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

970. K-SALVATORE: “The Zahir” (Sound @ 1 – S@1#18) (Record: Mint/ Jacket: Mint/ Insert: Mint). Released in tiny numbers way back in 1995 by this NNCK offshoot. K. Salvatore is a duo offshoot of the No-Neck Blues Band. They've put various records out over the last few years, with no real sense of consistency or urgency, and the music itself seems to work the same way, only occasionally bubbling to the surface of your own reality even when it's playing all night long. It goes in and out of focus, sometimes hitting you with a surprising dose of harshness, but more often hovering somewhere just behind your ear with whispers of synth-and-guitar mystery that you can always key into if needed. This disc here was their first recorded album, released ion tiny numbers and went OOP within the blink of an eye. Fantastic primitive avant-drone improvisations impregnated with a healthy dose of tribal vibes and a bloodshot caveman aesthetic that propels the music into realms not many other avant-garde cum dilatants have gone before. Without a doubt one of the most idiosyncratic and interesting improvisation and avant-out-there discs to see the light in the 1990’s. Price: 60 Euro
971. KAGA MARIKO: “Aishiau Futari No Tame Ni Ai No Resson” (Warner Pioneer – L-8003W) (Record: Near Mint/ Gatefold Jacket:Near Mint/ Obi: Near Mint/ Gatefold Pin-Up: Near Mint). Bloody rare 1971 original pressing. Promotional Blue Label copy!!!! Comes with always missing obi. If you are after female vocal & actress oddball recordings with a soft erotic touch that are not only freakingly obscure but also musically amazing, then look no further, you just reaches Valhalla. Kaga Mariko was and still is a very famous actress in Japan but what hardly anyone knows is that while she was still a young nymphet she recorded this one off LP in 1971 when she was 28 years old. The album whose title translates itself as “Lessons in Love” sees Mariko embarking on an erotic French inspired vibe but instead of singing songs into being she fills up the whole of the compositions with private pillow talk, erotic one liners, girlie sexy mumblings and so forth. She knew she wasn’t cut out as a chanteuse and instead embarked on what she was strong in, becoming a love tainted young girl, exploring love in all its aspects through a journey towards the true one. Her voice is bewitchingly beautiful and even if she just fills every composition with her soft talking, it comes over as singing to these ears. Mariko was a vamp, one can her it and also judge it from the sexy pictures filling the gatefold. Coquette, ultra feminine, erotically charged and highly individualistic, she was the femme fatale of 1971 downtown Tokyo. The whole vibe reminds me a bit of the Kuwabara Yukiko LP, only that Kaga Mariko takes it a step further as far as talent, girl power, erotic vibrations and professionalism goes. One of the most obscure and highly sought after erotic records to seep out of Japan, copies just never surface – especially ones in top condition like this one here complete with obi and pin up poster. To make it even more mouth watering, this is the blue label promo copy. Fantastic LP, it took me only a decade to dig up my own personal copy and here is the first ever-complete copy I have to spare. Mint all the way, stunning both to behold and to get soaked into. Kaga Mariko is my personal Iroke Queen. Highest recommendation. Price: 400 Euro
972. 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
973. KAI MICHIO: Michio Kai Plays Avant-Garde Flute Pieces” (ALM Records – AL-21) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ Booklet: Mint). Totally obscure and very rare 1979 release on the legendary ALM Records imprint. Hideously rare ALM Kojima Records release, dwelling into the austere realms of woodwinds flute playing. If you were blown away by Watazumido’s shakuhachi blowing, then this disc by flute player Kai Michio might also do the trick for you and split open the heavens of aural bewilderment. Kai emerges himself in 5 compositions by contemporary Japanese composers such as Sesshu Kai; Aki Matsudaira; Takahashi Yuji; Yuasa Joji and Katsuhiro Tsubono and transforming these avant-garde pieces into almost transcendental sound pieces. The merging of his flute playing with the austere avant-garde pieces makes the whole experience almost mesmerizing. Highly meditative in its execution, as well as utterly Japanese in its approach to sound and setting, Michio Kai creates a cinematographic soundscape erected and centered around his flute playing. Still on other occasions, Kai sounds almost Zen-like, minimal, sparse and filled with tension without ever breaking its meditative spell. On another track, his flute playing gets backed up with sparse repetetitive piano rattles attributing almost hypnotic qualities to his already spellbinding blowing. In all, Kai displays his playing in various settings and each of them is a piece and exercise into the realms of true beauty. Just fabulous. Rarely seen ALM Records LP that till this day is hardly known by anyone at all. Maybe it will all chance now. To file next to your Watazumido discs. One of the rarest releases on the ALM catalogue and so damned beautiful. Price: 100 Euro
974. KAJI MEIKO: “Gincho Watari Tori” (Teichiku Records – CF-13) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Circular Kake-Obi: Mint) Impossibly rare Kaji Meiko LP, the only complete copy I ever encountered all complete with the OBI. Copies without obi are common, but an all complete one with copy just has never turned up and is seriously rare. Original 1970 first press issue. Readers of the list will by now be familiar with Kaji Meiko popping up in its pages but probably this item is one you have rarely seen. It is also the single most hard to get Kaji Meiko album, one that almost never turns up in good or pristine condition. First of all the music is one of the best she has ever recorded, sweet oozing eroticism, delinquent slow burning mind benders and low flying psyched angelic vocalizations. Next to that there is the total eye-blinding cover art, Meiko fully adorned in kimono slowly proceeding towards you. Stunningly beautiful and stunning condition. Fold out Jacket. The disc contains some of her greatest Showa and Taisho infested songs fueled up with burning fuzz leads and sweltering orchestrations. Superb copy of the almost impossible to trace and utterly rare but nevertheless much in demand Kaji Meiko album. Kaji Meiko released a string of albums but she started out on Teichiku Records. This disc is from her beginning period and marks her at her all time best and most glorious effort. Delicate ballads and kayokyoku styled songs, sung in her highly erotic and stunning voice that gets backed up by some jazzy session musicians, all complete with the additional strings and electric guitar and fuzz ripping insertions, making it that her songs deviate from the traditional and ordinary Kayokyoku path and dabble a bit with psychy influences. She was one of the original hippie chicks’ way back in 1967, together with Wada Akiko, so it shows. Apart from that all is also one of God’s most stunningly creatures ever to roam the face of the earth. Extremely sought after and great record by this actress/ singer who got international mondo cult fame through her Sasori and Lady Snowblood movie flicks during the mid-seventies. Never offered before all complete copy with obi, so give me your best shot on this one-off opportunity. Price: Offers!!!!
975. KAJI MEIKO: “Hagure Bushi b/w Kiba No Ballad” (Teichiku – SN-1322) (Record: Excellent/ Gatefold Picture Sleeve: Near Mint/ Bonus Promo Picture: Mint). Probably the rarest Kaji Meiko single, complete copy that comes with the always-missing promotional picture card. Killer booty shaking Kaji Meiko tracks that were only released as single and never made it to any of her albums. Too bad, because these two tunes on display her I consider as her best, killer badass lady shaking funk. Both of these tracks featured as the title themes to the television movie “Zenkoku Rock Hagure Kiba” in which she starred as a vixen handy with the sword and mounting horses like an Amazon from beyond the grave. Comes with the always-missing promotional picture card of Meiko holding a blade. Rare and sweet!!! Price: 75 Euro
976. KAJI MEIKO: “Kaji Meiko No Futebushi” (Teichiku – NX-76) (4 Track EP Record: Near Mint/ Thick Gatefold Jacket: Near Mint/ Obi: Near Mint). Quite scare Kaji Meiko EP, housed in great gatefold sleeve with obi. Essential stuff if you are revengeful enka soul ladies with an axe to grind. Killer!!! Price: 70 Euro
977. KAJI MEIKO: “Jeans No Blues b/w Ingabana” (Teichiku – SN-1392) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Killer 1974 original pressing of classic Meiko. Price: 50 Euro
978. KAJI MEIKO: “Otoko Onna Kokoro Aika” (Teichiku – CF-48) (Record: Mint/ Jacket: Mint/ Insert: Near Mint). One of the hardest to track down Kaji Meiko albums and one of her all time greatest. This was Meiko’s fourth album, released in 1974. Stunningly beautiful and mint condition. The disc contains some of her greatest Showa and Taisho infested songs fueled up with burning fuzz leads and sweltering orchestrations. Superb copy of the almost impossible to trace and utterly rare but nevertheless much in demand Kaji Meiko album. Kaji Meiko released a string of albums but she started out on Teichiku Records. This disc is from her beginning period and marks her at her all time best and most glorious effort. Delicate ballads and kayokyoku styled songs, sung in her highly erotic and stunning voice that gets backed up by some jazzy session musicians, all complete with the additional strings and electric guitar and fuzz ripping insertions, making it that her songs deviate from the traditional and ordinary Kayokyoku path and dabble a bit with psychy influences. She was one of the original hippie chicks’ way back in 1967, together with Wada Akiko, so it shows. Apart from that all is also one of God’s most stunningly creatures ever to roam the face of the earth. Extremely sought after and great record by this actress/ singer who got international mondo cult fame through her Sasori and Lady Snowblood movie flicks during the mid-seventies. Price: 100 Euro
979. KAJI MEIKO: “”Kyou no Ware ga Mi wa…” (Polydor Records – MR-2281) (Record: Near Mint ~ Mint/ Jacket: Near Mint - has some minor mildew spots visible against white background but nothing serious/ Obi: Near Mint/ Insert: Near Mint/ 4 Paged Picture Booklet: Near Mint). Kaji Meiko’s sole concept album, original first press issue from 1975 all complete with obi and pin-up insert. One of the harder to track down Kaji Meiko outings and still an exquisite piece of Japanese female kayokyoku debauchery. Again highly essential release that sheds some light on the later Kaji Meiko recorded output. This one in particular is ear-gasmatic and comes with the highest possible recommendation. Fantastic disc that should appeal to all those who fell in love with female Japanese vocalists, Showa eroticism and samurai flicks. Sheer brilliance. Price: 150 Euro
980. KAJI MEIKO: “Wakare Urami Namida Uta” (Polydor – MR-3212) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare Meiko slide during her latter Polydor days. The disc documents the highlights of Kaji Meiko’s career and as the title already gives away, the regions her erotic vocals dwell into are “songs of tears, hatred and separation”. The cover contains a stunning and rarely seen photo of her, dressed in a golden laminated psyched out space suit. Great female vocals sets against an enka/ kayokyoku backing at times interspersed by vicious guitar licks and a sentiment brimming over with desertion, while at the same time exhibiting some erotic flashes of grandeur. Great all over. Here Polydor discs are quite scarce. Highest recommendation. Price: 150 Euro
981. 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!!!

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

983. KAN MIKAMI: “Mikami Kan no Sekai” (Columbia – YS-10093-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Excellent). Copies with Obi never turn up and this is a white label promo to boot. Bloody rare white label PROMO COPY!!! First ever Mikami Kan record to hit the streets, released in 1971 on Columbia, selling poorly and shortly after its release the disc was withdrawn and sales became prohibited due to some of the offending lyrics Mikami sprouted out. So seen in that light it comes as no surprise that this record hardly surfaces these days. Graced with the stunning cover art of Saeki Toshio, the 19 year old Mikami delivered with his 1st album already a piece de resistance whose importance keeps on resonating throughout the Japanese folk scene. Music wise, Mikami's first record is a real stunning piece balancing the razor’s edge between deep enka and rural folk dwellings. Like his 2nd album that also came out on Columbia, Mikami breaths out a similar mystique drawing blood from melancholic vibes and rural influences, going back directly to his childhood musical influences such as loner enka blues, the barren land and wind swept plains of Aomori, Tsugaru minyo and so much more. His songs and voice are emotionally gut wrenched, boiling over with presence and dark, harrowing, ‘real' lyrical subject matter. Some of the songs you might even recognize since they appear is reworked versions on his later output. But here is where it all began and hard to believe that a 19 year old could have such a wintered through, tormented voice that has enough emotional power, well-directed venom filled anger and bleakness to strip the paint of your walls. And bleak it is, singing about murder, rape, yakuza gangsters, life like living it on desolation row and other light-hearted subjects that were poignant enough to scare any possible big success straight out of the window. A classic and rarely surfaces here in Japan due to the limited number of copies that got into circulation. Highest all time possible recommendation!! Price: 600 Euro
984. 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
985. KAN MIKAMI: “Hiraku Yume Nado Arujanaishi” (URC Records – URG-4011 – 1972) (Record: Mint/ Jacket: Mint/ Obi: Mint). SIGNED Super clean and seemingly virginal copy. Comes with insert and thick carton foldout jacket. First press original copy. Needles to say hard to come by. Mikami Kan’s dark, nightmarish lyrics and screaming intensity put him way ahead of the field of jangling acoustic losers with their pretty harmonies and pastoral sweet oozing world views. His violent, disturbed and possesses an unpolished rawness. Unlike Tomokawa, Mikami is not so lyrical and is rougher shaped around the edges, making him an outstanding acid folk jangler. This is an early Mikami album that was released in April, 1972, a period that is considered by many aficionados has is best. Raw, violent and right in yer face, an all time classic disc that is great from the first howl till the last demented scream. Utterly fantastic, but sadly enough hard to come by. Btw, Mikami never signs his records, so this one is a one off chance, signed MINT copy of one of the best deep loner folk albums out of Japan, this one gives me chicken bones!!!! Price: 150 Euro

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

987. 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!!!!
988. 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
989. 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
990. KANAI HIDETO & KING’S ROAR: “Ode To Birds” (Three Blind Mice – TBM-45) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: 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! Price: 200 Euro
991. 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

992. 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

993. KARUNA KHYAL: “Alomoni 1985” (Voice Records) (Record: Mint/ Foldout Jacket: Mint/ Poster: Mint). BLOODY RARE AND TOTALLY EVAPORATED PRIVATE PRESS BEAST COMPLETE WITH ALWAYS MISSING POSTER!!! Top copy!!!! Monolith riffing and a very ascetic practice of infinite sustain that resemble surfing the percussive waves like a maestro amalgam of airport ramp agents. These are the core elements that concoct a sound hovering somewhere between perpetually peaking lysergic avant-garde, spiked up minimalism, doped-up & psyched-out Beefheartian desert throbbing and trancey, thunderous mantras to make up this deliriously hyper psychedelic and ultra rare album. Released in 1974 in an edition of 500 copies, Karuna Khyal and Brast Burn can be considered as one of the first privately released records in Japan. Some years ago the UK Paradigm label put out a shameless unauthorized bootleg version on CD, followed by the Radioactive suckers turned into Phoenix Records to do it again (Takahashi still remains uncompensated!!), but this here is the real thing. A slab of shiny black vinyl housed in a nice foldout jacket completed with degradations of violent pink to soft pink poster. The music is just jaw droppingly great, especially if you consider how it was conceived. The man behind this all was Takahashi Yoshihiro, hermitting away in his small one room flat, buried in between various instruments, multiple tape recorders and assorted out-of-tune shakers, tapes, sound sources and ad-hoc assembled material in order to blaze away with his solo multi-track project. He told me it took him 4 months to complete this sonic masterpiece by slowly shape shifting it through simultaneously recording stuff onto four tape decks, cutting and pasting the results, re-recording it and inserting found sounds snippets. The end result is a totally wacko excursion into a sun-blazed no-mans land while walking on the gilded splinters dispersed by Faust, Beefheart, Koiwa Indian peyote meeting ceremonies and other visionary madcaps. One of the greatest psychedelic artifacts ever to be unleashed unto the Japanese underground vastly underrated and so bloody rare it makes your eyes bleed upon seeing an original copy. This one is just in stunning condition. Rare as your great grandmother’s pearly white teeth…. Price: 300 Euro
994. 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
995. KAWAHARA MASAMI & THE EXOTIC SOUNDS: “Ecstasy – Kokotsu” (Columbia – YS-10077-J) (Record: Excellent, B-side has some hazing not affecting the play/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top copy of this 1970 released erotic rarity that just never turns up. Complete with always missing obi!! Well it has been at least 2 years since I had a copy of this erotic monster and this time this is the best copy I ever had. Here is what Boomkat wrote about the Tiliqua Record reissue of this LP: “The Tiliqua label is back, and not soon enough for these ears let me tell you. Since last year's explosion of 1960's classic Japanese porn-star albums I've been so sexually frustrated I've had to spend most pre-work mornings phoning into television help lines to vent my pent-up anger and desire for Japanese starlets with guns, so it comes as something of a relief to see Tiliqua return to this much sought-after blue series. This particular disc comes to us from the very capable stable of Masami Kawahara, not a name which might ring any bells instantly with you - but you might like to know that this was the same insane brain who was behind the very awesome and highly acclaimed Ike Reiko album (still to our mind the best in the Tiliqua catalogue, and now long sold out). So you should know what to expect if you managed to bag that little gem of a release, this is prime quality Japanese porn-jazz, with some Latin-flecked funk edits featuring a very saucy young lady moaning over the top. In the liner notes M. Kawahara reminisces that he doesn't remember who the girl was, but says when she had to moan she was touched or petted on cue - now that sounds like hard work eh? The funniest thing is that some of these tracks are actually totally insane, take the fourth track (it has a name in Kenji so please don't ask me to write it out) for example, all tribal drums and fractured synthesizers as our protagonist comes to a rather violent orgasm (amidst some whooping and chanting from what sounds like a cannibal filled jungle). This is utterly crackers stuff and for crate diggers, people searching for something totally unusual or those of you looking to get past the readers wives section of Razzle, this should be just the ticket. It's like Martin Denny's incredible "Exotica" series, except with some carnal activity going on in the background - how genius. Well I love it, and since we only have limited copies in stock you'd better act quickly if you want to bag one. Oh, and did we mention the gorgeous vinyl-reproduction Japanese packaging? Essential Purchase!” A fantastic record and a tough one to score on LP. In all those years only saw a copy popping on the e-bay flea scum/ looser market once hitting over the 450 mark. This one is way below…highest possible recommendation and Japanese erotic artifacts on wax are as you know almost impossible to find so…Price: 250 Euro
996. 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: 150 Euro
997. KENNY DREW: “Undercurrent” (Blue Note Records/ Japan – BN-4059) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 75 Euro
998. KHAN: "Space Shanty" (Deram/ King Records - SL-288) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Long time no see top condition Japan original pressing of spaced out Steve Hillage side venture. Price: 60 Euro
999. KHAN JAMAL: “Drum Dance To The Motherland” (Dog Town Records) (Record: Near Mint/ Hand Made Paste On Sleeve with front & back slicks: Excellent ‾ Near Mint, no defects just some faint mildew aging spots visible here and there). Stupidly rare US original pressing in top shape. Do not kid yourself, a copy of khan Jamal's Drum Dance to the motherland is so rare that original copies only surface sporadically to put it mildly. Released on the obscure Philadelphia label Dogtown, Drum Dance to the Motherlandhas always been a sought after collector's item of early 70s underground free jazz. Literally underground: it was recorded in a basement coffeehouse in October 1972, & features Jamal on vibraphone, marimba & clarinet, Alex Ellison & Dwight James on drums, percussion & clarinet, Billy Mills on bass & Fender bass, & Monnette Sudler on guitar & percussion. As the title already suggests, there is plenty of deep African groove on display and splattered all over, but a large part of the signature sound palette was created thanks to the input of sound engineer Mario Falana. His use of reverb is so outstanding that the album sounds nothing like any of the other extended riff workouts that appeared in the early 70s when free jazz took off and began to attract attention. “There's not another record on the planet that sounds even remotely like this eccentric, one-of-a-kind masterpiece. In its improbable fusion of free jazz expressionism, black psychedelia, & full-on dub-like production techniques, Drum Dance remains a bracingly powerful outsider statement thirty-four years after it was recorded live at the catacombs club in Philadelphia in 1972. Comparisons to Sun Ra, King Tubby, Phil Cohran & Byg/Actuel merely hint at the cosmic otherness conjured by the band & by recording engineer Mario Falana's real-time "enhancements." The original edition of three hundred copies, issued by Jamal in 1973 was barely distributed outside the city's limits. Since then Drum Dance has assumed a mythic status among the very few aficionados, e-bay mutants, & heads who know of it at all.” (Eremite) Overall, the whole performance sounds akin to Sun Ra’s farthest-reaching, hallucinatory journeys such as Atlantisand Strange Strings, but informed as well by dub and experimental rock. Very rarely has an album straddled the line between primal and technological with such grace and sensibility. Stupidly rare original pressing in top shape. Price: Offers!!!

1000. KIKUGUCHI MASABUMI with TOGASHI MASAHIKO & PEACOCK GARY: “Poesy – The Man Who Keeps Washing His Hands” (Philips – FX-8518) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Capsule Obi: Near Mint). Rare original 1971 first original pressing that comes housed in 1st press only gatefold jacket art and all complete with the capsule obi. A set that definitely lives up to the poetry promised in its title – with none of the too-clean sounds you might guess from its hand-washing reference either! The album's one of the freest, most organic sessions we've heard from pianist Masabumi Kikuchi – almost improvised at points, but with a poetic cohesion in the piano lines that's really great – kind of an offbeat sense of lyricism that points in the same directions that Steve Kuhn or Keith Jarrett were heading in the late 60s. Drummer Masahiko Togashi plays lots of cool percussion and even a bit of gong – and Gary Peacock's bass here is as great as on any of his other excellent Japanese recordings. Price: 200 Euro

1001. 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
1002. KING CRIMSON: “The Court Of The Crimson King Pt. 1 & Pt. 2” (Atlantic – P-1072A) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan only picture sleeve release of King Crimson’s first EP. Stunning condition, first original pressing from 1971. Rarely surfaces in such pristine condition. Price: 150 Euro
1003. KING CRIMSON: “In The Wake Of Poseidon” (Atlantic Japan – P-8104A) (Record: Mint/ Gatefold Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint/ Company Inner Sleeve: Mint). One of the rarest Japanese domestic pressings with the rock age flower obi is this one by King Crimson. Original copies never turn up, let alone in such a perfect mint condition as this one. Only the very 1st issues came with the flower obi, this copy is dead mint on all fronts. Never turned up in quantity, rare forever. Price: Offers!!!!!
1004. 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
1005. 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!!!
1006. 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

1007. KINOCO HOTEL: “La Reminiscence De Marianne” (Volt-Age Records – BQGS-32) (Record: Mint/ Jacket: Mint/ Sticker Insert: Mint). Immediately sold out and limited to 500 copies which sold out on the spot during Record Store Day in Japan. Killer live recording of the band burning asphalt and bringing forth a swirling live set. Killer Japanese all female group that churns out some of the most vicious fuzz-a-delic erotic lysergic psychedelic face-melting rock this side of the moon. Heavy fuzzed out guitars battle with swirling organ lines that underscore sweet oozing female vocals that hint back upon a deep sonic legacy of Japanese psychedelic garage sounds. When spinning this group, I start running around like a pit-bull on crack, it is that fantastic. Beautifully painful!!!! Price: 100 Euro

1008. KINOCO HOTEL: “Marianne No Shubaku” (Yamaha Music Communications – XWJW-10003) (Record: Mint/ Jacket: Mint). Limited LP issue of only 500 copies, which sold out on the spot. Killer new studio recording of everybody's garage & psych all female band who take absolutely no prisoners and leave no one behind. Music wise, Kinoco Hotel dive deep into Japan’s psychedelic music legacy from the late 1960s and early 1970s. They succeed wonderfully well, ear blistering lysergic guitar riffing, detoxicating swirling organ vibes, killer rhythm section and great female vocals. This one hits the nerves like a blast of summer lightning across the mountains, sucking you into a great psychic maze of electric madness that makes you feel like booming downhill from a snowy slope with your nuts on fire and heading towards a cushion of naked snow bunnies. It just is that good….just take a look at the jacket and try to proof me wrong. Killer slide, highest possible recommendation. One time only limited LP issue that just evaporated within the blink of an eye the day it came out. And rightly so…. Price: 100 Euro
1009. KIRIKYOGEN: “Kuni Kawauchi To Kare No Tomodachi” (London/King Records - SKK(L)-3003) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). TOP COPY!! Incredible bloody rare first press original. First pressings copies never surface here in Japan and this is the very first time I could lay my eyes and hands upon a copy. Second and third pressings of the mid and late seventies due surface from times but original pressings just never. And this copy is a solid keeper in excellent condition. Kirikyogen was one of those one-time-off Japanese super groups erected by mastermind and Happenings Four leader Kawauchi Kuni who assembled around himself some key players out of the Flower Travellin' Band such as vocalist Joe Yamanaka and guitar gunslinger Ishima Hideki. Kirikyôgen was a short-lived session quartet, composed out of the Happenings Four members Kuni Kawauchi and Chito Kawauchi and two Flower Traveling Band participants, Joe Yamanaka and Ishima Hideki. Their sole recorded output “Kuni Kawauchi To Kare No Tomodachi” consisted out of several compositions, written by all the four members and completed with Kuni Kawauchi's lyrics. Music and text-wise the album bears some structural resemblance to the Happenings Four album “The Long Trip” (1971), although that Kirikyôgen's effort appeared one year earlier than the former and one month after the release of the Flower Traveling Band's debut “Anywhere”. It is said that Ishima Hideki wasn't at all satisfied with “Anywhere” since his individuality as a guitarist was restricted to merely copying foreign songs, how well executed they may be. With the Kirikyôgen project he could surmount these formal restrictions and concentrate more on his own individual playing, an element that afterwards would fully translate itself with the Flower Traveling Band's second release “Satori”, which possessed a more adulterated and original sound as compared to “Anywhere”. So seen against that background it is certain that Kirikyôgen influenced and left its imprint upon the Flower Traveling Band, although that Kirikyôgen failed to attain the big public success of its affiliated brotherly outfit. The lyrics, displaying the dissolute worldview of Kawauchi, were hurled out and given shape by the powerful vocals of Joe Yamanaka and underscored Ishima's idiosyncratic guitar play. But in the midst of the Japanese rock movement lead by the Happy End, almost nobody paid any attention to their sonic endeavors, causing their sole recorded output to be engulfed by the cracks of time. In retrospect, “Kuni Kawauchi to Kare no Tomodachi” cannot but be regarded as an excellent session album depicting some of the New Rock's key participants on a collision course in search for musical originality. The album still stands as one of the prime examples of that era that succeeded in merging musical vision with audacious skillfulness and lyrical originality. Bloody rare and mind blowingly great. Cleanest and best copy I have seen in decades. Price: Offers!!!
1010. 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

1011. KITAHARA MIREI: “Sumie no Shi” (Pioneer – L-10102P) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint) Another Enka killer disc that you might be familiar with when you browse through those old back numbers of PSF Records in house magazine “G-Modern”. Admired by a long line of underground figures, Kitahara Mirei soft subdued songs are just bone-chillingly great, excellent mid seventies Enka escapades down the avenue of lost love, desperation, seasonal changes, sweet underlying decay and so much more. Personally she ranks right up there next to immortal singers like Chiaki Naomi. She is one of PSF’s Ikeezumi all time favorite singers that inhabit according to him the same mind bending greatness as early High Rise. So how is that for rock solid credentials? Although the music styles might be light years apart from each other, Kitahara is a devastating force to be reckoned with. If you are curious about real drop death stone cold brilliant enka (the 1% greatness in a 99% pile of crap) then this is it. Highest recommendation. For the seasoned music listeners and cats who do not care about being hip….highest recommendation. It will facilitate you to get a better grasp on the musical outpour of underground stars like Mikami Kan, Tomokawa Kazuki et all. Price: 75 Euro

1012. 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
1013. 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!!! Price: Offers!!!!!
1014. KLUSTER: “Zwei Osterei” (Schwann ams Studio – ams-studio-512) (Record: Near Mint ~ Mint/ Gimmick Plastic Relief Jacket: Mint/ Poster Insert: Mint). TOP COPY!!! Dead stock untouched & unplayed copy, best condition imaginable!!! Original 1st pressing out of 1971 in top condition housed in hard plastic relief jacket. I guess you know the drill and deal about this record so I am gonna cut it short. If interested make me a serious offer I cannot refuse and the disc is yours. Probably one of the best copies out there of the band’s debut so only bloody serious offers please. Top copy, both record and jacket do not come any better than this one here. A very experimental music for two long improvisations made of new sounds with acoustic instruments, amplifiers, echo-machines and microphones. The compositions are near to sound installations for contemporary art gallery. The progressive exploration appears in the way the conventional instruments are used (isolated from their original source due to amplifiers and tape manipulations). In this modern electric experimental work, the inter-media artist Conrad Schnitzler is accompanied by his two friends from Zodiak Club (Moebius & Roedelius). The first track is a dark pro-electronic composition with linear cello themes, aleatoric percussions and feedback, cracking organ sounds. Very repetitive and hypnotic. The version includes "religious" and "dramatic" narratives in German. The second track is purely instrumental with the same percussive, metallic and complex texture. A concrete, "chaotic" and noisy proto-electronic work! Surely too avant-garde for many prog-heads but it remains a classic.” (Prog Archives). Top copy, mint condition and above all, head-splitting amazing music. Totally essential. Originally released in a tiny edition of only 200 copies and this one here is just perfect on all fronts. Totally virginal condition. Price: Offers!!
1015. KONDO MASAOMI with Freedom Unity: “Hitoribochi no Heya” (Canyon – CAL-3002) (Record: Mint/ Gatefold Jacket: Excellent ‾ Near Mint/ Obi: Mint). Original 1971 pressing complete with obi. Killer Japanese funky psychedelic masterpiece that sounds like Innocent Canon. Kondo Masaomi is a well know Japanese actor who made this one-off LP in 1971. He raps away on 6 tracks about various plant species such as the Mandragora, breathing out an endangered atmosphere that borders at times on sheer anarchy and agitation. He ain’t no singer, by far but recites his texts in an distraught, frenzied, well-controlled and even calm fashion, gliding on the funky psychedelic groovy airwaves that his backing band – the Freedom Unity – churns out in an addictive fashion. The Freedom Unity on this occasion consisted out some of the finest musicians to be on the scene and included heavyweight players such as Sato Masahiko (piano); Ishikawa Akira (drums – Uganda etc); Sugimoto Kiyoshi (guitar – Count Buffaloos, Hino Hideshi Group, Rock Communication, etc), Terakawa Masaoki (bass – Love Live Life + 1, Ishikawa Akira & Count Buffaloos, Dema), Muraoka Takeru (Sax - Uganda, Count Buffaloos, Love Live Life +1, Dema) and Suzuki Hiroshi (Trumpet – various line-ups of Freedom Unity). The music they bring forth ranges from jazz, free jazz, psychedelic groovy acidic jams, jazz rock and fuses neatly with Kondo Masaomi’s raps, making it a perfect unison that resembles at times the musical greatness of Innocent Canon. It is funky, jazzy, psychedelic, groovy and intoxicatingly hip shaking all at the same time. A true amalgamation and genre-crossing disc, hybrid like for some reason only Japanese records seem to pull off without loosing face. This sole recording by Kondo is largely unknown outside this island here but it is regarded and revered as a great cult item and upon spinning this disc it is easy to understand why. It just has all the right ingredients: funky bass lines, killer guitar exploits, butt-shaking jazzy vibes, rare groove spiritual like rhythms, shrinking sax insertions, fuzzy wah-wah action, crazy raps etc, all executed by top level musicians. Magical slide out of 1971, shedding another light on Japans acidic free psychedelic moves and shakes. Largely undetected but bound to be a huge crowd pleaser once this discs intoxicating fumes reach foreign shores. Highest recommendation. Price: 150 Euro
1016. 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: 150 Euro
1017. 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
1018. KOSUGI TAKEHISA: “Catch Wave” (CBS Sony – SOCM-88) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint) Mega rare Holy grail of Japanese Fluxus-inspired minimalist psychedelia, COMPLETE WITH ALWAYS MISSING OBI!!. Here you have a top-notch original first press copy of the ultra rare Kosugi solo album. And top-notch means in this case that the album in question appears to be unplayed and looks brand new although it came out almost more than 30 years ago. Virtually impossible to get (even here in Japan), Catch Wave is the ultimate example of Kosugi creating an organic drone sequence fusing into another mind- elevating document of violin induced tone-float Kosugi was the founding father for cult outfits and improvising collectives such as Group Ongaku (with Yasunao Tone) and the Taj Mahal Travelers. "Catch Wave's" elegance lies in its economy of means. He uses his violin by engaging simple electronics (ring modulator and delay unit) to multiply a single sound source into an undulating, ever expanding sound field. The quote on the back cover of the LP reads: "SOUNDS SPEEDING ON LIGHT, LIGHT SPEEDING ON SOUNDS -- BETWEEN RIDDLES & SOULTIONS." This is the real deal and a rarely offered nugget in virginal condition. Bloody rare these days, even here in Japan, mint copies seem to have vanished from the face of the earth, especially copies complete with obi are almost inexistent. Top copy!!! Price: 350 Euro
1019. 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
1020. 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!!!!
1021. KOYAMA RUMI: “Sasurai No Guitar” (Union Records – JLP-516) (Record: Excellent/ Gatefold Jacket: Excellent/ Obi: Excellent/ Pin Up Poster: Excellent). Koyama Rumi’s rarest and best recorded LP, complete with obi. Original 1971 pressing of this cult female kayokyoku gem stuffed with soaring surf twangey guitars and beat girl a go-go vibes. Here Koyama Rumi instead brings forth a string of originals but set against a garage-like trashy electric guitar background. Minimal orchestration backing seeps through the pores as well but the main onslaught are the guitars that pop up at the most infrequent intervals, making this baby such an intoxicating listening experience, bordering on a funneled time-warp unreeling across your brain like a jumble of half-remembered byzantine ladies all rolling at once. An extremely rare and much in demand female kayokyoku slide that has attained a huge cult status here in Japan. Copies just do not surface, let alone in such a perfect nick as this beauty here complete with obi. This one comes dead cheap and better copies do not exist. For lovers of wicked and sleazy Oriental sixties beat-a-go-go female vocals set against a swirling backbeat. Price: 400 Euro
1022. KOYAMA RUMI: “Futatsu no Guitar – Ventures O Utau” (Union Records – JLP-518) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Perfect top-notch copy, complete with obi and looking like it was only pressed and released yesterday, that beautiful. Copies with obi are seriously rare. Original 1971 pressing of this cult female kayokyoku gem stuffed with soaring surf twangey guitars and beat girl a go-go vibes. Although it is advertised as like she is going to sing Ventures songs into being, Koyama Rumi instead brings forth a string of originals but set against a Ventures-like trashy electric guitar background. Minimal orchestration backing seeps through the pores as well but the main onslaught are the guitars that pop up at the most infrequent intervals, making this baby such an intoxicating listening experience, bordering on a funneled time-warp unreeling across your brain like a jumble of half-remembered byzantine ladies all rolling at once. An extremely rare and much in demand female kayokyoku slide that has attained a huge cult status here in Japan. Copies just do not surface, let alone in such a perfect nick as this beauty here complete with obi. This one comes dead cheap and better copies do not exist. For lovers of wicked and sleazy Oriental sixties beat-a-go-go female vocals set against a swirling backbeat. Price: 350 Euro

1023. KOYAMA RUMI/ YOSHIZAWA KIYOKO & IGARASHI JUN: “Rumi, Kiyoko, Jun” (Union Records – JLP-519) (Record: Excellent/ Gatefold Jacket: Near Mint/ OBI: Mint). Bloody rare LP, original 1972 pressing all complete with rare first issue obi. Stellar female vocals swinging and slightly erotic kayokyoku album spearheaded by three of the minor leading ladies of that scene. Shouldered by great & stylistic orchestral moves, simmering and slowly burning fuzz leads and butt-shaking rhythms, Rumi, Kiyoko and Jun bring home the sonic bacon so to speak. All of the songs on display here are written by poetess Yasui Kazumi, catapulting the whole affair towards the next level of songwriting. These three leading ladies were essentially the Japan’s early 1970s budding Bacharachs, Webbs and Greenwhiches of the day, working both in similar styles and in response to an equally pressing and ever-evolving demand. Especially the tandem relation with poetess Yasui Kazumi provides the icing on the cake, enabling the three protagonists to focus on the furiously contemporary, female-driven pop sounds that bubble up out of this record’s grooves. As such, while spinning this slide, it becomes the ideal accompaniment, not only to whatever your Japanese movie fueled fantasies of what Showa era Tokyo nightlife might have been like, but also any number of real world social gatherings. In fact, it might be just the thing to have playing in the background should you and a few adventurous friends ever decide to sample any of those Japanese whiskeys you’ve been reading about. Absolutely gorgeous slide of Showa infected pop tunes, sweet-silked female voices, top-notch arrangements, infectious fuzzy breaks and butt shaking rhythms. Never seen a copy of this sucker before all complete with obi. Damned rare female slice of sonic heaven. Highly recommended!!! Price: 150 Euro

1024. 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
1025. KUBOTA MAKOTO: “Machibouke” (Express – ETP-72264) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – a few mildew ageing spots visible against white background/ Insert: Mint/ Obi: Mint/ Sticker: Mint). Bloody rare copy – WHITE LABEL PROMO issue – all complete with insert, obi and always-missing promo sticker inside. First solo album out of 1972/3 by original Hadaka no Rallizes bass player. It only took me 6 years to track down a copy, but finally here is one and in pristine condition. A stunning example of early 1970s Japanese acid folk, a name tag that only a very few albums coming out of this island deserve, but this one definitely bears this flag with pride. Kubota Makoto’s first album saw the light of day way back in 1973 and it was his first appearance outside of the original Hadaka no Rallizes line-up where he flanked Mizutani on the bass. A lot of water has flowed under the bridge since and “Machibouke” sees Kubota in a total different frame of mind, although that the opening track still had his links with the Rallizes there it was written especially for him by his former band leader Mizutani. Still the heavy deep night stroboscopic amphetamine guitar drenched onslaught is completely gone and has instead opened up only to reveal a quite intimate setting, meandering in between country, folk and laid back Japanese hinterland pastoralism that gets quite addictive here. Sprinkled with an eternal heart-warming folkie touch, the smell of wood and a bewitching trembling acid kind of feel hover over the overall album, enriching at the right moments with even the slightest fragrance of a loose Japanese country flavor that is reminiscent to some of the Happy End’s more laidback moments. The whole affair opens up with a joint composition by Kubota and Rallizes front man Mizutani called “Asa no Hikari”, which immediately sets the tone for the rest of the album to unfold itself upon. A truly compelling affair and a rare disc to say the least. After it was released, the record sold poorly and to make matters worse the original master tape got missing. A couple of years ago a CD reissue of this gem saw the light of day but was sourced from a vinyl copy, due to the still missing master tapes. If you dig the two first Happy End records, than there is no way you can surpass on this one since it is maybe even better. Top copy and as far as I know, a still undetected gem by the larger Japanese psych collecting crowd. Highest recommendation. Price: 250 Euro
1026. KUDANI HARUMI: “Takasaki No Yoru b/w Garasu no Blues” (Daiei Records – D-60) (Record: Near Mint/ Picture Sleeve: Near Mint) Seriously rare one off female vocal GS (Group Sounds ~ or Japanese garage) kayokyoku wonder that released this record only in 1968. Not much is known about her as she only recorded & left behind this one artifact before dissapearing into the sunset. Kudani Harumi was another illustrious late night female enka and kayokyoku chansonniere, a chanteuse of late night sake drenched hangouts and her lush, erotic voice has driven many men into the depths of the sake bottle. Here you have her crooning away on some delirious enka and kayokyoku ballads., for which she gets at times backed up by Morricone styled background choir, giving the whole a kind of out of place and out of time feel, disconnected and other worldly dreamy touch. Her voice is just stellar, quite erotic and smokey in its phrasings, which together with the stripped down dark sounding cocktail orchestrations (that never sound over the top or mellow) make it a quite intoxicating listening experience. Sweet, sexy, late-night listening, sake drenched mood swings and high class rollers, this is a stellar late sixties female vocal disc that will make you feel (if listening to this alone) more isolated and deprived from warm hearted companionship than a stray dog out in the pouring rain. A glamorous document of a time long gone, great kayokyoku and enka excursions, hot and moisture female vocal of Kudani and a sake bottle close at hand to keep the lonely thoughts away. First copy I ever see of this much rumored about slide. Top condition. Price: 200 Euro
1027. KUNI KAWAUCHI & HIS FRIENDS: “Boku no Koe ga Kioerukai – Kawauchi no Sekai” (Capitol – CTP-9054) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). White label promo copy complete with always missing copy. Another psychedelic rarity from early 1970s Japan that just never ever seems to surface. Released on May 5th, 1972, “Boku no Koe ga Kikoerukai” was the first so-called solo outing by Happenings Four front man Kuni Kawauchi. Although the album is credited to him, the usual suspects to flank him are also present here, being brother Chito Kawauchi and acidic guitar gunslinger wunderkind Kimio Mizutani. And with a line-up like that you are already ensured of a trip down to psyched-out Wonderland Avenue. Just like the Happenings Four album “The Long Trip”, this disc ventures into similar territory, partly because of the same line-up (yep Mizutani was also on the Long Trip although unaccredited). Partly the album was also recorded as a break-up album, a break-up of lovers and the picture of the girl in the gatefold shows you to whom this venture was accredited. But although the lyrics are about fleeting love, separation and missed opportunities, the disc is not at all a soppy tearjerker. Instead it is a carefully crafted sonic gem of an album, filled with great vocalizations, killer instrumental leads and awe-inspiring moon enhancing sonic qualities. No wonder the music critic and connoisseur par excellence of demented Japan’s underbelly Manabu Yuasa voted this one as one of his all time favorite discs. Brilliant disc that sheds some clarity on the early 1970s New Rock scene, Japanese adult soft psychedelic music and sonic greatness. All time highest recommendation and so bloody rare these days. Copies just never seem to surface. This one comes cheap as hell. Price: 400 Euro
1028. 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
1029. KYO YUKARI with Arai Eiichi To Sono Ensemble: “King Ondo” (Private/ King – No Number) (EP Record: Near Mint/ Picture Sleeve: Excellent/ Company Inner Sleeve: Near Mint). Totally obscure rural matsuri slammer out of the Osaka region. This was released as a tiny minuscule private pressing, never been available for commercial purposes and instead given away at happenings. Only very few copies seem to float around and information is utterly sparse at best. This EP was released somewhere in 1966... stupidly rare private pressing and totally wicked cabaret-beat swinging matsuri jiver by Kyo Yukari "King Ondo" out of the Osaka region. Only knew it from a footnote in an old magazine but finally a copy landed in my mittens. Pressing was in ridiculously low numbers and only given away as promo at the time. Bloody fantastic butt-shaker!!!! Jacket design is also to die for but utterly primitive with a local handmade feel that goes with it. Price: 150 Euro
1030. KYOKUBAKAN: “Namidabashi Elegy – Muma to Kyôso” (Kyokubakan – SS-3927) (Record: Mint/ Jacket: Mint/ 4 paged Insert: Mint). Bloody rare signed copy by the troupe’s main participants!!!! Private ultra rare release that saw the light of day on September 20th, 1978.More obscured by the winds of time than any of the other theatrical troupes such as Tenjosajiki and Kuro Iro Tento is the Kyokubakan collective, an assembly of people that became active on the fringes of the theatrical world at the beginning of 1972. But as opposed to the other troupes, the Kyokubakan was perhaps the most radical of them all as far as their political motives and actions were concerned and their overtly anti-governmental and anti-emperor stance certainly caused for the shit to hit the fan. The troupe got formed in 1973 out of a circle of students of the Waseda University and was forced to dissolve itself in 1981, by then operating under the banner of the Shibai Shûdan. Spearheaded by Sakurai Taizô, the troupe got molded into a unit calling themselves the Kyokubakan troupe. Immediately following their inauguration, Kyokubakan squeezed out a number of plays and performed with them all over the country in unconventional locations such as dried riverbeds, parking lots and university compounds where they set up their nomadic tent that served as the action grounds for their idiosyncratic and agitated plays staged in a guerilla fashion filled with oppressive counteraction and antagonist elements. To make things even worse, the troupe’s dramatic plays were constantly interspersed with anti-imperialistic themes. As a result of such a hardcore stance, the troupe got subdued to persistent police oppression. This is hardly surprising considering that the elemental receipts for one of their scripts consisted out of the following raw ingredients such as - A motor cycle gangs clashing with police, phantom armies attacking the imperial city and decapitating the emperor. So it comes as no surprise that their activities were most of the time shut down by constant oppression, repression and obstruction. Upon performing in 1976 at the Tokyo Gaikokugo Daigaku Nakano Shinsatsu 15 members of the troupe were arrested by the police, six of them were charged with being involved in violent acts, causing injuries and the possession of dangerous weapons, got imprisoned for a period of one year and six months while the remainder of the arrestees got a three year suspended sentence. Like on other occasions the troupe’s overtly denouncing and insulting the Japanese Imperial system, actions that come close to blasphemy and contemptuous disdain of a nearly sovereign deity, provoked the police intervention. Still, a part of the troupe was also active as musicians but even they had a hard time making the ends meet and were forced to hide their radical nature, taking on jobs as day laborers and making a living as part of the lower class of civil society. Eventually, operating the troupe became nearly impossible so that by 1981 the troupe was forced to disband itself. Although that the Kyokubakan was severely restricted in its operations, they nevertheless succeeded in 1978, at the peak of their activities, to leave behind some evidence of their existence in the form of a self-released LP in an edition of 1000 copies. However, due to a fire in their practice room 700 copies of the album went up in flames, making it this day a rather phantom-like record that hardly resurfaces. As might be expected, the album is filled with radical and extreme political messages, a factor that is responsible for its appeal and fascination it excerpts these days. Music-wise, the sounds on display depict a wide range of various influences, going from world music to psychedelia, spiced up with tape insertions depicting Hitler speeches and the sound of marching troupes, field recordings, circus sounds and atmospheres, etc, rendering it into an amalgam listening experience. Still the theatrical aspect is never far behind and omnipresent throughout the recording, responsible for turning it into a highly original concept album. Throughout all of group related projects of Sakurai, various musicians have at one time or another passed through its ranks or has been involved in it in one way or another. Sakamoto Ryûichi for example has offered a song to the Kyokubakan troupe and the Kaze no Ryodan group acted as a transit point for artists such as Kudo Tôri, Koma Keita (Inu, Up-Maker, CHE-Shizu), Nishimura Takuya (CHE-Shizu), Shinoda Masami (A-Musik, Jagatara, Compostella) and Kuge Yoshio (Pungo, A-Musik) amongst other drifting participants, making Sakurai as a highly valuable, but unsung hero of the Japanese past and present cultural underground movement. Extremely rare and top notch almost brand new copy. As far as I can tell copies have never been offered for sale. A museum piece that comes highly recommended. Hyper rarity, signed copy and hardly ever – if never – offered for sale, let alone a signed copy. If you like Tenjosajiki, J.A. Seazer, Orff like demented female choruses all mixed into a psyched out brew, than this one has written you all over it. Price: 300 Euro
1031. 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!!!!
1032. 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!!!!
1033. 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
1034. 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! Price: Offers!!!
1035. LACY, STEVE: “The Forrest And The Zoo” (ESP Disk – ESP-1060) (Record: Near Mint/ Jacket: Near Mint). Original US first pressing from 1967 with the first press issue address - 156 Fifth Ave – stated on jacket. Virginal original pressing!!! Price: 85 Euro
1036. 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
1037. 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

1038. 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: 175 Euro

1039. 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: 250 Euro

1040. LACY, STEVE: “Steve Lacy Solo at Mandara” (ALM Records – AL-5) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint). Top copy that comes with always missing insert. The rarest of Lacy’s recordings. Recorded live from a solo concert at the famed Mandara live house in Tokyo’s Kichijoji district on June 8, 1975, it depicts Lacy at his finest hour ever. It was Lacy’s first even gig in Tokyo and the material on display here was taken from the second set of that evening. Enfant terrible, music critic and writer Aquirax Aida, who invited Lacy over to Japan and staged some concerts for him, organized the whole affair. It was here at this gig that Lacy debuted Snips and Stabs. His first adventure in Japan was without a doubt the most daring and astonishing of all his trips over there. He was then tapping into still virginal territory, mapping out the boundaries of his own still developing playing and touching reputedly on magic and greatness that only a very few can even dream off of possibly attaining, but Lacy did it. Of the five splendid albums produced during his first trip over there, only Distant Voices made it as a CD reissue. Other much desired ones like this one here, possibly his rarest one (esp. in mint condition) is craved for by many but only actually seen by a very few select avid music fans. “Steve Lacy Solo at Mandara” is in a way a bit like Van Gogh’s stunningly colorful paintings or like a surreal Dali coming to life through sound. He blows out a gently myriad sound by playing an instrument – the soprano saxophone -, which has had few real icons. But Lacy truly was an icon for the instrument and singlehandedly rescued it from obscurity, giving it a potent voice in the avant-garde. Simply stuff of legends. Hideously rare LP, released in an edition of 300 copies according to Mr. Kojima and copies complete with obi in such nice nick as this baby here simply do not turn up. First copy in a long time I can clutch my fingers around. An obscured dead cold classic. Massive and certainly one of those Holy Records in my Free Jazz top ten. TOP condition!!! Price: Offers!!!!
1041. LACY, STEVE with KOSUGI TAKEHISA and TAKAHASHI YUJI: “Distant Voices” (Columbia – YX-7085) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint). “Distant Voices” is one of the rarest items in Kosugi'sand Steve Lacy’s lengthy discography. Originally recorded in 1974 and released in 1975,“Distant Voices” sees Kosugi joining forces with Steve Lacy and Yuji Takahashi. The disc is considered to be one of Lacy's most radical pieces ever recorded, materialized when he came to Japan for the first time and the interaction between these three key avant-garde players sounds like a more defractured and demented version of the Taj Mahal Travelers on a trip down to Transylvania. This first adventure in Japan by Lacy was without a doubt the most daring and astonishing of all his trips over there. Of the five splendid albums produced when in Japan, this is the most ethereal one. Kosugi’s echo-drenched violin manipulations and its clutch of haunting reverberations fog up Takahashi’s skeleton undercurrent piano playing, only to get flanked by Lacy’s aspirational soprano sax noodlings that surge up out the concealed depths of space. The three of them engage by doing so in a very subtle form of downers/laxatives induced trench warfare, where the tiniest gestures trigger apocalyptic ever-evolving waves of exploratory sound. The panoramic undulation of ever floating sounds glide in return without much effort and through a carefully ignited impulse on the surface of a fluid whisper that is busy folding and manipulating space. The whole affair is fueled by an intuitive approach, existing on its own plane, both impervious to and not responsible for trends of any kind. The trio’s sonics are just brimful of poetic resonance coupled to a shamanistic sense of poetry. Much desired by collectors and music geeks, this LP is a bit like Van Gogh's stunningly colorful paintings; many have heard of it but very few have actually seen the real thing: Steve Lacy, Takehisa Kosugi and Yuji Takahashi did not sell many, but… it does not make the music any less angelic. The disc is needles to say rare beyond belief and does not turn up, it just does not…until now! It's amazing music. One of those Holy Grails many are after but very few seem to encounter. Has been agessince I can offer a spare of this record. Massive and out of this world. Great Copy and sounding better (after comparison) as opposed to the recent resissue. Killer slide, getting impossibly rare. Price: Offers!!!
1042. LACY, STEVE: “Torments – Solo In Kyoto” (Morgue – Morgue-01) (Record: Near Mint/ Jacket: Excellent – discoloration around spine and mild storage wear visible. No splits or damages). 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!!!!
1043. LACY, STEVE – The STEVE LACY SEXTET: “The Wire” (Columbia Records – YX-7553-ND) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 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!!!
1044. LACY, STEVE: “The Kiss” (Lunatic Records – LUNATIC-002) (Record: Near Mint ‾ Mint/ Jacket: Mint/ Obi with Attached 4 Paged Insert: Mint). Damned rare Japan only issue. For some perverse reason Lacy did his finest work ever while he was in Japan and this recording is again in the same sonic ballpark as “the Wire”, “Live in Kyoto”, “Mandara Live” and others. Although recorded almost a decade later as previously mentioned highlights, “the Kiss” sees him again in top form. Recorded on May 24th, 1986 at a solo concert in Hiroshima, Lacy shines through in all his intimacy, his solo brimming over with poetic resonance, an enhancement that gives his skeletal music on this occasion undercurrents of shamanistic depth. Deceptively intense, he has a gift for unexpected lyrical impact, blowing out tones endowed with pure uncut beauty that are casual in its feel, yet meticulous in its musical detail. And all the time he is guided by his intuitive approach that takes him and his music to places no one has ever gone before or hereafter. Astonishingly beautiful, recorded crystal clear and pressed on the best vinyl imaginable, this sonic document is set to rattle your ears. Copies seem to have vanished completely this past decade…top condition one up for grabs…Price: 175 Euro
1045. LANCASTER, BYARD & J.R. MITCHELL: “Live At Macalester College 72” (Dogtown Records) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint). US 1972 original pressing on highly collectable Dogtown records imprint. This is an incredible document of post-Coltrane free jazz that contains music from three performances with three different bands over three years. The opener, "1324," was recorded in Boston in 1970; it features Lancaster on soprano sax and trumpet, Mitchell on drums, upright bassist Calvin Hill, electric bassist Paul Morrison and conguero Lester Lumley. It's a 16-minute workout where Lancaster uses the same visionary improvisational abilities he displayed with Sunny Murray in 1966, but developed to an instinctual level. His soloing is pure snaky delight, moving through Near and Far Eastern scales, modal jazz, and free blowing. Mitchell’s drumming flows like lava, offering harsh rim-shot accents, rolling tom-toms, and chant-like bass drum steadiness, allowing Lancaster and both bassists an open center for interplay. The Macalster College performance from 1971 features Lancaster and Mitchell with pianist Sid Simmons and bassist Jerome Hunter; the gig comprises the next three selections. Given the concert setting, the recording quality isn't quite pristine, but it's fine. The set begins with the brief and haunting ballad "Last Summer," with Lancaster playing flute amid bowed basslines and taut, whispering snare drums. Simmons uses a painterly approach on the fringes. This is message music, where an expressionistic spirituality is articulated modally as the deep-listening collective comes to a multivalent thought. This breaks loose when Mitchell’s drum solo introduces "War World," a six-plus-minute improvisation. Mitchell’s playing here is dynamite: he charges the kit and then tames it, making it dance before the rest of the band enters. Lancaster’s tenor jumps in like a frenetic opponent -- he pushes against those crystalline yet ever-insistent flurries of snare, cymbals, and double toms. Hunter  doesn't enter until two-thirds of the way through (little to no piano here) when the battle between sax and drums is at critical mass. The deep bowed textures of his bass add warmth and depth to the fury; he is the bridge, finding a locking step where the trio becomes one. The set ends with the ten-minute "Live at Macalester," a wildly swinging modal number that weaves free improv to Eastern harmonies and soul-jazz. Check Simmons’ beautiful large chords against that bowed upright and the interplay between saxophone and drums. It's a knockout.(All Music Guide). Pure and uncut fire-breathing free jazz! Top shelf from start to finish. Love this one to bits! Price: 475 Euro
1046. 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
1047. LARD FREE: “I’m Around About Midnight” (Vamp – VP-59.502) (Record: Excellent ~ Near Mint/ gatefold Jacket: Excellent). Original French 1975 pressing. Drummer Gilbert Artmann spearheaded Lard Free, brought together reeds, guitars and synthesizers and et out to trigger a sonic footprint that was simultaneously original, pulsating off improvisational jams and pregnant with rhythmic and atonal elements. “I'm Around About Midnight” was Lard Free's second LP and added Heldon member Richard Pinhas to the line-up together with bass-clarinetist/saxophonist Alain Audet and Antoine Duvernot on alto and flute. Injected with heavy buzz-saw electronic, the music spins out over a series of long tracks pulsating with synth drones, swoops and trance-like drum rhythms, traveling into the deep space territory of Heldon and other pioneers of electronic rock. A treasured acquisition, the music on it almost leaping out of the speakers to challenge and liquidifies the air around you. A killer. Price: 150 Euro

1048. 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

1049. 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
1050. 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!!!!
1051. 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!!!!
1052. LE CORBUSIER: “L’architecture Contemporaine” (Realisations Sonores Hugues Desalle – 27-8-65) (Record: Excellent/ Jacket: Excellent). Freakingly rare beyond belief original 1965 pressing!!! Subtitled as “A Haute Voix le Corbusier Un Genie Nous Legue Son Testament Spirituel”… and it neatly covers the load of this highly historical and stupefying recording. Recorded 2 months before his death at his house in Boulogne and released shortly thereafter. Here Le Corbusier – one of the most highly refined architects of the 20th century and designer of state of the art furniture speaks from his own house he designed, seated on his own designed and constructed terrace (of which he was immensely proud) in the burning hot sun speaking in a confidence, spontaneity and in an extraordinary lust for life kind of manner – even when he knew the end was only looming too near. He is found saying, “je serai bientot dans le zones celestes” while sipping his beloved Pastis. At times his voice is painful, as he has to push for air to go through his heart. He was already severely sick at this point and knew this would be his last statement. But even after such moments of pain, he does find his powerful force again and goes on to enlighten you on his youth, his days as a young man, his adventures, his fights, his view on the world and of course his architecture and his poetry. In short, this aural documentary – the sole left behind by Le Corbusier – sheds some light on 50 years of grandeur, research, poetry and invention, since these are the roots of contemporary architecture that the old master has given us. Just blood curdlingly amazing. As rare as – if not even rarer – the Yves Klein LP. Never seen or offered before, this is a true rarity. Comes with a bonus Xenakis 7 inch. Price: Offers!!!!
1053. LE MANS ’66: “S/T” (London Records – SLC(H)-169) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Attached Fully Illustrated Insert: Mint). Bloody rare 1967 Japanese 1st original pressing complete with hideously rare obi. This is the closest aural experience to sniffing uncut high quality speed. Or as an equivalent, sucking the red-hot tailpipe of an engine gunning racecar while jacking uncut smack into your veins. Yes, this comes close. Le Mans 1966 race. Top condition, housed in delirious gatefold jacket and complete with obi…just never surfaces and this is the closest experience you will have to sniffing gasoline and shooting up tailpipe wax!!! Price: 100 Euro

1054. LE VOT, GERARD: “Chanson Des Trouveres – La Lyrique Francaise Au Moyen Age – XII & XIII Siecles” (Editions Studio S.M. – SM-3011.51) (Record: Near Mint/ Laminated Jacket: Near Mint/ Imprinted Lyric Inner Sleeve: Near Mint). Original 1981 French pressing in top condition. Gerard Le Vot offers a broad, representative selection of lyric compositions by the poet-musicians of 12th- and 13th-century France: the groundbreaking Provencal troubadours of the south-the originators of "courtly love"-and their northern counterparts, the trouveres. There are fewer extant trouvère poems than troubadour ones, but far more melodies are known: of the 2,100 or so surviving poems, most have accompanying music, and in fact many poems appear in different manuscripts with different settings, the later settings being presumably the work of persons other than the original poet. The manuscript sources for troubadour and trouvère poetry are collections known as chansonniers, and in both cases the earliest major sources date from the 13th century – a time when the peak of troubadour activity had long passed but the trouvères’ art was in full flower. The difficulties are of knowing exactly how this music was performed. Because it was an oral art, the troubadours’ music that survives does so in manuscripts created long afterwards, giving us the melody but nothing else. It’s possible that instruments weren’t used much by the troubadours, perhaps only in those genres that were not so high in style and furthest removed from liturgical melody. Nevertheless, this is beautiful music, sounding very psychedelic and reverberating a more “acid folk” vibe that one attributes to some 20th century music. Just awesome. Price: 50 Euro

1055. 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
1056. 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
1057. 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
1058. 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
1059. 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

1060. 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

1061. LEE MORGAN: “Candy” (Blue Note Records/ King Records – BLP-1590 / GXK8131) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare White Label PROMO Japanese high quality press issue released by King Records at the time. “Recorded when he was only 19, Candy was one of the first albums where Lee Morgan showed his own unique style. His prodigal technical virtuosity had already been proven at this time in the Dizzy Gillespie band, but Morgan’s first solo ventures had been remarkable only because of his young age. Here, the influence of some of Morgan’s mentors can be seen, but instead of just emulating the style of older trumpeters like Clifford Brown, he has begun absorbing bits and pieces of the phrasing and style of a wide range of musicians, from Gillespie to Miles Davis, then using them to forge his own sound. Morgan places himself front and center here -- there are no other horns to carry the melodic lines, leaving him quite exposed, but he manages to perform beautifully. Not merely a technical marvel, his tone on this album was sweet and his playing fluid, infused with joy and crisply articulated emotion. Morgan would later turn out to be an expert songwriter, but here songs like Buddy Johnson’s "Since I Fell for You," and Jimmy Heath’s "C.T.A." gave him ample space to show off his talents.” (All Music Guide). Rare Japanese high quality pressing, PROMO with obi. Price: 50 Euro
1062. LEE MORGAN: “Lee Morgan Sextet” (Blue Note Records/ King Records – LNJ-70113) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare White Label PROMO/ MONO Japanese high quality press issue released by King Records at the time. “Trumpeter Lee Morgan’s second recording as a leader is as notable for the writing of Benny Golson (who composed and arranged four of the six selections) as for the solos of the leader. The set is highlighted by the debut version of "Whisper Not." Actually Morgan, tenor-saxophonist Hank Mobly, pianist Horace Silver, bassist Paul Chambers, drummer Charlie Persip and the obscure altoist Kenny Rodgers all play quite well. Morgan was just 18 and starting to come out of the shadow of his early influence Clifford Brown” (All Music Guide). Stellar stuff!!! Price: 60 Euro
1063. The LEFT BANKE: “Walk Away Renee b/w I Haven’t Got The Nerve” (Mercury – SM-1025) (EP Record Single: Excellent/ Picture Sleeve: Excellent). Their first of only 2 EP singles they released in Japan, adorned with Japan only sleeve art. It was the band’s debut single, 1967's "Walk Away Renee," which incorporated a small string section, harpsichord, and woodwinds to give the song a light yet dramatic Baroque flavor that was unique in rock at the time, and a perfect complement to the song's bittersweet tale of unrequited love. The B-side, “I Haven’t Got The Nerve” is a stellar pop rocker that manages the unique feat of sounding like a convincing R&B stomper played by Bach but still has more than enough personality to rock the house. It is such a great track and so overlooked, it demands mass re-appreciation urgently. Beautiful rare EP version of two essential and so beautiful songs. Price: 75 Euro
1064. LEJEUNE, JACQUES: “Parages” (INA GRM – AM-709.06) (Record: Near Mint/ Fold Out Jacket: Near Mint). Another electronic music gemstone out of the INA-GRM catalogue. Excellent tape music realized in 1974 and released the following year, Parages is build out of environmental sounds transformed, spliced and pieced together into a sonic masterpiece bordering on melt down of atmospheric sounds and environmental noises. Highly essential and if you are even remotely interested in early French avant-garde electronic tape music experiments, this one is certainly worth checking out. Highest possible recommendation, it won’t get any better than this. Price: 75 Euro
1065. 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
1066. LEUTER, CECIL: “Pop Electronique – Les Sons Electroniques De Cecil Leuter” (Neuilly – MC-8005) (Record: Near Mint/ Jacket: Near Mint). Next to impossible to upgrade upon, top copy. Pop Electronique is an excessively cult record - brainchild of the fabulous Cecil Leuter. As of the end of the 60s, he would throw himself into musical experimentations, combining prehistoric beat boxes with the intense use of synths, and began to niftily mix acoustic, electric and electronic music. A crazed record composed of a super groovy A side, bringing together strong jerks and Dadaist moog deflagrations, and a much more minimal, strictly electronic B side. Situated somewhere between Pierre Henry and Michel Colombier’s“Messe pour le Temps Présent” and Jean-Jacques Perrey’s“Moog Indigo,” Pop Electronique can be classed as one of those pioneering and magical records which, at the end of the sixties, dared savagely mix pop’s grooves and rhythms with the futuristic electronic sounds of the first synthesizers. Original 1st pressing in top condition, impossible to upgrade upon. Price: 275 Euro
1067. LIGETI, GYORGY: “Kammerkonzert + Ramifications Vers.1, Vers. 2 + 10 Stucke + Artikulation” (Trio Records – PA-1026) (Record: Near Mint ~ Mint/ Silk Screened Jacket: Mint/ Booklet: Mint/ OBI: Mint). Japan only release that comes housed in a stunning silkscreen jacket art. First time ever I can offer an all-complete copy with OBI!!!! The music of Hungarian composer György Ligeti is in a constant state of unease. At times, it's long, soft, sustained tones; elsewhere, it's churning with busy, piercing energy. But it's almost always dissonant, and never more than semi-melodic. “Kammerkonzert” define exactly what the work is: chamber music, to be sure, but at the same time virtuoso, concertante music for an ensemble of solo instruments consisting of six wind instrumentalists, five string players and two keyboard players. Two aspects of composition are particularly remarkable: firstly, a many-layered structure of rhythms reminiscent of Ives created by consistently using different tempi in several parts at the same time; secondly, a consistent technique of pitch permutation, which dissolves the harmony into, free figuration. The two together constitute that almost indefinable quality of the cloudy, iridescent, shifting, which is so characteristic of Ligeti's style. "Ramifications" represents a further development of the method of composition with complex musical net-formations; it is, as it were, a terminus in the development from "dense and static" to "broken-up and mobile". The title refers to the polyphonic technique of the part-writing; in one skein, individual parts that are twisted together move in divergent directions so that the strands of the voices gradually become disentangled. The total form is made up of the alternation of ramification and unification of the parts and of the rents or bunching together of the net-formation that ensues from this. First time ever I see a copy of this one, Japan only silkscreen jacket art that is just eye-poppingly beautiful. Comes with booklet and freakingly rare OBI. . Price: 100 Euro
1068. LIGHTIN’ HOPKINS: “Strums The Blues” (Score/ King Records – GXF-36) (Record: Near Mint/ Jacket: Excellent – has 1cm middle seam crack/ Insert: Near Mint). Top condition 1978 Japan high quality audiophile press issue of one of his rarest recordings. WHITE label PROMO issue. Lightnin' Hopkins makes everything sound cool and effortless. In terms of musical attitude, he is the Ray Charles of guitar blues. And it shows here…stripped down to the bare essentials, blessed with a gravel voice, this compilation consisted of previous releases from 1946 – 48 and was originally released in the US in 1958. The jacket showed a white arm strumming. “Apparently, the decision-makers at Score Records thought revealing Hopkins to be an African American was not wise. The unsigned liner notes, just two paragraphs, barely hinted at his race and clearly positioned Hopkins as a true folkie… Like great folk artists such as Burl Ives, Lightnin’ improvised easily; the Score liner notes assert: ‘A chance sunlight – a glimpse of a railroad – the play of moon on the water, all turn his talent into a quick, fluent outpouring of feeling in wonderful accompaniment to his rich guitar. So long as folk music endures so long will Lightnin’ Hopkins be played.’ A damned classic slide!!!! Price: 60 Euro
1069. 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!!
1070. 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!!!!
1071. LINUS PAULING QUARTET: “S/T” (September GurlsSGLP-22) (Record: Near Mint/ Paste On Jacket: Near Mint/ Insert: Near Mint). Totally obscure 1995 release by the US space headz. From Houston, Texas on this record are: Stephen Finley (bass), Clinton Heider (vocals, guitar), Larry Liska (batterie), Ramon Medina (guitar, bowed guitar, vocals). All of them have more or less relation to the Mike Gunn. The six tracks on this LP were recorded during the process of recording a song to submit to the Ptolemaic Terrascope's benefit CD Succour in December 95. After the tapes were filled, the beer was gone and the bong was cashed, the result was an amazing spontaneous intense string driven psych rock beast ready to be released even in this rough form. The exploding harmony at the beginning ends with the start of a heavy thundering hypnotic rock strike in Bevis Frond tradition, quoting Black Sabbath and peaking in a twin guitar solo battle. This is followed by a Big Black-esque guitar rumble and an invitation to a Beefheartian Dance of the Bug People. Side 2 consists of an over 20 min. long relaxed, mantra-like psych jam, full of subtle suspense, vibrations, outbursts, dissolving in the harmonious beauty of Henry Floats. Long gone and deleted masterpiece. Price: 75 Euro

1072. LITTER: “Distortions” (Warick Productions Minneapolis – UR5M-1939) (Record: Side A is VG++ ~ EX with some faint hairlines that do not affect the play and which are visible under bright light – B-Side is Excellent/ Jacket: Near Mint, with no ring wear and defects, perfect sleeve). Absolutely beautiful condition of all time awesome garage/ psych private press shredder!!! Most copies are trashed or have some condition issues, this one is in the really nice with only a couple of paper sleeve lines on side A. Original US copy of monster garage psych. The whole adventure kick starts with “Action Woman” and never lets loose until the last groove. Adrenaline blast to the max. They were one of the few garage bands to invest enough energy and imagination into their interpretations to make a cover-heavy LP that is just indispensable. "Action Woman" is here, and they go about tackling, and sometimes dismantling, numbers like the Small Faces' "Whatcha Gonna Do About It" and the Who's "A Legal Matter" (both of which were barely known in the U.S. at this point, incidentally). "I'm a Man," though based on the Yardbirds' version, gets into some pretty incredible feedback/distortion swirls in the closing rave-up section. In all, this monster of a disc is filled to bursting with acidic and demonic fuzz/feedback guitar riffs and cocky, snarling lead vocal, it was an archetype of the tough '60s garage rock favored by fans of the Pebbles reissue series. This is great copy of a record that has always cover issues (ring wear and other defects) and trashy record condition issues. Seriously rare in any condition as this one here is really nice with only a few hairlines that do not affect the sound in any way… Price: Offers!!!

1073. 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: 85 Euro

1074. LITTLE FEAT: “S/T” (Warner Pioneer Records – WS-1890) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint). US first original pressing with 2nd state cover. 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!!!!!! Price: 50 Euro
1075. 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
1076. 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
1077. 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
1078. LLOYD McNEILL & MARSHALL HAWKINS: “Tanner Suite” (Asha – asha no. two) (Record: Excellent ‾ Near Mint/ Jacket: Excellent). US first original pressing from 1969. Tanner Suite is one of the most beautiful and by far the rarest of all of McNeill’s records, a unique piece of music especially commissioned by the Smithsonian National Gallery Of Art in the late 1960s to accompany an exhibition of the work of Henry Ossawa Tanner, the first African-American painter ever to gain international success. Tanner Suite was originally released in 1969 as a private individually numbered pressing of 1000 copies on McNeill’s own Asha Record company. This beautiful and intense set of pieces based around improvisation was the soundscape to the significant exhibition of Tanner's work, created at an important point in post-civil rights African-American self-definition. The music is both profound and spiritual. Price: 275 Euro
1079. LONGET, CLAUDINE: “Bonsoir Claudine Bonsoir” (A&M Records – AML-65) (Record: Excellent – fine paper scuff marks here and there that hardly affect the play/ Gatefold Sleeve: Near Mint/ Obi: Near Mint). JAPAN ONLY ISSUE. Claudine Longet? Didn't she kill somebody? Sadly, Claudine Longet is most remembered for a tragic day in 1976 when a gun she was holding discharged into the stomach of her boyfriend, ski legend Spider Sabich, leaving him mortally wounded in the bathroom of their Aspen, Colorado chalet. Prior to the shooting, the world knew Claudine best as wife of crooner Andy Williams, although she had gained a measure of fame in her own right as a pop singer with a trademark soft, whispery French accent, and also had to her credit some film work and a string of bit parts on television shows like “The Party”, “Rat Patrol” and “Combat”. Claudine never really found her audience. Despite modest success of some of her singles such as “Love Is Blue”, which charted in the spring of 1968, Claudine was rejected by the younger rock crowd of the day as part of the square establishment and was forever overshadowed by the immensely popular Williams in easy listening circles. No doubt the housewives who swooned over Andy were put off by his sexy, young French bride. Anyway, that aside, Claudine is one of the finest chanteuses around and still does not fail to enchant these ears on a daily basis. Here you have a very rare compilation album, complete with obi that was only released in Japan. Brilliant all over. Claudine definitely ruled. Price: 75 Euro
1080. LONGET, CLAUDINE: “The Look Of Love” (A&M Records/ King Records Japan – AML-4) (Record: Near Mint/ Flip Back Jacket: Mint/ Obi: Mint/ Insert: Mint). Original 1968 Japanese first original pressing complete with obi in immaculate condition. “The Look Of Love remains the creative zenith of Claudine Longet’s A&M tenure. Arranger Nick DeCaro and producer Tommy LiPuma weave together elements of soft pop, jazz, and bossa nova to create a fairy-dust suite perfectly modulated to Longet’s breathy allure, rendering moot her obvious vocal limitations via the perfect combination of singer, songs, and sound. Material like the Brill Building gem "I Love How You Love Me," Margo Guryan’s "Think of Rain," and the Bacharach/ David title cut envelop Longet in a potently romantic atmosphere that underscores the innocence and intimacy so central to her identity. Rarely have albums forged from so little yielded so much.” (All Music) This is one of the rarest Claudine Longet releases out there, first time I have a Japanese original of this one. Top copy, next to impossible to upgrade. Price: 100 Euro
1081. LOREN MAZZACANE: “Unaccompanied Acoustic Guitar Vol. IV” (Daggett Records – 49A) (Record: Near Mint/ Hand Drawn and signed Paste On Jacket:Near Mint). Top copy, 1st original issue. Supposedly released in an edition of only 25 to 50 handmade copies way back in 1979. “Loren MazzaCane Connors's music has always been connected to the blues, but it has changed quite a bit over time. The music collected on Unaccompanied Acoustic Guitar Improvisations, which came out as 9 separate LP’s, is his earliest recorded work, and it will surprise anyone who expects anything in the vein of his recent collections of jewel-like miniatures for electric guitar. For a start, he only played acoustic slide guitar when he made these recordings. More significantly, Connors's voice is as upfront as his guitar. His wordless, hyperemotional moan is quite at odds with the more measured expressiveness of his more recent instrumental endeavors. Finally, the scrupulous editing that distinguishes his contemporary work is nowhere to be found on these sprawling half-hour-long performances. Connors recorded this music himself in a decrepit painting studio and pressed each volume up in an edition of 50. Long-standing fans will find this portrait of the artist as a young man both surprising and illuminating, but first-timers should try Evangeline or for more concise and accessible representations of what he can do at the height of his powers.” (Bill Meyer). Spot on and incredibly tough to dig up. This is one of those limited to 50 copies original LP’s housed in handmade and hand drawn jackets. Top copy. Price: 500 Euro
1082. 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
1083. 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
1084. 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
1085. 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
1086. 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: 200 Euro
1087. 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
1088. 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
1089. LOVE: “Stand Out b/w You Are Something” (Blue Thumb/ King Records – HIT-1814) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare 1970 original & Japan ONLY EP & picture sleeve issue of Arthur Lee’s Love. The A-side is a live cut from a gig in London and the B-side is an unreleased track. This makes this issue quite an unique Love release. Stunning condition. First copy I have in many, many years. Comes in beautiful eye-popping sleeve art. Price: 400 Euro
1090. LOVE: “Jimi No Sanka - The Everlasting First b/w Keep On Shining” (Blue Thumb/ King Records – HIT-1839) (7 Inch Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). 1971 Japan ONLY Love single issue with cool picture sleeve. First copy I see in over 15 years, it is just THAT rare, no shit. Indispensable Love slide where Arthur Lee gets flanked by Jimi Hendrix, opening the A-side with a totally full frontal derelict fuzz assault on all your senses. Arthur Lee’s voice is soaring above it all, floating on a polyrhythmic wah & fuzzed out funk groove. Maybe the greatest Love single ever recorded, this is a vicious beast. B-side is “Keep On Shining”, your signature sounding Love track. Amazing little gem, first copy I see in over more than a decade. Price: 450 Euro
1091. LOVE: “Forever Changes” (Elektra Records – P-8609E) (Record: Near Mint ~ Mint/ Jacket: Near Mint 〜 Mint/ Insert: Mint/ Obi: Mint). Original Japan first pressing complete with obi. Top condition. “Despite being undoubtedly a psychedelic folk album, Forever Changes is one of the oddest, most sinister products of the mid 60s West Coast that you’re ever likely to hear. The band, formed around the twin talents of Hollywood brat, Bryan MacLean and folk beat rebel Arthur Lee, were seen as moody outsiders to the LA peace 'n' love community, known for their insularity and rather edgy image. By 1967, after two albums, the band was holed up in Bela Lugosi’s mansion in the grip of acid-fried egotism and early heroin addiction. Always drawn to outsiders, it was Neil Young who originally agreed to produce, but dropped out at the last minute, leaving it to Elektra’s house producer, Bruce Botnick (aided by Lee). Dismayed by the band's sorry state he drafted in session players like Hal Blaine and Carol Kaye. Luckily this had the correct galvanizing effect and the band pulled themselves together just enough to complete the sessions themselves. The result was the aforementioned weird mix of gossamer psych folk and itchy LSD musing. MacLean's Alone Again Or with its Southern Californian mariachi frills is a disarmingly pretty opener. But Lee’s lyrics are exactly on the cusp between blessed out surreality and bad trip paranoia. Live And Live has one of the strangest opening lines of all time in: ''Oh, the snot has caked against my pants/It has turned into crystal…'' but within one line the protagonist is wielding a gun to repel all trespassers. Meanwhile on A House Is Not A Motel, after sarcastically singing that, ''the streets are paved with gold'' he says: '' …the water's turned to blood, and if you don't think so go turn on your tub and it's mixed with mud''. Such reminders of the beast lurking underneath the hippy dream were probably too blunt for an audience desperate to escape the reality of Vietnam and civil unrest. And that's why it took years for first the cognoscenti and now, seemingly, the rest of the world to catch up with this startling album. It didn't avert the demons banging at the door of Love's mansion, but it serves as an eternal reminder of the other side of idealism's coin.” (Chris Jones BBC Music). One of the greatest albums of all time, this is the rarest issue of this masterpiece, in top condition with FIRST ISSUE OBI. Price: 150 Euro
1092. LOVE: “Da Capo” (Elektra – EKS-74005) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint) US 1st original pressing on the gold toned Elektra label, Love’s second LP from 1966. “Side one is brilliant, an ahead-of-its-time and still unique mix of garage rock, hard rock, folk rock, exotica and magical imagery. Lee’s creative use of unusual chord patterns and flamenco guitar is distinctive and the bizarre urgently hyperactive structure to’7&7 Is’ is unmatched by anything in the genre except maybe The Music Machine’s ‘Talk Talk’. Anyone paying attention at this point could tell that something very special was brewing. Side two however is a huge bore. They didn’t have enough material for a full album so they included a jam that they routinely played in concert when they wanted to piss off an unappreciative audience. They were the first rock band to record a sidelong song. By the way, The Rolling Stones ripped off this album twice: the lyrical concept of ‘She Comes In Colors’ was taken for ‘She’s A rainbow’ and the vocal improvisations on ‘I’m Going Home’ appeared soon after the Stones saw Love play ‘revelation’ in concert” (AM – Endless Trip). Amazing album but I rather like the sidelong jam on side two which never failed to rock my neck of the woods. Top condition. Price: 150 Euro
1093. LOVE: “Da Capo” (Elektra – EKL-4005) (Record: Near Mint/ Jacket: Near Mint, still in original shrink – has tiny upper right corner drill hole/ Company Inner Sleeve: Near Mint) TOP CONDITION MONO pressing. US 1st original pressing on the gold toned Elektra label, Love’s second LP from 1966. Same LP as above but this one here is a virginal copy of the rare MONO pressing. Totally different sonic experience as opposed to the stereo version and as you know, the mono mix has so much more punch to it. When blasting this one at full throttle, Valhalla will not be very far behind. Next to impossible to upgrade upon. Top condition MONO press. Price: 400 Euro
1094. LOVE LIVE LIFE + ONE: “Love Will Make a Better You” (King Records – SKK-3009) (Record: Excellent 〜 Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint). Fantastic copy of this all time psychedelic free improvisation masterpiece, one of the rarest psych artifacts to roll out of Japan. Jacket is very white with only a very few faint mildew spots but is one of the cleanest ever to cross my eyes! This one here comes with the hardly ever seen obi attached, making it a monster rarity!! 1971 original release in exquisite gatefold jacket. Like so many other groups, the formation of this outfit happened rather coincidental and took place in 1971 at the premises of newly found record label King (°1970), that profiled itself as mainly being preoccupied with jazz related activities. One of the central figures circulating at the fringes that scene was the saxophone player Kôsuke Ichihara and flutist Toshiaki Yokota. The sessions took place under the banner of “New Emotional Series” and succeeded in attracting a wide range of illustrious musicians such as Kimio Mizutani, Yanagida Hiro and Chito Kawauchi. Other interested musicians like Takao Naoi and rock star singer Akira Fuse drifted in for the “New Emotional Series” sessions, grouping themselves in the one-time off outfit Love Live Life + One. King released the unit's album “Love Will Make A Better You” in April 1971, which displayed a consistent, advanced jazz-rock sound in the vein of King Crimson's “Islands” and Keith Tippet, infused with improvisational interplay, vicious organ riffage and frantic chord changing. To top it all off there is Akira Fuse's frantic soulful vocal attacks, the free jazzing meets psychedelic blizz interplay and the fuzzed out organ napalm bomb like attacks that spiced it all up. In short, a whirlwind of lysergic dementia and one of the hottest psyched out monster disc to come out of Japan. KILLER all way through, highest ever-possible recommendation and blood rare. Record is in fantastic shape all way through with no visible defects. Gatefold sleeve is crisp and clean with no damages or splits. One of the best copies to have ever crossed my eyes and getting next to impossible to get in fabulous shape. Copies do not surface anymore here so…getting next to impossible to dig up. Comes complete with INSERT and always missing first issue OBI!!! These babies will break the bank in years to come as Japanese psych artifacts are getting close to extinction with every breath you take. Take my word for it. Price: Offers!!!!
1095. 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: 225 Euro
1096. LOWE, FRANK & RASHIED ALI: “Duo Exchange” (Survival Records – SR-101) (Record: Excellent ~ Near Mint/ Jacket: VG++ ~ Excellent – has some visible edge wear but no splits or damages). Same as the above one but at a reduced price. The record is as clean as it comes and is in top shape. The sleeve however has some storage wear at the edges and hence I can offer this one cheap. 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: 125 Euro
1097. 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
1098. 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
1099. 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
1100. LULA CORTES & LAILSON: “Satwa” (Rozenblit – LLP-005) (Record: Excellent ~ Near Mint – has exactly one 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!!!!
1101. 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
1102. 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
1103. The LYMAN WOODARD ORGANISATION: “Saturday Night Special” (Strata Records – SRI-105-75) (Record: Near Mint ~ Mint/ Jacket: Mint – still housed on original shrink wrap). Top condition 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 unless you opt for a sealed copy. Price: Offers!!!