Q-R Offers 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 A-B

890. K-SALVATORE: “The Zahir” (Sound @ 1 – S@1#18) (Record: Mint/ Jacket: Mint/ Insert: Mint). Released in tiny numbers way back in 1995 by this NNCK offshoot. K. Salvatore is a duo offshoot of the No-Neck Blues Band. They've put various records out over the last few years, with no real sense of consistency or urgency, and the music itself seems to work the same way, only occasionally bubbling to the surface of your own reality even when it's playing all night long. It goes in and out of focus, sometimes hitting you with a surprising dose of harshness, but more often hovering somewhere just behind your ear with whispers of synth-and-guitar mystery that you can always key into if needed. This disc here was their first recorded album, released ion tiny numbers and went OOP within the blink of an eye. Fantastic primitive avant-drone improvisations impregnated with a healthy dose of tribal vibes and a bloodshot caveman aesthetic that propels the music into realms not many other avant-garde cum dilatants have gone before. Without a doubt one of the most idiosyncratic and interesting improvisation and avant-out-there discs to see the light in the 1990’s. Price: 60 Euro
891. KAGA MARIKO: “Aishiau Futari No Tame Ni Ai No Resson” (Warner Pioneer – L-8003W) (Record: Near Mint/ Gatefold Jacket:Near Mint/ Obi: Near Mint/ Gatefold Pin-Up: Near Mint). Bloody rare 1971 original pressing. Promotional Blue Label copy!!!! Comes with always missing obi. If you are after female vocal & actress oddball recordings with a soft erotic touch that are not only freakingly obscure but also musically amazing, then look no further, you just reaches Valhalla. Kaga Mariko was and still is a very famous actress in Japan but what hardly anyone knows is that while she was still a young nymphet she recorded this one off LP in 1971 when she was 28 years old. The album whose title translates itself as “Lessons in Love” sees Mariko embarking on an erotic French inspired vibe but instead of singing songs into being she fills up the whole of the compositions with private pillow talk, erotic one liners, girlie sexy mumblings and so forth. She knew she wasn’t cut out as a chanteuse and instead embarked on what she was strong in, becoming a love tainted young girl, exploring love in all its aspects through a journey towards the true one. Her voice is bewitchingly beautiful and even if she just fills every composition with her soft talking, it comes over as singing to these ears. Mariko was a vamp, one can her it and also judge it from the sexy pictures filling the gatefold. Coquette, ultra feminine, erotically charged and highly individualistic, she was the femme fatale of 1971 downtown Tokyo. The whole vibe reminds me a bit of the Kuwabara Yukiko LP, only that Kaga Mariko takes it a step further as far as talent, girl power, erotic vibrations and professionalism goes. One of the most obscure and highly sought after erotic records to seep out of Japan, copies just never surface – especially ones in top condition like this one here complete with obi and pin up poster. To make it even more mouth watering, this is the blue label promo copy. Fantastic LP, it took me only a decade to dig up my own personal copy and here is the first ever-complete copy I have to spare. Mint all the way, stunning both to behold and to get soaked into. Kaga Mariko is my personal Iroke Queen. Highest recommendation. Price: 350 Euro
892. KAGEL, MAURICIO: “Acustica” (Deutsche Grammophon – 2707059) (2 LP Set: Near Mint ~ Mint/ Laminated gatefold Jacket: Mint/ Attached 4-Paged Booklet: Mint). Top Copy of this groundbreaking masterpiece. First original pressing. “Mauricio Kagel’s Acustica (1968-1970) is a hugely ambitious and effective combination of electronic and acoustic sounds. Kagel uses only a few conventional instruments, and they are unconventionally employed (i.e., a trombone has a plastic tube inserted in its bell, with the other end of the tube in a tub of water). Mostly, though, he uses ancient or folk instruments (such as a nail violin, thumb piano, bull-roarer, and castanet keyboard) or instruments of his own devising (such as playing a turntable with a funnel, directing the flame of a blowtorch into a metal tube, running wind-up toys down a conveyor belt, and twisting party balloons). The score is written on 200 index cards, and the five players have considerable freedom in the timing and coordination of the events. Kagel doesn't have a free-for-all in mind, though; his directions are almost ridiculously precise: "With both hands, raise violin extremely slowly from the table -- not more than 10 cm. … The violin rests for c.10 seconds on the table … and is then held in front of the face. Bend head right back. Stay still." The rigor of Kagel's directions highlights the fact that the piece is intended to be as much a theatrical as an acoustic experience. Even in this purely aural form, though, it's endlessly fascinating, not only in the variety of its unique and largely unrecognizable sounds, but in the way that, somehow, it coheres into a meaningful musical experience. The CD includes two very different versions of the piece, demonstrating the extent of the discretion given to the performers. Even the tape part, which remains the same, sounds different when heard in contrasting acoustical contexts. The CD should be of strong interest to fans of the avant-garde and of found and newly created instruments.” (Stephen Eddins, All Music Guide). Top copy original pressing. Price: 200 Euro
893. KAI MICHIO: Michio Kai Plays Avant-Garde Flute Pieces” (ALM Records – AL-21) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ Booklet: Mint). Totally obscure and very rare 1979 release on the legendary ALM Records imprint. Hideously rare ALM Kojima Records release, dwelling into the austere realms of woodwinds flute playing. If you were blown away by Watazumido’s shakuhachi blowing, then this disc by flute player Kai Michio might also do the trick for you and split open the heavens of aural bewilderment. Kai emerges himself in 5 compositions by contemporary Japanese composers such as Sesshu Kai; Aki Matsudaira; Takahashi Yuji; Yuasa Joji and Katsuhiro Tsubono and transforming these avant-garde pieces into almost transcendental sound pieces. The merging of his flute playing with the austere avant-garde pieces makes the whole experience almost mesmerizing. Highly meditative in its execution, as well as utterly Japanese in its approach to sound and setting, Michio Kai creates a cinematographic soundscape erected and centered around his flute playing. Still on other occasions, Kai sounds almost Zen-like, minimal, sparse and filled with tension without ever breaking its meditative spell. On another track, his flute playing gets backed up with sparse repetetitive piano rattles attributing almost hypnotic qualities to his already spellbinding blowing. In all, Kai displays his playing in various settings and each of them is a piece and exercise into the realms of true beauty. Just fabulous. Rarely seen ALM Records LP that till this day is hardly known by anyone at all. Maybe it will all chance now. To file next to your Watazumido discs. One of the rarest releases on the ALM catalogue and so damned beautiful. Price: 175 Euro
894. KAJI MEIKO: “Jingi Komori Uta b/w Koi Ni Inochi O” (Teichiku – SN-975) (EP Record: Mint/ Gatefold Pin Up Picture Sleeve: Mint). The rarest of all Kaji Meiko related EP releases is this early single. Housed in an amazing gatefold picture sleeve depicting badass Kaji Meiko in full kimono, tattooed shoulder bare and wielding a samurai sword. Both tracks on this EP are taken from the Nikkatsu movie “Nobori Ryuu” – killer enka drenched kayokyoku psychedelic tinted madness that keeps on resonating through the empty caves of your mind for weeks on end until all sanity is drained from your body. Simply amazing – both visually and musically and the best ever Kaji Meiko release in my book. Damned rare this 1st press issue with pin-up styled gatefold jacket. Top copy, all is just mint as can be here. Make your move now or cry forever. Killer!!!! Price: 150 Euro
895. KAJI MEIKO: “Kaji Meiko no Miryoku – Sasori & Ginchô Nagaremono Soundtrack” (Teichiku Records – CF-26) (Record: Near Mint ~ Mint/ Jacket: Mint/ Obi: Mint/ Promotional B4 sized Picture: Mint). Top copy – all complete with circular obi and B4 Promo Picture. Well here you have an unbelievable and stunning copy of the early Kaji Meiko soundtrack album. Comes with fold out jacket that contains an attached 4-paged insert with loads of pictures. Making this item unique is the addition of the promotional B4-sized Kaji Meiko picture. It came out originally with this release but almost all copies that are offered these days always miss this picture. A true rarity to have it all complete. Apart from its rarity and cult status, its content is even more mouth watering. Kaji Meiko’s beautiful theme songs to both violent flicks are present, inserted with superb psychy fuzz guitars against kayokyoku string arrangements, making them excellent examples of early Showa psychedelics. Apart from that, the disc is filled with sounds, music, voices, erotic moaning, screams of torture, sexy intersections, etc, making it an utterly stunning, mondo, freaking out, insane and psychedelic listening experience. One of the best soundtracks ever to be put down on wax. If you are familiar with the Sasori movies (or female convict movies) you have an idea in what kind of outer regions this disc will steer into. Comes with fold out jacket and everything about this disc is in almost virginal condition. Most beautiful copy you will ever see so go wild. Kaji Meiko rules!!!! Price: 250 Euro
896. KAJI MEIKO: “Hajiki Uta” (Teichiku Records – CF-33) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Circular Obi: Near Mint). Top copy – first original press issue all complete with rare obi. This was Meiko’s second album, released in 1972. Stunningly beautiful and stunning condition. The disc contains some of her greatest Showa and Taisho infested songs fueled up with burning fuzz leads and sweltering orchestrations. Superb copy of an LP that of recently has completely dried up in top condition. Kaji Meiko released a string of albums but she started out on Teichiku Records. This disc is from her beginning period and marks her at her all time best and most glorious effort. Delicate ballads and kayokyoku styled songs, sung in her highly erotic and stunning voice that gets backed up by some jazzy session musicians, all complete with the additional strings and electric guitar and fuzz ripping insertions, making it that her songs deviate from the traditional and ordinary Kayokyoku path and dabble a bit with psychy influences. Price: 200 Euro
897. KAJI MEIKO: “Yadokari” (Teichiku Records – CF-37) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) First original press in outstanding condition. This was Meiko’s third album, released in 1973. Stunningly beautiful and amazing condition. The disc contains some of her greatest Showa and Taisho infested songs fueled up with burning fuzz leads and sweltering orchestrations. Superb copy of a quite rare but nevertheless much in demand Kaji Meiko album. Kaji Meiko released a string of albums but she started out on Teichiku Records. This disc is from her beginning period and marks her at her all time best and most glorious effort. Delicate ballads and kayokyoku styled songs, sung in her highly erotic and stunning voice that gets backed up by some jazzy session musicians, all complete with the additional strings and electric guitar and fuzz ripping insertions, making it that her songs deviate from the traditional and ordinary Kayokyoku path and dabble a bit with psychy influences. She was one of the original hippie chicks’ way back in 1967, together with Wada Akiko, so it shows. Apart from that all is also one of God’s most stunningly creatures ever to roam the face of the earth. Completely dried up these last years and great record by this actress/ singer who got international mondo cult fame through her Sasori and Lady Snowblood movie flicks during the mid-seventies. All complete with obi!!! Price: 150 Euro
898. KAJI MEIKO: “Kaji Meiko Hit Album – Urami Bushi” (Teichiku – CDX-2518) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 12 Paged Picture Booklet). Super rare all complete TOP copy that comes with obi and never offered before Teichiku issued 12 paged picture booklet on Kaji Meiko. First all complete copy I ever see. Killer Kaji Meiko album that ranks up there as one of the best she ever did. This copy is complete as can be and comes with the always missing obi. Opening up with “Meiko no Fute Bushi” the tone is set into which the whole album will unfold itself in. Meiko’s sexy voice pierces through the dead air against a background of soft fuzz greased guitar licks and a lightly orchestrated kayokyoku background, the whole making your blood boil and nails curl up towards the sky. The Teichiku Orchestra that backs her in an illuminating way provides the perfect counter balance for Meiko to blossom fully, gutting out erotic induced heartbreak, venom invigorated revengeful songs and lone-wolf like female yakusa tunes that transport you right back towards a sleazy Tokyo back alley where street flowers roam, desert tramps trample your private parts and cheap sake flows abundantly. In short this album never fails to put that hypnotic spell on me, engulfing me time and time again with a sleazed back beat kayokyoku psyched feel that makes me shiver. Drop dead killer material, sweet angelic voice brimming over with eroticism and well channeled vengeful hate and looks that could kill. All time possible highest recommendation. A masterpiece….it will definitely beef your miserable existence up towards yet inexperienced heights and lows. All complete copy with obi and 12 paged promotional booklet, never seen copy with the "Young Teichiku" Kaji Meiko Special picture booklet present offered before so… Price: 400 Euro
899. KAJI MEIKO: “Hagure Bushi b/w Kiba No Ballad” (Teichiku – SN-1322) (Record: Excellent/ Gatefold Picture Sleeve: Near Mint/ Bonus Promo Picture: Mint). Probably the rarest Kaji Meiko single, complete copy that comes with the always-missing promotional picture card. Killer booty shaking Kaji Meiko tracks that were only released as single and never made it to any of her albums. Too bad, because these two tunes on display her I consider as her best, killer badass lady shaking funk. Both of these tracks featured as the title themes to the television movie “Zenkoku Rock Hagure Kiba” in which she starred as a vixen handy with the sword and mounting horses like an Amazon from beyond the grave. Comes with the always-missing promotional picture card of Meiko holding a blade. Rare and sweet!!! Price: 75 Euro
900. KAJI MEIKO: “Otoko Onna Kokoro Aika” (Teichiku – CF-48) (Record: Mint/ Jacket: Mint/ Insert: Near Mint). One of the hardest to track down Kaji Meiko albums and one of her all time greatest. This was Meiko’s fourth album, released in 1974. Stunningly beautiful and mint condition. The disc contains some of her greatest Showa and Taisho infested songs fueled up with burning fuzz leads and sweltering orchestrations. Superb copy of the almost impossible to trace and utterly rare but nevertheless much in demand Kaji Meiko album. Kaji Meiko released a string of albums but she started out on Teichiku Records. This disc is from her beginning period and marks her at her all time best and most glorious effort. Delicate ballads and kayokyoku styled songs, sung in her highly erotic and stunning voice that gets backed up by some jazzy session musicians, all complete with the additional strings and electric guitar and fuzz ripping insertions, making it that her songs deviate from the traditional and ordinary Kayokyoku path and dabble a bit with psychy influences. She was one of the original hippie chicks’ way back in 1967, together with Wada Akiko, so it shows. Apart from that all is also one of God’s most stunningly creatures ever to roam the face of the earth. Extremely sought after and great record by this actress/ singer who got international mondo cult fame through her Sasori and Lady Snowblood movie flicks during the mid-seventies. Price: 100 Euro
901. KAJI MEIKO: “”Kyou no Ware ga Mi wa…” (Polydor Records – MR-2281) (Record: Near Mint ~ Mint/ Jacket: Near Mint - has some minor mildew spots visible against white background but nothing serious/ Obi: Near Mint/ Insert: Near Mint/ 4 Paged Picture Booklet: Near Mint). Kaji Meiko’s sole concept album, original first press issue from 1975 all complete with obi and pin-up insert. One of the harder to track down Kaji Meiko outings and still an exquisite piece of Japanese female kayokyoku debauchery. Again highly essential release that sheds some light on the later Kaji Meiko recorded output. This one in particular is ear-gasmatic and comes with the highest possible recommendation. Fantastic disc that should appeal to all those who fell in love with female Japanese vocalists, Showa eroticism and samurai flicks. Sheer brilliance. Price: 150 Euro
902. KAJI MEIKO: “Wakare Urami Namida Uta” (Polydor – MR-3212) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare Meiko slide during her latter Polydor days. The disc documents the highlights of Kaji Meiko’s career and as the title already gives away, the regions her erotic vocals dwell into are “songs of tears, hatred and separation”. The cover contains a stunning and rarely seen photo of her, dressed in a golden laminated psyched out space suit. Great female vocals sets against an enka/ kayokyoku backing at times interspersed by vicious guitar licks and a sentiment brimming over with desertion, while at the same time exhibiting some erotic flashes of grandeur. Great all over. Here Polydor discs are quite scarce. Highest recommendation. Price: 150 Euro
903. KAK: “S/T” (Epic – BN-26429) (Record: Near Mint/ Jacket: Excellent, signs of minimal ring wear but only very faint). Original 1st US pressing. At its best this is as good as West Coast psychedelia ever got, with exceptional musicianship and a wide, spacey mix in which each instrument has plenty of room to breathe. Key cuts include the short, sharp opener ‘HCO 97658’, the wah-wah heavy ‘Everything’s Changing’, the stinging blues ‘Disbelievin’’, the mellow, spaced-out ‘Lemonaide Kid’ and the mighty ‘Electric Sailor’. The latter is one of the era’s lost masterpieces, with a thrash-metal riff, ace lyrics and a scorching double-tracked guitar break adding up to make one of the most exciting acid rock songs imaginable. Elsewhere there’s a couple of decent country-tinged ballads, a couple more rockers and an effective mini-epic entitled ‘Trieulogy’. The performances are a little ragged, but that adds to the LP’s charm, and guitarist Dehner Patten is a mighty fine exponent of the wah-wah.” (RMJ – Endless Trip). A totally classic guitar driven West Coast psych gem. Record is in TOP condition, sleeve has some minimal ring wear as usual. Price: 500 Euro

904. KALAPARUSHA: “S/T” (Trio Records – PA-7167) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Near Mint). Rare Japan only issue of amazing jazz slide from 1975. Maurice McIntyre led group recorded in 1975 and only issued in Japan. The line-up here consisted out of Tom Schmidt (bass); Jack DeJohnette, (drums); Jumma Santos (drums, percussion); Kalaparusha (reeds); Karl Berger (vibraphone, piano) and Ingrid Berger (vocals). The recording displays a rare spiritual set from the great reedman Kalaparusha aka Maurice McIntyre which was recorded in upstate New York as part of the Creative Music Foundation in Woodstock! The music displays a loose, open feel – at some level it almost breathes out a loft jazz vibe but with a greater sense of interplay that really marks their sound here. The collaborative energy makes especially strong use of Karl Berger on vibes and piano, plus some occasional vocalizations from the enigmatic Ingrid, as well as great bass from Tom Schimdt, and drums from either Jack DeJohnette or Jumma Santos. Overall, Kalaparusha blows this bold, soulful tenor – very forward and spiritual, as in his Humility In Light Of The Creator mode – while other passages are more freewheeling and angular. Great slide that pops up not that much these days. Price: 125 Euro

905. KAMEDA HIDENORI: “Naze b/w Uso Ja Nai Sa” (Polydor – DR-1624) (7 Inch: Mint/ Picture Sleeve: Mint). If you are looking for weird, off-the-beaten-track and unclassifiable mondo-styled strange enka records that defy all categorization, then you best stop reading here because you just have found it. Kameda Hidenori is a snotty 8-year old junior high brat who can actually barely sing a tune. For some strange reason, Polydor was conned into releasing this one-off 7-inch by him in 1970, resulting in a total commercial failure. The reason for this was that Kameda was a minor B movie and TV star who guested in some TV dramas directed at bored housewives and middle class low lives. Still, these days, Kameda’s sole recording is regarded as fetish cult item, hunted down by many but sadly enough it hardly surfaces at all. Backed by the highly professional and swinging Polydor house orchestra and flanked by a string of female choruses, the contrast with Kameda’s snotty infantile and inadequate vocals couldn’t be greater and provides the ideal counter-measure against these highly trained professionals, which make his sneering and withering attempt at singing even more addictive. The end result is a uncanny, weird, bizarre and cadaverous excursion into the realms of infantile brainsick and delightfully unhinged strange enka escapades that defies any attempt at categorization. Top copy and extremely rare and obscure. Price: 75 Euro
906. KAMIKUBO JUN: “Nothingness” (Express Records – ETP-8210) (Record: Excellent/ Jacket: Near Mint/ Insert: Excellent ~ Near Mint/ Obi: Near Mint, is replica thrown in as bonus). Freakingly rare beyond belief original 1st pressing. Kamikubo Jun is one of those totally overlooked artists that was active during the hey-days of the New Rock boom at the beginning of the seventies. He cut one hideously rare album for Express records, an effort filled with burning fuzz licks, howling vocals, psychedelic interplay, screaming fuzz guitar and great vocals - a great Japanese underground album similar to some extent to Apryl Fool. This is the 1st original pressing and once you behold this LP in your hands, you will notice that although the album’s artwork is very stark and minimal, it is quite different from the Shadoks boot version being that Shadoks cleaned the original design up, making that the smeared black texture on the corners disappeared. Maybe it was an attempt to clean up the jacket without knowing and seeing that it formed an integral part of the jackets design. So here is the real thing, excellent condition, an album that surfaces on these shores only once in a decade. I haven’t had a copy in over 8 years. The music is just stellar and if you ride for the greatness of Apryl Fool, than this beast will have you gasping for air. Highest recommendation but sadly enough rare as hell freezing over on a hot summer’s day. Price: Offers!!!!!
907. KAN MIKAMI: “Mikami Kan no Sekai” (Columbia – YS-10093-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Excellent). Copies with Obi never turn up and this is a white label promo to boot. Bloody rare white label PROMO COPY!!! First ever Mikami Kan record to hit the streets, released in 1971 on Columbia, selling poorly and shortly after its release the disc was withdrawn and sales became prohibited due to some of the offending lyrics Mikami sprouted out. So seen in that light it comes as no surprise that this record hardly surfaces these days. Graced with the stunning cover art of Saeki Toshio, the 19 year old Mikami delivered with his 1st album already a piece de resistance whose importance keeps on resonating throughout the Japanese folk scene. Music wise, Mikami's first record is a real stunning piece balancing the razor’s edge between deep enka and rural folk dwellings. Like his 2nd album that also came out on Columbia, Mikami breaths out a similar mystique drawing blood from melancholic vibes and rural influences, going back directly to his childhood musical influences such as loner enka blues, the barren land and wind swept plains of Aomori, Tsugaru minyo and so much more. His songs and voice are emotionally gut wrenched, boiling over with presence and dark, harrowing, ‘real' lyrical subject matter. Some of the songs you might even recognize since they appear is reworked versions on his later output. But here is where it all began and hard to believe that a 19 year old could have such a wintered through, tormented voice that has enough emotional power, well-directed venom filled anger and bleakness to strip the paint of your walls. And bleak it is, singing about murder, rape, yakuza gangsters, life like living it on desolation row and other light-hearted subjects that were poignant enough to scare any possible big success straight out of the window. A classic and rarely surfaces here in Japan due to the limited number of copies that got into circulation. Highest all time possible recommendation!! Price: 600 Euro
908. KAN MIKAMI: “Odo - Mikami Kan no Hitorigoto” (Columbia – YS-10114-J) (Record: Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Mint). Ultimate top copy, completely near mint condition. All complete with rare first issue obi present, it has been ages since I have seen a clean copy of Mikami’s 2nd LP. Wow, here you have a disc that hardly surfaces at all, the second album by Mikami Kan, released in a tiny run in 1972 on the major Columbia. Tiny run since the disc failed to sell well, resulting in the company withdrawing the remaining copies left lingering around in shops and destroying them. Hereafter, Mikami would shift change labels and move towards the URC folk camp where he recorded the “Hiraku Yume” disc. Still, his Columbia days were quite a different affair than the style he got renowned for at URC and later even PSF. Although that his unmistakable trademark style is already omnipresent, Mikami sounds more melancholic and high on his rural roots, drawing blood directly from his childhood musical influences like deprived enka blues, the barren land and wind swept plains of Aomori, Tsugaru minyo and so much more. The A-side of the album depicts Mikami out on a limp, wailing away alone with as solo accompaniment his rudimentary guitar strumming and sounding more fragile and vulnerable than his later outings. He sings into being chilling versions of songs, of which some would resurface on his later albums but reshaped into total different versions. Here they still sound utterly fragile and lonely. So great. The B-side sees Mikami backed up by some stripped to the bare minimum accompanying musicians, attributing to his compositions a total different mindset and feel. Here, his rooting become more overtly clear and he sounds even lyrical at some points. Creeping and chilling to the bone stellar stuff. It is here that it all began and unlike any other recording of Mikami you have ever heard. You will get goose bumps just from spinning this disc, 100% pure beauty embodied by this rough edged howler while he was barely 20 years old. The A and B-sides are totally different moods and mindsets of music, making this a highly diverted album that does not contain one bad note. A classic and one of my all time favorite Mikami discs. Historical and almost insanely rare. Comes in a nice foldout jacket. Melancholic and depraved acid folk to the max. Killer material all round. Getting so scarce these days, top copy all around with salacious first issue obi attached. Fucking KILLER!!! Price: 250 Euro
909. KAN MIKAMI: “Hiraku Yume Nado Arujanaishi” (URC Records – URG-4011 – 1972) (Record: Mint/ Jacket: Mint/ Obi: Mint). SIGNED Super clean and seemingly virginal copy. Comes with insert and thick carton foldout jacket. First press original copy. Needles to say hard to come by. Mikami Kan’s dark, nightmarish lyrics and screaming intensity put him way ahead of the field of jangling acoustic losers with their pretty harmonies and pastoral sweet oozing world views. His violent, disturbed and possesses an unpolished rawness. Unlike Tomokawa, Mikami is not so lyrical and is rougher shaped around the edges, making him an outstanding acid folk jangler. This is an early Mikami album that was released in April, 1972, a period that is considered by many aficionados has is best. Raw, violent and right in yer face, an all time classic disc that is great from the first howl till the last demented scream. Utterly fantastic, but sadly enough hard to come by. Btw, Mikami never signs his records, so this one is a one off chance, signed MINT copy of one of the best deep loner folk albums out of Japan, this one gives me chicken bones!!!! Price: 150 Euro

910. KAN MIKAMI: “Mikami Kan Enka no Sekai - Sentoukouta” (Columbia – CD-7106) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Top copy!!! Hideously rare Mikami Kan record, possibly one of the rarest together with the first two and his privately released one. Comes complete with OBI. And for some reason, this one is to my humble ears one of his best discs ever due to the fact that instead of expressing himself in his always distinct style, he here goes head on first straight into deep enka infested waters. Here Mikami proves that he is a real gifted and talented singer and not just a blues folk singer who howls against the moon. He delivers classic enka tunes in an astonishing way and is in my opinion on of the few male enka singers – together with Funamura Toru – that is worth listening to. You can tell that he has “lived” and “experienced” the enka way of life, unlike the larger bulk of plastic enka singers that plaster the airwaves with their well-polished crap. Mikami breathes out desolation; loneliness, desperation, and an unbearable sadness that is needed to convincingly give live to real deep enka. And by listening to his renditions, one can understand why enka is sometimes referred to as the Japanese equivalent of the blues because it is all heartbreak, tears and sorrow. It is like he sings, being born and brought up in the nightly darkness, breathing out an abandonment of hope, hard liquor, melancholy and distress. In short the real stuff you have to experience in order to understand the value of life. Also it is interesting other versions of classic like “ Yokohama Tasogare” and seeing it in a totally different light than for example Ike Reiko's sultry version of the song. They are worlds apart, although that still the backing and strings remain omnipresent. In short, bone-chillingly great and one of the best “real” deep enka discs around. It would be his 3rd and final recording for Columbia before the label sacked him. Again he failed to attract an audience, I guess he was just too bleak and real for people to handle, confronting them with their deepest intimate feelings they always try to ignore. Mikami rules, he is the king and this disc again proves it. Genuinely rare. Price: 450 Euro

911. KAN MIKAMI: “Jûkyû Sai Nikka Getsu Jûroku Nichi Yoru” (Mikami Komuten 1~2) (2 LP SET: Mint/ Gatefold Jacket: Mint/ Booklet: Mint) One word, monster private press rarity out of Japan, which came out as a numbered edition of only 100 copies. Second time ever I actually have & see a copy of this loner acid folk beast. Totally mint copy of this private press acid folk monster, one of the rarest discs of lately. Without a single doubt one of the rarest and most sought after Japanese acid folk artifacts is this fan club only subscription record by Mikami Kan, released as a numbered edition of only 100 copies, housed in hand drawn jackets. I have only seen this disc 2 times. Rare as hell and I doubt that you will see this one popping up on e-gay or on any list any time soon, probably never since no copies were never shipped abroad. The recording itself dates from 1970, recorded at the legendary Shibuya hangout Station’70. Here, merely 19 years old, avant-folk gut howler Mikami hurls out songs of lust, anger, blood and rage, sounding at one moment fierce, violent and sensual at the other. Killer stuff and rare as hell. Totally mint copy. Bleak, gripping and angst-ridden folk songs, cross-mutating with Mikami’s rural background, his love for twisted and sake drenched Enka songs and counter-cultural antics. Highest recommendation. One of the rarest acid folk/ psych folk/ and loner folk gems to seep out of Japan. Hardly no one has a copy of this beast, this copy is top shelf, mint as a virgin’s ass, so need some wrist slashing and gut wrenching offers in order to let this beast go, one off chance I reckon. Price: Offers!!!!
912. KAN MIKAMI: “Bang” (URC Records – URG-4022) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original first pressing in gatefold jacket complete with obi. Upon rotating ‘Bang”, the music will hit you with its sheer unbridled power and inventiveness as hard as a one-man genocide roaming freely through the hills of Sarajevo. Like guns coming out of the demon hole, “Bang” is filled with avant-garde elements and chanson-esque fragrances colliding head-on with each other. Tape splicing techniques, musique concrete excursions, hard-folk strummings, free-jazz like interludes and insertions, saxophone dementia; it is all there, making “Bang” a highly unique and idiosyncratic tour-de-force that remains unequaled till this day. Just as a suicidal novelist penning down his final masterpiece, Mikami defies here by his very nature the consistency his larger back catalogue is stringed together with. “Bang” is his quantum leap into the stratosphere, embracing a variety of elements and molding it into a condensed but nevertheless diverse and chaotic mix of styles that make up his unique private universe. Highest recommendation. Price: 200 Euro
913. KAN MIKAMI: “Bang” (URC Records) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Another one of a kind offering, TEST pressing of Kan’s subliminal Bang record, one of a kind item. Sounds far superior as opposed to the regular version. Maybe only one copy in existence of this one and clean as can be. Price: 500 Euro
914. KANEDA MIEKO: “Mizu Kagami” (Tam – AX-8808) (Record: Near Mint ~ MINT/ Jacket: Mint/ Obi: Mint). Bloody rare original – only 2nd time ever I have a copy of this killer. Obscure and rare original 1975 pressing of this Japanese traditional female vocalist and shamisen player who infused her minyo and enka-styled creations with a funky groove and swing, spiked up with booty shaking strings, horns and brooding Fender Rhodes organ moves. This is one hybrid kind of disc, bringing together waves of traditional Japanese song cycles brimming over with shamisen strummings, taiko drumming and koto vibes and injecting it with a shameless mid-1970s butt-shaking ingredients, turning the whole affair into a one-of-a-kind musical experience that is nothing but highly original. In a way, this is not surprising at all since Kaneda Mieko had – upon recording this majestical LP – already a 10 year long career as a NHK radio DJ, keeping her fingers on the beating pulse of all new music and hip trends. Still she also had a deep love and affinity for traditional Japanese song forms, especially minyo, enka, kayokyoku and rural festival music, influences she mixed up with black music maneuvers, deranged Toho movie soundtrack choruses, deep rural vocal wailings, swinging organ riffages, bombast orchestration moves, country twangs, funky butt-shakes, old-skool nursery rhymes, Tsugaru shamisen attacks, intoxicating bass lines, wrist-slashing guitar riffage and other stimulative ingredients that make this LP such a compelling listening experience. It all gets mixed down in an impressive post-production, gelling it all together into one wheeler-dealer booty slammer of a disc. Maybe the most astonishing feat here is Kanda’s lovely voice since she comes over as a truly highly skilled singer that has no problem tackling and mixing up all of these styles and breathing them out with much confidence into one coherent wave of other-directional music, without ever coming over as forced or having to force herself. She is just an amazing vocalist, girlie-like in the execution of her songs but with a funk-Queen like touch. Mix this all up with those traditional Japanese mood swings and you have a killer hybrid record on your hands that cannot be compared to any other record out there. Just massive, hopelessly obscure and largely undetected. This is a beast and one – if not – the best musical epiphany I had this year so far. Kaneda Mieko just tackled me without mercy and blew me away … Price: 300 Euro

915. KANG TAE HWAN: “Solo, Duo, Trio” (Chap Chap Records – POJE-9002/3) (2 LP Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ Sticker: Mint). Limited to only 250 copies pressing that is so stunning, it makes your stomach convulse in weird contortions. This is one killer 2 LP set. Recorded live at the Café Amores in Hofu on August 30, and September 1st, 1994 – it depicts Kang Tae Hwan in a trio formation with Ned Rothenberg (as, B-cl) and Otomo Yoshihide (turntables); Kang Tae Hwan solo and in a duo formation with Otomo Yoshihide. The end result of all three formations is nothing short of totally mind-blowingly great. WOW - this music is a free-fall of acoustic wonder. Crystallized to the trio of Hwan, Rothenberg and Otomo this trio singlehandedly jelled itself down as the most exciting live experience to take place at the tail end of the last century. Their sound take elements of wall-destroying free jazz and welds it to a black backbone that mixes tar-thick electronics, enormous bottom end drones and heavenly stripped down waves of minimal pressure bombs to conjure the kind of ritualistic wipe-out of some sort of ethnic tribe on Quaaludes in Papua New Guinea. Elsewhere the vertical take-offs of shredded reed and minimal voice action circuitry mirrors the arc of Steve Lacy’s collaborations with MEV while minting a form of improvisation that is as dense as it is fleet and ferocious. Pretty fantastic. This is an amazing set, Hwan’s sax provides a heady counter-point to Rothenberg’s bass clarinet, melting perfectly with Otomo’s full-scale turntable gimmickry drones, heavenly choral circuitry and thudding electro undercurrents while Hwan responds with some beautifully considered statements, with a lucid tone. But it’s the low-level, more intimate settings that most impress, with the duo of Hwan and Otomo coming over like a post-NWW take on the night time atmospherics of ‘Freedom’ Frank Lowe and Philip Wilson’s “Out Of Nowhere” side. While playing solo, Hwan’s style is oddly lyrical, ripping through staggered scales and sounding single note fanfares in a way that is utterly compulsive. The rigor is still there, the deconstructive vision, but this one feels somehow more affirmative, a classic solo record in the mode of Braxton’s For Alto and Kaoru Abe’s Live At Gaya series. In all, this is a massive set and one of the best free jazz slides of late. 250 copies only, this one is destined for utter greatness. Price: 175 Euro

916. KARUNA KHYAL: “Alomoni 1985” (Voice Records) (Record: Mint/ Foldout Jacket: Mint/ Poster: Mint). BLOODY RARE AND TOTALLY EVAPORATED PRIVATE PRESS BEAST COMPLETE WITH ALWAYS MISSING POSTER!!! Top copy!!!! Monolith riffing and a very ascetic practice of infinite sustain that resemble surfing the percussive waves like a maestro amalgam of airport ramp agents. These are the core elements that concoct a sound hovering somewhere between perpetually peaking lysergic avant-garde, spiked up minimalism, doped-up & psyched-out Beefheartian desert throbbing and trancey, thunderous mantras to make up this deliriously hyper psychedelic and ultra rare album. Released in 1974 in an edition of 500 copies, Karuna Khyal and Brast Burn can be considered as one of the first privately released records in Japan. Some years ago the UK Paradigm label put out a shameless unauthorized bootleg version on CD, followed by the Radioactive suckers turned into Phoenix Records to do it again (Takahashi still remains uncompensated!!), but this here is the real thing. A slab of shiny black vinyl housed in a nice foldout jacket completed with degradations of violent pink to soft pink poster. The music is just jaw droppingly great, especially if you consider how it was conceived. The man behind this all was Takahashi Yoshihiro, hermitting away in his small one room flat, buried in between various instruments, multiple tape recorders and assorted out-of-tune shakers, tapes, sound sources and ad-hoc assembled material in order to blaze away with his solo multi-track project. He told me it took him 4 months to complete this sonic masterpiece by slowly shape shifting it through simultaneously recording stuff onto four tape decks, cutting and pasting the results, re-recording it and inserting found sounds snippets. The end result is a totally wacko excursion into a sun-blazed no-mans land while walking on the gilded splinters dispersed by Faust, Beefheart, Koiwa Indian peyote meeting ceremonies and other visionary madcaps. One of the greatest psychedelic artifacts ever to be unleashed unto the Japanese underground vastly underrated and so bloody rare it makes your eyes bleed upon seeing an original copy. This one is just in stunning condition. Rare as your great grandmother’s pearly white teeth…. Price: 300 Euro
917. KAWABATA MAKOTO: “Kawabata Makoto’s Inui” (Siwa – Siwa#7) (Record: Mint/ Silkscreen Jacket: Mint/ Imprinted Inner Sleeve: Mint). Originally released by Siwa records way back in 2000 in a tiny, hand printed edition of only 300 copies, which went almost instantaneously out of print, and becoming one of the most sought after Kawabata related items. This is easy to understand why since the music is intensely personal and introspective, with long three epic, hypnotic and introspective tracks of folk-drone magic created from subtle and smoky layering of violin, oud, sarangi, bowed sitar, lyra, shou, nei and voice. French filmmaker and musician Audrey Ginestet lends her crystal voice to “Shin.” Easily the best release to come out of the AMT camp and rightly so. Price: 100 Euro
918. KAWABATA MAKOTO: “Psychedelic Noise Freak” (Qbico Records – QBICO-03) (Record on Splattered Colored Wax: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Kawabata Makoto (better known in his adult incarnation as the Father Yod like ringleader of Acid Mother's Temple) was a precocious Japanese kid at the age of 13 when he made these recordings. Like his Dark Revolution Collective album that was recorded about the same time in 1978, the only instrument that Kawabata had access to was a borrowed synthesizer, which he tweedled and modulated to create what qualified way back then as "Psychedelic Noise." In between all of the Morton Subotnik / Conrad Schnitzler-esque electronic squiggliness, Kawabata offers occasionally frightening vocal moans buried under deep reverberations. The first edition of these recordings was a super limited cassette published by R.E.P. in the '80s and more recently has been issued in the equally limited 10 CD-R box set of Kawabata's early works. "Psychedelic Noise Freak" now gets a swirly colored vinyl production from the Italian label Qbico, which supposedly has been conceived specifically to release a handful of early Kawabata recordings. Price: 50 Euro
919. KAY HOFFMAN: “Floret Silva” (Belle Antique – Belle Antique-8502 – 1985) (Record: Mint/ Jacket: Mint/ 4-paged Insert: Mint) Another totally vanished ACID FOLK MASTERPIECE, only released in Japan. Released in 1985 by the Japanese belle Antique label is this stunning and totally unknown female acid folk masterpiece that was recorded in 1977〜78 by the Italian female trio of Jacqueline Darby, Kay Hoffman and Simo Valzania, who get assisted by some guest musicians at some tracks. The music they dwell into is one of the best female vocals acid folk discs I have ever heard and it sucks in medieval territories, troubadour influences of the middle ages, acoustic instrumentation with here and there some electrical instruments, trance inducing female choruses, some light progressive touches, Mellotron, recorders, bouzouki, toy organs, electric guitar, flute, etc Utterly haunting female acid folk and psychedelic masterpiece that is quite unknown and undetected by the larger crowd. At one time I saw a renowned psych dealer offering this baby in one of his lists for 450 euro, so you can imagine the scarcity of this disc. This is highly recommended and one stunningly beautiful record. Price 100 Euro
920. KAZAMAKI TAKASHI & CHIE MUKAI: “Kaze o Aruku” (Fool Records – FOOL-001). (Record: Near Mint/ Jacket: Near Mint). Rare private press release that came out in an ultra limited tiny run, making this disc almost a discographical anomaly. Scarce record shedding some light on those early eighties Tokyo underground rumblings, a premature head-on improvisation collision between Mukai Chie on Kokyu and percussionist Kazamaki Takashi, recorded (and released in 1983) on March 3rd, 1982 before a minuscule audience of some children roaming wildly around the premise and their adult counterparts at the Strange Fruits live house. Mysterious, innocently immature and stepping stone excursion for Mukai’s future musical developments, this disc just never resurfaces. Great copy in stunningly mint condition that will probably never ever again cross your path again. Recommended for those hardcore Japan psych and improve heads out there who desperately need some more artifacts sprung out of the bowels of the Minor club periphery. Has been ages since I had a copy of this gem in stock…. Price: 150 Euro
921. KEITH CHRISTMAS: “Stimulus” (RCA Victor – SF-8059) (Record: Near Mint/ Fragile laminated Jacket: Excellent ~ NM--). Original UK pressing in stunning condition, jacket has some very faint barely visible ring wear on back, apart from that all is virginal. This is the debut album from the English singer and songwriter Keith Christmas. Originally released in 1969 this is a lost treasure on which Keith was backed by members of Mighty Baby who together created a late 60's "laid back Dylan, John St. Field/early John Martyn/Mick Softley/Roy Harper" styled album. The emphasis is on long tracks "Trial & Judgement" (9 minutes) and "I know You Can't Loose"(5 Mins) showing great songwriting and impressive overlapping guitar parts. Price: 350 Euro
922. KENNY DREW: “Undercurrent” (Blue Note Records/ Japan – BN-4059) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 75 Euro

923. KIKUGUCHI MASABUMI with TOGASHI MASAHIKO & PEACOCK GARY: “Poesy – The Man Who Keeps Washing His Hands” (Philips – FX-8518) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Capsule Obi: Near Mint). Rare original 1971 first original pressing that comes housed in 1st press only gatefold jacket art and all complete with the capsule obi. A set that definitely lives up to the poetry promised in its title – with none of the too-clean sounds you might guess from its hand-washing reference either! The album's one of the freest, most organic sessions we've heard from pianist Masabumi Kikuchi – almost improvised at points, but with a poetic cohesion in the piano lines that's really great – kind of an offbeat sense of lyricism that points in the same directions that Steve Kuhn or Keith Jarrett were heading in the late 60s. Drummer Masahiko Togashi plays lots of cool percussion and even a bit of gong – and Gary Peacock's bass here is as great as on any of his other excellent Japanese recordings. Price: 200 Euro

924. KIM DOO SOO: “Free Spirit” (Riverman Music – 0201LPDE) ( 2 LP Set: Near Mint/ 3 EP Set: Near Mint/ 16 paged Booklet: Mint/ Triple Gatefold Jacket Housing the 3 EP’s: Near Mint/ Heavy Outer Box Set with Magnetic strip: Mint). This deluxe box set came out in 2003 as a limited edition of only 500 copies and it sure is a sight to see. “This is the fourth album by Koreas true cult folk/singer-songwriter hero, Kim Doo Soo. Kim Doo Soo is perhaps the deepest and most introspective of Koreas acid folk singers. Legends surround his songs -- political oppression, alcoholism, suicide, a 10-year period of mountain seclusion. In spite of four acclaimed albums in Korea, most Western listeners only became aware of Kim through his tracks on Damon & Naomi’s compilation “International Sad Hits Volume One: Altaic Language Group”. On “Free Spirit” he mines productive veins of profound melancholy, animistic nature, and unfathomable, hermetic affection. These songs are couched in a veil of gorgeous, still melodicism, Kim’s quavering vocals and guitar shaded with subtle accordion, cello, organ and harmonica. A reflective and unearthly masterpiece.” (Riverman Music). Kim Doo Soo has a haunting, mysterious, and extremely unique sound. He mends classic folk guitar with soft harmonica, organ, and a chilling voice. The term modern day acid folk would not be an inch misplaced if applied to his musical universe. Graced by a simple and strong expression style and merely backed up by his own acoustic guitar playing and some austere percussion, Kim creates quite a compelling and unique atmosphere, both dreamlike as well as down to earth while hermitting away in a cave so to speak, resonating out a deep sentiment filled with melancholy, sadness, a string of hope as well as pure honesty and gloomy thoughts. In a way it feels like Kim's austere and barren feeling songs stir up cold volcanic ashes, humming out slow and smoky ballads that are punctuated by chimes, withering harmonica lines, darkening vocals and drearily sparse organ and strings additions here and there. If one tries to compare him with any other artists that succeed in bringing forth such deep sentiments and feel one can say that he belongs in the same line of people such as Tim Buckley, Alexander Spence, Dino Valente, Ishihara You, George Brassens, Tomokawa Kazuki and Mikami Kan. An artist that is able to offer us a peep into such honest and gloomy sentiments is a true rarity these days and Kim Doo Soo succeeds marvelously well in his task. Price: 275 Euro
925. KIM FOWLEY JR: “Son of Frankenstein” (Moxie – MLP06B-Fdisk9B) (Record: Excellent/ Jacket: Mint). Totally obscure and off-the-radar killer slide that will make your jaw drop and hit the floor in disbelief. Kim Fowley, or as this album claims, Kim Fowley Jr. somehow existing as both an outsider musician and as one of pop's top producers, Kim is possibly one of the weirdest of the rock and roll mutants: he started out as a kid in Hollywood with actor parents, started his first band with Phil Spector and Sandy Nelson, recorded countless 60s novelty singles and sat underneath the piano during Zappa's "Freak Out" sessions before moving to England and working with every up and coming star in the mid 60s then coming back to the states to record hundreds of gold records,started the Runaways in the late 70s, pioneered synth-punk in the 80s, and still had time in between all the gold records to make a couple thousand solo albums with absolutely no commercial potential. “Son of Frankenstein”is one of his better albums – if not his best LP ever – and is divided into an “Alcoholic Side” and a “Psychedelic Side” so you can already guess in what kind of sick realms this baby steers into. The “Psychedelic Side” featuring the notorious spoken-word freak-out “Invasion of the Polaroid People” which starts of with the all time classic line “I am Goatman/ Gorgo the Dog Boy talking about everything he saw/ When he was stoned in High School/ Shooting up in the boys room/ Of Dog High School, Dorkville, USA”. And so it goes on, with numerous nonsense and totally demented bizarro sicko tracks all delivered in a typical Fowley stream-of-consciousness style. This is totally wicked and demented stuff that should appeal to all of those Prozac heads out there cause Fowley sounds like junked-up Iggy Pop on downers backed by early Suicide. Now THAT'S entertainment for ya all. Sheer brilliance!! Price: 75 Euro
926. KING CRIMSON: “The Court Of The Crimson King Pt. 1 & Pt. 2” (Atlantic – P-1072A) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan only picture sleeve release of King Crimson’s first EP. Stunning condition, first original pressing from 1971. Rarely surfaces in such pristine condition. Price: 250 Euro
927. KING CRIMSON: “In The Court Of The Crimson King – An Observation By King Crimson” (Island – ILPS-9111) (Record: Excellent/ Gatefold Jacket: Near Mint). Bloody rare 1st original UK pressing on the Pink Island label from 1969. This copy here is the rare version with matrix numbers A3 – B4 ending. Most copies have as matrix A2/ B4 or A2/ B3 or A2/ B2. However the rarest apart from A1/ B 1 is this version with matrix A3/ B4 ending!!! Rumor has it that copies with this matrix ending were used as promo only. Anyway, rarest version of this 1st LP by King Crimson. Top copy!!!! Price: 300 Euro
928. KING CRIMSON: “In The Wake Of Poseidon” (Atlantic Japan – P-8104A) (Record: Mint/ Gatefold Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint/ Company Inner Sleeve: Mint). One of the rarest Japanese domestic pressings with the rock age flower obi is this one by King Crimson. Original copies never turn up, let alone in such a perfect mint condition as this one. Only the very 1st issues came with the flower obi, this copy is dead mint on all fronts. Never turned up in quantity, rare forever. Price: Offers!!!!!
929. KING CRIMSON: “In The Wake Of Poseidon” (Island – ILPS-9127) (Record: Near Mint/ Gatefold Jacket: Near Mint) Original UK 1st pressing of 1970 in Top condition on the pink Island label. TOP COPY & super clean all way round!!!! Price: 200 Euro
930. KING CRIMSON: “Starless and Bible Black” (Atlantic Records Japan – P-10341A) (Record: Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint). Original 1st Japanese pressing of 1974, top condition. Comes with all complete, obi and jacket and record are all immaculate, impossible to upgrade upon. Price: 75 Euro
931. KINKS: “Face To Face” (Pye – Nippon Columbia – PS-1417-Y) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint/ 4 Paged Insert: Near Mint/ Company Inner Sleeve: Near Mint). Top copy, Japan 1st original pressing from April 1967. The Kinks Kontroversy was a considerable leap forward in terms of quality, but it pales next to face To Face, one of the finest collections of pop songs released during the '60s. Conceived as a loose concept album, Face To Face sees Ray Davies’ fascination with English class and social structures flourish, as he creates a number of vivid character portraits. Davies’ growth as a lyricist has coincided with the Kinks’ musical growth. Face To Face is filled with wonderful moments, whether it's the mocking Hawaiian guitars of the rocker "Holiday in Waikiki," the droning Eastern touches of "Fancy," the music hall shuffle of "Dandy," or the lazily rolling "Sunny Afternoon." And that only scratches the surface of the riches of Face To Face, which offers other classics like "Rosy Won't You Please Come Home," "Party Line," "Too Much on My Mind," "Rainy Day in June," and "Most Exclusive Residence for Sale," making the record one of the most distinctive and accomplished albums of its time.” (All Music Guide). Very rare 1967 1st Japanese pressing…impeccable condition!!! Price: 200 Euro

932. KINOCO HOTEL: “La Reminiscence De Marianne” (Volt-Age Records – BQGS-32) (Record: Mint/ Jacket: Mint/ Sticker Insert: Mint). Immediately sold out and limited to 500 copies which sold out on the spot during Record Store Day in Japan. Killer live recording of the band burning asphalt and bringing forth a swirling live set. Killer Japanese all female group that churns out some of the most vicious fuzz-a-delic erotic lysergic psychedelic face-melting rock this side of the moon. Heavy fuzzed out guitars battle with swirling organ lines that underscore sweet oozing female vocals that hint back upon a deep sonic legacy of Japanese psychedelic garage sounds. When spinning this group, I start running around like a pit-bull on crack, it is that fantastic. Beautifully painful!!!! Price: 100 Euro

933. KINOCO HOTEL: “Marianne No Shubaku” (Yamaha Music Communications – XWJW-10003) (Record: Mint/ Jacket: Mint). Limited LP issue of only 500 copies, which sold out on the spot. Killer new studio recording of everybody's garage & psych all female band who take absolutely no prisoners and leave no one behind. Music wise, Kinoco Hotel dive deep into Japan’s psychedelic music legacy from the late 1960s and early 1970s. They succeed wonderfully well, ear blistering lysergic guitar riffing, detoxicating swirling organ vibes, killer rhythm section and great female vocals. This one hits the nerves like a blast of summer lightning across the mountains, sucking you into a great psychic maze of electric madness that makes you feel like booming downhill from a snowy slope with your nuts on fire and heading towards a cushion of naked snow bunnies. It just is that good….just take a look at the jacket and try to proof me wrong. Killer slide, highest possible recommendation. One time only limited LP issue that just evaporated within the blink of an eye the day it came out. And rightly so…. Price: 100 Euro

934. KIRIKYOGEN: “Kuni Kawauchi To Kare No Tomodachi” (London/King Records - SKK(L)-3003) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). TOP COPY!! Incredible bloody rare first press original. First pressings copies never surface here in Japan and this is the very first time I could lay my eyes and hands upon a copy. Second and third pressings of the mid and late seventies due surface from times but original pressings just never. And this copy is a solid keeper in excellent condition. Kirikyogen was one of those one-time-off Japanese super groups erected by mastermind and Happenings Four leader Kawauchi Kuni who assembled around himself some key players out of the Flower Travellin' Band such as vocalist Joe Yamanaka and guitar gunslinger Ishima Hideki. Kirikyôgen was a short-lived session quartet, composed out of the Happenings Four members Kuni Kawauchi and Chito Kawauchi and two Flower Traveling Band participants, Joe Yamanaka and Ishima Hideki. Their sole recorded output “Kuni Kawauchi To Kare No Tomodachi” consisted out of several compositions, written by all the four members and completed with Kuni Kawauchi's lyrics. Music and text-wise the album bears some structural resemblance to the Happenings Four album “The Long Trip” (1971), although that Kirikyôgen's effort appeared one year earlier than the former and one month after the release of the Flower Traveling Band's debut “Anywhere”. It is said that Ishima Hideki wasn't at all satisfied with “Anywhere” since his individuality as a guitarist was restricted to merely copying foreign songs, how well executed they may be. With the Kirikyôgen project he could surmount these formal restrictions and concentrate more on his own individual playing, an element that afterwards would fully translate itself with the Flower Traveling Band's second release “Satori”, which possessed a more adulterated and original sound as compared to “Anywhere”. So seen against that background it is certain that Kirikyôgen influenced and left its imprint upon the Flower Traveling Band, although that Kirikyôgen failed to attain the big public success of its affiliated brotherly outfit. The lyrics, displaying the dissolute worldview of Kawauchi, were hurled out and given shape by the powerful vocals of Joe Yamanaka and underscored Ishima's idiosyncratic guitar play. But in the midst of the Japanese rock movement lead by the Happy End, almost nobody paid any attention to their sonic endeavors, causing their sole recorded output to be engulfed by the cracks of time. In retrospect, “Kuni Kawauchi to Kare no Tomodachi” cannot but be regarded as an excellent session album depicting some of the New Rock's key participants on a collision course in search for musical originality. The album still stands as one of the prime examples of that era that succeeded in merging musical vision with audacious skillfulness and lyrical originality. Bloody rare and mind blowingly great. Price: Offers!!!
935. KIRK, RASHAAN ROLAND: “Now Please Don’t You Cry, Beautiful Edith” (verve Records – V6-8709) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ OBI: Mint). Rare original pressing in top shape all-complete with first Japanese obi. “Now Please Don’t You Cry, Beautiful Edith was the first of his all groove sides. Out of ten tunes, Kirk composed eight, of the other two, only one was a recognizable jazz tune and the other was a pop tune. Unlike Rip, Rig and Panic from two years earlier in 1965, this set featured an in-the-pocket rhythm section. Adventure was not the name of the game on this date, feeling was -- and for the job he got some of the finest cats working in the groove jazz idiom: drummer Grady Tate, pianist Lonnie Liston Smith, and bassist Roland Boykins. The record opens with "Blue Rol," a standard blues made more beautiful by Kirk’s playing three horns throughout except for his tenor solo and Smith’s tough comping in the middle register. "Alfie" is another story. Kirk blows his tenor with the same tonal warmth Ben Webster did by reading the melody faithfully and tenderly adding fills with Smith, slipping around him for subtle accents, adding color and dimension even when he picks up the tempo, which is led by a steaming, hard-swinging Tate. The end of the album is very special as well, as the title track features the only outside playing on the disc, but it feels more like it's honking R&B shouting rather than vanguard invention as it gives way to the gorgeous Latin swing of the melody. Finally, on the Taylor tune, after a breathtaking arpeggio orgy on "Stompin' Grounds" between Kirk and Smith, the elegance of the musician shines through, as Kirk’s flute sweeps through the rhythm section, carrying the cut-time number through a bop permutation or two before coming back to the blues in his solo. Smith’s pianism here is so light, his touch so quick and fluid, Kirk can't help but cruise over the tune. This was the beginning of the exploration that led listeners to Blacknuss and Boogie Woogie String Along for Real, and it is worth every bit as those two recordings.” (All Music Guide). Beautiful original copy with rarely seen direct-import Japanese obi. Price: 75 Euro

936. KITAHARA MIREI: “Sumie no Shi” (Pioneer – L-10102P) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint) Another Enka killer disc that you might be familiar with when you browse through those old back numbers of PSF Records in house magazine “G-Modern”. Admired by a long line of underground figures, Kitahara Mirei soft subdued songs are just bone-chillingly great, excellent mid seventies Enka escapades down the avenue of lost love, desperation, seasonal changes, sweet underlying decay and so much more. Personally she ranks right up there next to immortal singers like Chiaki Naomi. She is one of PSF’s Ikeezumi all time favorite singers that inhabit according to him the same mind bending greatness as early High Rise. So how is that for rock solid credentials? Although the music styles might be light years apart from each other, Kitahara is a devastating force to be reckoned with. If you are curious about real drop death stone cold brilliant enka (the 1% greatness in a 99% pile of crap) then this is it. Highest recommendation. For the seasoned music listeners and cats who do not care about being hip….highest recommendation. It will facilitate you to get a better grasp on the musical outpour of underground stars like Mikami Kan, Tomokawa Kazuki et all. Price: 75 Euro

937. KITANO TADAO & ARROW JAZZ ORCHESTRA: “DODOM-PA At The Arrow” (Teichiku) (Record: Excellent 〜 Near Mint/ Jacket: Near Mint/ Booklet: Mint/ Insert: Mint). Original 1960 pressing & first complete copy I ever see. OK, you better start paying some attention here if you want to wrap your ears around some totally obscure, totally wicked and highly unique hybrid Japanese ELECTRONIC/ MUSIQUE CONCRETE that will knock you flat out and off your feet, well then look no further. But first some background info on this disc. As you might know, Japanese popular culture has always been receptive for new trends and booms, how short-lived they may be and back in 1959 this was not different. Back then there was a Dodom-Pa hype that especially soared high skies in the Kobe region and to be more precise at one specific nightclub called “Club Arrow”. The hype and the Dodom-Pa craze was so big that the Arrow club even asked Teichiku Records to cut them a record to commemorate their 3 year existence (which was in March 1960 – and during those few days of festivities they handed out these club-promo discs out to their regular punters, so these suckers were never actually for sale to the general; public). So what was this Dodom-Pa craze all about and what is it ties with early day electronic music. Well, Dodom-Pa was kind of a smoky Latin jazz dance hype of the late 1950s, cocktail Latin mondo orchestrations to which the hip cats could shake their hips. As you could already guess, there is no link with electronics…apart from the freakery wizard-like sonic experiments that lie embedded within the untitled mystery track that closes of this disc….a track that was actually baptized “Uchu no Dodom-Pa” (Space Dodom-Pa, released previously as a single in 1959, so far only two people I know of have copies of this single and both wacked down close to 900 bucks for the single issue). When the Arrow Club released this disc, some space was still available on the wax and the “Uchu no Dodom-Pa” track was thrown on it. And what a vintage hybrid electronic skull fuck this is!!! We are beaming back to Japan in 1959, and sonic experimentations are modestly carried out in backrooms of recording studios during some dead time. Experimentation is key and as a result this totally obscure, crossbred wiretap fetish and contaminated interbred sonic hunchback was spewed out, a one track Frankenstein flash of weird electronics, a stoned-out Latin induced hypnotic Neolithic cave man drumming, Lyman infused exotica elements, all intermarried with stupefying primitive but radiant echoing electronic and retarded tape hissing, exploring dodecaphonic principles and cross-breeding them with slowed down, downer induced jungle vibes. This is even too mondo for exotica freaks and too tribally infected for hardcore musique concrete buffs. In short, it is a groundbreaking composition and a missing – if not – totally overlooked weird link in Japan’s fertile pioneering role as electronic music forerunner. For me, after being exposed to this totally unique electronic experiment out of 1959, electronic and musique concrete became all of the sudden dull and totally retarded when comparing it to this flash of creative grandeur, a flash of creative dementia that even predates Pierre Henry hipness and which is in fact a better butt-shaking experiment than Henry ever tried to accomplish. Just massive, 1st time ever I have an original copy out of 1960 up for grabs, took me 6 years to find a spare so here it is. Don’t expect me to dig another one up within the next 7 years or so, they just never surface…. Price: 250 Euro
938. KONDO MASAOMI with Freedom Unity: “Hitoribochi no Heya” (Canyon – CAL-3002) (Record: Mint/ Gatefold Jacket: Excellent ‾ Near Mint/ Obi: Mint). Original 1971 pressing complete with obi. Killer Japanese funky psychedelic masterpiece that sounds like Innocent Canon. Kondo Masaomi is a well know Japanese actor who made this one-off LP in 1971. He raps away on 6 tracks about various plant species such as the Mandragora, breathing out an endangered atmosphere that borders at times on sheer anarchy and agitation. He ain’t no singer, by far but recites his texts in an distraught, frenzied, well-controlled and even calm fashion, gliding on the funky psychedelic groovy airwaves that his backing band – the Freedom Unity – churns out in an addictive fashion. The Freedom Unity on this occasion consisted out some of the finest musicians to be on the scene and included heavyweight players such as Sato Masahiko (piano); Ishikawa Akira (drums – Uganda etc); Sugimoto Kiyoshi (guitar – Count Buffaloos, Hino Hideshi Group, Rock Communication, etc), Terakawa Masaoki (bass – Love Live Life + 1, Ishikawa Akira & Count Buffaloos, Dema), Muraoka Takeru (Sax - Uganda, Count Buffaloos, Love Live Life +1, Dema) and Suzuki Hiroshi (Trumpet – various line-ups of Freedom Unity). The music they bring forth ranges from jazz, free jazz, psychedelic groovy acidic jams, jazz rock and fuses neatly with Kondo Masaomi’s raps, making it a perfect unison that resembles at times the musical greatness of Innocent Canon. It is funky, jazzy, psychedelic, groovy and intoxicatingly hip shaking all at the same time. A true amalgamation and genre-crossing disc, hybrid like for some reason only Japanese records seem to pull off without loosing face. This sole recording by Kondo is largely unknown outside this island here but it is regarded and revered as a great cult item and upon spinning this disc it is easy to understand why. It just has all the right ingredients: funky bass lines, killer guitar exploits, butt-shaking jazzy vibes, rare groove spiritual like rhythms, shrinking sax insertions, fuzzy wah-wah action, crazy raps etc, all executed by top level musicians. Magical slide out of 1971, shedding another light on Japans acidic free psychedelic moves and shakes. Largely undetected but bound to be a huge crowd pleaser once this discs intoxicating fumes reach foreign shores. Highest recommendation. Price: 150 Euro
939. KOSUGI TAKEHISA: “Catch Wave” (CBS Sony – SOCM-88) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint) Mega rare Holy grail of Japanese Fluxus-inspired minimalist psychedelia, COMPLETE WITH ALWAYS MISSING OBI!!. Here you have a top-notch original first press copy of the ultra rare Kosugi solo album. And top-notch means in this case that the album in question appears to be unplayed and looks brand new although it came out almost more than 30 years ago. Virtually impossible to get (even here in Japan), Catch Wave is the ultimate example of Kosugi creating an organic drone sequence fusing into another mind- elevating document of violin induced tone-float Kosugi was the founding father for cult outfits and improvising collectives such as Group Ongaku (with Yasunao Tone) and the Taj Mahal Travelers. "Catch Wave's" elegance lies in its economy of means. He uses his violin by engaging simple electronics (ring modulator and delay unit) to multiply a single sound source into an undulating, ever expanding sound field. The quote on the back cover of the LP reads: "SOUNDS SPEEDING ON LIGHT, LIGHT SPEEDING ON SOUNDS -- BETWEEN RIDDLES & SOULTIONS." This is the real deal and a rarely offered nugget in virginal condition. Bloody rare these days, even here in Japan, mint copies seem to have vanished from the face of the earth, especially copies complete with obi are almost inexistent. Top copy!!! Price: 400 Euro
940. KOSUGI TAKEHISA + AKIO SUZUKI DUO: “New Sense of Hearing” (ALM-URANOIA – UR-3) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint). TOP COPY complete with always-missing OBI. This do not get any better, here you have another one of these rarely offered for sale but much rumored about records. Here, two titans meet, a clash of tow of the all time greatest improvisers, both massively under-documented, strap in for a confrontational head on improvisational collision that will take you to the outward bounds of the time – space continuum. Long time Fluxus activist, electronic music wizard and long time Merce Cunningham collaborator Takehisa Kosugi joins forces with the illusive legendary Japanese musician / inventor / instrument builder / visionary modern sound art and sound art explorationist Akio Suzuki. Home made echo machines-like soundings create throbbing, hypnotic voice-scapes, warm and soft and naturally unique. Sounds are shuffled, creating insect symphonies of high-end whir and distant chirps. Long glass tubes are struck and rubbed and bowed mimicking the sound of birdcalls. Slow, complex, irregular throbbing waves of sound, broadcast through distant loudspeakers and recaptured and reincorporated. Feedback, time-space lag, horns, echo machines, and primitive handmade electronic devices all contribute to the ever-shifting clouds of sound. So unbearably awesome. Eventually the echoing rattle and clatter of percussion enters the sound field, but emptiness and hum are still the main attraction. This track builds in drone-full intensity, with long notes drawn out into abstract mystery. Abstraction that continues with additional density. Getting almost impossible to score these days. Killer album. Price: 350 Euro
941. KOSUGI TAKEHISA & SHINOZAKI AYAKO: “Harp no Koten” (Columbia – OP-7064-N) (Record: Near Mint ~ Mint/ Jacket: Mint). Freakingly rare 1st original pressing from 1974!!!! Never surfaces. First original pressing housed in a totally different jacket as opposed to the more common 2nd pressing which came out on Denon and came housed in a tasteless jacket art. The 1st press does not surface at all, first time ever I have a copy to spare of this rarity. Comes with totally different cover artwork. All was recorded on 25 and 26 of June, 1973 at the Columbia studios. Side A consists of the tracks “Stanza II”, a composition by Toru Takemitsu out of 1971 and Katsuhiro Tsubono's “Poem for Lin” of 1972. On these tracks, young harpist Ayako Shinozaki steals the show on her own by delicately birthing out electronically treated harp sounds that take the timbral range of to previously unattained heights of sonic extravaganza. On “Stanza”, Shinozaki creates a drone on her harp she enriched by tape manipulated sounds that bounce of straight into the heights of a deep-throbbing ionosphere reaching far beyond the known Copernican universe. By the time she steers into “Poem for Lin”, Shinozaki allows some improvisational playing to interact with the original score and enriches her harp sounds by adding rattles, bell sounds resembling diminutive esoteric Buddhist percussive accents and austere meandering vocal sounds that fuse neatly in and out of focus. By doing so she is able to touch down on some cold metagalaxy composed out of primitive celestial bodies. By the time one gets to side B for things really begin to take of into another dimension. Here one gets treated to the sidelong composition “Heterodyne” by Kosugi Takehisa (1973) and on this one Kosugi executes it himself while being flanked by Shinozaki on harp. Here it is that the sonic extravaganza gets adrift in a pulsating, ever revolving universe of coalescing asteroids. Like “Catch Wave”, it really sounds like the final frontier or the homogenetic mass that preceded the big bang. In short, this composition is really the piece de resistance with Kosugi in full swing, surfing the sound and radio waves with his heavily-processed violin sounds, a sonic Walhalla where alternating currents of different frequencies are combined to produce new frequencies, the sum and difference of the original frequencies. This was something he had worked with on earlier recordings and continued to be important through later works. The interaction with Shinozaki takes on an almost extra-terrestrial shape and floats off in between electronic pulses and complex slowly evolving sound waves. Utterly breathtaking. Never offered for sale before 1st pressing and never seen before edition that will leave you baffled and stunned with disbelief. Highest recommendation. Price: Offers!!!!
942. KOYAMA RUMI: “Anata Ni Maketa No b/w Mahoutsukai No Anata” (Union Records – US-664-J) (EP Record: Near Mint/ Gatefold Picture Sleeve: Mint). White label promotional copy!!! Bloody rare 7 inch by Koyama Rumi, the unheralded Queen Of Japanese Pops. Original May 10th, 1970 release housed in what is probably the most amazing/ shocking/ hilarious and sexy jacket art ever, being a scarcely clothed Koyama Rumi looking sultry with much skin to show for, set against a B&W picture of Adolf Hitler. Just stylistically insane but what an impact it has! One of the best jackets ever in my book! A classic and so is the funky groovy music on display. Born in August 1st, 1953, Koyama Rumi first made her debut in 1968 as a go-go girl in the movie “Kemeko no Uta”. This was quickly followed up with her again shaking her sexy self to smithereens in the television program “Beat Pops” where she appeared again as a go-go girl alongside Sugimoto Ema, and the Golden Half. That same year she made her debut as a singer with the song “Hajimete no Date” (First Date) which was released by Victor records. After she switching record companies and opting for Teichiku, “Anata ni Maketa No b/w Mahoutsukai No Anata” was her 2nd single release which immediately made an impact through its daring, yet superb choice for the jacket art.  Although the daring and provocative artwork didn’t directly alluded to it – but nevertheless did not fail to bring her some deserved attention – the music is just outstanding female vocals R&B, brimming over with an addictive soulful “Bad Girl” attitude set against a swirling and ass-kicking backing band. Just killer with absolutely no filler, making this release as one of the true highlights of sleazy but groovy Japanese Bitch pop. And seen against that, the jacket does match the music perfectly, it is right in your face girl power, of a swinging go-go kind injected with furious acidic guitar lines, Detroit horns, hand percussive rattles, swirling key action, all funked up with Koyama Rumi’s soulful vocals. This is a butt-shaker, dance floor burner and party mover. Vintage 1970 go-go girl freakiness of the highest order. 1st original pressing, white label promo and housed in just one of the best ever gatefold picture sleeves. Highest ever recommendation. One thing though, I do not ship to bleeding rectum white supremacist scum, Militant Feminists and other dingbats who might fancy the jacket of this one but fail to see the humor it beholds. Price: 350 Euro
943. KOYAMA RUMI: “Sasurai No Guitar” (Union Records – JLP-516) (Record: Excellent/ Gatefold Jacket: Excellent/ Obi: Excellent/ Pin Up Poster: Excellent). Koyama Rumi’s rarest and best recorded LP, complete with obi. Original 1971 pressing of this cult female kayokyoku gem stuffed with soaring surf twangey guitars and beat girl a go-go vibes. Here Koyama Rumi instead brings forth a string of originals but set against a garage-like trashy electric guitar background. Minimal orchestration backing seeps through the pores as well but the main onslaught are the guitars that pop up at the most infrequent intervals, making this baby such an intoxicating listening experience, bordering on a funneled time-warp unreeling across your brain like a jumble of half-remembered byzantine ladies all rolling at once. An extremely rare and much in demand female kayokyoku slide that has attained a huge cult status here in Japan. Copies just do not surface, let alone in such a perfect nick as this beauty here complete with obi. This one comes dead cheap and better copies do not exist. For lovers of wicked and sleazy Oriental sixties beat-a-go-go female vocals set against a swirling backbeat. Price: 400 Euro
944. KOYAMA RUMI: “Futatsu no Guitar – Ventures O Utau” (Union Records – JLP-518) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Perfect top-notch copy, complete with obi and looking like it was only pressed and released yesterday, that beautiful. Copies with obi are seriously rare. Original 1971 pressing of this cult female kayokyoku gem stuffed with soaring surf twangey guitars and beat girl a go-go vibes. Although it is advertised as like she is going to sing Ventures songs into being, Koyama Rumi instead brings forth a string of originals but set against a Ventures-like trashy electric guitar background. Minimal orchestration backing seeps through the pores as well but the main onslaught are the guitars that pop up at the most infrequent intervals, making this baby such an intoxicating listening experience, bordering on a funneled time-warp unreeling across your brain like a jumble of half-remembered byzantine ladies all rolling at once. An extremely rare and much in demand female kayokyoku slide that has attained a huge cult status here in Japan. Copies just do not surface, let alone in such a perfect nick as this beauty here complete with obi. This one comes dead cheap and better copies do not exist. For lovers of wicked and sleazy Oriental sixties beat-a-go-go female vocals set against a swirling backbeat. Price: 350 Euro

945. KOYAMA RUMI/ YOSHIZAWA KIYOKO & IGARASHI JUN: “Rumi, Kiyoko, Jun” (Union Records – JLP-519) (Record: Excellent/ Gatefold Jacket: Near Mint/ OBI: Mint). Bloody rare LP, original 1972 pressing all complete with rare first issue obi. Stellar female vocals swinging and slightly erotic kayokyoku album spearheaded by three of the minor leading ladies of that scene. Shouldered by great & stylistic orchestral moves, simmering and slowly burning fuzz leads and butt-shaking rhythms, Rumi, Kiyoko and Jun bring home the sonic bacon so to speak. All of the songs on display here are written by poetess Yasui Kazumi, catapulting the whole affair towards the next level of songwriting. These three leading ladies were essentially the Japan’s early 1970s budding Bacharachs, Webbs and Greenwhiches of the day, working both in similar styles and in response to an equally pressing and ever-evolving demand. Especially the tandem relation with poetess Yasui Kazumi provides the icing on the cake, enabling the three protagonists to focus on the furiously contemporary, female-driven pop sounds that bubble up out of this record’s grooves. As such, while spinning this slide, it becomes the ideal accompaniment, not only to whatever your Japanese movie fueled fantasies of what Showa era Tokyo nightlife might have been like, but also any number of real world social gatherings. In fact, it might be just the thing to have playing in the background should you and a few adventurous friends ever decide to sample any of those Japanese whiskeys you’ve been reading about. Absolutely gorgeous slide of Showa infected pop tunes, sweet-silked female voices, top-notch arrangements, infectious fuzzy breaks and butt shaking rhythms. Never seen a copy of this sucker before all complete with obi. Damned rare female slice of sonic heaven. Highly recommended!!! Price: 275 Euro

946. KRALINGEN: “S/T” (Wild Thing Records) (3 LP Set: Mint/ Flimsy Gatefold Jacket: Mint). Infamous Dutch 3 LP live recording of the same festival in 1970. UNPLAYED COPY!!!! Very rare Holland only 3 LP set release that documented the amazing Kralingen Pop Festival that was held for 3 days in a row in Rotterdam in 1970. Spread over 3 LP’s you are treated to live recordings from that festival including amazing performances by Hot Tuna; Santana; Jefferson Airplane; Exception; Pentangle; Tyrannosaurus Rex; The Byrds; Dr. John The Nighttripper; It’s A Beautiful Day (with a thunderstorm exploding over their heads); Soft Machine and Pink Floyd – performing at 5 o’clock at dawn. Truly mind blowing selection of historical live acts, all showcasing their intoxicating sounds at the same festival. Never seen this 1st press edition of this LP in such a perfect condition. 2nd presses are common, this is the true 1st press issue. Mint as a virgin’s ass. Price: 250 Euro
947. KUBOTA MAKOTO: “Machibouke” (Express – ETP-72264) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – a few mildew ageing spots visible against white background/ Insert: Mint/ Obi: Mint/ Sticker: Mint). Bloody rare copy – WHITE LABEL PROMO issue – all complete with insert, obi and always-missing promo sticker inside. First solo album out of 1972/3 by original Hadaka no Rallizes bass player. It only took me 6 years to track down a copy, but finally here is one and in pristine condition. A stunning example of early 1970s Japanese acid folk, a name tag that only a very few albums coming out of this island deserve, but this one definitely bears this flag with pride. Kubota Makoto’s first album saw the light of day way back in 1973 and it was his first appearance outside of the original Hadaka no Rallizes line-up where he flanked Mizutani on the bass. A lot of water has flowed under the bridge since and “Machibouke” sees Kubota in a total different frame of mind, although that the opening track still had his links with the Rallizes there it was written especially for him by his former band leader Mizutani. Still the heavy deep night stroboscopic amphetamine guitar drenched onslaught is completely gone and has instead opened up only to reveal a quite intimate setting, meandering in between country, folk and laid back Japanese hinterland pastoralism that gets quite addictive here. Sprinkled with an eternal heart-warming folkie touch, the smell of wood and a bewitching trembling acid kind of feel hover over the overall album, enriching at the right moments with even the slightest fragrance of a loose Japanese country flavor that is reminiscent to some of the Happy End’s more laidback moments. The whole affair opens up with a joint composition by Kubota and Rallizes front man Mizutani called “Asa no Hikari”, which immediately sets the tone for the rest of the album to unfold itself upon. A truly compelling affair and a rare disc to say the least. After it was released, the record sold poorly and to make matters worse the original master tape got missing. A couple of years ago a CD reissue of this gem saw the light of day but was sourced from a vinyl copy, due to the still missing master tapes. If you dig the two first Happy End records, than there is no way you can surpass on this one since it is maybe even better. Top copy and as far as I know, a still undetected gem by the larger Japanese psych collecting crowd. Highest recommendation. Price: 250 Euro
948. KUDANI HARUMI: “Takasaki No Yoru b/w Garasu no Blues” (Daiei Records – D-60) (Record: Near Mint/ Picture Sleeve: Near Mint) Seriously rare one off female vocal GS (Group Sounds ~ or Japanese garage) kayokyoku wonder that released this record only in 1968. Not much is known about her as she only recorded & left behind this one artifact before dissapearing into the sunset. Kudani Harumi was another illustrious late night female enka and kayokyoku chansonniere, a chanteuse of late night sake drenched hangouts and her lush, erotic voice has driven many men into the depths of the sake bottle. Here you have her crooning away on some delirious enka and kayokyoku ballads., for which she gets at times backed up by Morricone styled background choir, giving the whole a kind of out of place and out of time feel, disconnected and other worldly dreamy touch. Her voice is just stellar, quite erotic and smokey in its phrasings, which together with the stripped down dark sounding cocktail orchestrations (that never sound over the top or mellow) make it a quite intoxicating listening experience. Sweet, sexy, late-night listening, sake drenched mood swings and high class rollers, this is a stellar late sixties female vocal disc that will make you feel (if listening to this alone) more isolated and deprived from warm hearted companionship than a stray dog out in the pouring rain. A glamorous document of a time long gone, great kayokyoku and enka excursions, hot and moisture female vocal of Kudani and a sake bottle close at hand to keep the lonely thoughts away. First copy I ever see of this much rumored about slide. Top condition. Price: 200 Euro
949. KUNI KAWAUCHI & HIS FRIENDS: “Boku no Koe ga Kioerukai – Kawauchi no Sekai” (Capitol – CTP-9054) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). White label promo copy complete with always missing copy. Another psychedelic rarity from early 1970s Japan that just never ever seems to surface. Released on May 5th, 1972, “Boku no Koe ga Kikoerukai” was the first so-called solo outing by Happenings Four front man Kuni Kawauchi. Although the album is credited to him, the usual suspects to flank him are also present here, being brother Chito Kawauchi and acidic guitar gunslinger wunderkind Kimio Mizutani. And with a line-up like that you are already ensured of a trip down to psyched-out Wonderland Avenue. Just like the Happenings Four album “The Long Trip”, this disc ventures into similar territory, partly because of the same line-up (yep Mizutani was also on the Long Trip although unaccredited). Partly the album was also recorded as a break-up album, a break-up of lovers and the picture of the girl in the gatefold shows you to whom this venture was accredited. But although the lyrics are about fleeting love, separation and missed opportunities, the disc is not at all a soppy tearjerker. Instead it is a carefully crafted sonic gem of an album, filled with great vocalizations, killer instrumental leads and awe-inspiring moon enhancing sonic qualities. No wonder the music critic and connoisseur par excellence of demented Japan’s underbelly Manabu Yuasa voted this one as one of his all time favorite discs. Brilliant disc that sheds some clarity on the early 1970s New Rock scene, Japanese adult soft psychedelic music and sonic greatness. All time highest recommendation and so bloody rare these days. Copies just never seem to surface. This one comes cheap as hell. Price: 450 Euro
950. KUPPER, LEO with EXEQUIEL VIRASORO & JEAN-CLAUDE FRISON: “L’enclume Des Forces – Electro-Poeme – Automatismes Sonores / Studio De Recherches Et De Structurations Electroniques Auditives A Bruxelles” (Deutsche Grammophon – 2561.111) (Record: Near Mint/ Jacket: Near Mint). One of the most elusive records – and subsequently one of the aural highlights - on Deutsche Grammophon’s stunning Avant-Garde series is this electro-acoustic slide by Belgian composer Leo Kupper. Opening the records is a composition partly based on a poem by Artaud and recited by Frison, Kupper maneuvers the heavy alien tongue/shortwave from the stars feel of vocalizations, which come over almost like an indecipherable alien communication, with what sounds like channelled voices churning inside restless cosmic electronics. Kupper injects it with delicately balanced dusty noise that slowly engulfs the aural landscape without ever losing the compositions poetic resonance. The other compositions on here, especially the sidelong “Automatismes Sonores” slowly set out to fold and manipulate space, cutting across all abstract theorizing. As the piece builds up, it starts to accrue all sorts of sonic strata, with sound clusters becoming gradually clearer and endless tone sparkling like deep starfields as it moves in fractal shapes towards the infinite centre of the universe. Kupper tends to focus on small sonic details and from them depart to complex evolutions. Not to be missed by anyone interested in electronic / electro acoustic improvisation and composition - a true work of great mastery but sadly enough largely unknown. But still it stands firmly shoulder-to-shoulder with the best & greatest records of that golden era. Price: 125 Euro
951. KURANOSUKE HAMAGUCHI & His New Sounds: “Hamakura Onna No Gozenfu” (Denon – CD-5006) (Record: Near Mint/ Gatefold Jacket: Near Mint). Here is another brainteaser for you Iroke-Kayokyoku fetishists out there. A middle-aged novelist armed with an unbridled sexdrive crooning away against a background of nymph-like girls, all operating in chorus, responding to his off-the-hook vocal lines. The year was 1968 and this disc is completely wicked. Ranging from enka-based songs over to soft bossa nova excursions, go-go belly dance vibes, cocktail butt shakes and sake-drenched crooners, Kuranosuke succeeds in creating an eargasmatic wonderfully strange and addictive song escapades. The female choruses pop up all over the place, they are omnipresent and just never let go, spiking up Kuranosuke’s beached whaling like vocal aesthetics and fusing neatly with the fabulous backing band that seemingly can tackle any style and execute it with much flair and without ever sounding bombastic. Less is more aesthetic is clearly favored here, which works perfectly with Kuranosuke’s ubiquitous hover of his lithium soaked, breathy falsetto and the breathy angelic female voices that support him at all times. His voice bears witness to a soul on the verge of collapsing and stumbling out of a brothel, but wearingly manages to hold on for one more round. Truly fantastic and should appeal to everyone into Ike Reiko and similar excursions into the cum-stenched underbelly of Tokyo of the late 1960s. First time in 5 year I have a spare of this beast. Comes with the highest ever recommendation. Price: 200 Euro

952. KUWABARA YUKIKO: “Kuwabara Yukiko to Anata” (Victor – SJV-529) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Pin-Up Poster: Near Mint/ Obi: Near Mint). Top-notch complete copy with pin-up poster included and obi intact. Hideously rare erotic artifact in this condition with obi and poster included. Here is a brief review from the guys at Boomkat on the reissue of this disc on Tiliqua Records: “I think it must be obvious to the casual observer by now that we've developed something of a taste for Tiliqua's utterly essential series of ‘Erotic Oriental Sunshine' releases, which basically comprises of odd pop music made by 1970s Japanese porn stars. What's not to like? We've got breasts, attitude, exotic musical accompaniment and often some orgasmic moaning – now that sounds like a pretty decent night in to me and well worth the asking price. This particular chunk of erotic action from Kuwabara Yukiko, an actress who became best known for starring in erotic action series ‘Play Girl' which became a huge success, lasting 287 episodes and leaving her not a great deal of time to record music. Indeed ‘Kuwabara Yukiko to Anata' is Yukiko's only existing recorded output and what a strange beast it is. For some reason the actress (or her production team maybe) decided it might be best to layer her erotic ramblings over some over-sentimental French orchestral soundtrack fodder and the result is as mesmerizing as it is odd. We all know the sound, it's so familiar, but hearing a heated, oversexed Japanese twenty something breathily babbling over the top is unmissably unique. What we end up with is something, which could easily be placed between the more inventive work of James Last, if it were not for the overt sexual content and unashamed Japanese-ness of the whole thing. Another devastatingly good curiosity and fabulous Christmas present for the more discerning music fan, you'd better snap this one up quickly as (like the others) it's going to be gone very quickly indeed. Huge recommendation.” (Boomkat) Monster rarity & Top Notch Copy!!! Price: 300 Euro

953. KYOKUBAKAN: “Namidabashi Elegy – Muma to Kyôso” (Kyokubakan – SS-3927) (Record: Mint/ Jacket: Mint/ 4 paged Insert: Mint). Bloody rare signed copy by the troupe’s main participants!!!! Private ultra rare release that saw the light of day on September 20th, 1978.More obscured by the winds of time than any of the other theatrical troupes such as Tenjosajiki and Kuro Iro Tento is the Kyokubakan collective, an assembly of people that became active on the fringes of the theatrical world at the beginning of 1972. But as opposed to the other troupes, the Kyokubakan was perhaps the most radical of them all as far as their political motives and actions were concerned and their overtly anti-governmental and anti-emperor stance certainly caused for the shit to hit the fan. The troupe got formed in 1973 out of a circle of students of the Waseda University and was forced to dissolve itself in 1981, by then operating under the banner of the Shibai Shûdan. Spearheaded by Sakurai Taizô, the troupe got molded into a unit calling themselves the Kyokubakan troupe. Immediately following their inauguration, Kyokubakan squeezed out a number of plays and performed with them all over the country in unconventional locations such as dried riverbeds, parking lots and university compounds where they set up their nomadic tent that served as the action grounds for their idiosyncratic and agitated plays staged in a guerilla fashion filled with oppressive counteraction and antagonist elements. To make things even worse, the troupe’s dramatic plays were constantly interspersed with anti-imperialistic themes. As a result of such a hardcore stance, the troupe got subdued to persistent police oppression. This is hardly surprising considering that the elemental receipts for one of their scripts consisted out of the following raw ingredients such as - A motor cycle gangs clashing with police, phantom armies attacking the imperial city and decapitating the emperor. So it comes as no surprise that their activities were most of the time shut down by constant oppression, repression and obstruction. Upon performing in 1976 at the Tokyo Gaikokugo Daigaku Nakano Shinsatsu 15 members of the troupe were arrested by the police, six of them were charged with being involved in violent acts, causing injuries and the possession of dangerous weapons, got imprisoned for a period of one year and six months while the remainder of the arrestees got a three year suspended sentence. Like on other occasions the troupe’s overtly denouncing and insulting the Japanese Imperial system, actions that come close to blasphemy and contemptuous disdain of a nearly sovereign deity, provoked the police intervention. Still, a part of the troupe was also active as musicians but even they had a hard time making the ends meet and were forced to hide their radical nature, taking on jobs as day laborers and making a living as part of the lower class of civil society. Eventually, operating the troupe became nearly impossible so that by 1981 the troupe was forced to disband itself. Although that the Kyokubakan was severely restricted in its operations, they nevertheless succeeded in 1978, at the peak of their activities, to leave behind some evidence of their existence in the form of a self-released LP in an edition of 1000 copies. However, due to a fire in their practice room 700 copies of the album went up in flames, making it this day a rather phantom-like record that hardly resurfaces. As might be expected, the album is filled with radical and extreme political messages, a factor that is responsible for its appeal and fascination it excerpts these days. Music-wise, the sounds on display depict a wide range of various influences, going from world music to psychedelia, spiced up with tape insertions depicting Hitler speeches and the sound of marching troupes, field recordings, circus sounds and atmospheres, etc, rendering it into an amalgam listening experience. Still the theatrical aspect is never far behind and omnipresent throughout the recording, responsible for turning it into a highly original concept album. Throughout all of group related projects of Sakurai, various musicians have at one time or another passed through its ranks or has been involved in it in one way or another. Sakamoto Ryûichi for example has offered a song to the Kyokubakan troupe and the Kaze no Ryodan group acted as a transit point for artists such as Kudo Tôri, Koma Keita (Inu, Up-Maker, CHE-Shizu), Nishimura Takuya (CHE-Shizu), Shinoda Masami (A-Musik, Jagatara, Compostella) and Kuge Yoshio (Pungo, A-Musik) amongst other drifting participants, making Sakurai as a highly valuable, but unsung hero of the Japanese past and present cultural underground movement. Extremely rare and top notch almost brand new copy. As far as I can tell copies have never been offered for sale. A museum piece that comes highly recommended. Hyper rarity, signed copy and hardly ever – if never – offered for sale, let alone a signed copy. If you like Tenjosajiki, J.A. Seazer, Orff like demented female choruses all mixed into a psyched out brew, than this one has written you all over it. Price: 400 Euro
954. L: “Holy Letters + Toi Kioku No Tsumugareru Tokoro” (7 Inch EP: Near Mint/ CD: Mint/ Mini CD Mint/ gatefold EP Jacket: Mint/ Mini CD Gatefold Sleeve: Mint). (Holy Castle Records – CCD-21E) Hopelessly obscure first original pressing from 1994. Hardly ever offered before (2nd time ever I have a copy of this one) minimal psychedelic Japanese underground gemstone. Promo copy with all complete. L was a project of Hiroyuki Usui, who in some very distant past used to sit in on drums for Fushitsusha, passing through the early incarnations of Ghost, Kyoaku No Intention and Marble Sheep. Later he popped up in Landfall and Kenichi Takeda's political 'anti-pop' group A-Musik. The first tangible trace of his art is this lost little gem, 'Holy Letters', which was released in 1990 on his own label Holy Castle Records, as an EP together with an 11-track CD and mini CD to complete the package. Needles to say, it didn't do much back then - in fact it wasn't until a decade later, when some copies somehow ended up abroad and that this album got noticed and even got reissued. Holy Letters is a barely-circulated masterpiece of deeply felt self-expression. Recorded in 1989/1990 by Hiroyuki Usui, Holy Letters beautifully captures the spirit and substance of a half-dozen of the key sub-underground pillars of sound. Working with guitar, vocals, vibes, harmonium, bass, drums, cello, field recordings, digeridoo, and more, Usui-san blends delicate folk, psychedelia, and experimental sounds into a mostly subdued but undeniably glowing suite. The layered but careful instrumentation on tracks like the epic "Holy Letters" and "Troll" backs the alternately plain-spoken and crooning vocals perfectly. Odd touches like snatches of throat singing and bowed vibraphone leap out of the mix at just the right time. There are overt references to the blues (the first track is an oblique cover of "Cold Was The Ground") - but other than the occasional slide guitar touch, the connection is overwhelmingly in the timeless feeling and atmosphere. I can hardly think of anything else like "Holy Letters," but suffice to say if you like Richard Youngs, Popol Vuh, Six Organs of Admittance, Tim Buckley, acid-folk, Japanese underground - anything like that - this is an essential purchase. Really, I'm not doing it justice. Holy Letters was self-released by Hiro in 1994, primarily to be given away to friends. A handful of copies were sold via Tokyo's Modern Music/PSF operation in Japan but other than that, it disappeared completely. Hiroyuki Usui's name pops up in several intriguing places in the apparently still under documented Japanese underground lexicon.” (VHF description). Original 1st press original of impossible to find all time folk/psych classic. Price: 100 Euro
955. LA MONTE YOUNG: “Theatre of Eternal Music” (No Label – DH-1001) (Record: Near Mint/ Silk Screened jacket: Mint). Japan only 200-copy silk-screened LP in superb sound quality. This copy is hand-numbered as 52/200. Without a doubt the rarest of all La Monte Young bootlegs around and also one that contains the most revered works captured in stunning sound quality. The material is all recorded in the early 1960s and the track listing is as follows: “Bb Dorian Blues” (line-up: La Monte Young on soprano sax; Marian Zazeela voice; Terry Jennings on soprano sax; Tony Conrad violin, John Cale viola; Angus Maclise hand drums), “Pre-Tortoise Dream Music” (La Monte Young soprano sax; Marian Zazeela voice; Terry Jennings soprano sax, Tony Conrad violin and John Cale viola) and the side-long “The Tortoise, His Dreams and Journeys” (La Monte Young and Marian Zazeela: sine waves, voices; Tony Conrad violin and John Cale viola). Without a doubt these recordings capture the subliminal line-up of the Theatre of Eternal Music, Jennings, Conrad, Cale and Maclise are all present. The music is out of this world and the record as an artifact itself is as you could already gather rare as gold dust. Top copy, silk-screened and hand numbered to only 200 copies. Japanese pressing out of the late eighties/ early nineties. Gorgeous and bound never to cross your path again. Act now and hold your peace forever. Price: Price: Offers!!!!
956. LA MONTE YOUNG: “The Theatre of Eternal Music – Dream House 78’17”” (Shandar – 83510) (Record: Near Mint/ Gatefold Jacket: Near Mint). Hardly any introduction is needed here I guess. Well know and sought after minimal music masterpiece. Original French pressing in top condition. "Dream House 78' 17" is one of the very few recordings ever made by minimalist composer La Monte Young in this case together with his long-time companion Marian Zazeela and the Theatre of Eternal Music. The 78' 17" in the title consists of the duration of the record and its duration was almost double what was the norm. Young in the sleeve notes says that "Time is so important to the experiencing and understanding of the music in the record that every effort was made to make the record last as much as the original master tapes. The first composition, "Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC" is a part of "Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Light-years Tracery", itself a section of an even longer work called "The Tortoise, His Dreams and Journeys". In it, three sine waves interlocking with the players. According to Young, the lack of harmonic content of the sine waves makes accompanying them with regular instruments and human players extremely difficult. The second composition, "Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC (39" 14")", is played entirely by sine wave generators. Frequencies and voltages of the sine waves generators were determined and tuned by La Monte Young using oscillators custom-designed by sound technician Robert Adler to generate specific frequencies and voltages of great stability. The sine waves produced are such that they interfere with each other, creating changes of volume both in time and space that can be experienced either walking within the room or staying put. In any case, a groundbreaking classic and till this day still not reissued in any other format, so the original LP is the sole medium out there to enjoy this slab of greatness. Price: 250 Euro
957. LACY, STEVE: “The Forrest And The Zoo” (ESP Records/ Victor Records – SMJ-7490) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Damned rare Japan 1st original pressing with first issue Victor obi. Lacy’s band was truly an international one: Lacy and Italian trumpeter Enrico Rava made up the front line, and the rhythm section included South African expats Johnny Dyani on bass and drummer Louis Moholo. The musical interaction that takes place over 40 minutes here is compelling, fraught with openness and the willingness to explore the margins. Unlike a lot of the other "new thing" recordings made at the time, the focus here is unusually rich, expressive, colorful, and easy on the ears -- though it may not have been at the time. Lacy, had been increasingly influenced by the music of Ornette Coleman, John Coltrane and Albert Ayler. His own exploration of his chosen instrument, the soprano saxophone, is all evident here in the manner in which he is considering new tonal, textural, and color possibilities as a soloist and as a functioning member of an ensemble. This is white-hot musical invention -- it meanders, swoops, soars, digs in its heels, and above all offers a staggering kind of communication between four players who took nothing for granted and knew that everything was up for grabs. Even at this early stage of Lacy and company's investigation of free and improvised music, there is a healthy melodicism, rich counterpoint exchanges between Lacy and Rava and a wildly expansive rhythmic palette employed by Dyani and Moholo. This is not normally considered an essential part of Lacy’s very large catalog, but in the 21st century it does deserve to be heartily and critically reexamined. The cover painting by the late artist Bob Thompson makes the set worth owning simply for its beauty.” (All Music Guide) Bloody rare Japan 1st press issue with rare 1st obi in top condition, first time ever I have a copy of this one in all these years! Price: 250 Euro
958. LACY, STEVE: “Moon” (BYG Actuel – Actuel-52) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original French 1st press issue in top condition of amazing Lacy slide. Price: 60 Euro

959. LACY, STEVE with FRANZ KOGLMANN; TONI MICHLMAYR, MUHAMMAD MALLI and GERD GEIER: “Flaps” (Pipe Records – PR-151) (Record: Near Mint/ Jacket: Near Mint). Original 1973 Austrian private press slide that saw the light of day on the small Pipe Records imprint that only released 3 LP’s in a small pressing run. One of Lacy’s finest hard boiling slides. Price: 300 Euro

960. LACY, STEVE: “Steve Lacy Solo at Mandara” (ALM Records – AL-5) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint). Top copy that comes with always missing insert. The rarest of Lacy’s recordings. Recorded live from a solo concert at the famed Mandara live house in Tokyo’s Kichijoji district on June 8, 1975, it depicts Lacy at his finest hour ever. It was Lacy’s first even gig in Tokyo and the material on display here was taken from the second set of that evening. Enfant terrible, music critic and writer Aquirax Aida, who invited Lacy over to Japan and staged some concerts for him, organized the whole affair. It was here at this gig that Lacy debuted Snips and Stabs. His first adventure in Japan was without a doubt the most daring and astonishing of all his trips over there. He was then tapping into still virginal territory, mapping out the boundaries of his own still developing playing and touching reputedly on magic and greatness that only a very few can even dream off of possibly attaining, but Lacy did it. Of the five splendid albums produced during his first trip over there, only Distant Voices made it as a CD reissue. Other much desired ones like this one here, possibly his rarest one (esp. in mint condition) is craved for by many but only actually seen by a very few select avid music fans. “Steve Lacy Solo at Mandara” is in a way a bit like Van Gogh’s stunningly colorful paintings or like a surreal Dali coming to life through sound. He blows out a gently myriad sound by playing an instrument – the soprano saxophone -, which has had few real icons. But Lacy truly was an icon for the instrument and singlehandedly rescued it from obscurity, giving it a potent voice in the avant-garde. Simply stuff of legends. Hideously rare LP, released in an edition of 300 copies according to Mr. Kojima and copies complete with obi in such nice nick as this baby here simply do not turn up. First copy in a long time I can clutch my fingers around. An obscured dead cold classic. Massive and certainly one of those Holy Records in my Free Jazz top ten. TOP condition!!! Price: Offers!!!!
961. LACY, STEVE with ROSWELL RUDD & SHELLA JORDAN: “Blown Bone” (Philips – RJ-7490) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Japan). Rare Japan ONLY Steve Lacy issue that rarely surfaces. Japanese-only Philips platter, carries the colorful signifier “Jazz (Free/Blues/Latin),” a definite first in the commonly free improv-focused catalog and one that speaks directly to trombonist Roswell Rudd’s career-spanning eclecticism. The cast of characters is just as colorful with Steve Lacy, Enrico Rava, Paul Motian, Sheila Jordan and seven others convening for a small handful of ensembles. Rudd has always been about placing his slippery slide-calibrated brass in unexpected contexts. This consistently entertaining hodgepodge doesn’t disappoint a whit on that score. Price: 200 Euro
962. BYARD LANCASTER with Steve McCall & Sylvain Marc: “US” (Palm – PALM-8 & PALM-8 Bis) (Record: Near Mint/ 7 Inch EP: Near Mint/ Jacket: Near Mint ~ Mint). Original 1973 French original pressing all complete with mostly elusive 7 inch single. Wow! Rare free jazz on the French Palm label featuring Byard Lancaster, Steve McCall, and Sylvain Marc. Comes with the surprisingly funky bonus single with the tracks "Just Test" and "Us"! Good stuff all the way! Price: 325 Euro
963. LARD FREE: “Gilbert Artman’s Lard Free” (Vamp – VP59500) (Record: VG++ ‾ Excellent, record has a few paper scuffs that do not affect the playing or sound/ gatefold Jacket: Excellent). First original French pressing of 1973. Lard Free’s first Lard Free record, originally released in 1973. Relaxed drum and bass grooves collide with sonorous sax lines popping out of the electric fog, colliding head on with noisy Quaalude-infected electric guitar screams while all the time the rhythm section maintains a downer relaxed groove. Ambient electro-rhythms, beeping electronics, funky bass riffs, feedback humming and acidic guitar licks make this slide an excellent example of psychedelic avant-rock. Lard Free was just brilliant. Record has only a few paper scuffs but plays EX‾NM all way through. Great keeper copy. Price: 100 Euro
964. LARD FREE: “I’m Around About Midnight” (Vamp – VP-59.502) (Record: Excellent ~ Near Mint/ gatefold Jacket: Excellent). Original French 1975 pressing. Drummer Gilbert Artmann spearheaded Lard Free, brought together reeds, guitars and synthesizers and et out to trigger a sonic footprint that was simultaneously original, pulsating off improvisational jams and pregnant with rhythmic and atonal elements. “I'm Around About Midnight” was Lard Free's second LP and added Heldon member Richard Pinhas to the line-up together with bass-clarinetist/saxophonist Alain Audet and Antoine Duvernot on alto and flute. Injected with heavy buzz-saw electronic, the music spins out over a series of long tracks pulsating with synth drones, swoops and trance-like drum rhythms, traveling into the deep space territory of Heldon and other pioneers of electronic rock. A treasured acquisition, the music on it almost leaping out of the speakers to challenge and liquidifies the air around you. A killer. Price: 150 Euro

965. JACQUES LASRY & FRANCOIS BASCHET: “L’Orgue De Cristal Et Les Percussions” (Ducretet – Thomson – 460 V 293) (EP Record: Excellent/ Flip Back Jacket: Near Mint). Original 1957 French first original pressing in outstanding condition. A collection of the earliest recordings of the French sound sculpture musicians Lasry-Baschet. Featuring the first fruits of one of the greatest unisons in experimental French music combining the beguiling haunting sounds of Jacques Lasry and the development of the musical inventions of Bemard and Francois Baschet. The emotive music is made with these organic, municipal, revolutionary instruments around 1956 and 1957, riding a narrow path between post-Second World War experimental music and anti-electronica. The instruments known as Structures Sonores were designed and made in the late 1940s by Paris born engineer and sculptor siblings Bemard and Francois Baschet with the original aim to create portable, collapsible and municipal instruments based on inflatable components. Eventually incorporating metal bars, steel rods, air-filled plastic spheres (balloons), crystal stems and steel bars the instruments were totally independent of electrical or electronic components or equipment sidestepping the celebrated trends in tape manipulation and musique concrete, standing at the journalistic forefront of French experimental music in the 1950s. Played using horsehair bows and wet glass rods which resonated the tubes and metal surfaces the amplification was produced by the movement of vibrating rods embedded in fixed plates and the timbre could be modified by altering the sizes of the resonators. By the early fifties the brothers had invented a series of large visually striking sculpture-like instruments that could be used by participants of any age regardless of any formal musical training mainly combining crystal, water and steel to create a specific delicate and very unique haunting sound. Just bone-chillingly awesome. Rarely surfaces in such nice condition as this sucker here. Price: 150 Euro

966. LAUNCHERS: “Free Association” (Toshiba – TP-7282) (Record: Excellent/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Freakingly rare copy that comes with never seen obi intact!!! Comes on bloody red vintage wax!. Original release of December 5th, 1968. Awesome Launchers GS debut disc. All of the songs are originals written by leader Kitajima Osamu and are brimming over with various ideas and influences ranging from the Beatles and the Them amongst others that proved to be the main source of inspiration but amended with intuitive and flaming arrangements. This helped them to cement a reputation that transcended the regular and middle of the road appeal most GS outfits exerted because of their unique creative abilities applied to the garage-like songs they greased out, songs that even hinted vaguely at an experimental twis t embedded within the beat. So seen in that light, the Launchers were definitely a serious group transcending the teenage beat sensation that swept the country. Creativity and originality were held high and shimmer through their repertoire through the use of swirling vocalizations, sometimes the added teetering horn section, greased bumped guitar roaring and even the subtle use of string arrangements at times. Highly innovative for its time, varicolored in a execution, the Launchers had it all. One of the great-unsung GS wonders to seep in between the cracks of time. Highly recommended!!! Comes on blood red wax with never seen before obi present and is in top-notch condition. Price: 400 Euro
967. LAURELIE: “S/T” (Triangle Productions – BE-920249) (Record: Near Mint has one tiny barely visible hairline on side one/ Jacket: Near Mint). Top condition for one of Belgians scarcest LP’s to dig up in perfect nick. This copy is perfect all the way. Released on the legendary Belgian "Triangle" label in 1970. Together with Irish Coffee and Waterloo one of the most sought after progressive groups from the early seventies Belgian rock scene. 1970 psych progressive rock from this Belgian group in the vein of Jethro Tull, Traffic, Cressida, Moody Blues and the like. This minor psych-prog masterpiece (with plenty of nice flute parts) was still rooted in the late 60's songwriting tradition, when condensed tracks were preferred over improvisations. On the other hand, an amazing (and 10-minutes long) opening track was typical progressive offering - with ever-changing moods and lots of guitar, Hammond organ, fuzz guitar and flute interplay. Next to impossible to score in Mint condition, this copy is just perfect all the way. Price: Offers!!!!
968. LE CORBUSIER: “L’architecture Contemporaine” (Realisations Sonores Hugues Desalle – 27-8-65) (Record: Excellent/ Jacket: Excellent). Freakingly rare beyond belief original 1965 pressing!!! Subtitled as “A Haute Voix le Corbusier Un Genie Nous Legue Son Testament Spirituel”… and it neatly covers the load of this highly historical and stupefying recording. Recorded 2 months before his death at his house in Boulogne and released shortly thereafter. Here Le Corbusier – one of the most highly refined architects of the 20th century and designer of state of the art furniture speaks from his own house he designed, seated on his own designed and constructed terrace (of which he was immensely proud) in the burning hot sun speaking in a confidence, spontaneity and in an extraordinary lust for life kind of manner – even when he knew the end was only looming too near. He is found saying, “je serai bientot dans le zones celestes” while sipping his beloved Pastis. At times his voice is painful, as he has to push for air to go through his heart. He was already severely sick at this point and knew this would be his last statement. But even after such moments of pain, he does find his powerful force again and goes on to enlighten you on his youth, his days as a young man, his adventures, his fights, his view on the world and of course his architecture and his poetry. In short, this aural documentary – the sole left behind by Le Corbusier – sheds some light on 50 years of grandeur, research, poetry and invention, since these are the roots of contemporary architecture that the old master has given us. Just blood curdlingly amazing. As rare as – if not even rarer – the Yves Klein LP. Never seen or offered before, this is a true rarity. Comes with a bonus Xenakis 7 inch. Price: Offers!!!!
969. LE MANS ’66: “S/T” (London Records – SLC(H)-169) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Attached Fully Illustrated Insert: Mint). Bloody rare 1967 Japanese 1st original pressing complete with hideously rare obi. This is the closest aural experience to sniffing uncut high quality speed. Or as an equivalent, sucking the red-hot tailpipe of an engine gunning racecar while jacking uncut smack into your veins. Yes, this comes close. Le Mans 1966 race. Top condition, housed in delirious gatefold jacket and complete with obi…just never surfaces and this is the closest experience you will have to sniffing gasoline and shooting up tailpipe wax!!! Price: 100 Euro

970. LE VOT, GERARD: “Chanson Des Trouveres – La Lyrique Francaise Au Moyen Age – XII & XIII Siecles” (Editions Studio S.M. – SM-3011.51) (Record: Near Mint/ Laminated Jacket: Near Mint/ Imprinted Lyric Inner Sleeve: Near Mint). Original 1981 French pressing in top condition. Gerard Le Vot offers a broad, representative selection of lyric compositions by the poet-musicians of 12th- and 13th-century France: the groundbreaking Provencal troubadours of the south-the originators of "courtly love"-and their northern counterparts, the trouveres. There are fewer extant trouvère poems than troubadour ones, but far more melodies are known: of the 2,100 or so surviving poems, most have accompanying music, and in fact many poems appear in different manuscripts with different settings, the later settings being presumably the work of persons other than the original poet. The manuscript sources for troubadour and trouvère poetry are collections known as chansonniers, and in both cases the earliest major sources date from the 13th century – a time when the peak of troubadour activity had long passed but the trouvères’ art was in full flower. The difficulties are of knowing exactly how this music was performed. Because it was an oral art, the troubadours’ music that survives does so in manuscripts created long afterwards, giving us the melody but nothing else. It’s possible that instruments weren’t used much by the troubadours, perhaps only in those genres that were not so high in style and furthest removed from liturgical melody. Nevertheless, this is beautiful music, sounding very psychedelic and reverberating a more “acid folk” vibe that one attributes to some 20th century music. Just awesome. Price: 50 Euro

971. The LEAVES: “Hey Joe” (Mira Records – LPS-3005) (Record: Near Mint/ Jacket: Mint, still in shrink). Original TOP copy of their 1st and best LP, psychedelic folk rock by the fathers of “Hey Joe”. Record is clean as can be, jacket still in shrink, hard to upgrade upon this one. Price: 150 Euro

972. LED ZEPPELIN: “S/T” (Atlantic – SMT-1067) (Record: MINT/ Gatefold Jacket: Excellent ~ Near Mint/ FIRST ISSUE OBI: Near Mint – on back of obi coupon is missing). Hopelessly rare Japan FIRST original press issue – this one being the ATLANTIC RECORDS WHITE LABEL PROMO issue – 1st press with SMT-1067 number and comes with immediately withdrawn gatefold jacket that had a serious misprint upon the back – credit switching the names under the members pictures (Robert Plant is credited as John Paul Jones/ John Bonham is credited as Robert Plant and John Paul Jones is credited as John Bonham. Only Jimmy Page was credited rightly). This was a massive mistake and record was withdrawn and released with different catalogue number and altered jacket. What makes this one even more rare is that it is a white label Atlantic records PROMO issue …. only a few know to exist and the record is totally unplayed, MINT condition, jacket is EX~NM with minimal storage wear. On top of that this is the complete copy issue with the VERY RARE turquoise design VERY FIRST OBI!!!! White label in MINT condition with 1st issue obi just never surfaces….one off chance and TOP CONDITION!!!! Just amazing …… Price: Offers!!!!

973. LED ZEPPELIN: “S/T” (Atlantic Records Japan – MT-1067) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original Japanese pressing of the 1sr ever Led Zeppelin slide, complete with gatefold jacket and next-to-impossible OBI all intact. Fooking rare with the original obi on display in all its glory…never turns up on these shores. The obi and jacket are perfect, NM condition, record is EX and shows some paper sleeve marks and light scuffs. Amazing copy and impossibly rare with obi present. Price: 450 Euro
974. LED ZEPPELIN: “II” (Atlantic Japan – MT-1091) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint) First press on the tri-color Atlantic label being green – white and blue-ish. Nippon Grammophon press. Hideously rare with obi intact, especially in such a stunning condition as this copy offered here. These babies – in such a nice nick – just never surface on this side of the globe anymore, especially with obi and insert intact. Bound to skyrocket even more in the future. Classic disc and at least everyone needs a copy of this baby. Extremely rare 1st Japanese pressing. Top notch condition; do not believe they come any better than this one here. Price: 250 Euro
975. LED ZEPPELIN: “III” (Atlantic – MT-2043) (Record: Near Mint/ Gimmick Gatefold Jacket with Wheel: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Bloody scarce original 1st Japanese pressing on the Green Turquoise Atlantic label with the MT catalogue number. Top copy, complete with OBI. These are getting scarcer by the minute. Price: 250 Euro

976. LEE HAZELWOOD & NANCY SINATRA: “Nancy & Lee” (Reprise/ Victor Records Japan – SJET-8053) (Record: Near Mint/ Jacket: Near Mint/ SJET Obi: Near Mint/ Insert: Near Mint). Insanely rare Japan 1st press issue on tri-color label and complete w/ obi and Japan ONLY jacket and the always-missing insert. This is a really scarce Japanese copy (released in late 1960’s) of Nancy & Lee album, complete with OBI & insert. The front-cover art is totally different from the common US edition. Next to that, another discrepancy is the track-listing which is also completely different from that of US issue. Extremely hard to find Japanese copy of this album especially with obi and inert present. Last copy on E-bay went for 600 plus and that was the 2nd press tan version, this one here is the 1st pressing on the tri-color reprise imprint. Stunning condition. Price: 250 Euro

977. LEJEUNE, JACQUES: “Parages” (INA GRM – AM-709.06) (Record: Near Mint/ Fold Out Jacket: Near Mint). Another electronic music gemstone out of the INA-GRM catalogue. Excellent tape music realized in 1974 and released the following year, Parages is build out of environmental sounds transformed, spliced and pieced together into a sonic masterpiece bordering on melt down of atmospheric sounds and environmental noises. Highly essential and if you are even remotely interested in early French avant-garde electronic tape music experiments, this one is certainly worth checking out. Highest possible recommendation, it won’t get any better than this. Price: 75 Euro
978. LES BAXTER AND HIS ORCHESTRA: “The Soul Of Drums” (Reprise Records – SJET-7349) (Record: Excellent/ Flip Back Sleeve: Near Mint/ Obi: Near Mint). First original Japanese pressing on the tri-color Reprise label, all complete with bloody rare 1st issue OBI. Released in 1963 on Reprise Records and sporting 12 tracks and a multiplexing of two Latin styles with superb symphonic Space-Age strings, bucolic big band brass bursts and cavalcades of drums par excellence, this LP is a culmination point of some sort, a superimposition of the composer’s utterly drum-focused “Skins” from 1957. Soul of the Drums is another Baxter album from the early 60's that largely adheres to that marvelous "Les Baxter Sound," with fabulous results. Where Primitive and Passionate might subtly highlight horns, however, Soul of the Drums obviously favors an ever-present drum sound. From its opening moments, this is absolutely classic Exotica. The first track, "Girl Behind the Bamboo Curtain", is just one of those quintessential upbeat flute safaris, a light, bouncy composition of the sort favored by Martin Denny. "Coffee Bean and Calabash Annie" once again finds Baxter cannibalizing bits of his earlier melodies-- in some circles this could be seen as a negative but such repetitions are right at home in Exotica, a genre that lives and dies on derivations on familiar themes. "Sunrise at Kowloon" is a perfectly archetypal string-led piece of orchestral Exotica. "River of Dreams" is at least as lovely as it sounds, and "Shadow of Love and the Enchanted Reef" is a romantic canoe-trip masterpiece with just enough mystery to make it titillating. The closing track, "Ceremony" is a drum workout. The Soul Of The Drums is no more remarkable than any other of Baxter’s albums of one’s choice, but does thankfully emit a strictly uplifting, mirthful aura which is only fugaciously interrupted by mystical heterodynes, otherworldly phantasms and ritualistic drum patterns. It is not as cineastic as his first forerunner and pre-Exotica blueprint Ritual Of The Savage (1951), but this works to its advantage, as the flow or fluxion is uninterrupted. While there are a few pinpointable real-world locations such as Kowloon and Rio on it, this is no dedicated travelog LP rather than a concoction of delight. Price: 150 Euro
979. LEUTER, CECIL: “Pop Electronique – Les Sons Electroniques De Cecil Leuter” (Neuilly – MC-8005) (Record: Near Mint/ Jacket: Near Mint). Next to impossible to upgrade upon, top copy. Pop Electronique is an excessively cult record - brainchild of the fabulous Cecil Leuter. As of the end of the 60s, he would throw himself into musical experimentations, combining prehistoric beat boxes with the intense use of synths, and began to niftily mix acoustic, electric and electronic music. A crazed record composed of a super groovy A side, bringing together strong jerks and Dadaist moog deflagrations, and a much more minimal, strictly electronic B side. Situated somewhere between Pierre Henry and Michel Colombier’s“Messe pour le Temps Présent” and Jean-Jacques Perrey’s“Moog Indigo,” Pop Electronique can be classed as one of those pioneering and magical records which, at the end of the sixties, dared savagely mix pop’s grooves and rhythms with the futuristic electronic sounds of the first synthesizers. Original 1st pressing in top condition, impossible to upgrade upon. Price: 300 Euro

980. LIGETI, GYORGY: “Kammerkonzert + Ramifications Vers.1, Vers. 2 + 10 Stucke + Artikulation” (Trio Records – PA-1026) (Record: Mint/ Silk Screened Jacket: Mint/ Booklet: Mint). Japan only release that comes housed in a stunning silkscreen jacket art. The music of Hungarian composer György Ligeti is in a constant state of unease. At times, it's long, soft, sustained tones; elsewhere, it's churning with busy, piercing energy. But it's almost always dissonant, and never more than semi-melodic. “Kammerkonzert” define exactly what the work is: chamber music, to be sure, but at the same time virtuoso, concertante music for an ensemble of solo instruments consisting of six wind instrumentalists, five string players and two keyboard players. Two aspects of composition are particularly remarkable: firstly, a many-layered structure of rhythms reminiscent of Ives created by consistently using different tempi in several parts at the same time; secondly, a consistent technique of pitch permutation, which dissolves the harmony into, free figuration. The two together constitute that almost indefinable quality of the cloudy, iridescent, shifting, which is so characteristic of Ligeti's style. "Ramifications" represents a further development of the method of composition with complex musical net-formations; it is, as it were, a terminus in the development from "dense and static" to "broken-up and mobile". The title refers to the polyphonic technique of the part-writing; in one skein, individual parts that are twisted together move in divergent directions so that the strands of the voices gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. First time ever I see a copy of this one, Japan only silkscreen jacket art that is just eye-poppingly beautiful. Comes with booklet. . Price: 75 Euro

981. LIMBUS 3: “New Atlantis” (CPM – S-001) (Record: Near Mint/ Flimsy Gatefold Jacket: Excellent, has some few faint mildew stains against white background). Original German private pressing out of 1969. Heralding from Karlsruhe and Heidelberg, sub-titled “Cosmic Music Experience, Limbus 3 (later down the line, they would rename themselves as Limbus 4 and record the more avant-garde oriented “Mandalas) was conceived in 1969 and originally released as a private pressing in tiny numbers. University students at the time, Limbus 3 musical voyage dwelled into the realms of ethnic induced psychedelic maelstrom improvisations while touching on ad hoc avant-garde elements and tumbling down instrumental excursions into deep cave man territory. With track titles such as “One-way Trip”, “Breughel’s Hochzeitstanz”, “Valiha” and the sidelong “New-Atlantis”, you can hardly go wrong. Excellent mind bender and hard to come by these days. Original German private pressing in top shape. Price: Offers!!
982. LIMBUS 4: “Mandalas” (Ohr – OMM-56001) (Record: Mint/ Gatefold Gimmick Jacket: Mint/ Attached Imprinted Original Balloon: Mint). Original German pressing in TOP condition (like new) with the 56 number. Comes with gimmick gatefold jacket with opening door in middle that housed balloon. Has also the earliest matrix numbers printed into the dead wax ending in S-1 and S-2!!!! First LP by the Limbus 4 combo but their second recorded outing if you include their previous incarnation as Limbus 3. As their newly appointed name insinuates, this once three piece collective has invited Matthias Knieper to join the band. As a quartet, the combo goes into overdrive and spins out an ethno-free-form psychedelic communal jam that quickly gathers momentum due to the addition of the glorious and highly addictive but infamous Kazoo as an instrument to their sound palette. While jamming away, the group manages to blow into an intriguing interplay of squawking and bleating spectrum from numerous species of woodwind/ string with the monotonous, almost throbbing tribal percussion. It gets further spiced up with the ever-present swirling organs, texturing a surreal backdrop to give a little warmth to the otherwise harsh reality. The whole affair comes over like one massive cosmic ethnic improvisation. A unique album that ranks amongst the most adventurous ever released by Ohr. In all it is a quite trippy affair that is on display here and one of the best Krautrock discs to have seen the light of day on the Ohr label. Fantastic!! Bloody rare 1st press with gimmick jacket with the imprinted balloon attached. It is said that only 50 copies of these came with the balloon complete so – a bitch to dig up an all-complete original. TOP COPY 1st original pressing in pristine shape. Price: Offers!!!!
983. LINUS PAULING QUARTET: “S/T” (September GurlsSGLP-22) (Record: Near Mint/ Paste On Jacket: Near Mint/ Insert: Near Mint). Totally obscure 1995 release by the US space headz. From Houston, Texas on this record are: Stephen Finley (bass), Clinton Heider (vocals, guitar), Larry Liska (batterie), Ramon Medina (guitar, bowed guitar, vocals). All of them have more or less relation to the Mike Gunn. The six tracks on this LP were recorded during the process of recording a song to submit to the Ptolemaic Terrascope's benefit CD Succour in December 95. After the tapes were filled, the beer was gone and the bong was cashed, the result was an amazing spontaneous intense string driven psych rock beast ready to be released even in this rough form. The exploding harmony at the beginning ends with the start of a heavy thundering hypnotic rock strike in Bevis Frond tradition, quoting Black Sabbath and peaking in a twin guitar solo battle. This is followed by a Big Black-esque guitar rumble and an invitation to a Beefheartian Dance of the Bug People. Side 2 consists of an over 20 min. long relaxed, mantra-like psych jam, full of subtle suspense, vibrations, outbursts, dissolving in the harmonious beauty of Henry Floats. Long gone and deleted masterpiece. Price: 75 Euro
984. LITTLE FREE ROCK: “S/T” (Transatlantic – TRA-208) (Record: Near Mint/ laminated Jacket: Excellent ~ Near Mint) original 1st UK pressing of brilliant but sadly overlooked album. Little Free Rock were a class live act who performed regular gigs at The Roundhouse and Marquee. Hailing from Preston in Lancashire, they began as Purple Haze, covering the likes of The Who and The Creation, before becoming confident with their own brand of heavy psych and changing their name to distance themselves from a Jimi Hendrix. Clearly heavily influenced by the irresistible psych-blues of Cream, looking back, the band are something of a poor substitute, though the playing is taut and listenable throughout. Peter Illingworth had an arresting and unique rock voice, however, which he used to greatest effect on the more blues-based tracks such as Blud and Dream. Originally released by Transatlantic and recorded with Mike Bobak at the desk, this is a UK rock record that has scarcely been heard since release. The band also had the honor of sheltering Peter Green for a short period in the early 70s. UK original purple & white label copy of awesome heavy psych underground jammer. Cover is super nice and disc is real clean…Price: 250 Euro
985. L’INFONIE: “S/T – Vol. 3” (Polydor – 542.507) (Record: Excellent/ Jacket: Excellent). Original Canadian press. “As a combination of a beat poet-group, with some Dadaistic anarchy / freedom, with Captain Beefheart's musicians like disciplinarian madness, the Infonie group seems to have created a world of its own. Starting of as a Red Crayola kind of cacophony including elephants, policemen and a vibrantly reacting crowd, this changes within seconds in an atmospheric symphonic free jazz movie like intro. The second track “L’Affaire” is textually an Artaud like odd surrealistic piece. Immediately following, is “J’Ai Perdu…”, a variation of Pierre Henry's/ Michelle Colombier's hit. Before one notices, a Sun Ra like solo free jazz sax improvisation takes over, unwrapping the next level of experiences. Some birds and crickets as an overture introduce another free form theatre music scene, then before you realize it, the music gets the structure from an opening movie track, but then, within the oddity of creation, closes the theme as a "Finale". Oddly minded singers start to scream a madness song, on an almost Latin American funky rhythm: let's dance the “”OK La”. The crowd answer with sounds as like sheep.  Electronic music cinema now, with a background of UFO's and creepy cold monsters from B-movies, suddenly changing into a Moondog like theme (area "Sax Pax for a Sax"), a jazzy orchestra version of "She's Leaving Home" originating from The Beatles. If the B's had eaten mushrooms they might have experienced this kind of version. But also this melody goes its own way into an almost visual theatre piece. Just when I'm starting to like it too much, it abruptly ends, to be followed by a similarly interesting interpretation of Bach's "Agnus Dei". Raôul Duguay concludes with a musically sounding lecture about l'infonie, for the rest of the crowd, an "asylum of the musically insane". The orchestra answers, this time holding a balance between a "real" free form and an almost purely melodic mood, which does come through it. Once the melody is adapted the free form became like the 'Tao' in it. Sun Ra like holism then takes over once more, but falls apart as quickly as it came, builds up once more, only to fall down and succeed to appear once more. And that was it. The end. Before you knew that it really had started with a 'new' idea. As bonus tracks there are some interesting, "l'Infonie" related textual beat poet performances.” (Gerald Van Waes). Killer album, 1st original pressing. Price: 75 Euro
986. 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
987. LONDON, JULIE: “Hushabye Mountain” (Liberty/ Toshiba Musical Industries – LP-8624) (Red Wax Record: Near Mint/ Flip Back jacket: Near Mint/ OBI: Near Mint). Rare 1st original Japanese pressing on RED WAX and complete with obi. Released in Japan under a different title as “Yummy” abroad. Pop standards vocalist/actress Julie London was definitely at a transitional phase in her career when she cut Yummy, Yummy, Yummy (1969) -- the final entry in her decade-and-a-half long relationship with Liberty Records. Modern listeners will revel in the obvious kitsch factor of a middle-aged, old-school female who is crooning rock & roll. Rightly so, as the two musical universes rarely collided with a lucrative outcome. However, just below the genre-bending veneer lie interesting interpretations of concurrently well-known selections with the occasional sleeper gem thrown in. The lush and admittedly antiquated orchestration doesn't mask London’s smoky and smoldering pipes, and some scores definitely work better than others. The opening cover of Laura Nyro’s "Stoned Soul Picnic," the adaptation of the Beatles "And I Love Her," and the remarkably evocative "Hushabye Mountain" from Chitty Chitty Bang Bang (1968) are each superior matches of artist with repertoire. Less successful is Harry Nilsson’s "Without Him" [aka "Without Her"] as it lacks the urgency of Blood Sweat & Tears rendering or the pithy of Nillson’s original. The remake of Spanky & Our Gang’s "Like to Get to Know You" is similarly short on soul, although it lends itself to the middle-of-the-road (MOR) feel, as does "It's Nice to Be With You." That said, the latter is infinitely more tolerable in this context than it was on the Davy Jones’ warbled Monkees’ single. The seeming incongruity of London’s take on the Doors’ "Light My Fire" isn't all that odd until she lets her hair down (so to speak) and slips into something right out of The Graduate's Mrs. Robinson. There are several instances of 'What were they thinking?,' such as the practically surreal "Mighty Quinn (Quinn, The Eskimo)" which sounds like it was the result of a Quaalude-related encounter. By the time we roll around to the title track, one can't tell if London is trying to be sexy or is simply hung over. "Sunday Morning" -- the second nod to Spanky & Our Gang -- also makes London come off as either bored or sleepy, either of which will be the effect that a majority of the album will inevitably have on 21st century ears.” (All Music Guide) A great album, especially the Quaalude induced effect hinted at in the review is the icing on the cake. I love my music rendered through a haze of chemicals and Julie fits the bill perfectly here for that. Rare Japanese press original with Obi & on red wax. Ideal pills and booze slide to wash the night away!!! Price: 150 Euro
988. LONGET, CLAUDINE: “Bonsoir Claudine Bonsoir” (A&M Records – AML-65) (Record: Excellent – fine paper scuff marks here and there that hardly affect the play/ Gatefold Sleeve: Near Mint/ Obi: Near Mint). JAPAN ONLY ISSUE. Claudine Longet? Didn't she kill somebody? Sadly, Claudine Longet is most remembered for a tragic day in 1976 when a gun she was holding discharged into the stomach of her boyfriend, ski legend Spider Sabich, leaving him mortally wounded in the bathroom of their Aspen, Colorado chalet. Prior to the shooting, the world knew Claudine best as wife of crooner Andy Williams, although she had gained a measure of fame in her own right as a pop singer with a trademark soft, whispery French accent, and also had to her credit some film work and a string of bit parts on television shows like “The Party”, “Rat Patrol” and “Combat”. Claudine never really found her audience. Despite modest success of some of her singles such as “Love Is Blue”, which charted in the spring of 1968, Claudine was rejected by the younger rock crowd of the day as part of the square establishment and was forever overshadowed by the immensely popular Williams in easy listening circles. No doubt the housewives who swooned over Andy were put off by his sexy, young French bride. Anyway, that aside, Claudine is one of the finest chanteuses around and still does not fail to enchant these ears on a daily basis. Here you have a very rare compilation album, complete with obi that was only released in Japan. Brilliant all over. Claudine definitely ruled. Price: 75 Euro
989. LONGET, CLAUDINE: “The Look Of Love” (A&M Records/ King Records Japan – AML-4) (Record: Near Mint/ Flip Back Jacket: Mint/ Obi: Mint/ Insert: Mint). Original 1968 Japanese first original pressing complete with obi in immaculate condition. “The Look Of Love remains the creative zenith of Claudine Longet’s A&M tenure. Arranger Nick DeCaro and producer Tommy LiPuma weave together elements of soft pop, jazz, and bossa nova to create a fairy-dust suite perfectly modulated to Longet’s breathy allure, rendering moot her obvious vocal limitations via the perfect combination of singer, songs, and sound. Material like the Brill Building gem "I Love How You Love Me," Margo Guryan’s "Think of Rain," and the Bacharach/ David title cut envelop Longet in a potently romantic atmosphere that underscores the innocence and intimacy so central to her identity. Rarely have albums forged from so little yielded so much.” (All Music) This is one of the rarest Claudine Longet releases out there, first time I have a Japanese original of this one. Top copy, next to impossible to upgrade. Price: 100 Euro
990. LONGET CLAUDINE: “Golden Double Deluxe” (A&M Records – AMW-17~18) (2 LP Record: Near Mint /Gatefold Jacket: Excellent ~ Near Mint/ Attached 6 Paged Picture Booklet: Near Mint). Rare Japan only 1971 release. White label promo issue. Always great work from lovely French singer Claudine Longet – a vocalist with a style that's unlike anyone else we can think of! This one's another sublime blend of French 60s pop and sunny A&M production, with touches that deepen the album from earlier work – like chorus vocals, more ambitious instrumentation, etc! Claudine is incredible throughout – a masterpiece of gentle understatement that shines through on this rare Japan only 1971 double LP set. I especially adore her when she sings in Japanese. White label promo issue. Price: 75 Euro
991. LOREN MAZZACANE: “Unaccompanied Acoustic Guitar Vol. IV” (Daggett Records – 49A) (Record: Near Mint/ Hand Drawn and signed Paste On Jacket:Near Mint). Top copy, 1st original issue. Supposedly released in an edition of only 25 to 50 handmade copies way back in 1979. “Loren MazzaCane Connors's music has always been connected to the blues, but it has changed quite a bit over time. The music collected on Unaccompanied Acoustic Guitar Improvisations, which came out as 9 separate LP’s, is his earliest recorded work, and it will surprise anyone who expects anything in the vein of his recent collections of jewel-like miniatures for electric guitar. For a start, he only played acoustic slide guitar when he made these recordings. More significantly, Connors's voice is as upfront as his guitar. His wordless, hyperemotional moan is quite at odds with the more measured expressiveness of his more recent instrumental endeavors. Finally, the scrupulous editing that distinguishes his contemporary work is nowhere to be found on these sprawling half-hour-long performances. Connors recorded this music himself in a decrepit painting studio and pressed each volume up in an edition of 50. Long-standing fans will find this portrait of the artist as a young man both surprising and illuminating, but first-timers should try Evangeline or for more concise and accessible representations of what he can do at the height of his powers.” (Bill Meyer). Spot on and incredibly tough to dig up. This is one of those limited to 50 copies original LP’s housed in handmade and hand drawn jackets. Top copy. Price: 500 Euro
992. LOS ANGELES FREE MUSIC SOCIETY/ LAFMS – V/A: “Blorp Esette Volume One” (LAFMS – LAFMS-5) (Record: Near Mint/ Jacket: Mint, still in shrink/ 3 inserts: Mint). Top copy. The first of the series adorned with a Don Van Vliet/ Captain Beefheart painting. Original 1977 pressing. Two sides crammed full with weirdness and Dadaist inspired rock by the hands of Dr. Odd, Electric Willy, Daniel Stewart, Cheezit Ritz, Smegma, The Residents, The Patients, the professor, Reet Meat, Le Forte Four, Gods of the pits, Ace, Ju Suk Reet Meate, Mr. Foon’s Bandaloon and Frank bedal. Just awesome collection of DIY scum weirdness. Awesome. Price: 275 Euro
993. LOS ANGELES FREE MUSIC SOCIETY/ LAFMS – V/A: “Blorp Esette Volume Two” (LAFMS) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint). Top copy. The second and last of the series adorned with a Don Van Vliet/ Captain Beefheart painting. Original 1979 pressing. Two sides crammed full with weirdness and Dadaist inspired rock by the hands of Dennis Duck, Joe Potts, Smegma, Electric Willy trio, the reverend Toad-Eater, Joe Hall’s Dead/ The New Los Grifos Band, Ju Suk Reet Meate, Patients, Chip Chapman, Sucmeof the Spud, The Child Molesters & Charles Wasserburg. Just deliriously insane. Price: 250 Euro
994. LOS ANGELES FREE MUSIC SOCIETY/ LAFMS – V.A.: “Blub Krad” (LAFMS-7 – 1978) (Record: Near Mint/ Paste On Jacket: Excellent). Original 1st issue. I guess the LAFMS collective does hardly need any introduction. This disc is a superb collection containing tracks by Half Japanese, Vetza, The Pablums, Fredrik Nilsen, Tom Recchion, The Yvonnes, Paul is Dead, The Square Haircutts, The Fine Art Dumpsters, Rick Potts, Yoel and El Trio Primo. All the tracks on display on this disc depict demented geniuses at work, bringing forth primitive avant-rock, prehistoric styled psych and splendid outsider music. This is the real stuff. Every track is a killer; especially The Pablums take on a Rolling Stones song and remodeling it into “Under My Gums”, a sheer hysteric, de-contextualized and hilarious parody. Highly recommended. Especially in this condition. For adventurous music geeks. Price: 200 Euro
995. LOST AND FOUND: “S/T” (International Artists – IA-LP#3) (SEALED ORIGINAL). 1967 original pressing in the best condition imaginable – sealed with absolutely no defects. Emerging from the same mid-60s Houston, Texas scene as label mates Thursday’s Children and The Red Crayola, Lost And Found were formed in 1965 and originally called themselves The Misfits, changing their name just prior to undertaking a six-month residency at Houston's Living Eye Club – one of the centers of the area’s thriving psychedelic scene. The Lost And Found were one of the several obscure Texas psychedelic groups recorded by the International Artists label, most famous as the home of the 13th Floor Elevators. Like their label mates the Golden Dawn they also sounded very similar to the Elevators. The Lost And Found’s psychedelic sound was assuredly drug-inspired; one of the reasons they signed with International Artists. Lost And Found recorded their one and only album, ‘Everybody's Here’, in the summer of 1967, working with producer Lelan Rogers and engineer Frank Davis. Made up of mostly original material written by group members Harrell and Frost, except for a cover of the Elevators’ ‘Don’t Fall Down’ it was certainly a strong debut, melding the influences picked up on their LA jaunt with more esoteric elements picked up from the Elevators, and their mystical quest for pure sanity. The group broke up after only one album, Forever Lasting Plastic Words, which became a highly valued collectible years later and sealed copies are genuinely hard to come by. Price: 400 Euro
996. LOU REED: “Metal Machine Music – Mugendai no Genkaku” (RCA Victor – RCA-9111~12) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint/Obi: Near Mint). WHITE label promotional copy. Hideously rare and seldom offered 1975 Japanese pressing of this monumental Lou Reed album. Comes with the seldom seen obi and has extensive liner notes within the gatefold sleeve that are penned down by no one else than Taj Mahal Travelers and Fluxus activist Kosugi Takehisa. Inner of the gatefold has slightly different design than the regular European and US pressings. Also what makes the Japanese issue so bloody rare and sought after is the fact that the album was withdrawn from circulation shortly after it was released, making that only a very few copies actually got sold which could not be retrieved. “Metal Machine Music” is almost impossibly challenging and assaultive. Reed has said often that his biggest influences at the time were John Cale and La Monte Young's early work in the Theatre of Eternal Music, and he wanted to create music like their drone experiments. What he comes up with is sixty-four minutes of unrelenting sonic feedback, at any time containing a thousand or more individual melodies. The composition is exactly what the title claims it to be; mid-range heavily-distorted tone generation, with A=440 drones laid over shifting, bubbling masses of noise at surrounding frequencies. While “Metal Machine Music” lacks the classical-symphony structure of some of minimalism's greatest works, it's certainly not one continuous sixty-minute drone. That it was so desperately shunned by the record-buying public is a travesty, but probably to be expected in a world where dance music was king. Truly unrelenting and excessive, yet impossibly beautiful, minimalism this severe is not everyone's cup of tea. To invoke Jackson Pollack, this is “the way things end, a symphony for the last man”. But ultimately it's just frightening. Listening to "Metal Machine Music" is sublime in the most personal sense, for it incinerates all rational expectation and exposes the secret terror that this is how things really are. Price: 250 Euro
997. LOUIS and BEBE BARRON: “Forbidden Planet – Electronic Music by Louis & Bebe Barron” (Tenth Planet – PR-001) (Record: Near Mint/ Jacket: Near Mint). Another Legend of the Early Electronic World has past on. Louis & Bebe Barron's atmospheric, eerie and sinister electronic soundtrack to the cult classic sci-fi movie from 1956, Forbidden Planet starring Walter Pidgeon, Anne Francis, Leslie Nielsen and Robby the Robot. The groundbreaking Forbidden Planet soundtrack is credited as the first all-electronic music soundtrack for a major commercial movie and was unlike anything that audiences had heard before. In fact, during one preview of Forbidden Planet, the audience actually broke out in spontaneous applause as the sounds of the spaceship landing on Altair IV filled the theater! Making electronic music was slow and laborious process back in the 1950s. Louis Barron built electronic circuits, which he used to generate sounds. Most of the tonalities were generated with a circuit called a ring modulator. After recording the sounds, the couple further manipulated the material by adding effects such as reverb and delay and also by sometimes reversing and changing the speed of certain sounds. Made with primitive equipment years before any commercial synthesizers where available. Amazing primitive outer space-a-delic buzzing, squeaking, sneering and crackling sounds, Stone Age electronic music on display that is bound to resonate through the canyons of your deserted mind. Fantastic!!!! Price: 50 Euro
998. LOVE: “7 And 7 Is b/w My Little Red Book” (Elektra – JET-1715) (EP Record: Near Mint/ Picture Sleeve: Mint) Japan only EP release housed in killer picture sleeve. Rarely surfaces with all intact and this copy is just perfect, impossible to ever upgrade upon. Price: 450 Euro
999. LOVE: “Stand Out b/w You Are Something” (Blue Thumb/ King Records – HIT-1814) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare 1970 original & Japan ONLY EP & picture sleeve issue of Arthur Lee’s Love. The A-side is a live cut from a gig in London and the B-side is an unreleased track. This makes this issue quite an unique Love release. Stunning condition. First copy I have in many, many years. Comes in beautiful eye-popping sleeve art. Price: 400 Euro
1000. LOVE: “S/T” (Elektra Records – EKL-4001) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Very rare UK first original pressing – MONO issue on gold colored Elektra label. After gigging around the Los Angeles scene for three years, Arthur Lee was ready for something different. Inspired by seeing The Byrds live, he decided to merge their folk-rock sound with the driving R&B he had been playing to create a new group, dubbed Love. Recruiting guitarists Johnny Echols and ex-Byrds roadie Bryan Maclean, bassist Ken Forssi and drummer Alban “Snoopy” Pfisterer, Love began recording their eponymous debut LP in January 1966. Their first single, Bacharach/David composition “My Little Red Book,” spotlights an insistent, menacing riff that sounds nothing like what their contemporaries were committing to vinyl. Other cuts highlight the writing talents of Lee and the band members, notably on Lee’s anti-drug essay “Signed, D.C.” and Maclean’s “Softly to Me.” Also included is their version of the rock standard “Hey Joe,” rivaling The Leaves’ hit version for power and sporting some lyric alterations. The group, which lived communally at the time in a house formerly owned by Boris Karloff (they are pictured in the house’s garden on the LP cover), quickly coalesced into one of the West Coast’s most influential and exciting groups; here is where it all began. Here you have the very first UK MONO pressing – on the GOLD Colored label – of this classic, and pressed on high-definition original vinyl. Top condition. Hard to find in such a nice nick as this baby here. Price: 300 Euro
1001. LOVE: “Forever Changes” (Elektra Records – P-8609E) (Record: Near Mint ~ Mint/ Jacket: Near Mint 〜 Mint/ Insert: Mint/ Obi: Mint). Original Japan first pressing complete with obi. Top condition. “Despite being undoubtedly a psychedelic folk album, Forever Changes is one of the oddest, most sinister products of the mid 60s West Coast that you’re ever likely to hear. The band, formed around the twin talents of Hollywood brat, Bryan MacLean and folk beat rebel Arthur Lee, were seen as moody outsiders to the LA peace 'n' love community, known for their insularity and rather edgy image. By 1967, after two albums, the band was holed up in Bela Lugosi’s mansion in the grip of acid-fried egotism and early heroin addiction. Always drawn to outsiders, it was Neil Young who originally agreed to produce, but dropped out at the last minute, leaving it to Elektra’s house producer, Bruce Botnick (aided by Lee). Dismayed by the band's sorry state he drafted in session players like Hal Blaine and Carol Kaye. Luckily this had the correct galvanizing effect and the band pulled themselves together just enough to complete the sessions themselves. The result was the aforementioned weird mix of gossamer psych folk and itchy LSD musing. MacLean's Alone Again Or with its Southern Californian mariachi frills is a disarmingly pretty opener. But Lee’s lyrics are exactly on the cusp between blessed out surreality and bad trip paranoia. Live And Live has one of the strangest opening lines of all time in: ''Oh, the snot has caked against my pants/It has turned into crystal…'' but within one line the protagonist is wielding a gun to repel all trespassers. Meanwhile on A House Is Not A Motel, after sarcastically singing that, ''the streets are paved with gold'' he says: '' …the water's turned to blood, and if you don't think so go turn on your tub and it's mixed with mud''. Such reminders of the beast lurking underneath the hippy dream were probably too blunt for an audience desperate to escape the reality of Vietnam and civil unrest. And that's why it took years for first the cognoscenti and now, seemingly, the rest of the world to catch up with this startling album. It didn't avert the demons banging at the door of Love's mansion, but it serves as an eternal reminder of the other side of idealism's coin.” (Chris Jones BBC Music). One of the greatest albums of all time, this is the rarest issue of this masterpiece, in top condition with FIRST ISSUE OBI. Price: 150 Euro
1002. LOVE: “Da Capo” (Elektra – EKS-74005) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint) US 1st original pressing on the gold toned Elektra label, Love’s second LP from 1966. “Side one is brilliant, an ahead-of-its-time and still unique mix of garage rock, hard rock, folk rock, exotica and magical imagery. Lee’s creative use of unusual chord patterns and flamenco guitar is distinctive and the bizarre urgently hyperactive structure to’7&7 Is’ is unmatched by anything in the genre except maybe The Music Machine’s ‘Talk Talk’. Anyone paying attention at this point could tell that something very special was brewing. Side two however is a huge bore. They didn’t have enough material for a full album so they included a jam that they routinely played in concert when they wanted to piss off an unappreciative audience. They were the first rock band to record a sidelong song. By the way, The Rolling Stones ripped off this album twice: the lyrical concept of ‘She Comes In Colors’ was taken for ‘She’s A rainbow’ and the vocal improvisations on ‘I’m Going Home’ appeared soon after the Stones saw Love play ‘revelation’ in concert” (AM – Endless Trip). Amazing album but I rather like the sidelong jam on side two which never failed to rock my neck of the woods. Top condition. Price: 150 Euro
1003. LOVE LIVE LIFE + ONE: “Love Will Make a Better You” (King Records – SKK-3009) (Record: Excellent 〜 Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint). Fantastic copy of this all time psychedelic free improvisation masterpiece, one of the rarest psych artifacts to roll out of Japan. Jacket is very white with only a very few faint mildew spots but is one of the cleanest ever to cross my eyes! This one here comes with the hardly ever seen obi attached, making it a monster rarity!! 1971 original release in exquisite gatefold jacket. Like so many other groups, the formation of this outfit happened rather coincidental and took place in 1971 at the premises of newly found record label King (°1970), that profiled itself as mainly being preoccupied with jazz related activities. One of the central figures circulating at the fringes that scene was the saxophone player Kôsuke Ichihara and flutist Toshiaki Yokota. The sessions took place under the banner of “New Emotional Series” and succeeded in attracting a wide range of illustrious musicians such as Kimio Mizutani, Yanagida Hiro and Chito Kawauchi. Other interested musicians like Takao Naoi and rock star singer Akira Fuse drifted in for the “New Emotional Series” sessions, grouping themselves in the one-time off outfit Love Live Life + One. King released the unit's album “Love Will Make A Better You” in April 1971, which displayed a consistent, advanced jazz-rock sound in the vein of King Crimson's “Islands” and Keith Tippet, infused with improvisational interplay, vicious organ riffage and frantic chord changing. To top it all off there is Akira Fuse's frantic soulful vocal attacks, the free jazzing meets psychedelic blizz interplay and the fuzzed out organ napalm bomb like attacks that spiced it all up. In short, a whirlwind of lysergic dementia and one of the hottest psyched out monster disc to come out of Japan. KILLER all way through, highest ever-possible recommendation and blood rare. Record is in fantastic shape all way through with no visible defects. Gatefold sleeve is crisp and clean with no damages or splits. One of the best copies to have ever crossed my eyes and getting next to impossible to get in fabulous shape. Copies do not surface anymore here so…getting next to impossible to dig up. Comes complete with INSERT and always missing first issue OBI!!! These babies will break the bank in years to come as Japanese psych artifacts are getting close to extinction with every breath you take. Take my word for it. Price: Offers!!!!
1004. LOWELL DAVIDSON TRIO: “S/T” (ESP Disk – 1012) (Record: Mint/ Jacket: Mint). One of the most obscure 60s jazz sessions on ESP -- a really free outing from pianist Lowell Davidson, working here in a trio that includes Gary Peacock on bass and Milford Graves on drums! Davidson's approach to the keys is quite far out, especially for the time -- very much in the mode of Cecil Taylor, but possibly even more open-ended than Taylor's work up to this point. He doesn't get lost in the open spaces, though, thanks in no small part to the intuitiveness of his players. The last is evidenced in the marvelous imagery that rises on this, his only record. Lowell had Gary Peacock on bass and Milford Graves on percussion, a rare pairing that gives insight to his vision. They work well in the free flowing and changing dimensions he sets up, ready for his every whim, alert to his agile shifts. Davidson could make the piano speak in many different ways. His mainstay was improvisation, and he let his right hand find founts of inspiration and invention in beautifully flitting notes as well as deep emphasis. Davidson did not let space dominate the intervals. He let it in judiciously. And when he did, Peacock and Graves moved in. Really wonderful stuff that's loose, angular and engrossing all the way! Tracks are all longish originals Davidson ups the pace and the depth and as intensity storms in, he darts about before cutting loose and hammering home a welter of well conceived notes. But it is not all boil and fury. Peacock takes over, drawing in the propulsion and getting Davidson and Graves to soak in the calm. It's well-crafted, with the groundwork paved with rich imagination. Price: 75 Euro
1005. LSD: “S/T” (Capitol Records – TAO-2574) (Record: Excellent/ Gatefold Jacket: Excellent ~ Near Mint). Original Capitol pressing on rainbow label. One of the most famous, and arguably the most entertaining, spoken word drug LPs of the 1960s. An unaccredited Dick Clark narrates with superbly silver-tongued and subtle sarcasm as various aspects of the expanding LSD scene are examined. The bad trip of poor 'Brian' is particularly memorable, along with unique to this album acid raps from Leary, Ginsberg, Kesey. Superb gatefold cover. “Extraordinary documentary on the new drug craze sweeping the nation, one of the best and most entertaining spoken word LP’s of the era. The narration is superbly eloquent and manages to portray the whole acid wave for con-men and loonies, without ever saying so openly. Alan Ginsberg, Laura Huxley, Ken Kesey get only to see their most bizarre sides exposed, while Tim Leary fares better doing his usual ritual spiel. There are interviews with dozen of teenage heads, and an unforgettable peak is reached with an actual trip recording of “brain”, a hipster acidhead who unfortunately happens to have his first bad LSD experience while being recorded. The Brain recording is authentic-sounding and either funny or pretty scary depending on how hardcore you are. A highly sophisticated anti-drug Lp and the artwork and photos are equally outstanding. All material is unique to this album, which was released as early as August 1966” (PL – Acid Archives). Top LP, to these ears, when spinning it I look back with much pleasure on my own dives into the lysergic pool….so listening to it does not come over as “anti” per se but either creates an crave for some additional drops towards wonderland avenue. Price: 75 Euro
1006. LUCIER, ALVIN: “Bird and Person Dying” (Cramps RecordsCRSLP6111/1) (Record: Mint/ Gatefold Jacket: Mint/ Imprinted Inner Sleeve: Mint). Original 1976 Italian pressing. “When experiencing this piece performed live it was like nothing I could have ever imagined. 15 minutes of bird calls feedbacking. Tone, Pitch, Volume and Phantoms controlled by Mr. Alvin Lucier walking from the back of the room to the front. With the most slight movements of his body he created swoops of sound. Deafening high frequencies and ghostly lows, sculpted by his slow motion creep across the room. The tools he used to create this audio beauty: A small speaker mounted on a microphone stand (on stage), a small box of electrical wizardry (in his left hand), a coil of wire leading back to the stage (in his right hand), two minature Sennheiser binaural microphones (one in each ear) and a very talented Sound Engineer at the desk. There was something else amazing about this piece. Alvin creates Phantoms, these are ghost frequencies which sound like they are eminating from the centre of your head, you feel confused and anxious as you hear these sounds and frantically look around the room to see if anyone else is experiencing them, only to hear/feel them leave your head and go off on a journey around the room. You search frantically for the source of this sound but to no avail. This record is quite simply amazing! Nothing can ever re-create the ambience of the live performance, but you have to experience this to believe it, soo BUY IT!!!”(A. Hobden). Right on. Price: 150 Euro
1007. LUIS DE PABLO: “We - Nosotros – We” (Polydor – 2310-117) (Record: Mint/ Jacket: Mint) One of the best electronic/ musique concrete/ sound art records ever to be put down on wax. Recorded in 1969 at the Electronic Music Studios of Madrid Spain, “We – Nosotros” is one of the greatest music concrete albums ever to be put down to wax. Responsible for this masterpiece is Spanish under-documented composer Luis De Pablo. The opus begins by a counterpoint of a series of impulses which are ending in silence. Gregorian deformed chanting comes into the picture, get permanently modulated and superimpose episodical interventions of the Gregorian chant itself. In the normal tempo. Suddenly an irruption of liturgical music of Ethiopia and of the Persian Gulf, ending in new Gregorian lines modulated in double tempo, together with various kinds of waves enter in the picture. The Gregorian chant is getting more and more piercing and the waves lead up to new Arabian and Ethiopian interventions as a counterpoint of explosive sounds out of a series of consonants out of the Spanish language. Further down the line, Turkish and Mauritanian interventions begin to overlap, interacting with improvisations of a carnival in Havana. It all joins in a phase of palpitations, symbolizing the rhythm of the Tibetan language, which in its turn is merging in synthesis with various human voices – all very distinctive and emotional. Rapid modulated Gregorian flashes, waves, Segovian suavity, human voices and different noises lead to a further explosion of Gregorian chorus, mountain songs and Tibetan texts; all this with a background of human voices in linguistic phase (Armenian, Roman, Madagascan, Sanskrit, Vietnamese, African). These voices slow turn into a phase of discourses in close relation to the Gregorian. African sound snippets emerge slowly to the foreground, swelling until it accumulates in various kinds of music reminding of the turmoil of WWII. Asian, Brazilian Indian voices and New Guinean interruptions also enter the mix and deviate into a swelling deformed instrumental phase. In all it leaves the listener with a sense of the unreal, an enormous cry crescendo innuendo. A monumental work, largely overlooked, unknown and hard to find. Highest possible recommendation. A killer from beginning to end. Price: 150 Euro
1008. LUIS ECA Y LA FAMILIA SAGRADA: “La Nueva Onda Del Brasil” (RVV Discos – RVV-1136) (Record: Mint, not even a single mark, looks like it was sent over here directly through a time machine – perfect/ Fragile Jacket: Mint – still in original shrink). Impossible to ever find a better copy. Mint all the way of impossibly rare Brazilian gem. Pianist Eca was the leader of avant-bossa masters Tamba Trio who disintegrated at about the time this album was recorded in 1970. This album features all of Eca’s favorite tricks: stop-on-a-dime changes, massed voices, and ever-changing grooves. These characterized the Tambas latter years (their Samba Blim set produced by Creed Taylor has just been reissued) and this album takes several baroque steps further. Furthering the Tambas complicated sonic constructions with a greater instrumental range possible than in a trio format, Eca’s horn arrangements are particularly on point, especially in the epic opener "O Homen Da Sucursal/Barravento” and the album’s best track, the insanely polyrhythmic "Atras Das Portas Da Tarde. This last tune includes outstanding work by avant-roots percussionist Nana Vasconcelos early on in his career. Another special guest who was just starting out a long and varied career is Joyce, whose Brazilian Joni Mitchell-isms crop up frequently. On the whole, Onda Nova Do Brazil has a more pronounced psychedelic samba soul feel than the Tamba Trio ever did. This album remained unreleased until 1978, when it was originally issued in select Mexican hotels, which was the primary business of the label owner.” (David Dacks). Amazing record, Joyce can be heard providing the backing vocals and other illustious Brazilian big names make up the frame work of the line-up that reads as a who is who of the Brazilian Bossa underground. Absolutely fantasmic bossa hippie explosion. A waterfall of Sergio Mendez/Hellers vocals, big honkin' mariachi brass, tightly driven bossa acoustic guitars, and funkadelic murk. It's all mixed together & squirts in your face just like a grapefruit. Recorded in Mexico in '70 but went unreleased until '78, when it probably sounded like a drugged-up airline commercial more than anything else. They were the house band for a hotel chain, and the record was issued as a souvenir for the hotel gift shop.Top condition, impossible to find better of this 1970 Brazil gem that was released only in Mexico. Price: Offers!!!!
1009. LYMAN, ARTHUR & His Group: “Paradise” (London – SLC-114) (Record: Mint/ Fragile Flip Back Jacket: Mint/ Obi: Mint). First original Japanese high quality pressing from 1964 complete with obi. Released on the heels of Lyman At The Crescendo and followed up with Cast Your Fate To The Wind. These two albums are pure Lyman exotica. This album features covers of many exotica favorites including Poincianna, Shangri-La, Pearly Shells, Baubles Bangles and Beads and Song Of India. Lyman charted with his single Love For Sale in 1963, so he was surfing a crest of success during this period with his brand of exotica. This one here is the 1st Japanese pressing, with rare obi. Top condition, virginal all the way. Japanese original from 1964 is pretty rare, 1st time I see one all complete. Impossible to upgrade upon. Price: 70 Euro
1010. LYMAN, ARTHUR & His Group: “Mystery In South Pacific” (London – SLC-118) (Record: Mint/ Fragile Flip Back Jacket: Mint/ Obi: Mint). First original Japanese high quality pressing from 1964 complete with obi. From Hawaiian sounds to Polynesian melodies, with side trips into jazz and Broadway, Lyman was one of three reigning kings of exotica. Having learned his lessons in exotica while playing the vibraphone for Martin Denny, Arthur Lyman went on to become one of the Big Three (along with Denny and Les Baxter) in exotic lounge music during the '50s and '60s. He deftly grafted unusual tropically inspired instrumentation and jazzy arrangements onto tunes ranging from Polynesian melodies to Broadway standards. Killer and classic Exotica slide, this one here is the 1st Japanese pressing from 1964, with rare obi. Top condition, virginal all the way. Japanese original from 1964 is pretty rare, 1st time I see one all complete. Impossible to upgrade upon. Price: 70 Euro