy like this one. Only defect is a visible scuff hairline, which at the beginning of track 2 causes 3 minimal pops. For the rest just virginal as it was way back in 1967. Original soundtrack from the French musical comedy movie made by Pierre Koralnik. Unnoticed at the time, Anna has since been rehabilitated. Anna (former Mrs. Godard played by Anna Karina) was a hip, youth-oriented TV movie popular enough to spawn an album of its own. Among the cues is "Ballet des Soupirs" (Ballet of Sighs), which is literally that; a grindingly slow pageant of heavy breathing scored to luscious strings, clattery electric guitars, a vacuum cleaner turning on and off, and ample use of negative space. The whole record has the ability to mesmerize you by its psychedelic mod-pop musical. But unlike Melodie Nelson, Anna goes further as a album and as a case for Gainsbourg, as it demonstrates his inventiveness, sexuality, intelligence, as well as his skill in using and choosing collaborators, without cutting the whole thing monochrome as woman crazy. It also spotlights his sense of humor; whenever the melody of Anna Karina’s rendition of the sweeping, caustic “Sous le soleil exactment” peaks, the backing suddenly cuts out to nothing but a rude interjection of a brass section pretending to be a stalling Citroen. To dwell on Karina for a moment, she’s extremely charismatic on the mic, singing with a warmth and character beyond mere panting or sex presence. Maybe this record is more about Gainsbourg the versatile auteur than Gainsbourg the master, but both are important. Stunning LP and above all also in stunning condition as most copies are in bad shape. Price: 450 Euro
656. 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
657. 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
658. GAL COSTA: “India” (Philips – SFX-6009) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan first press with obi. India is a subtle yet revolutionary statement, one in which Costa stands her ground by remaining her uncompromising self. Brave, generous, and genuine, the nine performances marvel across the record like Vaganova ballet. Groundbreaking, Índia boasts a sense of elegant futurism, one that includes the proto-new wave defiance of “Relance;” the graceful swoon of bossa-nova spells “Da Maior Importância and “Desafinado;” and the art-rock fusion of “Passarinho” and “Pontos de Luz.” A consummate interpreter, Costa treasured the material of her peers and predecessors with an adventurous sense of gratitude and wonder. The results were, however, always unmistakably her own. Costa’s rendering of the Portuguese folk song “Milho Verde” (“Green Corn”) is something of its own ceremonial — a freeform ritual of joyous, ecstatic dance between voice and percussion. Sensual, tribal, earthly, Costa’s presence and spirit is hers and hers alone.” (Aquarium Drunkard) Original first press out of Japan w/ obi and on high quality wax. A bit of a tough one to locate as of late with all present. Price: 125 Euro
659. GANDALF: “S/T” (Capitol – ST-121) (Record: Excellent / Jacket: Near Mint). Original US 1st pressing. Probably one of the greatest mind bending bewitching psychedelic slides ever recorded. “With spellbinding, atmospheric songs, which spin from soft dreamscapes into blistering fuzz guitar breaks, Gandalf casts a powerful spell. Led by singer/guitarist Peter Sando, the group was signed by Lovin’ Spoonful producers Charlie Koppelman and Don Rubin and conjured their sole, self-titled album for Capitol in late 1967. One of the rarest major label psychedelic releases, Gandalf features swirls of Hammond B3 organ, caressing vibraphone runs and electric sitar on Sando’s originals as well as imaginative recastings of songs by Tim Hardin, Gary Bonner/Alan Gordon, and Eden Ahbez.” (Sundazed review) and “Bands that focus on cover versions often lack identity, but that is emphatically not the case here. Though only two of the ten songs are originals, Gandalf have a strong sound, mixing Peter Sando’s ghostly vocals with intricate, keyboard-heavy arrangements and an echoing, spacey production to present a haunting, compelling experience. The material they tackle varies from old standards (‘Golden Earrings’, ‘Scarlet Ribbons’) to three exquisitely handled Tim Hardin numbers, while their densely psychedelic take on ‘Nature Boy’ is a revelation, complete with a ripping fuzz solo to rival anything from the era. Sando’s two originals, the spooky ‘Could You Travel In The Dark Alone?’ and thunderous ‘I Watch The Moon’, are pretty great too. On a first listen the album might seem shallow and sugary, but don’t be fooled. I have listened to it as often as anything in this book, and never tire of it. A measure of the esteem in which it is held is that, though it’s not especially rare, original copies always sell for hundreds of dollars – seemingly everyone into 60s psychedelia has to have one. And does it have the best sleeve of any US psych LP? It was in fact completed for release (as by Gandalf & The Wizards) in mid-1968, but its release was delayed for several months. A tiny number of copies that play the tracks in a different order have surfaced; this was presumably a pressing fault.” (RMJ – Endless Trip) This disc never fails to suck you in and seduce you. Massive killer slide. Price: 450 Euro
660. GANDALF THE GREY: “The Grey Wizard I Am” (Private – GWR-007) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original US press copy of this magickal folk rock album with psychy touches, loud fuzzy leads and dreamy stoned vocals. The whole album breathes out an innocent and stoned feeling that is nothing short of being utterly bewitching. So beautiful with a compelling basement vibe simmering throughout. The innocent dopey feel of the track “Here On Eight Street” is nothing short of ear shredding beautiful, making it one of my all time favorite songs ever to be put down on wax. Killer slide. Original US private press copy in top condition! Price: Offers!!!
661. GANG OF FOUR: “Entertainment!” (EMI Records/ Toshiba – EMS-81286) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan 1979 original pressing of all time classic slide. “Entertainment! one of those records where germs of influence can be traced through many genres and countless bands, both favorably and unfavorably. From groups whose awareness of genealogy spreads wide enough to openly acknowledge Gang Of Four’s influence (Fugazi, Rage Against The Machine) to those not in touch with their ancestry enough to realize it (rap-metal, some indie rock) -- all have appropriated elements of their forefathers' trailblazing contribution. Its vaguely funky rhythmic twitch, its pungent, pointillistic guitar stoccados, and its spoken/shouted vocals have all been picked up by many. Lyrically, the album was apart from many of the day, and it still is. The band rants at revisionist history in "Not Great Men" ("No weak men in the books at home"), self-serving media and politicians in "I Found That Essence Rare" ("The last thing they'll ever do?/Act in your interest"), and sexual politics in "Damaged Goods" ("You said you're cheap but you're too much"). Though the brilliance of the record thrives on the faster material -- especially the febrile first side -- a true highlight amongst highlights is the closing "Anthrax," full of barely controlled feedback squalls and moans. It's nearly psychedelic, something post-punk and new wave were never known for. With a slight death rattle and plodding bass rumble, Jon King equates love with disease and admits to feeling "like a beetle on its back." In the background, Andy Gill speaks in monotone of why Gang Of Four doesn't do love songs. Subversive records of any ilk don't get any stronger, influential, or exciting than this.” (All Music Guide). Spot on, one of the best and jaw-droppingly great albums to seep out of an otherwise fruitless, gutless and spineless decade. Killer with no filler! Price: 75 Euro

662. GARCIA, JERRY: “Cats Under The Stars” (Arista – IES-81087) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare Japan 1st original pressing WHITE LABEL PROMO issue, complete with 1st issue obi. “Jerry Garcia’s fourth solo album was the first to be released under the collective title of the Jerry Garcia Band, although the change was primarily in name, as there was little alteration in the personnel between this disc and the non- Grateful Dead tracks from his previous studio effort, Reflections (1976). However, unlike his previous effort, Cats Under The Stars contains all new original material. Garcia’s longtime collaborator and bassist, John Kahn also serves up a pair of melodic contributions. These include the brief gospel-flavored interlude "Down Home," featuring some ingenious lead non-verbal vocalizations from Donna Jean Godchaux underneath an equally affective melody. Khan also joins Robert Hunter on the slinky and slightly Caribbean-tinged "Love in the Afternoon." Once again Garcia and lyricist Hunter come up aces with some of their most poignant collaborative efforts. Chief among these is the bittersweet love triangle of "Rubin and Cherise." Drawing upon elements of mythology, Shakespeare, and even incorporating some rather Bob Dylan-esque phrasing, Hunter reveals one of his crowning lyrical achievements. The biblically derived "Gomorrah" recalls the same sympathetic and hapless humanity, which likewise embodies compositions such as "Wharf Rat" and "Foolish Heart." The title track, "Cats Under the Stars," is a lilting, up-tempo rocker that was quickly adopted by Garcia fans and Deadheads to refer to the unspoken union connecting themselves with the band. Of arguably equal aesthetic pleasure is Anton Kelley's Egyptian-influenced cover artwork, which would become the subject of many a car window sticker and T-shirt. Many Deadheads and critics alike feel as if Cats Under The Stars is Garcia’s best non-Dead effort, and sadly it would not be reprised on his final studio album to feature the Jerry Garcia Band, Run For The Roses” (All Music Guide). Top copy with 1st issue obi. Price: 50 Euro

663. 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: 50 Euro
664. 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!!!
665. 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
666. GASHO ONGAKU NO RYOIKI. Featuring amongst others Takehisa Kosugi, Takemitsu Toru, Takahashi Yuji, Yuasa Yoji, etc.: “S/T” (Victor – SJX-1067〜73) (7 LP Set: Near Mint/ Cloth Bound Box Set: Near Mint/ 48 Paged Illustrated Booklet: Near Mint/ Outer Cardboard Slip Case OBI: Excellent). Totally complete copy with slipcase cardboard obi – all in TOP CONDITION!!!! It seems Kosugi Takehisa related items are mushrooming all over the list this time around. Here we have another obscurity for you, released here in Japan in a tiny edition way back in the mid-seventies. Ultra rare item and first copy I see for real. These babies just never ever turn up and are only referred to in hush voices in dark hallways. Great ultra rare 7 LP box set that came out in 1975. The whole set is comprised out of compositions by some of Japan’s finest avant-garde composers who each wrote new compositions especially for this release that were to be executed by the Tokyo Philharmonic Chorus. The end result is baffling and had me floored, stupefied and mesmerized. I had never expected choral music to be such a challenging and mind blowing listening experience as on display on this box. The box is literally filled with highlights but my personal entrance point was Takehisa Kosugi’s contribution “South No. 5”, which comes close to sounding like insect hissing and chirping descending from the heavens, a plague of ghost like cave dwelling locusts to infest your dreams. Hard to believe this is merely voices at work, sounds at times like electronic music or musique concrete. Compelling to say the least. Other tracks sound like wild esoteric Buddhist chanting as if Magma had invaded the local monastery. On other pieces Akira and Osorezan era Geino Yamashirogumi spring clearly to mind. Still these are all first impressions since it will take me a couple of weeks to fully come to terms with the richness buried within this set. In all mind bending great stuff, austere and esoteric at the same time and a chilling listening experience. Highest possible recommendation and nowhere else available so take your chance and hold your piece forever. Rare beyond belief and bound to not surface again for years or decades to come. Massive original pressing!! Price: Offers!!!!
667. GAULOIS ASTERIX aka KATO HIROSHI: “INOCHI” (Teng Records – LP-0002) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). TOP copy, complete with obi. Another Japanese psych cum rarity that seems a bitch to get a hold off. One of the weirdest and deep acid fried erotic psychedelic cum records to ever have seeped out of Japan is this effort by Kato Hiroshi (with the little help of some local musicians and a handful of French Canadian freaks passing through town), also credited to Gaulois Asterix by some. Tengu Records was a privately run small imprint that operated out of Osaka back in the late sixties/ early seventies and only released two LP’s and a handful of singles. The LP opens up with the side-long “Love In” and is basically what the title suggest, a sexed up moaning and groaning erotic experience by some hippie lady and some guys set out against a acid rock tinted slow-downed improvisation set against some jungle detuned drums and some defractured blistering lysergic guitar lines. The moaning and groaning, sultry orgasmatic ecstatic sounds never let down and make you wanna join the little orgy that is on display here. In a way it sounds like Ike Reiko on an acid trip, spreading her legs for whoever was present at the session. Erotics melted into psychedelic avant-garde sound art moves spiked up with hallucinogenic Bella Donna seeds until it all explodes into the final “cumming together” scene. Pretty voyeuristic and wild ride for sure! The B-side is a more frantic and wild psyched out ride, since everyone could unload their sexual pressures and fantasies, it sounds like a lot of pressure fell of their shoulders that now could get channeled into some serious acid drenched musical agitation moves. Again it starts of with the tribal drumming that soon melts down into an amalgam of wind chimes and bells, creating an almost religious experience. However, this doesn’t last long, lost and found cheap electronic sequences drift into the mix, sounding like detuned fire engines that quickly fuse into some intoxicating bass moves. And with this the opening moves of the second side came into play. From then on, your typical almost West Coast styled hippie idealism sing a long drifts in, be it in snippets but soon boils down in some wicked deep fried fuzz-a-delic action, amphetamine indulging bass lines and cave man drumming moves, creating swirling freak out acid jam. Savage fuzz leads crawl all over this one, interlocking fists and knuckles with the second guitar, creating a pulverizing acid dripping, psychedelic tripped out stoned free improvisation like lysergic jam. No other Japanese psych record sounds as wasted as this baby here, that is in a freeform kind of way. Not as doped up as Speed Glue and Shinki, “Inochi” is more of a loose acid fried beast stampeding through the desolate canyons of your mind. A lethal mixture of free love, depraved hedonist sex, hallucinogenic drugs and orange soaked fuzz pedals. Massive. First time ever I have a spare of this monster, next to impossible to dig up here and seen its scarcity status it still is quite affordable.… NM copy all the way, highest possible recommendation!!! Price: Offers!!!!!
668. 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
669. GAYE, MARVIN: “M.P.G.” (Victor Records – SJET-8154) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Illustrated Insert: Mint/ SJET OBI: Mint). Rare Japan original 1st press all complete with obi. Comes housed in Japan only jacket art. An totally underrated late '60s album, this one has sometimes been overlooked because it seemed like a generic throwaway. But it included some outstanding songs. M.P.G. treats the listener to the same infectious music and subtly varied singing that made Gaye's last two singles so popular. Since the days of "Hitch-Hike" and "Pride and Joy," Marvin has mellowed and expanded his emotional range to include a versatile series of voices. He can bite into the words of a song, suddenly sing against the rhythm of the arrangement, and then slide into a smooth and flexible falsetto for an emphatic "oooh" or "oh yeah" or drive up to a note with an amazing burst of power. Marvin Gaye does not aim for spectacular effects — he screams and shouts with restraint, if that's not a contradiction. His control of the rhythm and momentum of a song is unique to him, and his specialty is still the delivery of a staccato vocal with a syncopated assurance and conviction. Judging from the way he projects the songs on this album, Marvin still "just wants to testify." (Rolling Stone – 1969). Price: 150 Euro
670. GAYE, MARVIN: “In The Groove” (Victor Records – SJET-8116) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Never overly reliant on the Holland-Dozier-Holland machine, Marvin Gaye weathered their departure pretty well, turning to Norman Whitfield (for the epochal "I Heard It Through the Grapevine") as well as Ivory Joe Hunter, Ashford & Simpson, Frank Wilson, and, for two songs, his own pen. One of Gaye’s other R&B hits from In The Groove, the impassioned "You," is in the Four Tops style (it's patterned after "Reach Out"), while "Chained" is another brilliant performance and production of a sub-standard tune. The Brill Building standard "Some Kind of Wonderful" and "There Goes My Baby" were early-'60s throwbacks in sound and feel, quite a jarring effect in context. After "I Heard It Through the Grapevine" became one of the biggest hits of 1968, Motown re-released the LP as I Heard It Through The Grapevine.” (All Music Guide) Price: 125 Euro
671. 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!!!!
672. 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
673. 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: 450 Euro


674. 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
675. GHEDALIA TAZARTES: “Diasporas” (Cobalt Records) (Record: Mint/ Jacket: Mint) First LP ever by this French nomadic one-man orchestra/ singer.He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric nd vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Don’t become a black, an Arab, a Tibetan monk, a Jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalia’s intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification.To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death.” (Description to the Cd release). Rare artifact, first original pressing. Getting impossible to locate these days, just stunningly beautiful. Highest recommendation. Price: 200 Euro
676. GHEDALIA TAZARTES: “Transports” (Cobalt Records) (Clear Vinyl LP: Mint/ Jacket: Near Mint). 2nd, rarest and greatest LP ever recorded by French gypsy maverick Ghedalia Tazartes. Ghédalia Tazartes traces his roots to North African Sephardic tradition. His recordings exemplify the most prosperous marriage ever of ethnic vocalizing and imaginative electronic collage. Tazartes’ strength lies in his dynamic, rhythmic and harmonic restraint. The element of surprise, while ubiquitous, does not rely on the shock of opposites. Rather, his compositions flow naturally, always apportioning tasty ingredients, but in an organic, gradualist fashion.His activity now spans three decades, yet his music is hors temps. Over the years, his bequest has graced many visual performances, but has stood on its own among the most accomplished French creations. From emotional psalms to shamanic hymns, Tazartes vocal eclecticism makes his art unclassifiable and distant from the electro-acoustic orthodoxy in his country. “Utterly disregarding any generic conventions, any categorization, I found ‘Transports’ to unfold in a manner that was both hypnotic and disorienting, full of what seemed to be echoes of other musics, but ending up sounding like nothing else I’d heard. Vocal samples wove their way in and out of the music: often, these were gravely beautiful, Arabic-sounding melodies, sometimes played normally in the midst of much complex electronic trickery, sometimes speeded up, sometimes slowing down, sometimes simply allowed to unfold in a quietly meditative haze. The same samples re-appeared on different tracks, a woman’s laughter sounding light and airy on one piece, sinister and nightmarish on another, dissonant noise building up underneath until, just at the climactic moment, the music unexpectedly switched direction for a moody, vaguely Oriental soundscape full of high-pitched electronic speaks and sqanks and something that sounded like a bird…or a cicada. Screams of “All animals have personalities” added a comedic touch to the fifth piece, and at another point, Tazartès produced something which, for a few seconds, seemed strangely like an Evan Parker saxophone solo. ‘Transports’ was intriguing not just for the sheer variety of sounds, but for the way it merged the human and the machine, the emotional and the robotic, cutting-edge electronic sounds with the simplicity of ancient melody.” (David Grundy). Just one of the most beautiful discs ever to have fallen into one’s lap. Rare 1st original pressing. Price: 400 Euro
677. 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
678. 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
679. 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!!!
680. 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
681. 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

682. GIL MELLE: “Andromeda Strain OST” (MCA Japan – MCA-5094) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint). TOP COPY, all complete with obi. Rare Japanese pressing of early 1970’s, comes with total different jacket design than the Kapp label ones. Very few copies of this one were pressed at the time in Japan and the sole two copies that have ever crossed my eyes were in both cases promotional copies so I am uncertain if a proper release ever saw the light of day. “Gil Melle, one of the most important composers today, has achieved an impressive landmark in creating the first all-electronic score for a major motion picture, the Andromeda strain. The work embodies the most revolutionary techniques in the annals of avant-garde music as well as film literature. Melle's central idea was to compose directly to the film and for this, he designed a special electronic music studio on the universal lot. it housed a complete rear-image projection facility as well as a number of one-of-a-kind electronic musical instruments. The most important of these is the percussotron, which the composer designed especially for Andromeda. it is important to note that an instrument has never been created specifically for a film score in the history of the medium. It is indeed percussionistic as its name implies, and is heard throughout the various tracks. Musique concrete also plays an important role here. Many field trips were made by the artist in order to record the natural sounds of 20th century life. Liberally woven into the fabric of this music are the indigenous sounds of the jet propulsion labs in southern California, buzz saws, wind, bowling alleys and even the railways. Orchestral instruments are also included and many important soloists are represented. All of these elements were eventually electronically transformed to suit the needs of the Andromeda strain score. As futuristic as all of these sounds, it nevertheless owes its direct ancestry to the very first form of film music, the nickelodeon. The compositional method is essentially one of creatively shooting from the hip and in turn gaining a vast amount of artistic flexibility as well as a very personal. Representation of the composer's musical thinking”. (From Mimaroglu website). Melle’s pieces ranks as cinema's first true electronic musical score. Using a battery of electronic instruments combined with reprocessed musique concrete sounds, Melle crafted a bizarre and compelling score that laced the picture with an unrelenting undercurrent of aimless, microscopic evil. The score's single repetitive theme is a rhythmically seething, cricket-like undulation for low-octave electronics and piano, associated with the mutating bacterial entity. Stunning piece of electronic music/ musique concrete and hard to track down these days. Highest recommendation. Price: 275 Euro

683. GILES, GILES & FRIPP: “The Cheerful Insanity of Giles, Giles & Fripp” (Deram/ King Records – DL-31) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Freakingly rare 1972 Japan 1st original pressing with obi in total virginal condition. Originally released in 1968, and selling less than 500 copies - according to Robert Fripp's royalty statements - The Cheerful Insanity of Giles, Giles, & Fripp is, of course, the pre-cursor to King Crimson. The album is one of the more eclectic albums to have been issued during the psychedelic rock movement of the late '60s. The album was initially issued in September of 1968 on the Decca Records subsidiary Deram -- whose releases were aimed specifically at the alternative or progressive rock market. Drawing its influence from folk, pop, classical, and religious music, the album is a masterpiece on par with the greatest records that the British psychedelic and progressive movements had to offer. Musically, Giles, Giles & Fripp are wholly unlike anything before or since. Drawing upon folk, classical, pop, and even sacred music, each track brings a fresh listening experience. Among the highlights is the leadoff track, "North Meadow," which features some stunning fretwork from Fripp. Likewise, "Call Tomorrow" is a trippy noir tale involving an ambiguous practical joke. The classically influenced instrumental "Suite No. 1," as well as another one of Fripp’s more esoteric compositions, "Erudite Eyes," likewise bear some semblance of sounds to come from the trio. Price: 350 Euro
684. GINGER BAKER’S AIRFORCE: “S/T” (Polydor Japan – MP-9341- 42) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Obi: Mint). Bloody rare & obscure Japan ONLY issue of this stunning Baker jam, complete with OBI. Comes housed in completely different gatefold jacket art. Out of the wreckage of Cream & Blind Faith mushroomed hip grooves ignited by Baker. Ginger Baker was the hippest of the group's 3 members. With his new found group Air Force — essentially a 10-piece (which seems to have been expanded beyond even that number for this set) that came up with some of the most monstrous jamming this side of the Atlantic at that point in time. At its base, the group's in the jazz rock mode — with players that include Brit jazz luminaries Phil Seamen, Harold McNair, and Graham Bond, plus rockers like Baker, Steve Winwood, Denny Laine, and Rick Grech. The tracks are all long butt shaking groovers in a post-beat/ psychedelic group mode — and the best tracks have a jamming sound that's pretty over the top! It's full of the propulsive, Afro-influenced bass and percussion, some wild, jazz funk flute and sax, plus amazing work on violin, guitar and occasional, ephemeral vocals. Awesome stuff — one of the best and most innovative live albums of the rea! Top condition, hardly ever touched & seriously rare Japan only issue. Hardly ever turns up, this copy is virginal. Mint all the way. Price: 350 Euro
685. The GIRLS FROM BAHIA & DORIVAL CAYMMI: “Saudade De Brasil” (Warner Bros. – BP-8391) (Red Wax LP Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan 1968 original pressing on red wax. Comes with hardly ever seen first issue obi. Stellar release by the best female vocal quartet of Brazil, Quarteto Em Cy, Brazil’s finest female vocal group. Sticking to the MPB style, all contemporary influences are put aside, and what the listener hears are acoustic sambas with the competent instrumental backing of expressive session men. The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines, swinging percussion and warm guitar lines. A really essential slice of bossa nova – and a record I'd never part with! Assisted by Dorival Caymmi, a legendary Brazilian singer/songwriter meeting up with the Girls of Bahia in this moody session of sometimes stripped-down tracks – and the result is a classic album that spans two generations of Brazilian music. He's a great writer and arranger too – one who's got an amazing ear for color and tone, balanced out with some completely sublime grooves – not smooth coffee shop bossa nova, but instead the harder sort of rhythms that were cooked up by the best combos in Brazil! The tunes are as warm and soulful as they are tight and angular – a perfect summation of the bossa jazz idiom at its truest expression – and the writing is fantastic throughout, with original songs that really provide a fresh change from some of the too-played hits of the generation. Rarely seen Japan original pressing from 1968 with damned rare OBI! Price: 250 Euro
686. G.L. UNIT: “Orangutang!” (Odeon – 4E 062-34163) (Record: Near Mint ~ Mint, not even a single spindle mark in sight/ Jacket: Near Mint/ Printed Inner Sleeve: Near Mint/ Insert: Near Mint). Original 1970 Swedish first pressing, all complete with always missing imprinted inner sleeve and insert!!! This experimental big band was lead by Gunnar Lindqvist and featured a huge cast of improvising musicians. Among jazz stars like Bernt Rosengren and Maffy Falay we also find prominent Swedish Jazz Movement musicians like Ove Karlsson, Torsten Eckerman, Roland Keijser, Bosse Skoglund, Bengt Berger (all five of whom were in Arbete & Fritid), Allan Olsson and Sune Spangerberg (both of Iskra) and Gunnar Bergsten (Flasket Brinner). Orangutang! Is a bloody powerful free jazz album, great on an international level, up there with Alan Silva, Globe Unity Orchestra, François Tusques and the lot. Great jazz hurts, and almost no other Swedish album hurts as good as this one does. But just like any good free jazz album, it has a sense of elevated beauty, a serene lyricism, an intense burning light with your mind being its focal point. And it's dynamic, effortlessly moving from full blast detonations to jittery reflection. Of course it's not easy listening, it's not at all the perfect aural backdrop to a nice barbecue in the garden but it's got the spark to set your soul ablaze. Top condition and impossible to ever upgrade upon. Price: 300 Euro
687. GLASS, PHILIP: “Music With Changing Parts” (Chatham Square – 1001/2) (2 LP Record Set: Excellent/ Gatefold Jacket: Excellent). Another classic in the minimalist music canon, again as released on the Chatham Square label, 1st original US pressing. “Music With Changing Parts is one of the seminal works in Philip Glass' career, and a defining point for the genre known as minimalism. Recorded in 1971, five years before he would break through to the public consciousness with Einstein on the Beach (which sucked heavily btw) (which, arguably, was the moment his music ceased to be minimalist in the strict sense of the term), it represents the genre in a very pure form. Over its hour-long course, it both maintains a steady state of sameness while percolating with all manner of variations. In retrospect, it's easy to see the affinities to the contemporaneous work of Terry Reily and Steve Reich, though all would soon branch apart. Here, the electric keyboards provide a pulsating substructure over which the winds, violin, and voice cast long, sighing lines forming the essential tension between dreaminess and rigor. There's also a palpable sense of excitement in the performance, the musicians very aware that they're on to something new and wonderful. This is an aspect of Glass' work, which would diminish over time as his compositions became increasingly rote and academic. Listeners who only know his music from the period after he had attained a degree of pop stardom should certainly hear his more vital, formative compositions including this one and Music in Similar Motion.” (Brian Olewnick, All Music Guide). Mind-liftingly transcendentally great stuff. Price: 75 Euro
688. 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: 375 Euro
689. GLOBAL VILLAGE SUITE – DANNY DAVIS/ KOSUGI TAKEHISA & KOWALD PETER: “Improvised” (FMP – SAJ-60) (Record: Mint/ Jacket: Mint) Original 1988 rare FMP title. Despite the Tokyo recording location and presence of Japanese violinist Takehisa Kosugi this is very much out of the European improvising mould. Another immediate impression is that Davis presents a rather different style than the stratospheric soloist of his Sun Ra days - indeed with his staccato attack there's more than a passing similarity to some of Anthony Braxton's later work. Divided into ten shortish and separate pieces, the session titling emphasizes "improvised" but with the clear delineations either this was substantially pre-meditated or some very shrewd editing went on. It's an intense (but not "ecstatic") trio, clearly listening hard to one another - making assignation of "leader" a bit arbitrary. Extremely hard to come by these days. Pristine condition. The music is also stellar, housed in three eye-popping jacket. Kowald teams up with every single improviser that has any meaning in that day Japan, stature and stamina to unleash some of the best improve ever to be put down on wax. One of the key releases on the FMP label. Highest recommendation. Price: 150 Euro
690. 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
691. 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

692. GO HIRANO: “Distance” (PSF Records, PSF-51) (Record: Mint/ Jacket: Mint/ Insert: Mint) One of the best and most obscured releases on the PSF label is this debut LP by Go Hirano. First LP by Hirano Go (amongst others White Heaven, Stars and Aso Ai collaborator, as well as expert on avant-garde and Canadian vintage psych) for PSF Records pressed in a minuscule edition of only 300 copies and released in 1993. A virtually flawless late night psychedelic gem of an album that fuses breath, piano and small percussive instruments with each other, making it simultaneously an avant-garde outing as well as a melted down soft psychedelic wonder of a disc. According to these humble ears, it is one of PSF Record’s most delicate and stunning aural artifacts that urgently need more appreciation. People tend to stargaze at heavy psyched-out fuzz metal pyrotechnics and overlook the true pearls lurking in between the label’s so far almost flawless roster. The disc unfolds an absolutely exquisite instrumental palette that will guide you along a dreamy path of insubstantial, lysergic and all-too breakable sounds. Stunning to behold and getting rare, oh so rare. Only 300 copies pressed on vinyl and long gone. Finest PSF release for sure and its most obscure one that disappeared into the cracks of time and deep collections of the people in the know. Highest recommendation. This one will shatter your earlobes plasma with its sheer delicate beauty. Price: 50 Euro

693. The GODS: “To Samuel A Son” (Odeon – PSCX-6372) (Record: Excellent, beautifully preserved with NO marks, can detect a fine sleeve line on each side/ Flip Back Jacket: Excellent with no damages, sole defect are a few creases in the front lamination) Second Gods LP from 1969 and according to these ears a more accomplished record as opposed to their debut. This is the rare and hardly ever offered for sale ODEON EXPORT label issue - UK PRESS ISSUE, complete with front and back gold colored Odeon sticker for export, put neatly obove the Columbia logo. Normally this was issued on the Columbia label imprint, making this version something like a big white one amongst a flock of whales. As far as I know, this is the only "Export" Odeon label version I have ever encountered, just never has surfaced until now....stupidly rare & and a one-off chance to own a truly unique UK original pressing oddity of which only this one and maybe a few(?) other copies do exist, so..... Price: Offers!!!!!

694. The GODZ: “Contact Higher With The Godz” (ESP Disk – ESP-1037) (Record: Near Mint/ Jacket: Mint – still housed in original shrink). First original US pressing from 1966 with the 156 5th Ave address stated on label and sleeve, marking it as a very first pressing. All time fave lower east side weirdness that mixed high-brow doped out madness with highly cultivated political backdrop junk. Clocking in at a hair over 25 minutes, Contact High With the Godz is an unholy mess of a record. Opening with the track "White Cat Heat," which consists of clumsily strummed acoustic guitars, arhythmic percussion, and Jim McCarthy and Larry Kessler screeching like a couple of, uh, cats in heat, it gets weirder. Best tracks are "1+1 Equals ?" and the hilarious "Lay in the Sun" (total lyrics: "All I want to do is lay in the sun"). For those who like their pop on the cutting edge, begin here and don't turn back. Just a fantastic mind-fuck that is as relevant today as it was back in 1966. If you are a high end collector of records who treats his winnings like an investment banker, this shit is not for you. However, if you collect records and you like to take a walk on the weirder side of life and spit in the face of aforementioned backbencher, than this one has written YOU all over it. Love this one….top condition US original pressing. Price: 85 Euro

695. 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!!!
696. GOLDEN DAWN: “Power Plant” (International Artist – IA-LP-4) (Record: Near Mint ~ Mint/ Jacket: Near Mint – still housed in original shrink…has sticker residue on shrink). True 1st original pressing in unbelievable condition, impossible to upgrade on this one. Has matrix numbers “IAS 4 Side 1 IA” in the dead wax indicating this was the first original US pressing.One of the Texas psychedelic '60s groups on the legendary International Artists label, most famous for the 13th Floor Elevators. In fact, the Golden Dawn sounded a lot like the Elevators, although their lead singer had a gentler, more fragile delivery than Roky Erickson. The similarity wasn't terribly surprising given that lead singer George Kinney had grown up with Erickson, and had once played with him in a pre-Elevators group, the Fugitives. Kinney also played in the Chelsea, which for a time included 13th Floor Elevator Powell St. John. The Golden Dawn became a part of the International Artists roster with the Elevators' help. They released a decent album in the late '60s, Power Plant, that (again, like the Elevators) featured a florid cover, inscrutable liner notes, and inscrutable lyrics. George Kinney's role in the Roky Erickson saga wasn't finished when the Golden Dawn broke up; he financed the publication of Erickson's book, Openers, which helped get Roky out of Rusk State Hospital.” (Richie Unterberger, All Music Guide). One lost classic of Texas psych that rips through similar sonic wastelands as the 13th Floor Elevators. And it is easy to see why since many people exposed to this fabulous album rate it as the second best International Artists album after “Easter Everywhere”. With a more youthful and energetic snotty-psyched out garage punk feel than the Elevators, the Golden Dawn recorded this classic way back in July 1967 and it has withstood the ageing process better than any other album. In all a dead stone classic of psychedelic garage punk out of an era when dope was great and the high long and lasting. A masterpiece. Recently demand is rising on this one and especially virginally clean copies are a bitch to dig up. This copy is perfect and will never ever need an upgrade again. Total classic. Price: 550 Euro
697. 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
698. 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
699. GONG - ALLEN, DAEVID: “Banana Moon” (BYG Records – YX-6044) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Rare original Japanese first pressing. This is Allen's first solo album which he recorded years after leaving the legendary Soft Machine and soon after forming the anarchic, experimental and drug-inspired ensemble Gong. The album's highlights include the moody 'Memories' with Robert Wyatt on vocals, one of the finest tracks to come out of the so-called 'Canterbury Sound', and the rocking opener 'Time Of Your Life' is a showcase for Allen's guitar pyrotechnics. The gatefold jacket will blind you when it flashes upon you the original artwork that includes Allen's own distinctive, suitable stoned notes and drawings. Amazing disc, an all time classic psych beast. Top copy and hard to unearth Japanese original that sounds way better as opposed to the French one. Highest recommendation. Price: 100 Euro
700. GONG: “Camembert Electrique” (Actuel – actuel-53) (Record: Near Mint - has a slight visible bubbles that do not affect the play due to pressing which is only cosmetic of nature - no signs of play or any damage/ Gatefold Jacket: Near Mint/ 2 Inserts: Near Mint). Original French pressing – 1st press issue on the BLACK Actuel label imprint, 2nd issue came out on the brown Actuel label. Like you might now, some of the hardest Actuel records to come by are those of Gong. This copy here is complete and comes with a 2 fully illustrated insert, complete with Daevid Allen’s spaghetti like designs. The music needs hardly any introduction and is next to the band’s “Continental Circus” and “Magick Brother” discs one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Top original copy. Price: 200 Euro
701. GONG: “Camembert Electrique” (Japanese Actuel – BYG Records – YX-6080/ Released in August 1971) (Record: Excellent ~ Near Mint/ Fold Out Jacket: Near Mint/ Insert: Near Mint) Like you might now, some of the hardest Actuel records to come by are those of Gong. But still if you search hard enough and scout out e-bay they eventually turn up. What however never turns up are the Japanese pressings of Gong on the Actuel label. Those were released almost simultaneously with the French Actuel editions but had two different characteristics. One was the superior vinyl quality (Japanese vinyl as opposed to the crappy French pressings) and totally different cover art in some cases. This copy here the inside of the gatefold has a different color tone to the French issue and on top of that comes with a 4 paged fully illustrated insert, complete with Daevid Allen’s spaghetti like designs. A couple of months ago a similar copy with obi attached was sold for 600 euro here, so you might get an idea about those records scarcity (there were regular Actuel titles here in Japan change hands for about 10 dollars – a whole world of difference). The music needs hardly any introduction and is next to the band’s “Continental Circus” and “Magick Brother” discs one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Excellent music housed in extremely rare different jacket. Hardly ever surfaces and this copy is in excellent condition. Highly recommended and mega collectible. Price: 150 Euro
702. GONG: “Magick Brother” (Japanese Actuel – BYG Records – YX-6054/ Released in August 1971) (Record: Near Mint/ Fold Out Jacket: Near Mint/ OBI: Excellent) Bloody rare Japanese 1st original pressing complete with obi and housed in a Japan ONLY gatefold jacket art. FIRST copy I ever see complete with OBI – which makes this beauty seriously rare. Like you might now, some of the hardest Actuel records to come by are those of Gong. But still if you search hard enough and scout out e-bay they eventually turn up. What however never turns up are the Japanese pressings of Gong on the Actuel label. Those were released almost simultaneously with the French Actuel editions but had two different characteristics. One was the superior vinyl quality (Japanese vinyl as opposed to the crappy French pressings) and totally different cover art, like this copy here. A couple of months ago a similar copy with obi attached was sold for 600 dollars here, so you might get an idea about those records scarcity (there were regular Actuel titles here in Japan change hands for about 10 dollars – a whole world of difference). What makes this one also different is that it is a rarely seen promo copy with again slightly different artwork as opposed to the version that was actually put out. The music needs hardly any introduction and is next to the band’s “Continental Circus” disc one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Excellent music housed in extremely rare different jacket. Hardly ever surfaces and this copy is in excellent condition. Highly recommended and mega collectible. Price: 550 Euro
703. GONG: “Magick Brother” (Japanese Actuel – BYG Records – YX-6054/ Released in August 1971) (Record: Near Mint/ Fold Out Jacket: Excellent – has mildew spots inside the gatefold/ OBI: Near Mint). Another copy of damned elusive Japanese original that comes housed in Japan only gatefold jacket art. Comes a bit cheaper as the above one due to some ageing spots and mildew stains visible inside the gatefold. Still a bitch to dig up on these shores…Price: 400 Euro
704. 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
705. 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

706. GONG: “You” (Nippon Columbia – Virgin Records – YX-7014-VR) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Mint/ OBI: Near Mint). Rare Japanese 1st original pressing. Complete with always missing first OBI!!! Comes on the 1st print Virgin label, probably the coolest label design ever. High quality Japanese virgin vinyl pressing that totally waxes the ears and oozes the brain. Master Builder still rules here. Top copy and dead mint. Price: 150 Euro

707. GONG: “Live At Sheffield 1974” (Mantra – 042LP) (Green Vinyl LP: Excellent ‾ Near Mint/ Gatefold Jacket: Near Mint). France only LP release of this head spinning live set by Gong at their prime. Price: 60 Euro

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

709. 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: 100 Euro

710. GRACHAN MONCUR III: “Aco Dei De Madrugada – One Morning I waked up very early…” (BYG Actuel – BYG-27) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint/ OBI: Mint). Unplayed MINT copy. Comes with freakingly rare first press issue obi. White label test pressing, Japanese original. “Essential stuff -- and one of a few albums recorded for BYG/Actual by trombonist Grachan Moncur III -- some of his best work after his initial classics for Blue Note! The album features Moncur fronting a European rhythm section -- performing one side of interpretations of Brazilian folk tunes: "Aco Dei De Madrugada" and "Ponte Lo"; and another of two originals: "Osmosis" and "Tiny Temper". Anyone familiar with Moncur's style can't help but appreciate his coloristic slides and slurs, or his marvelous textural splashes of tone, or his individual phrasing, shaped more by his unique vision than any standard trombone slide or valve brass tradition. While his wonderful Blue Note sides were very modernist, these BYG sessions find Moncur at his most expansive -- more groundbreaking work from one of our favorite "new thing" artists!” (Dusty Groove) High quality vinyl pressing from December1970 and sounding so much better than the French pressings of that day, it will wrap your ears around your head in pure delight. One of the hardest to come by Actuel titles, especially with OBI present and a white label test press issue. Price: 100 Euro
711. 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!!!
712. 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. Price: 300 Euro
713. 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. Price: 275 Euro
714. 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! Price: 125 Euro
715. GRAHAM, DAVY: “Folk, Blues & Beyond” (Decca – LK-4649) (Record: Excellent, side 2 has a few paper scuffs/ Jacket: Excellent). Original 1965 pressing, unboxed red Decca label, mono pressing. "Certainly he is one of the more extraordinary artists that the world of folk has produced: the most original young guitarist in Europe, a gifted, natural arranger and a singer who sings as he feels. Moreover, he is too large a personality for the folk scene to entirely contain, although he is one of its favorite sons. By this I mean that Davy is constantly drawing other musical forms into his own orbit: blues, modern jazz, Indian or Arabic forms, and so on. All have joined the basic folk repertoire he began with, coloring his overall output in a quite remarkable way." And Colin Harper writes in the Mojo's booklet about the 100 Greatest Guitar Albums: "Before Elvis, said Lennon, there was nothing. Well, before Davy Graham - six-stringed alchemist of Indian, Arabic, Elizabethan, Celtic, modern jazz, country blues, Broadway and pretty much everything else - the world of acoustic virtuosity (Julian Bream notwithstanding) was similarly void. Having already notified the post-Lonnie cognoscenti of where it was at with Angi - as if 1962 was the first year of contrapuntal bass lines since Bach - this era- and career- defining album, with muscular bass and drums off-setting the maestro's almost incongruously mannered vocal, arrived at precisely the moment to set the bar for Britain's young, vibrant, Soho-centred 'folk-baroque' movement of Jansch, Renbourn, Harper, Drake et al. And these were high times". (Ray Horricks). One of the best UK folk records ever to be put down on wax. First original UK pressing. Price: 350 Euro

716. GRANT GREEN: “Green Street” (Blue Note – BLP-4071) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint, some mild foxing on back). Original Blue Note 1st pressing – with RVG and Ear logo stamp in the dead wax & New York USA label pressing. 43 West 61st St., New York 23 address on jacket; RVG stamped in dead wax; ear; laminated cover; safety rim. Matrix numbers: BN LP 4071 A, BN LP 4071 B. Green's sophomore effort for Blue Note has a somewhat unusual trio line-up in that it sports a bass-drums rhythm section rather than the more common organ-drums one. This gives the album an overall more concentrated tone, as the absence of an organ focuses the attention much more on Green's guitar, which is basically the only solo instrument. Ben Tucker's bass takes away none of the spotlight from Green (except for two excellent solos on "Grant's Dimensions" and "Green with Envy") and his lightly moving lines provide significantly more space for Green to move around in. While there is a lot of guitar to be heard on this album (which may be the only drawback really), Green is rarely ever heard in a context where he can stretch out and move around as freely as on this trio date, and he seems to thoroughly enjoy this freedom. Extremely clean and amazing condition that will be hard to ever improve upon. Highly recommended. Price: 275 Euro

717. GRANT GREEN: “Idle Moments’” (Blue Note Records/ Japan – BN-4154) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 75 Euro
718. GRATEFUL DEAD: “Dark Star b/w Born Cross-Eyed” (Warner Bros. Records – BR-1965) (Red Wax EP Record: Near Mint/ Picture Sleeve: Near Mint). Original Japan only issue of Dark Star that comes on red vinyl. A single released in Japan by the Toshiba label, on a red label with dark red, translucent vinyl. The front picture sleeve shows the band (Lesh, Kreutzmann, Garcia, Weir, and Pigpen). The upper part of the sleeve shows a light green band with the band name in Japanese and the two song titles in English, and "THE GRATEFUL DEAD" across the lower portion of the photo. The single version of Dark Star is completely different to the album version. It was recorded during the Anthem Of The Sun studio recording sessions. The version of Born Cross-Eyed is also different mix of the version that was released on Anthem Of The Sun. Without a doubt, the rarest Grateful Dead artifact out there, just hardly ever turns up and this copy is top all the way. Price: Offers!!!!
719. GRATEFUL DEAD: “China Cat Sunflower b/w St. Stephen” (Warner – BR-2334) (EP Red Wax Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Japan only Grateful Dead EP release, WHITE label PROMO on RED wax. As rare as their Japanese EP single of “Dark Star”, but offered less frequently, “China Cat Sunflower” is one of the Dead’s rarest releases. Top condition, red wax promo issue. Price: Offers!!!!
720. GRATEFUL DEAD: “Uncle John’s Band b/w Cumberland Blues” (Toshiba Records Japan/ Warner Bros. – BR-2599) (RED WAX EP: Mint/ Gatefold Picture Sleeve: Mint). The rarest Grateful Dead Japan only EP release after dark Star is this baby, very few around and especially red wax copies are sought after. Price: 400 Euro
721. GRATEFUL DEAD/ ELVIN BISHOP GROUP: “Johnny B. Good B/w So Fine” (Warner – P-1172W). (EP Record: Mint/ Picture Sleeve: Mint). Japanese green Warner Bros. press of this Dead track, released in 1972 to promote the Last Days of the Fillmore album. B-side is by the Elvin Bishop Group. Great picture sleeve of the dead. Top notch condition. Price: 50 Euro
722. GRATEFUL DEAD: “Vintage Dead” (Sunflower – SUN-5001) (Record: Excellent/ Jacket: Near Mint). Original 1st US pressing in great condition documenting the initial Dead years. Price: 50 Euro
723. 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
724. GRATEFUL DEAD: “S/T” (Warner Bros. – BP-8222) (Record: Near Mint = MINT/ Jacket: Near Mint). Never offered before WHITE LABEL promo/ TEST PRESS issue of the 1st dead album to be released in Japan on November 1967. Top condition. “Fresh-sounding, upbeat and strongly melodic, the Dead’s debut contains elements of rock and roll, blues and their own inimitable brand of psychedelia. Opener ‘The Golden Road (To Unlimited Devotion)’ is a keyboard-driven psych-monster that hooks you in with its stupidly catchy chorus. The unique-sike sound of ‘Cold Rain And Snow’ keeps the album anchored firmly in a contemporary setting, leaving behind the rock and roll/ blues of the 2 previous tracks. The 1st side ends with the best cut ‘Cream Puff War’ a Love-like sound binge that is underpinned by Pigpen’s masterful keyboards and Garcia’s ferocious guitar. The 2nd side is all about ‘Morning Dew’ and ‘Viola Lee Bleus’. The first is an expansive, spatial excursion that introduces the listener to the sound that would pretty much become to define them, partially when they played live. ‘Viola Lee Bleus’ is an epic 10-minute jam that serves as a showcase for their instrumental skills, in particular Pigpen’s ‘board wizardry. Rarely given the credit it deserves, this record stands alongside ‘American beauty’ and ‘Anthem Of The Sun’ as one of the Dead’s very best.” (JE – Endless Trip). TOP condition, impossible to upgrade upon. Never seen before Japan 1st press WHITE LABEL/ TEST PRESS PROMO issue of 1967, seriously rare!!! Price: Offers!!!
725. 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!!!!!
726. GRATEFUL DEAD: “Anthem of the Sun” (Warner Bros – Seven Arts Records Japan – BP-8522) (Blood Red Wax Record: Mint/Flip Back Cover: Mint/Company Inner Sleeve: Near Mint/ OBI: MINT). Top copy in near mint condition, best copy to ever cross my eyes. Toshiba pressing on red wax, 1st Japanese pressing of this Dead album, which is impossible to dig up these days. COMPLETE WITH 1st ISSUE OBI, which has never surfaced before, beyond a doubt rarest of the rare Japan press issues!!! "Anthem Of The Sun" is The Grateful Dead's second album originally released in 1968. Even at this stage, the band was already turning new corners and had reinvented itself both in the studio and onstage. The original five-piece Dead line-up had expanded with the addition of second drummer/percussionist Mickey Hart and additional keyboardist Tom Constanten giving a fuller muscular sound to the entire band. This has simply got to be the most "far out" album to come out of the late '60s Bay Area. For this album, the band recorded a bunch of stuff in the studio, and included a bunch of live snippets, which they spliced in. Phil Lesh was apparently a big fan of avant-garde classical like John Cage and Karlheinz Stockhausen, and it shows here. The Grateful Dead were at their most experimental when they recorded this recorded in late 67 and early 68. This was their second studio record and they wanted to capture the energy and organized chaos of their famed live show in a studio environment. They decided that the best way to do this was to mix live versions and studio versions of the songs into one big sonic collage. Most of the live material was pulled from the 2/14/68 show and layered and mixed into the studio recordings. A truly psychedelic experience. The album flows from track to track, creating a swirling mind melting listening experience... Rare 1st Japanese pressing on Toshiba's famed BLOOD RED WAX, complete with monstrously rare OBI. So serious offers needed on this one.Price: Offers!!!!
727. 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
728. 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!!!
729. 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!!!!
730. GRATEFUL DEAD: “Workingman's Dead” (Warner Pioneer Japan – P-8096W) (Record: Mint/ Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint/ Company Inner Sleeve: Excellent). Rarest of the RAE!!!! BLUE LABEL PROMO COPY!!! Another Holy Grail in the Rock Age Flower Obi saga is this Grateful Dead LP, never surfaces, this copy is just perfect. Blue PROMO only Warner label. “New Speedway Boogie” kills it time and time again, one of the best Dead albums ever. Rarest version in existence without a doubt. Condition is like virginally new…and only a handful of these with the Flower obi do actually circulate, making it rare for eternity. Only once a copy surfaced on eBay and sold for 1900….so go figure. I am not that greedy and reserve set at a fraction of that going rate. Still, rare as hell freezing over on a hot summer day. Price: Offers!!!!
731. GRATEFUL DEAD: “Live Dead” (Warner Japan – BP-88998900) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Monster rare Japan 1st original pressing – PROMO ONLY RED WAX issue. HOLY GRAIL all complete with first issue obi, 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 red wax with obi, what’cha gonna do about it??…. Price: Offers!!!
732. GRATEFUL DEAD: “Live Dead” (Warner Bros.-Seven Arts Records – 2WS1830) (2 LP Set: Excellent/ Gatefold Jacket: Near Mint/ Booklet: Near Mint). Rare white label promotional copy. This album has it all: the overwrought psychedelic lyrics and feedback solos, the chimes and the mood music, but it also has the driving blues and the backbeat. And, of course, it's live. On that score, it succeeded wildly, pulling parts of shows from February and March of 1969 at the Fillmore West and the Avalon Ballroom, and it came out in the fall just after the Summer of Woodstock (where the Dead played, getting electrocuted whenever they touched their instruments). The total time of the album is just over 73 minutes, an abbreviated representation of their marathon concerts, but it is the show all Dead fans wish they had been to, and which some think they were at. The music on display is a primordial soup, the swirling of matter and antimatter, pops of the bass, chips of the drums, taps of the cymbals, plunks of the guitar all subatomic particles in chaos. Then, slowly, a rhythm emerges, the celestial bodies start coming together, arpeggios are sprung, and we're moving. Then real form develops, and we have a guitar line, a bass line, a beat. It gets stronger, and then Jerry's guitar, the voice rises above the rest, and we're off into a 23-minute version of the ultimate trip song, “Dark Star”, which from then on transmutates into various songs as an excuse for extended improvisational jams and freaks outs disguised as “St Stephen”, “The Eleven”, “Lovelight”, the bone-chilling creepy “Death Don't Have No Mercy” before stumbling down in a grand finale of unwrought feedback that fades out in the hymn “And We Bid You Goodnight”. Original double LP, very rare WHITE LABEL PROMO!! Housed in thick gatefold cover, and is in EX-NM. No seam split, no tears, no writings, no stickers, no cut holes! Both records have clean shiny surface. Overall record is very, very clean between EX- and NM. White labels are clean with no noticeable damage. Have a few spindle marks around the center holes. Comes with a foldout insert in excellent shape. Price: 300 Euro
733. GRATEFUL DEAD: “Europe ‘72” (Warner Pioneer Japan – P-5070~72W) (3 LP Set: Near Mint/ Triple Gatefold Jacket: Near Mint/ Booklet: Mint/ Obi: VG++). Rare Japan pressing, white label promotional copy. Issued as a beautifully packaged 3LP tri-fold album. There weren’t many bands that got that treatment and the applied expense given The Dead. But Warner Brothers Records knew they had something special and they were not wrong. Give this set a listen and you’re immediately struck by the cohesiveness of the band. “Europe ‘72” encapsulates a time of great clarity for the band. Pigpen, a popular mainstay of the band was still around. The Dead themselves were as expansive and as perfected as they were ever going to get. Popularity was at an all time high. It was an excellent time to tour Europe and to treat the growing Euro audiences to the Dead’s legendary shows and mellifluous styles. “Europe ‘72” is the capture of that trip. What it has become is a documented legend, showcasing the essence of rock and roll. Price: 200 Euro

734. GRATEFUL DEAD: “Steal Your Face” (Liberty Japan – LLS-67095~96) (2 LP Set: Near Mint/ Gatefold jacket: Near Mint/ Obi: Near Mint/ 6-Paged Insert: Near Mint). Very Rare Japan 1st press original WHITE LABEL PROMO Issue with OBI!!!! Hard to come by Japanese pressing with obi and booklet of this all time classic Grateful dead album. If psyched out bliss and improvisational interplay are standards you live by, how can you then pass on the Dead? Right you can’t and once you get in their sonic maze of styles, moods and deep spaces that shift through the ages, I am sure that you will have to agree with me. What makes this Dead album so freaking special is that all Japanese pressings of Dead albums up to 1977 are just virtually impossible to get and this one is no exception. They sold poorly at the time in Japan just because of the fact that they were bloody expensive seen against the minimum wage one received in those days. And here you have a totally mint copy of such a Dead artifact. “Steal Your Face” however is definitely not for everybody. If you consider yourself a "deadhead" and have only heard “Touch of Grey”, “Casey Jones” and “Sugar Magnolia” you probably won't like this album. This is an album for the true dead aficionado. “Casey Jones” is the only "popular" song on the album, and may be the worst one on it. You should purchase this album if for no other reason then to have these renditions of “Promised Land”, “El Paso”, “Sugaree” and “Cold Rain & Snow”. These and other tracks on this album show the band's diverse and sometimes eclectic musical tastes, one of the things that makes the Dead so bloody great. This is classic early to mid 70's Dead, be it a bit in a slum but still awesome to these ears and totally laidback and doped out. Recorded during a stretch of live shows at San Francisco's Winterland venue in 1974, this two-LP set contains some of the best Grateful Dead performances ever officially released of that period. The first LP starts with two Chuck Berry songs and an old traditional tune “Cold Rain & Snow”, highlighting the band's roots. The touching “Stella Blue” and the wryly melancholic “Ship of Fools” follow. The second LP is exceptional. Vigorous interpretations of Johnny Cash's “Big River” and Marty Robbins' “El Paso” spike a quintet of classic Dead songs, from the crowd-pleasing “Casey Jones” to the beloved shuffle of “Sugaree” and “U.S. Blues”, one of their most exuberant and freewheeling compositions, is a blast of orange sunshine. “Black-Throated Wind” reveals itself as perhaps the band’s most underrated composition. If this wasn't enough, “Steal Your Face” also includes the definitive version of “It Must Have Been the Roses” itself a charming study in the Grateful Dead’s unique brand of folk/country/psychedelic/rock. Me, I love it, all of it, but then what do I know, I am just a sucker who happens to like fantastic music…with the Dead as one of my all time heroes…(just saw the Festival Express DVD…man again the Dead blew me to smithereens on that one…). Personally, I can only say, get all you can by the Dead, in the studio they sucked majorly but live they burned all in their wake… White label promo copy on virginal high quality Japanese vinyl, damned rare…Price: 200 Euro

735. GRATEFUL DEAD: “Blues for Allah” (Liberty Japan – LLS-80373) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 6-Paged Japan only Insert: Mint). Rare Japanese white label promo pressing with obi present. “The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir’s Ace Studios to record Blues for Allah. The disc was likewise the third to be issued on their own Grateful Dead Records label. When the LP hit shelves in September of 1975, the Dead were still not back on the road — although they had played a few gigs throughout San Francisco. Obviously, the time off had done the band worlds of good, as Blues for Allah — more than any past or future studio album — captures the Dead at their most natural and inspired. The opening combo of "Help on the Way," "Slipknot!," and "Franklin's Tower" is a multifaceted suite, owing as much to Miles Davis circa the E.S.P album as to anything the Grateful Dead had been associated with. "Slipknot!" contains chord changes, progressions, and time signatures, which become musical riddles for the band to solve — which they do in the form of "Franklin's Tower." Another highly evolved piece is the rarely performed "King Solomon's Marbles," an instrumental that spotlights, among other things, Keith Godchaux’s tastefully unrestrained Fender Rhodes finger work displaying more than just a tinge of Herbie Hancock inspiration. These more aggressive works contrast the delicate musical and lyrical haiku on "Crazy Fingers" containing some of lyricist Robert Hunter’s finest and most beautifully arranged verbal images for the band. Weir’s guitar solo in "Sage & Spirit" is based on one of his warm-up fingering exercises. Without a doubt, this is one of Weir’s finest moments. The light acoustic melody is tinged with an equally beautiful arrangement. While there is definite merit in Blues for Allah's title suite, the subdued chant-like vocals and meandering melody seems incongruous when compared to the remainder of this thoroughly solid effort.” (Lindsay Planer). Price: 100 Euro
736. GRATEFUL DEAD: “Terrapin Station” (Arista Records – IES-80892) (Record: Mint/ Jacket: Excellent/ Insert: Excellent/ Obi: Excellent). Original first Japanese pressing all complete with obi & insert from 1977. Price: 70 Euro
737. 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
738. GRATEFUL DEAD: “Live In Gizah, Egypt”(Private) (3 LP Record: Near Mint/ Outer Box: Excellent/ Poster: Mint/ Sticker: Mint/ Book: Mint). Long time gone vintage boot of the Dead shining in action and displaying their brightest colors. This is a very rare Italian pressed 1978 Grateful Dead Live In Gizah Egypt LP box set. This was a very well packaged limited edition box set with three albums, a poster, sticker and booklet from their 1978 concert in Egypt. The back of the box has a label stating that it is #154 of 500 copies pressed. Top condition and rarely seen in complete condition. Price: 200 Euro
739. 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
740. 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
741. GRAVES, MILFORD & DON PULLEN: “Nommo – Don Pullen & Milford Graves In Concert At Yale University” (SRP Records – LP-290) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). First original pressing housed in 2nd state jacket art. Extremely nice and super clean copy of this all time free jazz classic disc that these days rarely surfaces at all. I guess reputation precedes this disc, making all attempts to describe it futile and in vain. I guess that most people subscribed to this list or browsing through these pages are more than familiar with its reputation, stature and historic value within the free jazz sub-underground. Indispensable private press that is getting bloody rare. Fantastic copy that contains even better mind shifting music. Jacket still housed in original shrink – hard to improve upon this copy. Stellar. Price: 200 Euro
742. GRAVES, MILFORD featuring ARTHUR DOYLE: “Babi Music” (IPS – IPS-ST004) (Record: Near Mint/ Jacket: Near Mint). Another TOP COPY back in stock! Take cover for the ultimate Milford Graves disc… this one is like being engaged in a trench warfare and taking prisoners is out of the question, vicious assaults until the last man is left standing and shredded to pieces. Together with Takayanagi’s “Independence”, Frank Wright’s “Church Number Nine”, Yamashita Yosuke & Dairakudakan, Bennink & Brotzmann’s “Atsugi Concert” and Rashied Ali & Frank Lowe’s “Duo Exchange”, this is one of the most vicious, infernal free jazz epic discs ever to be put down on wax. In short this is Free Jazz Soul Music, star-dusted with magical, free-flowing vibrations. When the other players hit, at moments completely slamming – delirious Doyle sax eruptions of volcanic proportions augmented with ecstatic screaming, it feels like planets collide, cosmic forces at work, the Big Bang reversed. At times the chaos of the gargantuan interplay begins to spin out of control melts eventually into a the thread holding all firm together, without warning it gets astray again, but then something extraordinary breaks through and it all connects. This is religion in sound, an epiphany, an orgasm. The band consists of Hugh Glover on reeds, Arthur Doyle on reeds and voice, and Milford Graves on drums, and they all sound totally crazed for the duration of the LP. A real high-water mark for the whole genre, and possibly Arthur Doyle’s finest hour. Beats sniffing clue at the local gas station. Highest possible recommendation!!! Price: 375 Euro
743. GRAVES, MILFORD & ANDREW CYRILLE: “Dialogue of the Drums” (IPS 001) (Record: Excellent/ Jacket: Excellent) American original press. Recorded in 1974 in New York at the Wollman Auditorium of Columbia University. This is probably the most challenging percussion album ever to have been put down on wax and upon glaring at the variety of rattles and shakers brought to the stage by these two monster percussionist you can get a hint of the adventurous territory these two are bound to cover. Andrew Cyrille comes armed with tom-tom, gongs, whistles, hand clapping, words, phonetics, temple blocks, agogo bells, chimes, tympani, cymbals, darabukkeh, foot rhythms, osi-d, castanets there were Milford Graves spices up the palette of percussive rattles with phonetics, bgo, darabukkeh, whistle, gongs, osi-d, galloping, tympani, cymbals, balafon, agogo bells, foot rhythms, bells, tambourine, shakers, words, African talking-drum, mnemonics, etc. In short, this sonic Valhalla is a summit between drum-masters whose rhythmic arsenals stretched far beyond the traditional drum kit and incorporated ingredients from Africa, Asia, India, and the Caribbean, Dialogue of Drums was and is still a difficult and noisy listen, however, it’s display of virtuosity and sense freedom is without equal. A must!! Price: 75 Euro
744. 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 hard core free jazz improvisers, being Tsuchitori Toshiyuki, Kondo Toshinori, Abe Kaoru and Takagi Mototeru. Hard core free blowing interaction. Sublime does not even come close to describe the greatness that lies embedded within the disc’s grooves. Historical masterpiece that is getting scarcer every minute. Great copy in immaculate condition. Stunningly great record. Finally one with obi present….Price: 125 Euro
745. 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: 100 Euro
746. 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: 100 Euro
747. 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. Price: 75 Euro
748. GRIMES, HENRY TRIO: “The Call” (ESP Records – 1026) (Record: Near Mint/ Jacket: Near Mint). The mysterious bassist Henry Grimes who disappeared altogether in 1967, only led this one recording session; it has been reissued on CD. Although Grimes played in a wide variety of settings in the late 1950s, he was working exclusively in the avant-garde by 1965. Teamed with clarinetist Perry Robinson in one of his earliest recordings and the obscure drummer Tom Robinson, Grimes gets a fair amount of solo space on these six group originals. However, it is for Robinson’s playing that the adventurous but not overly memorable disc is chiefly recommended. Price: 75 Euro
749. GROUNDHOGS: “Scratching The Surface” (Liberty/ Toshiba Records – LP-8686) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Insanely rare first original Japanese press issue from 1969 all complete with the always elusive and never seen before OBI. To make it even more delusional, this is the white label PROMO issue. The raw, rootsy Scratching the Surface ranks among the finest albums to emerge from the British blues-rock boom, matching McPhee’s memorable original tunes with a blistering reworking of the Muddy Waters classic “Still a Fool.” The album features the Groundhogs’ original recording lineup of McPhee, bassist Peter Cruickshank, drummer Ken Pustelnik and harmonica player Steve Rye. Without a single doubt, Scratching The Surface ranks among the finest albums to emerge out of that entire period, a moody shuffle that includes an epic recounting of the Chicago classic "Still a Fool" and which matches five solid McPhee originals with a pair of blistering contributions from outgoing harmonica whiz Steve Rye. In fact, his "Early in the Morning" and "You Don't Love Me" might well be the album's best numbers If you want to hear the blues sluicing straight out of the Southern England Delta, there are precious few better introductions than this one here. Never offered for sale anywhere, this Japanese original pressing with OBI present is an enigma on these shores. The sole evidence so far of its existence was a small picture in a book. Until know, most have never even seen an original with obi, let alone a white label promo one, making it one of the rarest Japanese pressings of that late 1960s era. Amazing condition and even better music. Price: Offers!!!!
750. GRUNTZ, GEORGE; SAHIB SHIHAB; JEAN LUC PONTY; SALAH EL MAHDI & THE BEDUINS: Noon In Tunisia – Jazz Meets Arabs” (MPS Records – YS-2316-MP) (Record: Near Mint/ Gatefold Jacket: Excellent ‾ Near Mint, has some mild ageing foxing inside gatefold). Bloody rare Japan white label TEST PRESSING. 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 earbleedingly 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. Price: 75 Euro

751. GUILLAUME DE MACHAUT: “Le Livre Du Voir – La Messe De Nostre Dame” (Mirror Music – 0000&~00009) (4 LP Record Set: Near Mint ~ Mint/ Box: Near Mint/ Thick 68 Paged Booklet: Near Mint) Original 1979 pressing in immaculate condition. Guillaume de Machaut (1300-1377), from Machaut in northern France, was a poet/musician and became a cleric, so some of his work is sacred. But he is best known for his secular music and was very influential on Chaucer. Machaut is known for his use of pan-isorhythm -- isorhythm appearing in all parts -- and his through-composed monophonic lais. He oversaw his own collected works, the six "Machaut Manuscripts," so we're beginning to move out of the generally anonymous medieval period with the "rise of the artist." In his Livre du voir dit (Book of the True Poem), Machaut amassed assorted poems, letters, and songs into a semi-autobiographical scrapbook dedicated to Péronne d'Armentières, a young woman with whom a much older Machaut was infatuated. Machaut's Messe de Nostre Dame (Mass of Our Lady), composed in the 1350s or '60s is the only 14th-century complete setting of the Mass Ordinary attributable to a known composer -- what later would be called a Mass Cycle. Though the movements are not all unified by any particular theme, each movement is based on the appropriate chant for that part of the Mass, and Machaut uses isorhythm in each. Thus, the Kyrie is based on the plainchant Kyrie Cunctipotens Genitor Deus. This four-voice medieval polyphony is characteristic in its being very horizontally composed, line overlaid by line, rather than displaying the vertical sensitivity and even chord functions of later composition. Double leading-tone cadences are also distinctive. Truly beautiful music that has at least to these ears a deep psychedelic vibe. Rare 1st original press housed in lavish box in top condition. For sure, one of the highlights in this list – at least for those with ears. Price: 75 Euro

752. 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

753. 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

754. 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: 175 Euro
755. 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
756. 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
757. 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

758. 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

759. HALF JAPANESE: “1/2 Gentlemen-Not Beasts” (3LP Box/ Armageddon Records – 1980) (Records: Excellent ~ Near Mint / Box Set: Excellent ~ Near Mint/ Has all the inserts). Half Japanese was started in the mid-70's by brothers Jad and David Fair, in a Michigan bedroom replete with instruments, electronic devices, and other noisemakers. Neither Fair knew how to play their instruments (at least not in the conventional sense) but nevertheless had the creative vision to manufacture musical sounds from the gadgets at their disposal. With no interest in chords or melody, the duo recorded several homemade cassettes and a couple seven-inches in classic DIY style. These early recordings were spread around the underground, eventually reaching the small British label (Armageddon) that signed Jad and David. The first Half Japanese album followed in1979 which compiled many of the home recordings and a couple live sets. It is said to be, not surprisingly, the only three-record debut album in the history of rock. The Fair brothers alternate between atonal, cacophonous songs and inventive, minimalistic instrumental experiments. The more orthodox songs feature unfixed, primitive rhythms with guitars and percussion (drums, aluminum pots) as the primary noisemakers. The grating vocals of Jad and David fit perfectly with the clatter. Jad's reedy vocals are a particular treat; perhaps no other singer in pop history has been able to combine passionate yearning with detached, cynical irony in the same syllable the way Jad does here. There are also a number of covers included in the box set; songs by the Temptations, Velvet Underground, Buddy Holly and others get turned inside out and rendered alluringly unrecognizable. This box comes with all the inserts complete being poster, insert and booklet. Great historic importance beyond believe, all time classic masterpiece of a disc. Indispensable and quite much in demand these days. Price: 200 Euro
760. HALLELUJAHS: “Niku O Kuraite Chikai O Tatejo” (ORG Records – ORG001) (Record: Mint/ Jacket: Mint/ Insert: Mint). Released in 1986 in a tiny run of only 300 copies that evaporated into thin air in a matter of moments. Hallelujahs were a Japanese group led by Shinji Shibayama during the mid-eighties. This was their sole album, released in 1986 in an edition of 300 on Shibayama’s fledgling ORG Records label. ORG went on to release some great records by Maher Shalal Hash Baz, Reiko Kudo and Love Beach (or Nagisa Nite - Shibayama’s current dream-pop psych band). Musically, pop psych is about as close as I’m going to want to get to a description of what they do. There’s something about this record that’s hard to get a grip on. It seems to float on layers of melody rather than rhythm, and in places it has an incomparable start of autumn melancholic atmosphere. Subtle, but a grower if you give it enough time. Part of yet another invisible Japanese scene.”–Alan Cummings. Hallelujahs present a truly memorable vision, providing mostly hushed acoustic guitars, long meandering solos, tasteful percussion; occasionally adding synthesizers, piano, and additional vocals to create a lush sound akin to the feeling of seasons changing. First original pressing that just never surfaces. Beautiful acid folk tinted melodies that will wax your ears to infinity. Price: 250 Euro
761. 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
762. HAMMILL, PETER: “Over” (Charisma Records/ Nippon Phonogram – RJ-7256) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan 1st press issue complete with obi. “One of the best albums ever made about the end of a relationship and the trauma that results, Over is the harrowing document of the failure of a long-term relationship Peter Hammill had been in. With a brief side-step to examine the loss felt by parents when their children move out ("Autumn"), Hammill exposes feelings of guilt, rage, betrayal, attempts at understanding, and attempts at healing. From the self-recrimination of the furious "Crying Wolf," to the angry lashing out of "Time Heals," through the heart-wrenching sadness of "This Side Of The Looking Glass" to the extremely tentative healing steps of "Lost And Found" (which includes a middle eighth that concludes "La Rossa" from Van Der Graaf Generator’s Still Life but in a cynical way), the songs avoid compromise and simplicity, making this a sometimes difficult listening experience; the lyrics are often bitterly clever and cutting. Beautifully produced, Over is Hammill at his musical and lyrical best.” (All Music Guide). Amazing record, give you the chills every time you spin it and makes you reevaluate your life again… Indispensable. Price: 75 Euro
763. HAMPEL, GUNTER & JEANNE LEE: “Oasis” (Horo – 33 ‾ 34) (2LP Record: Near Mint/ Gatefold Jacket: Near Mint). Totally underrated Italian original press issue from 1979. To these ears probably the finest release to seep out of the Horo Labels catalogue. Recorded over the span of two days in July 12 & 13, 1978, Jeanne Lee and Gunther Hampel never sounded so spiritually uplifting as on this recording here. Lee’s voice is totally ethereal and fuses neatly with Hampel’s vibes, flute, clarinet and bass clarinet outings. Stripped down to the bare sonic necessities, it brings out the best of Hampel and highlights Lee’s vocal meanderings like no recording did ever before. It gives the whole recording a very intimate feel, boosting the sensuality like a desert rendezvous turning into a spiritual antecedent. Hampel’s faultlessly precise minimalism cultivates the tension, and Lee’s timbre, through her improvisational approach and interpretation, amplifies the heat. The 20-minute title track “Oasis” has the vocalist's elastic phrasing easily matched by Hampel’s flexibility on vibes, allowing him to manipulate silence and space as much as uplifting Lee’s vocal aesthetics. A truly amazing recording and if you are into spiritual jazz, then this stripped down approach here will certainly make your mind warp out of its usual vortex. Killer!!! Price: 75 Euro
764. 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
765. HANCOCK, HERBIE: “The Piano” (CBS SONY – 30AP-1033) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ All the Inserts: Near Mint). Rare Herbie Hancock slide that was only released in Japan. Recorded after the funky fusion of Head Hunters, Thrust, Sextant and other electric albums, and before the dawn of "Rockit" and more commercially viable and hip-hop-oriented material, Hancock took time out in 1978 to touch base again with his piano. Recorded completely solo, this set was issued only in Japan. A curious set, the first half of the album features Hancock playing jazz standards in truly elegant and restrained fashion. His treatments of "My Funny Valentine," "Green Dolphin Street," and "Someday My Prince Will Come" -- all tracks he performed as part of the Miles Davis Quintet - are elongated, morphed, and beautifully woven together as a suite. The latter half of the recording is comprised of four tracks, "Harvest Time," "Sonrisa," "Manhattan Island," and "Blue Otani," all of which are originals. These pieces are concerned with Hancock’s preoccupation with the piano as a solo instrument. They are composed as formalist treatments that are extrapolated upon at several different junctures, or "turning points," within them. They embody notions of classical music à la Anton Webern, blues, Erroll Garner’s lyrical phrasing, and Bill Evans’ harmonic sensibilities. They are, in sum, inseparable from one another and are usually performed as a suite. This is a stunning triumph for Hancock and it's too bad that the album has never been issued in the U.S., as it would undoubtedly be a popular addition to his vast catalog. (All Music Guide). One of the scarcest titles out of Hancock’s catalogue. All complete original pressing. Price: 75 Euro
776. 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
777. 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!!!
778. 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!!!!!
779. 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!!!
780. HAPPENINGS FOUR: “Outsider No Sekai – World Of The Outsiders” (Express Records – EP-7763) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Top copy, 1st original pressing all complete with obi. I only had this LP like 10 years before, only once and then it was without obi. So pleased to offer this original all-complete with obi. Well at times I think I am one of the last to harbors of good taste….maybe it is some sort of idle thinking on my behalf… probably it is but for some years now I have developed a serious affection for the Happenings Four, sucking up all these guys ever did (not a whole lot) and digging it immensely. Each single record they did (4 in total, a bunch of singles and one eight track tape with Itoh Kiyoko) covers a total different musical horizon from the previous one and this one is no different, only showing how versatile and chameleon-like this band was. At the time of this particular recording, we have entered sadly enough the final stage of the band. Released on July 5th, 1970, “Outsider no Sekai” might for most of you a tough nut to crack since it again depicts another side of the band and highlighting again their versatile musical identity and the high musicianship and songwriter talents that they brimmed over with. This 3rd album is a beast in this sense that it crosses and flawlessly incorporates many styles and crossing musical boundaries that encapsulate a wide variety ranging from garagey songs to minyo induced excursions over to ballads, enka tunes and traditional folk songs inspired compositions while never failing to add a well-concealed psychedelic undertone to it all. Setting music to the lyrics of musician, medical university professor and psychologist Kitayama Osamu, the Happenings Four entered previous uncharted waters. Kitayama’s lyrics embraced allegorical social sarcasm, which can be seen as a novelty at that time and therefore breathes out a certain counter cultural feeling – but not in a sense we westerners conceive or see it. The musical amplitude of this exciting band has many faces, simultaneously touching on rock, soft psych moves, Enka ballads, fucked up Kayokyoku escapades, studio gimmickry, deep country tinted minyo infested moves and much more amalgamated twists and turns. Again this is a deep album that will only appeal to the more seasoned listener who has a grasp on the wide diversity of music that has sprouted out of Japan during the last 70 years, being the period between 1900 leading up to the 1970ties. If you are after an easy fix, this record will bum you out because it will surpass your comprehension abilities. But if challenging and impregnated with historical and social references deep Japanese music is something you are after then this record will widen up with each spin. One of those all time greatest but sadly vastly overlooked Japanese psychedelic masterpiece recordings I find utterly lysergic in its nature. Massive stuff and only for the more experienced deep taste music listener. Comes with my all time highest recommendation!! (and bloody rare too). Never had a copy with obi, let alone in such a pristine condition as this one here. Price: 500 Euro
781. 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
782. 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
783. 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

784. The HAR-YOU PERCUSSION GROUP: “S/T aka Sounds Of The Ghetto Youth” (ESP Disk – ORO-5) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top condition copy of ever-elusive slide. The HAR-YOU Percussion Group is certainly not on the level of most of the musicians the label recorded, but their 1967 Sounds of the Ghetto Youth, perhaps more than anything else in the ESP catalog, represents that wide-eyed philosophy. The 14 members of the band, all between 16 and 19 years old at the time of the recording, were all part of a government-funded program called "Harlem Youth Opportunities, Unlimited." Under the direction of Roger "Montego Joe" Sanders they became a respectable band, melding Latin jazz with touches of the era's prevalent "New Thing" sound and epitomizing the sort of self-empowerment that was behind the Black Panthers and the school lunch program. The group's name is a contraction of "Harlem Youth" — a program in which all players participated! There's a strong Latin Soul vibe running through the set — but one that's different than Joe's other work, a bit more rootsy at times, given all the percussion in the lineup — but warmed up nicely with bits of guitar, trumpet, and alto sax. In all, it is 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. The album's filled with great groovers — including the classic "Welcome To The Party Jam", and the amazing "Oua-Train" jazz cut, which has a slightly spiritual feel. Price: Offers!!!

785. HARMONIA: “Music Von Harmonia” (Brain Metronome– 1044) (Record: Excellent ~ Near Mint only has a few paper sleeve lines visible under very bright light – record plays mint/ Gatefold Jacket: Mint) Original German press in dead EX‾NM condition all way round. Amazing copy Recorded in 1974 as collaboration between Cluster and Neu members. Michael Rother of Neu! brings a sense of structure to Clusters sometimes aimless soundscapes, while Cluster add a warmth of feeling to Rother’s palette. The slightly ramshackle feel to the whole affair is extremely charming and intoxicatingly disarming - the rhythm is exerted by prehistoric drum machines that display still some bodily warmth as opposed to today’s pro-tools soft. Recorded in a home made studio sheltered in an old farmhouse, the trio mainly operated with home made equipment, so despite the exclusively electronic instrumentation there's an almost animalistic and home-grown feel to much of the album. Because of that, the whole affair breathes out for what many is the Krautrock ideal, or more accurately, the motorik ideal. It's not Kraftwerk's all-synth, driven and clinically clean, rotating pulsating stomp, nor is it Neu!'s seemingly effortless glide or Can's stomping lysergic art world funk. Instead it's at once playful and murky, steady and mechanical, a super group of sorts who embody a variety of approaches that work wonders. About half of the album displays an obvious Neu! influence in the form of rhythmic, repetitive pieces with Rother's guitar upfront, whilst the remainder is the more atmospheric proto ambient style of music that was Cluster's trademark. Harmonia were about 15 years ahead of their time. An all time classic and killer cool album that must be present in any serious music collection. Hardly ever turns up thee days it seems. Top condition... So… Price: 300 Euro
786. HARRIOTT, JOE: “Personal Portrait” (Columbia – SCX-6249) (Record: Near Mint/ Laminated Jacket: Near Mint). Original 1967 UK 1st press issue in outstanding condition, another vital slab of stellar UK jazz that was released in the collectable Lansdowne Series. Harriott was initially a devotee of Parker and at the start of his career acknowledged it. The inclusion of Parker's “Now's The Time” on this record shows that even at this stage of Harriott's career, Bird cast a long shadow. By the time Harriott recorded this record in 1967, which would be his last under his own name, he had not only previously recorded a 'with strings' record, in 1955, but he had also recorded three records with John Mayer. While not pairing him with a string section, the nature of Indian classical music meant that unlike his earlier records with his own Quintet or with Michael Garrick, there was far less space for improvisation and stretching out. Harriott – who was of Caribbean descent - combined his quintet of flute, harpsichord, bass and drums with a string quartet. Harriott recorded again after Personal Portrait, most notably with Amancio D'Silva on Hum Domo. As last solo effort though this record, intended to be Harriott's chance to shine, was not a success. Like his inspiration, Charlie Parker, Harriott would die too young, and having failed to fulfill the great potential that he still had in him. Top condition UK original press!!Price: 200 Euro
787. HARRIOTT, JOE QUINTET: “Free Form” (Jazzland – JLP-49) (Record: Near Mint/ Jacket: Excellent). Original 1960 pressing, this is the very scarce MONO press issue. Stereo pressings are common but MONO pressings are bloody hard to come by especially in such fantastic condition. “The few recordings of Jamaican born saxophonist Joe Harriott have been hard to come by since they were initially released in the early '60s. One of the most famous is Free Form, recorded in London and released in 1960. Comparable to Ornette Coleman's recordings of the period, these eight pieces incorporate Harriott's hard bop influence, cutting through adventurous compositions including "Abstract," "Straight Lines," and "Impression." When listening to Free Form (or early Coleman for that matter) with a 21st century perspective, it's hard to imagine that this music was often considered intolerable upon release. It's unfortunate that Harriott and trumpeter/flügelhornist Shane Keane missed out on being as widely lauded as Coleman and Don Cherry finally became.” (Al Campbell, All Music Guide). Top condition MONO press issue, 1st original issue. Price: 150 Euro

788. 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

789. 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
790. 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: 100 Euro
791. 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
792. 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
793. 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
794. HASEGAWA – SHIZUO: “Songs Of An Umbilical Cord” (Tiliqua Records - TILIQUA-005LP) (Record: Mint/ Jacket: Mint/ Obi: Mint). Long gone first press issue that came out over 10 years ago. Ltd edition LP of their 2nd release following their debut on PSF. Imagine La Monte Young crossbreeding with Takayanagi Masayuki. The disc is made up out of 2 sidelong tracks that entwine around a minimal music aesthetic junked up with an improvisational free jazz like exploratory approach. The panoramic sonic outcome floats somewhere between the controlled burn of a detuned jet engine and the boundless fury of nomadic hordes on a rampage through the open Mongolian plains. Sucking in influences as wide ranging as Takayanagi, La Monte Young, esoteric Buddhist ritualistic mantras, Gagaku and a free-form psychedelic aesthetic, Hasegawa Shizuo succeeds brilliantly in resonating out a Dionysian vibration of harmonical tones pregnant with a pulsating intensity. Without a doubt one of the most interesting and intuitive sounds graced with a shamanistic sense of poetry to emerge out of deep subterranean belly of Tokyo. It came out in an edition of 400 copies housed in thick jacket and high quality Japan pressed vinyl. Comes with OBI!.Price: 100 Euro
795. 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
796. 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!!

797. HAWKWIND: “S/T” (Liberty Japan – LP-80408) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: MINT). TOP COPY!!!! First original Japanese pressing of 1970 of Hawkwind’s 1st ever LP, on high quality Japanese vinyl. Japanese issue of this LP is damned scarce these days, top copy. Comes complete with always missing killer obi. Best condition imaginable. Price: 450 Euro

798. HAWKWIND: “In Search Of Space” (Liberty Records/ Toshiba Musical Industries – LLP-80463) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ OBI: Excellent/ Insert: Excellent). Very rare first press issue that comes housed in single sleeve jacket (2nd press has a gatefold) and comes with totally different obi design as opposed to the 2nd pressing that came out only a couple of months after this one. Genuinely rare first pressing, first copy that I see all-complete in over 15 years. Price: 500 Euro
799. 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
800. 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
801. HAWKWIND: “Warrior On The Edge Of Time” (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ BIG POSTER: Mint). White label promo issue. Japanese original 1st pressing complete with obi and insert & POSTER. Fifth Hawkwind album and the final one of that classic first generation era. Essentially based on the Eternal Champion Mythology created by the author Michael Moorcock, “Warrior on the Edge of Time” is on a par with “Hall of the Mountain Grill” as one of the key Hawkwind albums to carve out their space age psychedelic mythology. It was also the last album to have Lemmy in their ranks before he got sacked and formed Motorhead. Hawkwind hit their high water mark here and the musicians were at the height of their stylistic powers. Original 1st edition Japanese pressing, complete with Rock Now obi attached and insert. Hardly ever turns up, let alone in an exquisite condition like this baby here. Music needs no introduction I guess, filled with space hymns and acid deranged visionary lyrics, enough to fill a lifetime. A classic and I still, ride massively hard for this one. Obligatory mind food. Price: 300 Euro
802. HAYES, TUBBY and THE JAZZ COURIERS Featuring RONNIE SCOTT: “S/T” (Tempo Records – TAP 15) (Record: Near Mint/ Flip Back Jacket: Excellent ~ Near Mint). Top Copy, UK first original pressing of jazz grail. Very impressive sound, and as with all the Tempo Records of him as Courier or solo leader, essential. Scottish trumpeter Jimmy Deuchar joins the band for a couple of numbers, and Tubby plays vibes as well as Tenor on four of the tunes. I think I will go the extra mile and call this four and a half stars for me, if only for the joy of hearing the two tenor front line in such fine sound. Tempo Records was a tiny label that only released records in an edition of a couple of hundred. It is hard to dig up in a decent condition, but this copy here is extremely nice. Very hard to upgrade upon this slice of UK jazz history. Bloody great record that upon spinning always brings tears to my eyes because it is so beautiful. Price: Offers!!!
803. 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
804. 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
805. 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
806. 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: 70 Dollars
807. 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
808. 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
809. 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
810. 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
811. 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
812. 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!!!!!
813. 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). Top condition copy, impossible to ever upgrade upon, perfection!!! Well, here you have it, one of the unsung Holy Grails of the Japanese psych pantheon, the second LP (and last) by the Helpful Soul. COMPLETE with always missing OBI!!!! This wailing fuzz-drenched and acid soaked mind bender was used as the soundtrack for the animated film of “A Thousand and One Nights”, designed by and Tetsuka studios released (as a soundtrack LP) in July 1969. After the album's release, the band broke up and Juni Rush went on to form Too Much. But this psychedelic monster was without a doubt the highlight of Juni's short-lived career as spearheading a bluesy hard psych combo with lethal doses of raw guitar assaults, wah-wah lashings, fuzz drenched bass, insane caveman rhythm blasts, you know the real Owsley thing. On this slide, these guys nearly went for the throat. First and only original pressing on the green Victor SJET label. Wilder and lysergically spiked up as their debut album, hallucination induced cover art and blindingly beautiful fold out jacket. Housed in splendid nightmarish acid-leaking cover art in great nick. Copies are virtually impossible to find these days and when they pop up, they are beaten up in most cases. This copy here is near mint, just beautiful and ooh so bloody rare. Hyper collectable screaming fuzz wah-wah blaster that in the years to come will skyrocket through the roof. Copies do not surface anymore and they are getting rarer with each breath you take. If monster oriental psych blasters are your thing, then look not further, this is lysergic madness encapsulated in a time capsule. One of my fave Japanese psych artifacts, this one will frazzle your brain and jacks open your skull, deliriously insane and great greased up fuzz guitar riffage. Hard to believe this was the soundtrack to an animation movie, which in its own right was visually a mind trip. Highest ever-possible recommendation. All complete copies with OBI just do not surface anymore, it has been ages since I had an all-complete copy. Best condition imaginable so …. Price: Offers!!!
814. HENDERSON, JOE with Kenny Dorham; Butch Warren; Pete La Rocca; etc.: “Page One” (Blue Note/ EMI Music Japan – BLP-4140) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. The title Page One is fitting for this disc, as it marks the beginning of the first chapter in the long career of tenor man Joe Henderson. And what a beginning it is; no less than Kenny Dorham, McCoy Tyner, Butch Warren and Pete La Roca join the saxophonist for a stunning set that includes "Blue Bossa" and "Recorda Me," two works that would be forever associated with Henderson. Both are bossa novas that offer a hip alternative to the easy listening Brazilian trend that would become popular with the masses. Henderson and Dorham make an ideal pair on these and other choice cuts like the blistering "Homestretch" and the engaging swinger "Jinrikisha." These both show the already mature compositional prowess that would become Henderson’s trademark throughout his career. The final blues number, "Out of the Night," features powerful work by the leader that only hints of things to come in subsequent chapters. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 85 Euro
815. HENDERSON, JOE: “Mode For Joe Henderson” (Blue Note – BST-84227) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint). Original US pressing, stereo issue of classic Blue Note title with “Van Gelder” and “ear” mark engraved in the dead wax, New York USA imprinted on labels and 43 West 61st address on sleeve. “True to form for the period, the recording features a cast of legendary players in peak form. In this case Henderson shares front line duties with a fiery Lee Morgan on trumpet and a young Bobby Hutcherson on vibes. Curtis Fuller’s trombone adds low-end heft to the melodic statements. Forget that cup of coffee in the morning, just throw on "A Shade of Jade" and crank it up; the track is power and swing— brilliance with the kind of authority that flames out the loudspeakers of the unwary. It puts the "hard" into "hard bop." No one is holding back here, playing full tilt with the utmost confidence and verve. It's also solidly structured, with ensemble playing carrying as much weight as the solo statements. The arrangements are tight and slightly, though not jarringly, discordant. Of course, solo statements are important and this record has plenty. "Caribbean Fire Dance" captures Henderson and Morgan at their most creatively aggressive. Henderson, who by now had found his own truly personal sound outside the influence of John Coltrane, who was so pervasive in the 1960s, manages the trick of maneuvering in and out of the harmonic structure of his own tune in practically alternating measures. But he keeps it all in context, and when he's gone way out on the limb he reels himself back in with a simple bebop line before moving on. It's the kind of playing that requires real mastery of the music's history and styles. Morgan's solo is white-hot brilliant with his signature brilliant brass tone, and Fuller and Hutcherson follow in line. It helps that the tune has a solid thundering jungle beat to hold everyone together. The record closes out with Morgan's "Free Wheelin,'" perhaps the most tightly structured melody on the record. They slow it down a little with this one, and Henderson's solo statement is maybe a little more constrained, but Morgan is having none of it: He announces his turn at the mic with a startlingly loud blast and he keeps the volume up even as he measures his pace. Morgan's sound is as clear and immediate as Louis Armstrong, a direct connection to his own exuberance.” (All About Jazz – Greg Simmons). Top condition original. Price: 250 Euro

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

817. HENDRIX, JIMI EXPERIENCE: “Axis Bold As Love” (Polydor – SLPM-1398) (Record: Near Mint ~ Mint with NO defects. Label has exactly only one spindle mark/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ faint discoloration in white part and a small needle point on top & bottom - no damages or splits, beautiful condition obi). Top copy!!!! Freakingly rare Japan ONLY psychedelic jacket design and one of the hardest to track down Jimi Hendrix variation jackets. This was the VERY FIRST Press issue with SLPM catalogue number that came out in August 1968. The 2nd press issue has the SMP label number and came out a full year later. To make it even more insane, this is the very first press issue with also the very first issue OBI present, both record, OBI and sleeve have the SLPM numbering. Impossibly rare!!! Comes housed in a Japan only alternate psychedelic cover. Amazing condition, simply the best I have seen so far. Comes with always missing insert as well. The music needs no introduction I guess. This Japanese 1st pressing is just impossible to dig up. The 2nd press issue with SMP numbering is quite common but the very 1st pressing with SLPM numbering & matching OBI and sleeve is impossible. Jacket is stunningly beautiful. Getting damned bloody rare. Top copy, disc is virginally clean, no marks or defects so graded strictly NM, jacket is just perfect with no foxing at all. Obi is Excellent with no tears or damages, just a faint discoloration in the white part. Highest recommendation and sadly insanely rare, especially in this condition. First time ever I have a very first pressing in over 15 years. Price: Offers!!!!
818. THE JIMI HENDRIX EXPERIENCE: “Axis Bold As Love” (Track Record – 613 003) (Record: Excellent ~ Near Mint/ Laminated Gatefold Jacket: Near Mint/ Poster: Near Mint) 1967 UK 1st original pressing in TOP condition. Laminated gatefold flip back jacket printed by Ernest J. Day is in perfect shape with sharp corners and sturdy spine, no damages at all. Same goes for the record, extremely clean copy. Of course the insert poster is there as well and in perfect shape. Original 1967 UK pressing in top condition complete with poster. To make it even tastier, this is the MONO version pressing. Probably most people would grade this disc as Mint or Mint minus, but I choose to play it safe so EX ~ NM, but that does not change the fact that this is a top copy. Just beautiful. They do not often turn up in such a nice shape as this one here. Comes with the earliest possible matrix numbers: Side one : 613 003 A-1 and Side two : 613 003 B-1. Really top copy, hard to upgrade upon this one. Price: Offers!!!!
819. THE JMI HENDRIX EXPERIENCE: “Electric Ladyland” (Barclay – 920060~61) (2 LP Record Set: Excellent/ Gatefold Jacket: Excellent). Original 1st French pressing that comes housed in a France only jacket art. Price: 75 Euro
820. JIMI HENDRIX: “Electric Ladyland” (Polydor Japan – SMP-9301/2) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Attached Booklet and Picture fold out: Mint). Very first Japanese original 1st press issue from April 1969. First pressing is seriously rare and has catalogue number beginning with the SMP code, there were 2nd and later pressings have the MP catalogue number. This copy is Near Mint, all is perfect, records appear to be hardly touched at all, NM and perfectly virginal condition on all fronts. Heavy gatefold jacket is NM, sharp corners, thick spine, no defects. Comes with 4-paged attached picture pin up insert of the naked ladies…only with 1st press copies. COMPLETE WITH RARE OBI as well. Hardly ever surfaces…all complete copies with OBI are damned RARE – JAPAN ONLY ARTWORK. TOP COPY!!! Price: 200 Euro
821. HENMI MARI: “20 Sai no Onna” (Pioneer – L-6010P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Poster: Near Mint/ Obi: Mint). Comes with the always-missing pin up poster and obi. It has been a while since I have seen a copy of this LP, last time I had a spare was about 5 years ago. Recorded and released in 1970, when she was merely 20 years old, this Henmi Mari disc is a real stunner. Like so many upcoming stars in that period, Mari tackled singing as well as acting but it was the former she really got renowned for. Tackling a variety of styles, Henmi Mari crosses on this one various waters but the sole constant factor that ties all together is her unique voice, a whiff of sensuality and unbridled lust. Although that – as with most of these recordings – the back is heavily orchestrated, still one can detect some buried fuzz guitar sticking its head out, a nice element that tried to connect the dots between the old-skool kayokyoku arrangements and the change of the times that tried to insert an element of psychedelic (although considerably veiled over) bliss. In all, this disc makes the ideal companion for some late night listening, sake bottle in hand and lustful vixen by your side, together wasting the night away, hell even placing a foot on the dance floor, drifting away…Great record and like all early Henmi Mari material hard to track down. Highly recommended. Price: 150 Euro
822. 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
823. HENRY FRANKLIN: “The Skipper At Home” (Toei Records/ Black Jazz – YX-7016) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare 1975 Japanese press issue all-complete with obi of legendary black jazz slide. Promo copy. Jazz-man Henry Franklin, widely respected for his service to the finest jazz players, brought that ineffable quality called soulfulness into play when he made his first record for producer George Porter at Black Jazz, The Skipper. Not unexpectedly, his follow-up affair titled The Skipper at Home teems with the same jaunty uplift. In sync with Franklin's musical spirit on the second recording are returnees Charles Owens on saxophone, Oscar Brashear on trumpet and Kenny Climax on guitar along with several new faces: trombonist Al Hall, Jr., soprano saxophonist Kemag Sunduza, drummer Leon "Ndugu" Chancelor and keyboardists Kirk Lightsey (a Black Jazz regular) and David Durrah. Price: 200 Euro

824. 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

825. 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
826. 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
827. 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
828. HENRY, PIERRE: “La Reine Verte – Musique Originale du Spectacle de Maurice Bejart” (Philips) (Record: Excellent/ Jacket: VG++ ~ Excellent, has some edge wear). Original French Pressing. Amazing 30-minute electronic/ orchestral work also from 1963. Henry’s intent lay in combining the artificial sonorities of musique concrete with the timbres of orchestral instruments, and was like he stated "not only in search of unwonted conceits, but also after a lyrical or even a poetic counterpoint to the different forms of this spectacle." A dead stone classic to wrap your head around. Price: 50 Euro
829. 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
830. 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
831. 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
832. HENRY, PIERRE : “Messe de Liverpool” (Philips – PHILIPS 6510-001) (Record: Near Mint/ Fold Out jacket: near Mint). Original early seventies French pressing in pristine condition. Fold out jacket with flip out cardboard. Music-wise this is again a vicious brain ripper that reminds me in some ways at the cut-up and molested sound poetry of Henri Chopin and Arthur Petronio. The discs jumps right in the action with fucked up and cut up readings of “Kyrie – Krist - Kri…”..like a demented liturgy going satanic on you. Hallucinating listening experience, exorcising your demons back out of the hole. Commissioned and recorded in 1967 and brought to live in a church in Liverpool , Messe de Liverpool is structured as a classical Catholic mass. Starting with a Kyrie, moving on with Gloria, Sanctus, Agnus Dei, and finishing with Communion. The work consists of recitation of the traditional texts in a way that is definitely Buddhist. These voices are supported by traditional musical instruments that are traditionally played at first but after some ten minutes they are played in a typically Henry-esque fashion: plucking and scratching the snares. An anarchic effect results out of it, leaving you totally mesmerized and gasping for air. Great all way round. Top notch copy. Price: 75 Euro
833. 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
834. HERATIUS: “Gwendolyne” (Heratius Corporation/ Frigico Records Montpellier – FLVM-3004) (Record: Mint/ Jacket: Mint). Through the roof fantastic and eccentric French outfit out of Montpellier who’s sole LP, released in 1978, is this one here “Gwendolyne”. Electric guitars, reeds, organ, percussion and demented lunatic voices crossbreed with detuned exalted guitar trills that get infiltrated by masochistic reed lines, pseudo-Neanderthal-like primitive percussion rattles and shakes. In some weird kind of way one could look at this bunch of secluded misfits as the spiritual ancestor to Fille Qui Mousse since the overall sonic outcome is as reckless and anarchic infected as the former. Heratius was comprised of Armand Miralles, Robert Diaz, and the nicotine stained butterfly named Florence. What they created is a gloriously confusing album, exploring a field of drug-derelict poetry, sputtering voltage instrumentation and Dadaist ecstatic impulses impregnated with on-the-spot change experiments. None of these sounds alike, ranging from keyboard and vocal miniatures of disturbed yelps, sighs and howls, interfacing with pointillist washes of sound here and there, lulling in tongues cut up with tape-snippets and Faust like experimentation before cutting loose into a bizarre six-minute rollercoaster of backwards sounds and shifting moods. Heratius are literally all over the place on this slab of vinyl; even in the course of one simple track they attack various awkward contours of structural catatonic dementia, injecting it all with twisted lyrics that are as emotionally evacuated as the entrails of a junkie. Just brilliant!!! Beefed up with entropic hissing off sounds out of place and you get a vague notion as to where the music of Heratius steers into. It’s all over the place, it is more art than music, yet more music than art in the single span of one second. A musical expression of a fractured 20th century subjectivity through shattered poetry and a junk musical approach. Just brilliant, I keep on getting back to this disc because it is one of the most singular idiosyncratic pieces to populate my tiny and meaningless collection of recorded sound. Highest recommendation. Price: 150 Euro
835. HERBIE HANCOCK, 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!!!!
836. HERON: “S/T” (Dawn Records/ Nippon Columbia – YS-2499=D) (Record: Near Mint ‾ Mint/ Textured Gatefold Jacket: Excellent ‾ Near Mint/ 4-Paged Insert: Excellent). Original 1st Japanese high quality pressing on the collectible Dawn Records imprint, which was released in June 1971. As rare & maybe even scarcer as the UK pressing, just never surfaces on these shores. Top condition. “Recorded in the open air at their Berkshire farmhouse (complete with live birdsong and chat between tracks) this is mellow and good-natured folk-pop. Gentle, melodic openers “Yellow Roses” and “car Crash” set the tone, with delicately strummed guitars and warm vocal harmonies that neatly capture the bucolic vibe.” (Galactic Ramble). Great piece of UK folk, a classic…love this album to death. Price: 250 Euro
837. HESSLE, SVEN: “S/T” (No Label Private Press – SH-001) (Record: Excellent ~ Near Mint/ Authentic Letter that serves as sleeve: Near Mint ~ Mint). One of the best and all time rarest Swedish free jazz LP’s ever, only privately issued in 1968 in an edition of only 50 to 100 copies. There is NO cover art, only a typed letter, which is most cases, is a photocopied reprint but this one here is the real thing, original issue. Consisting out of two side-long tracks, side A — first session is recorded in January 1967 with kick ass altoist Christer Boustedt, Janne Carlsson (of Hansson & Carlsson – fame), bassist Gösta Wälivaara and singer Torbjörn Munthe – Sandberg singing a Greek rhapsody, which is total brilliance. Side B — second session is from June 1968, classic free jazz blow out with Gilbert Holmström (of Mount Everest – fame), Åke Johansson on piano and Anders Söderling on drums. Pure uncut crystalline free jazzing greatness with Hesse throughout shining through on bass. Yeah, you guessed, one of the rarest of the rare European free jazz artifacts out there in top condition with original typed letter present. And just when you thought you had seen everything yet….Price: Offers!!!!
838. HIGH TIDE: “Sea Shanties” (Liberty – LBS-83264) (Record: Near Mint/ Gatefold Jacket: Excellent). First original UK pressing from 1969!!! This album is a true skull-fucking experience! From beginning to end, “Sea Shanties” is a mammoth and early UK power trio trip despite the fact they had future Hawkwind keyboardist/violinist, Simon House as a fourth member. But the absolute dementedness of the guitar-based energy field is so high throughout that the sneering amounts of the violin and swirling organ passages are practically completely wiped out – next to extinct!! The hired guitar gunslinger responsible for this Tony Hill with a fierce, take no prisoners kind of approach to the instrument that burns all in his path. A soarched earth strategy applied to sound if you like. He pushes his entire guitar into a grinder of wah-wah, fuzz and supreme tearing at its throat distortion in a revolving fever dream kept barely grounded by Pete Pavli’s bass and Roger Hadden’s explosive Keith Moon-like drum presence, which is everywhere at once effortlessly. The whole of the LP is completely unrelenting, full  blown screeching guitar and muscular backing that sound like Sabbath and The Groundhogs joined by Dave Swarbrick during the highlights of a messy methedrine binge. They fucking ruled!!! Play at full volume and set your head on fire!!! First press UK original, record is mint, white gatefold jacket is as usual excellent. Amazing copy!!! Price: 350 Euro
839. 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
840. HILL, ANDREW: “Lift Every Voice” (Blue Note – BST-84330) (Record: Near Mint/ Jacket: 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. 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!” (dustygroove). 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. Price: 100 Euro
841. 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: 75 Euro
842. HINO TERUMASA (Aka Group Everything Everything Everything): “Hino’s Journey to Air” (Canyon Records – CAJ-1001) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Original pressing, complete with always missing obi. Upon blasting “Hino’s Journey to Air” for the first time without knowing what to expect, I found myself catapulted throughout my office, ending up with my back nailed to the wall, screaming around like a guinea pig being just worked over by a pack of wild dogs. The effects of a sonic tsunami are to be treated with caution and in this category belongs this Hino Terumasa beast. Released way back in 1970, the LP was recorded in New York during his first visit to the city and immediately sees Hino flanked by a string of US heavy scenesters and a few Japanese heads such as Steve Grossman (Ts As & Fl), Motohiko Hino (ds & Hp), Pete Yellin (As & Fl), Gary Pribec (As), Dave Liebman (Ts & As), Olu Dara (Tp), Mike Garson (P & Ep), Bobby Moses (Ds), Lanny Fields (B & Gb), Dave Holland (B & Fb) and Teruo Nakamura (B & Gb). Right from when the needle hits the first groove, 2 sidelong free form sonic sprawls spew out mutant variations of electro-distorted jazz freak-outs impregnated with asymmetric grooves, future-primitive tribal rhythmic percussive gravity spinning out of control and heavy-breathing firestorm blowouts. The whole vicious sonic affair comes over like having your nuts set on fire while trying to hold back that silent scream down your throat. Everyone is struggling the hell out of their respective instruments, moving around like heat-seeking missiles locking in onto an agitated demented madness like the rising edge of a speed trip working its way along your spine and up to your cranium. In short, this is king hell fuck-around from start to finish, an emotionally wounded overtone blowout destruction gasping out extremely potent slice of vitriolic illuminated hardcore free jazz. 1970 has never sounded any better than this slide here, just jaw-droppingly amazing. Original 1970 press in top condition. Price: 250 Euro
843. HIROSE JUNJI and OTOMO YOSHIHIDE:“Silanganan Ingay” (Tanga Tanga R-001) (Record: Mint/ Jacket: Mint/ insert: Mint). If you are looking for a truly obscure and rare record, well here you have one and I bet you have never seen this one too often before. This was actually Otomo Yoshihide’s first ever record, released in tiny quantities in 1989 on the private Tanga Tanga label, following some cassette only releases. Undoubtedly it was (and still is) his sole and best-recorded disc till this date. I am no fan of his music, but this disc is truly stunningly and jaw dropping great. Otomo deploys here turntables with hand-made mixer, cassette tapes, hand-made guitar, various small instruments and toys. Hirose Junji on the other hand completes the musical sonic palette with self-made instruments, toy-rhythm box, toy-voice changer, auto-harp and tenor sax. The music balances on the verge of free improvisation, sheer noise, accidental music, tape collage and musique concrete. The two performers interact in a perfect way, responding to each other’s individual moves and rip through various sonic universes in a mind chattering way. At times, Otomo’s tape insertions and collages depict recognizable bits and pieces of all time classic recordings, before getting demolished and raped by Hirose, at which Otomo in return responds with mush vehemently tonal color. This is undoubtedly to sole great disc he ever made and since it release in 1989 it vanished into oblivion, forgotten by the rest of the world. Until now, so here you have a chance to lay your hands upon this sonic gem. Over the top super, recommended for lovers of improvised music, musique concrete, free jazz, musique brut and adventurous sounds. Quite difficult to come by and I doubt that another copy will cross your path within the next decade. Price: 150 Euro
844. 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
845. 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
846. HOLDERIN: “Holderins Traum” (Pilz – 20211314-5) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top copy first original German pressing on the highly collectible Pilz label. Holderlin established themselves in the mid-seventies as the leading German folk-rock band, in close competition with Ougenweide. The group came together in December 1970. When Rolf- Ulrich Kaiser took over the management of the Pilz label in late 1971 he wanted to transform it into a progressive folk label, and Holderlin gained the opportunity to record their debut album Holderlin's Traum in January 1972 in the Dierks Studio. This collection of seven songs captured the sextet in excellent shape, resulting in an all-time classic album. Several members had a classical music education, which was evident in the refined and complex arrangement. Together they handled 15 different instruments! Even so, three guests were featured: Peter Bursch (sitar, from Broselmaschine), Mike Hellbach (tablas, also from Broselmaschine) and Walter Westrupp (recorder). As the title hinted, the music had a dreamy, sometimes psychedelic atmosphere. Dieter Dierks developed this particular style further on the second Emtidi album. The more folky driving force came from bands like Incredible String Band and more particularly Fairport Convention and Pentangle, who also featured beautiful female singers. Holderlin's further recording career was somewhat delayed by the demise of Pilz and Ohr in 1973.” (Cosmic Dreams At Play). First original German pressing on the collectible PILZ label of this sublime German progressive & psychedelic folk rock unit that balances on the same level as Emtidi and the likes. Getting ever so difficult to find ultra clean copies…Price: 350 Euro
847. HOLIDAY, BILLIE: “Broadcast Performances Vol. 3, 1956 ~ 1958) (ESP Records – ESP-3006) (Record: Near Mint/ Jacket: Mint, still in shrink). Top condition 1973 US original first pressing with 290 West End Avenue as address, identifying it as first press issue. One of Billie's last recordings, and an incredibly striking batch of songs arranged by Ray Ellis with a sad, fragile edge that's perfect for the style of her later work. Price: 40 Euro
848. HOLLINS AND STAR: “Sidewalks Talking” (Ovation/ Toho Geion Kabushikikaisha – OPL-3003) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Lyrics Insert: Near Mint/ Obi: Mint). Freakingly rare 1971 Japan original pressing on a Quadraphonic 4 – channel audiophile edition. PROMO issue. Never seen or even knew it existed Japanese pressing with obi. I guess it never got any further than the promo stage as no copies seem to have surfaced apart from this one. What an odd choice to release in 1971 in Japan but here it is. I doubt that once this one is gone it will never surfaces again, a white whale amongst records and probably one of a kind. Top condition. Price: 400 Euro
849. HOLY ANGELS: “Metaphysics Meditation” (Prescription/ La Musica Records – 1998) (Record: Mint/ Jacket: Mint/ Insert: Mint). Limited one-time only artifact released in an edition of 99 numbered copies, this one being 05/99. A complete female psychedelic freak out drone group centered around bass player Mineko Itakura of Angel’In Heavy Syrup and Nanjo Asahito of High Rise. Nanjo describes this outfit in the liner notes of the album as follows: “Japanese underground psychedelic group centering around female members. This album curiously fuses delicate trip-psychedelic vibes with heavy progressive sounds. Cult female group who base their activities around ideas of the micro cosmos as a holy space.” This album is one of the rarest albums that feature Nanjo of High Rise fame since it was released in an extremely limited edition of 99 copies. The album was recorded in 1994. Track listing is as follows: Side a – Holy Trip, Side b – Metaphysics Meditation. The vibes it breathes out is heavy tribal jamming, brimming over with deep sea charged lysergic Amon Duul-rocking cluster bombs, all injected with eerie angelic female esoteric humming. Totally stoned tranced out vibe, pregnant with heavy psychedelic shots of deep subterranean exploratory sounds. Just massive. Highest recommendation. Price: 250 Euro
850. HORACE SILVER QUINTET: “6 Pieces Of Silver” (Blue Note/ EMI Music Japan – BLP-1539) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. The first classic album by the Horace Silver Quintet, this set is highlighted by "Señor Blues" and "Cool Eyes." The early Silver quintet of 1956 was essentially the Jazz Messengers of the year before, with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins, but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map, and the album is a hard bop and gospel-tinged jazz gem. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 85 Euro
851. HORDE CATALYTIQUE POUR LA FIN: “S/T” (Futura – SON-03) (Record: Near Mint/ Jacket: Near Mint). “Gestation Sonore" is the only album to be released by the French improvisational quartet "Horde Catalytique Pour La Fin"; which rightfully found its way onto the infamous Nurse With Wound list. The four-piece line-up consisted of Richard Accart (Saxophone tenor, flutes), Francky Bourlier (Harpe de verrer, flute, vibraphone, percussions), Jacques Fassola (Contrebasse, guitar, banjo, Orgue a bouche) and Gil Sterg (Drums and percussion). Released in 1971 on the legendary Futura label, this ultra-rare LP binds the idiocratic tendencies of Free Jazz and Avant-garde into four intriguing tracks. Staying true to their improvisational ideals the album was record entirely without a predetermined score; with each group member focusing their spontaneous creativity to connect an effortless mind flow between the individual musicians. References for this band come from far and wide, with leafs being taken from likes of early improvisational-ist AMM and Limbus 3. The album weaves its way through dark and moody passages crowned with droning psych like characteristics, only to abruptly cut loose with Skronky onslaughts. For an improvisational collection the album possess a rare flow from passage to passage; not to mention the wealth of textures and emotion flaunted. This being said, "Gestation Sonore" will test many casual listens into the point of despair. The albums true beauty works on a more subtle level, so don't abandon hope after the first spin.” (Progarchives) Spot on and totally indispensable mind fuck of a disc. Clean mint copy. One of the hardest to find LP’s on the Futura label. Price: 500 Euro
852. HORRIFIC CHILD: “L’Etrange Mr. Whinster” (Eurodisc – 87057) (Record: Near Mint/ Jacket: Near Mint). TOP COPY!!! This is Massiera’s piece de resistance, a deep subterranean faux horror soundtrack that encapsulates almost everything ranging from weird hell broth voodoo chants, to animated progressive rock-ish freak-outs, tribal percussive hoedowns, long stretches of maniac furious ambi-noise-a-delic exploratory sound excursions that leap into proto kraut and psych moves and stumble eventually back into apocalyptic waves of eerie sound effects. Welcome to the twisted mind of Jean-Pierre Massiera, France’s own Doctor Frankenstein producer who was mainly active around the 60's and 70's and who ripped the system of collective sonic memory, FM sound bites and other musical legacies apart like a cheap pile of hay, rewiring it all into the proper ingredients for a new musical outrage. Although he seemingly did not give one rat’s ass about exposure or audience expectation, his entire catalogue jumps all over non-existent genres. It is exactly there that his strength lies, just as his masterpiece “Horrific Child” so aptly demonstrates. His intuitive approach to sound encapsulates and embraces prog, psychedelic music, ethnic smash’n’grab elements, jungle shoot-outs, disco butt shakes, trashy pop melodies, rock and the sheer lust for raw sounds. These varieties of elements form the sonic wasteland, Massiera smeared out into a mutant sonic blueprint that takes the listener amongst planes devoid of comparison, a peculiar intoxicating mix of low style, high speed and pure dumbness that sweats out heavy psychedelics. “L’Etrange Mr. Whinster” guides you through a psychic maze of demented lunacy and sultry madness, offering a cinematic pan across your or his mental landscape that jacks in directly to your pulsating brain. Filled with cries of rage and lysergic anguish that draws on a clutch of contradictory modes and occasional haunting echoes that hurtle in and out of focus, Horrific Child is the recommended listening experience for late at night with a head full of acid. Price: 500 Euro
853. 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: 85 Euro

854. 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

855. 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
856. 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

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

858. HUTCHERSON, BOBBY: “Total Eclipse” (Blue Note – BST-84291) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). US 1968 original pressing with “Direct Import” first obi issue present. Before fusion began suffocating jazz, before oversized sunglasses and tight bell-bottoms became popular stage dress, and before jazz lost its curves, there was Bobby Hutcherson. In the late 1960s, the vibraphonist picked up where Wayne Shorter left off, developing a sensual modal sound that resonated with spiritual awakening and depth. One of his finest albums as a leader during this period was Total Eclipse, recorded in 1968. The album features tenor saxophonist Harold Land, pianist Chick Corea, bassist Reggie Johnson and drummer Joe Chambers. It is one of his most lyrical and free albums of the 1960s. Four of the five compositions were by Hutcherson (the fifth, Matrix, a 12-bar blues, was by Chick Corea). The first of Hutcherson's originals, Herzog, is an up-tempo modal piece that soars with energy. His Total Eclipse and Same Shame are ballads. Pompeian, the album's final track, starts as a mid-tempo waltz but soon dissolves into free form, with Hutcherson playing bells and Land on flute. Few albums sound as late 1960s a s this one, complete with experimentation, freedom and spiritual consciousness. Clean original copy with direct import obi present. Price: 75 Euro