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678. LA PERVERSITA: “S/T” (Invisible Records – Scopa 10 005) (Record: Mint/ Jacket: Mint/
Insert Posters: Mint) Rare great LP of experimental dark cold twisted combo
responsible for hushing out some of the most explicit lyrics ever to be put
down on wax. Dwells in the regions of depraved love, SM and scatological
encounters with total strangers and so much more bodily delights. Comes with
the great art (ultra explicit poster inserts, depicting the Virgin Maria with
spread open legs ready to insert household materials). All the artwork made by Kiki
Picasso. This LP was a production of the famous Bazooka group and one the first
release of Hector Zazou. I doubt if an album of this caliber could be released
nowadays, probably it would be censored on the spot with newborn Christians,
Jesus Freaks and puritan nitwits demanding to reintroduce book burnings and
banishing all art. Taliban in Europe will have a field day. Excellent LP, head
on attack on morals, deliriously late night sounding, dark and intoxicatingly
great. Musical erotica mixed with avant-garde, psychedelics and electronics.
One of the best discs ever to have emerged out of France. All time highest
recommendation. SOLD |
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679. LACRYMOSA: “S/T” (LLE Label – LLE-1008) (Record: Mint/ Laminated silver toned
Jacket: Mint/ Insert: Mint). Bloody obscure 1984 Japanese private press record.
Doom-ridden,
avant-garde, chamber rock that sounds in a way like a
modern psychedelic chamber music ensemble supported by a rock rhythm section. Lacrymosa started out as a project formed by
bassist/violinist Chihiro Saito in Tokyo during the early 80's with several
different musicians in the band before settling down a solid line-up in 1983. The
band put to use a wide range of instruments including sax, violin, clarinet,
guitar, crumhorn, guitars, etc. Shorly after their formation, the band started
working on their debut album, simply entitled "Lacrymosa" which got privately
released in 1984. Here they brought forth a challenging dynamic sucking in
elements of contemporary classical music and avant progressive rock, not unlike
Univers Zero from Belguim or Art Zoyd from France. Best
in its genre. Price: 50 Euro
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680. LACY, STEVE: “Lapis” (Saravah – SH-10031) (Record: Excellent ~ Near Mint, like all French pressings of that time some minimal surface noises pops up here and there/ Gatefold Jacket: Excellent ~ Near Mint). Original 1971 press. Recorded and released in 1971 by Daniel Vallancien for his Saravah imprint. Totally beautiful and austere Lacy recording that is almost Zen like it its approach to sound, partially due to the incorporation of resonating minimal gong sounds against which Lacy improvises. Probably the title gives some insight into Lacy's mindset at that time as the eleven-minute three-movement suite was called “Three Pieces From Tao”, already hinting at his oriental orientation at that time. This LP was Lacy's first ever solo saxophone album, hence its historic milestone status it has gained ever since it was released. As some critic used to say about this groundbreaking album “Lacy's postmodernist strategy was still embryonic but already captivating, with a passion for extra-musical noises as well as fragments of singalongs and nursery rhymes to weave intricate tapestries of harmony”. Even some almost musique concrete elements pass the revue with Lacy improvising against sounds of onrushing traffic of cars, drilling sounds and other flashes of the 20th century rushing onward, creating an highly interesting juxtaposition of sound and ideology. This record is so endowed with ear splitting beauty it actually hurts listening to it. It is as if Lacy's solo improvisations here offer a cinematic pan across his mental landscape in sound of that time, displaying an austere intimacy that offers almost a direct access towards his deepest inner soul. Just bone-chilling and hair-raising beautiful music, and for me it is almost too beautiful to take in, it hurts …… too much beauty for a simple living soul to handle at once. It just splits open your skull. Massive. Price: 150 Euro |
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681. LACY, STEVE: “Stalks” (
Columbia – YQ-7507-N) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Extremely rare
Japan
only Steve Lacy release that just almost never pops up here anymore. Recorded and released in 1975, “Stalks” sees Lacy working with renowned Japanese free jazz heavyweights Yoshizawa Motoharu (bass) and Togashi Masahiko (drums). Again an indispensable entry in Lacy's discography or – for who cares – in Yoshizawa Motoharu's discography. Contrary to “Lapis”, on “Stalks” Lacy does sound more mature and lyrical. Still that does not mean he has lost his cutting edge sound he displayed on Lapis. No not at all. Hearing him interacting with these seasoned Japanese improvisers brings out the best of him, which can also be said for Yoshizawa and Togashi, gelling together as a flexible seasoned trio – although that they only have been playing together for a couple of concerts after Lacy's arrival in Japan before heading down to the Tokyo Studios of Columbia. In all a stunning artifact documenting a sort of a clash of the titans, east meets west kind of free improvisation interaction on which all of the three players shine brightly. Rare
Japan
only Lacy release that only sporadically surfaces. Original pres in top condition. Price: 300 Euro |
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682. LACY, STEVE: “Lapis” (Nippon Columbia/Saravah – YQ-7014-SH)
(Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint). JAPAN
ONLY JACKET ISSUE. Original Japanese press. Recorded and released in 1971 by
Daniel Vallancien for his Saravah imprint. Totally beautiful and austere Lacy
recording that is almost Zen like it its approach to sound, partially due to
the incorporation of resonating minimal gong sounds against which Lacy
improvises. Probably the title gives some insight into Lacy's mindset at that
time as the eleven-minute three-movement suite was called “Three Pieces From
Tao”, already hinting at his oriental orientation at that time. This LP was
Lacy's first ever-solo saxophone album, hence its historic milestone status it
has gained ever since it was released. As some critic used to say about this
groundbreaking album “Lacy's postmodernist strategy was still embryonic but
already captivating, with a passion for extra-musical noises as well as
fragments of singalongs and nursery rhymes to weave intricate tapestries of
harmony”. Even some almost musique concrete elements pass the revue with
Lacy improvising against sounds of onrushing traffic of cars, drilling sounds
and other flashes of the 20th century rushing onward, creating an highly
interesting juxtaposition of sound and ideology. This record is so endowed with
ear splitting beauty it actually hurts listening to it. It is as if Lacy's solo
improvisations here offer a cinematic pan across his mental landscape in sound
of that time, displaying an austere intimacy that offers almost a direct access
towards his deepest inner soul. Just bone-chilling and hair-raising beautiful
music, and for me it is almost too beautiful to take in, it hurts …… too much
beauty for a simple living soul to handle at once. It just splits open your
skull. Massive. Price: 50 Euro
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683. LADY JUNE: “Lady June’s Linguistic Leprosy” (Virgin – VIP-4074) (Record: Near Mint/
Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). 1st original
Japanese pressing with obi. “Lady June aka
June Campbell Cramer, was a Bohemian artist and poet who was something of an
honorary member of the less commercial wing of the early-'70s British
progressive rock scene. Numerous musicians lived and hung out in her flat in
the Maida Vale area of London, which is most famous as the place where (at a
1973 party) Robert Wyatt fell out of a window, paralyzing him from the waist
down Lady June was already in her early forties when she recorded the debut
album. It's such an eccentric piece of work that it's safe to say it would
never have gained release had she not had such strong art-rock connections, and
had Virgin Records not been at the stage where it was issuing some of the least
commercial progressive rock music ever (though it's been reported the LP did
sell out its 5,000-copy pressing). While Lady June does take all of the lead
vocals on the record, they're actually much more spoken poetry than singing,
though she does occasionally hum-sing in a tentative way. Her pieces -- it's
hard to call them songs, at least in the standard sense of that term in rock
music -- are odd, whimsical, rather surrealistic spoken poems, delivered in a
quirkily aristocratic manner. Without demeaning her contribution to the record,
it wouldn't be nearly as interesting a rarity to art-rock fans as it is without
the substantial contribution of her producer and longtime friend Kevin Ayers.
He composed most of the musical settings for the poems, as well as playing
numerous instruments and adding a few backup vocals. Those musical settings
change the album from the rather insignificant spoken word effort it could have
been to something much more interesting, as this was the era in which no one
was more skilled at devising varied, whimsical art-rock as Ayers was. There's
blues, a snaky combination of harmonium guitar and bowed bass ("Tourist"),
good-time near- reggae ("Bars"), minimal sustained classical-like
piano, almost gospel-ish piano and chanting ("To Whom It May Not
Concern"), and a good old-fashioned silly vaudevillian duet. Most
impressively, "Everythingsnothing" and the track it segues into,
"Tunion," is a largely wordless, eerily hypnotic ambient
synthesizer-dominated passage that stands up to the better mid-'70s work of
Brain Eno. That's not such a coincidence, since Eno helps out on
"Tunion" and was also sole composer of the music for one of the other
tracks, "Optimism." At these and other points of the record, Lady
June's voice is distorted in various imaginative fashions and merged with
gothic sound effects so that her poem is just one element of a sound collage,
rather than a conventional poem backed by music. The record's not for everyone,
and not as accessible as even the albums of the era by Ayers and Eno.” (Richie Unterberger, All Music Guide) Price: 50 Euro
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684. LAGHONIA: “Etcetera” (World in Sound – RFR-024LP) (Sealed Copy) Comes with additional 7-inch and poster. Laghonia out of
Peru
rarely disappoints. Well let's rephrase that, they never on this album disappoint for even one single micro-second. Psychedelic South American bliss all over ranging from druggy references in the hauntingly hypnotic “Mary Ann”, (a sweetheart who is willing to loose her unique virginal properties for a narcotic trip into mental oblivion), they warble “Oh you take my mind away” over a mother load of a bass line and down throbbing slow pulsating riff, before unleashing a manic fuzz-drenched guitar escapade recorded over some tribal jungle caveman bongos. These guys went straight for the throat on this disc while at times even getting away with inserting straight down low-grade social criticism such like in the killer track “I'm a Nigger” – “Everybody hates my race!”. Ouuch, straight through the heart. Other tracks such as the poppy-ish delight “Everybody on Monday” and the rubber-sniffing/ exhaust fumes inhaling motorcycle paean “Speed Fever” are true gems of sheer simplicity with lines like “the wind blows your hair, the sun makes your glasses shine”. Yes it is summer all over again; get some Laghonia in your life, good to fog up the head a bit more. Great stuff...Price: 45 Euro |
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685. LA MONTE YOUNG: “The Theatre of Eternal Music – Dream House 78’17”” (Shandar –
83510) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). 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: 300 Euro
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686. LA MONTE YOUNG: “Theatre of Eternal Music” (No Label – DH-1001) (Record: Mint/ Silk
Screened jacket: Mint). Japan only 200-copy silk-screened boot in superb sound
quality. This copy is hand-numbered as
101/200. 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: SOLD
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687. LA MONTE YOUNG: “Sunday AM Blues/ Bb Dorian/ The Well Tuned Piano/ Map of 49’s Dream” (No
Label) (2 LP Set: Excellent/ Jacket: Near Mint, still in shrink). Superb high
quality recording 2 LP set, released in a miniscule run back in 1992. 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. Price: 650
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688. LANGSYNE: “S/T”
(Dusseltoo – TS-2737) (Record: Excellent, has some barely visible faint
paper hairlines but plays Near Mint/ Jacket: Excellent ~ Near Mint/ Insert:
Near Mint). Original Gereman private press out of 1976 of this stellar
acid-folk gem. Comes in great condition complete with the insert. Langsyne was a German trio, which only released
this, single one Lp during their brief lifespan. Stylistically, it drifts in
between folk spiked up with eastern influences and brimming over with acoustic
guitar and sitar strummings, at times touching even on cosmic realms through
the use of an electric organ and taking it a bit more up to celestial
territories. Being technically very skilled, the duo ain’t afraid of launching
into intoxicating improvisational jams and mapping out an exploratory sound
which they combine with structured songs that such the air out of the room as
they are brimful of poetic resonance and endowed with beauty. This enhancement
gives their skeletal music undercurrents of depth and its austere intimacy
offers direct access to pastoral haunting echoes of experimental peaceful and
raga induced acid folk. Without a doubt,
Langsyne stand shoulder to shoulder with the best psychedelic folk albums of
that golden era. Extremely rare original copy. Beautiful. Price:
800 Euro
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689. 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: 165 Euro
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690. LAST EXIT: “S/T” (Eenemy – 25JAL-3062) (Record: Mint/ Jacket: Mint/ Obi: Mint/
Insert: Mint). Promotional copy. Original 1986 Japanese pressing complete with
obi. Last Exit, a four-piece
avant-garde jazz supergroup, brought to their improvisations a fondness for
volume and violence that makes most rock bands sound tame. In the late Sonny
Sharrock, Last Exit boasted a guitar pioneer whose volcanic work in the '60s
New York free-jazz scene remains a profound influence on virtually every rock
soloist who has experimented with noise, from Jimi Hendrix to Thurston Moore.
In Germany's Peter Brötzmann, it showcased perhaps the premier exponent of
energy playing among modern saxophonists; his ferocity would later be echoed by
the sheets-of-sound rock-trio recordings made by his son, guitarist Caspar
Brötzmann. In Ronald Shannon Jackson, it had a drummer who combined the
bluesiness of his Texas heritage with African polyrhythms and the
take-no-prisoners approach of Ornette Coleman's 1970s groups, of which Jackson
was a vital member. And in Bill Laswell, it had a producer and organizer with
close ties to the rock community, as well as a bassist capable of holding down
the musical center in a musical maelstrom. All but one of the Last Exit discs are live
performances culled from the group's formative tours in 1986 and '87. On Last
Exit, the sound is as unrelenting and incendiary as a blast-furnace,
epitomized by the hyper-speed metal of "Enemy Within." While blues
riffs crop up as occasional reference points and an out-of-breath Jackson
indulges in a bit of spoken-word whimsy on "Voice of a Skin Hanger,"
the overall impression is one of supernatural intensity, the agitated
instrumental voicings of Sharrock and Brötzmann suggesting human cries. Last Exit nonetheless based most of its pieces on
blues forms, even if highly abstracted. This bedrock allowed the musicians,
particularly Brotzmann and Sharrock to freely explore the outer boundaries of
their instruments, sublimely soaring over the down to earth and dirty rhythm
team of Laswell and Jackson. This tension, strongly shown on the first four
tracks here, reached almost unbearable degrees; its release when they would
slide back into a groove leaves the listener utterly drained. Price: 35 Euro
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691. LAUNCHERS: “Free Association” (Toshiba – TP-7282) (Record: Excellent/ Jacket: Near
Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Freakingly rare copy that
comes with never seen obi intact!!! Comes on bloody red vintage wax!. Original
release of December 5th, 1968. Awesome Launchers GS debut disc. All
of the songs are originals written by leader Kitajima Osamu and are brimming
over with various ideas and influences ranging from the Beatles and the Them
amongst others that proved to be the main source of inspiration but amended
with intuitive and flaming arrangements. This helped them to cement a
reputation that transcended the regular and middle of the road appeal most GS
outfits exerted because of their unique creative abilities applied to the
garage-like songs they greased out, songs that even hinted vaguely at an
experimental twis t embedded within the beat. So seen in that light, the
Launchers were definitely a serious group transcending the teenage beat
sensation that swept the country. Creativity and originality were held high and
shimmer through their repertoire through the use of swirling vocalizations,
sometimes the added teetering horn section, greased bumped guitar roaring and
even the subtle use of string arrangements at times. Highly innovative for its
time, varicolored in a execution, the Launchers had it all. One of the great-unsung
GS wonders to seep in between the cracks of time. Highly recommended!!! Comes
on blood red wax with never seen before obi present and is in top-notch
condition. Price: 500 Euro
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692. 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!! |
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693. LEAF HOUND: “Growers of Mushrooms” (Telefunken – SLE-14604P) (Record: Excellent/ Jacket: Excellent). Stoner doom metal avant-la-lettre, Leaf Hound is one of these groups that form the basis for all those modern-day doom metal bands to thrive on. I am not really sure if these stoner bands try to recapture those early 70's riffs 'n' spliffs as the next fashionable hype that also rocks my shoes off, but if you like heavy riffing and wailing then “Growers of Mushroom” will certainly go down as an authentic 1971 slab of meteor gravel rushing down the stratosphere. Right before the music start booming out of your speakers, all the elements for grandeur are already in place: five ugly, hairy, red-eyed cavemen that have just devoured their mothers standing in a field of psilocybin and glaring ato you with a stupefied daze in their eyes. Not only did Leaf Hound come from nowhere, they were barely here at all because this slab of vinyl was their sole album. With the release of Growers Leaf Hound started to play shows on the British club circuit before they went down to
Germany
where they became a popular band. Leaf Hound's epic debut was firstly released on Telefunken in
Germany
. The German pressing of the album had a different cover -it has the band members painted on the cover and it included a bonus track that wasn't on the
UK
Decca-issue that closely followed (and which is the rarest). Their doomsday sound combines early Sabbath waltzing-brontosaurus tempos with banshee-wail blues chug a la Zeppelin's first two albums. And truthfully, it rocks and slashes through a wall of sound like nothing else that came before them. “Front man Pete French (later of Atomic Rooster and Randy Pie) nails the sweat-soaked grittiness of Robert Plant without the peacock feathers and his rock-solid wailing vox really deliver, especially on "Drowned My Life In Fear." In fact, Leaf Hound might surprise you as a very credible working-class Zep, although the guitars of Mick Halls and Derek Brooks veer closer to Tony Iommi than Jimmy Page.” And that sums it up pretty close. Leaf Hound's career was short lived and disappeared from the scene, as did their sole LP. Still the legacy keeps on living on and resonating through the sounds of millions stoner doom bands these days. But here are some of the pioneers at work, turning the air into red hot molten lava. Fantastic!! Price: 125 Euro
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694. LEARY, TIMOTHY: “Turn On, Tune In, Drop Out” (mercury – SR-61131) (Record: Excellent/
Jacket: VG++ ~ EXcellent - has some very faint ring wear and a lower split seam in the
middle). Original press copy. Rare white label promotional copy. Original 1967
stereo pressing. “The
most famous Leary LP and rightly so, because it is a mindblower from start to
finish. The soundtrack to a film that had a few pre-screenings but never opened
theatrically, it was obviously designed with LSD trippers in mind. Ralph
Metzner takes on the head's role and is guided, instructed and occasionally
ridiculed by an echo-laden Leary, while a ghostly female voice appears now and
then to add to the confusion. Eerie, atonal acid music creeps in and out of the
soundscape. This LP is neither the religious/psychological exploration of
Leary's earlier works, nor the sociological commentary of the Pixie and ESP
albums. It's as close to psychedelic art as he ever came, especially the
spellbinding journey through "Genetic Memory" on side 2. Made at a
time when Leary had become a world celebrity and the LSD revolution still
looked like it might happen, this is a cornerstone in any LSD-oriented record
collection. Not terribly hard to find as an original. Stereo is preferable. A
vinyl reissue on the Performance label exists.” (courtesy of LamaSivartDoz 2001-2003).
Spot on description. Simply a milestone recording. Price:
135 Euro |
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695. LEARY, TIMOTHY: “You Can Be AnyoneThis Time Around” (Douglas – Douglas-1) (Record: Excellent,
small mark on beginning of side 2/ Gatefold Jacket: VG++, some edge wear and
little damage on lower front side/ Inner sleeve: Excellent). “The
musical equivalent of a full-blown LSD trip," according to the liner
notes. If that's what you're looking for, you should opt for something a lot
more clichéd and conventional, like Sgt Pepper’s, Piper at the Gates of
Dawn or Electric Ladyland. Long a scarce collector's item, this features three
extended "raps" by Dr. Leary over collage-like backing tracks of
music (including brief samples of the Beatles and Pink Floyd), percussion, and
electronics. The raps, which were guaranteed to make parents recoil in horror
at the time, sound quaintly dated and silly today, rife with self-conscious
mantras and revelatory declarations of breakthroughs into different planes of
consciousness and celebrations of the wonders of drug use. This timepiece owes
much of its collectability to "Live and Let Live," which features an
unspectacular jam in the background by an all-star band of Jimi Hendrix (on
bass), Stephen Stills, John Sebastian and Buddy Miles.” (Richie Unterberger). Fantastic timepiece of glorified dope use. Price: 30 Euro
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696. LED ZEPPELIN: “Black
Dog b/w Misty Mountain Hop” (Atlantic – P-1101) (Record: Near Mint/
gatefold Picture Sleeve: Near Mint). One of the hardest to track down Zeppelin
Japan released singles. Comes in a stunning picture sleeve to boot. Hardly
never turns up and an absolute must for any self respecting Zeppelin fan. Price:
80 Euro
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697. LED ZEPPELIN: “II” (Atlantic Japan – MT-1091) (Record: Excellent ~ Near Mint/ Gatefold
Jacket: Near Mint/ Obi: Excellent/ 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: 190 Euro
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698. 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
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699. LE
NIMBA DE N’ZEREKORE: “Gon Bia Bia” (Editions
Syliphone Conakry – SLP-71) (Record: Near Mint/ Jacket: Near Mint). “Ce disque est une page
d'ethnologie," say the breathless sleevenotes. And this is how I like my
ethnology kamikaze kit drumming, delirious wailing saxes and something called
'chant telephone' - a growling singing used to embody the spirits of the
initiation forest. In post-independence Guinea, regional orchestras were set up
to sing the praises of the ruling party while providing culturally 'authentic'
dance music - one of the pleasanter side effects of Sekou Toure's thoroughly
nasty dictatorship. While the dominant strain was Mande music (well known from Salif
Keita, Bembeya Jazz and the like), Le Nimba from N'Zerekore, a rusting market
town in Guinea's forested south east highlands, mixed Mande and Cuban sounds
with the songs and rhythms of the Kpelle, Kono and Toma peoples. Supposedly
retracing the stages of male initiation, this could be seen as an African
concept album. But what gets you going is the wild rhythms booting along spiky
guitar melodies, call and response vocals and some blasting saxes. A truly mad
record.” (the Wire - 100 Records That Set The World On Fire [When No
One Was Listening]. Spot on and brilliant. Price:
100 Euro |
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700. LIGETI, GYORGY: “Poeme Symphonique Fur 100 Metronome” (Edition Michael Frauenlob Bauer –
MFB-008) (Record: Mint/ Gatefold Jacket: Mint) rare Gallery edition. The
Hungarian composer
György Ligeti composed "Poème
Symphonique for 100 metronomes" in 1962, during his brief acquaintance
with the Fluxus movement. The piece requires a conductor and ten
"performers", and most of their efforts take place without the
audience present. Each of the hundred metronomes is set up on the performance
platform, and they are all then wound to their maximum extent and set to
different speeds. Once they are all fully wound they are all started as
simultaneously as possible. The performers then leave. The audience is then
admitted, and take their places while the metronomes are all ticking. As the
metronomes wind down one after another and stop, periodicity becomes noticeable
in the sound, and individual metronomes can be more clearly made out. The piece
typically ends with just one metronome ticking alone for a few beats. Comparisons have
been drawn between this piece and other process music, such as certain works by
the American minimalist composer Steve Reich, and with other music unconcerned
with conventional 'musical' sound, such as the work of the American
experimental composer John Cage. Ligeti did not repeat this type of
experiment, but many of his later instrumental works also featured slowly
evolving landscapes of sound. It is an example of Ligeti's taste for
micropolyphony. (Academic Dictionaries) SOLD
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701. 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: 70 Euro
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702. LITTER: “Distortions” (Warick) (Record: Excellent ~ Mint Minus, has some superficial
paper sleeve scuffs, plays superb, near mint/ Jacket: Excellent). 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. Cover has some light ring wear
as usual. Price: Offers
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703. LITTLE HOWLIN’ WOLF: “Brave Nu World” (HereSee – 055) (Record: Mint/ Silkscreen Jacket: In
shrink, Near Mint). “After
18 years James Pobeiga aka Little Howlin Wolf, Shadow Drifter, Buccaneer Bob,
Deacon Blue, etc...returns with his next LP, "BRAVE NU WORLD."
The music on his previous self-released LPs is a burnt, lugubrious soulblues,
overdubbed and overdubbed, Wolf on every instrument, mixed with downhome
caveman indiscretion and up-above-it self-approval of each weird intuitive
leap. Blasted, purposefully underground, and adamantly original, Wolf's
style results in some seriously messed-up records. And now comes what is hands
down his most challenged work to date! An instant damaged visionary outsider
classic recorded by Twig Harper in his West Baltimore Diamond Eyes studio in
killer LHW style: flowing over dubbed/bounced 4-track. This one is even
more fried with even more pyramids of guesswork, crooning and growling, and
stomping and blurting sorrows and rages than his previous recordings.” (Label description) Release of 2005 that came out
in an edition of 750 individually hand silkscreened jacket. Long sold out and
getting sought after these days. Price: 50 Euro
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704. LOREN MAZZACANE: “Unaccompanied Acoustic Guitar Vol. IV” (Daggett Records – 49A) (Record:
Excellent/ Hand Drawn and signed Paste On Jacket: Excellent). 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:
275 Euro
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705. LORREN MAZZACANE CONNORS: “Five Points” (Table of the Elements) (EP: Mint/ Gatefold Sleeve: Mint). Released
in 1994 in an edition of 500 copies and housed in a hard card gatefold sleeve. The eclectic music of improvisational
guitarist Loren MazzaCane Connors is difficult to describe neatly and
concisely, but avant-garde is the best generalization. Experimental, jazz and
blues also fit, and even hints of Irish music are evident. His sonic landscapes are gladdened with distant tones and slight dissonances that bridges
boundaries between blues, folk, classical, and jazz musics, slow as a turtle,
and as careful as a preacher with a new bible. Another
essential entry in Connor’s discography. Price: 30 Euro |
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706. LORREN MAZZACANE CONNORS: “The Stations of the Cross” (Menlo Park) (2 EP Set: Mint/ Jacket: Mint/ Insert:
Mint). 1995 release. Another vital limited release that sees Connor’s music stretched to the breaking point where it
bleeds into only sound and resonance. He plays as if coming
out of another world, where he absorbs atmosphere and texture, remolding it
into a fragmented line of sound that hints at a melody that actually never
comes. His music here is tender as a lullaby but eerie as a ghost out of a
shell, calling back and forth across the wide plains of music only to get in
return a distant echo of what once was and what eventually could have been.
Difficult to pinpoint but very rewarding and absolutely addictive once you get succumbed
into his sonic universe. Price: 40 Euro |
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708. LOS
ANGELES FREE MUSIC SOCIETY/ LAFMS - AIRWAY: “Tapes: le Forte Four, Vocals: Vetza Macgill –
Unconscious? Till Head Back To Open Airway” (No Label – No Catalogue
Number) (Foldout Poster Styled Jacket: Mint/ Record: Excellent ~ Mint) Rare original
copy of early Airway – LAFMS single that came out in a poster styled
sleeve. Needs no explanation I guess, just stellar deranged DIY pre-punk
psychedelic Dadaism and blitzkrieg bopping avant-garde lunacies. LAFMS
related material is bloody hard to get your fingers on and especially the
singles the collective churned out in hideously tiny runs are almost impossible
to locate. This item is just stunning condition and comes in a foldout jacket
that can serve as a poster to laminate your lonely bedroom fantasies. Highest
recommendation and I doubt another copy will cross your path again within many
moons. Price: 150 Euro
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709. LOS
ANGELES FREE MUSIC SOCIETY/ LAFMS - AIRWAY: “Live at Lace” (LAFMS – No Catalogue Number)
(Paste On jacket: Excellent ~ Near Mint/ Record: Excellent ~ Near Mint/ Insert:
Excellent) Rare original copy of early Airway – LAFMS LP that came out in
a hand-made paste on Jacket sleeve way back in 1978. The racket on display here
was recorded live somewhere in August of 1978 and the line-up consisted out of
Vetza (vocals), Dennis Duck (sax), Rick Potts (mandolin), Juan Gomez (bass),
Tom Recchion (drums), Chip Chapman (circuits) and Joe Potts (circuits &
tapes). Needs no explanation I guess, just stellar deranged DIY pre-punk
psychedelic Dadaism and blitzkrieg bopping avant-garde lunacies. LAFMS
related material is bloody hard to get your fingers on and especially the
singles the collective churned out in hideously tiny runs are almost impossible
to locate. This item is just stunning condition and comes in a nice paste-on
jacket that can serve as a sleaze DIY vintage art to laminate your lonely
bedroom fantasies. Highest recommendation and I doubt another copy will cross
your path again within many moons. Price: 200 Euro
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710. 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: 200 Euro
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711. 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: 200 Euro |
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712. LOS ANGELES FREE MUSIC SOCIETY/ LAFMS: “Blub Krad” (LAFMS-7 – 1978) (Record: Excellent/ Jacket: Mint). Blub Krad – LAFMS Light Bulb Magazine Musical Collection. The record is graded excellent, since there are some faint scuff marks visible from the paper inner sleeve that does not affect the playing. Plays mint to me, but prefer grading it excellent due to the very fe
w scuff marks. 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: 125 Euro |
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713. LOS JAIVAS "EL
VOLANTIN"(Shadoks) This first ever album by Chilean band LOS JAIVAS had no
name but it always was called El Volantin. It was only release in
Chile
in a
small limited run for a real private label. Chili in 1971 seemed to be a great
place to live, at least until Pinochet came crushing through the pearly gates.
Musically Los Jaivas sole recorded artifact reminds me of Kris Kringle as far
as demented lunacies and carnivalesque samba insertions are concerned. But is
does not stop there, mix the whole Kris Kringle dementia with a sniff of Lula
Cortez - Paêbirú album and some fuzz licks similar to Traffic sound and you can
get a hint at what territory Los Jaivas are steering towards for. Long passages
of trippy sounds waving into fuzz guitar outburst in the middle of a tribal
hoedown and samba excursions. Primitive tribal percussive outburst, demon exorcist-like
chantings, salsa rhythms, psychedelic innuendos, lysergic incantations,
Ayahuasca ceremonial extra-terrestrial freak outs, burning fuzz licks, etc. A
real mind blowing gem and a long lost South American psychedelic treasure that
will burn holes in your skull and will have you wandering completely lost
within the unexcavated jungles of your ever discordant mind. A killer. Limited
press of 350 numbered copies. LAST COPY! Price: 50 Euro |
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714. LOU REED: “Metal Machine Music – Mugendai no Genkaku” (RCA Victor –
RCA-9111~12) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint/Obi: Near Mint). WHITE
label promotional copy. Hideously rare and seldom offered 1975 Japanese
pressing of this monumental Lou Reed album. Comes with the seldom seen obi and
has extensive liner notes within the gatefold sleeve that are penned down by no
one else than Taj Mahal Travelers and Fluxus activist Kosugi Takehisa. Inner of
the gatefold has slightly different design than the regular European and US
pressings. Also what makes the Japanese issue so bloody rare and sought after
is the fact that the album was withdrawn from circulation shortly after it was
released, making that only a very few copies actually got sold which could not
be retrieved. “Metal Machine Music” is almost impossibly challenging and
assaultive. Reed has said often that his biggest influences at the time were
John Cale and La Monte Young's early work in the Theatre of Eternal Music, and
he wanted to create music like their drone experiments. What he comes up with
is sixty-four minutes of unrelenting sonic feedback, at any time containing a
thousand or more individual melodies. The composition is exactly what the title
claims it to be; mid-range heavily-distorted tone generation, with A=440 drones
laid over shifting, bubbling masses of noise at surrounding frequencies. While
“Metal Machine Music” lacks the classical-symphony structure of some of
minimalism's greatest works, it's certainly not one continuous sixty-minute
drone. That it was so desperately shunned by the record-buying public is a
travesty, but probably to be expected in a world where dance music was king. Truly
unrelenting and excessive, yet impossibly beautiful, minimalism this severe is
not everyone's cup of tea. To invoke Jackson Pollack, this is “the way things
end, a symphony for the last man”. But ultimately it's just frightening.
Listening to "Metal Machine Music" is sublime in the most personal
sense, for it incinerates all rational expectation and exposes the secret
terror that this is how things really are. Price: 250 Euro
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715. LOVE: “Forever
Changes” (Elektra – EKL-4013) (Record: Near Mint/ Jacket: Mint, still in
shrink). Bloody rare top copy of Love’s debut, GOLD Label Elektra 1st pressing, MONO copy. “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. Price: 600 Euro
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716. LOVE
LIVE LIFE + ONE: “Love Will Make a Better You”
(King Records – SKK-3009) (Record: Excellent ~ Near Mint, has one inaudible hairline/ Gatefold
Jacket: 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. 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. 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. SOLD
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717. LOVE
LIVE LIFE + ONE: “Love Will Make a Better You”
(King Records – 4K-20) (Record: Mint/ Gatefold Jacket: Mint/ Insert:
Mint/ Obi: Mint). The rarest issue of Love Live Life +
One, the 4-Channel version complete with different obi. This version just NEVER
pops up and makes it one of the rarest Japanese heavy
progressive psych artifacts out there. Different mix than the regular version
and an assault on your auditory senses when blasting this monster through a
4-speaker hook-up. Devastatingly great and giving a new meaning to the “heavy
psych” banner. Never offered for sale before (since it is so bloody rare) and
this copy here is mint all the way. SOLD
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718. LOVE
LIVE LIFE + ONE: “Satsujin Juushou – 10 Chapters of Murder”
(CBS Sony – SOLL-74002) (Record: Near Mint/ Gatefold Jacket: Near Mint/
Insert: Near Mint). Their follow-up to the highly acclaimed “Love Will Make A Better You”.
Unlike its predecessor, “10 Chapters of
Murder” is more progressive heavy rock tinted. Released in 1972, “Satsujin Juushou” is a fucking killer
LP, taking off where “Love Will Make a
Better You” left off and taking towards the next level of delirious
madness, mixing outward bound jazzy moves with heavy progressive rock
freak-outs and psychedelic incantations and private ecstatcies. Kimio Mizutani’s
wrist-slashing fuzzy guitar licks wah’s through it all like a surgeon operating
on some defractored brain, Hammond organ lines slice through it all and heavy
horn sections give it a LSD soaked mid seventies Miles Davis kind of vibe you
wont be able to recover from without leaving behind a piece of your sanity. Demented
howling female laughing vocals pop on through at unexpected times, rendering
the whole into an even more disjointed teeth-grinding frenzy, all fused in a
cloud of smoke, making it a stranger fusion of fucked up eclectic jazz moves,
with unhinged psychedelic rock jamming and transporting it into driven jams of
explosive jazzed out cosmic rock. The whole disc is booming over with the
proper ingredients for a musical outrage, fucking up with and fusing musical
traditions and stranding in a hazy but potent universal horizon obscured by
mind bending lysergic mutations and sweating out heavy psychedelics. In short
this is a fucking MONSTER. One of the best and still undetected Japanese heavy
psychedelic & transcendental jaw-dropping jazzy explorations, all embalmed
into one cinematic epiphany meshed together into intoxicating boosted
crescendos of crystalline hallucinogenic quivering sonic attacks.
Head-spinning, mind-altering freeform psyched out jazz rock, a vicious musical
beast from the east, still undetected, bloody rare and unreissued. Highest
possible recommendation. Price: 875 Euro
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719. LOWELL DAVIDSON TRIO: “S/T” (ESP Disk – 1012) (Record: Mint/ Jacket: Mint). One of the most obscure 60s jazz sessions on ESP --
a really free outing from pianist Lowell Davidson, working here in a trio that
includes Gary Peacock on bass and Milford Graves on drums! Davidson's approach
to the keys is quite far out, especially for the time -- very much in the mode
of Cecil Taylor, but possibly even more open-ended than Taylor's work up to
this point. He doesn't get lost in the open spaces, though, thanks in no small
part to the intuitiveness of his players. The last is evidenced in the marvelous imagery
that rises on this, his only record. Lowell had Gary Peacock on bass and
Milford Graves on percussion, a rare pairing that gives insight to his vision.
They work well in the free flowing and changing dimensions he sets up, ready
for his every whim, alert to his agile shifts. Davidson
could make the piano speak in many different ways. His mainstay was
improvisation, and he let his right hand find founts of inspiration and
invention in beautifully flitting notes as well as deep emphasis. Davidson did
not let space dominate the intervals. He let it in judiciously. And when he
did, Peacock and Graves moved in. Really wonderful stuff that's loose, angular and engrossing all the way! Tracks
are all longish originals Davidson ups the pace and the depth and as
intensity storms in, he darts about before cutting loose and hammering home a
welter of well conceived notes. But it is not all boil and fury. Peacock takes
over, drawing in the propulsion and getting Davidson and Graves to soak in the
calm. It's well-crafted, with the groundwork paved with rich imagination. Price: 70 Euro
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720. LSD MARCH: “Totsuzen Hono no Gotoku” (White Elephant
Records – WER-001) (Record: Mint/ Jacket: Mint). Privately released acid
psych brain ripper that came out on white wax in an edition of 300 copies.
Comes with insert. This copy is the rarest version of
those 300 pressed. Most came in a blue cover jacket, this one is the red version. Getting hopelessly obscure and totally vanished
psychedelic assault gem that you will never ever see again. The unit is
comprised out of Michishita Shinsuke (g), Kawaguchi Masami (b) and Takahashi
Ikuro (d), the latter of Fushitsusha and Che-Shizu fame. Heavily Larries
inspired late night fuzz drenched acid psychedelic mayhem. This was the band’s
first self-released vinyl album. Private release that will attain ridiculous
sums in the years to come. So act now and hold yer peace forever. Recently much
in demand and sought after. This is an unplayed virginal mint copy. Comes with
inserts. Excellent music and mint copy. Rare as expected. Price: 140 Euro |
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721. 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: 185
Euro
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722. THE M: “S/T”
(MCA Records – JMC-5042) (Record: Near Mint/ Gatefold Jacket: Near Mint)
Stunning near mint copy of an ultra New Rock rarity, seldom offered and never put up for sale in a virginal condition as this one
here. Released in February 1972, M rode the high crest of the white foamed wave
of the New Rock movement that overtook the Japanese music scene in the early
seventies. The band was a kind of super group since its members where assembled
and drifted from other high profile heavy rock/psych outfits. Lead guitarist
Takemi Asano was drafted in from Godaigo, bassist Yoshimichi Tarumi, Gedo’s
Tetsuya Nishi on drums and Yellow’s Takamichi Tarumi, the M was destined to
make it big but failed against all expectations to hit the spotlights, making
that the album sold very few copies and was withdrawn. So not surprisingly that
the only released this single album. The A side is comprised out of original
compositions by the band, there where the B side is made up out of some well
selected cover tunes, tunes they always had a success with while performing
them life. In all the harmonies and at times mellow atmosphere would rank them
these days in the Free Soul category. Great album if early seventies Japanese rock/
folk is your thang. Extremely hard to come by especially in mint condition.
Recommended. Price: 250 Euro
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723. MACHINE No. 9: “Headmovie”
(Philips – 6305 221) (Record: Mint/ Laminated Jacket: Mint). One of the
rarest and largely undetected freaked out whirlpool of collage snippets,
electronic music and avant-garde krautrock masterpiece that fuses radio
collages, electronics, ghostly voices, classical music fragemtation bombs and
German kraut jams into one hedonistic aural demented sound art jawdropping mishmash
of dusty sonic bolders. Original 1973 pressing. Guests included Renate Knaup (of krautrock
legends Amon Düül II) and about a dozen others such as Timothy
Leary and Alan Ginsberg joining the pagan onslaught. Knaup and Deuter were probably the best-known
contributors, with Deuter having a prolific and wonderfully experimental solo
career. Headmovie begins with strange metallic echoes and clanging noises.
After about two minutes, a narrator starts speaking in German. Roughly 89% of
the words spoken on this record are in German; while this probably means a lot
is lost to non-speakers, the record is still fascinating. The music that
accompanies this audio movie includes gorgeous ambient synths, strange
pulsating minimalism, repetitive folk motifs, fuzz guitar freakouts, and much
much more. In short, apart from being namedropped at the NWW
list everyone seems to drool over, this discs rarely surfaces. It is one
serious headfuck of a weird LP that had no commercial potential whatsoever. To
these ears, one of the best and highly original discs to come out of post war
Germany. Massive. Price: 450 Euro
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724. MACIUNAS ENSEMBLE: “Music For Everyman 861” (Apollo Records – AR-028605) (Record: Mint/ Jacket: Mint). Rare Paul Panhuysen disc out of 1986, released on his own Apollo Records imprint. Originating from
Eindhoven, the Maciunas Ensemble is a group around Paul Panhuysen. It also includes musicians Jan van Riet, Leon van Noorden, Mario van Horrik and Horst Rickels. It is founded by Paul Panhuysen and Remko Scha in 1968, when they also started Het Apollohuis (a now defunct spot for live experimental music). Named after Fluxus founder George Maciunas for spontaneous music, in overlapping layers, thus creating an interesting form of minimal music. Fantastic minimal music head swing. Price: 60 Euro
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725. MACK SIGIS PORTER: “Peace
On You” (Shadoks Records) (Record: Mint/ Gimmick Gatefold Jacket, opening up in
the middle: Mint). Again a stunning Shadoks release – one of their best
outsider psych releases so far. But the first element to catch your attention
will be the eye-popping, deluxe laminated triple gatefold jacket with die-cut
sleeve and the always-heavy vinyl. Hand numbered edition of 400 and bound to
dry up before summer ceases to an end. The story: Mack Sigis Porter is an hopelessly obscure Italian psych/ prog side from 1972.
Although being an African, Porter touched down in Italy and put down this
exquisite album, filled with euphonic arrangements slowly building up arcades
of acoustic guitar strummings that mount into long fuzz and key buried mind
torching escapades, giving an epic feeling towards it all. From start to
finish, this disc is a winner on all fronts, not single bad note. Hard to
believe that this gem was shelved and did not get a proper release. One of the
best Shadoks sides to date, music wise as well as package wise. Highest
possible recommendation, have only one copy of this one left…they went fast. Get
it while you can, it will improve the quality of your life, Porter’s hauntingly
beautiful compositions take on heroic proportions when listening to it, slow
burning at first before gaining momentum and flattening you out, face down,
stupefied. This baby burns all way through…killer!!!!! Price: 70 Euro
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726. MACLISE, A
N
GUS: “S/T” (Counter Culture Chronicles) (Record: Excellent/ Jacket: Excellent) Totally vanished private press of some obscure Maclise recordings. MacLise
w
as an original member of the Velvet Underground and La Monte Young's Theatre of Eternal Music, and composed soundtracks for films by Piero Heliczer, Jack Smith, Ron Rice, Gerard Malanga, Jonas Mekas, and Ira Cohen. He formed the Dead Language Press
w
ith
Piero Heliczer in 1957, contributed to SMS, edited Aspen #9, and had his
N
e
w
Universal Solar Calender published by George Maciunas. Unfortunately, he died in 1979
w
ith
very little of his music released. This record collects "Trance" (Fierce single 1988), "The Joyous Lake" (Aspen flexi 1970), excerpt from the soundtrack "Invasion of the Thunderbold Pagoda" (a film by Ira Cohen 1965), and soundtrack from "Chumlum" (a film by Ron Rice 1964). Limited edition of 500 copies. Black and
w
hite printed cover. Extremely great and highly collectable minimal music. Counter Culture Chronicles. Grey area and unofficial released second press boot. Contents are mind blowingly great. Price: 30 Euro |
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727. MADDISON, DAVE: “Descriptive
Improvisations” (MAD – MADD-1) (Record: Mint/ Jacket: Excellent ~ Near
Mint). Freakingly rare and obscure UK private press LP that came out in an
edition of only 100 copies way back in 1978. Just fantastic UK underground solo
electric guitar and wild effects drenched sonics that sound a bit in the vein
of Pekka Airaksinen. Totally of the map and obscure
LP by this UK guitar free-form improvisational maverick that sounds even
disruptingly transcendent and more disjointed galactic than Derek Bailey on
acid or a droned-out Metal Machine Music era Lou Reed on laxatives. Dave
Maddison is without a doubt amongst those who wish to liberate the guitar from
its charming old-fashioned ghetto, from its touching elegance, from its more or
less sweetened folklore and to make it change abruptly from a purring which is
intimate and of good company into a gushing of an inexhaustible source of wild
music. At the same time as he projects it into a future of pureness and fantastic
violence, he unites again, beyond centuries of tradition, with the essence of
the sonorous gesture, the instrumental ability, the musical magic in a word.
Briefly, he invents the guitar again from top to bottom, drowned out in
reverberated effects, embarking for deep cold space, in an attempt to map down
the deserted canyons of your echoey mind while folding and manipulating space
with is panoramic sound. A true mind fuck of an LP, steering into exploratory
soundscapes, bordering on tornados of dusty noise and the controlled burn of a
jet engine crossbreeding with the boundless fury of an apocalyptic miasma. This
LP came out in an edition of 100 copies only and was mainly sold at a local
gallery and a handful of concerts Dave Maddison pulled off. Rare forever and
the music ranks up there amongst the best free improvisation wild card records.
Definitely one of the undergrounds defining moments as far as guitar
improvisational freedom and vigorous phased out & buzzing drone records
offer. Massive. Price: 475 Euro
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728. MAGICAL POWER MAKO: “Super Record” (POLYDOR - MR 5055)
(Jacket: Excellent, only a few aging stains/ Record: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Comes with 4-paged full
color insert. Original copy that came out in April 1975. The second and all-time best Mako
album, originally issued by Japanese Polydor in 1975. Although MPM went on to
record 20+ more records after this one, he would never exceed the spatial
exuberance of Super Record. From the liner notes: “Mako's music
possesses a certain strange kind of texture. It's certainly is what they call
rock, but contains elements that we can't describe so succinctly. It clearly
goes beyond the various genres of music, and while full of them all, it sends
forth a fierce glow. This 'Super Record' shows Mako looking down upon the earth
from above, wandering through Alaska and Siberia, the Near East, Okinawa, and
South America. Adding to the variety of folk music of India, Turkey, and
Russia, his mandolin or Taisho koto, and especially his marvelously performed
guitar, expressing fully the odor of the soil and mankind's universality.” Mind
expanding greatness is imbedded within this record's grooves that will
certainly enhance your everyday grey existence. One of Japan's greatest
avant-garde meets psych records of all time. Psychedelic instrumentation,
backward tape loops, musique concrete, tape music, field recordings, found
sound, animal and children sounds are some of the few elements that make this
disc so utterly great. One of Japan's best ever. Hardly turns up these days and
seemingly on everybody's want list. A top copy that will pleases just anyone. Price: 200 Euro
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729. MAGMA: “Mekanik Destruktiv Kommandoh” (King Records/ A&M Records
Japan
– AML-193) (Record: Near Mint/ Gatefold Jacket: Excellent/ 4-Paged Insert: Mint). Rare 1st original Japanese pressing of this all time Zeuhl classic. Released in 1973, “Mekanik Destruktiv Kommandoh”. This record is perhaps the most dark and militaristic-sounding out of the early Magma catalogue. Vander's comments: "The 3rd movement of the trilogy 'Theusz Hamtaahk', 'MDK' is really my 'My Favorite Things". The melodies are played infinitely, becoming more and more intense, attaining a kind of paroxysm, of zenith. Great and rare original Japanese pressing of this monster, complete with 4 paged insert. Indispensable. Price: 50 Euro |
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730. MAHARASHI MAHESHI YOGI: “S/T”
(World Pacific – WPS-21446) (Record: Excellent ~ Near Mint/ Gatefold
Pressing: Excellent). Historical recording by Beatles guru and hippie
transcendental mind bender. Original pressing. Essential era piece to guide you
towards your spiritual salvation. Price: 30 Euro
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731. MAHER SHALAL HASH BAZ: “January 14th 1989 Kyoto – Maher Goes to Gothic
Country” (Org Records – ORG006) (Record: Near Mint/ Jacket: Near Mint/ 6
Inserts: Near Mint). This record I see on everyone’s want list but due to its
ultra limited pressing of 100 copies the disc just never turns up. I got my
personal copy about 10 years ago and only now I am able to offer my first spare
copy. Like Idiot O’Clock’s 100 copies only ltd LP on the same label, Maher’s
album is about a zillion times harder to get. Idiot O’Clock’s disc I have seen
for sale about 5 times in the past 6 years. Maher’s first I have seen never
ever offered for sale until now in these pages. Go figure its scarcity. But
that is not all. The music on Maher’s first LP is what made headz turn counter
clockwise in disbelief. The naïf psychedelic collective seemed to have the
gutsy determination to head for the holy ground of rock music’s final and last
moments, a burial ground of rock as we know it with its ragged take on chords,
detuned instruments and child-like displayed primitivism of a pre-musical
level. Needles to say not many people were ready or interested at the time in
Kudo’s joyous kindergarten epiphany, until he met up with Org Records’
Shibayama Shinji in the late eighties, who agreed to release the first album of
his band. Released in a tiny edition of 100 copies, “January 14th, 1989, Maher Goes to Gothic Country” was actually a live recording of a gig in Kyoto
as being part of Shibayama’s Nashikuzushi no Kyôwakoku concert series. On
here, Maher’s sound had become for this concert more compact and well rehearsed
as opposed to their previous outings, as displayed on their first gig concert
tape. Their micro instrumentals were for this once rather well rehearsed
according to their primitive standards. Seemingly utterly simplistic upon first
hearing, Maher however delicately concealed to a certain extent the
craftsmanship underlying its compositions, against which gauzy demarcated
improvisations infuse the whole mixture, igniting it into a hot boiling pot of
steamy rockin’ and rollin’ naïf kindergarten no-wave. Again, Kudo’s slowly
surfacing deconstructing and disassembling take on rock and recreating it with
the scattered basic core parts approach became more visible to those who wanted
to see and hear it. Like Syd Barrett’s one chord riffing style, Kudo ventured
slowly more into the realms of creating substance out of dissected technical skills
and dismantled rock basics, generating a charming and new type of naïf
rock. Highest possible recommendation and bound not ever to turn up again…or do
you think otherwise? Mega rarity. SOLD
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732. MAHOGANY
BRAIN: “With Junk-Saucepan When Spoon-Trigger” (Futura
Records – RED-02) (Record: Mint – unplayed copy/ Gatefold Jacket: Mint).
Top Copy. Freakingly rare and obscure LP that came spewed out of the deep
bowels of the demented French early 1970s underground. One of the weirdest
oddball demented psyched out discs ever to be put down on wax. This
was the first Mahogany Brain album, who were one of
the strange and most primitive French avant-underground rock groups in the 70s.
This, their first album, was originally issued on the ultra collectible Futura label
in 1971 -- one of those mythical records that nobody has ever been able to
hear. Featuring tracks like "Hot
Milk Elbow" & "The
Child With the Wind, the Snow, and the Yellow Top Waiting for the Magical
Toy", this has a Godz-like flavor of outsider zonk and is well worth
the wait. Michel Bulteau was at this time leader of the avant-garde band
Mahogany Brain. It was a group playing pre-punk music, very influenced by
drugs. This free music was at the crossing of Velvet Underground's White
Light/White Heat and Captain Beefheart's Trout Mask Replica. Their story is
quite short-lived: two albums in two years, highly respected, two classical slices
of absurd psychotic sounds out of the French underground that defy
categorization. Just massive. Original copies just don’t surface. Top copy.
SOLD
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733. MAHOGANY BRAIN: “Smooth Sick Lights” (Tapioca – TP-10015) (Record: Near Mint/ Jacket:
Near Mint). Mahogany Brain is one of those mystical French bands that were only
active on that fertile early 1970s scene for only a couple of years and whose
reputation solely rests upon one or two recorded artifacts. They were such a bunch of totally
non-professional musicians that they supposedly only played one gig. And still they
managed to record a couple of albums as well as garner themselves a place on
the Nurse With Wound list of influences. Their music – due to the
reputation of their 1st LP that saw the light of day on the Futura
label – has often been labeled as incompetent and amateurish, sounding
like the band had just picked up their instruments for the first time, though
at the same time their raw sound predates punk and no wave. Mahogany Brain was mainly
however then brain child of one man, being poet and visionary Michel Bulteau,
who for his musical endeavors just collected and amassed whatever musicians he
could find and kicked out the jams so to speak. First gaining underground fame
around 1970 in Paris, the combo mainly served as a vehicle for Bulteau’s surrealist
poetry to unwrap itself and fusing it with Dadaist nonsense and sounds. Needles
to say that hallucinogens fuelled their freeform avant-rock noodlings, taking
music to a unprecedented nuked out level where all reason and good taste seemed
to grind to a halt. In the middle of December 1970 Mahogany Brain recorded the
album With (Junk-Saucepan) When (Spoon-Trigger) released by the legendary
Futura label early the next year, and they also provided the soundtrack to a
short film of Bulteau’s, Main Line. Another record, Smooth Sick Lights, was
recorded in one day in June of 1972, but not released until several years later
Tapioca/ Pole, being this album in question. And for so far Bulteau and his
music inspired ambitions since hereafter he returned to his William
Burroughs-inspired poetry. But his two recorded albums are certainly worth
tracking down and will give you a peek into the mind of a mad genius. Great
stuff. Price: 50 Euro |
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734. MAINLINER: “Psychedelic Polyhedron” (Fractal – Fractal-001) (Record: Near Mint/
Jacket: Near Mint). Original 1997 pressing that came out in an edition of
300(?) copies. “Hajime
Koizumi out, Tatsuya Yoshida in, making the line up that of Musica Transonic
but the sound nothing like Musica Transonic. And not much like Mainliner either
- both of the two side-long tracks and the album as a whole are so non-fast and
take such a long time to approximate a Mainliner-esque speed of intensity that
some listeners may even find this "disappointing" in some pathetically
microscopic way. But fuck them - this is deliriously indulgent
wah-reverb-soaked six-string psychedelic excess, and anyone who cannot
understand that its less frenetically breakneck speed offers another way to
love an outrageously great band can either purchase Mainliner Sonic or direct their custom towards the
psych-collector dealer dolt market, where lots and lots of records costing ten
times as much (as even a French import LP) but possessing one-tenth of the
worth are readily available. No one ever said life would be easy for band who
with one 30-minute album have coined a sound so remarkable that it immediately
becomes theirs’ for the rest of known time.” (Nick Cain – Opprobrium Magazine 1997).
Easily the greatest of all Mainliner incarnations, this is a beast of a disc,
released in a minuscule run and blowing the roof of the house. Heavy
fuzz-deranged psychedelic bliss that will have your ears ringing for days on
end. Highest recommendation. Price: 75 Euro
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735. MAITREAYA KALI: “Apache/ Inca” (Little Indians/ Shadoks) (2 LP Set: Mint/ Heavy Gatefold
Jacket: Excellent/ Poster: Mint). Long gone deleted deluxe heavy reissue in an
ultra limited run. Maitreya Kali is
actually Craig Smith, at one point one of the key members of California
folk-rock band the Penny Arkade. Later down the line after an acid trip too
many and having bummed all through Asia, Smith returned back to the States
around 1971/72 and released these two albums whose sounds was spiked with and
influenced by mystical psychedelia dosed up with a healthy whiff of American
roots and even a dash of some country & western. The result is a wide
variety of songs, impregnated with a loner/ basement kind of feel and injected
with primitive guitar distortion licks, sunny seaside Californian harmonies and
tons of jangly, amplified country folk twang. The whole affair breathed out a
doped up sensitive but fragile acid folk vibe, beautiful vocalizations, all
delivered with a stunning burned out feeling. Prehistoric shimmering country
rock numbers pop up here and there, counter-flanked by confused acid jams and carefree
honest lyrics. In short a Californian deep
Psychedelic loner disc, filled with slowly burning acid leads, mystical
undertones, swirling caveman like effects, subterranean vibe hovering through
it all and of course without ever loosing that stoned and wasted feeling you
all like. Long out of print micro release, housed in a heavier-than-life
gatefold jacket. Price: 200 Euro
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736. MAJIC SHIP: “S/T”
(Bel-Ami – BA-711) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original copy of New Jersey garage psych beast.
Awesome extended cover of "Down by the River/ For What It’s Worth",
fuzz all over, wailing vox. To these ears one of the best US private press LP’s
ever to see the light of day, filled with solid songs and great guitar play all
over. Released way back in 1970 and hasn’t lost any of its sonic luster since
then. Each time I play this one; my mind caves in a bit more, ravaging my
mental health a bit more. Never turned up in quantity, so rare forever... Price: Offers
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737. MAKIMURA JUNKO: “Yoru To Onna To Tameiki” (Polydor – MR-1051) (Record: Near Mint/
Gatefold Jacket: Near Mint). Hopelessly obscure and viciously scarce Japanese erotic
sleaze ball artifact out of February 1970. Makimura Junko was a singer/
chanteuse who started off singing around American military army bases before
being picked up by Teichiku at the age of 17. She made some 7 inches and this
one – totally obnubilated but arousing – recording, which would be
one of three LP’s she did during 1969 ~ 1971. So it is time to get your erotic
freak on because this disc is a salivatingly great one, catapulting you into
the same depraved realms as being stuck in a whorehouse in Kabukicho while
sampling some pyromaniac oriental smothering action with your nuts slammed into
a soft fighting chair of the cockpit of a power cruiser. Yes, a health-ripping
ordeal for sure and one of the reasons why I am such an avid collector of these
nymphomaniac records out of the Far East. They sure give me a thrill. As far as
the music is concerned, it ranks up there and rubs shoulders with Ike Reiko,
Sandra Julian and Uchida Takako discs as far as tantalizing seedy atmosphere is
concerned. Right from the first notes on, a Showa-styled smokey face-smothering
vibes hit your face, sending you off to swoop around the scarcely caged vixens that
flutter around the bar. Showa sleaze mixed with erotic hushed vibrations (at
times augmented with a Morricone twang and whistle) and Kayokyoku spiked
depravation, quite a combustible combination that few have ever attempted to
put down as convincing as did Makimura Junko here. As usual, the Polydor Modern
Pops Orchestra as a backing band is vibrating with a late night sultry grind
and smokey midnight tension that sends your ligaments as well as carnal lust into
a crazed limbo. Makimura hushes the songs into existence, complete with sibilating suffocated whispers of excitement. Her
ability to arouse desire and mockingly out of reach lust, erotic pleasures and
mesmeric role playing, brings the music to such tantalizing heights that it
only can but be attributed to the fact that Makimura is before all a gifted
dilettante. Her
being an amateur chanteuse is what makes her performance so goddamned erotic
because you know what they say, the thing you do as a professional is the most
hateful kind of work – which is why I suspect it is a bit like fucking,
an act that is only fun for amateurs and probably one of the reasons here why
Makimura comes over so damned hot and sexy. If these references sound like a
salivating great trip down to pink fluffy cum stained dungeons of Showa era
Tokyo’s underbelly, then this rarity has written you all over it. First copy I
encounter in 7 years time…Top condition and a true helluva bitch of a record to
dig up. SOLD |
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738. MAN with JOHN CIPOLLINA: “Maximum Darkness” (
Liberty
Japan
– LLS-80396) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent/ Insert: Excellent). Rare white label Japanese press promotion copy that comes with never seen before obi!!. Originally released in 1975, Maximum Darkness was the final album by Welsh Rock legends for United Artists Records. Recorded live in 1975 at the Roundhouse as part of a
UK
tour, Man were at the top of their game on stage. For this concert they were joined by John Cipollina from
San Francisco's legendary Quicksilver Messenger Service. A triumphant concert, the album has become legendary. It starts off with Deke's "7171-551" from 'Iceberg' which had been expanded from a perky little single to an 11 minute assault on the senses. Next are "Codine" and "Babe I'm Gonna Leave You", two old standards that Quicksilver had originally recorded for the 'Revolution' soundtrack album, Deke's vocals on "Codine" are incredible. For the B-side there are two old classics "Many Are Called" and "Bananas" both turned into extended jams with all three guitars getting a chance to stretch out. Stuff of legends…..this being the rarely if ever seen Japanese edition on quality vinyl and with the obi. Rare promotional white label copy to boot. Cipollina rules on this one, so bloody fantastic. Price: 60 Euro |
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739. MANFRED MANN: “Chapter
Three” (Vertigo – 847-902VTY) (Record: Excellent ~ Near Mint/ Gatefold
Jacket: Excellent). Original 1969 UK swirl copy, first pressing. Upon being
offered this LP some many years back by a dear friend I didn’t think too much
of it. What do you want, Manfred Mann, no thank you sir, I do not that shit.
Well I surely was surprised when he put it on and played me this slab of sonic
extravaganza. In short, I had to revise my preconceptions about the group and
this LP in particular since it is truly an exceptional slab of moody, super-funky progressive rock, and one of
the era's real lost classics. To put it in a broad
perspective, the LP sounds
like a prime late-60s Vertigo Records jazz-rock, heavy on the Hammond, drums,
and brass. But hey, stay focused will you, this is no ordinary middle-of-the-road
crappy jazz-rock LP. Actually this baby is dark, pitch-black, venomously dark,
scary almost. There's a brooding, claustrophobic quality to their sound,
which puts it in a totally different timeframe making it just downright evil... draped with some druggy
drone-vibe menace, which gets a face through Mike Hugg's vocals, a sort of
whispered, rattling, doped-out rasping style narcoleptic, smacked-out drawl making it such an
appealing slab of music. Hell even the flute parts
sound like they have been dipped into liquid acid for that matter. The deranged
brass blasts tear deep black gasping holes into it all, sucking you into its
ever expanding and swirling vortex of infinity. To make it even more
alienatingly sick, the whole gets topped off with some burning feedback, distorted synthesizer sounds, and
disembodied haunting choral flashes that all melt down into some potent
fat-funked-up grooves making it even more smoky than the whole already was.
This is some serious shit here, and upon spinning this one you would wish that
only all of your records had this musical quality embedded within them. Totally
badass and indispensable. A masterpiece that takes no prisoners. Price: 120 Euro
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740. MANFRED MANN CHAPTER THREE: “Volume 2” (Vertigo – 6360012) (Record: Mint/ Gatefold Jacket: Mint).
Original New Zealand Vertigo pressing. Top copy of this dark & druggy,
voodoo-vibe infested and smokey UK progressive mind bender. Fabulous album that
has a swinging jazzy underground cellar vibe like no other. Price: 85 Euro
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741. MANSET, GERARD: “S/T” (Pathé – SPAM-67-317) (Record: Excellent/ Jacket: Excellent ~ has punch hole in upper left corner). Original Canadian press. Ultra rare record and possibly the best French disc ever. Well, without a single doubt, this is one of the all times best LP's to have ever come out of
France
. Gerard Manset 1st album. Here you have the original Canadian pressing in top condition and which is impossibly bloody rare. Normally you can forget about obtaining the 1st original press, that baby is scarce as hell and changes hands for a small fortune. But hey we do wonders sometimes so here it is. With this LP, Manset delivered an instant classic, totally deranged, wild, hyper psychedelic and totally in the tradition of French chanson but at the same time ultra surreal and psyched out. In short the album has in every song all the elements compacted that good music should have. This it totally IT. The string arrangement and melodies are amongst the best you could find in a 60's French production, and the lyrics are just crazy psych nonsense---Released untimely in 1968 during the student riots in
Paris. Fortunately, Manset got some success ten years after and EMI released monster that contains the following killer cuts: Animal On Est Mal, Mon Amour, La Toile Du Maitre, Il Rentre à 8 Heures Du Soir, On Ne Tue Pas Son Prochain, La Femme Fusée, L'une Et L'autre, Je Suis Dieu, Tu T'en Vas, La Dernière Symphonie. Last year a CD reissue came out of this LP but unfortunately they fucked up the jacket art and used the design of the 2nd press, being a bad black and white design. Here you have the original jacket, it is a shame that reissue label fucked up the jacket of this gem, they should have used this jacket in stead but I guess they had no means to obtaining a 1st pressing, which goes to show you how bloody rare these babies are. Anyway at the time of the hideous Xenon reissue Aquarius commented on the music like follows – just to show you an other opinion instead of mine: “Gerard Manset is an underground French treasure, recording records since the late '60s but always avoiding the public spotlight, refusing to do interviews, appear on TV or play any of the other silly games often required to attain mainstream success. With a totally seductive voice, and lush arrangements that are as powerful as they are beautiful, this album recorded during the student riots in
Paris in 1968 has become one of those discs we can't stop listening to! There is an urgency and passion in these songs rarely heard in modern music. Manset has the same kind of presence and elegance as folks like Serge Gainsbourg, Caetano Veloso, Michel Polnareff and Scott Walker. This is not ye-ye fluffy French pop. Don't get us wrong we love that stuff, but what makes Manset so damn great is how his songs are so melodic and catchy while also being so sensual and impassioned. Totally smart arrangements that will appeal to both psych and pop lovers.” (Aquarius Records). This record is one weird psychedelic trip down
Wonderland Avenue. A fantastic head spinner and all time highest recommendation. Price: 400 Euro |
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742. MANTECA: “Ritmo Y Sabor” (GRC – GRC-1085) (Record: Excellent ~ Near Mint/ Jacket:
Excellent ~ Near Mint). Truly 1st original pressing. Like you might
know, most copies of this afro-funk bomb have condition issues – that is
if copies do surface at all – being either trashed to dead or press-miss
problems. So I am thrilled to be able to offer a truly clean copy without any
of the previously mentioned issues, probably one of the best copies out there. Manteca is the nickname for master bongosero Lazaro
Pla, a Cuban legend who used to play with Ernesto Lecuona and the Cuban Boys.
His Ritmo + Sabor is one of the holy grail Latin funk LPs given its
ridiculously funky percussion. It's an interesting album for Manteca since he
didn't record out of Cuba much as a solo artist yet this album has been pressed
up three times: GRC (Miami), Sound Triangle (Colombia) and Desca(?). And
despite that, you'll still end up forking over a few Franklins. The interplay
between the bass lines and the percussion section is ridiculously funky not to
mention pure rhythm - notice, there's no melodic composition in the song at
all. "Gozando Tropical" is more in a conventional Cuban dance style
with its piano montuno riff but even here, the hard timbales still put
percussion first...sometimes I feel like the song is mis-engineered and should
have cooled down the timbales a bit but then I shrug and figure if the drummer
wants to get some, who am I to deny? Price: 500 Euro |
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743. MANU LANNHUEL: “S/T” (Production Disques Iris – IRS-3.207) (Record: Excellent ~ Near
Mint/ Gatefold Jacket: Mint/ Inserts: Mint). Original French 1976 pressing. Very rare original copy of this French Acid Folk
masterpiece that seeped out of the Bretagne region. Great songs, superb intense
vocals, dense sometimes almost spooky atmosphere, sound effects, stunning
psychedelic guitar leads all over - one of the very best records of its kind!! Not the best pressing as usual but this copy is as good as can be. A stunner. Price: 320 Euro
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744. MARCLAY, CHRISTIAN: “Footsteps” (Record: you know the story so no grading/ Box set: Near Mint/
Inserts-poster & postcard: Mint): Christian Marclay released “Footsteps”, a one-sided disc,
containing the sound of footsteps that had carpeted the floor of a gallery
exhibit of the same name. A thousand copies are removed from the exhibit, boxed
and distributed, complete with dirt and scratches from gallery foot traffic.
Marclay’s performances often involve damaging LPs. He refuses to wax nostalgic
about them: “I have destroyed records over the years that probably would be
valuable now, but I figured I'm not really a collector. It doesn't really
matter what record I break really, it's the sound that it makes when it breaks,
or the idea of using a record differently than it's supposed to. So I've always
been interested in these sounds that were not meant to be heard. I like to
think of the record as an object with multiple possibilities." Marclay
explored some of these possibilities in his 1980s installation Footsteps,
which encouraged gallery visitors to walk across a floor strewn with LPs on
which footsteps and tap-dancing had been recorded. So more than a record, this
is actual a piece of conceptual art you can take home with you. Edition of 1000
copies, complete with all the inserts. Nice gallery item. Price: 170 Euro |
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745. MARCONI NOTARO: “NO SUB REINO DOS
METAZO ARIOS” (Time Lag – Time Lag 032) (Record: Mint/ Gatefold Jacket:
Mint) “First ever reissue of this
totally brilliant post-Satwa 1973 Brazilian private press featuring the core
trio Lula Cortes, Marconi Notaro & Ramalho. Recorded just months after Lula
& Lailson had released Satwa, Lula was back in the same Recife studio with
poet and friend Marconi Notaro to lay down another equally magical album.
Ramalho, who would go on to record the Paberu 2 LP with Lula two years later,
makes his recording debut here as well… somehow amidst the harsh government
restrictions of 70s Brazil, Lula Côrtes and his group of artist friends
had managed to bypass the authorities and create a hugely creative micro-world
of their own, recording, producing, and releasing this album with complete
independence. No small feat in and of itself, no doubt, but the music is what
makes this slab a true lost masterpiece… the whole album gushes forth with a
sun baked spirit of the highest level, mixing Tropicalia tinged folk-beat groovers,
Satwa style bliss trance ragas, Paberu favored lysergic jungle psych, and even
a raging fuzz/wah soaked garage psych rocker. Extremely mind melting from start
to finish, with huge washes of rippling tape delay, electric & acoustic
guitars, 12 string, tranced folk percussion, passionate yet mellow vocals,
liquid electric bass, acid effects everywhere, and of course Lula's mercurial
& heart melting tricrdio (an instrument he made himself, something like a
sitar/dulcimer hybrid). Beautiful, melancholy and joyous all at the same
moment, this is an album that after 33 years still sounds completely fresh
& unique… Sadly Marconi passed away in 2000 having lived a life of
obscurity even in his own town, yet leaving behind 7 published books of poetry
and this stunning, lone album. This reissue has been authorized by Marconi's
daughter and Lula Côrtes to insure they receive the credit and funds they
deserve, even if it comes 3 decades late… fully reproduced original art,
featuring beautiful drawings by Lula & layout by Katia. Heavyweight,
old-style, laminated gatefold covers. Pressed on 180gm virgin vinyl. Original
label art. Plus a huge full-color 4-page insert featuring fully translated
original notes, rare photos and book covers, Marconi's last poem written the day
before his death, and extensive new notes & biography by Lula Côrtes.
Vinyl version limited to 1000 copies.” (Label description). Long gone and out of print.
Price: 40 Euro
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746. MARI KEIKO: “Folk Song O Utau” (Victor – SJX-23) (Record: Excellent/ Gatefold Jacket: Near Mint/ 4-Paged Attached Picture Sheets: Near Mint/ Obi: Near Mint). Hideously rare female vocal album. Mari Keiko may not immediately ring any bells but it was the real name of Petite M'amie, whose “Baby Doll – Girl Friend” album Tiliqua reissued last year. This album came out only a couple of months after the Petite M'amie album. On this one – like the title already suggests – Mari Keiko goes about to cover Japanese folk songs since at that time the domestic folk boom was in full swing. She only brings forth cover songs but her choices are rock solid, beginning the disc with the Carmen Maki tune “Toki Ni Wa Haha no Nai Ko No You Ni”, followed with songs like the that day reigning folk godfather Nishioka Takashi (Melting Glass Box, Itsutsu no Akai Fusen) and other luminaries. Marie Keiko' voice on the other hand is crystal clear, sound fully mature as compared to her one off petite M'amie stint where she sounds like a child in heat and she unfolds herself here as a promised and fully accomplished female folk singer. Still at times some vaguely Kayokyoku fumes do drift into the mix as well as some environmental sounds such as cabling water and some insect chanting. It only adds up to the Japanese impression of what in this case a bit mainstream folk should sound like, making it a totally disarming listening experience. Still, the album bombed totally sales-wise and it sold next to nothing. Why that is hard to decipher since it certainly had commercial potential. But it instead it sunk away in the quicksand of the record's industry commercial failures. The arrangements are brisk and fabulously executed, Keiko is acting the part of a Kayokyoku folk inspired flower child while her voice tackles different ranges and mood sets, making it a growing listening experience. In all a great album if stellar and obscure Japanese female singers are your thing. I know I am hooked to this stuff and it took me a long time to come up with a copy complete with obi of this late sixties gem. Hopelessly obscure and rare as hell, just a slice of heaven, sonic wise as well as visually. Great stuff!! Price: 400 Euro |
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747. MARI TUTUI: “Aisuredo Kokoro Sabishiku” (RCA – JRS-7167) (Record: Side A = VG++ &
Side B = Excellent/ Gatefold Jacket: Excellent). Another female obscurity for
you all. Hope you can keep up with it, I know I hardly can…since they keep on
hitting me with marvels out of a distant past. Cult kayokyoku chanteuse Mari
Tutui most revered album out of 1971 vibrating with beat kayo excursions and
veering even towards go-go sleaze and smokey lounge vibes. R&B sultry
girlie beat tracks also pass the revue and Mari’s voice is all the time
quivering with a enka styled vibe set against lushly orchestrated strings,
swirling beat, Latin beefed up steaming action, late night lounge butt-rubbing
and smoke-filled nicotine stained sax lines. Hell she even tackles Ike Reiko’s
pink classic “Sasurai No Guitar” but
instead of treating it as again a sexy moaner Mari turns it into a fuzz bass
infected swirling demented head twister burling over with bongo hand percussive
rattles, kerosene derelict torturously swinging Hammond riffage and sharp
guitar cutting ostinatos, incinerating all hip-shaking action right there on
the spot. Another insane Ike Reiko moaning cover passes the revue in the shape
of “Keiken”, here also performed in a
pink puffing moaning mood but injected with more go-go beat girl deranged
R&B moves. Imagine locked up vixens shaking in golden cages with feathered
boas hanging down their hips and you get a hint as to what kind of coke and
funky sex crazed heights this disc dwells off into. Revered by female vocalist
maniacs and early 70s kayokyoku beat, Mari Tutui’s first album is one gem that
only on rare occasions seems to turn up. A true rarity but sadly enough this
one copy here has some mild condition issues. The jacket is plain excellent but
the record – especially the 1st side - is troubled by some few
marks and some surface noise, hence the cheap price. Mint copies change hands
here for around 400 to 700 bucks, so seen the slightly lesser condition, you
have steal here. Fantastic disc, praised by local hip record spinning DJ crowd,
Mari Tutui beholds that swinging late night vibe that certainly will spice up
your decadent derelict party vibe. A head turning go-go girl tittie twister of
a disc blessed with that late night sleazy Showa era vibe. Price: 150 Euro
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748. MARIO CASTRO NEVES & SAMBA
S.A.: “S/T” (RCA JAPAN – Solid-0015) (Record: Near
Mint/ Jacket: Near Mint). Sole legal issue as released in 2001 in an edition of
only 500 copies in Japan of this Brazilian masterpiece: This 1967 album by Mario Castro-Neves and his Samba
SA group is a real gem -- a breezy vocal group set with an approach that's
clearly influenced by the Sergio Mendes Brasil 66 style, but which also has
touches of European 60s jazz -- in a cool modal scatting mode that really makes
the songs dance around nicely! There's a sparkling sound here that's strongly
influenced by bossa, but which also has some sunnier 60s touches too -- and
Mario's arranging skills are at an all-time high on the lightly dancing rhythms
of the tunes. Price: 75 Euro |
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749. MARK GLYNNE & BART ZWIER: “Home Comfort” (Divorced Records – DIV-1) (Record: Excellent/ Jacket:
Excellent). Released way back in 1980, Mark Glynne and Bart Zwier’s sole
recorded album is one of those rare gems that leave you flabbergasted since it
occupies a highly unique sonic playground that can hardly be compared to
anything else out there. OK, if you want to be simplistic, one could just
quickly label it as Dutch wave and walk away. But “Home Comfort” is so much
more. It defies categorization or every attempt to properly describe it. I
guess one could say it to be an odd
and eerie disc that exists in a highly unique and individual musical and
psychological landscape. In a way, to me it comes over like the hybrid
post-punk bastard child of Robert Wyatt merging with a slowdowned version of
Frank Hannaway & Michael Barclay’s “At Home” record overlaid with a
laxative induced sing-speak narrative moves. The end result is an utterly
singular and obsessive soundworld with an approach completely distinct from
anything else going on during the era. Spell-binding to say
the least and a longtime favorite over here. Price: 150 Euro
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750. MARS: “3E/
11,000 Volts” (ZE Records – ZE-12010) (Record: Excellent/ Jacket: Excellent
~ Near Mint). Rare and original Mars EP, 11,000 Volts is for me the personal
highlight of this disc, the voice brings the listener straight into a world of the wasted,
just as Patti Smith tried on the song Radio Ethiopia. Where 3E is focused and driving, 11,000 Volts can barely get up. It is minimal
in a way but with a narcotic twist to it, like mumbling instead of speaking
after having visited the dentist. Novocain bliss mixed with post punk bleakness
and teenage suburban angst. This can be attributed to Mars being possibly the darkest and most fucked-up no wave group ever to throb the
downtown scene, a band with no musicians in the conventional sense. Mars was
flung together out of two actors and two visual artists, who wrote garbled
crumples of songs – even their instruments slurred, as if there were
something terribly wrong with them. Even more dissonant than contemporaries, Mars
rampaged their way through their own compositions with no regard for melody or
formal musical training. Briefly signed to the ZE Records label, the quartet
completed a single, "3E"/"11,000 Volts", before imploding. This
is stuff of legends and so brilliantly executed. Highest recommendation.
MUST!!! Price: 70 Euro |
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751. MARSHALL McLUHAN: “The Medium is the Massage” (CBS Sony
Japan
– YS-966-C) (Record: Excellent/ Gatefold Jacket: VG++ - upper right corner has damage/ Attached Fully Transcribed 12 Paged Booklet: Excellent). Very rare Japanese pressing. Released in 1967, this is the audio companion to McLuhan and Fiore's milestone media/ art theory tract and was assembled by
Columbia in-house producer John Simon (his CV also includes Leonard Cohen, Simon and Garfunkel and a documentary LP of the McCarthy trials). “In all this stunning disc is a messy agglomeration of 50s TV announcer voices reading snippets from the book, with a fluctuating backdrop of quotations gone crazy: nonsensical, sped up voices, waltzes, marches, TV tunes, dinner jazz, drumrolls, horror soundtrack splinters, backwards pop and wafts of easy listening” (The Wire). The predecessor of Plunderphonics, inspiration and guiding light for outfits like Negativland and so forth. Totally stunning, hilarious and mind bendingly great. A must – at least to these ears. Original Japanese press, housed in a Japan only designed gatefold complete with fully transcribed annotations so that you can follow the weird speak unfolding on the disc. Japanese pressing just does not surface, way rarer than the regular US one. Stunning!!!. Price: 70 Euro |
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752. MARTIN SAINT-PIERRE: “Solo Creation” (Le Chant Du Monde – LDX-74655). (Record: Excellent/ Triple Gatefold Jacket: Excellent). Martin Saint-Pierre is probably a name most of us would be familiar with unless you are one of those maniacal guys who try to amass every single disc listed on the illustrious NWW list. Well, this is one of these records on that list. Not that such a list means anything except that it contained some glorious music and this is one of those gems tucked away in there. Released in 1977, “Solo Creation” by Saint-Pierre is really a breathtaking piece of music. Flying in from his native
Argentina
and relocating himself to
France
in order to escape his native country's totalitarian regime, Martin Saint-Pierre settled down and released his first LP. In his hands, percussion becomes the departing point for a new means of expression that leans more to a contemporary creation instead of being a barely audible echo of a distant ancestral past. With his bendir – a Berber instrument out of the
Atlas Mountains
– Saint-Pierre leaps off straight away in an open space that qualifies itself as a “sonic sculpture”. Playing with contrasting effects, he emanates out a string of basic rhythms with frolic hand movements. He creates a wide sonic palette and upon listening attentively to it, it is at times hard to comprehend that such a recording was possible with nothing but the bendir. At times hurtful and at other occasions caressingly sweet, the tonal palette is wide and ranges from clear sounding notes to rumbling thunderous sounds and explosive eruptions. In all, he evokes an organic drift impregnated with a midnight ambience, punctuated by strange bits of percussive flares, but spending most drifting through deep dark cavernous expanses of sound and breathing out amazingly deep and physical sounds that are comprised out of a slow burning series of huge low end reverberations. The resonating sonics are given ample time to invade your listening space and hi-jack the ether. Scintillescent high end sparkles bobble up at the rear end of your acoustical wave frequency's periphery, super percussive skitter wraps around delicate melodic tom fills, occasionally sounding like a super slow abstract free jazz spread way out across the soundfield, with some serious stereo panning to underscore the total outcome. It all blends into an amorphous maelstrom swerving from one speaker to the other, oozing out dizzying dreamy soundscapes of percussive melodic clatter and strange rhythmic textural. drones that subtlety transform into high-end infected free jazz splatter. Truly beautiful disc that in a way resembles some of those early Tsuchitori percussive albums. Stunning and highly recommended. Price: 75 Euro
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753. MARU SANKAKU SHIKAKU - ○△□: “Omnibus Album” (Pafe Level –
pafe Record LP-0001) (Record: Near Mint/ Jacket: Excellent). Much in demand
outsider free psychedelic private pressing. Hideously rare and beautiful copy
of this completely vanished privately released Japanese psych new wave
collective. This disc came out in 1981 and is comprised of various live takes
that depict this oddball collective in action. As you might suspect, original
copies of Maru Sankaku Shikaku are extremely sought after and hardly ever
resurface. These babies were released in minuscule editions and mainly sold by
the band themselves at gigs and happenings. Weird new-wave, experimental and
psychy collective with enough elements of demented greatness to keep those
headphones glued to your skull. Rare does not even come close to describe the
scarcity of this sucker. Act swift and hold yr peace forever. Price: 150 Euro
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754. MARY BUTTERWORTH: “S/T” (Custom Fidelity – CFS-2092) (Record: Near Mint/ Jacket:
Excellent). Original US private pressing of this totally obsolete and genuinely
rare Californian acid-psych brain blower. The music is built around long
tracks, injected constantly with doomy organ vibes, lysergic leads popping all
over the place, and oozing like an overripe Camembert that typical late 1960s
druggy feel. Housed in an eye-popping sleeve artwork. “Inside
one of the greatest private press psych sleeves ever you'll find pretty enjoyable
LA area (they were not from Idaho) high school pothead sounds
with Hammond organ upfront and great echoey drums. Mixes bluesy vibe with a
west coasty outdoors feel in the vocals. Mellow and stoned rather than
lysergic, despite uninspired lyrics three out of six tracks are excellent. The
album was sold via gigs and to friends and had no formal distribution.
Surprisingly, one track from the LP is used in the highly acclaimed "Lost
In Translation" movie.” (PL
– Acid Archives). Awesome killer slide to these ears, almost every track
is a winner. Record is real clean, Near Mint condition, jacket has some upper seam edge wear. Awesome copy. Price: Offers |
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755. MASONNA: “Inner
Mind Mystique” (Release) (3 x 7’’: Excellent ‾ near Mint/ Triple Fold Out Cloth
Jacket: Mint/ Letter pressed Insert: Mint). Released as a triple 7-inche side
housed in an eye-popping cloth quadruple fold out jacket. Limited edition of
500 copies, this one is numbered 112/500. Released in 1995 and dried up
instantly, now quite a tough one to come by. This is without a doubt one of the
key releases in the middle-period Masonna era, psyched-out styled noise
escapades into never-ever land of ear blistering lysergic chaos and choked to
death pink throated flamingos. Great if not stellar Masonna side. Package is unbelievable.
Killer all way round. Price: 70 Euro
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756. MASONNA: “Masonanie Viva
Los Angeles” (P-Tapes – P2) (Record: Excellent/ Sleeve: Excellent/ Insert: Excellent). Limited edition 7-inch that comes on snotty green wax., complete with postal stamp and stamped inner sleeve. Each side is made out of one track, the first seeing Masonna live at the KXLU radio program Psychotechnics on November 23rd, 1993; followed by the man live at club Auditorium on November 24th, 1993. All music is insane riot guerilla noise one man tactics scream-a-delic earlobe perforating bliss. Masonna rules and is in my humble opinion the most psychedelic textured of all noise acts that came out of
Japan
or any other country for that matter. Massive. Price: 20 Euro |
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757. MASONNA: “Sonic Devil” (Pinch A Loaf) (Record and jacket: Near Mint). 1997 release in an edition of only 400 copies on one-sided clear vinyl. The other side has a spray painted design. This copy is near mint. Comes with totally awesome black on grey live action picture of Yamazaki kicking his gear while howling down a gut-soaked microphone. But apart from the great cover shot and the awesome clear vinyl extravaganza, the sonic of baby is brutal, abrasive and a totally unpolished blast of raw unadulterated noise. His mid-nineties excursions into the territories of flabbergasted chunks of venomous noise form a stark contrast with his present day Masonna material that is more psychedelic tinted and acid stained. But that aside Masonna just always sound great, without a single doubt he is the greatest noise-nick kicking around. A real blast and as with all Masonna output great as ever. Hard to come by these days but not less stellar. Mega recommended. Price: 70 Euro
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758. MASTER'S APPRENTICES: “S/T” (
Columbia – SCXO-7983) (Record: VG++, few scuffs/ Tip back jacket: Excellent). Original Australian pressing out of 1970.
UK
pressings on Regal Zonophone do surface but original Australian pressings are bloody damned rare and I for one has hardly ever seen one offered or sale. So this is the hideously rare original 1st Australian pressing of the infamous “arm-chair” cover. This is top level Australian hard-psych/prog and almost every track is a bloody killer.
UK
pressings go for 300 to 400 Euros so seen in that light, this even rarer Australian 1st original press comes quite reasonable. Damned rare. Price: 250 Euro
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759. MAX NEUHAUS: “
Fontana
Mix Feed” (Alga Marghen – 18NMN.044) (Record: Near Mint/ Jacket: Near Mint). Limited LP edition, long gone and out of print. Was released on LP in 2003. Here is the beef, taken from Kean Holtkamp's review at OM: “Interpretations of John Cage's "
Fontana
Mix" recorded live by the underrated sound artist/composer and performer Max Neuhaus at various colleges and institutions during 1967 and 1968. Using strictly feedback as source material, Neuhaus achieves a sense of precision and focus in these six recordings, which is extremely rare in such beautifully, ear splitting music. While the palette may be fairly familiar to anyone who has spent even a small chunk of time listening to noise, modern composition or various other sub-genres of experimental music, it's Neuhaus' restrained, almost Zen-like interpretation of Cage's score that makes these recordings stand out as some of the most engaging realizations of Cage's work currently available. One can almost feel Neuhaus' eyes intently focusing on the score as he masterfully transforms slowly rising tones into screaming feedback.”. Play this as loud as you can without cracking your head open. Price: 45 Euro
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760. MAYAL, JOHN & the BLEUS BREAKERS: “Live at Klooks Kleek” (London/ King Records – SLC-259) (Record:
Excellent ~ Near Mint/ Jacket: Excellent). Japan only issue and jacket as
released in June 1969. Stunning Japan only release. Price: 50 Euro |
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761. MAYALL, JOHN: “Looking Back” (London – King Records – SLC-286) (Record: VG++ ~
Excellent, only has a few light hairlines, plays solid EX/ Gatefold Jacket:
Excellent, split seam/ Obi: Excellent). Original Japanese pressing with always
missing obi, released on January 1970. The obi on this one is damned scarce.
First copy I see with obi in over 6 years time. Price: 70 Euro |
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762.
MB: “Industrial Murder/ Menstrual Bleeding” (Banned Production – BP-39) (Record: Excellent/ Jacket: Excellent/ Booklet: Near Mint). Rare MB disc released in an edition of 500 copies, this being copy 206/500. Another classic Mauricio Bianchi release, by many considered to be his best. Suffocating experiments with primitive synths, delay pedals, turntables, and tape machines collapsed in on themselves with an electrocuted obliteration of sound. Out of the ashes of such early albums Bianchi allowed for a structuralism with tentative rhythms and melodies to rise out of the blackened grit on the work filled with ghastly recordings of frozen power electronics augmented by nightmarish allegorical references to genocide, cancer, and Armageddon. Cold black chops of tape splices and gritty electronic squeals out of your speakers, discharging in a mass of delay. Bleak bursts of noise evoke the same raw negative energy of MB's first recordings, but gradually an accumulated drone engulfs the primitive musique conrete techniques while unleashing an oppressive numbness that will drown out all sensory emotions. Highest possible recommendation and first original pressing complete with booklet. Price: 150 Euro
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763. MC5: “Kick Out The Jams” (Elektra/ Victor Japan
– SJET-8153) (Record: Excellent ~ Near Mint/ Jacket: Mint/ Outer Jacket
Cut-Out Obi: Excellent). Ok boys and girls, time to get down and dirty with a
heavy hitting monster rarity out of Japan, being this September 1969 released
original Electra/ Victor LP by the MC5 “Kick Out The Jams”, all complete
with the never-seen-before cut out wrap around obi!!! I feel ya all, this one
hurts…because you got blind sighted and didn’t saw this one coming. So I will
spare you a musical rundown since I guess you are all more than familiar with
this monster. In short, this complete edition 1st pressing is next to impossible to dig up on
these shores. So let me explain about the condition some more. The actual
records jacket is total mint as well as the actual record, which I would grade
in between excellent and near mint. The wrap-around-cut-out-obi sleeve I would
conservatively grade at excellent, it looks pristine but has some very minor
shelving marks (being some rubbing against the white background but this is
almost hardly worth mentioning). The wrap-around-obi functions as a slide in
that holds the actual record’s jacket and has the words “World New Rock” cut
out. The whole die-cut is in excellent condition and intact with one minor
default on the letter “W” which is quite common with these fragile and often
discarded obis, so seen in this light conservatively graded at just Excellent.
These wrap around die cut obis came out in a series of about 15 albums that
next to the MC5 held artists such as Jethro Tull, The Doors, Paul Butterfield
Blues Band, Zappa’s “Uncle Meat” (last copy I saw of this one sold for
3000 euro here), Tim Buckley’s “Goodbye & Hello”, Pentangle 1st LP, The Loving Spoonful, Rhinoceros,
Sweetwater, Ansley Dunbar Retaliation, Joni Mitchell and Noel Harrison. And as
far as this MC5 LP is concerned, to make things even more mouth-watering, this
here is the uncensored version to boot. So seen against this all, you have a
genuine rare gem here for grabs, strictly graded like an ascetic monk crawling
the hills in search for spiritual salvation. So therefore, this baby will let
you bleed a bit and will have to let it go at….Price:
600 Euro |
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764. MERKIN: “Music from Merkin Manor” (Windi Records – WLPS-1003) (Record: Excellent
~ Near Mint/ Jacket: Near Mint). The record has some ultra fine couple of
hairlines that are barely visible but plays near mint. Top copy. “A real enigma, popular with
many psych fans despite being easy-breezy. I have heard it many dozens of times
but can't really put my finger on it - there's nothing quite like it. The LP
they play at seaside resorts when all the summer visitors have left! "Take
some time" is a personal favorite with a simple yet memorable guitar hook,
while the sad ballad "Goodbye" has lots of admirers. A marvy negative
purple/silver sleeve adds to the appeal. Recorded in LA 1972 but not released
until 1973.” (Patrick the lama, acid
archives). Spot on. Just a fabulous album, the openiong track “Ruby” completely
shreds it all. Top copy original press. Price:
560 Euro |
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765. MERZBOW: “Material Action 2 N.A.M Merzbow – Lowest
Music & Arts” (CHAOS0001 – 1983) (Record: Mint/ Jacket: Mint)
Hideously rare copy of Merzbow’s 1st album. Top ultimate collectible, fantastic copy
of Japanese noise titan Merzbow aka Masami Akita’s ultra-rare 1983 debut LP,
his first vinyl outing following a slew of cassette only projects. This is an
immense, blood-churning racket, much more punk-primitive than his current work,
utilizing tapes, junk percussion, electro-acoustical noise, organ and tape
collage alongside his early partner in grime Kiyoshi Mizutani who brings a
whole load of tapes, synthesizers, violins and machine noise to the table. A
killer, no mistake. One of the best noise records, together with those early
Hanatarash discs to seep out of Japan. Organic, slow burning germinated noise
chunks of grinding analogue terror and junk slab inferno. Forget about the new
kids on the block like Wolf Eyes, how great they may sound and be these days,
this is the real dinosaur fossil stuff that inspired all who came hereafter,
even if they deny this fact. Monumental and essential stuff. Cannot stress
enough the greatness of this disc. Just stunningly beautiful copy. Better
copies do not exist and this is the first time I see a truly dead mint copy of
this apocalyptic disc. A must. SOLD
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766. MERZBOW: “Storage”
(ZSF) (Record: Mint/ Jacket: Mint/ Insert: Excellent). Original early Merzbow
disc released in 1988 on his own ZSF imprint. This is an immense,
blood-churning racket, much more punk-primitive than his current work,
utilizing tapes, junk percussion, electro-acoustical noise, organ and tape
collage alongside his early partner in grime Kiyoshi Mizutani who brings a
whole load of tapes, synthesizers, violins and machine noise to the table. A
killer, no mistake. One of the best noise records, together with those early
Hanatarash discs to seep out of Japan. Organic, slow burning germinated noise
chunks of grinding analogue terror and junk slab inferno. Forget about the new
kids on the block like so many vicious talentless dingbats who are working
overtime to excrete mediocrity, this is the real dinosaur fossil stuff that
inspired all who came hereafter. Monumental and essential stuff. Cannot stress
enough the greatness of this disc. Just stunningly beautiful copy. Better
copies do not exist. This is the sound of the fast lane folks…and some of us
like it here. Price: 175 Euro
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767. MERZBOW: “Batztoutai With Memorial Gadgets” (RRR Records –
RRRRR004) (2 LP Set: Near Mint/ Jacket: Mint). Merzbow’s ode to the old masters
of electronic music as stated The material here is as he once stated fake
Electro Acoustic Music Dedicated to GRM/INA, Wergo, Deutsche Grammophon,
Phillips & Erato Recording Artists. Most of you think or have this
preconceived conception that Merzbow just sounds like a lot of hellish distortion and so fort. Well, I hate
to break it to you but you're wrong, and this record will show you why. In an
interview Masami Akita once shed some light on it and told that this record
involves turntable and cut-up manipulations of his favorite academic musique
concrète records, offset with a heaping helping of overdubs and
Merzbow-osity. So this baby can be seen as some sort of decomposed mix-tape of musique
concrète: a double exposure of elaborately detoured and fricasseed material,
which was already quite tricked out in the first place. Again an indispensable entry in that early years
Merzbow discography. Price: 120 Euro
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768. MERZBOW: “Dada
Rottenvator” (Praxis Dr. Bearmann – TH-01) (Record on green vinyl: Mint/
Wood Case Box Jacket: Mint/ Individual Paste On Jacket: Mint/ Color Print:
Mint). One of the rarest Merzbow private presses is without a doubt this
release out of 1995, hand number and limited to only 175 copies, this copy
being 172/175. Comprised out of 10 tracks on side one and one-sidelong track on
the flipside, “Dadarottenvator” was all composed and decomposed by Masami Akita
between 1994~5 at his own ZSF Studio and one of his completely analogue works.
Brilliant slab of one of the true noise artists and while listening to this it
becomes once again apparent that noise as a musical genre in this day of age is
completely finished since it is populated by untalented bottom-feeding smucks.
Grey Wolves? Matthew Bower? Wolf Eyes? Nah, not a chance…just boring crap, dull
as stale dogshit, so here is an example of how it used to be, music to clear
your head out with, a roar that makes you feel like you are standing in the
midst of a prison riot, literally and figuratively speaking. Merzbow rules. Price:
300 Euro
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769. MEV – AMM: “Live Electronic Music Improvised”
(Mainstream – MS/5002) (Record: Excellent/ Gatefold Jacket: VG++ has some
water damage near bottom) Classic avant-garde and improvised music piece,
essential to all weird music heads. “Live
Electronic Music Improvised combines the talents of two influential early
European-based "live electronic" bands: M.E.V. (Musica Electronica
Viva) centered in Rome with members Alan Bryant, Alvin Curran, Frederic
Rzewski, Richard Teitelbaum and Ivan Vandoor, and A.M.M. centered in London
with members Cornelius Cardew, Lou Gare, Christopher Hobbs, Eddie Prevost, and
Keith Rowe.” ("Blue"
Gene Tyranny, All Music Guide). Price: 60 Euro
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770. MEV – BERGER/ CURRAN/ LACY/ LIST/ RZEWSKI/
TEITELBAUM: “United Patchwork” (Horo Records – HORO HDP 15~16) (2 LP
set: Near Mint, one scuff only on side two/ Gatefold Jacket: Excellent ~ Near
Mint). Top copy of this largely elusive MEV slide released on the Italian Horo
label. Point of interest here is that Steve Lacy, adding an extra dimension to
its already exploratory sound, flanks the classic MEV line-up. This is a top
copy, 1st original Italian pressing and housed in a nice gatefold
sleeve. Highly recommended for avant-garde, sound-art and improvisation heads. HHHHPrice: 200 Euro
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771. MICHAEL ANGELO: “S/T”
(Guinn Records) (Record: Near Mint/ Jacket: Near Mint). 1977 Original Of extremely Rare Missouri
Dreamy Psych masterpiece. “Fabulous
dreamy psych-flavored folk-rock and Anglo-pop shrouded in the early hippie
vibe, despite the vintage. Light and melodic in an L.A. ’67 & Donovan
direction, while the lyrics hint at darker dimensions beneath the seductive
surface. Possible points of reference are Bobb Trimble and the 2nd side of Marcus House of Trax, and don’t doubt for a minute this is just as
good. Use of piano on some tracks bring in a singer songwriter sound, while
retaining the 60s feel. Very solid and well-written LP that is loved by many,
in fact one of the classics of the local & private press field, and one
that may also appeal to fans of the Shoes and similar mid-70s pop sounds.” (PL – Acid Archives) One of the best LP's ever in this field somewhere
between Bob Trimble and Arthur Lee Harper. Hard enough to find in any condition. Price: Offers |
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772. MICHAEL J. SMITH: “Geomusic II” (Saravah –
SH-10053) (Record: Mint/ Laminated Jacket: Mint). One of the rarest releases on
the Saravah label. Also one that is still largely undetected, due to its
illusiveness but here ya have a copy. This some of the most minimal piano moves
ever record and put down to wax, hell to these ears it even surpasses all by
Charlemagne Palestine and other icons of the instrument in a minimalist
setting. Here Michael J. Smith assures the listener that all you hear on this
disc is conceived without any trickery, no electronic imagery, no added sound
and no overdubbing. It is just him and the piano. And right from the very first
onset of this disc you – the listener begin thinking of how on earth he
could get that out of a regular piano? Are you sure there are no bowed gongs or
other weird sonic gimmickry is in play? Nothing whatsoever and that makes this
disc so powerful and brilliant. But then again Smith is not your average piano
player. After a solid classical training, he ventured into jazz and teamed up
with Lacy and the American avant-garde movement. While touching down in Paris
through his Lacy connection, Smith began in earnest to record his own way of
organized sounds. When the needle hits that first groove here, a number of
things start happening but one has to listen carefully. It happens at once, the
mind concentrates on the most acute strokes on the strings of the instrument
and when it breaks out, mind yourself!! Beauty is hazard; so long live
dangerous music – as the back slab points out. And just as Smith
asserted: “This is just me and the piano.
And at risk of repeating myself I still feel…that I do not give a damn if you
love or hate this music!! I do care however, that you do not ignore it!”.
Well, this record and the music it contains is a hard one to just simply
ignore. It is a minimal avant-garde sound art beast that has ripped out the
ground from under my feet, making me loose touch with reality and have me
drifting of in sonic realms I did not even existed. This is a lost masterpiece
in need for urgent reappraisal and mass appreciation. Fantastic!! Price: 150
Euro |
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773. MICHI NARU HOUMONSHA:“Kyoui
No Kontakutee Shougen” (King Records – SKD(H)501) (Record: Near Mint/
Jacket: near Mint/ 8 Page Illustrated Booklet: Mint). Rare white label
promotional copy, original 1978 pressing. Are you in for some deranged weird
shit? Well then look no further, this stuff is just beyond words. And you are
left to do is shout out “I DO BELIEVE!”. The first real UFO encounter/
sightings and testimonies field recordings LP to seep out of deep rural
Japan!!! The whole affair starts off with some droning electronic sounds, eerie
and cold like the deepest depth of space. Soon a clinical narrative voice zooms
in and takes you into the unexplored depths of extraterrestial lifeforms. The
record focuses on UFO sightings and encounters within Japan and a wide range of
odd characters pass the review. These are field recordings of UFO sightings and
oddball priests, lost schoolboys and rural nutcase farmers recalling their
encounters with UFOnauts (his close encounter picture taken in 1975 of a space
alien walking towards him graces the jacket of this oddball recording. His
testimony and interview is also bonechillingly awesome, taken late at night
with dogs barking in the background and the hum of a refrigerator faintly
buzzing in the distance. Creepy). Another abductee tells his story while
sipping on the sake bottle at some sleazy enka bar, yeah….field recordings
taking place from the deep countryside, temples and even cum stained coffee
houses. And in between and through them electronic bleeps and blops bubble up,
reminding you that space is indeed a deep and cold place. This shit is deep and
even makes the X-files pale in comparison. No Hollywood manipulated hype, just
deep real people weirdness mixed with Martian freakiness. At one point a wacked
out priest starts a shamanistic voodoo mantra aimed at beaming down UFO’s and
expelling evil spirits, which simultaneously gets translated by a female
scholar. All the time, cadaverous and ghostlike electronic sounds fuse in and
out of focus, attributing a tantalizing and suspensive atmosphere to the
already mysterious recordings here on display. The LP goes even as far as
recreating the sonics brought forth by UFO’s – which vaguely resembles
some electronic insect chittering. The weirdness reaches its apex with a
schoolboy retelling his encounter against a background of buzzing noises and
family chatterings, babies crying and tempura frying away in the background.
This is such an awesome record and had me glue my ears to the speakers for days
in a row. If you thought the X-Files were weird entertainment, then get ready
for weird and strange real-life UFO encounters out of rural Japan. Real people
oddball UFO foredoom and spookish field recordings out of the mid-seventies,
spiked up with electronic noises and bleeps. Awesome. Price: 120 Euro
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774. MIDNIGHT CORNER: “Midnight
Corner” (Columbia – JPS-5144) (Record: Near Mint/ Gatefold Jacket:
Excellent/ Obi: Excellent/ Nude Stripper Poster: Excellent). Top rarity alert
for pink artifact lovers. Well how more seedy can we get? Is there an end to
Japanese erotic artifacts? Possibly no, because I was able to finally dig up a
spare copy of this 1968 Tokyo seedy underbelly stripper album. Two albums came
out on the “Midnight Corner” series, each one dedicated to an at that day
famous nude stripper girl……at least famous to those punters who dwelled the
seamen stained Tokyo underground highway of carnal pleasures. This album was
the 1st in the series and was dedicated to Sagiri Sajuku, a voluptuous
butt shaking beauty endowed with enough hip shaking exotic moves and nipple
shakes to render pole dancing completely oblique. The gatefold jacket treats
you to a bunch of nude shots of Sagiri and also comes with a nice nude poster
of her. The real catch of this item is the obi, fabulous design and always
missing – that is if this disc surfaces, which it hardly ever does. The
music is all instrumental cocktail enka vibes filled with smokey sax lines,
marimba rumbles, exotica Kayokyoku inspired sexy mood music used in the
nightclub to which Sagiri danced naked, teased punters and flashed her tits.
Original 1968 pressing, hideously rare on these shores but largely (still)
unknown hence the cheap entrance fee. Indispensable disc for anyone into pink
sexy late sixties Japanese moves, Ike Reiko, Kuwabara Yukiko and Tani Naomi,
although this predates them all. The only record in Japan to pay homage to the
glorious profession of strip girls. Erotic artifacts rule, not many were sold,
making them now rare and bound to be much in demand in years to come. If only I
could have been here to witness Sagiri in action and become her personal groupie…highest
recommendation for Iroke fanatics. Bloody rare disc. Price: 175 Euro
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775. MIGHTY BABY: “S/T” (Head – HDLS-6002) (Record: Excellent ~ Near Mint/ Gatefold Jacket:
Excellent, only some very faint minimal wear on the fragile non-laminated
cover, it is extremely clean but nevertheless correctly graded at EX). Original
1969 UK pressing!! “When
the Action broke up in the late 60s, they reformed minus Reggie King as Azoth.
The Azoth name was short lived, leading the band to settle on Mighty Baby. The
Action had played the club circuit for years, releasing many excellent mod
singles before plunging into the world of psychedelia. This band had always
worked hard, and now they were finally given the luxury to record a long
player. Mighty
Baby’s album was released in 1969 off the small independent Head label. At this
point, Mighty Baby could technically and instrumentally hold their own against
rock’s finest: The Grateful Dead, King Crimson, Collosuem, Caravan and the
Allman Brothers. The album is miles away from the soulful, sweaty mod garage of
their mid 60s singles and could best be described as a melding of Crosby,
Stills, Nash and Young harmonies, Allman Brothers guitar improv and Notorious
Byrd Brothers psychedelia. Few debut openers are as good as the revolutionary
Egyptian Tomb. It’s a sleek, powerful piece of psychedelia with strong
west coast style guitar interplay. At 5:30 minutes, this great song never falls
flat and is definitely one of the defining moments of British acid rock. Same
Way From The Sun has a similar stoned vibe with psychedelic echo and sounds
like it could have been lifted from a really good latter day Byrds album. The
spacious, pounding A Friend You Know But Never See, yet another highlight,
rocks really hard with some interesting raga style guitar and has a strange
mountain air aura. Other works such as the rural I’m From The Country provided
a sound Mighty Baby would further explore on their next album, the equally
brilliant “Jug of Love” from 1971. Mighty Baby along with the Action and various band
member’s solo careers are one of rock’s great lost family trees. During their
peak they were innovative and unstoppable, thus the “English Grateful Dead”
label really doesn’t do them any justice.” (the
rising storm). Top copy of this freakingly rare top lever acid psych guitar
jammer that is by many regarded – and rightly so – as one of the
best UK album’s ever to seep out of that pocket in time. Amazing condition but
as always minimal wear on the fragile non-laminated gatefold cover, the disc is
also real clean, so I guess you have a winner here on your hands. Price: 400
Euro
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776. MIGUEL ABUELO & NADA: “S/T” (MN – MN-10.016) (Record: Excellent ~ Near Mint/ Gatefold Jacket:
Mint/ Insert: Mint). Rare original 1974 pressing. “Argentine rock, recorded in Paris during the early
70s -- a really unusual expatriate album that comes off with a sound that's
pretty unique! Miguel Abuelo clearly draws inspiration from the heavier rock
that was showing up in South America at the time -- yet the overall execution
of the record also shares some of the warmer, more optimistic qualities that
marked some of the French groups during the period -- occasional folksy
elements, and a post-68 positivity that holds on even when things get somewhat
trippy and jammy. Instrumentation is heavy on guitars -- both acoustic and
electric -- and the longer tracks really take off with some wild sounds,
especially when bits of moog or electronics are dropped into the mix. Titles
include "Senor Carnicero", "El Muelle", "Estoy Aqui
Parado Sentado Y Acostado", "El Largo Dia De Vivir", and
"Tirando Piedras Al Rio". (Dusty Groove) Price:
350 Euro
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777. MIJ: “Color
By Number” (ESP – 1098) (Record: Excellent ~ Near Mint/ Jacket: Near
Mint). Original US pressing and one of the highlights as far
as strange sounds are concerned of the ESP label. “MIJ is the strangely cryptic moniker of Jim
Holberg, who was discovered in Washington Square Park on a hot summer day in
1969 yodeling and playing guitar by ESP label head Bernard Stoller. But this
wasn't any country western or Swiss Alps yodeling, this was some freaked out
high-keening spacey Martian kind of yodeling. The kind that cuts through time
and space and penetrates your subconscious. Blown away by his street
performance, Stoller invited Holberg into the studio the next day to record a
full-length album and in just three hours with an array of echo effects and a
patient and agreeable engineer, the Yodeling Astrologer was born. Apparently
Holberg had explained to Stoller that after being injured in an auto-accident
that had fractured his skull and impaired his hearing, his perceptions became
altered and he began to do things musically that he couldn't comprehend but
they somehow worked, and indeed they do. With both voice and guitar reverbed to
the nth degree, this is some Donovan meet Dreamies meets Curt Boetchner of The Millenium psych-folk magic. So awesome and beautiful,
weird and dreamy, with well-written songs and just enough freaky yodeling that
won't scare off the folks who might be put off by the concept of, well, freaky
yodeling. We've been playing this nearly everyday, it's so good.” (AQ). Price: 150 Euro
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778. MIKE WILHELM: “Wilhelm” (United Artists/ ZigZag – UA-ZZ.1) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original 1976
UK
pressing of this ex-Charlatans leader debut solo outing. This fine and fascinating chunk of charlatanic grist constitutes an essential piece of the West Coast rock jigsaw. Wilhelm's deep, raw baritone and full-blooded 12-string set the tone throughout this album delivering killer tunes such as “Goin' To Canada”, “Styrofoam”, “Me and My Uncle” and much more while being backed up by ex-Charlatan members such as Richard Olsen and other friends. Throughout the album – as depicted on the front jacket - Wilhelm comes in looking dapper and dangerous as usual, the quintessential SF musician/1890s outlaw vibe and succeeds as usual in mixing blues, folk, jugband, and nineteenth century saloon music. His low scaly voice delivers tunes that wander across the blues, vaudeville, and folk landscape with some rock thrown in such as on the killer “Styrofoam” track. On “Me and My Uncle” (which may be the best ever rendition of this song ever) he mixes even sound effects into the song's storyline, making it almost cinematographic in its execution. This album is probably one of my all time favortes and continuous to carry that Charlatans vibe. Sadly enough Mike Wilhelm is largely overlooked figure and he needs an urgent mass appraisal. If this sounds like your than, be sure to check out this monster LP and also grab on your way out the solo Wilhelm CD that PSF released some years back of his live stint in
Tokyo
. They do not come better than this. Mike Wilhelm continues to rule my little world, even after all these years, he continues to sounds as fresh as ever. Forget all the new weird
America
hyped shit, dive into Mike Wilhelm's sonic world and you won't be disappointed. This is as good as it can possibly get. Price: 60 Euro
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779. MILE AND HALF: “S/T”
(Taruho Farm – 1002) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint).
Still undiscovered mental mindwarp of a Japanese free jazz hardcore disc. Privately
released in an edition of about 200 copies in 1988, the disc is comprised out
of two side-long ear blistering hardcore free scorching blats unleashed by this
trio that is comprised out of Naohiro Kawashita on tenor and soprano, Daisuke
Fuwa on bass and Shiro Ohnuma on drums. Heavy hard hitting free jazz blaster
that leaves no stone unturned. Mega rare and impossible to find. Still cheap
due to its virtual unknown status amongst free jazz collectors but that is
bound to change in the years to come, mark my words on that one. So far I only
have encountered this disc (this copy included) on two occasions and this copy
is the first ever I know of with the obi present. Fucking private press heavy
hitting free jazz fire breathing monster. SIGNED COPY on the back…one of its
kind, so go crazy and act swift and hold your peace forever!! SOLD
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780. MILES DAVIS Featuring SONNY
ROLLINS: “Dig” (Prestige/ Victor Japan – SMJ-7571)
(Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Bloody scare 1st original Japanese pressing, complete with an immaculate 1st issue
obi!!! MONO pressing. Never surfaces these days in such a pristine condition. This album, recorded in October 1951, features
some young musicians who made their names after Charlie Parker and Dizzy
Gillespie burst on the scene. These youngsters -- trumpeter Miles Davis,
tenorist Sonny Rollins, and teenage altoist Jackie McLean -- would figure
prominently in 50s bebop. Drummer Art Blakey was a bit older, but would leave
his mark on jazz by leading some stellar hard bop bands in the next decade. Charlie Parker's shadow looms
over this record. He was actually present at the recording. Both Davis and
pianist Walter Bishop had played with Parker; McLean was, at this point in his
career, a devout ornithologist; and Rollins would pick up the saxophone crown
after Bird's death. Stunning original 1st issue Japanese
pressing. A milestone disc. Price: 150 Euro
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781. MILES DAVIS: “Live Evil” (CBS Sony
Japan
– SONP-50452~53) (2 LP Set: Near Mint/ Horizontal Capsule Obi: Mint/ Gatefold jacket: Near Mint/ Insert: Mint). Top notch original Japanese pressing of this subliminal Miles Davis recording. Rare pressing with the almost ever missing horizontal “capsule” obi intact. Impossible to find these days those first pressings with all intact. The music I guess will be familiar to most of you. This disc encapsulates the exotic and downright malevolent funk of
Davis' electric period.
Davis' music gushes out of this group that included Jack DeJohnette, Airto Moreira, Keith Jarrett, Michael Henderson and Bartz as tough they just had hit gold – filled to bursting with furious improvisations. With the addition of John McLaughlin on guitar the brew only thickens. Overall the interplay and funked ass jazz moves are ferocious, testosterone-heavy work-outs that suit the eye-popping cover art by Mati Klarwein depicting a grotesque toady caricature of Edgar Hoover all in drag. A bitch of a record and totally necessary. This being the 1st original Japanese pressing of that day, all on pristine high-quality vinyl and with capsule obi intact. A monster!! SOLD |
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782. MILES DAVIS: “Black Beauty Miles Davis At Fillmore West” (Sony CBS – SOPJ-39) (2 LP Set: Excellent/ Coated Gatefold Jacket: Near Mint/ 4 paged Insert: Excellent). Original Japanese press. Recorded on April 10, 1970, Miles Davis and his band lit up the legendary Fillmore West in
San Francisco. The core-melting line-up consisted out of Dave Holland on electric bass, Jack DeJohnette pounding away on the drums, and not least of all Chick Corea. Corea has quite amassed some air-pollution like music that defies good taste and such but on this record the man seems to be gifted with fire-breathing fingertips, coming over like almost a totally deranged sonic terrorist, coaxing sapphire bullets of pure hedonist distortion out of his Fender Rhodes and coating the overall sonic assault into a veil of auditory hallucination caused by ring modulator madness. Fronting all this mayhem is of course Miles Davis who begins to flirt with funk rhythms and tossing out more structured song forms in favor of theme-based improvisation. same strong opening theme before veering in different directions; just jaw-dropping great. Original Japanese pressing housed in coated heavy gatefold jacket. Dead cheap. Price: 35 Euro |
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783. MILK FROM CHELTENHAM: “Triptych
of Poisoners” (It’s war Boys) (Blue Wax Record: Near Mint/ Handmade Jacket:
Excellent). Original 1983 UK press of 300 copies. Amos
of the Homosexuals released this gem on his own It's War Boys label in 1983.
All the material was recorded between 1979 and 1981 and released in an edition
of 300. “Triptych of Poisoners” is an
outstanding and truly eccentric record, packaged in a striking collage design
that seems to owe a bit more to the medium’s Dada pioneers than that of most
late 70’s groups employing it for shock effect. Occupying a space somewhere
between the darkest L.A Free Music Society recordings, New York No Wave and
early Public Image Ltd, it offers a handful of miniature explorations of
free-rock, primitive tape collage and rough song-forms. Nothing on this record behaves in any way like the average post-punk
record, least of all the sound quality since the material was recorded, mostly
on a cassette recorder and although band leader Lepke claims to have wanted
Milk from Cheltenham to sound like the Beach Boys, Triptych of Poisoners is a barrage of twisted avant pop, art rock, sound collages, and experimental
noise that bears some semblance to This Heat, Residents, and Henry Cow, but
primarily explores uncharted musical waters. This record seems less like a rock
record and more like a documentation of some seriously underground, possibly
illegal, avant-garde activity. This
is a truly exceptional record, visionary in the most unpretentious way and both
wonderfully intuitive and hugely ambitious. Rare as expected but here is an
original copy for you to drool over. Price: 275 Euro
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784. MINAMI MASATO: “Kaikisen” (RCA Records – JRS-7139) (Record: Excellent / Gatefold Jacket: Excellent). Great copy, one of the best copies I have had so far of this gem. This is a first pressing of 1971. The Tropics
was Minami Masato's first record on
which he got assisted by Mizutani Takeshi of the Rallizes Denudes, his only appearance on record ever. Minami Masato
was one of Japan's first beatnik hippie scum singers,
who before venturing into the music
world, spent some time in Mexico
where he indulged himself in the narcotic goodies the country had to over,
went to America and
witnessed in 1964 the rise of the beatnik movement and sa
w one of Bob Dylan's early performances. Minami's life
would never be the same again. He crossed the Atlantic Ocean, criss-crossed through Europe and returned to
Tokyo in 1966. He participated at the 1968 Kyoto Folk Jamboree Festival. Ho
wever, his debut single did not appear until October 1969, follo
wed by a second single in 1970. This album, his debut appeared in July 1971 for
which he got assisted by a loose collective of fan musicians and befriended artists. Hadaka no Rallizes' Mizutani Takeshi
was such a fan collaborator since he
was quite in a
we for
what Minami stood for, being the unattached beatnik and drugged singer song
writer he
was. He let loose some ear shattering electric guitar on the album's closing track. This is the sole recorded output of Mizutani on disc. At least officially, if one ignores the dozen bootlegs and unofficially released music of his. An unbelievable valuable document of the early Japanese underground. Hyper rare and demented all the
way. For lovers of Hadaka no Rallizes, Tom
oka
wa Kazuki, Acid folk, Jandek, and just obscure and psyched out sounds. Price: 125 Euro |
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785. MION, PHILIPPE: “L'Image Econduite” (INA-GRM – 9119mi) (Record: Mint/ gatefold Jacket: Near Mint/ Insert: Mint/ Booklet: Mint). Another indispensable title out of the INA GRM catalogue. Philippe Mion's “L'Image Econduite” is one of the harder to locate titles out of that catalogue. “It is a remarkable piece of electro-acoustic music, released on the INA-GRM (Institut National de L'audiovisuel, Groupe de Recherches Musicales) label in 1987. The GRM was founded by Pierre Schaeffer in the 1950s and merged with the INA in the 1970s. Mion assembles a delicious collection of electronic and acoustic sounds, and interleaves them in ways that might be described as fugal. The texture is rich and complex, and yet spares enough to enable each sound combination to be enjoyed to the fullest. L'Image Éconduite was originally a 70-minute composition on 4-track tape, but was trimmed to 57 minutes and reduced to 2 tracks for the LP release. Although divided between the two sides of an LP, it is intended as one uninterrupted movement. The composer recommends that it be listened to fortissimo!” (Mininova). A fabulous tour de force of electro-accustic music that ranks up there with the other classic and can be called proudly a classic in its own right. Quite a tough one to dig up these days. Top copy, total mint condition. Price: 90 Euro |
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786. MIROGLIO, FRANCIS: “Extensions 2” (Philips – X-7621) (Record: near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japanese pressing of this avant-garde masterpiece on the illustrious Philips 21ieme Ciecle silver jacket series. Comes with never seen before obi. Price: 40 Euro |
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787. MISHA MENGELBERG & HAN BENNINK: “Einepartietischtennis”
(FMP/ ICP – SAJ-03/ICP-014) (Record: Mint/ Jacket: Mint) First original
1974 pressing with orange label. The Misha Mengelberg/Han Bennink duos were hilarious and brilliant at
the same time. Einepartietischtennis is as good as place as anywhere to start. Misha’s
cranky piano playing and percussionist’s Han Bennink’s total mayhem was (and
is) a one-off combination. Price: 75 Euro
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788. MISHIMA YUKIO: “Chinsetsu Yumi Harizuki” (Nippon Columbia – CLS-5112) (Record: Mint/
Gatefold Jacket: Mint/ Obi: Mint/ Attached Booklet: Mint). Where to start for
this record is a bit of a tough one. Well, like you can already guess, the LP
in question here is a bloody rare one but that aside it is also housed in one
of the most beautiful jackets ever to caress your eyelids. Just take a close
look and you will already understand 75% of why this sucker is so hunted down
by all who know of its existence. Designed by Tadanori Yokoo, the record is a
beauty, bordering at museum quality art instead of being just another record
jacket. But apart from that, there is of course the music, which was a true
surprise upon diving into it. Suicidal novelist Mishima Yukio proves himself
here to be an amazing vocalist, bringing forth a blood curdling performance
that borders upon throat gargling excursions and traditional weirdness, ghost
like shriveled yowls that at the same time recalls enka crooners, circus
sideshow attractioners, carnival callers and move gangsters while being backed
up by heavily slashed shamisen strummings and spare taiko drum insertions. The
shamisen playing is stark, ephemeral and harsh like ice-cold winds beating on
an already frozen tundra, flying aloft with an impetuous roar, just like the
foaming surges of waves breaking on the ice-crested rocks. Mishima’s voice
resonates against this background and seems to span epochs within single
syllables, bringing undercurrents of depth to the skeletal music. In short a
recording blessed with an oddball shamanistic sense of beauty brimming over
with haunting echoes of turbulent history. A hauntingly intense recording that
had me pinned down to the floor for its entire duration. Highest recommendation!!
Price: 700 Euro
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789. MISHIMA YUKIO: “Ouko - Mishima Yukio” (Canyon – CAD-1001) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Another insanely rare aural document that sheds some light on the last hours of writer and novelist Yukio Mishima before he and his fellow conspirers committed ritualistic suicide on November 25th, 1970. On that day, Mishima seized control of the military base of the Japanese Self Defense Force in Ichigaya. Aided by the Shield Society, Mishima and his private army, wished to read a speech he had prepared to those assembled, in which he would enjoin them to return
Japan
to its purest form. When they refused to listen, Mishima disemboweled himself. He committed seppuku (ritual suicide) as a gesture of public protest against the prevailing political and social conditions in contemporary
Japan
. It's unlikely that Mishima felt his siege could really alter the course of the nation - even his speech mentions returning
Japan
to its ideal and "dying in the process." Clearly, this was a suicide mission from the start. And it was all captured on tape, making this recording a truly historical gemstone, with Mishima belching his protest from the balcony, newscasters covering the chaotic atmosphere on the spot, bewildered spectators,. Chaos and so much more to drool over. Great recording that hardly turns up, and only a few copies seem to be in circulation. The pressing quantity was small to begin with when it hit the streets in early 1971, but here you have one of these near mint copies. Great front cover depicting Mishima on the balcony…….Highly recommended for you Japanophiles and orientalists out there, modern day field recordings of a crumbling society balancing on the razor's edge between perverted modernity and a detoriating vision of a glorious past. Awesome! Price: 125 Euro |
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790. MISHIMA YUKIO: “Ten to Umi” (
Columbia
– YS-10091-CT) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent/ Attached 8 Paged Booklet: Near Mint). Original 1971 pressing of this rare Mishima artifact. Released in January of that year, it documents a rare recording of Mishima Yukio reading poetry by Asano Akira, a renowned Japanese poet and writer., set against a musical backing by composer Yamamoto Naozumi. So in a way it a meeting of three heavyweights out Japanese culturally scene of the mid-sixties. The whole project got the subtitle “Poemusica”. It is a great listening experience and historically seen a very valuable artifact that captured Mishima at the height of his powers and reciting the poetry with a loud as a bell gravel voice. Hearing it now is quite a thrill since Mishima was and still is regarded as one of the greatest novelists to come out of the archipelago. Brilliant!! Price: 85 Euro
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791. (MIWA) MARUYAMA AKIHIRO: “Yoidoma
no Uta” (King Records – SKK-167) (Record: Excellent/ Tip Back Jacket:
Excellent). Miwa Akihiro’s first ever recorded LP out of 1966. Murayama Akihiro
– later down the line to become Miwa Akihiro – was initially active
in the mid-sixties in the gay bar circuit of Nishi-Shinjuku and just as Peter,
he was a struggling but yet highly accomplished Japanese singer that
successfully strung together enka, kayokyoku, French chanson and cabaret into
one healthy and lethal new chanson styled mixture. These days Miwa Akihiro is a
major celebrity in Japan, everyone knows about him/ her, since he is the most
renowned transsexual to walk the island. And although he might invade every
possible TV program these days, he was after all initially an amazing and
talented singer, blessed with a gift most of us can only dream off. This LP
here for King Records was his 1st LP following a string of minor
7-inch releases and already delivers the goods. As you can see from the cover
photo. Miwa is still in transition, very much male looking but slowly crossing
over towards a more feminine side. His songs are passionate ballads and
chanson, bringing over and resonating with passion, forlornness and a trembling
vibrato, his voice that could bring the walls of Babylon come crashing down. To
these ears, his complete oeuvre is total killer. Sadly enough, his recorded
output is quite difficult to track down and as far as this 1st LP by
him is concerned, I have only seen it once so far. Seen against that light, it
comes dead cheap. Top copy. Price: 185 Euro
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792. (MIWA) MARUYAMA AKIHIRO: “Miwaku
no Koga Mero O Utau” (Teichiku – SL-51) (Record: Excellent, only has two
marks on track one side one/ Gatefold Sleeve: Mint/ Obi: Mint). Eye-blindingly
rare Miwa Akihiro disc complete with never seen OBI, here first LP before she
altered sexes and names. Akihiro Maruyama started out in the mid-sixties as a
well-respected and extremely talented chansoniere, singing Japanese cabaret
tunes in a deep voice anchored firmly into the French chanson tradition and
executing it with a firm conviction and originality that would have even catch
the French singers of that era short of breath and in awe. Still Tokyo was far
removed from the Parisian nightlife but it was not less glamorous and
erotically charged. Cabarets were littered all across Shinjuku and especially
the Shinjuku 2-Chome area was the place to be, a district littered with gay
bars and hangouts where luminary artists such as playwright Terayama Shuji (it
is during this period that she got acquainted with Terayama and her/his alliance
with him took root – she even participated in a number of Tenjosajiki
theatre plays), novelist Mishima Yukio and actor Takura Ken passed the revue on
more than one occasions. It also happened to be the fertile nurture ground for
Akihiro Maruyama to first appear unto the scene before she transformed in the
transvestite glamour queen of alter ego Miwa Akihiro. On this rare album here,
one has the chance to hear her at the beginning of her career (which lasts till
this day, she is now bigger than life even), Her
voice is an enchanting weapon that mesmerized many at the time. The tantalizing
assured state of incompletion she/he breathes out is a part of the performer’s
unpredictable charm. Her (his) tackling, adoption and adaptation of
chanson-esque material with a severe twist may come over at first as ordinary
habitual labor but repeated listening reveals a motivation surmounting
exhaustion or boredom and instead spills over into sheer relief, delight and
glamour of dreaming and fantasizing outside one’s personal box. Miwa Akihiro will
then become an intoxicating presence, an essay on exaggerated female allure.
All time highest recommendation and ultra rare, early recording, housed in a
thicker than life gatefold sleeve. One-time chance offer that will enrich your
existence considerably. Price: 200 Euro
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793. (MIWA) MARUYAMA AKIHIRO: “Deluxe”
(King Records – SKD-10) (Record: Excellent/ Gatefold Jacket: Mint/ Obi:
Mint). Another killer slide by Maruyama Akihiro, his last LP before his
complete transition into his female alter ego Miwa Akihiro. Venturing in
similar chanson infested waters as his previous recordings, “Deluxe” throws
together the most stunning collection to date by him. If the other recorded
output by Miwa could wax your earlobes, than this one will have you gasping for
air. Essential deep undercurrents of depth that will shed a completely
different light upon Japanese underground as you thought to know. Getting
impossible to unearth here in mint condition with obi, this one comes quite
cheap. Simply a must, forget Haino, this is the real deal. Price: 150 Euro
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794. MIWA AKIHIRO: “Karei Na Sekai” (King Records – SKA-60) (Record: Mint/ Gatefold Jacket:
Mint/ Obi: Mint). Transformation complete, the birth of Miwa Akihiro and the
abortion of the Maruyama name. And with it a legend was born, a transvestite
siren, the Calamity Jane of sea deities performing for Persephone. Leonardo da Vinci once wrote, “The siren sings
so sweetly that she lulls the mariners to sleep; then she climbs upon the ships
and kills the sleeping mariners.” It
seems he already had visions of Miwa Akihiro to be upon penning those lines
down. Either way, it fits neatly. Miwa Akihiro’s siren song definitely
captivates and seduces mankind once you get sucked into her realms. Always the
result is the same; when hearing her chansons spiked with enka and kayokyoku
fragrances and carried with a voice that is tantalizing, you will like any
other jump into the sea because of her profound ability to keep you transfixed
and stunned, begging for more. Her voice skims the surface of the sea, captures
the sails of any ship within hearing distance—lures its captains and his
sailors to change their charted course. Powerless to resist the Miwa’s
mesmerizing song, the bewitched men set their sails towards her shore, unaware
that, beneath the surface of the sparkling waters that danced along the coast,
jagged rocks await. Just essential. Top copy. Price:
150 Euro
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795. MIYAMA TOSHIYUKI & HIS NEW HERD: “Tsuchi No Ne - Adventure in Sound ~ Ni Hon Densetsu No Naka no Shijo” (Nippon
Columbia – NCB-7023) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint).
Original 1973 pressing, hopelessly rare and obscure and impossible to score
with obi intact and present, so time to weep your heart out over this beast.
Japanese sounding whirlwind centered around wadaiko
percussive rattles, beefed up with electronic sounds and a healthy free jazz
aesthetic ala mid 1970s Miles Davis “Bitches
Brew” era escapades. In all it is a hazy mixture of exotic mysterious and
downright malevolent horn induced free jazzing funk, a tantalizing session
gushing out a music that comes over sounding like the whole combo went out
digging and suddenly struck oil. The whole group operates simultaneously in an
electric and organic mood, incorporating furious improvisations and skeletal
motifs impregnated with addictive lurking bass lines and frenzied percussive
rattles that eventually come together head first into a testosterone-heavy
brew. Wah-wah soaked pedal flashes, crackling distortion, zonked out electronic
effects, tribal grooved out horn funk make the whole session moody, hypnotic
and narcotic, a mixture of pure free jazz, spare funk beat and rock, a
gutbucket fusion-like punch one cannot resist to. The players also breathe out
openness and versatility, and with the assimilation of all the various elements
that make up this intoxicating sonic mixture, they never loose track of the
free-flowing groove-style that underpins it all, boiling down into an acidic,
lysergic fusion brimming over with a building and driving pulse that never
backs down one inch. The music skirts the edges of psychedelia with is Takano
Takeshi’s Fender Rhodes’ rhythmically delivered chord clusters inserted at the
right places at the right time, the varying tonal colors of the horns, Yamamoto
Osaburo’s acidic wah-wah guitar licks, ducking and dodging the spaces in
between all of this aural madness. They all feed off on each others freedom, spluttering out ecstatic sheets of swirling grooved out dirty free
roaming greasy jazzed-out funk. Psychedelic acid free funking soul jazz. That
is what this is, music that detonates expectations and fires off freshly
ignited commotions, causing riots and set women off screaming in an ecstatic
delight. This is gut-grabbing free form horn psyched out funk that will set
your balls on fire. Impossibly rare in mint condition with obi…just never turns
up, but music wise it is a dirty beast. Massive. SOLD
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796. MIYAMOTO MICHIKO: “Mannatsu No Tazune Hito b/w Kono Mama Kaesanai” (King Records – BS-1660)
(7 Inch EP: Near Mint/ Picture Sleeve: Near Mint). Bloody rare 1973 erotic
Kayokyoku ball buster. Intoxicatingly sexy, swinging, mood enhancing and
stimulatingly great. Miyamoto Michiko could have been the dancing queen of the
unsung erotic kayokyoku regions and uncrowned street walkers, pink movie goddesses
and teasingly adorable late night female butterflies – if only she had
released something else apart from this one-off 7-inch release. A damned shame,
brimming over with unfulfilled and unbridled erotic passion and stranding into
eternal obscurity after her sole two-tracker bombed upon its release. Grllll
power?? Well definitely this godlike creature had all the assets and is blessed
with a stunningly erotic voice, balancing on the verge of husky scat, teasingly
great moans and looks that could easily defrost any stagnated and sex deprived frustrated
white collar office slug. Recorded and released in 1973, this disc is a prime
example of Iroke Kayokyoku permutated atmospheric delights. If female vocals
are your thing, interlarded with enough latent sex appeal ready to erupt at any
moment and enough melancholic sadness to bring a seasoned GI killing machine to
tears, then this has written you all over it. Just brilliant and if you get
bitten by this virus you will be in for a hard time since records like this are
so scarce they have to invent words for it in order to describe it properly. Utterly
obscure and it is now considered as one of those rare gems that are confined to
a below-the-radar existence, concealing their endowed beauty in between the
cracks of time and nebulosity. It is a shame because this disc demands to be rediscovered
by a new crowd of lovers for female erotic vocals. Price: 175 Euro
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797. MIYAZAWA AKIRA: “Iwana
– Bull Trout” (Victor – SMJX-10068) (Record: Mint/ Gatefold Jacket:
Mint). Original 1969 pressing in pristine condition – probably the best
copy around. This is truly a wonderful album, balancing in between AACM
inspired spiritual mellow free jazz interplay and intoxicating mellow
interplay. “Iwana – Bull Trout” predated the stellar “Kiso” by one
year and already it hints at things to come. With a line-up consisting out of
the crème of the crème of the Japanese free jazz scene at that
day – Miyazawa Akira (ts), Sato Masahiko (p), Arakawa Yasuo (b), Togashi
Masahiko (ds) and Seyama Yonosuke (perc) – “Iwana” became one of the few Japanese free improvisation records
to come out so early that brimmed over with originality. The trio of Sato
Masahiko, Arakawa Yasuo and Togashi Masahiko had prior to this recording just
finished the “Live at the Palladium” LP (Express – EP-8004) and
by adding them to the line-up, Miyazawa Akira strived for recreating or
injecting his own compositions with some of the trio’s fire-breathing interplay
that drove on a lyrical economy and meticulous musical detail that is
deceptively intense. The quartet explores more spread open improvisational
territories, less heavy loaded but nevertheless burdened with the same
intensity and urge to spontaneously combust on the spot. More space is created
for challenging interplay, demonstrating the greatness of each individual
participant in this blood-curdlingly amazing slab of panoramic sound clusters.
Everything I expect a fantastic free jazz disc to have is embedded within this
LP’s grooves, semi-heavy fixes everywhere you look, communal stripped down interplay,
individuality and bliss-like cut in interventions. But it isn’t before long
they divert again into percussive shakers and intuitive atmospheres of free
interplay that is not bound to be categorized easily.
Hideously rare but sadly undetected piece of Japanese Free Jazz History.
Highest possible recommendation. Top copy original pressing and essential to
anyone trying to get firm grasp on Japanese free jazz. SOLD
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798. MIYAZAWA AKIRA QUARTET (with
Sato Masahiko – Arakawa Yasuo – Moriyama Takeo): “Kiso” (Victor – THLP-092) (Record: Mint/ Gatefold Jacket: Mint/ Obi:
Mint/ Insert: Mint). Out of print and limited to 500 copies identical reissue
of this amazing spiritual Japanese free jazz beast. Comes housed in heavy-duty
gatefold jacket, heavy thick high quality vinyl and with obi. Originals sell
here on these shores for over a 1000-euro, so this is a nice substitute. It was
released last year and sold out on the spot. For
this session some of the heaviest improvisers in Japan interlocked and created
this behemoth of a disc. Centered around the groovy and exploding sax lines of
Miyazawa Akira and assisted on ivory keys by Sato Masahiko pounding out cascading molten
chunks of lava, butt-shaking and vitriolic bass licks of Yasuo Arakawa and the percussive
tribal freak outs by master drummer Moriyama Takeo. The whole affair gets kick-started with a
sidelong spiritual freakingly heavy track, immediately highlighting the
animated strive of this quartet in action way back in 1970. Side A opens up
with “Kiso” a tribal free floating lyrical maniac fury excursion that showcases
Sato as a golden boy on the ivory keys while Arakawa and Moriyama provide the
perfect backbeat for Miyazawa to blow his horn to smithereens. Free but smooth
as silk, just perfect. All the way through, the quartet shifts to a higher gear,
accelerating speed up frenzy that remains an artfully structuralized berserker
blessed with tribalized spiritual jazzy overtones. There is much solo space for
each of the four players and the spacious mix buts each of the four equally
upfront on different occasions. It is a stunning showcase of visionary talent
at the top of their game. They are literally on fire. From the opening notes
on, things get rolling, it becomes an unfettered affair, fusing power and
poetry into one coherent slab of paradigmatic oriental Fire Music. Cascading
notes, tornado-like curveballs of sonic clusters that sound like almost a piano
induced frenzy as an afterthought to a firestorm of improvisational interplay.
Collective improvisation built up around piano pounding, frantic imploding sax
lines and droning base stroking aesthetics evolve into a workout spiked with
moments of real intense beauty especially with Sato sweeping across the keys,
injecting his play with prepared piano moves while Arakawa scrapes his bass
snares and Moriyama cooks up a storm of muffled brushes and strokes while
Miyazawa brings the house crashing down. Still like most true inventive Fire
Music it is also an mesmerizing and equally rewarding listening experience.
These cats had it all down; gracious free-floating grandeur that touches
divinity while creation unfolds itself. Beautiful
record with interludes ranging from lyrical passages to sheer bursts of
brutality and corrosive blasts of sheer white light. In all it is a staggering
carnivorous sound form as the players lollopped through some extended nod out
freeform jams that marry a primitive blowout aesthetic with lyrical flashes of
sonic beauty. A dead stone classic, high quality vinyl pressing with obi, all in
stunning mint condition. Highly recommended. SOLD
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799. MIZUKI SHIGERU: “Yôkaigenso”
(Victor – KVX-1039/ LP – 1978) (Record: Mint/ Jacket: Mint/ Obi:
Mint/ Booklet: Mint) Beautiful copy of this all time electronic music album.
Obi and insert are missing; still the album itself is an artifact that hardly
ever surfaces. A long lost gem documenting a forgotten side of Japan’s largely
overlooked vintage electronic music landscape. The one-armed Mizuki Shigeru is
mainly know as a manga artists whose imaginary worlds are filled with roaming
ghostly like creatures, human abnormalities and weird, ghastly-like bunch of
half-beast half-human clones. On this disc was attempted to create a
accompanying soundscape that would fit some of his odd creations. However,
Mizuki himself is not a musicians and in order to pull this job of was Morishita Tokihiko called in, a name
some of you might be familiar with since he released in 1972 two extremely rare
(and now hideously expensive) progressive rock albums, being “Toccata” on the
Dharma label and “Morishita Tokihiko II 18 Sai Miman no Ballad”, which was
released by Polydor.. Following closely Mizuki’s direction of where to direct
is sonic electronic and totally alienated fragmentation bombs, he succeeded in
creating an estrange and disaffected sound palette. The music is dark, strange,
at times even a bit comical and certainly not of this world. Made up largely
out of bubbling, whirl-like inorganic low tones that evoke a weird incantation.
This disc has never been reissued and has since it release in 1978 literally
disappeared into the cracks of time. Nevertheless, like most of the overlooked
and unexcavated electronic music gems to seep out of Japan, this one calls out
for immediate re-appreciation. Getting rarer by the minute, like most of the
virtually unearthed electronic music jewels that remain hidden on the island.
Highly recommended. Price: 200 Euro
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800. MIZUTANI KIMIO: “A Path Through Haze” (Polydor – MR-5009) (Record: Near Mint / Jacket:
Near Mint/Insert: Near Mint). WHITE PROMOTIONAL label copy. OK boys and girls,
ready to strap yourselves in. Here you have an original 1st pressing
in top condition of Mizutani Kimio’s sole released solo album out of November
1971. Kimio Mizutani was a non- prolific musician, whose name keeps popping up
in various formations such as the Adams, the Outcast, Milk Time, Sato Masahiko
and the Soundbreakers, Uganda, etc. He was the acidic guitar gunslinger for
hire in the early seventies, while the psychedelic Japanese underground soared
high skies. Mizutani however cut one solo album, the “Path through Haze” disc, a document that
was recorded in a single day at the Nippon Gramophone Studios. The result was a
completely instrumental affair, coming about after an improvisational jam
session spun around Mizutani’s lyrical and driven guitar play, which at times
was interspersed by sensitive interludes, accompanied by the Toyama String
Quartet and the Etoh Wood Ensemble. The album was released by Polydor and
disappeared almost instantly into oblivion since it was virtually unnoticed by
the music press. Failing to attract the public attention seemed to be a
constant factor throughout Mizutani’s career. Even the following project he
took part in, the nine piece musical commune People with their “Ceremony~Buddha Meet Rock” that was
released by Teichiku Records in December 1971, failed to attract any interest
of the public or press. But this does not degrade his output one tiny bit. As
the “Buddha meet Rock” disc, “A Path through Haze” is certainly as
mind blowing and acidic dangerous listening material that will keep on echoing
through the canyons of your mind if exposed to it. Stunning psychedelic
masterpiece and completely vanished. Beautiful copy and completely mint. SOLD
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801. MOBY GRAPE: “WOW” (Columbia – CXS-3/ CS-9613) (Record: Near Mint ~ Mint/ Gatefold
Jacket: Excellent ~ Near Mint). Top copy 1st original pressing, Columbia
“Eye” 360 Sound red label. WOW
is the true sophomore release, a great second album although many out there
find is appropriate to slag it off without mercy, those nitwit fascist drunks.
I for one ride hard for this album, making it one of those key-West Coast
releases of that era. Even with the band's widening divisions and track record
of consistently bad decisions, all five members of the band contribute to
WOW--with some absolutely stunning results. The album is filled with great
songs that are sympathetically arranged and performed, among them the fragile "He," the bluesy "Murder In My Heart For The
Judge," and the soulful "Bitter
Wind." Moby Grape ends the album with a new version of "Naked, If I Want To"--a
strutting, funky take on an acoustic track from their debut. Also don’t forget to dig into the 78 RPM mastered “”Just Like Gene Autry” that
ends side one, making it in all an acidic spiked album to sit through. Truly
amazing and astonishing to these ears, but then again I am a West Coast psych nut
and not a treacherous hyena that takes any chance to slag off greatness in
order to elevates one’s own miserable existence. So Moby Grape’s “Wow” is a
fucking ace record!!! Top copy original pressing!! Price: 50 Euro |
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802. MODULO 1000: “Nao
Fale Com Paredes” (World In Sound) (Record: Mint/ Triple Fold Out Jacket: Mint)
Without a single doubt, this is the best heavy psychedelic disc ever to seep
out of Brazil. Like you know, original copies are almost impossible to score
and are in most cases beat up. A couple of years ago, World in Sound released a
stunning reissue, housed in a heavier/thicker-than-life triple fold out jacket,
complete with eye-devouring psyched-out artwork inside. This set was released
in an edition of 500 and sold out in no time, again gone for good. The music on
the other hand is brain ripper that will lead all of you heavy
psych freaks to the best ear-gasm you had in years! Super fuzz wah guitar and
organ jamming stoner psych-prog filled with raw, heavy experimental twists and
turns, this disc has made all those moves their trademark sound. Non-stop lethal
assaults of fuzz guitar and overdriven organ workouts Just a
beast of a disc. If you have to make comparisons, well it sounds like early
Soft Machine cross breeding with early day Black Sabbath while day-tripping in
the South American jungle and chewing away upon those Ibogane leaves. This disc
certainly gets you where you wanna go, and fast….Price:
100 Euro |
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803. MODERN SHADOW: “S/T”
(Sathi Double Man Brand – S.T.) (Record: Excellent/ Gatefold Jacket:
Excellent). Instrumental Thai Beat sleaze from the mid-sixties, original
pressing in fabulous condition. Hardly turns up these days, especially in such
a delicate and great shape as this copy here. Price: 250 Euro |
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804. MOEBIUS & PLANK: “Rastakraut Pasta” (Sky – Sky-039) (Record: Near Mint/ Jacket: Near Mint).
A classic in the German Krautrock pantheon although that instead of Krautrock
one could switch it for the more appropriate spacehead Krautfunk moniker. This
album is total genius, hypnotic motorik and almost industrial impregnated
city-sludged monotronic minimal krauttrance electronic offbeat music. With
influences even encapsulating references to reggae, the instrumentation on the
album includes electronics, voice, guitar, and flute, rendering the general
outcome into a hybrid genre crossing and stylings encapsulating album that even
till this day remains to sounds fresh and innovative, be it in a primitive way.
Languid drum machines frame several interesting exercises in alien pop, from
the vocoder experimentation on "News" and "Missi Cacadou" to the
title track's hilarious fusion of reggae and Krautrock. Holger Czukay also
helps out on three tracks and Conny Plank’s studio provided the place for these
at the time revolutionary ideas to germinate. Deep sea intoned industrial
carpeted dub infested krautrock funk on Quaaludes is probably the best
description I can come up with to pinpoint the atmospherics and sounds the
albums steers into. A classic that these days rarely surfaces…great top copy. Price:
75 Euro |
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805. Les MOGOL: “Danses et Rythmes de la Turquie” (Concert Hall – SVS-2698) (Record: Excellent, only a few paper scuffs/ Jacket: Excellent). Original French pressing in top notch condition filled with mind numbing swinging breaks and psych moves. “They formed in 1967, playing a style of experimental psychedelic rock based on the folk music of the Anatolian region of
Turkey
. Their unique Anatolian (or Anadolu) "pop" sound is simply a delight, as amply demonstrated by this particular album. It features 13 tracks that are based on traditional songs -- but for sure the original versions didn't sound like this, so groovy and hip. They employ some standard sixties rock instrumentation -- plenty of electric organ getting almost "Inna-gadda-da-vida"-ish at times -- but also really bring the traditional Turkish instruments to the fore, playing ikligs and baglamas and darbukas and kasiks...all kinds of stringed and percussion instruments, often used traditionally but more often just fiercely strummed to great rock 'n' roll heights. Compared to 3 Hur-el's "Hurel Arsivi" this almost-all-instrumental album is folkier *and* jazzier, the electric organ giving some tracks a kind of Martin Denny exotica vibe. Both discs, though, would make great party records. Highly recommended!!” (AQ). These skilled musicians played traditional Turkish instruments to which they added guitar, piano and organ and by the time they launched themselves as a group in 1967, they decided to name themselves The Mogol or Mogollar in Turkish. Their music was based on the exotic folklore heritage of
Anatolia, enriched by modern rhythms merged with the impassioned strains of the Turkish national idioms. Original pressing of this classic eastern tinted psychedelic monster Price: 150 Euro |
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806. MOKO, BEAVER & OLIVE: “Wasuretai
Noni – I Love How You Love Me” (Express – ETP-40156) (Record:
Excellent/Gatefold Jacket: Excellent/ Attached insert: Near Mint). Ok here you
have one of my all time favorite female vocal albums of all time. Second pressing - almost as rare as the 1st press - and housed in gatefold jacket. Total
mint copies with obi are impossible to score and cost you a kidney or a leg in
return but at least here you have one. This copy is excellent all way through,
a solid keeper. But that aside, the album is one of the finest female vocal chorus
albums to seep out of Japan. One problem though, apart from a handful of
Japanese die-hard collectors, no one is aware of its existence. Why, because it
is so bloody rare….but the music sounds like a flock of angels descending from
the skies like Valkyries ready to pick up slain
heroes and conducted them to Valhalla. By tackling songs – in
Japanese – such as “I Love How You
Love Me”; “Door to Paradise”, “All I Have to Do Is Dream” and “Sixteen Reasons”, they elevate you to
angelic plains of Candy Mountains and pink fluffy clouds. One of the most
delicately fragile but exponentionally great Japanese soft female vocal records
around. I can only advise you NOT to buy this because it will hit you with too
much beauty for you too handle. You will be devastated. Highest possible
recommendation and one of the most beautiful Japanese ethereal female vocal
discs ever to have been put down on wax. Delusionally astonishing and hyper
rare and the best of all is that this copy comes bloody cheap, due to the few
hairline scuffs and not mint jacket condition. Price: 150 Euro
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807. MOLLER PETER & RANDY HUTTON: “Ringside Maisie” (Onari -005) (Record: Excellent/ Jacket: Excellent, has a cut
out). Original 1980 Canadian private pressing released in a tiny run. Sonically
this is a weird hellbroth kind of a disc, coming over as a spastic Derek Bailey
like guitar picking while being backed up by a dyslectic drummer. This Toronto-based
experimental duo consisted out of Peter Moller (percussion, drums & coughs)
and Randy Hutton on acoustic guitar a. The two of them entrusted
some mercurial slabs of improvisational mayhem to the grooves of this
exceptional album. Sonic-wise, they bear some resemblance to Bailey getting all
worked over by Bennink, and in unison they were
responsible for molding out an ominous improvisational racket that resembles in
texture and aesthetic the likes of the aforementioned two mixed down and
drowned out with a slice of AMM and MEV. Still, it would be unfair to slain
them as mere clones of these illustrious collectives. The two
performers interact in a perfect way, responding to each other’s individual
moves and rip through various sonic universes in a mind chattering insectoid
way. Churning out minimal textured but nevertheless warfare
like chunks of postindustrial noisy improvisation reminiscent to urban
construction sites and late night bowel movements, Moller & Hutton were
without a single doubt an interesting ramshackle units to emerge out of the early
eighties Canadian improvisation scene. Atonal guitar crashing finger
picking take the listener unto a seemingly never-ending downward spiral of subterranean
bliss. Pushing sonic limitations through resonance, reverberations, noise and ramshackle
kitchen utensil like caveman drum rolls, Moller &
Hutton recreated the hidden splendor of an urban sonic wasteland combusted into
a gargantuan burst of static energy. The album rarely resurfaces and highly
recommended. Price: 100 Euro
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808.MOMOYAMA HARUE: “Hikiyomigusa” (Victor – Invitation – VIH-6056) (Record: Mint/
Jacket: Mint/ 4-paged insert: Mint/ Obi: Mint). Perfect copy; don’t think they
come actually in better shape than this one here. Here is a weird rural rice
filed dwelling oddity for you, another gem that evaporated in thin air right
straight after its release and which remains undetected and extremely hard to
come by till this day. So one word of advice, if you want to detect something
new that will stun you and leave you puzzled with a fractured view on
traditional Japanese rural music then this one has written you all over it
since this baby tends to dwell in some hybrid territories. Momoyama Harue’s
music may sound fairly traditional at a first hearing (especially side one) but
immediately some connotations to the Goze (or blind female shamisen performers
that travel from town to town) pop to mind. That aside, Momoyama is –
apart from the musical linkage – still far removed from those Goze. First
of all there is her use of the Japanese language in combination with the
singing techniques she uses, techniques that generally are applied by jazz
vocalists or classically trained singers. Still her roots lie in traditional
rurally performed styles of music, especially music out of the high north.
Still Momoyama draws a breathe of fresh air into traditionally inclined rural
shamisen strummings, making it simultaneously ancestrally rooted and
modernistic inclined with a nod towards the avant-garde even. This last aspect
becomes especially to the forefront on the 2nd side of the album
where she gets flanked by Sakamoto Ryuichi of YMO fame. The addition of
Sakamoto to Momoyama’s musical palette works extremely well as he underscores
her compositions with some eerie and otherworldly synth induced soundscapes,
attributing a kind of electronic music feel to the atavistic and agronomic
predisposed sound palette. At times it even resonates out harmonic qualities
that are reminiscent to music from the Tibetan high north. In all it is a
compelling disc, hard to pinpoint to one single genre and dwelling from
traditional shamisen music towards avant-garde inclined indigenous soundscapes.
In all this is a disc that left me baffled and puzzled every time I spin it.
Too beautiful for words and extremely hard to find. First time I have a copy to
spare. SOLD |
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809. MONK, THELONIOUS: “Genius of Modern Music” (Blue Note Japan – BLP-1511) (Record: Mint/
Jacket: Excellent/ Insert: Mint). “On
this volume Thelonious Monk has come fully into his own as a leader. The
program consists almost entirely of original compositions, and in fact it opens
with two of his most difficult: "Four in One" (with its conventional
bop intro that leads into a bizarre, repeated five-against-two quintuplet
sequence) and the forbiddingly abstract "Criss Cross." Get through
those and you'll eventually be rewarded with the relatively straightforward,
blues-based "Straight No Chaser" and the sweet ballad "Ask Me
Now," among other treats. Sidemen include the young trumpeter Kenny Dorham
and bassist Al McKibbon, as well as a more clued-in Art Blakey and (replacing
Blakey on half of the program) Max Roach. Sahib Shihab's sax tone is more
appropriate this time out, and the production quality is somewhat better. This
disc belongs in every jazz collection.” (All Music Guide – Rick Anderson) Price: 30 Euro
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810. MONSTER MAGNET: “Superjudge” (A&M Records) (Red Wax LP: Excellent ~ Near Mint/ Jacket:
Mint, still in shrink). Heavy doped up and so great. Saw them playing in the
early 1990s at a festival with a thunderstorm raging over our heads. Lightning
and thunder seemed like the perfect companions for these dopeheads. Massive and
this record takes me right back to that muddy field somewhere in the Lowlands.
Killer disc all the way. Price: 50 Euro
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811. MOOLAH: “Woe Ye Demons Possessed” (Atman Music – Ma-A)
(Record: Mint/ Jacket: Mint) Original 1974 private press mind bender. Self-described as "...a cosmic rock relaxation creation to elevate sensory awareness
to include the aura of intuitive perception of higher realm of human/divine
consciousness using the astral body projection experience vehicle to pierce
time/space/logic dimension barriers on the return voyage to the ultimate
concept." Moolah were a duo of Walter Burns
and Maurice Roberson. Their sonic maelstrom is made up out of a variety of
sound clusters emanating out of piano and keyboards, percussive rattles &
shakes, electronic mish mashes of assembled junk, esoteric Buddhism vocal sounds,
concrete sound clusters, stringed up delay effects and tape manipulations
amongst others. The end result is dreamy, beautiful ambience -and- disturbingly chaotic, claustrophobic
sounds. Shimmery, murky, distorted, primitive…lo-fi jams full of dubby echo
effects, indistinct voices, crazy backwards
percussion, and insectoid squiggles of electronics. This is seriously out-there
exploratory sound, panoramic cluster bombs that engulf
the total aural landscape and aimed at destroying their own and your minds in
the process. And while they were busy folding and manipulating space, Moolah
succeeded in catapulting out a shamanistic sense of poetry in sound stuffed
with haunting echoes and aspirational surges out of concealed depths in order
to pursue initial experiments into the organization of psychedelic sounds.
Total killer. Price: 250 Euro |
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812. MOPS: “Psychedelic Sounds In Japan” (Victor – SJV-356) (Record: MINT/ Gatefold
Jacket: MINT, comes without aging stains in the gatefold, seems it was printed
only yesterday/ OBI: MINT). Best copy imaginable, total mint and complete with
obi, which is also mint. This is just next to impossible since all the copies
around are either trashed or have hairlines and they always come without obi.
This is just the most perfect copy ever, complete with the hardly ever-offered
obi. In short, a museum piece. Total mint copy of this all time Japanese
legendary fuzz-blown and psyched out lysergic masterpiece. First original
pressing of April 1968!!! The Mops debut album and one of the legendary brain
ripping psychedelic discs to seep out of Japan and regarded by many (myself
included) as one of the cornerstones of Japanese psychedelic rock. In the wake of the declining G.S. boom, a
new novelty term “psychedelic” slowly made its entrance and was firstly used by
The Mops in the title of their debut album “Psychedelic Sounds in Japan”.
The Mops propagandized the psychedelic revolution, not so much out of
conviction but much more out of commercial point of view after that their
manager, Hori Moroi, had visited the United Stated in the spring of 1967,
having witnessed the American hippie movement and the beginnings of the Summer
of Love. Moroi speculated that this could become the next Japanese hype and
began to refine his marketing idea by introducing the Mops to the music of
American psychedelic outfits such as The Jefferson Airplane. There weren’t in
Japan, apart from The Mops at that time, hardly any other bands who paid
tribute so explicitly to psychedelic music. Upon Moroi’s return, he introduced
The Mops to the music of the Jefferson Airplane. Suzuki Hiromitsu and the other
members acted enthusiastic about the Airplane, especially their colorful
appearance and clothing sensibility struck a sensitive chord. The outcome was
that in order to become psychedelic, they adopted the fashionable sense of the
American example, greedily absorbing all of its superficial features. Following
their visual transformation, Victor released in November their debut single “Asa Made Mattenai” which eventually ended up on the 38th position in the Oricon charts. Promotion-wise everything was well thought over
in order to attract the public and media attention. Through the artificial
creation of a psychedelic image for themselves, the Mops were determined to
convince the Japanese public that the times they were a changing. Through a
wide variety of orchestrated publicity stunts such as: wearing the hippest and
trendiest outfits, singing blindfolded in a vain attempt to stimulate
themselves to hallucinogenic mind altering consciousness, performing with the
drum placed horizontally and shouting hollow slogans to the assembled music
press such as “LSD party” while supplying the journalists with dried banana
skins to smoke (due to the lack of other mind altering substances) with the
intent to induce an appropriate levitational effect. The Mops and Moroi spared
no gimmickry effort in order to convince audiences of their synchronized
hypness coinciding with the San Francisco Summer of Love. Their first full
length LP entitled “Psychedelic
Sounds in Japan” was put on the
market in April 1968 and approached a psychedelic sound like their role models
by unleashing a copycat but nevertheless classic garage-beat-psychedelic trash
album comprised of an all-American sound modeled upon their foreign examples.
The album displayed amongst others the virginal deployment of the Fuzz Tone at
leisure (see some of their spun out improvisations), combined with other
commonly associated psyche-like elements such as the sitar being introduced in
some songs, such as “Kienai Omoi” in order to augment the psychedelic
texturing of their sound. Cover songs such as The Doors’ “Light My Fire” and
Jefferson Airplane’s “White Rabbit” and “Somebody to Love” took up the larger
part of the disc. This embarked course was further sustained till August by
using freely the sound of the fuzz tone box, which was dominant factor on their
three following single releases Complementary to their sound and the
pre-imposed psychedelic image, the albums’ jacket cover art work depicted a
primary color based beautiful and vivid illustration by the hand of Tanaami
Keiichi. In order to emphasize furthermore their ultrafashionable and modern
image, the Mops even succeeded in crossing a bridge too far with their
participation in performing at the contemporary music festival “Orchestral
Space, which was staged at the Tokyo Bunkakaikan on June 4th of
1968. This international attended event was planned, organized and staged by
two of Japan’s leading avant-garde composers Ichiyanagi Toshi and Takemitsu
Toru, who both were intrigued by the Mops’ frantic approach to modernism. This
subsequently resulted in inviting them to join in at the major international
event. Here, the Mops took up the challenge consisting out of an experimental
interaction of playing live against an especially composed piece for the
occasion, being electronic tape music and orchestral music by the Japan
Philharmonic Orchestra. Sadly enough no documentation of this historical event
was preserved or recorded. The Mops were after their performance greeted by a
sneering and ridiculising response of the en-mass assembled classical music
fans. Still that all aside, their debut album is blown out with heavy fuzz
licks and is a classic example of the first wave o Japanese psychedelic
madness. A true classic and original copies are bloody rare on these shores;
they just never seem to turn up. Here is a complete mint copy on all fronts
with obi that will floor you. Heavy-duty ultra rare original dead mint copy
with obi…no defects looks like new. Highest recommendation. Price: Offers
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813. MOPS: “Psychedelic Sounds In Japan” (Victor – SJV-356) (Record: Excellent/
Gatefold Jacket: Excellent). Same record as above, but has in the gatefold
quite some aging stains and the obi is missing. Record itself is a solid EX,
comes as good as they come, great copy and due to the missing obi and lesser
condition as the virginal copy listed here above also a serious cut in the
price. Still a steal. Price: 500 Euro
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814. MOPS: “Raibu - Live” (Liberty – LYP-9043) (Record: VG++ ~ EX, has some
superficial inaudible scuffs/ Gatefold Jacket: Near Mint). Awesome hard rocking
and glue sniffing 1972 live action by the Mops, ripping through such brain
rippers such as “I Want to Hold Your
Hand”, “Gimme Some Lovin’”, “To Love Somebody”, “New York 1963 ~ America 1968”, “Gekko-Kamen” and “Nobody Cares”. Fucking ace, this
is heavy shit, pounding rhythm section, wasted howling vocals, ear blistering
guitar riffage and a crowd that brings down the house. The band is so ominously
heavy here, great songs and cover versions that get mutated into…bastard
variations placing the originals into the rubbish bin and catapulting their own
renditions out into the stratosphere and skyrocketing past Venus and Saturn;
tremendous psyched out-on-the-edge guitar wrist slashing moves – blood is
dripping from the fret board here – some of the rawest axe-work on this
side of the Atlantic; fuzzy vibes all over and a vocalist sounding like a total
drunk on an acid power blast while the ominously heavy rhythm section is
setting the stage on fire – caveman drum moves coming from out of a
gangland murder scene and a blood-thick pounding bass that crashes skulls.
Yeah!!! When I blast this one at full volume here, people passing by on the
streets start to foam at the mouth, sets them off calling the cops, sending
down trigger-happy swarm of wild hyenas in a fear frenzy which all completes
the cloud of hellish intensity that comes out of this disc until it all
disintegrated into one chaotic mash of drunkenness and chaos. Just lovely. Mops
live in 1972 and the times were never ever the same again after that. A
Monster. Dead cheap here seen some faint superficial marks so you can get it
here at 60% less of a virginal copy. Plays bloody EX all way through, a solid
vicious keeper copy that takes no prisoners. Price: 200 Euro
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815. MOPS: “Ame – Mops ‘72” (Liberty – LTP-9055) (Record: Excellent, has a few scuffs that are hardly audible/ Gatefold Jacket: Excellent, some storage wear on upper seams and a written message by one of the Mops on back side, dated January 1976 and a date strip attached). Rare Mops LP on red wax. Released on May 5th, 1972, “Ame – Mops ‘72” was the 5th album by the band, following their masterpiece “Iijanaika” and was in fact a kind of compilation album that consisted out of 6 single only songs thrown together with until then 4 unreleased songs. More song oriented with a hard rocking edge, “Ame” certainly put on display again a different side of the Mops that people up to then were used of them. Ballades such as “Ame” as well as unfolding dramatic pieces like “Asayakana Jidai” and progressive tracks such as “Yuugure” that employ strings pass the revue, making it a very varied and multi-colored album. So in a way, the disc brings forth two different sides of the band and offers a glimpse at their genuine shape. A very nice album indeed that has some fantastic songs on it but it won't appeal diehard psych heads, this one asks a more open-minded listener that can appreciate good song writing and a varicolored musical display. Recommended!! Comes on red wax. Price: 100 Euro
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816. MOPS: “Mops to 16 Nin No Nakama” (
Liberty – LTP-9059) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Rare white
Liberty label promotional copy. This was their 5th album, originally released in May 1972. On this one the Mops get down and capture a more quality oriented rock sound. The biggest dilemma they encountered for this one was whether they should dress up their Western styled rock approach with English lyrics or whether they should mould Japanese linguistic onto the rhythm. In all it turned out to become a nice album trying to blend a variety of influences, ranging from US rock with folk and spicing it up with a Japanese feel. This disc also produced the last hit the band would ever have, being the album's opening track. A classic Japanese rock album, original press, white promotional copy. Still cheap these days…..SOLD |
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817. MOPS & FLOWERS”: “Rock
Live!” (Toshiba Liberty – LPC-8047) (Record: Near Mint/ Jacket: Near Mint).
Original press!! Killer slide that combines two sides of the legendary “Rock
‘N’ Roll Jam ‘’70” 2 LP set, being the Mops & Flowers. This one was
released in 1971 and came in an acid leaking cover art. Wild screaming fuzz
loaded freak outs all psychedelicised with distortion and echo, desert fried
psyched out drones of sitar evolving into transcendental rock; a roar of
distorted, color-saturated wah-wah riffage and acid-frazzled fierce and
idiosyncratic garage/psych, they spewed out wave after wave of fuzz-wah blitz
guitar sounds. Massive!! Top original copy!! Price: 320 Euro
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818. MORISHITA TOKIHIKO + HIS
FRIENDS: “Toccata” (Dharma Record – ぷ-1)
(Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Excellent). If hopelessly
obscure early seventies Japanese private press psych records are your thing,
than here is one for you that probably has never ever crossed your path.
Originally active as a jazz pianist cruising through Tokyo’s nightclub
underbelly, Morishita is probably best known for his 1979 electronic music
masterpiece “Yokaigenso” (see list)
which he created in collaboration with underground cartoonist Mizuki Shigeru.
However, before that, Morishita was responsible for churning out one hideously
rare privately released pipe organ driven psyched out record that is revered by
those in the know. “Toccata” was released in 1972 on the privately run Dharma
Records in a limited run. The disc was later picked up and released by Polydor
but that version is also one that never turns up. The Dharma Records one is the
most sought after and remains for most of the time elusive to say the least.
The whole affair was recorded on two days in August and September 1971.
Music-wise the disc lifts off with a short church-like pipe organ hymn before
steering off into free form key riffing that gradually transcends into eerie
sonic realms that in its turn decent into the nebula of free form interplay
spiced up with slowly emerging psyched out effects. Through the clouds this
atomic avant-freak out vibes a choir blessed with angelic qualities breaks
through and the dust settles. Saints appear briefly before they are pushed
aside for seasonal winds to take over, breathing out a vibe of a bath acid trip
while grooving to classical interludes moving into a hallucinatory downhill
ride. And just when you think all is lost, Morishita unleashed a series prog
psych compositions all heavily underscored by the pipe organ going nuts, while
in the back a band tries to keep the pace. Morishita steers a bit into the
better side of Hiro Yanagida styled compositions but still he has a hard time
to keep his weird and experimental side under his cape. Some excellent guitar
riffage and toned in fuzz sounds also pop up at the most odd occasions, making
this disc a strange, eerie and hard to come to terms with item. It may take
some time to chew through the hybrid nature of it all but once you do you will
recognize the masterpiece you hold in your hands. In all a fantastic record
that keeps you on the tip of your toes at all times and each time you think you
have him cornered, Morishita again will do something that will leave you
puzzled and frazzled. Just great, fuzz licks pop out of the mists and
counterattacks the organ riffage with Morishita trying to guide his tune into
good lanes before going astray again into neo-avant-psych-balladry. This guy
was one strange and hard to pin down cat. When you have him figured out, be
sure to give me a call. Mega rare and filled with brilliance in disguise.
Highly recommended. Price: 320 Euro
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819. MORITA
DOJI: “Mother Sky” (Polydor – MR-3030) (Record:
Near Mint/ Jacket: Excellent/ Obi: Mint). Great Original copy of this dark-clad
acid-folk psych album that reminds me of Bridget St John. Original copy that
comes with insert, detailed lyrics. Dark, melancholic and ethereal female
vocals. Stunningly great and getting rarer every minute. Released on November
21st, 1976. Will certainly appeal to fans of Comus, Morita Doji,
Slap Happy Humphrey, Japanese psych heads and late night demonic acid folk
adepts. I cannot stress enough the grandeur of Morita Doji, just over the top
brilliant. She retired completely from the music scene and public view at the
beginning of the eighties and will never appear again in the public spotlights,
so here is your chance to lay yer hands upon her melancholic, late night and
utterly desolate sound spheres. Highest recommendation. One of the all time
best female vox records to emerge out of Japan of all times!! Superb copy.
Price: 35 Euro
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820. MORITA DOJI: “A Boy” (Polydor – MR-3085) (Record: Near Mint/ Jacket: Mint/ Obi: Mint/
Insert: Mint) Comes with insert. Well this list seems to be a Morita Doji
festival. I guess that by now you know already the regions her utterly
desolate, highly fragile and filled with despair and suicidal tendencies filled
vocals tend to dwell in to. Far removed from superficial J-pop deities, cute
girlie singers and others queens for a single day artists, Morita Doji
inhabited the opposite spectrum of Japan’s kaleidoscopic late seventies musical
landscape. The economy was soaring stratospherically heights and everyone
seemed to be high on the ink the Japanese yen notes were printed on. Except for
Morita Doji. Distress, depression, teenage angst, solitude, death and other
hidden feelings boiling up out of the underbelly of the Beast resurfaced into
her music. Although that her music and lyrics are of the most depressing and
dark kind, her vocals sound like angelic choruses on the day of the final
judgment. High pitched, fragile, eerie and mysterious, all in one. Without a
single doubt one of the all time greatest female acid folk singers to emerge
out of Japan or any other country. This record is a great original copy. Morita’s
records are getting scarcer every minute in Japan. This should appeal to
anybody interested in female vocals that sound ethereal, angelic, far remote,
desolate and utterly lonely. Stunningly great and guaranteed an instantly
blissful experience. Released in December 1977, this was her third album.
SOLD
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821. MORITA DOJI: “Last Waltz” (Atlantic – L-12014A – 1980) (Record: Excellent ~
Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ Imprinted Inner Sleeve: Mint).
Comes with insert with lyrics and photographs and printed inner sleeve, graced
with photographs of her in front of the legendary Kuro Iro Tent underground
theatre. Very beautiful and mysterious. Great Original copy of this dark-clad
acid-folk psych album that reminds me of Bridget St John. Dark, melancholic and
ethereal female vocals. Stunningly great and getting rarer every minute.
Released in 1980. Will certainly appeal to fans of Comus, Morita Doji, Slap
Happy Humphrey, Japanese psych heads and late night demonic acid folk adepts. I
cannot stress enough the grandeur of Morita Doji, just over the top brilliant.
She retired completely from the music scene and public view at the beginning of
the eighties and will never appear again in the public spotlights, so here is
your chance to lay yer hands upon her melancholic, late night and utterly
desolate sound spheres. On this disc she brings forth some of her most stunning
compositions, eerie vocals, fragile instrumentation and lysergic acid folk
setting. Highest recommendation. One of the all time best female vox records to
emerge out of Japan of all times!! SOLD
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822. MOTHERS OF INVENTION – FRANK ZAPPA: “Trouble Comin’ Every
Day b/w Who Are The Brain Police” (Verve Japan – DV-5010) (7 Inch EP: Mint/
Tip Back Picture Sleeve: Mint/ Insert: Mint). Original Japan only 1967 Mothers
of Invention release. One of the rarest Zappa/ Mothers
Of Invention related releases is this Japan only single. Top mint copy,
impossible to score in this condition. Price: Offers
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823. THE MOTHERS OF INVENTION & FRANK ZAPPA (JAPAN ONLY GATEFOLD
JACKET ART): “Freak
Out” (Verve/ Nippon Grammophon – SMV-9045/46) (2 LP Set: Near Mint/ Heavy
Duty Gatefold Jacket: Near Mint/ Attached 4-Paged full color Booklet: Mint).
Bloody freakingly and hideously rare Japanese original pressing. Comes with
totally different inner gatefold pictures and attached booklet than the regular
US version, fold out booklet depicts a wide-screen amazing live shot of the
band in action, only present with the 1st original Japanese
pressing. Top copy, all is just Mint as can be. If the obi would be included,
this baby would fetch a price here in Japan between 2000 and 3500 green
ones.
Obi is missing so this rare artifact comes dead cheap. These 1st edition Japanese pressings do never surface, especially “Freak Out” is
impossible to lay your hands on, let alone score a virginal copy as this one.
Mega collectible and graced with Japan only gatefold and booklet cover art.
Massive!! Price: 400 Euro
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824. MOTHERS OF INVENTION: “Freak Out – MONO version” (Verve – V-5005~2) (2 LP Set: Near Mint/
Gatefold Jacket: Near Mint/ Company Inner Sleeves: Near Mint). Top copy MONO
pressing. Original blue Verve
labels with corresponding stock numbers/ Cover version 1: Has blurb on inside
gate fold on how to get a map of "freak-out hot spots" in L.A, the so
called Freak-Out Hot Spot blotch that only came with the first pressing of this
record. Price: 400 Euro
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825. MOTHERS OF INVENTION: “Uncle Meat” (Reprise/ Victor Records – SJET-8151~2) (2 LP Record Set: Near Mint/ Gatefold Jacket:
Mint/ Outer Jacket Cut-Out Obi: Excellent/ Insert: Mint/ Booklet: Mint). Ok
boys and girls, time to get down and dirty with a heavy hitting monster rarity
out of Japan, being this September 1969 released original Reprise/ Victor 2 LP
set by the Frank Zappa & Mothers of Invention “Uncle Meat”, all
complete with the never-seen-before cut out wrap around obi!!! I feel ya all,
this one hurts…because you got blind sighted and didn’t saw this one coming. So
I will spare you a musical rundown since I guess you are all more than familiar
with this monster. In short, this complete edition 1st pressing is next to impossible to dig up on
these shores. So let me explain about the condition some more. The actual
records jacket is total mint as well as the actual record, which I would grade
in between excellent and near mint. The wrap-around-cut-out-obi sleeve I would
conservatively grade at excellent, it looks pristine but has some very minor
shelving marks (being some rubbing against the white background but this is
almost hardly worth mentioning). The wrap-around-obi functions as a slide in
that holds the actual record’s jacket and has the words “World New Rock” cut
out. The whole die-cut is in excellent condition and intact with two minor
defaults on the letters which is quite common with these fragile and often
discarded obis, so seen in this light conservatively graded at just Excellent.
These wrap around die cut obis came out in a series of about 15 albums that
next to The Mothers of Invention held artists such as Jethro Tull, The Doors,
Paul Butterfield Blues Band, MC5, Tim Buckley’s “Goodbye & Hello”,
Pentangle 1st LP, The Loving Spoonful, Rhinoceros,
Sweetwater, Ansley Dunbar Retaliation, Joni Mitchell and Noel Harrison. So seen
against this all, you have a genuine rare gem here for grabs, strictly graded
like an ascetic monk crawling the hills in search for spiritual salvation. So
therefore, this baby will let you bleed a bit and will have to let it go at…Price:
Offers
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826. MOUNT EVEREST TRIO: “Waves from Albert Ayler” (Levande Improviserad Musik – LIM-75-3) (Record: VG++ ~ Excellent, disc has a few superficial paper scuff marks/ Jacket: Excellent ~ Near Mint). Hyper rare Swedish hardcore free jazz blow out, original press from 1975. The first thing that struck me was the jacket depicting what looked like as three runaway derelict Hell Angels, chewing on inner tubes and high on petrol fumes. Hell the guy standing on the right could be Lemmy's twin brother! Yes!!! The Mount Everest Trio, viciously rare Swedish free jazz and improve blowout. It all starts of with the Ornette Coleman tune “Ramblin” and right from the start you get sucked in by the hypnotic bass playing of Kjell Jansson. This is the shit, starting of mellow but free as well. Man I am grooving my head off. By the time they steer into Ayler territory with “Spirits”, all gets heated up and Holmstrom tenor is veering left and right, up and down, leaving hardly any room for breathing, a tidal wave of gushing furious notes while the rhythm section tries to hold it within bounds without much avail. No wonder these guys get kicked out of their local Angels' branch because they were just too far out. Roaming freedom is however not all these cats could muster, more ballad intoned excursions also pass the revue and form the perfect counterbalance to keep the whole affair beautifully afloat.. These guys were just built for speed and handcrafted for action. Anyway, as you can see, they waxed this unknown monster LP in '75 for the tiny collective Levande Improviserad Musik label, covering some tunes as well as blowing out some original compositions and ear-shattering free pieces. No record collection will be complete without their explosive "No Hip Shit" in it. Man that is probably one of the best titles ever!! It is just one amazing record. A review: “Waves From Albert Ayler gives good indication by its title of this absolutely invigorating outing by alto and tenor player Gilbert Holmström, bassist Kjell Jansson and drummer Conny Sjökvist. Without a doubt, this album wails from the first seconds of Ayler's "Spirits," which opens the album. But this is not wholly an energy record; there are beautiful down times as well, including the deep ballad "Bananas Oas" and their swinging rendition of Coleman's "Ramblin'," which features some great highlights of Jansson. After starting the album by covering Ayler and Coleman (two American musicians who certainly had a great influence upon them), the Mount Everest Trio kicks into the first original of the session, "
Orinoco." This piece has a driving urgency that pushes the musicians, who work it into a sweat, and eventually an earthquake whose full-blown force continues to peak right up to the unfortunate fade-out that will leave the listener yearning to hear what was cut so long ago. The trio also whips the energy up into a frenzy during "No Hip Shit," a decidedly un-prettified tough take. Yet following this is another nice wind-down, the more sparse and careful "Elf."” (Joslyn Layne, All Music Guide). Just a killer disc depicting another facet of European free interplay. Hardly if ever surfaces, original 1975 Swedish pressing and like one of their compositions already says “No Hip Shit”, these guys were the real bloody thing! Price: 280 Euro |
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827. MTUME UMOJA ENSEMBLE: “Alkebu-Lan –
Land Of
The Blacks – Live at the East” (Strata-East – SES-1972-4) (2 LP set: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ has a cut corner). Top Copy!! One of the rarest – if not the rarest – disc on the Strata East roster. Recorded August 29, 1971 at The East,
New York. Pretty damn wild...and it sound like renegades from the AACM camp crossing the oceans again and venturing towards
Africa. Or maybe it resembles the Egyptian Pharoahs going to Saturn. The whole affair starts off with a four-minute speech describing the role of “these jams” in the service of Black Nationalism and then they start freaking out and jamming the roof of the club. It's a fascinating glimpse of the marriage of early 1970s Afro-centric music, politics and spirituality, plus it really grooves. The music itself fits in very nicely with the music from The Black Artists Group as well as cats such as Human Arts Ensemble, early 1970s Art Ensemble of Chicago, and early Juju. Since this is a live album, the tunes and jams have a very free feel to them, with plenty of percussion, chanting, spoken word, and intense jamming throughout. The music holds up well nearly three and a half decades later, and just reading the credits it's easy to understand why - these cats were for the most part well-known and well-respected performers. The extent to which the spoken sentiments are "dated" I suspect will depend on who you're talking to. Amazing disc and a classic in my book. Top notch copy and I guess they do not come better than this baby here. Price: 250 Euro |
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828. MU: “S/T”
(RTV – RTV-300) (Record: Near Mint/ Jacket: Near Mint). Original US 1st pressing with silver foiled rear cover. “The
band and LP that propelled Merrell Fankhauser to international stardom, at
least on the rare psych LP collector curcuit. Rated highly for decades and less
hippie-ish than his later MU work. This mix of Bleusy urban LA exhaust fume
vibes and tribal dessert mystique is as archetypal as early 1970s SoCal trip as
you can find. Strong songwriting, a pro-sounding recording all around, given a
clear-cut identity from the excellent slide guitar, harmony vocals, and
occasional sax. Too bad not more bands followed this musical path. “Eternal Thirst”
with spooky percussion and chanting goes deep into the ancient regions of your
cranium. From a mainstream classic rock perspective, this is Merrell’s most
significant work, though even better things were to follow for us
hallucinogenic explorers.” (PL – Acid Archives). Top copy, fantastic
brain-meltingly awesome LP. Price: 750 Euro
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829. MUKAI CHIE: “Three
Pieces – Solo Improvisation” (Siwa Records – Siwa-6) (Record: Near
Mint/ Silkscreened Jacket: Near Mint). Ltd to 300 copies release out of 2000,
sold out in a flash and to these ears the best release the label ever did. “Chie Mukai is best known in the West, if at all,
as the leader of Japan's most otherworldly dream psych-pop unit
Ché-SHIZU. In that group, her gorgeous work on er-hu (a traditional
two-stringed bowed Chinese instrument), sliding up and down through the cracks
in conventional tonality, melds perfectly with the trembling naiveté of
her vocals. It's a unique sound, immensely personal, and immediately
identifiable. However, Mukai also has a lengthy complementary, though much less
well-known, career as a solo performer and improviser dating back to her time
in the East Bionic Symphonia in the late 70's (trainspotters might also want to
note her peripheral involvement with the LAFMS scene). On any given week in
Tokyo, you're likely to find her collaborating in a basement somewhere with
like-minded multimedia creators, butoh dancers, musicians, performance and
visual artists, installationists... Each December she organizes Perspective
Emotion, a full-on festival of multi and mixed media performance. In recent
years, Ché-SHIZU has fallen into inactivity and Mukai's adventures in
the improvised mode have come to take on a far greater importance to her. These
previously shadowy activities have finally attained some proper sunlit
documentation - most notably, the love-hate dynamics of her showdown with
Masayoshi Urabe (Dual Anarchism, on Siwa); her collaborations with Ramones
Young, the obviously alcohol-inspired attempt to meld Ramones covers with a
Lamonte Young methodology; and the Enkidu unit with Eric Cordier and Sei'ichi
Yamamoto. ut while all of these are just fine and dandy, for the full unadulterated
Mukai experience, you really have to hear her playing solo, expanding soul and
sense and touch to fill space. Which is why it is such an unadulterated
pleasure to have this SIWA album, her first release outside of Japan, back in
print. Three longish pieces, all recorded live in the late
nineties. There's a far fuller drone sound to her er-hu here, compared to
that on her previous solo release (Kokyu Improvisation, on PSF), a wavering
intensity that pulls your brain straight into a sensation-dulled trance. And
with none of the evil wince often associated with solo violin improvs, you're
free to fully appreciate the fractional control and deep humming resonance of
the instrument. It's a beguiling sound, seeming to combine both earth and air
in one eternal thrumming, shimmering pull of gut on steel string. Mukai
augments the sound with an occasional percussion crash, and a verse or two of
wordless higher-mind vocalization. What more could a human ask for? This is
sumptuous late-night improv, a fine goose-feather pillow for addled minds
everywhere.” (Alan Cummings). Price: 75 Euro
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830. MULATU ASTAKE: “Featuring
Fekade Made Maskal” (L’arome – LAP005LP) (Record: Near Mint/ Jacket:
Mint). Mulatu Astatke is one of
Ethiopia's foremost musical ambassadors. His self-styled Ethio-jazz sound
flourished during the "Swinging Addis" era of the late '60s as he
successfully fused Western jazz and funk with traditional Ethiopian folk
melodies. “This
high quality French reissue from 2002 is no exception and might actually the
best we've had. It's not so clear whether this particular release is a
compilation or a straight reissue, but we do know that the tracks here are from
the late 60s to mid 70s. But when it comes to rarities such as African jazz,
these things are not that important. What is important is that this is some of
the most sinister, dark and musky jazz sounds you'll hear in your life. Picture
yourself walking through tight alleyways, the thought of knives stabbing you in
the back, and pungent city smells and noises... this is the soundtrack. Pure
wicked joy. Check out: "Yekatit(1)," "Netsanet(2)" (fuzz
guitar!), "Sabye(3)," "Yekermo Sew(4)" and
"Asmarina(5)." 9 tracks in all.” (Turntable Lab) Highly Recommended SOLD
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831. MURAHACHIBU: “Live” (Elec Records– ELW-3003) (2LP set: Near Mint/ Fold Out jacket: Near Mint/ Inner liner notes: Near Mint) Best copy I have ever seen, near immaculate condition and impossible to score in such a nice nick. 2LP-set, fold out jacket
with inner 4 paged booklet
with pictures. Extremely hyper rare original in splendid condition. Here you have the chance to lay your hands upon one of
Japan
's most legendary and sought after recorded artifacts. One of the holy grails of
Japan
's psyched-out eternal bliss. Recorded at May 5th 1973 and released that follo
wing June, this record
was Mura Hachibu's sole recorded and released disc during their life time. Heralding out of the city of Kyoto, Mura Hachibu
were one nasty bunch of vicious doped out rockers that smeared some heavenly acidic guitar
wails (courtesy of Yamaguchi Fujio) and back beat out unto the
wailing and sneering doped out vocals of their lead singer Chabo. They
were obviously heavily Stones influenced but unlike their role models, Mura Hachibu
was
way,
way out there. They
were punk rockers avant-la-lettre and sounded quite heavy
with their amped-up acidic bliss plastered against the concert hall's
walls. Lysergic, greasy, heavy, and utterly demented acid rock that doesn't get any better than this. Unlike all the copy-like bands that came out of
Japan
during that period, Mura Hachibu
was the real thing, no bullshit. Their sound should appeal to anyone heavily into Rallizes-like psych blizz and Japanese avant-rock geeks. Highest recommendation and very rare to say the least. Grab your chance no
w and hold your peace for ever. The disc is in top notch condition seen its age. Hardly turns up in such fantastic condition. One of
Japan
's hidden psyched out acid mind bender gems that till this day have not reached a foreign audience. Once it does, prices will skyrocket through the roofs. Demented, wicked, acidic and doped up, this is the stuff you have been looking for, this is the real thing! SOLD |
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832. MURA HACHIBU: “Live”
(Vivid Sound – VS2-1522) (2LP Set: Near Mint/ Gatefold Jacket: Near Mint/
Inner liner notes: Near Mint). Identical heavy-duty reissue from decdes ago of
the above listed brain melter. Top condition and a cheap entrance ticket into
amphetamine drenched psychotropic freakiness. Price: 50 Euro
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833. MURAOKA MINORU with New
Dimension Group & The New Emotions: “Bamboo” (King Records/ United Artists – SKK(U)-3001)
(Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Another hybrid
masterpiece concocted out of the highly influential King Records’ New Emotional
Work Series, released in 1970. “New Emotional Work Series” also birthed out the
Love Live Life + 1 beast, the sole Kirikyogen album and other elusive great
records such as the Singers 3 and Richard Payne albums. This LP is as great as the
rest of the LP’s that came out in that highly influential series. Definitely
the piece de resistance in Muraoka’s whole oeuvre and hunted down –
together with his “Osorezan” – by droves of hip cats and swinging
highlife DJ’s for its wicked breaks and beats that are buried within the
grooves. Sadly enough, it is an elusive one, especially complete with obi and
in mint condition. Musically speaking, it is a jawbreaker that will keep you
perplexed and on your toes the whole time. Taking up from where the “Osorezan” LP left off, “Bamboo” is a killer. It begins with
again a version of “Take Five”, but
this time it goes a bit in overdrive, driven my Muraoka’s shakuhachi, biwa,
wadaiko and a swirling koto melting out in the background, making the whole
experience and rendition of the track totally mind boggling lysergic jazz rock.
The whole disc is just blessed with a thrilling groove, swarming bass pressure
points rolls in and out, making it sonic so much stronger than any shakuhachi
record or jazz record out there. The rhythm is infectious, luring you into a
blind alley of secret pleasures, flashes of spirituality drift through the mix
and a plaintive siren call of graceful muscular sonic poetry will caress your
ears and gets your limbs moving out of their sockets. Suzuki Atsushi’s piston
pumping gloopy bass lines and Kashida Tetsumitsu’s wadaiko drum set-up create a
tight-as-a-virgin’s ass kind a groove against which Muraoka is free to roam
freely, creating in unison an irresistible beat that crystallizes the essential
tensions of the sound on display, sparse yet almost claustrophobically lysergic
blessed with a depth and generous warmth. The whole affair breathes out a
spiritually inclined stoned music filled with often agile and slippery tracks
suitable for dance floor wreckage. The glory of the music aside the sound
production is filled with depth that breathes out space, leaving plenty of air
for the tonal clusters to spread out their ample colors. In short, this is in
my book a totally essential disc, one of the best records to have dropped on my
turntable all year. Getting freakingly rare out here, mint copies with obi
virtually impossible to score. Top copy for top quality music. Highest
recommendation. Price: 500 Euro
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834. MURAOKA MINORU & His BUMBLEBEES: “Aiwa Oshiminaku – Modern Shakuhachi” (Union
– UPS-1007-J) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near
Mint). White label promo copy! This “Aiwa Oshiminaku” is a wicked slide by again Muraoka Minoru, the master of hybrid cum
bamboo flute excursions. For this one, he decided to dwell into the erogenous
zones of late night depraved enka tear jerkers, all which are fairly well known
lost Japanese love ballads. Still Muraoka manages to transform them in soulful
late night erotic mood dwellers, all spiced up by his poignant blowing style
while being backed up by the smokey late night Bumblebees who sound like they
have just crawled out of the lounge pit of some strip joint. Some devastating
cheap organ lines flutter to the foreground, only to get counter-flanked by
twangey, echo-drenched desert sunburned guitar lines and fuming gray-toned
smudgy shakuhachi blows. It renders these Enka and Kayokyoku originals into
some seriously wicked slow-burning sleazy backroom kind of stigmatic
interpretations impregnated with a vaporize smoke-gray
disposition that too much tittie-shaking backdoor-action will saddle you up
with. And like Clarendon once pointed out, “He had those qualities of
horsemanship, dancing, and fencing which accompany a good breeding”, a line
that seems to fit Muraoka and this recording as a glove… deep late sixties
Tokyo underbelly sleaze to accompany you on drunk and stoned late night
listening sessions when all hope seems to have abandoned you…some deep instro
shit here for ya. Ride!!! Price: 85 Euro
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835. MUSICA ELETTONICA VIVA: “Friday” (Polydor – 583769) (Record: Near Mint/ Laminated Jacket: Near
Mint). Top original copy. “For
the realization of "Friday", recorded in London in May 1969, MEV were
Frederic Rzewski (piano, electronics, etc.), Alvin Curran (flugelhorn, etc.),
Richard Teitelbaum (moog synthesizer), Franco Cataldi (trombone, etc.), Gunther
Carius (saxophone, etc.). The main theme around this MEV piece is
communication. Communication by means of music can be a very efficient means of
reaching quick agreement among large numbers of people, because when you call
something music, you have tacitly accepted a convention by which it is
understood that the sounds that you make have no particular meaning, they are
just sounds and therefore free to serve the general purpose of pure
communication. Music can bring people together where language divides them.
When this happens, the "concert" will come to resemble other
liberated forms such as the party or the day-off, themselves secular remnants
or earlier ceremonies. MEV music is not meant to impress people, but to
liberate them.” (soundohm). Virginal
original copy. Price: 375 Euro
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836. MUSICA ELETTRONICA VIVA: “The Sound Pool” (Actuel Original
Japan
Press – Actuel-15) (Record: Near Mint/ Fold Out Jacket: Excellent/ Insert: Mint). Rare white label promotional white label press “Musica Elettronica Viva or MEV were founded by Ivan Coaquette (pre-Spacecraft). The line-up included his wife, Patricia and Birgit Knabe, and a string of other collaborators. The music is an extremely experimental form of electronic jazz entangled with free form improvisation, avant-garde, cosmic freakouts and other space oddities. This is the original 1970 Japanese press that came out simultaneously with the French pressings. One difference, the Japanese vinyl is far more superior than the often lamentable state of the Actuel French pressings. This was the second of 2 MEV albums to released by BYG in 1970, following The Sound Pool (which featured Alvin Curran, Richard Teitelbaum & Frederic Rzewski amongst others). A note of explanation from Frederic Rzewski about the various incarnations of MEV: “In 1968/69 MEV experimented with audience participation and took on a number of new younger people, many of whom were not musicians. We wanted to see how far we could extend the idea of free improvisation, surrounding the core group with people who happened to be around. The group expanded and spawned separate communities. In the early 70's there were three MEV's: one in Rome, led by Alvin Curran; one in New York, where Richard Teitelbaum & I were based; and one in Paris, which was organized by the Coaquettes. Birgit Nona were members of the Living Theatre, with whom we also hung out a lot, and Stefano was one of the younger acolytes. This record was a kind of hippie child who chose MEV as its identity. Nobody ever found out really who was in MEV. At that time, it was part of a movement, and that part of it that was a part of the movement lived and died with that movement.” Dynamite stuff, original Japanese press with insert, white promotion label copy. Stellar and Japanese press is hard to come by. Price: 75 Euro
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837. MUSICA ELETTRONICA VIVA: “Leave the City” (BYG/Actuel – Actuel-35) (Record: Excellent/ Fold Out Jacket: Excellent) Original 1970 French pressing. “Musica Elettronica Viva or MEV was founded by Ivan Coaquette (pre-Spacecraft). The line-up included his wife, Patricia and Birgit Knabe, and a string of other collaborators. The music is an extremely experimental form of electronic jazz entangled with free form improvisation, avant-garde, cosmic freakouts and other space oddities. This is the original 1970 Japanese press that came out simultaneously with the French pressings. One difference, the Japanese vinyl is far more superior than the often lamentable state of the Actuel French pressings. This was the second of 2 MEV albums to released by BYG in 1970, following The Sound Pool (which featured Alvin Curran, Richard Teitelbaum & Frederic Rzewski amongst others). A note of explanation from Frederic Rzewski about the various incarnations of MEV: “In 1968/69 MEV experimented with audience participation and took on a number of new younger people, many of whom were not musicians. We wanted to see how far we could extend the idea of free improvisation, surrounding the core group with people who happened to be around. The group expanded and spawned separate communities. In the early 70's there were three MEV's: one in Rome, led by Alvin Curran; one in New York, where Richard Teitelbaum & I were based; and one in Paris, which was organized by the Coaquettes. Birgit Nona were members of the Living Theatre, with whom we also hung out a lot, and Stefano was one of the younger acolytes. This record was a kind of hippie child who chose MEV as its identity. Nobody ever found out really who was in MEV. At that time, it was part of a movement, and that part of it that was a part of the movement lived and died with that movement.” Dynamite stuff, original French press, hard to come by. Price: 90 Euro |
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838. Les MUSICIENS DE PROVENCE: “Musique des Trouveres et Troubadours” (Arion –
ARN-34217) (Record: Mint/ Gatefold Jacket: Excellent). Original 1973 pressing. Records
– SL-7003) This is one of those hidden gems in this time’s list, a disc
everyone will most certainly look past, without even wondering how bloody great
it can be. So what is it all about? Well that is for you to find out, life
needs urgently some devastating sonic surprises and I am sure this will do the
trick. In short the Musiciens De Provence deliver here “old music” out of the
period 1170 – 1455. This combo was – as he showcases here as well –
a prominent executer of 14th Century troubadour music. Here they
dwells into minnesangen and to these ears it sounds like acid folk
avant-la-lettre. Hell, this is the only music worthy of the term acid folk as
far as I am concerned, all performed on original instruments. And if you doubt
my humble opinion, then check with Kawabata Makoto, he is a huge fan and
follower of this outfit and will tell you the same thing. This is acid folk
avant-la-lettre for the adventurous listener. Highest recommendation. Price:
80 Euro
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839. MUSIKALISCHE GRUPPEN
IMPROVISATION: “S/T” (Landesarbeitsgemeinschaft
Musik Nordrhein-Westfalen – HT-30152) (Record: Mint/ Gatefold Jacket:
Mint). Rare German private pressing fusing Krautrock moves with improvisational
aesthetics. Still a largely undetected gem, this disc possesses all the right
moves in order to make it in the big league. Private pressing, stunning
gatefold jacket and above all the music is just outstanding. Balancing on a
sharp razor’s edge between a free-improvisation aesthetic spiced up with
slightly detuned avant-garde and free jazz moves and just plain psychedelic
rock tinted freak-out tribal jam sucking influences from the obvious Krautrock
scene burgeoning around these players and ethnic middle eastern flashes of
satori. The Middle Eastern angle especially is mind lifting, droning
soundscapes fuse with Indian styled vocals, tamburas and sitar before again
getting thrown adrift into a boiling sea of sacred improvisational interplay
heavily impregnated with rock-solid interpolating elements that in turn
cross-pollinate the already spaced-out vibe that ranges throughout this disc.
Just a stellar listening experience where tribal avant-garde fuses neatly with
improvisational interplay. Original early seventies German private pressing in
totally mint condition. Price: 150 Euro
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840. MUSIQUE CONCRET: “Bringing Up Baby” (United Diaries – UD-010) (Record: Mint/ Jacket: Near
Mint). “One of the most obscure
releases in Steven Stapleton's United Dairies catalog, Musique Concret's sole
LP Bringing Up Baby came out in 1981. The perpetrators of this Industrial
freak-out, Jim Friedman and Michael Mullen, have since vanished and the master
tapes have been destroyed. Bringing Up Baby is one of those impossible to
describe psychedelic sound orgies, somewhere between the Industrial feel of
Nurse With Wound's output at the time and a strong influence from the French
underground experimentalists Fille Qui Mousse comes to mind, but also Philippe
Besombes. The instrumentation includes synthesizers, guitars, hand percussion
and miscellaneous found objects, along with crude electronics, manipulations
and tape editing. Side A of the LP consisted of the four-part suite
"Incidents in Rural Places", a stark piece with a Lovecraftian mood
coupled with drug-induced eroticism. Its main theme evokes Alain Goraguer's
soundtrack for "La Planete Sauvage", but severely mutated through the
prism of early '80s experimentalism. It is a surprising piece of work that has
aged well and remains cutting-edge to this day. For that unclassifiable suite
only, fans of weird psychedelism will consider Bringing Up Baby a collector's
must and a fine listen to boot. Side B is overall less impressive.
"Organorgan" starts with a heavily distorted electric organ drone,
before adding acid guitar licks and electronics. The 14-minute "Wreath
Pose at Sacrifice" opens with a toothbrush loop and communal soundmaking,
before branching out to include radio transmissions and thick layers of harsh
noise. A non-stop noise fest, the piece is raucous and chaotic, yet still
somewhat good-humored. But it doesn't have the unique quality of
"Incidents in Rural Places" and offers a much tougher listen.” (François Couture) Price:
150 Euro
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841. MV & EE with the BUMMER
ROAD: “Mother of Thousands” (Time Lag) (2 LP Set: Mint/
Hand Pasted & Stamped Gatefold Jacket: Mint/ Insert: Mint). Advance copy
edition in totally different artwork, numbered edition of only 60 copies,
this one being 40/60. “After piles of privately released CDR’s &
long gone vinyl only releases, here's the MV/EE album for the masses, who are
no doubt quivering for it… Don't be fooled though, this is neither the medicine
show zone of recent years, nor a mere echo of the tower recordings flame, but a
new beast stirring awake in the beaming sun of now. Aided by the Bummer Road
and the omnipresent Erika Elder, MV has here pushed his cosmic sounds beyond
the apex of high. No doubt there's plenty of lifted rural raga vibrations, and
big woozy doses of haunted folk-blues as well, but the mix of flat-out killer
'songs' and extended electric psych-outs is something of a revelation. 'Beautiful
mountain' & 'sunshine girl' are tantalizingly close to being something like
modern underground hits, while the side-long album closer 'Death Don't Have No
Mercy' is an epic head-spinning trip loaded with moments of fragile piano lull,
layers of serpentine acid guitars, and all-around smoky late-night jam vibes…
Throughout the album both MV & EE’s vocals are more present & stronger
then ever, and the harmonies have a real sweet lonesome glow… Surely the finest
blossom yet from the mighty maximum arousal farm… features Matt Valentine &
Erika Elder with Mo' Jiggs, Sparrow Wildchild, Nemo Bidstrup, Tim Barnes &
Samara Lubelski adding harmonica, percussion, flute, electric guitar, tambura,
violin, ukelin, and more to the usual assortment of mystic strings… Analog
saturation mastering by Wojcek Czern, Poland, for maximum aural radiance, and
pressed on two slabs of audiophile grade 180gm virgin vinyl.” (Label description). This version here for grabs
is the ultra limited edition of only 60 numbered copies. Gonna be a future
biggie to break the bank…or maybe it won’t just make it. Either way, music is
stunning. Price: 200 Euro
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842. MX-80 SOUND: “Out of the Tunnel” (Ralph Records – MX-8002) (Record: Excellent/ Jacket: Excellent). Original 1980 pressing. Someone described this album as being: Dark, droning, guitar-heavy adventures that are nothing like any other dark, droning, guitar-heavy tracks you've ever heard. The usual Ralph artsiness is certainly present. There's nothing catchy about any of it, but somehow, songs that weren't sinking in when you were listening will trickle back into your consciousness an hour later and refuse to go away. Much of the vocals are spoken deadpan, and they can be almost hypnotic, while the rhythm section hold down a very improvised-sounding groove and the guitar sails off on a completely different tangent. Sometimes it's as if the guitarist was locked in a separate room where he couldn't even hear what the rest of the band was doing. And I guess with a view like this nothing can go wrong, MX-80 Sound were and still are out of any league. This album was also the band's high tide watermark for sure and now becoming or cemented in as a solid classic everyone needs to own at least multiple copies of. Totally essential. Price: 25 Euro |
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843. MYTHOS: “S/T” (OHR – OMM.556019) (Record: VG++, has some faint hairlines, plays EX/ Gatefold Jacket: Excellent). The first Mythos LP was released in 1972, on the legendary 'Deutschrock' label Ohr. On 'Mythos' the band realized a mixture of art rock and psychedelic with oriental influences in lengthy pieces. Stephan Kaske played the melody from Händel's 'Fireworks Music' on the flute in a rockmeets-classic version. 'Oriental Journey-Hero's Death' creates a psychedelic mood with sitar and mellotron sounds. 'Encyclopedia Terrae', which takes up the entire second side, is the highlight of the album and features powerful drums meeting up with peaceful sequences, sounds of warfare such as detonating bombs and marching soldiers meeting up with hard guitar riffs. The band already succeeded in creating a classic of the 'Deutschrock' genre with their debut album. This debut album is a pure unadulterated classic space-prog album draped over 5 lush tracks. There are truly many cosmic charms to this space bracelet with some wild nubulas, space vibes and jams. Vocals are slightly distorted when used and somewhat modulated giving the listen a real outer worldly space feel. Mythos is clearly lost somewhere in the Cosmic Jokers/Ash Ra Temple camp with dreamy dreamy psych/folk/prog landscapes. A classic. Price: 125 Euro
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844. N.A.D.M.A.: “Uno Zingaro Di Atlante Con Un Fiore A New York” (RCA) (Record: Excellent/
Gatefold Jacket: Excellent). Mega rare heavy psyched out improvisational
whirlwind out of the Italian underground ann. 1973. Nadma itself was founded by
Davide Mosconi (piano) and Marco Cristofolini (percussion, oriental violin) in
1972 with the fundamental contributions by other key players such as Gustavo Bonora
(Cello), Ines Klok (harp, tambura, pocket violin), Mino Ceretti (contrabass),
Marino Vismara (violoncello), Franco Pardi (alto sax etc), Otto Davis Corrado
(baritone sax) and Enzo Gardenghi. The distinguished legacy of the group is
utterly obscure to say the least and has been hidden from view to nearly
everybody. At the beginning of September 1972, the NADMA collective got formed
in a little village in the Tuscan-Emilian Apennines. The identity and musical
orientation of this collective - The Natural Arkestra Da Maya Alta – was
soon mapped out and centered itself mainly on the convergence of heterogeneous
interests and influences ranging from avant-garde jazz experiences, liberated improvisational
psyched and freak-out aesthetics, classical music studies, visual arts and
instrumental practices rooted in spontaneous expression. The whole of the
collective also assimilated progressive Afro-American music influences pollinated
with a healthy taste for the avant-garde. To top it all of, the whole mixture
of influences got creamed over with an urge for the contemplative and ecstatic
vitality of non-European, especially African musical cultures. So with tastes
as diverse as these, NADMA was bound to crack skulls wide open. Right from the
opening track, you know they mean business as they hit you with a dervish-like
whirlwind of communal freak-out interplay that is deceptively intense, yet
casual in feel and meticulous in its musical detail and lyrical economy. The
musical urgency of the collective flies aloft and, with an impetuous roar
pursues the foaming surges of waves breaking on rocks, unleashing a psyched out
mass hysterical free improvisational interplay that is as powerful as guns
coming out of the demon hole. Nadma was, and still is, known to a limited group
of devoted listeners on the merits of this only record released by Italian RCA
back in 1973. It was Davide Mosconi's experimental progressive group, their
unique album “Uno Zingaro di Atlante con
un Fiore a New York”, originally released by RCA, is highly requested by
collectors and is unavailable on CD since a very long time!!! Rare beyond
belief, unknown to the larger part of mankind but sure to blow heads worldwide
once exposed to it. Killer with absolutely no filler. Disc has only a very few
paper scuff hairlines that cause a little occasional surface hissing in the
quieter parts in between tracks. Therefore grading accurately at EX, top copy
and bloody rare…Price: 650 Euro
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845. NAGISA MAYUMI: “Watashi Hanninmae” (CBS SONY – SOLL-64) (Record: Near Mint/ Jacket: Near
Mint/ Insert: Near Mint). Erotic kayokyoku gem out of the mid-seventies –
February 1974 to be more precise, this one being the rare white label promo
edition. Nagisa Mayumi is another starlet erotic gem that floats, still largely
undetected, amongst other Japanese pink erotic musical artifacts. Her
intoxicating appeal lies in the fact that apart from being a singer and pink
actress, Nagisa Mayumi succeeded in bringing forth her erotic appeal and charm,
which had an intoxicating effect upon her audience, without ever being overtly
sleazy. Instead she breathed out class. Born on October 10th, 1944,
she made her debut as an actress in 1960 on the Daiei 14th New Face
event. As a singer she made her debut also on Daiei but some years later in
1968 with the single “I Love You”.
From then on she became a familiar face on a string of Yakuza related flicks.
On this disc in particular – the sole full length LP she ever recorded
– Mayumi’s appeal as a gifted singer gets intensified, especially due to
the slightly comical approach she tackled for this erotic recording where she
fused Hawaiian and Calypso influences into the equation. It only augmented the
erotic appeal of the disc and which she only was able to pull of convincingly.
A lost and still largely undetected Iroke gem that is need for mass
appreciation. Rarely if never surfaces on vinyl, here you have a top copy
promotional press edition. Fabulous and another obscure piece to be inserted in
the ever-widening erotic female singer puzzle. Price: 150 Euro |
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846. NAKAYAMA CHINATSU: “Original First Album” (Victor Records – SJX-34) (Record: Near Mint/
Gatefold Jacket: Near Mint). Extremely rare and hard to come by Nakayama
Chinatsu (wife of Sato Masahiko) out in March 1970 and the second time in 5
years that I can offer a spare copy. Nakamura’s debut song “Atashi no Kokoro” was an instant success upon its release and the
single jumped to the 2nd place in the charts, inspiring the release
of this legendary first album. Ranging from garage-styled folk songs such as
the aforementioned song to GS styled outings over to R&B kayokyoku stylings
such as “Tomaranai Kisha” and soft
rock compositions such as “Tsumetai Ame” and “Watashi no Uta wa Doko Ni Aru No” and strange pop-numbers arranged by husband to be Sato Masahiko like “Zen Zen Blues” and lyrical inclined
kayokyoku escapades like “Douse”, the
album covers with a burning conviction a whole range of styles without ever
coming of as a ramshackle album. Instead the whole clings together wonderfully
well and is filled with great arrangements as well as fuzz guitar burning
tracks that made Nakayama the beat girl par excellence and cementing instantly
her status as a gifted and talented female vocalist. The album is simply one of
those legendary and killer female vocal albums to seep out of Japan and has
something on it that can please everyone, from the soft rock female aficionados
to the filthy fuzz deranged psych heads that love hearing women hum away
against a greased big city motorcycle background. So a killer album with
absolutely no filler. If GS and garage, 1960’s R&B styled party jumpers and
even soft folk escapades are your thing, than this one is certainly a winner.
Tremendously hard to get and the second time ever I am able to offer a copy.
And this one is in a superb nick, you will never ever
need to upgrade this one. One of my all time favorites in the genre and comes
of course with the highest possible recommendation. Rare beyond believe and
this one is still affordable so act now and hold your peace forever. Original
1970 press, housed in a to die for gatefold cover depicting Nakayama in all her
beat girl splendor. Price: 400 Euro |
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847. NARA LEAO: “S/T” (Philips – R765.051L) (Record: VG++, quite some scuffs/ Gatefold Jacket: VG++ ~ EX) Original 1968 1st original Brazilian pressing. Kick ass female vocal bossa masterpiece all arranged by Rogerio Duprat, the Brazilian Vannier or Gainsbourg if you like. He was also the man responsible for giving that specific sound to the first Gal Costa albums. So seen the involvement of Duprat, this album is regarded as her 1968 Tropicalia album. Throughout the Sixties Nara was the springboard for then-fledgling songwriters Chico Buarque, Sidney Miller, Paulinho da Viola, Edu Lobo, Gilberto Gil among others, while consistently delving time and again into the treasure trove of The Great Brazilian Songbook and keeping herself unfailingly open to the new yet wisely eschewing the mere novelty. In 1968, she joined the Tropicalista movement, joining Caetano Veloso, Gilberto Gil, Rogério Duprat, Tom Zé, Capinam, Os Mutantes, Torquato Neto, and Gal Costa on the LP Tropicália ou Panis et Cirsensis. The same year, she recorded this LP here, on which she sang Ernesto Nazareth's "Odeon" that had Vinícius de Moraes' lyrics written especially for her. The LP brought two of Veloso's compositions, ("Mamãe Coragem" and "Deus vos Salve Esta Casa Santa," both with Torquato Neto) and the arrangements of Rogério Duprat, which helped establish a connection with Tropicalia. A drop dead gorgeous and beautiful classic. Original Brazilian pressing. Comes dead cheap due to its condition. Price: 25 Euro |
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848. NARA LEAO: “Vento De Maio” (Philips – P765.006P) (Record: Excellent/ Jacket: Excellent). Rare original 1967 Brazilian pressing. To boot, this if the even scarcer white Philips label promotional copy of that day. Nara Leao was one of the greatest Brazilian singers of the bossa nova era in the early '60s she became one of
Brazil
's biggest stars, lending her gorgeous, delicate voice to the early songs of Chico Buarque, Sidney Miller, and other up-and-coming songwriters. The tracks on this magisterial album have a wonderful feel -- with moments that are rootsier than your average bossa record, and others that are baroque enough to hint at the direction
Nara would take a year later with Rogerio Duprat. Despite the bland cover art, this is one of
Nara's best albums. Maestro
Gaya's arrangements are sleek and sensuous, and Leao's vocals seem increasingly relaxed and serene.
Nara flexes her muscle as a song stylist, promoting several up-and-coming songwriters covers several early Chico Buarque songs (he had just recorded his first few albums), including "Noite Dos Mascarados," a duet sung with the then-unknown Gilberto Gil.. She also sings one of Gil's early songs, the title track "Vento Do Maio," and a couple more by Sidney Miller. This is stuff of angels that will haunt you. Original Brazilian pressing, white Philips promotional copy label. Price: 60 Euro |
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849. NARITA KEN: “Nemuri Kara Samete” (Denon – Mushroom – CD-7024-Z) (Record: Near Mint/ Gatefold Jacket: Excellent). Another true Japanese rarity, seldom offered for sale and in exquisite condition. This is a copy of the original 1st press as it came out on November 25th, 1971. The name of Narita Ken may spring to mind if you have your GS history down under your knee. He was the soulful singer to front the Beavers. Ring any bells? That aside, after the Beavers split up in 1969, Narita crossed the seven seas and went to broaden up his horizon in
England
. Upon his return he spent some time in the hospital, trying to cope out some infection that had him jerked out of an active artistic circulation some time. Upon his dismissal from the sick ward, he teamed up with the one-off unit Friends with who he recorded their sole album. It turned out to be the kick in the ass he needed to jump-start his career as a musician again. It resulted in him unleashing this gem of a solo venture – although solo in the strict sense of the word is a bit overrated since he get flanked by some bad-ass scenesters such as Yamauchi Tetsu (ex-Faces), Mizutani Kimio (Ceremony, Uganda, Sato Masahiko & Soundbreakers, etc), Suzuki Shigeru (Happy End) and other friends. The album got produced by Samurai's Miki Curtis, so heavy underground connections all way through. The music ranges from Happy End styled Japanese rock infused with folk influences to great singer songwriter psychedelic hoedowns. Great album, extremely hard to come by and top notch condition. Highest recommendation if you are interested in the downside of early Japanese underground rock. Top notch copy. Price: 350 Euro |
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850. NASCITA DELLA SFERA: “Per Una Scultura Di Ceschina” (Private – 1978) (Record: Excellent/
Gatefold Jacket: Excellent/ 2 Inserts: Mint). Original Italian 1978 private
pressing. This was quite a micro release, a rare album that is a rather original example of
experimental electro-acoustic progressive style, mainly based on synth effects
and acoustic guitars and often reminding some of Battiato's early works. Experimental music with progressive touches that
should definitely appeal to these ears attuned to the NWW list. "Nascita della Sfera" (Birth of the Sphere) produced this
sprawling conceptual work based on the life of Italian sculptor Luciano Ceschia
(1926-1991). Carlo Barbiera wrote the piece and assembled a large troupe of
musicians to record it. In the '70s the LP was a very limited private pressing,
that some describe as "experimental electro-acoustic progressive". In
general there are just enough flavors of the '70s RPI scene to appeal to its
fans and the rest should be fans of the avant-garde. The album comes housed in a eye-popping silver gatefold with several inserts and is
blessed with a pretty adventurous and weird sounds. Killer in its filed to
these ears. Price: 200 Euro |
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851. NELSON ANGELO e JOYCE: “S/T”
(EMI – 830055-1-B) (Record: Excellent but not the best pressing, you know
how those Brazilian pressings are/ Jacket: Near Mint/ Insert: Near Mint).
Official 1994 Brazilian reissue of this all time acid folk masterpiece!!
Originally released in 1972, this is a latter Brazilian pressing; date of issue
of this one is 1994. This disc is without a single doubt one of the all time
greatest discs to seep out of the Brazilian rainforest. Just totally mind
bogglingly amazing! This album is one of Joyce's truly hip albums, and it's a
beautiful set of tracks written and performed with Nelson Angelo (who was
Joyce's band mate in the group A Tribo) -- with a sound and feeling that's
slightly different from her other work as a leader. The music has an extremely
haunting quality, and Angelo's presence adds a lot to Joyce's usual mix of
lovely vocals and guitar playing. A stunning collaboration from 1972. Nelson
Angelo was a great, if somewhat overlooked Brazilian songwriter and arranger.
Joyce had primarily been known as a bossa nova interpreter with a couple of
albums and some singles under her belt. Prior to this record they were part of
a short-lived quartet called A Tribo,
which experimented with the conventions of bossa nova. After the dissolution of that
group, Angelo and Joyce teamed up for the recording of this very, very
beautiful album of hushed atmospherics and sweet melodies. The emphasis is on
space, with songs constructed around Joyce's delicate acoustic guitar and
Angelo's moody string and woodwind arrangements. The songs are given so much room
to breathe that even a bit of fuzz guitar seems unobtrusive. A very subtle
masterpiece and one of the finest and most successful explorations into
Brazilian song following the initial heyday of the Tropicalia movement. (review by OM) Highly essential, no one can live without this gem, a true tour
de force!! Price: 30 Euro |
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852. NEU: “III” (Brain Metronome – Teichiku
Japan
– UXP-734-EB) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare 1st Japanese pressing of this all time classic Teutonic electronic spacer. The critical status quo qualifies “Neu! 75” or “III” as it was called in
Japan
when it was released there in 1977 as the best of three albums, simply because it is the most musically adept and holds the most studio polish. The opening “Hallogallo” is the classic Neu! sound in a nutshell - Dinger's crisp, insistent tribal drums underpin Rother's yearning guitar figures and the whole thing spends 10 minutes going nowhere beautifully. This leads into “Sonderangebot” and “Weissensee”, trance elements are all still in place and performing their numbing effect on your senses, but the tempo is about half as quick. If the first track was the initial hit, the following ones are the buzz on the way down. Elsewere, on “Negativland” the duo gets more aggressive, even grating. Here, the band keeps up the pulse but adds some seriously processed guitar/noise and even some Suicide-before-Suicide synth screams. Krautrock's oddest legacy may have been that more than any other progressive music from the 70s, it was a major influence on punk (or more accurately post-punk). “Negativland” wasn't necessarily Neu's finest moment, perhaps because it was so atypically aggressive, but its sheer breadth of influence is another testament to Neu! and Krautrock. Their sound echoes the monotone rhythmic pulse of the conveyor-belt grooves, the elemental sweep and soars of the neon-bright autobahn and the sound of the future when it was still shiny and clean. Price: 75 Euro |
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853. THE NEW BLOCKADERS/ VORTEX CAMPAIGN: “S/T”
(Private Press/ Jacket made out of molten records and Record itself with insert
are all dead mint). Hideously rare original press housed in a jacket made out
of melted and broken down records. Ltd edition that came out almost a decade
ago in a run of 250 copies. What seems like the sounds of someone moving
furniture around has never ever sounded more compelling and exciting, making me
realize again that the New Blockaders are/were a truly remarkable unit, bordering
on the razor’s edge between sheer genius and total retardation. Their
collaboration with Vortex Campaign only augmented this quality and makes this
release a true object d’art. Insanely collectible and housed in an amazing self
fabricated and melted down record jacket. Price: 300 Euro |
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854. NICO: “Chelsea Girl” (Verve – V-5032) (Record: Excellent ~ Near Mint/ Jacket:
Mint) Rare US press promotional yellow label MONO copy. No one has sounded this glacial and yet warm at
the same time as Nico. The personnel to help out on this stunning classic are
Larry Fallon (arranger); Jackson Browne, Lou Reed
(guitar) and John Cale (viola, keyboards). Nico first became known in the music
world as a singer on the first Velvet Underground album, and her later solo
records would plumb even darker depths than that famed New York band of iconoclasts.
This, her debut LP is an entirely other matter. It's a delicate collection of
orchestral pop and chamber folk, with Nico's deep, Teutonic voice adding a
subtle sense of discord. Like many interpreters of the time, Nico took on tunes
by some of the era's most respected folk-rock song poets (Bob Dylan, Jackson
Browne, Tim Hardin). Even more impressive, though, are the compositional and
instrumental contributions from Nico's VU band mates John Cale and Lou Reed
casting the whole album into a capsule of fragility and gentility. Just
stunning. Price: 400 Euro |
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855. NICO: “Chelsea Girl” (MGM – Polydor Japan – 23MM-0193) (Record: Mint/
Jacket: Mint/ Insert: Mint). Virginal Japanese high quality pressing. No one has sounded this glacial and yet warm at the
same time as Nico. The personnel
to help out on this stunning classic are Larry Fallon (arranger); Jackson
Browne, Lou Reed (guitar) and John Cale (viola, keyboards). Nico first became
known in the music world as a singer on the first Velvet Underground album, and
her later solo records would plumb even darker depths than that famed New York
band of iconoclasts. This, her debut LP is an entirely other matter. It's a
delicate collection of orchestral pop and chamber folk, with Nico's deep,
Teutonic voice adding a subtle sense of discord. Like many interpreters of the
time, Nico took on tunes by some of the era's most respected folk-rock song
poets (Bob Dylan, Jackson Browne, Tim Hardin). Even more impressive, though,
are the compositional and instrumental contributions from Nico's VU band mates
John Cale and Lou Reed casting the whole album into a capsule of fragility and
gentility. Just stunning. Top copy, dead cheap.SOLD
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856. 9.30 FLY: “S/T” (Ember – NR-5062)
(Record: Excellent/ Gatefold Jacket: Excellent). UK original copy. Light wear
on fragile non-textured gatefold. Original 1972 UK pressing. Fabulous
progressive folk album with intoxicating female vocals, stylistically a fertile
sonic mix that balances between Fantasy-styled guitar dominated progressive
moves and Trees/ Caedmon like folky touches. In all a great album I ride hard
for. Many people give this baby a bad rap but I simply fail to understand why.
I guess it is snobbery in some circles to slag off interesting music or maybe
they are just caught up in the quicksand of their own musical insecurities.
Personally this album has the opposite effect on me, Barbara Wainwright vocals
and electric piano keep my headphones solidly glued to my ears, there where Lyn
Oakey’s rocking guitar lines sound convincing enough for me to try and slash my
wrists out of an suddenly erupting spurge of sonic ecstasy that blinds my
rational reasoning habits. So I guess that this amazing disc exists on its own
proper plane, both impervious to and not responsible for trends of any kind
that get the kids all excited. Hence its greatness. Totally recommended. SOLD
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857. The NIGHT CRAWLERS: “The Little Black Egg” (Kapp Records – KS-3520) (Record: Excellent/
Jacket: Excellent). Florida’s The
Nightcrawlers, who were kind enough to leave behind a whole album of equally,
deranged folky-garage songs. It remains an underappreciated classic, but what they should
really be revered for is leaving us utterly devastated with what has to be one
of the saddest songs ever recorded, “If You Want My Love”. Classic and solid folkrock-garage LP. Great original copy. Price: 150 Euro
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858. The NIHILIST SPASM BAND: “1x~x=x” (United Diaries – UD-016) (Record: Near Mint/ Jacket: Near Mint). This was the Nihilist Spasm Band's third ever album. It took them a whole decade to deliver a worthy successor for their debut “No Record”. But it was worth the wait and possibly exceeds even the splendor of their first two LP's. Since then, “1x~x=x”(released on Stapleton's own United Diaries imprint) has quickly become a rarity and sought after by fans and people with good taste for strange music. Opening up the whole affair is “This is a test”. From the start they pick up where the left off a decade before and jump right in – what one can call according to NSB standards – a song (only that the band does not play songs but what the hell, let's say this opening the closest they ever came to recording a song) and just like the rest of the album each improvisation (that is in fact an excuse to call it a song) is unique. Vocalist Bill Exley calls the majority of the shots here as he is upfront with reiterating his texts and rants, anchoring the improv into something already known by Nihilist Spasm Headz. “Stop and Think Shitheads” is another favorite is also found on this record. The band produces a lot of noise and the whole thing ends gloriously abruptly with “Sinister”. A true classic that cannot be beat, especially in this era of false noise units and living room sound manipulators. This disc here is the real thing; the godfathers of noise rock who didn't gave a fuck about any scene, hype or magazine credentials. These guys were it and this is a sonic testament of their high art. A classic in my book I cannot live without. Original pressing that is a tough find these days. Massive!!!! Price: 80 Euro |
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859. NIJIUMU – – HAINO KEIJI: “S/T” (PSF Records) (2LP set: Near Mint/ Jacket: Near Mint) Well, finally we know the true story about Nijiumu. The outfit was always mistaking as a Haino centered unit (which it eventually became to be) but originally Nijiumu was birthed out the improvisational unit Shokubaiya, a unit centered around Uchida Shizuo (now of Hasegawa Shizuo). Shokubaiya folded into Nijiumu once Haino joined the ranks. And this is the result, although that the unit only recorded “Era of Sad Wings”, this version of Nijiumu was actually Haino solo, disguised with the Nijiumu banner. Two record set released in 1990 in an edition of 250 copies, making it Haino's most difficult to track down disc. . This album is actually a Haino solo recording and cannot be confused
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ith
the other likely named Nijiumu project for
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hich he got assisted by other musicians. So this disc is a SOLO project and
w
as released in an edition of 300 copies. “Up until 1992, all of Haino's records had been released on PSF and they
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ere all,
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ith
out exception, spectacular, be they solo, Fushitsusha, Lost Aaraaff, or Nijiumu. In this database of revie
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s, you
w
ill find both positive and negative revie
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s but I think you
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ill only find positive revie
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s of Haino's PSF discography released before 1993. This record falls into that category. It's got a fantastic and unique sound, unlike any other Haino solo record. Perhaps, the distinctiveness of each release, so unlike
w
hat came before or after made the PSF catalog so appealing. Later, the sle
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of, for example, Fushitsusha releases distinguishable only by catalog number lost this appeal. Any
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ay, this is an interesting record because it begins
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ith
mild vocals and guitar before moving into a percussive, almost industrial soundscape.” (David Keffer). A splendid and totally alienating disc
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ith
eerie soundscapes and Haino's reverb drenched vocals that
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ash all over the unearthly electronic mish mash, heated up acoustic instrumentation and creating a levitating storm of late night moaning and non-conventional instrumentations. Quite alienating and spiritually lifting listening experience and one of Haino's most superb tour de forces. Highly recommended and very rare to say the least. Also this disc is in mint condition, as
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ell as the jacket. Gorgeous copy, mint-mint all the
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ay. Price: 200 Euro |
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860. NISHIDA SACHIKO: “Acacia No Ame Ga Yamu Toki” (Polydor – LPJ-39) (10-Inch Record: Near
Mint/ Tip Back Jacket: Near Mint). Top copy of this rare early 1960s vintage
Nishida Sachiko slide, emanating from a period before record companies made the
shift from 10 inch releases towards LP’s as far as kayokuoku chanteuses were
concerned. But let’s start with the heavy underground
credentials Nishida Sachiko is bestowed with. No one less than sax wunderkind
Kaoru Abe was in complete awe of her and to such an extent that he even covered
a song of her, rendering it into one of his bone-chilling saxophone renditions,
being “Acacia no Ame ga Yamu Toki”, which was taken from this early release by
her. But not only Abe is totally in awe of the wonders Nishida bestows her
listeners with, also Alchemy head Hiroshige, PSF label boss Ikeezumi and a
string of other underground players deeply respect Nishida, who sadly enough
hasn’t recorded a single note for over a decade now. This album contains some
of her most beautiful Enka and kayokyoku ballads, filled with sorrow,
tristesse, faithful love until dead do us part – and death will come –
kind of ballads that will ignite your sake drenched nights with tears and
forlorn passions. Killer material and highest recommendation if you have the
desire to ever have a grasp upon Japan’s musical underworld. How can you
possibly understand Japanese avant-garde, psych and noise if you have never
heard awe inspiring singers like Nishida, who everyone knows or has listened to
at one point. This is stunning music but probably too hard to grasp for the inexperienced
gaijin listener who lets himself be guided by
magazines and trends. Do yourself a favor and plunge into this one, it will
enrich you sorry-ass existence. SOLD
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861. NISHIDA SACHIKO: “Sacchan to Tomo Nit” (Polydor – MR-9038/39) (2 LP Record Set: Excellent/ Box Set: VG++ ~ Excellent, has some storage wear). Rarely seen 2 LP box set. Well, I never get enough of Nishida Sachiko and every single record I unearth by her is bound to be another delightful experience. I guess that by now most of you subscribed to these pages have already their bellies full with my endless rants on how stellar she is/ was. Apart from being bestowed the heavy underground credentials like being admired by sax wunderkind Kaoru Abe (he even covered a song of her, rendering it into one of his bone-chilling saxophone renditions, being “Acacia no Ame ga Yamu Toki”), Alchemy Records head Hiroshige, PSF label boss Ikeezumi and a string of other underground players all hold deep respect for her and hush out her name as if talking about a Buddhist deity. This album contains some of her most beautiful Enka and kayokyoku ballads, filled with sorrow, tristesse, faithful love until dead do us part – and death will come – kind of ballads that will ignite your sake drenched nights with tears and forlorn passions. Killer material and highest recommendation if you have the desire to ever have a grasp upon
Japan
's musical underworld. How can you possibly understand Japanese avant-garde, psych and noise if you have never heard awe inspiring singers like Nishida, who everyone knows or has listened to at one point. This is stunning music but probably too hard to grasp for the inexperienced gaijin listener who lets himself be guided by magazines and trends. Do yourself a favor and plunge into this one, it will enrich you sorry-ass existence. Price: 40 Euro |
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862. NITSCH, HERMANN: “Akustisches Abreaktionsspiel” (Edition Galerie
Klewan – 30-382) (Record: Mint/ cardboard Box: Mint). Rare beyond belief
SIGNED COPY by Hermann Nitsch. Nitsch’s first released record and the toughest
– next to impossible – to wheel in LP out of his oeuvre. This is
not surprising since the LP was released in a limited run of 200 copies, of
which supposedly only 50 came hand signed by him. And this copy here is one of
those 50. Original 1972 press that comes housed in oversized box. Nitsch carefully choreographed this performance art and
spiked it up with cacophonous noise, buckets of blood and animal dismemberment,
turning gory excess into ritualistic spectacle. Segments of music; sounds of chaos, nature and
crowds and actors performing; and a narration in German that includes a description of animal
sacrifice within a religious ceremony, all recorded live on the spot. Massive historical piece that borders on free
jazz, free improvisation and noise, mixed with high art, making this recording
a sacred witness to his early creations, bringing to your living room a
exhilarating ride. Massively collectible, killer ace music and…hopelessly rare,
especially in mint condition and signed by the artists. Price: Offers!
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863. NITSCH, HERMANN: "60.Aktion Berlin 1978 - galerie petersen"(Dieter Roth's Verlag 1979) (Record: Mint/ Jacket: Mint) Alongside Otto Muhl, Günther Brus and Rudolf
Schwarzkogler, Hermann Nitsch (°1938) is a prominent member of the Austrian
‘Aktionismus’, a Viennese version of the happening from New York. In 1972, the
‘Aktionismus’ laid two eggs. Out of the first hatches the large-scale commune
experiment of Otto Muhl in Friedrichshof, out of the second a veritable
sanctuary for a new cult in Schloss Prinzendorf. In the latter one, Hermann
Nitsch is brooding on a six-day cult: the ‘Orgien
Mysterien Theater’ "Action" performances, reinterpretations of religious and
pagan rites and festivals, as well as sacrificial rituals. This translates
itself in performance art, which also enwraps music of course; a music that in
most cases is a sonic whirlwind, a tense swelling mass
of atonal strings, generating a building up tidal wave of noise that is as much an aural blast-cleaner as
the likes of Merzbow or The New Blockaders. But then again, dismissing it as
mere noise also would cause Nitsch’s vision too much injustice, because he
transcends just mere noise ansich through employing string, wind, brass and
percussion orchestras. By doing so he emanates a sophisticated slab of
dissonance not unlike the music of Cornelius Cardew or other post-indeterminate
avant-garde composers. At times, Nitsch instructs
his performers to create a racket and play as loud as possible, only to
instruct them afterward to play even at larger volume. By doing so he is able
to arrange a tidal wave of swells, coming and going in an unrelenting rate,
bashing in at the shores of your mind. It makes up for his signature walls of
sonic mayhem. But it ain’t all sonic havoc since Nitsch also masters with equal
lethality drones that are made up out of haphazardous cycles. His employment of
erratic rhythmic elements almost come over as frantic free jazz at times, built
up out of sophisticated dissonant deafening torrents of sound, spiked up with ominous
building strings and horns, heralding the coming of the apocalypse or just
another Dionysian kinghell highlife fuckaround through sound and vision. In
short, it is a party you wouldn’t like to miss and this artifact here is the
aural equivalent of it. Gallery edition of only 500 copies from times long
gone…killer with absolutely no filler, of course not for the faint of heart,
your pacemaker won’t handle this racket of sonic impulses. Massive and in top
mint condition all way round. Price: 350 Euro
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864. NITSCH, HERMANN: “Partitur Der 56. Aktion – Requiem Fur Meine Frau Beate” (Edizioni Morra/
Napoli) (3 LP Set: Near Mint/ Book: Near Mint/ Box Set: Mint). Original private
press as released in 1977 by an Italian gallery in a tiny miniscule run. Top
original copy of this next-to-impossible
to find 3LP art gallery edition issued in Naples in 1977. The music on display
documents an event which took place in the Chiesa di Santa Lucia
in Bologna, shortly after Beate Nitsch's death. Nitsch had decided to go the Naples where he
organized a lehraktion at Morra Gallery. During the lehraktion he was told
about a big performance festival that would have taken place in Bologna. Nitsch
was invited to participate with an aktion to be performed in a big old church.
It was clear to Nitsch that he would have conceived an aktion dedicated to the
memory of Beate. Until this time Nitsch's music had
essentially been a wall of noise: musicians could play anything they liked, but
as loud as possible. With the Requiem Nitsch, for the first time, started to
work with longer tone clusters, especially for the wind instruments. The
perfect acoustics of the church with its wonderful organ suggested a new and
much richer direction in his music - to which he has since adhered. For everyone present at the concert, the requiem
was an important and ecstatic experience. Top copy of this piece de resistance,
which should have any self-righteous avant-garde/ improvised music and weird
head shit his pants in delight. In short, the Holy Grail of privately released
art edition records. Price: 650 Euro
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865. NMPERGIN: “We Devote Every Effort To Offer You The Best That You Deserve To Have For Your Enjoyment” (Siwa) (2 LP set and jacket are Mint). Double LP from Greg Kelley and Bhob Rainey. Two pieces, one recorded in
Mhere,
France
and the other at
Wesleyan
University. Described by a gentleman close to the band as some of their most perverse and blackened work to date. Price: 20 Euro |
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866. NOAH HOWARD: “Patterns”
(Altsax) (Record: Near Mint/ Jacket: Excellent). Original 1973 private pressing
on Noah Howard’s own “Altsax” imprint. Killer line-up with Noah Howard, Earl
Freeman, Han Bennick, Misha Mendelberg, Steve Boston and Jaap Schoonhoven. “Patterns” is as forceful as an atomic
bomb with all incinerating head on collision. “Patterns” is without a single doubt one of the greatest free jazz
recordings ever to be put down on wax. At the time of this recording, Noah
Howard was living in France and a bunch of fellow free blowing expats and local
Dutch free spirits joined him in the Hilversum studios to burn some rubber. The blasted opening sequence, which we seem to enter whilst
already in-process, is a space duet for conga and electric guitar unprecedented
in the annals of jazz and new music. Jaap Schoonhoven – the later
guitarist of the Dutch greasy beat combo the Outsiders is responsible for the
frazzled solo he spits all over and under the recording. He is a true
revelation and vicious beast all way through. When the rest of the musicians
enter there is a heavy attempt to make it a primitivist aerial slugfest that
invokes a world of shared improvisation and groups freak out. Patterns is a ferocious, confounding
ghost of a disc. The record was made in the wake of all those
great Actual sessions and burns with an unrelenting power, freedom and
spirituality. Just lunar crazed stellar hardcore jazz. A must if you consider
yourself even remotely interested in adventurous sounds such as free jazz.
Price: 70 Euro
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867. NOAH HOWARD: “Live
In Europe Vol.1” (Altsax productions/ Sun Records – SR-105) (Record: Excellent,
only has one little hairline on opening side one/ Jacket: Near Mint). Recorded in 1975 live on different European scenes.
Classic line-up with Noah Howard blowing his lungs out on alt sax, Takashi Kako
pounds the ivory keys of the piano, Kent Carter thugs on the contrabass and
all-time favorite skin mangler Muhammad All sets fire to the drums, except for
the track Olé, where he is replaced by Oliver Johnson. Again an incendiary
set that sets loose some of the finest fire music ever recorded. Noah Howard is
in stellar form and Mohamed Ali shreds the dead air to pieces with his drum
acrobatics. Truly astonishing. Original press, disc has some superficial scuffs
so this one comes cheap. Plays EX though, so better move in on this one, it is
just an amazing disc. Price: 50 Euro |
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868. NOKEMONO: “From The Black World” (SMS Records – SM25-5008) (Record: Near Mint/
Jacket: Near Mint/ Insert: Near Mint). Obscure heavy Japanese rock trio from
the late seventies that remained so far undetected by any radar. If you could
dig mid-seventies heavy rockers Condition Green, then Nokemono is totally
indispensable. Hard to get your hands on but since ahardly no one knows about
these guys who only released this one album, they come still cheap. Until a
larger crowd gets a smell of what it is all about and then…you know how it goes.
Obscure heavy rockers for adventurous ears. Price: 50 Euro
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869. The NOMADIA: “Range
of Vision” (Toadstool Records – 002) (Record: Excellent ‾ Near Mint/
Gimmick jacket: Near Mint/ Insert: Excellent) Hideously rare kraut rock gem
that was released in a private press edition of 100 copies. Actually there are
2 pressings of this disc – both pressings came out in an edition of 100
copies (this one here is the 1st pressing, 2nd pressing came out in an altered white jacket). The music is
stellar and was apparently recorded in an Austrian cave with the aid of a
healthy dose of microdots (credited on the inner sleeve for their inspirational
qualities). So lysergic traveling aid and a healthy cave man attitude are the
key elements for unleashing sounds that will blow your mind. The first side of
the disc is a side long acid folk induced track (acoustic side – smoke
side) there where the second side-long track is a demented electronic whirlwind
filled with wicked psyched out side effects (electric side – acid side).
A great mind fuck of a disc impregnated with an addictive basement-feel that is
extremely hard to come by and hunted down by all who are in the know of this
gem. 1st original pressing. Price: 300 Euro
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870. NO NECK BLUES BAND: “Hoichoi” (Sound @ One – S@1#1) (Record: Excellent/ Gatefold Sleeve: Excellent ~ Near Mint). Released in 1996, first release of the band on their own Sound @ One imprint. The catalog number indicates this is the first release on the Sound@One label, but it was released in 1996, after other releases with a higher catalog number. Maybe this later release date is due to the elaborate (yet fragile) packaging; a small strip (missing here) with the band name is used to close the cover and some black tar/glue is haphazard spread here and there to hold it together (making it impossible to open this record without damaging something). Hoichoi is not written anywhere on the cover or inside but this seems to be the official title. It's also the noisiest thing they've put out yet! Just playing the first untitled track sounds like pure torture for your speakers! The two other tracks are much more psychedelic; delay effects are used profoundly and the usual unidentifiable noises surface here and there. Price: 70 Euro |
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871. NO NECK BLUES BAND: “Never
Borneo!” (SER/ Sound @ One) (Record: near Mint/ 7-inch: Near Mint/ Cloth Wrapped Jacket: Still in Shrink – Mint/ Inserts: Mint). Designed to function as a glance-trap with indications -- to be on the one hand left alone entirely while on the other to allow for a guided tour of locations both actual and unreal. Spanning roughly a 5 year period, the album is comprised of documentary recordings of NNCK in various settings, including the only published recordings from the hint house, the groups headquarters in uptown NYC. The LP comes in a custom bound jacket along with notes on the tracks and a bonus 7" single of related material (Label description). Price: 30 Euro |
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872. NORD: “S/T” (Pinakotheca NORD#1) (Record: Near Mint/ Jacket: Near Mint/ Insert: near Mint). Stellar copy of this majestic album. Copies with insert do never surface until now! Released in 1981. Duo consisting out of Hiroshi Oikawa and Katayama Satoshi who brought forth one of the first industrial music records to emerge out of
Japan
. Totally indispensable and much in demand these days. Original pressing of only 300 copies. Price: 125 Euro |
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873. OGI HIROKO: “Jingi b/w Tokyo Sadougasa” (Columbia – SAS-1283) (EP: Excellent/ Picture
Sleeve with Booklet: Excellent). Actress and enka blues chanteuse Ogi Hiroko released
this beautiful EP in the late sixties. Blessed with a deep voice and a yakuza
vibe that she carried around with her screen persona gave her recordings a deep
bleusy vibe. Beautiful female vocal songs emanation from beyond the deep blue
lake. Price: 35 Euro
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874. OKUMURA
CHIYO: “Deluxe Double” (Toshiba Records –
TP-7480~1) (2 LP Record Set: Mint/ Fold Out jacket: Excellent/ 2 fold out
pin-up posters: Mint/ Lyric Sheet: Mint/ Gatefold Jacket: Mint/ Obi: Mint) First
time ever I have a complete copy of this, meaning obi/ lyric sheet and 2 pin-up
posters present in MINT condition. Original 1971 pressing. Making her debut in
1965 with “Watashi o Aishite”, a
cover of Sylvie Vartan’s “Car Tu T’en Vas”,
Okumura Chiyo got instantly knick-named as the “Eastern Vartan”. It may also be
that Chiyo’s ultra feminine good looks and her omni-present erotically laden
husky voice that linked her with her French counterpart. Still, at that time,
Chiyo hadn’t heard Vartan’s music yet but once she finally lends her ears to
it, it became love at first sight like discovering an overseas kindred spirit.
From then on, her career seemed like a Lolita steered roller coaster and she
single handedly revamped the female image with ushering in the late sixties as
a full-fledged sex kitten- sporting mini skirts, black boots, and enough
visible bare skin to elevate even the most limpid of male body parts to geyser-like
erupting heights. Her looks were utterly sexy and the music she breathed out
was cute, feminine, sexy as hell and butt-shaking
great. Forcing a collaboration with Japan’s finest songwriters and producers
such as Tsutsumi Kyohei and Kunihiko Suzuki prompted hugely successful years
for Chiyo Okumura, namely 1969/ 1970 when a collaborative effort between
lyricist Nakanishi Shitsu and songwriter Kunihiko Suzuki produced three hit
singles known as the “Love Series” (included here). “Koi No Dorei” (Love Slave), the first in the series, is
unquestionably one of the sexiest songs to seep out of Japan ever. Although it
may sound innocent, the lyrics are just brutal and intoxicatingly daring as far
as lust and sex are concerned. The song skyrocketed to the top of the charts.
On “Koi No Dorei”, an unrestrained and passionate Chiyo insists, “When I'm bad, please beat me” and “I'll
latch onto your knee like a puppy dog”. Ooh baby burn me up with your
passion, sadomasochism with style. Chiyo Okumura had her biggest and last hit
in December 1971 with “Shuchaku Eki” (Terminal Station), written by Keisuke Hama, who would later become Chiyo's
husband. Although it would be her last chart-topping record, she never stopped
churning out erotically laden songs. She is just great, music-wise as well as
far as her looks are concerned. What else could a record geek ask for? Dynamite
stuff that will keep you boiling hot the whole year
round. Burning with desire…Price: 75 Euro
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875. OKUMURA CHIYO: “Golden Disc” (Toshiba – TP-7623~4) (2LP set: Excellent ~ Near Mint/ Cloth Textured Gatefold Box-covered Jacket: Mint/ Obi: Mint/ Insert: Excellent/ Attached Booklet: Excellent). Another eye-watering heavier than life 2 LP box set housed in a red cloth textured heavy bound jacket with obi. Another vital edition in the Okumura Chiyo saga, comes dead cheap and like all the rest brimming over with coquetish female erotic sex appeal that can defrost any man out there. Early 1970s Japan ruled as far as female singers go...Price: 40 Euro |
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876. OM: “S/T”
(RCA – ZL-37.244) (Record: Mint/ Jacket: Near Mint) Never seen before
ultra obscure minimal psychedelic sound sculpture LP out of France 1978. One of the most hallowed artifacts still-to-be of the psych-rock-drone
collector scum scene, this LP, once properly detected, will drive people in
hordes of cliffs like myopic lemmings in order to get a piece of the action on
display here. This LP is possibly the best find of last year but
sadly enough no information is floating around on this totally unknown trio of
sonic space benders. If I have to drag in stuff to compare it to I can firmly
state that this slice of sonic extravaganza ranks musically next to or rubs
shoulders with the Taj Mahal Travelers, Harry Bertoia, Suzuki Akio, Takehisa
Kosugi, and like-minded souls but possibly is even better than these
aforementioned artists and then again OM is also a totally different act all
together. Musically speaking it drifts into similar sonic waters by deploying a
wide range of self-built gongs, metal and bronze objects/ sculptures that evoke
haunting atmospheres of a sonic
Valhalla yet unexplored. Om’s sounds is a discorporated one, drifting of a cerebral dance
whose rhythm free-floating higher key bliss will have every grown-up space
cadet surfing the high waves of the ethereal drone till the end of times. In
all Om’s tour de force here is an instantly legendary higher-key improv-drone
extravaganza that more than lives up to their reputation still in the making. This is not electronic music, or studio based carefully constructed
drone music, Om is massive and organic, dreamy and natural, gliding down waves
of sound touching upon everything that surrounds you, the listener. Pregnant
with avant-gardistic low end ritual buzzing, clitter-clatter reverberating
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