RARE RECORDS CATALOGUE
K-L
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

1202. 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: 50 Euro
1203. 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

1204. KAGEL, MAURICIO: “Staats Theater” (Deutsche Grammophon – 2707.060) (2 LP Set: Near Mint/ Box: Near Mint/ Booklet: Near Mint). First original pressing. Top condition, appears never to have been played at all. In all of his music, Kagel plays games to which he alone knows the rules. "Mauricio Kagel, who was born in Argentina in 1931 and who has spent most of his creative life in Germany, is a composer with an earnest sense of the absurd. The conceptual element in his music is strong. For example, in his work Staatstheater - Opera To End All Operas, the conductor is asked to fake a fatal heart attack.” The box is a bewildering collection of possible actions notated on separate cards, which instruct ad random the opera singers and to which they must react and interact. In this work the cards can be put together in a formal or informal manner to create the piece. Kagel extrapolated on this technique and reached its climax with his Staatstheater creation, Kagel's first opera and one of his most sharply anti-institutional works, which he called "not just a negation of opera, but of the whole tradition of music theatre."Fantastic avant-garde creation and sound art piece de resistance. Price: 200 Euro

1205. KAK: “S/T” (Epic – BN-26429) (Record: Near Mint/ Jacket: Excellent ~ Near Mint with no ring wear at all, no damages, has small minimal crease only). Original 1st US pressing. Top condition copy! 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. Top condition copy, next to impossible to upgrade upon. So because the condition of this one is so outstanding it needs your best shot. Price: Offers!!!
1206. KAMAL ABDUL ALIM: “Dance” (52e Rue Est – RE-005) (Record: Near Mint/ Jacket: Near Mint). Scarce French original that rarely surfaces, was first released in France in 1987 and after that it was reissued in the States on the Stash label. These funky tracks are featured on the Alim's hard-to-find 1983 album Dance, which features some jazz heavy weights including James Spaulding (Alto & Flute), Bobby Watson (Alto & Soprano), Ron Burton (Piano), and Idris Muhammad (Drums). The remainder of the line-up is rounded out by some lesser known, yet solid musicians that include Sabu Adeyola (Bass), Abdul Wali (Guitar), and Abdus Saboor (Percussion). The entire record is solid from start to finish, staying with an overall soulful jazz groove that blends nicely with some of the albums more spiritual moments. Overall, this is an amazing record that comes highly recommend. Scarce French only issue in top shape and NOT the later Stash pressing which is more common. Price: 150 Euro
1207. KAMIKAZE: “The No More Series” (Private – a-8104) (8-Inch LP Record: Near Mint/ Jacket: Near Mint). Fucking rare and largely unknown Japanese private press demented punk slide released in 1980 in a small run of only 100 copies. This is one rare bird and not surprisingly largely unknown. Copies just do not surface but the music is pure heat! Kamikaze (best name for a punk band – as these guys were for fucking REAL!!!) were a degenerate trio that left behind the acid-soaked late seventies psych and early punk scene and traded it in to seek sanctuary in the gritty basement of amphetamine-soaked freedom culminating bruised dungeon ankle-chopping riffs of the most primitive kind. The band comes over like a Pitbull running around on crack, creating a blissful degrading experience that is hard to keep a focus on what is really going on! It all culminates on their cover of the Stooges’ “I Feel Alright” but unlike the original version, Kamikaze soaked the bastard with gasoline and tossed a match on it! Primitive, stripped down to the bare minimum, gritty, unhinged, nasty and jaw-breaking! Kamikaze’s sole 8-Inch (the devil’s format!) 4-track record is teeth-grinding slab of prehistoric hellish intensity that makes you foam at the mouth, like the rising edge of a speed trip. Top condition, impossibly rare and all killer no filler private press punk slide! Price: Offers!!!
1208. 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: Offers!!!!
1209. 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
1210. 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!!!! SOLD

1211. KAN MIKAMI: “Mikami Kan Enka no Sekai - Sentoukouta” (Columbia – CD-7106) (Record: Near Mint/ Jacket: Near Mint/ Insert: VG++/ 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: 400 Euro

1212. 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!!!!
1213. KAN MIKAMI, YOSHIZAWA MOTOHARU, HAINO KEIJI: “Jou” (PSF Records - PSF-5) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). The fist album in a series of two, released in 1990 in an edition of 500 copies only. Getting scarcer with every breath you take. Defining slab of underground activity that instigated the late eighties and early 1990’s boom of independent sub-cultural activities in Tokyo’s mud hole. Highly essential album, part one and part two make a nice pair that will liberate your dusted mind. Limited press of only 500 copies way back….Price: 75 Euro
1214. KAN MIKAMI, YOSHIZAWA MOTOHARU, KEIJI HAINO: “Live in the First Year of Heisei – Ge” (PSF Records – PSF-6) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Released in an edition of 500 copies 27 years ago and long gone & dried up. One of the key released to define the late 1980s and early 1990s Japanese underground, delivered to you by three historical figures to be around for more than 3 decades. Fronted by Tsugaru folk howler Mikami Kan who batters down on a semi-acoustic guitar, he spews out detached and fragmented songs, spiked up with the roaring mumblings and vicious outcries exhorted in his native Tsugaru dialect. Flanking him are veteran players Motoharu Yoshiwaza on the double bass and Keiji Haino adding blistering lead guitar backdrops. Deprived of any catchy melodic twist and turns the trio meanders with brilliant unpredictability, improvising aloof like there is no tomorrow while all the time emanating psychedelic rays of black sunlight. Mikami definitely acts as the front man, declaiming and spitting out his lyrics rather than merely singing them, wrestling out many choppy licks and near-bluesy chord figures from his guitar. His moves get accentuated by Haino, toning down his familiar all-out guitar attack in favor of adding the appropriate and interpretative effects to each song. Still his playing is all over this disc and his effects blaze like a forest fire on the Mediterranean coast. For the rest burst of astonishing and piquant harmonica playing pierces throughout and Haino reinvents the instrument on the spot and avoids any pitfalls of familiarity. In all this is one of the defining underground discs that heralded the new Tsunami of Japanese psych and improve to hit Western shores. The disc dried up in a second, here is a change to grab a totally mint copy, it will significantly alter your sorry ass existence. Price: 75 Euro
1215. KANAI HIDETO & KING’S ROAR: “Ode To Birds” (Three Blind Mice – TBM-45) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Booklet: Near Mint). Original 1975 first pressing in top condition of highly sought-after jazz slide by former Takayanagi Masayuki sideman & collaborator. Bass player Kanai Hideto’s first album as a leader where he gets flanked by veteran scenesters such as Hideo Miyata (tenor sax, flute), Kenji Mori (bass clarinet, alto), Yasukazu Amemiya (percussion), Teruyuki Fukushima (trumpet) and Shoji Nakayama (percussion). Recorded on may 2nd and 15th, 1975 the band dwells into two sidelong compositions and renders it into one of the most undeniable powerful slides by Hideto Kanai. Integrating King’s Roar Orchestra into the record’s overall sound, Kanai marks a turning point into his sound. It is filled with apocalyptic energy, challenging new jazz with a vengeance. Moody hypnotic shadow sketches sprawl into blowouts bordering on the fusion of jazz, big band sweltering chaos and ready to break new musical grounds. A deep-seated groove breathing out openness and versatility provides a perfect counterpoint to the more free-flowing acidic fusion that flows on an almost telepathic interaction between the combo’s members. The whole affair is feversih, brimming over with a dervish kind of built up, voodoo canes and shaman-bones, asymmetric grooves and exploratory moves, flying aloft and with impetuous roar that pursues the foaming surges of waves breaking on the rocks. The ensemble broods out a lysergic fusion that skirts the edges of free jazz with varying tonal centers dodging the spaces in between and feeding off the freedom juicing out of the session and its ecstatic shrapnel it propelled into orbit are some of the ingredients on which floats this nucleus of sensitivity and rhythmically delivered chord clusters. This record is a king hell highlife fuck-around from start to finish, a monster disc and listening to it feels like sitting in a Jacuzzi bubble bath with coked up high class hookers on your side, above and under you and suddenly feeling your nuts on fire. It is a jam at its most beautiful, spontaneous and unbelievable. Just a killer free jazz jam that only uses the big band ingredient on crucial moments to accentuate magma bubbling up to the surface, blowing off steam before scraping back to free form singular madness. One of the best titles to seep out of the TBM catalogue, this one burns so hard it borders on total exhilaration! Comes complete with booklet and obi! Price: 275 Euro
1216. 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: 250 Euro

1217. 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: 150 Euro

1218. 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: 450 Euro
1219. 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: 75 Euro
1220. KAWANO YOSHIKAZU - SAIMINJUTSU: “S/T” (Asahi Shinorama) (4 Flexi discs: Near Mint/ Gatefold Booklet styled Jacket: Near Mint/ Attached 16-paged fully Illustrated Booklet: Mint). Top-notch copy of this beyond belief rarity out of the bowels of the early seventies scum psych hypnotism weirdness. On the look out for totally obscure and below the radar early seventies Japanese weirdness to impress your few friends and records buffs with? Well then look no further, this will certainly do the trick. First of all Yoshikazu Kawano is not exactly a name that will catapult your ass out of that lazy chair, unless you are acquainted with either the Japanese early seventies hypnotism community or with much sought after underground labels such as Teng Records out of Osaka that released a similar cultural oddity by like Hikita Tenko or this obscure-beyond-belief quadruple flexi-set that could be obtained through your local Asahi Newspaper subscription on July 10th, 1962. It is in a similar aesthetic that this Yoshikazu Kawano disc falls into place. Kawano was an illusionist/ hypnotist and medical practitioner who got quite some minor fame in Japan in the years to follow. But at the time of this recording, Kawano – as one of the first generation hypnotism practitioners - was just a struggling and largely unknown doctor and hypnotist who recorded this one oddity for the Asahi Newspaper who aimed at impressing their readers with this sub-cultural oddity. As might be expected, he tries on this recording to convince you of his powers, drowsing you off into a deep slumber as well as demonstrating his ability. Still that is not all that goes on and while Kawano is doing his thing, there is quite some submerged but utterly minimal background musical activity going on. Advertised as just “hypnotism” Kawano is boarding on some weird endeavor, balancing on a loungey cocktail act that is trying to catch you off guard and let you seep into a deep slumber. The comforting voice of Kawano that seems to be coming at you from beyond the grave is combined with the soft musical vibes, sounding disturbing and creating a weird atmosphere. – especially through the interaction with his subjects when they douse off and seem to loose all touch with reality, past and present, creating a canny listening experience The vibe is distinctly primitive, spiced up with a slightly drugged out vibe. This one will appeal to all of you insomniacs out there. Needles to say, this beauty is hideously rare and just never turns up here due to totally bummed sales at the time and the marginal public it was catering to, making that maybe only a handful are still in circulation today (while the remainder of the initial pressing was sadly enough but probably hoarded of to a near dumpster to get incinerated). Last copy I saw up for sale sold within 5 minutes for 700 euro a couple of years back. This copy is near mint so a better copy does not exist I believe and seen in that light, combined with the scarcity of this artifact I think we have a fair price. Recommended for all of you hyper rare vinyl enthusiasts, borderline music and just plain weirdness lovers. Comes housed in a cool booklet and designed in an almost art nouveau kind of way. Psychedelics avant la latter. Price: 100 Euro

1221. KAYN, ROLAND: “Makro I – III – Elektroakustisches Project” (Colosseum – Colos SM 1477) (3-LP Set: Near Mint/ Box: Near Mint/ Booklet: Near Mint). Roland Kayn is a less known German composer living in The Netherlands. Since the Sixties he is focusing on what he calls cybernetic music: Kayn just sets the basic parameters and then lets his equipment play alone...not unlike David Tudor's live electronic music, which reminds more of a living garden of electronic circuits rather than conventional compositions. The end result is a flash of mind-bendingly awesome electronic music. “Roland Kayn (born 1933 in Reutlingen, Germany) studied from 1952 to 1955 in Stuttgart at the "Hochschule fur Musik", and at the "Technische Hochschule" with Max Bense. He was a pupil of Boris Blacher at the "Hochschule fur Musik" in Berlin from 1956 to 1958. He later worked in various electronic music studios-In Cologne, Munich, Warsaw and Utrecht. "In my work the compositorial redactional methods are determined by acoustic-physical considerations. Important stimulation resulted from experience and knowledge of information theory and cybernetics. His development took a path outside the serial-aleatoric tendencies of the fifties, a path which can be described by the term 'cybernetic music'. Since 1962, working on my scores of 'Galaxis' and 'Allotropie', I have been increasingly interested in the problem of the extent to which processes of automatically cybernetic origins can be reduced to the organic-sensory realm. In 'Cybernetics III' (1969) the main object was to control several independent sound sources in such a way that density of information corresponds to certain entropy values. In the version produced in the Studio di Fonologia in Milan, ten sound sources are placed in relation to one another according to a particular selection principle. The entire basic material consists of sound spectra of vocal origin. In contrast to purely electronic sound production, in which various oscillators provide the basic material, vocal spectra seemed to be more flexible in their inner structure for purposes of further transformation. Six basic categories of sound material are used, including animal noises too. The material is modulated by means of electro-acoustic equipment and transformed by stages into new sound qualities." (Notes From Deutsche Grammophon 2543 006). Killer vintage electronic box set, released privately by Kayn. Utterly stunning electronic music. Price: 350 Euro

1222. KELLEE PATTERSON: “Maiden Voyage” (Black Jazz/ Toei Geion – YX-6070) (record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Hopelessly rare 1974 Japan 1st original pressing all complete with insert and never seen before OBI. Despite an offer from Motown Records Patterson chose to go with the less well-known but arguably much hipper Black Jazz Records, which resulted in this fantastic album, originally released in 1974 and featuring a great vocal version of Herbie Hancock's "Maiden Voyage". It was the most righteous album ever from Kellee Patterson – her first record, and a set that's way different from her more soul-based sides of later years! The album's got Patterson working in a wonderfully soulful approach to jazz – a style that's not unlike the earliest work by Dee Dee Bridgewater, especially her seminal Afro Blue album – and which mixes Kellee's unique vocals with some very hip backings that are right in the best Black Jazz mode! Instrumentation is from a loose jazz combo, and the tunes are a mix of jazzy numbers and a few tighter tracks – a really rich array of sounds that comes together beautifully in the hands of producer Gene Russell and accompanied by George Harper's sprightly flute and a subdued rhythm section, Patterson's lovely, sure-pitched voice fits the love song ‘Magic Wand of Love’ and the boogaloo ‘Soul Daddy’ well, as does her interpretation of lyrics specially fashioned for the Herbie Hancock instrumental ‘Maiden Voyage’. These babies sold next-to-nothing when they were released here domestically and copies complete with obi are bloody rare, bordering on the hopelessly insane. Top condition original. Price: 475 Euro
1223. KENNY DREW TRIO: “The Kenny Drew Trio” (Milestone/ Victor Records – SMJ-6037M) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Top condition Japan original all complete with cap obi. Mono pressing. Kenny Drew with the assistance of bassist Paul Chambers and drummer Philly Joe Jones, explores six standards and two of his originals. Although Drew would have to move to Europe in the early '60s in order to get the recognition he deserved, it is obvious (in hindsight) from this enjoyable date that he was already a major improviser. The opening track alone is already enough to suck you straight in and justifies the admission charge. A immensely enjoyable set one keeps returning to on repeat. Soo overlooked but damn, so addictive when the needle hits the groove. Top condition with obi. Price: 50 Euro
1224. KEYS, CALVIN: “Shawn-Neeq” (Black Jazz/ Toei Geion – OPL-2005) (Record: Near Mint/ Textured Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). WHITE label PROMO issue, Japan 1972 first original pressing. A stone classic on the Black Jazz label – and one of the most unique guitar albums ever! We're not sure what the title meant originally – but over the past few decades, it's come to stand for some heavy heavy guitar work from the legendary Calvin Keys – a record that's really stood the test of the time, continually rediscovered by new generations of diggers! Keys has a very unique touch here – a mix of open chords and tighter lines – beautifully wrapping up a history of soul jazz guitar that stretches back to the early 60s – then propelling things forward with loads of righteous 70s spiritual jazz energy. The set also features loads of sweet keyboards – played by Larry Nash, and mixed with flute and "hose-a-phone" from Owen Marshall – set to grooves from Lawrence Evans on bass and Bob Braye on drums. A stone classic from the Black Jazz label! Price: 350 Euro
1225. KEYS, CALVIN: “Proceed With Caution!” (Black Jazz/ Toei Records – YX-7017) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan original pressing with obi. “This date followed Keys’ first, Shawn Neeq, by about two years. Hazy, psychedelic, post-bop is the order of the day here as well, but as most soul-jazz collectors will tell you, there's always a chance for some monster funk on a Black Jazz record so, as predictable as these releases may be on the surface, you never really know until you hear them. In this case, the bomb drops at the beginning of Side Two with "Aunt Lovely." While probably a little too 'out there' for most dance floors, "Aunt Lovely" begins like some of the best funky Grant Green of the era. As the track progresses, though, it gets more than a little hectic -- especially during Charles Owens’ Pharoah Sanders-esque soprano solo. Kirk Lightsey’s overdriven and distorted electric piano only serves to add to this tension later. Otherwise, Proceed With Caution moves along rather like most good Black Jazz and Strata-East dates: a touch of straight bop here, some sustained and swirling Rhodes organ there. Keys may not blow you away with his licks, but he certainly never disappoints. This is a fine record very much in tune with the idiom of the day.” (All Music Guide). Price: 350 Euro

1226. KILLING FLOOR: “Call For The Politicians b/w Acid Bean” (Penny Farthing Records/ Canyon Records – Y-6-P) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Stupidly rare Japan ONLY picture sleeve single issue – WHITE label PROMO issue. Loud, finger-blistering guitar charged heavy bluesy psych monster. A raw, immediate, overdriven, psychedelic blues group as Killing Floor hits you with a heavy and reverent update of the Yardbirds rave-up sound. This s debut burns across two tracks and it is graced with that white-boys-blues trashy sound not unlike Burning Plague. Singer and harp player Bill Thorndycraft had a gruff deep down-from-the-belly vocal style, sounding utterly wasted and he had the gift to blow the harp and give the music that earthy blues feeling that could be found in all the Mississippi Delta acoustic blues. Michael Clark was an exceptional six-string slinger igniting a fire burning he let loose on his strings, molten lava emanating out of it and hitting you right in the face; you could just hear it in his playing, and the rhythm section of Bas Smith (drums) and Stuart MacDonald (bass) was steadfast and true in support of his fire branded flourishes. Lou Martin added the additional elements of keyboards to give their music more texture and a modern updated sound. Damned rare Japan only picture sleeve issue, top shape and PROMO to boot! Price: 450 Euro

1227. 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
1228. 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
1229. KING TUBBY: “King Of Dub” (Clocktower – CTLP-0101) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top shape US first original pressing. Tubby was responsible for turning dub into an art form, the creative re-mixing he pioneered at a tiny front-room studio in the Waterhouse ghetto making a long-reaching impact. Like his friend and sometime rival, Lee ‘Scratch’ Perry, Tubby was one of a handful of Jamaican visionaries whose innovations not only changed the shaped of reggae in unprecedented ways, but which also formed a template for so much contemporary music production, be it in rap and hip-hop, jungle, garage and grime, or various forms of electronic dance music — especially dubstep, the British bastard offspring of Jamaican dub. This record here is primetime Tubby with innovated traits of dub that are now taken for granted: the wildly careening repeated echoes, ghostly organs, irregular insertion of ethereal lead vocals and wordless vocal harmonies, deep deep bass, sorrowful horns, trance-like rhythms, and odd electronic effects Absolutely killer!!!! Great original copy! Hard to improve upon. Price: 200 Euro
1230. KING TUBBY: “King Tubby The Dub Master Presents The Roots Of Dub” (Clocktower Records – LPCT0084) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). First 1978 original press issue on the green colored Clocktower label. Hard to find in such exquisite condition as this copy here. “King Tubby’s dub art began to flower on remixes for producer Bunny Lee. The engineer treated hundreds of Lee productions between 1973-1975, establishing dub as a independent style in reggae music in the process. While protégés and future dub stars Prince Jammy and Scientist would eventually remix some of the Lee dub tracks under Tubby’s name, the sides on Roots of Dub are all done by Tubby himself. As the title implies, one hears the beginnings of his original dub style: a soundscape made up more by spare yet innovative deconstructions of the original sides than by the many added sound effects heard on future mixes. And while a handful of Tubby discs suffer from second-rate material, this collection stands out with some of the choicest of Lee’s rhythm tracks. No small credit for this quality goes to Lee’s amazing early reggae house band, the Aggrovators, which featured bassist Robbie Shakespeare, drummer Carlton “Santa” Davis and guitarist Earl “Chinna” Smith among others. A fine introduction to this artist's catalog.” (All Music Guide). Great shape original 1st press issue of all killer no filler heavy dub slide. Take no substitutes! Price: 200 Euro
1231. The KINKS: “Kinks Part I Lola Versus Powerman And The Moneygoround” (Pye/ Columbia Records Japan – YS-2456-Y) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint ~ Mint/ Obi: Mint). Stupidly rare original Japanese pressing all complete with rare obi. The whole affair is in stunning condition, gatefold sleeve is virginally white with no blemishes, obi is like new and the record looks untouched. Probably the best copy around in this galaxy. Price: Offers!!!
1232. 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
1233. The KINKS: “Collector’s” (Pye Records/ Teichiku – UPS-593-Y) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Japan only issue with very first issue obi. Throws together some essential Kinks tracks consisting out of: Come On Now – I Need You – Don’t Ever Change – Wait Till The Summer Comes Along – Wonder Where My baby Is – Look For Me Baby – So Long – It’s All Right – I Gotta Move – You Shouldn’t Be Sad – Ev’rybody’s Gonna Be Happy – Got My Feet On The Ground – Naggin’ – Nothin’ In The World Can Stop Me – Worrying’ About That Girl”. Comes with insert and cool Pye Records Obi. Rarely surfaces and this is a top notch copy. The Kinks ruled!!! Price: 350 Euro

 

1234. The KINKS: “Sitting In The Midday Sun b/w Sweet Lady Genevieve” (RCA/ Victor Records – SS-2346) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Top shape 1974 Japan only single issue of classic Kinks. Rarely offered WHITE label PROMO in virginal condition. Two classic tracks, eye-popping picture sleeve, a slice of Brit psych history as released in the Far East. Brilliant from start to finish. Picture sleeve is an eye-gorger, both tracks are classics. Condition is top shelf. Impossible to improve upon. Price: 150 Euro

1235. The KINKS: “The Best Of The Kinks” (Columbia – YS-2236) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ OBI: excellent). Japan only 1969 release, throwing together the Kinks best loved jammers. This is the rarely seen WHITE label PROMO/ TEST pressing. Comes all complete with scarce Columbia OBI!!! Top shape, they do not come better than this one here. Price: 175 Euro
1236. KIRK, ROLAND: “Kirk In Copenhagen” (Mercury Records/ Nippon Victor – SM-7155) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint & with languette still attached inside the cover/ Obi: Mint). Viciously rare Japan 1964 first press issue with rare first issue obi. A rare slice of work by Roland Kirk from his early years – a great live set recorded in Europe in the mid 60's – done in a looser mode than his studio sessions from the time! Kirk's playing his usual array of incredible horns – tenor, stritch, flute, nose flute, and manzello – with an international group that features Tete Montoliu on piano, Niels Henning Orsted Pederson on bass, and J.C. Moses on drums. In the setting, there's more of a hard bop feel to the material than on some of Kirk's studio sets – but given Roland's penchant for unusual phrasing, twin-reed blowing, and general free-thinking overall, the sound is pretty unique overall! Top condition and this earliest pressing just never surfaces this pristine. Price: 300 Euro
1237. KIRK, ROLAND: “Reeds & Deeds” (Mercury/ Nippon Victor – SM-7136) (Record: Near Mint/ Flip Back Jacket: Near Mint). Japan very first original press issue – this is never offered before TEST PRESSING. Again Kirk at his best in this early session. Top shape, one of a kind item. Price: 125 Euro
1238. KIRK, ROLAND: “Gifts & Messages” (Mercury/ Nippon Victor – SM-7194) (Record: Near Mint/ Flip Back Jacket: Near Mint). Japan very first original press issue – this is never offered before TEST PRESSING. “While this 1964 set is less renowned than its immediate follow-ups, it's one of the most straightforward hard bop sessions recorded by Roland Kirk (he added the "Rahsaan" in 1969) during his mid-'60s tenure at Mercury Records. As usual, Kirk plays between one and four reeds at a time throughout Gifts & Messages, his carefully thought-out yet often abandoned solos approaching free jazz at times. The assured hard bop of his backing trio, pianist Horace Parlan, bassist Michael Fleming and drummer Steve Ellington does nothing to restrain Kirk’s wilder fancies. The three are able to keep up with even his most outre offerings, such as "Vertigo Ro" and "Hip Chops," and are equally adept at the classically structured "March of Swan Lake" and the gentle "Petite Fleur."(All Music Guide) Top shape TEST PRESS! Price: 125 Euro
1239. 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

1240. 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: 50 Euro

1241. The KLF: “Chill Out” (KLF Communications – JAMSLP5) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original 1990 UK first pressing. One of the initial works in the ambient house canon, Chill Out is the practically beat-less soundtrack to a late-night journey along the Gulf Coast, and the track titles tell much of the story: "Six Hours to Louisiana, Black Coffee Going Cold," "3AM Somewhere Out of Beaumont," "Elvis on the Radio, Steel Guitar in My Soul." Recorded live by Drummond and Cauty (with much unintended help from sample victims Elvis Presley, Fleetwood Mac and the throat singers of Tuva), Chill Out consists largely of fragmented, heavily reverbed steel guitar, environmental sounds (birds, trains), occasional synth, and an angelic vocal chorus repeating the KLF’s  own "Justified and Ancient" theme. Throughout, Drummond and Cauty, display an instinctive talent for wallpaper music that's truly diverting, making Chill Out one of the essential ambient albums. Price: 150 Euro
1242. KLUSTER:Klopfzeichen” (Schwann ams Studio – ams-studio-511) (Record: Near Mint/ Gimmick Jacket: Excellent with no defects but only some minimal hazing/ Poster Insert: Excellent as it has a folding crease and a few wrinkles). Original 1st pressing out of 1970 in top condition housed in hard plastic relief jacket. Really a nice condition copy without any defects. Sole defect is some barely visible hazing on bottom of hard plastic sleeve!!!! I guess you know the drill and deal about this record so I am gonna cut it short. This beauty was released in a tiny run of only 200 copies back in 1970 and all-complete and clean copies are such a bitch to dig up these days. Top copy, record is near Mint all the way, the always-missing poster is also present and has a folding crease but no pinholes. The hard plastic sleeve is clean without defects only has some minor hazing. Really a very clean copy out there, EX〜NM all the way and next-to-impossible to upgrade upon this one. Music is a real head-caving brain sucker that keeps on resonation through the deserted canyons of your vacant mind!!!SOLD
1243. KONDO MASAOMI with FREEDOM UNITY: “Hitoribochi no Heya” (Canyon – CAL-3002) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near 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
1244. KONITZ, LEE: “Am Blues” (RCA Records – SHP-6111) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint). Rare Lee Konitz release, Japan first original press issue that comes housed in Japan ONLY jacket art. Released in Europe under the title “Stereo Konitz” and housed in totally different jacket art, this one here is the rare Japan only issue, all-complete with first issue obi. “Lee Konitz has had many opportunities to record with European artists over the decades, but this session is a bit unusual, in that all the compositions are by bassist Giovanni Tommaso and Konitz doesn't stick strictly to alto saxophone. Joining them are pianist Franco D’Andrea, trumpeter Enrico Rava and drummer Gege Munari. Tommaso’s charts delve into bop and cool, with Konitz primarily playing the Varitone (a form of electronic saxophone that was experimented with briefly and abandoned by reed players in the late '60s), though he does play some alto sax and also makes a rare appearance on flute (doubling on it in "Take Seven"). While the music from this 1968 session is enjoyable, even though the sound quality of the Varitone pales when compared to a regular saxophone, this remains one of Lee Konitz’s more obscure recordings from the '60s” (All Music Guide). Top condition copy of rarely seen high quality Japan original first pressing. Never turns up…. Price: 100 Euro
1245. KONITZ – SOLAL: “European Episode” (Fontana – FO X-7012) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Gold Obi: Mint/ Insert: Mint). Rare original Japan 1st original press issue, housed in great heavy gatefold jacket art and comes with first issue gold obi. Pretty modern work from Konitz – recorded in Rome in 1968, with a French rhythm section of Martial Solal on piano, Henry Texier on bass, and Daniel Humair on drums. The presence of Solal especially gives the session an edge – as Kontiz drifts into Solal's moody, introspective mode of the time – playing long, angular, sparely-hung solos that rank with some of his most challenging work of the 60s. Top condition and stunning sounding high quality Japanese press issue. Totally essential stuff!!! Price: 150 Euro

1246. KOSUGI TAKEHISA: “Catch Wave” (CBS Sony – SOCM-88) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint/ Card Insert: Near Mint/ Photo Insert 12 ~ 8,5 cm: Mint) Mega rare Holy grail of Japanese top copy for dead cheap. All complete with rare OBI, card insert and additional original vintage 1975 photo still depicting Kosugi and fellow Taj Mahal traveler on board of the Shinkansen train! Here you have a top-notch original first press copy of the ultra-rare Kosugi solo album. 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 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. This one is all complete with insert card, OBI and a never published before bonus vintage picture of 1975! A beast of a record and in stunning shape. Price: 350 Euro

1247. 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: 300 Euro
1248. 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!!!!
1249. 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

1250. KRISTYL: “S/T” (Kristyl/ Private – PRP-4569) (Record: Near Mint/ Jacket: Mint – still in shrink). This is a fucking killer album, a true timeless pinnacle of teenage, rural, Christian psychedelia. Released in 1975 (in a supposed pressing of only 200 copies), although it does sound like it was recorded much earlier. “Maybe not “Jesus music” per se, but some definite Christian influences on this scarce Kentucky private press monster, one that’s revered among collectors of the whole local basement psych phenomenon. Great lengthy dual guitar action with fuzz, wah-wah, tremolo jamming in psychy rural Southern-edged progressive context, balancing both heavy and soft melodic passages. Vocals are on the amateurish end, but nothing particularly grating. Spiritual angle most evident on tracks like ‘Deceptions Of The Mind’ (“pray to the messiah, pray to the living God, pray that he will forgive your sin, pray that he will save your soul”), along with ‘Like A Bird So Free’ and ‘Morning Glory’. Loud blues-rock moves on ‘Woman’ and ‘Bluebird Blues’. Only a couple hundred pressed. Mysterious faded blue cover of snake encircling the earth.” (Ken Scott – Archivist). In any case, Louisville, Kentucky seems like a bitch of a place to grow up, especially with the Lord lurking over your shoulder all of the time: “Alcohol and sex unclean, copping drugs all over the scene/What is it that we need, Lord it’s love and it’s for free”. Still, the music is consistently wonderful, splatter-gassed with dual guitars all over the place and loaded with effects and full of interesting twists and turns. On top of that, the singing is honest and clear. Certainly not as far out and blisteringly crazy as Fraction, but in the same league of expressive and god-fearing sincere and quite lysergic musicianship. A beautiful, naive feeling pervades the whole LP, like they believed anything could happen, the world could change as a result of their sounds. And they didn’t even dropped acid, so I guess the divine touch proved to be mind-expanding after all. Was around some 10 years ago, all gone to be kept in collections forever, never to be seen anymore… Top condition copy!!! Price: Offers!!!!!

1251. KROG, KARIN: “By Myself” (Philips – RJ-7153) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan 1st original pressing in top shape and with first issue obi present! 1964 recording and one of the finest moments in Norwegian/ European vocal jazz and also Karin Krog’s debut recording. Indispensable and damned rare with obi. Price: 175 Euro
1252. KROG, KARIN: “Jazz Moments with Karin Krog” (Sonet/ Teichiku Records – UPS-2019-N) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan original pressing all complete with rare very first issue OBI. Originally released by Sonet Records this is the very first Japanese press issue of a 1966 session features an all-star line-up. A young Jan Garbarek is featured on two tracks and the stellar rhythm section is made up of Kenny drew on piano, Niels Henning-Orsted Pedersen on bass and Jon Christensen on drums. One of the cornerstone recordings out of the Norwegian jazz scene, indispensable in my book. Top condition and copies with obi are a bitch to unearth. Price: 150 Euro
1253. KROG, KARIN & FRIENDS: “Joy” (Sonet/ Teichiku – UPS-2018-N) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan very first original press issue that sounds awesome. A groundbreaking session of European jazz – one of the first true moments of genius from singer Karin Krog! Tracks are long and experimental without getting too far out – and Karin's icy voice flows out magically over compelling tunes that still remain some of the most striking jazz vocals ever recorded! The set has Karin singing with a group of young, hip Scandinavian players that include Jan Garbarek on sax, Arild Andersen on bass, and Terje Bjorklund on piano – all of whom stretch out in long, spare, modally-influenced grooves – of the sort that completely transform the role of the singer in jazz. The whole thing's great – trippy, yet still soulful, rhythmic, and swinging! Japan first original press issue that sounds absolutely gorgeous! Complete with insert and OBI!!! Price: 200 Euro
1254. KROG, KARIN: “You Must Believe In Spring – Songs By Michel Legrand” (Philips – SFX-6019) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press issue. Here are a group of very good European musicians with many outstanding recording sessions under their respective belts taking part in an effort to transform Michel Legrand’s music into a combination of pop, rock and fusion. Every electronic gimmick ever invented by an engineer is used here. There's an electric bass, piano, echo chambers, etc. The musicians, handpicked by Mikkelborg, also offer a super string quartet led by Finn Ziegler. Philip Catherine is featured on guitar. Amongst the songs featured are "Once upon a summertime", "Watch what happens" and "Ask yourself why". Top condition. Price: 100 Euro
1255. KROG, KARIN & DEXTER GORDON: “Some Other Spring – Blues And Ballads” (Sonet/ Teichiku – UPS-2021-N) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). “The talented Norwegian singer Karin Krog sings standards and her own "Blue Eyes" on this enjoyable collaboration with tenor saxophonist Dexter Gordon. Krog, a versatile vocalist, sounds perfectly at home on such tunes as "Some Other Spring," "How Insensitive," "Jelly, Jelly," and "Shiny Stockings." Dexter is in excellent form (he had lived in Europe at that point for eight years) and the group is completed by pianist Kenny Drew (who switches to organ on "Blue Eyes"), bassist Niels Pedersen and drummer Espen Rud. This is one of the most accessible Karin Krog releases around and is recommended.” (All Music Guide). So sweet, it almost hurts. Scare Japanese first original pressing with rare obi. Price: 50 Euro
1256. 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: 100 Euro
1257. 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!!!!
1258. LA MONTE YOUNG: “Sunday AM Blues/ Bb Dorian/ The Well Tuned Piano/ Map of 49’s Dream” (No Label) (2 LP Set: Near Mint/ Jacket: Near Mint, still in shrink). Superb high quality recording 2 LP set, released in a miniscule run back in 1992. Only the 2nd time in 10 years I see a copy of this magnificent & crystal clear La Monte Young recording that features LEE KONITZ!!!! The records (one white label, one black label) come in a single die cut white sleeve with a Xerox pasted to the shrink-wrap, indicating just the track titles. No further info given on the release. One of the best La Monte Young recordings out there, crystal clear sound recording that surpasses even his official releases. Damned rare and kick ass minimal droned out sounds. The addition of Lee Konitz to the line-up is pure magic! Price: Offers!!!!
1259. 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: 275 Euro

1260. LACEWING: “Paradox b/w Our World (It Can Happen)” (Mainstream/ Nippon Columbia – LL-2460-MS) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Seriously rare 1971 Japan only issue that comes housed in great picture sleeve. PROMO issue. Very strange this got released in Japan with picture sleeve, before it dropped to the deepest depths of obscurity and vanishing with only a few having seen an actual copy. Classic Westcoast Airplane/Mamas & Papas/Big Brother influenced femme-vox folk rock and psych with fuzz leads and minor prog ambitions. Stupidly rare Japan only picture sleeve single that sold zilch and never made it beyond the promo stages, depressing sales prevented the LP from being granted a domestic release, making this sole artifact rare for all eternity. Price: 500 Euro

1261. LACY, STEVE with DON CHERRY: “Evidence” (Prestige/ Victor – MJ-7051) (Record: Near Mint/ Flip Back Jacket: VG++ ~ Excellent). Rare very first Japan original pressing in great shape. Soprano saxophonist Steve Lacy continued his early exploration of Thelonius Monk’s compositions on this 1961 Prestige date. Lacy worked extensively with Monk, absorbing the pianist's intricate music and adding his individualist soprano saxophone mark to it. On this date, he employs the equally impressive Don Cherry on trumpet, who was playing with the Ornette Coleman quartet at the time, drummer Billy Higgins, who played with both Coleman and Monk, and bassist Carl Brown. Cherry proved capable of playing outside the jagged lines he formulated with Coleman, being just as complimentary and exciting in Monk’s arena with Lacy. Out of the six tracks, four are Monk’s compositions while the remaining are lesser known Ellington numbers: "The Mystery Song" and "Something to Live For". Price: 75 Euro

1262. LACY, STEVE: “The Straight Horn of Steve Lacy” (Candid/ Victor Records – SMJ-7132) (Record: Near Mint/ Flip Back Jacket: Excellent/ Obi: Near Mint). Japan very first original press issue all complete with never offered before very first issue obi. “Some of soprano saxophonist Steve Lacy’s most interesting recordings are his earliest ones. After spending periods of time playing with Dixieland groups and then with Cecil Taylor (which was quite a jump), Lacy made several recordings that displayed his love of Thelonious Monk’s music plus his varied experiences. On this particular set, Lacy’s soprano contrasts well with Charles Davis’ baritone (they are backed by bassist John Ore and drummer Roy Haynes) on three of the most difficult Monk tunes ("Introspection," "Played Twice," and "Criss Cross") plus two Cecil Taylor compositions and Charlie Parker’s "Donna Lee.” (All Music Guide). Freakingly rare very first Japan press issue with obi, never saw a copy before until now…Price: 275 Euro

1263. LACY, STEVE: “The Straight Horn of Steve Lacy” (Candid/ CBS SONY – SOPC-57006) (Record: Near Mint/ Jacket: Excellent/ Cap Obi: Near Mint). Same as the above but this one here is the 2nd press issue out of 1971. This version is also one that hardly never shows up but of course is not as rare as the flip back version that came first. Still the obi is a rare feat. Great condition and great sounding Japanese pressing. Price: 50 Euro

1264. LACY, STEVE: “Sortie” (GTA Records – GT LP-1002) (Record: Near Mint/ Jacket: Near Mint). Italian only 1966 Italy only issue that later down the line was reissued in other country with alternated sleeve art. This is the genuine first original pressing in awesome condition!! Sortie is quite a rare Italian album from Steve Lacy – featuring a quartet with Enrico Rava on trumpet, Kent Carter on bass, and Aldo Romano on drums – the same group on Lacy's Disposability album, but with the excellent addition of trumpet – which gives the music an even more powerful sound! The mixture of Lacy's soprano and Rava's trumpet is wonderful – and Carter and Romano are on fire in terms of their rhythms – post-Monk, post-Ornette, but also maybe still with more structure than some of the free jazz generation to come – a great balance that really draws some soulful currents from Lacy's horn. Titles include "Black Elk", "Helmy", "Fork New York", "Living T Blues", and "Sortie". Damned rare original pressing of stellar free improvisation LP by Lacy and cohorts, indispensable! SOLD
1265. LACY, STEVE: “The Forrest And The Zoo” (ESP Disk – ESP-1060) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). Original US first pressing from 1967 with the first press issue address - 156 Fifth Ave – stated on jacket. This is the earliest press issue with the Black & White labels. Hereafter came the colored version labels. Virginal original pressing and best condition possible with sleeve still housed in original shrink!!! Price: 100 Euro
1266. 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
1267. LACY, STEVE: “The Forest And The Zoo” (ESP Disk/ Nippon Phonogram – BT-5052) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Mint). Japanese 2nd press issue of seminal slide all complete with obi. Getting more difficult and harder to find these copies and this one is virginal from start to finish!. Price: 40 Euro
1268. LACY, STEVE: “Epistrophy” (BYG Records/ Toei Records – YX-2015) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Scarce Japan original press issue complete with obi. “1969 French date released on the BYG label as Epistrophy. Plays Monk is also the first record Lacy made after taking up residence in Paris. His band for the outing features the legendary Italian drummer Aldo Romano, the pianist Michel Graillier and bassist Jean-Francois Jenny Clark. There are five unusually complex Monk tunes here -- "Thelonious," "Ruby My Dear," "Light Blue," "Mysterioso," and "Friday the Thirteenth" -- and two versions of "Epistrophy." This is easily Lacy’s "straightest" album from the period, and he stays melodically and harmonically close to Monk’s original compositions in the heads before taking off somewhere else in the solos. But Lacy keeps to the notion of repetition, syncopation, and melodic invention that Monk did and the band is nearly symbiotic in its communication around and with him. The music here is a delight and a revelation all at the same time.” (All Music Guide). Top shape and not seen so often Japanese original. Price: 50 Euro

 

1269. LACY, STEVE: “Moon” (BYG Actuel/ Toei Geion – YX-6056/ actuel-52) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Bloody scare Japan first press issue of classic BYG/ Actuel title complete with rare OBI. Soprano saxophonist Steve Lacy’s first recording as a leader since moving to Europe was originally cut for the Byg label. Lacy was in Rome after being "stranded" in South America for quite some time. He had embraced many of the aspects of free jazz, and his interplay with the Italian musicians (trombonist Italo Toni, clarinetist Claudio Volonte, bassist Marcello Melis and drummer Jacques Thollot), as well as cellist Irene Aebi (who would soon become a permanent member of his groups), is intriguing, often dense, and quite passionate. Lacy had not yet fully developed his more relaxed, scalar approach to improvising, but his playing is certainly quite distinctive and generally pretty lyrical during performances of his five originals. Price: 200 Euro
1270. LACY, STEVE: “Wordless” (Futura Records/ Epic – ECPL-23-FU) (SEALED COPY with OBI). Damned rare Japanese press original of Futura title all complete with insert and seriously scarce obi. “The 1971 session Wordless is an interesting and often overlooked entry in the long discography of saxophonist Steve Lacy. Relatively new to Paris at the time (he and his wife Irene Aebi had relocated there just two years earlier), Lacy was by all appearances inspired by the momentum among visiting and relocated African Americans (Anthony Braxton, Archie Shepp, and the Art Ensemble of Chicago among them) that was being documented by the BYG/Actuel label. Whatever the inspiration, Wordless is the rare free-improv record from a Lacy band, especially from his early days. The title may well come from Aebi's role on cello (prior to her switch to violin) as she passes on the vocals that make her a controversial presence among some Lacy aficionados. The rest of the band is an interesting amalgam, with Chicagoan Jerome Cooper on drums and Kent Carter, who permanently left the States for Europe in 1969 and would work with Lacy of choice for years to come, on bass. Rounding out the group is the little heard South African trumpeter Ambrose Jackson, who appeared on several Lacy and BYG sessions, but seems to have disappeared shortly thereafter. As a Lacy record, it's not the most satisfying. Musical themes are worked here that would be revisited in years to come, but it doesn't have the feeling of cohesiveness Lacy usually generates (nor does it have any Monk songs!). In hindsight, it feels more like a product of those anything-goes Parisian days, which in itself makes it an interesting document. The compositions are all credited to Lacy, but it is infused with the inventive flurry of '60s free improvisation.” (Squid’s Ear) Hard to track down Japan original with always missing obi. SEALED COPY!!! Price: 250 Euro

1271. LACY, STEVE: “Wordless” (Futura Records/ Epic – ECPL-23-FU) (Record: Near Mint/ Jacket: Mint, still in shrink/ Capsule Obi: Mint, still in shrink/ Insert: Near Mint). Damned rare Japanese press original of Futura title all complete with insert and seriously scarce obi. “The 1971 session Wordless is an interesting and often overlooked entry in the long discography of saxophonist Steve Lacy. Relatively new to Paris at the time (he and his wife Irene Aebi had relocated there just two years earlier), Lacy was by all appearances inspired by the momentum among visiting and relocated African Americans (Anthony Braxton, Archie Shepp, and the Art Ensemble of Chicago among them) that was being documented by the BYG/Actuel label. Whatever the inspiration, Wordless is the rare free-improv record from a Lacy band, especially from his early days. The title may well come from Aebi's role on cello (prior to her switch to violin) as she passes on the vocals that make her a controversial presence among some Lacy aficionados. The rest of the band is an interesting amalgam, with Chicagoan Jerome Cooper on drums and Kent Carter, who permanently left the States for Europe in 1969 and would work with Lacy of choice for years to come, on bass. Rounding out the group is the little heard South African trumpeter Ambrose Jackson, who appeared on several Lacy and BYG sessions, but seems to have disappeared shortly thereafter. As a Lacy record, it's not the most satisfying. Musical themes are worked here that would be revisited in years to come, but it doesn't have the feeling of cohesiveness Lacy usually generates (nor does it have any Monk songs!). In hindsight, it feels more like a product of those anything-goes Parisian days, which in itself makes it an interesting document. The compositions are all credited to Lacy, but it is infused with the inventive flurry of '60s free improvisation.” (Squid’s Ear) Hard to track down Japan original with always missing obi. Price: 150 Euro

1272. 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: 275 Euro

1273. LACY, STEVE: “Steve Lacy Solo at Mandara” (ALM Records – AL-5) (Record: Near Mint ~ Mint/ Jacket: Mint/ 2 Inserts: Mint). Top copy that comes with always missing TWO inserts. 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. 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!!!!

1274. LACY, STEVE: “Steve Lacy Solo at Mandara” (ALM Records – AL-5) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint/ OBI: MINT). Top copy that comes with always missing insert and with never offered for sale OBI, first all complete copy I have in 13 years time. 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!!! Comes with MEGA RARE OBI!!!! Price: Offers!!!!
1275. LACY, STEVE: “Torments – Solo In Kyoto” (Morgue – Morgue-01) (Record: Near Mint/ Jacket: Near Mint). Great copy of the rarest of Lacy’s recordings. Recorded live from a solo concert at the Silk Hall Kyoto in Kyoto on July 6, 1975, it depicts Lacy at his finest hour ever. It was Lacy’s first ever gig in Kyoto and the material on display here was taken from the first 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 and eventually released this in 1979 on his own Morgue label, in a very tiny edition of about 200 copies only. 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 is craved for by many but only actually seen by a very few select avid music fans. “Steve Lacy – Torments – Solo in Kyoto” 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 200 copies according to Mr. Kojima and copies in such nice nick as this baby here simply do not turn up. First copy 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. Fair reserve price due to slightly lesser sleeve at EX condition. Price: Offers!!!!
1276. LACY, STEVE – The STEVE LACY SEXTET: “The Wire” (Columbia Records – YX-7553-ND) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint - minimal folding crease/ Insert: Near Mint). Bloody rare all complete Japan only issue with OBI and insert. Recorded in 1975 but not released until 1977, The Wire ranks amongst one of Lacy’s finest recordings and his rarest to seep out of Japan, all complete with obi. So far an all-complete copy with obi has not been offered before ever so…. Improvising and playing his own compositions with the cream of the cream of the creative Japanese scene. The Wire was recorded in 1975 recording by a Japanese sextet that included Steve Lacy on soprano saxophone, Masahiko Satoh on piano, Masahiko Togashi on percussion, Keiki Midorikawa on cello and bass, Yoshio Ikeda on bass, and Motoharu Yoshizawa on bass. If you note a preponderance of low-frequency strings, you are correct! Although clearly identifiable as ‘free jazz’, there are strong compositions and structures to accompany the wild improvisation. The way the Togashi, Midorikawa, Satoh, Yoshisawa and Ikeda are dealing with the material and the music is astonishing. The interacting seems to really fit the way that the compositional material is constructed. The string dominated sound of he group works extremely well with the sole sax playing by maestro Lacy. Top condition original pressing all complete with insert and hardly ever seen OBI, so make your best move ‘cause this one hardly ever surfaces all pristine & complete with obi in all its glory…. Price: Offers!!!!
1277. LACY, STEVE with ROSWELL RUDD & SHELLA JORDAN: “Blown Bone” (Philips – RJ-7490) (Record: Near Mint/ Jacket: Near Mint). 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

1278. LACY, STEVE with ROSWELL RUDD & SHELLA JORDAN: “Blown Bone” (Philips – RJ-7490) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Rare Japan ONLY Steve Lacy issue that rarely surfaces. All complete copy with stupidly rare OBI present. 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. First time I can offer a copy with obi present. Price: 450 Euro

1279. LACY, STEVE: “Solo Concert” (Nippon Columbia – YX-7552-AX) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Maybe the rarest Japanese press issue of a Steve Lacy, just never surfaces with obi and the 1st time in 15 years I see an all complete copy. The UK issue on Emanem is easy enough and cheap enough to walk home with but sounds awful. The Japanese press issue is a tough one and more difficult to find than “The Wire”. Price: Offers!!!

1280. LACY, STEVE: “Stalks” (Columbia – YQ-7507-N) (Record: Near Mint/ Jacket: Near Mint / Insert: Near Mint/ Promotional Obi: Near Mint). RARE PROMO issue all complete with insert and mega rare OBI. The obi has a rare promotional tag added to the lower part, highlighting the contents of the music in brief. Getting rarer with every breath you take as complete mint copies just do not surface at all!! Extremely rare Japan only Steve Lacy release that just almost never pops up here anymore. Recorded and released in 1975, “Stalks” sees Lacy working with renowned Japanese free jazz heavyweights Yoshizawa Motoharu (bass) and Togashi Masahiko (drums). Again an indispensable entry in Lacy's discography or – for who cares – in Yoshizawa Motoharu's discography. Contrary to “Lapis”, on “Stalks” Lacy does sound more mature and lyrical. Still that does not mean he has lost his cutting-edge sound he displayed on Lapis. No not at all. Hearing him interacting with these seasoned Japanese improvisers brings out the best of him, which can also be said for Yoshizawa and Togashi, gelling together as a flexible seasoned trio – although that they only have been playing together for a couple of concerts after Lacy's arrival in Japan before heading down to the Tokyo Studios of Columbia. In all a stunning artifact documenting a sort of a clash of the titans, east meets west kind of free improvisation interaction on which all of the three players shine brightly. Rare Japan only Lacy release that only sporadically surfaces. Original press in top condition with the always-missing obi present and accounted for. Price: Offers!!!!

1281. LACY, STEVE: “Lumps” (ICP – 016) (Record: Near Mint/ Jacket: Excellent – some foxing visible against white background). Original 1975 Dutch pressing with first issue label with black & white lettering. Great copy, record is virginally clean but sleeve has some visible foxing due to age but no splits or damages whatsoever. Another highwater mark in the vast Lacy recording’s discography. On this one he gets flanked by Michel Waisvisz (synthesizer), Han Bennink (Drums/ homemade junk/ vibra pan/ wailophone/ hanrinet/ Rolmo/ birdcalls & decoys), Maarten Van Regteren Altena (Bass). Recorded in 1974 with everyone in top form. Brilliant all way through. One of the tougher to track down titles on the ICP imprint. Price: 150 Euro
1282. LAGAGNAMO: “Saspeupu” (Private – MS-11750) (Record: Excellent/ Jacket: Excellent). Totally obscure and rare 1975 privately pressed in extremely limited quantities (100 to 250 maybe?) Quebec - Canadian Lo-Fi underground/ basement free improvisation/ cum-blues/ free jazz slide that rarely surfaces and hardly ever makes it out into the sunlight. Although the record is obscure beyond belief, it has its minor claim to fame as local famous blues guitarist Bob Walsh plays on it as well as members of the progressive rock band Ungava. This loosely thrown together line-up of players is responsible for the deep subterranean vibe that oozes out of it all, resulting in a weird hellbroth of high-tension sounds that leaps into a melting pot of styles, quelling the darker sides of trench warfare blues, basement free jazz, malicious primitive psych vibes and plain weird sounds. It culminates in a panoramic sound floating somewhere between early Soft Machine and the boundless fury of the Mothers. The album is very rare but still largely undetected, breathing out a tornado of dusty low-fi sounds floating on an intuitive approach that is both impervious to and not responsible for trends of any kind. It was recorded live in a bar and it feels like you just stand next to humming amplifiers, making that the whole affair is blessed with the aspirational surges out of the concealed depths of improvisational interplay intertwined with the V.U.’s urbanized take on basement rock. What a ride!!! Price: 350 Euro

1283. LAKE, OLIVER: “Heavy Spirits” (Trio Records – PA-7147) (Record: Near Mint/ Jacket: Mint/ Insert: Near Mint/ Obi: Near Mint). Promo copy. “This will be one of the least accessible of altoist Oliver Lake’s recordings for most people but repeated listenings reveal a great deal of beauty. The avant-garde master is backed by three violinists on a trio of intense pieces, takes "Lonely Blacks" unaccompanied and performs "Rocket" in an unusual trio with trombonist Joseph Bowie and drummer Bobo Shaw. The other three selections have a more conventional instrumentation (a quintet with trumpeter Olu Dara and pianist Donald Smith) but are almost as challenging. It's worth investigating but listeners will have to have patience in order to fully appreciate this music.” (All Music Guide). Least accessible is to my ears a bit of an overstatement as to my ears it its smooth and easy going and one of the best recordings Lake ever put down to wax. Adventurous, spiritually inclined and with a slight free touch, eargasmatic to say the least! Price: 75 Euro

1284. 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

1285. 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

1286. LATTE E MIELE: “Papillon” (Polydor – 23MM-0147) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet Inside The Gatefold: Near Mint/ Insert: Near Mint). Japan pressing of Italian heavy progressive rock classic slide. The band’s second LP “Papillon”, released in 1973. Another concept, also original in the story told in the lyrics, which tell of a puppet in love with a young girl: sentenced to ‘death’ because of his ‘heresy’, he will then resurrect as a child himself. Musically, the album is much more fluid and engaging than its predecessor, a perfect example of Italian symphonic progressive rock. The group had some success at the time, they even managed to play in support of Van Der Graaf Generator; critics, however, preferred to point their finger at the similarities with English prog sounds rather than recognizing the undoubted validity of Latte e Miele and their work. Essential in the genre and top condition Japanese original! Price: 35 Euro
1287. The LAUNCHERS: “Oasy Ookoku” (Toshiba Records – TP-7345) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent). Bloody rare Japan first original pressing all complete with rare obi. White label & red wax pressed PROMO issue. The second, final and rarest Launchers album, following their “Free Association” LP, was released on September 1st, 1969. Although their debut was quite nice, the Launchers surpassed themselves with “Oasy Ookoku”, turning their sound into a fully fledged Japanese pop psych masterpiece, that rubs shoulders with the best recordings that seeped out of the UK at that time, maybe even surpassing most of them!! Bold statement maybe but upon diving into this one, you get hit by an abundance of ideas that get shaped into a perfectly executed sonic language. Spearheaded Osamu Kitajima, whose alter ego is Justin Heathcliff and later becoming the spin doctor of Fumio & Osamu (Shin Chugoku), the Launchers surpass on this one the straight jacket of being a mere GS (Group Sounds – Japanese garage) band and mutated into a hybrid sonic marvel that balances – successfully - the tightrope in between garage/ pop psych and sheer psychedelia. The record is blessed with an intoxicatingly kaleidoscopic and exploratory sound, lysergic in its sonic vocabulary and is busy with folding and manipulating space and morphing it all into highly accomplished consummate art endowed with eye and ear-filling beauty! Orchestrations, swirling vox, brilliantly executed instrumental jams, intoxicated fazed out vocals, Sgt Pepper induced eloquent ornamentations and cosmic phrasing, jungle shoot-outs, soaring fuzzed out guitars that pop in and out of the mix, and other assorted sounds acting like acupuncture darts aimed at your aural pleasure spots, it is all here. Brilliant and largely undetected and overlooked masterpiece. And for those who care about stuff like rarity scales, Pokora's book lists this one for only 2 stars, but sadly I have to inform you that this one is so much rarer than merely 2 stars! Especially all complete with OB and white label promo on red wax in top condition. In all these years, it is the first time I have a copy of this gem all-complete. Top condition and so bloody awesome!!! Price: Offers!!!!
1288. 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!!!!
1289. LEANDRE, JOELLE & JON ROSE: “Les Domistiques” (Konnex – ST-5019) (Record: Near Mint/ Jacket: Near Mint). Rare original West German pressing from 1988 on clear vinyl. Brilliant recording that balances between sound art, free jazz and musique concrete, all balled up in one cohesive statement. The used instrumentation already hints at where these two adventurous souls venture into. Leandre is on contrabass, voice, domestic instruments being bed – door – hairdryer – washing up – telephone – typewriter – TV – record player – radio – dog owner and fridge. Jon Rose spices up the sonic palette with 19 string cello, violin, megaphone violin, 2 string pedal board, 10 string double violin, 16 string longneck violin and revolving speaker, voice and also domestic instruments. The end result is jaw-dropping awesome, a deep subterranean vibe driving on an animated strive that reminds me in a way of Jacques Berrocal’s early output. Operating in a microcosm of sound, they both create an arresting experience, at times coming out of a violent fit of madness before sinking into a panoramic sound that floats somewhere in between the controlled burn of a jet engine and the boundless fury of a vacuum cleaner. This is a music driven by an intuitive approach that totally exists on its own plane and is both impervious to and not responsible for trends of any kind. And it is just that which makes this record such a thrill to experience. Blessed with a gift for unexpected impact, it is bound to spice up your ordinary life quite considerably. Highest recommendation!! Price: 100 Euro
1290. 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
1291. 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
1292. 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
1293. 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

1294. 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

1295. JEANNE LEE: “Conspiracy” (Earthforms Records) (Record: Near Mint/ Jacket: Excellent). 1974 US original pressing in top condition. Female vocals free Jazz monster by former Art Ensemble of Chicago vocalist Jeanne Lee. Like some reviewer somewhere pointed out, Jeanne Lee combines acrobatic vocal maneuvers with a deeply moving sound and quality that allows her to alternate between soaring, upper register flights and piercing, emotive interpretations. She's extremely precise and flexible, and moves from a song or solo's top end to its middle and bottom accompanying an instrument with a stunning ease. Though many critics have cited Lee as creating free jazz's most innovative vocal approach, she's done very little recording, almost none of it as a leader, and even less on American labels. So this one, “Conspiracy” is her greatest and maybe rarest ever effort to make it down to wax with her credited as a leader. She gets backed up though by some heavyweight champions such as Gunter Hampel, Steve McCall, Sam Rivers, Jack Gregg, Perry Robinson, Allan Praskin, Mark Whitecage and Marty Cook. Original 1974 pressing in near mint condition that will make the earwax in your ears melt and dribble out, just that delicious this ear candy here is. Price: 375 Euro

1296. The LEMON DIPS: “Who’s Gonna Buy?” (Music-De Wolfe – DW/LP-3114) (Record: Excellent ~ Near Mint/ Jacket: Excellent – lower side slight humidity discoloration). Recorded by an anonymous studio band, musically 1969’s “Who’s Gonna Buy?” was a major curiosity. The album is divided into a side featuring six vocal performances and a side with seven gritty instrumentals. Assuming J. Hawksworth and P. Reno are the main members (as they were given writing credits for all 14 selections), the album offers up a wonderful selection of greasy garage tracks and psychedelic groovers. Tracks such as ‘I Am the Man’, ‘Who’s Gonna Buy?’ and ‘Unpack Your Bags’ are amazing tunes, blessed with excellent snarling vocals, all punched up with tons of feedback guitar and walls of keyboards. This psychedelic garage/pop selection is a bit like the Electric Banana albums, but with hints of The Kinks, The Move or even The Troggs and spiked with snearing fuzz guitar and a slightly stoned flower-power feeling. The album was used as the soundtrack to at least two movies of the time, a Tigon and an Amicus film apparently, including one scene where the band in the film are obviously miming to a song from this record. Not at all well-known but what a great slide of uncut UK psyched out dementia. Price: 450 Euro

1297. LEMURIA: “Lemuria” (P-Vine Records – PLP-6952) (Record: Near Mint/ Jacket: Near Mint/ 2 Inserts: Mint/ Obi: Mint). Immediately sold out limited Japanese pressing of classic AOR slide. “Originally issued on Hawaii's Heaven label in 1979, this Japanese limited LP reissue brings listeners one of the more stunning unheard funky R&B records of the late 20th century. In the tropical climes, multi-instrumentalist, songwriter, arranger, and producer Kirk Thompson put together Lemuria from some of the best musicians in the area and came up with a stylistic blend of funk, Latin grooves, Stevie Wonder-esque sexiness, and the studio feel of the Fantasy studios that artists like Sylvester used Roy Ayers would have been jealous as hell if he knew this record existed back in the day. The tracks here are all uplifting and spiritual, sweet and yet deep in a popping groove that would make any party or dance floor jump. With a trio of female vocalists called the Ladies of Lemuria, the 11 tracks included here are so infectious, so regal, and so dreamy they deserve a place in the collection of every fan of late-'70s urban soul. The polish that Thompson puts behind his songs serves to make them deeper, more meaningful. Standout tracks are "Dreams," "All I've Got to Give," with its glorious vocal and jazzed-out guitar solo, and "Moonlight Affair," with the steamy tropic moonlight drenching the vocal and slippery groove of the rhythm section. Quite beautiful, extremely consistent, and as much a treasure in the 21st century as it was in the 20th.” (All Music Guide). Amazing Japanese high quality pressing released in an edition of 300 copies only and which evaporated as fast as snow in Death Valley. Price: 55 Euro
1298. 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
1299. 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!!
1300. 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!!!!
1301. The LINES: “Ultramarine” (Red – ROUGE-3) (Record: Near Mint/ Jacket: Excellent). Totally underrated and largely overlooked post punk killer slide, original UK pressing from 1983. English post-punk band the Lines formed in 1977 and released their last record in 1983, quietly leaving a couple of impressive albums - Therapy (1981) and Ultramarine (1983) - and a handful of singles and EPs in their wake. Fairly indifferent to the press, affiliated with a very small label, and, despite connections to Alternative TV and Fad Gadget, not part of any scene, the Lines gained a small and fervent following, and their releases remained obscure. Which is a shame because their “Ultramarine” LP is nothing but a pure uncut gemstone of a recording. Price: 75 Euro

1302. LITTLE FEAT: “S/T” (Warner Pioneer Records – P-10424W) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Rare white label PROMO issue, Japan original first pressing. What a killer slide, Little Feat’s debut sold poorly and the band never cut anything like it ever again. Still, its eponymous debut isn't just one of their finest records, it's one of the great lost rock & roll albums EVER!!! It is a raw, hard-driving, funny and affectionate celebration of American weirdness; equal parts garage rock, roadhouse blues, post-Zappa bizarreness, post-Parsons country rock and slightly bent folk storytelling. Since it's grounded in roots of the US of a still unspoiled pre Trump era, it feels quite familiar, still it has a weird twist due to the unique and off-center vision of chief songwriter/guitarist/vocalist Lowell George. He sees everything with a gently surreal sense of humor that remains affectionate, whether it's on an ode to a "Truck Stop Girl," the weary trucker's anthem "Willin'," (If you give weed, whites and wine…and you show me a sign, I will be willin’….wow simply the greatest song line ever and the motto I live by these dayz)or the goofy character sketch of the crusty old salt "Crazy Captain Gunboat Willie." That affection is balanced by gutsy slices of Americana like the careening travelogue "Strawberry Flats," the darkly humorous "Hamburger Midnight" and a jaw-dropping Howlin’ Wolf medley guest-starring Ry Cooder plus keyboardist Bill Payne’s terrific opener "Snakes on Everything." The songwriting itself is top notch, but the band is its equal -- they're as loose, vibrant and alive as the Stones at their best. There's a deftness in the writing and performance that distinguishes it from the rest of work, which makes it all the more remarkable. It's a pity that most people discard the record, but that just means that anyone who owns it feels like they're in on a secret only they and a handful of others know. Weed Whites and Wine…..hell YESSS!!!!!! Rare white label promo with obi and one of the best records ever made…Price: 150 Euro

1303. LITTLE FEAT: “S/T” (Mobile Fidelity Sound Lab – MFSL-1-299) (Record: Excellent/ Gatefold Jacket: Near Mint/ Gatefold Insert: Near Mint) Rare 2007 audiophile release, numbered edition, this being 1650. Comes housed in thick gatefold sleeve. Price: 150 Euro
1304. 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
1305. 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
1306. The LOFT: “Once Round the Fair” (Creation – CRELP-047) (Record: Near Mint/ Jacket: Near Mint). UK original press issue from 1989 on the legendary and stellar Creation Records imprint! “An excellent compilation that gathers this short-lived group's output. The Loft never quite got the attention they deserved as a guitar pop band. The fact that they were on Creation Records and later turned into the Weather Prophets seemed to often overshadow the band's music. The complete, stumbling, perfect imperfections of "Why Did the Rain" highlight the group's strong points, with distinct, melodic guitar leads over a jangling rhythm section. Tracks like this one helped set the stage for the direction of indie pop over the next 20 years. The warm production emphasizes a classic structure that draws from the Velvet Underground, Television and the Byrds. A crisper production follows on the rest of the tracks, but this short collection never falters in song quality. "Skeleton Staircase" lightly drones and jangles as Pete Astor croons is his faltering, song-speak way. Andy Strickland’s clean guitar work balances out the uneven moments. "Winter" is another fine track, with the vocals and guitar raised to the very front of the track as the muffled drums carry the back. It could easily be mistaken for something off of the Flying Nun roster. "Up the Hill and Down the Slope" is the group's swan song -- endemic of their entire output -- a seemingly tangled mess of guitars and crooked melodies, but structured to perfection.” (All Music) Price: 50 Euro
1307. LOVE LIVE LIFE + ONE: “Love Will Make a Better You” (King Records – SKK-3009) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Mint/ Obi: Excellent – a couple of wrinkles on lower side). Fantastic copy of this all-time psychedelic free improvisation masterpiece, one of the rarest psych artifacts to roll out of Japan. 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 nicest copies I’ve had in a long time and getting next to impossible to get in decent shape. Copies do not surface anymore here so…getting hard to dig up. These babies will break the bank in years to come as Japanese psych artifacts are getting closer to extinction with every breath you take. And this one ain’t no different. Price: Offers!!!!
1308. 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
1309. 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
1310. 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
1311. 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
1312. 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: 275 Euro
1313. LOU REED: “Rock N Roll Animal” (RCA Records – RCA-6200) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Original Japan 1974 pressing, all complete with insert and obi. Following the commercial disaster of Berlin, Lou was in desperate need of a hit, and Rock’N’Roll Animal proved to be the fix that got him out of this jam, resulting in a rare display of some sort of commercial tendency, just the right album at just the right time. “Recorded in concert with Reed’s crack road band at the peak of their form it offered a set of his most anthemic songs in arrangements that presented his lean, effective melodies and street-level lyrics in their most user-friendly form. Early-'70s arena rock bombast is often the order of the day, but guitarists Dick Wagner and Steve Hunter use their six-string muscle to lift these songs up, not weigh them down, and with Reed’s passionate but controlled vocals riding over the top, "Sweet Jane," "White Light/White Heat," and "Rock 'n' Roll" finally sound like the radio hits they always should have been.” (AMG) He would never ever sound this commercial again but then Reed proved that he – if he wanted - could please a crowd when he had to. A total classic, you know it, heard it all before but still totally indispensable! Price: 75 Euro
1314. 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

1315. LOVE: “7 And 7 Is b/w My Little Red Book” (Elektra – JET-1715) (7 Inch Single Record: Near Mint/ Picture Sleeve: Mint/ Company Inner Sleeve: Near Mint) Japan only EP release housed in killer picture sleeve. Comes complete with company inner sleeve and center piece attached. Rarely surfaces with all intact and this copy is just perfect, impossible to ever upgrade upon. Price: 450 Euro

1316. LOVE: “Feathered Fish – Gethsemene b/w It’s The Marlin, Baby” (LSD Records – LSD-1) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Scarce but damned great and seldom seen Love bootleg EP that absolutely rocks. Price: 40 Euro
1317. LOVE: “S/T” (Elektra – EKL-4001) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). 1st Love album, 1966 US first pressing Gold label MONO. 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. Top condition original pressing, gold label MONO. Price: 450 Euro
1318. LOWE, FRANK & RASHIED ALI: “Duo Exchange” (Survival Records – SR-101) (Record: Near Mint/ Jacket: Near Mint). Top copy! It has been a long time since I ran across this free-blowing masterpiece, an item that gets more and more difficult to dig up. Top copy, all the way mint. All time stellar free jazz heavy weights team up for a frontal head on collision that birthed out one of hardcore jazz’s cornerstone sonic artifacts. This disc is like an epiphany, deliriously great, membrane opening and spiritual in its cosmic interplay between former Alice Coltrane sideman Lowe and John Coltrane heavy rolling and riffing skin mangler Ali. Clash of two giants creating a merger to entwine cluster of soundzz, high-octane tenor shrieks, combustional improvisational interplay, inter-galactic head spinning and so much more. This disc is a must for anyone who is even vaguely and remotely interested in the early seventies free jazzing counter culture. A classic that was released on Ali’s own private Survival Records imprint. It was the label’s first and finest release. KILLER STUFF. Price: 250 Euro
1319. LOWE, FRANK & EUGENE CHADBOURNE: “Don’t Punk Out” (QED Records – QED-995) (Record: Near Mint/ Jacket: VG++ ~ Excellent – some foxing). Released in 1979, original first press. This is what Joe Milazzo wrote about the disc for “One Final Note” and his description neatly sums up what it is all about. “Recorded in 1977, this recording finds Lowe in the company of a very young Eugene Chadbourne. As a writer, Lowe is capable of loosely-jointed tunefulness in the manner of Monk, Coleman and Lacy. The opening track here, Composition for David Murray is so effective precisely because it is so candid and song-like in ways the dedicatee rarely is in his own work. DON'T PUNK OUT is actually made a better listening experience by virtue of its slightly clattery mix, as it helps to foreground Chadbourne's contributions, most of which are made on an unamplified instrument. His gnarled, bottleneck flourishes and jagged strumming on a reading of Albert Ayler's Ghosts fall just short of complete and delightful irreverence. Ghosts is a key track here, as Lowe requested its inclusion. His interpretation juxtaposes licks that reference bop and hard bop harmonies as well as tricks out of a rhythm-and-blues bag with Ayler's essentially aharmonic rapidity of articulation. But even in the relatively tight confines of a two-and-a-half minute free duet such as At Reel's End, Lowe and Chadbourne map out some fairly expansive spaces. The events recounted in Fright, while hardly specific, are all the more uncanny for being so. Both men resort often (if tastefully) to the spontaneous extraction of non-tempered sounds from their instruments, and yet these performances are remarkably uncluttered. This is cerebral, even at times 'cool' music.” Nice one. Price: 65 Euro

1320. LOWE, FRANK: “Doctor Too-Much” (Kharma Records – PK-2) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). 1977 US original pressing in top condition. Oh yes, one of the real great but sadly overlooked albums by the great tenor saxophonist Frank Lowe in a sensationally gritty section, a head-on collision with twin trumpets (Olu Dara and Wadada Leo Smith), Fred Williams on bass and monster skin sniffer Philip Wilson on drums creating havoc and kicking up a storm. A fantastic set from start to finish, wonderful right down to the badass cover. This one is getting damned scarce as these past years, slowly making its way towards the higher regions. A classic! Price: 150 Euro

1321. 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
1322. 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
1323. 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
1324. LULA CORTES & LAILSON: “Satwa” (Rozenblit – LLP-005) (Record: Excellent – has a couple of visible faint hairline scuff on each side that does not sound/Brazilian Style Gatefold Jacket: Near Mint). Brazilian original first pressing of 1973 in outstanding condition. Written, recorded and released just as Brazil’s military dictatorship reached the climax of its long black arc, the one and only album by Satwa is a divinely subtle protest, often cited as Brazil’s first independent record. Recorded and released in 1973 by the duo of Lula Cortes & Lailson, it is a real lost masterpiece from any angel, and the first release of the fertile Recife psych scene of the early 70's… mesmerizingly beautiful sitar & 12 string psych ragas beaming strait for your third eye, and lifted ever higher by occasional angelic vocals or a burst of fuzz guitar… truly amazing stuff sure to turn the ears of any folk/psych fan, past or present. The whole affair is a stoned improvisational jam that doesn’t really sound Brazilian, it doesn’t even sound remotely earthly for that amtter. It’s so effortlessly celestial, it’s less an improvisation and more a transmission from the heavens. Lailson was from the verdant former Dutch colony of Pernambuco, while Côrtes hailed from the wild badlands of Paraiba. But for 11 days in January 1973 the pair jammed cross-legged and produced the folk trance gems that adorn this self-titled debut. The whole recording is largely void of any voice and words, the songs – Côrtes plucking steely leads from his sitar while Lailson’s 12-string thrums crystalline chords – are loose and lovely. The sole interference in these glistening arabesques is the hoary electric fretwork of one Robertinho Do Recife, injecting some cranium-fried licks. With a limited edition and distribution mainly regional, the disc disappeared almost as soon emerged, making it another Holy Grail record alongside Paebiru. Copies if they surface at all, are mostly trashed and in bad shape as can be expected of a 1973 uber obscure Brazilian psych release. However this copy is possibly the cleanest you can hope for, sleeve is perfect with no defects, the record – which was cheaply pressed – is in eye-blinding EX ~ NM condition with only one non-sounding hairline scuff on each side. Top condition of an ever elusive and almost impossible to attain private press psychedelic acid folk head trip. Act now and hold your peace forever!!! Price: Offers!!!!
1325. 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: 75 Euro
1326. 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: 75 Euro

1327. The LYMAN WOODARD ORGANISATION: “Saturday Night Special” (Strata Records – SRI-105-75) (Record & Jacket: Factory SEALED). Top condition & damned impossible to find FACTORY SEALED 1975 US first original pressing of this highly essential deep jazz hypnotic organ funk LP. Possibly the best known of Strata’s releases, The Lyman Woodard Organization’s ‘Saturday Night Special’ is rightly heralded as a jazz fusion classic. Recorded in 1975, ‘Saturday Night Special’ features organ, electric piano and Mellotron by bandleader Lyman Woodard alongside guitar and bass by Ron English, with drums and percussion by Leonard King, Bud Spangler & Lorenzo “Mr. Rhythm” Brown respectively. Despite the fairly sparse instrumentation, ‘Saturday Night Special’ lays down an impressive wall of sound, powerfully atmospheric in its almost low-fi aesthetic. With traditional jazz, rhythm & blues, Afro-Cuban styles seeping through its pores, the uniqueness of this album translates itself with a laidback, tripped-out groove that's really mind-blowing! Ron English accents the thing perfectly with his languid guitar and bass groove, while Leonard King and Lorenzo Brown's drumming and percussion can keep the groove adrift, or tear it up in a funky maelstrom depending on the mission of the cut. It's totally essential Strata jazz funk. In other words, this record sounds like Detroit. Woodard provided solid, head-nodding groove music punctuated by heady, at times spacey jazz improvisation that set the standard for any rival or modern-day intercity deep jazz band. Absolute killer slide and in top notch condition. Hard to ever upgrade upon as this a SEALED copy. Price: Offers!!!

1328. LYONS, JIMMY: “Other Afternoons” (BYG Actuel – BYG-9) (Record: Excellent/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Excellent). White label PROMO Japan original pressing with rare obi. Another all-time classic disc. Line-up consists out of Lester Bowie (trumpet), Jimmy Lyons (alto), Alan Silva (bass) and Andrew Cyrille (drums). Again an all incinerating combination. Great fire music in totally mint condition. Original Japanese press. “The music of Jimmy Lyons as a leader is of main interest here, but this particularly fine late-'60s session has other valuable lessons to offer about the nature of jazz improvising. The impact of both a bandleader and the music they compose is made very clear by the direction this session took, despite the fact that its rhythm section had already established its own way of playing through previous relationships with pianist Cecil Taylor. But this, along with whatever conceptual impact Taylor may have had on his longtime main hornman, Lyons, are all factors that are tossed in the bin like yesterday's news as the music being created takes its own course. The combination of Lyons with Lester Bowie is simply marvelous. The alto saxophonist's specialty is a kind of pungent yet unsentimental tone, kind of a thinking man's Cahrlie Parker, while trumpeter Bowie seems to pack every note, whether it is blasted or delicately blown, with deep pockets of potential comedy or melancholy. It is a perfect match of contrasts, made even more interesting by both players' reliance on space, in each case developed as an alternative to the amount of intense energy or sonic bombast being tossed up by other members of these players' regular associations, the Taylor group and the Art Ensemble of Chicago respectively. From drummer Andrew Cyrille and bassist Alan Silva a listener might expect a certain kind of firepower as well as rhythmic developments being colored in terms of suggestions and impulses rather than firmly shoved in a pocket. These two master players are thrilling here in their adventurous attempts to give their friend Jimmy Lyons a whole new sound on his album. And it is true; while the results can be compared to other alto saxophoinist leaders of Lyons’ generation, such as the more thoughtful efforts of Marion Brown, this album stands out as containing much superior playing, springing from what seems to be a fully realized conception of just where the music was going. The session has been released by several labels, and not even the bomb-crater-size surface-noise pockmarks of the BYG pressings can destroy the power of these performances. "However" is a great tune, so is the title number and the delicate, pretty set-closer, "My You.” (All Music Guide). Price: 100 Euro