RARE RECORDS CATALOGUE
M-N
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

1005. 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: 125 Euro
1006. MAD RIVER: “Paradise Bar And Grill” (Capitol – ST-185) (Record: Excellent/ Jacket: Excellent). Original 1969 US pressing on green Capitol label. 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!! SOLD

1007. MAGICAL POWER MAKO: “Super Record” (Polydor – MR 50055) (Record: Near Mint/ Jacket: Near Mint/ 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: 200 Euro

1008. 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!!!
1009. 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!!!!!
1010. 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: 60 Euro
1011. MAITREAYA KALI: “Apache/ Inca” (Little Indians/ Shadoks) (2 LP Set: Mint/ Heavy Gatefold Jacket: Near Mint/ Poster: Mint). Long gone deleted deluxe heavy reissue in an ultra limited run. Maitreya Kali is actually Craig Smith, at one point one of the key members of California folk-rock band the Penny Arkade. Later down the line after an acid trip too many and having bummed all through Asia, Smith returned back to the States around 1971/72 and released these two albums whose sounds was spiked with and influenced by mystical psychedelia dosed up with a healthy whiff of American roots and even a dash of some country & western. The result is a wide variety of songs, impregnated with a loner/ basement kind of feel and injected with primitive guitar distortion licks, sunny seaside Californian harmonies and tons of jangly, amplified country folk twang. The whole affair breathed out a doped up sensitive but fragile acid folk vibe, beautiful vocalizations, all delivered with a stunning burned out feeling. Prehistoric shimmering country rock numbers pop up here and there, counter-flanked by confused acid jams and carefree honest lyrics. In short a Californian deep Psychedelic loner disc, filled with slowly burning acid leads, mystical undertones, swirling caveman like effects, subterranean vibe hovering through it all and of course without ever loosing that stoned and wasted feeling you all like. Long out of print micro release, housed in a heavier-than-life gatefold jacket. Price: 250 Euro
1012. 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: 120 Euro
1013. 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: 30 Euro

1014. 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

1015. 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
1016. 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
1017. 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
1018. 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: 350 Euro
1019. The MANDRAKE MEMORIAL: “Puzzle” (Poppy – PYS-40.006) (Record & gatefold Sleeve & Insert: MINT = Sealed copy). Original 1970 US pressing, SEALED condition & PROMO. This was the third full length by the East Coast psych masters. The sleeve features a famous work from Dutch artist M.C. Escher, which fits the mind bending and ultra creative music like a glove. Hailing from Philadelphia, Puzzle was the band’s 3rd album and it's a complete and utter masterpiece. The cover is a complex Escher painting of stairways going in impossible directions, and the music echoes the imagery with mature, complex songs that often travel to wildly unexpected places. The album contains lush orchestration, outstanding keyboard work, soulful vocals with deep lyrics and enough atmosphere to fit a dozen albums. Containing a full 15 songs and clocking in it a massive 50+ minutes, with no separation between tracks, the thing is so disgustingly consistent that pulling out standout tracks is difficult. Sealed copies of this one just never surface so if in need for the best condition possible copy, then look no further. Price: 400 Euro
1020. 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
1021. MANFRED MANN: “Original Manfred Mann” (Odeon – OR-8106) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ OBI: Mint). Japan only issue that was released in August 1969, complete with first issue obi and with the record pressed on delicious RED wax. Comes housed in Japan ONLY acid leaking cover art. Stunning slide that discloses Manfred Mann’s early years when they rummaged through R&B, dirty blues inspired songs and gritty rock that ranked them among the most adept British Invasion acts in both of these styles. Their musical vividly incorporated jazz as well as rhythm & blues, coupled with some elements of their appearance and presentation -- co-founder/ keyboardist Manfred Mann’s bearded, bespectacled presence -- also made the Manfreds more of a thinking person's band than a cute, cuddly, outfit like the Beatles or sexual provocateurs in the manner of the Rolling Stones. Still their approach to R&B was as valid as that of the Stones, equally compelling and often more sophisticated. And it shows when spinning this slide here, which catapults you back, smack in the middle of mid-sixties swinging London. These recordings features Paul Jones throughout, who was one of the best British Invasion singers, and his resonant vocals were the best feature of Manfred Mann’s early R&B slides, which had a slightly jazzier and smoother touch than the early work of the Rolling Stones and the Animals. So bloody great!!!! Gritty, snotty, sophisticated and butt-swinging all bolstered up in one groovy sound, The Manfreds bloody RULED!!!TOP COPY, impossible to upgrade upon and all complete with the rare OBI. Impossible to upgrade upon this copy! Price: 300 Euro
1022. MANFRED MANN: “Chapter Three” (Philips Japan – SFX-7200) (Record: Near Mint/ Gatefold Jacket: Excellent). Original 1st Japanese issue – red Philips label PROMO issue. 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: 150 Euro
1023. 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!!!!
1024. 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
1025. MANITAS DE PLATA: “Picasso, Guerre, Amour et Paix – Musique Original Du Film De Lucien Clerque” (Epic – ECPM-2) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint). Manitas and Clerque came out of a post-war France where tradition mixed with modernism. Manitas – born Ricardo Baliardo – grew up as part of a semi-nomadic gypsy community who spoke Catalan as their first language and played in a manner that disregarded the strict rules of Andalusian flamenco guitarists. He also embraced the influence of the late Parisian gypsy jazz guitarist Django Reinhardt and began to incorporate Latin American rumba rhythms into his style. Slowly Manitas began developing a new French flamenco fusion, one that was – at the time – ridiculed by flamenco purists. This is a quite rare 1971 Japanese 1st press issue documenting Clerque shooting Picasso at home with the accompanying music of De Plata, a reunion of three close friends. Comes with great capsule obi present. Price: 50 Euro
1026. 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
1027. 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
1028. 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
1029. 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
1030. MARI KEIKO: “Jeruje b/w Sora To Umi To Watashi” (Victor Records – SV-2166) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Top copy of Mari Keiko’s rarest release ever following her “Baby Doll” LP, which she released under the Petite Mamie moniker. A great slice of vintage Japanese erotica on wax. Sadly, this is a hopelessly obscure and rare EP and digging up this copy took me close to 9 years. A beauty both visually as aurally. Highest recommendation!!! Price: 350 Euro
1031. 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
1032. 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
1033. MARK STEWEART + MAFIA: “Learning To Cope With Cowardice” (Japan Record/ On U Sound Records – JAL-2515) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Promo Issue, Japan 1st original pressing from 1983 all complete with great looking obi. “No less confrontational than some of the Pop Group’s work, it left behind the harsh, frenetic avant-funk of the Bristol band to foray into more experimental, dub-oriented territory. The standout track is the cut-up version of "Jerusalem," the English hymn that has come to stand almost as an unofficial national anthem. Stewart’s "Jerusalem" embodies the multiple sonic facets of this album, juxtaposing jarring electronics, hectoring vocals, and heavy beats with more expansive layers of melody. Here, Stewart mixes his own strident declamation of William Blake’s verses with samples of a traditional arrangement of the hymn and with echo-heavy dub textures in such a way as to craft a complex meditation on issues of race, class, and tradition in Thatcher-ite Britain. Ironically, although Stewart doesn't use his own words, this ranks among his most powerful political statements. Elsewhere, Stewart sees democracy eroded by the encroachment of the State in league with corporate forces. The soundtrack to that vision is rendered appropriately dissonant, fragmented, and menacing in the chaotic, scratched, cut-up sound of "Blessed Are Those Who Struggle" and the austere metallic distortion of "None Dare Call It Conspiracy." Stewart’s less challenging side can be heard on the title track, with its basic hip-hop rhythms, as well as numbers like "The Paranoia of Power" and sections of "Liberty City," which are built on smooth reggae grooves with his tortured singing offset by melodic female vocals.” (All Music Guide) Price: 50 Euro
1034. MARKS – SHIPEN – LEBZELTER: “Rock And Other Four Letter Words” (CBS SONY – SONC-10085) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Inserts: Mint/ Capsule OBI: Excellent). Rare 1st original pressing all complete with never seen capsule obi. 'Rock and other four letter words' is a genuinely psychedelic obscurity originally pieced together and released in 1968. The work of one J Marks and his buddy Shipen Lebzelter, it revolves around a stockpile of cut-up quotes taken from Marks' interviews with rock stars of the time for his eponymous book (essentially a book of photos by Linda Eastman, soon to be McCartney). The likes of Pete Townshend, Jimmy Page, Brian Wilson, Grace Slick etc. all feature, spliced with progressive rock, wigged-out electronics, tape loops and even gospel songs about baked beans in a unique conflagration of sound poetry, Stockhausen-esque compositional strategy and free-ranging, experimental '60s psychedelia. It's understandably achieved cult status since then, not only for its sampled sources, but also an illustrious cast of contributors including jazz players Alan Silva, Andrew Cyrille, Roswell Rudd and Burton Greene, alongside the studio assistance of John McClure, who produced this, along with 100s of other recordings at CBS, including the Harry Partch records. Bloody rare Japan 1st original pressing all complete with insert and the damned rare capsule obi. First time ever I can lay my mittens on a Japanese original with obi. Killer with absolutely no filler. Price: 125 Euro

1035. 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

1036. 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
1037. 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
1038. 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
1039. MARTIN SAINT-PIERRE: “Solo Creation” (Le Chant Du Monde – LDX-74655). (Record: Excellent/ Triple Gatefold Jacket: Excellent). Martin Saint-Pierre is probably a name most of us would be familiar with unless you are one of those maniacal guys who try to amass every single disc listed on the illustrious NWW list. Well, this is one of these records on that list. Not that such a list means anything except that it contained some glorious music and this is one of those gems tucked away in there. Released in 1977, “Solo Creation” by Saint-Pierre is really a breathtaking piece of music.   Flying in from his native Argentina and relocating himself to France in order to escape his native country's totalitarian regime, Martin Saint-Pierre settled down and released his first LP. In his hands, percussion becomes the departing point for a new means of expression that leans more to a contemporary creation instead of being a barely audible echo of a distant ancestral past. With his bendir – a Berber instrument out of the Atlas Mountains– Saint-Pierre leaps off straight away in an open space that qualifies itself as a “sonic sculpture”. Playing with contrasting effects, he emanates out a string of basic rhythms with frolic hand movements. He creates a wide sonic palette and upon listening attentively to it, it is at times hard to comprehend that such a recording was possible with nothing but the bendir. At times hurtful and at other occasions caressingly sweet, the tonal palette is wide and ranges from clear sounding notes to rumbling thunderous sounds and explosive eruptions. In all, he evokes an organic drift impregnated with a midnight ambience, punctuated by strange bits of percussive flares, but spending most drifting through deep dark cavernous expanses of sound and breathing out amazingly deep and physical sounds that are comprised out of a slow burning series of huge low end reverberations. The resonating sonics are given ample time to invade your listening space and hi-jack the ether. Scintillescent high end sparkles bobble up at the rear end of your acoustical wave frequency's periphery, super percussive skitter wraps around delicate melodic tom fills, occasionally sounding like a super slow abstract free jazz spread way out across the soundfield, with some serious stereo panning to underscore the total outcome. It all blends into an amorphous maelstrom swerving from one speaker to the other, oozing out dizzying dreamy soundscapes of percussive melodic clatter and strange rhythmic textural. drones that subtlety transform into high-end infected free jazz splatter. Truly beautiful disc that in a way resembles some of those early Tsuchitori percussive albums. Stunning and highly recommended. Price: 75 Euro
1040. 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!!!!
1041. 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
1042. MATCHING MOLE: “S/T” (Epic – ECPL-45) (Record: Near Mint/ Textured Jacket: Near Mint/ 6 Paged Insert: Near Mint). Bloody rare Japanese first original pressing complete with illustrated booklet. Never before have I encountered a Japanese high quality original. Amazing sound quality. Price: 120 Euro
1043. MATCHING MOLE: “S/T” (CBS S-64850) (Record: Near Mint/ Textured Jacket: Near Mint). First original 1972 UK pressing, housed in textured jacket. Formed in 1971, Matching Mole was ex-Soft Machine drummer and vocalist Robert Wyatt, David Sinclair from Caravan on keys, Phil Miller on guitar and Bill MacCormick on bass. Their debut, released in 1972, was, for the most part, written by Wyatt. The album begins with the classic “O Caroline”, with Wyatt’s poignant lyric – it was written after his break-up with artist and journalist Caroline Coon – complimented and augmented by Sinclair’s gently sublime melody, his Caravan roots plainly on show. Contrast that with “Signed Curtain”, which is musically arresting, but features some of Wyatt’s most trite lyrics. After that it’s largely instrumental, with Phil Miller’s “Part Of The Dance” standing out, primarily because it’s jazz inflected fusion rather that avant-prog or hard psychedelia, though Wyatt’s “Dedicated To Hugh, But You Weren’t Listening” inhabits a space somewhere between early Floyd and the Dead’s “Dark Star” and is in parts, quite stunning. Brilliant LP, one of the best to seep out of the UK. First original pressing in amazing condition + comes housed in first issue textured jacket. Price: 125 Euro
1044. 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: 175 Euro
1045. MATSUKAZE KOICHI TRIO: “At Room 427 – Featuring Ryojiro Furusawa” (ALM Records – AL-3002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original rare pressing from 1976 on the highly collectible ALM label, which was also responsible for releasing those Abe Kaoru discs and East Bionic Symphonia amongst others. ALM stuff is completely elusive and so hard to find these days, especially those lesser know deities that appeared on the label. Recorded on November 21st 1975, the trio which consists out of Matsukaze Koichi - on alto sax, tenor; Yamazaki Hiroshi on bass and Furuzawa Ryojiro on drums – make it clear from the start that they are an unrelenting force to be reckoned with. The disc dwells into free-jazzing melodic areas similar to the Art Ensemble and middle period Classic Quartet Coltrane as far as the rhythm section is concerned). The opening track has some excellent Elvin Jones’ styles drum and snare ruffings that underscore Matsukaze’s swirling sax lines. Quite intoxicating in its approach, the tune immediately sets the tone for the remainder of the album to unveil itself in. Melodic, yet free and stuffed to bursting with state of the art improvisational interplay of the highest echelon. The trio certainly demonstrates that they fully master their instruments and that they are fully jacked into the current state of free improvisational interplay, which baffles me why they had so little exposure because they were a top class act. The whole disc was recorded live before a small audience in – as the title already suggests – in Room 427, a class room of the Chuo University where Matsukaze and Furuzawa were once students. But not let the location fool you, the sound quality is of the highest level and that is all thanks to Mr. Kojima who is a kick ass recording engineer, giving the record a feel like you were sitting on the first bench of the class room. For me personally, this is one of those unsung great free jazz discs to seep out of Japan, a disc that failed to gain any attention, which is so sad. This is brilliantly executed music with a great vibe resonating throughout it, melodic, free, yet at the same time filled with emotion and spine-chilling vaudevillian aesthetic. Limited one time pressing of way back in 1976. Price: 250 Euro

1046. 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!!!!

1047. 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
1048. 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: 350 Euro
1049. 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
1050. MAYALL, JOHN & THE BLUESBREAKERS:“A Hard Road” (Decca – LK.4853) (Record: Excellent/ Jacket: Excellent) Original UK 1st MONO pressing on the unboxed Decca label imprint. “To my ears, this is a considerable improvement on the over-rated ‘beano’ album, with Peter Green making his mark as more than a match for Eric Clapton. The menu is still basic R&B, with the emphasis on the B but it’s executed with a greater sense of excitement by a more confident sounding band. Highlights include ‘You Don’t Love Me’, ‘Leaping Christine’ and ‘The Same Way’, all of which retain catchy pop overtones. Mayall’s voice, whilst still not overtly distinctive, is improving and his harmonica playing is on fire. He duels majestically with Green on ‘Hit The Highway’, while Green proves himself the UK’s premier bluesman on a savage version of ‘Dust My Blues’ where his sublime slide guitar lead battles with some electrifying rhythm guitar” (GH – Galactic Ramble). Classy trashy and brilliant white boy blues, sounding vicious and spiked with city grid. Fantastic album, first original UK pressing in great shape. Price: 90 Euro
1051. 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: 350 Euro
1052. 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
1053. 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

1054. 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

1055. 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
1056. 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
1057. 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
1058. 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: 250 Euro
1059. 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: 250 Euro
1060. MC 5: “Kick Out The Jams” (Elektra/ Victor Japan – SJET-8153) (Record: Near Mint - MINT/ Jacket: Mint/ Outer Jacket Cut-Out Obi: MINT). TOP COPY, WHITE LABEL PROMO issue. Ok boys and girls, time to get down and dirty with a heavy hitting monster rarity out of Japan, being this September 1969 released original Electra/ Victor LP by the MC5 “Kick Out The Jams”, all complete with the never-seen-before cut out wrap around obi!!! I feel ya all, this one hurts…because you got blind sighted and didn’t saw this one coming. So I will spare you a musical rundown since I guess you are all more than familiar with this monster. In short, this complete edition 1st pressing is next to impossible to dig up on these shores. So let me explain about the condition some more. The actual records jacket is total mint as well as the actual record, which I would grade in between near mint and mint. To add some more icing on the cake – this is a never before encountered WHITE LABEL PROMO issue of which only a handful exist. The wrap-around-cut-out-obi sleeve I would conservatively grade as Near Mint to Mint, it is absolutely flawless and in top condition with NO defects at all, impossible to find a better one. Totally no foxing as well so the outer obi is also virginally white. The wrap-around-obi functions as a slide in that holds the actual record’s jacket and has the words “World New Rock” cut out. The whole die-cut is in mint condition and intact. 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”, 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!!!!
1061. 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
1062. 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!!!!
1063. 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
1064. McCOY TYNER TRIO: “Autumn Leaves” (Impulse – SR-3022) (Record: Near Mint/ Flip Back Fragile Jacket: Near Mint/ Obi: Mint). Bloody rare Japan 1966 original first press issue all complete with obi. Japan only issue that is according to these ears is one of McCoy's finest album for Impulse. The first third of the album is simply incredible, and ranks up there with anything recorded in 1964 (and in hindsight that was no easy task). Japanese original issue with unique cover art, Japan ONLY issue. Comes housed in a gloss flip-back cover is in top, sharp condition. Back notes are in Japanese. Orange deep groove Impulse labels. Comes all-complete with rare OBI. Impossible to upgrade upon. Price: 75 Euro
1065. McCOY TYNER: “Keyboard Sophistication” (Impulse – SH-3069) (Record: Near Mint/ Flip Back Fragile Jacket: Near Mint/ Obi: Mint). Bloody rare Japan 1966 original first press issue all complete with obi. Japanese original issue with unique cover art, Japan ONLY issue. Comes housed in a gloss flip-back cover is in top, sharp condition. Back notes are in Japanese. Orange deep groove Impulse labels. Comes all-complete with rare OBI. Impossible to upgrade upon. Price: 75 Euro
1066. McCOY TYNER: “Nights Of Ballads and Blues” (Impulse – IMP-88150) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: VG++). Japan 1st original pressing complete with obi. As the title implies, this McCoy Tyner release is a low-key, after-hours affair. Far removed from the intensity of work with then-boss John Coltrane, Tyner stretches out on a fine mix of standards and bebop classics. The pianist, of course, always had his own fleet and rich way with ballads, in spite of the galvanizing marathon solos he became known for on live dates and his later experimental recordings with Coltrane. His ballad style is even touched with a bit of sentimentality, which thankfully is kept in check by a bevy of tasteful lines. Backed by the topnotch rhythm tandem of bassist Steve Davis, and drummer Lex Humphries, Tyner finds the room to develop classic statements on highlights like Monk’s "'Round Midnight," Ellington and Strayhorn’s "Satin Doll," and Parker’s "Star Eyes." On more easeful tracks like "For Heaven's Sake," Tyner utilizes his block chord approach to meditative and romantic effect. Rounded out by solid blues sides like "Blue Monk" and Tyner’s own "Groove Waltz," Nights of Ballads & Blues qualifies as one of the pianist's most enjoyable early discs.” (All Music Guide). Price: 50 Euro
1067. McDONALD AND GILES: “S/T” (Atlantic – P-6396A) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint). High quality first original Japanese pressing from 1971. Former King Crimson members Ian McDonald & Michael Giles recorded this set shortly after leaving the group in 1969. They enlisted the help of Traffic vocalist / keyboardist Steve Winwood and released this album in 1970. Musically, McDonald and Giles is fantastic and contains many of the pastoral and musically complex elements of King Crimson, while generally avoiding that band's darker tendencies. A classic in the true sense of the word and one I keep revisiting time and time again. Top copy Japanese 1st original pressing housed in a heavy gatefold sleeve. SOLD

1068. McINTYRE, MAURICE: “Humility In The Light Of The Creator” (Delmark/ Trio Records – PA-7025) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ Obi: Near Mint). Promo issue – rare Japan 1st original pressing all complete with obi. Humility may have been McInytre’s first session as a leader, but the music and musicianship yield the mark of a completely mature player from the outset. Adding to the indispensability of the date is a who’s who of AACM heavyweights on hand to lend their talents to the already boiling creative pool. The record conveniently divides into two programmatic halves. The first “Suite: Ensemble Love” includes the haunting title piece a tune of almost tone poem dimensions that encapsulates an incredible depth of emotive urgency into it’s scant running time. It is arguably McIntyre’s finest recorded moment as his full-toned tenor expounds around bowed bass and malleted drums. On several other pieces within the suite Jones gruff vocalizations reference Native American chant forms by way of Chicago’s South Side. Upon repeated listens his contributions which at first sound churlish and haphazard begin to make sense within the context of the other instruments, particularly McIntyre’s concentrated saxophonics. Price: 100 Euro

1069. 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
1070. MERRELL FANKHAUSER AND (His Trusty) H.M.S. BOUNTY!: “Things” (Shamley –SS-701) (Record: Excellent ~ Near Mint/ Jacket: Excellent, little drill hole in upper right corner). Original 1968 pressing. “This was one of many Merrell Fankhauser bandst hroughout the mid to late 60’s and early 70’s. Things was released in 1968, sandwiched in between Fankhauser’s Fapardokly and Mu albums. Mu is agruably his masterpiece, an innovative slab of slide guitar desert psychedelia from theearly 70’s. Things has more of a bona fide 60’s sound, coming across like a meeting between Buffalo Springfield, Spirit, the Byrds and Cream. This album ismuch more psych minded than 1966’s folk-rock inclined Fapardokly too. A Visit With Ashiya is possibly Fankhauser at his most psychedelic, awashed with stoned vocals and walls of sitar. It’s also one of the album’s centerpieces and a ragarock killer that ends with some thick fuzztones. Things has a handful (about 4)of tuneful, melodic folk-rockers that hark back to earlier times. Ice CubeIsland is one of the best of these folk-rockers, being so blissed out anderetheral. It’s an excellent example of acid folk-rock. Other songs like MadameSilky, What Does He See In You and Rich Man’s Fable work really well too and arecharacterized by paranoid vocals and liquidy fuzz guitar leads. For most listeners though, the highlight of this album is Your Painted Lives. It’s oneof those incredible 60’s songs, an early foray into country psych that chugsalong with echoed vocals and once again, hard fuzz guitar riffs. Things isdelicate and raunchy all at once and a great, American underground rock record.Fankhauser would go on to make better albums (Mu and his 1976 solo effort) butthis record still deserves a special place among the psychedelic 60’s.” (The Rising Storm). So amazingly good and soessential. Top copy. Price: 125 Euro
1071. 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
1072. 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: 125 Euro
1073. 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
1074. 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 insofar 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 pussyfooting 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: 125 Euro
1075. MICHI KANAKO: “Yoru No Mushi” (Royal Records – RS-103) (Record: Near Mint/ Gatefold Jacket: Near Mint). Freakingly rare TOP copy!!! Second copy I see in my lifetime and 1st time a true mint one. Probably the hardest to get disc on the list this time round and the most stunning for that fact. Original 1968 press that came out in a limited number since it bombed majorly upon its release. Michi Kanako is virtually a largely unknown actress and her sole recorded legacy is something to drool over. Before making the record, she made her debut in the movie “Hakuchuuyume” where after she built out a career on television. “Yoru no Mushi” was released on the little Royal Records label in their “Hisoka Series”, meaning as much as their secret or concealed series, referring to the soft erotic nature of the music. Due to the time of age that the recording was recorded and released (November 1969) it is not as bluntly and overtly pornographic as let’s say Ike Reiko but nevertheless due to the subdued nature and the classy take on production and singing, the disc breaths out a high-class subtle wave or eroticism. Michi’s vocals and the way she ushers out her words and syllables are enough to let your mind color in the imaginary landscapes and settings she adequately evokes in a very titillating way. That combined with the elegant but very stripped down backing executing the music in only essential and minimal cocktail lounge features bring out perfectly the almost hushed like vocalizations of Michi, enabling her to punctuate certain syllables by a gush of escaping air and soft lingering consonants, making the whole even more arousing and bringing out a very agreeable sensation within the listener. Just enough to exciting by touching lightly so as to cause twitching movements in your underbelly. Michi’s voice floats on a pink cloud, hovers into thin air always out of reach but is intoxicatingly addictive. If she only had recorded some more, but sadly enough that is all she did and has been my favorite female singer ever since I first heard her. Also the photo of her gracing the front is totally sexy in my opinion, especially the way she holds her hand lightly under her chin with her finger slightly curled upwards has been haunting my waking hours and dreams. A total class act. Just stunning… The B-side of the disc is reserved for another actress, this time being Sakyou Michiko, an actress that made a name for herself by debuting in the Nikkatsu movie “Akatsuki no Toubou” that attributed to her persona an aura of eroticism as well. She also recorded one record, being this B-side and like Michi, it is also erotically charged, but she deploys her charms and voice and a very different way. There where Michi comes over as a very gifted singer, Sakyou is less technically gifted, making her performance more amateurish, which attributes to her charm she tries to get across. The backing is again stunning with well-balanced twangy guitars, sibilating wind-cutter flutes and subdued cheap organ lines, making Sakyou sounding like a real stinger. But the real treat is without a doubt Michi Kanako, a gifted late night nymph bound to haunt your broken hearted dreams. Price: 500 Euro
1076. MICHI NARU HOUMONSHA:“KyouiNo Kontakutee Shougen” (King Records – SKD(H)501) (Record: Near Mint/Jacket: Near Mint/ 8 Page Illustrated Booklet: Mint). Rare white labelpromotional copy, original 1978 pressing. Are you in for some deranged weird shit? Well then look no further, this stuff is just beyond words. And you are left to do is shout out “I DO BELIEVE!”. The first real UFO encounter/sightings and testimonies field recordings LP to seep out of deep rural Japan!!! The whole affair starts off with some droning electronic sounds, eerieand cold like the deepest depth of space. Soon a clinical narrative voice zoomsin and takes you into the unexplored depths of extraterrestial lifeforms. Therecord focuses on UFO sightings and encounters within Japan and a wide range ofodd characters pass the review. These are field recordings of UFO sightings and oddball priests, lost schoolboys and rural nutcase farmers recalling their encounters with UFOnauts (his close encounter picture taken in 1975 of a spacealien walking towards him graces the jacket of this oddball recording. His testimony and interview is also bone-chillingly awesome, taken late at night with dogs barking in the background and the hum of a refrigerator faintly buzzing in the distance. Creepy). Another abductee tells his story while sipping on the sake bottle at some sleazy enka bar, yeah….field recordings taking place from the deep countryside, temples and even cum stained coffeehouses. And in between and through them electronic bleeps and blops bubble up ,reminding you that space is indeed a deep and cold place. This shit is deep and even makes the X-files pale in comparison. No Hollywood manipulated hype, just deep real people weirdness mixed with Martian freakiness. At one point a wacked out priest starts a shamanistic voodoo mantra aimed at beaming down UFO’s and expelling evil spirits, which simultaneously gets translated by a female scholar. All the time, cadaverous and ghostlike electronic sounds fuse in and out of focus, attributing a tantalizing and suspensive atmosphere to the already mysterious recordings here on display. The LP goes even as far as recreating the sonics brought forth by UFO’s – which vaguely resembles some electronic insect chittering. The weirdness reaches its apex with a schoolboy retelling his encounter against a background of buzzing noises and family chatterings, babies crying and tempura frying away in the background. This is such an awesome record and had me glue my ears to the speakers for days in a row. If you thought the X-Files were weird entertainment, then get ready for weird and strange real-life UFO encounters out of rural Japan. Real people oddball UFO foredoom and spookish field recordings out of the mid-seventies, spiked up with electronic noises and bleeps. Awesome. SOLD
1077. 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: 200 Euro
1078. 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. Highestrecommendation. Price: 200 Euro
1079. MIDNIGHT CORNER: “Midnight Corner” (Columbia – JPS-5144) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Nude Stripper Poster: Near Mint). ORIGINAL 1968 FIRST PRESS issue all complete – TOP COPY. Top rarity alert for pink artifact lovers. Well how more seedy can we get? Is there an end to Japanese erotic artifacts? Possibly no, because I was able to finally dig up a spare copy of this 1968 Tokyo seedy underbelly stripper album. Two albums came out on the “Midnight Corner” series, each one dedicated to an at that day famous nude stripper girl…at least famous to those punters who dwelled the seamen stained Tokyo underground highway of carnal pleasures. This album was the 1st in the series and was dedicated to Sagiri Sajuku, a voluptuous butt shaking beauty endowed with enough hip shaking exotic moves and nipple shakes to render pole dancing completely oblique. The gatefold jacket treats you to a bunch of nude shots of Sagiri and also comes with a nice nude poster of her. The real catch of this item is the obi, fabulous design and always missing – that is if this disc surfaces, which it hardly ever does. The music is all instrumental cocktail enka vibes filled with smokey sax lines, marimba rumbles, exotica Kayokyoku inspired sexy mood music used in the nightclub to which Sagiri danced naked, teased punters and flashed her tits. Original 1968 pressing, hideously rare on these shores but largely (still) unknown hence the cheap entrance fee. Indispensable disc for anyone into pink sexy late sixties Japanese moves, Ike Reiko, Kuwabara Yukiko and Tani Naomi, although this predates them all. The only record in Japan to pay homage to the glorious profession of strip girls. Erotic artifacts rule, not many were sold, making them now rare and bound to be much in demand in years to come. If only I could have been here to witness Sagiri in action and become her personal groupie…highest recommendation for Iroke fanatics. Bloody rare disc. SOLD
1080. MIDNIGHT CORNER: “Midnight Corner Vol. 2” (Columbia – JPS-5153) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Nude Stripper Poster: Mint/ Strip Club 4 Page Gatefold Promo Sheet: Mint). Top rarity alert for pink artifact lovers. ORIGINAL 1968 FIRST PRESSING ALL COMPLETE!!! Second and final volume in a series dedicated to famous Asakusa Striptease ladies that drove punters mad with desire around the end of the 1960s. This volume is dedicated and illustrated with poster and pictures of stripper deluxe girl Matsumoto Teruho. The gatefold jacket treats you to a bunch of nude shots of Matsumoto Teruho and also comes with a nice nude poster of her. The real catch of this item is the obi, fabulous design and always missing – that is if this disc surfaces, which it hardly ever does. Also present is a rare 4-paged flyer with picks by Matsumoto that was handed out by the striptease club in question in 1968 to attract punters to their pole-dancing naked ladies shows. The music is all instrumental cocktail enka vibes filled with smokey sax lines, marimba rumbles, exotica Kayokyoku inspired sexy mood music used in the nightclub to which Matsumoto Teruho danced naked, teased punters and flashed her tits. Original 1968 pressing with all complete – first time ever I have a copy of this one. So salaciously amazing slide. SOLD
1081. MIGUEL ABUELO & NADA: “S/T” (MN – MN-10.016) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Insert: Mint). TOP COPY!!!! Just perfect all way round. Rare original 1974 pressing. “Argentine rock, recorded in Paris during the early 70s -- a really unusual expatriate album that comes off with a sound that'spretty unique! Miguel Abuelo clearly draws inspiration from the heavier rockthat was showing up in South America at the time -- yet the overall executionof the record also shares some of the warmer, more optimistic qualities thatmarked some of the French groups during the period -- occasional folksyelements, and a post-68 positivity that holds on even when things get somewhattrippy and jammy. Instrumentation is heavy on guitars -- both acoustic andelectric -- and the longer tracks really take off with some wild sounds,especially when bits of moog or electronics are dropped into the mix. Titlesinclude "Senor Carnicero", "El Muelle", "Estoy AquiParado Sentado Y Acostado", "El Largo Dia De Vivir", and"Tirando Piedras Al Rio". (Dusty Groove) Impossible to upgrade upon this one. Price: 350 Euro
1082. MIHO KEITARO & JAZZ ELEVEN: Kokezaru Gumikyoku" (MCA Records – JMC-5026) (Record: Excellent ~ Near Mint, has one inaudible hairline mark on side a, track 1/ Jacket: Near Mint). White label promo copy!!! Bloody rare album by the under documented Miho Keitaro & Jazz Eleven, an acidic psyched out jazz combo featuring luminary scenesters such as Sato Masahiko (Amalgamation fame), Ishikawa Akira (Uganda), Takeru Muraoka (Uganda), Inomata Takeshi (swing beast par excellence), Suzuki Takehisa, Kawasaki Ryo (lysergic psyched out and blessed in guitar hired gun slinger), Arakawa Yasuo (bass, see albums with Sato Masahiko such as Palladium, Penetration and Deformation & his contribution on Mizutani Kimio’s “A Path Through Haze” album), Muraoka Minoru (Shakuhachi crossover exploitation free form blower), koto manglers Hideaki Kusumoto and Kazuo Kojima, Kukutada Katada and spaced out female vocalist from beyond our solar system Masuda Mutsumi. Although vaguely similar in its construction as the Sato Masahiko & Soundbreakers “Amalgamation” album, this one is although less known and a zillion times harder to track down. First time ever I have a copy to offer. Following his adventure with the Soundbreakers (creating the exhilarating "Amalgamation" disc), Sato Masahiko steered together with Miho Keitaro further into the crossover pollinated regions of free-jazz, lysergic lounge, psychedelic music, rock and cinematographic sonics. Released in 1971, Kokezaru is a disc that never resurfaces which is a shame since the music is such a forceful experience that will amaze you once you get sucked into it. Opening up is a tune that is similar to the opening notes to the first Dirty Harry film, although that Sato's masterwork preceded that soundtrack with several years. After that there is no stopping or slowing down whatsoever, pulling you into its ever-swirling vortex of cocktail lounge, eerie almost ghost-like female scat vocalizations popping up out of the hybrid fog of psyched-out insomnia, free jazz and pure adrenaline infused improvisation. If the Soundbreakers was to your liking, well than this one has written YOU all over it. This is one of those lost gems out of the seventies Japanese underground that foreigners fail to detect. So here you have a chance to considerably broaden up your horizon. Price: Offers!!!

1083. 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

1084. MILE AND HALF: “S/T” (Taruho Farm – 1002) (Record: Near Mint/ Jacket: Mint/ Obi - Insert: Mint). KILLER JAPANESE FREE JAZZ private press!!! Still undiscovered mental mindwarp of a Japanese free jazz hardcore disc. Privately released in an edition of about 200 copies in 1988, the disc is comprised out of two side-long ear blistering hardcore free scorching blats unleashed by this trio that is comprised out of Naohiro Kawashita on tenor and soprano, Daisuke Fuwa on bass and Shiro Ohnuma on drums. Heavy hard hitting free jazz blaster that leaves no stone unturned. Mega rare and impossible to find. Still cheap due to its virtual unknown status amongst free jazz collectors but that is bound to change in the years to come, mark my words on that one. Price: 300 Euro
1085. 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
1086. 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

1087. 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: 75 Euro

1088. MILES DAVIS: “Mode Study” (Columbia Japan – XLP-43598~9/XLP-47324~5) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Japan only issue, monstrously rare especially with the obi attached. 1st original pressing and the first copy I have ever encountered complete with obi. Stunning 2 LP set that combines Milestones & Kind Of Blue as a rarely seen Japanese-only Nippon Columbia 2-LP vinyl set. The whole set was released in 1960 in Japan and brings together the 6-track 'Milestones' album [originally released in 1958] that features Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones; plus the 5-track 'Kind of Blue' album [from 1959] that starred Adderley, Trane and Bill Evans. The whole affair is housed in a unique glossy card gatefold picture sleeve. Top condition and this copy here comes with always missing obi, 1st copy ever to cross my eyes with obi present. Rare as a hen’s teeth. Price: 200 Euro
1089. 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: 200 Euro
1090. 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
1091. 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. 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
1092. 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
1093. 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
1094. 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
1095. 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
1096. 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
1097. MILES DAVIS ALL STARS: “Walkin’” (Prestige – SMJX-10046(M)) (Record: Mint/ Gatefold Jacket: Mint/). First original Japanese pressing, that comes housed in the first press heavy gatefold sleeve. 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). Top copy and impossible to ever upgrade upon. Insanely clean!!!Price: 75 Euro
1098. 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
1099. 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
1100. MILES DAVIS: “Miles In The Sky” (CBS SONY – SONP-50023) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint). Clean Japanese first original press issue all complete with capsule obi. With the 1968 album Miles Davis explicitly pushed his second great quintet away from conventional jazz, pushing them toward the jazz-rock hybrid that would later become known as fusion. Here, the music is still in its formative stages, and it's a little more earth-bound than you might expect, especially following on the heels of the shape-shifting, elusive Nefertiti. Here, much of the rhythms are straightforward, picking up on the direct 4/4 beats of rock, and these are illuminated by Herbie Hancock’s electric piano -- one of the very first sounds on the record, as a matter of fact -- and the guest appearance of guitarist George Benson on "Paraphernalia." All of these additions are tangible and identifiable, and they do result in intriguing music, but the form of the music itself is surprisingly direct, playing as extended grooves.” (AMG). Top condition and scarce first original press issue with nice obi. Price: 50 Euro
1101. 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
1102. MILES DAVIS: “Milestones” (CBS SONY – SONP-50087) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint). Rare Japanese original with capsule obi – rare MONO issue. What is immediately noticeable upon listening to Miles Davis’ classic first -- and only -- album with his original sextet is how deep the blues presence is on it. Though it's true that the album's title cut is rightfully credited with introducing modalism into jazz, and defining Davis’ music for years to come, it is the sole selection of its kind on the record. The rest is all blues in any flavor you wish you call your own. For starters, there's the steaming bebop blues of "Dr. Jackie," recorded in 1955 for a Prestige session with Jackie McClean. Davis is still in his role as a trumpet master, showing a muscularity of tone that reveals something more akin to Roy Eldridge or Louis Armstrong than Dizzy or Fats Navarro. The tempo is furious, as all the members of the sextet solo except for Jones. The saxophonists trade choruses and come off sounding like mirrored images of one another in the slower, post-bop blues that is "Sid's Ahead," which is followed by "Two Bass Hit," written by Dizzy and John Lewis. It's an off-kilter blues with a wide middle section, no doubt for Lewis’ piano to fill. But then comes "Milestones" with its modal round and interval, where harmony is constructed from the center up. It is a memorable tune for not only its structure and how it would inform not only Davis’ own music, but jazz in general for the next seven years.” (AMG). Beautiful Japan original with obi and MONO to boot. Price: 65 Euro
1103. MILES DAVIS: “Miles In Berlin” (CBS SONY – SONP-50127) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Excellent). Beautiful Japanese press issue with capsule obi present. Recorded live in Germany at the Berlin Philharmonic, Miles in Berlin represents the first recording of Miles Davis with tenor saxophonist Wayne Shorter. For various reasons, saxophonists George Coleman and Sam Rivers had both come and gone as members of Davis’ band. With the addition of Shorter in 1964, Davis had found the lineup of musicians that he would stick with until 1968 and produce some of the most influential albums of his career. Eventually known as the "second great quintet," most of the players here, including pianist Herbie Hancock, bassist Ron Carter and drummer Tony Williams had been with Davis for just under a year. In that time, they had taken his traditional repertoire of standards and originals and reworked them with a more adventurous, edgy approach that flirted with the avant-garde. While there isn't a huge difference in the sound of this band or choice of songs from the group that recorded Seven Steps to Heaven or Miles Davis In Europe, there is a palpable sense of creative abandon in Davis’ performance as well as synergy to the group sound that seems to foreshadow the innovative music to come.” (AMG). Price: 50 Euro
1104. MILES DAVIS: “In A Silent Way” (CBS SONY – SONP-50131) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Clean Japanese first original press issue all complete with capsule obi. This is the kind of album that gives you faith in the future of music. It is not rock and roll, but it's nothing stereotyped as jazz either. All at once, it owes almost as much to the techniques developed by rock improvisors in the last four years as to Davis' jazz background. It is part of a transcendental new music which flushes categories away and, while using musical devices from all styles and cultures, is defined mainly by its deep emotion and unaffected originality. The songs are long jams with a minimum of preplanned structure. That they are so cohesive and sustained is a testament to the experience and sensitivity of the musicians involved. Miles' lines are like shots of distilled passion, the kind of evocative, liberating riffs that decades of strivers build their styles on. his sidemen also rise to the occasion, most of them playing better than I have ever heard them before. Certainly Herbie Hancock (piano), Wayne Shorter (tenor sax), and Joe Zawinul (organ) have never seemed so transported. The miracle of jazz is that a great leader can bring merely competent musicians to incredible heights of inspiration —; Mingus has always been famous for this, and Miles has increasingly proven himself a master of this incredibly delicate art. The first side is taken up by a long jam called "Shhh/Peaceful." Tony Williams' cymbal-and-brush work and the subtle arabesques of Zawinul's organ set a space trip, a mood of suspended time and infinite interior vistas. But when Miles enters, the humanity and tenderness of his trumpet's soft cries are enough to bring you tears. I've heard that when he was making this album, Miles had been listening to Jimi Hendrix and Sly and the Family Stone, but the feeling here is closer to something like "2000 Light Years From Home" by the Stones. It is space music, but with an overwhelmingly human component that makes it much more moving and enduring than most of its rock counterparts. Side two opens and closes with the best song on the album, a timeless trumpet prayer called "In a Silent Way." There has always been something eternal and pure in Miles' music, and this piece captures that quality as well as anything he's ever recorded. If, as I believe, Miles is an artist for the ages, then this piece will be among those that stand through those vast tracks of time to remind future generations of the oneness of human experience.” (Lester Bangs – Rolling Stone). SOLD
1105. MILES DAVIS: “Seven Steps To Heaven” (CBS SONY – SONP-50214) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Excellent, has small corner tear on back). Clean Japanese first original press issue all complete with capsule obi. It's easy to pigeonhole this '63 Miles Davis recording as a "transition" period between his classic quintets, but one thing is quite clear: Miles was always in transition. Each Davis band was going through a musical or personnel metamorphosis, so we might as well simply take the music on its own terms and forget about the historical context. On that standard alone, Seven Steps to Heaven is an absolute gem. Recorded in two locations, Miles, Ron Carter, and George Coleman hooked up with the "Los Angeles" quintet, featuring Victor Feldman (piano) and Frank Butler (drums), for a set of dreamy, moody and ultra hip versions of songs not usually associated with '60s modal music. On "Basin Street Blues" and "Baby Won't You Please Come Home," Miles, armed with his mute, is spellbinding as he squeezes notes for all of their glorious agony. His interpretation of "I Fall in Love Too Easily" makes Chet Baker's version seem insouciant by comparison. Relocating three thousand miles to New York with Herbie Hancock (piano) and Tony Williams (drums) taking over, the quintet was on its way to become the standard by which all subsequent bands would be measured. Introducing two future classics, Miles and company tear through "Joshua" and "Seven Steps to Heaven" and set the world on notice: life in the music world would never be the same again.” (George Harris – All About Jazz). Price: 50 Euro
1106. 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
1107. MILES DAVIS: “At Fillmore” (CBS SONY – SONP-50356~357) (2 LP Record Set: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Capsule Obi: Mint). 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: 150 Euro

1108. 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

1109. 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
1110. MILES DAVIS: “Agharta” (CBS SONY – SOPJ-92~93) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Picture Booklet: Near Mint/ Obi: Near Mint). Original 1st Japanese pressing – at first only released in Japan following his Osaka concert in 1975 and originally issued only in Japan; they wouldn’t reach American shops until 1976 and 1990, respectively, because Columbia Records execs perhaps thought heads weren’t ready for its sprawling, headstrong brilliance. Price: 85 Euro
1111. 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
1112. 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: 75 Euro
1113. MIN BUL: “S/T” (Polydor – 2382.003) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint.) Legendary Norwegian Experimental Free Rock/ Free Music/ Free Psych & Free Jazz artifact, original first pressing on Polydor. Min Bul encapsulates all of those genres in one engulfing wash of sound. The record got – beside the singular greatness of the music itself – got some of its legendary status due to the fact that the band was centered around explosive free improvisation group led by guitarist Terje Rypdal who at that time was far more interested in textures and sound patterns than conventional notes, chords, and melodies, but his improvisatory performances have a structural logic and grace to them that makes them more interesting than some of the aimless Strat splat that gets passed off as experimentation. Although he was very prolific for the ECM label, his most interesting releases are his albums from the late 60s and very early 70s. His debut, "Bleak House", (on Norwegian Polydor) is quite well known. But it was his 2nd recording, Min Bul, that came out in 1970 that baffled listeners with disbelief because it is a roaring beast that takes no prisoners and leaves nothing behind in its wake except a torched earth. Min Bul is a highly experimental work for its time. On this album, a Norwegian guitar-bass-drums trio lead by Terje plays electric, often scratchy and even noisy fusion on the edge of avant-garde jazz and experimental free rock. This album's opener, "I Cried A Million Tears Last Night", is one of the very early prototypes of NY downtown noisy guitar avant-garde that would be coming many years later. It is as frontal and right-in-yer-face, aggressive and abrasive and not unlike the heavy fretting like Sonny Sharrock or Takayanagi Masayuki. No wonder this sonic whirlwind had some minimal impact on the post-punk free improvisation and the formative influence on the nascent no wave scene percolating in the East Village. A true killer slide but sadly hopelessly rare. This one is in top condition, next to impossible to ever upgrade upon. Price: Offers!!!
1114. 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: 70 Euro
1115. 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

1116. MINGUS, CHARLES: “The Black Saint And The Sinner Lady” (Impulse – AS-35) (Record: Near Mint/ Heavy Laminated Gatefold jacket: Near Mint). Original US first pressing in top condition. Has “RVG” and “Stereo” machine-stamped in the dead wax. “The Black Saint and the Sinner Lady is a six-part suite recorded in 1963. This suite is a feast of virtuoso performances, shifting moods and textures, and detailed background work by Mingus’ eleven-piece band. Jerome Richardson is heard to great effect on baritone sax near the beginning of the work; he contributes some beautifully supportive flute (with Dick Hafer) and soprano elsewhere. Quentin Jackson’s trombone work is arresting, and the other horn men (Rolf Ericson and Richard Williams on trumpets, Don Butterfield on tuba, Hafer on tenor sax as well as flute) are excellent. But the pervasive voice of the entire piece is Charlie Mariano on alto sax. Mariano’s playing is wrenchingly emotional and evocative, conveying pathos, fervor, and undying conviction. But as wonderful as Mariano’s work is here, this is very much a group effort. Especially in the last three sections (CD track four) of the piece, this is music of group interaction. Solo voices emerge from the welter and are drawn back into it. Occasionally the ferocity of each voice clamoring with the others reaches such a furious intensity that it would take just one more step for it to reach the world of the medium-sized group free jazz that would be recorded not long after this album: Albert Ayler’s New York Eye and Ear Control, Coltrane’s Ascension, etc. Then in an instant the ensemble stops on a dime with a unison statement executed with high-energy precision. It is an extraordinary thing to hear.” (Robert Spencer). Price: 175 Euro

1117. 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
1118. MINGUS, CHARLES: “In Amsterdam 1964” (DIW Records – DIW-25023〜25) (3 LP Record Set: Near Mint ~ Mint/ Box: Mint/ OBI: Mint/ 4 Paged Insert: Mint). Very scarce 3 LP Japan only issue box set. These were released at the tail end of 1989, it got a proper CD issue but the LP version only was pressed in an edition of 500 copies. Absolutely fantastic Mingus sextet live recording, high quality with a mouth watering line-up that consists out of Charles Mingus on bass; Johnny Coles on trumpet; Eric Dolphy on alto saxophone/ bass clarinet & flute; Clifford Jordan on tenor saxophone; Jaki Byard on piano and Dannie Richmond on drums. All complete and mint copy. Price: 150 Euro
1119. 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

1120. MISHA LOBKO: “Troglodyte” (Private Press/ 3 Records – 3001) (Record: Near Mint/ Hand painted Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Rare late ‘70’s French avant-garde and improvisation (piano, sax, electronics) slide that was privately released in small numbers and comes housed in a handmade sleeve. Sound-wise, Misha Lobko cruises towards the fringes of stripped down and rudimentary free jazz, mainly built up around sax and piano and colored in with minimal electronic effects hovering in the background that builds up a nice tension The music is slow, spacious jazz-trance with the knotty droning sonorities of the primitive electronic loops sounding like the mating calls emanating from a phantom planet. This is a rare kind of solo record, in that Lobko's obvious instrumental virtuosity is tempered with a refined sense of composition and emotional space. You don't get the sense that this is the work of a single musician Some of the most purely malevolent sounds with looming electronics providing an eerie backdrop to the broken bones of a piano and sax. This is the very first pressing with hand-painted/ silk-screened jacket. Later issued have a different jacket design. Great record that is sadly and largely overlooked. SOLD

1121. 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: 250 Euro
1122. 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
1123. MISHA MENGELBERG & ICP Orchestra: “Japan Japon” (International Music Activity & Instant Composers Pool – IMA1/ICP024) (Record: Near Mint/ Jacket: Near Mint/ Inserted Obi: Near Mint) Japan only release of this free jazz monster. Came out in 1982 and was never distributed outside the archipelago. 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. SOLD
1124. 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: 85 Euro
1125. MITCHELL, ROSCOE: “Nonaah” (Nessa – N-9/10) (2 LP Record Set: Near Mint/ gatefold Jacket: Near Mint). Original 1977 US pressing in top condition. This is one of Mitchell’s best solo statements. It includes a full-side treatment of the title cut, solo works, duos, and an incredible alto number with Mitchell, Henry Threadgill (as), Joseph Jarman (reeds) and the undervalued Wallace McMillan(b). This is the work that some critics named the best jazz record of 1978, quite an accomplishment for an album that features a horn alone most of the time, including on the fiery, 22-minute title track, which originally took up all of side one. Mitchell digs his heels in on the single line that constitutes the tune’s melody—a line first created for the Art Ensemble of Chicago’s “Fanfare for the Warriors”—until he finally allows it to stretch and develop. Nonaah no longer seems as dangerous as it might have in the ’70s—we’ve been through David S. Ware, Evan Parker, Charles Gayle and many others since then—but as a statement of avant-garde improv it stacks up well against anything released in 2008. Mitchell’s duet with Anthony Braxton, playing sopranino saxophone, on “Off Five Dark Six,” still raises hairs. And Mitchell’s quartet of alto saxes—with Joseph Jarman, Wallace McMillan, and Henry Threadgill—that revisits “Nonaah” could conjure a cyclone any day, anywhere.” (Jazz Times). Such a great but sadly overlook recording. Pristine copy. SOLD
1126. 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
1127. 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!!!!
1128. MIZUKI SHIGERU: “Yôkaigenso”(Victor – KVX-1039/ LP – 1978) (Record: Mint/ Jacket: Mint/ Obi:Mint/ Booklet: Mint) Beautiful copy of this all time electronic music album. A long lost gem documenting a forgotten side of Japan’s largely overlooked vintage electronic music landscape. The one-armed Mizuki Shigeru ismainly know as a manga artists whose imaginary worlds are filled with roaming ghostly like creatures, human abnormalities and weird, ghastly-like bunch of half-beast half-human clones. On this disc was attempted to create aaccompanying soundscape that would fit some of his odd creations. However,Mizuki himself is not a musicians and in order to pull this job of was Morishita Tokihiko called in, a namesome of you might be familiar with since he released in 1972 two extremely rare(and now hideously expensive) progressive rock albums, being “Toccata” on the Dharma label and “Morishita Tokihiko II 18 Sai Miman no Ballad”, which was released by Polydor. Following closely Mizuki’s direction of where to directis sonic electronic and totally alienated fragmentation bombs, he succeeded increating an estrange and disaffected sound palette. The music is dark, strange, at times even a bit comical and certainly not of this world. Made up largelyout of bubbling, whirl-like inorganic low tones that evoke a weird incantation. This disc has never been reissued and has since it release in 1978 literally disappeared into the cracks of time. Nevertheless, like most of the overlooked and unexcavated electronic music gems to seep out of Japan, this one calls outfor immediate re-appreciation. Getting rarer by the minute, like most of thevirtually unearthed electronic music jewels that remain hidden on the island. Highly recommended. SOLD
1129. MIZUTANI KIMIO: “A Path Through Haze” (Polydor – MR-5009) (Record: Excellent ~ Near Mint - has one tiny little scuff on side A track 2, for the rest virginal/ Jacket: Near Mint/Insert: Near Mint). WHITE PROMOTIONAL label copy. Original 1st pressing in top condition of Mizutani Kimio’s sole released solo album out of November 1971. Kimio Mizutani was a non- prolific musician, whose name keeps popping up in various formations such as the Adams, the Out Cast, Milk Time, Sato Masahiko and the Soundbreakers, Uganda, etc. He was the acidic guitar gunslinger for hire in the early seventies, while the psychedelic Japanese underground soared high skies. Mizutani however cut one solo album, the “Path through Haze” disc, a document that was recorded in a single day at the Nippon Gramophone Studios. The result was a completely instrumental affair, coming about after an improvisational jam session spun around Mizutani’s lyrical and driven guitar play, which at times was interspersed by sensitive interludes, accompanied by the Toyama String Quartet and the Etoh Wood Ensemble. The album was released by Polydor and disappeared almost instantly into oblivion since it was virtually unnoticed by the music press. Failing to attract the public attention seemed to be a constant factor throughout Mizutani’s career. Even the following project he took part in, the nine piece musical commune People with their “Ceremony ~ Buddha Meet Rock” that was released by Teichiku Records in December 1971, failed to attract any interest of the public or press. But this does not degrade his output one tiny bit. As the “Buddha meet Rock” disc, “A Path through Haze” is certainly as mind blowing and acidic dangerous listening material that will keep on echoing through the canyons of your mind if exposed to it. Stunning psychedelic masterpiece and completely vanished. Beautiful copy and very beautiful copy!. Price: Offers!!!!
1130. MOBY GRAPE: “S/T” (Columbia – CS-9498) (Record: Excellent - has a couple of very faint sleeve lines visible under bright light but plays NM without any crackle or defects/ Jacket: Excellent/ Poster: Near Mint). Rare original 1st US pressing on the great 360 Columbia label in nice condition with matrix numbers ending in 1G/ 1G identifying it as very 1st issue – Uncensored “FINGER” cover complete with big poster. Although the group’s story is one tragic tale of misfortune and mismanagement, their debut LP is probably one of the greatest albums to seep out of San Francisco during that era. No overtly long jams, no attempts to sonically recreate an acid trip of other pointless exercises in psychedelic nonsense, the group delivered instead an album brimming over with fresh ideas, great and compelling interwoven guitar work, splendid vocal harmonies, soaring melodies blessed with the group’s infectious energy and brilliant songwriting. Every single track on this album is nothing short than brilliant and although there are numerous San Francisco groups more important and prolific than Moby Grape, not a single one of them managed to churn out an album quite like the Grape’s debut recording. Just marvelous. Rare 1st press US issue that comes housed in the withdrawn and uncensored “finger” sleeve art and with big poster. Great copy and 1st original pressing!!! Price: 150 Euro
1131. 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: 75 Euro
1132. 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
1133. 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
1134. 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: 300 Euro
1135. 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

1136. MOMBASA: “African Rhythms & Blues” (Spiegelei – 26.564-5 U) (Record: Near Mint/ Jacket: Excellent). Original German only issue. A sublime blend of spiritual jazz and African rhythms – and one of the few 70s recordings made by Mombasa, a European group put together by LA trombonist Lou Blackburn! The record's got a much more righteous sound than any of Blackburn's work of the 60s – a boldness and sense of pride that comes from its blending of percussion, acoustic bass, and soaring horn lines on trombone, trumpet, and bamboo flute! Other African elements slide into the music too – like bits of kalimba – and the lack of piano or keyboards on the record makes for an especially earthy sound, one that trades rhythm from the percussion with melodies from the horns in a really magical way. Tracks are long, and the set was recorded with the same post-colonial energy as similar work from Paris or London at the time – a really righteous groove that longs to be rediscovered! One of the best recordings in the genre: Pulsating African rhythms with funk bass and heavy brass sounds: Essential and quite a hard to find album with tons of true killer afro funk breaks. A sure killer set for collectors and DJs! Some also call it a stripped down Fela Kuti sound. Price: 150 Euro

1137. 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: 150 Euro

1138. 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
1139. MONICA LASSEN & THE SOUNDS (aka Kawahara Masami Group featuring Mizutani Kimio): “La Jouissance” (Columbia – YS-2521-AX) (Record: Excellent ‾ Near Mint/ Gatefold Jacket: Excellent). The follow up disc to Kawahara Masami’s & The Exotic Sounds “Ecstasy – Kokotsu” and Monica Lassen & The Sounds “Women” discs, all executed under the direction of Latin percussion mastermind Kawahara Masami. Top copy of this 1970 released erotic rarity that just never turns up but shedding some light on another aspect of the sub-cultural sexual contaminated fumes that intoxicated the late sixties and early seventies underbelly of swinging Tokyo, this time a bit psyched up by acidic psyched out guitar gun slinging touches provided by Mizutani Kimio who was called in to reinforce the ranks on a couple of tracks. Sonic-wise, the disc unleashes a whirlpool cocktail lounge styled mondo -sexploitation sounds that get spiced up with feminine breathing and respiration sounds, moaning and hissing, laughing and giggling and igniting a maelstrom of assorted eroticism. In all, it resembles “Ecstasy ‾ Kokotsu” disc to some extent. And just like that disc, it was again Kawahara Masami that was in charge of it all, just like he was the person responsible for giving Ike Reiko her distinct sound on the record “ Kokotsu no Sekai ” for which he provided the musical backbone and arrangements unto which Ike could utter her depraved songs. This album however pick up where “ Kokotsu / Ecstasy” left off and is again spiked to bursting with erotic shrieks and cries fluttering across a multitude of erogenous non-verbal modes such as sibilating suffocated whispers of excitement, and grunting and growling of a caged and sexually charged vixen. Still, it goes beyond mere sexploitation of two tracks for which he called in the assistance of Mizutani Kimio and some psychedelic renegades. Together with that bunch of musical lawless gunslingers, Kawahara puts down some of the most wicked and sexually charged acidic brain melters the world has ever seen. New Rock lysergic moves fuse with sexploitation as they rip apart the chords to “Change of the Seasons”, normally a middle of the road mind numbing dead beat track but here transformed into a organ frenzied and acid spiked fuzz guitar and wah-wah driven butt shaker that has to meet its rival yet. Mizutani shines throughout, ripping the air to pieces and turning it into waves of hot molten lava. All the time, this nipple bumping deep throat ball crushing depraved and sexually charged vixen in heat keeps on fire-breathing over it all, instigating Mizutani and fellow gang members into even higher scales of doped up wah-wah infected and fuzz deranged mayhem. It all sounds like an acid spiked orgy going overboard with nipple clamps and throat chokers locked and stocked up. Just massive. It just goes to show you that there are still many undetected hybrid psychedelic monster pieces floating around here that just need to get dusted off and dragged out the dungeons of oblivion. This is one of those, hyper rare (know only of about 6 people owning a copy so far and none of them resides out of Japan so…) and once the larger crowd gets a taste of this one, it will skyrocket into the stratosphere, so for now it is still affordable. Highest recommendation!! SOLD
1140. MONICA LASSEN & THE SOUNDS (aka Kawahara Masami Group featuring Mizutani Kimio): “Woman - Aibu” (Columbia – YS-2340-AX) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Pin-Up: Near Mint). Rare top copy drifted in, finally a complete issue with pin-up portrait and obi all present in near mint condition. Complete copies turn up hardly these days. Music wise, killer slide by this psychedelic erotic cum grooving group that was spearheaded by Kawahara Masami who was also responsible for the fantastic backing sounds on the illustrious Ike Reiko LP. Sonic-wise, the disc unleashes a whirlpool of Latin styled mondo-sexploitation sounds that get spiced up with feminine breathing and respiration sounds, moaning and hissing, igniting a maelstrom of assorted eroticism and sexual depravity. The album “Woman - Aibu” however was recorded slightly before his engagement with Ike Reiko and just after his “Kokotsu Ecstasy” album but jus as “Kokotsu no Sekai ” it's erotic presence flutters across a 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. That aside, the Latin induced sonics and the moaning gets injected at times with wrist slashing psychedelic guitar flashes by Kimio Mizutani, taking the whole affair into another dimension. Some depraved organ playing and exotic percussion rattles fill up the backbone and lift the overall sound up and beyond this stratosphere. Butt shaking groovy, erotic and psychedelic all in one go! If you dug Ike Reiko, then this is definitely a worthy successor dwelling in the same regions of depravity. Top copy with all complete and intact. Price: 250 Euro

1141. 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

1142. 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
1143. 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
1144. 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: 150 Euro
1145. The MONKS: “Black Monk Time” (Polydor – 249.900) (Record: Excellent 〜 Near Mint – has a couple of ultra fine sleeve lines only barely visible under bright light – plays totally mint/ Jacket: Excellent – has NO defects, lower right corner ding only, fully laminated and no ringwear.). Original 1st press copy in really nice condition. “The tale of how five GIs stationed in Germany shaved their heads, donned cowls and created punk rock in 1966 (calling it über-beat) still seems too amazing to be true – but the evidence is all here, on their astounding album, which would almost certainly not have got made in America at the time. Screamed vocals, shrieking feedback, atonal organ and ferocious drumming define their sound, as does the unorthodox use of strummed banjo for rhythm. This really is one of those records that seems to owe no debt to anything else, and is as exciting and distinctive as anything in rock and roll. A few of my favorite moments: the ranting lyrics and outrageous feedback solo in ‘I Hate You’; Gary Burger’s frantic falsetto at the end of ‘Oh, How To Do Now’; the tuneless organ break in ‘Complication’. The Monks had a considerable sense of the absurd, too, as evidenced in the jauntiness of certain tracks, as well as their lyrics (which refer to constipation and James Bond as well as Vietnam and everlasting hatred). The songwriting inspiration begins to run dry on side two, but that’s a quibble. No contemporary American band had recorded an album of such personality and vision – The Velvet Underground’s debut was recorded well after Black Monk Time, for example – and even The Beatles had yet to explore such territory (John Lennon would have loved them). All the songs are self-penned, too, something that very few people could boast in 1966. One of the handful of 60s albums that all music fans should hear.” (RMJ – Endless Trip) Original copy on the black Polydor International label. Bloody awesome through-the-roof wild and demented garage punk frenzy by these G.I’s stationed in Germany at the time. The album as a unique feel, humorous, smart & witty lyrics, screaming caveman-like vocals, subversive contents that all gets underscored with feedbacking leads, fuzzed out bass lines, Neanderthal drums and raw organ madness. One of the best 60’s garage punk albums of all time. Impossible to score in mint condition, this is a bloody clean copy. The jacket as sole defect a lower right small corner ding, no lamination peel and no ring-wear – extremely clean jacket. The record is EX〜NM, no damages or defects has solely visible under a bright light a couple of sleeve lines. No damages or any scratches or lines, solid EX〜NM and plays superb. Really next to impossible to upgrade upon. Price: Offers!!!!!
1146. 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: 350 Euro
1147. MOPS: “Iijanaika” (Liberty – LTP-9025) (Record: Excellent ~ Near Mint/ Gatefold Sleeve: Excellent ~ Near Mint/ Attached Insert: Near Mint). Top copy. Together with their debut album, “Iijanaika” is the hardest to track down Mops album. Together with their debut, it is also their best album ever. Released on May 5th, 1971, “Iijanaika” is a vicious hard rocking psych beast. The Mops were one of the very few groups to successfully crawl out of the swamp that was the GS pool of uniformity by ascending and eventually towering above their illustrious debut and contemporaries the Tigers, Tempters and Spiders by creating a bunch of highly acclaimed albums of which this one was definitely their apex. “Iijanaika” is light-years away from the incense perfumed GS debacle and sees the band in a mature hard rocking psyched out and at times heavy priggish mood, vicious, high on kerosene fumes, armed with battered down instrument and totally bewildered and sounding dangerous. All songs on this album were penned down by the recently diseased Suzuki Hiromitsu The opening and title track sets the tone for the whole album to unfold in, long hard rock injected psych bliss that could rival with any of their foreign contemporaries. Together with their debut album “Psychedelic Sounds In Japan” this is the ultimate Mops album, tearing shreds in your speaker cabinets as this almost entirely improvised performance is spearheading the walloping sound like a victorious demolition derby driver on uppers gunning his engine until sanity returned with the dawn. Also the cover is something to drool over, with the naked picture of Flower Meg imposed over the band, setting the visual tone for the sounds enclosed in the wax. Highest possible recommendation and a tough one to score these days, as it has been some years since I last had such a nice copy like this one. These babies have evaporated into thin air and are a bitch to dig up. Killer!!!! Price: 400 Euro
1148. 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: 350 Euro
1149. MORITA DOJI: “Wolf Boy” (Atlantic – L-12547) (Record:Mint/ Jacket: Mint/ Obi: Mint/ 4 paged insert: Near Mint). This was one of thelast albums Morita Doji recorded, dating back to 1983 and it would be come her rarest release. Comes with beautifully illustrated obi and 4-pagedbooklet by underground manga artist and connoisseur of the erotic grotesquehorrific deranged style Maruo Suehiro who later on illustrated some of JohnZorn’s Pain Killer discs. Great Original copy of this dark-clad acid-folk psychalbum that reminds me of Bridget St John. Original copy that comes withinserts, all with sick designed cartoons, dark underbelly eroticism andweirdness. Dark, melancholic and ethereal female vocals. Stunningly great andgetting rarer every minute. Will certainly appeal tofans of Comus, Asakawa Maki, Slap Happy Humphrey, Japanese psych heads and latenight demonic acid folk adepts. I cannot stress enough the grandeur of Morita Doji, just over the top brilliant. She retired completely from the music sceneand public view at the beginning of the eighties and will never appear again inthe public spotlights, so here is your chance to lay yer hands upon hermelancholic, late night and utterly desolate sound spheres. Highestrecommendation. One of the all time best female vox records to emerge out ofJapan of all times!! Price 125 Euro
1150. 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: 85 Euro
1151. 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: 300 Euro
1152. 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
1153. 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
1154. 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
1155. 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!!!
1156. 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: 400 Euro
1157. 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!!!!!!
1158. 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!!!
1159. 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
1160. 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
1161. 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!!!
1162. MOTHERS OF INVENTION: “Uncle Meat” (Bizarre/ Reprise – 2MS 2024) (2 LP Record Set: Side A/B = Mint/ Side B/C = Excellent has a few lines/ Gatefold Jacket: Mint/ Booklet: Mint/ Promo ONLY Group Photo: Mint). Bloody rare WHITE LABEL PROMO issue that comes with promo only black & white photograph. Jacket is virginally MINT. Price: 250 Euro
1163. 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
1164. 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
1165. 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
1166. 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
1167. 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
1168. 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
1169. 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
1170. 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: 75 Euro
1171. MURAOKA MINORU with NEW DIMENSION GROUP: “Osorezan” (Daiei Records – G-4003) (Record: Near Mint/ Gatefold Jacket: Near Mint). 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: 300 Euro
1172. 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: 200 Euro
1173. 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
1174. 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
1175. 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
1176. 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!!
1177. 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
1178. 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
1179. MUSIKALISCHE GRUPPEN IMPROVISATION: “S/T” (LandesarbeitsgemeinschaftMusik Nordrhein-Westfalen – HT-30152) (Record: Mint/ Gatefold Jacket: Mint). Rare German private pressing fusing Krautrock moves with improvisational aesthetics. Still a largely undetected gem, this disc possesses all the rightmoves in order to make it in the big league. Private pressing, stunning gatefold jacket and above all the music is just outstanding. Balancing on a sharp razor’s edge between a free-improvisation aesthetic spiced up with slightly detuned avant-garde and free jazz moves and just plain psychedelic rock tinted freak-out tribal jam sucking influences from the obvious Krautrock scene burgeoning around these players and ethnic middle eastern flashes of satori. The Middle Eastern angle especially is mind lifting, droning soundscapes fuse with Indian styled vocals, tamburas and sitar before again getting thrown adrift into a boiling sea of sacred improvisational interplay heavily impregnated with rock-solid interpolating elements that in turn cross-pollinate the already spaced-out vibe that ranges throughout this disc. Just a stellar listening experience where tribal avant-garde fuses neatly within provisational interplay. Original early seventies German private pressing in totally mint condition. Price: 150 Euro
1180. MUSIQUE CONCRET: “Bringing Up Baby” (United Diaries – UD-010) (Record: Mint/ Jacket: Near Mint). “One of the most obscure releases in Steven Stapleton's United Dairies catalog, Musique Concret's sole LP Bringing Up Baby came out in 1981. The perpetrators of this Industrial freak-out, Jim Friedman and Michael Mullen, have since vanished and the mastertapes have been destroyed. Bringing Up Baby is one of those impossible to describe psychedelic sound orgies, somewhere between the Industrial feel of Nurse With Wound's output at the time and a strong influence from the French underground experimentalists Fille Qui Mousse comes to mind, but also Philippe Besombes. The instrumentation includes synthesizers, guitars, hand percussionand miscellaneous found objects, along with crude electronics, manipulations and tape editing. Side A of the LP consisted of the four-part suite "Incidents in Rural Places", a stark piece with a Lovecraftian mood coupled with drug-induced eroticism. Its main theme evokes Alain Goraguer'ssoundtrack for "La Planete Sauvage", but severely mutated through the prism of early '80s experimentalism. It is a surprising piece of work that has aged well and remains cutting-edge to this day. For that unclassifiable suiteonly, fans of weird psychedelism will consider Bringing Up Baby a collector's must and a fine listen to boot. Side B is overall less impressive."Organorgan" starts with a heavily distorted electric organ drone,b efore adding acid guitar licks and electronics. The 14-minute "WreathPose at Sacrifice" opens with a toothbrush loop and communal soundmaking, before branching out to include radio transmissions and thick layers of harshnoise. A non-stop noise fest, the piece is raucous and chaotic, yet stills omewhat good-humored. But it doesn't have the unique quality of"Incidents in Rural Places" and offers a much tougher listen.” (François Couture) Price: 125 Euro
1181. 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
1182. MUSIQUE CONCRETE: “S/T – Deuxieme Panorama De Musique Concrete” (Ducretet - Thompson – DUC-9) (Record: Near Mint/ Jacket: Near Mint). Classic electronic music and musique concrete cornerstone recording. Released way back in 1956, “Deuxieme Panorama de Musique Concrete” brings together 3 of the leading figures of the French avant-garde, being Pierre Schaeffer, Pierre Henry and Michel Philippot. On this LP, only Henry and Philippot have compositions on their own, there were the other are reserved for the tandem of Schaeffer – Henry. Schaeffer & Henry’s experimentations were transmuting the world of sound at that time. In the mid-'50s, their techniques were arcane: by the early '80s they were nouveau-chic. But in 1948, they were truly revolutionary. They created audio portraits for the end of the machine age and the beginning of the electronic age that burst with mechanical noises, orchestral hits, trains, and text-sound babble. Doors open and close on indecipherable conversations; engines start, stop and transform into screams and moans; disembodied pianists jam with mouth noise rhythm sections. All of the sounds were familiar, but rearranged into bizarre juxtapositions, in the surrealist style of the era. The techniques of speeding up, slowing down, reversing, editing, and looping were all used to create sonic "collages," as Schaeffer calls them, all before the advent of tape recorders. Unlike the earlier Futurist work of Russolo, Schaeffer wanted to remove the original meanings and definitions of his sounds and create a deeper psychological-emotional response. Original French 1st original pressing from 1956 in amazing clean condition, next to impossible to upgrade upon. Price: 450 Euro
1183. 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
1184. 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

1185. 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.

1186. 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
1187. NACHTLUFT: “Belle – View I-IV” (Unit Records – UTR-4022) (Record: Near Mint/ Jacket: Near Mint). Original 1986 pressing. It has been ages since I had a copy of this little masterpiece. Here you have again a long lost gem of free improvisation, released in 1986 in a minuscule run on the oblique Unit Records. Nachtluft as they aptly described themselves (music is best listened to alone in the dark) was a Zurich-based experimental trio consisting out of Gunter Muller manhandling electronic percussion and drum machines, Jacques Widmer on acoustic percussion and Andreas Bosshard dissecting home made cassette appliances. Together they were responsible for molding out an ominous improvisational racket that resembles in texture and aesthetic the likes of AMM and MEV. Still, it would be unfair to slain them as mere clones of these illustrious collectives. Churning out minimal textured but nevertheless warfare like chunks of postindustrial noise reminiscent to urban construction sites and late night bowel movements, Nachtluft were without a single doubt one of the most interesting ramshackle units to emerge out of the eighties European improvisation scene. Pushing sonic limitations through resonance, reverberations, noise and distortions, Nachtluft recreated the hidden splendor of an urban sonic wasteland combusted into a gargantuan burst of static energy. The album rarely resurfaces and this copy is utterly clean. So recommended if you are interested in adventurous sonics. SOLD
1188. 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
1189. 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: 250 Euro
1190. NAKAMURA AKIKO: “Attack Shubert – Play Classics & Sings Pops” (King Records – SKD-73) (Record: Mint/ Gatefold Jacket: Mint/ Attached Poster: Mint/ OBI: MINT). Bloody rare 1971 pressing of one of Nakamura Akiko’s rarest slides complete with OBI. Her 1st effort “Nijiiro no Mizuumi” is at times the only recording by her that one can easily score on LP, but all the LP’s that followed her debut are extremely hard to dig up. This one, “Attack Shubert” is actually the 1st copy I have to spare in 7 years, 2nd copy I see apart from my own that is filled away deep into my record vault. Some lists ago we had her 1st album up for sale but by now Nakamura Akiko has matured a few years and got in tune with her own sexuality and this disc shows a whole different and utterly mature full blood side of Nakamura in an attempt to meet up the girly and enchanting feminine nature of those French lollipop and sexy examples that came before her. She certainly exceeds in doing so be it in her own seductive universe. Unlike her 1st album, Nakamura sounds here like a fully mature vixen, in charge of her own destiny and totally aware of her seductive powers. The music is enchanting, laid back and soft erotic. Another great and lost side to depict a glimpse of that forbidden world of Oriental erotic’s shredded in a veil of lushly orchestrated songs and fluffy atmospheres. Coquettish sixties beat girl flirting with soft enka influences, early time France Gall and Francoise Hardy like takes on domestic sixties beat orchestrated songs and mixed up on this recording with Happenings Four styled cocktail vibed classic music injections, making it a totally bewitched sexy recording that defies categorization. Up tempo, swirling organ backbone, tambourine percussion lead section, organ moans in the background, vicious guitar licks dropping in out of the void against backing vocals/choruses/ classical styled insertions that stepped out straight from an Ennio Morricone Spaghetti Western flick etc, it all forms the backbone for Nakamura’s trip down to wonderland avenue of the late sixties Tokyo skyline. This is great stuff, twangy echoplex guitars wailing away in the deserted sands of time, ramshackle surf trash backbeat rumbles, deranged attacks on Shubert styled classic lounge powdered wig Valhalla, early 70s upbeat girly optimism and looks of an innocent schoolgirl on the brink of maturity and the voice of a wintered through archangel, the core ingredients of this stunning disc. Stuff of legends, still undetected by most so you will be in for a headspin when putting this baby on your turntable. If female vocals are your thing, this is as good as it can possibly get…wicked!! So if female vocals are your thing, this is bound to be another nice acquisition in your depraved collection…Quite rare and 1st copy I have to spare ever. SOLD
1191. 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
1192. 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: 400 Euro
1193. NAKAYAMA CHINATSU & SATO MASAHIKO: “Nazo Nazo Na” (Columbia– KKS-4104) (Record: Mint/ Gatefold Jacket: Near Mint). Rarest Nakayama Chinatsu record, this 1975 masterpiece justnever pops up, this is the first copy to cross my eyes. Beautiful recordexecuted by this brilliant wife and husband team. Sato Masahiko is a renownedfree jazz musician and he helps out his wife here with an LP dedicated toweird-ass children’s songs, an LP that is stylistically all over the place. Itstarts of with a demented Middle Eastern sounding track, Nakayama wailing her lungs out while Sato underscores it all very delicately.The moods keep on changing though, varying from weird chanson-styled lullabies,up to fragile female vocal gems to freeform excursions to smokey late nightclubbingenka songs that get hijacked into minimal cabaret masterpieces. Hard to believethis was originally conceived as a children’s record but listening to therecord, I don’t think many youngsters ever got this on their plate. Instead itis an adult burlesque kaleidoscopic experience of panoramic styles, allexecuted to perfection. Nakayama’s voice is crystal clear as ever, againshowing that she was a gifted chanteuse that could tackle almost every style. SatoMasahiko is of course the ideal executor and performer to underscore this all,rendering it into another stylistically strange Japanese artifact that defiesall attempts to categorize it. Mega recommended and first time ever I have acopy of this one in. SOLD
1194. 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
1195. 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

1196. 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

1197. 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: 125 Euro

1198. 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

1199. NEU!: “S/T aka 2” (Brain – 1028) (Record: Near Mint/ Gatefold Jacket: Excellent). German 2nd press issue of mid seventies on the orange colored Brain label imprint. Again totally indispensable Kraut Rock jammer. Price: 50 Euro
1200. NEU! “S/T aka 3” (Brain – 1062) (Record: Near Mint/ Gatefold Jacket: VG++ ~ Excellent, has visible lamination peel in places) original 1German 1st press issue of final Neu! Recording. Fantastic slide just like their previous two recordings. Price: 65 Euro

1201. 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

1202. 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
1203. 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
1204. 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: 85 Euro
1205. 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
1206. NEW YORK CONTEMPORARY FIVE: “Modern Jazz Spirit Vol. 2” (Union Records/ SONET – UPS-2023N) (Record: VG++ ~ Excellent, has a few hairlines visible but plays solid 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
1207. NEW YORK CONTEMPORARY FIVE: “Modern Jazz Spirit Vol. 2” (Union Records – UPS-5150) (Record: Near Mint/ Thick Jacket: Excellent ~ Near Mint). Rare Japan original pressing that comes adorned with Japan ONLY sleeve art. Price: 100 Euro
1208. 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
1209. 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: 125 Euro
1210. 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
1211. 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
1212. 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
1213. NIJIUMU – Haino Keiji: “Nijiumu” (PSF Records – PSFD-7) (2LP Set: Near Mint/ Jacket: Near Mint). Well, finally we know the true story about Nijiumu. The outfit was always mistaking as a Haino centered unit (which it eventually became to be) but originally Nijiumu was birthed out the improvisational unit Shokubaiya, a unit centered around Uchida Shizuo (now of Hasegawa Shizuo). Shokubaiya folded into Nijiumu once Haino joined the ranks. And this is the result, although that the unit only recorded “Era of Sad Wings”, this version of Nijiumu was actually Haino solo, disguised with the Nijiumu banner. Two record set released in 1990 in an edition of 250 copies, making it Haino’s most difficult to track down disc. This album is actually a Haino solo recording and cannot be confused with the other likely named Nijiumu project for which he got assisted by other musicians. So this disc is a SOLO project and was released in an edition of 250 copies. “Up until 1992, all of Haino's records had been released on PSF and they were all, without exception, spectacular, be they solo, Fushitsusha, Lost Aaraaff, or Nijiumu. In this database of reviews, you will find both positive and negative reviews but I think you will only find positive reviews of Haino's PSF discography released before 1993. This record falls into that category. It's got a fantastic and unique sound, unlike any other Haino solo record. Perhaps, the distinctiveness of each release, so unlike what came before or after made the PSF catalog so appealing. Later, the slew of, for example, Fushitsusha releases distinguishable only by catalog number lost this appeal. Anyway, this is an interesting record because it begins with mild vocals and guitar before moving into a percussive, almost industrial soundscape.” David Keffer. A splendid and totally alienating disc with eerie soundscapes and Haino’s reverb drenched vocals that wash all over the unearthly electronic mish mash, heated up acoustic instrumentation and creating a levitating storm of late night moaning and non-conventional instrumentations. Quite alienating and spiritually lifting listening experience and one of Haino’s most superb tour de forces. Highly recommended and very rare to say the least. Also this disc is in mint condition, as well as the jacket. Gorgeous copy, mint-mint all the way…Price: 250 Euro

1214. 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

1215. 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: 70 Euro
1216. 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

1217. 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: 500 Euro

1218. 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!!!
1219. 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
1220. 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
1221. NISHIDA SACHIKO: “Ai no Owari no Toki Ni” (Polydor – SMR-3021) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Inside attached 4 paged booklet: Near Mint/ OBI: Mint). First original pressing complete with OBI!!! OK let’s get one thing out of the way before I start of ranting here. This is without a doubt my personal favorite Nishida Sachiko album ever. It has all the ingredients to make it a killer. Sexy spoken word interventions, wailing fuzz licks popping up out of nowhere all of the sudden, the grandeur and stellar vocal style of the immortal Nishida Sachiko, the deliriously orchestration delivered by the Polydor house orchestra (and they were the best in the archipelago, they burned baby, yes they burned). I already mentioned the greatness of Nishida Sachiko in previous lists so for the record I will hit you again with some credentials: No one less than sax wunderkind Kaoru Abe was in complete awe of her and to such an extent that he even covered a song of her, rendering it into one of his bone-chilling saxophone renditions, being “Acacia no Ame ga Yamu Toki”. She flowered briefly, shone brightly but once she married, she withdrew herself from the scene and was never ever heard off again. What a waste of talent. This album contains some of her most beautiful Enka and kayokyoku ballads, filled with sorrow, tristesse, faithful love until dead do us part – and death will come – kind of ballads that will ignite your sake drenched nights with tears and forlorn passions. Killer material and highest recommendation if you have the desire to ever have a grasp upon Japan’s musical underworld. This is stunning music but probably too hard to grasp for the inexperienced gaijin listener who lets himself be guided by magazines and trends. Do yourself a favor and plunge into this one, it will enrich you sorry-ass existence. This disc is so great and has it all, ballads, wailing sax interventions, sexy talk, soundscape snippets of forlorn bars, mini-skirt beat girl singing, Showa era atmospherics, up tempo sixties beat tracks, sensuality afloat but impossible to grasp, fabulous orchestration and backing, angelic vocals, echo drenched effects on the vox on times, kerosene fuzz licks by Mizutani Kimio (Ceremony/ Outcasts/ Milk Time/ etc) in some odd places popping up out of nowhere, drowned out organ riffage and always omnipresent Nishida’s greatness. Possibly the greatest ever-female singer ever to have terrorized the archipelago with her beauty. KILLER! Highest possible recommendation. Price: 125 Euro
1222. NISHIDA SACHIKO: “Namida no Kawaku Made” (Polydor – SMR-3012) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 paged attached booklet: Near Mint) Top notch copy of this early Nishida Sachiko release that came out in 1967. Comes with RARE OBI!!!! On several occasions I have talked about immortal enka and kayokyoku singers and especially about the grandeur that Nishida Sachiko embodies. I guess you know already about here but just as a reminder let me veer off with some of the heavy underground credentials she is bestowed with. Apart from sax wunderkind Kaoru Abe who was in complete awe of her (to such an extent that he even covered a song of her, rendering it into one of his bone-chilling saxophone renditions, being “Acacia no Ame ga Yamu Toki”) she also gets paraded around by other music/label/ musician aficionados such as Alchemy head Hiroshige, PSF label boss Ikeezumi and a string of other underground players such as Mikami Kan, Tomokawa Kazuki and Urabe Masayoshi to name but a very few. The album here in question is one that contains a fine selection of some of her most beautiful Enka and kayokyoku ballads, filled with sorrow, tristesse, faithful love until dead do us part – and death will come – kind of ballads that will ignite your sake drenched nights with tears and forlorn passions. In order to fully extrapolate her vocal excursions to another planetary plane, Nishida gets backed up by the finest orchestra around in those days, being the Polydor Orchestra who are at one time utterly swinging yet at another time filled with pathos strong enough to strip the paint of the walls. Strings and hors fade in and out of the picture, at times making place for the delicately placed guitar licks, never ever becoming bombastic but always well balanced and proving to be the ultimate companion to underscore Sachi’s late sixties enka-pop escapades. In short it is stuff of legends and I do not kid you. Killer material and highest recommendation if you have the desire to ever have a grasp upon Japan’s musical underworld. How can you possibly understand Japanese avant-garde, psych and noise if you have never heard awe inspiring singers like Nishida, who everyone knows or has listened to at one point. This is stunning music but probably too hard to grasp for the inexperienced gaijin listener who lets himself be guided by magazines and trends. Do yourself a favor and plunge into this one, it will enrich you sorry-ass existence. Rare original press in top notch condition with obi fully intact. Get your yeh-yeh’s out, drag out the cocktail bar and start grooving, high calls mid sixties Japanese enka pops that will definitely put a spell on you. Highest recommendation!!! Price: 125 Euro
1223. NISHINIHON: “S/T” (Static Caravan – Resonant) (2 LP Record: Mint/ Gatefold Jacket:Mint/ Obi: Mint). Japanese issue complete with obi of this Acid Mothers Temple offshoot. Kawabata’s unceasing adoration for good old rock music of the sixties and the seventies translated itself in the formation of two trio acts he established together with all time collaborator TsuyamaAtsushi and drummer Yoshimitsu Ichiraku. With Nishinihon, the three of them set out to unleash a brew of monstrous riffs, blasting guitar solos and powered updrum slabs that veers into the territory of comic book hard rock in a seventies orthodox sense. Their sole, self entitles album was released in 2000 on the Osaka based Gyuune Cassette label, which was followed some years label by their sole LP release. Here they hijack every gimmick and cliché that rock hasto offer in an utterly excessive manner, going so far that Kawabata showcases even his Richie Blackmore impression, not to be outdone by a ripping Tsuyama impersonation of Robert Plant. All the qualities that good old time rock music used to possess are omnipresent on this recording in the form of explosive bassfretting, thudding riffs, ecstatic moaning, vicious guitar soloing, full on drum outburst and an earsplitting massive volume, combined with epic levels of distortion. This copy here is the rare Japanese version with obi, of which only 100 copies were released. Top condition. Price: 75 Euro
1224. 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!
1225. 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!!!!
1226. 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
1227. NO NEW YORK: “S/T” (Antilles – AN7067) (Record & Jacket: SEALED ORIGINAL). Original 1978 US 1st original pressing – sealed copy. Brian Eno put together this compilation of the no-wave scene in New York, and he chose four bands: Teenage Jesus and the Jerks, Mars, Contortions, and DNA. For the compilation “No New York,” Teenage Jesus and the Jerks, Mars, DNA, and the Contortions were included on the album, a fair slice of the smartest and most aggressive bands of the time. The album became famous, years later, as a reflection of a moment, but it is also valuable because many No Wave bands recorded so little during their brief careers. These four bands, however, did make recordings, which are all truer to their spirit than Eno’s vision of them. They all exhibited a faith in dissonance, distortion, or confrontation — sometimes all at once. This disc kicks off with four James Chance and the Contortions tracks and with the ravaging saxophone and bass allure of “Dish It Out”. None of the tracks really differentiate from each other but each have their own quality appeal. Teenage Jesus and the Jerks then show off four tracks from their small discography. Possibly the most abrasive of all the bands featured here, these tracks slowly burn away and leave a unique mark. Mars deliver the most weirdness from this compilation with four “avant-garde punk” cuts and leave the most pleasurable taste in my mouth while DNA have qualities from all the bands here yet add a fuzzy electronica trait. Bloody awesome historical recording, original US SEALED 1st pressing …. Price: 100 Euro
1228. NOAH HOWARD QUARTET: “S/T” (ESP Disk – 1031) (Record: Near Mint/ Jacket: Near Mint). Original US first original pressing in top condition. Alto saxophonist Noah Howard assembled a quartet of little-known players for his 1965 debut. Like himself, trumpeter Ric Colbeck, bassist Scotty Holt, and drummer Dave Grant were excellent musicians, but somewhat on the fringes of what had already become a "scene" with stars (Albert Ayler, Archie Shepp, Pharoah Sanders) and hierarchies. Only ESP-Disk was willing to take a chance on Howard, and they were right to do so. His music, though it owes something to Ornette Coleman in the way the saxophone and trumpet interact, as well as the loose but bluesy structures, has a compelling energy that never erupts into the kind of screaming frenzy that was rapidly becoming the cliché of free jazz. Instead, it makes a far subtler statement. The album's opening cut, "Henry's Street," begins with a bowed melody from Holt, and a slow-paced horn intro, only launching into high-speed (and swinging) interaction after a full minute of table-setting. And it's Colbeck, not Howard, who takes the first solo. Throughout the album, the saxophonist is an equal member of the ensemble, blowing right alongside the trumpeter on the two-part "Apotheosis" and the closing ballad, "And About Love." Howard would record one more album for ESP-Disk, the live At Judson Hall, but wouldn't really make a name for himself until a few years later, when his album The Black Ark introduced tenor madman Arthur Doyle to the world. Price: 100 Euro
1229. NOAH HOWARD: “The Black Ark” (Freedom – Trio Records – PA-7035) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: VG++) Top Notch Copy, Original 1st issue Japanese pressing on high quality vinyl, complete with never seen before obi!! 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: 200 Euro
1230. NOAH HOWARD: “The Black Ark” (Polydor – 2383-093) (Record: Near Mint/ Gatefold Jacket: Near Mint) Top Notch Copy, Original 1st issue UK pressing. This is the stunningly rare original UK 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 UK pressing in TOP condition. All time highest recommendation!!!! Price: 150 Euro
1231. 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: 100 Euro

1232. 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

1233. 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: 85 Euro
1234. 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
1235. 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
1236. 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

1237. 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

1238. 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
1239. 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: 150 Euro
1240. 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
1241. 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
1242. NOZUMI AOKI & ERI OKAJIMA (with MIZUTANI Kimio a.o.): “Feeling Record – Kiss In” (Columbia Records – HS-10032-J) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). One of the rarest and most obscure erotic and psychedelic freak-out records to come out of Japan. Only a handful of copies are in circulation, all of them promo issues as the LP never made it to the retail stage. 1971 release that is sonically all over the place. Basically you have two females chatting to each other about sex and sexual encounters but set against a psychedelic background of fuzzed out guitars, crashing rhythm section, swirling organ riffage, various sound effects of chirping birds, backward tape loops at places, jazzy moves, etc and so much more. The fuzzed-out acidic guitar assault is of course courtesy of Mizutani Kimio, unleashing all his colors and lysergic capacities while the girls keep on talking sex and its pleasures. Totally wicked!!! Female erotic’s merge with acidic grooves, jazzy moves and psychedelic freak-outs. In short a very weird record that only could have originated out of Japan – a place where a spontaneous combustion of styles, modes and erotic’s could merge perfectly into one. That aside, extremely rare LP, never offered for sale so far since only a few copies re accounted for. Total killer!!! Price: Offers!!!!
1243. NUDE SOUND: “Yoru No Sasayaki” (Nude Sound – No Number) (3 Mini EP Flexi Discs: Near Mint/ Triple Gatefold Sleeve: Near Mint). Rare Japan sleaze porn shop only issue of late 1960. Titled "Whispers of the Night" you have already an idea into which erotics regions this little oddity will dwell into. A minimal cocktail jazz backing provides the background for the seduction by Japanese slutty lady, whispering and moaning and eventually working herself into a frenzied orgasm. 100% uncut voyeuristic sound document of times long gone, it has a certain appeal and provides a solid addition into the obscure world of Japanese 1960s erotic sonic artifacts. Beautiful and totally obscure artifact presented in a mini triple gatefold sleeve that beholds 3 mini - EP flexi slides. Utterly fragile and beautifully preserved, I doubt you will ever see this one again as most of these little wonders were discarded and thrown away when the urgent needs were gratified. The design on the other hand is eye-popping great, very psychedelic and this begs for a reissue if it was only possible. Helas, this will never happen so....here is the real deal and it is next to impossible to unearth these little treasures. Just brilliant!!!!! Price: 125 Euro