Q-R Ethnic Recordings U-V S-T O-P W-X K-L M-N V.A. I-J Y-Z G=H E-F C-D Compact Disk A-B

1104. MAD RIVER: “High All The Time b/w Amphetamine Gazelle” (Capitol – P-2310) (EP Record: Excellent ~ Near Mint/ Company Sleeve: Near Mint). Rare Mad River EP release – Promotional Record – Not For sale stated on label. Price: 100 Euro
1105. MAD RIVER: “S/T” (Capitol – ST-2985) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink, perfection with not the faintest trace of wear). Top copy, no ring wear, best copy for miles around and getting extremely hard to find pristine copies of these albums. What can I say but the hits keep on coming. Original US pressing in fantastic shape. By far the most ominous-sounding of the Bay Area’s 1960s psychedelic bands, the music of Berkeley’s Mad River comes across like a spiraling, acid-spiked descent into hell. With a raw, garagey style marked by Lawrence Hammond’s quavering vocals and the interlocking exchanges of guitarists David Robinson and Rick Bockner, Mad River’s sound conjures a darker, more menacing version of Quicksilver Messenger Service or early Country Joe and The Fish. Mad River’s tabs of tortured soul—cuts like the lysergic opening rush of “Merciful Monks,” the lengthy, labyrinthine “The War Goes On,” and the truly demented “Amphetamine Gazelle”—add up to one cathartic ride, a ride that psych-heads will be tripping all over themselves to take again and again.” (Sundazed). To the point summarizations of Mad River’s debut LP. So vital, so essential, so addictive. Original US rainbow copy of this awesome beyond belief psych beast. The track “Amphetamine Gazelle” is boss and rules by days and nights. Highest possible recommendation. Jacket still housed in shrink, a total bitch finding this one with an impeccable sleeve… Price: 400 Euro
1106. MAD RIVER: “Paradise Bar And Grill” (Capitol – ST-185) (Record: Near Mint ~ Mint/ Jacket: Mint – still housed in original shrink). Original 1969 US pressing on green Capitol label. Always a hard one to dig up in immaculate condition as the sleeve is prawn to have always-visible wear and such. This one is pristine on all fronts. Final upgrade copy. Best one around. The follow-up to their legendary debut and final recording, boasting out a totally different musical style that may scare away fans of the very first hour but in retrospect “Paradise bar & Grill” is as good, if not better, than their debut. The LP was completely different from their debut and the tracks largely retreated into country-rock but at the same time inscrutable acidic tunes with vicious guitar riffing and detuned melodies do pop up, making it an extremely diffuse record balancing between styles and moods. Although it may seem unhinged on paper, the whole affair does gel well together and the band veered from country to agonized acid rock that made up their debut. “Paradise Bar and Grill” is a jarring roller coaster ride that made it a hard album for the critics to digest. Still, to these ears, it is as good – if not better – than their debut, reassuring the fact that Mad River was one of the most original acid fried band to seep out of that fertile West Coast scene. Fantastic!! Impossible to upgrade upon. Price: 275 Euro

1107. MAGICAL POWER MAKO: “Super Record” (Polydor – MR 50055) (Record: Near Mint/ Jacket: Excellent, sole defect is 1cm cracked lower seam of 1cm/ Obi: Near Mint/ Insert: Near Mint). Comes with 4-paged full color insert. Original beautiful 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 this one in excellent and beautiful condition. They do not come better than this one. Price: 150 Euro

1108. MAGMA:  “Mekanik Destruktiw Kommandoh” (A&M Records/ King Records Japan – AML-193) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Hideously rare first original Japanese pressing of 1973 on high quality vinyl. Recently impossible to dig up Japanese first original pressing with obi, the sole Magma record to see a Japanese release in real time. This copy comes with rarely seen – but sadly nearly impossibly rare OBI. 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 obi and insert. Indispensable. Top copy, impossible to upgrade upon. Copies with obi are getting damned rare…. Price: Offers!!!
1109. MAHER SHALAL HASH BAZ: “January 14th 1989 Kyoto – Maher Goes to Gothic Country” (Org Records – ORG006) (Record: Near Mint/ Jacket: Near Mint/ 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 2nd ever-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. Price: Offers!!!!!
1110. MAHMOUD AHMED: “Ere Mela Mela (Crammed Discs – CRAM-047) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Mahmoud Ahmed is one of the great singers of Ethiopia. His music is unique and bewitching, so different from anything we've heard coming from Africa: bluesy smoke-filled sax riffs, rolling desert rhythms, sand-dusted wah-wah guitars and, above all, those highly bewitching, trance-inducing and poignant vocal melodies, based on strange, almost Indonesian-sounding scales. The tracks on this killer slide here were recorded in Addis Ababa between 1975 and 1978. In 1986, Ahmed came to international attention when the Belgian Crammed Discs label released Ere Mela Mela, a set of tracks drawn from two late-70s LPs Ahmed recorded in Addis with the Ibex Band for Kaifa Records. The Ethiopia of that day was best known for famine and political repression, but the vitality and soul of what became Ahmed's first international release created a buzz in the incipient "world music" community. European promoters tried to bring Ahmed to perform, but by the time the succeeded--after the fall of the Mengistu regime in 1991--the spirit of the music had changed. The wildness of 1970s Addis had been tempered significantly by years of playing up to military officials, and retreating to hotel lounges to perform for the elites. In all, the music is all the way through heavily pregnant with a swaggering spirit of hypnotic dervish-like smokey desert horns captured through various bewitching songs that propel forth an inspirational and captivating sound, making it for modern ears nothing short of inspirational. Mahmoud re-imagines his musical roots here, fashioning them into an elastic musical language that recaptures the groove of some ancient tribe. Fantastic record, one of the best recordings to have graced my turntable lately. Price: 50 Euro
1111. The MAJIC SHIP: “Wednesday Morning Dew” (P.I.P/ Pickwick International productions – PIP-8936) (EP Record: Excellent ~ Near Mint/ Plain Sleeve: Excellent). White label promotional EP for the Majic Ship sole released LP. This never turns up. Awesome condition. Price: 100 Euro
1112. The MAMAS AND PAPAS: “Monday Monday b/w Got A Feelin” (Victor Records – SS-1684) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). Japan first original issue in amazing condition. If you are a sucker for male & female harmonies, you must confess that the Mamas and Papas were definitely on to something. Damned I love ‘em, call me weak or whatever but I guess they have me hooked. Just brilliant when the sun keeps on shining on your face. Price: 25 Euro

1113. The MAMAS & THE PAPAS: “All About the Mamas & the Papas” (Stateside/ Toshiba Musical Industries – HP-8564) (Red Wax Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Excellent/ Company Inner Sleeve: Excellent). Rare Japan original pressing that comes with first issue Obi and the disc comes pressed on Japan only red wax. Honey-soaked male/ female vocal harmonies? Yes count me in! The Mamas & Papas never failed to do the trick. Original press on red wax. Top condition with rare obi. Price: 75 Euro

1114. MAN: “Revelation” (Dawn Records/ Teichiku Records – UPS-625-YD) (Record: Excellent 〜 Near Mint/ Jacket: Excellent 〜 Near Mint/ Obi: Mint/ Insert: Near Mint). Bloody rare Japanese 1st pressing complete with obi. Only the 2nd time ever I see a copy of this beast with obi. Never surfaces!!! Rare Japanese pressing of the 1st Man album, which in my book still ranks up high. Originally issued in 1969 on Pye in the UK, “Revelation” can be regarded as a concept album that yielded a successful European single, "Erotica," which contained the sound of an orgasm and thus failed to chart in England. This version here is the rare Japanese pressing of the album. Overall a fantastic LP and together with their 2nd album the best they ever did. The “Erotica” track is just as sexed up as a song can be and quite a feat for a Welsh outfit that was used to playing in pubs. A classic and indispensable in my opinion. Top copy and the Japanese pressing with OBI is seriously rare! Sonic wise, it also blows the UK pressing straight out of the water. Original 1970 Japanese 1st press. Price: 200 Euro

1115. MAN: “2 Ozs Of Plastic With A Hole In The Middle” (Dawn – DNLS.3003) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1969 press copy on the orange Dawn imprint in top condition. Man's second album was released in 1969, the same year as their debut. In an effort to emphasize the serious nature of their music, Pye records moved Man to their new Dawn label. Ironically, the album title is a flippant description of the physical make-up of an LP record. Relying more and more on instrumental prowess, the opening "Prelude/The storm" is an ambitious scene setter with clear delusions of grandeur. Things continue to build towards a seemingly limitless crescendo before easing off to an altogether more relaxing, almost ambient phase. As we move into "It is as it must be" (originally to be titled "Shit on the world" till the record company took fright), we begin to uncover what would become the essence of the band. Here we have a heavy, bluesy guitar driven riff laden number with the first vocals of the album. Apart from that brief vocal excursion, the track is primarily an elongated jam featuring lead guitar and harmonica. In another example of wonderful incompetence, the record company took exception to the title of the third track. It was therefore changed from "Spunk rock" to "Spunk box" (a record company employee misunderstood the instructions and changed the wrong word!), although the former title has prevailed over time. In view of the way this track has been extended and developed in the live arena, the version here may sound a little tame. It remains though one of Man's signature numbers. My name is Jesus Smith" is the most commercial track on the album, reverting to the Bystanders (from whom Man evolved) light pop rock style with pleasant harmonies. Midway through, the song bizarrely transforms into a hoe-down style country piece. "Parchment and candles" was reputedly performed on a harpsichord belonging to producer/song writer Tony Hatch, who took exception to the band using it without his permission and threw an Elton John style tantrum. The piece itself is a brief reflective instrumental, quite unlike what we have come to expect from Man. The album closes with a Budgie like romp through "Brother Arnold's red and white striped tent". Not a particularly memorable track by any means, but fine all the same.” (Progarchives). A dead stone cold UK classic in top condition, just an amazing slab of music. Highest recommendation, but then you knew that already. Price: 250 Euro
1116. MAN: “Be Good To Yourself At Least Once A Day” (Liberty Records – LLP-80784) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). First original Japanese press issue from 1972 all complete with insert and pink colored “Rock Now” obi. Stellar sound quality and hardly ever surfaces with obi present. Price: 120 Euro
1117. MAN with JOHN CIPOLLINA: “Maximum Darkness” (Liberty Japan – LLS-80396) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). TOP CONDITION. 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: 150 Euro
1118. MANDEL, HARVEY: “Cristo Redentor” (Philips – SFX-7418) (Record: Near Mint/ Jacket: Excellent - has some faint trace of storage visible against white background but nothing too serious - no damages or anything, beautiful jacket). Bloody rare Japan 1st original pressing from 1970 that comes housed in Japan ONLY jacket art and is complete with beautiful OBI. White label promo to boot!!! Mandel’s debut remains his best early work, introducing an accomplished blues-rock guitarist capable of producing smooth, fluid lines and a variety of tasteful distortion and buzzing via an assortment of tone pedals and customized amplifiers. He augmented his flash with an adventurous appetite for orchestrated, quasi-classical strings (especially in the eerie symphonic title cut), jazz-blues-rock fusion in the mold of the Electric Flag (as on "Before Six"), and even a bit of country in the presence of top steel guitarist Pete Drake. At once gritty and elegant, Cristo Redentor combines Nick De Caro’s lithe string arrangements with Harvey’s groundbreaking electric guitar technique to create something unearthly, far transcending the narrow blues conventions of many of his contemporaries. Mandel’s long, sinewy guitar lines earned him his nickname “The Snake,” apt not only for his drawn out sustain but also his unpredictability; the listener is never sure where he’s going. He doesn’t follow conventional patterns for soloing within songs. He’s in full slither on the epic “Wade On The Water”, partially recorded onstage at The Avalon Ballroom. “I wanted the song to be a big production number with a wide, live feel and lots of natural reverb,” he said in an interview. It takes a certain vision to record a live band performance in order to get that “big” sound, and then blend it with orchestration in the studio to create a track that seamlessly matches the thread of the album. Who does that? Just pure genius!!! WHITE LABEL PROMO with OBI issue. Just never surfaces…. Price: 300 Euro
1119. MANFRED MANN: “Soul Of Man” (Odeon – OP-8174) (Red Wax Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint/ Company Inner Sleeve: Mint). Original 1st pressing on red wax and comes housed in Japan only jacket art and that was released in September 1967. Hardly ever turns up, especially in such a Top condition as this one here. Impossible to ever upgrade upon. Price: 250 Euro
1120. MANFRED MANN: “Chapter Three” (Philips Japan – SFX-7200) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1st Japanese issue – red Philips label PROMO issue – all complete with mega rare VERTIGO OBI. 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 alienating 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: Offers!!!!
1121. MANFRED MANN: “Chapter Three – Volume Two” (Philips Japan – SFX-7267) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). First original Japanese press – all complete with rare OBI. RED label PROMO Issue. Released in the UK on vertigo, the Japanese issue came out on Philips, the mother company of Vertigo. High quality pressing and comes housed in thick gatefold jacket. The music is similar and the follow-up of chapter one, filled with brooding jazz tinted and psychedelic infested moves, smoky sax lines priggish moves and menacing vocals. Total killer album and a worthy successor to Chapter One. Original 1970 Japanese pressing with the 1st obi present. Promo issue. Price: Offers!!!!
1122. MANFRED SCHOOF: “European Echoes” FMP Records – FMP-0010) (Record: Excellent – has one tiny non-sounding faint scuff on 2nd side for the rest all is just perfect!!!/ Top Loader Jacket: Excellent – no splits or damages, clean first issue fragile sleeve). Rare original FMP pressing, First issue with orange colored FMP label and 1st FMP design logo. Comes with 1st state jacket – top loader. First title following Bro Records on the FMP label, released in a tiny pressing of 250 copies or so. European Echoes carves out a distinct niche. Brötzmann, Rutherford, von Schlippenbach, Niebergall, Bennink, Van Hove, Kowald, and Parker are all here, along with Derek Bailey, drummer Pierre Favre, saxophonist Gerd Dudek, pianist Irène Schweizer, bassist Arjen Gorter and trumpeters Enrico Rava and Hugh Steinmetz. That’s three trumpets, three saxophones, three pianos, three basses, two drummers, a trombonist and one hairy-assed guitar. Or, more succinctly put, a whole ton of firepower. The first release on the FMP label, that flowed out of the birth of Brotzmann’s Bro records imprint. Damned hard to score these days, 2nd press on FMP is common, but the first pressing with top loader sleeve and orange colored label is a true bitch to unearth. Really nice copy!!!! Gonna be tough improving upon this one… Price: 275 Euro
1123. MANFRED SCHOOF SEXTET: “Glockenbar” (Wergo/ Trio Records – WER-80.003) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Original 1968 pressing all complete with direct import obi. A stellar free jazz blast from these German renegades with Schoof being flanked by Gerd Dudek, Alexander Von Schlippenbach, Buschi Niebergall, Jackie Liebezeit and Sven Ake Johansson. With this line-up you’d be forgiven for reaching for the seatbelt in anticipation of another obliterating slab of high-energy instant composition. The music is fascinating. Schoof throws out small thematic nuggets until he has produced myriad possibilities from them and in return Liebezeit scatters evanescent, twisting right-hand runs in a style that, while hardly lacking in energy, creating monumental sonic edifices and to the dense, furious blowing. Throughout, Liebezeit gooses the proceedings with a masterful array of polyrhythms while the rest of the band with Schoof at help churn out high tension music that results in high voltage reactions. Absolutely a killer and a deadpan classic. Price: 100 Euro
1124. MANGELSDORFF, ALBERT: “Albert Mangelsdorff and his Friends” (MPS Records – YS-2310-MP) (Record: Mint/ Heavy Gatefold Jacket: Mint/ Obi: Mint). Released in June 1970. Original 1st issue with always missing obi on the Japanese MPS label – first pressing released in 1970 in stunningly death mint condition and housed in a thicker than life fold out jacket. On this one Mangelsdorff teams up with other hardcore players Don Cherry, Elvin Jones, Karl Berger, Attila Zoller. Lee Konitz and Wolfgang Dauner. You can hardly go wrong with such a line-up. The music speaks for its self, lyrical free blowing jazz touching on almost divine spheres. Great all over and ultra collectable, especially in this condition and the white MPS label mark. A must. Music totally waxes your jazzing needs towards eternity. Price: 100 Euro
1125. MANSET, GERARD: “S/T” (Pathé – SPAM-67-317) (Record: Near Mint/ Jacket: Excellent ~ has drill hole in upper left corner). Original Canadian 1st press. Ultra rare record and possibly 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 rare. 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 killer cuts. “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
1126. 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 LazaroPla, 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 pressedup 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 atall. "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: 400 Euro
1127. 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: 300 Euro
1128. MARCO DI MARCO TRIO: “At The Living Room” (Tam Records – YX-7041) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Excellent work from one of my favorite pianists ever – the often and largely overlooked Marco Di Marco, an Italian genius from the 70s! Marco's got a style that features lots of bossa-inspired touches – running up and down the keys with a lively and modalist sound, often backed by an extra-soulful rhythm section, here consisting out of Jacky Samson on bass and Charles Saudrais on drums, which makes for a style that ranks right up there with some of the best MPS recordings of the 70s. The tunes on this set are pulled from a recording that took place in 1973. This one here is the damned rare Japanese pressing. So rare, never seen a copy all complete with obi (or without for that matter) as it was released on the tiny Tam records back in 1977. Needles to say these sold almost nothing, making that no copies are floating around. Such a rare Japanese pressing, all complete with never seen “Jazz From Italy” killer obi… awesome!!!! Price: 150 Euro
1129. MARCO DI MARCO – CHRIS WOODS SEXTET: “Together In Paris” (Tam Records – YX-7042) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Another highly butt-shaking deep groovy and funky jazz slide by the always excellent Marco Di Marco, my all-time favorite pianists ever to creep out of Italy - the Italian genius from the 70s! Marco's got a style that features lots of bossa-inspired touches – running up and down the keys with a lively and modalist sound, often backed by an extra-soulful rhythm section and a killer groovy Fender Rhodes electric piano swirls by the man himself, which makes for a style that ranks right up there with some of the best MPS recordings of the 70s. The tunes on this set are were recorded in Paris on November 7th, 1974 and features American altoist Chris Woods in the group – giving the whole a grooving nicely with a cutting and soulful edge. This one here is the damned rare Japanese pressing. So rare, never seen a copy all complete with obi (or without for that matter) as it was released on the tiny Tam records back in 1977. Needles to say these sold almost nothing, making that no copies are floating around. Such a rare Japanese pressing, all complete with never seen “Jazz From Italy” killer obi… awesome!!!! Price: 150 Euro
1130. MARCONI NOTARO: “No Sub Reino Dos Metazoarios” (Discos Rozenblit – LPLCP-009) (Record: Excellent – a dash away from Near Mint has the disc has a few sleeve lines one can detect under a bright light = best ever condition for this Brazilian original/ Fragile Gatefold Jacket: Near Mint). This joyous masterpiece stands musically somewhere between the Lula Cortes 'Satwa' and the 'Paebiru' album with Ze Ramhalo. A poet's vision in mellow song, mixed with tropicalia tinged-folk, Latin and bossa nova rhythms, uplifted by joyful experimentations with electric sounds and trance-inducing effects. Tribal-esque percussion compliments the ragas, created by the beautiful sitar-like instrument 'tricordio', made by Lula himself. With all of those who started shouting “private press only” after Shadow named an album after those American self-starters who took their recorded destiny into their own hands, consider this: as hard as it might have been to record, press and distribute your very own wax capsule in America in the early ’70s (and as rare, and good, many of them are), doing the same under Brasil’s military dictatorship was markedly more difficult. And releasing a psychedelic, fuzz and effects drenched opus with revolutionary musings disguised within double entendres? Next to impossible. You’d want this one in your collection if it contained just one good track within its beautifully packaged gatefold cover. That this album screams perfection from start to finish just adds to its legendary status. The brainchild of poet Márconi Notaro, alongside his friends and compatriots Lula Cortes and Ze Ramalho (the men behind perhaps the most legendary of Brasil’s private-pressed albums, 1975’s awesome Paebiru), this album contains what can only be described as Brasilian ragas played with the Portuguese guitar and Lula’s own invention, the Tricordio; improvised passages so fluid you’d swear they were scored; psychedelic-funk jams about staying true to one’s origins; and, throughout, Notaro’s complex yet approachable poetry, sung by the poet himself. The highlight of the album, if there is just one: Notaro’s improvised “Nao Tenho Imaginacao Pra Mudar De Mulher (I Don’t Have The Imagination to Change Wives),” a gorgeously melancholic piece that, when one sees it transcribed is nearly impossible to imagine as having flowed directly from the mind of one of the most underrated Brazilian poet/composers.” (Nowagain) One of the rarest and best psychedelic albums to seep out of Brazil and in awesome condition, I do not believe one can find a copy better than this one here…so make your best move and don’t be shy! Price: Offers!!!
1131. MARCUS, STEVE with SONNY SHARROCK; VITOUS, MIROSLAV & HUMAIR, DANIEL: “Green Line” (Victor – SMJX-10109) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Mint). Rare 1969 Japan only pressing of this free- jazz blaster. Yes this is what it’s all about, a clash of the titans that balances between heavy thunderous free jazz and intoxicating jazz funk. Recorded and conceived in one take at the Victor Studios in Aoyama, Tokyo on September 11th, 1970, this disc is both a heavy collectible rarity as well as a mind torching beauty that appeals to a wide range of people being hardcore free jazz fanatics as well as funky hip cats and DJ booty shakers. Side A of this disc is the jazz funk slide and opens up with “Melvin” penned by Humair and displaying right from the opening notes a hardcore modal jazz funk groove that will have the funk jazz collector salivation upon hearing it. Truly a funked-up Memphis-jazz rock raver. Marcus blows a breezy and funky melody until Sonny "drifts in and refueling it into a scorcher and you'll end up putting it in your playlist for the commute, just excellent butt shaking freeway groove. Next up is "Mr. Sheets At Night", a Marcus family contribution and total snoozer in comparison with the opening track since it is bestowed with quieter, bowed bass tones but after the first track you want them to keep going not take a breather. This is exactly what they will do, except that for that they will apply to a scorched land technique, ransacking and pillaging all in their wake. So heavy duty awaits you on side two that kicks off with a Miroslav Vitous’ piece, a total splatter, ramshackle slice of demented tumbling down free jazz squeak, the quartet steering into a head-on collision course, an orgy of Bukowskian bohemian battle-feral medicine made of out of layers-and-layers of sonic freewheeling free form blowouts. The Sharrock piece “The Echoes” takes this even to the next level of psychic urban hardcore jazz that alternates between these lightning fast runs and picking and what sounds like trench warfare in rural Afghanistan with a bunch of troglodytes. In all an amazing and sweet ride and the prime effect of this vast intense rush toward a head clearing soul-searching Valhalla is that it will leave you in the end dissected, acidized, turned sideways and inside out as if mystery and obscurity folded up into one complete holy unrationalized sonic mind fuck. Later repressed and equally rare on the Danish Storyville label, this here is the 1st original pressing as released by Victor records in 1970. Just utterly fantastic. TOP COPY! Price: 175 Euro
1132. MARI TUTUI: “Aisuredo Kokoro Sabishiku” (RCA – JRS-7167) (Record: Excellent/ Gatefold Jacket: Excellent – has a few sleeve scuffs on side 2 that do not affect the playing and sonic qualities). Rare erotic chanteuse LP, first WHITE LABEL promo issue I encounter of an always rare and elusive disc. Hideously rare & 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 500 to 700 European nickels, so seen the slightly lesser condition, you have real 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. Hardly ever turns up in quantity and first PROMO copy I could see. Price: 350 Euro
1133. MARIO CASTRO NEVES & SAMBAS.A.: “S/T” (RCA JAPAN – Solid-0015) (Record: Near Mint/ Jacket: Near Mint). Sole legal issue as released in 2001 in an edition ofonly 500 copies in Japan of this Brazilian masterpiece: This 1967 album by Mario Castro-Neves and his SambaSA group is a real gem -- a breezy vocal group set with an approach that'sclearly influenced by the Sergio Mendes Brasil 66 style, but which also hastouches of European 60s jazz -- in a cool modal scatting mode that really makesthe songs dance around nicely! There's a sparkling sound here that's stronglyinfluenced 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 rhythmsof the tunes. Price: 75 Euro
1134. 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 hybridpost-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 sound world 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

1135. BOB MARLEY & THE WAILERS: “Soul Rebels” (Upsetter) (Record: Excellent/ Laminated Jacket: Excellent 〜 Near Mint). Rare original 1970 JAMAICAN 1st press issue. “Originally issued in 1970, Soul Rebels was the first album credited to Bob Marley & the Wailers, and it was also the band's first full-length collaboration with producer Lee “Scratch” Perry, for whom they had already recorded a string of fairly successful singles. Working with the newly configured Upsetters band, Marley and crew delivered a strange and wonderful set of early reggae that at times plays fast and loose with the already established conventions of the genre -- on "My Cup" the beat sounds inside out, while "It's Alright" sounds like a slightly Jamaicanized version of Motown soul. Other songs, such as the beautifully harmonized "Try Me," show their deep roots in rocksteady. One of the most arresting tracks on the album is the Peter Tosh sung "Four Hundred Years," on which Tosh unburdens himself of some of his typically dread pronouncements in his rich, chesty voice.” (All Music Guide). Original 1970 Jamaican 1st pressing in very nice condition. Opening track has a few audible crackling sounds for a couple of clicks, rest plays beautifully EX. Super nice & clean copy for an original 1970 Jamaican pressing!!! Price: 300 Euro

1136. MARLEY, BOB: “Catch A Fire” Island Records Japan – ILS-80216) (Record: Near Mint/ Gimmick Zippo Lighter Jacket: Mint/ Obi: Mint/ Insert: Mint). Bloody rare top copy 1st original Japanese press, all is in mint condition. Bloody rare Japanese 1974 original of one of the greatest LP’s of all time, every track is a killer, brimming over with revolutionary intoned lyrics. The band is massive, Marley at helm, Peter Tosh, Bunny Livingston and Aston "Family Man" Barrett guidingCatch a Fire through loping guitars and attitude and occasional fury. Everything on the record moves hearts and feet. Marley's not the only lead singer; this is very much a group. Slavery's legacy was covered in the lurching "400 Years" and then there was the growing urban alienation that lit up the driving "Concrete Jungle" like a Molotov cocktail, making it the ultimate urban reggae anthem, with its howling guitars and impassioned neo-political lyrics. There was humor in the deadpan "Kinky Reggae," and quality love songs -- like the dynamite "Stir It Up," This original 1st Japanese pressing comes with OBI and is housed in the gimmick Zippo lighter cover. The whole affair is in Mint condition, which is nothing short of a small miracle. This is a item you don’t see too often in Japan, top copies with obi are nearly inexistent. Price: 300 Euro
1137. MARLEY, BOB & THE WAILERS: “Burnin’” (Island Records Japan – ILS-80134) (Record: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint/ 6 Paged Illustrated Insert: Mint/ Printed Inner Sleeve with Members Bio: Mint). Bloody rare top copy 1st original Japanese press, all is in mint condition. WHITE LABEL PROMO ISSUE!!!! Comes with 1st issue OBI & booklet!! Bloody rare Japanese 1974 original of one of the greatest LP’s of all time, every track is a killer, brimming over with revolutionary intoned lyrics. Price: 150 Euro
1138. MARSHALL McLUHAN: “The Medium is the Massage” (CBS Sony Japan – YS-966-C) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Fully Transcribed 12 Paged Booklet: Near Mint). Very rare Japanese pressing. TOP COPY!!! 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, drum rolls, 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 that comes housed in a Japan only heavy gatefold jacket complete with fully transcribed 12 page booklet. Price: 150 Euro
1139. The MARZETTE WATTS ENSEMBLE: “S/T” (Savoy – 12193) (Record: Near Mint/ Jacket: Near Mint). Cleanest copy I have encountered by far!! Killer free jazz slide by Watts who gets flanked by Patty Waters amongst others on this sheer fantastic disc. Here is what the Reverend Thurston Moore had to say about the LP: Marzette was a serious black art cat who resided in downtown NYC when Free Jazz as a NEW cultural revolution was in full gear. He painted and composed wonderful music where some of the coolest locals could flow their flavor. One of the heaviest ESP-disk recordings is
Marzette’s “Marzette and Company” which has the incredible talents of saxist Byard Lancaster (who released an early indie b&w Free Jazz classic out of Philly called Live at McAllister College) and guitarist Sonny
Sharrock (check his wild influence on Pharaoh Sanders’ Tauhid LP and his own obscure noise guitar masterpiece Black Woman on Vortex)
and cornetist Clifford Thornton (academic New Music/Free Jazz
“teacher” who released a few crucial sides such as Communications Network on Third World and The Panther and the Lash on America) and the amazing free vocalist Patty Waters (who recorded two infamous hair-raising platters on ESP-Disc). This recording on Savoy was one of a series produced by Bill Dixon, an early associate of Archie Shepp’s, 
who was an incredible composer in his own right. I’ve heard tapes of
 Dixon leading Free-Jazz orchestras into sonic symphonic heavens. Very hardcore.” (Thurston Moore) What the man said, very hardcore indeed. Original pressing in great nick, just a feast for your ears. Amazing condition…hardly ever turns up this clean. Price: 450 Euro
1140. The MARZETTE WATTS ENSEMBLE: “S/T” (Savoy – 12193) (Record: Excellent ~ Near Mint/ Jacket: VG++). Same as the above, disc is super clean but the sleeve has severe edge wear. Killer free jazz slide by Watts who gets flanked by Patty Waters amongst others on this sheer fantastic disc. Original pressing in great nick, just a feast for your ears. In any case a rare LP, the disc is EX‾NM, the sleeve is VG++ due to edge and spine wear, carefully mended but … so the price is a steal, half the price of a top condition copy. So again, if you snooze on this cheap deal, you loose, so it is up to you… don’t think twice it’s alright. Price: 200 Euro
1141. MASABUMI KIKUCHI SEXTET: “Matrix” (Victor – SMJX-10078) (Record: Near Mint ~ Mint/ Textured Gatefold Jacket: Near Mint ~ Mint). First original pressing in top condition and one of the greatest Japanese spiritual jazz slides ever put down on wax. 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 Kikuchi Hideyuki and assisted on ivory keys by Kikuchi Masabumi pounding out cascading molten chunks of lava, butt-shaking and vitriolic bass licks of Takitani Hironori and the percussive tribal freak outs by master drummer Moriyama Takeo. 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 groovy interplay. “Matrix” line-up consisted out of the crème of the crème of the Japanese spiritual jazz scene at that day – Futami Tetsuo (tp), Kikuchi Hideyuki (as), Nishimura Akio (ts), Kikuchi Masabumi (p), Takitani Hironori (b), Suzuki Takahiro (dms) – “Matrix” became one of the few Japanese spiritual jazz slides to come out so early that brimmed over with originality. With this line-up, Kikuchi Masabumi strived for recreating or injecting his own compositions with some fire-breathing interplay that drove on a lyrical economy and meticulous musical detail that is deceptively intense. The sextet 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 spiritual 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, warm sound clusters of groovy interplay. But it isn’t before long they divert again into percussive shakers and intuitive atmospheres of swing-vibe interplay that is not bound to be categorized easily. Hideously rare but sadly undetected piece of Japanese Jazz History. Highest possible recommendation. Top copy original pressing and essential to anyone trying to get firm grasp on Japanese late 1960s spiritual jazz. Price: Offers!!!!
1142. MASABUMI KIKUCHI SEXTET: “Re-confirmation” (Philips – FX-8501) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1970 pressing in top condition. After returning to Japan following a study at Berkeley in 1970, Masabumi Kikuchi formed his first whole-Japanese double-piano/double-drums sextet and released one of the very first fusion/ spiritual jazz album in Japan - "Re-confirmation". Differently from dominated in Japan multi-national projects, where leading domestic jazz musicians played with world (mostly American) stars, Kikuchi Sextet was a rare example of whole-national band. As with many Kikuchi works, his band was deeply rooted in post-bop (especially rhythm section), with partial exception of freer sax player Kohsuke Mine. On this LP, all six Kikuchi originals are full of energy, not particularly aggressive, but tuneful and generally well-balanced and executed, riding spiritually free against a wave of a Fender piano that gives the whole sound a warm texture and its sustained keys evoke the sensation of floating in space, adding a sense of contemplative calm to the tempestuous horns around him. Masabumi plays piano here, weaving through his brother’s gorgeous Fender chords, the horn of Kosuke Minar, the electric bass of Ikeda Yoshio, and Murakami Hiroshi and Kishida Keiji’s’ restrained drum work. Re-Confirmation remains the pinnacle of Japanese spiritual jazz, showing how the caustic fire music that once embodied the genre could be sublimated into a sound of exquisite beauty. Its poignant vibe is sometimes such that it evokes a feeling more than any outright statement of intent. That’s ultimately what faith is—a belief in something that’s not there in front of you, but whose presence can be felt deep within. Re-Confirmation, is just that sort of record, melding styles and backgrounds into an eclectic and powerful creation of improvisation and jazz composition alike. One of the all time classic Japanese spiritual slides. Top condition original with obi! Price: 350 Euro
1143. MASS: “Labour Of Love” (4. A.D./ Warner Pioneer Japan – P-11146) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4 Paged Booklet: Mint). My secret Holy Grail of British Post-Punk!!!Mass’ one and only studio album, Labour of Love, is extremely creepy. Hardly any light escapes from this dingy slab, and if it does, the dark shadows cast by the haunting atmosphere and brooding bass lines are always lurking behind. Beginning with lengthy opener “Mass,” Labour of Love delves deeper into the churning post-punk that Bauhaus with Mask and Joy Division left open in Closer. Price: 100 Euro
1144. MATCHING MOLE: “S/T” (Epic – ECPL-45) (Record: Near Mint/ Textured Jacket: Near Mint – still in shrink/ 6 Paged Insert: Near Mint/ Capsule OBI: Mint). Bloody rare Japanese first original pressing complete with illustrated booklet. Never before have I encountered a Japanese high quality original. To top things off, this one comes all-complete with mega rare capsule obi, only the first time in 15 years I see a copy with obi!!! These babies sold next-to-nothing back in the day and if one surfaces, the obi is always missing. Highly sought after with all complete, here is a mint original with obi. Amazing sound quality but sadly impossibly rare, so nice bids are invited for this one….Price: Offers!!!!
1145. MATSUDA HARUYO: “Kurenaru Mugen” (Victor Records – KVX-1048) (Record: Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Totally below the radar and obscure Japanese female psychedelic folk oddity that dwells in similar hard-to-define regions just like Comus and ilk. Backed by bamboo flutes, electric guitar, minimal eerie synths, sitar and a solid rhythm section, Matsuda Haruyo’s sole recorded album of 1978 is a stunning masterpiece. Heralding out of the far north of the Hokkaido island, Matsuda puts down a totally unique psychedelic folk album, filled with demonic qualities, insane vocalizations, bewitching traditional backing swirls on biwa and bamboo flute that get mixed up with sitar swirls and a rocking rhythm section, levitating the whole sound towards a next level. The second side is taken up by an almost sidelong track that leaves no stone unturned and brings forth visions of a female J.A Seazer backed up by Comus on an Indian trip while flirting with solid Japanese rural influences and wailing Buddhist flashes of pure insanity. In short, stunning psychedelic female folk album and to these ears one of the greatest – still largely undetected Japanese psychedelic wonders to seep out of the country. The record itself is viciously rare but still affordable since it hasn’t been picked up on anyone’s radar yet. This will change of course once more ears gets attuned to this beauty. Took me 5 years to dig up a copy again – so quite a difficult one to unearth. Highest possible recommendation if female vocal folk weirdness is your thing, it sure succeeded in blowing the lids of my ears. Just stunning!!!! Price: 150 Euro

1146. MATSUMOTO HIROSHI & ICHIKAWA HIDEO QUARTET: “Megalopolis” (Victor Records – SMJX-10071) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Obi: Mint). Killer Japanese free jazz slide from 1969. This is IT!! Rarest of the RARE Japanese Jazz LP’s and one of the cornerstones of Japanese spiritual bop jazz!! Mega rare Original first pressing in TOP condition and all complete with bloody rare original obi. The music on the other hand is a sort of crossover, simmering with hypnotic spiritual vibrations, balancing between an improvisational interplay and bare-knuckle group play, hypnotic jazzy vibes popping out of the smog filled skies, ethnic rumbles and space jazz all fusing into one colorful amorphous mass of sonic bliss. Staring off with a distant mesmerizing vibe, the sound gains momentum and slowly builds up towards an entrancing mass of spiritual intoned interplay that makes the ground under your feet swell and become a liquid mass. Free spirited, yet improvisational challenging as well as funky and soulful at the same time, the Quartet proved to be a force to be reckoned with. This was the birth of true Japanese intoned jazz, bridging the gap between group interplay and free improvisational reign without ever loosing direction and steering towards higher planes. A true killer and butt shaker, rich in trance-inducing qualities and hypnotizing/ hallucinatory sonic interplay spiced up with top shelf improvisational interplay. Dead on classic and without a doubt one of the finest spiritual jazz albums to seep out of Japan. Ultra rare and never offered for sale before all complete dead mint original pressing all complete with obi!!!! Massive!!!! Top copy so need some serious offers for this one off chance here. Virginal condition!!! never surfaces with obi complete until...now!!! Price: Offers!!!!

1147. MAX’S KANSAS CITY: “Max’ Kansas City 1976” (Ram Records/ King Records Japan – GP-474) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint/ Insert: Near Mint). Very rare Japan 1st original pressing from 1976 all-complete with obi. This record is so good it sets my nuts on fire and makes me wanna dive head first into a pool that only got emptied just yesterday. Originally released in 1976 on the tiny label RAM, Max’ Kansas City is a great compilation of almost all the influential and charismatic bands that frequently played there in the early to mid-'70s. The album serves as a reminder and souvenir of punk's early days, featuring the known (Pere Ubu, Suicide, Wayne County) along with the lesser-known (the Fast, the Brats, Harry Toledo). Unlike many compilations of punk's early days, these rare tracks are all great-sounding studio recordings, with absolutely no lo-fi live tracks. You'll be treated to great, early versions of the classics "Final Solution" by Cleveland experimentalists Pere Ubu, as well as "Rocket U.S.A." by New York's confrontational electronic duo Suicide. Wayne County’s title track lists just about every band that was playing the venue at the time of song's writing, many of them reaching legendary status. The real treasure on this slide is Harry Toledo, who only recorded this one song and one EP at the time. But his “Knots” is one of the greatest downer songs blessed with a glorious early Roxy vibe ever to have been put down on wax. There is something hollow and out of focus simmering over the song and spinning this makes my balls contract violently, crawling straight up into my belly and makes me drift over the line into cheap thrills once in a while. Just beautiful and something I can truly recommend you! If you want to re-experience the New York punk of yesteryear, This LP is the ultimate ticket. Never turns up as at the time in Japan this record sold badly and only around 300 copies were issued. Most copies that turn up are white label promo issues as regular copies just did not sell and were withdrawn following the depressing sales. This copy here is one of the few surviving stock copy issues, just never surfaces. Killer slide. Price: 200 Euro
1148. MAY BLITZ: “S/T” (Vertigo – 6360.007) (Record: Excellent ~ Near Mint, has 2 very little scuff marks that are inaudible at the 1st track of the 2nd side, apart from that all is virginal/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeve with Swirl logo: Excellent). Top copy Vertigo swirl original UK first press. Erected around drummer Tony Newman and two Canadians, guitarist and vocalist Jamie Black and bassist Reid Hudson. Molded in the same vein as power trio format of the likes of Cream and the Jimi Hendrix Experience of that day, May Blitz was nothing like them eventually. Neither were they even remotely as successful. In all, their music is a force to reckon with, an amalgam and excellent combination of hard rock, mixed through with blues and psychedelic touches, which at odd times even got spiced up a bit with a whiff of prog. And with all that going, May Blitz even managed to incorporate a stoner vibe as well as comes most prominently to the foreground on tracks like the drug-oriented “Smoking the Day Away” and “I Don’t Know”. Jamie Blacks guitar and even vocals often sound like methedrine soaked somersaulting madman with lots of axe wielding aesthetics. Shredding out some truly killer and devastatingly wasted guitar shreds that gets underscored and beefed up by Newman’s ass-pounding drumming, the band sounded like combo trying to deal with a collectively raving disorder, stomping out slammy arrangements that charges right ahead in a blustery delirium. Their act is wide open which enables them to be just another bunch of disgruntled wild cats with ideas watching while all the bullshit around them is going down. Just so bloody damned good. Top copy 1st UK original pressing, getting tough to score in such immaculate condition as this one here. Price: 450 Euro
1149. MAY BLITZ: “The 2nd Of May” (Vertigo – 6360.037) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent) Original German pressing in fantastic condition. This was their 2nd and last album and as great that their debut. Vinyl is EX ~ NM, with no defaults, brilliant all the way. Gatefold jacket has no defaults whatsoever, only some signs of its age, so accurately graded at EX. Killer slide…and long time fave here. Price: 150 Euro
1150. MAYA DREAD: “Kaya Dub” (Kaya Records – VC-2131) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint). Very clean original 1975 US first original pressing of damned rare stoner roots dub reggae slide. Kaya Dub was noted as the first ever-proper dub LP pressed and released in New York City. The eponymous LP is among the first set of releases on the Kaya label. This imprint was the first to showcase the partnership of Percy Chin and Hyman "Jah Life" Wright as producers and cornerstones of the burgeoning NYC reggae scene of the day. Though these tracks originate from Jamaica thru a connection with Pat "Jah Lloyd" Francis and have also been released elsewhere, this is none the less a killer selection of dubs from Tubby's and Randy's. In sound and visuals, "Kaya Dub" serves as a fantastic snapshot of the music and vibes of roots reggae in the mid '70s and is a solid collection of very sparse and super-heavy dub mixes, with not much vocalizing or horn riffs. But it has lots of little subtle touches, which are mostly revealed after repeated play. Connoisseurs of reggae releases from the 1970s will surely recognize dubs to original tunes such as the Mighty Diamonds’ “Shame & Pride”, the Heptones’ “Meaning Of Life”, “Bingy Bunny’s “Coming Home To Zion”, a cut to the “Have Some Mercy / Spangler’s Clap” riddim and Yabby You’s “Conquering Lion”, which has been given the appropriate title “Conquering Dub Of Africa”. “Kaya Dub” serves as a great snapshot of the music and vibes of roots reggae in the mid 1970s, a real joy to listen to from beginning to end. They rarely turn up this clean! Price: 350 Euro
1151. MAYALL, JOHN & ERIC CLAPTON: “The Bluesbreakers” (London – King Records – SLC-228) (Record: Mint/ Flip Back Fragile Jacket: Mint/ CIRCULAR Obi: Mint). Very FIRST original pressing complete with 1st issue CIRCULAR OBI in MINT condition, 1st time ever I see a copy of this one housed in 1st issue jacket and complete with 1st issue obi. TOP CONDITION. Also known as the Beanie album…hardly need any explanation. Clapton escaped the Yardbirds, teamed up with Mayall before heading off to form Cream and the rest is history. Still, this album is nothing short but historical and legendary. Top copy Japanese pressing on high quality vinyl and complete with obi. What more can a mortal soul possibly ask for??? Love?? Hey I just beat you to that secret pleasure, so better take pleasure with this. Price: 300 Euro
1152. MAYALL, JOHN: “The Diary of a Band” (London – SL-121~2) (2 LP Set: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint). Original 1968 Japan only gatefold jacket issue complete with obi and in eye-blinding condition. First time ever to encounter a copy of this Japanese edition one, all is like a virgin condition wise so…better act know and hold your peace forever. Price: 150 Euro
1153. MAYALL, JOHN: “The Turning Point” (Polydor Japan – MP-1457) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Attached Insert: Excellent/ Obi: Excellent). Comes with OBI!!! Bloody rare white label promo copy, comes with a Japan only gatefold jacket with attached insert. Well this is a classic, Mayall at his best. So essential. Rare, if not bloody rare WHITE label Japanese 1st issue…how many times have you encountered a white label Polydor pressing before? I thought so…better sniff this one up before its vapor trails run off. Stunning and stupefying cheap. Price: 150 Euro

1154. MAYALL, JOHN & THE BLUESBREAKERS: “Crusade” (London/ King – SLC-221) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Original 1st Japanese pressing from 1968 that comes housed in a Japan only artwork jacket and complete with first issue OBI. The final album of a (unintentional) trilogy, Crusade is most notable for the appearance of a very young, pre-Rolling Stones Mick Taylor on lead guitar. Taylor’s performance is indeed the highlight; just as Eric Clapton and Peter Green’s playing was on the previous album. The centerpiece of the album is a beautiful instrumental by Taylor titled "Snowy Wood," which, while wholly original, seems to combine both Green and Clapton’s influence with great style and sensibility. Price: 100 Euro

1155. MAYALL, JOHN: “Looking Back” (London Records/ King – SLC-286) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original Japanese first pressing that came out in January of 1970. Very interesting collection of non-LP singles from 1964 to 1968, featuring almost all of the notable musicians that passed through the Bluesbreakers throughout the decade. "Sitting in the Rain" (with Peter Green) showcases fine finger picking, the haunting "Jenny" is one of Mayall’s best originals, and "Stormy Monday" is one of the few cuts from 1966 that briefly featured both Eric Clapton and Jack Bruce. TOP condition for this rare first press Japanese issue. Rarely surfaces all complete with the salacious obi. Price: 150 Euro
1156. MAYALL, JOHN: “Blues From Laurel Canyon” (London/ King Records – SLC-315) (Record: Near Mint ~ Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan 1st press with first issue obi. “Mayall’s first post- Bluesbreakers album saw the man returning to his roots after the jazz/blues fusion that was Bare Wires. Blues From Laurel Canyon is a blues album, through and through. Testimony to this is the fact that there's a guitar solo only 50 seconds into the opening track. Indeed, Mayall dispersed the entire brass section for Blues Fro Laurel Canyon and instead chose the solid but relatively limited backing of Mick Taylor (guitar), Colin Allen (drums), and Stephen Thompson (bass). Instantly, it is apparent that John Mayall hasn't lost his touch with the blues. "Vacation," the album's opener, reminds one exactly why this artist is so celebrated for his songwriting ability. The staggering Mick Taylor (here still in his teens) truly proves his worth as a blues guitarist, while Steve Thompson (also in his late teens) works superbly with one of the genre's most interesting drummers, Colin Allen. Blues From Laurel Canyon is as unerring as Bluesbreakers with Eric Clapton and equally as musically interesting. Not only is this one of the finest John Mayall albums, it is also a highlight in the blues genus.” (All Music Guide) Price: 175 Euro
1157. MAYFLY: “S/T” (Ariola – 86952IT) (Record: Excellent/ Jacket: Near Mint). Original 1973 Dutch pressing. This group made one of the best Dutch progressive folk albums in a poetical style similar to several British groups (Spirogyra, Fuchsia, Beatles) or even the first album by the German group Hoelderlin. What makes it so strong are the expressive vocals of Maarten Min, enchanting melodies, a reflective or sorrowful mood and good English lyrics. This is typified by tracks such as "Dawn Of An Old Man's Life" and "Lemoncake", although a few tracks are lighter in mood and more influenced by the folk-style of late 60's Beatles or Honeybus. An album that easily stands out of the crowd and therefore strongly recommended.” (Scented gardens of the Mind). Brutally beautiful psychedelic folk/ prog album from Holland, almost every track is a winner and beholds sheer beauty to loose your mind to. Original 1st pressing!! Price: 150 Euro
1158. MAYUZUMI TOSHIHIRO: “Bacchanale – Phonologie Symphonique” (Toshiba Records – JSC-3017) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Comes on WHITE LABEL PROMO ONLY RED wax, bloody rare Japan pressing from 1961. Mayuzumi was one – together with Takemitsu Toru – of the earliest electronic music & avant-garde composers of the country. With Bacchanale he creates a structure of sound that is strongly dissonant and makes uses of percussive harmonies creating an impression that is strongly tonal. With Phonologie Symphonique, Mayuzumi draws his inspiration from lettrisme and translates it into a complex of sound, timbres, dimention and durations. In all a vital and highly influential avant-garde work. First time I have a copy of this original record. Comes on blood red wax and is in awesome condition. Needles to say…hardly ever surfaces!!! Price: 200 Euro
1159. MAYUZUMI TOSHIHIRO: “Showa – Tempyu – Raku” (Victor – VX-53) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Bloody scarce 1st original pressing of this experimental/ avant-garde masterpiece, first time ever I could secure a top first pressing of this gem. Mayuzumi was one of the first to incorporate electronic music into his scores and profiled himself as an early key-avant-garde player next to Takemitsu, Ichiyanagi and Yuasa. This recording here, dating back to 1971 when Mayuzumi was at the height of his creative powers. Here he worked together with the Gagaku musicians of the Imperial Household Orchestra and created a synthesis of how the composer could succeed in completely amalgamating the modern with the ancient. In the history of Gagaku, you find no transitional period bridging over the gap between then and today. Apparently no new work of consequence was added to the limited repertoire of the Imperial Court musicians in the past millenary. This means that Mayuzumi had essentially to rely on his imagination in order to create a new work immersed deep in musical spirit and sound of yore. The result is that he created a fascinating performance brimming over by an incessant variety of fantastic sonorities between such dynamical extremes as the delicacy of dialoguing flutes and the overwhelming power of a super-fortissimo joined-in by all players. Fantastic compositing that brings together a vibrant avant-garde aesthetic with traditional Gagaku music and creating a musical idiom of multivoiced utterance. In short breathtaking and one of the key-recordings in Japan’s avant-garde history of the late 1960s and early 1970s!!! Highest recommendation!!! Price: 150 Euro
1160. MAYUZUMI TOSHIRO with SAKURAI HIDEAKIRA – NAKATANI NOZOMU & KOJIMA KAZUO with guest performer TEIJI ITO: “Suma No Arashi” (Liberty – LPC-8032) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Bloody rare 1970 original pressing all complete with hardly ever seen & hyper rare obi. This is one of the heavy guns blazing out of the rat-hole!!! Copies without the obi float to the surface from time to time but all complete issue with obi is so damned rare, first all-complete copy I can lay my eyes and mittens on in all these years. That said, this is an all-killer, no-filler heavy and deeply resonating free improvisation and avant-garde slide that rubs shoulders with the most obscure and heavy slides in the genre. The big difference with other improvisational disc is the nature of the instrumentation as Mayuzumi opted for the bare essentials of traditional Japanese ones such as free roaming koto slashing, delirious flute playing, screaming voice and tribal percussion rattles. On paper that does kind of kilter down the excitement a bit but upon hearing the controlled racket that is unleashed, one begs to differ. The music easily bridges the gap between Noh Gaku, stripped down austere minimalism, total freak out improvisation and free jazz, all mixed with even a gentle dose of latent psychedelic grooves. This is high-tension music where the tiniest gestures trigger apocalyptic waves of sound that result in high voltage reactions by the participants. The group rides the wave of an animated strive and move around as if engaged in some weird form of sonic trench warfare, hurtling in and out of focus where all the movements are dissected into fractious pieces before leaping back into a maniac fury, creating an exploratory sound. Although intuitive in its approach, Suma No Arashi exits totally on its own plane, both impervious to and not interested in trends of any kind. Listening to this feels like standing in the midst of a prison riot in full swing, flashing you by in slow motion, while sweating out heavy psychedelics. Awesome. Rare 1970 first press original with hopelessly rare obi. Take no substitutes! Price: Offers!!!
1161. M’BOOM: “Re: Percussion” (Strata East/ Think Records – SES-19732) (Record: Near Mint/ Thick Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Extremely limited high quality Japanese pressing that came out about 10 years ago in a run of only 300 copies and that dried up in a flash. This is the 1st time I encounter a copy of this one. Other than a Japanese release for Think Records almost a decade ago, this killer set contains the initial recording by Max Roach’s all-percussion unit M’Boom. Featured on the nine selections (all group originals, other than Thelonius Monk’s "Epistrophy") are up to eight players, including Roach, Roy Brooks, Joe Chambers, Joe Chambers, Omar Clay, Fred King, Ray Mantilla, Warren Smith and Freddie Waits, utilizing all types of percussion instruments -- vibes, tympani, chimes, timbales, marimba, xylophone, and so on. The colorful sounds are full of surprises, and the music is both consistently stimulating and quite accessible. This release is such a sight for soar eyes, thick and laminated gatefold sleeve, insert and obi and pressed on high quality vinyl. Impossible to execute this one any better. Sadly so rare, but thank God, such amazingly jaw-dropping great music. An absolutely monster heavyweight percussion-led experimental, rhythmic album - quite possibly the rarest of all Strata-East Records! Price: 250 Euro
1162. MC5: “Kick Out The Jams” (Elektra/ Victor Japan – SJET-8153) (Record: Near Mint/ Jacket: Near Mint/ Outer Jacket Cut-Out Obi: Near Mint). Top condition all complete with die-cut obi stock copy of this uncensored “mother fuckers” heavy ball crusher, released in September 1969 original Electra/ Victor LP by the MC5 “Kick Out The Jams”, all complete with the never-seen-before cut out wrap around obi!!! 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, which is quite fragile and its often damaged but this one is just pristine without any blemishes. 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: Offers!!!!
1163. MC 5: “Back In The USA” (Atlantic Records Japan – MT-2020) (Record: Mint/ Gatefold Jacket: Near Mint) Bloody rare 2nd MC5 LP – comes housed in Japan ONLY Gatefold jacket. This is the hyper scarce WHITE LABEL PROMO issue, only a handful seem to be in existence. True 1st issue with matrix numbers ending in A-1-1 and A-1-2. While lacking the monumental impact o Kick Out The Jams, the MC5’s second album is in many regards their best and most influential, its lean, edgy sound anticipating the emergence of both the punk and power pop movements to follow later in the decade. Bookended by a pair of telling covers – Little Richard’s "Tutti Frutti" and Chuck Berry’s "Back in the U.S.A." -- the disc is as much a look back at rock & roll's origins as it is a push forward into the music's future; given the Five’s vaunted revolutionary leanings, for instance, it's both surprising and refreshing to discover the record's emotional centerpiece is a doo wop-inspired ballad, "Let Me Try," that's the most lovely and gentle song in their catalog. The recurring theme which drives Back In The USA is adolescence, its reminiscences alternately fond and embittered -- while cuts like "Tonight," "Teenage Lust," "High School," and "Shakin' Street" celebrate youth in all its rebellious glory, others like "The American Ruse" and "The Human Being Lawnmower" condemn a system which eats its young, filling their heads with lies before sending them off to war. Equally gripping is the record's singular sound -- produced by Jon Landau with an almost complete disregard for the bottom end, Back In The USA captures a live-wire intensity 180 degrees removed from the group's live sound yet perfectly suited to the material at hand, resulting in music which not only salutes the power of rock & roll but also reaffirms it.” (All Music Guide). Top copy and hardly ever offered Japan Only gatefold jacket white label promo issue. Very rare to say the least…. Price: 400 Euro
1164. MC5: “High Time” (Atlantic – P-8139A) (Record: Near Mint ~ Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Bloody rare Japan first original pressing all complete with stupidly rare obi. All is in TOP condition, no spindle mark in sight, impossible to ever upgrade upon. The MC5’s ferocious third and final album, from July 1971, High Time is also their most fully realized studio creation, and finds the band rampaging through a classic set of songs. Though it went relatively unnoticed upon initial release it is considered the band’s most uncompromising and polished work. Here, the MC5 finally found an environment in which to cut loose exactly as they pleased. Each track collides off into separate cataclysms that are all their own, loose as hell with an ever-uncoiling energy that oftentimes explodes without warning. Out of the dialectic of the first two albums—the hyped, throbbing excess of Kick Out the Jams, the trimmed observances of Back in the USA—emerges the synthesis, High Time, in which the MC5 ditch the influences of their father-figures, Sinclair and Landau, and pledge themselves at last to the Goddess. “Sister Anne don’t give a damn about revolution!” is the opening lyrical shot, with the boys flinging aside their seditionary pamphlets and going to their knees before some sort of iron-buttocked Catholic Ur-mama who sneers at them through her wimple, a queen of loving punishment. Killer and top condition with obi…seriously rare…Price: Offers!!!!
1165. MC5: “Tonight b/w Looking at You” (Atlantic Records Japan – DT-1144) (7 Inch Single Record: Near Mint/ Flip Back kPicture Sleeve: Excellent ‾ Near Mint/ Lyrics Insert: Near Mint). Rare Japan 1970 original release, MONO pressing in top condition. Man, how do I envy the dayz that bands like this ruled the airwaves and perverted the minds of teenagers. Ankle-shopping fuzz-wah assaults backed up by talking caveman drumming and frazzled bass pulsations and a singer with a blessed voice that is bruised beyond repair. Add some amphetamine-fuelled basement vibes to the overall mix and you have a volatile sonic mixture that can burst into flames at any given second. The MC5 fucking ruled!!! Bloody rare Japan only single release that comes housed in great sleeve art. Top condition and stupidly rare. Price: 500 Euro
1166. McCHURCH SOUNDROOM: “Delusion” (Pilz – 20.21103-7) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Pilz Sticker Insert: Mint). Top copy German 1st original pressing that comes with seldom seen original Pilz sticker as a bonus which was tucked away inside the gatefold!!!. Extremely beautiful and near mint copy of this obscure and extremely rare kraut rock classic. Housed in a stunningly “Skull w/ dripping wax” gatefold cover, this is a vicious psychedelic/progressive masterpiece, with sneering leads, vocals sax, mellotron and wiling guitar riffs that will leave your mind all over the place. Completely vanished and here you have a top-notch copy. They certainly do not come cleaner and more perfectly. Act now and hold your peace forever. Price: Offers!!!!
1167. McCOY TYNER TRIO with Roy Haynes and Henry Grimes: “Reaching Fourth” (Impulse Records – SH-3032) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Mint). Bloody scarce Japan 1964 pressing all complete with very first issue obi. Pianist McCoy Tyner’s second set as a leader has as of 1996 featured in a trio with bassist Henry Grimes and drummer Roy Haynes, Tyner performs two of his originals ("Reaching Fourth" and "Blues Back") plus three standards and "Theme For Ernie." One of the two most original and influential pianists to fully emerge in the 1960s (along with Bill Evans), McCoy Tyner’s unique chord voicings and ease at playing creatively over vamps pushed the evolution of jazz piano forward quite a bit. This outing, although not as intense as his work with the John Coltrane Quartet, is generally memorable and still sounds quite viable 35 years later. Price: 150 Euro
1168. McLAUGHLIN, JOHN: “Devotion” (Epic – ECPL-59) (Record: Mint/ Gatefold Jacket: Near Mint – has catalogue sticker on lower back/ Capsule Obi: Mint/ Insert: Mint). Rare Japan 1st original pressing from 1972 all complete with capsule obi. This album is from a pivotal moment in McLaughlin’s history. This was just after he left Miles’ group, but before Mahavishnu Orchestra started, and the music captures this moment perfectly. McLaughlin’s technique had not progressed to "Mahavishnu" perfection yet, but the music has the in-your-face rock drive of the Mahavishnu Orchestra. This recording date grew out of sessions Alan Douglas put together, featuring McLaughlin and Larry Young jamming with Jimi Hendrix and Buddy Miles (Billy Rich was the bass player). McLaughlin sounded timid next to Hendrix, but really comes to life on Devotion. This is arguably one of the finest acid rock albums of all time. Mclaughlin is on fire, using fuzz boxes and phasers, over Larry Young’s swirling Hammond B-3, with Billy Rich and Buddy Miles as the rock-solid rhythm section. If you think that McLaughlin’s solo at the end of "Right Off" (from A Tribute to Jack Johnson) is one of the high points of his career, then this is the album for you. Soon after this album was recorded, McLaughlin holed up, practiced like crazy, and re-emerged as "Mahavishnu" John McLaughlin, with both a new sound and a new band. Documenting the period just before that transition, Devotion is a complete anomaly in his catalog, as well as one of his finest achievements.” (All Music Guide). Totally overlooked but fantastic LP, brooding organ riffage underscoring acid drenched guitar frolics and a sweaty rhythm section to hold it all together. KILLER. Top copy. Price: 75 Euro
1169. MERRILL, HELEN with GARY PEACOCK TRIO (Sato Masahiko & Hino Motohiko): “Sposin’” (Victor – SMJX-10132) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint/ Insert: Near Mint). Bloody rare 1971 1st press issue complete with insert. Japan only release – it later came out on the Danish Storyville label as well, but this here is the 1st press edition as released & recorded in Japan. Rarest and to these ears best Helen Merrill recording ever, a Japan only release where she gets backed up by Gary Peacock, Sato Masahiko and Hino Motohiko. With such a line-up, sparks are bound to fly high up into the air. And like expected, this slide delivers heavily and heavenly. Balancing between free roaming flashes and spiritual intoned vocal delights, to these ears this is the greatest LP ever put down by Merrill. The backing group of Sato Masahiko and Hino Motohiko sets the sparks flying off, creating a delirious female vocal spiritually inclined free jazzing masterpiece. Original 1st Japanese pressing, recorded and released when Peacock was living in Japan, this copy is as virginal as a baby’s ass. Killer with no filler. Price: 250 Euro
1170. 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. Price: 100 Euro
1171. MERZBOW: “Scum Scissors For Cutting Merzbow” (ZSF –ZSFMZ-007/8) (Gatefold Jacket: Mint/ 2 LP Set: Mint). One of the rarest LP’s in Akita Masami’s early self-run ZSF Label is this vicious scum monster. On this one Akita handles electronic, tapes, bowed instruments, percussion, metaljunks, motor, piano wires, Noise generator, drums, guitar and radio. The whole affair was recorded and mixed between May and December of that unholy year 1988 at his own junked out ZSF Produkt studio. Seriously head-splitting old-skoolnoise/ electronic/ cum/ exploito/ analogue/ distorto/ garbage moves from the master that will bring tears to the eyes of any self-proclaimed noisenik who was until devoted to bedroom anarchists such as that whole new school of US tape shitters. This is the real deal, so time to get real….Price: 175 Euro
1172. MESMERIZING EYE: “Psychedelia ~ A Musical Light Show” (Smash – MGS-27090) (Record: Near Mint/ Jacket: Near Mint, still in shrink/ Company Inner sleeve: Near Mint). Original super clean pressing of increasingly hard to find late 60's Fuzz Psych. Exploito Psych is a niche market as you could have guessed but the work of The Mesmerizing Eye will scream inside your mind in so far that you will have a hard time coming up for air and without giving you a chance to regain their orientation and equilibrium. So there is no pussy footing about these regions when spinning this exploitation marvel at full blast. From the word go, this is a brain-frying mind-fuck that sounds like a bugger dragged out of an act of lunatic violence and nerve-rattlingly soaking him down with mace after which you run him down main street with a cow bell around his testicles for the entire album's duration. Yes, the good shit. I already started watering my mouth with the prospect of this glorious fest. Searing acid guitar, air raid sirens, crying babies, thunderstorms, detuned marching bands staggering past...and all of that in just the first few minutes. Sound effects galore and lots random brain sizzle. These instrumentals run right into each other like liquid. Just top 1967 brain-freeze hollow and out of focus exploito madness to spike up your lonely nights. Viciously addictive!!! Price: 150 Euro
1173. MICHAEL ANGELO: “S/T” (Guinn Records) (Record: Excellent ~ Near Mint/ Jacket: Near Mint, still in shrink). 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) This is the genuine and THE real thing, not a “fake” original that at times gets sold as an original. How to tell? 1. No fake tag tear on lower back of cover to remove small numbering. 2. Most significantly, there is no printed text on the spine (fake has small printed text) of the spine. 3. Dead wax craving on the disc itself is that there is NO mention of Guinn but instead a reference to the famous ‘Rite’ pressing plant (Rite # 338431). The fake one has ‘Guinn 1050’ in dead wax. So this is the genuine real original pressing! No doubt about it and in great condition to boot. Record is EX〜NM, sleeve is NM and still housed in original shrink. 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. This one here is super clean. Hard to ever improve upon!!! Price: Offers!!!!
1174. MIDORI MAKO: “Onna Wa Kanashii b/w Hitori Bocchi no” (Toshiba – TP-1517) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). Comes on red wax. Erotic beehive female chanteuse and B-movie actress out of the late 1960s who only released a string of highly sought after 7-inches. Here you have one of those always-elusive erotic gems. Two highly sexually charged tracks that should sent anyone who is into late 1960s sexy girl/ soft erotic Japanese pink kayokyoku running off in a stampede and jump off cliffs. Just like Sawa Tamaki and Kuwabara Yukiko, Midori was also part of the famous erotic spy girl collective Play Girl with home she starred in a string of movies and TV dramas. Late Showa era erotica in full swing, Midori Mako just breathes out feminine lust, radiates out irresistible seductive powers and beats you with mesmerizing eye filling beauty. The entire recording is suffused with a unique atmosphere, a ripe and heady Japanese eroticism now sadly overwhelmed by the intrusive and infelicitous import of cheap Westernized thrills and assorted uneuphonious cultural junk. The music she hushes out intobeing is utterly depraved, spiked up with an unheard quality of forlorn sleaziness, an erotic hushing and uttering that would make even Jane Birkin blush. Highest recommendation. Price: 150 Euro
1175. MIDORI MAKO: “Yasashii Nipponjin” (CineDisc – M-7) (EP: Near Mint/ Gatefold Picture Sleeve: Near Mint). Maybe one of the hardest totrack down Midori Mako releases is this EP that acted as a soundtrack to themovie of the same name and which was not released by a regular record companybut instead saw the light of day as a release done by a movie company. So thepressing was limited and a one time only affair. This is another tantalizingaffair, a prime example of Japanese erotic musical moves in full effect. Firstoriginal pressing and 1st copy I have to spare in ages. Highest recommendation. Price: 150 Euro
1176. MIGHTY BABY: “S/T” (Head – HDLS-6002) (Record: Near Mint ~ MINT/ Gatefold Jacket: VG++ ~ Excellent, no ring wear or damages but upon close inspection there has been some color restoration near the spine and some faint signs of handling. So VG++ ‾ EX and not too bad at all except for anal mint freaks). Original 1969 UK pressing!! Record is absolutely top, seems to be unplayed and best condition for this record imaginable!!! 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 which had some retouching near spine, the disc on the other hand is the best condition imaginable, never seen such a perfect one as this copy here NM~MINT all the way, so I guess you have a winner here on your hands. Nice and reasonable price as the jacket is not perfect but disc is best in existence so… Price: Offers!!!

1177. 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

1178. MILES DAVIS: “Ascenseur Pour L’Echafaud with Generique – L’Assasinat de Carala – Sur l’Autoroute b/w Diner au Motel – Chez Le Photographe Du Motel” (Fontana – SFON-3008) (5 Track EP Record: Excellent/ Flip Back Picture Sleeve: Near Mint). Japan only jacket art Miles Davis 5 track EP single issue, plays at 33 RPM. Rarely seen but killer EP, both music wise and package wise. Essential for any self respecting jazz head and Miles buff! Price: 45 Euro
1179. MILES DAVIS: “Modern Jazz Collector’s Items – Miles davis And the Modern Jazz Giants” (Prestige/ Top Rank Records – RANK-5050‾1) (2 LP Record: Near Mint/ Hard Cover gatefold Jacket: Near Mint/ Attached Picture Booklet: Near Mint/ Obi: Excellent). Original Japanese press issue, housed in a thick spine cloth bound book type like gatefold jacket that housed a picture booklet and both LP’s. Only occasionally surfaces excellent early times Miles recording. Price: 50 Euro
1180. MILES DAVIS: “Miles Davis Story Vol. 1” (Prestige/ Nippon Victor – MJ-7044) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Very rare early 1960s Japan ONLY Miles release all complete with rare first issue obi. Price: 200 Euro
1181. MILES DAVIS: “Miles Davis Versus Art Blakey” (Philips/ Victor Records – SFL-7232) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint) Very rare 1965 Japan only issue all complete with rarely seen first issue obi. All is in amazing condition. Price: 150 Euro
1182. MILES DAVIS ALL STARS: “Walkin’” (Prestige – SMJ-7161) (Record: VG++ ‾ Excellent – has a couple of sleeve lines/ Flip Back Jacket: VG++ ‾ Excellent/OBI: Near Mint). First original Japanese pressing, that comes housed in the first press flip back sleeve and complete with first issue OBI. “The undeniable strength and conviction present in Miles Davis performance on Walkin’, underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano) Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis’ quintet includes the primary trio and Dave Schildkraut (alto sax). Walkin’ commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music -- as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson -- who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles’ impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort.”(All Music – Lindsay Planer). First time I can encounter a first press issue with obi, condition is VG++ but the obi is insanely rare. Price: 100 Euro

1183. MILES DAVIS & ART BLAKEY AND JAZZ MESSENGERS: “Ascenseur Pour L’Echafaud & Des Femmes Disparaissent” (Philips Records – SFL-7268) (Record: near Mint/ Flip Back Jacket: Near Mint). Japan only issue of great cool jazz soundtrack. Side A is dedicated to the Miles Davis score recorded in a totally improvised manner for the Louis Malle film. This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs. The B-Side is granted to Art Blakey & the Jazz Messengers in December 1958, playing short themes and sketches that were used in the French film Des Femmes Disparaissent and dwells in a similar dark Nouvelle Vague atmosphere as the Davis recording. The music is bewitchingly beautiful. However, this Japanese edition comes in a totally different sleeve than the European press. Turns up seldom. Price: 50 Euro

1184. MILES DAVIS: “Miles Davis And The Modern Jazz Giants” (Prestige/ Victor World Group – SMJX-10074(M) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Near Mint) Original early 1960s Japan first press issue all complete with gold colored obi. Including sessions recorded the same day as those on Bags Groove, this LP includes more classic performances from the date that matched together trumpeter Miles, vibraphonist Milt Jackson, pianist Thelonius Monk, bassist Percy Heath and drummer Kenny Clarke. Miles & Monk actually did not get along all that well, and the trumpeter did not want Monk playing behind his solos. Still, a great deal of brilliant music occurred on the day of their encounter, including "The Man I Love," "Bemsha Swing," and "Swing Spring." It is a fairly important in the development of Miles Davis' sound, so therefore important in the development of Jazz. Influenced by Ahmad Jamal, it's here that Davis first creates the space in the sound, that he famously "argues" with Monk about on "The Man I Love (Take 1)". Davis points out that it wasn't an argument, he was just asking Monk to lay out to create space. A fitting high for the end of 1954 for Davis, the year he quit heroin. Price: 75 Euro
1185. MILES DAVIS: “Mode Study – Milestones/ Kind Of Blue” (Nippon Columbia/ CBS – SL-1223~4-C) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 4 Paged Booklet: Near Mint/ First issue OBI: Near Mint). Bloody rare 1966 Japan only Miles Davis issue. Just never surfaces, first copy I encounter in over 15 years time. Top condition in near perfect condition, impossible to lay your mittens on a better copy of this beast. Killer artwork!!! Price: 300 Euro
1186. MILES DAVIS: “In Person Vol. 1 – Friday & Saturday Nights At The Blackhawk, San Francisco” (Columbia – PSS-89-C) (Record: Excellent ~ Near Mint/ Flip-back Jacket: Near Mint/ Obi: Near Mint). Original 1964 press issue. Price: 125 Euro
1187. MILES DAVIS: “In Person Vol. 2 – Friday & Saturday Nights At The Blackhawk, San Francisco” (Columbia – PSS-90-C) (Record: Excellent ~ Near Mint/ Flip-back Jacket: Near Mint/ Obi: Near Mint). Original 1964 press issue. Price: 125 Euro
1188. MILES DAVIS: “In Person Friday and Saturday Nights” (Nippon Columbia – YS-171) (Record: Near Mint ~ Mint/ Flip Back Jacket: Mint/ 1st issue OBI: Mint/ 2 Inserts: Mint). Ridiculously rare first original Japanese pressing from 1961 all complete with 1st issue obi and inserts. I have never encountered an all-complete Japanese original pressing before all complete in such beautiful condition. The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb. What is most remarkable is the way Kelly fits into this particular blend of the Miles band. Kelly’s interplay with Chambers is especially brilliant, because his sense of blues phrasing inside counterpoint harmony is edgy and large, with left-hand chords in the middle register rather than sharp right-hand runs to accentuate choruses. Davis himself has never played with more intensity and muscularity on record than he does here. He is absolutely fierce, both on the Friday night and Saturday night sets. Kelly plays more like a drummer than a pianist, using gorgeously percussive left-hand comps and fills to add bottom to the front line's solos. Mobley displays his bebop rather than hard bop and groove sides here, and reveals his intricate knowledge of the bop phraseology; he sounds free of the baggage and responsibility that he replaced John Coltrane and Cannonball Adderley. His solos on "No Blues" are simply revelatory. This is an underappreciated group because of its relatively short life, but as evidenced here, the band members swung fast and hard and never looked back. Hearing a dropped bass line, an out-of-time cymbal flourish, and a shortened series of phrases by Miles because he miscounted -- you guess the track -- adds to the charm of this being recorded as it was, without any cleanup. It is difficult to recommend this set over Saturday Night or vice versa; Miles fans will need both to fully appreciate how special this engagement with this particular band was.”(Thom Yurek – All Music Guide). Hideously rare 1961 Japanese 1st original copy, all complete and in immaculate condition. Price: 150 Euro
1189. MILES DAVIS: “Birth Of Cool” (Capitol – CR-8035) (Red Wax Record: Near Mint/ Textured Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Obi: Near Mint). Beautiful Japanese original pressing with obi and the record pressed on red wax. So dubbed because these three sessions -- two from early 1949, one from March 1950 -- are where the sound known as cool jazz essentially formed, Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions -- arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz and Max Roach -- is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result -- the very thing that came to define West Coast or "cool" jazz -- but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream” (All Music Guide) Totally essential and ear blisteringly beautiful. Price: 200 Euro
1190. MILES DAVIS: “Blue Moods” (Liberty – LR-8814) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st press original complete with rare obi. This is the rare WHITE LABEL PROMO issue that comes on RED WAX!!!! Promo ONLY red wax pressing. Comes housed in Japan ONLY jacket art. “In the '50s, the party line among New York jazz critics was that hard bop was the "true faith" and that cool jazz was lightweight and unemotional. But Miles Davis knew better. The trumpeter (whose Birth Of Cool sessions of 1949-1950 proved to be incredibly influential) was smart enough to realize that cool jazz and hard bop were equally valid parts of the house that Charlie Parker built, and he had no problem working with cool jazzmen one minute and hard boppers the next. Recorded for Charles Mingus’ Debut label in 1955, Blue Moods is an excellent example of cool jazz. However, not all of the musicians who join Davis on this album were full-time members of jazz's cool school. Although vibist Teddy Charles was cool-oriented, Mingus (upright bass) and Elvin Jones (drums) were never considered cool players -- and the lyrical trombonist Britt Woodman was, in the '50s, best known for his association with Duke Ellington. Nonetheless, the things that characterized cool jazz -- subtlety, restraint, and understatement – characterize Blue Moods. Mingus and Jones were certainly capable of being forceful and aggressive, but you won't hear them being intense on this disc; a very laid-back, gently introspective approach prevails on interpretations of "Easy Living," "Alone Together," "Nature Boy," and "There's No You."(All Music Guide). Impossibly clean top condition. Price: 150 Euro
1191. MILES DAVIS: “E.S.P.” (Nippon Columbia – YS-525-C) (Record: Excellent/ Gatefold Jacket: Excellent/ Obi: Excellent). Original 1965 Japan first pressing – 360 Sound orange label and complete with first issue obi. ESP marks the beginning of a revitalization for Miles Davis, as his second classic quintet – saxophonist Wayne Shorter, pianist Herbie Hancock, Bassist Ron Carter and drummer Tony Williams -- gels, establishing what would become their signature adventurous hard bop. Miles had been moving toward this direction in the two years preceding the release of ESP and he had recorded with everyone outside of Shorter prior to this record, but his addition galvanizes the group, pushing them toward music that was recognizably bop but as adventurous as jazz's avant-garde. This is exploratory music, whether it's rushing by in a flurry of notes or elegantly reclining in Hancock’s calm yet complex chords. The compositions are brilliantly structured as well, encouraging such free-form exploration with their elliptical yet memorable themes. This quintet may have cut more adventurous records, but ESP remains one of their very best albums.” (AMG). Classic Davis slide with first issue obi. Price: 150 Euro
1192. MILES DAVIS: “Nefertiti” (Nippon Columbia – YS-990-C) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Excellent – has a folding crease). Rare 1968 Japan original with first obi present. “Nefertiti, the fourth album by Miles Davis second classic quintet, continues the forward motion of Sorcerer, as the group settles into a low-key, exploratory groove, offering music with recognizable themes -- but themes that were deliberately dissonant, slightly unsettling even as they burrowed their way into the consciousness. In a sense, this is mood music, since, like on much of Sorcerer, the individual parts mesh in unpredictable ways, creating evocative, floating soundscapes. This music anticipates the free-fall, impressionistic work of In A Silent Way, yet it remains rooted in hard bop, particularly when the tempo is a bit sprightly, as on "Hand Jive." Yet even when the instrumentalists and soloists are placed in the foreground -- such as Milesextended opening solo on "Madness" or Hancock’s long solo toward the end of the piece -- this never feels like showcases for virtuosity, the way some showboating hard bop can, though each player shines. What's impressive, like on all of this quintet's sessions, is the interplay, how the musicians follow an unpredictable path as a unit, turning in music that is always searching, always provocative, and never boring. Perhaps Nefertiti’s charms are a little more subtle than those of its predecessors, but that makes it intriguing. Besides, this album so clearly points the way to fusion, while remaining acoustic, that it may force listeners on either side of the fence into another direction.” (All Music Guide). Amazing and essential Miles classic slide. Rare Japan 1st press issue with 360 Columbia Obi. Hardly ever surfaces with all complete. Killer!!!! Price: 250 Euro
1193. MILES DAVIS QUINTET: “The Original Quintet (First Recording)” (Prestige – Victor Records – SMJX-10076(M) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top condition original first press issue all complete with rare obi. Miles Davis’ quintet was formed in 1955 and is widely regarded as one of the greatest combos in jazz history. Each of its members were individual creative forces that could have easily been leaders. Miles Davis, trumpet; John Coltrane, tenor sax; Red Garland, piano; Paul Chambers, bass & Philly Joe Jones, drums. Price: 100 Euro
1194. MILES DAVIS: “Workin’ With The Miles Davis Quintet” (Prestige/ Victor – SMJX-10048(M)) (Record: Mint/ Heavy Gatefold Jacket: Mint/ OBI: Mint). Bloody rare 1st original Japanese pressing complete with OBI. MONO issue. “Workin’ is the third in a series of four featuring the classic Mils Davis 5tet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin’ and Relaxin’, Workin’ is the product of not one -- as mythology would claim -- but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin’ is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band's interaction on "Four" extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, garland and Jones with Paul Chambers chasing along with his rhythmic metronome. Beneath the smoldering bop of "Trane's Blues" are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers’ solo stands as one of his defining contributions to this band. In sly acknowledgement to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with "The Theme" -- a brief and mostly improvised tune -- indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin’, the final Miles Davis 5tet recording to have been culled from these historic sessions.” (All Music). Rare 1st original Japanese MONO press issue complete with rare OBI in MINT condition. Price: 200 Euro
1195. MILES DAVIS QUINTET:Relaxin’ With The Miles Davis Quintet” (Prestige/ Victor Records – SMJX-10059(M) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top condition original first press issue all complete with rare obi. “Relaxin’ features the Miles Davis Quintet in a pair of legendary recording dates. It contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet -- who includes: Davis trumpet), John Coltrane (tenor sax), Philly Joe Jones (drums), and Red Garland (piano) -- to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. "If I Were a Bell" -- from the play Guys and Dolls -- includes some remarkable soloing via Coltrane and Garland. Davis’ solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued Davis must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as "You're My Everything" and "Oleo" highlight the synchronic nature of Davis and Coltrane as they carry each other's melodies while trading off solos. The steady syncopation of Philly Joe Jones keeps the rhythms tight and the delicate interplay all the more conspicuous. Relaxin offers something for every degree of jazz enthusiast.” (All Music Guide). Price: 150 Euro
1196. MILES DAVIS with SONNY ROLLINS: “DIG” (Prestige – SMJ-7571) (Record: Near Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). One of the great draws of jazz music is how its greatest players all tended to collaborate with each other, and the combination of Miles Davis and Sonny Rollins on Dig is no exception. These sessions, recorded in 1951 for the Prestige label, feel like a playful and inventive introduction between Davis and Rollins. Dig, though, is also an album haunted. 1951 found Davis—along with Rollins and drummer Art Blakey—dealing with drug addiction. He had been loved in Paris in the late ‘40s, and the perceived ambivalence that met him when he returned to New York sent him reeling. Davis turned to heroin, and would spend the first half of the ‘50s trying to shake the habit. These sessions have a sound about them that seems to reflect, intentionally or not, that emptiness Davis felt. There’s a cavernous feel to these recording. You can sense a huge space between the different instruments, and you can almost feel the size of the studio itself. The recording itself also does this hefty atmosphere no favors. The title track itself was a heavily played jazz number, but here it feels fresh and expansive. Rollins and Davis trade solos back and forth, growing in intensity as they do, until the two rise as high as they can go and converge for the explosive last minute of the track. It’s a version based in a seemingly uncontrolled inertia. The playing just takes them over and they charge forward with a youthful exuberance. “Denial” too shows them as musicians on fire. Davis in particular blasts the song open with his quick-fire solos, and Rollins drifts in on his wake and keeps the sound churning.” (Matthew Fiander) Mint condition!!!! Price: 250 Euro
1197. MILES DAVIS: “Blue Haze” (Prestige – SMJ-7573-M) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). “Blue Haze documents two Prestige sessions from May 1953 and March 1954 (plus "I'll Remember April," with altoist Davey Schildkraut from the April 3, 1954 session that yielded half of Walkin’) During this time, a resurgent Miles Davis began to zero in on his own style and sound, taking significant steps away from the rhythmic and harmonic devices of his mentor Dizzy Gillespie. Paralleling his recorded work for Blue Note, Davis was also working with some of the greatest rhythm players in the history of jazz. Blue Haze finds Davis the lone featured horn. "When Lights Are Low" is one of Benny Carter’s most famous melodies, and the song-like cadences suit the ripe, chipper tone of Davis’ horn. John Lewis’ Monk-ish chords signal the sprightly head to "Tune Up," as Percy Heath and Max Roach groove manfully along. "Miles Ahead" is derived from Davis’ earlier "Milestones”. Davis’ loping solo illustrates his leisurely ease in constructing a melody, but his dancing eights with Roach illuminate what fires simmer beneath the surface. Cut by cut, this set documents the trumpeter's search for his ideal rhythm mates. Thanks to Heath, Art Blakey and especially Horace Silver, Davis here sounds far more relaxed, swinging, and rhythmically complex on his famous melody "Four." Their interplay on "Old Devil Moon" is a study in give and take, tension and release. And aroused as he is by Heath’s booming blues beat, Blakey’s ghostly sizzle cymbal, and Silver’s taut accompaniment, Davis turns the title tune into as expressive a film noir blues as you're likely to hear this side of Raymond Chandler” (All Music Guide) Top condition!!!! Price: 250 Euro
1198. MILES DAVIS: “Bags’ Groove” (Prestige – SMJX-10044) (Record: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint). Rare Japan first original pressing with rare 1st issue obi in TOP condition. There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session – featuring Thelonius Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins. Or Horace Silver’s uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of "Airegin" flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches Of Spain epic. The fun and slightly maniacally toned "Oleo" features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc.” (All Music Guide). Price: 250 Euro
1199. MILES DAVIS: “Ascenseur Pour l’Echafaud” (Philips – SFX-7170) (Record: Mint/ Heavy Gatefold Jacket: Mint). Rare Japan original pressing of stunning Miles slide. Comes housed in heavy Japan only gatefold sleeve. Jazz and film noir are perfect bedfellows, as evidenced by the soundtrack of Louis Malle's Ascenseur Pour L'Echafaud (Lift to the Scaffold). This dark and seductive tale is wonderfully accentuated by the late-'50s cool or bop music of Miles Davis, played with French jazzmen -- bassist Pierre Michelot, pianist René Urtreger, and tenor saxophonist Barney Wilen -- and American expatriate drummer Kenny Clarke. This recording evokes the sensual nature of a mysterious chanteuse and the contrasting scurrying rat race lifestyle of the times, when the popularity of the automobile, cigarettes, and the late-night bar scene were central figures. Davis had seen a screening of the movie prior to his making of this music, and knew exactly how to portray the smoky hazed or frantic scenes though sonic imagery, dictated by the trumpeter mainly in D-minor and C-seventh chords. Michelot is as important a figure as the trumpeter because he sets the tone, as on the stalking "Visite du Vigile." While the mood of the soundtrack is generally dour and somber, the group collectively picks up the pace exponentially on "Diner au Motel." At times the distinctive Davis trumpet style is echoed into dire straits or death wish motifs, as on "Generique" or "L'Assassinat de Carala," respectively. Clarke is his usual marvelous self, and listeners should pay close attention to the able Urtreger, by no means a virtuoso but a capable and flexible accompanist. This recording can stand proudly alongside Duke Ellington's music from Anatomy of a Murder and the soundtrack of Play Misty for Me as great achievements of artistic excellence in fusing dramatic scenes with equally compelling modern jazz music.” (All Music Guide) Top condition, impossible to ever upgrade upon. Price: 75 Euro
1200. MILES DAVIS: “Round About Midnight” (CBS Sony – SOPC-57139) (Record: Mint/ Capsule Obi: Mint/ Jacket: Mint – still in shrink). Rare 1st original Japanese pressing on high quality vinyl in impeccable condition. Price: 75 Euro
1201. MILES DAVIS: “Filles De Kilimanjaro” (CBS SONY – SONP-50052) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint). Beautiful Japanese original with capsule obi. Since it's billed as "Directions in Music by Miles Davis," it should come as little surprise that Filles De Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it's possible to hear the breaking point -- though his quintet all followed him into fusion (, it's possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in "direction" was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles De Kilimanjaro bears him out. Though the album sports inexplicable, rather ridiculous French song titles, this is music that is unpretentiously adventurous, grounded in driving, mildly funky rhythms and bluesy growls from Miles, graced with weird, colorful flourishes from the band. Where Miles In The Sky meandered a bit, this is considerably more focused, even on the three songs that run over ten minutes, yet it still feels transitional. Not tentative, but certainly the music that would spring full bloom on In A Silent Way was still in the gestation phase, and despite the rock-blues-n-funk touches here, the music doesn't fly and search the way that Nefertiti did. But that's not a bad thing -- this middle ground between the adventurous bop of the mid-'60s and the fusion of the late '60s is rewarding in its own right, since it's possible to hear great musicians find the foundation of a new form. For that alone, Filles De Kilimanjaro is necessary listening. (AMG). Price: 75 Euro
1202. MILES DAVIS: “Bitches Brew” (CBS Sony – SONP-50255~256) (2 LP Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Excellent). Original 1st press Japanese issue complete with the capsule obi. Getting a bitch to dig up in such a pristine condition as this one here with obi present. The ultimate Miles recording, total classic, a record to fry your brain to cause it comes howling back at you deep in the night. Killer. Price: 150 Euro

1203. MILES DAVIS: “Black Beauty Miles Davis At Fillmore West” (Sony CBS – SOPJ-39〜40) (2 LP Set: & Coated Gatefold Jacket: Near Mint & 4 paged Insert & Capsule OBI: MINT – STILL SEALED). 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 VERY FIRST pressing housed in coated heavy gatefold jacket. Comes complete with rare Capsule OBI and the whole affair is still factory sealed. Price: 200 Euro

1204. MILES DAVIS: “On The Corner” (CBS Sony – SOPL-125) (Record & Gatefold Jacket: Mint & Horizontal Capsule Obi: Mint – STILL FACTORY SEALED). First original Japanese press adorned with always-illusive horizontal capsule obi strip. The whole affair is still sealed. Music needs no introduction I guess. Everyone knows what the deal is. Just in case this is not the fact, here is a snippet of what the great Ralph Gleason had to say about it way back in 1972: “Miles’ album plays through almost without a pause even though the tracks are separated by bands. The groove runs quickly across the band or else the music continues into and out of it, I simply can't tell. In any case, the music is laid out there for you as an integral whole, not a series of individual compositions arbitrarily selected and juxtaposed. They fit, like the movement of a long, planned work, and Miles plays them in this manner as well. Throughout the album, there is extensive use of a variety of rhythmic sounds. Shakers, claves, cowbells, weird and exotic drums, wetted thumbs drawn across tight-skin drumheads, anything traditional or invented which could make a sound that seemed to Miles to fit. Electronics include keyboards, guitar and a device on Miles’ horn. Despite the fact that the sound of Miles’ trumpet is heard less on this album than perhaps on any of his others, the totality of the music is possibly under even greater control. He wrote all the compositions and, I believe, personally edited and overdubbed or whatever else was done in the studio to produce the multiplex recording in which polyrhythm’s play such an important part. In spite of the separation into tracks and the titling of them, I am inclined to think that one will not play excerpts from this album unless Columbia slices a single out of it because the music goes so well as a whole story. It is so lyrical and rhythmic. Miles' own horn, as well as the soprano saxophone of Carlos Garnett, produces loving sounds. But the impact of the whole is greater than the sum of any part. It is music of the streets, as I said, and as such it has the throb of the street as well as the beauty of a rose in Spanish Harlem. It is music, which celebrates street life as well as the beauty of life itself, and it brings together (and celebrates the individual beauty of the rhythms of) many different cultures. Even the guitar sounds of David Creamer and the keyboards of Herbie Hancock and Harold I. Williams are utilized in the creation of a lyric feeling and lyric sound without laying them out in linear fashion. This music is more about feelings than notes, as Donald Ayler once remarked.” (Ralph J. Gleason) Stuff of legends, psychedelic as well as minimal as well as funked up jazz. It has it all. Rare & totally vanished first pressing, Japanese edition with obi. SEALED first press original. Price: 200 Euro
1205. MILES DAVIS: “Pangaea” (CBS SONY – SOPZ-96~97) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Booklet: Mint). Japan only issue, 1st original pressing all complete with OBI and booklet. This is the second of two performances from February 1975 at the Osaka Festival Hall in Japan. This is the evening show; the Columbia release Agharta was the afternoon show. Pangaea is comprised of two tracks, "Zimbabwe" and "Gondwana." Each is divided into two parts. The band here is comprised of Sonny Fortune on saxophones, Pete Cosey (who also played synth) and Reggie Lucas on guitars, Michael Henderson on bass, Al Foster on drums, James Mtume on percussion, and Davis on trumpet and organ. The band, no doubt inspired by their amazing performance earlier in the day, comes out swinging, and I mean like Muhammad Ali, not Benny Goodman. This is a take-no-prisoners set. Davis seems to be pushing an agenda of "What the hell is melody and harmony? And bring on the funk -- and while you're at it, Pete, play the hell outta that guitar. More drums!" If there is anything that's consistent in this free-for-all, as everybody interacts with everyone else in an almighty dirty groove & roll while improv is at an all-time high, it's the rhythmic, or should we emphasize "polyrhythmic," invention. Mtume and Foster are monstrous in moving this murky jam session along ("Zimbabwe" is one set, and "Gondwana" is the second of the evening) some surreal lines. When Cosey's not ripping the pickups out of his guitar, he's adding his hands to various percussion instruments in the pursuit of the all-powerful Miles Davis’ inflected voodoo funk. And while it's true that this set is as relentless as the Agharta issue, it's not quite as successful, though it's plenty satisfying. The reason is simple: the dynamic and dramatic tensions of the afternoon session could never have been replicated, they were based on all conditions being right. Here, while the moods and textures are carried and the flow is quite free, the dramatic tension is not as present; the mood is not quite so dark. And while the playing of certain individuals here may be better than it is on Agharta, the band's playing isn't quite at that level. That said, this is still an essential Miles Davis live record and will melt your mind just as easily as Agharta. People would complain on this tour that Davis played with his back to the audience a lot -- Lester Bangs went so far as to say he hated his guts for it. But if you were this focused on creating a noise so hideously beautiful from thin air, you might not have time to socialize either. (Thom Yurek – All Music Guide). Absolutely fantastic and totally necessary Davis slide, original Japan only 1st original pressing in top condition. Price: 85 Euro
1206. MILES DAVIS: “In Concert” (CBS Sony – SOPJ-37‾38) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent/ Capsule Obi: Excellent). First original Japanese pressing all complete with very first issue capsule obi. “Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at the Philharmonic Hall is the only one documenting his On The Corner street-funk period, which is immediately obvious from the cover art. In Concert begins to move Davis’ live work even farther away from jazz tradition, as he largely forgoes concepts of soloing or space. Instead, Davis presides over a pulsating mound of rhythm, expanding his percussion section and using traditional lead instruments more to create texture -- including his own horn, which he feeds through a wah-wah pedal and other amplification effects. Drummer Al Foster, tabla player Badal Roy, and percussionist Mtume are the centers of the recording, and electric sitar player Khalil Balakrishna adds an exotic dimension to the already tripped-out sonic stew. And "stew" isn't too far off -- the individual voices and elements in the music tend to get mixed and muddled together, which may be frustrating for some jazz fans not used to listening for the thick layers of texture in the soundscapes or the furious energy in the grooves. There are few melodies to latch onto, save for a theme from On The Corner that Davis frequently uses during the first disc to signal transitions. But melody isn't the point of this music; it's about power, rhythm, and the sum energy of the collective, and of Davis’ electric jazz-rock albums, In Concert does one of the most mind-bending jobs of living up to those ideals.” (All Music). Top copy, 1st original Japanese pressing with capsule obi. Price: 65 Euro
1207. MILES DAVIS: “Live - Evil” (CBS SONY – 28AP-2153‾4) (2 LP Record & Gatefold Jacket & Capsule Obi: Mint & SEALED Condition). Japanese original pressing – green capsule obi version in sealed condition. Live Evil is one of Miles’ most confusing and illuminating documents. As a double album, it features very different settings of his band (actually two very different bands) that featured Michael Henderson, Jack DeJohnette, John McLaughlin, Gary Bartz, Keith Jarret & Airto. The result with these members in a live setting showed compositions that grooved hard and fast, touching on the great funkiness that would come on later. Other members on a different studio recording included Ron Carter, Dave Holland and Chick Corea and Herbie Hancock and Hermeto Pascal. The live material is wonderfully immediate and fiery all cream with enthusiasm, brimming over with a winding, whirring kind of dynamic that seems to turn them back in on themselves, as if the band was really pushing in a free direction that Miles was trying to rein in. It's an awesome record. This is the sound of transition and complexity, and somehow it still grooves wonderfully. Sealed Japan press with obi…Price: 100 Euro
1208. MILES DAVIS: “At Fillmore” (CBS SONY – 28AP-2157‾8) (2 LP Record & Gatefold Jacket & Capsule Obi: Mint & SEALED Condition). Japanese original pressing – green capsule obi version in sealed condition. Top copy Japan high quality first original pressing. With the reviews for Bitches Brew in full swing and Steve Grossman firmly established in the saxophone chair recently vacated by Wayne Shorter, Miles threw the band a curveball -- he added Keith Jarrett on organ to a band that already included bassist Dave Holland, electric pianist Chick Corea, percussionist Airto Moreira, and drummer Jack DeJohnette. Miles was playing a four-night stand at the Fillmore East. This double-LP puts together selections from each night, without regard for repetition. But no matter how familiar you are with this-period Miles, It's About That Time is still shocking - it has the same incredibly raw electricity that, say, Dylan's Albert Hall concert has; far edgier than Bitches Brew turned out to be. It's sometimes as if the band are impatiently and angrily re-inventing the material every few seconds. That over-used cliché about 'telepathic interplay' was surely never more appropriate. The sheer rush of ideas is astonishing. Impossible to find better as this one here. Price: 100 Euro
1209. MILES DAVIS: “Big Fun” (CBS SONY – 28AP-2159-60) (2 LP Record & Gatefold Jacket & Capsule Obi: Mint & SEALED Condition). Japanese original pressing – green capsule obi version in sealed condition. Japanese press adorned with always-illusive horizontal capsule obi strip. Music needs no introduction I guess. Still it burns like someone pouring hot oil on your legs, igniting a series of vamps from drones and a small melodic figure, creating an infectious groove riding on a big wave of melodic development like the 28 minute track "Go Ahead John," a riff-based groover, with McLaughlin and his wah-wah pedal setting the pace. Killer all the way, my ears are still buzzing through overexposure. Top condition, all is mint & Sealed and scoring these babies with obi present is a bitch. Price: 100 Euro
1210. MILES DAVIS & JOHN COLTRANE: “Live In Stockholm 1960” (DIW Records – DIW-25006‾25007) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi with attached 2 sided insert: Near Mint). This awesome 2 LP set features John Coltrane with the Miles Davis Quintet just a short time before Trane went out on his own. Davis sounds inspired by his star tenor and although Coltrane was reportedly bored with the repertoire ("On Green Dolphin Street," "All Blues," "Fran-Dance," "Walkin'" and two versions of "So What"), he is at his most explorative throughout this often-stunning music. In addition, the rhythm section (pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb) had been together for two years and is really tight. This highly recommended set also includes a brief interview with Coltrane from this period. Comes housed in a thick shiny gatefold jacket art, all complete with a 2 sided insert unto which the obi is attached. The pressing quality and sound is marvelous. Does not turn up too often. Price: 50 Euro
1211. MILES DAVIS: “Live – Evil” (Columbia Records – BL-30955 ‾ 30956) (2LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). Original US pressing in great condition of subliminal Miles live slide. Price: 65 Euro
1212. The STEVE MILLER BAND: “Sailor” (Capitol Records – CP-8577) (Record: Excellent/ Flip Back Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Bloody rare Japan 1st original pressing that comes on blood red wax and complete with mega rare OBI present. First copy ever I can clutch my fist around that has the obi. “Most definitely a part of the late-'60s West Coast psychedelic blues revolution that was becoming hipper than hip, Steve Miller was also always acutely aware of both the British psychedelic movement that was swirling in tandem and of where the future lay, and how that would evolve into something even more remarkable. The result of all those ideas, of course, came together on 1968's magnificent Sailor LP. What was begun on Children Of The Future is more fully realized on Sailor, most notably on the opening "Song for Our Ancestors," which begins with a foghorn and only gets stranger from there. Indeed, the song precognizes Pink Floyd’s1971 opus "Echoes" to such an extent that one wonders how much the latter enjoyed Miller’s own wild ride. Elsewhere, the beautiful, slow "Dear Mary" positively shimmers in a haze of declared love, while the heavy drumbeats and rock riffing guitar of "Living in the U.S.A." are a powerful reminder that the Steve Miller Band, no matter what other paths they meandered down, could rock out with the best of them. And, of course, this is the LP that introduced many to the Johnny Guitar Watson classic "Gangster of Love," a song that would become almost wholly Miller’s own, giving the fans an alter ego to caress long before "The Joker" arose to show his hand. Rounding out Miller’s love of the blues is an excellent rendering of Jimmy Reed's "You're So Fine." At their blues-loving best, Sailor is a classic Miller recording and a must-have -- especially for the more contemporary fan, where it becomes an initiation into a past of mythic proportion.” (All Music Guide). Sailor was the first Steve Miller to be released in Japan and was followed by Children of the Future, which was the band’s first release. That aside, complete Japanese original with obi are…a bitch to dig up, first time for me to wheel this beauty in. Price: Offers!!!!
1213. The STEVE MILLER BAND: “Children Of The Future” (Capitol – CP-8685) (Record: Near Mint/ Jacket: Near Mint/ OBI: VG++ ‾ Excellent – has a few wrinkles and folding crease). WHITE label PROMO is sue. Comes with insanely rare obi present. “A psychedelic blues rock-out, 1968's Children Of The Future marked Steve Miller’s earliest attempt at the ascent that brought him supersonic superstardom. Recorded at Olympic Studios in London with storied producer Glyn Johns at the helm, the set played out as pure West Coast rock inflected with decade-of-love psychedelia but intriguingly cloaked in the misty pathos of the U.K. blues ethic. Though bandmate Boz Scaggs contributed a few songs, the bulk of the material was written by Miller while working as a janitor at a music studio in Texas earlier in the year. The best of his efforts resonate in a side one free-for-all that launches with the keys and swirls of the title track and segues smoothly through "Pushed Me Through It" and "In My First Mind," bound for the epic, hazy, lazy, organ-inflected "The Beauty of Time Is That It's Snowing," which ebbs and flows in ways that are continually surprising. The second half of the LP is cast in a different light -- a clutch of songs that groove together but don't have the same sleepy flow. Though it has since attained classic status – Miller himself was still performing it eight years later – Scaggs’ "Baby's Callin' Me Home" is a sparse, lightly instrumentalized piece of good old '60s San Francisco pop. His "Steppin' Stone," on the other hand, is a raucous, heavy-handed blues freakout with a low-riding bass and guitar breaks that angle out in all directions. And whether the title capitalized at all on the Monkees similarly titled song, released a year earlier, is anybody's guess. Children Of The Future was a brilliant debut. And while it is certainly a product of its era, it's still a vibrant reminder of just how the blues co-opted the mainstream to magnificent success.” (All Music Guide). The first Miller Band LP to see the light of day but only the 2nd one to come out in Japan. Again 1st all-complete issue with obi I see in my lifetime and another heavy fave around here. Price: Offers!!!!
1214. The STEVE MILLER BAND: “Brave New World” (Capitol Records – CP-8744) (Record* Near Mint/ Gatefold Jacket: Excellent) 1969 Japan 1st original pressing – white label promo issue. Brave New World was more fully realized, and rocked harder, than Miller’s previous outings. His guitar playing is the star of this album, blazing across the whole affair more prominently than on any other release in his lengthy career; many of the songs have a power trio feel. In addition to the fine guitar work, Miller’s vocals are stronger here, and during this era in general, than they would be in his hit making days in the mid-'70s, when he was much more laid-back and overdubbed. Succumbing to a hippier, dippier breeziness previously obscured by raw blues, Brave New World is Steve Miller's first full-blown plunge into the Technicolor waters of the Summer of Love. The record starts with the sound of an exploding A-bomb and quickly trips into harmonized sha-la-las, boogie-blues bass lines, and other signifiers of late-'60s, California-fried rock. Tim Davis sizzles on drums while the Space Cowboy goes intergalactic, groovier and more nuanced than ever. Listen for hints of "Fly Like an Eagle" in the Paul McCartney-backed "My Dark Hour." A truly gorgeous album. Price: 50 Euro
1215. MINGUS, CHARLIE: “Blues & Roots” (Atlantic Records – ATL-5045) (Record: Excellent/ Fragile Flip Back Jacket: Excellent ‾ Near Mint/ Obi: Near Mint). Rare Japan first original MONO press issue all complete with rare first issue obi! eleased in 1960, Blues & Roots is about as aptly titled as albums get, revealing some of Mingus’s more unexpected musical influences...or, at least, they’re unexpected if you think the man grew up listening to a diet of non-stop jazz. As Mingus explained in the album’s liner notes, the record came about as a result of Nesuhi Ertegun suggesting that he record an entire blues album in the style of “Haitian Fight Song” (which made its debut on Mingus’s 1957 Atlantic album, The Clown) in order to silence critics who were saying that Mingus didn’t swing enough. “He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy,” wrote Mingus. “I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed.” On that front, Blues & Roots would seem to have been a success: the All Music Guide says outright that “it ranks as arguably Mingus’s most joyously swinging outing.” It’s also worth noting that Elvis Costello cited the album in a Vanity Fair feature where he put together a 24-hour soundtrack for his life: “8 A.M. The day is picking up pace. Mingus is playing loud in the kitchen, something is boiling. Damned rare Japan 1st original MONO pressing with obi…Price: 75 Euro
1216. MINGUS, CHARLES with Max Roach, Eric Dolphy, Roy Eldridge & Jo Jones: “Newport Rebels” (Candid/ CBS SONY – SOPC-57003) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Capsule Obi: Near Mint). Rare Japanese first original pressing of legendary & rare jazz slide. In 1960 bassist Charles Mingus helped to organize an alternative Newport Jazz Festival in protest of Newport's conservative and increasingly commercial booking policy. The music on this LP (which has been reissued on CD) features some of the musicians who participated in Mingus’s worthy if short-lived venture. Trumpeter Roy Eldridge performs three numbers with pianist Tommy Flanagan; Mingus and drummer Jo Jones; of greatest interest is "Mysterious Blues" for it adds trombonist Jimmy Knepper and the unique altoist Eric Dolphy successfully to the group. The other selections match up drummers Max Roach and Jo Jones with Roach's quintet (featuring trumpeter Booker Little) on "Cliff Walk" and feature singer Abbey Lincoln on "Tain't Nobody's Bizness If I Do." (All Music Guide) Great condition Japan 1st original pressing with capsule obi. Price: 50 Euro
1217. MINGUS, CHARLES: “Mingus, Mingus, Mingus, Mingus, Mingus” (Impulse Records – IMP-88112) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original first pressing, rare WHITE LABEL promo issue. Having completed what he (and many critics) regarded as his masterwork in The Black Saint and the Sinner Lady, Charles Mingus’ next sessions for Impulse found him looking back over a long and fruitful career. Mingus, Mingus, Mingus, Mingus, Mingus is sort of a "greatest hits revisited" record, as the bassist revamps or tinkers with some of his best-known works. The titles are altered as well -- "II B.S." is basically "Haitian Fight Song" (this is the version used in the late-'90s car commercial); "Theme for Lester Young" is "Goodbye Pork Pie Hat"; "Better Get Hit in Your Soul" adds a new ending, but just one letter to the title; "Hora Decubitus" is a growling overhaul of "E's Flat Ah's Flat Too"; and "I X Love" modifies "Nouroog," which was part of "Open Letter to Duke." There's also a cover of Duke Ellington’s "Mood Indigo," leaving just one new composition, "Celia." Which naturally leads to the question: With the ostensible shortage of ideas, what exactly makes this a significant Mingus effort? The answer is that the 11-piece bands assembled here (slightly different for the two separate recording sessions) are among Mingusfinest, featuring some of the key personnel (Eric Dolphy, pianist Jaki Byard) that would make up the legendary quintet/sextet with which Mingus toured Europe in 1964. And they simply burn, blasting through versions that equal and often surpass the originals -- which is, of course, no small feat. This was Minguslast major statement for quite some time, and aside from a solo piano album and a series of live recordings from the 1964 tour, also his last album until 1970. It closes out the most productive and significant chapter of his career, and one of the most fertile, inventive hot streaks of any composer in jazz history.” (All Music Guide). Top condition and so bloody killer on all possible fronts it boggles the mind endlessly…. Price: 75 Euro

1218. MINGUS, CHARLIE: “Blue Bird” (America/ Nippon Columbia – YW-7575-MU) (Record: Near Mint/ Jacket: Near Mint/ Insert/ Near Mint/ Obi: Near Mint). Scarce Japanese high quality original press issue with obi!!! A great French session by Charles Mingus – with a lineup that includes Charles McPherson on alto, Bobby Jones on tenor, Eddie Preston on trumpet, and Jaki Byard on piano! Three tracks, including the great reading of Bird's "Blue Bird" on side 2, and a lengthy take of his own "Reincarnation Of A Lovebird", plus the standard "I Left My Heart In San Francisco". A nice later side in a small group setting. Totally essential in my universe. Japanese press original does not surface all too often…Price: 50 Euro

1219. MINGUS, CHARLES: “Cumbia & Jazz Fusion” (Atlantic Records – P-10531A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). As Charles Mingus’ career (and life) moved into its final phase, his recordings exclusively featured large ensembles. This LP, which contains two rather long performances originally recorded as soundtracks for films, is better than most of what followed. "c" has a large percussion section and quite a few woodwinds along with trumpeter Jack Walrath, tenor saxophonist Ricky Ford, and trombonist Jimmy Knepper while "Music for 'Todo Modo'" adds five horns to Mingus’ quintet. The music is episodic but generally holds its own away from the film. The album had at its heart two tracks of over 20 minutes each exploring the line between Colombian Cumbia and Jazz. Mingus’ Jazz experimentations are fused with Cumbia rhythms, free styling piano solos descend into 5 minute percussion extravaganzas, twisting the original rhythms to a whole new level before diving into calls of ‘Freedom! Freedom!’ and back out again – a constant crisscrossing between the two genres. Price: 50 Euro
1220. 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: 75 Euro
1221. MIRRORS/ ELECTRIC EELS/ THE STYRENES: “Those Were Different Times – Unreleased Cleveland Recordings 1973‾1976” (Jilmar Music) (3 Record Set: Excellent ‾ Near Mint/ 22 Paged Booklet: Near Mint/ Die Cut Outer Book Cover Bolted together: Near Mint). Rare three volume 10" vinyl compilation of unreleased Cleveland Proto Punk legends The Mirrors, Electric Eels and The Styrenes recordings from 1973-1976. The three bands were instrumental in the emergence of the Cleveland punk scene and were the forefathers of groups like Rocket For The Tombs, Pere Ubu, Dead Boys and The Pagans. It's a little hard to realize just how important these '70s underground bands really were to today's underground music scene. It sounds like a typically adventurous title for a retrospective, but Those Were Different Times indeed: In the years 1973-1976, the period from which these previously-unreleased recordings date, there was no industry pipeline, no indie label farm teams, no tailor-made marketing plans, no savvy promoters or hustling, power-brokering lawyers. Coming up in the same Cleveland underground scene that spawned the broadly-appreciated Pere Ubu, these three band shared members and made their own little scene. In literal endorsement of the popular alternative rock truisms, almost all of them were present when the Velvet underground played La Cave. There's a little section at the end of the liner notes called "What Happened After 1976" that details what the future held for each major player in these three bands. What they should have included was, "punk rock happened, alternative happened, indie rock happened grunge happened, etc.," because really, everything that's happened since owes some kind of debt to this music. Cardboard sleeves are sandwiched with 22-page booklet detailing the history of the three bands with complete liner notes for each track. Everything is held together with three heavy screws (more like bolts) and nuts - an odd and unique boutique packaging unlike anything you've ever seen and which certainly contributes to the rarity of this set.  This was issued in very limited numbers and is a must for any serious collector of Punk Rock, Proto Punk, or Cleveland music historians. Price: 60 Euro
1222. The MISFITS: “Beware” (Plan 9 – PLP9) (Record: Near Mint/ Jacket: Near Mint). Rare US original pressing from 1979! The “Beware” 12” EP was the fifth release from the Misfits. It was originally intended to be available a promotional release for the group's 1979 UK tour opening for the Damned. It combined two earlier, out of print singles that weren’t available in the UK (“Bullet” and “Horror Business”), along with one new track, “Last Caress”. Tracks include: “We Are 138”, “Bullet”, “Hollywood Babylon”, “Attitude”, “Horror Business”, “Teenagers From Mars”, & “Last Caress”. The entire EP was recorded at C.I. Recording in New York City, but on two separate occasions, one year apart. Bullet had been recorded in January of 1978. Horror Business was recorded one year later. "Last Caress" was also recorded at the first session, but was remixed, with reverb added to the vocals, in September of 1979 by Glenn Danzig and Bobby Steele. It was the only track ever to be released from that particular mixing session. Top condition US original!!! Damned rare!!! Price: Offers!!!!
1223. MISHA MENGELBERG KWARTET Featuring Gary Peacock: “Driekusman Total Loss” (Varajazz/ DIW – DIW-1011) (Record: Near Mint/ Jacket: Near Mint/ Obi with Insert: Near Mint). Long gone and scarce Japanese high quality issue of legendary Holland jazz slide. Price: 75 Euro
1224. MISHA MENGELBERG 10-TET: “Tetterettet” (ICP – 020) (Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint) Original 1977 first pressing on the highly collectible ICP label. Original 1977 first pressing on the highly collectible ICP label. The "Tetterettet" series, besides representing a substantial raid on the "t" drawer of a typesetter's box, were a series of compositions for a ten-piece group by Dutch pianist Misha Mengelberg. He is often likely to fling one or two of these sections at a concert audience, and the more the better. This brilliant '70s release from the Dutch jazz scene has an entire side of these pieces, more evidence than ever before that as a composer, Mengelberg created with this collection of pieces an incredibly satisfying balance of his noisy avant-garde instincts and obvious flair for both serious and comic written themes. A great instrumental lineup was assembled to play this music, which includes many complicated passages and stops on a ten-cent coin, about which it should be pointed out that the Dutch version of a dime is even smaller and thinner. Mengelberg’s longtime rhythm section partner drummer Han Bennink is joined here by bassist Alan Silva, who along with guest saxophonists Peter Brotzmann and John Tchicai make sure a certain sort of meat is served when it comes to ensemble improvising sections. No fear of surly rioting here, the music is meticulously controlled, with the "Tetterettet" material seemingly organized to moderate a flow of different improvised groupings. The presence of players such as cellist Tristan Honsinger and Michel Waisvisz on his self-invented electronic "cracklebox" means some of this improvisation gets pretty far out. Trombonist Bert Koppelaar is a lesser-known but dynamic and inspired soloist from this period who also wrote the illustrious tune "Ludwig's Blue Note." (All Music Guide – Eugene Chadbourne). One of the rarest and most delirious insane recordings on the highly collectible ICP records imprint. Top copy, 1977 first original pressing. Price: 200 Euro
1225. MISHA MENGELBERG & ICP Orchestra: “Japan Japon” (International Music Activity & Instant Composers Pool – IMA1/ICP024/ DIW-1014) (Record: Near Mint/ Jacket: Near Mint/ Obi with Insert: Near Mint/ PROMO ONLY Single: Near Mint/ Single Sleeve: Near Mint) Japan only release of this free jazz monster. Came out in 1982 and was never distributed outside the archipelago. First time ever I see a PROMO issue that comes with the PROMO ONLY 7 Inch present. The single is awesome, with Brötzmann playing a wild solo on a version of Ellingtons 'caravan'. Absolutely beautiful! Recorded live on May 11th and May 17th of the 1982 ICP Orchestra tour throughout Japan. The line-up is just mouth watering and consists of the finest free blowing spirits of that time. Misha Mengelberg (piano, voice), Han Bennink (drums, percussion), Peter Brotzmann (trumpets, sax, bassoon and voice), Keshavan Maslak (trumpet, sax, voice), Michael Moore (sax, clarinet), Walter Wierbos (trombone), Joep Maassen (trombone), Larry Fishkind (tuba), Maurice Horsthuis (viola) and Toshinori Kondo (trumpet, voice). Great free jazz monster record that will blow you out of your lazy sofa. Also quiet rare since it came out in an edition of a few hundred copies way back in 1982. Price: 75 Euro
1226. The MISJA MENGELBERG QUARTET: “As Featured At The Newport Jazz Festival 1966” (CBS Sony – SONP-50394) (Record: Near Mint/ Jacket: Excellent). Original Japan 1st original pressing, white label promo copy. Never ever seen a high quality Japanese pressing from the 1960s of this record ever before and it sounds astonishing. Brilliant slide where Mengelberg gets flanked by Piet Noordijk, Han Bennink and Rob Langereis. Beautiful with Mengelberg and Bennink playing hard bop and bringing forth a mellow and nice atmosphere that is quite far removed for their later frolics and free roaming jazz aesthetics that they will explore pretty soon on labels such as ICP and FMP. Historically important recording giving exposure to the sonic of the then reigning Dutch jazz scene. Rare Japanese 1st original pressing, never seen a Japanese original pressing before and it sound totally bonkers!!! Price: 150 Euro
1227. MITCHELL, ROSCOE SEXTET: “Sound” (Delmark – PA-7020) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 6 paged Insert: Near Mint). Hideously scarce first Japanese press of this free burning epic of a disc, complete with insert and obi. Has been ages since I had a copy complete with 1st press obi, these are getting very thin on the ground. “Sound, mainly taken up by the 46-minute Sound, truly set the standard for the rest of Chicago's creative music. The sextet (with trumpeter Lester Bowie, tenor saxophonist Kalaparusha Maurice McIntyre, trombonist Lester Lashley, bassist Malachi Favors, drummer Alvin Fiedler) challenged the dogmas of jazz improvisation and composition, venturing into dissonance and unusual timbres (even toy instruments). The instruments just did not sound like themselves: they were mere vehicles to produce abstract sounds. These sounds derived from the extended (and mostly dissonant) ranges of the instruments were made to interact and overlap. But the real breakthrough was the very notion of how to play: this was highly intellectual music, meant to be used by a brain, not by a heart, unlike New York's free jazz that was meant to be emphatic and frantic. These musicians were European scientists, not African shamans. They were scientists of the subtle. Thus the effect was that they were more interested in "silence" than in "music". Silence was indeed the "space" in which music happened: silence was a key ingredient in the musical event.” One word: totally essential. Price: 125 Euro
1228. MITSUAKI KANNO AND GROUP: “Shisendo No Aki” (Think – THLP-339) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Super limited deluxe reissue identical to the original, housed in thick gatefold jacket and complete with obi – numbered edition of 400 copies only, this one is 216/ 400. Sold out in the blink of an eye and it is easy to understand why. Recorded in 1970 and originally released in 1973, Mitsuaki Kanno’s “Shisendo No Aki” is a stunning slide and beautiful example of what Japanese jazz is all about by blending a modern jazz aesthetic with older themes from Japanese traditional music (featuring koto) and fusing it into one bewitching and coherent flow of spiritual/ funky jazz moves. Kanno's got a warmly sensitive approach to the piano that's totally great! One of the finest examples of “Wa-Jazz” with Kanno moving from plaintive ritualistic/ world – galaxy/ Eastern vibes and earth tones through the kind of tribal tongue of esoteric thinkers not unlike Alice Coltrane. Kanno directs his group through a series of modal blues, interplanetary exploration, and deeply spiritual jamming. He is in fine form exploring the connections between avant-garde/improvised jazz and spirituality. Absolutely stunning!!!! Price: 85 Euro
1229. MIYAMA (SHUKI) TOSHIYUKI & HIS NEW HERD: “Tsuchi No Ne - Adventure in Sound ‾ Ni Hon Densetsu No Naka no Shijo” (Nippon Columbia – NCB-7023) (Record: Near Mint/ Gatefold Jacket: Excellent ‾ Near Mint/ Obi: Near 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 other’s 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. Price: 575 Euro
1230. MIYAMA TOSHIYUKI & NEW HERD ORCHESTRA (with SATO MASAHIKO): “Yotsu No Jazz Composition aka Four Jazz Compositions” (Toshiba – TP-9010) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ 8-Paged Attached Booklet: Near Mint/ Obi: Near Mint). TOP COPY!!! Complete copy with OBI!!! Only the 2nd time ever I have a copy of this MONSTER and the very first time in impeccable condition!!!! One of the best Japanese free jazz improvisation records ever and all complete!!! Hideously rare 1970 free jazz big band squawk that is these days massively in demand. What a blast, free jazz based upon traditional/ classical Japanese themes, merging ancestral musical motives with modern-day improvisation, four compositions of which one by the hand of master Sato Masahiko but all executed with conviction and fire-breathing power by the Miyama Toshiyuki & the New Herd. The opening track by Sato Masahiko entitled “Mumyouju” balanced delicately on the razor’s edge between oriental almost Zen-like minimalism and volcanic orchestral tension that fuses mercurial interplay with enforced proportionate tension that swirls in and out of focus like a demented dervish. A perfect meltdown that gels a traditional aesthetic with a big band improvisational approach. Just breath-taxingly beautiful and setting the pace for the rest of the album to unfold itself upon. The second track “Shirabyoushi” by composer Takami Hiroshi takes the above-mentioned concept towards another level, more avant-garde in its execution without ever loosing the ever building up tension that spikes the orchestral interplay. It even has an almost early-seventies Miles Davis flavor seeping through at times, injecting a certain swing-like funky touch into it, making it lyrically intoxicating like the soundtrack to the 1st Dirty Harry movie while slowly descending in a spiral of stirringly flagellant Mahdi madness. The other two compositions “Ikisudama” by composer Maeda Norio and “Senshuuraku” by Yamamoto Kozaburo develop in a similar vein, walking the same tightrope bouncing in between classical Japanese themes and almost psychochemical interplay that is carefully executed as if the players were a bunch of ascetic monks injected with a hard bop virus while free-roaming the snowy flanks of Mount Fuji. It is just such an amazing disc that had me holding down my jaws in order from preventing them to hit down to the floor on numeral occasions. This amazing record has been out of print since its first pressing in 1970, its rarity sandblasts its reputation amongst a small circle of people in the know, but once one is actually exposed to it, the inescapable judgment is that is measures up to the hype – if there is one already. Probably not because it is too damned obscure so it is about time to ignite one on the merits of this disc alone. Massive and rrrrraaaaaaarrrre, especially with obi and booklet intact. TOP CONDITION. Price: Offers!!!!
1231. MIYAZAWA AKIRA: “Iwana – Bull Trout” (Victor – SMJX-10068) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). Original 1969 pressing in pristine condition – comes all-complete with rarely seen first press issue OBI. 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. OBI is damned rare!!! Price: Offers!!!!
1232. MIYAMOTO GEORGE & EROTICA SEVEN: “Ai No Rhythm – Onna No Negoto b/w Sado Ma Shiki Ni Yoru Kannno No Utage” (Eros Record – MW-5001) (Mini Single 33 1/3 Picture Disc: Excellent/ Gatefold Die Cut Jacket: Near Mint). Brutally awesome & groovy tittie-shaker. Sleazy dance floor filler that is sadly hopelessly obscure and next-to-impossible to track down & dig up. This is my first copy in 16 years! Impossible rare Japan only issue housed in die-cut gatefold sleeve, released on a private sleazy porn affiliated underground label, never shows up. Indeed, a 2-track tassle-tastic titty-shaker from the murky depths of the sleazy Tokyo underground from the late 1960s. It opens up with diluted underwater kind of affair, slowed down velvet lounge kind of vibe filled with eargasmatic moaning and groaning set to a stripped down, almost strange bluesy & weirdy soul sort of sleazy jazz. And the female moaning is of course omnipresent, aimed at lifting even your limpest of bodyparts. The B-side is a vicious, derelict and sleazy titty-shaker, fuzzed deranged biker groove that sets a fire under your butt, spiced up with wild shrieking multitude of erogenous non-verbal modes - moaning and uttered shrieks of ecstatic pleasure, sibilating suffocated whispers of excitement, and grunting and growling of a caged and sexually charged vixen. Certainly the sounds of this record which leave nothing to the imagination as to what is going on, sounds which set forth the act of sexual heavy petting in its most lustful aspects, surely causing erotic and lustful sexual stimulation in any normal person upon spinning this disc. Killer. The B-side has however one small pressing fault, causing a few clearly audible clicks that fade out after a few rotations. A real rarity here and only a few know to exist so far. Design is eye-popping and the mini single 7 inch picture disc is eye-gauchingly awesome. Price: 300 Euro
1233. MOBY GRAPE: “Ohama b/w 8 : 05” (CBS Records – LL-2085-C) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan only single issue housed in Japan only picture sleeve art, first original press issue from October 1967. Price: 250 Euro
1234. MOBY GRAPE: “WOW” (Columbia – CXS-3/ CS-9613) (Record: Near 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
1235. MOBY GRAPE: “Grape Jam” (CBS SONY – SONP-50110) (Record: Near Mint ~ Mint/ Jacket: Mint – Still housed in shrink/ Insert: Near Mint/ Capsule OBI: Mint, still housed in shrink). Very rare Japanese 1st press original – all complete with RARE CAPSULE OBI. The jacket & obi are still housed in its original shrink. All is in MINT condition. Moby Grape's self-conscious, but hardly less groovy late 60s excursion into loose, free form and largely instrumental psychedelia – the sweet and therefore appropriately titled Grape Jam! GJ is really a world away from their earlier rock regalia – with superstar special guests Al "How Does It Feel" Cooper and Mike Bloomfield brought in the flesh out the open-ended sounds. The sounds roll from walloping instrumental rock, to bluesier jams, to some driving nearly funky bits! Original Japanese pressing with capsule obi is…bloody rare to say the least. It is the first all complete copy I can lay my hands on in over 15 years!!! The condition is NM~M, impossible to upgrade upon. Just silly rare with OBI Price: 450 Euro
1236. JONATHAN RICHMAN & THE MODERN LOVERS: “Back In The U.S.A. b/w New England” (Beserkley/ Trio Records – PA-203) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare top condition Japan only Modern Lovers single issue. PROMO issue. Price: 250 Euro
1237. The MODERN LOVERS: “S/T” (Beserkley – SUX-182-SE) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). Bloody scarce 1st original Japanese pressing from 1980 complete with rare obi. Compiled of demos the band recorded with John Cale in 1973, The Modern Lovers is one of the great proto-punk albums of all time, capturing an angst-ridden adolescent geekiness which is married to a stripped-down, minimalistic rock & roll derived from the art punk of the Velvet Underground. While the sound is in debt to the primal three-chord pounding of early Velvet Underground, the attitude of Jonathan Richman and the Modern Lovers is a million miles away from Lou Reed’s jaded urban nightmares. As he says in the classic two-chord anthem "Roadrunner," Richman is in love with the modern world and rock & roll. He's still a teenager at heart, which means he's not only in love with girls he can't have, but also radios, suburbs, and fast food, and it also means he'll crack jokes like "Pablo Picasso was never called an asshole...not like you." "Pablo Picasso" is the classic sneer, but "She Cracked" and "I'm Straight" are just as nasty, made all the more edgy by the Modern Lovers amateurish, minimalist drive. But beneath his adolescent posturing, Richman is also nakedly emotional, pleading for a lover on "Someone I Care About" and "Girl Friend," or romanticizing the future on "Dignified and Old." That combination of musical simplicity, driving rock & roll, and gawky emotional confessions makes The Modern Lovers one of the most startling proto-punk records -- it strips rock & roll to its core and establishes the rock tradition of the geeky, awkward social outcast venting his frustrations. More importantly, the music is just as raw and exciting now as when it was recorded in 1973, or when it was belatedly released in 1976.” (All Music Guide). Fantastic review of their first LP and spot on description, it nails it right down. One of my all time fave records, if this does not bring tears to your eyes, you must be seriously mentally disturbed or you must be a complete insensitive asshole. Absolute killer with no filler, rock and roll never will get better or more honest than this. Top copy 1st original Japanese pressing with seldom seen obi…what can you possibly ask more for??? Price: 350 Euro
1238. The MODERN LOVERS & JONATHAN RICHMAN: “S/T” (Beserkley – SUX-181-SE)  (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint/ Insert: Mint). Bloody scarce 1st original Japanese pressing from 1980 complete with rare obi. Second Modern Lovers record for which Jonathan Richman’s name was billed over the group and eventually the group’s name would be dropped. A little lighter as far as lyrics are concerned in comparison to the first Modern Lovers record but still the overall vibe is blessed with an amateurish charm for which you keep coming back. Japanese first press is damned rare on these shores and it is the first time I have a copy in with obi. Top condition!!! Price: 350 Euro
1239. MODULO 100: “Nao Fale Com Paredes” (World In Sound – RFR-004) (Record: Near Mint/ Triple Fold Out Jacket: Mint) Long tome since I last had an original copy of this beast, so throwing out this long deleted deluxe reissue of this killer slide. 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….so in order to sum it all up this sucker is the Brazilian full-tilt hard psych behemoth. Long tracks, lysergic leads, stoned vocals, organ pumping and comes is a massively heavy triple fold out cover that will also disrupt your vision for days on end……if you can get through the sonic dementia tucked in its grooves…Price: 100 Euro
1240. MOEBIUS & PLANK: “Rastakraut Pasta” (Sky – Sky-039) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). German 1980 original first press issue. 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 an 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……top copy. Price: 75 Euro

1241. MOKO BEAVER & OLIVE: “Wasuretai Noni – I Love How You Love Me” (Express – ETP-7723) (Record: Near Mint ~ Mint/Gatefold Jacket: Mint/ Attached insert: Near Mint/ Obi: Mint). Bloody fucking rare 1st original press in top condition with ALWAYS missing obi present in MINT condition!! Ok here you have one of my all time favorite female vocal albums of all time. Hideously rare beyond belief 1969 first pressing, housed in gatefold jacket with OBI. Total mint copies with obi are impossible to score and cost you a kidney or a leg in return. This copy is near mint all way through. This 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 and in this case complete with the hardly ever seen OBI. Delusionally astonishing. The last couple of years this one is soaring in demand and getting next to impossible to unearth. Top condition. Price: Offers!!!!

1242. MOMOYAMA HARUE: “Asobi O Sentoya Umareken” (Victor/ Invitation – VIH-28036) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ 6-Paged Insert: Mint) First LP release by the late Momoyama Harue dating back to 1981. Her rarest effort and bloody hell, what does it sounds amazing. On her first LP, Momoyama Harue set out to bridge gaps, both musically and historically and single-handedly created a Nipponised sound that was both ethnically influenced by Japan’s rich musical history of the 12th century and it instantly feels both musically liberated and firmly rooted in multi-era reverence. Momoyama evokes a Japanese classicism, which then vanishes and resurfaces in her compositions, jarring the imagination. Still, as far as tonal color is concerned, also Silk Road and Middle Eastern influences seep into the mix, giving more substance to her shamisen playing and accentuating her austere singing style even more, dissecting its movements into fractious pieces. Various kinds of percussion are used, and instruments from the Middle East and China are also added and fundamentally based on the Japanese musical tradition with the intention of naturally blending them together into one cohesive sound. In a way the music comes over as very intuitive and is brimming over with a poetic resonance and a shamanistic sense of beauty. Momoyama’s skeletal music is deceptively intense, yet casual in feel but nevertheless meticulous in its musical detail and lyrical economy. And although the music is so drenched in the past, she succeeds in transporting it to the moment and through its austere intimacy she spans epochs within single syllables and her curious singing style recalls obscure rural rites, beclouded musical traditions and nebulous traditional sacramentarian convocations. A truly eye-filling beautiful recording that is so hard to put down since it exists entirely on its own plane. Never seen a copy before until now and one of the finest records to seep out of Japan that no one has ever heard of. Price: 75 Euro

1243. MOMOYAMA HARUE: “Hikiyomigusa” (Victor – Invitation – VIH-6056) (Record: Near Mint/ Jacket: Near Mint/ 4-paged insert: Near Mint/ Obi: Near 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. Price: 100 Euro

1244. MONK, THELONIUS with ART BLAKEY’s JAZZ MESSENGERS: “Blue Monk” (Atlantic – SMJ-7082) (Record: Excellent/Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Very rare Japan first original pressing. Comes housed in a fragile flip back sleeve and has the beautiful first press obi as well. Totally cool jazz session by Monk where Art Blakey and his Jazz Messengers flank him. Monk's solos here are among the most vivid recorded examples of his perfect time and his don't-fill-in-the-blanks approach to soloing. His three choruses on "In Walked Bud," amount to a case study in thematic improvisation. Anyone who thinks polyrhythmic drumming began with Elvin Jones should concentrate on Blakey's understated time-play behind Monk during that solo. Tenor saxophonist Johnny Griffin is superb throughout. Bassist Spanky DeBrest is a model of sturdy timekeeping and, in "Blue Monk," a good soloist. This was a fine and underrated edition of the Messengers. So good, it boggles the mind. Great original copy of rarely seen Japanese issue. Price: 150 Euro

1245. MONK, THELONIOUS QUARTET with JOHNNY GRIFFIN: “Recorded At The Five Spot Café, New York City” (Riverside/ Nippon Victor – SR-7040) (Record/ Jacket and OBI: MINT = SEALED COPY). Bloody rare Japan very first original pressing that came out in the early 1960s. Impossible to find a sealed copy with obi of that time. Best condition imaginable. Price: 250 Euro
1246. MONK, THELONIOUS ORCHESTRA: “The Thelonious Monk Orchestra At Town Hall” (Riverside/ Nippon Victor – SR-7068) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Pianist Thelonious Monk's appearance with a tentet at a 1959 Town Hall concert was a major success. With Hal Overton contributing arrangements of Monk's tunes (including a remarkable transcription of Monk's original piano solo on "Little Rootie Tootie") and solos provided by trumpeter Donald Byrd, trombonist Eddie Bert, altoist Phil Woods, Charlie Rouse on tenor, and baritonist Perre Adams, this date was a real standout. There would only be one other recorded occasion -- Monk's 1963 Philharmonic Hall concert -- when the unique pianist was as successfully featured with a larger ensemble. Price: 125 Euro
1247. MONK, THELONIOUS with JOHN COLTRANE: “S/T” (Riverside/ Victor Records – SMJ-6149) (Record: Near Mint/ Jacket: Near Mint - small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with obi. Rare WHITE label PROMO issue of all time classic recording of these two titans of jazz together in 1957. Price: 50 Euro
1248. MONK, THELONIOUS: “Thelonious Alone In San Francisco” (Riverside/ Victor Records – SMJ-6163) (Record: Near Mint/ Jacket: Near Mint - small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with obi. Rare WHITE label PROMO issue. With the robust ambience of Fugazi Hall in San Francisco at his disposal, Thelonious Monk recorded ten unaccompanied tracks over two days to create a long-awaited sequel to his immensely endearing Monk himself long-player. As had become somewhat customary for Monk, he brought with him a healthy sampling from his voluminous back catalog, cover tunes, as well as a few new compositions. What is most immediately striking about these recordings is the rich and accurate sound stage at Fugazi Hall. The overtones are rich and thoughtful in their ability to animate Monk’s recreations of some of his most endearing works, such as the pair that opens this set. "Blue Monk" still retains the proud stride and walking blues heritage of previous renderings. Adding a bit of off-tempo improvisation, Monk propels and emphasizes the rhythmic swing even harder. He is obviously also enjoying what he is hearing. The audible maturity guiding Monk through the familiar, albeit offbeat, chord progressions of "Ruby, My Dear" is striking. His nimble reflexes and split-second timing render this version superior. Again, the sound of the hall offers even more to enjoy from this performance. It is unfortunate that the playful solitude of "Round Lights" was never revisited. This freeform composition is framed within a blues structure, yet reveals all of the slightly askew freedom of a Monk original. The recreation of an old 1920s hit, "There's Danger in Your Eyes, Cherie," is another of the highlights from Thelonious Alone In San Francisco that was never recorded again by Monk. The noir qualities are immeasurably enhanced by Monk’s oblique phrasings as well as the eerie resonance of the Fugazi. This is an absolute must-own recording – Monk enthusiast or not.” (All Music Guide). So damned good, so damned essential. Top condition Japanese original with obi & PROMO to boot! Price: 50 Euro
1249. MONK, THELONIOUS: “Thelonious Monk Quartet Plus Two At The Blackhawk” (Riverside/ Victor Records – SMJ-6198) (Record: Near Mint/ Jacket: Near Mint- small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with obi. Rare WHITE label PROMO issue Thelonious Monk’s 1960 quartet which also includes tenor saxophonist Charlie Rouse, bassist John Ore and drummer Billy Higgins is augmented on this live session by two guests: trumpeter Joe Gordon and the tenor of Harold Land. The extra horns uplift the date and add some surprising moments to what otherwise might have been a conventional but still spirited live session. Highlights include "Let's Call This," "Four in One" and a swinging version of "I'm Getting Sentimental over You." Again top condition promo with obi Japan original press issue. Price: 50 Euro
1250. MONK, THELONIOUS SEPTET: “Monk’s Music” (Riverside/ Victor Records – SMJ-6207) (Record: Near Mint/ Jacket: Near Mint- small sticker on lower right side/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue all complete with obi. Rare WHITE label PROMO issue. “Monk’s Music is often cited as one of the focal points of Monk’s six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk’s signature compositions, but also some amazing interactions from the assembled ensemble. Joining Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Monk, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk’s completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins’ rich textures and Coltrane’s playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. Additionally, Blakey is in top form, with a solo that borders on spastic precision.” (All Music Guide). Price: 50 Euro
1251. MONK, THELONIOUS: “Volume One” (Blue Note Records – LNJ-70090) (Record: Near Mint/ Jacket: Near Mint - small sticker on lower right side/ Insert: Near Mint/ Obi: Excellent). Japanese original high quality pressing all complete with obi. Rarely seen WHITE label PROMO issue. Classic Monk slide recorded for the legendary Blue Note Records label. Top condition Japan high quality pressing with obi. Price: 50 Euro
1252. MONK, THELONIOUS: “Two Hours With Thelonious ‘Olympia’ Concert” (Riverside/ Nippon Victor Records – SR-9002‾3) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 4 Paged Japan Only Picture Booklet: Excellent ‾ Near Mint). Bloody rare White label TEST PRESSING with hand-written catalogue number on labels. Without a doubt the rarest version out there! Top condition. Price: 75 Euro
1253. MONK, THELONIUS: “Les Liaisons Dangereuses 1960” (Sam Records) (2 LP Record Set Box w/ 48 Paged color booklet/ Set of Picture Cards: Sealed copy). Limited and immediately sold out release, numbered edition, this one being 4576/ 5000. One time only box set issue it seems. Recorded in 1959 but never used, Thelonious Monk’s lost soundtrack to French film Les liaisons dangereuses is finally getting a release. Monk had been offered the opportunity to record in France, the soundtrack to Roger Vadim’s film, Les Liasons Dangereuses. Both Vadim and jazz promoter Marcel Romano were fans of Monk, and wanted him to record new music to complement the avant theme of this movie. Monk’s misfortunes caused him to be unable to fulfill the trip, nor record new compositions. Fortunately, a recording date was set in New York on July 27 at the Nola Studios, and his latest quartet of Charlie Rouse, Sam  Jones, and Art Taylor  entered the studio for a single days session. Romano, at the time was the manager of twenty-two-year-old French tenor sensation, Barney Wilen, who was added to the date as the second horn. Six of Monk’s compositions were recorded as well as the gospel hymn, “We’ll Understand It Better By and By.” Included were the rarely recorded “Light Blue” as well as the solo blues improvisation, “Six in One.” The addition of Barney Wilen on “Rhythm A Ning,” “Crepuscule with Nellie,” and “Ba-Lue Bolivar Ba-Lues-Are” provides a counterpart to Rouse’s bop tenor lines, and fleshes out the familiar Monk tunes. There are a few “misses” included such as “Light Blue,” the newest tune which seems centered around a drum pattern that is repeated for way too long, sounding like Art Taylor testing out the tuning of his drums. The rehearsal tape for this composition is included on the second LP and confirms Monk’s interest in this exercise. Though most of this material is well-known already, there still are many treasures, especially Monk’s handling of “Pannonica” in four versions; a much too brief “By and By,” and some tender readings of “Crepuscule with Nellie” Monk’s masterpiece written for his wife. The soundtrack has been pressed to a double LP box set and includes a booklet with essays and never-before-seen photographs. While Monk composed and performed a large chunk of the score, it was the party scene soundtracked by Art Blakey and the Jazz Messengers, that was originally and most famously released in 1960. Price: 175 Euro
1254. MONOCHROME SET: “The Lost Weekend” (Blanco Y Negro/ Warner Pioneer Japan – P-13191) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Japan first original pressing that came out in 1985. The Monochrome Set defined themselves in the late 70s and 80s as England’s wittiest troubadours, avoiding the sombre overtones of post-punk by penning songs that had a clean 60s pop sensibility, allied to vocalist and guitarist Bid’s sandpaper-dry reflections on life and love. Although the recordings were made on Cherry Red’s dime in 1983, the Warner Brothers subsidiary Blanco y Negro would not release the album until 1985. By that point, The Monochrome Set seemed to be winding down anyway, not doing much of anything in 1984. Those were not happy times for The Monochrome Set, though the LP released as The Lost Weekend is pretty jolly. The band was understandably frustrated by how their new label bungled the timing of their first single on it. “Jacob’s Ladder” was getting good radio play, but since the single was not in shops yet, the promotional engine pooped out before anyone could buy it. This is one of the odder points of the Lost Weekend story, since “Jacob’s Ladder”—a trivial fusion of Brit-Pop and gospel—hardly seems like the stuff hits are made of. The band would have done well to relinquish hopes for commercial success and keep the song’s original lyrics, which bandleader Bid says described intercourse in pornographic detail. So the track ends up sounding like a parody that never gets around to the joke. Fortunately, The Monochrome Set’s unique humor is present throughout much of the rest of the LP. Their pop craft is strong too, with wry nods to reggae, tango, sixties dance craze discs, fifties ballads  and psychedelia. Totally overlooked but damned great band. Price: 45 Euro
1255. MOPS: “Omae No Subete O b/w Atsukunarenai” (Victor – VP-10) (EP Record: Mint/ Picture Sleeve: Mint). Killer fuzz deranged non-LP tracks. This one is vicious, everything you wished a filthy derelict fuzz crazed record should sound like. Right in your face grizzly fuzz gritty sound without an end in sight, snotty garage-punk vibes embalmed in a wasted psychedelic mindset and aimed at the atavistic rock & roll lunatic. A wave of fuzz-adelic madness that comes down a long black chute where ugliness rolls over you like waves of boiling asphalt and poison scum. Just one amazing heavy psyched out slide that has not yet met its rival. Killer and sadly enough insanely rare. TOP mint copy!!! One of the Holy Grails of psychedelic garage!!!! Price: 300 Euro
1256. MORGAN, LEE: “The Sidewinder” (Blue Note – BST-84157) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint/ Company Inner Sleeve: Near Mint/ Obi: Near Mint). Rare Japan iswsue with first issue obi. Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan’s compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military. Henderson makes a major contribution to the album, especially on "Totem Pole," where his solos showed off his singular style, threatening to upstage Morgan, who is also fairly impressive here. Barry Harris, Bob Cranshaw and Billy Higgins are all in good form throughout the album as well, and the group works together seamlessly to create an album that crackles with energy while maintaining a stylish flow.” (All Music Guide). Top copy!!! Price: 75 Euro
1257. MORISADA MICHIHIRO: “Agekunohatemonaku” (Yuyoku Records – YUYOKU-0001) (Record: Near Mint ~ Mint/ Jacket: Mint). Freakingly rare and obscure private press Japanese free jazz bass solo record. The name of Morisada Michihiro might not immediately sound familiar to most of you but attentive readers of these pages might recall that he made one other private press free jazzing monster of a disc for which he teamed up with Motoki Yoshinori called “Tsurusen Kamesen” that came out in 1981 in an edition of 250 copies. This one however precedes that disc and was released in 1979 and pressed up in a tiny edition of only 200 copies. Only the 2nd time ever I have a copy available of this gem, after having heard rumors of its existence, so do not expect to see any other copy popping up any time soon. Morisada shines through on this recording as a true bass virtuoso in the vein as Yoshizawa Motoharu, creating an invigorating improvisational racket that is both venturing in the realms of deviational bliss, earth scorching transcendental power play and well-balanced austere almost minimal improvisations The whole affair was recorded live on August 16th, 1979 at a tiny club called Illimite. Upon spinning this disc I fail to comprehend why these two majestic players could not transcend the tiny circle of admirers and could free themselves from the constraints of the handful of devotees in the know of their incendiary powers. Secondly, this recorded artifact also proves that next to the stronghold of Tokyo – upon whose players all the attention got transfixed – there was a small free jazz scene burning high in Osaka but due to labels there to back up these sonic visionaries, the practitioners themselves had no other way out but to release and distribute amongst friends their own recorded exploits of fire-breathing beauty. Hence the private nature and ultra limited pressing of this disc. Until now I never ever have seen a copy of for sale so grab your change, this is one monster of a disc, the music is almost divine and will jack open your conception of oriental hardcore jazz. – be it I solo setting or in group setting Highest possible recommendation. Killer with absolutely no filler whatsoever. Price: 300 Euro
1258. MORITA DOJI: “Wolf Boy” (Atlantic – L-12547) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4 paged insert: Near Mint). This was one of the last albums Morita Doji recorded, dating back to 1983 and it would be come her rarest release. Comes with beautifully illustrated obi and 4-paged booklet by underground manga artist and connoisseur of the erotic grotesque horrific deranged style Maruo Suehiro who later on illustrated some of John Zorn’s Pain Killer discs. Great Original copy of this dark-clad acid-folk psych album that reminds me of Bridget St John. Original copy that comes with inserts, all with sick designed cartoons, dark underbelly eroticism and weirdness. Dark, melancholic and ethereal female vocals. Stunningly great and getting rarer every minute. Will certainly appeal to fans of Comus, Asakawa Maki, 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!! Price 75 Euro
1259. MORLEY GREY: “The Only Truth” (Starshine – 69000) (Record: Near Mint/ Jacket: Near Mint ‾ Mint/ Poster: Mint). Top condition genuine 1972 original 1st pressing of killer heavy psych slide. A band heralding out of middle-slime USA and heading nowhere but they managed to churn out this vicious slab of acid fried dementia that still rules my little universe! But first some boring facts to quell your suspicious nature. There are some notable differences to distinguish an original 1972 from 1980s repro. The original sleeve is thin and textured, an unusual combination that along with the color tone creates the impression of skin. (the counterfeit sleeve is textured but uses thick paste-on cardboard stock.) The clearest differences in the printing are the tiny red details, which stand out in bright (blood) color on the original (those are less noticeable on the fake one where the color tone is too dark and too earthen brown). Next to that the counterfeit back cover is close to the original in terms of text and layout but falls short on a detail that is easy to spot, which is the wrap-over part of the front cover slick. This is printed (brown) on the original but blank (white) on the repro. So with this cleared out, you can be assured this beauty here is the genuine thing and not the crappy almost identical boot that does the rounds. This is the early 1970s hard psych Holy Grail – Morley Grey's Only Truth LP – a tripped out classic that'd been bootlegged over and over! So this one here is the 100% original US copy! Heavy psych trio with relentless guitar action, trippy vibe and great songs – the 17 minutes title track does make the canyons of your head cave in for sure! There's a propulsive heaviness to much of the album, but they break it down with trippy elements and slow it down in spots, too. It's one of my favorite kind of early 70s, psychedelic torch carriers – finding an insistent groove without compromising the cosmic and lysergic influences it radiates out. Fantastic cover art and it comes complete with the rare poster as well, all in untouched condition! Has been some time since I saw a true and clean original….so here is one to quell your never-ending thirst and set your mind at ease for sure. Price: Offers!!!!
1260. MORNING PHASE: (Shadoks) (Record: Mint/ Jacket: Mint) Ltd to 350 hand-numbered copies. Anothertour de force of the always-exquisite Shadoks label. This time they unearthed arare demo pressing of a1971 UK acid folk side that is just awe-inspiring. Maleand female vocals intertwine with totally out of nowhere dark lyrics, hauntingsphere settings and gloomy – yet freaky – takes on the overall songwriting and composition of the songs. This one ranks up there high in the skiesof the UK acid folk pantheon together with Comus and even Mellow Candle, DoctorStrangely Strange and Mushroom. One of the hidden gems within the Shadokscatalogue, this one comes with the highest possible recommendation. Price: 75 Euro
1261. MOROI MAKOTO: “Spacephonic Music For Japanese Traditional Instruments by Makoto Moroi” (Victor – CD4K-7518) (Record: Near Mint/ Jacket: Mint/ Insert: Near Mint/ OBI: MINT). Hideously rare 1972 Japanese avant-garde disc by this electronic music composer. Second time ever I see a copy of this LP and the first time I see a copy complete with OBI. On this rarity here, Makoto Moroi engaged himself on applying the stereophonic space created by 4-channel system as a new medium to express his musical vision. The two pieces on display here represents Moroi’s space music based on Japanese national instruments. The first piece “Sinfonia Shin for S.M (Susumu Miyashita)” is a piece where he freely uses the complicated combination of two 30-stringed kotos, three 13-string kotos, gongs and several other kinds of percussion instruments, Indian flutes Bansuries and the modulated human voice. Here it expressed the diversity of the players and the sound space and movement created by multi-channel reproducing based on electronics. The second composition “Trio Ui-Tempen” was especially composed at the request of Victor Musical Industries. Three players with Shakuhachi, koto and percussion instruments create a musical mode by sound field change resulted from their positions or movement and the tension and relaxation due to self-assertion of each individual player. So both pieces on display here can be regarded as a creative process based on cooperation of the composer and the recording group. Fabulous austere electronic and acoustic induced avant-garde music, one of the rarest discs to surface. Just awesome. Highest recommendation. Rare beyond belief and still largely unknown because copies just do not surface. Price: 250 Euro
1262. MOROI MAKOTO: “Music for Shakuhachi” (Victor – VX-64) (Record: Near Mint/ Jacket: Mint/ Insert: Near Mint/ OBI: Mint). TOP COPY complete with OBI!!! Bloody damned rare, overlooked and totally vanished (since the day it was released) Japanese avant-garde masterpiece!! Original 1971 pressing that quickly sunk into complete obscurity following its release. First time I have a copy with obi of this Japanese avant-garde milestone! Moroi attempted here to fuse traditional instruments with an avant-garde and experimental mindset, in which he succeeded brilliantly. He aimed at trying to amalgamate the traditional techniques with a progressive musical syntax of contemporary music, add new meanings of expression and to pursue newer tone qualities through performing techniques unseen in a traditional method. So does he apply the principle of “probability” to some of the compositions and the player’s movements, to whom a number of musical fragments are presented and which they are free to play at their own choice and interpretation. Strings often imitate the musical patterns characteristic of the Shakuhachi playing. Through his unique instrumentation, Moroi succeeds wonderfully well in producing astonishing sonic effects. At times when a performance reaches its climax, sounds get amplified several times as loud as the actual volume through a special tape operation/ manipulation peculiar to multi-channel recordings. Following some climaxes a chaotic mass of sounds rapidly subsides into clear melodic lines played by the Shakuhachi. Stunning tour de force and rarely if ever seen original pressing. Bloody damned rare. Cheap price due to catalogue seals attached to label. Highest recommendation if you are interested into either Japanese avant-garde or traditional free-blowing aesthetics like Watazumido… My jaw drops to the floor each time I spin this one…too much beauty for one to handle without obtaining some sort of nerve damage.. Price: 250 Euro
1263. MOROI MAKOTO/ YOSHIRO IRINO: “Contemporary Music For Japanese Instruments” (Toshiba – TA-8009) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint/ 4 Paged Insert: Near Mint). Original 1971 Japanese 1st pressing complete with obi and booklet insert of this majestical avant-garde slide. On this slide, Moroi and Yoshiro are drifting on a course eager to reunite traditional Japanese music aesthetics with a 20th century modern music mindset. By using shakuhachi & shinobue, 13 strings koto, 12 strings koto, bass koto & shamisen weave into being some of the most ethereal Japanese music into being, stringing together faraway galaxies with Kamakura era serenity and making the whole sonic adventure totally mind boggling consummate art. Although the music may at times appear skeletal in its execution, it is nevertheless brimming over with deep undercurrents of depth, meticulous in its musical detail and lyrical economy, rendering it into a deceptively intense musical experience. And although the fact that the music is drenched in the past, its execution by these avant-garde composers makes it so of this moment, blessed with the rare gift of unexpected impact that resonates out of their ability to folding and manipulating space with their traditional instruments. This is some seriously deep shit here folks and to these ears one of the key releases to document the avant-garde scene in Japan during the late 60s and early 70s. So far, this is the sole copy I ever came across of this record complete with obi and booklet. A true jewel and bloody rare indeed. Comes death cheap so start hollering at the moon if you miss out on this one. Price: 150 Euro
1264. MOTHER TUCKERS YELLOW DUCK: “Starting A New Day” (Capitol – ST-6352) (Record: Near Mint ~ Mint/ Jacket: Mint, still in original shrink wrap with store sticker on the shrink). Original 1st Canadian pressing in top condition, final upgrade copy. The excellent second and much scarcer album by these Canadian folk rockers heralding from Vancouver, released in 1970. A smooth blending of folk, country rock, west coast vibes, a pleasantly mellow mood dominates, and the warm, melancholic vocals and some heavy electric guitar riffs pop up throughout. Sadly, it remains unheard by most, but is as good as the classic debut, in my opinion. The sound has been refined and developed, and is ahead of its time with its mellow '70s West Coast stonedness vibe. An impressive goodbye from this talented but unlucky band, who probably got dropped when the hoped-for "Vancouver wave" failed to take off commercially. As hard to find as the big Columbia Canada items. TOP COPY, still in shrink, jacket is perfect, disc is virtually untouched so conservatively graded at NM/NM or better. Price: 300 Euro
1265. MOTHERS OF INVENTION: “Freak Out – MONO version” (Verve – V-5005~2) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint ~ MINT). Top copy mono pressing – monster RARE WHITE LABEL PROMO MONO WEST COAST PRESS in outstanding condition. Records appear to be completely virginal, not even a spindle mark, jacket has no damage, sign of use or even the faintest trace of ring wear, just TOP copy!!! Original WHITE LABEL/ WEST COAST 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. Best copy imaginable and MONO = PROMO version…The yellow label East coast pressings do surface from tome to time but the West Coast “White Label Promo” pressings are a bitch to dig up and hardly ever surface, especially in such pristine condition as this one here. Best copy imaginable. Price: Offers!!!
1266. 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. Price: 350 Euro
1267. MOTHERS OF INVENTION: “We’re Only In It For The Money – Okashi Na Sekai” (Verve Records Japan – SMV-1115) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ OBI: MINT). ABSOLUTELY PERFECT COPY - impossible to ever upgrade upon!!! OK, here you have it, the rarest of the rare Japanese original pressings is this LP by the Mothers released in September 1969 and next to Freak Out the rarest of all Mothers/ Zappa records. Impossibly scarce Japanese 1st original pressing that NEVER turns up, last copy on sale in Japan was like 20 years ago. This is the ultimate copy in virginal MINT condition. COMPLETE WITH OBI!!!! A must for every Mothers fan. Complete copy with obi in this condition is bound to surface never again once. One off chance here. Price: Offers!!!!!!
1268. MOTHERS OF INVENTION: “Absolutely Free – JIYUU NA SEKAI” (Verve Records Japan – MV-1120) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Attached Japan only Insert: Near Mint ~ Mint/ OBI: MINT). ABSOLUTELY PERFECT COPY - impossible to ever upgrade upon!!! WHITE LABEL PROMO ISSUE!!! OK, here you have it, the rarest of the rare Japanese original pressings is this LP by the Mothers released in January 1970. Impossibly scarce Japanese 1st original pressing that NEVER turns up – especially the promo version with all complete, last copy on sale in Japan was like 20 years ago. This is the ultimate copy in virginal Near MINT condition. COMPLETE WITH OBI!!!! Comes with totally different inner gatefold picture and attached booklet than the regular US version, only present with the 1st original Japanese pressing. A must for every Mothers fan. Complete copy with obi in this condition is bound to surface never again once. One off chance here – especially for a white label promo issue all complete with killer obi!!! Price: Offers!!!
1269. MOTHERS OF INVENTION: “Absolutely Free” (Verve Records – V/5013)(Record: Excellent Minus/ Gatefold Jacket: Near Mint). Impossibly scarce deep groove pressing WHITE label promo copy. Most promotional copies you see areyellow label ones, east coast pressings. This one here is the west coast whitelabel press one. West coast pressings were fewer in those days than East Coastpressings. First time ever I could lay my eyes and hands on a white label copy. A must for every Mothers fan. Price: 400 Euro
1270. MOTHERS OF INVENTION: “Absolutely Free” (Verve – 2317-035) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1967 first UK pressing. Comes on the silver & black Verve label with serial number 2317 035 and matrix numbers ending in A//1 - B//1. Price: 100 Euro
1271. 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 ~ Near Mint/ Insert: Mint). 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!!! Complete edition 1st pressing is next to impossible to dig up on these shores. Amazing condition!!!! The actual records jacket is total mint as well as the actual record, which I would grade near mint, no flaws or defects whatsoever. The wrap-around-cut-out-obi sleeve I would conservatively grade at Excellent ~ Near mint and has no defects apart from a slight yellowing patina due to age The whole die-cut is in excellent condition and intact and has no defects. 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. Top copy of maybe the rarest Zappa related artifact out there. Price: Offers!!!
1272. MOTHERS OF INVENTION: “Burnt Weeny Sandwich” (Bizarre/ Reprise Records – RS-6370) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Big Poster: Near Mint). Original US 1st pressing in outstanding condition – blue/ turquoise Bizarre label first press issue and complete with always-missing poster. Jacket is also ring wear free which is almost impossible with this one, so in all NM condition. Hard to upgrade upon. Price: 250 Euro
1273. MOTHERS OF INVENTION: “Cruising with Ruben & The Jets” (Verve– V&-5055x) (Record: Excellent/ Gatefold Jacket: Excellent). ScarceYELLOW LABEL promotional pressing out of 1968. Frank Zappa, more a parodist than anything else,looks back at the euphony and euphemism of early rock and roll. Some of this is funny; some could pass for the real thing. One of the highpoints of the rockand roll revival. A classic and one of my favorite ever Zappa/ Mothers slides. Price: 200 Euro
1274. MOTHERS OF INVENTION & ZAPPA, FRANK: “Weasels Ripped My Flesh” (Reprise Japan – P-8003R) (Record: Mint/ Jacket: Mint/ Obi: Mint). Bloody rare 1st time Japanese pressing with cool obi. Rarely surfaces these days, this one is a top-notch copy. The obi is what this one is all about, just lovely. The music is of course also fingerlickingly great!! Price: 350 Euro
1275. MOTHERS OF INVENTION: “Just Another Band From L.A.” (Reprise/ Warner Bros. Japan – P-8245R) (Record: Near Mint 〜 Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ OBI: Mint). Rare Japan 1st press all complete with insert and OBI. Top copy. Price: 250 Euro
1276. MOTHERS OF INVENTION & ZAPPA, FRANK: “Mothers – Fillmore East – June 1971” (Warner reprise – P-8151R) (Record: Mint/ Jacket: Near MINT/ Obi: Mint/ 4-Paged Insert: Mint). Rare Japanese 1st pressing of this all time Frank Zappa and the Mother of Invention disc complete with obi and Japan only 4 paged insert. Truly stunning vinyl quality that sounds much better than the US press of this disc. Rarely surfaces. A classic from start to finish. Rare and super clean…. The music on the other hand is all killer without a single second of mediocre filler.. Price: 100 Euro
1277. MOTHERS OF INVENTION – FRANK ZAPPA: “Over-Nite Sensation” (Discreet – Warner Pioneer Japan – P-8380D) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original 1973 Japan 1st original press issue all complete with first issue obi in TOP condition. Classic Zappa & Mothers LP that only had multi-instrumentalist Ian Underwood remaining from the ’60s lineup that unlike his previous outings tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa’s growling new post-accident voice takes over the storytelling. “Over-Nite” pushed Zappa’s formidable guitar playing to the fore, along with his increasingly graphic sexual comedy (in contrast to the politicized lyrics of the ’60s), while his typically adventurous, genre-crossing creations were performed by professionally trained, sight-reading musicians capable of executing whatever Zappa threw at them with the utmost ensemble precision (something the original Mothers could never do to their leader’s satisfaction). Amazing slide. Top copy!!! Price: 200 Euro
1278. MOUNT EVEREST TRIO: “Waves from Albert Ayler” (Levande Improviserad Musik – LIM-75-3) (Record: 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: 250 Euro
1279. MOUNTAIN BUS: “Sundance” (Good Records – G101) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Rare US 1971 original private press LP. Great Dead/ Mighty Baby/ Quicksilver influenced melting-away meandering psych moves. Mountain Bus is the kind of band you get into after you’ve exhausted all your major label heroes. They were one of Chicago’s great underground bands that were dealt a bad deck of cards. Mountain Bus were frequently cited as Chicago’s answer to the Grateful Dead, and indeed some of their songs on the above album sound like San Fransisco’s most cherished sons. They formed in 1967 and immediately began a series of extremely low-paying gigs around Chicago. One member worked at a record shop whose owner, dismayed by the major labels' ability to charge whatever they wanted for LPs, decided to start up his own label – Good Records – which would sell records direct to shops for a discount price. But luck was not on their side. First of all Windfall Music (which represented Leslie West's band Mountain) put a restraining order on this barely-known outfit who were earning precisely nothing for their endeavors. Then a lawsuit followed, which, in a nutshell, destroyed Good Records and killed Mountain Bus outright. One quarter-page advert from Billboard in September 1971 trumpets how the band (and their label) are "on our way to the top!" but the sad fact is, they were going nowhere, which is a crying shame as Sun Dance is stuffed full of clear-eyed, post-hippy joyfulness. Opening track Sing a New Song and I Don't Worry About Tomorrow are pitched somewhere between the Byrds and the Grateful Dead, while Rosalie is a funky blues piece which stretches out into a glorious, sun-streaked, barefoot jam with dueling guitar solos, but it's what would have once been side two where things get really interesting. I Know You Rider is an utterly beautiful 10-minute-plus epic that laces a mass of harmonies across a wonderfully motorik rhythm section, Apache Canyon is an dream-sequence instrumental lit by tiny bells, while the closing track, Hexahedron, is precisely the tongue-lolling, hair-thrown-back instrumental that even The Man at his most venal and short-sighted couldn't repress forever. Just so good….Hard to dig up in acceptable condition so very pleased to be able to offer a nice and utterly clean original one. Price: 500 Euro
1280. MU: “S/T” (RTV – RTV-300) (Record: Near Mint/ Jacket: Near Mint). Original US 1st pressing with silver foiled rear cover. This is the hardly ever-offered WHITE label PROMO issue! “The band and LP that propelled Merrell Fankhauser to international stardom, at least on the rare psych LP collector circuit. Rated highly for decades and less hippie-ish than his later MU work. This mix of Bluesy 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: Offers!!!!
1281. 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 cracksin 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 timein the East Bionic Symphonia in the late 70's (trainspotters might also want tonote 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... 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; her collaborations with RamonesYoung, 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 andsense 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 inprint. 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 airin 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 issumptuous late-night improv, a fine goose-feather pillow for addled minds everywhere.” (Alan Cummings). Price: 50 Euro
1282. MURAOKA MINORU with NEW DIMENSION GROUP: “Osorezan” (Daiei Records – G-4003) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Rare all-complete copy with mega rare OBI. White Label Promo/ test press issue, never seen before. Together with his “Bamboo” LP, the rarest disc to seep out Muraoka’s creative genius. So what is this one all about? “Osorezan” was released on October 1970 and is a vertiginous dust-devil swirler of a disc, offering you the best Muraoka has to offer and at the same time transgressing most recordings ever to have paraded in front of your ears. Yes, it is that good. Of course this is partly to blame to the ace musicians he has surrounded him with such as Ishikawa Akira (drums), Kawasaki Ryo (guitar), amongst others. The whole affair was recorded live in one take in the studio and brings forth a soulful spaciousness that converts jazz & Japanese traditional music aesthetics detached from their antiquity into one grooving rigorous and clear-eyed pleasure. You just sense that all of the participating musicians having a lot of fun, creating music that is episodic and stylistically varied. The opening track “Osorezan” is driven by Muraoka’s shakuhachi tones, Ishikawa Akira delivers surreal ethnic groove percussion licks and the erupting horns, ethereal female whispering vocals, wadaiko, koto, wicked organ licks and vibraphone career wildly in and out of the hypnotic groove. The whole of the record spins off in a similar deeply spellbinding avant-funk, combining elements of traditional Japanese music with fierce grooving funk moves and cool abstraction, even rethinking Brubeck’s “Take Five” by tackling it in an amazing Nipponized version. The loose and fresh energy spilling from its grooves – ignited by the live on the spot recording – link up with various aspects of mini-crescendos that will ignite a sustained euphoria that occasionally will erupt in whooping butt-shaking moves in front of your stereo. In all, it is a wicked ass-kicking disc that will have you begging for more. Insanely in demand these past years but then again once you have played this beast it is easy to understand why. It is a floor burner that will leave you breathless, howling and clawing at your partner like wild beasts in heat. Highest ever-possible recommendation. Price: Offers!!!
1283. MURA HACHIBU: “Live” (Elec Records– ELW-3003) (2LP set: Near Mint/ Gatefold Jacket: Near Mint/ Inner liner notes: Excellent) 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 following 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 now and hold your peace forever. 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 has 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! Price: 150 Euro
1284. MUSHROOM CEREMONY OF THE MAZATEC INDIANS OF MEXICO: “S/T” (Folkways – FR-8975) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). First original 1956 Folkways issue with blue cover. Later issues have yellow styled jacket. Amazing condition with booklet present. This recording, made by Gordon Wasson in 1956, attempts to chronicle a religious ceremony involving the ingestation of psychedelic mushrooms by Indians who are attempting to communicate with the Divine Spirit. “This field recording is of substantial historical interest, both as the earliest known vinyl document of people under the influence of hallucinogens, and as part of the Wasson couples legendary forays into remote Mexican mountains on the trail of an obscure mushroom cult. Wasson’s exploits became the subject of a Life magazine article which is a watershed event in the history of psychedelics, and the psilocybin shrooms would attract interest from the whole academic/literary/ethno-botanic hallucinogen set in the late 1950s. Although the Mazatec mushroom culture has been well documented over the years, this particular LP has drawn less attention than Wasson’s works and the many subsequent essays and books published, but is obviously worth attention. The actual contents feature curandera Maria Sabina (who would later become famous, as part of the Wasson effect) eating the mushrooms and setting out on a transcendental journey to invoke the mushroom spirit, reporting with a steady flow of words her experiences. The reports are spoken in her native Mazatec dialect, but an ambitious translation/transcription attempt by a linguistic expert can be found on the accompanying booklet. The mushroom cult is eclectic, combining elements of Catholicism with a pantheistic strain, in a way typical for many surviving plant cults around the world. Her voice is an old woman’s, often tired, sometimes venturing into sing-songy nursery rhyme structures, and during the beginning of side 2 (where she’s peaking, bro) moving into a very rapid, unbroken flow of words. Rather remarkable, and according to those who have tripped with it, an efficient guide despite not being a successful invocation of the mushroom spirit (see booklet scans for explanation). Sounds of nature, night birds, barking dogs, and frequent mutterings from Sabina’s fellow Mazatec traveler are also audible.” (Acid Archives). Stunning document and a record that rarely surfaces. Amazing condition and psychedelic as hell. Price: 300 Euro
1285. MUSIC INC: “Charles Tolliver’s Music Inc.” (Strata East/ Trio Records – PA-7009) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Booklet: Near Mint/ Obi: Mint). Japan original pressing in top condition. The remarkable Music Inc., remains the apotheosis of trumpeter Charles Tolliver’s singular creative vision. Rarely if ever has a big band exhibited so much freedom or finesse, while at the same time never overwhelming the virtuoso soloists on whom the performances pivot. Built around the core of Tolliver; pianist Stanley Cowell; bassist Cecil McBee and drummer Jimmy Hopps, the music boasts the kind of give-and-take born equally of talent and telepathy -- each player seems to communicate with his colleagues on a higher plane, delivering performances to rival any in their careers. Tolliver in particular plays like a man possessed, summoning an energy and clarity that slice through the big, bold arrangements like the proverbial hot knife through butter. Stupidly clean Japanese first original pressing all complete with obi…ear candy deluxe!!! Price: 75 Euro
1286. MUSIC MACHINE: “Turn On” (Original Sound – OSR-LPS-8875) (Record: Near Mint/ Jacket: Near Mint, still in shrink). Original 1966 US MONO pressing. Top copy, hard to upgrade on this one. Classic trashy garage psych classic filled with tons of deranged fuzz mayhem and teenage angst. The band would hereafter fold into the Bonniwell Music Machine. Fronted by Sean Bonniwell, the Music Machine was one of the most gritty and serious sounding bands of the exploding "60's garage punk" scene. High octane loaded, their debut LP came out on the tiny Original Sounds label in 1966. It featured a rougher sound than most bands active on the scene during that period. Bonniwell's voice is what holds the whole album together and makes it such a bewildering listening experience as his vocal chords are remarkably versatile, ranging from a thuggish almost Neanderthal bark to a seductive croon that gets all the girls wild and horny. Their self-penned material are the songs that stand out on this album as they are delivered with raging intensity and tracks like their only hit "Talk Talk", "Trouble", "The People in Me", "Masculine Intuition" and "Wrong" are nothing short of being mesmerizingly awesome, all spiked up with highly charged blasts of intellectual teenage angst. Like many other bands during that day, the Music Machine sleepwalks through the obligatory covers such as "Hey Joe", but even then they derail it into a fuzz-drenched, slowed down treatment. Bonniwell still had a mass of stellar compositions up his sleeve, so it must have been galling to see listless renditions of the likes "96 Tears" compromising what should have been a 100% killer album. Still, even with those present, this album still knocks the living daylights out the vast majority of releases. Wicked album from start to finish with absolutely hardly any filler, all is killer to these ears. Top copy original 1st pressing. Price: 150 Euro
1287. MUSICA ELETTONICA VIVA: “Friday” (Polydor – 583769) (Record: Near Mint/ Laminated Jacket: Near Mint ~ Mint with lamination fully intact). Original 1969 issue. First and only UK original pressing and one of the rarest releases in the UK as far as jazz and improvised music is concerned. First time ever I come across such a virginal 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 of the rarest MEV disc and UK released jazz slides. Indispensable. Most – if not all - copies that surface have condition issues, which is a shame as the music on display is utterly fragile in nature. Vinyl seems hardly if ever been played, jacket hardly touched. Best copy around. Impossible to upgrade upon, Top copy. Price: Offers!!
1288. MUSICA ELETTRONICA VIVA: “Leave the City” (BYG/Actuel – Actuel-31) (Record: Near Mint/ Fold Out Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent) Original WHITE Promotional Label copy, 1971 original 1st Japanese pressing on superb sounding vinyl. First time ever I have an all complete copy adorned with the rarely seen OBI!!! “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 freak-outs 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). Dynamite stuff, original Japan press, hard to come by, especially the white label promo ones and with obi all there in its full glory. Took me only 13 tears to locale a copy all complete with obi so… . Price: 250 Euro
1289. MUSICA ELETTRONICA VIVA: “The Sound Pool” (Actuel Original Japan Press – Actuel-15) (Record: Near Mint/ Fold Out Jacket: Excellent/ Insert: Mint/ OBI: MINT). Rare white label promotional white label press with ALWAYS MISSING OBI of “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: 250 Euro
1290. MUSIQUE CONCRETE: “S/T – Premier Panorama De Musique Concrete” (Ducretet - Thompson/ Nippon Disuku Kabushikikaisha – LDG1497/ DGC-100) (Record: Near Mint/ Jacket: Near Mint). Top copy!! Hopelessly obscure and rare Japan only jacket art issue of subliminal electronic music slide!!! Best condition I have ever seen and complete with plastic outer cover. Original 1st Japanese pressing of 1958, housed in fragile jacket and adorned with Japan only jacket art. Impossible to get this 1958 1st Japanese pressing. This pressing containing groundbreaking works by Pierre Henry, Pierre Schaeffer and Philippe Arthuys. Impossible to get in such a top condition as this copy here. Historical important and a milestone recording. A total must if experimental music is something you live by. TOP COPY!!!! Price: 450 Euro
1291. MUZIEK IN VLAANDEREN – MUSIC IN FLANDERS: “S/T” (Alpha Records – DBM-N257) (Record: Near Mint/ Fold Out Jacket: Near Mint) Hideously rare and seldom offered album documenting the early sixties and early seventies electronic music and musique concrete excursions of Belgian composers affiliated with the IPEM studios. Barely documented, in writing as well on disc, electronic music of the Low Countries is highly innovated and extremely robust in its approach to sound. Unlike their contemporaries like Jan Boerman and Dick Raaijmaekers, Belgian composers such as Louis De Meester, Lucien Goethals, Peter Beyls and Raoul De Smet have a tendency to be more radical as far as their approach to sound is concerned. This essential compilation of early Belgian electronic music excursions is filled with mind-bending sweeps in the electro-acoustic score contrasting with razor sharp biting main themes, voltage fluctuations, changing speed and pitch, rarely articulated rhythmic manners, rectangular waves of thermal noise, harsh electronic sound clusters that follow each other in rapid succession in order to build very well defined figures with a pronounced beat all with decreasing and increasing intensity, sinusoidal sounds and so much more. A delirious listening experience. All compositions were created between 1962 – 1974. Hideously rare and in top-notch condition. This disc is too good to be described in words. A killer from beginning to end. Rare as hell. Price: 400 Euro
1292. The MV & EE MEDICINE SHOW: “Moon Jook” (Child Of Micorotones Records – C.O.M. 13) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Released in a tiny run in 2004. Amazing stuff with barely heard shimmering vocals, deep bass-lines, and the kind of psychedelic excess that only comes after a lifetime of copious substance abuse. Like someone melting Velvets records with Neil Young bootlegs and a Dylan 7” and whacking it down to minus eight, the end result can ONLY be good…Primed for lazy, hazy days on the (whalley) range with your organic dandelion & burdock and a straw boater, "“MV & EE” is slang for zero gravity, and even though they’ve been doing it consistently better since forever, they still want to give you more of their best. The DIY wall of sound of Space Homestead was recorded over the course of a year in nine different studios, presenting as clearly as circumstances permit a living idea right here and now of what it is all about. These are sonics in motion, the satiate plural perfect supply of the hunger unusual, the picturesque in sound. Grab a shuttle for your spectra-sound furniture any time in any aeon and dig the volume of their trip." Price: 50 Euro
1293. MV & EE With THE BUMMER ROAD: “Mother Of Thousands” (Time Lag – 033) (2 LP Set: Near Mint/ Gatefold Jacket with hand painted gatefold inner: Mint/ 4 paged Insert w/ credits: Mint). Handmade edition of 99 with painted gatefold by the artist with insert of this out of print double LP - Fans of Tower Recordings / Child Of Microtones / Time - Lag Records / etc... After piles of privately released cdrs & 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 to 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…” (Timelag). Artist edition with hand painted inner gatefold, edition of only 99 copies. Price: 75 Euro

1294. MYSTIC SIVA: “S/T” (World In Sound – 2001) (Record: Near Mint ~ Mint/ gatefold Jacket: Mint/ Insert: Mint). Long deleted high quality deluxe reissue of one of the finest garage psych albums ever made. Long time and many moons ago (about 25 years ago or so) originals of this killer Michigan garage psych artifact could be had for 300 Euros, sadly those days are long gone and now top copies change hands for close to 4000 Euros, no shit. You all know the music so need to drag on into explaining how fantastic this one is. This one here is the beautiful 1st pressing in deluxe heavy gatefold sleeve and vinyl by World in Sound, which they did way back in 2001, which was later repressed with a slightly altered sleeve. Killer slide.... Price: 75 Euro.

1295. MYTHOS: “S/T” (OHR – OMM.556019) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, has small perforated hole on right side). FIRST PRESS housed in LAMINATED gatefold jacket. Second issue came out in a non-laminated sleeve. 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 rock meets-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 nebulas’, 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 psych/folk/prog landscapes. A classic. Price: 275 Euro
1296. N.A.D.M.A.: “Uno Zingaro Di Atlante Con Un Fiore A New York” (RCA Italiana – DPSL-10579) (Record: Near Mint/ Gatefold Jacket: Near Mint) Top condition Italian original press copy of 1973. 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!!! And this here is the record in question. 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. Top copy and bloody rare…….Price: 450 Euro
1297. NAITO YOOKO: “Yooko” (Toho Records – KR-1003) (Record: Excellent/Gatefold Jacket: Near Mint/ Attached Insert: Mint/ Obi: Excellent). Hopelessly obscure female vocal album out of June 1971. First original pressing. Naito Yooko will not immediately ring any bells but her biggest claim to underground fame was that she ended up being the wife of Justin Heathcliff, who also recorded one hideously obscure psychedelic disc while visiting Japan in 1969. Naito Yooko disappeared as quickly as she came since she recorded this one album only before vanishing into total obscurity forever. She mainly gained some minor fame by appearing in some Toho distributed films and dramas and in that light the Toho company released this one off artifact of fragile songs and folk excursions by Yooko. The whole album is quite a personal and intimate affair with Naito Yooko singing fragile tunes into being and mesmerizing in an innocent way over a folky background, meandering in between melancholy and sweet surrender. In all a stunningly beautiful female vocal album, hard to categorize but that makes it a highly individual approach. The backing music is executed in a highly professional manner, everything falls into place perfectly in order to accentuate Yooko’s fleeting memories and mesmerizing thoughts with perfection. In short a spellbinding lovely, intimateand disarming affair that makes the whole experience deceptively intense, causal in feel but brimming over with lyrical details. A true stunner of a record but till this day hard to come by and still largely undetected. Price: 200 Euro
1298. NAGISA MAYUMI: “Hitoribochi no Onna b/w I Love You” (Daiei Records – D-47) (EP Record: Mint/ Picture Sleeve: Mint/ Company Inner Sleeve: Near Mint). Fucking awesome deep kayokyoku erotic wonder by this one off wonder female singer. Cult item per excellence and hideously rare, took me only 10 years to dig up my personal copy of this – her sole and only EP release out of June 1968!!! Bloody rare and obscure erotic/ pink violence artifact that is just impossible to dig up. First time ever I have seen a copy of this one; I do not even have a spare. OK, so where do we start? The music is a lost gem, upbeat kayokyoku butt-shaking track, hard hitting bass, swirling orchestrations, all overflow with Nagisa’s less than professional vocals, which are the focal point her, making this track so memorable. It was clear from the first start that this one would fail to gain any public attention or even any airplay, she was just too mediocre, yet that was to these ears, some 45 years later, the major appeal and attraction that this single breathed out. The backing band is also on fire, swirling like a drunk dervish, rattling on those cookie-jar like drums and getting it all canned in one single take. Deliriously great, sake drenched girl power. Hell, on the B-side Nagisa sound even more wasted and frazzled, making it even more detuned and lost in time. This is a lost masterpiece, a gem that is in urgent need of reappraisal. And you though Ike Reiko records were rare, forget it, this is like the holy grail of Iroke Kayokyoku, impossible to get and more underground and obscure than any Haino Keiji, Tori Kudo, Hijokaidan or Kosokuya tape to can fling at me. So get real…this is deep bottom of the well hardcore underground kayokyoku shit. Price: 350 Euro
1299. NAKAMURA AKIKO: “Akko Wa Utau” (King Records – SKD-31) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Finally a clean copy of this gem. One of the hardest to track down albums by GS beat girl par excellence Nakamura Akiko. Original 1970 first press issue all complete with Obi. Again she is flashing all her colors, bringing forth shaking late sixties vibes set against a whirlwind of butt-shaking orchestral instrumentation that at times get spiked up with a derelict fuzz guitar popping up out of the fog and adding a twist of lysergic madness to the beat girl dementia. Although mainly known as a beautiful actress, her moves into the music world did not go by unnoticed and she proved to be a stunning performer. Her voice is lush and warm, bewitching at times even and brimming over with enough erotic vapors to set a whole room in a blaze. If you have lost your heart to GS beat girls, sexy fluffy vixens riding on razor sharp guitars popping up out of a haze of butt moving orchestrated back vibes and late sixties oriental beach hopping, then you cannot pass up on Nakamura Akiko. First time ever I have a copy of this LP, damned hard to dig up, especially in a condition like this one here. Record is totally clean and plays mint all the way. Gatefold jacket has also no defects at all. Great copy up for grabs for cheap. Highest recommendation. Price: 200 Euro
1300. NAKAYAMA CHINATSU: “Original First Album” (Victor Records – SJX-34) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint.) First copy I can offer all complete with OBI. Extremely rare and hard to come by Nakayama Chinatsu out in March 1970 and the first time 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 first 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 Nakamura in all her beat girl splendor. Comes with OBI. Price: 450 Euro
1301. NAKAYAMA CHINATSU & SATO MASAHIKO: “Muttsu No Kokoromi” (Victor – SJX-82) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint). Original 1971 pressing signed by the artists on the insert. Ready for some twisted bloody rare and obscure action? This disc here in question teams up Nakayama Chinatsu (knows as a famous beat girl and kayokyoku R&B beauty) and her husband Sato Masahiko (yes that one the free jazz monster pianist responsible for the “Amalgamation” disc amongst many others). Together they created a hard to pin down masterpiece, a hybrid concept album as only could come to fruitation here in Japan and blossoming into a crossbreeding experiment that fused a history of Japanese early days traditional music with heavy avant-garde moves. Nakayama’s performance steals undoubtedly the show here, with here archaic vocal lines blending perfectly in at times almost progressive and jazz-rock line waters excreted by her husband. Still, it goes beyond that even and touches even on Shinto-like animistic waters, mixed down with long forgotten vocal aesthetics out of archaic times that get blended with contemporary avant-garde fragrances, rendering the whole at times into an almost spiritual, yet ceremonial affair, like you get offered a glimpse at some obscure rites and rituals impregnated with Gagaku fragrances and inspired by polytheistic and pantheistic elements that bustle up and out into the foreground while immersing oneself into this ear-bleedingly amazing piece of music. The beautiful female vocalizations by Nakayama Chinatsu have a true mesmerizing effect and an invocation from the ancient shamaness tradition; evoking images of festival dances of various kinds and folk drama that floats on mythological themes; all underscored perfectly and accentuated by Sato Masahiko’s playing and flawless composition skills. Still it goes even further than that, the B-side sees Nakayama extending her vocal technique of shamanistic chord progressions and transposing it unto a burgeoning funked up jazzy blowout, filled with swirling percussive rattles, booty shaking horns and flamingly hot organ action. It sure is a hybrid one this LP here, hard to pin down since it mainly balances out between traditional animistic and spiritual mood swings, heavy contemporary avant-garde stylistic colorizations and bewitching ceremonial like female hypnotic vocals. A one of a kind LP, extremely hard to track down – this being the 1st copy I actually see within 8 years here – and just full-blown amazing. If Japanese free jazz/ avant-garde and female vocals are your thing then this disc will see that all your needs get instant satisfaction. Bloody rare and in top condition. Price: 350 Euro
1302. NANA MAKI: “Anchikichou No Blues b/w Neon Machi Blues” (Columbia – SAS-1415) (Record: Excellent/ Picture Sleeve Gatefold Jacket: Near Mint). Released in May 1970. Original press and damned bloody rare! Bloody rare and undetected bottom of the well enka weirdness disc. Nana Maki was one of these odd chicks that tried to cut it in the enka business but failed to even attract a single admirer due to the totally uncommercial nature of her wailing and the strange attitude she personalized toward the music. And wailing is exactly what she did here, just hard enough to strip the paint of your walls and summon the stray dogs to the dinner table at the same time. In a way she reminds me of Sairaiji Hiromi’s first album but Nana Maki is even several decibels more disenchanted than Sairaiji ever was. She just had zero commercial potential and even being able to cut this one single baffles me with disbelief because who on earth thought to be able to shift copies of this misfit enka bomb? I guess economic prosperity and money to burn had something to do with clouding the judgment of major record companies at the time. And thank god for that because it surely brought us one of these still undetected jewels. In all it is odd, weird, strange and comforting uneasing all at the same time. Sake drenched and smoke stained backing suits perfectly her voice that resembles a beached wailed after a night swimming through sake and downers infested waters. Even at times Nana tried to be sexy and hushes and shrieks loose cries into the dead cold lonely air, all in an attempt to be seductive but she fails with grandeur and misplaced glamour, making this disc even all the more appealing and revealing what a great talent she was a talent or the uncanny, weird and failed erotic. So if there is such a thing as bottom of the well deep enka, then this disc certainly fist this term like no other. Amazing stuff and totally recommended if you could be charmed by such dislocated sonic nymphs like Sairaiji Hiromi. A rare breed indeed and bloody rare. One of Nana Maki’s greatest admirers is also PSF’s Hideo Ikeezumi. Sadly enough this is the sole thing she ever recorded and it only leaves to the imagination what damage she could have done if only she could have cut a whole album filled with this disenchanted approach to enka …… Highest possible recommendation!! Price: 150 Euro
1303. NAOJI KONDO TRIO: “Live At The Tarupho” (Taruho Farm – 1001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Rare Japan Free Jazzing self-released private press beast that was released on the tiny inexistent label Taruho Farm in 1986 in a tiny edition of 250 copies only. The records were mainly sold on their gigs and never made it in regular outlets at the time. Heralding out of the Kanazawa Prefecture bordering Tokyo, they roamed since their inauguration in 1984 through all the local prefectural jazz joints and cellars, honing their skills. They even played a gig with Sun Ra’s sidekick Dany Davis when he toured Japan. This live recording from January 26th, 1986 sees the trio showing off their skills and electrifies the air in the little club before an audience of free jazz headz. Kondo, heavenly inspired by his hero Ronald Kirk, steals the show, blowing out chunks of molten live while his compatriots charge bass and drum salvos at the speed of light. Still every member of the trio is given ample time to show off his own colors and skills, and especially Fuwa’s floating pulsating bass riffage steals the show here. It is strange that such a well-oiled fire-breathing outfit could remain during their gigging career in such state of general oblivion and obscurity as they certainly had the skills and talent to make more heads turn. Even till this day of nerdy record collecting and free jazz archiving, not many have heard or sought out the greatness of this trio. In a way, it is understandable as the record is totally obscure and damned rare but then lesser gods made the spotlight so why not the Naoji Kondo Trio? Bloody fucking awesome record in my universe… highly recommended!!! Price: Offers!!!!

1304. NARA LEAO: “Nara’s Bossa – Vento De Maio” (Philips Japan – SFX-7213) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent, some slight H2O vamping on bottom of obi). Rare Japanese high quality original pressing housed in a gatefold jacket from 1971 and all complete with rare OBI!!! RED LABEL PROMO ISSUE. 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 Japanese pressing, RED Philips promotional copy label. First time I encounter a Japanese original of this slide, amazing condition!! Price: 175 Euro

1305. NARA LEAO: “Os Meus Amigos Sao Um Barato” (Philips – FDX-353) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint) Very rare Japan 1st original copy from 1977, complete with rarely seen original obi. Top condition. A wonderful album from Nara Leao – and one that features her singing duets with some of the greatest talents of the bossa era and beyond – an amazing lineup that includes Tom Jobim, Caetano Veloso, Gilberto Gil, Edu Lobo, Joao Donato, Carlos Lyra, and others! The sound is wonderful – done with an intimate quality that brings a slightly modern variation of older bossa modes – but with some of the cool, dark inflections that Nara always has in her music. Instrumentation includes a fair bit of acoustic elements, and titles include "Repente", "Amazonas", "Cara Bonita", "Nono", "Joao E Maria", and "Sarara Miolo". Great stuff – and one of her best albums from the later years! Price: 100 Euro

1306. NEIGHB’RHOOD CHILDR’N: “S/T” (Atca – A-38005) (Record: Near Mint ~ Mint/ Jacket: Mint, still housed in original shrink - sticker residue on shrink). Top copy, next to impossible to upgrade upon. Amazing original US pressing of killer Oregon acid psych complete with high soaring female vocals and sounding not unlike Jefferson Airplane if one has to throw a comparison around. Marinated in such diverse influences as the mind-splintering mushroom folk-rock blast of the Jefferson Airplane and the feel-good pristine pop of the Turtles, Neighb’rhood Childr’n hailed from the tiny town of Phoenix, Oregon and made deep inroads into the early San Francisco scene. Marked by singer-organist Dyan Hoffman’s wailing vocals and guitarist Rick Bolz’s stinging fuzz leads, the Neighb’rhood Childr’n are one of the most criminally overlooked acts of that era. Their sole recorded album turned out to be an amazingly groovy one, coming from four kids from a rural background. Dyan's voice has the earnest zeal of a young Grace Slick, and the complex arrangements run the table from acid-soaked tripsichord to fiery anthems. Not surprisingly, Dyan reveals that she was inspired by seeing Quicksilver Messenger Service for the first time. From the opening fuzz guitar and Farfisa organ riffs of "Feeling Zero," the band enters a kaleidoscopic and exploratory sound that reigns throughout the whole LP – churning out vibes that feel like an lysergic asymmetric groove that combines propulsion, eloquent ornamentation and cosmic phrasing that comes over like acupuncture darts aimed at your pleasure points. Songs like "Changes Brought to Me," the pure British pop vibe of "Please Leave Me Alone," "Happy World of Captain K" and "Hobbit's Dream," are all earmarks of an isolated time in rock history that, although often replicated, can never be truly duplicated. But the minor-key riffing on "Patterns," and tongue-in-cheek, over-the-top version of "Over the Rainbow" show that the band could rip through the system and tear it apart like a pile of cheap hay. In all, listening to this record acknowledges it as a killer slide and it whips up dreams of daisy-chained sex, amyl nitrates and double-ended Greek dildos hand-painted with flowery designs. This is the good stuff, top copy, impossible to upgrade upon, still housed in original shrink. Price: 300 Euro

1307. NEIL, FRED: “Bleecker & Macdougal” (Elektra – EKL-293) (Record: Near Mint ‾ Mint/ Jacket: Mint). Never offered before “PROMOTIONAL PREVIEW COPY” – predating even normal promotional issues that are out there as these – only a handful – were handed out to Elektra Records selected staff for preview before going to actual press and sale of this LP. With a deeply resonant voice that exuded a hundred things at once: pain, joy, weariness and decades of experience; Fred Neil created a small body of work that covered the world like paint. No one from the vibrant early '60s Greenwich Village folk scene had more staying power than this legendary recluse. Neil's 1964 debut, Bleecker And MacDougal, captures the great man at the apex of his talents. This copy here is just in virginal condition. Apart from that is is the rarest version out there, pre-dating regular promo issues as this one was pressed solely for record executives before deciding to go to press or not. Never offered before according to my knowledge and of mythical historic importance. Seriously rare and obscure issue of which only literally a handful exist. Price: 350 Euro
1308. NEW AGE STEPPERS: “Action Battlefield” (On U-Sound/ EMI Japan – EMS-81452) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1981 Japan pressing, white label promo. The second LP from New Age Steppers, Action Battlefield slightly pares down the line-up found on its predecessor and hones in on vocal-heavy, extended version-like renditions of songs originally written by the likes of Horace Andy ("Problems"), Black Uhuru's Michael Rose ("Observe Life"), B.B. Seaton ("My Love"), and the Heptones' Leroy Sibbles ("Guiding Star"). Features a vocal from a teenage Neneh Cherry, step-daughter of jazz firebrand Don, who had been singing back-ups in the touring line-up of The Slits and would shortly form Rip, Rig & Panic with former members of The Pop Group. Price: 75 Euro
1309. The NEW JAZZ ORCHESTRA: “Le Dejeuner Sur l’Herbe with The New Jazz Orchestra” (Verve – SVLP.9236) (Record: Near Mint/ Laminated Jacket: Excellent ~ Near Mint, has exactly one lamination faint crease in upper right corner). UK original first pressing from 1969 in top condition. The brainchild of composer, arranger and musician Neil Ardley, this magnificent piece of modern jazz orchestration takes a leaf out of the work of both Gil Evans and Duke Ellington, who are clearly major influences upon the mind-set of Ardley, while from a classical perspective the sounds of Debussy and Ravel and early Stravinsky have otherwise exerted their influence upon the arranger. Assembling an all-star cast of British jazz musicians in their prime and these include the late Jack Bruce, Ian Carr, Michael Gibbs, Dick Heckstall-Smith and Henry Lowther among many others, the album is brimming with luscious interpretation of both standards and then new compositions. Of the former, the take on Miles’ ‘Nardis’ takes on something of a late 1950s feel with the use of vibes, a restrained trumpet solo from Carr and an extended bass solo. More than anywhere else, the Davis-Evans collaboration hovers over the title track and this includes the precise clarity of tone of Carr, the Spanish tinge in the use of castanets and some glorious soprano saxophone playing. Gentle in tone, but with a slightly darker and even underlying brooding nature is a version of Coltrane’s ‘Naima’ which features a delicate flute solo and even briefly a freer direction on saxophone. Of the new compositions on offer from British jazz musicians, pride of place goes to the modal number ‘Dusk Fire’ with fine ensemble work and some delicious soprano saxophone. A ballad, same titled, by pianist Mike Taylor is a reflective number with sensitive accompaniment and some subtle shading.” (Tim Stenhouse). Totally indispensable cornerstone of Brit jazz…top copy! Price: 500 Euro

1310. NEW PHONIC ART/ ISKRA 1903/ WIRED: “Free Improvisation” (Deutsche Grammophon 3 LP Box). (3 LP Set: Near Mint/ Outer Box: Near Mint/ Booklet: Near Mind) Legendary three LP box set. “Deutsche Grammophon was prepared in 1974 to allot three Improv groups an album each on an absorbing three LP set. Guitarist Derek Bailey, trombonist Paul Rutherford and bassist Barry Guy move together like facets of a turning mobile sculpture in the superbly integrated trio Iskra 1903, recorded during a concert series in Berlin in 1973. New Phonic Art provide French clarinetist Michel Portal, trombonist Vinko Globokar and percussionist Jean-Pierre Drouet with an alternative improvising context to their thorny involvement with Karlheinz Stockhausen’s “Intuitive music”. They make vivid, dramatic music with Argentinean pianist Carlos Roque Alsina. The real surprise in the box is Wired, recorded in 1970. Canadian Mike Lewis plays sustained Hammond organ, Karl-Heinz Bottner interjects guitar and ocarina voicings, American Michael Ranta adds sparse, clangorous percussion and homemade plucked instruments. Supervisor Conny Plank contributed live electronics. Trimmed from two hours 20 minutes, it’s a spellbinding meditation, a long hidden adjunct to Krautrock’s finest atmospheres and evocations” (Julian Cowely – The Wire). Hugely influential box, top condition. A MUST!! Price: 250 Euro

1311. NEW RIDERS OF THE PURPLE SAGE: “Louisiana Lady b/w Last Lonely Eagle” (CBS Sony – CBSA-82127) (EP Record: Near Mint/ Picture Sleeve: Near Mint). White label promotional copy. Rare Japanese picture sleeve issue of this Dead related country jammer. First released single in Japan. Top condition. Price: 50 Euro
1312. NEW RIDERS OF THE PURPLE SAGE: “S/T” (CBS SONY – SOPL-271) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Mint). Original Japan 1st original pressing complete with rarely seen first issue cap obi. New Riders of the Purple Sage first ever release in 1971 was an exceptionally strong debut. Possibly partly erected as an answer in lysergic West Coast inspired country-style to the Crosby, Stills Nash & Young’s affecting harmonies, it was notable not only for the involvement of Jerry Garcia as pedal steel guitarist, but also for the great singing from John Dawson, the strong harmonies, David Nelson’s pickin’, and, perhaps most importantly, the catchy strong writing — there wasn’t a weak song in the bunch on their debut. Especially “Dirty Business” floors me time and time again, a brooding epic about a mining disaster and the poor folks caught up in the tragedy that through its melody, singing and mood throws me into a jangled mix of defiance and despair. Not surprisingly, the song was the centerpiece of the group’s sets during the era when Garcia was the Riders’ steel guitarist, famous for his snarling and crackling fuzzed steel line, creating a psychic maze of country induced dementia that seats out heavy psychedelics. How glorious!!!! And addictive!!!! Just never can get enough of the records sonic acupuncture darts aimed at the pleasure spots of my mind. Rarely seen original 1971 Japanese pressing with capsule obi and insert. Top condition!!! Price: 150 Euro
1313. NEW YORK ART QUARTET: “S/T” (ESP Disk – 1004) (Record: Near Mint/ Jacket: Near Mint). Rare 1st original ESP pressing, housed in thicker than life paste on jacket. First 1965 pressing on red label with machine-stamped matrix numbers and ear in trail off. Very first pressing with 180 Riverside Dr., New York address on back of past on sleeve. This adventurous, short-lived quartet only made three albums in its two-year heyday. The best and most easily obtained (although that's relative) is the classic 1964 self-titled free jazz excursion on the ESP label. The unique front-line horn arrangement of trombonist Roswell Rudd and Danish alto saxophonist John Tchicai weaves rapid intricate lines around Lewis Worrell’s bass and the frenzied drums of Milford Graves. Poet Leroi Jones is added to the quartet for his revolutionary/militant spoken word diatribe "Black Dada Nihilismus." While it may sound like an intrusion to some listeners, it must be kept in mind that Jones was an active participant in the early avant-garde scene of New York, making his contribution to this disc vital in capturing the radical surroundings in which the music thrived.” (Al Campbell - All Music Guide). One of the finest titles to emerge out of the stellar ESP stable and one of the finest free jazz recordings to date. 1st original press in TOP condition. True first pressings in top shape are getting tough to unearth these days. Price: 200 Euro
1314. NEW YORK CONTEMPORARY FIVE: “Consequences” (Fontana – SFON-7077) (Record: Near Mint/ Jacket: Near Mint). Japan 1st original pressing in top condition. Historically significant recording by The New York Contemporary Five was recorded on November 11, 1963. The short-lived group, which consists of cornetist Don Cherry, altoist John Tchicai, Archie Shepp on tenor, bassist Don Moore and drummer J.C. Moses, was avant-garde for the period, influenced most by Ornette’s Coleman’s Quartet. Together they were a highly interesting operation unit, oozing out garrulous music that foreshadows a more aggressive version of free jazz to come. The tracks are comprised of herky-jerky free-bop melodies that lead into solo sections at a very quick tempo. Cherry starts off with an energetic, rhythmically active spot highlighting his utterly free approach. He plays specific pitches, but one would be hard-pressed to nail down exactly which specific pitches he plays at any given moment - he plays between the cracks. On tenor, Shepp alternates between engaging the tempo and breaking free entirely. His tone is sandpaper-rough, his phrasing loose to the point of being almost unhinged. The rhythm section is fine; drummer J.C. Moses plays very strong without overwhelming his band mates. Hardly surfaces on these shores or anywhere else for that matter. Utterly clean 1st original Japanese pressing blessed with a crystal clear sound. Stunning. Price: 75 Euro
1315. NEW YORK CONTEMPORARY FIVE: “Vol. 1” (Sonet Records/ Teichiku Records Japan – UPS-2022-N) (Record: Near Mint/ Jacket: Mint/ OBI: Near Mint). Rare Japan very first original pressing all complete with first obi. Top condition of this awesome jazz slide. Killer line-up consisting out of Don Cherry; John Tchicai; Artie Shepp (sic – Japanese misprint on sleeve); Don Moore and J.C. Moses. Top condition!!! Price: 150 Euro
1316. NEW YORK CONTEMPORARY FIVE: “Modern Jazz Spirit Vol. 2” (Union Records/ SONET – UPS-2023N) (Record: Near Mint/ Thick Jacket: Near Mint/ First Issue Obi: Near Mint). Rare Japan first original pressing that comes adorned with Japan ONLY sleeve art and again different Japanese jacket art. Comes with RARE obi present as well which is nothing but a small miracle. Archie Shepp, John Tchicai and Don Cherry formed three-fifths of perhaps the most important, prolific, and seminal band of the early-'60 free jazz movement in the New York Contemporary Five. They were the first real improvising super group, with powerful harmelodic and free bop music influenced directly by Ornette Coleman. It's a recording both historic and smartly played, a must-have item for any serious lover of early modern creative jazz. Price: 150 Euro
1317. NIAGARA: “S/T” (United Artist/ King Records Japan – SR-775) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: MINT). Bloody Rare & never seen before original Japan 1st press issue, released in 1971 and complete with first issue OBI. This was Niagara’s first album, a self-titled affair that was released in 1971 and which gained notoriety due to its controversial "sweaty breasts" album cover. The music on the other hand was unusual since it was a broodingly heavy and purely percussive album on which numerous high-profile drummers came together lead by German musicians Klaus Weiss, Udo Lindenberg and Daniel Fichelscher (who also played in Gila, Amon Düül II and Popol Vuh). The funked up butt-swinging tropical head-spinning vibe of that 1st LP is a unique, driving mix of jazz, rock and skilful adaptations of African elements, all captured and jammed into two long epic tracks. It is nothing short of an astonishing set of heavy, hypnotic drums, voodoo hoedowns and tribal percussive ritualistic grooves. Consisting out of 2 side-long jams, "Sangandongo" and "Malanga" it oozes out heavy psychedelic ethnic funk grooves and break heavy-hitting Afro-flavored rattles and shakes. A classic and a floor burner. Top copy housed in delicious gatefold jacket complete with OBI. Japanese original 1971 pressing never surfaces, until now…Price: 450 Euro
1318. NIBLOCK, PHILL: “Nothin To Look At Just A Record” (India Navigation – IN-3026) (Record: Mint/ Jacket: Mint). Original 1982 US press of this all time bewitching minimal music masterpiece. “The pieces are instrumental works, made on tape, performed as tape only, or tape with live musicians. The scores are the composer’s mix scores. In perform­ance the live musician plays with the tape, moving around the space, either matching tones on the tape or playing adjacent tones, creating shifting pools of beats and changed harmonics as he moves through the space and a duration of time. The pieces are made in stages. First, the tones are selected. The musician is tuned during the recording session by calibrated sine waves and watches oscil­loscope patterns to tune. Numerous examples of each tone are recorded. These tapes are edited (breathing spaces removed) into blocks of repetitions of each tone and then timed. The timed blocks are assigned to tracks and time slots of the eight tracks. In the score, each horizontal line represents a separate track and a duration of time. Figures above the brackets represent minutes and seconds of elapsed time: within the brackets, above the line is the duration of the event; below the line, the frequency of the tone (the pitch in Hertz). After dubbing up the eight tracks, the top four lines (tracks) of the score are mixed down to one channel, and the bottom four to the second channel of the final stereo mix. The music is architectural - the intent is to fill the space. It is non-frontal music, non-proscenium, anti-stage, not about the ensemble sitting in front of the audience, not about a single sound source. At least four speaker systems are desirable, arrayed around the periphery of the room, saturating the total space, engaging the air. The structure of the music comes from the reproduction of the tape (or CD). The live musician is not a soloist with tape background, but the converse”. (Niblock). Price: 150 Euro
1319. NICO: “Chelsea Girl” (MGM – Polydor Japan – 23MM-0193) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Virginal Japanese high quality pressing. Damned rare Japan WHITE label PROMO MGM label issue, just never see these ones, first time I can lay my hands on a promo issue, way harder to get than the US promo pressing and also quite a lot cheaper. 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, WHITE label PROMO with obi in stunning shape! Price: 200 Euro
1320. NICO: “Chelsea Girl” (Verve – V-5032) (Record: Near Mint/ Jacket: Near Mint ~ Mint) TOP copy!!! Rare US press promotional yellow labe lMONO 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 acapsule of fragility and gentility. Just stunning. Price: 400 Euro
1321. NICO: “Desertshore” (Reprise – K-44102) (Record: Near Mint/ Jacket: Near Mint). UK pressing of this 1971 classic produced by John Cale. Desertshore saw her bleakly personal images and ever-droning harmonium once more framed exquisitely by John Cale’s unobtrusive arrangements that succeeded in bringing a greater sense of organization and expansiveness to her performances. The contrast of Nico’s clear vocals with her harmonium dream-weaving drone texturing throughout set the pace and tone of “Desertshore”. Blood chillingly amazing slide, a dead stone classic. Price: 50 Euro
1322. The NIGHTCRAWLERS: “The Little Black Egg” (Kapp Records – KS-3520) (Record: Near Mint ~ Mint/ Jacket: Mint, still in shrink). Top copy, best condition imaginable and impossible to upgrade upon. Always in bad shape, this one here is just flawless. 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 folk rock-garage LP. Top condition original copy. Still housed in original shrink. Price: 400 Euro

1323. NINA SIMONE: “Forbidden Fruit” (Colpix Records/ Victor Records Japan – SMJ-7177) (Record: Near Mint/ Flimsy Flip Back Laminated Jacket: near Mint/ Obi: Near Mint) rare Japan first time press issue complete with rare issue as released in 1963 and comes housed in Japan only jacket artwork. Just never surfaces on these shores and this copy is as clean as a baby's ass. Price: 150 Euro

1324. NINA SIMONE: “Nina Simone At Newport” (Pye Records – UXP-97-Y) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Original 1978 Japanese pressing all complete with obi. A key early moment for Nina Simone – recorded live at Newport in 1960, at a time when the festival was one of the most important showcases for groundbreaking jazz – and a perfect setting for Nina to really let loose in that righteous style that would fuel her career during the 60s! Given that Simone could sometimes be turned out of the cabaret crowd with her politics, the warm welcome she gets at Newport is very fitting support – and you can really hear it in the ay she approaches the material! The set's a hip batch of tunes that includes a few standards like "Trouble In Mind" and "You'd Be So Nice To Come Home To", all done with the righteous Simone flair – plus other lesser-known tracks like "Flo Me La" and "Nina's Blues", opened up in the setting with some nice small combo backing! Price: 50 Euro
1325. NINA SIMONE: “Forbidden Fruit – Nina Simone Collections Vol. 1” (Pye Records/ Teichiku – UPS-2026-Y) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Beautiful Japan only issue for standout Nina Simone record. Tracks include: Rags And Old Iron/ No Good Man/ Gin House Blues/ I’ll Look Around/ I Love To Love/ Work Song/ Where Can I Go Without You/ Just Say I Love Him/ Memphis In June/ Forbidden Fruit. Comes with lyrics insert and first issue obi. Price: 60 Euro
1326. NIRVANA: “The Story Of Simon Simopath” (Fontana – 885.439.TY) (Record: Near Mint ~ Mint/ Laminated Gatefold Jacket: Mint). Original German pressing. Top condition and clean as can be. Nirvana's 1967 debut. An unashamedly twee early concept album, The Story of Simon Simopath (subtitled "A Science Fiction Pantomime," suitably expressing the deliberately childlike tone of the album) sounds, like most rock concept albums, like a collection of unconnected songs forced together by the story written in the liner notes. Ignoring the rather silly story (something about a boy who wishes he could fly), what's left is a regrettably brief but uniformly solid set of well-constructed psych-pop tunes with attractive melodies and rich, semi-orchestrated arrangements. Although the core of Nirvana was the duo of singer-guitarist Patrick Campbell-Lyons and keyboardist Alex Spyropoulos, the group is here expanded to a sextet including full-time French horn and cello players, and the semi-Baroque arrangements are particularly memorable on the singles "Pentecost Hotel" and "Wings of Love." Although The Story of Simon Simopath has no individual songs as instantly delightful as "Rainbow Chaser," the hit single and key track from their next album All of Us, it's a much more consistent record than that somewhat patchy follow-up.” (All Music Guide) Classic UK pop-psych slide that is musically near perfect. Top copy original German pressing. Price: 175 Euro

1327. NIRVANA: “Local Anaesthetic” (Vertigo – 6360.031) (Record: Near Mint/ Gatefold Jacket: Excellent) Amazing copy - original UK VERTIGO swirl copy in great condition, next to impossible to upgrade upon. Classic UK pop-psych artifact interwoven with flashy baroque atmospherics that enfold its colors over two sidelong suites, all blending into one glorious sonic illusion. Classic Vertigo slide by this great band. Price: 450 Euro

1328. NIRVANA: “Local Anaesthetic – Nehan” (Vertigo Records – SFX-7381) (Record: Near Mint/ Gatefold Jacket: Excellent/ Insert: Near Mint). Rare Japanese first original Vertigo Records pressing – complete with insert and in outstanding condition. Pressed on high quality vinyl, it sounds amazing! This one came out in Japan in 1971 and sold very poorly, resulting that only a very few copies to surface only now and then. Comes also on the Vertigo swirl label and sounds absolutely fabulous. Still one of their best releases and hard filed over here. Amazing condition. Price: 275 Euro
1329. NIRVANA: “Local Anaesthetic – Nehan” (Vertigo Records – SFX-7381) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Impossibly rare Japanese first original Vertigo Records pressing all complete with OBI!!! This one came out in Japan in 1971 and sold very poorly, resulting that only a very few copies remain in circulation all complete with the Vertigo obi. Comes also on the Vertigo swirl label and sounds absolutely fabulous. First copy I encounter all complete with obi. Price: Offers!!!
1330. NIRVANA: “Songs Of Love And Praise” (Philips – 6308.089) (Record: Near Mint/ Fragile Laminated Jacket: Near Mint). Top condition without any flaws or defects UK first original pressing. By the time of Local Anasthetic (1971), Nirvana was just Campbell-Lyons and session players, Spyropoulos leaving to pursue a solo career. Campbell-Lyons recorded and released a second, once again essentially solo, album under the Nirvana name, Songs of Love and Praise. The album failed to sell, and neither of two singles achieved much in the way of airplay or sales action. He worked for Vertigo as an A&R man and producer at the same time, handling some of their more minor acquisitions, the most impressive of which may well have been Dr. Z, while Mike Absalom was certainly the most obscure. “Songs Of Love And Praise“ contained re-recordings of “Rainbow Chaser“ and “Pentecost Hotel“, along with some fine new material, notably “Please Believe Me“, “I Need Your Love Tonight“ and “Stadium“, which were all written by Campbell-Lyons. On this and all Nirvana albums, he was assisted by a flexible group of close friends. Next to impossible to ever upgrade upon this one, stunningly beautiful UK first original pressing, just flawless... Price: 550 Euro
1331. NIRVANA: “New Folk Sound” (Metromedia/ Nippon Columbia – YS-2348=MD) (Record: Near Mint/ Jacket: VG++ ~ Excellent – has some brownish ageing spots visible on back of sleeve against white background/ Insert: Near Mint). Rare 1971 Japan only issue that comes housed in Japan only jacket art. The final Nirvana LP that got graced in a Japan only sleeve. WHITE LABEL PROMO. Price: 250 Euro
1332. NIRVANA: “Bleach” (MCA VICTOR/ Geffen – MVJG-25002) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Getting damned rare very first Japan original press issue that came out in 1992, all complete with first issue obi and pressed on high quality vinyl. Totally essential and damned hard to find clean original Japanese 1st pressings with obi. This one is perfect. Price: 150 Euro
1333. NIRVANA: “In Utero” (MCA VICTOR/ Geffen – MVJG-25004) (Record: Mint/ jacket: Mint/ Obi: Mint/ Insert: Mint). Getting damned rare very first Japan original press issue that came out in 1992, all complete with first issue obi and pressed on high quality vinyl. All is complete and getting a real tough one to dig up these days in mint condition with all present. Top copy. Price: 150 Euro
1334. NISHIOKA TAKASHI: “Maninnoki” (URC Records – URG-4018) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Circular 4 Paged Insert: Near Mint/ Imprinted Inner Sleeve: Near Mint). “Maninnoki” (URC Records – URG-4018) Long time no see all complete original first pressing from 1971!!! Bloody awesome record that is in urgent need for mass-appreciation! After the stunningly “Tokedashita Garasu Hako aka Melting Glass Box” LP, Nishioka departed from his one time only collaborators and embarked on a solo side career, next to his ongoing involvement with Itsutsu no Akai Fusen. “Maninnoki” starts off on a similar path that was left open after “Melting Glass Box” recording came to an end and sees Nishioka broidering on some of the same themes, taking them to hysterical acid folk heights. He even ventures into Dadaist lyrical excursions and phonetic word game dementia that brings ode to the delights of Ramen and other assorted downtown pleasures. The music is fragile, mind-shatteringly great and filled with well-balanced interludes, some found sounds snippets, psychedelic vapors and pastoral recollections gushed out of a concrete cemented jungle of Osaka. The B-side of the disc sees Takashi embarking on a more down to earth folk escapade, which still has some brightly shining moments. The artwork to grace the jacket, courtesy of Keiichi Tanaami, fuses neatly with the sounds embedded within the disc’s grooves and the whole package oozes out a deliriously intoxicating vapor that will succumb unto your senses. Great stuff and one of his best. Rare these days and still fairly undetected by a larger collecting crowd, although that the disc is quite hard to get a hold of. If early seventies acid folk and psych is your thang, this might be the fix you longed for all this time. Great stuff. Price: 100 Euro
1335. NITSCH, HERMANN: “Akustisches Abreaktions spiel” (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 andspiked it up with cacophonous noise, buckets of blood and animal dismemberment, turning gory excess into ritualistic spectacle. Segments of music; sounds of chaos, nature andcrowds and actors performing; and a narration in German that includes a description of animalsacrifice within a religious ceremony, all recorded live on the spot. Massive historical piece that borders on freejazz, free improvisation and noise, mixed with high art, making this recordinga sacred witness to his early creations, bringing to your living room aexhilarating ride. Massively collectible, killer ace music and…hopelessly rare,especially in mint condition and signed by the artists. Price: Offers!
1336. 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 privatepress as released in 1977 by an Italian gallery in a tiny miniscule run. Toporiginal copy of this next-to-impossibleto find 3LP art gallery edition issued in Naples in 1977. The music on displaydocuments an event which took place in the Chiesa di Santa Luciain Bologna, shortly after Beate Nitsch's death. Nitsch had decided to go the Naples where heorganized a lehraktion at Morra Gallery. During the lehraktion he was toldabout a big performance festival that would have taken place in Bologna. Nitschwas 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 thememory of Beate. Until this time Nitsch's music hadessentially been a wall of noise: musicians could play anything they liked, butas loud as possible. With the Requiem Nitsch, for the first time, started towork with longer tone clusters, especially for the wind instruments. Theperfect acoustics of the church with its wonderful organ suggested a new andmuch richer direction in his music - to which he has since adhered. For everyone present at the concert, the requiemwas an important and ecstatic experience. Top copy of this piece de resistance,which should have any self-righteous avant-garde/ improvised music and weirdhead shit his pants in delight. In short, the Holy Grail of privately releasedart edition records. Price: Offers!!!!
1337. NO NECK BLUES BAND: “Hoichoi” (Sound @ One – S@1#1) (Record: Near Mint/ Silk Screen Gatefold Sleeve: Near Mint/ Silk Screen Obi: 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 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. Their best effort without a doubt and the sole record one needs to keep and play at full volume by this band. Price: 75 Euro
1338. NOAH HOWARD: “The Black Ark” (Freedom – Trio Records – PA-7035) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: VG++/ Booklet: Near Mint) Top Notch Copy, Original 1st issue Japanese pressing on high quality vinyl, complete with never seen before obi & Japan ONLY booklet!!!! This is the stunningly rare original Japanese pressing of Noah Howard’s “The Black Ark” - one of the most legendary/unavailable/whispered-about free jazz sessions, featuring a young Arthur Doyle (his recorded debut!!!), Norris “Sirone” Jones, Mohammed Ali, Leslie Waldron, Earl Cross, and Juma ... The excellent cast of supporting musicians that included Sirone (who was then still going under the name Norris Jones) and (in his recording debut) Arthur Doyle who sounds on fire and viciously deranged throughout. Recorded in 1969 in NYC and later released on the UK’s Freedom label, this was also one of Howard’s earlier releases as a leader. This album features four solid compositions by Howard, who is also excellent on alto throughout, whether crafting soulful themes or pursuing more aggressive solos. The whole disc sounds like a napalm bomb dropped on unsuspected villagers and burns throughout its whole duration. Right from the start the tone is set with the opening track “Domiabra” a fierce shakedown for the group to stretch out their lungs and breaths. It all starts off with enough venom to make a Black Mamba snake blush in shame but when Arthur Doyle steps in; the whole affair really reaches volcanic like eruptions of molten aggressive lava concealed as musical notes. One of the disc’s highlights (heel it are all highlights on this one) is “Ole Negro” is and features the expanded rhythm section (Rashid’s brother, Muhammad Ali, on drums and Juma on conga, along with the piano and bass) laying down an incredible, almost hallucination producing foundation for the soloists. The other real winner is the longest piece “Mount Fuji”, which contains trumpeter Earl Cross and Doyle’s most significant contributions and some fine free all incinerating ensemble playing. But when Doyle steps in, then it really begins to hurt so much it becomes an ecstatic experience, almost religious by ripping your eardrums out of their shells with a saxophone that is insane pre-punk fire breathing primitivism as well as gloriously demented. Nobody ever sounded like Doyle and he is the true highlight of the whole disc. The album’s closing track, the pleasant, but all too brief “Queen Anne”, is highlighted by the solos of Waldron and Howard and makes you touch down to earth again. But by then your life will never ever be the same again. A classic that defies and expands free jazz as you knew it. Original first Japanese pressing complete with obi. All time highest recommendation!!!! Price: 250 Euro
1339. NOAH HOWARD: “Space Dimension” (America - 6108) (Record: Near Mint / Jacket: Near Mint). Original 1st press issue in TOP condition, hard to ever improve upon! Killer line-up with Frank Wright, Noah Howard, Bobby Few and Art Taylor. This disc is as forceful as an atomic bomb with all incinerating head on collision tracks such as “Space Dimension” and “Church Number Nine”. Originally released on America, this was the original French pressing. Space Dimension is without a single doubt one of the all time 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 joined him over there since Europe was keen on nurturing the hardcore jazz community the States had carelessly spit out. 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: 125 Euro

1340. NOAH HOWARD: “Patterns” (Altsax) (Record: Near Mint/ Jacket: Near Mint). Killer line-up with Noah Howard, earl Freeman, Han Bennink, Misha Mengelberg, Steve Boston and Jaap Schoonhoven. Released on Howard’s own Altsax label in 1973, “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. TOP COPY!!!! Price: 150 Euro

1341. NOAH HOWARD: “Live In Europe Vol.1” (Altsax productions/ Sun Records – SR-105) (Record: Near Mint/ 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: 75 Euro
1342. NOAH HOWARD: “Live At The Village Vanguard” (Freedom – 28.488-5U) (Record: Near Mint/ Jacket: Near Mint). An obscure and excellent set by Noah Howard – cut back in the US at the Village Vanguard, with a hip New York sextet that includes Frank Lowe, Earl Freeman, Rashied Ali, and Jumma Sutan. The record's got a strong free-roaming loft jazz sound – and is a few years ahead of many of the New York recordings that would come out in a similar mode on other small labels. Howard and Lowe are in especially great form, blowing hard and free in a spectacular post-Ayler mode. No surprise, the record features a side-long "Dedication To Albert Ayler". Beautiful original press copy in outstanding condition representing one of Howard’s most stunning recordings. Price: 75 Euro
1343. NOAH HOWARD: “Live At The Swing Club, Torino, Italy” (Altsax – SNIR-05055) (Record: Excellent/ Jacket: Near Mint). Rare and obscure 1st original pressing of one of Noah Howard’s most difficult to track down recordings. First original pressing in great condition. It was in April 1974 when he recorded “Live at the Swing Club Torino, Italy”. The session features Howard (alto sax, bells, tambourine) alongside Michael Smith (electric piano, acoustic piano), Bob Raid (bass) and Noel McGhie (drums). The end result is one of the most spiritual sessions Noah Howard ever blew out of his horn – and the group's got a great way of building up a cosmic sense of energy before it takes off – with real burning white-hot magic emanating from the Fender Rhodes and acoustic piano of Michael Smith, the pulsating bass of Bob Reid, and swinging drum vibe of Noel McGhee – a player who really drives the action along when needed – setting the spark that burns to a fire in Howard's bold alto solos. Noah also plays a bit of bells and tambourine – and Smith has a great way of resonating his acoustic keys in these wide waves of sound creating a very introspective atmosphere. Howard shines through as a true Coltrane disciple. From the very first note on the opening track Paris Dreams it is all there: the piano arpeggios, the driving drums and the pulsating bass and Howard’s soulful sound which is firmly rooted in blues and gospel. Howard gives his fellow musicians a lot of space to shine, especially Noel McGhie, who introduces the B-side of the album with a long drum solo before Howard and Michael Smith drop in with a forceful riff that reminds of Joe McPhee’s “Nation Time” phase. One of the highlights of the album is Lecke, a spiritual ballad that reminds of Coltrane’s Alabama with its deeply moving, irresistible melody and Bob Raid’s lamenting bowed bass. Just stunning. Price: 200 Euro
1344. NOAH HOWARD: “Ole” (Chiarossuro Records/ Teichiku – ULX-109-CH) (Record: Mint/ Jacket: Mint/ Insert: Mint/ OBI: Near Mint) 1980 high quality Japan press issue of subliminal Noah Howard slide. Comes complete with always-missing OBI…. Killer line-up that included Noah Howard –alto sax/ Takashi Kako- piano/ Kent Carter- bass/ Oliver Johnson- drums on ole (only)/ Muhammad Ali- drums (on the rest). Howard's explosive playing is never overspilling into the realms of excess; instead he maintains a soulful approach, keeping the rhythmic maelstrom in check. Each of the players performs with a virtuosity largely unencountered in contemporary improvisation, and in truth, there's no single star here. As the musicians one-by-one step forward to take a solo spot they each reveal their own unique musical identities. Stunning recording and amazing music. Top condition. Obi is quite a hard one to dig up…. Top condition. Price: 125 Euro

1345. NOH GAKU BAYASHI HIKYOKUSHU: “Dai Isshu” (Nippon Victor – SLR-501) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Very rare and obscure 1960 first original pressing. One of the musical highlights for me as of recent is this stunning recording from 1960, unfortunately it never made it on CD or any other format which is a shame since the music is so ear-bleedingly stunning, it hurts. The music of this Noh Musical Ensemble (Noh Gaku Bayashi) is similar to an orchestra, consisting of four instruments: the Fue, Ko-tuzumi, Oo-tuzumi and Taiko. The Fue is a transverse flute. The Ko-tuzumi is a small shoulder drum. The Oo-tuzumi is a large drum played on one's knee. The Taiko is a drum played with sticks. There is also a background chorus consisting of 8 or 10 people that make up the group of actors. Beautiful recording filled with intricate rhythms and stunning vocalizations. Late 1950s recording that seldom surfaces. Stunning condition and complete with obi. Price: 150 Euro

1346. NOISES: “Ilona Chale – Eric Chale – Michel Moers – Daniel Plasschaert – Robert Altaber – Marc Moulin – Ariel Kalma” (Kamikaze Records – Kamikaze-4) (Record: Near Mint/ Jacket: Near Mint). Original 1977 press on Marc Moulin’s (Placebo & Aksak Maboul fame) own private imprint Kamikaze Records. This disc in particular is the finest to see the light of day on the label with sound art/ noise? Contributions by some of Brussels leading scenesters such as Eric Chale, Ilona Chale, Michel Moers, Daniel Plasschaert, Robert Altaber, Marc Moulin and also a lengthy contribution by Ariel Kalma. Id experimental sound sculptures are to your liking, you will definitely fall on your bleeding knees for this holy artifact and make a private shrine for it. Wicked stuff and impossible to come by these past years. All time highest recommendation!! Price: 250 Euro
1347. The NOMADIA: “Rangeof Vision” (Toadstool Records – 002) (Record: Excellent ~ Near Mint/Gimmick Past On Jacket: Excellent ~ Near Mint/ Insert: Excellent) Hideously rare kraut rock gemthat 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 isstellar and was apparently recorded in an Austrian cave with the aid of ahealthy dose of microdots (credited on the inner sleeve for their inspirational qualities). So lysergic traveling aid and a healthy cave man attitude are thekey elements for unleashing sounds that will blow your mind. The first side ofthe disc is a side long acid folk induced track (acoustic side – smokeside) 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: 100 Euro
1348. NORD: “LSD” (LSD Records – LSDl-001) (Record: Near Mint/ Jacket: Near Mint) Freakingly rare to only 100 copies. This is the 2nd copy I can actually see with my own eyes in over 12 years time, just insanely hard to come by. L.S.D. features rough hewn sheets of ominous yet trippy pulsating textural electronics with an obvious debt to the stark Teutonic sound-worlds of Kluster and (especially) Seesselberg. Any glimmers of transcendence are immediately offset by a deadzone ambience that reeks of Maurizio Bianchi. Hiroshi Oikawa's solo explorations of the galactic void seem considerably more enticing to these set of ears than the more formalized quotidian post-industrial constructs he was fabricating under the Nord moniker with Satoshi Katayama on their Pinakotheca label debut LP from three years earlier. If this is cosmic, than it's the cosmos as viewed from the vantage point of a burned out cinder drifting into entropy. Gripping stuff! Price: Offers!!!
1349. NORDSTROM, BENGT: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 9F/ 10M) (Record: Near Mint/ Jacket: Near Mint). Monster rarity again, Swedish private press masterpiece, released in an edition of around 20 copies only and containing some of the strongest solo saxophone improvisations ever to be put down on wax, yes and dare I say it…even surpassing Abe Kaoru in my book. Largely and almost totally unknown, recorded and released in 1968, Bengt Nordstrom remained virtually unknown outside of Sweden and being the country’s most intriguing jazz musician. Partly due to his limited discography, he was overlooked by a wider audience. Yet, his contribution to the development of the modern & free jazz scene in Sweden cannot be overestimated, and neither can his influence on his fellow musicians, to whom he was the embodiment of jazz. He was the first to recognize the uniqueness of Albert Ayler and releasing his music in 1962 on his Bird Notes imprint. Concerning this issue: Bird Notes is quite a chaotic and difficult label to dive into as the pressings were done in only a handful of copies and Nordstrom was in a habit of re-using identical catalogue numbers and sleeves (if there were any) for a variety of his releases. Although Bengt used this sleeve for a couple (2) of his releases, one cannot identify his Bird Notes issues by the catalogue numbers only as he used identical catalogue numbering for a different variety of music so one can only distinguish his releases by its matrix numbers! Talking about obfuscation & mystification, no shit, he was the master! The 9F matrix number sometimes shows up but 10M is stupidly rare! On this one however, matrix number 9F is Bengt Nordström on tenor sax ”Spontaneous Creation” which was recorded on February 1st, 1968. Matrix number 10M-side is a recording also by Bengt Nordström on tenor sax somewhere in 1968. Of this one, although the sleeve was used for at least 2 other and different Bird Notes issues with again different music, was released in an edition of about 20 copies only!!! That said, Nordstrom’s improvisational free playing is out of this world and it feels upon listening to him that I have tapped into a rich & greedy musical vein that demands me to milk it like a terminal heroin addict. Speaking of weird and rare private press free improvisation jazz, well look no further, you just stumbled upon it! Price: Offers!!!!
1350. NORDSTROM, BENGT: “Sounds Of Life” (Bird Notes – BNLP2 – MATRIX NUMBERS: 5B/ 5D) (Record: Near Mint/ Jacket: Near Mint). Nordstrom’s Bird Notes label is the only label in the whole wide world that justifies the reading and inspection of matrix numbers. Bengt was notorious for re-using the only sleeve art he ever made for his own music but inserting it with different sonic marvels he recorded all by himself. So although the jacket art is the same, the music it beheld was always entirely different. Next to that was the tiny miniscule pressing quantity he applied to release his high-quality music, in most cases not exceeding a run of 5 to maximum 20 copies!!! Of this one here there were no more than 10 copies ever pressed. This is again a free-floating; free-roaming live recording of Bengt Nordstrom solo saxophone improvisations that took place somewhere in 1968! Wyld, lyrical, warm-toned, this is prime Bengt in action, at times extremely furious and unleashing a deep subterranean vibe and in the blink of an eye shape-shifting into a lyrical but nevertheless lethal sax howl, the music is nothing short of an arresting experience. As if engaged in a prison riot, Bengt’s playing deliriously hurtles in and out of focus without ever losing its violent fit of deliriously intoxicating madness. This is some of the most beautiful free saxophone playing ever to have caressed my earlobes!!! At times, Conny Lundin joins in on contrabass and evoking images not unlike of Yoshizawa Motoharu, although Lundin’s playing is a more civilized and droned out force. Sadly Lundlin is totally under-recorded and this is one of the few recordings he is actually on! He stopped playing near the end of the 1960’s and shifted to painting and died at a young age. Here tracks include Lundin playing solo bass somewhere recorded in 1964 and Bengt blowing a solo plastic alto sax, also recorded in 1964, Followed by Conny Lundin solo bass in 1964/ “bird notes” solo plastic alto sax 1965, “the bass player” Conny Lundin solo bass in 1964. Talking about obscure late 1960’s privately run free jazz labels, well you do not have to look any further, we have a winner right here. Again an ultra rare private issue, released in an edition of between 10 copies maximum, again housed in the one sleeve he had but with different matrix numbers and hand stamped labels. Rare for eternity, this shit just never gets offered. Wanna fix of maniac sax fury of the highest order? Well this is it right here, take no substitutes!!! Price: Offers!!!
1351. NORDSTROM, BENGT: “Natural Music” (Bird Notes – BNLP2 – MATRIX NUMBERS: 8B/ 9D) (Record: Near Mint/ Jacket: Near Mint). More dysfunctional but highly inflammable free jazz weirdness for you, coming from the most exciting privately run label there ever was!!! Another ultra rare Bird Notes issue and again – you could have guessed it – released in late 1968 in a run of only 30 copies!! Another animated strive out of the dark woods of Sweden. Comprised out of solo soprano sax recorded in 1968 and "the horn song” - solo soprano sax recorded in 1967. Bengt again blows out a weird hell-broth of incendiary sax tones, creating a high-tension music that just bounces of the walls and comes back at ya. Lethal, quelling the darker side of solitary free improvisational playing where the tiniest gestures trigger apocalyptic waves of sound. Bengt succeeds in dissecting all of his fire-breathing movements into fractious pieces of sound, resembling almost a methodical surge towards a Dickensian severity in tonal color. He solitarily creates an utterly compelling panoramic sound, an intuitive approach setting off a tornado of dusty note clusters that engulf the aural landscape. Highly addictive free improvisational solitary sonics that leave you gasping for air! Again ultra limited small private pressing from 1968…you can count on one had the people who have an actual copy and I am afraid this situation ain’t going to improve ever. Probably the smallest run ever of a private label! So rare for eternity but luckily enough filled with some of the best music ever put down on wax. Highest recommendation!!! Price: Offers!!!!
1352. NORDSTROM, BENGT: “S/T” (Bird Notes – Bird Notes Ep 14A/ 14B) (EP Record: Near Mint/ Generic Plastic Outer: Excellent). More sonic dementia to fry your collector brain and sonic membranes with. Torching shit, you want obscure killer soundzzz, well here is another one to suck your teeth into. The rare stuff, almost no one has a copy of this one, which comes as no surprise as quantity is extremely low but musical quality is of the highest order…. Bengt Nordstrom is again high on fire on his own Bird Notes imprint with on the matrix number (here we go again) 14a-side the line-up of Bengt Nordström plastic alto sax, Christer Boustedt alto sax, Sven Hessle bass, Gösta Wälivaara - bass, 33 rpm, recorded on May 28th, 1967 at the Golden Circle in Stockholm. On the B-side, 14b sees Bengt Nordström on plastic alto sax 4 solos, 33 rpm, recorded in August 1967. There were likely a maximum of 25 copies only pressed of this beauty and rare for infinity. But then the music is just a genuine face-peeler and brain-melter…. Free jazz never sounded as good and exciting or was so titillating, causing endorphins to rush through my infantile brain and making life all exciting again! Price: Offers!!!!!
1353. NOVEMBER: “2: a November” (Sonet – SLP-2520) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1971 Swedish 1st press – this being the MONO pressing. 2:a November (1971) was produced by Georg Wadenius (of Made In Sweden) and showed a greater range - the music is heavier when Rolf is let loose, but also softer in parts with piano and melancholic vocals. This was the second album of this Swedish bunch bringing forth an amazing vibe oozing out great heavy bluesy hard psych ripping vibes, demonic vocals and wailing guitars. One of Sweden’s finest band to emerge, every track is a winner. Brilliant all way through!!! Price: 250 Euro
1354. NOVEMBER: “6: e November” (Sonet – SLP-2530) (Record: Near Mint/ Textured Gatefold Jacket: Near Mint) Original 1972 Sweden press issue in top condition by Sweden’s finest heavy psych/ prog outfit. 2:a November (1971) was produced by Georg Wadenius (of Made In Sweden) and showed a greater range - the music is heavier when Rolf is let loose, but also softer in parts with piano and melancholic vocals. Their last album continued this trend and is arguably their finest effort. Christer Stålbrandt later started a new group named Saga. Meanwhile Inge became a member of heavy jazz-rockers Energy.” (Scented Gardens Of The Mind by Dag Erik Asbjørnsen). Top copy. Price: 400 Euro
1355. NUDE RECORDS PLAYING CARDS: “S/T” (Private Issue – No Number) (5 Mini Picture Card 45 RPM Records: Near Mint). Bloody obscure erotic artifact out dayz long gone, this little oddity – 11cm 〜 11cm set of 5 playing cards that can actually be played at 45 RPM on a turntable, came out at the tail-end of the 1960s and was distributed through a string of underground porn shops. Needles to say, seen the fragile nature of this novelty, surviving copies are far and few in between. 5 picture disc playing cards of naked ladies in various poses and containing sleazy sounds from Japan’s Showa era. Mysterious and amorphous, freakish, frivolous and fuzzy little anacreontic musical tittie-swinger from a forlorn age when hedonism and sensuality still drove the world deliriously insane. Price: 150 Euro
1356. NUDE RECORDS PLAYING CARDS: “Atsui Tameiki” (6 Mini Picture Card 33 RPM Records: Near Mint/ Insert: Near Mint/ Envelope Styled Gimmick Holder: Near Mint). Never offered before erotic milestone artifact, again seeping out of the deepest bowels of Showa era Japan. Set of 6 playing card picture discs (11cm 〜 11cm) that comes housed in a Fluxus-styled designed outer envelope that in itself is already the epitome of sleaze, depicting two fingers one can insert into a quivering vagina. It leaves little to the imagination albeit designed with taste and style! Once the envelope opens up, it reveals 6 mini picture-discs depicting a string of naked beach bunnies. Music wise, this edition is dope and ranges from striptease styled twangey desert guitar orchestrations to teasingly whispering Japanese ladies, groaning and moaning lustful sounds, titillating pillow talk and full bridled orgasmatic climaxing galore. Never encountered before obscure underground Japanese erotic artifact – birthed out during the fertile days of the late 1960’s when hedonism was still a virtue, this is a little jewel, both sonic-wise as art-wise…a beauty to behold and enjoy. Your sex-life will never ever be boring again! Price: 300 Euro