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

1932. OCTOPUS: “Restless Night” (Penny Farthing – PELS-508) (Record: Near Mint/ gatefold Jacket: Near Mint ~ Mint). Perfect condition UK first original pressing – with “Promotional Copy Only Not For Resale” stated on sleeve – never seen before PROMO issue. Perhaps due to it being recorded at the tail end of the psychedelic pop years in 1970, or the ghastly illustration that graced the sleeve, Octopus’ sole album slipped quietly under the radar of most listeners at the time … had they ever came across it at all. Released in 1971 LP by this band from Hatfield, UK 'Restless Night' reveals melodic traces of '60s giants such as The Beatles, Zombies, Kinks and Bee Gees, but adds a harder early '70s edge. With hooks galore, swirling organ, and fuzztone guitars, Restless Night is a prime example of early 70s UK psychedelia. Really a stunner. Best condition imaginable so…. Price: Offers!!!
1933. OHYABU HARUHIKO SOUND ACTION & THE FULL THROTTLE JAZZ ROCK BAND: “Full Throttle!!!” (Columbia – YS-2298-AX) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 4 Paged Illustrated Booklet Inside Gatefold: Near Mint/ Obi: Near Mint) Totally obscure and damned rare Japanese exploitation free jazz slide not unlike Barney Wilen’s Auto Jazz. Ranging from crashing free jazz blow-outs to hard post-bop jazz grooves, the whole setting of this slide gets injected with free-for-all musique concrete sounds of vintage race cars speeding around, motors humming, race announcements, all the while with the Full Throttle Jazz Rock Band churning out an incendiary set fueled with gut wrenching moves, twists and turns. The car sounds mix perfectly with the burning fire music, a match made in the heavens that spices it all up a notch. This slide makes you reach out for your Amyl Nitrate inhaler and suck the living daylights out of it! Rev it up!!! The whole affair comes housed in a great gatefold picture sleeve with attached illustrated booklet. This record just does not surface that much at all, and when it does it goes by unnoticed as hardly anyone dives in to explore it and to get smashed in the face with its sonic contents. A real burner of a record that sold almost nothing back in the day and when heads get turned on to this beast, prices will skyrocket to infinity for this one, mark my words. Still a largely undiscovered Japanese jazz head twister that beholds uncut raw killer sounds! Top copy original Japanese pressing on high quality vinyl. Comes complete with damned rare OBI. Price: Offers!!!

1934. OLIVER NELSON SEXTET: “Blues and The Abstract Truth” (Impulse – SGD-4) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Another pressing of The Blues and the Abstract Truth. This is a high-quality audiophile pressing that saw the light of day in 1991 and sounds astonishing. Top condition, all seems untouched for decades, impossible to ever improve upon. Price: 40 Euro

1935. OLIVER NELSON With ERIC DOLPHY: “Straight Ahead” (Prestige/ Victor Records – SMJ-6506) (Record: Near Mint/ Jacket: Near Mint/Insert: Near Mint). Japan later pressing from 1976 - MONO pressing. A great little small group session by Nelson – one that has him working in a quintet with Eric Dolphy, one that shows that Nelson could be a strongly modernist player when he wanted to be! Dolphy plays alto, bass clarinet, and flute – and Nelson's tone is appropriately biting to match the set – way harder and stark than on some other albums, with an edge that we really like a lot! Rhythm is by Richard Wyands, George Duvivier, and Roy Haynes. Price: 40 Euro
1936. OLIVER NELSON With ERIC DOLPHY: “Straight Ahead” (Top Rank/ Victor Records – MJ-7031) (Record: Near Mint/ Flip Back Jacket: Near Mint/Obi: Near Mint). Hardly ever offered 1961 Japan 1st original deep groove MONO pressing all complete with fucking rare obi. A great little small group session by Nelson – one that has him working in a quintet with Eric Dolphy, one that shows that Nelson could be a strongly modernist player when he wanted to be! Dolphy plays alto, bass clarinet, and flute – and Nelson's tone is appropriately biting to match the set – way harder and stark than on some other albums, with an edge that we really like a lot! Rhythm is by Richard Wyands, George Duvivier, and Roy Haynes. Price: 300 Euro
1937. OLIVER NELSON SEXTET with Eric Dolphy and Richard Williams: “Screamin’ The Blues” (Top Rank/ Victor Records – RANK-5077) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint) Another hardly ever seen or offered Japan 1961 first press original MONO issue, all complete with freakingly rare first issue obi. One of the most open-ended and laidback records ever from Oliver Nelson -- a set that gets away from the tighter arrangements of other albums, and really lets you concentrate on his saxophone work! The album's got a really wonderful feel throughout -- easygoing and soulful, with work by a sextet that includes Eric Dolphy on alto, Richard Williams on trumpet, and Richard Wyands on piano -- all grooving beautifully with immaculate Rudy Van Gelder production -- used here with a slightly echoey quality that really deepens the sound of the set! Nelson plays both alto and tenor sax. Top shape with rare OBI. Price: 250 Euro
1938. 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: 350 Euro
1939. 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: 250 Euro
1940. 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: 250 Euro
1941. 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
1942. 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
1943. 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
1944. 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
1945. 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
1946. 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
1947. OPAL: “Early Recordings” (Rough Trade Records – Rough-128) (Record: Near Mint/ Jacket: Excellent) Scarce UK original. “While Opal's Happy Nightmare Baby is more representative of the group's richly textured brand of neo-psychedelia, the stripped-down Early Recordings compilation is an even better example of David Roback and Kendra Smith’s remarkable songcraft. Released in the wake of the group's breakup, the album collects the majority of tracks from the Fell From the Sun and Northern Line EPs, along with a handful of outtakes and unreleased cuts, all spotlighting Opal's more subdued, acoustic-folk side. Peeling away the mystical haze which enshrouded Happy Nightmare Baby, the songs are plaintive and stark, exposing the emotional complexity at the band's core -- the wistful "Empty Box Blues" and the haunting "Harriet Brown," both previously unissued, are unmatched in their beauty and grace.” (All Music Guide). Essential. Price: 100 Euro

1948. 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

1949. 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

1950. 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
1951. 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
1952. 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
1953. OST – NICOLAI, BRUNO: “Music from the Original Soundtrack of “Stuntman” – Controfigura b/w Swing E Sesso” (Victor Records – JET-1974) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Japan only picture sleeve issue – WHITE label PROMO – single comes with centerpiece still attached!!! The jazz beat soundtrack, composed by Maestro Carlo Rustichelli for the Italo crime movie “Stuntman” directed by Marcello Baldi in 1968. The film starred Gina Lollobrigida, Robert Viharo, Marisa Mell and Marie Dubois. The orchestra was directed in the studio by Bruno Nicolai, with the participation of Alessandro Alessandroni’s “I Cantori Moderni” (The Modern Singers) choir and was produced by Franco De Gemini. Only released as LP released by CAM in Italy in 1969 and is a most sought-after record. This beauty here is the Japan only single issue from 1970. Top condition of rarely seen Japan original. Price: 100 Euro
1954. BUDD, ROY: “Goodbye Carter b/w Livin’ Should Be That Way” (Odeon – OR-2951) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare 1971 Japan only single issue of killer Roy Budd slide. Two loose polyrhythmic funk groovers guiding you through a psychic maze of intoxicating sounds. Comes housed in beautiful picture sleeve to boot. Rare as hell, does not surface that often, especially in a nice shape. Highest recommendation! Price: 250 Euro
1955. OST – ROY BUDD - GET CARTER: “S/T” (Odeon – OP-80424) (Record: Near Mint ~ Mint/ Jacket: Near Mint with faintest trace of foxing on back/ Obi: Near Mint). TOP copy, original Japan only 1971 issue. Freakingly rare original pressing, only released in Japan in 1971, never saw a UK or US release. Top condition. As Herbie Hancock's "Blow Up" soundtrack matched the director, I can't think of a soundtrack that better matches the cool of Michael Caine than "Get Carter". Roy Budd, a jazz and “easy listening” specialist, who worked well outside his previous boundaries for this film, composed the distinctive music in the film. The theme tune features the sounds of Caine's train journey from London to Newcastle. Budd and two other jazz musicians, Jeff Clyne and Chris Kara, played all the music. The soundtrack was only been released in Japan. The ODEON-label, mainly known for its Japanese Beatles releases is said to even have some releases, including the famous Roy Budd-score "Get Carter", starring Michael Caine in one of his best performances (advertisement slogan on British buses, when the movie was shown in GB: "Caine is Carter and Carter is Caine"!), to melt them down due to a vinyl shortage and in order to repress some Beatles LPs ... Most likely only a rumor, but at least a scaring one and considering the amounts, Japanese "Get Carter"-copies went before its vinyl and CD-re-issue by the British Castle-label, a possible explanation for its incredible scarcity ... and bloody scarce it is. Never seen a mint copy up for sale – let alone with obi present – of this funky butt-shaker, but here is a complete copy finally. Top condition, funky ass-kicking music and in order to wheel it in, you better kick your own ass and make a solid move. Never ever saw a mint copy offered before for sale complete with obi, hideously rare as you might know, so act accordingly. Price: Offers!!!!!!!
1956. OST – BURNING SPEAR; INNER CIRCLE; BUNNY WAILER; THIRD WORLD; GREGORY ISAACS; HEPTONES; JUSTIN HINES; JUNIOR BYLES; THE UPSETTER; KIDDUS I; JUNIOR MURVIN; JACOB MILLER: “Rockers” (Island Records – 20SI-105) (Record: Near Mint/ Jacket/ Near Mint/ Insert with attached Obi: Near Mint/ Japan Only 26 paged Fully Illustrated Booklet: Near Mint). Top shape and first and only copy I ever see all complete with obi and the Booklet!!! The 1975 great soundtrack to Rockers -- an important film from the Jamaican scene of the 70s, and one that offered up some really fantastic footage right from the streets of Kingston! The film was issued after the big fame of The Harder They Come -- and while it never reached the heights of the Jimmy Cliff classic, it's maybe even more interesting overall -- a lot less polished, in a way that also comes through in the music -- which echoes the nature of the film with some of the sense of accident and collaboration that characterized the ever-fervent scene of the time. Titles include "We A Rockers" by Inner Circle, "Money Worries" by The Maytones, "Police & Thieves" by Junior Murvin, "Book Of Rules" by The Heptones, "Stepping Razor" by Peter Tosh, "Tenement Yard" by Jacob Miller, "Fade Away" by Junior Byles, "Rockers" by Bunny Wailer, "Slave Master" by Gregory Isaacs, "Dread Lion" by The Upsetters, "Graduation In Zion" by Kiddus I, "Jah No Dead" by Burning Spear, "Satta Massagana" by Third World, and "Natty Take Over" by Justin Hinds & The Dominos. Price: 75 Euro
1957. 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
1958. 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
1959. OST – DE ROUBAIX, FRANCOIS: “Bande Originale Du Film “Le Samourai” – Le Samourai b/w Martey’s” (Philips – SFL-1147) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Japan only picture sleeve issue – single comes with centerpiece still attached. One of the darkest soundtracks ever from the wonderful Francois De Roubaix – a moody, brooding score that really fits the solitary spirit of the main character! There's still plenty of those cool De Roubaix elements in the mix – even some weird melodies on organ and electronics – mixed with other piano or flute lines, all in these slow-stepping modes that have a wonderfully haunting vibe. Hard to find in top condition like this beauty here so… Price: 75 Euro
1960. 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: 250 Euro
1961. 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
1962. OST – FIDENCE NICO: “Emanuelle Theme From Original Soundtrack EMANUELLE NERA b/w Black Emanuelle From Original Soundtrack EMANUELLE NERA” (Polydor – DP-4012) (7 Inch Songle Record: Near Mint/ Picture Sleeve: Near Mint with faint promo stamp on back/ Company Inner Sleeve: Excellent). Rare single version WHITE label PROMO issue. Price: 125 Euro
1963. OST – FIDENCE NICO: “Original Soundtrack Recording From EMANUELLE NERA” (Polydor – MP-2538) (Record: Near Mint ~ Mint/ Gatefold Jacket: Excellent ~ Near Mint). Original Japan only issue of great soundtrack that comes housed in Japan only gatefold cover art. White label PROMO issue. Brilliant soundtrack, stuffed to bursting with swirling exotic & intoxicating pulsating & butt-shaking rhythms, head-spinning female vox popping up all over the place, guiding you towards a psychic maze of sultry madness. Listening to this makes me feel like booming downhill towards a cushion of naked snow bunnies. Fidence surely put to use eroticism and mixed it gently with an ethnic smash ‘n’ grabs, jungle shoot-outs and sheer lust for swirling sounds, creating a sonic mutant variation that combines propulsion, eloquent ornamentation and cosmic phrasing aimed like acupuncture darts at your aural pleasure points. Brilliant and totally addictive soundtrack. Original Japan only issue that comes housed in an eye-popping erotic sleeve art. White label promo. Highest recommendation!!! Price: 250 Euro
1964. 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
1965. 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

1966. 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

1967. 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
1968. OST - GRUSIN, DAVE - CANDY: “OST Candy – Constant Journey b/w Ascension To Virginity” (ABC Records/ King Records – HIT-1812) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint) Top condition Japan original press issue that comes housed in a cool gatefold picture sleeve. Price: 150 Euro
1969. OST - HANCOCK, HERBIE: “Death Wish” (CBS SONY – SOPN-101) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Super clean copy of 1974 Japan only Death Wish soundtrack issue, WHITE label PROMO. Herbie Hancock extends the reach of his Head 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! Price: 100 Euro
1970. OST – HAYASHI HIKARI: “Ningen – Main Theme b/w Satsui – Skokuzai” (King Records – EB-801) (7 Inch Single Record: Excellent ~ Near Mint/ Picture Sleeve: Excellent ~ Near Mint with minimal foxing on back/ Company Inner Sleeve: Near Mint). Damned this is a rare bird here, 1st original soundtrack with killer score from 1962, balancing between lounge jazz – experimental avant-garde moves and a slice of the free! Stupidly rare, highly sought after on these shores by those in the know and virtually unknown by everybody outside of the archipelago. Top shape and damned insanely rare – especially in this condition here. Price: 300 Euro
1971. 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
1972. OST – JAGGER, MICK: “Mick Jagger as Ned Kelly” (United Artists Records/ King Records – SR-727) (Record: Near Mint/ Jacket: Near Mint with only faintest trace of some foxing/ Insert: Near Mint/ Obi: Excellent). Rare Japan released soundtrack all complete with rarely seen obi. WHITE label PROMO issue. Price: 200 Euro
1973. 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

1974. 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

1975. OST - “MORNING OF THE EARTH – ORIGINAL FILM SOUNDTRACK” (Warner Bros. Japan – P-10647W) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). The very first 1979 Japanese Press issue of the Anthology Surf Archive – transcendent and as vital as ever, the Morning of the Earth film stands toe to toe w/ The Endless Summer as perhaps the most widely recognized (and worshiped) surf film. This is the first ever JAPANESE PRESS ISSUE of the soundtrack from this 1971 classic directed by Albert Falzon. Morning of the Earth offers timeless and meditative jams that capture the spirit of 70s Australia surf culture — the sound of escapism.  Featuring G. Wayne Thomas, Tamam Shud, John J. Francis, Brian Cadd and more. It surveys the historical intersection of music and surf countercultures. Interwoven with the films that have documented surfing’s evolution from the fringe to forefront are the soundtracks that paced them. Price: 50 Euro
1976. OST – MORRICONE, 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
1977. 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
1978. 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
1979. OST – MORRICONE, ENNIO & PICCIONI PIERO: “Dala Colona Sonora Originale Del Fil Le Streghe – Mandolinata b/w Cha Cha Beat” (United Artists – UA-3113) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Top condition Italian OST – first original press issue from 1967. Comes housed in cool picture sleeve and all is in top condition. Essential piece for your soundtrack and Morricone buffs. Price: 50 Euro

1980. 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

1981. 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

1982. 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: 175 Euro

1983. 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

1984. OST – The Old Time Folk Singers: “Shichi Nin No Samurai – Samurai No Thema b/w Yuuhi Ni ….” (Toho Records – AT-1134) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Top condition Japan first original press issue of classic soundtrack to the “Seven Samurai” flick. Comes housed in cool picture sleeve. Price: 40 Euro
1985. 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
1986. GORAGUER, ALAIN - OST - La PLANETE SAUVAGE: “S/T” (Pathe – 2C-066-12.698) (Record: Near Mint/ Gatefold Jacket: Near Mint - with rare hype sticker present in upper right corner). French original of cult animation flick La Planete Sauvage. Comes with matching machine-stamped matrix numbers in the dead wax and with rare hype sticker on sleeve! 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 is the 1976 pressing 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. Getting damned scarce, especially in top shape - this one is just perfect from start to finish!!!! Price: 475 Euro
1987. 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!!!!
1988. 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: 100 Euro
1989. 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: 50 Euro
1990. 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
1991. OST – THE SHINING: “S/T” (Warner Pioneer – P-10894W) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan 1st original pressing all complete with obi and insert. The soundtrack for Director Stanley Kubrick's 1980 film, The Shining may be the horror genre's Holy Grail; the LP version of the soundtrack was withdrawn from the market due to licensing issues. The film has since become so iconic and the OST much sought after. Kubrick had an uncanny knack of synchronizing just the right passages of music to coincide perfectly with the images on the screen. The music here on display consists mainly of pieces by 20th-century composers, Bela Bartok, György Ligeti, and Krzysztof Penderecki. However, the music (an arrangement of "Dies Irae from "Symphonie fantastique" by Hector Berlioz) for the opening titles, called "The Shining Theme" and the foreboding track titled "The Rocky Mountains" were provided by Wendy Carlos. Still, the music is quite eerie and used to great effect. "Lontano" by Gyorgy Ligeti plays when Danny sees the spooky Grady twins for the first time. The “all work and no play” scene in the movie highlights Penderecki’s “Polymorphia” which has been appropriately dubbed the sound of madness. Penderecki’s music ("The Awakening of Jacob") is used again for when Jack enters Room 237; "Utrenja-Kanon Paschy" can be heard when Wendy sees the elevator of blood, and finally "Utrenja-Evangelia" plays when Wendy sees Redrum written on the mirror. This is a terrifying, bone-chilling soundtrack, destined to keep resonating within the canyons of your deserted mind long after the closing credits have evaporated into nothingness. Price: 200 Euro
1992. 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: 100 Euro
1993. 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
1994. 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
1995. 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
1996. 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
1997. 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!!!
1998. GEORGE OTSUKA TRIO: “Last Summer Page 3” (Columbia – XMS-10021CT) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint). Rare Japanese jazz classic released on Columbia’s Takt Jazz Series. Page three in the early chapter of drummer George Otsuka – and a record that has him stretching out even more than before! Back in the 60s, Otsuka was easily one of the most expressive leaders in Japan – an artist who held all the tightness that the scene had embraced earlier in the decade – yet who could really stretch out in ways that pointed towards Japanese piano trio freedom to come in the 70s! This album's a perfect example of the richness of Otsuka's skills – bold and modern some moments, yet swinging the next – lyrical at points, yet never sleepy – and always driven with this sense of majesty that few of his contemporaries on the scene could match. The group features sublime work on piano from Hideo Ichikawa and bass from Masaoki Terakawa. Clean and mean original first press issue. Price: 150 Euro
1999. GEORGE OTSUKA QUINTET: “Sea Breeze” (Union Records – ULP-2002) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – faintest trace of foxing inside gatefold). Heavy duty shit here – next-to-impossible to get first press issue in top shape. 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. Top condition original…making this baby rare as a hen’s teeth. Price: Offers!!!!!!
2000. OUBA: “S/T” (A1 Records – A-1 LJ33-213) (Record: Near Mint/ Jacket: near Mint – still largely in shrink) Rare & obscure Canadian psychedelic freak out jam private pressing from 1968. “More than anything psychedelic from the era, Ouba sounds like something off the German Krautrock scene, perhaps Can without the structural discipline or the wealth of ideas. The lack of discipline is, more than anything, a matter of the recording's genesis. A1 Freak Out Total, as the title alone implies, was an off-the-cuff, in-studio, freak-out jam, a vamp on certain riffs and rhythms to which the music frequently returns like organizational motifs, rather than anything remotely resembling songs. On top of that, the four culprits -- all friends and outstanding instrumentalists but all members of different combos on the Quebec, Montreal rock scene -- were admittedly stoned on various illicit substances when the music was set down. The resulting clamor was recorded straight-through, live, and with no editing, overdubs, or extraneous mixing. Although there are two tracks on the record, it is really just two halves of a single freeform studio experiment, not really even meant for outside ears. But although there are quite a number of meanderings, nonsensical moments throughout said jam, there are also a good many amazing, isolated sections, especially when superb drummer Andy Shorter and guitarist Michael Pagliaro hit upon a funky groove like something off Tago Mago or Ege Bamyasi. Electronic artists could have a field day extracting excellent samples from this music. With only a couple extant copies floating around, the original LP is one of the most ridiculously rare Canadian psych pressings.” (Stanton Swihart). Rarely surfaces – acid freak out private pressing not unlike Furekaaben with an outlaw basement vibe, stoned renegade fuzz jams surfing a pagan haunting trip that results in one long track with a feel like Yahowa in parts. Very few made, fewer have surfaced, this baby is in top shape. Price: Offers!!!!
2001. 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
2002. OUTSIDERS: “S/T” (Relax – 30.007) (Record: Near Mint = Mint/ Jacket: Near Mint ~ Mint). Top condition MONO first press original on black and silver toned Relax labels. Always a record that has condition issues and it is hard to find a clean one. This copy here is just VIRGINAL!!! Original Dutch pressing of the band's debut recording from 1967. This was the band's super-raw debut album, a few songs of which were recorded live. Tracks like "Filthy Rich," "Won't You Listen," and "If You Don't Treat Me Right" are comparable to little else of the era with their savage, Pretty Things-on-speed mood, and hyper-fast tempos. It is pure 60s garage rock mixed with thundering glue-sniffing teenage lysergic low-fidelity outbursts at its finest, jacked up with pounding greasy & trashy guitar strummings, soaring bass fills and wonderfully angst filled lyrics. Punk avant-la-lettre so to speak. Music that feels like standing in the midst of a prison riot in full swing. Top copy, records has maybe been played only a couple of times, looks like it was pressed only yesterday. Normally not as rare as “CQ” but in this perfect condition, it exceeds “CQ” by a mile as far as scarcity is concerned. No shit. Impossible to find in such a nice nick as this one since copies are always trashed beyond belief. This copy is just near perfect so I doubt they come any better than this one here, so go mental if you like. Price: Offers!!!!
2003. The OUTSIDERS: “Respectable b/w Lost In My World” (Capitol – CR-1585) (Red Wax 7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Red wax Japan only original issue in top condition. Not to be mistaken for their Dutch counterparts, this is the US based Outsiders. Price: 75 Euro
2004. 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!!!
2005. PABLO, AUGUSTUS: “Rockers Comes East” (Overheat Records – C28Y0268) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan 1987 original pressing all complete with Obi and Insert. PROMO issue of dub classic. Spotless original. Price: 50 euro
2006. PACK: “S/T” (Vinyl – 6.23450) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ Insert: Near Mint). Original 1978 first original pressing of absolutely killer German raw punk slide with a snarly garage, stripped down and primitive edge. Largely under the radar record that blows away most of the punk slides that came out in that era. Munich’s the PACK rose out the ashes of the Krautrock scene and was comprised of veterans that previously were active with Amon Duul and Samedi. They didn’t have to work too hard at getting their signature sound seeing that their sole album was recorded in the depths of a dingy old war bunker. This record is a personal all-time favorite and tops the list of the lesser-known 1st wave punk albums. While the drums, guitars and incredibly pissed-off vocals are certain to decimate what’s left of your eardrums, you will also be surprised to discover a host of tracks that are downright catchy without straying into the sugary pop that often marred many of their contemporaries. Already veterans of the German rock-n-roll scene when this came-out, it is rumored that these guys were disliked by the younger German punk bands, because they were slightly older, cracked skulls and were as nasty as the Vibrators. Just sheer brilliance. First original pressing that just evaporated and rarely turns up clean. Price: 200 Euro
2007. The MARTY PAICH QUARTET: “Featuring Art Pepper” (Globe/ Victor Records – SMJX-10138) (Record: Near Mint/ Jacket: Near Mint/ Insert: excellent/ Obi: Near Mint). Original Japan press issue al complete with rarely seen obi. A fairly obscure Tampa LP featuring pianist Marty Paich, altoist Art Pepper, bassist Buddy Clark and drummer Frank Capp. Pepper and Paich would have several notable collaborations during the next few years, but this was their first. Pepper is generally the main star, while Paich (who has several fine piano solos) contributes three of the eight songs to this cool-toned, but hard-swinging set. Price: 50 Euro
2008. The PAISLEYS: “Cosmic Mind At Play” (Peace Audio Studio Recording Studios/ Warick Productions – 944S-2809) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink with original price sticker still on shrink). Rare 1970 US private pressing of much acclaimed psych artifact. Ah yes, an original of this Midwestern psych classic, well known already back in the 1980s due to Psycho's early bootleg. You can see this as a sort of happy, upbeat acid mirror image to the dark trip of the CA Quintet LP, and together they're hip 33 RPM testaments from a legendary Minneapolis freak scene otherwise captured mostly on 45s. "Now" and "Wind" are head classics, but the album plays through solidly, with a melodic late Beatle vibe and super-cosmic stoner lyrics adding to the fun. Would make a superb good double bill with Faine Jade. The disc is clean without any minor defects or imperfections and plays clean, and the sleeve is also NM~M and still housed in its original shrink-wrap with original price sticker still firmly on top of it. Solid keeper copy of a vital title to any serious US psych collection and hard to improve upon TOP condition. Price: Offers!!!!
2009. 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: 200 Euro
2010. 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
2011. 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
2012. 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: 450 Euro
2013. PARLIAMENT: “Give Up The Funk (Tear The Roof Off The Sucker) b/w P. Funk” (Casablanca - VIP-2447) (7 Inch EP Single Record: Near Mint/ Picture Sleeve: Near Mint – some very faint foxing on back). Japan original that was released in 1976 and that comes housed in a unique Japan only picture sleeve. Rare WHITE label PROMO issue. George Clinton and Parliament do their thang like nobody else could. Greased out and souled up dirty funk vibes beamed down from the mothership! Price: 125 Euro
2014. 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!!!
2015. PARMEGIANI, BERNARD: “Espaces Sonores No. 1” (EMI - C06511690) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original French 1st press issue of amazing Parmegiani slide from 1971. Composed by Bernard Parmegiani in 1969, Outremer belongs to a series of compositions for single acoustic instrument and magnetic tape Parmegiani created during the 1960s, the tape usually contains sound manipulations of the acoustic instrument plus additional electronic sounds and studio effects. The juxtaposition of the live and taped instruments creates dense and unheard layers of sound that reconfigures the way one usually listens to instrumental music. Such is the case with Outremer, for Ondes Martenot, electronic and tape, as the electronic treatment of the Ondes’ sonorities raises eerie, otherworldly frequencies, expanding the range of the instrument and pushing it to its limits, where bowed sounds, bubbles, ripples, suction, oscillations, washes, crashing waves; all very mutable and seamlessly merged. Trois Canons en Hommage à Galilée by Spanish composer Josep Maria Mestres-Quadreny is a proper Ondes Martenot/percussion piece for duo where percussionist Sylvio Gualda’s mallet instruments propel the music in stellar regions. The music is terrific, interplay between the 2 instruments is perfect and the technique is peerless. With Parmegiani composing a tape piece just using the Ondes Martenot is something to make you quiver and shake. It is one of his finest, woofer-rattling, droned out by sheer batt-shit blasts of white-hot static & upper register freeze-dry waves of upper register electronic filigree, busy folding and manipulating space by perusing initial experiments in the organization of sheer sound! Killer and TOP condition! Price: 250 Euro
2016. 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
2017. 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
2018. 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
2019. PARSON SOUND: “S/T” (Subliminal Sounds – SUB-073-LP-BOX) (3 LP Box: SEALED). Killer Swedish underground psychedelic monster groover 3 LP Box first press issue that came out in 2010 and not the 2016 reprint one. “Defying the world to ignore the psychedelic shamanism and intense spirituality of their music, the battle cry of late 60s Stockholm underground quintet Pärson Sound was “We, Here and Now!”. Unfortunately, up to now their music has been a well-kept secret, despite such high-profile appearances as supporting The Doors, and being personally invited by Andy Warhol to open his 1968 exhibition at Stockholm’s Museum of Modern Art. Compiling unreleased live and studio recordings, Pärson Sound is an astonishing find that successfully buckles all notions of how rock, jazz and experimental music should behave. The first record opens with a lulling guitar drone that fools you into thinking that the remaining nine minutes or so of ‘Tio Minuter” (“Ten Minutes”) will be equally laid-back and hypnotic. It turns out that the intro is a short musical fuse setting off a cacophonic hard rock explosion that owes more to the psychedelic Metal brutalities of 60s heavyweights Blue Cheer than the minimalistic tone patterns of La Monte Young and Terry Riley (whose ideas Pärson Sound were also strongly attracted to; indeed, they met in an ad hoc ensemble put together to perform Riley’s music). Rather than just endlessly chipping and hammering at rock’s surface noise, however, the group carry out complex sound experiments, whose full richness only emerge with several patient replays. On “From Tunes To India In Fullmoon (On Testosterone)», a live recording from 1968, the group bring into play their love and understanding of free jazz. Bo Anders Persson’s looping electric guitar, Thomas Ticholm’s aggressive sax and Anne Ericsson’s howling electric cello supply the swifling black center for a sonic tornado. The main members of Pärson Sound went on to form the equally short-lived International Harvester, who recorded one album for Love Records called Sov Gott Rose Marie (Good Night Rose Marie). Disc two opens and closes with works from this period, both of which plunge head on into a rock filled swamp of strange sounds, devotional drones and amplified abstraction.” (Edwin Pouncey – Wire) Very 1st press issue still sealed to wax your celluloid dreams to infinity. Price: 150 Euro
2020. PATTI SMITH GROUP: “Frederic b/w Fire Of Unknown Origin” (Arista – 6RS-30) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan single issue WHITE label PROMO issue. Price: 150 Euro
2021. 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
2022. PATTI SMITH: “Looking For You (I Was) b/w Up There Down There” (Arista – PRTD-3040) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Pristine Japan 1989 original that was onlyy released as PROMO. PROMO ONLY issue in top condition. Price: 200 Euro
2023. 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: 125 Euro
2024. 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
2025. PATTI SMITH: “Horses” (Arista – 18RS-7) (Record: Near Mint/ Jacket: Near Mint/ 4 Page Insert: Near Mint/ Obi: Near Mint). Top condition Japan 1980 pressing complete with obi. “It isn't hard to make the case for Patti Smith as a punk rock progenitor based on her debut album, which anticipated the new wave by a year or so: the simple, crudely played rock & roll, featuring Lenny Kaye’s rudimentary guitar work, the anarchic spirit of Smith's vocals, and the emotional and imaginative nature of her lyrics -- all prefigure the coming movement as it evolved on both sides of the Atlantic. Smith is a rock critic's dream, a poet as steeped in '60s garage rock as she is in French Symbolism; "Land" carries on from the Doors' "The End," marking her as a successor to Jim Morrison, while the borrowed choruses of "Gloria" and "Land of a Thousand Dances" are more in tune with the era of sampling than they were in the '70s. Producer John Cale respected Smith's primitivism in a way that later producers did not, and the loose, improvisatory song structures worked with her free verse to create something like a new spoken word/musical art form: Horses was a hybrid, the sound of a post-Beat poet, as she put it, "dancing around to the simple rock & roll song." (All Music Guide) Spot On. Price: 50 Euro
2026. PATTO: “S/T” (Vertigo/ Philips/ Nippon Phonogram – SFX-7312) (Record: Near Mint/ Textured gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint – some faint foxing on back). Stupidly rare Japan 1st original pressing all complete with hardly ever offered “Do It Rock” Vertigo obi!!! WHITE label PROMO issue. “Considering that Patto are named after their lead vocalist, Mike Patto, one would be inclined to think initially that this four-piece band was essentially a vehicle for his vocal talents. Not so! in fact, if anyone is to the fore it is Olly Halsall, who plays lead guitar, acoustic, piano and vibraphone on the band’s debut album, and is outstandingly good. It is beyond my comprehension that he has not been heard before, seeing that he has been on the music scene for quite some time, most notably with Timebox, from the ashes of which b (sic) and Patto has arisen. Clive Griffiths, on bass, achieves a high degree of empathy with Halsall -- very subtle and understated -- and drummer John Halsey is the spur for much of the music, although occasionally he is a hit too busy and fond of flashy rolls, which threaten at times to disturb the delicate balance which the others are maintaining. Patto, who is one of the four vocalists with Keith Tippett’s Centipede, has a lovely funky soul voice, with traces of both Stevie Winwood and Long John Baldry. The music moves from rock to jazz and back again, but they are hardly a jazz-rock band in the popular concept; there is certainly a very free-form approach on "Money Bag," on which Halsall's hard-edged guitar work solos over a loose backdrop of bass and drums, with Patto’s voice dropping in at the end in an almost detached fashion. Producer Muff Winwood has produced the album with great restraint and simplicity. I’m very impressed by it.” (Melody Maker Review – December 1970) A true and indispensable classic on which Ollie Halsall shreds the sky to pieces. This album still rules my world after all these years. Highly essential and top-notch condition white label promo with OBI!!! Price: Offers!!!!!
2027. 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: 400 Euro
2028. 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: 200 Euro
2029. PEACOCK, ANNETTE: “The Perfect Release” (Aura/ Victor Records – VIP-6712) (Record: Near Mint/ Jacket: Excellent ~ Near Mint with some faint foxing/ 4-Paged Insert: Near Mint/ Obi: Near Mint) Japan first original press issue from 1980 – WHITE label PROMO issue. Released in 1979, this prophetic stew of spoken word, jazz, and funk from Annette Peacock was wildly ahead of its time and is still salient today. Her unflinching examinations of capitalism, sex, religion, et al. are underscored by lengthy, gorgeous grooves. Peacock wields her voice with wild abandon, at times delivering a melody like a Beat poet while other times wailing out of her throat like a saxophone, hitting blue notes as she pleases. Where most musicians riff, she creates sonic space. Perhaps too esoteric to garner commercial praise at the time, with this reissue we're proud to encourage the discovery and praise that The Perfect Release deserves. Price: 75 Euro
2030. PEACOCK, GARY TRIO: “Eastward” (CBS Sony – SONP-50237J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japan rare first original press issue from 1970 – all complete with the always missing first issue OBI. One of Gary Peacock's rare Japanese-only albums for Columbia -- really dynamic trio work that's a lot more powerful than the bassist's later sides for ECM! Gary's working here with Masabumi Kikuchi on piano and Hiroshi Murakami on drums -- in a mode that's got the open-ended, long flowing energy that would emerge most strongly in Japanese trio sessions a few years later -- a style that's exploratory, but never too free -- and perfectly suited to the tonal colors that Peacock's always brought to his work on bass. The set is sophisticated, yet never full of itself -- with a great juxtaposition of lyrical and modern moments, carved out here with a heck of a lot of power! Comes with the always-missing OBI present!!!! Price: 150 Euro

2031. 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: 250 Euro

2032. 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: 75 Euro
2033. 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
2034. PENTANGLE: “S/T” (Globe – SJET-8143) (Record: Near Mint/ Jacket: Near Mint/ DIE CUT Outer Jacket 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 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!!!
2035. 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/ Insert: 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: Offers!!!
2036. 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: 550 Euro
2037. 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
2038. 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
2039. 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
2040. 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
2041. PENTANGLE: “Reflection” (Transatlantic/ Victor Records – SWG-7545) (Record: Near Mint/ Gatefold Jacket: Near Mint – still housed in shrink/ Booklet: Near Mint/ Obi: Near Mint – still housed in shrink) Rare 1971 Japan first press original complete with rarely seen first issue cap obi. “Pentangle were always great at creating musical fusions, and on this album, they once again came through. The opening song, "Wedding Dress," is a fabulous meeting of Celtic, country, and, believe it or not, funk. It's one of the few songs of theirs that actually rocks. The rest of the record is classic Pentangle, with Bert Jansch’s and John Renbourn’s acoustic guitars intermingling so well that it would make even Neil Young and Stephen Stills a little envious. Jacqui McShee, as usual, has some exquisite vocal moments, namely the previously mentioned "Wedding Dress" and an excellent reading of "Will the Circle Be Unbroken." This track shows how the group was further exploring new musical ground, this time with traditional American folk/gospel. The group's rhythm section of Danny Thompson (upright bass/cello) and Terry Cox (percussion) -- easily one of the most inventive on the planet -- shines on every cut, creating solid ground for Renbourn, McShee and Jansch to do their high-wire act on vocals and guitar. One of their finest all-around albums.” (All Music Guide) Pristine Japan original with obi…first time I have one in over more than a decade. Dead cheap! Price: 450 Euro
2042. 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
2043. 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
2044. 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!!!!
2045. 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: 250 Euro
2046. 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

2047. 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

2048. 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: 250 Euro

2049. 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!!!!!

2050. 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!!!!
2051. 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: 450 Euro

2052. 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: 450 Euro

2053. 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!!!!!

2054. 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

2055. PHAROAH SANDERS: “Karma” (Impulse – AS-9181) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent – no damages – foxing inside gatefold/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Direct Import Obi: Excellent). Top condition US original pressing of all-time spiritual jazz classic – was directly imported to Japan and comes therefore with the rare Japan only insert and the rarely seen Direct Import OBI. “Sanders’ third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. There are only two tracks on Karma, the 32-plus minute "The Creator Has a Master Plan" and the five-and-a-half-minute "Colors." The band is one of Sanders’ finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion. "Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane’s continuing influence on Sanders. But something else emerges here as well: Sanders’ own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited, Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colors," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it.” (All Music Guide). This one is so essential it must really hurt when you do not have it. Great condition US original with import OBI present. Price: 375 Euro
2056. PHAROAH SANDERS: “Karma” (Impulse – AS-9181) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~Near Mint/ Company Inner Sleeve: Excellent). Top condition US original pressing of all-time spiritual jazz classic – first original pressing with No “R” on label. Price: 150 Euro
2057. 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: 200 Euro
2058. 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: 375 Euro

2059. 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: 375 Euro

2060. 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. 1966 Sanders’ debut for the Impulse label. One of the first moments of genius from a young Pharoah Sanders – a set that builds on the energy of John Coltrane's Love Supreme generation – but takes it in a much more expansive direction! The album's got a sense of majesty that's years ahead of its time – righteous, positive, spiritual jazz that flows out with a timeless power, and a quality that almost out-Coltrane's Coltrane! All tracks are long, expressive, and freely flowing – building with a very organic sense of energy – totally free from any gimmicks or cliche. Players include Dave Burrell on piano, Henry Grimes on bass, and Sonny Sharrock on guitar – and Pharoah plays alto, tenor, and piccolo – and even vocalizes a bit. The album begins with the amazing "Upper & Lower Egypt" – which is a perfect illustration of the two sides of Pharoah's genius – free/out & spiritual/modal. Top condition, next to impossible to ever upgrade upon. Price: 250 Euro
2061. 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. RED WAX Issue, rarer than the promo version by a mile. Sounds fantastic and in incredible condition. 1966 Sanders’ debut for the Impulse label. One of the first moments of genius from a young Pharoah Sanders – a set that builds on the energy of John Coltrane's Love Supreme generation – but takes it in a much more expansive direction! The album's got a sense of majesty that's years ahead of its time – righteous, positive, spiritual jazz that flows out with a timeless power, and a quality that almost out-Coltrane's Coltrane! All tracks are long, expressive, and freely flowing – building with a very organic sense of energy – totally free from any gimmicks or cliche. Players include Dave Burrell on piano, Henry Grimes on bass, and Sonny Sharrock on guitar – and Pharoah plays alto, tenor, and piccolo – and even vocalizes a bit. The album begins with the amazing "Upper & Lower Egypt" – which is a perfect illustration of the two sides of Pharoah's genius – free/out & spiritual/modal. Top condition, next to impossible to ever upgrade upon. Price: 300 Euro
2062. PHAROAH SANDERS Featuring Vocalist SEDATRIUS Brown: “Village Of The Pharoahs” (Impulse – IMP-88151) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Original 1973 Japan first pressing in nice nick – WHITE label PROMO all complete with OBI. Probably the rarest Japanese domestic release of all Sanders’ albums. The line-up consists of pianist Joe Bonner, bassist Cecil McBee, drummer Norman Conners and percussionist Lawrence Killian. Because Village was recorded at three different sessions over three years, it also contains numerous other players, including vocalist Sedatrius Brown, bassists Stanley Clarke, Jimmy Hopps and Calvin Hill, percussionists Hannibal Peterson and Kenneth Nash and flutist Art Webb. Historically, Village Of The Pharoahs has gotten a bad rap because of its wide range of musical approaches. The largest part of the former album is taken up with the three-part title track on which Sanders plays only soprano saxophone, percussion instruments, and sings. It's a cosmic, sprawling jam that seems to lead everywhere through Middle Eastern modalities, but is wonderfully accessible. Other highlights include "Memories of Lee Morgan," with gorgeous flute playing by Webb matching Sanders’ soprano, and a wonderfully elliptical piano line by Bonner and the closing "Went Like It Came," where Sanders pulls out his mighty tenor and makes his brand of vanguard jazz swing like mad. Great stuff and another essential addition for your Pharoah Sanders collection! Never surfaces with obi, first copy I see in ages. Price: 375 Euro
2063. 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: 375 Euro
2064. PHAROAH SANDERS: “Deaf Dumb Blind Summun Bukmun Umyun” (Impulse – AS-9199) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Original Impulse pressing of this amazing spiritual jazz masterpiece. TOP COPY!!! A passionate recording from the greatest disciple of John Coltrane. The two sidelong performances of “Summun, Bukmun, Umyun” 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: 175 Euro
2065. 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: 125 Euro

2066. PHAROAH SANDERS: “Izipho Zam (My Gifts)” (Strata-East/ Tokuma Records – JC-7509) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – some foxing spots on the sleeve/ Insert: Near Mint/ Obi: Near Mint). Bloody rare Japanese pressing all complete with even rarer OBI!!! PROMO issue. 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! Promo with OBI. Price: 500 Euro

2067. PHAROAH SANDERS: “Izipho Zam (My Gifts)” (Strata-East/ Tokuma Records – JC-7509) (Record: Near Mint/ Jacket: Near Mint – without the always omnipresent foxing/ Insert: Near Mint/ Obi: Near Mint). Bloody rare Japanese pressing all complete with even rarer OBI!!! PROMO issue. TOP condition, best ever… 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! Promo with OBI. Seen its immaculate condition… Price: Offers!!!!
2068. PHAROAH SANDERS: “Pharoah” (India Navigation Records – IN-1027) (Record: Near Mint – faintest trace of handling/ Jacket: Near Mint with no ring wear at all). Rare US 1977 first original pressing in amazing condition. Best condition one I have seen in over a decade, maybe your final upgrade archival copy!!! 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 and this one here is just perfect, NM/ NM all way round and next to impossible to ever upgrade upon, so this baby here will cater just to your nerdy needs! Price: Offers!!!!
2069. PHILAMORE LINCOLN: “Temma Harbour b/w When You Were Looking My Way” (CBS Sony – CBSA-82052) (7 Inch Single Record: Near Mint with center piece still attached to the single/ Picture Sleeve: Excellent ~ Near Mint – top shape but some discoloration due to age visible against white background/ Company Inner Sleeve: Near Mint). Rare Japan only picture sleeve issue – YELLOW label PROMO issue in top condition. Released in the always stunning and collectible Air Play Series on CBS Sony. Rare title of killer UK soft pop psych masterpiece, containing two eargasmatic lush songs. Perfect late night guilty listening pleasure. If you dig Millennium and Sagittarius, then this one has “for you” written all over it. Just beautiful! Price: 150 Euro
2070. 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
2071. 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: 350 Euro
2072. 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: 175 Euro
2073. 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: 350 Euro
2074. 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: 300 Euro
2075. PIAZZA ARMANDO: “Suan” (B.B.B. - Beautiful Black Butterfly Records – BSLA-0002) (Record: Excellent ~ Near Mint – some very faint barely visible & inaudible micro sleeve lines/ Gatefold Jacket with Attached Booklet: Excellent ~ Near Mint). Bloody rare original 1972 Italian issue in just awesome nick. Hard to improve upon! This one is up there with Mark Fry as the most sought-after psych/ folk LP released in Italy. Acid-psychedelic ballads, with lots of acoustic guitar, bursts of fuzz guitar and excellent use of electric instruments. The fuzz bass on "The House on the Hill" will blow your mind and speakers away. It is one of the best and rarest European psychedelic folk rock albums. Armando Piazza, singer-songwriter from Naples was joined by renowned US guitarist Shawn Phillips on bass, acoustic and electric guitar. "Suan" was originally released on the obscure Black Beautiful Butterfly label in 1972 and since its release it was being sold at concerts and by mail only – so copies are far and few in between. So, it was even then difficult to find. Blessed with English vocals, the album is comprised out of long tracks, totally wicked acid leads all over, oozing out an introspective feel. In short, totally awesome, and unique sounding with Shawn Philips backing. Comes housed in great gatefold sleeve with attached lyrics/ picture booklet. Totally essential and in great condition to boot!!! Sadly, a bitch to unearth and rare forever so… Price: Offers!!!!
2076. PIERROT LUNAIRE: “Gudrun” (RCA – ERS-28014) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Mint/ Obi: Mint). Original Japan 1st press issue all complete with obi and insert and in virginal condition. Impossible to upgrade upon. “This is one of coolest, most original, exciting and eclectic albums I've ever heard. Mixing everything from symphonic progressive, avant-garde, jazz, minimalism, baroque classical, embryonic electronica and even opera into a fully cohesive, impeccably structured work might seem like a daunting task, but Arturo Stalteri and Pierrot Lunaire have done it with apparent ease. They've made something work which is nearly impossible to describe in words, and that means something. The band jumps from style to style with an impossible grace, segueing, contrasting and even colliding segments, themes and genres. The effect is like that of a dream, a journey through some vast sound collage with endless depth and ingenuity around every corner. Pardon the rave, but Gudrun has become one of my all time favorite albums and easily within my top five or so Italian albums. However, typical Italian prog this is not, but maybe that's what's so damn invigorating about this album. It is totally unique, unequivocally inventive and endlessly startling in its sheer capacity for pleasant surprises. A work that effortlessly blows the doors off boundaries and genre, Gudrun is one of those masterpieces where only one classification seems appropriate: extraordinary music.” (Greg Northrup). One of the most original Italian prog albums ever, from start to finish without even the slightest flaw. Top condition, probably the ultimate upgrade condition. Price: 50 Euro

2077. PINK FLOYD: “Let There Be More Light b/w Remember A Day” (Odeon – OR-2367) (7 Inch Single Record: Near Mint ~ Mint/ Gatefold Picture Sleeve: VG++~Near Mint – has small inconspicuous crease/tear on front) Impossibly rare and never offered for sale before RED WAX WHITE label PROMO issue. Second Pink Floyd single to be released in Japan in 1968 following “See Emily Play”. Stock copies do surface but white label red wax promo issue is as elusive as Yeti the Abominable Snowman. Rumors say it exists but no one has actually seen it in real life, same goes for this beauty here. White label Promo on red wax issue are elusive ever since, until now… You know how rare this beauty is so…act accordingly. Price: Offers!!!!

2078. 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
2079. PINK FLOYD: “More” (Odeon/ Toshiba Musical Industries – OP-80165) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Top condition 2nd press issue with 2000 Yen price on obi + Toshiba Musical Industries pressing – in flawless condition. Black wax…killer sound of pivotal Floyd slide. Price: 150 Euro
2080. PINK FLOYD: “More” (Odeon/ Toshiba EMI Ltd – OP-80165) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Top condition 3rd press issue with 2200 Yen price on obi + Toshiba EMI Ltd pressing – in flawless condition. Black wax…killer sound of pivotal Floyd slide. Price: 100 Euro
2081. PINK FLOYD: “Meddle - Osekkai” (Odeon – OP-80375) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Picture Insert: Near Mint/ 8 Paged Booklet Insert: Near Mint/ Obi: Near Mint). Japan very first press issue with 2000 JP Yen price stated on obi and record pressed by Toshiba Musical Industries. Top shape & all complete. Price: 200 Euro
2082. PINK FLOYD: “Obscured By Clouds – La Vallee” (Odeon – EOP-80575) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Booklet: Near Mint/ Insert: Near Mint/ Pin-Up: Near Mint/ Obi: Near Mint). Top condition Japan 1st original pressing with 2000-yen price stated on obi. Comes housed in first issue sleeve with rounded corners + with the 2 inserts and booklet present. All complete. Price: 175 Euro
2083. PINK FLOYD: “Relics – Pink Floyd No Michi” (Odeon – OP-80261) (Record: Near Mint ~ Mint – without even a single spindle mark/ Gatefold Jacket: Near Mint ~ Mint/ Attached Pinup inside Gatefold: Near Mint/ 6 Paged Booklet: Near Mint/ Two Obi’s: Near Mint ~ Mint) Japan 1971 first original pressing that comes on RED wax. Best condition possible, absolutely virginal on all fronts and complete with 2 obis. No foxing at all, textured sleeve is virginally white without any blemishes, first press issue with 2000 Yen stated on gatefold jacket and obi. Comes with original plastic inner sleeve as well. Price: 350 Euro
2084. PINK FLOYD: “Dark Side Of The Moon” Odeon – EOP-80778) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint/ OBI: Mint/ 2 sided postcard: Near Mint/ 2 Posters: Excellent ~ Near Mint/ Book: Near Mint) Freakingly rare Japan 1st original pressing with all complete & WHITE LABEL PROMO ISSUE. Rarest DSOTM issue. This one has some unique features that ONLY the Japanese promo issue has being – 1/ laminated Gatefold sleeve; 2/ reversed jacket art with big triangle on front and small one on back and this is only with the promo edition as it was immediately rectified when the album went on sale in Japan. It was a printing error that was quickly restored so only promo issues – which already surface about … eugh, just never --- have this unique feature. So genuine rarity and a must have for Pink Floyd completists. TOP CONDITION, with no damages on sleeve (most of the time it has wear marks), comes with 1st issue obi and all inserts and the record itself appears to have been played only once or maybe even never. So, a one-off unique chance to wheel in the perfect copy. Price: Offers!!!!
2085. PINK FLOYD: “Animals – TEST PRESSING!” (CBS SONY – 25AP-340) (Record: Near Mint/ Advanced jacket: Near Mint/ Gatefold Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint/ Insert: Near Mint/ Sticker: Near Mint/ Obi: Near Mint). Bloody rare – never offered before Japanese advance TEST PRESSING in advance jacket with release information printed on front for the ANIMALS album. Comes on stamped in red ink labels to be used for record executives only and with stamped matrix numbers. Comes complete with regular sleeve as well with all inserts and sticker. First copy ever to surface of this one. Top condition and bloody rare, only a handful in circulation. Price: Offers!!!!
2086. PINK FLOYD: “Animals” (Harvest – SHVL-815) (Record: Near Mint ~ Mint/ Gatefold Sleeve with THICK WIDE SPINE: Near Mint/ Imprinted Inner Sleeve with Rounded Corners: Excellent ~ Near Mint). UK 1977 first original pressing in outstanding condition – first earliest pressing with matching earliest matrix numbers being: SHVL815 A-2U / B-2U respectively. First print Garrod and Lofthouse gatefold sleeve with wide spine fully intact and with no blemishes at all. Top condition all way round. Price: 400 Euro
2087. PINK FLOYD: “The Wall” (CBS Sony – 40AP 1750~1) (2 LP Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint – still housed in SHRINK with Pink Floyd The Wall sticker present/ Obi: Mint – still encapsulated in the shrink/ 2 Individual Imprinted Inner Sleeves: Near Mint/ 4 Paged Insert: Near Mint). Japan very first original pressing in immaculate condition – next to impossible to ever upgrade upon. All complete and TOP condition. Price: 275 Euro
2088. 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
2089. PITTNER, RON: “The Indigo Mirror And The Ivory Dot – Recorded In Concert – Orly, France” (Angelus Records – 1943) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – with faintest trace of ring wear on front). Top shape original press issue of beyond rare and obscure free jazz blast from the past. Ron Pittner was a drummer from Los Angeles who migrated to France in the early 1970s. He left a stripped-down discography, but luckily one filled with interesting records. Sadly, he passed away somewhere in the mid-2000s. Pittner did not develop a solid professional career, despite having always been involved in music. In this recording made in Orly, he joins bassist Kent Carter and French musicians Claude Bernard (sax) and Gilles Tinayre (piano). The result is a tsunami in free improvised music, thundering low fidelity outbursts, fire music from start to finish, incendiary and all destroying in its wake. Free jazz? Damn look no further, private press beast that will leave you breathless and gasping for liquified hot air, torching your lungs and solar-blasts your ears. Blisters on your ear lobes for days on end! Feels like sucking on a hot exhaust pipe of a dragster car! These used to be so cheap and under the radar until a few years ago but not steadily and stealthy creeping upwards to soon stratospherical heights. Price: 500 Euro
2090. 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: 150 Euro
2091. 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
2092. 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: 350 Euro
2093. PLUMMER, BILL & THE COSMIC BROTHERHOOD: “S/T” (Impulse Records – AS-9164) (Record: VG++ ~ Excellent – has a few faint hairlines visible/ Gatefold Jacket: Excellent, small drill hole in lower right corner/ Company Inner Sleeve: Excellent) Original 1st pressing of this much in demand sitar-jazz-exploitation gem. For those in the need for a bit of background info, Bill, armed with his twin bass concept, played on The Rolling Stones’s “Exile on Main Street” album. Bill gracing the cover and the opening track “Journey to The East" is, however, sort of wonderful and crops up frequently on Jazz compilations. Plummer however was already since 1964 getting hot for Asian music in general and started to learn sitar from Hari Har Rao, and also refined his technique while hopping onboard of the Hindustani Jazz Sextet. “Journey to the East”, the sole album by Plummer has since its release climbed in the arcades of oriental music aficionados and is one of the most successful in that domain by fusing jazz and oriental sounds. The totality of the disc runs over 38 minutes and is comprised out of an intoxicating assortment that blends jazz, psychedelic jazz and psychy pop. The opening track “Journey to the East, opens the album in a poppy tropical and psychedelic mood, rich in tonal variations and interspersed with a poem recitation by Hersh Hamel. But apart from that, one can safely conclude that on “Journey to the East”, Plummer’s sitar is dominating the playing field and he and his band adopt a rhythmic cycle emplaced over a few poppy-ish themes. This last one becomes especially audible on the reinterpretation of the classic “The look of love” (a secret Bacharach favorite of mine btw) and “Lady Friend” (of the Byrds). But I hear you already moaning about again a zillionth reinterpretation of the “Look of Love” but I have to say that Plummer’s take on the tune is one of the most beautiful ever executed – together with the Japanese psych rockers White Heaven version of the song. Plummer’s instrumental version is perfumed with a sensibility and a certain lightness that at times hinges towards a baroque inclination which is at the same time dreamlike as well as refreshing. The merger of other instruments such as the harpsichord, flute, bass and the sitar as lead instrument map out an exquisite decorum that splendidly fuses jazz with Indian raga, which becomes especially audible on tracks such as “Song Plum” and “Pars Fortuna”, the first being voluptuous and nocturnal, there were the latter one is more contrasting and sinuous, pregnant with cult-like Coltraneian accents that bring to mind – be it only in the back of my head – fragrances of “A Love Supreme”. In short, on closer inspection, “Journey to the East” reveals several hidden layers of mystic aural pleasures, slowly unveiling themselves like peeling away the layers of an onion. A classic and shouldered by many DJ’s for its break beating qualities. But for a psych head and music nerd as myself, the disc has loads of other pleasures up its sleeve and never failed to bring me pleasure whilst spinning it. A true classic that needs to find its way into every collection of a true music lovers’ fiend. Massively recommended. Price: 100 Euro
2094. 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: 350 Euro
2095. POP GROUP: “We Are All Prostitutes/ b/w Amesty International Report On British Army Torture of Irish Prisoners” (Rough Trade – RT-2) (7 Inch Record Single: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Imprinted Company Inner Sleeve: Near Mint). Rare Japan original single issue that came out in 1981. Top shape, cool gatefold sleeve Japan only artwork. Price: 40 Euro
2096. 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
2097. POP GROUP: “How Much Longer Do We Tolerate Mass Murder” (Japan Record/ Rough Trade – RTL-1) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Poster: Near Mint/ Obi: Near Mint). All complete Japan 1st original press issue with all complete!!! “If the title doesn't tip you off as to what this record will probably sound like, then you're hopeless. More accusatory than their debut (only because the lyrics are more clearly recorded), How Much Longer Do We Tolerate Mass Murder? is more funk-powered. Oddly, what hurts this is a lack of experimentation, but with the Pop Group, it's always too much of one thing and not enough of another. An interesting experiment that is as maddening as it is satisfying.” (all music). Another classic LP that is totally obligatory mind food. Original 1st Japan high-quality pressing – all is present. Top condition. Price: 100 Euro
2098. POPOL VUH: “Coeur De Verre” (Egg Records/ King Records – GP-708) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned scarce Japan 1979 original pressing all complete with insert & obi. This copy here is a rare WHITE label PROMO/ Test press with one side blessed with a printed label and the other side graced with a white blank label. “One of several soundtracks Florian Fricke composed for the films of Wrner Herzog, Coeur De Verre (Heart from Glass, 1976) is one of the true masterpieces from Popol Vuh. Utilizing East Indian classical music as its starting point, Fricke and Daniel Fichelscher (guitars and percussion), with help from Alois Gromer on sitar and flutist Mattias Tippelskirch, have recorded one of the most blissed-out works in the band's history. Fricke’s concentration on nearly painfully slowly developing themes (yes, even slower than usual) is tempered by the sheer reliance on transcendent euphoria in the processional tempos. The purposeful control of dynamics is necessary because of the deep emotional and spiritual connotations in the music. Composed to the images on the screen, the original version of "Sing, for Song Drives Away the Wolves" and the redone "Geimenschaft" appear here and close the album. Indeed, they are its highlights, but that is only after a buildup that demands release after 45 minutes. Many would argue for one of the choral vocal works like Hosianna Mantra or Sei Still, Wisse Ich Bin as the band's flat-out masterpiece, but in its purely instrumental incarnation this one is unquestionably Popol Vuh’s watermark. There is so much beauty here, it tenderly breaks the heart over and over again, seemingly effortlessly.” (All Music Guide) Price: 75 Euro
2099. 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
2100. 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!!!!
2101. 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
2102. 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: 450 Euro
2103. POWERHOUSE: “Blues no Shinsei” (Express – EP-7714) (Red WAX Record: Near Mint ~ Mint/ Jacket: Near Mint – has name written in black pen on back upper side of the sleeve – otherwise it would be stone cold Mint/ Company Inner Sleeve: Near Mint/ OBI: MINT). Never seen before first original pressing in virginal condition and all complete with seriously and insanely rare OBI. Obi is also in top mint condition – just impossible in this condition!!! A real brain ripper of a disc. Originals just do NOT turn up anymore, especially not in such a fabulous state as this one here and with the obi present. "Express label" print out of 1968!!!!. This is the real thing pressed on high-quality RED WAX!!. Impossible to dig up these days in such a nice condition. Powerhouse was pre-Speed Glue & Shinki outfit that sheltered the fuzz-ripping blood curdling guitar gunslinger capacities of Shinki Chen. late GS period fuzzed out excursions heralding already the New Rock to come. Every track on this disc is a cover tune but executed in such a brain ripping fashion, you will have a hard time swallowing it without experiencing some heavy G-Force activity in the underbelly and cerebral cortex. If you have an interest in Japanese psychedelic underground rock, I cannot see how you can possibly understand a musician like Haino without having tasted the roots of it all, the early psyched-out blizz. A must, historical dynamite stuff. Highest recommendation and impossibly rare in top shape with OBI. Price: Offers!!!
2104. PRAGVEC: “Spec Records Presents No Cowboys” (Spec Records – reSPECt-1) (Record: Near Mint/ Jacket: Near Mint). Post-punk enigmas, prag VEC, never released an actual album as such; but they did release a fake compilation called 'No Cowboys, which was filled with tracks by themselves (prag VEC) masquerading as fake groups with names like 'The Couch Potatoes' and 'Vince Quince And His Rialto Ballroom Detectives'. Hi-jinks indeed? It also features Jim Thirlwell on the Wasp Synth, in the days before he became a Foetus; his work never got better than this. Experimental proto-indie Art-rock of the highest caliber. Price: 75 Euro
2105. 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: 500 Euro
2106. PRETTY THINGS: “S.F. Sorrow” (Columbia – SX-6306) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint – one lamination crease on lower right corner/ Company Inner Sleeve: Near Mint) Beautiful condition UK original 1st MONO press issue with XAX 3738-1 & XAX 3739-1 Matrix numbers and rough textured Black and Blue labels!! So stupendously rare UK mono original of classic UK psych behemoth that at times echoes Pink Floyd's Piper at the Gates of Dawn or A Saucerful of Secrets, while straddling into the realms of doped up British blues and LSD-soaked psychedelia better than almost any record you can name. The album tells the story of "S.F. Sorrow," a sort of British Everyman -- think of a working-class, luckless equivalent to the Kinks' Arthur, from cradle to grave. An all-time UK psych classic! Top copy. Price: Offers!!!!
2107. PRETTY THINGS: “S.F. Sorrow” (Odeon Toshiba – OP-8640) (Red Wax Record: Near Mint/ Jacket: Excellent ~ Near Mint – faint foxing on back sleeve/ Insert: Near Mint) Hideously rare and obscure Japanese pressing that comes on RED wax housed in a Japan only jacket. Original Japan only release out of May 1969. The music is more than well-known I guess so I will spare you of my neurotic ramblings. Still that aside, this is a true rare artifact, original Japanese pressing of the day, very few were sold, making that these babies just next to never turn up here. Comes in a Japan only sleeve art and is pressed on that gloriously salivating great red wax. Top condition to boot so; don’t think twice about this one ‘cause I don’t think another copy will pop out of the woodwork any time soon. Price: Offers!!!!
2108. PRETTY THINGS: “Parachute” (Odeon – OP-80058) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 6 Paged Insert: Near Mint/ Obi: Excellent ~ Near Mint). Top condition of freakingly 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. Brutally rare with obi and all inserts included….so sell a kidney and get in touch with me. Price: Offers!!!!!
2109. PRETTY THINGS: “Parachute” (Odeon – OP-80058) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Insert: Near Mint). Top condition Japan original press issue. 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. So bloody fucking KILLER!!! Price: 150 Euro

2110. 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

2111. 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
2112. 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
2113. 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
2114. The PRIMITIVES: “Blow-Up” (Arc Records – SA-22) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint) Killer with no filler UK garage and freak beat right in yer face slab that was only released in Italy at the time. Top condition! Original 1967 first pressing! All copies I see are always trashed and this one here is in great shape which is quite a rarity for this beast. Released only in Italy, this is one of the more coveted rarities of the British Invasion era, by a reasonably esteemed U.K. R&B/mod rock band that only had a few obscure singles available in Britain. The Primitives were moving toward soul from their raving R&B roots by this time, and the album's a mix of covers of soul hits of that time with a few scattered originals, with some of the songs belted out in English, and some in Italian. Highlights are a freakout cover of Hoyt Axton’s "Johnny No (Thunder & Lightning)," Italian versions of Four Tops hits, a workup of the Rascals’ "I Ain't Gonna Eat My Heart Out Anymore" (here retitled "Yeeeeeeh!"), and the Bar-Kays’ instrumental "Soul Finger," with newly written Italian lyrics. A respectable attempt by the Primitives with their shot at fame that never came, featuring some forceful soul-rock grooves and pretty good blue-eyed soul vocals from Mal Ryder. Extremely hard to find, those that aren't up for splashing out some hard-earned cash for a clean original copy are in luck so here you have one! Top condition which is extremely rare of this record. Price: Offers!!!!
2115. 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: 275 Euro
2116. 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: 275 Euro

2117. PRINCE LASHA & SONNY SIMMONS: “Firebirds” (Contemporary – S7617) (Record: Excellent/ Jacket: Excellent ~ Near Mint). Beautiful 1969 US original press copy on the green Contemporary Records label imprint. The second of two collaborations by Prince Lasha (on flute, alto, and alto clarinet) and Sonny Simmons (alto and English horn). Vibraphonist Bobby Hutcherson, bassist Buster Williams and drummer Charles Moffett offer stimulating support and close interplay with the two lead voices, who contributed all five selections. The music is influenced by (but not too derivative of) Ornette Coleman’s free jazz style, and the improvisations are pretty advanced and sometimes quite emotional. Lasha and Simmons made for a potent team, making one wish that they would have a reunion someday. An underrated classic of its kind. Price: 150 Euro

2118. PSYCHEDELIC FURS: “S/T” (CBS – S-CBS-84084) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original UK first pressing from 1980 that comes housed in first issue orange colored cover art. The Psychedelic Furs’ debut before they became New Wave pinups, the Furs sounded more like experimental, noisy punks, and the album sounds like a grand art project. They somehow managed both on “Sister Europe,” trying to out-Roxy Roxy Music, and they came off like a British Jonathan Richman on “We Love You,”. They never sounded as dangerous again. Just killer and essential mind food! Price: 50 Euro
2119. PUBLIC IMAGE - P.I.L: “Public Image b/w Cowboy Song” (Columbia Records – YK-114-AX) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: VG++). Damned rare Japan 1st debut single issue by PIL – this being the seldom offered stock copy issue. Top shape & getting a touch one to unearth. Price: 125 Euro
2120. PUBLIC IMAGE – PIL: “S/T” (Nippon Columbia – YX-7226-AX) (Record: Near Mint/ Jacket: Near Mint/ Thick Imprinted Picture Inner Sleeve: Near Mint/ Insert: Excellent/ Poster: Near Mint/ Obi: Near Mint) Japan first original pressing all complete with picture inner sleeve, obi, and poster. After the implosion of the Sex Pistols, Lydon hooked up with childhood friend Jah Wobble on bass, Keith Levene on guitar and Jim Walker on drums. Their first LP was released at the tail-end of 1978 and alienated their audience even further. It was intended to do just that, but it was also made to push the boundaries of just what punk rock could be. Sucking up influences ranging from Jamaican Dub, African rhythms, and Avant garde, PiL unintentionally shaped the burgeoning Post-Punk scene/genre. It turned out to be a trance induced listening experience. It questioned everything from religion, to the idea of idol worship, and the idea of how songs can be constructed. The material was repetitive to the point of paralysis, but also fluid enough to keep the listener engaged. Tracks fell into one another as if there was intentionally no separation between them, creating one long-winding mesmerizing jam. Some of the songs were new compositions, but songs like “Religion II”, “Public Image”, and “Analisa” were originally intended for the Sex Pistols. When Lydon brought those songs to the Pistols, members shrugged them off as boring and they were shelved. PiL brought life to these songs and gave punk the rhythmic edge it had been lacking. Top condition and all complete first pressing. Price: 150 Euro
2121. PUBLIC IMAGE – PIL: “Second Edition aka Metal Box” (Nippon Columbia – YB-7006~7-AX) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Page Insert: Near Mint/ Big Poster: Near Mint/ Obi: Near Mint). Japan 1st original pressing of Metal Box – PROMO issue and all complete with OBI and the always-missing poster present!!! Second PIL LP. The majority of tracks are improvised takes, from which PiL would make different mixes. Often layering or splicing them together; building the sound and adding to its power. ‘Metal Box’ has so many strong elements – whether it be Keith’s wailing guitar or melodic synths; Wobble’s sub-disco reggae basslines; John’s powerful and passionate vocals; or the crashing rhythm that holds it all together – that on each listen you can focus on a different aspect. This is perhaps what gives ‘Metal Box’ its space. Despite its layers and depth, nothing is buried. The sounds compete, and in turn, compliment each other. It’s alien dance music! A classic. Rare Japan 1st press original – promo issue with poster. Price: 150 Euro

2122. 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: 475 Euro


2123. 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: 250 Euro