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

1645. OLIVER NELSON SEXTET: “Blues And The Abstract Truth” (Impulse – SR-3023) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint). Freakingly rare Japan 1st original pressing all complete with obi. “As Oliver Nelson is known primarily as a big band leader and arranger, he is lesser known as a saxophonist and organizer of small ensembles. Blues and the Abstract Truth is his triumph as a musician for the aspects of not only defining the sound of an era with his all-time classic "Stolen Moments," but on this recording, assembling one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass), and Roy Haynes (drums) can do no wrong as a rhythm section. "Stolen Moments" really needs no comments, as its undisputable beauty shines through in a three-part horn harmony fronting Hubbard’s lead melody. It's a thing of beauty that is more timeless as the years pass. The "Blues" aspect is best heard on "Yearnin'," a stylish, swinging, and swaying downhearted piece that is a bluesy as Evans would ever be. Both "Blues" and "Abstract Truth" combine for the darker "Teenie's Blues," a feature for Nelson and Dolphy’s alto saxes, Dolphy assertive in stepping forth with his distinctive, angular, dramatic, fractured, brittle voice that marks him a maverick. Then there's "Hoedown," which has always been the black sheep of this collection with its country flavor and stereo separated upper and lower horn in snappy call-and-response barking. As surging and searing hard boppers respectively, "Cascades" and "Butch & Butch" again remind you of the era of the early '60s when this music was king, and why Hubbard was so revered as a young master of the idiom. A must buy for all jazz fans, and a Top Ten or Top Fifty favorite for many.” (All Music Guide). Price: 300 Euro
1646. OLIVER NELSON’s BIG BAND: “Live from Los Angeles” (Impulse Records – YP-8504-AI) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine Japanese pressing of classic Impulse title. Solid West Coast jazz vibes album recorded on June 2nd, 3rd & 4th, 1967. Featuring musicians Oliver Nelson, Monte Budwig, Ed Thigpen, Mel Brown, Frank Strazzori, Bill Perkins, Frank Strozier, Gabe Baltazar, Jack Nimitz, Tom Scott, Billy Byers, Ernie Tack, Lou Blackburn, Pete Myers, Bobby Bryant, Buddy Childers, Conte Candoli, & Freddy Hill. Indispensable Japanese high quality pressing to accommodate your late-night guilty listening pleasures! Price: 35 Euro
1647. OLIVER NELSON with ERIC DOLPHY: “Straight Ahead” (Prestige/ Victor – SMJ-6506) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese high quality pressing of killer Prestige title. “A whole album of fast-paced music quickly becomes draining. Likewise, an hour of chilled-out dub can send you to sleep. The saxophonist and composer Oliver Nelson was obviously acutely aware of this when choosing his musical sparring partners. Nelson's decision to share the frontline on three albums with the multi-instrumentalist Eric Dolphy is often described as brave. I believe that Nelson knew exactly what he was doing. Dolphy, a hero of the avant-garde, has a style so diametrically opposed to Oliver Nelson’s that the two just can’t help but complement each other. This synergy is beautifully demonstrated on the 1961 recording Straight Ahead. Both soloists play a number of instruments, with Nelson on alto/tenor saxophone and clarinet and Dolphy on bass clarinet, alto saxophone and flute. Oliver Nelson was a jazz composer par excellence, and this album does not disappoint. It contains a number of memorable themes, such as “Six and Four,” “Mama Lou” and “Straight Ahead.” Best of all: the soloing. The high-speed elasticity of Dolphy’s runs contrasts perfectly with the pure, soaring tone of Nelson. The two horn players spark each other and generate music of genuine intensity.” (All About Jazz) – Super clean & all complete Japan high quality pressing of high octane filled recording. SOLD
1648. ONENESS OF JUJU: “Space Jungle Luv” (Black Fire Records – BF-19754) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original 1976 pressing!! A fantastic record from one of the greatest underground jazz groups of the 70s! Oneness of Juju are perhaps best known for the heavy funk of their first album, African Rhythms – and the equally great second album – a warmly spiritual batch of soul jazz tracks, and a set that's filled with life, emotion, and wonderful instrumentation throughout! The group are a bit more relaxed overall – easing into things, but in a way that really builds up as the album moves on – as they layer together heavy percussion, sweet keyboards, and lots of great sax solos from Plunky Nakabinde – plus wonderfully warm vocals that add a soulful edge the group never had before, but which still is very jazzy – and not like the funky club of later years. The whole thing's wonderfully cohesive, and a treasure throughout – and titles include the warm vocal number "River Luvrite", to the harder hitting "Space Jungle Funk". Essential slide to flank your spiritual jazz collection with! Price: 300 Euro
1649. The ONION DOLLS: “The Kids b/w Hot Love” (Sing Sing – SING030) (Single Record: Near Mint/ Picture Sleeve: Near Mint). Limited and long deleted reissue of one of Belgium’s greatest unsung punk outfits. The Onion Dolls, a four piece punk band from Belgium managed to release this lone 45 before changing their name to Crossfire and fully embracing the New Wave Of British Heavy Metal movement that was sweeping Europe in the early 1980's. Both tracks on this 45 are unsuppressed killers with shredding guitar lines giving up more than a hint of the NWOBHM influenced sound that was to come. Originally released in 1980 on the Twinkle label in an edition of 1000 copies with a truly great picture sleeve this highly sought after single is one of Belgium’s greatest Punk Rock gems. This here is a mint and long gone limited reissue that sounds like an atomic bomb dropping in your living room! Price: 30 Euro
1650. The ONLY ONES: “Even Serpents Shine” (Epic Records – 25.3P.95) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ Obi: Mint). One of the greatest albums ever made…first press original Japanese issue with obi. Promo copy. The Only Ones, led by elegantly wasted Peter Perrett, again opted to produce their second album themselves. It's impossible to separate the band from the myths that grew up around them and their particular pastimes. With this in mind the languidity of most of the material seems to reflect the increasing reliance on all things illegal. Perrett's whine is perfect at conveying a tragic dissociation while still pining for love. This streak of romanticism seals his place as possibly the last doomed poet of the 20th century. Songs filled with femme fatales (''I see a woman with death in her eyes, but I don't have the time to prey...'' - From Here To Eternity), fallen women (''Indecision, lack of conviction, slurred diction. Baby, what you trying to say?'' - You've Got To Pay) or the sheer hopelessness of love (''Some Girls tell ya they're loving ya, but love is just destruction disguised under another name'' - No Solution) all evoke the torpor of indulgence while raising a smile. Musically the band were always a step ahead of the pack. Mike Kellie and Alan Mair - both seasoned pros on drums and bass - never falter, allowing John Perry's guitar to fly; while John 'Rabbit' Bundrick's organ adds just the right dollop of Al Kooper-isms. Unfortunately such 'fun' couldn't last, and hanging out with the likes of Johnny Thunders was never going to be good for anyone's health. By album number three they'd lost the energy to produce themselves and had pushed the self-parody button too many times. Addiction and financial troubles saw them gone by the next decade. Still, one of my all time fave records, it never fails to deliver, although playing and living it may not be good for your health. Price: 200 Euro
1651. The ONLY ONES: “Baby’s Got A Gun” (Epic – 25.3P.219) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing with obi & insert. Promo issue. “In many respects, the Only Ones had been swimming against the current ever since they started playing out in 1977, and the wear was finally beginning to show by the time they cut their third album, 1980's Baby’s Got A Gun. After Even Serpents Shine failed to sell to expectations, CBS put the Only Ones in the studio with producer Colin Thurston, best known for his work with the likes of Duran Duran, the Human League and Bow Wow Wow; Thurston was clearly aiming to push the pop angles of Peter Perrett’s melodies into the forefront, and while to some degree he succeeded, the amiably sleazy rock & roll edge of their first two albums was blunted on this set, and Perrett and John Perry’s guitars don't have the same impact here. The quality of the songwriting on Baby’s Got A Gun, while still strong, is not up to the level of the first two albums. And while Perrett was still singing and writing well, the drug addiction that would haunt him for years was catching up with him during these sessions, and Baby’s Got A Gun lacks some of the focus and energy of their earlier work. Baby’s Got A Gun is clearly the weakest of their three original albums, but for all its faults there's plenty here that testifies to the band's strengths; "Why Don't You Kill Yourself," "Strange Mouth," and "The Big Sleep" are splendid songs that show the band still had the goods, and "Trouble in the World" and "The Happy Pilgrim" confirm they could reach for a poppier sound without losing their personality in the process. The Only Ones broke up a year after Baby’s Got A Gun came out, but if it captured the sound of a band in decline, you can barely tell unless you're looking for the seams.” (All Music Guide). All of the Only Ones albums are pure gold and even this one shines like a diamond! Japanese pressing of the Only Ones are a bitch to dig up, sales were poor and copies are far and few in between. Top condition one with obi & promo! Price: 200 Euro
1652. The ONLY ONES: “Baby’s Got A Gun” (CBS Records – CBS-84089) (Record: Near Mint/ Advance Proof Sleeve Jacket: Excellent). Damned rare UK TEST PRESS issue with matrix numbers for Side A - CBS S 84089 A-1 and for side B - CBS S 84089 B-1. Comes complete with PROOF SLEEVE art which is actually different from the actual release. Note the title and group’s name that appear in different color as opposed to the actual release. The Title “baby’s Got A Gun” got listed under the group’s name in a straight fond, there were upon release there was opted for a hand written version which got placed on the bottom of the sleeve. Also on the back of the sleeve no credits or song titles are listed and only shows a band photograph. So quite unique item with proof sleeve attached. The test press itself is in perfect shape and sounds killer. Price: 400 Euro
1653. The ONLY ONES: “The Immortal Story” (Brigand – BRIG-021~022) (2 LP Record: Near Mint/ Jacket: Near Mint). This is it! Take one Syd Barrett-alike singer in eyeliner and with a voice like an infinitely weary Larry the lamb (Peter Perrett), a balding, portly guitarist (John Perry) and add a rhythm section composed of two aging veterans (Alan Mair, ex-bass player with Scotland's Beatstalkers and Mike Kellie, drummer with Spooky Tooth). On paper it seems bizarre that The Only Ones were once counted amongst punk's vanguard. But as this live recordings shows, they contained all the nihilistic thrills you'd expect from men half their age, while adding an extra layer of expertise. Just fast forward to Girl Another Planet, that sealed their reputation. Coming on like the musical equivalent of a drug rush, its semi-autobiographical taunt of "I look ill, but I don't care about it'' was a suitably ecstatic accompaniment to their mission: ie being seemingly hell-bent on becoming as epically destroyed as heroes like Barrett or Keith Richards. All killer & no filler old skool 2 LP boot by one of the greatest bands that ever roamed the face of the earth. So necessary, so needed, epic… Price: 75 Euro
1654. ONO MATSUO: “Play On Animals – Choju Gigaku” EM Records – EM-1094) (EP Record: Near Mint/ Triple Gatefold Jacket: Near Mint/ Insert: Near Mint). Long deleted limited issue of a rare electronic slide that was originally issued as a flexi disc in the 1970 but now got a welcome upgrade on virginal vinyl. First ever reissue of ultra rare 1970 production, in full reproduction of original triple gatefold sleeve, with new liner notes written by Matsuo Ohno, with English translation. A slice of lost history unearthed for your enjoyment and delight. The original flexi-disc was released as a souvenir during the famed World Expo '70 in Osaka (think Stockhausen and Xenakis), but was available for only a brief time and soon disappeared, an object of rumor and mystery for collectors. As befitting Expo '70's remit as a meeting of world cultures, Ohno chose 6 well-loved Japanese and international songs -- and rendered them entirely in animal and bird sounds, using analog tape recordings. Choju Gigaku contains equal measures of musicality, magic, madness and mayhem, with domestic and barnyard animals combining their natural and pitch-shifted voices with the calls and cries of a multitude of birds. Eschewing musical instruments, Ohno utilized Japan's first variable-speed tape recorder to create these melodies, adding delay and reverb to the warm analog mix. The five songs on Choju Gigaku are "Sekaino Kunikara Kon'nichiwa," the theme song for Expo '70 originally sung by Haruo Minami, the Japanese traditional songs "Sakura Sakura" and "Yagi Bushi," an Italian song "Funiculi, Funicula," the Russian "Volga Boatman" and an American classic "Oh My Darling, Clementine." Recording in Sogosha studios (his production company) in Aoyama, Ohno was ably assisted by avant-garde composer/musician Takehisa Kosugi (Taj Mahal Travellers, Merce Cunningham), who was an integral part of the recording process. Housed in a full reproduction of the original triple gatefold sleeve with liner notes newly written by Matsuo Ohno. Essential slice of electronic music/ musique concrete & avant-garde sonic history. Price: 50 Euro
1655. ONO MATSUO: “Tetsuzuki Atom – Oto no Sekai – Roots of Electronic Sound” (ALM Records – ALP-204) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Top copy with obi & insert. Originally released on ALM Records in 1975, this record documents some early Japanese tape music experiments recorded between 1963~1966. Documenting the tape experiments and electronic music excursions of Ono Matsuo that he constructed for the early fifties, sixties and seventies for the Atom animation series. The music or sounds on display on this disc are totally abstract and lift a top of the veil that enshrouded early Japanese electronic music. Takehisa Kosugi also participates on these recordings as Ono’s assistant. Records documenting this scene of composers are very difficult to track down. This disc is no exception and rarely surfaces, although that a reissue appeared (in totally different packaging some years ago). So here you have early vintage splice taping electronica, 100% analogue and primitive which gives it a warm and solid sound coloration, albeit that the sounds emitted by Ono are utterly abstract, deformed, circuit wired, beefed up with static outer worldly hissing, white noise interference, rocket simulated blasts and other manipulated sounds that were used to underscore the initial animated Atom series of the early sixties. Brilliant stuff and buried within all this static interference you might be able to detect the contributions of Takehisa Kosugi, who was learning some tricks of the trade, knowledge he could put to use in later work, all passed down to him by Ono. Completely vanished and rare record. Highest recommendation. For lovers of electronic music, musique concrete, avant-garde, etc. Price: 200 Euro
1656. ONO MATSUO: “Space and Maryjuane Trip Is Same” (TAM Records – YX-8049) (Record: Mint/ Jacket: Mint/ Obi: Mint). Great Japanese electronic music by one of its pioneering forces on the scene. Ono Matsuo has already been active as an electronic music composer since the late fifties. He achieved his highest fame when he became responsible for conceiving the sounds of Atom aka Astro Boy animated series in the early sixties, a venture for which he got assisted by his ‘then’ assistant Takehisa Kosugi of the Taj Mahal Travellers. However, this disc, one of the very few Ono released under his own name, came out in the first half of the 1970’s and contains some of his finest work to date. Free floating organic electronic clusters conceived out of spliced tape excursions and primitive analogue synthesizer equipment that evoke here eerie and unworldly sounds, static hissing, wire humming and demented alienated sound spheres. Like you might know, discs documenting the Japanese early electronic music pioneers are virtually non-existent and almost never resurface. They are way rarer that your so much desired psych obscurities but due to the lack of information floating around on this scene, people seem unaware of the sonic gems of this experimental scene. This one is a stunning copy, which comes with the always-missing obi and the whole package is in just mint condition. Price: 300 Euro
1657. OOSTERLYNCK, BAUDOUIN: “1975 – 1978” (Metaphon) (4 LP Set, Housed in Cloth Bound Box set and LP’s housed in Individual High Quality Jackets: Mint & Unplayed). Cardboard linen LP box contains 4 LPs with separate covers and a 34-page booklet with notes and photos from Baudouin Oosterlynck. Signed and numbered edition of 300 copies. This is an incredibly nice package, from out of nowhere -- and one of the most notable outsider art/avant-garde sound documents you could possibly ask for. This 1st issue on the Belgian Metaphon label is right from the start also one of the most prestigious ever to have crossed my eyes. A 4 LP box set containing recordings dating from 1975-1978, asserting once again that Belgium is a sadly overlooked country as far as avant-garde music is concerned but asserting at the same time it is a deadly force to be reckoned with. But let’s start of with the packaging; an edition of 300 copies is eye-blindingly beautiful. The sets are numbered and signed by the artist; so right from the start you have already a collector’s item in the making. And then we haven’t even started digesting the music yet. Oosterlynck once was found characterizing himself as a “silence artist”. In the detailed booklet, he states that his musical world evolves around penetrating into sound material, and feeling the relation of time and space. To put down sound, listening to it and keeping silent. It may come over as some heavy-loaded concept but that is certainly not the case. His sounds originate out of the use of prepared and normal piano, piano strings, his own voice, and other sound sources. It are naïve conceptual pieces, things he played come to him out of nowhere, at different moments, short as lightning flashes. He is of the impression that he has these so-called sonic visions since before long, visions he claims to have know since childhood, and which he gets acquainted with through listening to his own music. Oosterlynck’s music hence originates out of himself out of his own intuitions, after which he arrives at the “everyday sonoric”. The listener who hears these sonorities and sound sculptures has to get adjusted to them so to speak. Because it concerns here Oosterlynck’s own personal quest to the connection between sound, space and time. Upon a superficial listening, his works may sound monotonous and repetitive. But then it is very minimal music stripped down of all superficial elements after which the characteristics of each sound in it self reveal themselves to you, elements which will remain undetected in most music you have ever listened to. In short it is spell bindingly beautiful and disarming how Oosterlynck voice intertwines in Ontario out of 1977 thanks to a sort of repetitive mantra that evolves and blossoms into a melancholic miniature mass. So this eye-bleeding beautiful release has many things to offer and offers a totally self-sustaining listening experience. All time highest possible recommendation. Price: 150 Euro
1658. OPEN SKY UNIT: “S/T” (Duchesne – DD-8001) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink!). Rare Belgian original pressing in top condition, first time I could encounter such a pristine copy, sleeve still housed in original shrink. Damn, Belgians can be funky and jazzy (and even groovy) all at the same time! Who would have guessed it but after spinning Open Sky Unit, I became convinced we are the sexiest race on the planet. Beyond legendary funky jazz private press LP out of the Lowlands featuring Belgian alto sax legend Jacques Pelzer with his group Open Sky Unit. A typically Belgian story of unlikely meetings and collaborations, the band showcases pianist Ron Wilson's compositions (whose voice lends soulful vibes to the otherwise funky cuts), rhythmic soulful Fender Rhodes and vocals in unison with Pelzer & Steve Houben (reeds), Janot Buchem (electric bass), Michel Graillier (percussion) and Pelzer's daughter Micheline on drums Recorded live in Liège’s Jazzland back in 1974, it was initially limited private pressing released in a small run. Copies dried up and vanished; the band became a footnote in the otherwise quite dull Belgian’s musical heritage (apart from Babs Robert, Univers Zero, Kamikaze Records etc) and disappeared into oblivion. But a good thing cannot be hidden for too long and Open Sky Unit’s music began to seep out, be it decades after the band ceased to exist. The music is a groovy jazz/ deep modal with a spiritual twist/ funky soul heater that delves deep into a black jazzy vibe territory they had not yet seen in white men’s land Belgium. The band’s vibe is laid back and its leisure playing gorgeously winds through the six compositions ever so gracefully. Just lovely and the perfect record to put on late at night when your cozying up next to your loved one or decide to venture into Wonderland with Alice. Truly bewitching music. Best copy around for light-years! Never seen a copy in the shrink before and it is a must as the sleeves are as fragile and whimsy as can be. Top notch all way round. They never turn up this clean and virginal so… Price: Offers!!!
1659. ORCHESTRA HARLOW: “El Exigente b/w Freak Off” (Oldays Groovy Donuts – ODREP-45007) (Single Record: Near Mint/ Picture Sleeve: Near Mint/ Obi: Near Mint). Ultra limited Japan only picture sleeve issue of killer butt-shaking dance-floor jiver! A stunning release from Orchestra Harlow – one of their wildest of the 60s, and filled delights from front to back! The record unleashes a massive boogaloo groove that really sets the pace for the ep – hitting hard with some heavy percussion, and really pushing the group through a great blend hip shakers and jungle exotics! “El Exigente” is a great opener with the band all adding some spoken introduction all at once and we are off with Ismael dropping Larry's surname at one point as the demanding one and a great loopy Boogaloo is the result with the chorus singing "El Exigente" in constant repitition. "Freak Off" is more pounding Boogaloo with Larry and his Orchestra and it is a high point that just come right out of the gate with that classic Cuban rhythm. The whole thing's great – easily one of the best by the group. Sold out in seconds, comes in eye-popping Japan only picture sleeve design and obi. Price: 50 Euro

1660. ORCHESTRE DE CHAMBRE DE TOULOUSE: “Avant-Garde” (Angel Records – AA-8870) (Record: Near Mint/ Heave Gatefold Jacket: Excellent/ OBI: Excellent/ 8-Paged Insert: Mint). WHITE label PROMO issue all complete with OBI & insert booklet. Has been ages since I saw a copy of this one all complete. Original 1st Japanese pressing of amazing avant-garde slide. Comes in great gatefold jacket complete with rarely seen obi. A cornerstone recording in the avant-garde canon. Price: 75 Euro

1661. ORIENTAL SUNSHINE: “Dedicated To The Bird We Love” (Fontana – 6426.030) (Record: Near Mint/ Jacket: Near Mint). Original 1971 Norwegian press, 2nd issue that came out one year after the Philips issue and which is as rare but relatively much cheaper. The long and winding countryside of Norway in the late sixties was hardly the ideal time or place to be playing psychedelic folk music. But the teenage duo of Nina Johansen and Rune Walle, aided by their friend Satnam Singh, triumphed over high odds to make one of the most spellbinding albums in the genre made in any country. Johansen and Walle met at a Peoples College in 1968 in the rainy small town Manger outside of Bergen, and discovered a shared love of The Beatles, Joni Mitchell and eastern sounds. They soon started playing and writing songs together. Then they met Satnam Singh, one of the very few people of colour living in Norway at the time, and luckily he turned out to be an excellent flute and tabla player. It was meant to be — Oriental Sunshine was formed. A sole album was made, released on Philips in 1970, with the trio joined by accomplished jazz musicians Espen Rud (Min Bul), Sture Janson, and Helge Grøslie (Junipher Greene). The album was recorded by the legendary Norwegian producer and recording technician Jan Erik Kongshaug.” (Light in the Attic) Top condition original, 2nd issue out of Norway. Musically this is top-notch female vox acid folk with sitar, tablas, strumming guitars, flute, English lyrics, etc. As good or better (to my mind) than Magic Carpet. Price: 500 Euro
1662. OST – ARMANDO TROVAIOLI: “7 Volte 7” (Seven Seas – WWLP-7216) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Rare Japan original 1st pressing of hideously rare Italian soundtrack. Some of the grooviest work ever recorded by Armando Trovaioli – one of his sweet 60s soundtracks for the 7 Golden Men series of heist films – done with a great mix of mod jazz and lots of vocal touches! The vocals are especially great – sung by I Cantori Moderni – but with this harmonizing quality that's warmer and jazzier than their usual work – almost a Four Freshmen/Swingle sort of vibe, but mixed with unique inflections by Trovaioli on Hammond organ and other jazzy instrumentation – usually driven by some sweet snapping snare as well! Rare Japanese pressing in pristine condition. Price: 30 Euro

1663. OST – THE ARROWS: “Blues Theme b/w Theme From The Wild Angels” (Capitol – CR-2509) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Original Japan picture sleeve issue with great pictures of peter Fonda on a killer bike with sweet Nancy Sinatra cuddling his back on the flipside. “Blue’s Theme” was a massive enough regional hit (staying on regional American charts from March until September of 1966) that an album was quickly assembled around this great fuzz-toned hit instrumental which took a riff from “The Last Train To Clarksville” and unfolded over itself into a soaring ribbon riff across the sky forever. It gets mashed up with roaring biker sounds and adds to the deranged speedy effect! It is a total gaga instrumental complete with Allan’s trademark disorientating ‘speed tremolo. straddled the fence between the earlier surf and twang days of the Ventures on one side and the long- haired biker grunge rock of the late-1960s flower-power generation on the other. Frozen in a classic moment in time, when hippies were on the front page of the newspapers but the general public still wore buzz cuts and bouffants, the fuzz-drenched instrumental rock of Davie Allan and the Arrows must have seemed as dangerous as a gang of outlaw bikers coming over the hill. Awesome! Price: 35 Euro

1664. OST - ART BLAKEY And The JAZZ MESSENGERS: “Original Soundtrack From Les Liaisons Dangereuses 1960” (Fontana – SFON-3010) (EP record: Near Mint/ Flip Back Picture Sleeve: Near Mint). Scarce Japan only issue with nice picture sleeve. Price: 35 Euro
1665. OST – BARRY, JOHN: “From Russia With Love b/w The James Bond Theme” (Odeon Records – OR-1057) (EP Record: Near Mint/ Triple Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). First original Japanese pressing housed in amazing Japan only cover art. Price: 40 Euro
1666. OST- BARRY, JOHN: “JAMES BOND – 007 GOLDFINGER Original Soundtrack Recording” (United Artists Records/ Liberty Japan – SR-654) (Record: Mint/ Jacket: Mint/ Obi: Mint). Bloody rare 1st original Japanese pressing housed in a totally different Japan only cover and complete with bloody rare obi. Superb picture sleeve with hyper-rare "film strip" cover and OBI strip featuring the music of the late, great John Barry. All is in virginal condition. SOLD
1667. OST – JOHN BARRY: “A Man Alone b/w Barbra’s Theme” (CBS – LL-813-C) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Killer Japan only soundtrack single issue that came out in 1965 and housed in fantastic sleeve design. Again Michael Cain kills it on the design front. Price: 75 Euro
1668. OST - BASIL KIRCHEN: “The Shuttered Room” (Trunk Records – SHUT001) (Record: Near Mint ~ Mint/ Stamped letter pressed sleeve: Mint/ Insert: Mint). Never before available 1967 soundtrack to UK horror flick which was released completely legitimately and taken from the movies original master reel....and put out in a tiny edition of only … 25 copies, so bound to be rare forever. That aside the music is a stunner. “As for the film and soundtrack, both were made in 1967. It was a horror film starring Gig Young, Oliver Reed and Carol Lynley, all directed by the most interesting director David Greene. Very few people really know about David Greene but his cinematic work includes Sebastian, I Start Counting and this, which is pretty impressive if you ask me. He obviously liked Kirchen and used him for four of his movies., but in all the times I spoke with Basil, I never found out why. And perhaps we’ll never know.” (Trunk) Very beautiful film score that has both that typical 1960s UK jazzy feel as well as the gift for the unexpected impact that quells the darker side, sliding into a deep subterranean slur and cutting across cinematic dustup-jazz again. An austere intimacy as well emanates out of the jazzy tracks that offers direct access to deceptively intense skeletal music that displays nevertheless a meticulous lyrical economy. This score to the Shuttered Room stands shoulder to shoulder with the best slides of that era and should be filled next to John Taylor’s LP on Turtle, Neil Ardley and the likes. Just stunning. Pressed in an edition of only 25 copies, this is bound to be rare forever…. Top condition. Price: Offers!!!!
1669. OST - BLOW UP with HERBIE HANCOCK, YARDBIRDS - OST – BLOW UP: “The Original Soundtrack Album Of Blow Up” (MGM – NIPPON GRAMOPHON – SMM-1138) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint/ Colored Picture Promo Only Booklet: Mint/ Additional 48 page booklet with B&W Pictures – Promo Only: Mint/ OBI: MINT). Hideously rare 1966 Japan first original pressing of the Blow UP – comes housed in Japan ONLY Alternate jacket art. This one here is the never offered before WHITE LABEL PROMO issue and comes with promo only appendices such as 2 booklets. To make it even better, this one here also comes with the impossibly mega rare OBI as well. TOP CONDITION and impossible to ever upgrade upon. The music of this soundtrack, serendipitously, is provided by jazz composer/keyboardist Herbie Hancock. His songs, as well as a rare Yardbirds’ tune, play a digenetic role in the film, which means that when you’re hearing the music, the characters are hearing it themselves as well during the film. There’s no incidental, omniscient orchestral bursts or keening strings. Thomas – the main character of the movie, plays an LP and we hear it; it’s just that it’s mostly Hancock. The remainder of the soundtrack is the wind, traffic, the rustling of fabric, the snap of the camera’s shutter – the sounds of the day and some live club recordings seeing the Yardbirds in action. Killer soundtrack to Michaelangelo Antonioni’s masterpiece. For the recording, Herbie Hancock, Freddie Hubbard, Joe Henderson, Ron Carter and Jack DeJohnette entered a New York studio to capture the vibe of 'swinging London' in a jazz mode - with grooves that create effective bluesy moods on the slow pieces and funky ones on the up-tempo tracks. Meanwhile in London, the Yardbirds (with Jeff Beck and Jimmy Page) were recording additional material for use in the Blow-Up movie soundtrack. Young Herbie Hancock contributed the bulk of the score, evoking the ambience of swinging London with grooves that create effective bluesy moods on the slow pieces, and funky ones on the up-tempo tracks. The soundtrack also includes a rare Yardbirds number, "Stroll On", one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. Sheer brilliance. The whole affair here is in Near Mint to Mint condition. Never seen before rare Japanese 1st press with alternate jacket art, white label PROMO issue with appendices and freakingly mega rare OBI…making this copy genuinely rare. Virginal condition on all fronts, impossible to ever upgrade upon. Price: Offers!!!!
1670. OST – BRUNO NICOLAI: “Django b/w Django” (Seven Seas – HIT-1376) (7 Inch Single Record: Near Mint/ Company Inner Sleeve: Near Mint/ Gatefold Picture Sleeve: Near Mint) Original 1966 Japan original issue. Sergio Corbucci crafted one of the most popular and widely imitated of the Italian "spaghetti westerns" of the 1960s with this violent but stylish action saga. A mysterious man named Django (Franco Nero) arrives in a Mexican border town dragging a small coffin behind him. When he attempts to save a woman who is being attacked by a group of bandits, he finds himself in the middle of a conflict between Mexican gangsters and racist Yankee thugs, with the innocent townspeople and a fortune in Mexican gold stuck somewhere in between. Django becomes a force to be reckoned with when it's discovered his coffin actually contains a Gatling gun. The title track is an all-time classic, twangey guitar lines, dust-biting desert dwelling vibes, the central theme does have certain similarities to Morricone’s For a Few Dollars More, albeit with a slower tempo and performed on traditional instruments rather than whistled, performed by great group and back up by a spellbinding chorus of female voices, it’s compelling and highly listen-able and is more than capable of standing on its own two feet as an entertaining and vibrant collection of themes away from the images that it was intended to enhance. The B-side is the stripped down instrumental version that also does not disappoint one tiny bit. Great Japan original pressing in immaculate condition. Price: 50 Euro
1671. OST – BRUNO NICOLAI: “L’Ultima Corrida – Teorema b/w Fruscio Di Foglie Verdi” (Seaven Seas – HIT-1679) (7 Inch Single Record: Near Mint/ Company Inner Sleeve: Near Mint/ Gatefold Picture Sleeve: Near Mint) 1970 Japan original issue in top shape. This one is a nice little gem, on its release in 1968, Teorema not only shocked its viewers but it was also seized by the Public Prosecutor of Rome and director Pier Paolo Pasolini was charged with obscenity. The film centers around a middle class Milanese household and the arrival and departure of a young stranger, who uses sex and affection to awaken the troubled family members. A visually ravishing, almost wordless piece, the brilliant Ennio Morricone soundtrack is crucial to the magic. The B-side is a pop orientated upbeat vocal “Fruscio Di Foglie Verdi” performed by Il Cantori Moderni, this is followed by the wonderful “L’Utima Corrida”, where the Maestro combines, choir, with solo trumpet performance and electric guitar all supported by a Hispanic type tempo performed by castanet’s and percussion. This for me is classic Morricone from the 1960,s and the sound that I for one so readily associate with the Maestro when I was discovering his music plus it evokes memories of a mis-spent youth. A dead on classic. Top copy!!! Price: 50 Euro
1672. OST- CARPENTER, JOHN: JOHN CARPENTER’s HALLOWEEN: “Theme From Halloween b/w The Night He Came” (Columbia – LK-115) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan 1979 original press issue in great shape. Comes housed with cool picture sleeve art. SOLD
1673. OST – THE CLEE-SHAYS: “Napoleon One b/w Dynamite – Theme From the MGM Picture The Spy With My Face – The Man From UNCLE” (Union Records – US-150) (EP Record: Excellent/ Gatefold Picture Sleeve: Excellent/ Company Inner Sleeve: Excellent). Really nice garage/ surf/ trashy single. Ah, the late Earle Hagen, the man should be world famous just for his television theme songs. 'I Spy' was one of his best, but he also wrote the theme songs for 'Make Room For Daddy', 'The Dick Van Dyke Show', 'That Girl', 'The Mod Squad', 'The Andy Griffith Show', and 'Harlem Nocturne' (used on Mickey Spillane's Mike Hammer;). The Clee-Shays all but trashed the original's jazzy feel for an almost hard rock arrangement. Quite impressive and utterly addictive. Price: 40 Euro
1674. OST - DE MASI, FRANCESCO: “Seven Dollars To Kill b/w Hissatsu No Thema” (Seven Seas – HIT-1466) (Single EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Promo issue – 1967 Japan only issue of killer Spaghetti Western movie. Gunslinger Anthony Steffen comes home from the Civil War to find a bandit has slaughtered his family and kidnapped his young son. Next time they meet, the son has grown up to be the bandit’s cold-blooded lieutenant, although neither Steffen nor the son knows the other’s identity. It’s sort of like a Greek tragedy with dreadful dubbing and lots of punching. The music provides ample accompaniment with lush trumpet blearing and killer desert guitar twang. The score opens loudly, with a massive amount of brass slamming the soundscape again and again, then blasting into a galloping theme with twanging guitars, soaring strings and crashing cymbals. Dramatic moments are characterized by an ugly, dramatic waltz that alternates between slow and stirring to intense slow beats resulting in the heart wrenching showdown between the former friends. Price: 75 Euro
1675. OST – DEEP THROAT PART 2 starring LINDA LOVELACE: “S/T” (Bryan Records – BRS-101) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint). Original 1974 mint copy pressing, original copies rarely surface but this one here is the real deal!! After the runaway success of Deep Throat, a sequel soon followed two years later in 1974. The weird thing about Deep Throat Part II - also starring Linda Lovelace - was that it was a soft-core movie. We've heard two reasons for this; A) it was due to the confusion following the Supreme Court's Miller ruling on obscenity, which left communities to determine their own obscenity guidelines, and B) all the hard-core bits of action were lost or stolen at the processing stage. Whatever the reason, the movie subsequently bombed at the box office. This may have left fans with distinctly blue balls, but all was redeemed by the lounge-funk porno soundtrack that accompanied the on-screen action. “The funky funky soundtrack to the second Deep Throat film -- done in a tighter and more professional style than the first one, with some even funkier tunes! The music here was handled by the team of TJ Stone and Michael Colicchio -- who seem to be having a heck of a lot of fun with the tunes, especially the few vocal numbers that are based around sexy innuendo! Stone sings on 2 tracks, and Laura Green sings on 2 others -- and the grooves are as porno as porno can be -- slow-stepping, with a slinky funky sound that's all-action, but never too hopped up to lose its cool too soon! Titles include "La La La", "Latino", "She's Got To Have It", "Deep Throat", "Run Linda Run", "Deeper & Deeper", and "Saxy”. (Dusty Groove). Price: 250 Euro
1676. OST/ EDUARD ARTEMIEV – SOLARIS: “Original Soundtrack From Mosfilm Solaris” (Columbia Japan – YX-7212-MK) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Near Mint). Japan only issue from 1978, first original pressing all complete with insert and always-missing rare OBI. Stunning electronic music soundtrack as released (only in Japan on LP) in 1976 to Andrei Tarkovsky's beautiful and astonishing 1972 masterpiece "Solaris". It melts neatly with the story of an odyssey of a Soviet scientist, a trained psychologist who travels to a space station orbiting the remote planet Solaris. The Soviet government would actually prefer to abandon the station, regarding reports of some of its findings as too incredible to believe. A brilliantly executed electronic music soundtrack, filled with hot bubbling, hissing and crackling noises, underscores the whole movie. This LP here is a dead mint copy of that score, massive electronic burst of energy swirl and buzz right underneath. Massive and rare to say the least. Has been ages since I have seen a copy with obi. Price: 300 Euro
1677. OST – ERASERHEAD: “S/T” (International Records Syndicate – SP-70027) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). Original 1982 1st US press issue. David Lynch’ Eraserhead rests firmly at the top of that canon of American underground culture for which there is no genre. Though Eraserhead’s most famous piece of music is undoubtedly Peter Ivers’ unforgettable, oft-covered haunting ballad “In Heaven”, a miasma of musique concrète, mechanical drone and static noise, the soundtrack to David Lynch's indelibly harrowing 'Eraserhead' is a prototypical masterpiece of Industrial gloom and dystopia. Alan R. Splet's visceral, clammy sound design conveys Lynch's bleakly unheimlich atmosphere in a manner, which has defined the limits of arthouse cinema for over forty years. It's nigh on impossible to imagine the film without it, but serrated from the celluloid's stark, flickering halogen and abrasive textures it more than stands up alone, primed for solitary, immersive listening in your low rent bedsit or industrial dwelling. It has been ages since I came an original 1st pressing of this bewitching slide, so here is one in all its degenerate glory. One of the best soundtracks ever! Price: 75 Euro
1678. OST – GAGLIARDI PEPPINO: “Ballata Per Un Pistolera b/w Se Tu” (Seaven Seas/ CAM – HIT-1476) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Original Japan killer Italian soundtrack recording from 1967. Twangy dusty guitar riffs, desert Western vibe, etc….all the right ingredients. Price: 50 Euro
1679. OST - GHOSTS…OF THE CIVIL DEAD: “S/T” (Mute Records – IONIC3) (Record: Near Mint/ Jacket: Near Mint) Original UK press out of 1989 of a soundtrack that just on vinyl never seems to surface. Music created by Nick Cave, Mick Harvey and Blixa Bargeld. Claustrophobic and alienated sonic wasteland on display that makes the hairs on your neck raise and stand up with fear and anger. “Ghosts … of the Civil Dead” was a the name of a movie/ pseudo documentary that gave you some insight into a high security prison in state of lock-down due to gruesome riots taking place. The film begins at the end. Central Industrial Prison has been "locked down" following the latest wave of violence that has plagued this institution for years:' A "Committee" has been appointed to report on its causes. The film, like the Committee, flashes back to trace the events that have led to the lockdown. The film is about the fact that prison further criminalizes its inhabitants. It is about the way in which the system, upon which our society is based. It has the capacity to exploit events that should be an indictment of it. Further, it is about the fact that our system now deliberately creates those events in order to exploit them. The music fits the movie like a glove, breathing out a claustrophobic and bubbling violent tension that gets under your skin, at times interspersed with spoken word interludes (by guards and inmates) that only add to the already suffocating and confined atmosphere. Definitely the best soundtrack ever recorded to slash your wrists on to, unsettling and sensory numbing that leaves behind a bitter aftertaste. Just massive, Cave and Blixa never have sounded any better and cold as ice as on this slice of vinyl. Awesome. Price: 75 Euro
1680. OST - GIL MELLE: “Andromeda Strain OST” (Kapp – KRS-5513) (Hexagonal LP Record: Excellent ~ Near Mint/ Gimmick Silver Jacket: Excellent). Rare original US pressing in TOP shape. “Gil Melle, one of the most important composers today, has achieved an impressive landmark in creating the first all-electronic score for a major motion picture, the Andromeda strain. The work embodies the most revolutionary techniques in the annals of avant-garde music as well as film literature. Melle's central idea was to compose directly to the film and for this, he designed a special electronic music studio on the universal lot. it housed a complete rear-image projection facility as well as a number of one-of-a-kind electronic musical instruments. The most important of these is the percussotron iii, which the composer designed especially for Andromeda. it is important to note that an instrument has never been created specifically for a film score in the history of the medium. It is indeed percussionistic as its name implies, and is heard throughout the various tracks. musique concrete also plays an important role here. Many field trips were made by the artist in order to record the natural sounds of 20th century life. Liberally woven into the fabric of this music are the indigenous sounds of the jet propulsion labs in southern California, buzz saws, wind, bowling alleys and even the railways. Orchestral instruments are also included and many important soloists are represented. All of these elements were eventually electronically transformed to suit the needs of the Andromeda strain score. As futuristic as all of these sounds, it nevertheless owes its direct ancestry to the very first form of film music, the nickelodeon. The compositional method is essentially one of creatively shooting from the hip and in turn gaining a vast amount of artistic flexibility as well as a very personal. Representation of the composer's musical thinking”. (From Mimaroglu website). Melle's pieces ranks as cinema's first true electronic musical score. Using a battery of electronic instruments combined with reprocessed musique concrete sounds, Melle crafted a bizarre and compelling score that laced the picture with an unrelenting undercurrent of aimless, microscopic evil. The score's single repetitive theme is a rhythmically seething, cricket-like undulation for low-octave electronics and piano, associated with the mutating bacterial entity. Stunning piece of electronic music/ musique concrete and hard to track down these days. Highest recommendation. Price: 150 Euro

1681. OST - GIL MELLE: “Andromeda Strain OST” (MCA Japan – MCA-5094) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint). TOP COPY, all complete with obi. Rare Japanese pressing of early 1970’s, comes with total different jacket design than the Kapp label ones. Very few copies of this one were pressed at the time in Japan and the sole two copies that have ever crossed my eyes were in both cases promotional copies so I am uncertain if a proper release ever saw the light of day. “Gil Melle, one of the most important composers today, has achieved an impressive landmark in creating the first all-electronic score for a major motion picture, the Andromeda strain. The work embodies the most revolutionary techniques in the annals of avant-garde music as well as film literature. Melle's central idea was to compose directly to the film and for this, he designed a special electronic music studio on the universal lot. it housed a complete rear-image projection facility as well as a number of one-of-a-kind electronic musical instruments. The most important of these is the percussotron, which the composer designed especially for Andromeda. it is important to note that an instrument has never been created specifically for a film score in the history of the medium. It is indeed percussionistic as its name implies, and is heard throughout the various tracks. Musique concrete also plays an important role here. Many field trips were made by the artist in order to record the natural sounds of 20th century life. Liberally woven into the fabric of this music are the indigenous sounds of the jet propulsion labs in southern California, buzz saws, wind, bowling alleys and even the railways. Orchestral instruments are also included and many important soloists are represented. All of these elements were eventually electronically transformed to suit the needs of the Andromeda strain score. As futuristic as all of these sounds, it nevertheless owes its direct ancestry to the very first form of film music, the nickelodeon. The compositional method is essentially one of creatively shooting from the hip and in turn gaining a vast amount of artistic flexibility as well as a very personal. Representation of the composer's musical thinking”. (From Mimaroglu website). Melle’s pieces ranks as cinema's first true electronic musical score. Using a battery of electronic instruments combined with reprocessed musique concrete sounds, Melle crafted a bizarre and compelling score that laced the picture with an unrelenting undercurrent of aimless, microscopic evil. The score's single repetitive theme is a rhythmically seething, cricket-like undulation for low-octave electronics and piano, associated with the mutating bacterial entity. Stunning piece of electronic music/ musique concrete and hard to track down these days. Highest recommendation. Price: 300 Euro

1682. OST/ Paul GIOVANNI & played + performed By Magnet & Paul GIOVANNI: “The Wicker Man” (Trunk Records – Barked 4) (Record: Near Mint/ Jacket: Near Mint). The first ever official pressing of the famed Wicker man soundtrack by Trunk Records that saw the light of day way back in 1998. Other came after but this issue is the genuine first pressing in all its glory, released in an edition of 500 back then. ONE OF THE unlikeliest motivating factors in the current wave of new British folk music is a horror movie from three decades ago. The Wicker Man, the story of an upright Christian police officer investigating the disappearance of young girl on the Scottish island of Summerisle, and stumbling across a pagan cult, is hardly a masterpiece. But it has endured as a cult classic because it is unique, fascinating and evocative. Its folk-based soundtrack and use of ancient rituals and mythology have made it the focal point for a new generation of British musicians. Incredible folk psych weirdness by Paul Giovanni & the mysterious band 'Magnet', The Wicker Man is sometimes referred to as the unholy grail of soundtracks. The original music and effects tapes were found and carefully copied, and the LP release is an identical copy of the sounds found on these tapes. Hardly ever surfacing genuine first pressing on cult label. Price: 100 Euro
1683. OST - HANCOCK, HERBIE: “Dino de Laurentis Presents Charles Bronson In a Michael Winner Film Death Wish” (CBS SONY – SOPN-101) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Super clean copy of 1974 Japan only Death Wish soundtrack issue, all complete with obi and insert. Super clean copy of 1974 Japan only Death Wish soundtrack issue, all complete with obi and insert. Herbie Hancock extends the reach of hisHead Hunters- vintage electric music into the soundtrack field, with some switchbacks to earlier styles and old-fashioned movie suspense music thrown into the eclectic mix. Jerry Peters provides the requisite orchestral backgrounds, and the wah-wah guitar licks give some indication as to where Herbie's funk music would be going in the future. The main title music is the best track -- tense, streaked with Hancock’s echo-delayed electric piano and understated orchestrations. A good deal of the record, alas, is filled by listless film cues that are meaningless without the action in front of you. Still, the results are, in general, more intriguing than usual for the film genre. Comes housed in Japan only sleeve art – with obi and insert, all complete! SOLD
1684. OST – INVASION OF THE BODY SNATCHERS: “Main Theme b/w Love Theme” (United Artists/ King Records – FMS-104) (7 Inch Single Record: Near Mint/ Flip Back Picture Sleeve: Near Mint). Rare 1979 Japan picture sleeve single issue of seminal horror flick. White label PROMO issue. Classic 1978 Japan only 7 inch issue of the legendary Jack Finney SF novel. "Love Theme" is led by relaxed late-night trumpet, might be a late '50's Miles Davis numbe, the score ranges between atonal orchestral writing and electronic experimentation underpinned with a wild jazz heart, the boundaries between music and sound effects becoming at times purposely blurred. From the brief orchestral majesty of the climax of the "Main Title" composer Zeitlin used every trick in the 1970's production armory, blending percussion with both small instrumental groups and a full symphony orchestra and then adding the revolutionary Prophet synthesiser, the overall result is an ever changing kaleidoscope of nightmarish textures and nocturnal soundscapes. Zeitlin's score for Invasion of the Body Snatchers is not just one of the finest of the 1970's, but one of the most creative and imaginative film scores to have graced the SF-horror genre. Rare Japan only single version – white label promo with picture sleeve! Price: 75 Euro
1685. OST –LEGRAND, MICHEL: “The Windmills of Your Mind – The Best of Michel Legrand” (United Artists/ King Records – SR-304) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan only issue from 1969, compiling some groovy tracks composed by Legrand from movies such as The Thomas Crown Affair; Play Dirty; La Piscine and Umbrellas of Cherbourg. Comes housed in Japan only sleeve art that features Steve McQueen, Faye Dunaway, Alain Delon, etc. Does not surface that often especially with the obi there. Price: 50 Euro
1686. OST – MICALIZZI FRANCO: “Karate Amazones” (Tam – YX-8023) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original Japanese only press released in 1974. Brilliant OST composed by Micalizzi for the obscure Italian B Movie, Karate Amazones. Plenty of funky chase themes, intense dramatic moods, high quality Italian soundtrack recording, very hard to get nowadays. Price: 300 Euro

1687. OST - 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

1688. OST - MILES DAVIS/ ART BLAKEY’s JAZZ MESSENGERS: “Ascenseur Pour l’Echafaud” (Fontana – FON-5002) (Record: Excellent ~ Near Mint/ Fragile Flip Back Jacket: VG++ ~ Excellent – lower Middle seam split) Damned scarce Japan 1st original pressing housed in Japan only artwork. Price: 50 Euro
1689. OST – MORICONE, ENNIO: “Un Dollaro Fra I Denti (Part 1) b/w Un Dollari Fra I Denti (Part 2)” (Seven Seas – HIT-1446) (7 Inch Single Record: Near Mint/ Company Inner Sleeve: Near Mint/ Picture Sleeve: Near Mint). Top condition 1967 Japan original of classic spaghetti western soundtrack. Desert twang without a horizon in sight, what more can you possibly wish for? Awesome and utterly clean original housed in Japan only picture sleeve. Price: 50 Euro
1690. OST – MORRICONE, ENNIO: “Per Un Pugno Di Dollari b/w The Good, The Bad and the Ugly” (RCA – SS-2066) (7-Inch Single: Near Mint/ Picture Sleeve: Excellent/ Company Inner Sleeve: Near Mint). Stellar Japan only picture sleeve issue of awesome dessert twang guitar that was released in 1972. So killer! Price: 30 Euro
1691. OST - MORRICONE ENNIO  “Senza Motivo Apparente b/w Ricera” (Canyon – Y-31) (Single EP Record: Near Mint/ Picture Sleeve: Near Mint – has date written in small pen on back/ Company Inner Sleeve: Near Mint). Damned rare 1972 Japan ONLY issue of rare Morricone score. Ennio Morricone's rarest and most unusual Italian film music, SENZA MOVENTE is Morricone's tense, dramatic score for a 1971 crime drama based on a novel by American pulp master Evan Hunter. Previously unreleased early versions of Morricone's themes that only saw the light of day in Japan back in the day. Top shape of rare issue. Price: 150 Euro
1692. OST - MORRICONE, ENNIO: “The Good, The Bad and The Ugly” (United Artists – YS-358-446) (Record: Excellent/ Gatefold Jacket: Excellent ~ Near Mint). Comes with 2 Japan only bonus 7 Inch EP’s (see pictures)JAPAN ONLY ISSUE! First original Japanese pressing of this killer soundtrack that came in a Japan only alternate cover art. This beauty was released on December 1967 and is – believe it or not – as rare as a hen’s teeth. First time I see a copy of this in all these years and in exquisite condition to boot. I know, don’t give me this “holy cow this is expensive” shit because this disc is rare beyond belief and I bet even you have never even seen a copy of this one. So hence the price, whish I consider righteous seen its rarity museum stature and its top-notch condition. The music needs no introduction I believe, echoplex twangy guitars merge with detuned whistling melodies, orchestrated madness and dusty riders veering off into the sunset. For "Good, Bad and Ugly," Leone demanded a score that rebelled against the sonic pabulum of most Westerns. Morricone responded with a groundbreaking mix that included electric guitars, grunts, animal cries and other found sounds. The whistling trill that opens the main theme to the movie is so familiar as to be a cultural touchstone. Even an abbreviated sound byte of the theme is enough to conjure images of desolate desert plains, rolling tumbleweeds, and a cowboy-booted figure standing ominously in the distance. Morricone utilizes unconventional instrumentation. Peculiar vocal calls, clanging auxiliary percussion and electric guitars buckled up with an almost distorted and echo drenched version of Dick Dale’s trademark surf twang trade off with a full complement of strings. The music is startlingly eclectic, moving from folk melodies to avant-garde dissonance to plaintive ballads to delicate ambience. Classic and great, one of my all time faves. Price: 250 Euro

1693. OST - MORRICONE, ENNIO E LA SUA ORCHESTRA: “Per Qualche Dollaro In Piu ~ Yuhi No Gunmen” (Victor Japan – SHP-5562) (Record: Excellent ~ Near Mint/ Fragile Flip Back Jacket: Near Mint/ OBI: Near Mint). Mega rare Japan first original pressing out of 1966 – WHITE LABEL PROMO issue, all complete with first issue RARE obi. One of the hardest to track down Morricone related Japanese pressings. First issue, flip back jacket, exquisite artwork, brilliant music and above all the OBI. One of Morricone’s most iconic works. Hardly ever surfaces the first all-complete Japanese pressing. Never seen before PROMO issue. The music is nothing short of being brilliant. Killer with no filler!!!! Price: 150 Euro

1694. OST – MORRICONE ENNIO: “The Big Gundown” (United Artists – SULP-1228) (Record: Near Mint/ Flip Back Jacket: Near Mint). Original 1969 UK first press issue. “Although no tracks even hit three minutes, all of them are so densely packed with dramatic information alongside the bravura and pathos that run so deep and consecutively balance themselves that it combines to distort the length of the album from that of a half hour into an afternoon. This LP could easily be considered a companion piece to those of ‘The Man With No Name’ trilogy (“A Fistful Of Dollars,” “For A Few Dollars More” and “The Good, The Bad And The Ugly.”) Of course, Morricone’s rich score makes it a dead natch -- Not to mention the back cover’s depiction of an armed Lee Van Cleef beneath the title: “Mr. Ugly Comes To Town!” what makes it a sister piece most of all was Morricone’s employment of nearly all the same talent present on ‘The Man With No Name’ trilogy, and with similarly outstanding results. Recording was made with the same orchestra, conducted (here by Bruno Nicolai) and one usually unknown but especially significant musician -- Morricone’s guitarist. This same guitarist twanged throughout the entire ‘Man With No Name’ trilogy of soundtracks and contributed much to their singular uniqueness. His name is Alessandro Alessandroni It’s worth noting that besides being an excellent guitarist, pianist and mandolin player, Alessandroni was also an expert whistler. It all starts off with the immediately compelling “The Big Gundown (Main Title)” as a woman’s caws and coos weave with other animalistic noisemaking before the onset of a highly reverbed percussion track reminiscent of (of all things) The Deviants’ “Nothing Man.” Soon, a female voice beams in to wordlessly wail the main theme of “Run, Man, Run” -- one that will subsequently wend and bleed its way throughout a third of the album’s proceedings in a variety of configurations. Dropping down to a near whisper, “The Widow” softly parts like twitched lace curtains with a mournful Spanish guitar strumming a slow and lonely tune. Soon joined by swelling strings, it’s an jewel of a elongated cue that ceases quickly and onto the single, throaty woodwind launch of the album’s absolute highlight, “Run, Man, Run (Vocal).” Vocalist, Maria Cristina Brancucci (who appears on this album under her stage name, Cristy) delivers a whispering-to-stentorian operatic wildness that switches between the ever-searing, strident qualities of Renate Knaup Krötenschwanz on “Archangels Thunderbird” and the even more rapid, strident qualities of Irena Papas’ wrenching vocalisations on Aphrodite’s Child’s “?.” It only begins quietly measured and restrained but doesn’t stay that way for long: for what starts as a wistful and ageless plea for peace jarringly switches tone and tempo to become the most demonstrative point of the entire soundtrack.” (head heritage – seth man). And that is just the beginning of the LP…such a killer and every track is a winner. Original UK pressing of 1969, top condition. Price: 75 Euro

1695. OST/ MORRICONE, ENNIO: “The Mercenary” (United Artists – UAS-29.005) (Record: Near Mint/ Jacket: Excellent). Original 1968 German pressing. This LP was initially first only released in Germany. Another indispensable 1968〜1969 Morricone score that blows up dust and boulders, surf-twangey guitar licks, deserted harmonica whistles and so forth. The score hat emphasizes the Mexican revolution and contains many ethnic source cues that sound authentic and are played and sung with great conviction. It is stirring, absolutely vibrant with energy. The Mercenary character himself gets a low-key whistling theme similar to the man-with-no-name theme of the Leone westerns. But the revolutionary themes, both inspirational and melancholy, are what carries this score. It also what makes L'Arena, the showdown theme at the end the best of any western film. Totally essential. Price: 75 Euro

1696. OST- MORRICONE ENNIO: “Citta Violenta” (RCA Records – SHP-6169) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint) Japanese first original pressing with 1st issue obi. Ennio Morricone is responsible for well over two hundred film soundtracks. Many of his Italian film soundtracks were only issued on Italian labels in tiny pressings of 500 copies or so. Due to the way that Italian soundtracks were issued at the time (quickly deleted and unsold copies destroyed rather than sold off!) and the sparse overseas licensing – in this case for the Japanese market in 1971 did not give it much more exposure either and they quickly sank into a sea of obscurity. Given such a large body of work, it's hard to identify the really strong funky or groovy material. Charles Bronson B-movies are always a good place to start; this soundtrack is tight, atmospheric and pretty damn funky. Good wah and fuzz guitar, strong drums and organ, but characterized by the sparse Morricone sound rather than layered on top of each other as would occur in a standard USA funk score. "Citta Violenta" may not have the same cache as other Italian crime films from the 1970's but Ennio Morricone's excellent score has faired much better. The tracks effortlessly flow from the dramatic to subtle to psychedelic along with a touch of funkiness on "Svolta Definitiva". However, most of the time things are quite dark, to the point were you could imagine this being the soundtrack to a David Lynch or Cronenberg film. Much of the album is tense incidental music. The kick-ass qualities evident on "Disperatamente" certainly evoke images of leading man Charles Bronson in his role as a violent assassin and the effortless "Riassunto" proves to be the perfect closer. It is easy to understand why Morricone fans rate this record so highly and you can add me to that list as well. Killer slide….and in top condition, all complete with very first obi. Price: 150 Euro

1697. OST/ MORRICONE, ENNIO et la Sua Orchestra– Orchestra di M. de Basi – Orchestra di L. Pagano – Orchestra di R. Blanco – R. Ortolani e la Sua Orchestra – Hugo Montenegro & his Orchestra & Chorus – N. Fidenco and others: “Italian Western Screen Themes” (RCA Records – SX-73) (Record: Near Mint/ Thick Hardcover Book-like Jacket: Near Mint/ Obi: Mint/ Attached Poster: Near Mint/ Attached 6 Paged Booklet: Near Mint). This LP has seen various pressings but this is the very first issue of 1971. Only the very first pressing came housed in a thick hardcover book like gatefold jacket sleeve. More delirious Western twangey guitar hallucinations, dessert vibe horn sections, dusty eerie chorus vocals, asymmetric grooves and surf-reverbed trashy guitar insertions galore. Killer stuff and top copy. Price: 50 Euro

1698. OST/ PENDERECKI: – The Manuscript Found in Saragossa: (OBUH) (Record: Near Mint ~ Mint /Heavy Gatefold Jacket: Mint) Housed in an ominously heavy gatefold jacket, beautifully designed with film stills and a psyched out picture of the composer himself within. The music to Wojciech Jerzy Hass' cult movie The Manuscript found in Saragossa has been released separate from the film for the first time. The score was composed in 1963 and at this time Krzysztof Penderecki was a very edgy, restless and avant-garde composer. The score was finalized in the Polish Radio's Experimental Studio, led at the time by Josef Patkowski. The soundtrack is a mixture of electro-acoustic music, broad and light baroque stylizations, demonic sound effects and mysterious and grotesque illustrations. The music, released after almost half of the century, has not lost any of its magic. This was Penderecki’s sole electronic music score he released and what a mind blast it is. One of the best and key releases to have seen the light of day in 2005 and deleted ever since, copies seem to have been fallen of the face of the earth. Limited edition of 500 numbered copies, never to be reissued or issued on CD. One time only release and already bound to be a heavy collector in years to come so it is now or never. Numbered edition of 500, this one being 173/500. A true killer!!!!!! Price: 150 Euro
1699. OST - La PLANETE SAUVAGE: “S/T” (Pathe – 2C-066-12.698) (One-Sided 2 LP TEST PRESS Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ 8 PROMO ONLY Lobby Card Picture Set: Near Mint). One of a kind & unique item – this is one of only a handful (maybe 2 or 3) copies known-to-exist two-sided TEST PRESSING of La Planete Sauvage. As a bonus. This one comes with promo only set of 8 big lobby card pictures set. Fabulous soundtrack from the cult sci-fi bizarre 1970s Cannes Film Festival winner, the French animated science fiction film La Planète Sauvage, composed by Alain Goraguer (long time arranger for Serge Gainsbourg). The album itself creates an interesting dope-flavored sci-fi floating mood, blending psychedelia, jazz, and funk. What? A funk soundtrack? A very obscure soundtrack, which has been reissued a couple of times but this copy here is the real deal, original pressing/ one of a kind one-sided 2 LP TEST PRESS advance copy in top notch condition. There are about 25 tracks, mostly between one and two minutes long, all featuring the same melody. However, each track is different in instrumentation and feel. The majority of the tracks are backed by an excellent funk group; Rhodes, wah guitar and fatback drums provide the drive in what is an entertaining and surprising album with great depth. Like an LSD dosed Isaac Hayes score, the music herein is at the same time both reminiscent of classic early seventies drama soundtracks and completely surreal and strange. Lots of recurring motifs recast in ever building and changing arrangements, including marimba, theremin and bird whistles as well as the standard orchestral elements, guitars and funky organs. Delusionary great in its entire intoxicating Technicolor sonic extravaganza. Never offered before 2LP one-sided advance copy TEST PRESSING with additional set of 8 lobby card from the movie. Seriously rare and unique … Price: Offers!!!!
1700. OST – The PUPPETS: “Manhattan In Berlin (from the Paramount Film “Funeral In Berlin” b/w Theme From Funeral In Berlin” (Victor Records – SS-1747) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent/ Company Inner Sleeve: Near Mint). Japan only picture sleeve release of stellar flick starring Michael Cain from 1967. Rare PROMO issue and comes with salacious great sleeve design to die for. Price: 125 Euro
1701. OST – ROSEMARY’S BABY: “Sleep safe And Warm (C. Komeda) b/w It’s Hard To Say Goodbye (Claudine Longet)” (A&M Records – TOP-1346) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Original 1969 Japanese pressing that comes with Japan ONLY picture sleeve art. Price: 75 Euro
1702. OST – ROSEMARY’S BABY: “Music From the Motion Picture Rosemary’s Baby Composed by Christopher Komeda” (Waxwork/ Sony – WW002) (Splattered Clear Vinyl LP: Near mint/ Heavy Gatefold Jacket: Near Mint/ Insert Print: Near Mint). Waxwork Records has become a trusted name for beautifully presented horror soundtrack reissues. First Re-Animator, then Day Of The Dead, and now this piece de resistance - Christopher Komeda's score to 1968's 'Rosemary's Baby', undoubtedly one of the creepiest films ever made. The spine-tingling theme with its haunting vocal refrain hits you straight of the blocks, underpinned by subtly discordant strings, to be repeated in several distinct variations over the course of the score. Elsewhere there's passages of chanting, lounge jazz, and lots of massed strings building a Bernard Herrmann-ish paranoia. It's one of those films where the music really goes a long way to establishing the mood, and the steadily mounting tension through the album is testament to that. This is good and you already want this. Lovely clear vinyl, gatefold sleeve, art print, the works. Price: 50 Euro
1703. OST – SHAFT IN AFRICA: “S/T” (Probe – IPP-80871) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Near Mint). Damned rare Japan original with OBI – WHITE label PROMO issue. Classic funky blaxploitation soundtrack rarity that's even better than the well-known Isaac Hayes soundtrack to the first Shaft film! A frenzy of horn stabs, furious tribal percussion and wah wah guitar...full of classic breaks! Composed, arranged and conducted by Johnny Pate with the storming title song "Are You Man Enough" by the Four Tops! Price: 300 Euro
1704. OST/ SHIRE, DAVID: “OST The Conversation” (Victor – JET-2273) (EP Record: Near Mint/ Picture Sleeve: Mint). Completely vanished Japan only vinyl release of this magnificent movie and music. Rare Japan only single of the likely named movie. This film is so personal and intense. So completely thrilling and perfect. And it features what has to be Gene Hackman's best performance ever. David Shire’s score is mostly just solo piano. Dark and minor key. Simple, but so goddamn creepy. It's absolutely chilling and almost too perfectly captures the paranoid unhappiness of Hackman's Harry Caul character. This soundtrack has never been released in any form so this Japan only 7-ich was the sole release it ever saw before the Intrada label released the whole score on CD some years back. Still as far as vinyl is concerned, this is all there is. Comes in a beautiful picture sleeve to boot. Rarely surfaces. Top condition and so damned good. Price: 75 Euro
1705. OST - STRAWBERRY ALARM CLOCK: From – Beyond The Valley Of The Dolls - “Girl From The City b/w Three” (MCA Records – D-1025) (Single EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only issue that comes housed in great picture sleeve. Cool two psychy tracks by the Alarm Clock. Much needed addition for any single collection. First one I see in a couple of years time. This was released as a soundtrack issue for the Russ Meyer pulp flick “Beyond The Valley Of The Dolls”. Price: 150 Euro
1706. OST - THE TRIP By THE ELECTRIC FLAG: “ THE TRIP - Original Soundtrack” (Capitol Records – CP-8405) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent ~ Near Mint). Japan only issue of this fantastic psychedelic movie that comes housed in Japan only jacket art, looking so much better than the regular US edition. To boot, the LP comes on blood RED vinyl. Original rare pressing that was released in Japan in June 1968!!! Top condition copy!!!. Price: 250 Euro
1708. OSTERTAG, BOB: “Getting A Head” (Rift – Rift-2) (SEALED ORIGINAL).“What characterized the first phase of Bob Ostertag’s musical career -- his N.Y.C. Lower-East Side days of the late '70s and early '80s -- was ingenuity. The man had sounds and sampling ideas in his head that would only be possible to produce a decade later. So he resorted to the strangest contraption, co-devised with Bryan Medwed: a sound loop device made of three reel-to-reel tape recorders and helium balloons to maintain tension as he altered recording speeds. Getting a Head is Ostertag’s first album under his own name (he appeared on one previous document, Fall Mountain's 1979 LP Early Fall). Basically the idea is the exact same as what he did much later on Attention Span and Say No More: to record an improviser and alter his music. Each side of the LP presented an extended piece. The title track features guitarist Fed Frith. Ostertag assigns his jagged chords and harsh textures to the two available loops and operates speed changes. By doing so he creates a warped mirror image, strange and unsteady. "In Tundra" is much better, thanks mostly to the source material percussionist Charles K. Noyes provides. He focuses mainly on bowed cymbals and junk metal. Speed variations distort the image once again, but the already eerie performance now becomes nightmarish. The whole thing is a bit crude and doesn't match the level of complexity and excitement Ostertag’s music of the 1990s reached, but Getting a Head remains an interesting document” (All Music guide). Price: 75 Euro
1709. The OTHER HALF: “S/T” (Atca – A-38004) (Record: Near Mint/ Jacket: Excellent, has a small drill hole in upper left corner). Randy Holden of Blue Cheer fame joined the ranks for this one. Holden who, on The Other Half's demise, replaced Leigh Stephens in the better known Blue Cheer. Craig Tarwater (gtr) and Mike Pon (bs), both ex-Sons Of Adam, were also members of the band, but did not feature on the album. This disc is a highly competent effort, composed of original numbers aside from an interesting version of Arthur Lee's Feathered Fish. Holden's fine psychedelic guitar work stands out throughout and is at its best on Morning Fire plus the finale What Can I Do For You?, which will crash gnaw at your skull and suck your bones., before hitting your nerves like a blast of summer lightning across the empty canyons of your mind. Stuff of legends in my little world. Price: 200 Euro
1710. OTOWA SHIN: “Wasuregatami” (Private - 1974) (Record: Mint/ Jacket: Mint/ 2-sided Paraffin Insert: Mint). First ever copy I see complete with rare insert! Original never seen before copy of this hideously rare 1974 private press rural folk rarity that became amongst aficionados one of the key records to define the mid-seventies Yokohama rock and folk sound, filling up the void left behind after the disintegration of the GS boom and the Speed, Glue & Shinki styled heavy rock freak-outs that previously dominated the area's sound waves. This void became filled up by a minor league of musicians and groups such as Acid Seven, Oh! Asa Band, Original Vibration, Yoshino Daisaku Band and Otowa Shin. A strange new breed of marginal musicians to take over the scene without anyone noticing it. Otowa Shin was previously active in the band Kureo, who at one point in 1972 opened for the Flower Traveling Band at Yokohama's Yaon Concert. Kureo eventually fused into Otowa Shin himself and by 1974 he got himself backed up by Kubota Makoto (at one point in time a member of the Hadaka no Rallizes – go and check up on your line-up info) and the Yuyake Gakudan Band, with whom he recorded this masterpiece “Wasuregatami”. Of course, folk rock had already rooted in Japan with the birth of the URC label and Bellwood but Otowa Shin's vision somehow strayed from these strongholds due to its distinctive sound and its Yokohama tinted sound. Himself armed with a 12-string acoustic guitar and an enchanting voice to pull you right in, backed up by the mesmerizing slide guitar of Fujita Youma, delicately crafted basslines, Otowa Shin succeeded in creating a highly individual sound that bordered on folk, acid folk, rural dwellings, and rock all embedded into one and creating a real honest and stripped own of all hypes and fashion thrills masterpiece. After the completion of the album, Otowa Shin kind of dropped off the scene and by 1976 he decided to trade in Japan for the sunny summer island of Ibiza, where he stayed until mid 1980. This sole album of him is finally dusted off and although it was a private release, it sounds sparkling fresh due to the excellent recording of the day, the ace musicianship of all the persons involved and the musical vision of Otowa Shin himself. The more one spins this disc, the more it grows on you until you get flabbergasted by its honesty and pureness, just like a breath of fresh air reviving your senses after a long winter. Still its loner vibe it resonates out, its melancholic feel and the dialectic of breathy acoustic and caressing electric guitar enfold behind your eyelids like a mystic Kurosawa movie that feels both apocalyptic at times as well as frailly intimate. In all it is deceptively simple, yet surprisingly complicated and filled with colorful sound palettes that draw you back constantly. A deeply melancholic record spiked up with shafts of odd light in the strangest of places making it a loner acid folk classic. One of the rarest private presses to seep out of Japan and this copy is mint all the way. Never seen another copy of this one before all complete with mega rare insert (only a few of the 200 pressed have an insert), so…!! Price: Offers!!!
1711. GEORGE OTSUKA QUINTET: “Sea Breeze” (Union Records – ULP-2002) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Heavy duty shit here – next-to-impossible to get first press issue all complete with damned rare “Hangaku” OBI! A true masterpiece of hard bop/ modal jazz executed by the George Otsuka Quintet featuring Ichikawa Hideo, Mizuhashi Takashi, Uematsu Takao and a young Ohno Shunzo to complete the formation. Although his young age, Ohno already demonstrates that at 22 he was one of the leading Japanese trumpetists of his generation. Otsuka George on the other hand, is flanked by Ichikawa, his regular pianist since 1965 and responsible for the bulk of the compositions here – except for the Beatles’ song “Fool on the Hill” that to a point one may be wondering if “Sea Breeze” is not an Ichikawa project.  Still, the record inhibits a wide range of jazz styles, all captivating and ranging from cool and mellow atmospheric tunes centered around the Fender Rhodes over to funk and soulful rhythmic excursions (Potato Chips), Hard Bop (Jumping Cats), Modal meanderings (Fool on the Hill) to an engaging gospel & spiritual jazz composition (Cannibal). Every track is a winner here and it stands shoulder to shoulder with the best records of that golden age. Without a single doubt one of Japan’s Jazz defining moments. Absolutely virginal condition and with obi…making this baby rare as a hen’s teeth. SOLD
1712. OUGI HIROKO: “Jingi b/w Tokyo Sandogasa” (Columbia Records – SAS-1283) (EP Record: Excellent/ Picture Sleeve Booklet: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Original 1969 1st original pressing. Stunning female vocals Enka tear jerker that was used in the Teruo Ishi’s amazing Nikkatsu Roman Porn flick “Nobori Ryuu Tekkahada” of 1969. Sweet & slightly gravel voiced late sixties Japanese female Enka recording that is a cornerstone recording as far as female vocalist in the genre go. If female vox are your thing, this might be a good one to get acquainted with, it surely will make you bring out the sake bottle, hit it hard and possibly make you slash your wrists. The perfect Saturday night!!! Essential mind fuck of a record. Price: 50 Euro
1713. OXLEY, TONY: “4 Compositions For Sextet” (CBS Records – S-64071) (Record: Near Mint/ Laminated Jacket: Near Mint). Top condition 1970 UK first original pressing!! One of the Holy Grails of British free jazz. The line-up on this one is just do die for: Evan parker blowing his lungs to smithereens on tenor sax, Kenny Wheeler humping viciously on trumpet and fluegelhorn, Derek Bailey slashing his wrists while heavy fretting away on his six strings, Jeff Cline thumbing the pulse with his bass, Evan Parker manhandling the skins and Paul Rutherford on trombone, laying bare some remarkable techniques using his lips, throat and voice to create slurring fluid variations in sound. The interaction is fierce and geomagnetic harmonic clusters bounce around like strong solar flares capable of producing strong levels of aurorally activity when the associated ejected mass reaches the earlobes of the unsuspected listener. Slowly the throbbing mass of polarity interaction orients away into a maturing into a powerhouse of magnetic gradient activity. The music is like a solar flare associated with a coronal mass ejection. Wild, inventive and all incinerating. An exercise in angular dissonance, aggressive drums and percussion solos, breathless crescendos, exciting flurries of arco bass lines, spare but filled with note curling upwards guitar solos, it all creates a restricted spell that makes improvisation so audaciously great. Jaws will drop to the floor upon spinning this sucker and eyeball will pop out of their sockets upon seeing the nearly pristine condition of this gem. Killer album and all time highest recommendation. Getting so hard to score these days. Top copy. Original first UK press of 1970, record and laminated sleeve are near mint, hard to dig up in such nice condition. Price: 250 Euro
1714. OXLEY, TONY: “The Baptised Traveler” (CBS – S-52664) (Record: Near Mint/ Jacket: Excellent). Original 1969 UK 1st original pressing. One of the Holy Grails of British free jazz. The line-up on this one is just do die for: Evan parker blowing his lungs to smithereens on tenor sax, Kenny Wheeler humping viciously on trumpet and flugelhorn, Derek Bailey slashing his wrists while heavy fretting away on his six strings, Jeff Cline thumbing the pulse with his bass and Evan Parker manhandling the skins. The interaction is fierce and geomagnetic harmonic clusters bounce around like strong solar flares capable of producing strong levels of auroral activity when the associated ejected mass reaches the earlobes of the unsuspected listener. Slowly the throbbing mass of polarity interaction orients away into a maturing into a powerhouse of magnetic gradient activity. The music is like a solar flare associated with a coronal mass ejection. Wild, inventive and all incinerating. Killer album and all time highest recommendation. Getting so hard to score these days. Top copy. Original first UK press of 1969. Price: 150 Euro
1715. OZ DAYS LIVE: “V.A. with Taj Mahal Travelers, Minami Masato, Acid Seven & Les Rallizes Denudes” (Private – 1973) (2LP Set with Inserts & Outer Paper Bag: SEALED Dead Stock Copy) Without a single doubt, this bloodsucker of a disc is THE holy grail of the Japanese early seventies lysergic psych scene, together with Speed Glue & Shinki, Sato Masahiko & Soundbreakers and People/Ceremony. Privately released in a tiny edition on the OZ Days label way back in 1973, the record was and is till this day the only legitimate recording on vinyl to feature the Rallizes and Acid Seven. Each of the four bands has a whole site to their disposal onto which they were allowed to open up the sonic floodgates to Valhalla. This set is an original copy, the 2 LP set is top and the inserts are untouched since the day it came out in1973. The music on the other hand is completely stellar, mind boggling and just jaw-droppingly great, leaving you, the listener, gasping for air on several moments while spinning this disc since your vital organs will just forget to function properly upon being exposed to this archeological sonic gem. Kosugi's clitter-clatter Fluxus induced ramshackle psychedelic drone unit the Taj Mahal Travelers put down a stunning outer worldly and almost transcendental performance, there where the Rallizes venture into an ephedrine-soaked sub-linear universe of ear ripping feedback and slowed down stroboscopic madness. Acid Seven is the is as wicked as can be. Fair sale price, so act smooth, swift and quick for this one since such as chance is unlikely to cross your record collecting path within the following decade. Needless to say, hideously rare. Top & sealed dead stock copy straight out of the long defunct Oz Days offices. Price: Offers!!!
1716. PAITER MEREWA: “Cantam Os Suruis De Rodonia” (Memoria Discos E Edicoes LTDA. – 803.146) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ 12-Paged Photograph Booklet: Near Mint). 1984 Brazilian original pressing of mind blowing ethnographic record documenting the songs of the Surui Indian tribe, hiding away in the rain forest. Wonderful and otherworldly field recordings from the Brazilian rainforest pressed in small quantities and only distributed for academic & ethnographic use in that country. The Suruí of call themselves Paiter, which means "real people, ourselves." They speak a language of the Tupi group, which is a part of the linguistic family of the Mondé. Since the first official contact in 1969, the rapprochement with non-Indians has brought profound social changes among the Paiter. These, however, did not annul their guerrilla nature and ways, which motivated the struggle of these people for recognition and integrity of their territory. They seek to maintain the vitality of their cultural traditions, in which society is understood from a division into halves, so that social segments, productive activities and ritual life are expressions of dualism between the village and the forest, the fields and the hunting, the work and the tribe – which also gets expressed in the festivals of exchange of offerings. The music is then omnipresent throughout the day and night, seemingly coming from another world as hovers over the village in an extraordinary tone, emanating out of the singing of an apprentice shaman in seclusion. From afar they can be seen, walking as if alone, accompanied by the repetitive cadence of the flutes. It enables the whole population to be blessed and blown by the shamans, receiving sacred stones and talismans against disease and other bad omens. The breath (always attached to the soul) is important at the end of each session, when everyone whistles in a circle. When the rites are coming to an end, the flutes are thrown away into the bush and broken in half so that they can no longer be touched - they are returned to their origin. It is a chillingly beautiful recordings made on the spot and against the background noises that emanate from out of the jungle, bird and insect noises float to the surface and mix eloquently with the singing and the flutes. Bewitchingly beautiful!!! Price: 150 Euro
1717. PANDIT PRAN NATH: “India’s Master Vocalist – Ragas Yaman Kalyan – Punjabi Berva” (Shandar – 83 514) (Record: Near Mint/ Gatefold Jacket: Near Mint). TOP COPY, best I have seen in light-years!!! And it has been a while since I had a copy of this one in stock, probably haven’t seen a copy for the last 3 years or so. Another piece de resistance in this list is this minimal masterpiece – Holy Grail by La Monte Young’s teacher and guru Pandit Pran Nath. Cover artwork by Marian Zazeela. Participating musician: La Monte Young. Probably the best disc on the Shandar roster. Rare as can be expected. Apart from that I guess this disc needs little or no introduction since its reputations is already widely established. Without a single doubt one of the best minimal and Indian music discs ever to be put down on wax. If this one does not provide you with an instant lift-off into other planetarian realms, I am afraid there is no hope for you to ever levitate properly. Killer stuff. Highest recommendation as you could already have guessed. TOP COPY!!! Price: 250 Euro
1718. PANDIT PRAN NATH: “Ragas of Morning & Night” (Gramavision – 18-7018-1) (Record: Near Mint/ Jacket: Mint). Another piece de resistance in this list is this minimal masterpiece – Holy Grail by La Monte Young’s teacher and guru Pandit Pran Nath. Cover artwork lettering by Marian Zazeela. Participating musicians: Mohammed Ahmed bane, Prem Waleb, Sheila Dhar and Lalita Gupta. Probably the best disc next to his Shandar excursion. Rare as can be expected. Apart from that I guess this disc needs little or no introduction since its reputations is already widely established. Without a single doubt one of the best minimal and Indian music discs ever to be put down on wax. If this one does not provide you with an instant lift-off into other planetarian realms, I am afraid there is no hope for you to ever levitate properly. Killer stuff. Highest recommendation as you could already have guessed. Top copy, original press. Price: 100 Euro
1719. PARKER, BILLY: “Billy Parker’s Fourth World – Freedom of Speech” (Strata-East/ Tokuma Ongaku – JC-7502) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Pristine Japanese first press original with scarce OBI. Original press released in 1975 of one of the rarest Strata East release. Most of the musicians who gathered to record this fantastic spiritual jazz record for the Strata-East label on May 24th, 1974 had crossed each other's paths in various musical pairings over the preceding few years.  Husband and wife team Dee Dee Bridgewater (vocals) and Cecil Bridgewater (trumpet) had been working together on albums like Frank Foster's "Loud Minority", and Roy Ayers' "Coffy" and "Virgo Red". Ten weeks before the "Freedom Of Speech" session, the couple had been joined in Tokyo by Cecil's brother Ronald Bridgewater (tenor saxophone) to record Dee Dee's debut album, the beautiful "Afro Blue". Also in the studio on May 24th, 1974 was Donald Smith, (piano, vocals), fresh from recording on his older brother Lonnie Liston Smith's "Cosmic Funk" - on which Ronald Bridgewater had also played percussion. Cecil McBee (bass) was also there - just two weeks before, he'd completed his own Strata East date "Mutima", and in February he'd played on Mtume's "Rebirth Cycle" - with both albums also featuring Dee Dee Bridgewater on vocals. He'd also played on Lonnie Liston Smith's "Astral Travelling. It contains some superb track like the absolute classic soul jazz "Get With It" and the soulful jazz vocal "Dance Of The Little Children! Top condition and all complete with first issue obi. Price: 400 Euro
1720. PARKER, CHARLIE: “The World of Charlie Parker – Charlie Parker Memories” (Roulette/ Nippon Victor – MJ-7068) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Mint). Damned rare Japan original pressing all completely with seldom seen or hardly ever offered for sale first issue OBI. Price: 50 Euro
1721. PARLAN, HORACE: “Movin’ & Groovin’ ” (Blue Note/ EMI Music Japan – BLP-4028) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). “Horace Parlan’s debut album for Blue Note, Movin’ & Groovin’ is a thoroughly impressive affair, establishing Parlan as a distinctive hard bop stylist. Working with bassist Sam Jones and drummer Al Harewood, Parlan steals the show, playing hard-driving, bluesy bop and lyrical ballads. If it weren't for the inventive chord voicings and percussive right-hand attack, it would be impossible to tell that he was missing two fingers on his right hand, since his playing is remarkably agile and fluid. Parlan sounds vital on swinging blues, slow ballads, and straight-ahead bop, and Jones and Harewood provide appropriately empathetic support on this collection of standards, blues, bop, jazz, and originals. Everything swings, no matter the tempo, and the end result is a fine debut from a distinctive pianist.” (All Music Guide). Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. SOLD
1722. PARLIAMENT: “Osmium” (Invictus – C062-91-763) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). German pressing of 1970, top condition. According to George Clinton, the five-man ex-doo-wop group Parliament performed music safe enough for you to play for your mother. However the five man backing band Funkadelic was a whole different matter and these folks had the capacity to scare your mother into cardiac arrest. Of course we are speaking puritan 1970 here. That all ten people were members of the same band happened to be just a matter of coincidence and convenience. That same year, Funkadelic was signed to the Detroit-based Westbound label. Parliament however was picked up and signed to the Detroit based Invictus label that would release the band's first album, called Osmium. And what a shock this album turned out to be. In the previous years, Parliament had already squeezed out tailor made smooth as silk middle-of-the-road kind of music that delivered them some hits but Osmium turned out to be a whole different affair. It was raw and torpedo hellion hooliganish music that made you realize that your once so naïve and straight parents actually were body-snatching trans-mutating bloodsucking xenophobe Vesuvian serial killers. This album is so refreashingly unlike any other parliament record with songs like 'Little Ole Country Boy', and 'Moonshine Heather', that it makes you wonder just how much of it to take seriously. They took the soul music of the '60s and Hendrix-esque psychedelic rock, acid-coated licks and “tore the roof off the sucka”. Combining bass-heavy party music with a theatrical live show and innovative rhetoric. After a stripped-down start, the whole group erupts into a full-swinging greased up and sleazed down psyched out funk vibe spiced up with heavy-acidic guitar slamming and caveman styled drum assaults. The vocalists sound like they're chewing LSD cubes without loosing their mojo for one split second -- sudden music dropouts, vocal cut-ins, volume level tweaks, and more add to the off-kilter feeling. In all it is a fabulous fuck-up affair and their overall sound is much more Funkadelic than later Parliament. A classic. Original 1970 German pressing, top condition. Price: 150 Euro
1723. The PARLOUR BAND: “Is A Friend?” (Deram – SDL-10) (Record: Near Mint ~ Mint – perfect condition/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1972 UK pressing on the highly collectable Deram label. The Parlour Band bear the distinction of being one of the only Jersey-based bands to launch an assault on the UK mainland which was even remotely successful. “Remotely” is the key word here: under the Parlour Band name, their legacy in the wider world merely consists of one support tour with Caravan and Khan, a smattering of gigs on the university circuit and the album Is A Friend?, originally issued on Deram in 1972 and bound for oblivion almost immediately thereafter. Superb copy of highly refined guitar/ keys based rural progressive rock masterpiece. Blessed with awesome songwriting and superb musicianship, making this one a big favorite over here. Clean and beautiful copy – next to impossible to ever upgrade upon – archive quality! Price: Offers!!!
1724. PARMEGIANI, BERNARD: “Violostries/ Bidule En Re/ Capture Ephemere” (Philips – 836.889 DSY) (Record: Excellent, only has some few superficial paper scuff marks/ Silver Jacket: Excellent). Parmegiani is one the electroacoustic superstars of the INA GRM universe, and along with various Bayle titles this is a great place to start with investigating the INA GRM studio mavericks. “Violostries” (1963) is comprised of a sustained, ominous atmosphere punctuated with violent electro bursts and spooky, tweedling violin. The whole affair is thoroughly soaked with the intuitive power of brain-scanning sonic properties; tones fade and explode with stunning neuronal intensity. He gives free rein here to his interest in slowly moving, rich, dense sound materials. The act of listening becomes more relaxed and you can let yourself be submerged by Parmegiani’s lethal sonic creations. Just massive. Price: 200 Euro
1725. PARMEGIANI, BERNARD: “De Natura Sonorum”. (INA GRM – AM-714.01) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Keystone musique concrete and electro-acoustic masterpiece. Original French pressing. Natural and electronic sounds collected and assembled (1975) and processed electronically into what is clearly one of the true masterpieces of accousmatic electro-acoustic composition. Master of subtlety and timing, Parmegiani guides you through a world of delicate and refined clusters of sound, swirling around, popping and crackling like waves breaking onto beaches of lava. The definition and resonant qualities of his tones are unparalleled, and provide the listener always with a refreshing experience whether they're hip to the Ina GRM thing or not. Parmegiani has always been a real composer & not just a math dork screwing around with sets of algorithms. I am almost convinced that no one is ever likely to come up with "better" electronic music than this 30-year-old piece. Groundbreaking and astonishing in its rich tonal texture, “De Natura Sonorum” will never fail to fill you with jaw-dropping awe and on repeated listenings, new sounds and previously undetected sonic pulses will constantly surface and resurface, making this disc on each occasion a challenging experience. A masterpiece and totally indispensable. Price: 125 Euro
1726. PARMEGIANNI, BERNARD: “Dedans Dehors” (INA GRM – 9-102PA) (Record: Near Mint/ Gatefold Jacket: Mint/ 6-Paged Insert: Mint). A true classic LP for the electronic music/ musique concrete buff, released on the legendary INA-GRM label. “In 1971 Parmegianni abandoned his somewhat sardonic commercial-sound collages to write, “Pour en finir avec le pouvoir de Orfee”. Pour en finir explores what he called “the kinetics of sound” through primarily electronic means, using complex processes of motivic and rhythmic aggregation. In De Natura Sonorum (1975), on the other hand, he brings a sort of pedagogical experimentalism to the nature of sounds. He anatomizes his sound material for its inherent characteristics and compositional potential, dividing the sound world into twelve categories to highlight sound's various physical and metaphysical properties. Emmerson refers to these pieces, quite appropriately, as “etudes.” He refined his experiments with 1977's Dedans-Dehors, concentrating almost obsessively on indeterminacy of reference with regards to sound, and the consequent processes of metamorphosis between sounds. In “Retour de la foret” (one of Dedans-Dehors 's five movements), ambient wind noise evolves over three and a half minutes into a terrifying electronic squall, while “Lointain-proche” juxtaposes intimate whispers with crowd noise. As Emmerson describes it, “the listener is aware that while recognition of many of the sounds is intended, the impressions are welded together in other ways than those based on associative image.” Dedans-Dehors also engages most thoroughly with Schaeffer's theory of the acousmatic, in probing the relationship between sound and its source.” (Newplasticmusic). Price: 125 Euro
1727. PATTI SMITH GROUP: “Frederic b/w So You Want To Be A Rock ‘N’ Roll Star” (Arista Records – 6RS-35) (EP Record: Mint/ Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Bloody rare Japan only EP release. Comes in a beautiful picture sleeve jacket. Top copy, original 1st pressing and absolutely obligatory mind food. Price: 150 Euro
1728. SMITH, PATTI – The PATTI SMITH GROUP: “Easter” (Arista Records – IES-80724) (Record: Near Mint/ Jacket: Excellent/ 4-Paged Insert: Near Mint/ Additional Insert: Near Mint/ Obi: Near Mint). Japan 1978 original pressing of instant classic. Indispensable. Price: 75 Euro
1729. SMITH, PATTI: “Easter” (Arista Records – IES-81053) (Record: Near Mint/ Jacket: Excellent/ 4-Paged Insert: Near Mint/ Additional Insert: Near Mint/ Obi: Near Mint). Japan 1978 original pressing of instant classic. Patti Smith's third album turned out to be her most commercial sounding album to date, and due to the inclusion of the Bruce Springsteen penned (with lyrical amendments from Smith) "Because The Night" it also became her biggest seller. Still, that does not mean that this one is by any chance her 'sell out' album though. No way, she still stuck to her defiant, poetic lyrics but here she manages successfully to create a balance between her art and commercial success. Every track is a bloody winner, and Patti shines throughout. Bloody hell, what do I miss the days when these slabs of sonic insurgence cut through the airwaves. Indispensable!!! Price: 75 Euro
1730. PAYNE, CECIL: “Zodiac – The Music Of Cecil Payne” (Strata East/ Tokuma – JC-7506) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). A hard to find recording by the great baritone saxophonist Cecil Payne! Japanese first original high quality pressing all complete with OBI. Although Payne had his roots in earlier bop material, by the time of this recording, he'd emerged as an outspoken modernist – although few labels would give him the chance to prove himself in this respect – save for the legendary Strata East imprint, which gives Payne this chance to show a whole new side of his talents! The group is a perfect one to bridge the generations – with Kenny Dorham on trumpet, Wilbur Ware on bass, Wynton Kelly on piano, and Albert Heath on drums – stretching out beautifully in a set of original compositions that are easily some of Payne's best work on record ever. Tracks include "Follow Me", "Flying Fish", "Slide Hampton", and "Girl You Got a Home". Top copy. Price: 275 Euro
1731. PEACOCK, ANNETTE: “”I’M The One” (RCA – RCS-6025) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent/ OBI: Mint). Rare Japanese 1st original pressing from 1972, white label promo & complete with always-missing OBI!!!!. “I’m the one, you don’t have to look any further. I’m the one. I’m here, right here for you,” oozes jazz, rock, and electronic music pioneer Annette Peacock on the leadoff title track of her solo debut LP. The album’s wide range of vocal emotions and diverse sonic palette (featuring Robert Moog’s early modular synthesizers, which the singer actually transmitted her voice through to wild effect) places it firmly at the forefront of the pop avant-garde. Originally released by RCA Victor in 1972 to widespread critical acclaim, I’m The One found itself amongst good company. Both Lou Reed and David Bowie had recently signed to the label—Bowie in particular was enamored with Annette—and artists ranging from ex-husband and jazz great Paul Bley, along with notable Brazilian percussionists Airto Moreira and Dom Um Romao, guested on the album itself. Writing and arranging I’m The One’s nine passionate tracks—bar a unique cover of Elvis Presley’s “Love Me Tender”— the disc grooves easily from free jazz freak-outs and rough and rugged blues-funk to gently pulsing synthesized bliss.” (Light in the Attic). Fantastic LP, Japanese original pressing – which sounds amazing – is genuinely rare and hardly ever turns up. Comes housed in stunning foil-laminated sleeve. Damned rare with obi present. Price: 175 Euro
1732. PEACOCK, GARY: “Voices” (CBS Sony – SOPM-179) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Japan only issue of killer Peacock slide. Comes with cap obi present and intact. The 1971 album Voices was a trio session with alternating drummers Masahiko Togashi/ Murakami Hiroshi and mesmerizing ivory keys monger Masabumi Kikuchi and occupies the same meditative, questing terrain explored by Paul Bley before its release and by Keith Jarrett after this slide saw the light of day. Driven by Peacock’s understated, molecular shifting bass lines, sparsely adorned with key strokes, ankle-chomping drifting bass vibes and talking drums, the unit succeeds in letting out loose polyrhythmic spiritual grooves, emanating a blessed and hypnotic vibe beyond repair. I'm a sucker for its elegant sense of dynamics, which gives empty space a crucial role in the arrangements and improvisations. This disc is a real stunner, all killer no filler from start to finish. Japan only release with obi. Highest recommendation. Price: 100 Euro
1733. The PEACOCKS: “Let’s Go Peacock b/w Peacock Love” (Polydor – SDP-2020) (7-Inch Record: Excellent/ Picture Sleeve: VG++ ~ Excellent). Top copy!! Original April 5th, 1968 pressing!! If you are after real unadulterated Japanese psychedelic music, well then there is only one way to go…and that is direction GS or Group Sounds, Japanese garage for the uninitiated. One problem though, GS is mainly 7-inch oriented, not many groups were in the ability to cut full length LP’s and most of them only released one or two singles before sailing off into the sunset again without being heard of ever again. The Peacocks were just such an obscure outfit that only left behind two hideously rare and impossible to score 7 inches, this being their first release, blessed with two torpedo jammed psychedelic teenage garage outbursts. The 5-piece group (guitars, bass, drums, organ) was formed in October 1967 and baptized as The Love but following their first gig of November 30 of that year and a few member changes, the outfit was renamed in the Peacocks. In April of 1968 they made their recording debut with this 7-inch and quickly became the talk of the town due to their colorful outfits and highly original songs. Still they failed to score a hit with it and remained sadly enough only revered in the shadows by some hardcore fan base. And a fan base they had since in August they held a competition ran through a magazine for assembling fans who would like to go with the band on a musical cruise to the nearby Oshima island for which a few hundred people signed up to join the party. This was followed in September with the Peacocks even participating in Terayama Shuji’s rock opera “Sho O Suteyo, Machi E Deyo” for which they provided that month the live on stage music accompaniment (a feat of which a tape recording exists!!). In October of 1968, they released their 2nd single, which did even worse commercially than their first after which they quickly dissolved and evaporated into the sunset. Still that does not change the fact that their 1st single is a kerosene burns stained crude garage artifact complete with fake imitated Peacock mating calls, simmering fuzz licks and bottom of the barrel twisting organ key action. Wired electric guitar actions melts down with snotty vocals that possess that real teenage angst driven antique 60s frantic innocent punk feel and resulting in two ravaging songs. One of my all-time favorite Japanese teenage garage psych artifacts. High Time!! Price: 200 Euro

1734. The PEANUT BUTTER CONSPIRACY: “Back In L.A. b/w Have A Little Faith” (London/ King Records – TOP-1440) (Single Record: Near Mint/ Picture Sleeve: Excellent/ Company Inner Sleeve: Near Mint). Rarely seen Japan only single picture sleeve release of San Francisco psychesters. Comes in cool picture sleeve. First time I see a copy of this bloody scarce artifact. Essential for all serious Frisco jammers! Price: 300 Euro

1735. PENDERECKI, KRYSZTOF: “Psalmen Davids + Anaklasis + Sonate + Fluorescences + Stabat Mater” (Trio Records – PA-1069) (Record: Near Mint/ Silk Screened Jacket: Mint/ Booklet: Mint/ OBI: Mint). Japan only release that comes housed in a stunning silkscreen jacket art. First time ever I have a copy all complete with OBI and booklet. Massive Japan original release of this magisterial opus. Heavy duty set, top-notch copy. Penderecki’s “Psalmen Davids + Anaklasis + Sonate + Fluorescences + Stabat Mater” is stark in its simplicity and directness attracted worldwide attention and it was quickly performed many times in Europe and the USA. For many, here at last was a piece of contemporary music which made an immediate emotional impact, and the use of contemporary compositional techniques served only to reinforce the dramatic power of the work. Rare original 1966 Japanese press complete with attached booklet and obi. A must. First time ever I see a copy of this one with obi. Price: 100 Euro

1736. PENDERECKI, KRYSZTOF: “Psalmen Davids + Anaklasis + Sonate + Fluorescences + Stabat Mater” (Trio Records – PA-1069) (Record: Near Mint/ Silk Screened Jacket: Mint/ Booklet: Mint). Japan only release that comes housed in a stunning silkscreen jacket art. Same as the one listed above but without the obi present so comes dead cheap. Price: 50 Euro

1737. PENTANGLE: “S/T” (Transatlantic/ Victor Records – SWG-7508) (Record: Near Mint/ Textured Jacket: Near Mint/ “NOW” Obi: Mint/ 4 Paged Insert: Mint). TOP COPY!!!! Next to impossible to upgrade upon. Japan original Victor Records press issue – WHITE label PROMO issue. 1st Pentangle LP original Japanese pressing with obi is a rarity that rarely surfaces anymore. Amazingly great and super clean TOP copy, they do not come better than this one. Price: 150 Euro
1738. PENTANGLE: “S/T” (Globe – SJET-8143) (Record: Near Mint/ Jacket: Near Mint/ DIE CUT Outer Jacket Cut-Out Obi: Near Mint). PROMO ISSUE. Complete & utterly clean copy of this mega rare 1st press Pentangle debut Japan LP – they just never surface. Now for the 1st time ever, I have a copy with the die cut obi. Released in August 1969 - original Globe/ Victor LP by the Pentangle all-complete with the never-seen-before cut out wrap around obi!!! This complete edition 1st pressing is next to impossible to dig up on these shores. So let me explain about the condition some more. It is fairly easy as all is Near Mint, just perfect. Even the wrap-around-cut-out-obi sleeve I would conservatively grade at Near Mint, only has a few mildew spots on back, for the rest it looks like new, unbelievable TOP condition!!! 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 with NO defaults on the letters, which is a small miracle for these fragile and often discarded obis. 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!!!
1739. PENTANGLE: “Sweet Child” (Transatlantic/ Victor Records – SJET-8191-2) (2 LP Record Set: Near Mint/Outer LP sized Cut Out Obi: Near Mint/ Gatefold Jacket: Near Mint). First original Japanese press complete with big outer obi, just never turns up. TOP CONDITION! The obi, a rare feat these days considering that obis make a unique, attractive addition to the overall package and are becoming increasingly rare, especially on LPs from the 1960s and 70s. Their delicate and disposable nature meant that very early obis were routinely discarded, so that now they can often be worth several times more than the record they accompany. And this 1969 copy has the obi present, given an all-different aura to the disc in question here. The music I am sure, most of you are fully acquainted with, one of the key releases out of the totally essential Pentangle discography. Top copy mega rare original Japanese high quality pressing with never seen before jacket-size cut-out obi present. Speaking of rare major label records by renowned artists? Well I guess this will do it for you then. Impeccable shape, next to impossible to ever upgrade upon this one. Price: 350 Euro
1740. PENTANGLE: “Basket Of Light” (Victor Records/ Transatlantic – SJET-8230) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Freakingly rare Japanese first pressing with Victor Records SJET obi. Although Sweet Child is usually cited as the group's high-water mark, Basket Of Light finds them at their most progressive and exciting. Highlights of this album -- which actually reached the Top Five in the U.K. -- include the buzzing jazz dynamics of "Light Flight," their moving rendition of the traditional folk song "Once I Had a Sweetheart," their reinvention of the girl group smash "Sally Go Round the Roses," and "Springtime Promises," one of their finest original tunes. Pentangle strength came from their impeccable level of musicianship. With guitarists Bert Jansch and John Renbourn there is a genuine mastery of guitars, sitars, banjos and almost anything held together by a bunch of strings. The foundations built by Danny Thompson (double bass) and Terry Cox (drums) provides startling fluidity, particularly given that rhythms would often switch between time signatures, lending the sound a refreshing jazz overtone. Jacqui McShee’s vocals are crystal clear in delivery and her vocal interpretation of traditional folk tunes is timeless. Working well within the folk genre the band manages to weave in some uplifting reflections from other genres to spice up the performance. “Light Flight” for example, is a complex, but wholly memorable experience, which switches between 5/8, 7/8 and 6/4 time signatures. In other words, it’s a folk song built on jazz rhythms. “Train Song” carries with it both blues and psychedelic influences which mesh effortlessly, relentlessly anchored by Thompson’s bowed bass performance. “The Hunting Song” is a new composition that heralds the English folk tradition of wide eyed story telling of myths and legends Just stellar. First time I can lay my hands on a first pressing with this all-complete with obi. Price: 350 Euro
1741. PENTANGLE: “Basket Of Light” (Transatlantic/ Victor Records – SWG-7509) (Record: Near Mint/ Textured gatefold Jacket: Near Mint/ Insert: Mint/ Rock Now OBI: Mint). White label PROMO issue, complete with damned rare 2nd state obi, all is in perfect NM~M condition. The Pentangle’s critical acumen had already been created by their two previous albums, but their commercial breakthrough would come via “Basket Of Light”, which fortuitously had been bolstered by the opening track “Light Flight”; a song chosen as the theme for the BBC television show “Take Three Girls”. Pentangle strength came from their impeccable level of musicianship. With guitarists Bert Jansch and John Renbourn there is a genuine mastery of guitars, sitars, banjos and almost anything held together by a bunch of strings. The foundations built by Danny Thompson (double bass) and Terry Cox (drums) provides startling fluidity, particularly given that rhythms would often switch between time signatures, lending the sound a refreshing jazz overtone. Jacqui McShee’s vocals are crystal clear in delivery and her vocal interpretation of traditional folk tunes is timeless. Killer album, this being the very rare Japanese 1st pressing with 2nd state jacket and obiobi. Top condition. Price: 250 Euro
1742. PENTANGLE: “Basket of Light” (Transatlantic/ Toshiba – IRP-80748) (Record: Near Mint/ Jacket: Excellent/ 8-Paged Booklet: Near Mint/ Obi: Near Mint). Japan 2nd press issue – following the licensing shift from Victor Records towards Toshiba – all complete with booklet and Obi. This is the rarely seen and seldom offered TEST pressing! The sound quality is crystal clear, audiophile listening pleasures for days on end. Price: 125 Euro
1743. PENTANGLE: “Cruel Sister” (Victor Records Japan/ Transatlantic – SWG-7505) (Record: Near Mint/ Textured Heavy Gatefold Jacket: Near Mint/ 2 Obi’s: Near Mint/ Insert: Near Mint). First original Japanese pressing complete with 2 obis, one being the always missing Rock Now OBI!!! WHITE LABEL PROMO ISSUE!!! Freakingly rare item with all complete that rarely surfaces, especially with the obi intact. Without a single doubt one of the key psychedelic folk releases to come out of the UK. Upon glancing on the band’s line-up it is easy to see why. Comprised out of London’s two most dexterous folk-blues guitarists and flanked by a jazz double bassist and drummer and topped off by a young blues singer looking to extend her reach, the band was bound to cross the borders of the until then rigid folk world. At the end of 1966 the spell was cast and the five points of the magical star were staked out to describe The Pentangle, Britain’s first folk-jazz-blues super group: Bert Jansch, John Renbourn, Danny Thompson, Terry Cox and silk voiced maiden of the cancer moon Jacqui McShee. Emerging from the London scene, Pentangle were less pastorally inflected than many folk-rock relatives. They didn’t rock as hard as Fairport Convention, weren’t as stolidly rooted in loamy folk tradition as Steeleye Span, nor as warbly and wyrd as The Incredible String Band. Instead they were steeped into medieval traditionals spiced up by improvisational interplay that unleashed almost lysergic and intoxicating upon elaborating up their standard material. The band released a string of now classic albums and “Cruel Sister” was their fourth release. However by the time the disc came out, the relations within the group were becoming fractious and the album Cruel Sister flopped; a failure to capitalize on the previous success that had helped them cross over Still “Cruel Sister” is a massive accomplishment and contains nothing but stellar material, especially the side long “Jack Orion” is mesmerizingly great, a true classic and a masterpiece. Pentangle were definitely one – if not – the greatest of all UK folk outfits to hit the scene. This disc here is a rare 1st issue Japanese pressing of the day. A true beauty and has of course the highest recommendation. Price: 200 Euro
1744. The PENTANGLE: “Solomon’s Seal” (Reprise Japan – P-8272R (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Rare white label PROMO issue, Japan original press issue from 1972 in TOP condition. Price: 200 Euro
1745. PEOPLE: “Ceremony ~ Buddha Meet Rock” (Shadoks/ Teichiku) (LP Record: Near Mint/ Cloth Textured Jacket: Mint, still In shrink/ 4-Paged Insert: Mint). Long gone, deleted and much in demand deluxe limited reissue of eons ago – only issued in an edition of 450 numbered copies, this being 16/450. Comes housed in identical heavy weight cloth-textured sleeve with insert and matching labels. One time off unit People, lead by enigmatic guitar gunslinger Mizutani Kimio of Outcast fame recorded this one album for Teichiku Records back in 1971, followed by one “Record Release” life concert after which the unit ceased to exist. It wasn’t really a group but an adhoc assembled group of session players that cut this one album, which turned out to be a freaking masterpiece. The music they created is jaw dropping to say the least, doomy Buddhist monk chanting set against and crossbreeding with psychedelicized freak-outs fading in and out with a bumping Axelrod-style grooves. In all it creates an entrancing, eerie quality that sounds till this day remarkably fresh and magnificently twisted. The monks with their chanting aim at satori, beating down resounding gongs, intercepted with field recordings of birds and street sounds and colliding head first with soulful psych-funk producer David Axelrod's classic 1968 album Song Of Innocence. It all gets junked up with slashes of heavy acid drenched wah-wah guitar action. In short, it is total killer material that unfolds itself before your very ears, at the same time ceremonial-sounding, venturing from blissful grooves with tick-tock rhythms and hypnotic drones fading in and out before exploding into maniacal lysergic electric fuzz riffage that accumulates into laced screams of orgasmic ecstasy. Grab it while you still have a chance, it will enhance your life considerably. Price: 100 Euro
1746. PEPPER, ART: “The Artistry Of Pepper” (Pacific jazz/ Victor Records – MJ-7088) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Excellent). Rarely seen Japan 1st original press issue, housed in fragile flip back sleeve and with obi present. “This LP starts off with four selections from a date led by tenor saxophonist Bill Perkins that features altoist Art Pepper; the remainder of the quintet is comprised of pianist Jimmy Rowles, bassist Ben Tucker and Mel Lewis. While they perform boppish versions of two standards and a pair of Pepper originals, the remainder of the LP has a particularly strong set that showcases Pepper in a nonet arranged by Shorty Rogers. The music in the latter date are all Rogers originals and there are alternate takes of "Diablo's Dance" and "Popo" to round out the program. The other soloists include trumpeter Don Fagerquist, Bill Holman on tenor, baritonist Bud Shank, valve trombonist Stu Williamson and pianist Russ Freeman. Highly recommended to fans of Art Pepper and West Coast jazz.” (All Music Guide) Price: 150 Euro
1747. PERCUSSIONS DE STRASBOURG: “Extensions 2 de Francis Miroglu” (Philips – X-7621) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japanese original pressing with obi. Another classic slide on the Prospective 21ieme Siecle series that was put out on the Philips label, documenting some of the key avant-garde & electronic music composers of the day. Hardly ever surfaces! Essential mind food! Price: 50 Euro
1748. PERCUSSIVE UNITY LIVE: “S/T” (Sue Music Group – Sue-001) (Record: Mint/ Jacket: Mint). This is it!!!! RAREST OF THE RARE Japanese private press LP of this monstrously heavy free jazz slide, so heavy it even makes Takayanagi blush. Released in 1977 in an edition of only a handful, this is one of those records that nobody has or has ever heard of or seen – apart from 2 hardcore collectors. So far – and this is no joke – in all these years only 5 copies have been accounted for and this is one of them. Released as a private gallery edition in 1977, Percussive Unity Live consists out of Yasushi Ozawa (Fushitsusha to be Bass player!!! – his 1st and best recording ever is this one) on Bass & small percussion instruments; Masayuki Nakai on Guitar and small percussion and Susumu Obata on percussion and glassphone. The music on the other hand is some of the best heavy improvisational interplay I have ever heard. Comprised out of 2 sidelong tracks, the LP opens up with first a droned out minimal improvisational piece eclipsing the Taj Mahal Travellers out of their orbit. They execute it with a feel for deep dark space and lonesome F/X vibrating in a gulf of silence style of minimal droning psychedelic improvisation that this trio excel in, with simple sound events, shamanistic percussive rattles, bowed ghostly strings, a pin-prick of light, rising like fleets of hungry ghosts in the distance, vibrating out an alien and sacramental lonely vibe through the disfiguring use of spontaneously collective interplay. It’s totally gripping, a form of organic improvisation that is as sensual as it is absolutely dislocated from the physical. Just fantastic! But that is just for starters. Side 2 is where the heavy action lies, transcending at times the fiercest side of Takayanagi Masayuki & his New Directions Unit. Here the trio is playing at a dizzying peak of telepathic empathy. Grimly ratcheted tension, whooping freedom, slash and burn explosions, and the unmistakable hovering, molten whine of Masayuki Nagai's guitar in conjunction with Yasushi’s heavy bass rumble... simply put a classic, classic record that needs to be heard by anyone with an ear for freedom sounds. Yasushi and Obata’s relentless rhythmic/pugilistic style compliments the percussive turmoil, setting down an incredible whirlwind-propulsive base for Nakai’s most wounded guitar slamming this side of the equator. The results are pretty dazzling, combining the bloodied jazz/noise feel of prime Takayanagi with enveloping walls of distortion, weird low-level almost Music Improvisation Company-styled insect chatter and disemboweled tsunami roaring and howling sounds coming from out of the deepest bowels of this seismic island. This is such a great, invigorating shot from the source and it confirms a whole buncha things that are important in underground music: energy, passion, actual playing, speed-of-thought improvisation. Who else comes close? Nothing at all, this was a singular moment in time and blows most of the free jazz/ improvisational records I have heard straight out of the gene pool. Total killer and insanely rare. Don’t think you will ever see another copy during this or the next decade. So don’t be shy, hit me hard with your best offer and you won’t be disappointed. In fact you will be left craving for more once you have heard this slab of sonic greatness. Price: Offers!!!!
1749. PERE UBU: “The Modern Dance b/w Heaven” (Hearthan – HR-104) (EP Single Record: Near Mint/ Fragile Picture Sleeve: Excellent). Damned rare 1977 US original press!. In a December 1975 interview with Jane Scott of The Plain Dealer, a heavyset, wild-haired Cleveland singer known as Crocus Behemoth declared, "We're putting out the hits of the next psychedelic era. If a melody fits in, fine. If not, we don't feel we have to use one. We're a bit ahead of our time, but that's the fun of it.” Sums it up pretty accurate. Having left the band after the release of their first two singles, David Thomas took over, steering their sound into a conscious rejection of the heady, willful artlessness of punk rock. Though he wasn’t around to see it come to pass, when Peter Laughner told Jane Scott of The Plain Dealer back in December 1975, “We're pointing toward the music of the '80s” he wasn’t kidding. Blurring the lines between avant-garde surrealism, Beefheart, futurist minimal rock, Velvet Underground and an abundance of dark humor, the relentlessly experimental, genre-blending; Pere Ubu’s subverted the DNA of punk. Penned under the influence of sadly deceased founder Peter Laughner, this single is a slice of perfection! Thomas' falsetto vocals braying, grating over the guitars, interspersed with waves of funky, phased out, laid back guitar cumulating in Heaven with slide guitar and maracas and a kind of Latin/Reggae rhythm vibes. The vocals are whispered, almost devotional "It feels like…….Heaven" with sweet backing vocals and one of the most insanely catchy two guitar hooks ever…Absolutely KILLER! Price: 150 Euro
1750. PERE UBU: “The Hearpen Singles” (Tim/Kerr Records – TK957107) (4 x Seven Inches: Near Mint/ Insert: Near Mint/ 4 Individual Picture Sleeve Jackets: Near Mint/ Outer Box Set: Excellent). Released in 1995. Long out of print subliminal box that collects the 4 first Pere Ubu singles. Pere Ubu emerged from the urban wastelands of mid-‘70s Cleveland to impact the American underground for generations to follow. The combo was spearheaded by hulking front man David Thomas whose absurdist warble and rapturously demented lyrics remained the band’s creative focus throughout their long, convoluted career. Ubu’s protean art-punk sound harnessed self-destructing melodies, scattershot rhythms, and industrial-strength dissonance to capture the angst and chaos of their times with both apocalyptic fervor and surprising humanity. Named in honor of Alfred Jarry’s surrealist play Ubu Roi, Pere Ubu was formed in the autumn of 1975 from the ashes of local cult favorite Rocket From the Tombs, reuniting Thomas (aka Crocus Behemoth) with guitarist Peter Laughner, adding guitarist Tom Herman, bassist Tim Wright, keyboardist Allen Ravenstine, and drummer Scott Krauss. The group’s debut single, “30 Seconds Over Tokyo” came out on Thomas’ Hearthan label. The follow-up, “Final Solution” appeared on the renamed Hearpen in early 1976. Handsome box of the first four singles, all in their original sleeves. Highly essential and “30 Seconds Over Tokyo” stands as firm as ever, one of the greatest proto punk tracks ever to be put down on wax. Essential to say the least. Hand numbered edition, this one is 724/3000. Price: 50 Euro

1751. PEREZ PRADO AND HIS ORCHESTRA: “Golden Album - Voodoo Suite and Others” (Victor Japan – SRA-5069) (Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Near ). Japan 1966 first original pressing all complete with first issue obi. This album comes in a fold out jacket and Obi. The title says it all I believe. The main track is the side long Voodoo Suite, a sweeping, percussion fueled mind bugger backed by a heated up to melting point horny horn section that just would not let go. Sweat soaking & tit shaking mumbo-jumbo. This baby swings like a bat out of hell, let loose on the doomsday fear 〜 loathing festival and is a must for mondo ass shacking & butt whipping aficionados. This one burns baby and will leave tire tracks all over your sorry ass. In other words, possibly the best Perez Prado recording ever. Super condition. Price: 75 Euro

1752. PETE BROWN & PIBLOKTO: “Can’t Get Off The Planet b/w Broken Magic” (Odeon – OR-2631) (Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint 7 Inch Single Record: Near Mint). Damned rare Japan only single issue from 1970. Price: 300 Euro

1753. PETE BROWN & PIBLOKTO: “Things May Come And Things May Go, But The Art School Dance Goes On For Ever” (Odeon – OP-80114) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: MINT). Original totally rare 1st Japanese pressing from 1970 that came out on BLOOD RED WAX. Extremely RARE PROMOTIONAL ODEON/ TOSHIBA WHITE LABEL Issue. Comes complete with never offered before first issue OBI!! Following his shock sacking as leader of The Battered Ornaments on the eve of their prestigious support slot at The Rolling Stones' Hyde Park concert, vocalist and one-time Cream lyricist Pete Brown set about forming a new band, Piblokto! Retaining the services of Battered Ornaments' drummer Rob Tait, he recruited Scottish guitarist Jim Mullen, bassist Roger Bunn and organist Dave Thompson and released the single “Living Life Backwards/High Flying Electric Bird”. This was followed in mid-1970 by the LP, “Things May Come And Things May Go But The Art School Dance Goes On Forever”, an album that to this day is regarded as one of the finest of the progressive era. A lot more commercial than the LP he made with the Battered Ornaments (“A Meal You Can Shake Hands With In The Dark”), it nonetheless was a varied work containing jazz-tinged rock alongside laid-back folk melodies and all augmented by Brown's witty, questioning and poetic lyrics. The inventive title track percolates, and “High Flying Electric Bird” features Brown on the highly unusual rock & roll slide whistle, mimicking a birdsong. But it's “Golden Country Kingdom” that's the highlight; long and involved, it's a wonderful and highly affecting piece of prog rock that stands as the best thing Piblokto! ever put on tape. It stands as a contrast to the more laid-back “Firesong”, although “My Love's Gone Far Away” offers a more soulful organ sound. A classic disc and 1st pressing white label promotional copy on Japanese red wax. Never seen a copy with 1st issue OBI before until now – seriously rare Japan 1st original pressing from 1970. A true killer!!! Price: Offers!!!!!

1754. PETE BROWN & HIS BATTERED ORNAMENTS: “A Meal You Can Shake Your Hands With In The Dark) (Odeon – OP-8971) (Record: Mint/ Fold Out Jacket: Mint/ 4-paged Insert: Mint/ Obi: Mint). Rarest version of this killer LP, complete with obi – NEVER surfaces on these shores. Top copy!! Original totally rare 1st Japanese pressing from 1970 that came out on BLOOD RED WAX. Extremely RARE PROMOTIONAL ODEON/ TOSHIBA WHITE LABEL Issue complete with always missing OBI. UK progressive – psychedelic and jazz rocking rarity out of the early seventies. This is the first Japanese press of that time, coming in fold out cover, 4paged insert and read wax vinyl, only released in Japan on red wax!!, making it even harder and rarer that the original 1st UK Harvest pressings of the disc. Demonic wailing vocalist Pete Brown spearheaded this band before Chris Spedding and cohorts excommunicated him from their ranks. Still this is the finest moment of the Battered Ornaments, wild, free jazzing and beefed up psychedelic progressive masterpiece, deranged vocalizations, heavy organ riffage, boom boxing rhythm section, it has all the works. A classic, much in demand and utterly rare item. Stunning condition. Comes with insert & obi so with obi present you have to come over very convincing in order to take this baby home with you. Rarest Pete Brown issue. Price: Offers!!!!
1755. PETE BROWN & PIBLOKTO: “A Meal You Can Shake Your Hands With In The Dark” (Harvest – SHVL-768) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Mint). Original totally rare 1st UK pressing from 1970 NO EMI on label. Top copy, record and jacket are perfect, no damages or blemishes at all, sharp thick spine and corners, jacket graded mint = PERFECT, record as Near Mint〜 Mint, maybe one of the best-preserved copies around!! Demonic wailing vocalist Pete Brown spearheaded this band before Chris Spedding and cohorts excommunicated him from their ranks. Still this is the finest moment of the Battered Ornaments, wild, free jazzing and beefed up psychedelic progressive masterpiece, deranged vocalizations, heavy organ riffage, boom boxing rhythm section, it has all the works. A classic, much in demand and utterly rare item. Stunning condition. Comes with insert & obi so with obi present you have to come over very convincing in order to take this baby home with you. A classic disc and 1st UK pressing in perfect TOP condition. A true killer!!! Price: 400 Euro
1756. PETE BROWN & PIBLOKTO: “Thousands on a Raft” (Harvest – SHVL-782) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original UK press. Record has only one faint little & barely visible hairline on side one, for the rest the record looks untouched by time and living things. Jacket is solid as well with no defects, sharp spine and corners. Piblokto's critically acclaimed second album was released on the Harvest label in 1970. Pete Brown's gritty vocals are backed by guitar virtuoso Jim Mullen who co-wrote most of the tracks, including such evocative songs as 'Aeroplane Head Woman' and the prophetic 'Got A Letter From A Computer' - a 70s-style prediction of the computer age to come! A classic beast that cannot be rivaled with. Price: 400 Euro
1757. PETITE MAMIE: “Girl Friend – Baby Doll” (Victor – SJV-511) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). ORIGINAL mega rare pressing COMPLETE with OBI in Near Mint condition, the heaviest record on the list…. One of Japan’s most rare erotic artifact, copies do not surface at all and so far we know only of a select handful who have a copy of this beast. Petite M'amie's "Girl Friend ~ Baby Doll" LP has been reissued on CD by Tiliqua in its "Erotic Oriental Sunshine" series, documenting some hideously aural gems that portrayed the sleazy sexy underbelly of late sixties and early seventies Japan. Originally recorded and released on May 5th, 1971, Petite M'amie was the nickname for Mari Keiko. Although she does not get naked on the cover like all the other starlets, the music she hushes out into being is utterly depraved, spiked up with an unheard quality of forlorn sleaziness, an erotic hushing and uttering that would make even Ike Reiko blush. This record can be seen as the first ever recorded iroke record, a project to blossom out of the Victor's producer Mr. Okoda who approached the then (and now) virtually unknown Mari Keiko with his sonic intentions - a move that would ignite a whole new genre in the following years to come. The result is this sexy beast of a disc. But there where Ike Reiko's effort was drenched in a sultry pornographic vibe, Petite Mamie's benchmark recording is instead bustling over with an innocent - almost childlike - erotic sensuality that sounds harmless but is even wilder and more deranged than Ike Reiko's take on eroticism. Mari Keiko's hushes, sleazes, breathes and hovers like Nobokov's Lolita all over this one, teasing her lover, laughing in ecstasy, moaning, singing about erogenous spots and so much more while the music dwells in a psychedelic road trip towards the bedroom. “The final installment in Tiliqua's utterly essential 'Erotic Oriental Sunshine' series of re-issues, 'Girl Friend Baby Doll' moves in a markedly different direction from its predecessors. Although still adorned by the image of an angelic and scantily clad Japanese beauty, the disc is somewhat less overtly sexual than the others, focusing more on a childlike and hushed mood; giggling and whispering rather than groaning and screaming. However the more you listen to the album with these quite peculiar, sometimes goofy vocals paired with some downright funky Euro-sleaze instrumental parts the more insane a it begins to sound. I mean, it's erotic but it's just not quite as blatant as say, Ike Reiko, it's shrouded in a veil of naivety which only serves to make it that much more odd. Apparently Petite M'amie (aka nudie actress Mari Keiko) wanted the album to be much more obviously erotic but the producer was dead set on that shy girl angle, which unsurprisingly still seems to be the order of the day in Japan. The truth is though, for all its odd sentiment and somewhat dubious morals this is an absolutely killer release, somewhat comparable in style to the crucial re-issues of the Finders Keepers label, with exotica production and a vibe closer associated with the French New Wave than with Japanese music from 1971. Another stunningly presented and gloriously unpredictable release” A truly ultra erotic gem that never gets offered for sale. Last year a copy of the LP jacket and obi without the LP present got sold on a Japanese auction site for 1500 Euro, so seen in this light, this baby is a steal. Mint record and the rarest disc to ever come through my hands and offered here complete with OBI---- so hit me with your offers as heavy as or exceeding CA Quintet – NO joke. Seriously, one of the rarest records to seep out of Japan. Price: Offers!!!!!

1758. PHAROAH SANDERS: “Oh! Pharoah Speak” (Mercury – BT-5016) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Top condition Japan original press issue complete with obi. An insanely great record – filled with lots of odd twists and turns, and done in a really unusual way! The session is an obscure one that features Pharoah Sanders joining the tight combo, who are working here with a very different sound than usual! Earlier Latin Jazz Quintet albums have the group recording mostly as a spare mix of percussion, piano, and vibes – but here, the group's expanded tremendously, not only to include Pharoah's tenor, but also trumpet by Lonnie Hillyer, cornet by Melvin Lastie, sax by Harold Vick, trombone by Kiawni Zawadi, and electric bass by Chuck Rainey! Rainey's bass is actually one of the best aspects of the session – as it gives the tunes a rumbling sound at the bottom, really kicking them into gear with a solid Latin Soul-flavored feel. All tracks are instrumental, and nearly all of them swing with the best sort of Spanish Harlem groove of the late 60s! Price: 75 Euro

1759. PHAROAH SANDERS: “Jewels Of Thought” (Impulse – AS-9190) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint – has some mildew spots visible inside of the gatefold/ Company Inner Sleeve: Near Mint). Comes with rare first issue obi as part of the directly imported record series. 1st issue original Impulse pressing, top condition. Stunning piece of high-level spiritual jazz. Price: 125 Euro
1760. PHAROAH SANDERS: “Thembi” (Impulse - AS-9206) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Direct Import Obi: Excellent). 1st original Impulse pressing of this amazing spiritual jazz masterpiece that comes complete with rare Direct Import OBI. Tauhid is unalloyed bliss from start to finish, a sweet and lyrical evocation of Eastern mysticism which established astral's template: prominent African and Asian percussion instruments; velvet-sandpaper saxophone vocalizations and multiphonics; hummable tunes and melody-centric improvisations; rock steady bass ostinatos; piano vamps; chanted vocals; rich collective grooves. Another vital Pharoah Sanders recording that is just indispensable. First time ever I could locate a copy complete with the damned scarce Import Obi. Great condition copy! Price: 275 Euro

1761. PHAROAH SANDERS: “Black Unity” (Impulse Records – AS-9219) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Direct Import Obi: Near Mint). Comes with damned rare very first OBI issue – the direct import obi. "Black Unity" rides an often static bass figure. In this way, while the improvisations may evoke the reflective or the frantic, an assertive central theme pervades in the lower register: determination (Does "A Love Supreme" rear its head towards the end?). The harmony is sparse, yet a profound sense of movement permeates throughout. Add exciting cymbal work, care of Billy Hart or Norman Connors, and the mix is complete. Black Unity is a true highlight among Sanders' avant-garde articulations of Black cultural visions. Recorded at A & R Recording Studios, New York, New York on November 24, 1971 As Sanders says: "The message is 'Black Unity Now.'" Pharoah's Pan-African instrumentation and compositional endeavors come to a singular head on this project, articulated in its single, multi-sectioned, 37-minute title track. The dynamics are entrancing, the groove hard, the pace brisk. Driving, polyrhythmic balaphone and percussion work meet Tyner-esque piano voicings and the Sanders saxophone wails we know and love. Top shape with damned rare direct import obi!!! Price: 275 Euro

1762. PHAROAH SANDERS: “Karma” (Impulse – IMP-88062) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original first pressing from 1973 of classic Sanders masterpiece. All complete Japan originals with obi are a rare sight these days and I have not seen a copy with obi in over almost a decade. Eclipses the US pressing as far as rarity and sonic marvel is concerned. Does not surface that often, clean and beautiful condition and with the obi proudly flashing its colors. Price: 275 Euro

1763. PHAROAH SANDERS: “Tauhid” (Impulse Records/ IMP-88075) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned scarce Japan 1st original pressing all complete with rarely seen obi. WHITE label Promo Issue. Sounds fantastic and in incredible condition. “Tauhid marks the 1966 Impulse debut of tenor saxophonist Pharoah Sanders, who had already gained fame as a flame-throwing saxophonist of the "new thing" playing with John Coltrane. However, Sanders’ tenor appearance doesn't saturate the atmosphere on this session; far from it. Sanders is content to patiently let the moods of these three pieces develop, whether it be through the percussion of Roger Blank and Nat Bettis, Guitarist Sonny Sharrock or his own piccolo. For those looking for Sanders’ patented screeching tenor throughout, Tauhid will disappoint.” (All Music). Price: 275 Euro
1764. PHAROAH SANDERS: “Elevation” (Impulse – IMJ-80001) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese press original all complete with obi!! A fantastic album by Pharoah Sanders – one of his later albums for Impulse, but one of his best! The record has Pharoah grooving in a strongly modal style – working up long passages of rhythm, piano, and percussion that really build on the promise delivered in earlier tunes on records like Jewels Of Thought and Tauhid – that strong sense of flow that was possibly Sanders' greatest contribution to the world of spiritual jazz – over and above his own work on tenor sax! The tunes never go too far out, and have a really joyous feel that we totally love – opening Pharoah up with that bright spirit that makes some of his 70s work so great, really pushing him past the darkness of the immediate post-Coltrane years. Other players include Joe Bonner on piano, Calvin Hill on bass, Michael White on violin, and Michael Carvin on drums. Top condition with bloody rare obi! Price: 275 Euro
1765. PHAROAH SANDERS: “Deaf Dumb Blind Summun Bukmun Umyun” (Impulse – AS-9199) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). 1st original Impulse pressing of this amazing spiritual jazz masterpiece. Original 1970 first pressing. A passionate recording from the greatest disciple of John Coltrane. The two sidelong performances of “Summun, Bukmun, Umyon” and “Let Us Go Into The House Of The Lord” stretch and flow forward in spirited abandon. Pharoah’s passion is sustained and heightened by supportive rhythm section comprised of pianist Lonnie Liston Smith, bassist Cecil McBee, drummer Clifford Jarvis, and two percussionists. Sticking strictly to the soprano sax, Pharoah shows little of the cacophonous ferocity for which he is so well known. Instead, he builds majestically on an intensely hypnotic rhythm that throbs with a strong African vibe. The vastly underrated Woody Shaw adds his shimmering trumpet to this potent mixture. Deaf Dumb Blind brims with creative energy and drive, and thus makes it the best place to begin for those unacquainted with this living legend of the saxophone. Quite hard to find clean copies of this LP, this one here is just near perfect. Price: 125 Euro
1766. PHAROAH SANDERS: “Live At The East” (Impulse – AS-9227) (Record: Near Mint/ Gatefold Jacket: Excellent/ Company Insert: Near Mint). Original 1972 US pressing in great shape. “By 1971 Sandersplaying essentially alternated between two moods: ferocious and peaceful. This live record gives one a good example of how the passionate tenor sounded in clubs during the early '70s. Sanders is joined by an impressive group of players: trumpeter Marvin Hannibal Peterson, flutist Carlos Garnett, Harold Vick on tenor, pianist Joe Bonner, the basses of Stanley Clarke and Cecil McBee, drummers Norman Conners and Billy Hart and percussionist Lawrence Killian. On the 20-minute "Healing Song," the lengthy "Memories of J.W. Coltrane," and the two-part "Lumkili," Sandersis heard in top form. Price: 100 Euro

1767. PHAROAH SANDERS: “Izipho Zam (My Gifts)” (Strata-East/ Tokuma Records – JC-7509) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare Japanese pressing all complete with even rarer OBI!!! First time ever I could wheel in a copy with obi. Killer free jazz beast. Sonny Sharrock in full glory and effect, shredding the air to pieces. Still it gets seen by most people (and probably rightly so) as a rare non-Impulse Records album from the early days of Pharoah Sanders -- but a set that ranks right up there with his classics for that legendary label! To these ears, it is the contribution of Sonny Sharrock that fires up this whole session since he was the sole guitarist at that time (apart from Japan’s Takayanagi Masayuki who was even more inflammatory) to be able to fill the air with liquid flammable guitar riffage that totally shredded all in its path and leave you scorned and burned after the experience. Still, apart from that, the album's one of the classics in Strata East's Dolphy Series -- and it's a uniquely collaborative session from 1969, one that has Sanders working with a largish group that includes Sonny Fortune on alto sax, Sonny Sharrock on guitar, Lonnie Liston Smith on piano, Leon Thomas on vocals, and Cecil McBee on bass -- all coming together with a freely exploratory sort of energy, one that's a bit like some of Archie Shepp's most righteous sides from the same time. Sanders' tenor still dominates most numbers, but not as much as on some of the Impulse sides -- and there's a nicely relaxed and personal feel to the whole album. The album features 3 long tracks -- "Prince Of Peace", which has Leon Thomas doing his "Creator Has A Master Plan" thing, and the cuts "Balance" and "Izipho Zam", the latter of which jams for a full 28 minutes! Killer beast of a record! Price: 300 Euro

1768. PHAROAH SANDERS: “Pharoah” (India Navigation Records – IN-1027) (Record: Near Mint – faintest trace of handling/ Jacket: Excellent ~ Near Mint). Rare US 1977 first original pressing in amazing condition. After 10 years of the death of his mentor John Coltrane and a fruitful collaboration with Impulse Records, Pharoah Sanders appears with a new line-up and a refreshed sound. The fact of having been one of the most neglected works, added to the negativity on its assessment by critics, resulted in one of the most underrated records of the artist’s career. With only three tracks and just over 20 minutes on each side, the album starts with “Harvest Time”, full of melancholy and spirituality, with the guitar and the organ conferring a spatial sound and a floating rhythm, marked by the bass of Steve Neil who gradually reveals himself as the great helmsman of the rhythmic section. It is 20 minutes long, are filled with a contagious and innovative sound. The B-side begins with “Love Will Find a Way” in which Sanders, even without being an experienced vocalist, manages to perform reasonably well. By his charisma and rhythm, this track was later re-used (especially on compilations), becoming one of the “hymns” of the solo career of this musician and composer. In addition to the organ by Jiggs Chase, the percussion by Lawrence Killian and the drums by Greg Bandy, the excellent guitar played by Munoz gives this song its main identity. The Afro-Latin influences in the style of Santana, seem to raise some reminiscences from the Woodstock period. The shortest song - “Memories of Edith Johnson” - closes the album with a tribute to this pianist, singer and songwriter of blues, which is performed like a prayer, a spiritual ritual that even has an organ, choirs and bells. The three tracks that comprise it denote an enormous originality and honesty. Its diversity is complemented with a regular and uniform quality throughout the recording. Getting so sought-after US original pressing and a bitch to dig up in good condition, this baby here will cater just to your nerdy needs! Price: Offers!!!!
1769. PHIL MOORE III AND THE AFRO LATIN SOULTET: “Batacuda b/w What Is Wrong With Grooving” (Oldays Groovy Donuts – ODREP-45010) (Single Record: Near Mint/ Picture Sleeve: Near Mint/ Obi: Near Mint). Immediately out of print & limited Japanese pressing only of two-sided killer Phil Moore heavy groover. Awesome pressing quality, eye-pooping picture sleeve with obi, what can you possibly ask more for. Price: 30 Euro
1770. The PIANO CHOIR/ STANLEY COWELL: “Handscapes” (Strata-East – SES-19730) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint). Top condition US first original pressing – next to impossible to ever upgrade upon. Price: 150 Euro
1771. THE PIANO CHOIR/ STANLEY COWELL: “Handscapes” (Strata East/ Trio Records – PA-6051~52) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1973 Japan original pressing, all complete with rare obi. A Strata-East classic slide, of which the Japanese press issue with obi just hardly ever surfaces at all. Killer spiritual jazz double LP of piano-only jazz recorded in 1973 for Strata East. The lineup is like a who's who of hip, black piano players from the time, and includes Harold Mabern, Sonelius Smith, Stanley Cowell, and Webster Lewis. Nice original compositions, and a stretched-out groove of spacey keyboards. Just stunning. Price: 225 Euro
1772. The PIANO CHOIR: “Handscapes 2” (Strata-East – SES-19750) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). US 1st original pressing in top shape. Price: 150 Euro
1773. The PIANO CHOIR: “Handscapes 2” (Strata-East/ Tokuma – JC-7504) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). One of the rarest Japanese press Strata-East records, never surfaces with obi present. Transitioning from one classic Stanley Cowell recording to one of the many projects he helped organize during the mid-seventies. The Piano Choir was a groundbreaking group that featured seven notable New York-based pianists/ keyboardists including Cowell, Webster Lewis, Nat Jones, Sonelius Smith, Harold Mabern, Hugh Lawson, Ron Burton, and Danny Mixon. During the group's short existence, Cowell's co-run label Strata-East released two recordings from the group, Handscapes in 1973 followed-up by Handscapes 2 in 1975, which features three percussionists including Mtume, Jimmy Hopps, and John Lewis. What made these recordings and this project so groundbreaking and unique was how this group was able to create so many intricate layers to their overall sound by mainly just using acoustic pianos and keyboards. It might be slightly odd at first, to imagine a jazz group only made up of pianos and keys, however many of the tracks are performed in a way that results in overall full and rhythmic sound that isn't lacking depth or sound in anyway. Overall, The Piano Choir was one of Cowell's most ambitious projects that, much like many other Strata-East groups, helped break new ground in jazz during one of it's most creative periods. Very atmospheric and spiritually free flowing Black Jazz vibes that are uplifting and feel like sweet honey to your ears. Rare Japanese original pressing with obi. Top condition. Price: 250 Euro
1774. PIANO COSMOS: “Gendai Ni Hon Piano Kyokusen 1960 ~ 1969” (Crown – SWS-1-2) (2 LP Set: Near Mint/ Gatefold Jacket with attached diamond: Excellent ~ Near Mint/ All Inserts being 3 triple gatefold inserts; one single insert & 3 square card inserts: Mint/ OBI: Mint). Bloody rare and obscure November 1969 release. First copy to cross my path in over a decade with all inserts and OBI complete. Comes complete with the gimmick “diamond” attached gatefold (on back and front!!!) jacket plus 3 Triple Gatefold fully illustrated Inserts plus one insert and 3 detailed card inserts!!!! Eye-bleeding set that combines unissued recordings by the greatest avant-garde and experimental music minds to be operative in Japan at that time. Composers included here are the following: Satoh Keijiro “Calligraphy”; Takemitsu Toru “Corona”; Shinohara Makoto “Tendence”; Irino Yoshiro “Music For 2 Pianos”; Miyake Haruna “Piano Sonata N.3”; Matsushita Shinichi “Spectre Pour Piano N.2”; Ishii Maki “Klavierstuck Fur Pianist und Schlagzeug”; Fukushima Kazuo “Kaze No Wa”; Takahashi Yuji “Metathesis”; Adachi Motohiko “Monodia For Pianoforte”; Kora Toshio “Rezitativ Und Arie Fur Klavier” and Noda Teruyuki “Torois Developpements”. Normally I ain’t that keen on piano recordings, but for a chance this one blew my mind years ago when I was introduced to it. Sadly enough, time flew by and another copy never crossed my path until now so I am delighted to be able to offer this one. The overall tone of the recordings on this record is stripped-to-the-bare- minimum kind of approach that suggests psychic isolation of deep space rather than flashy sci-fi that much of the avant-garde is burdened with. Small clusters of notes are configured into themes and variations that lift space on a cloud of softly clashing microtones and teased out harmonics. The composer and the executioner determine the character of each piece and this makes the results emerge as iridescent ribbons of sound clusters. The primitivism and the quick costume changes of the present material is totally affective and encompasses intimate soliloquies and scenes on a cinematic scale. A totally unique and brain peeling set thaleaves you baffled and gasping for air once you have gone through it. Massive!!! Price: 500 Euro
1775. PIL: “Metal Box” (3 LP Set: Near Mint/Outer Metal box: Excellent ~ Near Mint, has some minor oxidation marks, but looks fantastic seen the age) First original UK pressing of this landmark recording. All time classic disc in stunning condition. Jah Wobble is in the prime of his bass whopping career, leaving molted brocks of bopping lava all over the tracks, while Keith Levine does anything in his powers to derail them with his clinically circumcised guitar licks that will keep you begging for more slabs of unrelenting lysergic greatness, while all the time Rotten tries to ignore he was ever a part of the Pistols by putting down the greatest act of his career, hurtling in and out of focus like a beached whale. Legendary stuff, genius music emblazed by a single flash of greatness. Pristine copy. Every collection needs at least two of these. Price: 150 Euro

1776. PINK FLOYD: “See Emily Play b/w Scarecrow” (Odeon Records – OR-1785) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare Pink Floyd’s first ever Japan released single with Japan only picture sleeve that was released and came out on October 5th, 1967!!! Top copy and needles to say extremely rare!!! Especially in such a nice condition as this baby here. Price: Offers!!!

1777. PINK FLOYD: “More” (Odeon Records – OP-80165) (Record: Mint/ Gatefold Jacket: Mint/ Attached Inserts: Mint/ Obi: Mint). RED VINYL 1st issue copy, top condition. Eye-blinding top copy that comes with OBI in mint condition present. Top copy, mint as can be with all attached picture booklet present. They don’t come better than this baby here. Blood red beautiful vinyl with obi on its flank proudly flashing its colors. Price: 300 Euro

1778. PINK FLOYD: “Dark Side Of The Moon” (Odeon/ EMI – EOP-80778) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 2-sided Post card: Mint/ Booklet: Mint/ 2 Posters: Mint/ Obi: Near Mint). Complete copy first original press issue of classic Pink Floyd jam. All is here, complete set and condition is exquisite. Getting tougher and tougher to unearth this one all complete and clean, so here is one…. SOLD

1779. PINK FLOYD: “Live In Montreux 1971” (Swinging Pig Records – TSP-071-3) (3 LP Set: Near Mint/ Box Set: Mint/ Individual Inner Sleeves: Mint). Rare and amazing Pink Floyd live recording that comes on marbled PINK wax. Track listing is as follows: S1: ECHOES
/ S6: A SAUCERFUL OF SECRETS. Sound quality is amazing and packaging is also superb, one of the best Pink Floyd live shows out there. Totally awesome. Price: 200 Euro
1780. PINK FLOYD: “The Embryo” (Swingin’ Pig/ Trade Mark Of Quality – TSP-020) (Record: Near Mint/ Jacket: Near Mint). Rare Pink Floyd live recording from 1968〜9 that saw the light of day in 1989. This one comes on pink colored wax. Amazing sound quality as the material was recorded for BBC Radio. Tracks include: Let There Be More Light – Point Me At The Sky – Murderistic Woman – Julia Dream – The Embryo – A Saucerful Of Secrets – The Narrow Way – Green Is The Color. Stunning sound quality and some great vintage Pink Floyd recordings. Killer!!!! Price: 75 Euro
1781. PINK FLOYD: “Pink Floyd Meets Frank Zappa” (Shadow Man Records – PF-102432) (Record: Near Mint/ Jacket: Near Mint). Limited small run edition that came out in Germany in 2006 and which was issued on yellow colored wax. Recorded live at the Festival Actuel in Amougies, Belgium on October 25th, 1969, Zappa takes the stage with Pink Floyd for an extended “Interstellar Overdrive” jam. Frank Zappa was present at the festival in a twofold capacity. First, as Captain Beefheart’s road manager; secondly, as M.C. The latter task proved problematic given Zappa’s limited French, the prevailing language among the audience, who themselves didn’t seem to understand much English. Instead, Zappa relinquished his M.C. job for one of occasional guest guitarist. He plays with almost everybody; especially with Pink Floyd, Blossom Toes, Archie Shepp and Aynsley Dunbar but especially his jam with Pink Floyd is stuff of legends. His guitar sounds gels wonderfully well with the Floyd and gives it an extra dimension. Great recording quality for an audience recording, and above all one of the best and most unique versions of “Interstellar Overdrive” ever. Limited release that vanished as quickly as it came. Comes on colored wax. Highest recommendation. Price: 75 Euro
  1782. PINK FLOYD – JEFF BECK – ERIC CLAPTON – LOVE SCULPTURE – CLIMAX CHICAGO BLUES BAND – MANFRED MANN Featuring Paul Jones – The YARDBIRDS – PRETTY THINGS: “This Is The British Scene “Heavy” (Odeon – OP-8798) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent ~ Near Mint). Japan only compilation LP housed in great acid-leaking artwork and covering a wide range of UK heavy psychedelic acts. Just about never ever surfaces with obi and this copy here is as pristine as a virgin in a whorehouse. Price: Offers!!!!
1783. PJ HARVEY: “To Bring You My Love” (Island - ILPS8035) (Record: Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Mint). Getting scarce 1st original UK pressing of killer album!  Original 1st UK pressing of 1995. Killer slide. After fumbling around with producer-from-hell Steve Albini on Rid of Me (1993) and signing with U2 manager Paul McGuinness, Polly Jean Harvey is ready to live up to her lethal early promise at last. With its growling bass tones, "Meet Ze Monsta" sets the stage early on as Harvey explores her feminine psyche with an intensity and raw power unheard since Patti Smith's heyday. Unlike the terminally inconsistent Smith, however, Harvey plots a brilliant course through slippery laments ("Working for the Man"), corrosive testifying ("Long Snake Moan"), and fuzz-toned menace ("Down by the Water"). Skeptics who think Harvey can't outgrow her art-punk base are advised to cue up the flamenco-inflected, string-caressed "Send His Love to Me." (Jeff Bateman). TOP copy, UK first original pressing that is getting scarcer and scarcer. Price: 85 Euro
1784. P.J. HARVEY: “4-Track Demo Album” (Island Records – ILPM-2079) (Record: Near Mint/ Jacket: Near Mint/ Outer Plastic Sleeve with Sticker: Excellent/ Inner Sleeve: Near Mint). Very first UK original pressing that saw the light of day in 1993. “Since Steve Albini gave Rid Of Me such an uncompromisingly noisy finish, it may have made sense for Polly Harvey to release her original demos, augmented by several unreleased songs, six months later as an album. After all, the initial British pressings of Dry came with a bonus disc of her demos. Still, the official, independent release of 4-Track Demos suggests that Harvey wanted to give these songs another chance for listeners who found Rid Of Me too abrasive. Even for those who enjoyed Rid Of Me, 4-Track Demos is a revelatory experience, since it arguably captures the raw emotion of the songs better the official record. A handful of songs from the record aren't repeated in demo form -- namely "Missed," "Man-Size," "Highway 61 Revisited," "Dry," and "Me-Jane" -- but they're replaced by the previously unreleased "Reeling," "Driving," "Hardly Wait," "Easy," "M-Bike," and "Goodnight," most of which are easily the equal of the songs that were actually released, and that's what makes 4-Track Demos necessary for every Harvey fan, not just collectors.” (AMG). RAW and INTENSE that is what this LP is from start to finish, these demo versions are very direct, right up and straight in your face kinda thing. I cannot think immediately of any other on the indie scene that is similar to this rawness on display here, the naked character, the intense texts and Polly´s piercing voice makes this album a very special one. A musical BOMB! Price: 150 Euro
1785. P. J. HARVEY: “A Perfect Day Elise b/w Sweeter Than Anything – Instrumental #3” (Island – IS-718) (EP Single Record: Near Mint/ Picture Sleeve: Near Mint). 1988 UK original pressing. Price: 30 Euro

1786. P. J. HARVEY: “The Wind b/w Rebecca – Nina In Ecstasy” (Island – IS-730) (EP Single Record: Near Mint/ Picture Sleeve: Near Mint). 1999 UK original pressing. Price: 30 Euro

1787. PLG BAND: “Armageddon” (Vertigo – 6483336) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent) Original 1982 Greek pressing on the collectible Vertigo label. Although released in 1982, PLG Band’s sole recorded artifact is one to be reckoned with. But right from the start the band was plagued with heavy opposition in Greece due to the blasphemous nature of their sole LP, evoking fits of rage and anger from the Orthodox community that demanded the album to be withdrawn and banned. And so it happened, very few copies made it out into the real world and the band quickly sank to the bottoms of oblivion. Still the very few copies that managed to leak out of the country created enough excitement amongst music lovers to make this disc now a long time dead stoned classic. And rightly so. Biblical inspired apocalyptic doomsday quotations and doomed loaded heavy progressive psychedelic moves reign throughout, making it a chilling but psychedelic listening experience. Atmospheric synth driven progressive undertones flower against acidic guitar leads, steady rhythm section and ominously sounding dark clouds hovering above mood swings that will have you heading towards your nuclear fallout shelter in order to dodge those Four Horsemen of the Apocalypse that are heading straight towards you. Hair-rising and bone-chilling stuff. This definitely is the shit. Top copy. Price: 375 Euro
1788. POMERANCE, ERICA: “You Used To Think” (ESP Disk – 1099) (Record: Excellent/ Jacket: Near Mint). Original pressing. Erica Pomerance delivered one amazing LP, a combustional combination of some pretty wild folk, injected with lethal doses of jazz and demented psychedelia. The end result is a kind of collage of fucked-up eastern ragas, disjointed jazz moves and atonal folk which gets poured over with her beautiful, raspy, feverish, drug-induced howl. The end result is a stunning glance into outsider visions of freewheeling chanting and moaning and opining over an unsteady whirl of finger picked acoustic, troubled sitar and squalling alto sax. Pomerance's edgy, acid folk compositions may not appeal to middle-of-the-road travelers, but those with an ear for outsider vintage sounds of times long gone should appreciate this highlife fuckaround gem that these days could fit perfectly in the so-called t "freak folk" scene. Price: 250 Euro
1789. The POP GROUP: “She Is Beyond Good And Evil” (Radarscope Records – ADA-29) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Scare 1979 UK original pressing. Most copies floating around are in a bad shape, this one is exceptionally clean. A truly Post Punk gem of a song, the Pop Group announced themselves on the scene with this stratling debut single in March 1979 with their debut album Y following 6 weeks later. The band was comprised out of five Bristol teenagers fresh out of school whose uncompromising music went beyond three-chord punk and embraced funk, dub reggae and feral free jazz freak outs. Their strong anti-capitalist stance was always going to be a thorn in the side of the established music industry. “She is Beyond Good & Evil” is a remarkable statement of intent where singer Mark Stewart waged war on everything. Needles to say that their debut sold poorly but it withstood the test of time and remains a recording that screams in your face. One word, indispensable. You own Sun Ra but no Pop Group records? I guess you did not get it at all and any hipster musical education you might have sucked up was lost on you…Price: 75 Euro
1790. POP GROUP: “Y” (Warner Pioneer Japan – P-10705F) (Record: Near Mint ~ Mint/ Jacket: Mint/ Obi: Mint/ 2 separate inserts: Mint). First original Japanese pressing from 1979 in perfect condition. Abrasive, but interesting, the Pop Group’s debut is perhaps the most succinct summation of their angry and defiant approach to rock & roll. Although at times resembling the discordant funk of fellow post-punk radicals Gang Of Four, the Pop Group leave rhythm behind almost as quickly as they find it, and the result is a clattering din of sound resembling an aural collage. The longish, guitar-driven track "We Are Time" is the strongest cut, establishing a solid groove that won't let go. Price: 75 Euro
1791. POP GROUP: “We Are Time” (Rough Trade – RTL-17) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ Set of all Post Cards: Near Mint). Japan 1982 original pressing all complete with obi, insert and set of post cards. “Some artists churn out records for decades and leave behind little of significance. Others record little and leave a substantial legacy The Pop Group belongs in that second category, releasing two studio albums and the odds-and-ends collection We Are Time during a three-year life span. When it becomes de rigueur to call an obscure band "seminal," it's worth reiterating why that band is important and reinvesting the cliché with some meaning. The Pop Group was among a handful of acts that harnessed the energy of punk, truly recognized the possibilities it opened up, and took music in exciting directions. The band used punk's back-to-basics ethos as a springboard for experimentation with funk, dub, and jazz, blending dance rhythms and rock in ways that continue to inspire artists. They also politicized rock with an intensity and urgency that put rebel poseurs like the Clash to shame. In addition to different versions of already available tracks, We Are Time features previously unreleased live, studio, and radio-session material. Demos from 1978 like "Trap" and "Sense of Purpose" display the frenetic rhythms, jagged guitars, and free jazz inclinations that would be further explored on the 1979 debut album. Taken to the brink by Mark Stewart’s wailing vocals and Gareth Sager’s squalling sax, the searing "We Are Time" and the staccato punk-funk rush of "Thief of Fire" show the band was as strong live as in the studio. The unlikely standout is "Amnesty Report" -- an alternate version of a 1979 B-side – featuring Stewart’s shouted recitation of an "Amnesty International Report on British Army Torture of Irish Prisoners" set to a fierce, heavily funky soundtrack. The Pop Group’s official studio releases alone contained a wealth of musical ideas that still resonate. We Are Time simply confirms that the "seminal band" clichés are justified.” (AMG). So essential. All complete Japan original. Price: 50 Euro
1792. PORTAL, Michel; SURMAN, John, PHILLIPS, Bare; MARTIN, Stu; DROUET, Jean-Pierre: “ALORS!!!” (Futura Records/ Epia – EPIA-53903-F) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Classic Futura slide – Japan 1st high quality original pressng. Here is the beef in borrowed. “Followers of the vaporous, boreal undertakings of British saxophonist John Surman are going to be thrown for a loop by this session. Far from the punctilious, withdrawn playing he has exhibited over the past two decades, here's the 26-year-old reedist as a romping, stomping New Thinger who could easily blow the present day Surman off the stand. Of course inspiration has a lot to do with the company you keep. And this 1970 session is actually a collusion between the saxophonist's Anglo-American trio of the day -- filled out by bassist Barre Phillips and drummer Stu Martin, both Yanks -- with two Frenchman -- percussionist Jean-Pierre Drouet and the chameleon-like woodwind master Michel Portal. Furthermore, it's the Gaelic reedist whose name is topmost here, since in the midst of a decade-long commitment to avant- jazz's furthest reaches, he provides much of the impetus for the improvisations. (…) ALORS! is different however. At the time it was a clear indication that European born and domiciled improvisers have finally internalized the New Thing. Naturally this came at a time when the style was being denigrated in North America ... but that's gist for another discussion. All tracks are on the swift side, with Phillip's exercises in onomatopoeia "Oo Bam Ba" and "Ca Boom" and Surman's mouthful of a title, "Yes, Oh Yes, You Wonderous (sic) Sun-Kissed Maiden!" -- also appropriately the longest track -- as energetic as Portal's one contribution. "Undercurrent", the quiet tune of the set, penned by the baritone saxist isn't subdued like Surman's later work on ECM, but serene, with an undercurrent of potential explosions like those little instrument-filled songs from the Art Ensemble of Chicago. "Oo Bam Ba" even features some four square pizzicato bass work from Phillips, just three years into what would be a permanent expatriation to Europe. With the sax power on display it probably convinced him to play the way he would have in mainstream settings with the likes of Coleman Hawkins rather than styles he adopted for seconding Cecil Taylor or composing interactive electronic music. Notwithstanding this, both saxmen come across with angry, predatory bird cries, spelled by the rattle of metal from percussionist Drouet, another Frenchman who has gone back and forth from so-called serious music to jazz. Leaving aside the identity of the "wonderous (sic) sun-kissed maiden" it appears that Surman and Portal are trying to attract her attention by blending the former's baritone with the latter's bass clarinet in the dance of a French frog and a British hedgehog. At times the blends that go from very high to bottom scraping can be heard as a foreshadowing of Surman's later all-saxophone SOS trio, although a closer link to pioneering New Thinger Charles Tyler's partnership with Albert Ayler was probably more on the musicians' minds. Before and after that, Phillips scratches out a diffident arco solo that moves into dog whistle territory, Martin unleashes a powerful roll and rim shots exhibition. On it, he shows the same strongman exhibition he brings to the high tuned sound of his double bass drums on "Y En A Marre", which moves at an exaggerated triple march tempo. (…) On "... Maiden ..." when Phillips produces a protracted string buzz that then meshes with unison, almost bagpipe-blowing sax lines, Martin counters with occasional cymbal pings and drum stick scrapes.” (Ken Waxman – Jazz Weekly). A classic slide that should be in any self-respecting collection. Stuff that makes up legends. Price: 50 Euro
1793. PORTAL, MICHEL: “Our Meanings And Our Feelings” (EMI Pathe – C.054-10525) (Record: Near Mint/ Jacket: Near Mint and with Languette attached). Just the perfect copy without any defects. Best copy I have ever seen, just flawless. Was only released in France and this copy is so perfect it comes in fragile flip back cover that is perfect on all fronts and looks like new & it still has the still has the little "languette" (the French variant of the OBI which is always missing) still virginally attached to the flip back. This is one of those magical free jazz slides that might have effectively amplified the revolutionary tumult of the times but it was attributable as much to extra-musical variables – like miniscule budgets, limited availability of equipment and the fact that no one had yet worked out how to properly capture this music on tape – as it was to a deliberate musical aesthetic. Either way, it actively defines all of the best recordings of the era. The awareness and openness this demanded on the part of the musicians can be heard throughout this pioneering album. Compared to the magnificent raging bark of Peter Brotzmann's Machine Gun (recorded a year earlier), the music on Our Meanings And Our Feelings (recorded on June 27, 1969) distances itself from the energy and impassioned self-expression of free jazz by adding a more spiritual flavor to the mix of defiance and despair. Joachim Kuhn (piano), Jenny Clark (bass), Aldo Romano (drums) and Jacques Thollot (drums) play with extraordinary closeness, between and beneath them Michel Portal had already taken the sax and clarinet into unheard-of territory. The rhythmic flexibility of Jacques Thollot's gentle work provides the space for it all to happen unfolding against a musical background that incorporated mutant ethnic variations/ Middle Eastern influences, hurling in and out of focus and churned out a panoramic sound floating somewhere between the controlled burn of jet engine and the boundless fury of whiplash assault or a bloody gang fight. Like the best of the improvised music that has followed in the ensuing 30 years, it touched on a special kind of intensified awareness, an in-the-moment saying and listening that is enthralling to hear unfold. You will realize upon spinning this beast that the middle of the road is only popular when nothing is happening and Portal and Company surely rip the system sonically apart like a pile of cheap hay. It is without a doubt one of the most defining moments and best recordings to seep out of the late 1960s European free music/ spiritual jazz scene, easily standing shoulder to shoulder with the best records of that golden era. Never seen a better copy of this Freakingly rare & obscure lethal & maniac fury of a disc. Price: Offers!!!!
1794. PORTAL, MICHEL: “Michel Portal Unit A Chateauvillon” (Le Chant Du Monde – XWG-74526) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition 1973 France first original pressing. Classic French free jazz slide that although not rare it often discarded and overlooked, which is a shame as the music is nothing but a ball buster that shoves your face straight into the dust, time and time again. This session comes over as if you were yourself engaged in a trench warfare, as it is one of France’s free jazz underground defining moments. And it makes - upon cranking the volume all the way up – me realize again that the middle of the road is only popular when nothing is happening. And that is certainly not the case here as Portal and cohorts provide enough ingredients for an outrage, setting your nuts on fire with you ramming a silent scream down your throat. I think you get the picture here; this is a whiplash assault and feels like the rising edge of a speed trip. Killer music, an unheralded classic!!! Top condition & cheap, what else can you possibly wish for? Price: 50 Euro
1795. POSICOES with EQUIPE MERCADO; MODULO MIL (Modulo 1000); SOM IMAGINARIO & A TRIBO: “S/T” (Odeon – BR-XLD-12044) (Record: Near Mint/ Jacket: Near Mint and still complete with plastic outer attached to sleeve). Damned rare 1971 original Brazilian pressing in outstanding condition. Comes housed in original sleeve art where the sleeve is still enshrined it its original attached plastic outer sleeve. Most copies floating around have a Xeroxed and fake sleeve but this one here is the real deal! Although the LP combines 4 different bands and has the allure of being a compilation album, all tracks on display here are only available on this LP and do not appear on any of the band’s output, making it a highly unique album. Amazing mixture of spaced out/ experimental freak folk/ acid soaked Brazilian acid folk and psych, it features heavy organ driven psych hitters Modulo 100, A Tribo which is basically Joyce and Nelson Angelo brain freeze doped up project, Equipe Mercado and Som Imaginario. This compilation sounds like a coherent release and not like some amalgam project. The overall vibe is a more underground take on Tropicália. Two of the bands - Modulo 1000 and Som Imaginario went on to release albums that are cornerstones of the scene, but the other two - Tribo and Equipe Mercado - only managed to appear on singles and other compilations later down the line. Bloody dope record, every track is a winner and so damned hard to get in decent nick, it was Brazil and 1971 after all. But here you have the best possible copy you could ever want. Hard to find this clean… and the perfect spin to get all wasted by….when you fly me to the moon, this one will be by guiding star! KILLER!!! Price: Offers!!!!
1796. POTTINGER, S.E, with EARL BROWN & REVOLUTIONARIES: “Dub Expression” (High Note – SP-154) (Record: Near Mint/ Jacket: Excellent). Original Jamaican pressing in outstanding condition. “The '70s saw a growing interest in so called Dub versions, an approach based on deforming, stripping and rebuilding the original tune and came known as dub music. King Tubby along with other dub wizards such as, Lee Perry & Prince Jammy, were responsible for this exciting new dimension to Jamaican music. However, most of these dub albums were pressed in very small quantities and disappeared quickly. One of those albums is Dub Expression by Errol Brown and The Revolutionaries. The 1978 dub set “Dub Expression”, a sought after High Note LP, produced by Sonia Pottinger, recorded and remixed by Errol Brown at Treasure Isle studio. No gimmicks here, he uses simple echo and delay, a few vocals sliding in and out, separate instruments floating on top, and respecting the melody of the tunes. One might call it a mixture of dub and instrumentals. The ten tracker opens with the BOOM tune “Gun Court Dub”. When the organ starts playing you immediately recognize the glorious riddim from Leroy ‘Heptones’ Sibbles, “Get In The Groove”. It’s also well known as “Up Park Camp” by John Holt, a massive rendition he did for Channel One. We couldn’t find out which vocal tune underpins the mighty “Ital Stew”, a bass driven dub with heavy interjections of piano and drums. The same goes for “Super Tracks”, although it sounds like a riddim used by Culture. We really love this one, “Dread At The Controls”, with its echo drenched vocal intro!What a scorcher comes next! It’s Dennis Brown’s anthemic tune “Ghetto Girl” aka “Stay at Home” that is used for this drum & bass excursion. Culture’s “Jah Jah See Them A Come” was (and still is) such a top-notch tune, based on the Studio One “Heavy Rock” riddim. Check out the dub version called “Down Town Ting”. Treasure Isle’s riddim “I’m In The Mood For Love is used for “Bond Street Rock”. The last two tunes are dubs to Marcia Griffiths songs. Originally recorded for Coxsone Dodd at Studio One, “Melody Life” and “Mark My Words”, have been rerecorded intensively over the years. “Melodious Dub” offers nuff vocal interjections and dubbed up horns, while “Mark Dis Yah Dub” let’s the organ lead the riddim and Marcia’s lines gently float above the riddim.” (Reggae Vibes). Great condition Jamaican original pressing. Price: 300 Euro
1797. POTTS, STEVE: “Musique Pour Le Film D’Un Ami” (1 2 3 Un Deux Trois – N.2) (Record: Near Mint/ Jacket: Near Mint). Original 1975 French pressing in top condition of killer free jazz/ spiritual slide, released on small private label. Paris based American sax player Steve Potts recorded this eclectic soundtrack in 1975. It is a little know masterpiece where Potts on alto sax, gathers around him Franck Able on Rhodes from Can And Abel. The end result is a beautiful spiritual and cinematic jazz slide that births out fantastic compositions like "Rock" (La Défense) and successfully blending free, blues, rock- jazz spiritual on tracks like "Poèmes" or "Antigone", "Street Blues", funky jazz on "Route 69". A European flavor spiked with rockish and funk-laced undertones resonate throughout the album as a result of the US jazz Diaspora Potts was subjected to and the influences he soaked up on the European continent, giving the whole album a multi-faceted and very multi-colored tonal feel. The whole affair was mixed by Jef Gilson on his own label (also founder of Palm Records). Utterly beautiful record, laidback and subdued, yet very uplifting at the same time, “Musique Pour Le Film D’un Ami” is quite a mesmerizing affair one keeps going back to, sucked in by its enchanting beauty. Quite a rare slide and this one is perfect on all fronts, top copy and next to impossible to ever upgrade upon. Highest recommendation! Price: 200 Euro
1798. POUSSEUR, HENRI & BUTOR, MICHEL: “Votre Faust” (Harmonia Mundi – 01 21580-6) (3 LP Record Set: Near Mint/ Thick & Heavy Outer Box Set: VG++ ~ Excellent – spine of the lid has sidelong crack and wear, for the rest all is pristine/ Playing Cards: Mint & All Present/ Set of Game Cards: Mint and all present/ 2 sets of Plastic Pucks: Mint/ 36-Page Booklet: Near Mint/ 16-Paged Booklet of Game Instructions: Mint/ Game Board: Mint/ Cross Like Triple Fold Out Inner: Mint/ Plastic Inlay Tray: Near Mint) rarely offered all complete box set that came out in 1975. In 1995 Henri Pousseur wrote in a letter to UE: “As you already know, Votre Faust is not a work that can easily be called conventional opera. When Butor and I drafted the piece in the early 60s, we dreamed of a new form of theatre that would merge the characteristics of (modern) theatre and modern music, while at the same time approaching baroque opera, the form of the operas of Brecht and Weill, the Japanese Noh and the “théâtre de tréteaux”, such as the l'Histoire du soldat – while still being completely different.” The focus of attention in this “variable” opera is the young composer Henri, who is commissioned by a fiendish theatre director to write a version of “Faust”. The opera is structured in such a way that at the end of Act 1 the audience is able to decide how the story should continue. Should Henri spend his life with warm-hearted Maggy? Or with saucy Greta? This fork branches into an ever more complicated thicket of alternatives. After almost every scene the audience can interrupt and change the course of events. All the alternatives are well structured, but the path itself is unpredictable. Pousseur: “From a certain point the opera is like a system of railway tracks with lots of points that can be switched by the actors, singers, musicians, at the request of the audience. That is the advantage of ‘mobile' art.” Pousseur and Butor toy with biographical self-reflection and dig deeply into the treasure trove of quotations from literature and music in all style epochs. Recognition even of some of the quotations, imitations, literary and musical references supplies the audience with a wholly specific pleasure and a deeper understanding of the whole experience. This set is a heady listening experience but very rewarding if you concentrate and sit through it and you will get of course rewarded by Pousseur’s flashes of electronic music insertions and ad hoc sound snippets. Should appeal to lovers of the avant-garde/ electronic music/ musique concrete and just anyone with a decent set of unspoilt earlobes. Awesome!!!! Price: 150 Euro
1799. PRETTY THINGS: “S/T” (Fontana – 687 341 TL) (Record: Excellent ~ Near Mint with only an occasional sleeve line visible under bright light/ Jacket: Near Mint). UK original 1st press issue – MONO – with 1/1 matrix numbers in dead wax. “Pretty Things debut LP was a legendary exercise in anarchy -- 30 minutes into the two days' worth of sessions, their original producer, Jack Baverstock walked out, and was eventually replaced by a slightly more sympathetic personality in the hopes of salvaging something from the efforts of the band, who, whatever their shortcomings in decorum or sobriety, were on their third successive charting single. The resulting album, made under the coordination (if not control) of drummer-turned-producer Bobby Graham, made the early work of the Rolling Stones -- rivals and one-time bandmates to the Pretty Things' Dick Taylor -- sound more like the work of the Beatles: very calculated, lightweight, and...genteel. The LP was recorded with practically every song and instrument pushing the needle into the red (i.e., overload). Normally, that would be a problem, except for the fact that a third of the repertory was written by Bo Diddley and most of the other two-thirds was inspired by him and Bo spent most of his career with his amplifiers set on "11" in a world where ten was the max. "Roadrunner" is about as raw and loud as British rock & roll ever got up to that time, and it's just the beginning -- "Judgement Day" has a lead guitar buried somewhere in there, beneath rhythm instruments that sound like metal being ground up, and "13 Chester Street" is, strangely enough, an homage to the house the band once shared with the Stones’ Brian Jones; appropriately enough, it mixes the band's crunchy rhythm guitar-centered sound with a Slim Harpo-style lead, in a group "composition" that shimmers and pulses around Phil May’s dissolute vocals. "Big City" takes them back to Chess Records territory, from which they never stray -- "Mama, Keep Your Big Mouth Shut" even sounds like a Chess outtake, what Leonard Chess would've said needed one more pass to get right (and he'd have been wrong). And just to show that there is some justice in the world, The Pretty Things did reach number ten on the U.K. charts, bewildering all of the more "professional" hands at Fontana Records by grabbing the ears of that harder, more intense part of the Stones’ larger audience and throwing them the sonic equivalent of raw meat to chew on. Phil May reveals himself as a fairly powerful singer, though lacking some of the charisma that Mick Jagger projected, but the group's own raw power made for quirky appeal all of its own that would carry them for many years beyond this roaring start.” (All Music Guide) Top condition first press issue, a tough one to find this clean and maybe the final upgrade copy? Price: 450 Euro
1800. PRETTY THINGS: “Parachute” (Odeon – OP-80058) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent). Rare WHITE label PROMO issue on RED wax. Comes with mega rare obi as well. Parachute didn’t swan off with Rolling Stone magazine’s Album Of The Year garlands in 1970 for nothing: there’s a marked cohesion to it, a gratifying oneness which reveals the band to have still been occupying the same zone of inspiration which made SF Sorrow such a hearty repast. Very dark work from The Pretty Things – an even more complicated, heavier-sounding album than SF Sorrow! The album's hardly got the lightness you might guess from its Parachute title – and instead, really shows the band moving into darker corners – both musically and lyrically, as they work in a heady brew of sophisticated guitar lines and adult song themes. And although former leader Dick Taylor's left the group, the other members are still holding down the fort nicely – hardly missing a beat here as they step onto a new level in their incredible stretch of growth. Given that Parachute is essentially a sustained and rather poetic discourse expressing disillusionment with the 60s dream, in sonic terms it’s an exemplar of Abbey Road lushness. Grass, The Good Mr Square and the title track wouldn’t sound out of place on Dark Side Of The Moon, even. Price: Offers!!!!!

1801. PRETTY THINGS: “Private Sorrow b/w Balloon Burning” (Odeon – OR-2226) (Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near Mint – small wrinkle on right side/ Company Inner Sleeve: Near mint). Stupendously rare & WHITE label PROMO issue – Japan only issue of all-time classic - the Pretty Things. A must for Pretties buffs and psych heads all over the globe. Second copy I ever see. Ultra clean copy that comes housed in awesome Japan only picture sleeve. Price: 575 Euro

1802. PRETTY THINGS: “Don’t Bring Me down – Big Boss Man b/w Rosalyn – We’ll Be Together” (Fontana – TE.17434) (4 Track EP Record: Excellent / Flip Back Picture Sleeve: Excellent ~ Near Mint). Damned scarce UK 1964 first original pressing in glorious MONO. Clean labels, shiny surface of the record and clean picture sleeve. Apart from that, this is prime killer UK freakbeat! Price: 200 Euro
1803. PRETTY THINGS: “Rainin’ In My Heart – London Town b/w Sittin’ Alone – Get A Buzz” (Fontana – TE.17442) (EP Record: Near Mint – with center piece attached/ Flip Back Picture Sleeve: Near Mint). Original 1965 UK first original MONO pressing in outstanding condition. All killer no filler trashy UK teen beat blues jammer by one of the finest behemoth combos to roam the scene, the mighty Pretty Things. Hardly ever turns up in such a nice condition and comes housed in cool picture sleeve. Just awesome! Price: 200 Euro
1804. PRIMAL SCREAM: “Crystal Crescent b/w Velocity Girl” (Creation Records – CRE-026) (7 Inch Record: Near Mint/ Picture Sleeve: Near Mint). Original UK pressing of Primal Scream’s 2nd single from 1986. In just 82 seconds, Primal Scream’s ‘Velocity Girl’ became a landmark moment in the nascent indie scene and ignited a band who would become a pivotal part of British music culture. First released as the b-side to their second single ‘Crystal Crescent’ in 1986, ‘Velocity Girl’ reached a wider audience as the opening track on NME’s highly influential ‘C86’ compilation. “I had an Edie Sedgwick type character in mind when I wrote ‘Velocity Girl’,” says Gillespie. “I read Jean Stein’s biography about her and I wanted to meet a girl like that. Hanging out with Warhol, The Velvet Underground , Bob Dylan and shooting speed whilst looking absolutely fabulous. Super hip and beautiful. She was the muse. I love her.” Price: 40 Euro
1805. PRINCE FAR I & THE ARABS: “Dub To Africa” (Hitrun – APLP-9006) (Record: Excellent ~ Near Mint/ Jacket: Excellent). Original UK pressing – handmade white label test pressing. A dub side that was originally issued in a very limited pressing in 1979. Great new renditions of classic reggae rhythms are featured, with just the round and clean basic tracks of drum, bass, and rhythm guitar to feast on. The mixing is restrained to simple yet seamless channel dropouts, with no extraneous echo, and unlike other Prince Far I dub productions there is only the occasional percussion overdub. For this recording, Far I brought on board the phenomenally precise drummer Style Scott. The lovely fluidity of Far I's music, as delivered by his long-time bass ace Flabba Holt, is here rendered with a machine-like precision on the acoustic drum kit. Through this drum and bass meeting, the foundation was laid for the Roots Radics, the definitive working reggae group of the early '80s. You will be treated to Prince Far I's vocal intros to the tracks, plus a pair of even more rare and profound dub tracks. Bloody fuckin’ killer slide!!! Price: 200 Euro
1806. PRINCE LASHA QUINTET Featuring SONNY SIMMONS: “The Cry!” (Contemporary/ King Records – SH-3047) (Record: Excellent ~ Near Mint/ Fragile Flip Back Jacket: Excellent – middle seam crack/ Obi: Mint). Bloody rare Japan 1st original pressing from 1965 complete with never seen obi. “In the early '60s, flutist Prince Lasha’s work with alto saxophonist Sonny Simmons was often compared to the trailblazing free jazz that Ornette Coleman was exploring at the time. To be sure, Coleman was a major inspiration to both of them. And yet, The Cry! demonstrates that Lasha’s work with Simmons had an avant-garde energy of its own. Coleman is a strong influence on this 1962 session – which Lasha co-led with Simmons -- but The Cry! isn't an outright imitation of Coleman’s work any more than Phil Woods recordings are outright imitations of Charlie Parker’s. For one thing, The Cry! is slightly more accessible than the albums that Coleman recorded for Atlantic in the early '60s. Free jazz performances like "Bojangles," "A.Y.," and the rhythmic "Congo Call" are abstract, cerebral, and left-of-center, but they're still a bit more accessible than Coleman’s harmolodic experimentation. The same thing goes for the Latin-influenced "Juanita" and the bluesy "Red's Mood," which is Coleman-minded but also has a strong Charlie Parker influence -- in fact, the tune successfully bridges the gap between Bird and Coleman and shows listeners what those altoists had in common. It should be noted that, even though The Cry! (which employs Gary Peacock or Mark Proctor on acoustic bass and Gene Stone on drums) is free jazz, it isn't the blistering, ferocious stuff that Albert Ayler, Cecil Taylor and late-period John Coltrane, Lasha’s finest accomplishments -- and deservedly so.” (All Music Guide). Amazing Top condition. Never seen before an original copy with obi, let alone as clean as this one here. Price: 250 Euro

1807. PRINCE LAWSHA FIREBIRDS: “Live At The Berkeley Jazz Festival Vol. II” (Birdseye – 99001) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). Original US 1975 first press issue of classic spiritual jazz slide. Recorded live at the Berkeley Jazz Festival, May, 1974. With Prince Lawsha (baritone saxophone, flute, soprano sax), Kenneth Nash (African percussion), Roy McCurdy (drums), Hubert Eaves (piano), Ron Carter (bass). Second in a series of live volumes that Lawsha (previously known as Prince Lasha) released on his own Birdseye label in the mid-70s, before falling out of visibility for a decade or so. Clean original. Price: 40 Euro

1808. The PSYCHEDELIC ALIENS: “Psycho African Beat” (Academy – ASB-005) (4 EP’s: Mint/ Booklet: Mint/ Outer Box: Mint/ Patch: Mint). LIMITED EDITION (500) 4 x 7" box set including a booklet and embroidered patch! Long gone and out of print edition. A lost chapter from the late 60s/early 70s Ghana scene – a great mix of African rhythms & melodies with the raw grit of garage rock, the heavy groove of funk and soul, the swirling and fuzzed out guitars and organ of psychedelia – the Psycho African Beat of The Psychedelic Aliens! The group released one 4 song EP and a pair of 7-inches in it's 3 year existence. Academy compiles and beautifully packages all of those songs here and they are completely incredible – it's an almost painfully brief blast of pure genius, but important and vital work that needs to be heard! Psychedelic funk from Ghana with a raw edge and soulful groove. Price: 100 Euro
1809. PUSSY GALORE: “Sugarshit Sharp – A: Yu GunG” (Supernatural Organization – SUR MLP-5) (record: Near Mint/ Jacket: Near Mint/ Poster: Near Mint/ Sticker: Near Mint) Scarce Japanese pressing all complete with poster and Japan only big sticker. Awesome slab of gritty junk that continues Pussy Galore’s journey further into the realm of Art; the A-side is a lengthy, sample-ridden cover of Einstürzende Neubaten’s “Yu Gung,” the most entertaining portions of which are the repeated interpolations of Public Enemy’s Flavor Flav saying “Don’t believe the hype.” Indeed. Side Two contains five grunge tunes of a somewhat higher grade than usual. This is more death-grunge rendered with a maximum of noise and minimum of panache. But at under 30 minutes, it's free of a lot of arty-farty jerking around. Scarce Japanese pressing. Price: 50 Euro

1810. The PYRAMIDS: “King Of Kings” (Pyramid Records – 30934) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top shape & Rare 1974 US FIRST pressing housed in BLUE colored sleeve – 2nd press came out in black sleeve. Rare private press issue of killer cosmic spiritual free jazz slide. "King of Kings (1974) was the second album that reunited all original members including drummer Donald Robinson while adding several special guests, pianist Jerome Sanders, and cellist Chris Chafe. The opening track Mogho Naba continued the groups’ fascination and interest in African history and reflections. The Mogho Naba is the King of the Mossi people in what is now Burkina Faso, but dates back in antiquity. The tune’s rhythm is infectious! The use of call and response chants and beautiful horn lines is meant to hypnotize and induce trance elevating spiritual consciousness. Queen of the Spirits was written as a dedication to flautist Margaux Simmons. It is one of the bands’ favorite pieces of music. Utilizing the Ugandan harp, the African one string fiddle (Goge), percussion, piano and cello, the closing is prescient harking to world music and music for meditation that would come years later! A splendid volatile mixture of jazz (free, bop, and fusion) with powerful funk grooves and elements of African styles. Totally wicked & very clean first press issue in first issue Blue colored sleeve – hard to ever improve upon!!! Price: 400 Euro


1811. The PYRAMIDS: “Lalibela” (Pyramids Records – 3093-3) (Record: Near Mint/ Jacket: Excellent). Awesome condition of killer spiritual jazz slide, 1973 US original pressing. Same as the above, record is virginal, sleeve is excellent with faint trace on front from storage but extremely minimal. The Pyramids first album was recorded in Yellow Springs, Ohio in 1973, although that the bandleader Idris Ackamoor grew up in Southside Chicago. The album was recorded after the core of the band had made an extended trip to Africa and the influence of the dark continent oozes out of the music. At the same time was also the Chicago thing happening with the AACM approach and the Art Ensemble. The end result is brooding mix thriving upon fairly dense percussion & chant-like vocals igniting the core of the music. As the concepts & themes behind the songs are African in inspiration, so are some of the less conventional instruments. But certainly, this is not African music, or even an attempt to imitate African music, but instead it fuses into a sort of Afro-centric post avant jazz thang, not unlike sonic explorations Coltrane to Sun-Ra were also involved with. But the Pyramids were a local group & their playing is rootsier than most of the name jazz players at the time, displaying instead a novel, exciting take on the fusion concept--they combined aspects of spiritually inspired R&B/soul, free jazz, and funk with a liberal sprinkling of cosmic awareness. Their approach emphasized improvised percussion and woodwinds but with a focused, solid center. Originally released in 1973, Lalibela consists of two very long pieces that build over the course of the album. On them, the Pyramids sound as if they wanted to link the free jazz sounds of Chicago and New York with the spiritually and politically charged R&B and funk of the period (James Brown, Curtis Mayfield, etc.). Both heady and groove-oriented, the Pyramids made music that can sweep the listener into their sound-world. Awesome from start to finish!  Price: 350 Euro
1812. The PYRAMIDS: “Birth – Speed – Merging – 1976” (Pyramids Records -30935) (SEALED ORIGINAL). This here is an original copy of a long-lost mysterious jazz record, originally released as a private pressing in 1976. SEALED ORIGINAL – final upgrade for those in need of perfection. Here is a little expose that the now defunct Aquarius Records wrote about the CD issue of this album. “But don't let the lack of background keep you from enjoying this record, cuz it's definitely one of the most amazing rediscovered free jazz gems we've heard in ages. And it's not just free jazz, all wild swirl and skronk. Instead it's an exotic blend of Don Cherry's Orient, Funkadelic's Maggot Brian, some Art Ensemble Of Chicago, with wild Eastern sounding tribal rhythms, shuffling jazzy post bop, fluttering flutes and skronking horns, chanted vocals, droning buzzing ragas, seventies psychedelic free folk, propulsive kraut-funk jams, some totally chaotic free jazz here and there, octopoidal drumming and wild shrieking sax, haunting percussive soundscapes, replete with strange creaks and whistles, and then before you know it transforming before your ears into what sounds like traditional African music with warm muted thumb piano melodies, chanted harmonies, bird calls, and sweetly melodic flute, rollicking bass heavy grooves under wild hand drums and carnivalesquee noisemaking. The final track, the 16 minute long "Black Man And Woman Of The Nile", is a mellow slow burning groove, with a throbbing bass riff, warm rich sax runs, shuffling percussion, the whole thing a laidback, sun drenched, barefoot funk-jazz jam, warm and dreamy and hypnotic, with a short break in the middle for a brief skronky freak-out, and then straight back into it, eventually drifting off into abstract ambience, softly moaning horns, dreamy melodies and barely there percussive chatter. Awesome!” Spot on description of a killer free funk jazz slide that is actually a bloody rare masterpiece. Fantastic true out and this one is SEALED. Price: 200 Euro