RARE RECORDS CATALOGUE
I-J
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

773. ICHIYANAGI TOSHI: “Opera From the Works of Tadanori Yokoo by Toshi Ichiyanagi (1969)” (2LP set – The End Records - Picture Disc) (2 LP Picture Disc Record: Mint/ Gatefold Jacket: Near Mint 〜 Mint/ Attached 4 Paged Insert: Mint). Totally MINT copy – UNPLAYED condition. Never seen or had a copy as perfectly clean as this one. Archive quality. Unbelievable beautiful copy of this eye-popping original monster!!! Without a single doubt one of the greatest mind-blowing psych and Fluxus artifacts to ever have hit the streets. Housed in lavishly designed 2LP foldout jacket, this gorgeous disc is one of the rarest and most sought after Japanese psychedelic, avant-garde artifacts, a real object d’art, revitalizing one of Japan’s best ever psychedelic avant-garde head-on collisions. Released in 1969 on the private End Records and now one of Japan’s most sought after vinyl artifacts, “Opera from the Works of Tadanori Yokoo by Toshi Ichiyanagi” is a brain ripper and an eye popper of a disc. Visually it is without a single doubt one of the most beautiful LP’s ever to be released, a 2 LP picture disc decorated lavishly by Tadanori Yokoo’s Fluxus inspired psychedelic artwork. Upon folding open the disc, you get treated to a 4 paged inner booklet of 24 carefully designed postcards depicting posters done by Tadanori up until 1969 for various theatre troupes such as Terayama Shuji’s Tenjosajiki. In short it is a visual delight that will cause temporary dysfunctional catharsis on the eyes. But apart from the visual grandeur and overload you are bound to be hit senseless with, the music embedded within this LP set and accompanying picture discs is so overwhelming you will have a hard time trying to come to terms with it upon attempting to digest it properly. In one word: sensory nimiety on all fronts. The man responsible for it was avant-garde composer Ichiyanagi forging a diabolical pact with the psyched-out band the Flowers (spearheaded by Uchida Yuya) and illustrator Tadanori. Together they delivered (with the help of other luminary artists coming out of various fields such as Kara Juro, Takakura Ken as the most prolific ones) an unique amalgamated mixture of lysergic demented psychedelic assault-like stunt rock, a aural whirlwind filled with acid folk ramblings, tape collages, field recording excerpts, radio commercial snippets, roaring jet engines, electronic music excursions into the vast unexcavated canyons and dungeons of your mind, squealing sound fragments of frogs mating in a nearby pond, drowned out enka escapades, kayokyoku excursions into no mans land, Takakura Ken nasal singing, spoken word fragmentation bombs by Kara Juro amongst others, traffic noises, sonic sound clusters of blistering fuzzed out psychedelic mayhem, stratospheric static electronic hissing, radio news broadcast flashes, vintage electronic tape music escapades, chirping cricket orchestras in a distant background and so much more non-adaptive and deranged sonic activity. This disc leaves no stone unturned and is probably one of the best records ever made. Upon listening to this, you hardly need anything else anymore. Highest Recommendation. Rare as hell does not even come close to describing the scarceness of this 2 LP picture disc set and then I am not even mentioning the visual splendor of the overall packaging – music and museum piece qualities all folded up into one single item, the dream artifact of every self-respecting lover of outward sounds and collective deranged discs – highest rank of collectability and musical demented splendor – a killer on all fronts that no other disc can match…. Perfect top copy!!! Unplayed MINT copy – impossible to ever find a better one and a one off chance to own it in this condition. Price: Offers!!!!
774. ICHIYANAGI TOSHI: “Obscure Tape Music of Japan Vol. 5 – Music for Tinguely” (Omega Point - OMEGA POINT Archive Series OPA-005LP) (Record: Near Mint/ Jacket: Near Mint). Long Out of print LP of only 300 copies. Ichiyanagi is the best-known composer for domestic and foreign avant-garde music fans. Especially in his brilliant 60's, he made some ear-blistering great tape music. But most of compositions remained buried in his private vault, never published on discs or if they saw the light of day altogether, they were issued in tiny editions. This LP consists of his obscure three tape works. "Music for Tinguely" was made from junk objects of kinetic sculptor Jean Tinguely. "Appearance" is live electronic music. It's not only première performance but also John Cage and David Tudor participated in performance. The whole composition is gloriously noisy and can be defined as hard core vintage electronic music!! "Music for Living Space" was composed for inner space of 'Sun Tower' of World Expo in Osaka. Computer generated voice reads architect Kisyo Kurokawa's manifest. I all utterly strange and dementedly wicked electronic music!! Price: 100 Euro
775. ICHIYANAGI, TOSHI: “Music For Tinguely” (Editions OMEGA POINT – OPA-005LP) (Record: Mint/ Jacket: Mint/ Insert: Mint). Limited to 300 copies only release that came out in 2006. Stunning archival release of tape/ musique concrete & electronic music by Ichiyanagi recorded during the period 1963 - 1969. “Music for Tinguely: Toshi Ichiyanagi, contains material that is far more historically important than its modest packaging would betray. The centerpiece of the disc is an extraordinarily fine piece of pioneering industrial electronic music, Appearnces (1967), recorded not in Japan, but New York City; Ichiyanagi’s graphic score was realized on this occasion by John Cage at the electronic console, with David Tudor on bandoneon and two unidentified players on violin and trumpet. From the sound of it, Ichiyanagi’s score appears to have represented "points in space" in some way, as instrumental pitches appear in various ranges and then the electronics wring various additional sounds out of them. There is definitely a historical relationship between the pointillism of Webern and other, later kinds of avant-garde music that one might not normally think is related to it, but this aspect is not always easy to illustrate; this, however, is a cogent witness to that historic relationship. Beyond that, Appearances is a righteous noise jam that any young industrial musician would happily claim for his or her own. The title work, Music for Tinguely (1963), sounds almost as though it would have had to have been recorded in a scrap yard, with its ominous sonic sheets of clinking metal and glass sounds, but all of the sound sources were taken from sculptures by Swiss kinetic artist Jean Tinguely. The third piece, Music for Living Space (1970), is the least impressive of these works; however, it involved the most effort on the part of Ichiyanagi who programmed an entire Japanese language lecture into IBM's computerized speech program, the same one that sang "Daisy Bell." IBM's primitive program in 1970 didn't speak Japanese with ease, and a high number of hours went into creating Music for Living Space. Nevertheless, it opens with a bed of chant-like singing, which certainly stakes a claim for Ichiyanagi in such technique, way ahead of the curve, the origin of which remains a hotly contested subject among European purveyors of techno.” (all music). Long evaporated into this air release, 300 copies only and unveiling some of the best tape/ experimental sounds ever to be put down on wax. Price: 150 Euro

776. ICHIYANAGI Toshi, KOSUGI Takehisa, RANTA Michael: “Improvisation Sep. 1975” (Iskra Record – Iskra-002) (Record: Mint/ Jacket: Near Mint/ TWO Separate Inserts: Near Mint). TOP copy that comes complete with TWO inserts and credit paper paste on back present – Best copy ever!!! Privately released in a tiny edition of only 200 copies, “Improvisation September 1975” quickly attained a heavy weight status within circles of those aware of the disc’s existence and hardcore collector freaks as an almost impossible to retrieve masterpiece that got stuck in the cracks of history and private collections. Iskra Records was a small privately run venture that apart from this title also released the Takayanagi Masayuki “Eclipse”. A couple of years ago, a bootleg version appeared of it and they acclaimed it to be identical to the original. Almost everyone took their words for granted since hardly anyone had ever encountered an original copy. So here is the disc in its original glory and far removed from the gold laminated boot version. Sound-wise the original also sounds so much fresher and clearer than its dodgy counterfeited bastard son. The music on the other hand is deliriously bounder crossing, ignited out of a match made in heaven between ex-Taj Mahal Traveler Kosugi Takehisa forging an alliance with avant-garde composer Ichiyanagi Toshi and the contemporary repertoire percussionist Michael Ranta. Together they set loose some free droning escapades filled with ring modulated tones, percussive clatter and processed minimal electronics, making the music to explore similar sonic hemispheres and universes as the Taj Mahal Travelers did. Mind-liftingly great listening experience and highly obscure disc that will never ever again cross your path again, at least not during this lifetime. Needles to say, this baby has our highest recommendation. The music is just stellar. Price: Offers!!!

777. I.D. COMPANY: “S/T” (HorZu Black Label – SHZE-801 BL) (Record: Near Mint/ Jacket: Excellent/ Company Inner Sleeve: near Mint). Original 1st German pressing. “Krautrock masterpiece extends exploratory tendrils down two seemingly incompatible lines of investigation, each occupying one side of this LP and each fronted by a different powerhouse vocalist. Anyone initiated into the soul piercing hoodoo grammar of Dr. John's Gris Gris will find much to get emotionally wrung out over here, especially with Frumpy vocalist Inga Rumpf's uber masculine and completely wasted sounding vocals occupying center stage. Conversely, side B for much of it's length relinquishes warmth and happy wasted hoodoo vibes in favor of flinging you unceremoniously into a frequently harrowing psychic melee fronted by the hysteria tinged and Leslie cabinet shattered vocals of a young pre-Slapp Happy Dagmar Krause. Residual echoes of jazzy jamming cling to the edges of this amorphous febrile mass, but that only reinforces the deliriousness of the endeavor by offering the listener an olive branch only to yank the rug out from under your feet as you approach.” (Vdoandsound). Spot on a seldom turns up in such a nice condition. Price: 250 Euro
778. IKE REIKO: “Kokotsu No Sekai” (Teichiku Records – SL-1375) (Record: Near Mint ~ MINT/ Gatefold Jacket: Mint/ Poster: Mint). TOP copy ever, next to impossible to ever upgrade upon and complete with poster, making this one the rarest of all Japanese erotic artifacts!! OBI is missing so it comes a whole lot cheaper than the one listed above. Stunning copy that comes with the always-elusive fold out pin-up poster. Probably the best copy that will ever cross your path. If you ever bought toe Bamboo – UK released bootleg of this album, then yes basically you have been ripped off. Sonic wise it suck donkey balls and visually it was a disaster. Here is the real deal, hardly ever shows up and it is a real stunner, both visually as well as musically. Unbelievable rare on these shores and without a doubt one of the greatest and most compelling sonic artifacts ever let loose. Rare does not even come remotely close to describe the scarcity of this disc, the most depraved erotic and sexiest disc ever to have been put down on wax. Here is what the guys at Boomkat had to say about the album: “This disc is one of a series of releases from the stunning Tiliqua label, and documents an area of Japanese culture most of us know very little about – erotica. Yup you heard me right, and although many of the internet-savvy amongst us will be more than familiar with Japan’s strange take on the world of the naked lady often being compromised by something testicular and from a distant planet, this is an era more focused on titillation and shattered innocence than anything you might find knocking around on a Hentai babes calendar. This particular lady named Ike Reiko was only a mere 17 years of age when she recorded this record, and was already a star in the world of Japanese erotic movies. Yup in that age old tradition of lying about your age, Miss Reiko did it to slide her way into the seedy world of porn – not exactly buying a packet of fags and a 6 pack of Strongbow is it? Apparently these movies were somewhere in-between the girl-gang revenge movies of the Blaxploitation era and the Women in prison style savage eroticism and dubbed ‘Pink Violence’, with tooled up honeys wearing just little enough to bare their ample breasts while they laid waste to the enemy (men?). I can’t say I’ve managed to track down any of these movies but after reading about them I feel almost duty bound to observe them closer, I mean it’s my job as a reviewer surely to make sure I have as much background as possible is it not? Funnily enough then, with all the tough-gal image the music is pretty darn life-affirming, but don’t think for a second you’re getting an easy listening album here – this is about as sexual as music can get. Throw ‘French Kiss’ out of the window and kiss goodbye to your Serge Gainsbourg records goodbye, Ike Reiko is more sizzling than a branding iron as it makes it’s mark on the farmer’s herd. The sex is literally dripping from every note on this record – I’m told that the style is ‘Iroke Kayôkyoku’ or erotic kayôkyoku (kayôkyoku being a style of Japanese pop) but the sort of naïve jazz and pseudo spy theme movie music is all draped in a shroud of sexual shouts, screams and coos from the clearly excited Reiko. One must assume that she was in some kind of state of euphoria in the recording studio from the evidence on offer here, either that or she’s a pretty realistic faker – it’s a smoldering collision and that’s about all that needs to be said. ‘Kôkotsu no Sekai’ has to be one of the finest gifts for the music fan in search of that killer oddity – not only is it a fabulous record but it’s so wonderfully presented with gorgeous artwork and extensive liner notes, I can’t think of a saucier and more appetizing delight this Christmas. Buy, before it’s gone for good. “Top rarity, one thinks that there are no more than 500 of these. TOP copy….highest possible recommendation. Price: Offers!!!!
779. IKE REIKO: “Sukeban Blues Mesubachi No Chosen” (Solid Records – SD-506) (EP Record: Mint/ Picture Sleeve: Mint). Ultra limited EP release that sold out in the blink of an eye – one time limited pressing of only 500 copies. Killer sexy girl boss/ iroke vibes by Ike Reiko, until now unreleased soundtrack bits of Ike in full swinging action. Totally indispensable if you are into sexy voiced and bad attitude Japanese early 1970’s violent and erotic starlets. How can you possibly go wrong with something like that? Highest recommendation but sadly enough due to the limited pressing and high quality of this release, they went instantly out of print upon their release date and are already quite sought after. Music is killer btw… Price: 75 Euro
780. ILITCH: “Periodik Mindtrouble” (Oxigene) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top Copy!! Original top copy French 1978 pressing. “France seems to be the land of heritages, of intelligent derivatives of the lovers of the citadel of Frippery, quasi-unshakeable monument of the distorted music of a seeker at the beginning of the 70's. We are not witnessing here a remake, happily, but another breach, which has remained open. And if we repertory the Heldon, Lard Free, and some astute punks, we notice how spacious the lessons of the master are, and how the variants have not had to overlap. One may speak, then, of different ideologies coming from the same source. It is hard to escape this when we know that the demeanor (gait) of Heldon is impregnated with ideograms as revealers. Here, one cannot be sure about it; Illitch is, on this disc, one sole musician for a "work" really divided into two parts. The first side may be a little exercise of style at the beginning, but with a perfect mastery of sounds and an economical use of effects for a disc recorded “outside the studio”, which makes one feel as though they have met a lover of the sonorous substance. Guitars, bass, organ sometimes harmonium. Plenty of wah-wah and broken rhythms. Chopped up, the pieces dissect at a rather uncommon atmosphere, because they seem to be made like very long pieces, bending to cause a break of the senses at all levels. A will, not to become heavy, and not to shut oneself up inside a mounted process/infinite apotheosis. Then an acoustical piece uses stereo as a reverberation/unkeying, A very strong sound, very uplifted (the rhythms sometimes sustaining an ensemble of a strange coherence,) a sort of combat which leads this single musician to the limits of the disintegration of sound, but without playing on the saturations of the lyric flights. Music hard and distinguished, worked on the idea, but also remaining very close to the entrails of his guitar, which speaks its ill and its breaks, because to fly away is sometimes to be lost. A first side of a musician who has listened well to many musics.
 The second side is altogether different ; made in one sole 27-minute piece, which gives its title to the album, Periodikmindtrouble. This trouble of the spirit is divided into three periods, with an introduction that is a little confused, no doubt to announce what is coming, a long theme on the organ, enhanced by a rhythmic sequence which is effaced in the final guitaresque in the form of truncated homage, the loop is looped suddenly on this piece made more to please oneself. A first disc, at any rate, it does one good to listen to, because musicians who do not succumb to the modes of the moment and do not copy the “masters” are the future, even on the strings of a LesPaul.
” (Vladimir -Oulianov, Xavier B. Adaptation of Periodikmindtrouble press book by James Ellis in CLE, June 1978) A classic. Killer all way through. Price: 125 Euro

781. ILYAS AHMED: “The Vertigo Of Dawn” (Time-Lag – Time-Lag-042) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint). “Much anticipated first proper release after a string of ear tugging & increasingly impressive private press cdrs. A real shinning spirit in these somewhat goofy times of “folk-psych” abuse, this guy nails it like its in his DNA. Way beyond a simple formula, this is a complete tonal voyage. Opening the album with a dark ritual of dueling reeds and buzzing drones, things than erupt into some seriously burning psych raga excursion built from totally heavy, jamming, acoustic guitar licks, eastern grooving hand percussions, stoned backwards or fuzzed-out electric guitar splatters, and subtle creaky drones. The vocals are nearly unintelligible but swirl beautifully through most songs like floating smokey ripples. woozy, head bobbing, and completely THERE. yow…” (Label Description). Price: 75 Euro

782. INA LONDAHL: “Menneske Min Ven” (Harvest – 6C 064 38097) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Original Inner Sleeve with Pictures and Lyrics: Near Mint) Largely unknown fantastic Danish progressive folk psych album out of 1973 that reminds me of Carol Of Harvest. Female vocal hallowed Danish progressive folk moves, long tracks, spellbinding female vox, liquid guitar insertions and amazing songs. Really fantastic album. Just never surfaces and totally overlooked masterpiece. A truly fantastic slide from the European high north - sadly totally unknown to most and hardly ever surfaces, but the music is spell bindingly awesome. Once this gets out there and people begin to notice this gem, it will explode for sure... Price: 250 Euro
783. THE INDO JAZZMEN: “Ragas And Reflections” (Saga – STFID-2145) (Record: Near Mint/ Jacket: Near Mint). Original 1968 UK original first pressing. UK 4-track stereo LP, an indo-jazz exploito record with Krishna Kumar and Tara [Tambura] Kapur playing tabla and sitar and an unnamed small jazz group, most likely related to the Indo-British Jazz Ensemble. This was released after the success of Joe Harriott's fusion series and the influence of Ravi Shankar on popular rock of the late sixties. It show that Indian and jazz musicians were encountering each other on quite different territory from that of pop musicians. The points of crossover lay not in the use of ear-catching textures or the similarity between guitar and sitar, but on the level of structural affinities, the way in which the forms of the two musics could be reconciled, although some of the results may have sounded self-conscious or over-composed. One reviewer felt that Indo-Jazz Fusions worked best when the jazz players 'blow holes right through the rather formal framework'. They nevertheless tried to work with Indian and jazz elements in imaginative ways, using concepts of composition and improvisation stemming from both musics. In the end it gels together greatly and create an intoxicating vibe. Clean 1st original pressing!!! Price: 100 Euro
784. L’INFONIE: “Vol. 33 Mantra” (Polydor – 2424 018) (Record & Gatefold Jacket: Mint – SEALED COPY). Bloody rare sealed Canadian first original pressing. For it's second album, L’Infonie recorded Walter Boudreau’s arrangement of Terry Riley’s landmark piece for wind ensemble "In C," here re-titled "Mantra." Boudreau modified it in order to fit L’Infonie’s possibilities, but he also added a rhythm section. Therefore, this is the grooviest version of "In C" ever recorded. The bass (electric) and drums support the piano's pulsation, while an assortment of percussion instruments are used to punctuate events as they happen in order to give the piece relief. Riley's score is made of 53 short events placed on a pulsation. Each player has to move from the first to the second to the third, etc., until he reaches number 53, but he can repeat each of them as many times as he wants. Therefore, the piece evolves through some kind of osmosis. This impression is very palpable in L’Infonie’s interpretation. The studio they recorded in was using 30-minute tape reels, so the album fades out around number 48. In the liner notes, Boudreau announced the remaining part would be released on a future L’Infonie record, but that promise was never fulfilled.” (All Music Guide) Price: 275 Euro
785. INNOCENT CANON: “S/T” (Universounds/ King Records – NAS-2029) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Long gone and deleted issue that came out in an edition of 400 copies only. Nothing innocent about this record – because the groove is hard and heavy, wild and trippy – a really heady brew of funky jazz and more psychedelic influences – all recorded with some weird sounds in the background too! The album's a great one from Japanese groove pioneer Takeshi Inomata – and it's almost a fusion of earlier 60s funky band jazz with some of the more tripped-out modes of the jazz rock era. Vamping rhythms and full-on organs are undercut by wiggy guitar parts and soaring organ lines – all augmented by spoken Japanese passages, sound effects, and production styles that abstract out some instruments into very unusual modes. There's plenty of soulful and funky moments throughout and Mizutani’s lysergic guitar playing rules throughout. All killer with absolutely no filler, this is one of the all time best psychedelic jazz funk records ever to seep out of Japan. Sadly originals just never surface and this ultra limited deluxe issue that came out years ago was a warm welcome but dried up in seconds. Here you have a mint copy. Price: 150 Euro
786. INOMATA TAKESHI & SOUND LTD: “Sounds of Sound L.T.D.” (Columbia/ Takt – HS-7001) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Mint). Bloody rare – if not the rarest of all Japanese spiritual funky jazz albums. So far, complete copy has NEVER been offered for sale before in any list – it is just that rare. Only the 2nd time ever I see an original press copy all complete with always missing obi. Original and freakingly rare and next-to-impossible to get complete copy as pre-released way back in 1970 – all in NM condition. Collector and music freak’s wet dream come true. Headed by jazz drummer Inomata, “Sounds of Sound Ltd” is a beast of Jazz Soul Funk & Jazz Rock spiced up with sprinkles of acidic psychedelia. Around the vortex of Inomata cluster-fly the crème of the crème of Japan’s 1970 jazz/psych cum underground players such as Uematsu Takao on sax, Shunzo Ohno on trumpet, Ryo Kawasaki on guitar, Yokota Toshiaki on flute, Jun Suzuki on bass & Shigemichi Domoto on trombone. The general outcome is a real killer bomb of a disc filled with groovy breaks, ominous delirious playing, swirling dervish like head spinners filled with tantalizing solo flute and organ infested strong beat doped up grooves such as on Mustache (which ends by Hey Jude chorus), building up into the massive and dynamic jazz funk Joint and crashing down in full flamed greatness on the melodic jazz with vintage soul light shining through on Monster. A unique and highly addictive piece of Japanese 1970 underground spiritual soul psych jazz. This copy here is the rare original pressing complete with obi and so far I have only seen 2 copies with obi. Regular copies already go through the roof if they surface at all, this one here is with obi so go figure. Original 1970 pressing and not the reissue!!!! Never offered before in any list, this copy is the best around, impossible to upgrade upon and a “one of a kind” item….and the music just KILLS!!! So make your move or cry forever. Price: Offers!!!!!
787. INOMATA TAKESHI/ GEORGE KAWAGUCHI/ HARADA ISAMU/ HINO MOTOHIKO with the WARNER BEATNIKS: “Yotsu No Jazz Drum – Drummer Man Drums” (Warner Bros – QL-8004W” (Record: Near Mint ~ Mint/ gatefold Jacket: Near Mint/ OBI: Mint). Bloody rare and totally undetected amazing jazz funk & groovy mind melting LP backed by the illustrious Warner beatniks who also released the mega rare Rock Rokyoku Rock LP. Top condition original 1971 pressing all complete with bloody rare obi. Amazing slide of rare groove/ funky butt shaking early 1970s oriental jazz that does not disappoint one tiny bit. Top condition. Price: 300 Euro
788. The INSECT TRUST: “S/T” (Capitol Records – CP-8776) (Red Wax Record: Near Mint/ Jacket: Excellent). Bloody rare Japanese 1st press issue on RED WAX, white label PROMO issue. “This bunch of people has captured something truly distinctive and vital. They could hardly avoid it, with a line-up of talent like they have… The music is very different. Folk-jazz with a rock beat? Something like that, anyway. The instrumental breaks are explorations of texture, based in some of the tenets of modern jazz” (Rolling Stone, 1/3/69) and 
”First cut ‘The Skin Game’ begins as rootsy Americana, with an early-20th Century flavor, before suddenly becoming an exciting and slightly avant-garde psychedelic freak-out, finally returning to its original mood. It sets the style for one of the most interesting and inventive albums to emerge from the American underground in the late-60s, fusing old-time jazz, blues, country and ragtime into contemporary progressive explorations. Even those who don’t like American roots music, like me, will find a great deal to treasure here.” (RF – Endless Trip) Never encountered before bloody rare Japanese press issue that comes on RED VINYL and comes as a WHITE PROMO issue. Price: 150 Euro
789. INCREDIBLE STRINGBAND: “The 5000 Spirits of the Layers of the Onion” (Victor Japan – Blue toned Electra label – SWG-7574) (Record: Near Mint/ Jacket: still in shrink and mint/ 6-paged Insert: Mint). First Japanese press out of 1972, bloody rare to track down these days and released in ltd quantities back in the day. Totally mint copy. Musically and lyrically, what lay at the heart of this magisterially titled The 5000 Spirits or The Layers of the Onion (which came out in 1967) was what seemed to be a casually weird and strangely lovely variation upon two distinct traditions. These were American folk music as distilled by Guthrie, Seeger, and, especially, Dylan whose cryptic and quite possibly profound poetry of the mid-‘60s was a pronounced influence on Williamson and the trickster-storyteller heritage the pair inherited from the myriad bards and minstrels scattered across Scottish history. Conspicuously absent from the ISB concoctions of these and subsequent years are an active engagement with goings on in the political sphere. Their allegiances at this time were to a whimsical and romantic brand of mystical adventurism, the goal of which was to transmute the stuff of everyday experience into a breezily exotic ether, leaving its breathers in a state of occasionally wistful cheerfulness. This is the rare Japanese 1st press on the blue Electra label. Top-notch copy. Japanese press just never ever surfaces…Total MINT copy. Price: 150 Euro
790. INCREDIBLE STRING BAND: “The Hangman’s Beautiful Daughter” (Elektra/ Victor Records – SWG-7560) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint) 1972 rare Japan 1st press original on the “Guitar Player” logo Elektra imprint. This is hardly ever offered WHITE LABEL PROMO ISSUE!!! “Continuing the inventiveness of ‘The 5000 Spirits’, the duo reaches their peak on this frequently brilliant record, creating some of the most mesmerizing psychedelic folk ever recorded. It opens with a masterful 3-song salvo from Williamson. ‘Koeeoaddi There’ is an evocative and utterly compelling childhood memoir, ‘The Minotaur’s Song’ is a crazed mock-operatic nonsense song delivered with impressive conviction and ‘Witches Hat’ manages to be silly, spooky and pretty all at once. The side ends with Heron’s notorious ‘A Very Cellular Song’, which divides fans, I find some sections preferable to others but there is no denying its uniqueness or ambition. On side 2 they come a little unstuck as the atmosphere becomes heavier and more portentous, largely unleavened by their trademark lightness of touch. There are wonderful things on it though – Heron’s ‘Swift As The Wind’ is an intense Indian blow-out, Williamson’s ‘Waltz Of The New Moon’ is another startling odd and beautiful song and his sitar-tinged closer ‘Nightfall’ is perhaps the most beautiful thing they ever recorded.” (RMJ – Galactic Ramble). Stellar UK psychedelic folk slide, this is the high quality 1st original Japanese pressing, NM condition & white label PROMO copy to boot, never seen promo of this one before. Price: 150 Euro
791. INDEX: “”S/T” (VOXX – VOXX.200.023) (Record: Near 2int/ Jacket: Near Mint). Truly amazing 1967 basement garage-surf dementia that will floor anyone with a decent set of ears. “primitive surf-garage-psych with off-key teenage vocals and an unreal soundscape; imagine Dick Dale jamming with 1966 Velvet Underground in an airplane hangar after a night of booze & Quaaludes. Great band originals share the stage with unparalleled Byrds deconstructions, while some of the feedback and drone passages are bordering on avant noise. A true missing link item bridging the early and late 60s sounds.” (Acid Archives). 1983 reissue of this ultra rare slide. So good. Price: 50 Euro
792. INSPIRATION & POWER 14 FREE JAZZ FESTIVAL 1: “S/T” (Trio Records – PA-3006~7) (2 Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Booklet: Near Mint). Rare 1st original press with 1st issue GREEN OBI!!!! TOP CONDITION & with OBI!!!! Here you have a copy of the hideously rare 2 LP that documents a free jazz and improvisation festival that was staged in downtown Tokyo over the course of two weeks in June-July, 1973. As you might know, records that document the Japanese free jazz scene are almost impossible to track down. This one in particular gives a detailed overview of what was happening during the hey-days of the early seventies. The highlights on this disc are amongst others one of the most stunning pieces of sonic assault terrorism ever put down on vinyl by Takayanagi Masayuki's New Direction for the Arts ensemble, bringing forth a tremendous earlobe shattering version of “Mass Projection” that will certainly drive the cats completely nuts into the curtains and kerosene-infuse your otherwise sorry ass sex life. Furthermore are their stunning performances included by bass wonder Yoshizawa Motoharu, the Itaru Oki Quintet, Now Music Ensemble, Masahiko Togashi & Masahiko Sato, Yosuke Yamashita Trio etc. A highly recommended document that comes in a foldout cover graced with a beautiful ink drawing. Cool music and visual arts go hand in hand on this record. Needles to say that this sucker is also quite rare and rarely resurfaces. 1st time I have a true 1st pressing of this beast!!! TOP CONDITION!!! Price: 300 Euro
793. INSTANT COMPOSERS POOL: “ICP-002” (ICP002) (Record: Near Mint/ Jacket: Near Mint). 1st original pressing housed in silkscreened jacket. TOP COPY!!!!! Second release on the Instant Composers Pool or ICP label but actually the first release to bear the Instant Composers Pool moniker. The first LP on the label (ICP001) was actually credited as Instant Composers since it was a duo recording of Bennink and Breuker. For this one, Breuker steps aside for a moment and Bennink get flanked by Misha Mengelberg and John Tchicai. Noteworthy on this groundbreaking recording are the sidelong tracks respectively called Amagabowl Part I and part II and the tracks Sweet Smells and Vietcong. The whole affair was recorded on May 13th and 14th 1968. It is a brilliant time piece of that era, opening up with dysfunctional piano lines by Mengelberg, against which Tchicai splatters out fractured sax lines punctuated by Bennink’s multi-facetted drum shifts and swirls. Staring off as a fragile and delicate excursion into mercurial free form territory, it isn’t before long or the trio’s insanely beautiful ravaging of high-energy forms come to the foreground, zooming in and out of the well-balanced delicate sounds of thunders before veering into ravaging blizzard like attacks. The three of them build on the apocalyptic energies of Bennink’s skin shifting, alternated by Mengelberg’s almost the Luciferian piano playing against which Tchicai splatters saxophone riffage ranging from almost alien-like marching bands squawk towards absinthial-huffing through bottom-end reed pumping. This is a classic and a true jewel of European free hardcore jazz. They sure ain’t coming any better than this. Highest all time recommendation. Price: 200 Euro
794. INSTANT COMPOSERS POOL: “Lunchconcert for Three Barrelorgans – Willem Breuker” (Instant Composers Pool – ICP-003) (Record: Near Mint/ Jacket: Near Mint). One of the rarest and hardest to track down ICP records. First time ever I have a copy to spare of this one and then it is in near mint condition to boot. Apart from being the rarest ICP disc, it definitely also classifies as the most weird and oddly strange one. This surely is some demented shit that will infest your earlobes and I wonder if they can take this barrel organ extravaganza after being terrorized with FM sugary crap for the best part of the day. Recorded live at the Dam in Amsterdam on March 26, 1969 during lunch time, this collision course jam dementia of three barrel organs must have scared the casual passerby that day shitless and having them running for the nearest air shelter to dodge this sonic raid on the senses. Voices of passers-by pop up here and there, commenting on the sonic pollution taking shape before their eyes before hiding out in some nearby bunker in order to hang on to that last grain of sanity they may still possess. Anatomically atonal, disenfranchised disorientated insanity, mentally deficient sonic mayhem and pixilated unsoundness are some of the diluted impressions of musical grandeur I get catapulted into upon spinning this disc time after time. This is simply some of the greatest music ever recorded, which will saturate every mentally disturbed and eccentrically distracted. This disc gives a whole new meaning to improvisation, field recordings, outsider music or even so-called “real people music” and makes all the other improv discs sound like Little Red Riding Hood having a “Dejeuner Sur l’Herbe”. Music won’t get more “outsider” or “real” than this disc here, so start heading for the trenches and enjoy it. Just massive and all time possible highest recommendation. Bloody rare 1st original press. Price: 175 Euro
795. INSTANT COMPOSERS POOL/ HAN BENNINK & DEREK BAILY: “S/T” (Instant Composers Pool – ICP-004) (Record: Near Mint/ Jacket: Near Mint). Original 1st issue, red & white ICP label. A clash of the titans so to speak and in a sense that sums up this record quite adequately since it was the very first of many collaborations between Derek Bailey and Han Bennink. What else can you expect from an interchange between two of the greatest improvisers ever except that it is a true marvel. Sad part is seemingly that this recording in question will probably never be reissued since apparently the master tapes to most of those early ICP albums have regrettably been lost, anyway, I may be wrong but I overheard a conversation once where this was claimed to be so by some people apparently “in the know”. Whatever. Those already familiar with Derek Bailey and Han Bennink should know what to expect from these two great free improv players, but this partnership really is a stunning one, one that will boggle your mind and ears and not necessarily in that order. The year is 1969, pre-dating other duo interaction between these two…dinosaurs. Although this clash took place in 1969, the album here still sounds as crisp and fresh like it was only happening yesterday; the music has not aged one tiny bit. Bennink and Bailey explore space and timbre in a surprisingly sophisticated way, sustaining freeform within the automatic constraints of their suburb interplay with Bennink trashing around wilder than a manic obsessive and Bailey’s mesh of discontinuous lines and phrases, punctuating Bennink’s moves and clattering percussion like a bee buzzing around a flower. Layers of tonal space are deconstructed, space is fractured and a highly abstract approach fuses neatly with chaotic atonal dissonance that again seems at times to be based on some arcane Archimedean formula. Bennink’s is as usual all over the place, rolling drumbeats that shift from steady pulses to all out attacks, pushing Bailey’s dynamics in all kinds of directions. Together they gel well into one body of disenfranchised energy keeping the music in constant flux which is quite stunning to bear witness to, even after all these decades since it was recorded. Just…impressively massive. Price: 150 Euro
796. INSTANT COMPOSERS POOL: “ICP-005” (ICP - ICP005) (Record: Mint/ Jacket: Near Mint). First original pressing in TOP condition. Another highlight in the history of European free jazz is again a disc on the illustrious ICP label, this time being Instant Composers Pool 005. Recorded on March 3rd, 1970, The Instant Composers Pool collective was for this occasion expanded to a quartet with Mengelberg, Tchicai, Bennink and guitarist Derek Bailey. The line-up alone is on paper already strong enough to cause momentary lapse of reason to occur. And in reality, it also delivers the goods. The quartet draws much of their visceral power from the individual player’s interaction through the underlying tension they built up. Right from the start, they dive headfirst into freely improvised dialogue with Bailey tapping off staccato grips of notes and oscillating harmonics of such force that that they blur into Bennink's detailed, high-end percussion, cross-breed with Tchicai’s paint-peeling sax lines and Mengelberg’s lyrical piano playing. From there on it just gradually snowballs into a wide array of creative ideas that peak and volcanically erupt into mercurial gushes of well-balanced and delicately crafted free improvisation that feels as abstract as a leather-clothed nun in high pin heels trampling on your scrotum. I guess you get the picture, delicately crafted streams of hot lava one tried to channel in vein towards unpopulated areas. Instead they still scorned and burned the earth where they passed through and leaving dead bodies in its wake. Same story here, just hot, hot, hot. SOLD
797. INSTANT COMPOSERS POOL: “ICP-006 – Group Composing” (ICP006) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ MINT). Original pressing in TOP condition, 1st press issue with red & white labels. Best copy imaginable. Another slab of great European improvisation. Here is what Eugene Chadbourne had to say about this thrilling masterpiece: “The name Instant Composers Pool has become synonymous with the extended ensemble of Misha Mengelberg, closely identified with both his compositions and his amusing outlook on life. These associations mean the use of the name in conjunction with this early-'70s recording may wind up hiding a crucial and astonishing document of group improvisation. The German, Dutch, and British scenes come together for this extended piece of music, spilling over two sides and titled simply "Groupcomposing." The players featured are some of the most famous and well respected from these countries, interacting in a hustle bustle of energetic attacks and contrasting moods that is bound to make fans of the European free improvisation scene jump up and down, and why not since the people downstairs are probably already horrified. Some of these listeners, again, think Instant Composers Pool and imagine written charts, somewhat similar to what Willem Breuker cooks up. This album is much more like the acclaimed Topography of the Lungs release from roughly the same era, and in fact that album's three participants are all on hand here: Derek Bailey playing electric guitar with a tone that will make listeners want to raid the fridge, Evan Parker demonstrating how to play frantically and subtly at the same time, and Han Bennink approximating a windstorm on percussion, all fairly well recorded for this period. Mengelberg is also more on the case than he often is in these types of settings — he uses space, but does more than just sit back smoking and watching the others freaking out. Paul Rutherford is great on trombone, and so is the drummer's underrated brother Peter Bennink on both dangerously addled alto saxophone and preposterous bagpipe. Followers of this admittedly very challenging music all have their favorite events where the music just seemed totally inspired, one startling scenario developing after another on-stage. That, boy howdy, is just what this record is like.” (Eugene Chadbourne). Another milestone recording that to these ears is indispensable if you have even the slightest interest in free adventurous music with an edge towards the adventurous, unexpectedly and dangerously intense.....Impossible to ever upgrade upon!!!! Price: 200 Euro
798. INSTANT COMPOSERS POOL: “S/T” (ICP – 007/008) (2 LP Record Set: Near Mint/ Round Chocolate type Circular Box with Velvet Rim: MINT, top condition). TOP COPY, best one around, chocolate box is virginally clean which is nothing short of a small miracle! Original 1st Dutch pressing, only the very first issue of this magical 2 LP set was released and housed in a delicately round chocolate box set. Original 2 LP Box, known as either the “Chocolate box” or “Cheesecake Box” as issued by the Instant Composers Pool collective. The records inside the box are flawless, looks like it has hardly been touched and played The box itself is perfectly in shape. The killer free-blowing line-up includes some hardcore heavyweight players such as Han Bennink, Willem Breuker, Gunter Hampel, John Tchicai, Misha Mengelberg, a. o. documented some of Breuker's work from 1968-70. Privately issued by ICP, Holland 1970, ICP 07/08, Box & records are in stunning condition. Truly a rare item, hardly turns up these days and one of the cornerstones of the European hardcore jazz avant-garde. Mega recommended. This is the very rare original issue of Instant Composers Pool 007/008, a two record set, in a special designed box, often referred to as a CHOCOLATE BOX, with velvet at the sides. ICP 007/008, this is the original black & red label heavy vinyl issue, from 1970. With the original inner sleeves, corners original folded in the plant, to fit them in the round box. Box has so splits and is in perfect shape. Records are Near mint. TOP COPY!!!!! Price: 400 Euro
799. INSTANT COMPOSERS POOL – HAN BENNINK & MISHA MENGELBERG: “Instant Composers Pool 010” (Instant Composers Pool – ICP-010) (Record: Near Mint ~ MINT/ Jacket: Mint). True 1st original 1971 pressing with typographical styled labels. Latter pressings have different label type settings. TOP CONDITION. Killer slide of early European free jazz trench-warfare action dating back to March 23rd, 1971. This slide of mercurial interplay documents the head-on collision and subsequent radioactive fallout that emanated out off the explosive interaction between skin mangler and enfant terrible of the drums Han Bennink and ivory-key/ piano and Putney synthesizer deconstructionalist Misha Mengelberg. This disc is the evidence of an ear-peeling encounter between those giants of the Dutch unequivocal free jazz scene, sucking out apocalyptic energies from each others interaction and igniting ravaging high-energy forms as a result of it. Primitive fury and minimal free blowout aesthetics fuse neatly into one, making this document so god damned awesome. Rare 1st pressing in top condition. One of the cornerstones of the European free jazz scene of that day. Ear-bleedingly great and indispensable. Pristine condition, impossible to upgrade upon!!! Price: 200 Euro
800. INSTANT COMPOSERS POOL/ BENNINK HAN: “Solo” (Instant Composers Pool – ICP-011) (Record: Mint/ Jacket: Mint). Signed and dated by Han Bennink and this copy is as mint as mint can be. Han Bennink’s first extant solo recording. Recorded in 1971〜72, Bennink reveals himself here to be a chameleon with a massive setup composed not only of drums but of exotic percussive and wind instruments, along with what the liner notes could only describe as tins and home-made junk. Amid a wave of cymbal crashes and furious tom rolls, Bennink spits out volcanic gibberish. The growls, howls and spluttering outbursts weave in and out of his rhythms, beginning at the point where the other ends and vice versa. He simply pushes jazz’s rhythmic possibilities of the drum as just a percussive instrument to their absolute limit. This is the sound of a man becoming his drum. The jacket is also a statement of self-sufficiency since it is a mixture of printed and hand assembled collage art with, a piece of a note book pasted to the higher right corner, a bird’s feather near the middle and 3 flying birds have been drawn in the right-hand corner. All is original and in top condition. It perfectly suits the music, which is lo-fi as can be and like the jacket also entirely home-made. This is DIY from way back in 1972…Price: 200 Euro
801. INSTANT COMPOSERS POOL – HAN BENNINK & MISHA MENGELBERG - 6 FLEXI DISC SET: “I.C.P. 013 - Een Mirakelse Tocht” (ICP - 013) (6 Individual Flexi Discs: Mint/ Six Individual Picture Sleeve Jackets: Mint/ Outer Envelope Paper Bag Jacket: Mint). Rarest ICP release ever together with ICP-001 (New Acoustic Swing Duo w/ hand painted cover) is this complete set of SIX flexi discs – all with individual picture sleeve jackets and complete with the outer paper envelope silkscreen jacket. Released in 1972 as part of mail order only service. A beautiful set of 6 flexi discs in 8-inch format and housed in a stunning package as far as design and presentation are concerned. In short this set has it all embedded in one, stylistically it is ace and it combines amazing music with an otherworldly feeling, a thing most releases fail to grasp. “Bennink and Mengelberg in absolute top form taking it all away, on piano, drums, trumpet, vocals and such… in the typical slightly anarchistic way that is a signum of these two master- minds and players of European free improvised music. Totally essential music and totally essential release! Flexis are the THING! Then … and now. This period in European free music history is a very active one… just after the language had been established and the collaborations have started between the “German” school, the “English” school and the “Dutch” one… those were the three main perspectives. And very many collaborations started around this period that lasted for a long period of time.(Mats Gustafson) Sadly enough very few releases enraptured this mind-bending feeling that this one encapsulates so amazingly on all fronts. Very hard to find and next to impossible to locate in mint condition with all complete. Never turns up all complete and in such a pristine MINT condition as this copy here. Price: 400 Euro
802. INSTANT COMPOSERS POOL - MISHA MENGELBERG 10-TET: “Tetterettet” (ICP – 020) (Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint) Original 1977 first pressing on the highly collectible ICP label. The "Tetterettet" series, besides representing a substantial raid on the "t" drawer of a typesetter's box, were a series of compositions for a ten-piece group by Dutch pianist Misha Mengelberg. He is often likely to fling one or two of these sections at a concert audience, and the more the better. This brilliant '70s release from the Dutch jazz scene has an entire side of these pieces, more evidence than ever before that as a composer, Mengelberg created with this collection of pieces an incredibly satisfying balance of his noisy avant-garde instincts and obvious flair for both serious and comic written themes. A great instrumental lineup was assembled to play this music, which includes many complicated passages and stops on a ten-cent coin, about which it should be pointed out that the Dutch version of a dime is even smaller and thinner. Mengelberg’s longtime rhythm section partner drummer Han Bennink is joined here by bassist Alan Silva, who along with guest saxophonists Peter Brotzmann and John Tchicai make sure a certain sort of meat is served when it comes to ensemble improvising sections. No fear of surly rioting here, the music is meticulously controlled, with the "Tetterettet" material seemingly organized to moderate a flow of different improvised groupings. The presence of players such as cellist Tristan Honsinger and Michel Waisvisz on his self-invented electronic "cracklebox" means some of this improvisation gets pretty far out. Trombonist Bert Koppelaar is a lesser-known but dynamic and inspired soloist from this period who also wrote the illustrious tune "Ludwig's Blue Note." (All Music Guide – Eugene Chadbourne). One of the rarest and most delirious insane recordings on the highly collectible ICP records imprint. Top copy, 1977 first original pressing. Price: 250 Euro
803. INTERNATIONAL HOLY HILL JAZZ MEETING – 1969: “S/T” (MENO Liechtenstein & CB Records – No. 6769) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint). First original pressing – German private press issue that saw the light of day back in 1969 in a small limited run. A record renowned for always surfacing in bad condition. This is the first time however I could lay my eyes upon a mint copy!!! Impossible to upgrade upon!!! A true “holy” modern/free jazz gems of the late 1960s. The original double LP was issued by Meno Liechtenstein’s CB Records – he was also the organizer of the “International Holy Hill Jazz Meeting” in Heidelberg/Germany. The sound quality is fairly good as can be expected for a below-the-radar private press issue of that day. But bare in mind, this was a low-key operation and a cheap pressing so do not expect any Blue Note type of high fidelity audio honey dripping. Nevertheless this was a legendary moment in European free jazz – performances all recorded on a single Sunday in 1969 – but which stand as some of the most powerful music of the time! The vibe here is often in the best spirit of early FMP, or maybe the most outside work of MPS – and the recording quality equals the best avant jazz on both labels – with very long performances on each track that represent the pinnacle of all players involved! One side alone is worth the price of admission – a searing track titled "Finally", performed by an octet with Peter Brotzmann at the helm, alongside Evan Parker on tenor and soprano sax, Fred Van Hove on piano, Paul Rutherford on trombone, Peter Kowald on bass, and Pierre Favre on drums. Favre returns on "Let's Talk About The Weather" – played by a trio with Kowald on bass and Irene Schweizer on piano. Other tracks include "Five To Five" and "Gluga Gluga Blues" by the Joki Freund Quintet, "In Memory Of John Coltrane" by Marion Brown, "Vibration" by the group of saxophonist Joe Fiera and trombonist Ed Kroger, and "Circus Live" by a quartet led by Rolf Kuhn on electric clarinet, with Joachim Kuhn on piano and Stu Martin on drums. As you know a viciously rare slide, not many copies were pressed and so far most copies that surface are at best in VG++. This copy here is NM〜M on all fronts, gatefold jacket is crispy and clean with no damages and both records appear to be unplayed. Seems like a dead stock mint copy. Impossible to find better, ever. Killer with absolutely no filler. Price: Offers!!!
804. INTERSYSTEMS: “Number One” (Allied – IS 1S) (Record: Near Mint/ Jacket: Mint ~ Still in shrink). Hideously rare and largely still undetected Canadian private press on the highly collectable Allied Records label that fuses sound poetry nonsense Dadaism with experimental, avant-garde, electronic music and weird psyched-out & frazzled-up effects that defies all reason and meaning. Released way back in 1967, this was Intersystems first release, and right from the start depicted them as avant-garde freaks with a taste for the psychedelic surreal as they go on to exclamate, rant, recitate and create their demented texts and word juggleries in a curiously zombie-like tone, all set against a primitive buzz-humming static noise, freaky dusty electronics and musique concrete background. The weirdness on display dwells in similar regions as Bill Bissett and See Hear albums. But Intersystems even manages to outdo both of them to such an extent that the recitations and ramblings of emphatically spoken vignettes of lysergic apocalyptic poetry are spiked up with surreal punctuations of demented musique concrete weirdness. The end result is very estranged hell-broth piece of sound art that has to be heard in order to be believed. This disc is rocking my boat for already the better part of the decade and finally I am psyched to be able to offer this spare copy. Over the top brilliance in disguise and should appeal to everyone into weird stuff, avant-garde junk noise, crackbrained ravings, atmospheric psychedelic backdrop art-scum, Dadaist thundering low-fidelity outbursts of mutant spoken weird hallucinatory rants and rambles, oscillating jangled mix of dusty gnawing sound FX, frenzied sonics, hallucinated hog-wild declamations and unhinged sound art. A total must!! Amazing original copy, don’ believe they come any better than this one here. Price: 500 Euro
805. IOWA EAR MUSIC: “S/T” (Corn Pride) (Record: Excellent/ Jacket: Excellent). Original 1976 private pressing. As is usual the case with strange and obscure avant-garde records, US Creel Pone is bound to make a nice bootleg of it, giving it finally some extra exposure and bringing a whole new audience to this initially overlooked music. So in cultivating a good tradition, I – in return – hijacked their descriptive mumbo jumbo, so boot the text so to speak. "This one’s certainly a mold-breaker; closer in spirit to Cage/Tudor’s “Indeterminacy” than the sort of bedroom solo composer/producer/performer LP’s that have been the creel pone archetype thus far... improvisors were set up in 4 different isolation booths in the studio in Iowa State University’s recording studio during the ‘67-’75 seasons. These simultaneously occurring sound-events captured in real time, then collaged via tape & electronic processing by the studio-head Michael Lytle afterwards. There are brief snatches of amazingly dense, if even inept euro-style improvising; all dove-tailed with some great bits of zonked analogue electronics, vocal droning, and climactic, tape-speed warble free drumming (which, inexplicably erupts at one point into a reading of “lonely woman” for cavern-reverb trumpet and square-wave sequenced moog bass !!!) My favorite thing about this LP is that no one piece stays in one place for longer than a few minutes until the chopping block is brought out and a static-feeling improv is fiercely juxtaposed against a blast of pitched up stereo-echo blast along the lines of “several species of small furry animals gathered together in a cave and grooving with a pict”. It’s inspiring to know that this sort of free-wheeling electro-acoustic improv-tomfoolery was taking place even in the most Midwestern of geographies during the early 70s... There are certainly echoes of the work of similarly-minded ensembles such as MEV, Gruppo Nuova Consonanza, and New Phonic Art, although natch this is considerably more ad-hoc/rough-around-the-edges... fans of Mimaroglu & Hubbard’s “Sing Me A Song Of Song My” will find parallel here, even if it’s a rougher, a-political one...” (creel pone/ Mimaroglu). Spot on, an outsider electronic masterpiece coming to you straight out of a sonic wasteland. So necessary, it will knock you flat out. Price: 150 Euro
806. IRON BUTTERFLY: “In-A-Gadda-Da-Vida” (Atlantic – MT-1054) (Record: Near Mint ~ Mint, appears to be Unplayed/ Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint). Original Japanese 1st press issue housed in Japan only thicker-than-life gatefold jacket. And complete with seriously rare 1st issue obi Perfect copy!!!! Still surprised how viciously good this one sounds after having heard it for a zillion times. One of the most addictive riffs of all time? Obi on it looks so damned nice, top copy, they do not come better than this one. Price: 150 Euro
807. ISHIKAWA AKIRA/ TOGASHI MASAHIKO/ WATANABE FUMIO/ INUMATA TAKESHI etc: “Jazz Adventure In Drums” (Victor – SMJX-10095) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Never seen before wicked spy-jazz album that features a whole string of Japanese heavyweights out of that burgeoning late 1960s early 1970s Tokyo jazz scene. Balancing between swinging fusion raptures and cinematographic car-chase scenes, “Adventure in Drums” swirls around the skin-riffing artistry of 8 renowned drummers such as Otsuka George, Ishikawa Akira (of Uganda fame), Togashi Masahiko (long time Takayanagi collaborator), Watanabe Fumio, Tabata Sadakazu, Inumata Takeshi, Kawaguchi George and Hino Motohiko. Each of these protagonists delivers here a head swirling composition that tries to give tonal color to their own perceptions of “swing” without degrading into a dead-raped corpse of a 1950s variant of the word. Instead the whole adventure in drums comes over as butt-shaking free form excursion into a boiling maelstrom of funked up and head spinning jazz moves that would fit in perfectly in any sixties exploitation movie you can throw at it. Awesome hot-bubbling smoke filled late night swing moves from out of Tokyo’s decadent underground. Next to impossible to score a complete copy with obi these days. This one is just perfect and impossible to upgrade upon. Greaaaat!!! Price: 350 Euro
808. ISHIKAWA AKIRA & COUNT BUFFALOS: ““Uganda - Africa Rock Yoake” (Toshiba/ Universal Music/ Deep Jazz Reality – UPJY-9063) (Textured Box Set Issue: SEALED). Finally, a real identical deluxe edition of Uganda. Released in a heavy textured Box Set in a tiny edition of 500 copies only, which sold out here in Japan upon its release date. Remastered from 4 Channel Quadraphonic to deliriously sound high quality stereo, finally!!! Top notch remastering job that made me rediscover this gem with a new set of ears. One of the rarest Japanese psychedelic rock artifact, finally up for grabs. Ishikawa Akira & Count Buffalo's “Uganda – Afurikan Rokku no Yoake” originally saw the light of day on February 5th, 1972 on Toshiba Records as part of their “4 Channel Q.M. Sound” series but quickly sank into the depths obscurity. A couple of years ago a bootleg LP edition on Shadoks of the LP came out, sadly sounding quite mediocre but nevertheless rejuvenating a new awareness for the album. Musically speaking, Ishikawa Akira & Count Buffalo's “Uganda – Afurikan Rokku no Yoake” is vicious psychedelic whirlwind monster of a disc where primitive Afro-spiritual and tribal ethnic percussive blow-outs cross-pollinate with lysergic New Rock fuzz-a-delic dementia and stirring up enough dust and boulders like two-barreled guns coming out of the demon hole. Still, “Uganda” is more than just that and although it is deceptively intense, it is simultaneously casual in feel yet meticulous in its musical detail and lyrical economy. And seen in retrospect I can now proclaim that this album stands shoulder to shoulder with the best records of that golden era and it was one of Japan's 1970s underground scene's defining moments. In short it is a totally lethal slide that does not fail to create an arresting listening experience. Featuring acid fuzz guitar gunslinger Kimio Mizutani of Food Brain, Ceremony and Outcasts fame. His guitar playing totally shreds it drenched in reverb and fuzzed out wah-wah. This disc especially is a vicious one, merging acidic lick and fuzz mayhem with African tribal percussion and voodoo rundown rhythms. The result in an all-entrancing whirlwind of hyper psyched out bliss, welding urban lysergic burnout causalities with tropical dark rainforest mumbo jumbo. Wild, demonic, enchanting primitive afro psychedelic freak outs and totally wicked. This one burns holes in your membranes baby. Highest possible recommendation. Only have one sealed copy up for grabs, no repressing will be done so better act quickly. Totally beautiful top-notch job that comes housed in heavy textured box, too beautiful to handle almost… Price: 75 Euro

809. IT: “Viaje – Musica Electronica Libre” (Movie Play – S-32.866) (Record: Near Mint/ Gatefold jacket: Near Mint). Original Spanish pressing from 1976 in outstanding condition. A legendary electronic masterpiece issued by this duo of electro-acoustic musicians from Spain and Argentina, Eduardo Polonio and Horacio Vaggione, together they deploy synths, electric guitars, organs and bass and squash them all up together in sundry sense befouling ways. On the A side, they're tangled into an overpowering threshing machine of spitting electronic mayhem, while the B side moves the proceedings into overtly acidy territory, everything ratcheting down and expanding outward into a delirious psychedelic electronic whirlpool. Price: 400 Euro

810. ITSUTSU NO AKAI FUSEN: “Flight – Part 2” (URC Records – URG-4007) (Record: Near Mint/ Fold-out jacket: Mint/ 4-paged insert: Mint/ OBI: Mint) Released in 1971 on the legendary URC record label, which was an abbreviation for Underground Record Club, one of the first labels to document early Japanese psych, folk and acid folk scene. This disc is together with “Flight Part 1” one of the all time best records by this group. The name may not immediately ring any bells, but the band’s front man was Nishioka Takashi who also brought the previous year one of Japan’s most sought after acid folk relics being “Tokedashita Garasu Hako aka Melting Glass Box” record. This disc also dwells into some soft psych and acid folk imbedded regions filled with brilliant vocalizations, delicate mindsets, pastoral images, lysergic mind-numbing atmospheres and delicate lysergic instrumentations that will ooze your mind to relaxing heights after the fall out of an acidic hallucinatory rampaging trip. Great record and getting quite rare these days. Destined to become much sought after in years to come after that a foreign audience has discovered this one. Then the prices will definitely hit the ceiling. Still up to this point largely undetected and ignored by most, this is still an excellent and stunningly beautiful soft psychedelic and acid folk perfumed record. Highly recommended. Price: 75 Euro

811. IT’S A BEAUTIFUL DAY: “It’s A Beautiful Day At Carnegie Hall” (CBS Sony – SOPL-126) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Horizontal Capsule Obi: Near Mint/ Insert: Near Mint). Rare Japanese real time pressing of this West Coast gem, here in TOP condition and complete with rarely seen capsule obi. This is an excellent live album containing an incendiary performance of the band live at the prestigious Carnegie Hall, infusing it with a sunny West Coast vibe. The three big hits from the first album, “Hot Summer Day”, “Bombay Calling” and “White Bird” are all stretched out to greater than 8 minutes each. But, even the shorter songs have interesting jamming interludes. As with many of the San Francisco groups to gain prominence during the late '60s and early '70s, It's a Beautiful Day is best experienced in the interactive and reciprocal atmosphere of a live performance. Vocalist Patti Santos is stellar throughout and reignited the teenage crush I had on her. The band uses their ability to stretch and reshape familiar works into spell binding excursions towards new horizons. Stunning live performance and along with the Airplane, the Dead and Quicksilver one of the best discs to shed a light on that scene. Rare Japanese pressing with obi in total mint condition. Price: 200 Euro
812. IT’S A BEAUTIFUL DAY: “Marrying Maiden” (CBS – S-64065) (Record: Near Mint/ Laminated Jacket: Near Mint). Scarce UK pressing housed in a laminated jacket, all in virginal shape. UK pressings are much rarer than the commonly offered US pressings. That aside the sound quality is light-years better as well do the jackets come fully laminated. Awesome copy of this subliminal It’s A beautiful Day slide. Price: 100 Euro
813. IUCHI KENGO: “Inugami to Kachiku” (Kubitsukiri Records – Private press 1996). (Record: Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint/ Sticker: Mint). All complete first original pressing of totally vanished and utterly obscure but fantastic private press psychedelic folk LP that defies all attempts at describing it. Fold out jacket with beautiful inner design, obi, insert, sticker and booklet. Private press released in May 1996 in an edition of 500 copies. This was Iuchi Kengo’s first record, following a number of cassette only releases. Needles to say that this sucker is hideously rare and still largely unspoiled and undetected by the larger public. This is in a way a shame because Iuchi’s music is highly original and cannot be compared to any artist. True outsider music in the purest meaning of that term. To describe Iuchi’s music is a different affair. While everybody is talking about acid folk, Iuchi brings forth a whole different range of folk music, best described as death folk. Heralding out the Shikoku region and only armed with a detuned, battered down acoustic guitar, Iuchi slashes his instrument while pouring out his tortured, bone chilling and creepy wailing voice. He sucks in various musical influences into his sonic universe, ranging from folk, kayokyoku, to improvisation and noise, blinding it into his own personal and unique style. You never heard anything like this yet! With lyrics commenting on his precarious and unstable mental state, he takes his art to the upper echelons. Can be best compared to Jandek going berserk on a bad acid trip, molesting his relatives, carving up the neighbors and raping his cat all at the same time and recording it for future generations to come. Sadly enough, no more Iuchi recording will be released in the future, since he retired completely from music, hermitting somewhere in the Shikoku region. Quite rare and hardly ever to turn up again on these shores. A stunning masterpiece. SOLD
814. IVERS, PETER with YOLANDE BAVAN: “Knight of the Blue Communion” (Epic – BN-26500) (Record: Near Mint/ Jacket: Excellent). First original US pressing of this all-time masterpiece of a disc. After playing harmonica for Boston’s Beacon Street Union, Harvard music graduate Peter Ivers went solo and recorded this for Epic, with Sri Lankan jazz diva Yolande Bavan. Steeped in blues harp history, but with an ear for the European avant-garde, Ivers concocted an indulgent and multilayered canvas for Bavan’s impressive voice. Opener Cat Scratch Fever starts as a funky blues affair, descending into a disorienting jazz experiment before coming full circle. It’s something of a template for the rest of the album but, like Beefheart, whose influence is clear, Ivers never gets into anything long enough to form clichés. The lumbering, folky Dark Illumination bristles with expectancy: a pounding beat explosion is just around the corner, but never comes. Such delicious and satisfying tension is all over the record.” (Record Collector) Price: 125 Euro
815. IVERS, PETER: “Terminal Love” (Warner: BS-2804) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Original 1974 US pressing of this deceptively normal but oddly strange weird record that ranks in my personal top 10 of all time best records ever. “Terminal Love” was Ivers’ second album, following “Knight of the Blue Communion” (Epic), and displays an odd mixture of high-pitched voices, unusual songs structures and twisted lyrics. The album was co-produced by Ivers and the free jazz bass player Buell Neidlinger (who auditioned for the 1975 Magic Band). Before embarking on a solo career, Ivers was a member of the Beacon Street Union member and later down the line the controversial host of "New Wave Theater" TV show. Apart from that, Ivers is best known for writing "In Heaven" (The Lady in the Radiator Song) in the David Lynch film "Eraserhead". Still as far as “Terminal Love” goes, it demands an acquired taste and I am sure most of you hip cats won’t be able to take it down in one swallow. When I first discovered the album many moons ago, I could not fully grasp it on a first hearing, in fact I didn’t understand what all the fuzz was about, it just sounded plain normal. But on the second or third listen it suddenly began to make sense to me. I began to like it and the LP became weirder and weirder, slowly shedding of its superficial jacket of normality and fading into a damned weird unclassifiable disc. And like some weird drug, it wormed its way into my brain and wouldn't let go. I've listened to it every day since then. In fact, it's become my favorite album. I've never heard anything else like it. I have a weird feeling that I will never hear anything like it again. In short, he presents a collection of demented pop-jazz ballads, which in a way could be labeled as Captain Beefheart crossbreeding with and fronting a band like Chicago or something. Anyway, any categorization will do this album injustice, it is just one of the single most and utterly weird discs to ever see the light of day. And it only gets better and better the more you dive into it, until it will be your favorite record ever and Ivers will start haunting your waking hours and dreams. Top US original copy without the usual cut out, so jacket is square and perfect. Price: 75 Euro
816. IZUMI TAKU: “Kono Mama De Ii No Darou Ka” (Garlic Records – GALY-99005) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Fold Out Insert: Mint/ Obi: Mint). Signed copy. Complete with always-elusive obi. Very rare private press folk oddity on the Garlic label, a label affiliated with the Osaka based URC Records camp. Izumi Taku is mainly known in Japan as a songwriter and composer for other artists. Still he has been active also in the margins of the seventies underground and first came into view way back in 1969 when he erected his own independent record company called “Fontaine Records KK”, which would shelter his own private imprint “Garlic Records” on which he had the intention to record and document underground folk acts of that time. Released in February 1972, Taku released his sole solo album on his own imprint. Accompanied sparsely by piano, acoustic guitar and a bass (only to be augmented at times with some flute tones), Taku delivers an unique blend of folk, nostalgia, slightly nasal vocals that are far from perfect to be called a singing voice – hence its charm, all set against a late night bar type of warm sounding bluesy back beat group with a beatnik vibe. He certainly was not cut out to make it as a mainstream balladeer but he certainly beholds a charm and tonal quality that qualifies to be labeled unique and idiosyncratic. To these ears he sounds like the male counterpart of a late night smoke filled and coffee stained Asagawa Maki with a heavy cold anno 1972. It definitely is an album you need to spin several times before it will get to you, before it begins to unveil its true beauty, like peeling away at the layers of an onion in order to dig up the real treat. This is a stunning beauty of a disc in disguise and therefore it is only know by a hardcore crew of cognoscenti because Taku – how famous a household name he may be – his sole recorded album is totally unknown by most people. This piece of folk art is just one of those discs that have “classic” in capital letters imprinted all over it but only if the listener has the courage, stomach and motivation to take the time to devour it piece by piece in multiple sessions. Only then you will get hooked to it, carrying it upon your shoulders, worshipping it and offering your first born to it. It just has those qualities, but if you only care for a quick fix, you better redirect your attention to your MTV icons and other mind numbing trash. If not, then Taku is your man, providing guidance and the ideal drinking buddy during those stormy cold and wet nights next to the fire. Highest recommendation and only for the hardcore Japanese underground aficionado, definitely not for day tourists…. And rare to say the least, 1st copy I see in 6 years time…Price: 200 Euro
817. J.A. SEAZER: “Subete No Hito Ga Shindeiku Toki Ni – When Everybody Is Going To Die b/w Kubitsuri No Ki – Hunging Tree” (CBS SONY – SANA-86120) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). One of the rarest J.A. Seazer releases that only saw the light of day as an EP release way back in 1971. This is a yellow label promo issue in top condition. First time ever in all these years I have a copy for sale of one of Japan’s greatest psychedelic – deeply haunting acid folk slides ever recorded and only released as shown here without ever showing up on any of his albums. This is a pity as the music is simply bewitchingly beautiful and resonates like a cinematic pan across your mental landscape, filled with ubiquitous echoes. This was J.A. Seazer’s debut recording and as soon as someone could lend an ear to it, the disc became a dark beacon among 1970s underground psychedelic folk records. It’s not just a question of fulfilling the basic criteria of good songwriting, vocal ability and instrumental prowess – and here we’ve already left most of the acoustic private press competition behind – but intangible elements such as atmosphere, presence, and artistic vision marks the record’s apex, with both lyrics and music traversing Seazer’s path from poetic resonance into the far reaches of haunted psychedelic folk vibes. It is one of the early Japanese psychedelic underground’s defining moments that is graced with a sense of shamanistic poetry and a gift for unexpected impact. A skeletal approach that brims over with undercurrents of depth, deceptively intense yet meticulous in its musical detail. Impossible to dig up and only released in tiny numbers as a single, this is simply a beast!!! Price: Offers!!!
818. J.A. SEAZER: “JASHUMON” (Victor Records – SF-1021) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ 4 Paged Fully Illustrated Insert: Mint/ SF OBI: Near Mint). Impossible to get 1st original pressing out of April 1972 in stunning top condition. NEVER OFFERED BEFORE all complete with OBI and in NEAR MINT condition – one of the rarest slides to seep out of Japan. Hard to believe but here is one of those much rumored about but actually never ever offered up for sale holy grail out of the deep bowels of Japan’s cum psych avant-acid bowels. Anyway, now you know about the bloody rarity status, let's talk music. So here I will briefly focus on Jashumon. It was J.A. Seazer's first ever-full work for the Tenjosajiki Company. By 1971 had the Tenjôsajiki Troupe's field of interest had shifted into the direction of legends, the incorporation of superstition and traditional Japanese entertainment into theatre, together with a renewed interest in visual and aural spectacle effects. These were set to use to heighten the sense of surrealism. The troupe's most renowned piece, “Jashûmon” (Gate Of The Heretics), premiered in April of 1969 at the Nancy International Theatre festival in France, followed by an European tour, passing through the Mickery Theatre in Amsterdam in June. In January 1972 the troupe returned to Japan, where they performed Jashûmon in Tokyo, followed in May by a recording of the play in Osaka by RCA Victor. The Jashûmon play itself doesn't relate to religious heresy or to a historical incident but instead refers to a brutal massacre that occurred near by a city gate. The central plot of the plays is centered around a young man who is forced to choose between his mother and a prostitute he loves. The whole of the play is presented as a rock opera conducted by J.A. Seazer, dwelling into the realms of Shinto-Buddhist rituals, lecture and street entertainment, interwoven with a pulsing rock sound, giving off dark and ominous sounds. The set-up of the play consisted out of a main stage with six platforms erected along the sides and rear of the seating area, augmented with a watchtower that was constructed in the center. The stage itself was draped in red and completed with reproductions of paintings by Ekin depicting obscene scenes of lust and violence. The musical accompaniment on the other hand anticipates perfectly to the overall mood with songs evoking the demons from hell, the taboos of unconscious or forbidden feelings, esoteric chanting of Buddhist rites, Oedipal yearnings and terrible guilt, starting of gently, slowly building up and becoming more insistent until it finally overflows in a bombastic climax filled with juggernaut organ workouts, Magma choruses, guitar fuzz breakouts and fully out-there acidic opera-like vocalizing. The play was clearly an experience to be captured by the senses. Extremely rare original press, does never show up, so make your move now before this one slips away and you have to wait another lousy decade to get a glimpse of one. TOP copy all complete with OBI – making it one of the rarest and also one of the greatest primitive heavy psych slides from Japan, KILLER. Price: Offers!!!
819. J.A. SEAZER: “Ahobune” (Columbia – XX-7004) (Record: Mint/ Jacket: Near Mint/ 6-paged Insert: Mint/ Obi: Mint). Fantastic copy, complete with OBI. Original 1977 pressing, first and only pressing. Beyond any doubt one of the rarest and difficult Tenjosajiki titles to track down. Beautiful LP issue of another explosive side from Tenjosajiki, the Japanese avant-guerrilla theatre company founded by legendary poet/film maker/counter-cultural provocateur Shuji Terayama that existed contemporaneously to first wave avantists like Flower Travellin' Band, Keiji Haino's Lost Aaraaff and Les Rallizes Denudes and that featured dusted acid/rock/folk/avant moves composed and executed by the young wunderkind JA Seazer. Ahobune/Ship Of Fools is a rendition of an August 1976 live performance (augmented with studio material) recorded at the Shiraz Festival in Persepolis in Iran. That same now hopelessly legendary annual festival was also previously spearhead by Xenakis' Persepolis. The Shah of Iran at that time – just before the Ayatollah Khomeini and redirected the country back to a cultural Stone Age and right wing dictatorship – surely had is eye on foreign avant-garde and experimental artists which he used to invite for the festival each year. During the last year of his reign he invited the Tenjosajiki troupe over and they brought forth an incinerating performance and possibly this recording is one of the greatest in the Tenjosajiki canon. The music such in snippets of deranged orchestrated acid folk, pagan ritualistic-scale ritual, bleak lullabies and Buddhist ritualistic song cycles and acid drenched head meting and skull-caving psych rock. Insert is beautiful as well and contains some eye-popping pics of the performance with J.A Seazer at helm. Hideously rare and copies here in Japan just NEVER EVER surface, especially complete copies with OBI, take my word for it. They only become scarcer with every breath you take. Awesome great disc!!! All time highest possible recommendation. Price: Offers!!!!
820. JACKS: “Super Session” (Express – ETP-7726) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Bloody rare and never encountered before WHITE LABEL PROMO ONLY on RED VINYL!!!!!! First original 1969 pressing complete with always missing obi. Second Jacks album, recorded before the band would disband. This one is hard to compare to their illustrious first album, but still it has the Jacks sound imprinted well into the new compositions, albeit they sound quite different and more desolate. Bad omens are looming over the band, which is for sure. Still apart from the Tsunoda Hiro composition “Joe No Rock”, this album sounds like the ideal companion album to Hayakawa Yoshio’s first solo album “Kakkoii…” as far as desperation and overall gloominess is concerned but with one difference that this LP here is a band outing, the Jacks. And although demise is closing in on them, the still manage to sound as outer worldly as humanly possible, depraved, dark and close to nuclear fall out. Bleak music for even bleaker times, micro-dotted with teenage angst and lysergic fumes, the Jacks ruled and even now they never fail to amaze me. Fantastic, album and bloody rare with the obi present. Getting impossible to get especially a red wax copy & white label promo issue with obi, first time ever I have a top copy like this. Price: Offers!!
821. JACQUES BERROCAL: “Musiq Musik” (Futura Records – FUT-259) (Record: Near Mint/ Jacket: Near Mint). Top copy. First and rarest album from Jacques Berrocal on the legendary SON series of Futura Records. Composed by Jacques Berrocal, with Dominique Coster and Roger Ferlet and mixed by Jef Gilson. It features a myriad of instruments (trumpet, bells, percussions, trombone, Pakistani horn, flute shénaï, Tibetan conch shell, double horn, horn of ramadan, cymbals, cornet, harmonium, whistles, balloon, ropes, explosives. A true masterpiece of deep listening. TOP copy, impossible to upgrade upon. Price: Offers!!!!
822. JACQUES BERROCAL: “Catalogue” (D’Avantage – DAV-03) (Record: Near Mint/ Triple Gatefold Jacket: Near Mint/ Imprinted Inner Sleeve: Excellent). Original 1979 pressing. "Released in 1979 in a limited edition on his own d'Avantage label, Catalogue, with its overt theatricality is every bit as wild as the previous Paralleles. Not really jazz, not rock, having nothing to do with contemporary music either, Catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous Berrocal associates including Potage (co-founder of the d'Avantage label in 1976), Parle, Ferlet, Pauvros and recording engineer Daniel Deshays, plus many musicians from the French underground collective scene of the 1970s. Not content with manhandling a toy piano on 'Tango' (which features mind-blowing accordion from Parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, Berrocal pushes his own voice way over the edge on 'Incontrolablslaooo' and 'Faits Divers,' moving from a 60-a-day smoker's cough to a terrifying sequence of gargles and vomits. The grungy free rock of 'No More Dirty Bla Blaps,' the Portsmouth Sinfonia-like spoof Dixieland of 'Rideau,' the distressing punk of 'Signe Particulier' and all manner of fields recordings and cut-ups in Berrocal's Artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 Situationist perspective. With the same creative attitude documented through the mythic d'Avantage label (1976-1979) Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. During the same year Steven Stapleton frequently travelled to Paris to meet Jacques Berrocal and discuss a possible collaboration. In 1980, Berrocal travelled to London with his pocket trumpet and Tibetan oboe and recorded with Stapleton, Heman Patak and John Fothergill on NWW's second album, but that's another story." (Forced Exposure on the CD reissue). Original 1979 French pressing, just fantastic Dada-esque album that is just all over the place, making it a key-stone recording in late 1970s European cum-psych-avant underground scene. Magical on all fronts. Price: 350 Euro
823. JACQUES BERROCAL: “Paralleles” (dAvantage – DAV-01) (Record: Near Mint/ Gatefold Jacket: Excellent 〜 Near Mint, has small import sticker on sleeve). Original French pressing. For some reason this LP is a bitch to dig up but finally, here is a copy so clean it will make you temporarily go snow-blind. “Jacques Berrocal has been very active since the beginning of the 1970s. No one in France could mix jazz, improvisation, rock'n'roll, punk, no wave, spoken words and industrial music like him. He also had a central position in the creation of d'Avantage, a collective record label that issued some of the most particular sessions of the mid-late Seventies. At the same time he was working on never ending sessions for records that were never issued. Jacques and his band were the Apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos. In 1976 d'Avantage issued a wonderful record LP titled Parallèles featuring, among the others, Bernard Vitet, Roger Ferlet, Pierre Bastien, Michel Potage, Daniel Deshays, with the intervention of Vince Taylor, the dark diamond of rock'n'roll who inspired David Bowie's Ziggy Stardust. Just a couple of years later Berrocal collaborated with Steven Stapleton to create the first Nurse with Wound record LP. Parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minutes long piece dedicated to the Futurist Russolo (again, two years later, Mr. Stapleton dedicated his first NWW record to the same Italian artist). Also to mention are 'Post-Card', recorded in a Pigsty in 1976, and the legendary 'Rock'n'roll Station', a mini-concert for voice (Vince Taylor), double bass (Roger Ferlet) and bicycle (Jac Berrocal). Thirty years later Jacques Berrocal is still there, where nothing is waiting for him, totally outside the rules, out of fashion thus indémodable.” (Jazzloft) Total massive zonked out masterpiece that balances of the tightrope of free improvisation; whisky drenched rock’n’roll, gutter-glam, thundering low-fidelity outbursts, detuned switchblade psychedelics and outsider art. One of those classic recordings that will never ever leave my personal collection of polychromatic sonic adventures. Price: 350 Euro
824. JACQUES THOLLOT: “Quand Le Son Devient Aigu, Jeter La Girafe A La Mer” (Futura – FUT-2023) (Record: Near Mint/ Jacket: Excellent). One of the hardest to track down Futura releases – hardly ever shows up. An astonishing wonderful solo album by the drummer known for his work with Don Cherry, Joachim Kühn, Sonny Sharrock, and Steve Lacy amongst others. Released in 1971, Thollot take on this album all controls into his own hands and deploys the drums, percussion, piano, organ and electronic effects, which he succeedingly knows to wave into a tight fabric of beautifully crafted progressive and experimental music and drum solo infested soundscapes. He was after all primarily a percussionist and proves he was way to restless to stick to only that as he sets out to deploy other instruments and dabbles with an array of electronic effects. Maybe he was destined to be the French Robert Wyatt minus the angelic voice? In all a beautiful synergy of delicate, way out and indescribable sounds. Getting tough to dig up these days in such a superb nick as this copy here. A classic and one of the highlights, like many other Futura releases, of the French psyched out avant-garde. Price: 350 Euro
825. JACQUES THOLLOT: “Resurgence” (Musica Record – MUS-3021) (Record: Mint/ Jacket: Mint). Another solitary musical alchemist who like Robert WYATT refused to be just a drummer. Coming from the world of jazz he produced a first mythical album made up of collages, short, strange and eccentric pieces before making three other albums which confirmed his liking for a music defying classification and drawing on jazz, rock, classical music, experimental and contemporary music to create an original, unclassifiable result based around strange, delirious, beautiful, fragile, intangible themes evocative of SATIE and certain other contemporary composers. One of the best current musicians and composers. Very spiritual in its execution with a strong Canterbury feeling resonating throughout all of the tracks, such a killer record and his hardest to track down in TOP condition. Price: 150 Euro
826. The JAGUARS: “The Jaguars First Album” (Philips – FS-8012) (Record: Excellent/ Gatefold Jacket: Excellent / Obi: Excellent ~ Near Mint). Bloody rare original Jaguars album released in 1968. Complete with always missing obi. Released on February 22, 1968, the first Jaguars album (following their split LP release with the Carnabeats) was the first LP that contained their hit singles “Mademoiselle Blues” and “Kimi ni Aitai” together with a bunch of other original compositions and cover tunes. They managed to fuse successfully cover songs by Dave Dee, the Stones and Temptations with their own garage psych drenched songs, overpouring the whole of the album with s sleazy late sixties caveman garage popsike vibe. They went even so far to invite some of their fans into the studio while they were recording the track “Nashville Teens” and added by doing so a live atmosphere to the overall trashy nature of the song, trashy but still well balanced within the boundaries of decency. For “Satisfaction” the deployment of the fuzz pedal comes openly to the foreground, the new novelty tool that had just made its entrance onto Japanese shores and which was eagerly tested out by many garage bands. In all, their debut album that merged pop songs with a trashy garage punk psych vibe is extremely catchy and attractive and put the Jaguars up there on the top of the GS pantheon that began to fully blossom open in 1968. A sadly overlooked but totally classic album that these days just never seems to surface anymore. Housed in an astonishing gatefold sleeve in demented psychedelic artwork, this album is a killer if late sixties Japanese popsike garage psych is your thing. Still blessed with lots of ignorance and innocence, it sounds amazing. A true classic and becoming increasingly rare. Top copy! SOLD
827. The JAGUARS vs. The CARNABEATS: “Carnabeats Meets Jaguars” (Philips – FS-5015) (Record: Near Mint/ Jacket: Mint). First of all, it is a small miracle to be able to dig up GS records (period 1965~7) that are in pristine museum condition. Most of the discs coming out of that period in time are in a totally trashed condition as they were party records to middle class youngsters who could afford to piss away a large percentage of an average monthly wage on some music. This fact gets more and more apparent if you also consider the fact that not many copies of these discs got sold in Japan, making them so much scarcer than records to come out the US or Europe in that time. Pressing quantities were after all much lower in Japan back then since they catered solely to a small domestic market that could afford luxury items like records back then. And this copy here on display is just virginal, the record appears to be Unplayed, the jacket is crisp and mint, in short a small miracle. The music on the other hand is awesome, some of the finest Japanese garage psych teenage angst to ever been pressed on vinyl. This beauty was released on August 1st, 1967. A sort of clash of the teenage titans if you like, being the Carnabeats trashing away against rivals the Jaguars. The A side is reserved for a wicked teenage angst psyched out driven garage onslaught brought forth by the Jaguars. Delirious swirling organ vibes interact with twangy desert shore like guitar riffage and caveman like skull-crashing primitive percussion backbones, all colliding with snotty vocal choruses, turning the whole affair into a glue-sniffing unhinged mix of unattainable love, teenage despair and psyched up defiance. As you can already guess that is a potent and explosive mixture you have on your hands here. The B-side is reserved for fellow delinquents and musical renegades the Carnabeats. They bring the house crashing down with their intoxicating delirious harmony vocals filled with cries of rage, anguish, lost love and impotent anger, fuzz-derelict embryonic guitar wrist-slashing action, primeval bashing rhythm section and desperate garage freak-outs scattered throughout the breeze. Just blood-chilling world class!! Highly recommended and I know you have heard this hype before but sadly enough it is true - impossible to find a better copy than this one here. SOLD
828. JAMES WHITE & THE BLACKS: “Melt Yourself Down” (Selfish Records – BEL-12004) (Record: Mint/ Jacket: Mint/ Insert: Mint). Japan only release from 1986 and extremely hard to get these days. Track listing is: Super Bad, Melt Yourself Down, Cold Sweat, Boulevard of Broken Dreams, Hell on Earth, These Foolish Things and Hot Voodoo. A founding member of New York's no-wave scene in the late 70s, Chance lent his name to any number of cutting edge and avant-garde projects, from Lydia Lunch's brainchild Teenage Jesus & The Jerks to his own band The Contortions, and later James White & The Blacks. The no-wave scene sought actively to eschew conventional rock 'n' roll boilerplate while incorporating jazz and funk influences. Chance, along with Lunch, Suicide, and DNA, among others, placed himself right at the forefront of that movement, and many of today's scenesters owe him a debt of gratitude for blazing such a discordant trail. On this Japan only release that remains still unreissued, James and cohorts whip up a storm with his trademark saxophone, confounding distinctions between neo-punk styles, pop-funk and free jazz. In other words this live set sets your living room a blaze, it burns right through your skull and will fuck you up for days on a row. Probably – at least in my book – the defining James White album ever to be put down on wax. A true killer in the true sense of the word. Wicked from start to finish….. Don’t tell me I did not warn you…Price: 70 Euro
829. JAN DUKES DE GREY: “Sorcerers” (Decca – SDN-8) (Record: Near Mint/ Laminated Jacket: Near Mint). Original UK pressing in immaculate condition. Quite rare LP by this duo that predates their more widely known second album, Mice and Rats in the Loft. Music is superb psych-folk dated 1969. The Jan Dukes De Grey started out as a duo of two multi-instrumentalists, Michael Bairstow and Derek Noy, who stood midway between Tyrannosaurus Rex and Jethro Tull with very short all-acoustic songs with strange lyrics. Similar to early Incredible String Band or Mark Fry, with a touch of Comus weirdness. A mixture of trippy and stoned songs and instrumentals with eastern feel. A unique album. Released on the rare label Decca Nova. TOP copy and original UK first pressing. Price: 350 Euro
830. JAN DUKES de GREY: “Mice and Rats In the Loft” (Transatlantic – TRA-234) (Record: Near Mint - with NO heat mark - really clean vinyl with only one or two sleeve lines barely visible/ Gatefold Jacket: Excellent with attached plastic inner - has a tiny drill hole in center that does not stand out). TOP COPY, 1st original UK pressing, record is the cleanest ever with NO heat mark! In one word, this disc is massive. Loose and raw, this LP possesses a built-in sense of intuitive taste which gives it immediacy and potency with everything flying frenziedly around, pregnant with a furious torrent. It ranges right up there with classics like Comus' First Utterance and Simon Finn's Pass the Distance, Jan Dukes De Grey's 1971 LP Mice and Rats in the Loft is a brilliant work of psychedelic folk with a seething undercurrent of malevolence. After their first album, the duo of Derek Noy and Michael Bairstow enlisted drummer Denis Conlan into their ranks and quickly disposed all notions of pop song craft to which they might have initially aspired. The final result was this beast, opening up with an un-commercial 19-minute sidelong "Sun Symphonica," a dervishly dynamic work of epic genius, fusing together a hippie paean to the sun with progressively darker and more twisted realms of sonic dementia. Infused with references to medieval idioms popular in British folk of this period and impregnating it all with a fireball energy that opens up whole sonic vistas you never dreamt were there. Axe wielding 12-string guitar, violin, cello, flute, clarinet, recorder, harmonica and a dizzying assortment of percussion, the trio plays with the eager of an experienced free jazz ensemble, excreting two sides opening up like a suite rising in intensity and energy until something just have to give due to the lysergic potion it all got stewed in. As "Sun Symphonica" trudges on through its many moods and phases, it gradually becomes clear that a distinctly pagan formula is at work, busting its true for virtual anonymity. By the 15-minute mark, the track is a swirling maelstrom of simmering instrumental fragments flying around the stereo channels in a lunatic dance, as the "sunshine" mantra returns once more. Side two sees the song experiences a radical break with structure and turns into a seething echo chamber of wicked guitar improvisation. The final track is also by far the strangest, the eight-minute title track, which creates a hypnotic whirlpool of electric fuzz guitar The energy and ferocity which have been mounting since the needle hit the first groove slowly accumulating in an almost vertical assent which comes on like a whirlwind. with musical behemoth’s energies peaked to the fullest. Just jaw droppingly great and rare as peglegged golem on Christmas eve. Top copy!! Hard to upgrade upon this one. Price: Offers!!!!
831. JANUS: “Gravedigger” (Harvest – 1C062-29433) (Record: Near Mint/ Jacket: Excellent) Original 1972 Gerrman pressing. Insert is missing. Totally deranged and awesome heavy psych/prog record of 70's British heavy-progressive-kraut sounding moves that feature blistering phased out catchy but wailing fuzz guitars, hard rockin' vocals and many improvised torrents. Sadly enough, the times were against them and they only issued one LP in 1972 only released at that time on the German arm of Harvest Records. before sinking back into the black hole of anonymity. Hereafter Janus was an enigma for almost two decades. As they were actually British, their sole album however was very much a product of the Krautrock era, as Janus was based in Germany at the time. Hell, even Harvest presented them as a Krautrock band. Next to that all of the production were courtesy of German luminaries, making that it had a certain Teutonic feel hanging over it, a vibe that fused a heavy rock aesthetic with psychedelic and cosmic moves. Their classic "Gravedigger" album was remarkably put together in 24 hours of studio time. Side one had the excellent heavy progressive classic "Red Sun" and a couple of other songs on it, making it a real brain ripper of a side. Side two featured the 20-minute title track, full of dark images with acoustic guitars and strings accompanying the sparse lyrics that simply reiterated "The Gravedigger's arm is waiting for you!" over an over again, sucking you slowly in, deeper and deeper into a meandering lysergic undertow. Truly a fantastic album and slightly underrated masterpiece. Top notch copy! Price: 150 Euro

832. The JAZZ COMPOSERS ORCHESTRA: “Communication” (Fontana – SFON-7076) (Record: Near Mint/ Jacket: Near Mint). Top condition, Japan 1st original pressing. The group features the world-beating line-up of consisting out of amongst others, Carla Bley, Paul Bley (piano); Steve Lacy (Soprano sax); Jimmy Lions (alt sax); Roswell Rudd (Trombone); Archie Shepp (trumpet); John Tchicai and Milford Graves (drums). Totally bewildering early Fire Breathing Music that would blossom into bloom some years earlier, but all the chief players and musical components are already fully in place on this recording. All of the participants are at the top of their game, Lacy wails throughout and Graves never misses a beat. The sound takes elements of wall-destroying free jazz and welds it to a black backbone that mixes tar-thick percussive rattles, enormous bottom end soprano soloing and heavenly wood bass throbbing to conjure the kind of ritualistic wipe-out of the Hermann Nitsch Orchestra almost a decade later. The whole group mints a form of improvisation that is as dense as it is fleet and ferocious. Pretty fantastic. The sonic outcome is hyper-active with fast/slow spindly runs and spinning odd circular patterns over which saxophone and trumpet link horns and further extrapolate the brief, barbed architectures, playing classic US free jazz moves but with the kind feel for extrapolated space. Amazing amount of detail in here, with the players working speed-of-thought transmutations of whole jazz histories. Just stunning, a gemstone of a recording. A great marriage of an almost orchestral & big band compositional vision and break-out firebrand performances from the new US punks on the brink of becoming expatriates, The Jazz Composers Orchestra at this point in time remains a key free jazz side!! Hyper clean 1st original Japanese pressing blessed with that crystal clear sound. SOLD

833. The JAZZ COMPOSERS ORCHESTRA: “Communication” (Fontana – 681 011) (Record: Excellent ~ Near Mint/ Laminated Fragile Gatefold Jacket: Excellent). Same as the one listed above but this one is the Original 1965 Dutch first pressing in very nice condition. Comes housed in fragile gatefold sleeve. Price: 100 Euro

834. The JAZZ COMPOSER’S ORCHESTRA: “S/T” (JCOA Records – LP-1001/2) (2 LP Record Set: Near Mint/ Silver Foil Outer Box Set: Near Mint/ Booklet: Near Mint/ Additional Insert: Near Mint). Original first US press issue, all complete with book and additional insert – TOP condition. “German-born composer/trumpeter Michael Mantler and Carla Bley his then-wife were instrumental in developing within jazz the idea of self-sufficiency and independence from established record companies. Their creation of the Jazz Composer's Orchestra, with recordings released on their own label, was the culmination of this endeavor, and the first recording was one of the masterpieces of creative music in the '60s. Mantler had come from the European avant-classical tradition and sought to provide an orchestral framework supporting some of the most advanced musicians in avant-garde jazz -- and he succeeded magnificently. His style tends toward the brooding and darkly romantic with harsh, cynical edges, a perfect foil for the robust, shackle-breaking improvisations found herein. The cloudy, roiling swirls that open "Communications #8," echoed by Bley’s stabbing piano chords, lay the groundwork for inspired soloing by Don Cherry and Gato Barbieri. Subsequent pieces include an amazing feedback showcase for Larry Coryell and a gorgeous, somber work featuring bassist Steve Swallow and trombonist Roswell Rudd. All of this is a preview for, well, "Preview," an utterly incendiary flight by Pharoah Sanders over a pounding rhythm by the orchestra, a piece that will leave the listener bruised, battered, and exhilarated. Except that the best is yet to come: a 34-minute, two-part composition, a concerto for Cecil Taylor and orchestra, that finds the pianist at the height of his powers, just beginning to enter the third phase of his development where he fused ultra-high energy playing with rigorous logic and heartbreaking beauty. The breadth of this piece, its expansiveness, and its tension between order and chaos is one of the single high watermarks of avant-garde jazz. Communications is a masterwork in and of itself and laid the basis for stunning work by others in decades hence, notably Barry Guy and his London’s Jazz Composer’s Orchestra. It's an essential document for anyone interested in avant jazz and late-20th century creative music.” (All Music Guide). Utterly bewitching recording. Top copy. Price: 50 Euro

835. JAZZ IN BRITAIN ’68 ~ ’69: “Featuring Poll Winners John Surman – Alan Skidmore – Toney Oxley” (Decca – ECS-.2114) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1st UK pressing in fantastic shape and comes housed in laminated jacket. UK jazz slides in top shape are a tough score these days. This one is just in fantastic condition and brings you a peak at the key players of the UK jazz scene of that day. Skidmore and Oxley steal the show here, bewitchingly beautiful music. Price: 200 Euro
836. JAZZ MEETS INDIA: “S/T” (MPS – CRM-646) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint/ Booklet: Mint). First original German pressing on MPS. Killer LP that featured the all-star stellar line-up of Irène Schweizer: piano; Uli Trepte: acoustic bass; Mani Neumeier (Guru Guru): drums; Dewan Motihar: sitar, vocals; Keshav Sathe: tablas; Kusum Thakur: tambura; Manfred Schoof: trumpet, cornet; Barney Wilen: soprano and tenor saxophones. Like Dusty Groove already commented on the reissue of this LP: A landmark record – and most likely the best of the late 60s Jazz Meets The World series on MPS! The album features a unique ensemble comprised of a few core parts – The Indian Trio of Dewan Mothihar on sitar and vocal, Keshave Sathe on tabla, and Kusum Thakur on tambura; the Irene Schweizer Trio, here heard not as "out" as on other recordings, and with a contemplative, modal sound; and the jazz horns of Barney Wilen (tenor and soprano sax) and Manfred Schoof (trumpet and cornet) – adding in a level of improvisation on top of the rhythmic progression and sonic experimentation of the other two parts of the whole. The album's got three long tracks – "Yaad", "Brigach & Ganges", and "Sun Love" – all of which create a unique blend of Indian music, modal rhythms, and European jazz – somehow managing to filter all the elements together without any colonialist overtones, and coming up with a sound that's even greater than the sum of its parts!. Just a killer LP with absolutely no filler. Original 1st pressing in TOP condition with the always-missing booklet included. Just massive and a totally addictive slide. Price: 250 Euro
837. JAZZ MEETS INDIA: “S/T” (MPS Records – YS-2308-MP) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint). Rare WHITE LABEL PROMO issue. First original 1970 Japan pressing. Killer LP that featured the all-star stellar line-up of Irène Schweizer: piano; Uli Trepte: acoustic bass; Mani Neumeier (Guru Guru): drums; Dewan Mothihar: sitar, vocals; Keshav Sathe: tablas; Kusum Thakur: tambura; Manfred Schoof: trumpet, cornet; Barney Wilen: soprano and tenor saxophones. Like Dusty Groove already commented on the reissue of this LP: “A landmark record – and most likely the best of the late 60s Jazz Meets The World series on MPS! The album features a unique ensemble comprised of a few core parts – The Indian Trio of Dewan Mothihar on sitar and vocal, Keshave Sathe on tabla, and Kusum Thakur on tambura; the Irene Schweizer Trio, here heard not as "out" as on other recordings, and with a contemplative, modal sound; and the jazz horns of Barney Wilen (tenor and soprano sax) and Manfred Schoof (trumpet and cornet) – adding in a level of improvisation on top of the rhythmic progression and sonic experimentation of the other two parts of the whole. The album's got three long tracks – "Yaad", "Brigach & Ganges", and "Sun Love" – all of which create a unique blend of Indian music, modal rhythms, and European jazz – somehow managing to filter all the elements together without any colonialist overtones, and coming up with a sound that's even greater than the sum of its parts!. Just a killer LP with absolutely no filler. Original 1st pressing – white label promo…. SOLD
838. JAZZ MEETS INDIA: “S/T” (MPS Records – YS-2308-MP) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Near Mint). First original 1970 Japan pressing all complete with rare first issue obi. Killer LP that featured the all-star stellar line-up of Irène Schweizer: piano; Uli Trepte: acoustic bass; Mani Neumeier (Guru Guru): drums; Dewan Mothihar: sitar, vocals; Keshav Sathe: tablas; Kusum Thakur: tambura; Manfred Schoof: trumpet, cornet; Barney Wilen: soprano and tenor saxophones. Like Dusty Groove already commented on the reissue of this LP: “A landmark record – and most likely the best of the late 60s Jazz Meets The World series on MPS! The album features a unique ensemble comprised of a few core parts – The Indian Trio of Dewan Mothihar on sitar and vocal, Keshave Sathe on tabla, and Kusum Thakur on tambura; the Irene Schweizer Trio, here heard not as "out" as on other recordings, and with a contemplative, modal sound; and the jazz horns of Barney Wilen (tenor and soprano sax) and Manfred Schoof (trumpet and cornet) – adding in a level of improvisation on top of the rhythmic progression and sonic experimentation of the other two parts of the whole. The album's got three long tracks – "Yaad", "Brigach & Ganges", and "Sun Love" – all of which create a unique blend of Indian music, modal rhythms, and European jazz – somehow managing to filter all the elements together without any colonialist overtones, and coming up with a sound that's even greater than the sum of its parts!. Just a killer LP with absolutely no filler. Original 1st pressing complete with OBI in TOP condition – never seen a copy all-complete with obi before. Just massive and a totally addictive slide. Price: 200 Euro
839. JEAN MARC FOUSSAT: “Abattage” (Pyjama – 1301) (Record: Excellent/ Jacket: Near Mint). Rare French private press rarity of musique concrete and tape splicing grandeur!!! Algerian-born sound engineer Jean-Marc Foussat crafted Abattage back in 1981, one of the most creative collages of the era: brutal and frenzied musique concrete that ran the gamut from electronics to found sounds and from vocals to guitars. Foussat surely sonic electronic and totally alienated fragmentation bombs with using his guitar-manipulated dementia as guiding torch, he succeeded in creating an estranged and disaffected sound palette. The music is dark, strange, at times even a bit comical with flashes of corny one hit pop wonder tape collages bursting out through the ether as a guttural scream sputtering out of blackness, making this disenfranchised sound palette certainly not of this world. A morphogenetic cluster of whirl-like inorganic low tones, piano stirrings and guitar raping that evoke a weird incantation out of at times thickly layered liquid sounds that absorb the sounds of instrumentalists and its own synthesized reactions. Foussat’s creative bite of tapes, multi-instrument abuse, musique concrete, environmental noises and found sound bites is choked up as an extended bombast of retching avant-garde sound art intravenously distorted with an abstract frenzy that mirrors the uncertain marvels to haunt the world since the rise of recorded sound. The end result is some seriously heavy period-vintage weird hell broth float with bare accompaniment, creating some organic free floating debris and minimal soundscapes, a phantom cloud of destitute sonic collage art bordering on the euphoric as well as on the disemboweled excessive dissonant harmonic. A trip on its own. Begorrah! There's enough wild energy in Jean-Marc Foussat’s outpourings to restrain the basic needs of a small French village (wine, bread, electricity, sex) for about the next ten years… this twitching, grinning octopus of music plays anything and everything he get his tentacles on, from guitars, pianos, the mighty EMS synth and assorted bric-a-brac, plus he did the (very original) field recordings and engineered his own sessions, composed and edited everything — his only collaborator is Jean--Francois Ballèvre on the piano on one track ! 
If your hunger is for wild, unexpected combinations of far-flung freewheeling ideas, then this record (with the exception of first Faust LP, which oddly enough it does kinda resemble) absolutely takes the biscuit; lets cut to the chase, because the piano with pneumatic drill track is one of the most effective and most intensive examples of such demented mixings, but then you also get such things as truck drivers delivering huge vats of good French wine, screams, hammerings and poundings, and — I personally guarantee it — absolutely the wildest synth playing you have heard in your life. I can't over-exaggerate the value of the unfettered, screaming barbarity of Foussat’s insane EMS work, which will ignite your spirit like a fucking sky-rocket and launch you 100 miles into the stratosphere.” (Ed Pinset) A true ear-opening experience and the best discovery of the last 5 years!!! Copies rarely turn up and it is still an undetected masterpiece!!!! Price: 175 Euro
840. JEAN-PIERRE MASSIERA & Co.: “Phantasmes” (Crypto – ZAL-6420) (Record: Near Mint/ Jacket: Near Mint). Here's one more key piece of the puzzle from the mad Gallic genius that is Jean Pierre Massiera, here laying out the deliciously wrong and exquisitely questionable cosmic disco template he'd carry to a different set of unforgettable ends in the course of his work with Venus Gang, Rockets and Visitors in their second incarnation. Cosmic disco-psych record by the mad French producer-musician, responsible for les Maledictus Sounds, the cult Horrific Child or Chico Magnetic Band and Soraya. Nothing but good stuff if you like weird records with FX and strange noise, even some proto rap on it. Massiera even used some sounds from Chico Magnetic Band for this LP. This is a totally slept on production from Jean Pierre Massiera, handled and carved out in his signature legendary crazy style. Another weirdo concept cosmic-funky-disco-rock-psych record that touches some ground with his les Maledictus Sounds, injecting vibes from his psych piece Horrific Child or even his Chico Magnetic Band. Nothing but excellent stuff if you like strange records with effects electronic noises, proto rap jam, rock guitar, funk bass, revert loops! JP Massiera even used some sounds samples from his Chico Magnetic for this LP. Rare and in demand and this copy is the cleanest out there, just near mint condition on all fronts. Price: 150 Euro
841. JEANETTE: “Porque Te Vas” (Polydor – 2310.500) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original German pressing of 1976. Former Pic-Nic chanteuse Jeanette was gifted with a voice that remained forever sixteen, being at the same time coming over as utterly breathes out without the slightest effort and untrained. Those elements made it of the same sweetness and appeal that turned millions onto Priscilla Paris' purrs and Karen Carpenter's warm and natural pipes. Songwriters Manuel Alejandro and Jose Luis Perales knew precisely the kind of music Jeanette's silky voice called for- romantic ballads like "Frente A Frente" and "Soy Rebelde," ABBA-esque pop anthems like "Cuando Estoy Con El" and one particular galloping pop number called "Porque Te Vas." It was 1974 when Hispavox suggested "Porque Te Vas" (Why Are You Leaving) for Jeanette to record. No one would have guessed that an upbeat pop song layered in big beats, horns, and wah-wah guitars would mesh with Jeanette's delicate voice, but the result was stunning. "Porque Te Vas" faired poorly during the weeks after its release, but the song was revived two years later when director Carlos Saura chose it as the title track for the film Cria Cuervos. The film won the Grand Prix award at the Cannes Film festival, garnering quite a bit of attention for the soundtrack. "Porque Te Vas" was a hit in France, and soon caused a small ripple effect that reached as far as Japan. I love Jeanette and this disc is the crown on her output. Just stunning if you are into sweet oozing female vocals. Original German pressing. Killer!! Price: 70 Euro
842. JEFFERSON AIRPLANE: “Greasy Heart b/w Share A Little Joke With The World” (Victor Records – SS-1815) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Rare Japan only Jefferson Airplane EP issue that comes housed in Japan only picture sleeve art. Clean and beautiful with great psychedelic Japanese lettering artwork. Price: 50 Euro
843. JEFFERSON AIRPLANE: “Takes Off” (RCA Victor – RCA-6028) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Rare white label promotional copy. Comes complete with insert and rare FIRST ISSUE OBI!!! Original 1st Japanese pressing that did not see a domestic release until 1972. Their first LP and the early line-up was dominated by singer Marty Balin, who wrote or co-wrote all the original material and sang most of the lead vocals in his heartbreaking tenor with Paul Kantner and Signe Anderson providing harmonies and back-up. The music consisted mostly of folk-rock love songs, the most memorable of which were "It's No Secret" and "Come up the Years." Jorma Kaukonen already displayed a talent for mixing country, folk, and blues riffs in a rock context, and Jack Cassady already had a distinctive bass sound. Japanese pressing – esp. as a white label version – hardly ever turns up. Pressed on high quality vinyl. Price: 150 Euro

844. JEFFERSON AIRPLANE: “Surrealistic Pillow” (Victor – SHP-5640) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ OBI: Excellent ~ near Mint). Bloody rare 1st press original all complete with never seen before first issue obi!!! Original 1968 Japanese press of this quintessential album. Comes with Japan only gatefold version with completely different back cover design. Historical disc that may not be missing from any collection. Great copy of rare Japanese first press. Kaukonen is again all over the place and stellar. Amazing condition, a touch below virginal I would say so this one comes for cheap...top copy nevertheless. Price: 550 Euro

845. JEFFERSON AIRPLANE: “Surrealistic Pillow” (RCA Victor – LSP-3766) (Record: Excellent ~ Near Mint/ Jacket: Near Mint – still in original shrink/ Company Inner Sleeve: Near Mint). Top copy, 1st original US pressing. Second LP by the Airplane and it cemented their reputation as one of the finest acts to seep out of the Bay area at that time. Although that at the time the critic Robert Christgau slagged it off as “an amplified Peter, Paul & Mary” album, the general consensus is that it is a psychedelic classic and I fully have to share myself behind that opinion. “Surrealistic Pillow” is wicked; Slick’s vocals are a welcome replacement for Signe Anderson and gels perfectly well with Kaukonen’s acid spiked guitar play, Cassidy’s bubbling bass pulsations and Balin’s balladeering vocals. A classic that should have a prominent place in any collection. Top copy first US pressing, still housed in original shrink-wrap. Price: 150 Euro
846. JEFFERSON AIRPLANE: “Golden Album” (RCA Victor – SRA-5121) (Multi Colored Record: Near Mint 〜 Mint/ Gatefold Jacket: Near Mint 〜 Mint). Top & perfect copy. Hideously rare Japan only released Jefferson Airplane slide that comes in Japan only gatefold jacket and is pressed on multi-colored vinyl. Original 1960s pressing and hyper rare. Amazingly rare original 1968 Japanese only 14-track promo sample LP on the Victor label, pressed on incredible Psychedelic multicolored vinyl. Superb unique laminated gatefold picture sleeve with Japanese text & lyrics inside. Rarely surfaces this days and this copy is super clean. Bloody rare!!!! SOLD
847. JEFFERSON AIRPLANE: “Volunteers” (RCA Japan – SHP-6086) (Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare 1st Japanese press original complete with the FIRST ISSUE OBI, which is kind of a big deal. 1st Japanese 1st press issue ever to cross my eyes with the obi present. Killer slide with Kaukonen’s lysergic chops infesting the disc all over the place. Just fabulous. All time classic that gets frequent heavy rotation on this side, Top condition. Price: 275 Euro
848. JEFFERSON AIRPLANE: “Bless Its Pointed Little Head” (RCA Victor – SRA-5507) (Record: Mint, Unplayed/ Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese pressing complete with its 1st issue obi, all in top condition. “Jefferson Airplane's first live album demonstrated the group's development as concert performers, taking a number of songs that had been performed in concise, pop-oriented versions on their early albums -- "3/5's of a Mile in 10 Seconds," "Somebody to Love," "It's No Secret," "Plastic Fantastic Lover" -- and rendering them in arrangements that were longer, harder rocking, and more densely textured, especially in terms of the guitar and basslines constructed by Jorma Kaukonen and Jack Casady. The group's three-part vocal harmonizing and dueling was on display during such songs as a nearly seven-minute version of Fred Neil’s folk-blues standard "The Other Side of This Life," here transformed into a swirling rocker. The album emphasized the talents of Kaukonen and singer Marty Balin over the team of Paul Kantner & Grace Slick, who had tended to dominate recent records: the blues song "Rock Me Baby" was a dry run for Hot Tuna, the band Kaukonen & Casady would form in two years, and Balin turned in powerful vocal performances on several of his own compositions, notably "It's No Secret." Jefferson Airplane was still at its best in concise, driving numbers, rather than in the jams on Donovan’s "Fat Angel" or the group improv "Bear Melt"; they were just too intense to stretch out comfortably. But Bless Its Pointed Little Head served an important function in the group's discography, demonstrating that their live work had a distinctly different focus and flavor from their studio recordings.” (William Ruhlmann AMG). A psychedelic classic that still twists my head around till this day. Top copy. Price: 250 Euro
849. JEFFERSON AIRPLANE: “Hippie No Shuchou - After Bathing At Baxter’s” (Japan Victor SHP 5684 – Japan only 1968 issue) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ has some mild mildew spots inside gatefold). Bloody rare Japan ONLY Jefferson Airplane release. TOP COPY! Cleanest and best copy I have seen so far. J.A’s After Bathing At Baxter's in Japan only laminated psychedelic gatefold cover. Only '68 first pressing has this cool sleeve. A really beautiful copy of this subliminal West Coast acid drenched psych monster. This is the original Japanese press, released in 1968, housed in a totally different mind blowing cover designed by Tanaami Keiichi. A real sight for soar eyes that almost never surfaces. Almost, if not a full-blown XXX rarity that is so rarely offered for sale. Great condition and the jacket has no storage or ring ware whatsoever and is in perfect condition. Record is also NM all the way, top copy, rarely surfaces this perfect! SOLD
850. JEFFERSON AIRPLANE: “Crown Of Creation” (RCA – SHP-6001) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Rare 1968 first original Japanese pressing complete with hardly ever seen 1st issue obi. Amazingly clean first pressing without any issues. Record is virginal. jacket and obi clean as can be. Top copy. As far as I know, first time that a true first Japanese pressing with 1st issue obi is offered for sale. Seriously rare. Price: 400 Euro

851. JEFFERSON AIRPLANE: “Crown Of Creation” (RCA VICTOR – LSP-4058) (Record: Stone MINT/ Jacket: MINT, still in original shrink wrap w/ original store price sticker upon the shrink/ Company Inner Sleeve: Mint/ Gatefold Insert: Mint). Original 1968 US 1st original pressing in unbelievable TOP condition, impossible to score in a condition like this one. Best copy imaginable!!!! Price: 350 Euro

852. JEFFERSON AIRPLANE: “Bark” (Grunt/ Victor Records – R4P-5028) (Record: Excellent/ Gatefold Jacket: Mint/ Poster-like 4-paged Insert: Near Mint/ Quadradisc 4-Channel OBI: Mint). Japan ONLY Quadraphonic 4-channel issue all complete with insert and OBI. First ever copy I encounter all complete with obi of this Jefferson masterpiece. “Bark, Jefferson Airplane’s seventh album, was an album of firsts: it was the first album in almost two years, the first made after the arrival of violinist Papa John Creach and the departure of band founder Martin Balin and the first to be released on the group's own Grunt Records label. It was also the first Airplane album made after the onset of that familiar rock group disease, solo career-itis. Rhythm guitarist Paul Kantner had released his Blows Against the Empire and Hot Tuna, the band formed by lead guitarist Jorma Kaukonen and Bassist Jack Cassady had released two albums since the last Airplane group release Volunteers. Bark, perhaps as a result, was not so much a group record as a bunch of songs made by alternating solo artists with backup by the other group members. Kantner’s tunes were science-fiction epics reminiscent of Blows; Kaukonen’s "Feel So Good" and the instrumental "Wild Turkey" were indistinguishable from Hot Tuna music, while his lilting ballad, "Third Week in the Chelsea," was nothing less than his resignation from the band, rendered in song; while Grace Slick’s two contributions were characteristically idiosyncratic. The album's surprise was "Pretty as You Feel," a chart single that emerged out of a jam between new drummer Joey Covington, Cassady and Kaukonen. All of which is to say that there were some excellent songs on Bark, even if the whole added up to less than the sum of the parts.” (All Music Guide). Beautiful and very rare Japan only Quad issue all complete with insert and OBI!!! Price: 450 Euro

853. JEFFERSON AIRPLANE: “5 Track EP – Somebody To Love” (RCA – SRA-69) (EP Record: Excellent/ Heavy Sturdy gatefold jacket: Excellent, has small rubbing on upper side of spine/ OBI: Near Mint). Rarely seen 5 track – Japan only – Jefferson Airplane EP release, complete with obi. Track listing include: “Somebody To Love – White Rabbit – Watch Her Ride – The Ballad of You & Me & Pooneil – Greasy Heart”. Comes with great live shot of the band in action on front and back of the gatefold sleeve. Price: 75 Euro

854. JERONIMO: “Time Ride” (Bacillus Records – BAC-2010) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint). Top copy, German first original pressing in absolutely top condition, textured embossed gatefold jacket is between Near Mint and Mint, record is also untouched, final upgrade copy! Splendid heavy bluesy & psyched out German sledgehammer jammer with swirling key action and sneering guitar riffs, ripping the system apart like piles of cheap hay! A whiplash assault that moves around like a pit-bull on crack. Fantastic album. These are getting damned hard to find in perfect condition so … Price: 350 Euro

855. JERUSALEM: “S/T” (Deram/ King Records – DL-41) (Record: Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Freakingly rare Japan 1st original press issue complete with never offered for sale before FIRST ISSUE OBI. Top condition. Original 1972 Japan pressing. Produced by Deep Purple's Ian Gillan, this UK outfit’s 1972 album is an excellent display of early 70's UK heavy rock recorded at Ian's own Kingsway Studio. Lengthy tracks (typical of the era) like "Hooded Eagle" follow the Leafhound/May Blitz school of UK progressive/ psych hard rock bands while "I See the Light" is a shorter heavy 3 minute romp. This was certainly the heaviest album to appear on Deram label. The band's raunchy, unpolished and brutal rock was way ahead of its time and therefore they failed to make it and break through into the air-headed mainstream junk. As primarily a live band they gigged throughout Europe and shared the same stage as bands such as Black Sabbath, Deep Purple, Uriah Heep and Status Quo. And live they generated up a storm because they were different, raw and unbridled and spoiled by any commercial success. Right from the opening track on the mood is set, heavy riffing, snarling and wailing vox flashing through, amphetamine fueled guitar antics, killer bee rhythm section and a totally wasted overall approach. They could easily rival Black Sabbath and Purple at that time but for some reason that is beyond my comprehension they failed to attain the same stature, instead doomed for a eternal existence as a footnote in British heavy psych/ hard rock’ history. Awesome record and getting impossibly rare these days especially if you want a copy in such a near pristine condition as this one here. First issue Japanese pressing with OBI is seriously rare, never turns up. Best condition imaginable. Price: Offers!!!!!

856. JETHRO TULL: “This Was” (Island – ILP-985) (Record: Excellent/ Laminated Gatefold Flip Back Jacket: Near Mint). Original 1968 1st UK pressing MONO. Super clean, just top copy. Matrix numbers are 1st press issue as well being: Side A: ILP 985+A and Side B:ILP 985+B. First press issue of the band’s first recorded LP and all time classic. Price: 300 Euro
857. JETHRO TULL: “This Was a.k.a. Nichiyoubi No Insho” (Reprise/ Warner Pioneer Japan – P-8074R) (Record: Mint/ Gatefold Jacket: Mint/ Rock Age Flower OBI: Mint/ Insert: Mint). Bloody rare 1st Japan press, BLUE LABEL PROMO issue and adorned with the highly collectible and insanely rare “Rock Age Flower Obi”. Top copy, the whole affair is in NM to mint condition, just impossible to upgrade upon and packed with eye-mesmerizing beauty for days on end. Price: 500 Euro
858. JETHRO TULL: “Aqualung” (Reprise Records – P-8073R) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Very first Japan 1971 original pressing with 2000 Yen noted on obi & jacket and “Warner Brothers Pioneer” printed on obi and jacket – later pressings have higher price noted on obi and jacket and just “Warner Pioneer stated. This is the rare very first pressing. Price: 200 Euro
859. JETHRO TULL: “Aqualung” (Reprise/ Warner Pioneer Japan – P-8073R) (Record: Near Mint/ Textured Gatefold Jacket: Mint/ Rock Age Flower Obi: Excellent/ 4-Paged Insert: Near Mint). 1st original 1st issue Japanese pressing with Rock Age Flower Obi. Without a question, this one is the rarest Jethro Tull LP around, complete with the hideously rare “ROCK AGE” flower obi in top condition. Hideously much in demand recently, which had as result that copies are hard to come by here in Japan. What makes this copy so special is the presence of the 1st limited edition original version of the Rock age flower obi!! First time I have a copy with this obi. Price: 400 Euro
860. JETHRO TULL: “Benefit” (Reprise – P-8076R) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Excellent/ Rock Age OBI: Near Mint). Top condition Japanese 1st pressing all complete with rare “Rock Age” flower obi in top condition. Hardly ever surfaces so pristine as this sucker here. Price: 475 Euro
861. JETHRO TULL: “Benefit” (Island – 6339.009) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Poster: Near Mint). Original 1st press German copy on the Pink Island Label. Comes in a Germany only gatefold jacket. Poster is present and in Top condition. COMES WITH RARE POSTER INCLUDED & ALL IS IN NM CONDITION!!! Price: 350 Euro
862. JETHRO TULL: “Golden Jethro Tull” (Reprise Records Japan – SWG-7183) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Attached Insert: Near Mint/ OBI: Near Mint). Rare original all complete with OBI, never had a copy all complete with obi before. Japan only issue that comes in a Japan only gatefold jacket. Track listing includes: 1. Bouree - 
2. Witch's promise
 - 3. Sweet dream - 
4. Beggar's farm - 
5. Driving song - 
6. Serenade to a cuckoo - 
7. Love story
 - 8. Living in the past - 
9. My Sunday feeling - 
10. Fat man - 
11. The teacher
 - 12. For a thousand mothers. Hardly ever surfaces on these shores and the obi is damned rare. Amazing condition. Price: 400 Euro
863. JIMMY TAKEUCHI & His Exciters/ Nakajima Yasunori & His Latin Rhythm Kings/ Nakamura Hachidai & New Sounds Orchestra/ Hara Nobuo & His Sharps And Flats: “Furusato No Natsukashii Minyo” (Toshiba Records – KJ-7010) (Record: Near Mind/ Hard Cover Book Like Gatefold Jacket: Near Mint/ Attached 15 Fully Illustrated Pages: Near Mint). Comes pressed on red wax and housed in a heavy hard cover styled gatefold book like cover complete with high quality illustrated pages. Long time classic dance floor burner vamped up by countless DJ’s and hipster cats. But it is easy to understand why this one gets so lauded with praise. It is a killer with no filler groovy Minyo floor burner that rejuvenated way back in the late 1960s traditional Japanese Minyo tunes & Matsuri songs. Reanimated by renowned jazz and rock instrumentalists, they rendered those rural jivers into throbbing butt-shaking and groovy melodic phrases, impregnated with pulsating funky rhythms, heavy blood-clotting bass lines, sneaky kaleidoscopic guitar surges, making that the music so drenched in the agrarian and pastoral past becomes yet so of the moment as the pulsating heartbeat of a megalopolis in full syncopated straddle. A groovy mutant vibration that interlocks oriental agrarian vibes with big city nightclub decadence, rendering it into the perfect summer soundtrack. This set is a difficult one to get in NM condition as most copies are quite trashed due to heavy club use. It is the first time I could lay my hands upon a mint copy, which upon playing lays open a well-produced panoramic sound for your enjoyment. Absolutely fantastic record. Top condition!! Price: 125 Euro
864. JOAO GILBERTO: “S/T or Aguas De Marco” (Polydor Japan– MP-3084) (Record: Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). TOP COPY in relief jacket complete with OBI!!!! First time I have a copy of this one with the 1st issue obi present. Original 1973 Japanese pressing on high quality vinyl, following the Brazilian press. According to these humble ears, this disc is without a doubt one of the single greatest recordings ever made, sparse but ringing with beauty. João Gilberto, sometimes referred to as the “White Album” of bossa nova, appeared in 1973, and featured a cool, almost mystical sensibility, his first discernible departure from the original sound of a decade earlier. It is an album that gains it's power by merely implying instrumentation. It creates atmosphere from it's lack of it. “less is more” and definitely so. It features Joao Gilberto singing and playing, and occasionally Sonny Carr joins in with some of the most precise percussion I've ever heard. The album begins with a genuine classic, quickly abandons lyrics in the following track, then vocals altogether. The voice returns for a beautifully sung ballad and follows it up with an intense samba. Side two takes the same formula and puts it in a different order with equally great results. Simply put, this is a masterpiece of minimalism. One integral characteristic of Bossa Nova, its minimalism, is carried to extremes: other than João's acoustic guitar, the only other instrument here is the sparest drums by Sonny Carr. The disc explains why all the other Bossa Nova interpreters worship João Gilberto: his complex, meandering harmonies and his acute sense of rhythm, his unembellished singing, and his masterful art of microphone singing: all these elements can be admired and enjoyed here. The recording is clear and quite intimate; the chosen songs are classic Bossa Nova tunes. Simply one of the best discs ever made. Too much beauty for one to handle. Rare pressing sounding so much better than the CD version due to the fact that the CD was taken from later sound sources since the masters to this gem were lost soon after the disc was released. The most essential disc you will ever hear. Price: 125 Euro
865. JOAO GILBERTO: “S/T” (Polydor Brazil – 2451.037) (Record: Near Mint/ Embossed Jacket: Excellent). Rare 1973 Brazilian 1st original pressing housed in embossed jacket. Brazilian 1st pressing is getting damned rare. The original masters were destroyed in fire so all subsequent reissues and later pressings are taken from records that are around, making the 1st original Brazilian pressing the closest in sound to the original master tapes. One of the key records out of Brazil. Great copy, record is clean but jacket as a few molding spots due to age. Price: 200 Euro
866. JODY GRIND: “Far Canal” (Transatlantic – MLP-15.388) (Record: Mint/ Jacket: Mint). Original 1970 German pressing, housed in laminated jacket, TOP condition. Rare original 1970 Transatlantic label vinyl LP pressing of their second and arguably the best of their two LPs, regarded as one of best English band of the 1970s, rare originality coupled with keyboard and guitar solos aplenty. The band comprised of Tim Hinkley [Keyboards], Bernie Holland [Guitars] and Pete Gavin [Drums]. The end result is fantastic heavy psych with progressive influences and music wise just everybody rides hard for this album. Housed in original laminated picture sleeve, which is in stunning condition and a top copy vinyl LP inside. Price: 100 Euro

867. JOE McPHEE: “Nation Time” (CJR Record Productions – CJR-2) (Record: Near Mint / Jacket: Mint). Top copy of very rare Holy Grail free jazz private press beast. Original 1971 original 1st pressing. “Nation Time“ is a true a landmark recording. From the very first moment you have no chance to escape: “What time is it?” shouts Joe McPhee at the beginning of the title track. He is at the top of his voice and the audience responds enthusiastically: “Nation Time!” (a reminiscence of a Amiri Baraka poem). Plain and simple call and response! And it was time for the black US community to show a new self-consciousness. The music reflects this new attitude: sweaty, greasy funk riffs, attacked by free post-Coltrane sax cries, Fender Rhodes chords, heavily overblown parts close to sheer ecstasy pay tribute to McPhee’s great idols of that time: Albert Ayler and James Brown. McPhee puts the phrase “Move your ass and your mind will follow” into practice, his band plays pure dance floor stuff - this is great fun, charged with a political message. And he had a great band with Mike Kull (p, Fender Rhodes), Tyrone Crabb (b), Bruce Thompson (tp), Ernest Bostic (dr) and Otis Greene (as), Herbie Lehman (org) and Dave Jones (g). The raw energy of the whole LP, for example in the guitar solo, is like a soundtrack for the social reality in the urban ghettos of the late 1960s and early 70s. It’s black power at his best, although the other two tracks were live recordings while this one was recorded in a studio. Killer free jazz/ raw funk punk brutality that burns down the place. Top copy 1st original pressing!!!! Price: Offers!!!!

868. The JOHN DUMMER BLUES BAND: “Cabal” (Mercury – 138.157MCY) (Record: Near Mint/ Jacket: Excellent). Original UK pressing of 1969. Top copy of this superior bloom-boom psychedelic slide that is crammed with jaw-dropping guitar work and excellent song crafting mastership. A classic in the true sense of the word and totally essential for anyone into the UK psychedelic blues scene of that day. Hardly turns up anymore in such nice nick as this copy here. Price: 175 Euro
879. JOHN LEE HOOKER: “Best Of John Lee Hooker” (Victor Records – SJET-8323M) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: Mint). Rare Japan only issue – Japan 1st original pressing all complete with rare green colored SJET obi. King of the rural endless boogie, a genuine blues superstar whose droning, hypnotic one-chord grooves are at once both ultra-primitive and timeless. Totally addictive sound, stripped down sound and blessed with a bottom-of-the-well gravel voice that sucks you in straight from the start. Utterly beautiful and killer Japanese pressing. Price: 100 Euro
870. JOHN LENNON & YOKO ONO: “Unfinished Music No.2 – Life With The Lions” (Apple Records/ Toshiba EMI Japan – EAS-80701) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Bloody rare Japanese press that comes with obi, rarely seen. John Lennon and Yoko Ono's second collaborative album consists of five tracks: all of side one is taken up by “Cambridge 1969”, a live recording at Lady Mitchell Hall in Cambridge of Lennon playing an electric guitar backup to Ono's singing and screaming. Rolling Stone described Yoko's vocals as sounding like “a severely retarded child being tortured”, so with a review like that you know already that you cannot go wrong. The opening moments feature Yoko's piercing wails and John's atonal guitar feedback. Immediately the tone for “Life With The Lions” is set be it a calculated confrontational one. “Cambridge 1969” can to some extent be seen as the precursor to Lou Reed's “Metal Machine Music”, a duet of pain from singer and guitarist that is harrowing in the extreme. A thrill to listen to, a real challenging piece of music, even to today's standards. Although it is a live recording, it is clear that they went into this performance with a good idea of the type of sounds they were going to make. “No Bed for Beatle John” is an Oriental plainchant, with Yoko singing about an incident during her miscarriage (the hospital's refusal to give John a bed as he stayed with his wife), while John sings counterpoint softly in the background about his upcoming divorce to Cynthia and other matters. It's an interesting look at two minds on different planes. It gets followed by “Baby's Heartbeat”, a recording of Yoko's fetus that sounds remarkably alien, succeeded by two minutes of silence to represent the baby's passing from this world. On “Radio Play”, John coaxes short bursts of sound from the radio by flipping the dial quickly. Of the three experimental albums that John and Yoko made, “Life With The Lions” is probably the most deserving of serious study. One of the greatest of all time avant-garde rock albums? To these ears not one second is wasted here, a truly remarkable disc, one of the best! Price: 100 Euro
871. JOHN LENNON & YOKO ONO: “Wedding Album” (EMI Odeon – EAS-80702) (Record: Mint/ Gatefold Jacket: Mint/ Outer Box Set: Mint/ Obi: Mint/ All Inserts: Complete & Mint). Reputed box set, in stunning mint condition. So what do we have here, a stunning copy of this great avant-garde gem containing the outer box, Japanese obi, fold out LP jacket with disc in mint condition, bunch of inserts, snapshots, book, card, marriage certificate, postcard…everything is present making this a complete set, nothing missing and all in mint condition. The music on the disc on the other hand dwells in similar regions as the “Two Virgins” LP, composed of conceptual Fluxus offerings by John and Yoko. Demented and wicked stuff. Rarely seen in such immaculate condition. Price: 150 Euro
872. The JOKERS: “S/T” (Fading Sunshine – FS-001). (Record: Near Mint/ Jacket: Near Mint). This is the limited to 50 copies ONLY marbled color wax version. This, until now un-excavated gem out of the deep bowels of the Iranian 1970s underground was one of the biggest surprises of last year to hit my nerves. Flabbergasted …. still trying to catch some air, this is one vicious beast, the Speed, Glue & Shinki of bloody Iran!!! “Hailing from Tehran, Iran, the Jokers were arguably Iran's heaviest underground rock group during the early 70's. Having visited the UK for a short period, Vaheed, the lead singer and guitarist of Jokers returned to Iran with new ideas and influences. After hearing groups like MC 5 & Cream, the Jokers decided to pursue this type of sound, and subsequently recorded a heavy psychedelic blues album in a garage circa 1972 using nothing more then a reel to reel and two microphones. Filled with heavy fuzz, loud wah guitars and screaming vocals, the album sounds unlike any rock artifact unearthed from Iran so far. Sadly no record label would release their album, so they continued to perform at local venues, and even managed to get a performance at the German Embassy before disbanding. Here for the first time ever is a limited edition pressing taken directly from the reels they recorded in 1972. Fully licensed, this is a one time pressing only. The 500 copy LP is housed in a heavy old style paste-on jacket with heavy cardboard stock.” (label description). Without a single doubt, this is the best release of that unholy year 2010. Long gone and sold out, in a flash they were gone ….. KILLER IRANIAN HEAVY PSYCH all blessed with that basement feel…..Price: 75 Euro
873. JONES, THAD: “The Magnificent Thad Jones” (Blue Note/ EMI Music Japan – BLP-1527) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint).In 1956, trumpeter Thad Jones as making his way forward as a leader and apart from his important role with the Count Basie Orchestra, having recorded for the Charles Mingus owned "Debut" and Period labels. But this release for Blue Note most firmly established him as one of the premier musicians and composers in modern jazz; it's titled "Magnificent" for many great reasons. There are several precedents set here; the initial foray out of Detroit for the young pianist and fellow Michiganian Barry Harris, the identifying of a personalized small group, as well as individual sound of Jones, and his ability to easily bring great jazz icons together as a team. With Detroit's Billy Mitchell on tenor sax, Percy Heath’s bass, and stellar drummer Max Roach, this quintet makes truly great jazz music together. Starting with Heath’s spooky bass lines surrounding "April in Paris" melting into the silky smooth tenor of Mitchell, you immediately know you're in for a unique listening experience. Jones’ singing soul on his horn comes through best on the ballads "If Someone Had Told Me," in tandem with the pristine piano of Harris during "I've Got a Crush on You," and in duet with Kenny Burrell on "Something to Remember You By." Not forgetting to follow in the footsteps of Dizzy Gillespie/ Miles Davis/ Clifford Brown examples before him, Jones bops strong and proud on "If I Love Again," spurred on by Roach constantly mutating the rhythm changes, and using counter-melodies while jousting with Mitchell on "Billie-Doo." The single, definitive, and most enduring piece is the near-11-minute "Thedia," a classic post-bop case study that everyone should know and revere. The musicianship being at such a lofty plateau, so intelligently selected and executed and is generally regarded as the very best work of Jones, later big-band recordings with Mel Lewis notwithstanding.” (All Music Guide). 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: 85 Euro
874. JONI MITCHELL: “S/T” (Reprise/ Warner Pioneer Japan – P-8099R) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan 1st press in outstanding condition. “Joni Mitchell’s debut release is a concept album. Side one, subtitled "I Came to the City," generally exhibits songs about urban subjects that are often dour or repressed in some way. "Out of the City and Down to the Seaside," by contrast, is a celebration of nature and countryside, mostly containing selections of a charming, positive, or more outgoing nature. What sets this release apart from those of other confession-style singer/songwriters of the time is the craft, subtlety, and evocative power of Mitchell’s lyrics and harmonic style. Numbers such as "Marcie," "Michael From Mountains," "The Dawntreader," and "The Pirate of Penance" effectively utilize sophisticated chord progressions rarely found in this genre. Verses are substantive and highly charged, exhibiting careful workmanship. "Song to a Seagull" has graceful and vivid lyrics about the joys of freedom set to a haunting, wide-ranging vocal line. Conversely, "Cactus Tree" explores the downside of a no-strings-attached approach to life, the fear of committing to a relationship (ironically wedding these words to a hopeful melody and pulsating guitar texture). "Marcie" utilizes poignant, twisting music set to desolately lonely lyrics about a jilted woman; the recurrent use of red and green imagery in the verses is especially clever. Character studies such as "I Had a King" and "Nathan la Franeer" are painfully bleak in contrast to the lithe domestic scene of "Sisotowbell Lane" and the winsomely reserved love song "Michael From Mountains." Unusual in her oeuvre are the overlapping dialogue prose manner of "The Pirate of Penance" and the jaunty honky tonk stylings of "Night in the City." Mitchell sings in a light, gossamer, at times diffident manner; vocal harmony is sparingly employed here. David Crosby’s production is simple and effective. This excellent debut is well worth hearing.” (All Music Guide). Such a beautiful record, original Japan 1st press. Totally essential!!! Price: 150 Euro
875. JONI MITCHELL: “Ladies Of The Canyon” (Reprise Records Japan – P-8101R) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint/ Obi: Mint). Unbelievably clean copy all complete with 2nd state obi. Price: 150 Euro
876. JONI MITCHELL: “Clouds” (Reprise Records Japan – P-8100R) (Record: Mint/ gatefold Jacket: Mint/ Insert: Mint/ Obi: Mint). Japan 1st original pressing all complete with obi and in top – virginal condition. “Clouds is a stark stunner, a great leap forward for Joni Mitchell. Vocals here are more forthright and assured than on her debut and exhibit a remarkable level of subtle expressiveness. Guitar alone is used in accompaniment, and the variety of playing approaches and sounds gotten here is most impressive. "The Fiddle and the Drum," a protest song that imaginatively compares the Vietnam-era warmongering U.S. government to a bitter friend, dispenses with instrumental accompaniment altogether. The sketches presented of lovers by turns depressive ("Tin Angel"), roguish ("That Song About the Midway"), and faithless ("The Gallery") are vividly memorable. Forthright lyrics about the unsureness of new love ("I Don't Know Where I Stand"), misuse of the occult ("Roses Blue"), and mental illness ("I Think I Understand") are very striking. Mitchell’s classic singer/songwriter standards "Chelsea Morning" and "Both Sides Now" respectively receive energetically vibrant and warmly thoughtful performances. Imaginatively unusual and subtle harmonies abound here, never more so in her body of work than on the remarkable "Songs to Aging Children Come," which sets floridly impressionistic lyrics to a lovely tune that is supported by perhaps the most remarkably sophisticated chord sequence in all of pop music. Mitchell’s riveting self-portrait on the album's cover is a further asset. This essential release is a must-listen.” (All Music Guide). So beautiful and so perfect, what is not to like about this LP. Spellbindingly awesome and delicate in nature and its execution. Virginal Japanese original with OBI. Price: 150 Euro

877. JOS STEEN: “Electricity!!! Music For Tape & Turntable” (Ultra Eczema Records – ultra eczema 48) (Record: Near Mint/ Silk Screen jacket: Near Mint/ Insert: Near Mint). Long out of print LP that was released in an edition of 300 copies. Original Belgian pressing. Jos Steen is a remarkable outsider in the purest possible sense of the word. The way he lives sound like a fairytale and the way he acts would resemble the heaviest mix of Bukowski and Bobby Colombo. Jos lives underneath the radio tower of the national TV and radio station “VRT”, where he works as an audio librarian, his house is tiny but can be called a museum! full of self-made instruments and broken piano’s, since 1964 Jos has been making poems, art and music to kill the demons in his head! Some call him “ the Belgian Beefheart” and some talk about a local little howling wolf. This LP is a selection of tracks of tape and record player experiments spiced with vacuum cleaners, rotting voices, un-indefinable strings, piano’s etc.. It’s absolutely unthinkable his work could be potentially lost in time and space, for fuck’s sake, the dude is a genius!! In the past Jos played with free jazz greats like Peter Jacquemin, André Goudbeek, with poetry psychos like Roland Topor and with Zappa’s own Jimmy Carl Black who begged on his bare knees to play with Jos, (maybe that’s exaggerated as well)..Price: 50 Euro

878. JOY DIVISION: “Still” (Factory/ Nippon Columbia – YZ-181-2-AX) (2 LP Set: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st original press issue with rare obi – promo issue. Killer album, essential in any collection. First issue with obi is getting so damned scarce it is almost frightening. Price: 175 Euro
879. JUDY HENSKE & JERRY YESTER: “Farewell Aldebaran” (Straight – 1C054-90+928) (Record: Mint/ Laminated Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). Rare German original mint copy housed in a German ONLY laminated gatefold cover. Brilliant husband and wife duo Judy Henske and Jerry Yester's 1969 folk-psych-rock-cabaret masterpiece Farewell Aldebaran has gained a near mythical totem-like status over the years. Yester as well as Henske had been heavily ensconced in the West Coast folk rock scene; Yester as a member of the Lovin' Spoonful and producer for L.A. songwriters like Tim Buckley, and Henske as a solo performer and recording artist, who was championed by the likes of Jack Nietzsche. Their first collaborative release, Farewell Aldebaran, was a hugely ambitious one and varied, with Yester providing the towering arrangements to Henske's breathtaking vocalizing efforts and intensely lyrical writing. They kick the album off with a vicious demented track burner of s song and then proceed to try their hand at pathos filled and desperation-ridden country rock and oblique protest ballads with a whiff of fractionalized surrealism. The song "Rapture" is an absolute tour de force of massed vocal melodies ascending skyward as Henske sings, "She will betray you/as she sings/her voice in the hot sun/is calling/in rapture you die/flying and falling." There honestly isn't another record even remotely like it, and it's to their credit that they were able to make an album so diverse hang together so well. An instant classic and hard to come by in a condition as clean and beautiful as this one. Price: 75 Euro
880. JUN, TOMOKO & CHIYO: “S/T” (Toshiba – TP-7333) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 3 pin-up posters: Near Mint/ Pin Up Poster: Near Mint). Released in 1969 – complete 1st original pressing with poster & OBI. Holy Trinity of late sixties female beat girls in Japan. Total killer disc ranging from soft enka/ kayokyoku ballads up to fuzz drenched scorching tracks. Each of the three divas sings a couple of songs, being Okumura Chiyo, Japan’s sexiest voice, Mayuzumi Jun, Japan’s number one beat girl and velvet voiced Ogawa Tomoko. The disc comes with the always-missing obi and has the poster-like pin-up present. Complete sets are almost impossible to find these days. Top-notch condition. Just stellar all way round. Amazing beat girl & garage-styled kayokyoku & fuzz tainted killer songs!!! Highest recommendation. Price: 75 Euro

881. JUN, TOMOKO & CHIYO: “S/T” (Toshiba – TP-7333) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 3 pin-up posters: Near Mint). FIRST PRESSING RELEASED ON RED WAX!!!! Released in 1969. Holy Trinity of late sixties female beat girls in Japan. Total killer disc ranging from soft enka/ kayokyoku ballads up to fuzz drenched scorching tracks. Each of the three divas sings a couple of songs, being Okumura Chiyo, Japan’s sexiest voice, Mayuzumi Jun, Japan’s number one beat girl and velvet voiced Ogawa Tomoko. Combining elements of Ventures-esque surf music, the elaborate arrangements of northern soul- and Burt Bacharach-inspired pops orchestras, a bit of Brazilian bossa nova groove, and a heavy, heavy dose of jumpy French yé-yé pop akin to the likes of France Gall and Sylvie Vartan, these tracks are totally infectious, overflowing with repressed sensuality and the inevitable release that came with Japan's move away from buttoned-up enka song styles into the modes of the pop machine. The disc comes with the always-missing obi and has three poster-like pin-ups present depicting each of the three cuties in late sixties styled bathing suits. Complete sets are almost impossible to find these days. Top-notch condition and a kick-ass celebration of the female side of Japan’s 1960s pop scene that boasts booming bass lines and a dance floor readiness that’s already caught the ear of freak beat collectors. This slide reveals the sultry, swaggering, and tough, hip-shaking young pop and bossa sounds of Japan’s leading girl pop scene from 1969, which is considered one of the more revolutionary eras in Japanese rock modernism. Just stellar all way round. Highest recommendation – NIPPON BEAT GIRLS deluxe galore!!!!. Price: 85 Euro