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

1871. QUATERMASS: “S/T” (Odeon Records – OP-80085) (Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Near Mint/ & Paged Insert: Near Mint). Rare Japan 1st original pressing complete with rare first issue obi. Superb original Japanese pressing of UK wild heavy progressive rock LP filled with devastating organ to the front. Best copy imaginable - TOP condition. Price: 450 Euro

1872. QUELLA VECCHIA LOCANDA: “Il Tempo Della Gioia” (RCA/ RVC Corporation Japan – CR-10057) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan 1st original pressing that saw the light of day in 1987 of top-notch Italian hard driving progressive rock masterpiece in De De Lind/ Campo di Marte realm. Top condition and getting damned hard to dig up. So you have a steal here! Price: 75 Euro

1873. QUICKSILVER MESSENGER SERVICE: “S/T” (Capitol Records/ TOSHIBA Musical Industries Japan – CP-8660) (Red Wax LP: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Monstrously rare Japanese first original pressing on red wax complete with FIRST ISSUE obi that came out in Japan in June 1969. This version here is the stupidly rare WHITE LABEL PROMO issue – also on red wax and complete with OBI!!! It only took me 15 years (!!!) of spastic and demented lunatic searching that almost took on a form of sultry madness in order to locate a complete copy of Quicksilver’s 1st original Japanese pressing with obi. Just when I was about to throw in the towel and give up all hope, a copy was offered and here it is. When I got the first sight of it, sitting in a coffee shop upon closing the deal, I felt like being on the rising edge of a speed trip. Finally, here it was, my personal Holy Grail. This copy here is the MEGA RARE WHITE LABEL PROMO issue with OBI!!! Hardly ever surfaces, red wax issues are damned rare and getting tougher with the minute to dig up on these shores. Has been ages since I have seen a red wax copy, which by the way sounds absolutely amazing!!!! Cipollina wielding the axe is stuff of legends, the best acidic gunslinger ever to roam the face of the earth and this is where it all began. The PROMO white label red wax pressing is MEGA RARE, just never surfaces so a one-off chance to wheel in a seriously rare item. Apart from being one of the greatest psychedelic acid rock LP ever recorded, it is also one of the rarest – that is with the original obi attached and as icing on the cake WHITE LABEL PROMO issue, red wax…. seriously demented shit. Price: Offers!!!

1874. QUICKSILVER MESSENGER SERVICE: “S/T” (Capitol Records/ TOSHIBA Musical Industries Japan – CP-8660) (Red Wax LP: Mint/ Jacket: Mint/ Obi: Mint). Monstrously rare Japanese first original pressing on red wax complete with FIRST ISSUE obi that came out in Japan in June 1969. It only took me 15 years (!!!) of spastic and demented lunatic searching that almost took on a form of sultry madness in order to locate a complete copy of Quicksilver’s 1st original Japanese pressing with obi. Just when I was about to throw in the towel and give up all hope, a copy was offered and here it is. When I got the first sight of it, sitting in a coffee shop upon closing the deal, I felt like being on the rising edge of a speed trip. Finally, here it was, my personal Holy Grail. Apart from being one of the greatest psychedelic acid rock LP ever recorded, it is also one of the rarest – that is with the original obi attached and I needed it badly. Price: Offers!!!

1875. QUICKSILVER MESSENGER SERVICE: “S/T” (Capitol Records – ST-2904) (Record & Jacket: MINT – STILL SEALED) Original 1st US pressing on the rainbow Capitol imprint. Perfect copy, perfectly SEALED US first original press issue. ‘It contains every-thing that’s good about San Fran-Cisco rock – accomplished musician-ship, a good understanding of the way the San Francisco sound should be produced, and an infectious feeling that isn’t bogged down in San Francisco dirge. The long tracks, though not as musical as one would hope for from jazz-influenced pieces, never bore and frequently delight. This is a group of four intertwined personalities sounding like one, just because they’ve been wanting to and doing it for a long time’– Eye, August 1968. Best condition sleeve possible, not the faintest trace of wear or ring-wear. This jacket is always prone to wear and this one is as clean as possible. Virginal condition sleeve, which is quite rare and this copy is still SEALED. Price: 375 Euro

1876. QUICKSILVER MESSENGER SERVICE: “S/T” (Capitol – T-2904) (Record: Near Mint/ Laminated Flip Back Sleeve: Near Mint with no lamination creases/ Company Inner Sleeve: Near Mint). Rare 1968 UK ONLY MONO pressing, such a bitch to find in acceptable shape. This one here is super nice, only the 2nd time ever I could wheel in such an exquisite copy has this one here. Glorious sounding balsy MONO pressing. Price: 450 Euro

1877. QUICKSILVER MESSENGER SERVICE: “Happy Trails” (Capitol – CP-8721) (Record: Mint/ Jacket: Mint/ Obi: Mint). Rare dead mint Japanese pressing of this 2nd album by these acidic west-coast gunslingers, complete with obi. Hardly ever turns up on these shores, you know the drill I guess, the music is mesmerizingly addictive and Cippolina is the main axe-grinding madman that will haunt your lysergic Technicolor dreams. Record is mint as can be, jacket looks like it was printed only yesterday and the always missing “New Rock” obi is as virginal as a newborn child. Massive. Price: 300 Euro
1878. QUICKSILVER MESSENGER SERVICE: “Happy Trails” (Capitol – ST-120) (Record: Near Mint/ Jacket: Near Mint 〜 Mint, still housed in original shrink). Original US first original pressing in TOP condition. Jacket is mint and still housed in its original shrink-wrap. It is quite difficult to dig up clean original copies of this one as most copies suffer defects from storage and heavy use. This one is just perfect. Price: 150 Euro
1879. QUICKSILVER MESSENGER SERVICE: “Just For Love – Tada Ai No Tame Ni” (Capitol Records – CP-80082) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ 4 Paged Insert: Near Mint). First original Japanese pressing that comes on red wax. With the return of Gary Duncan and the recording debut of founder Dino Vatenti, Just For Love, Quicksilver’s fourth album, marked their debut as the band they were intended to be. The ironic thing about that is that, led by singer/songwriter Valenti, they were a much more pop-oriented band than their fans had come to expect. On Just For Love, Quicksilver finally was Valenti’s backup group (he wrote all but one of the songs), and while this gave them greater coherence and accessibility, as well as their only Top 50 single in "Fresh Air," it also made them less the boogie band they had been. And it meant the band's days were numbered. Obi present and in pristine condition, rarely turns up anymore. Price: 250 Euro
1880. QUICKSILVER MESSENGER SERVICE: “Maiden of the Cancer Moon” (Psycho Records) (2LP: Excellent – Near Mint/ Fold Out Jacket: Near Mint). Extremely hard to come by Quicksilver semi-legit boot that came out in 1983 with the collaboration of the late John Cipollina. This is the definite Quicksilver document, stellar sound quality and filled with rare live appearances from the late 1960”s. The performances all date from 1967-1968, a period during which Quicksilver consisted of lead guitarist John Cipollina, rhythm guitarist and singer Gary Duncan, bassist David Freiberg, and drummer Greg Elmore. Quicksilver as a unit were not so much singer-songwriters as they were virtuoso players and creative interpreters and stylists. They were not the greatest of vocalists or composers. True, but in Cipollina, with his tremolo-laden leads, they had one of the great San Francisco guitarists of the '60s. Here, the band is playing some of there greatest compositions in concert. By their second album, Happy Trails (March 1969), they had given up trying to get across in the studio and just recorded live, where they were far more comfortable. They were also more comfortable using blues and rock standards like "Back Door Man," "Smokestack Lightning," and "Who Do You Love" as jumping-off points for extended jams, or extrapolating the jazz standard "Take Five" into "Gold and Silver." Some performances age better than others -- many will find the long drum solo in the concert version of "Gold and Silver" uninspired -- but by and large, Quicksilver's live reputation stands up well. This 2 LP set is just a killer. Cipollina rules throughout and again proves he is one of the all-time greatest to have caressed the six strings. Ultimate highest recommendation. Every track is a winner. One of the top 100 albums of all time without a single doubt. Price: 100 Euro
1881. QUICKSILVER MESSENGER SERVICE: “Live in San Jose 1966” (Document) (Record: Near Mint/ Jacket: Near Mint). Comes on marbled colored wax. Long deleted Quicksilver bootleg with stellar sound quality. Early live gig from 1966 which has the band ripping through classic tunes such as “All Night Worker”, “Your Time Will Come”, “Smokestack Lightning”, “Who Do You Love”, “Backdoor Man”, “Gold and Silver” and “Codine”. At this time the band was still the quintessential line up with Jim Murray, John Cipollina, David Freiberg, Greg Elmore and Gary Duncan. Filled to bursting with killer material which makes it once again clear that Quicksilver were the real deal. Highest possible recommendation. Price: 50 Euro
1882. QUICKSILVER MESSENGER SERVICE: “Live in San Jose – California - 1966” (No Label) (Record: Excellent/ Paste On Jacket: Excellent). Original early 1970s Quicksilver bootleg complete with pasted on front and back jacket. Price: 100 Euro

1883. QUICKSILVER MESSENGER SERVICE: “Pride of Man b/w Gold And Silver” (Capitol Records – CR-2234) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). WHITE LABEL PROMO!!!! Quicksilver Messenger Service first Japan release from 1969. Comes housed in Japan only picture sleeve featuring a great shot of the band with Cipollina prominently figured up front. This is the rarest version of the EP, not many of this one circulating around, for me only 2nd time I have a copy of this one. That aside, killer two-track EP. Quicksilver RULED!!!! Haven’t seen a copy of this issue for ages, let alone a white label promo one. Top condition and very rare on these shores. Price: SOLD

1884. QUICKSILVER MESSENGER SERVICE: “Fresh Air b/w Just For Love” (Capitol – CR-2675) (Record: Near Mint/ Gatefold Picture Sleeve: Near Mint) Rare Japan only Quicksilver Messenger Service single that comes on BLOOD RED wax and gatefold picture sleeve. Housed in a Japan only issued picture sleeve. Price: 75 Euro
1885. QUICKSILVER MESSENGER SERVICE: “Fresh Air b/w Mojo” (Capitol – ECR-10203) (EP Record: Near Mint/ gatefold Picture Sleeve: Near Mint). Japan only released Quicksilver Messenger Service EP, comes in Japan only picture sleeve with different live shots back and front. Top condition, just immaculate. SOLD
1886. QUIET SUN: “Mainstream” (Polydor – MPF-1147) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint) Perversely titled Mainstream, the sole release by avant-prog-jazz outfit Quiet Sun is in fact as far from that adjective as can be imagined. Recorded in between sessions for Phil Manzanera’s Diamond Head LP, Mainstream featured that guitarist’s old band, reunited to finally create the album never made during the group’s original existence. Quiet Sun broke up in 1972 when Manzanera headed to Roxy Music, but the sessions for his solo album afforded the surreptitious opportunity to create this delightfully oddball album. First original Japanese press issue, comes housed in lovely thick laminated jacket and complete with obi. Stunning! SOLD
1887. Q 65: “Revolution” (Decca – QL-625-363) (Record: Excellent, only a very few minor paper scuffs/ Jacket: Excellent). Original 1966 mono Dutch copy. Hard to get copies in such a decent nick as this baby here. Sleazy, greasy and down-right-dirty nederbeat trash from these Dutch moguls that still haven’t met their equals (apart from the Outsiders maybe). The Q 65 were Frank Nuyens (guitar, vocals, sax, flute, harmonica), Wim Bieler (vocals, harmonica), Peter Vink (bass), Joop Roelofs (guitar), and Jay Baar drums, who first got together in 1965, in the Hague. The city was known as "the Liverpool of the Netherlands," with a music scene that had been thriving since the end of the 1950s. Revolution – their best album - was a powerful blues-rock slide that included a snarling rendition of Willie Dixon's “Down in the Bottom”, a take on Dixon's "Spoonful" that boasted gloriously crunchy acoustic guitars behind a raspy vocal worthy of Howlin' Wolf himself, and a funky version of Allen Toussaint's "Get Out of My Life, Woman," plus a handful of originals that were fully competitive with the covers. The highlight, however, was a riveting 14-minute version of Sonny Boy Williamson’s "Bring It On Home." The band played acoustic as well as boiled-downward psych numbers along with some standards, and wasn’t afraid to experiment with harmonium and other instruments to make Revolution so bloodcurdlingly more interesting than the average grease-ball garage release. Despite the eclecticism, their blues interpretations work best, from the nice take of "Spoonful" to the groundbreaking 13-minute psyched out pre-punk trash of "Bring It on Home," the real missing link between the rave-ups of the Yardbirds and the post-Cream jam bands of the late-'60s. Just massive. Great copy!! Price: 150 Euro
1888. FRANCOIS RABBATH: “Les Uns Par Les Autres” (MN Edition/ Warner Pioneer Japan – P-10100H) (Record: Near Mint/ Thick Jacket: Excellent – has a couple of mildew spots visible on front/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Damned scare Japan original press issue all complete with OBI! Till now, I have never encountered the Japanese press issue of this beauty, stunning free jazzing improvisation slide. Whether its plucked bass, bowed bass, avant/free music or traditional forms Rabbath always displays outstanding musicianship and a fantastic technique. This versatility allows him to flourish. Also his tone is always resonant and ascendant, giving the sonic palette a strong foundation on which to improvise on. His solo’s are always well crafted, containing both traditional and free forms that keep oozing out feverish imaginings as a series of vivid audio abstractions, electric with violence and tension. So damned good… Price: 50 Euro
1889. RAES. GODFRIED WILLEM: “Bellenorgel” (Igloo Records – IGLOO-4) (Record: Near Mint/ Silk Screen Jacket: Near Mint/ Insert: Near Mint). One of the rarest and most sought after Belgian electro-acoustic recordings. First original pressing, housed in the silkscreen jacket that was released in a tiny run of only 100 copies in 1979 and this one here comes complete with the always-missing insert, first time ever I come across a copy of this amazing slide. Fluxus inspired sound art piece "Bellenorgel" is an automatic sound-sculpture project constructed around one central electromechanical counter, by which, in a permanently alternating way devices, having in common that they are conceived as acoustical signals, are actuated. Acoustical signals are very common to all of us be it electrical or mechanical bells, buzzers, ding-dongs, telephone bells, doorbells, claxons, horns, alarm bells, sirens, bip-bips, metronomes, test signals, and so on. The end result is a totally wacked out and mesmerizing piece of sound art that baffles the senses and have kept me on the tip of my toes for days on end. Totally fantastic and top copy. Price: 500 Euro

1890. RAGLAND, LOU: “Lou Ragland Is The Conveyor – He Says Understand Each Other” (SMH Records – S.M.H. A-1001) (Record: Excellent/ Jacket: Near Mint – still housed in shrink). WHITE label promo issue, 1977 original press issue. For a lot of reasons, He Says “Understand Each Other” sounds like the result of one long, relaxed jam session. It’s there in how the melodies always sound unstructured and free. It’s there in how the bass player drives everything from the back with some stunning performances. It’s there in the way every song outstays its welcome, ever so slightly (with the possible exception of “It’s Got To Change”, the album’s most blissed-out song), yet the whole thing still seems to be over too soon. But mostly, it’s there in just how low down and murky the recording is. Honestly, it’s like Lee Perry showed and blew smoke over the tapes. What with the sound quality and the dominance of the bass work, you half expect it to turn into a reggae album whenever the electric organ shows up. The only soul album I can come up with off the top of my head that sounds like this is There’s A Riot Goin’ On, though this doesn’t go to quite the same extreme. The criticism that’s most obvious when it comes to this album is the lack of a stand-out song, but it’s not really a criticism at all – the reality is that you expect a song like that because every other soul album of this quality has one. An implicit comparison to You’ve Got My Mind Messed Up, Hot Buttered Soul, Let’s Get It On, Superfly, and Innervisions – how many more compliments are higher? Deep, and deeply soulful, the album falters only once, on an instrumental reprise that is actually not all that bad. This is just a quality slab of soul. SOLD

1891. The RAINCOATS: “S/T” (Rough Trade/ Japan Record – RTL-16) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ All Postcards Complete: Near Mint). Japan 1980 first original press issue with obi, insert and all postcards presents. Picking the "best" Raincoats is more an intellectual exercise than it is a work of thoughtful criticism. So, to make it easy for the benighted, all three studio releases are absolutely essential. Better yet, start with their debut, a soaring, daring, avant-garde-influenced folk-punk record. Don't let the words "avant-garde" scare you off – the Raincoats are not harsh or unapproachable. In fact, this music, even at its most dissonant, is stunning and captivating. There's a great cover of the Kink’s "Lola" that's so skewed and obtuse, Ray Davies probably never dreamed it could sound this way. Price: 150 Euro

1892. The RAINCOATS: “Odyshape” (Rough Trade/ Japan Records – RTL-10) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan first original pressing, PROMO issue. "It was the late Kurt Cobain (with some help from labelmates Sonic Youth) who initiated Geffen's reissue of the Raincoats catalog. And listening to Odyshape, it's easy to see why Cobain loved them so. There's an emotional directness about these songs that hooks you from the start. Mostly you hear about emotions and situations, sometimes indirectly, almost as if you are eavesdropping on a conversation. Then it hits you: it's almost like you're talking to old friends. That's the way the Raincoats’ music works: it's deceptively simple, but extremely complicated. Also, as on this record, it makes demands of the listener. But songs like "Red Shoes" and "Dancing in My Head" say this far more eloquently." (All Music Guide). Just a stellar album, one iof the best to seep out of the late 1980s and a real head twister on so many levels. Original Japanese pressing with obi, dmned took me a while to track this baby down. Price: 150 Euro

1893. The RAIN PARADE: “Emergency Third Rail Power Trip” (Wave Records – SP25-6009) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody scare Japan first press original that saw the light of day in 1983. PROMO issue. “Emergency Third Rail Power Trip” is as near perfect an album as an LP can possibly be. To these ears it ranks as an equal to Love’s “Forever Changes”, the Byrds “Younger Than Yesterday” or Television’s “Marquee Moon” and that is quite a statement I do not take lightly. It was stunning debut that has not any of its shine during the passing of years. As part of the loose affiliation known as the “Paisley Underground”, it was defiantly post-punk, neo-garage-revivalist, incestuous and psychedelic all at the same time. The scene was an incestuous amalgam of bands such as The Dream Syndicate, The Three O’Clock, The Bangles, The Long Ryders, Green On Red, True West and The Rain Parade were part of a wave of bands in a post-punk era unafraid to embrace past eras and let their sounds melt your brain and waxing your ears. The founding brothers Steven and David Roback set dark and doomy lyrics to bright, jangling guitars. The influences were clear as these former punks had in their record collections Love and Byrds albums pussyfooting with Clash and Sex Pistols slides. As David Roback states: "Rain Parade was very much a recasting of our punk interests in more musical terms, inspired by our fascination with music history." AS an outcome, they kinda redefined what "punk rock" could mean and acted as a partial inspiration behind Creation Records, embracing the idea that that psychedelia and punk rock could merge. David Roback’s guitar playing drifted on a sheet of dissonant noise, middle-eastern time signatures and together with sonics reverbed-out-to-heaven made Emergency Third Rail Power Trip so extraordinary. Yet he soon either quit the band and went on to form Clay Allison with former Dream Syndicate member Kendra Smith. But the Rain Parade had enough life, creativity and freshness within it to form wonderful and lively music. They invented nothing, they only re-invented: all the band does is to recycle all those tunes, all those tricks and styles that delighted a whole generation and put them together on one disc. It was no cheap rip-off, but a revitalization of what made psychedelic music so great. The ideas were not new, but nevertheless sounded fresh and executed with care and understanding. The album is filled up with beautiful melodies to the maximum. In a way reminds me of Pink Floyd’s debut album, every song is made up not by one or two but much more ideas than usual, they change and evolve constantly, which delivers wonderful and unique moments. A pure uncut gem! Damned rare Japan 1st press issue with obi. SOLD
1894. RAINY DAY: “S/T” (Rough Trade/ Tokuma Japan – 25RTL-3003) (Record: Near Mint/ jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). The Rainy Day album is a neat one record to document the Paisley Underground scene. Those LA bands of the 1980s — of which David Roback’s bands Rain Parade, Clay Allison, Opal, and Mazzy Star were a part — was in part inspired by 1960s rock/psychedelia. This Rainy Day album was David’s project. It contains covers of nine of his favorite songs from the 1960s, and one from the 1970s (“Holocaust” by Big Star). He enlisted musicians and singers from a variety of Paisley Underground bands to collaborate on the album. Spearheaded by David Roback of Rain Parade and Opal (and later of Mazzy Star), the album was a "super session" of various members of Paisley underground groups paying direct homage to their influences, covering songs by Bob Dylan, Buffalo Springfield, the Who, Hendrix, the Velvet Underground and 70s ringer Big Star as well as "covers of covers" by way of the Beach Boys and the Byrds. It are a nice bunch covers with highlights Kendra Smith’s “Holocaust”, Michael Quercio’s “Rainy Dat, Dream Away” and the Bangles' Susanna Hoffs' take on Dylan's "I'll Keep It With Mine" might be the definitive version. Scarce Japanese original pressing with obi and insert. Price: 150 Euro
1895. RAMONES: “Blizkrieg Bop b/w Havana Affair” (Philips/ Nippon Phonogram – SFL-2122) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Stupidly rare 1976 Japan original first single all complete with original picture sleeve –the real deal here and one that is on any righteous punk collector’s want list. Top condition, next to impossible to upgrade upon this one here. You know how rare and sought after this baby is here so need you best shot for this one here. Price: Offers!!!!
1896. The RAMONES: “Suzy Is A Headbanger b/w What’s Your Game” (Philips – SFL-2152) (7-Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan 1977 single issue in top condition. Comes with Japan only picture sleeve. Next to impossible to upgrade upon this one. Those mid-1970s Japanese press Punk singles have all dried up ages ago and only stick up their heads on rare occasions. Super clean original so…. Price: Offers!!!

1897. RAMONES: “California Sun b/w I Don’t Wanna Walk Around With You” (Philips – SFL-2132) (Single Record: Near Mint/ Picture Sleeve: Excellent - black on black pen marking slightly visible/ Company Inner Sleeve: Near Mint). Japan original WHITE label PROMO issue. Damned rare Japan only Ramones picture sleeve single. Japan only issue from 1977, Japanese Phillips 3-track white label promotional sample 7" vinyl single, also includes 'I Don't Wanna Walk Around With You' and 'I Wanna Be Your Boyfriend'. Housed in a die-cut company sleeve with unique textured black & white picture insert with lyrics on reverse. The vinyl and insert are in stunning perfect condition. One of the rarest Ramones releases out there. Price: 400 Euro

1898. RAMONES: “The Blizkrieg Bop b/w Havana Affair” (Sire – 6078.601) (7 Inch Single Record: Near Mint/ Flip Back Original Picture Sleeve: Excellent ~ Near Mint). Studidly rare 1976 UK original first single all complete with original picture sleeve – not the common reproduction but the real deal here. Top condition original so..... Price: Offers!!!
 1899. The RAMONES: “Rock ‘N’ Roll High School” (Sire Records/ Nippon Phonogram – RJ-7605) (Record: Near Mint/ Jacket: Excellent – has some very faint & minor foxing/ Insert: Near Mint/ Obi: Excellent). Japan 1st original press – white label promo“The Ramones’ cult-classic movie was perfectly complemented by its soundtrack. Of course, there are Ramones songs -- "I Want You Around," "Come On Let's Go", "Rock 'n' Roll High School," and a medley that featured "Blitzkrieg Bop," "Teenage Lobotomy," "California Sun," "Pinhead," and "She's the One" -- but the soundtrack also includes songs by Nick Lowe ("So It Goes"), Devo ("Come Back Jonee"), Chuck Berry ("School Days"), and Eddie and the Hot Rods ("Teenage Depression"). A blissfully teenage album, the only dud is actress P.J. Soles' rendition of "Rock 'n' Roll High School" -- but then again, that was the worst part of the film, too.” (All Music Guide). Every Ramones LP is a winner and this one is no different. Promo with obi – hell yeah!!! Price: 150 Euro
1900. The RAPTURE: “House Of Jealous Lovers” (DFA Records – OPRDFA-001) (Record: Near Mint/ Jacket: Near Mint). Original 2002 UK first pressing of ear-blistering Television-cum infested 3 track LP that rips the system apart like a pile of cheap hay. This is uglier than any group of mutants you see at a bad insane asylum. When playing this, the nerves on my neck burn like open soars on a rabies infected dog! It is that good, gets the adrenaline flowing like the rising edge of a speed trip. Killer!!!! Price: 30 Euro
1901. RAW MATERIAL: “S/T” (Evolution – Z-1006) (Record: Excellent ~ Near Mint, has an occasional barely visible sleeve line visible under bright light/ Jacket: Near Mint). Original UK pressing of their completely vanished debut album. Totally clean and great condition copy. Sleeve is flawless, no defects, record is flawless as well with no signs of much handling at all, next to impossible to ever upgrade upon this one. Music-wise, it is a more psychedelic/ jazzy prog affair as opposed to their second and final LP. Record is housed in a fantastic psychedelic jacket that has no lamination creasing and the disc is also in top shape. Looks EX〜NM condition with only a vey faint hairline visible on each side condition but as you know, they never play dead quiet. That aside, record wise very hard to upgrade upon, jacket is also solid NM and without a doubt one the best copies floating around. As you know this LP is incredibly hard to come by in any condition, so a clean one like this one here is something that does not happen every other day. Price: Offers!!!!
1902. RAZORCUTS: “Big Pink Cake b/w I’ll Still Be There” (Subway – SUBWAY-5) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ 2 x Two-sided Inserts: Near Mint). Original 1986 scarce post-punk slide that comes all complete. Price: 50 Euro
1903. RAZORCUTS: “Sorry To Embarrass You b/w Summer in Your Heart” (Subway – SUBWAY-8) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Two-sided Insert: Near Mint). Original 1986 scarce post-punk slide that comes all complete. Price: 50 Euro

1904. RAZORCUTS: “I Heard You The First Time b/w First Day” (Flying Nin (UK) – fnuk-9) (Single Record: Near Mint/ Picture Sleeve: Excellent). Scare IK 1981 first pressing. 'First Day' begins with the gentlest 12-string strumming before the sharp, tambourine heavy drums crack in and we're swept up in a giddy whirl of optimism, "Oh can you feel the morning sun// Oh will it shine till evening comes" ....naive idealism?? Well...maybe, but the joy is so infectious you want to run naked through cornfields, jump off waterfalls, bristling with electric adolescent vigor!! Youth is wasted on the young? No, that's just something bitter old bastards say. Youth wasn't wasted on me and listening to this song again, I feel that fire..."That's when you say that you're going to change my mind// That's when you show me the world I never can find". Surprisingly, 'First Day' was only the B-side....Side A's 'I Heard You The First Time' is an equally splendid piece, with backing vocalist Yvonne's voice prominent on the main lines "Oh I heard you the first time// You act like you've got something worth saying// But I'm still waiting for that day". Either way, if you felt any love for the Byrds, then the Razorcuts will definitely catapult you to similar eargasmatic regions. Price: 35 Euro

1905. RAZORCUTS: “I Heard You The First Time – First Day – Eight Times Around The World – A Is For Alphabet” (flying nun (uk) – fnuk-9T) (Record: Near Mint/ Jacket: Near Mint). 1987 UK original first pressing of splendid Byrds-influenced combo emerged out of an earlier attempt at recording under the name The Cinemamatics with new focus being an attempt to fuse their two biggest influences along with the 60s jangle of The Byrds, even down to the idea that Razorcuts would primarily be a singles band. Like many of their contemporaries, they got their break via the Bristol-based Subway Organisation label with two singles Big Pink Cake and Sory To Embarrass You, being issued in 1986. Razorcuts had an unusual approach to song writing in that the music came, for the most part, courtesy of Webster and the lyrics from Vass….but it was Webster who did the singing. Splendid 4 track LP that jacks down their signature sound perfectly and if you have ears glued to your head, will suck you into their vortex with surgical precision. Awesome! Price: 50 Euro


1906. RAZORCUTS: “Patterns On The Water” (Creation Records – CRE LP-119) (Record: Near Mint/ Jacket: Excellent). 1991 UK original pressing. Great retrospective LP by British finest Byrds infected band. Almost every track on this one is a winner, brimming over with heartfelt melancholia and austere intimacy that offers direct access to their collective pulsating brains. This is music so drenched in the past, yet so of the moment that marked the late 1980s. Largely overlooked band but damned they were so awesome that just hearing their name mentioned still sends shivers down my spine! Price: 45 Euro

1907. RED KRAYOLA: “Coconut Hotel” (Drag City – DC62) (Record: Near Mint/ Jacket: Near Mint, still in shrink). Original US pressing, recorded in 1967 but unreleased until 1995. As strange as the Red Krayola's debut album was, their proposed follow-up, Coconut Hotel, was far stranger. This all-instrumental recording was more appropriately classified as twentieth-century avant-garde music than rock, and was rejected by International Artists for release in 1967, finally seeing the light of day on Drag City in 1995. All power to the Krayola for doing things their own way, but it's not hard to understand International Artists' reasoning. This has so little commercial potential that it makes Zappa’s Lumpy Gravy sound like AM radio fodder. Dissonant exotic plucked strings, spooky organ clusters, 36 (yes, 36) "One-Second Pieces"--these are not tunes that you can hum, by any stretch of the imagination. Some acoustic guitar pieces bear the influence of John Fahey (with whom the Krayola recorded some unreleased material around this time). It's totally uncompromising, and rather wearisome, to be honest. It's like nothing else that nominally "rock" groups were doing in 1967, but it's not nearly as interesting as their official releases from the late '60s, which had at least a few loose ties to conventional song structures.” (All Music Guide). Awesome follow-up to their debut, totally disjointed affair that makes your mind twist in a convoluted fashion and meandering in dejunked amphetamine fuelled detuned blues basement and seeking self-sanctuary in the penthouse of acid-soaked freedom culminating in a defractured psychosis. Awesome. Price: 35 Euro
1908. RED NOISE: “Sarcelles – Locheres” (Futura – Red-01) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Hideously rare masterpiece on the highly collectible Futura label and one of the hardest to track down titles thereon. Masterminded by Michel Bulteau, the Red Noise LP is a massive bomb. “Red Noise's one and only album was originally released on the legendary Futura label. Red Noise was an radicale and inventive avant rock band with some improvised jazz elements as well as a heavy dose of Zappa-esque humor. The first side is a bunch of interconnected tracks some of them much shorter than a minute, like the opening piece "Cosmic Toilet Ditty" which consists of footsteps and a toilet flush. Quirky songs, often with scatalogical content complete with free for all instrumental bits often with raging saxophone blasts. There is even time for some wild guitar solos on "The Galatic Swer Song" and "20 Mirror Mozarts". The lenghty closing track "Sacerelles C'Est l'Avenir" is wild and noisy avant rock free jam with energetic rhythm section blasts of electric guitar and sax, flute bleats and organ squals. The piece has a freaked out intensity that belies the silliness of earlier tracks and really ties the album together quite nicely" (All Music Guide). Hideously rare and musically totally out of this world, disjointed, defractured, doped up and utterly psychedelic. One of the best and greatest discs to seep out of camembert infested France. All time highest recommendation!! Price: Offers!!!!
1909. RED TRANSISTOR: “Not Bite b/w We’re Not Crazy” (Ecstatic Peace) (Record: Excellent ~ Near Mint / Picture Sleeve: Near Mint). Only 25 copies of this fabulous single exist, this being numbered as 20/25. Hand-made paste on labels, truly as home made private press as you can possibly get. The assaultive New York trio Red Transistor was comprised of guitarist Rudolph Grey, drummer Mark Edmands and VON LMO on guitar, vocals, shortwave and organ. As a trio of hopeless Brooklyn delinquents, they unleashed bloodcurdling and gruesome repetitive mantras of secretive nihilism. Both tracks exhibit a screamingly amphetamine junked up tracks. The music is just agonizingly repetitive in an almost pre-metal kind of way. This makes them even to today’s standards light years ahead of their time and no one with a normal mindset will ever catch up with these guys. They just rage and thrust with qualities of true relinquish all claim to sanity and instead opt out for total defractured mindsets. In short, stuff of genius like Van Gogh shopping of his left ear and amplifying it for all to hear. Gloriously beautiful. The single has been reissued since it was originally released but this copy here was the 1st pressing, with hand made jackets and pasted on labels, as issued in an edition of only 25 hand-numbered copies. Price: 200 Euro
1910 REDMAN, DEWEY: “Look For The Black Star” (Freedom/ Trio Records – PA-7084) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Japan original that comes housed in Japan only cool sleeve art – promo issue. Although always a bit under-recognized and overshadowed by his contemporaries, tenor-saxophonist Dewey Redman has long been one of the giants of the avant-garde and bop. This early recording finds Redman discovering his own individual voice on five of his frequently emotional originals. Assisted by pianist Jym Young, bassist Donald Raphael Gareet and drummer Eddie Moore, this San Francisco date is quite adventurous and holds one's interest throughout. Price: 100 Euro
1911. REIBEL, GUY: “Granulations Sillages Franges Du Signe” (INA GRM – AM.771.01) (Record: Near Mint/ Fold Out Jacket: Near Mint) Original 1st pressing in TOP condition. Great original INA GRM disc out of 1977 by Guy Reibel, one of the leading forces of the studio, now located under the Centre Pompidou. Comprised out of three organic churning electronic music compositions, this is a weird hellbroth of a disc that will guide you through an unexplored sonic territory where demodulated dynamic rules, mixed with acoustic electronic apparitions, whirling pulsations, elastic metallic components and so much more unidentified aural objects. Great music, highly historical and utterly collectible. Getting difficult to track down. Highest recommendation for all you lovers of musique concrete, avant-garde soundings, weird shit and mental breakdowns. Price: 50 Euro
1912. REICH, STEVE: “Drumming” (Private Press, 1971) (2 LP Set: Excellent/ Gatefold Jacket: Excellent). Hideously rare original version and release of 1971 numbered and hand signed by Steve Reich himself. This copy has number 118/500. Minimal masterpiece and without a doubt the rarest entry in the Reich catalogue, his self released private pressing out of 1971. A minimal music private pressing, released and signed by Steve Reich himself. Never turns up these days and this copy is a true steal, so act now or hold your peace forever. Price: 500 Euro
1913. REICH, STEVE: “Four Organs – Phase Patterns” (Shandar – SR 83 511) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original French pressing on the collectible Shandar label of this all time classic minimal music masterpiece. “Steve Reich has described his 1971 piece Four Organs as an attempt to reproduce the phasing effect of his mid-'60s tape pieces (such as Come Out and It's Gonna Rain) with real musicians in a concert setting. Four organists (including on this 1974 recording, both Reich himself and his friend Philip Glass) repeatedly play single notes, aided by the superhuman efforts of a maracas player who's providing an unaccented beat at a steady tempo. As beats are slowly added to and dropped from bars as the piece develops, chords that had formed and lasted for single beats in early measures become longer and longer, so that by the end of the piece a single chord, formed by the four organists each playing a different note, is held for over 200 beats. As an added textural fillip, human nature requires that, despite their best efforts, the organists will not be hitting every note at exactly the same time, thus producing the interesting textures and overtones that start to become the focus of the piece after the first couple of minutes. Four Organs is minimalism at its purest. Phase Patterns is basically the same idea without the steadying influence of the maracas, meaning the phasing effects occur quicker and are more pronounced. It's arguably a slightly less interesting work, but it's still one of Reich’s finest early pieces.” (All Music). Top copy 1st original pressing. Just indispensable slide of minimalist grandness. Price: 75 Euro
1914. REID, STEVE: “Rhythmatism” (Mustevic Sound – MS-1001) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Impossible to upgrade top condition. 1976 US first original pressing that comes housed in very first jacket – that comes WITHOUT the other releases info and such printed on bottom of back cover. Most copies that surface are housed in 2nd print sleeves, this one here is a pristine first print issue sleeve. A fantastic mid 70s set led by drummer Steve Reid – fronting a group of players who groove tightly, but with a really sinister sound! Reid is an absolute steamroller on this set – laying down a fast-paced, super tight funky backdrop for the rest of the players to groove fluidly over the top. Three of the five tracks run well north of the 10-minute mark – and those pieces are strong as can be, providing just enough room for the players to lay out a groove that lies beautifully between the mid 60s avant garde of Ornette Coleman and the spiritual soul jazz of the mid 70s. The core group includes pianist Les Walker plus David Wertman on a wonderfully rubbery bass, Michael Keith on trombone and Arthur Blythe on alto sax – with guests Chris Capers (trumpet), Melvin Smith (guitar) and Charles Tyler (baritone sax) on "Center Of The Earth". Great stuff, with a really dark edge! Price: 450 Euro
1915. The REMAINS: “S/T” (Epic – XSB-114862) (Record: Near Mint/ Jacket: Near Mint). Pristine condition, Canada first original Stereo press issue from 1966. Stereo pressings are far harder to track down than mono issues. Lead vocalist Barry Tashian was an Armenian-American kid in Boston who was consumed by anger at the world. In part, perhaps, because Armenian-American kids may not have been top of the popularity scale in a town dominated by Irish-Americans and Wasps. He channeled the anger into music, leading the Remains into massive popularity in New England. But The Remains weren’t just another garage band. The songs here range from radical remakes of hits by Petula Clark (a seething “Heart”) and Charlie Rich (a “Lonely Weekend” that conjures both The Box Tops’ ragged soul and the Stones’ satanic sneer) to such balls-to-the-wall rockers as “You Got a Hard Time Coming” and the Kinks-like “Once Before.” At times, The Remains performed with a raw power that could make even The Stooges seem docile by comparison. Lead singer Tashian’s spirited rap during the break of “Don’t Look Back,” comes off like Detroit testifier Mitch Ryder backed by the dirty-ass guitar riffs of Entertainment-era Gang of Four (and this more than a decade before the punk invasion). Even The Remains’ mellowest songs, such as the gorgeous “Thank You,” burned with an edgy intensity that wouldn’t show up in pop music for another year, when The Velvet Underground released its first album. The Remains were, perhaps, a little too sophisticated to be a true garage band – they had proper arrangements and melodies, rather than just splurging their rage on to vinyl – but Don’t Look Back remains one of the most thrilling relics of mid-60s American rock, complete with a fabulous faux gospel breakdown: “I got one thing I gotta say … You know, people got some strange ideas about how life should be lived and things should be done/ But I’m here to say you gotta do just what you want!” Amen. Price: Offers!!!!
1916. RENBOURN GROUP, JOHN: “A Maid In Bedlam” (Transatlantic Records/ Nippon Columbia – YS-7019-LA) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan first original press issue with obi. “A Maid In Bedlam s credited to the John Renbourn Group, not to him alone, and that is an important distinction, since this is not another album of Renbourn’s acoustic guitar stylings. It really is the work of a group, consisting of Renbourn on guitar and vocals, his Pentangle partner Jacqui McShee on vocals, Tony Roberts on vocals and wind instruments, Sue Draheim on vocals and fiddle, and Keshav Sathe on tabla and finger cymbals. The song list consists of traditional British folk music dating back to the Renaissance, with three instrumentals mixed in with the vocal numbers and one -- the concluding hymn "Talk About Suffering" -- an a cappella performance. The most familiar number to contemporary listeners is likely to be "John Barleycorn," if only because of the Traffic recording, and the Renbourn Group is careful to present a different arrangement with an altered time signature. The arrangements are traditional, with the singers giving the words a madrigal feel. It's true that the tabla is not a traditional British instrument, but as Sathe plays it, it resembles a bodhran enough to get by. Thus, A Maid In Bedlam works as a collection of music that inspired the members of Pentangle in their contemporary folk-rock, played by some members of that band and their associates.” (All Music Guide). Larely overlooked stunning folk slide by Pentangle headpin. Top copy. Price: 50 Euro
1917. RENBOURN, JOHN: “S/T” (Transatlantic/ Victor Records Japan – SWG-7550) (Record: Mint/ Heavy Gatefold Jacket: Mint). Rare 1st original Japanese pressing from 1970. WHITE LABEL PROMO COPY!!!! “John Renbourn’s famous phrase was that "I started out trying to play like Big Bill Broonzy, and I'm still trying." On this early outing, the first to appear under his own name, you can, perhaps, detect some of the influence on traditional blues like "John Henry" and "Candy Man." But as a player, Renbourn had already very much developed into his own man, imaginative and complete in technique -- listen to the bonus instrumental take of "Wildest Pig in Captivity" to hear his very assured brilliance. Also in evidence is his love of early music, such as "Song," whose lyrics come from a John Donne poem, or his own "Plainsong." He'd already met up with fellow guitar player Bert Jansch, with whom he'd record and form Pentangle, and together they wrote "Noah and Rabbit." While hardly the greatest singer, there's an appealingly earnest quality to his voice, although he sounds a little strained on a cover of the folk classic "Blues Run the Game" (another bonus cut on the reissue). As debuts go, you'd be hard pressed to find anything much better in the folk cauldron that was London in the mid-'60s. The genesis of a master.” (Chris Nickson - All Music Guide). Amazing slide of the highest echelon of UK folk, amazing white label promo copy, housed in a Japan gatefold jacket art. Top all the way. Price: 50 Euro
1918. RENBOURN, JOHN: “Sir John A Lot Of” (Transatlantic/ Victor Records Japan – SWG-7556) (Record: Mint/ Gatefold Jacket: Excellent, some mildew spots visible against white background/ 4 Paged Insert: Mint/ 8 Paged annotated Booklet: Mint). An instrumental album featuring John Renbourn with his Pentangle band mate Terry Cox on percussion and Ray Warleigh on flute. Originally released in England in 1968, the same year that Pentangle started to record, Sir John Alot was steeped largely in English folk music. Highlights include "The Trees They Do Grow High", solo guitar miniatures such as "Lady Goes to Church," the epic "Morgana," with its sharply nuanced tempo and timbre changes, and the sprightly "My Dear Boy." Some parts of this album are surprisingly contemporary sounding, such as the bluesy "Transformation," which sounds like "What'd I Say" transposed for acoustic guitar and African drums and Rodgers & Hammerstein's "My Favorite Things"; and "Sweet Potato," which sounds like a folk-rock song without words, even as Renbourn quotes "Satisfaction" at one point. 1st original Japanese pressing, this being the WHITE label PROMO issue. Price: 40 Euro
1919. The RESIDENTS: “Meet the Residents” (Ralph Records – RR0274) (Record and Jacket are MINT/ SEALED). Damned clean top condition SEALED original of first ever Residents LP out of 1974 – US first original press issue. “The Residents are true avant-garde crazies. Their earliest albums (of which this is the first) have precedents in Captain Beefheart’s experimental albums, Frank Zappa’s conceptual numbers from Freak Out, the work of Steve Reich and the compositions of chance music tonemeister John Cage -- yet the Residents' work of this time really sounds like nothing else that exists. All of the music on this release consists of deconstructions of countless rock and non-rock styles, which are then grafted together to create chaotic, formless, seemingly haphazard numbers; the first six "songs" (including a fragment from the Nancy Sinatra hit "These Boots Are Made for Walkin'") are strung together to form a larger entity similar in concept to the following lengthier selections. The result is a series of unique, odd, challenging numbers that are nevertheless not entirely successful. The album cover is a fierce burlesque of the Beatles’ first U.S. Capitol label release, sporting puerilely doctored photographs of the Fab Four on the front and pictures of collarless-suited sea denizens on the back (identified as Paul McCrawfish, Ringo Starfish, and the like). This is an utterly bizarre platter that may appeal to very adventurous listeners.” (All Music Guide). Sealed first press original – perfection. Price: Offers!!!!
1920. La REVOLUCION DE EMILIANO ZAPATA: “S/T” (Polydor Mexico) (Record: Near Mint/ Jacket: Near Mint/ Poster: Near Mint). Original first pressing of 1971 and stated on cover as “primera edicion Abril de 1971”. Just never surfaces. Fuzzed-up, tripped-out rock and roll, heavy guitar psych; one of the best ever from anywhere. La Revolucion De Emiliano Zapata had all the right ingredients, totally stoned vibe, deranged vocals gnawing at your skull, earthquake rhythm section blessed with a caveman-like feel, demented lyrics and one of the wildest guitarists ever to emerge out of Latin America. With a sound that's heavy on guitars, they are also surprisingly soulful lyrically too – a well-conceived blend of modes that comes off with a real "instant classic" sort of feel. La Revolución de Emiliano Zapata. Was of course unmistakably heavily influenced by American 'psychedelic rock. Heralding out of Guadalajara, located in the central region of Jaliscoin during the late 1960's, the band quickly established themselves as a sonic menace. After winning a radio competition a record contract was wheeled in and they signed a deal with Polydor in 1969. In 1970 they cut their debut album, 'La Revolución de Emiliano Zapata'. The albums was a beast, stuffed with peyote injected fuzzed up guitars, etc, just lovely addictive on all auditory levels. Original first press copy. So rare this clean. Top copy. Price: Offers!!!
1921. REVOLUTIONARY ARMY OF THE INFANT JESUS: “The Gift Of Tears” (Probe – Probe-12) (Record: Excellent ~ Near Mint/ Jacket: Excellen ~ Near Mint). This is nothing short of a fantastic privately released UK acid folk/ psychedelic head twister from 1987 that completely fell off the radar and which is totally ignored or unknown by most of the psychedelic collectors out there. The Revolutionary Army of the Infant Jesus only cut this one LP which is as good as the best recordings of Gong, Spirogyra and Pink Floyd to give you some musical similarities but then thrown together in one big melting pot. The overall sound is blessed with a great haunting and otherworldly vibe that is deceptively intense through the use of interacting male and female vocals, exotic flutes of pan and lysergic guitar flashes all over the place. The music is so drenched in the past, yet so of the moment and filled with haunting echoes of a panoramic sounds that floats somewhere between deep underground psychedelia and pagan acid folk vibes. The record sold next to nothing and was immediately a rarity following its release back in the day. That aside, this is one of the finest LP’s to seep out of the UK during that period, pregnant with undercurrents of depth and an exploratory sound to wrap your senses around. Highest possible recommendation!!! Price: 150 Euro
1922. The REVOLUTIONARY ENSEMBLE: The Psyche” (RE: Records – RE-3117) (Record: Near Mint/ Jacket: Near Mint). US original private press issue in outstanding condition. “The Revolutionary Ensemble (Leroy Jenkins, violin, viola; Sirone, bass; Jerome Cooper, drums, piano) is one of the great unsung bands of the 1970s. They seem to have been forgotten by many but they were on of that era's most vital bands. Part of the problem was that most of their recordings were on smaller labels, with the exception of the last two which were on the A&M distributed Horizon label. The Psyche is probably the hardest of their recordings to find, so this reissue is particularly welcome. The main calling card of this group was Jenkins' fantastic violin and viola work. At the time of his emergence, the instrument had not ha much of a presence in the "free jazz" movement. But after a couple of recordings with Archie Shepp and Rahsaan Roland Kirk and his work in Paris with Anthony Braxton and Leo Smith, he let everyone know what his instrument could do. But the group was so much more than Jenkins. Sirone's bass was a mighty instrument, as capable of low menacing grumbles as well as high howling shrieks. Jerome Cooper's rolling polyrhythms provided a multi-directional bed that shot the music off in a variety of directions. Additionally Cooper was a master colorist with a variety of smaller instruments that added to the group texture. The Psyche was the group's third album (after Vietnam on ESP and the great Manhattan Cycles done for India Navigation.) This was also the only album released on their own label (RE). The program consists of three compositions: "invasion" by Cooper, "Hu-Man" by Sirone, and "Collegno" by Jenkins. "Invasion" took up all of side one and was a suite of sorts. It began with a low bass drone, with Jenkins hovering above and Cooper coloring with cymbal splashes. When they kick into gear, Sirone shifts to a running bass line, Cooper lays down a steady ride cymbal rhythm and Jenkins is off. This was a group of three musicians who knew each other well and they knew how to support and prod each other. And it was never just two musicians supporting Jenkins. This was an ensemble of equals and each shone in his role. "Invasion" is a lengthy piece and its only lull us during a meandering interlude where Cooper switches to piano for a duet section with Sirone. The piece ends mid-drum solo which is picked up at the beginning of "Hu-Man." And therein lies the main complaint about this disc. On LP, one had to get up and flip it over to continue, but here the two should have been merged into a seamless whole. Even if they hadn't used the master tapes for this issue (and the sound is quite good), surely with today's sophisticated technology, something could have been done. As it is, it was a missed opportunity and the flow of the piece is destroyed. That said, "Hu-Man" is as straight ahead as the band got (at this time) and there's a swinging, driving solo by Jenkins on this piece. Jenkins' "Collegno" is driven by a bassline that involves Sirone tapping his line out with the bow while Jenkins and Cooper etch out the delicate theme on violin and piano.” (cadence – 2004). Price: 60 Euro
1923. REYS, RITA with ART BLAKEY And The JAZZ MESSENGERS: “The Cool Voice Of Rita Reyes” (Philips/ Nippon Victor – FL-4023) (10 Inch Record: Excellent/ Flipback Jacket: Near Mint/ Obi: Near Mint). Very rare Japan very first original pressing that saw the light of day in 1961! Never seen a copy complete with obi of this first issue until now. Seriously rare and a tough one to find. If you are even vaguely into jazz singers, then it is impossible to surpass this one. The only other slide that comes even close is Chet Baker’s “Sings” LP and Rita rubs easily shoulders with the greatness of that one. Absolutely stunning and the perfect late summer evening spin with a chilled sake in hand. First time ever I encounter this first press issue from 1961 all complete with the impossibly rare obi. Price: 250 Euro
1924. REYES, RITA with ART BLAKEY And The JAZZ MESSENGERS: “The Cool Voice Of Rita Reyes” (Philips – RJ-5036) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Silver Toned capsule Obi: Mint). Very rare Japan fsecond press issue that saw the light of day in 1972. It was a short-lived series that only put out 3 LP releases graced with a silver colored capsule obi, being Don Rendall & Ian Carr “Phase III”; Don Rendall & Ian Carr “Dusk Fire” and this album by Rita Reyes, backed by Art Blakey and his Jazz Messengers. If you are even vaguely into jazz singers, then it is impossible to surpass this one. The only other slide that comes even close is Chet Baker’s “Sings” LP and Rita rubs easily shoulders with the greatness of that one. Absolutely stunning and the perfect late summer evening spin with a chilled sake in hand. First time ever I encounter this version and it is in absolutely top & flawless condition. Price: 150 Euro

1925. The RICHARD TWARDZIK TRIO / The RUSS FREEMAN TRIO: “S/T” (Pacific Jazz Records/ Toshiba EMI – PJ-1212) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Long gone high quality Japanese pressing of stunning jazz slide. Japanese 12-track mono LP, featuring the one recorded session by the ill-fated pianist Richard Twardzik, in a trio with bassist Carson Smith and drummer Peter Littman, recorded at Rudy's Van Gelder's studio in December, 1954. The Russ Freeman side was recorded in LA in 1953 with Joe Mondragon on Bass and Shelly Manne on Drums. Picture sleeve with Japanese insert & obi. So good it makes my jaw drop to the floor each time I give this one a spin. All killer, Twardzik is the man!!!! Price: 50 Euro

1926. RICHARDS, EMIL & THE MICROTONAL BLUES BAND: “Journey To Bliss” (Impulse – A-9166) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). First issue Impulse pressing, red rim and with a deep groove. Great Jazz/ eastern exploitation/ cum psych disc on Impulse that tried to cash in on the neo-hippy-eastern craze that raged back then. Upon listening to it now, I must say they pull it off exceptionally well, Richards is fantastic through out and his meditative – wisdom –sprouting nasal voice actually is a mesmerizing feat set against the indo-jazz vibes. Price: 75 Euro
1927. RICHARDS, EMIL & THE MICROTONAL BLUES BAND: “Spirit of 1976 – Live At Donte’s” (Impulse – AS-9182) (Record: Near Mint/ gatefold Jacket: Mint – still housed in original shrink/ Insert: Mint/ Company Inner Sleeve: Mint/ Direct Import Obi: Mint). Top condition original 1st press that comes with bloody scarce Japan Direct Import Obi and insert. Never seen this one with the first issue obi flashing proudly its colors! Price: 150 Euro
1928. RIDLEY, LARRY: “Sum Of The Parts” (Strata-East – SES-19759) (Record: Excellent/ Jacket: Excellent). Original 1st pressing – PROMO issue. A rare outing as bandleader for the talented session bassist who has worked with the likes of Jackie McLean, Lee Morgan and Freddie Hubbard. Originally released on Strata-East, one of the most consistently high-quality jazz labels of the 70's. "Sum of the Parts" ventures a little further into the realms of fusion and smooth jazz then most Strata-East titles, but the level of musicianship remains high throughout, thanks to a strong lineup that includes the unsung Sonny Fortune on sax and Grady Tate on drums. Solid from start to finish. Price: 175 Euro
1929. HOWARD RILEY TRIO: “Discussions” (Opportunity – CP.2499) (Record: Near Mint/ Hand Made Paste On Sleeve: Excellent – no defects no splits or damages, has some aging spots due to age/ Insert: Excellent). UK original 1st press issue, released in a tiny run of only 99 copies way back in 1968 and one of the rarest UK jazz slides out there. It would be a slight understatement to say that this slab of improvisational greatness is a hard one to come by so the term “rare” does hardly cover its scarcity status. The reason for putting it out in such a tiny run of only 99 copies was that due to UK tax law purchase taxes were applicable for a press run of 100 copies and more, so in order to ditch those one opted instead for a miniscule release, making this limited pressing one of the most important documents of UK free jazz. Scarcity aside, it is an impressive showcase of some of Britain’s finest improvisers initial free form aesthetic and who all would go on to become hugely influential later on. Here, Howard Riley spearheaded his very own jazz trio enlisting bassist Barry Guy and drummer Jon Hiseman, both stellar talents in their own right. Hiseman recorded with John Mayall and many others as well as becoming a forming member of Colosseum, Guy was part of the Spontaneous Music Ensemble and played with about every big name in UK (free) jazz. The compositions on display are split over originals and reinterpretations of jazz standards, clearly showing the direction European jazz around that time was steering into, uncovering in the process its own avant-garde language, almost unrelated to the form of free jazz played in the US. This European approach was less based on intense improvisation and aimed instead at a slow denudation of most melodic content, while being on a quest which would encompass jazz with a whiff of contemporary European classical music of the 20th Century and assimilate it into a new musical free form rhetoric. Without stranding in rigid waters, this is deeply explorative music beyond time and space, being extremely free, fluid and loose. A thing of beauty casting a mesmerizing spell when submerged in it. Extremely rare UK first original pressing in top shape. They do not come rarer than this one here so…. Go out with all guns blazing for this one. Price: Offers!!!
1930. RILEY, HOWARD: “The Day Will Come” (CBS SONY – SONP-50405) (Record: Near Mint/ Jacket: Near Mint). Damned scarce Japan original 1st press. Howard Riley landed a deal with CBS in 1969 with only one album under his belt, he was a true composer at 25. Here, his 2nd outing for CBS following “Angle” and recorded a year later in 1970, sees Riley flanked by his usual rhythm section of Barry Guy and Alan Jackson and they are deeply in sync. The Day Will Come boasts one of the great baffling sleeves of its era, but it also has more musical clarity to it than Angle of the year before: witness the pensive Sad Was The Song and Winter. There’s less urgency here – perhaps time has given the threesome the understanding to not have to try so hard and more relaying on an intuitive approach which results in recording the best LP he canned for CBS, making it one of the all-time classic UK jazz slides of that period. Damned rare Japan original pressing in TOP shape. Price: 125 Euro
1931. RILEY, HOWARD with KEITH TIPPETT; BARRY GUY & JOHN STEVENS: “Facets” (Impetus Records – IMP-38002) (3 LP Record: Near Mint/ Insert: Near Mint/ Booklet: Near Mint/ Outer Box: Excellent). Rarely seen 1981 UK original pressing, a clash of the titans of the UK jazz scene as released way back in 1981. ‘Facets’ is a collaboration between four giants of modern British jazz improvisational scene: Howard Riley, Keith Tippett (both piano), Barry Guy (double bass) and John Stevens (drums, cornet). This copy here is the original release of 1981, a monster set released as a 3-LP box, the material is sourced from three specific recording sessions, starting in October 1979 (tracks 5-7) with Riley in a trio session with Guy and Stevens (Guy having performed in numerous line-ups with Riley in the previous decade with Stevens in the Spontaneous Music Ensemble and a trio with Trevor Watts). Riley was back in Heiman Studios in London the following years to overdub three pianos into tracks 11-8. He and Tippett recorded remaining tracks (1-4) live at Goldsmith’s College, London in May of the year of release. Just massive. Price: 175 Euro

1932. RIP RIG + PANIC: “God” (Nippon Columbia – YW-7063-4-AX) (2 LP Record Set: Mint/ Jacket: Mint/ Insert: Mint/ OBI: Mint). 1982 Japan 1st original high quality pressing complete with obi. “With Gareth Sanger leading the charge, Rip, Rig & panic’s debut is much more user-friendly than anything recorded by Sanger's previous band, the always abrasive Pop Group. This record gallops along from start to finish, honking and buzzing along the way, with loads of odd vocalizing and feral, primal, repetitive rhythms. Not the most significant album to come out of the early days of English post-punk, but one that still delivers plenty of smiles 15 years later.” (All Music Guide). Sean Oliver's Funkadelic bass mashes up against the free jazz of Mark Springer's piano while Neneh Cherry shouts, Bruce Smith thumps the tubs and Gareth Sager plays the contents of an instrument shop. Fucking awesome slide. Price: 60 Euro

1933. RIP RIG & PANIC: “I Am Cold” (Nippon Columbia – YW-7065〜6 – AX) (2 LP Set: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japanese first original pressing that came out in 1982. The Pop Group spin-off, Rip Rig + Panic's slightly more controlled and structured follow up to the massive financial flop "God". Somehow they managed to persuade trumpet maestro Don Cherry to add a bit of class to augment his step Daughters' whiny vocals. Basically it's more of the same anything goes kind of trendy dubby jazz-punk fusion but with less wild abandon of the first LP. Again, Virgin give them the double vinyl treatment, which ensured that they lost even more money in the vane hope that they could find the next Sex Pistols or Mike Oldfield to finance Branson's greater ambitions. Price: 50 Euro
1934. ROACH, MAX And STAN LEVY With Howard Rumsey’s Lighthouse Allstars: “Drummin’ The Blues” (Liberty – LBY-1018) (Record: Near Mint/ Flip Back Sleeve: Excellent ~ Near Mint). Damned rare 1961 Japan frist original press issue – WHITE label PROMO issue that comes on RED wax! Heavy early Max Roach recording dating back to 1957 but not released in Japan until 1961…needles to say that not many copies of this one turn up, especially in this shape and as a white label promo one on red wax. But all that aside, the music swings like a bat out of hell, reminding me what heat was unleashed on some of these early jazz slides and already establishing Roach as the giant he was to become. Bloody killer. Price: 105 Euro
1935. ROACH, MAX: “Deluxe Edition” (Prestige/ Victor Records – SMJ-9005~6) (2 Lp Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Beautiful Japan only 2 LP issue with obi. Price: 60 Euro
1936. ROACH, MAX: “Percussion Bitter Sweet” (Impulse – SNY-6) (Record: Near Mint/ Fragile Flip Back Sleeve: Near Mint). Damned rare 1962 Japan very first press original deep groove issue. Never encountered before WHITE label PROMO. Dead clean. What a killer slide! Max Roach's masterpiece! This record is one of his most perfectly realized visions – and it's a marvelous album that combines politics and modern jazz, yet still manages to swing! The players are some of the hippest that Roach ever worked with – and include Eric Dolphy, Booker Little, Clifford Jordan, and Julian Priester – and the record features some of the best-ever singing from Abbey Lincoln! Abbey's incredible on the track "Mendacity", an incredibly haunting Civil Rights-era number that should go right up there with "Strange Fruit", and which features wonderful alto work from Dolphy! She also sings wordlessly on the track "Garvey's Ghost" – and then sits out the rest of the set so that Max and the group can wail on the tracks "Praise For A Martyr", "Man From South Africa", and "Tender Warriors". Incredibly hip – and a perfect blend of soul, jazz, politics, and pure righteous spirit! Price: 150 Euro
1937. ROACH, MAX: “It’s Time” (Impulse – NY-15) (Record: Near Mint/ Flip Back jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent ~ Near Mint). Rare 1963 Japan first original pressing all complete with obi & in outstanding condition. MONO issue. This Max Roach date is an unusual set. The outing featured the drummer's all-star sextet (which consisted of trumpeter Richard Williams, tenor saxophonist Clifford Jordan, trombonist Julian Priester, pianist Mal Waldron, and bassist Art Davis) joined by a vocal choir conducted by Coleridge-Taylor Perkinson and orchestrated by Roach. Unlike most other collaborations, the choir was not overly gospel-oriented and was utilized as a sort of jazz ensemble. Amazing Impulse record set and one of Roach’s finest to these ears. Hardly ever seen 1963 Japanese MONO original in top condition. Price: 150 Euro

1938. ROACH, MAX: “We Insist! Max Roach’s – Freedom Now Suite” (Candid Records/ Victor – SMJ-7032) (Record: Near Mint/ Flip Back Jacket: Excellent/ Obi: Near Mint). Very rare Japan very first original Japanese press issue – all complete with very first issue obi – never offered for sale before original. “We Insist!, recorded in August and September 1960, was the first of several jazz albums explicitly to voice the growing demand for equal rights. In November, it was followed by the recording of bassist Charles Mingus' Charles Mingus Presents Charles Mingus whose "Original Faubus Fables" a ferocious attack on Arkansas governor Orval E. Faubus (of Little Rock High School infamy), possessed an intensity which set the tone for most jazz-as-protest albums to follow. Some of those albums sound like period pieces today, but not We Insist!, which is sufficiently nuanced and free of agit-prop literalism to transcend its era. Conceived as a suite by Roach, its composer and arranger, the album features a shifting cast of players, with only Roach and singer Abbey Lincoln heard throughout. Three of the five tracks—"Driva' Man," "Freedom Day" and "All Africa"—feature lyrics by Oscar Brown Jr., sung by Lincoln, who is joined on "All Africa" by Nigerian conga player Michael Olatunji. Brown's words, pitched as poetry rather than polemic, are deep and eloquent, and Lincoln's assertive, uncompromising delivery of them is widely considered to be her finest recorded performance. The album is ablaze with instrumental spirit too. Tenor saxophonist Coleman Hawkins, in an inspired piece of guest casting, solos at length on the opening "Driva' Man," his sturdy, heavyweight testifying suggesting dignity and determination in the face of whip-wielding oppression - he sounds like the civil rights marchers looked. "All Africa" closes with four minutes of collective improvisation between Roach, Olatunji and Afro-Cuban percussionists Ray Mantilla and Tomas DuVall, as thrilling an African/Afro-American drum summit as could be wished for. There are stirring solos from trumpeter Booker Little, trombonist Julian Priester and tenor saxophonist Walter Benton, and the ensemble's focus is razor sharp throughout, honed by Roach's virtuosic drumming. Awesome is an over-used word, but it's the right one for We Insist!.” (All About Jazz). Damned rare Japan very first original pressing, never seen before all complete with obi…Price: 250 Euro

1939. ROACH, MAX – MAX ROACH QUARTET: “Speak, Brother, Speak! – Max Roach Quartet At The Jazz Workshop” (Liberty Records – LR-8819) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent). Very first 1970 original Japanese pressing all complete with obi – RED WAX & WHITE label PROMO issue. “A live set put out on Debut has two very lengthy tracks (the 25-minute "Speak, Brother, Speak" and the 22-and-a-half-minute "A Variation") featuring solos by tenor saxophonist Clifford Jordan, pianist Mal Waldron, bassist Eddie Khan and drummer Max Roach (who wrote both of the pieces). The music is somewhere between hard bop and avant-garde, and the musicians really push each other, although the results are not quite essential. Jordan fans in particular will find this to be an interesting set.” (All Music Guide). Hardly ever offered red wax promo with first issue obi. Price: 125 Euro

1940. ROACH, MAX & ABBEY LINCOLN: “Sounds As A Roach” (Joker/ Teichiku Records – UPS-2056-KR) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Killer live slide that only saw the light of day as a Japan release in 1977. An obscure one from Max Roach! The set was recorded live in 1968 in Norway – and it features Max working with Steve Lacy on soprano, Red Mitchell on bass, Steve Kuhn on piano, and Abbey Lincoln on vocals. Abbey sings on a few tracks – and the group jams on others – but a certain percentage of the record features Max playing solo, in that great way he used on the Drums Unlimited album for Atlantic. The whole album's quite varied – but it also shows the range of Roach's creative explorations at this sometime "lost" time in his career. Price: 75 Euro

1941. ROACH, MAX QUARTET: “Live In Amsterdam It’s Time” (Baystate – RVJ-6029) (Record: N ear Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Awesome Japan only issue and one of the few albums to capture the seminal Max Roach quartet of the late 70s – a really freewheeling group that featured Billy Harper on tenor sax, Cecil Bridgewater on trumpet, and Reggie Workman on bass! The quartet is easily one of Roach's greatest – a soulful unit that burns with searing post-Coltrane intensity – and which is especially fortunate to have Harper on board, blowing with a spirituality to match is own great recordings of the time. The album features 2 extended numbers – Max's "It's Time", a hard-blown improvising tune; and Harper's excellent "Call Of Wild & Peaceful Heart", a sublime tune that builds and dances with a beautiful sort of edge! Comes complete with obi and insert. Price: 50 Euro
1942. ROCK AGE CONCERT: “S/T – Various Artists with FAR OUT, BLIND BIRD, TOO MUCH, JUNI RUSH, FLOWER TRAVELLING BAND, CRINCUM CRANKUM, ROCK PILOT & SPEED GLUE & SHINKI” (Atlantic – L-6007A) (Record: Mint/ Gatefold Jacket: Mint). One of my most treasured Japanese heavy psychedelic rock artifacts is this thunderous compilation LP. Still, it ain’t really a compilation LP since it harbors some unreleased tracks by Far Out, Blind Bird (ouch, smashing and this is the sole thing they ever released), Too Much’s Juni Rush, Flower Travelling Band, Crinkum Crankum (another under recorded band who only left behind this track here), Rock Pilot, Too Much and Speed Glue & Shinki. Well, the whole affair gets kick started by Far Out and their long track alone will suck you right into the fast lane. Their contribution is just fucking heavy and so far removed from their sole LP. They rip through some real heavy moves here, combining a sense of loss of power due to splitting down the atom of the mind and steering right into the turbulent waters of the perpetual, post-acid heavy psych scene. It is a monster and one of the best Japanese heavy psych tracks to have been committed to wax EVER!! Blind Bird and Crinkum Crankum steer into similar shark infested waters and will certainly crack open your already caved in skull. The rest of the psychedelic renegades to fill up this hopelessly rare and obscure LP are better known and only cement even further the reputation it has gained over the years. For some perverse reason, this LP is always trashed. But this copy here is the best one ever to cross my eyes. Jacket is Mint, like it was printed only yesterday and record is also mint, seems like it hardly had any plays. Fabulous copy, stunning gatefold and ear-splitting heavy psych moves, what can a deranged acidhead ask possibly more for. Highest ever recommendation!! Possibly the best copy out there. Price: Offers!!

1943. ROCK WORKSHOP: “The Very Last Time” (Epic – EPIA-53006) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ CAP OBI: Near Mint). Damned rare japan 1st original pressing all complete with the capsule Obi and insert. WHITE label PROMO issue. Lead by jazz guitarist Ray Russell, Rock Workshop had the pedigree to go far but was in the end a rather short-lived band and like aptly stated “the Very Last Time” turned out to be their 2nd and last album. Musically, the band played both sides of the horn rock spectrum, sucking influences embracing both blues and jazz. The music never really goes off the rails, rather opting to clearly try to grind out a hit, as Ray Russell grouses about in retrospect. All the same, there is a plentiful of super tracks found on the LP, floating on fuzz bass vibes, acidic guitar interplay and wild horn charts, rendering Rock Workshop a splendid jazz rock combo. And Russell of course steals the show, on fire as usual and again showcasing the massive but sadly overlooked talent he was. Price: 250 Euro

1944. ROCKADROME: “Royal American 20th Century Blues” (Sound Canada – SC-7701) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, small drill hole in upper right corner). Original Canadian copy of much beloved acid bluesy psych rarity. Great songs, strong vox, tripped-out lysergic guitars... Real great album and rare as hell!!! Recorded in a time when creativity counted for more than commercial appeal, the album was recorded for the eclectic Sound Canada label. It sold poorly, but was rediscovered as part of the revival in interest in psychedelia; the only problem-copies of the original album are damned rare. Killer album, that throws in the mix some psychedelic elements combined with a trashy garage sound. A deadly mix! Exciting guitar playing, faded vocals, fuzzy leads popping up all over and an unbridled creativity make almost every song a solid winner. Without a doubt one of the best garage records of that era. Sadly, originals are as rare as a hen’s teeth but here is a nice Near Mint copy for you…Price: Offers!!!
1945. RODRIGUEZ, BOBBY: “Simply Macrame” (Jazz Men Records – JMR-1001) (Record: Near Mint/ Jacket: Excellent). Scarce US first original private press issue from 1973 in great condition. “Originally recorded and privately released on the obscure Jazz Men Records in late 1973, ‘Simply Macrame’ is a most blissful piece of groove-laden jazz-funk with a muy caliente latin flavor that brings some much needed sunshine into a grey winter day. The opening title track, which in fact a 16-minute plus rendition of Freddie Hubbard’s ‘Little Sunflower’, supplies all the heat to get me going and lifts this classic to completely new heights adding a nice twist to the tone and is graced by Betty Macias’ sweet vocals. The young Bobby Rodriguez really shows off his skills as a big-band leader conducting a heavyweight line of 21 credited musicians including James Mtume & Ndugu Chancler. Though this little heater is still a rather arcane affair, Bobby Rodriguez is far from being an unknown figure who has performed with the likes of Quincy Jones, Ray Charles, Willie Bobo, Ike & Tina as well as the Brothers Johnson and still pretty much active in the music scene in his hometown of Los Angeles as director of Latin Jazz Music and Jazz Trumpet at UCLA, UCI, and Pasadena City College.” (Mario Luesse). Spot on, such an addictive listening experience, which gets better and better with multiple spins. Awesome, sets your pants on fire!!!!! Price: 200 Euro
1946. THE ROLF KUHN JAZZ GROUP: "Going To The Rainbow" (BASF/ Teichiku Records - UPS-548-B) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). First original 1971 high quality Japanese pressing complete with always-missing obi. Great free Improvisation with spiritual undertones influenced by Miles davis "Bitches Brew". One of Kuhn's best recordings for which he got assisted by heavy weights like John Surman, Alan Skidmore and Chick Corea. Absolutely stunning free improv with an addictive rolling groove that really puts the funky cat out there. Highest recommendation - rare Japanese original in mint condition. To lick your decalls off baby!!!. Price: 75 Euro
1947. ROLF & JOACHIM KUHN QUARTET: “Re-Union” (CBS – S-62407) (Record: Near Mint - Mint/ Jacket: Near Mint - Mint). One of the rarest free inspired German jazz albums out there, this copy here is an original 1965 1st pressing in TOP condition, never seen a better copy anywhere. Tremendous work from the brothers Rolf and Joachim Kuhn – and exactly the kind of record that will have you completely rethinking your opinion about the clarinet in jazz! Rolf's a player with roots in more traditional modes, but by the time of this mid 60s session he was a very committed modernist – and uses the instrument here in modes that feel a lot more like the soprano sax spirit of John Coltrane or Steve Lacy at the time – open, free, unbridled – and often set to a modal groove that bubbles up perfectly from Joachim's work on piano! Sometimes Joachim's totally out there, let loose on a rampage, but he still manages to hang nicely onto his brother’s clarinet playing – not entirely straight, but always working with a sense of rhythmic progression, which gets support from Klaus Koch on bass and Reinhard Schwartz on drums. Yet Rolf's the real star of the show – as he blows with a fantastic range of sounds and phrasing – searing at some points, soulful at others – and blowing us away on titles. Utterly fantastic and bewilderingly beautiful lyrical, yet well balanced free jazz slide. One of the rarest German jazz records out there and this copy is just perfect on all fronts, strictly graded at NM〜M all the way. Awesome!!! Price: Offers!!!!!
1948. ROLLING STONES: “Get Off My Cloud b/w I’m Free” (London/ King Records – HIT-568) (7 Inch Single Record: Excellent/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Japan 1965 first original pressing that comes housed in Japan only picture sleeve. Just love those early Stones songs! Price: 40 Euro
1949. ROLLING STONES: “Paint It Black b/w Long Long While” (London/ King Records – TOP-1053) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Original 1966 Japan 1st issue that comes housed in unique Japan only picture sleeve. Price: 40 Euro
1950. ROLLING STONES: “Tell Me b/w Time Is On My Side” (London/ King Records – TOP-1242) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Japan 1968 original single issue that comes housed in Japan unique picture sleeve. Price: 30 Euro
1951. ROLLING STONES: “Vol. 5 – Aftermath” (London/ King Records Japan – SLH-51) (Record: Near Mint ~ Mint/ Fragile Gatefold Jacket: Near Mint ~ Mint/ OBI: Excellent ~ Near Mint – sole defect is some writing on back – songs timing strip). Impossibly rare Japan first original pressing that comes housed in Japan only jacket art. This is the original release that came out on July 10th, 1966. Top condition with obi. Price: 350 Euro
1952. ROLLING STONES: “6” (London/ King Records Japan – SLC-236) (Record: Excellent ~ Near Mint / Gatefold Jacket: Near Mint ~ Mint/ Insert: Mint/ Attached Poster: Mint/ Obi: Near Mint). Original 1969 Japan first original pressing all complete with OBI & Poster. Maybe the best of the 6 Japan only Stones LP’s released in Japan, comes all complete. Top condition, and getting quite tough to find these buggers in good shape with all present. Price: 300 Euro
1953. ROLLING STONES: “Between The Buttons” (London – King Records Japan – SLC-173) (Record: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint). Bloody rare original 1968 Japanese pressing complete with obi. Price: 275 Euro
1954. ROLLING STONES: “Let It Bleed” (London – SLC-300) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Mint/ Obi: Mint/ Attached Picture Booklet: Mint). Great copy, very beautiful 1st pressing with all complete and beautiful condition. Complete 1st issue Japanese pressing. Comes with obi and in my book the best moment the Stones ever had. “Gimme Shelter” never fails to put me in a state of having my nuts on fire and screaming my lungs out like moving badly when reaching the rising edge of a speed trip. Killer. Price: 250 Euro
1955. ROLLING STONES: “Exile On Main St” (Warner Pioneer Japan – P-5051~2S) (2 LP Set: Mint/ gatefold Jacket: Mint/ Obi: Mint/ 2 sets of Postcards: Mint/ 4-Paged Insert: Mint/ Imprinted Inner Sleeves: Mint). All is here, the complete 1st issue package that came with the Japanese press of this LP being the "Original OBI", "gatefold jacket", " two imprinted Inner-Bags", "Insert" & "2 Set of Perforated Postcards" (Complete Set). This is the scarce Japanese original pressing as released in 1972 of their double album, comin' with complete appendices (including rare original obi). It's hard to find this item in complete shape (especially original obi). Top copy. SOLD
1956. ROLLINS, SONNY: “Sonny Rollins and the Contemporary Leaders: Barney Kessel; Hampton Hawkes; Leroy Vinnegar; Shelly Manne” (London Records/ Contemporary/ King Records – LY-1010) (Record: Excellent ~ Near Mint – some faint sleeve lines visible on side 2/ Fragile Flip Back Jacket: Excellent – small 0,5cm spine dent). Damned rare very first Japanese original pressing from 1959 in great shape. The last of the classic Sonny Rollins albums prior to his unexpected three-year retirement features the great tenor with pianist Hampton Hawes, guitarist Barney Kessel, bassist Leroy Vinnegar and drummer Shelly Mane (all bandleaders for Contemporary Records during this era) on an unusual but inspired list of standards. Rollins creates explorative and often witty improvisations on such songs as "Rock-A-Bye Your Baby with a Dixie Melody," "You," "In the Chapel in the Moonlight," and roaring versions of "I've Found a New Baby" and "The Song Is You." Great music. SOLD
1957. ROLLINS, SONNY: “The Bridge” (Victor Records – RA-5097) (Record: Excellent/ Flip Back Jacket: Excellent – perfect no defects – has small white on white price tag tear on back side upper right corner). Original first Japanese pressing from 1962 in great shape. A landmark album from Sonny Rollins – one that marked his comeback in the early 60s, after a brief period of retirement and which also initiated a string of incredible recordings with guitarist Jim Hall. Given Hall's gentleness and spare modernity on the guitar, a fan of Rollins' hard-blowing late 50s sessions might not expect the album to work – but instead, it sets up his playing in a whole new mode that brings out a leaner, more confident, more sophisticated solo mode that shows that his time woodshedding in retirement was well spent. Rollins playing is impeccable, with a maturity not heard in his late 50's work, and the whole album is a beautiful study in measured, thoughtful soloing. Such a delight of a record. Price: 60 Euro
1958. ROLLINS, SONNY: “Moving Out” (Top Rank/ Prestige – RANK-5016) (Record: Near Mint/ Flip Back Jacket: Near Mint). One of a kind issue – Japan 1961 first original pressing – WHITE label PROMO pressing & housed with a Victor Records record executive only designed sleeve – only used for internal use before the printing of the actual sleeve art was finished. I got this copy from a retired record company executive who worked for Victor Records back in the day and he assured me there were not more that possibly 5 copies that circulated in the company at that time of this beauty. “The collaborations between Sonny Rollins and any given trumpet player were few and far between, but they did include such notables as Miles Davis, Don Cherry, Clifford Brown and in this case, his first tandem partnership with Kenny Dorham. At the time, both of them were also members of the Max Roach Quintet and thus quite familiar with each other's strengths. Add to the mix drummer Art Blakey, bassist Percy Heath and emerging modern jazz pianist Elmo Hope and this shapes up to be one of the more potent combos of 1954. It's pretty straightforward music featuring Rollins with little involvement from Dorham except solos. The fast title track, based on the changes of "Donna Lee" or "Indiana," has the briefest melody line before Rollins leaps into eighth-note madness, while the very fleet "Swingin' for Bumsy" does the same, repeating the slimmest phrase three times. An all-time classic, "Solid" does have the two horns together, playing an established, bluesy unison thought, a beauty in economy, while the obligatory ballad "Silk 'n' Satin" is all Rollins wrapped in a fabric of sheen and softness. There's one track that features an entirely different band for some reason, as "More Than You Know" encompasses a full 11 minutes of this program, which in total is just shy of 32 minutes. This unmistakable melody is enveloped by Rollins and Thelonius Monk, with bassist Tommy Potter and drummer Art Taylor in support for a tune that is unlike the others in style and texture. Moving out contains some fine music, especially for the time period.” (All Music Guide). Very unique item, one off chance to own maybe one of the rarest Rollins issues out there… Price: 400 Euro
1959. ROLLINS, SONNY: “Moving Out” (Top Rank/ Prestige – RANK-5016) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). The first Japanese press original – housed in a fragile flip back sleeve and all complete with obi. Another rarely seen Rollins Japan pressing from the early daze! Price: 175 Euro
1960. ROLLINS, SONNY: “The Standard Sonny Rollins” (Victor Records – SHP-5484) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). Scarce 1965 Japan only issue that comes housed in Japan only sleeve art. Rarely seen WHITE label PROMO issue. There's nothing standard about this one – as the record's an excellent batch of work from Sonny and his "& Co" lineup that featured Jim Hall on guitar and Herbie Hancock on piano! The format's a bit unusual for Rollins, in that not all the players of the group play at once – so that the album features shifting assemblages of instruments behind Sonny's tenor, running through extremely creative versions of tracks like "Travelin' Light", "Night & Day", "Three Little Words", "My Ship", and "It Could Happen To You". Rollins is at the height of his powers here, and although the session is deceptively simple, his work on the tenor is incredible! Price: 75 Euro
1961. ROLLINS, SONNY: “Worktime” (Prestige/ Victor Records – SMJ-7095) (Record: Near Mint/ Flip Back Jacket: Near Mint) Flawless condition Japan very first original press issue from the early 1960s & that comes housed in unique Japan only sleeve art. “After he was coaxed out of seclusion in Chicago to replace Harold Land in the Clifford Brown/ Max Roach quintet in 1954, this 1955 release was Sonny Rollins’ first album as a leader since the conclusion of his first self-imposed sabbatical. Roach is on hand in the drummer's seat, spurring Rollins along every step of the way. Not that the tenorist needs much spurring -- he comes flying out of the gate on the opening tune, "There's No Business Like Show Business" and doesn't let up for the duration of the session. He takes his first chorus on "Show Business" with only bassist George Morrow for support, then when the drums come in, he blows ferocious double-time before giving way to Roach’s extremely musical solo. Rollins and Roach also work off of each other to great effect on "Raincheck," trading fours on this imaginative selection from the from the Billy Strayhorn catalog. Even on the more relaxed tempo of "There Are Such Things," Rollins’ exploration of the changes combines a classic tenor's warm breathy tone with a bebopper's determination to leave no possibility unconsidered. Pianist Ray Bryant’s playing is also impeccable throughout.” (All Music). Top condition and scarce Japan original 1st pressing. Price: 75 Euro
1962. ROLLINS, SONNY: “Our Man In Jazz” (Victor Records – RA-5201) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Company Inner Sleeve: Excellent/ Obi: Near Mint). Rare Japan very first press issue all complete with rare obi. This one here marks Sonny Rollins’ first recording ever with Don Cherry, as well as one of the earliest LPs made by the saxophonist following his three-year long self-imposed musical exile. It was all recorded in a piano-less quartet format with Bob Cranshaw on bass, and Billy Higgins on drums. Henry Grimes replaces Cranshaw on three short tunes taped by the same formation shortly after for a compilation album. Essential!!! Price: 125 Euro
1963. ROLLINS, SONNY: “Sonny’s Time” (Riverside/ Nippon Victor – SR-7087) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan 1st original press issue housed in fragile flip back sleeve and complete with rare obi. Comes housed in Japan only sleeve art. Another essential Rollins slide featuring an all-star lineup consisting out of Kenny Dorham, Hank Jones, Oscar Pettiford, Max Roach and Betty Glamman. Rare 1st Japanese press issue from 1962 in top shape and with rare obi present! Price: 100 Euro
1964. ROLLINS, SONNY: “What’s New” (Nippon Victor – SHP-5120) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Japan first original pressing all complete with rare obi. “Rollins returned from a self-imposed two-year sabbatical in 1962 with a fury, recording prolifically and exploring various directions from outside to inside. The five cuts on this LP were originally recorded in New York, with Rollins mixing standards and originals and providing his take on what was then an exploding trend, the bossa nova. Rollins’ characteristically huge tone, relentless harmonic and rhythmic inventiveness, and fierce solos were consistently impressive. Not only did he state the melody clearly and superbly, but his ideas and pacing were remarkable; no solo rambled and his phrases were lean, thick and furious. While this wasn't in the class of Rollins’ late-'50s epics, it was a well-done date.” (All Music) Top condition. Price: 250 Euro
1965. ROLLINS, SONNY: “Now’s The Time” (Victor – SHP-5379) (Record: Near Mint/ Fragile Gatefold Jacket: Near Mint/ Obi: Near Mint). Japan original press issue with obi. Rarely seen Japanese 1st pressing in exquisite condition. “In his playing on these standard forms throughout Now’s the Time!, Sonny shows us how he mixes it up to keep his solos engaging: short phrases, long phrases, long tones, fast notes, space, melodies, intervallic structures, thematic development. He uses everything, and it keeps us interested. He never gets bogged down. He’s really on fire on this record.” (John Scofield) Right on! Price: 250 Euro
1966. ROLLINS, SONNY: “Sonny & The Stars” (Prestige/ Nippon Victor – SMJ-7113) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st press issue all complete with rare OBI. Fantastic work from Sonny Rollins – a strong batch of sessions from from when Sonny was still in his early twenties when this was recorded, with the assistance of big shots such as Milt Jackson, Kenny Drew, John Lewis, Miles Davis, Percy Heath, Art Blakey, Kenny Clarke and Roy Haynes. Juvenile fire indeed!!! Top condition! Price: 100 Euro
1967. ROLLINS, SONNY: “Saxophone Colossus” (Victor Records – SMJX-10039) (Record: Near Mint/ gatefold Jacket: Near Mint/ Gold Obi: Near Mint). Japanese top condition issue of Rollins’ opus Saxophone Colossus. Comes all complete with obi. Hard to improve upon stellar Japanese press issue. Quite possibly THE greatest Sonny Rollins album of the early years – or at least the one that has received the most accolades over the years! The record is a brilliant batch of quartet tracks that reinvents bop through Sonny's complicated, yet seemingly automatic solos – an excellent showcase for his razor-sharp talents for improvisation and invention, played with effortless ease, yet still one of the great bar-setting performances of 50s jazz. The group features Tommy Flanagan, Max Roach, and Doug Watkins. Killer and complete with gold-toned OBI!!! Price: 75 Euro
1968. ROLLINS, SONNY: “The Sound of Sonny Rollins” (Riverside/ Polydor Japan – MW-2024) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st original press issue all complete with rarely seen obi and in TOP condition. “A new phase in Sonny Rollins’ career began in 1957. He started what was at the time an almost blasphemous trend of recording for a number of different labels. His pioneering spirit yielded a few genre-defining albums, including this disc. His performances were also at a peak during 1957 as Down Beat magazine proclaimed him the Critics' Poll winner under the category of "New Star" of the tenor saxophone. This newfound freedom can be heard throughout the innovations on The Sound of Sonny. Not only are Rollins’ fluid solos reaching newly obtained zeniths of melodic brilliance, but he has also begun experimenting with alterations in the personnel from tune to tune. Most evident on this platter is "The Last Time I Saw Paris" -- which is piano-less -- and most stunning of all is Rollins’ unaccompanied tenor solo performance on "It Could Happen to You." Indeed, this rendering of the Jimmy Van Heusen standard is the highlight of the disc. That isn't to say that the interaction between Sonny Clark (piano), Roy Haynes (drums), and bassists Percy Heath and Paul Chambers -- who is featured on "The Last Time I Saw Paris" and "What Is There to Say" -- is not top-shelf. Arguably, it is Rollins and Heath -- the latter, incidentally, makes his East Coast debut on this album -- who set the ambience for The Sound of Sonny. There is an instinctually pervasive nature as they weave into and back out of each other’s melody lines, only to emerge with a solo that liberates the structure of the mostly pop standards. This is a key component in understanding the multiplicities beginning to surface in Rollins’ highly underappreciated smooth bop style.” (All Music Guide). Price: 75 Euro
1969. ROLLINS, SONNY: “The Sonny Rollins Story” (Prestige/ Victor Records – MJ-7058~59) (2 LP Record Set: Near Mint/ Sturdy Hard Cover & Cloth Bound Box: Near Mint/ Opening Ribbon: Near Mint/ 4-Paged Insert: Near Mint). Top condition Japan ONLY 2 LP box set issue that came out sometimes during the late 1960s. Divided over 2 LP’s, the first one is entitled “Rollins Plays Standards” there where the second set is entitled “Rollins Plays Original”. Rarely seen set, a must for any Rollins fan. Still bloody cheap as it is largely a set that disappeared in between the cracks of time but is otherwise damned hard to locate. Awesome. Price: 50 Euro
1970. ROLLINS, SONNY: “Tenor Madness” (Prestige/ Victor Records – SMJX-10091M) (Record: Near Mint/ Jacket: Mint – still housed in original shrink/ Capsule Obi: Mint, still housed in the shrink/ Insert: Mint). Rare Japanese press, all complete with rare CAP OBI still housed in the original shrink. “He wasn't scheduled to play, but John Coltrane had his axe in hand when he came to watch Miles Davis' rhythm section record with Sonny Rollins. Trane not only played on the date, but the resulting duet is the centerpiece of Tenor Madness. Theoretically, Coltrane's appearance on the title track should be legendary Saxophone Colossus meets Interstellar Space, in a way. However, this was 1956: Kind of Bluewas still three years away, and Trane's historic Impulse! recordings were not yet even in the realm of possibility. In short, Coltrane had not found the voice that called us to worship on "Transcendence and mesmerized the Vanguard with the stream-of-consciousness "Chasin' the Trane. That said, Coltrane's fearlessness is front and center as he takes the first solo, firing flurries and fusillades from the high end of his tenor sax. He is definitely on his game for the time. He's a willing teammate as he trades fours with Rollins on an ending dialogue where the two players happily finish each other's thoughts. The proof of the pudding is in Rollins' first solo. Taking the tonal low road to Coltrane's high attack, Rollins' tenor has a shape and substance Coltrane lacks. This not only adds to the contrast that should otherwised elude this instrumental airing, but also demonstrates the scope of Rollins' sound. At this point Trane had chops, but Rollins had soul, and the disparity is conspicuous. For better or worse, the collaboration ends at the conclusion of the one track, leaving us with four quartet pieces that are pure meat and potatoes. Rollins shows his romantic-ballad side on "When Your Lover Has Gone and "My Reverie, gets playful on "Paul's Pal (his tribute to bassist Paul Chambers), and upends Rodgers and Hart's "The Most Beautiful Girl In The World when he switches mid-stream from a waltz to a fast 4/4. Philly Joe Jones and Red Garland briefly morph "Lover into a mid-tempo piece when they do double time over Rollins' final chorus, pulling back just before Rollins makes way for one of Garland's trademark dancing solos. Jones' following solo evokes Blakey's "Blues March with a military cadence, spurring Rollins to take a harder ending tack. Chambers' foundation work is exemplary throughout the date, and his bowing solo on "Beautiful Girl is just one of many great spotlight moments.” (All About Jazz) A recording that should stand proudly alongside Saxophone Colossus as some of the best work of Rollins in his early years, it's also a testament to the validity, vibrancy, and depth of modern jazz in the post-World War era. It belongs on everybody's shelf. Rare Japan original, all complete with insert and obi and in impeccable shape! Amazing sound quality as well! Price: 150 Euro
1971. ROLLINS, SONNY: “Sonny Rollins In Japan” (Victor Records – SMJ-6030) (Record: Near Mint/ Jacket: Near Mint – still housed in Shrink/ Cap Obi: Mint – still housed in Shrink/ Insert: Near Mint). Spotless 1973 Japan original pressing – Japan ONLY issue. One of Sonny Rollins' best albums of the 70s – a Japanese-only live date that features some excellent work on both tenor and soprano sax! The group has a really great feel – thanks to congas by Mtume and guitar from Yoshiaki Masuo – both of whom bring some new elements to Rollins' groove, alongside electric bass from Bob Cranshaw and drums from David Lee. Sonny's solos are all well-blown and quite extended – put together with a strong sense of fire, and a bit less of the hoke that could sometimes show up on other US domestic albums. Price: 50 Euro


1972. ROLLINS, SONNY: “A Night At The Village Vanguard” (Blue Note/ King Records – BLP-1581) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint). Best sounding high quality Japanese pressing of classic Sonny Rollins slide for Blue Note. Total audiophile sonic bliss. Price: 65 Euro
1973. ROLLINS, SONNY: “East Broadway Run Down” (Impulse/ King Records – SR-3072) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan very first original Impulse pressing from 1970 all complete with obi. “Around the ten-minute mark of the title track, things get very interesting indeed -- moody and spooky as Jimmy Garrison hangs on a single note, making his bass throb along while Elvin Jones widens the space and fires drum and cymbal hits in all directions. Coming off bass and drum solos that never seem to fit anywhere in the piece, it's a supreme moment of tension-building, one that gets repeated after Rollins and trumpeter Freddie Hubbard restate the theme in unison. This is the sound of Rollins’ group working in unity. For much of "East Broadway Run Down," though, the rhythm section is off doing their thing, usually together, while Rollins meanders about in limbo, seemingly trying to figure out what it is that he should be doing. That Rollins was having an off day for this recording is a suspicion that's strengthened by Hubbard’s part – where Rollins is wandering, Hubbard is charging ahead, focused and tight, fitting with the rhythm section, keeping the tension up. The remainder of the album is more on the mark, with "Blessing in Disguise" being quite enjoyable -- it starts out in a cheerfully traditional vein and gradually, subtly, starts to slide off into an improvisational area only to come back again to the traditional, and so back and forth. Rollins floats his sax line around the melody with only occasional excursions toward the outer regions. "We Kiss in a Shadow," though, is charmingly straightforward, a ballad rendering supported by Jones and Garrison locking together on a nice rhythm construction that lets Rollins float around the melody.” (All Music Guide) Price: 100 Euro

1974. ROLLINS, SONNY: “East Broadway Run Down” (Impulse – IMP-88074) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original Impulse pressing all complete with obi. WHITE label; PROMO issue. “Around the ten-minute mark of the title track, things get very interesting indeed -- moody and spooky as Jimmy Garrison hangs on a single note, making his bass throb along while Elvin Jones widens the space and fires drum and cymbal hits in all directions. Coming off bass and drum solos that never seem to fit anywhere in the piece, it's a supreme moment of tension-building, one that gets repeated after Rollins and trumpeter Freddie Hubbard restate the theme in unison. This is the sound of Rollins’ group working in unity. For much of "East Broadway Run Down," though, the rhythm section is off doing their thing, usually together, while Rollins meanders about in limbo, seemingly trying to figure out what it is that he should be doing. That Rollins was having an off day for this recording is a suspicion that's strengthened by Hubbard’s part – where Rollins is wandering, Hubbard is charging ahead, focused and tight, fitting with the rhythm section, keeping the tension up. The remainder of the album is more on the mark, with "Blessing in Disguise" being quite enjoyable -- it starts out in a cheerfully traditional vein and gradually, subtly, starts to slide off into an improvisational area only to come back again to the traditional, and so back and forth. Rollins floats his sax line around the melody with only occasional excursions toward the outer regions. "We Kiss in a Shadow," though, is charmingly straightforward, a ballad rendering supported by Jones and Garrison locking together on a nice rhythm construction that lets Rollins float around the melody.” (All Music Guide) Price: 75 Euro

1975. ROLLINS, SONNY: “Alfie” (Impulse – YX-8554-AI) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Virginally clean Japanese pressing all complete with obi. “Tenor saxophonist Sonny Rollins loaned his flair for the dramatic to the score for the film Alfie, accompanying the story of what the liner notes describe as "the involuntary education of a hipster." Arranged by Oliver Nelson, the soundtrack follows the character's evolution from the carefree, rakish Lothario of "Alfie's Theme" to the contemplative, somewhat broken man reflected in "Alfie's Theme Differently." Rollins attempts to capture the textures of life through his incisive and energetic playing, his coherent improvisations, and variations on musical themes. While "Alfie's Theme" and its variants make the most lasting impression, "He's Younger Than You Are" is touching, laced with regret. And the sensual, relaxed "On Impulse" has a nice sense of immediacy.” (All Music Guide). Price: 40 Euro
1976. ROQUES, MICHEL: “Chorus” (Saravah – SH-10 030) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition original first press issue copy of totally vanished French masterpiece. “Although his albums are full of the same qualities as those of many other star saxophonists/flutists playing spiritual jazz, Frenchman Michel Roques is often classed as a "supporting artist" or a "musicians’ musician", forever in the background, and often left out of the reference books. Adding to this lack of recognition is the fact that Michel Roques was seriously under-recorded: five albums as leader in a career of almost twenty years does not amount to much! Thankfully, in 1972, Pierre Barouh, boss of Saravah, records made up for the injustice by offering him the opportunity to record ‘’Chorus’’ in studio, providing a continuity with the equally brilliant ‘’Safari’’ made four years earlier. An ambitious work, ‘’Chorus’’ owes much to the unusual ‘augmented’ rhythm section, the inner structure of which is none other than that used in the Parisian trio of pianist Mal Waldron at the end of the 1960s: namely Patrice Caratini on bass (completed by the cello of the amazing Jean-Charles Capon) and Franco Manzecchi on drums (seconded by the percussion of Humberto Canto). Another notable singularity is that Michel Roques had the excellent idea of excluding the piano, traditionally employed in this kind of context. This didn’t prevent ‘’Chorus’ from being played on French TV in 1973 with a piano replacing the cello, and a different voice reciting the beat-style poems of Nicole Roques, that of actor Jacques Degor, occasional collaborator with Jef Gilson but far less convincing than Bachir Touré, wisely chosen for this recording for his style inherited from Afro-American preachers and capable of holding his own with the wild improvisations. In its own way, ‘’Chorus’’ is one of the key albums mixing free jazz and spoken word ‘à la française’. It is also a militant concept album which has lost nothing of its political force.” (Souffle-Continu). Stunning slide and one of the rarest in the Saravah catalogue. Top condition original 1st pressing up for grabs. Price: 275 Euro
1977. ROSENBOOM, DAVID: “Brainwave Music” (A.R.C. Records – ST1002) (Record: Mint/ Jacket: Mint) Canada press, original 1975. David Rosenboom has been experimenting with using EEG output to create or enhance performance art and music. In the 1970’s, Rosenboom began using biofeedback devices such as EEG to allow performers to create sounds and music using their own brainwaves. In his 1973 installation, Vancouver Piece, a pair of participants would see their faces superimposed on each other’s bodies whenever their brainwaves were in phase with one another. In a later piece, “Brainwave Music”, an EEG device monitors a performer’s brainwave activity, creating a dynamical musical composition. The end effect is s stunning piece of electronic/ minimal music you will ever hear. Extremely hard to come by these days, highest recommendation. Price: 200 Euro
1978. ROSWELL RUDD: “Everywhere” (Impulse – A-9126) (Record: Near Mint/ gatefold Jacket: Excellent 〜 Near Mint). Original US first stereo pressing in great nick. Recorded in the land of “fruits, nuts and flakes”, in San Francisco 1966, Rudd’s debut album as leader. The almighty Allmusic assign it the kiss of death on both cheeks, damned with the faintest of praise :“.. rambles a lot…but has some moments of interest. Rudd plays reasonably well…an intriguing but far from essential date” Sort of thing you would not want to read on your feedback from a Lonely Hearts Agency, or indeed on your tombstone: “He played reasonably well”. In review-speak I think it means they didn’t like it, but you be the judge. The trombone is a powerful emotive instrument in a free jazz setting. The brassiest of the brass instruments, brooding, dark and full of menace. It creates a pungent harmony with Kenyatta’s alto, quite different from the usual elegant instrument pairings, almost modern-classical in its atonal rendering. Charlie Haden’s bass adds a note of ambient waywardness.” (LondonJazzCollector). Spot on in my opinion and a much underrated LP. Price: 40 Euro
1979. ROSWELL RUDD: “Flexible Flyer” (Freedom/ Trio Records – PA-6075) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Loft Jazz Obi: Near Mint). Japan original 1st pressing – Promo issue. For this set, trombonist Roswell Rudd (who doubles on French horn) heads a quintet that also includes pianist Hod O’Brien, bassist Arild Anderson, drummer Barry Altschul and, most interestingly, singer Sheila Jordan. The repertoire includes "What Are You Doing the Rest of Your Life," Herbie Hancock’s "Maiden Voyage" and a few originals, including three Rudd tunes that are played as a medley. The trombonist plays quite well; the rhythm section is tight yet adventurous; and the use of Jordan as part of some of the ensembles helps make the date something special. Price: 50 Euro
1980. ROULETTES: “The Long Cigarette b/w Junk” (Parlophone – R-5382) (Single Record: Excellent ~ Near Mint/ Company Picture Sleeve: Near Mint). 1965 UK original of totally brilliant two-tracker. How can you possibly go wrong with a track called “Junk”? Filthy, trashy and gritty instrumental butt-jiver that sounds like a controlled jet-engine warming up while sucking in laxatives as a fuel derivate. Damn, this track burns holes in your membranes. The opener “The Long Cigarette” is classic Brit-beat-Garage with snotty vocals. Killer two-sider, hard to believe this is not a big bucks one, although clean originals such as this beauty here are a bitch to find. So don’t think twice it is all right, get your Mojo working, wheel this little sucker in and be the hippest cat for decades to come. Price: 50 Euro
1981. ROUSE, CHARLIE: “Bossa Nova Bacchanal” (Blue Note/ Toshiba EMI – BN-4119) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Excellent). Long-gone high-quality Japanese pressing all complete with obi and insert that saw the light of day in 1990. “This 1962 date by tenor saxophonist Charlie Rouse celebrates a grander and funkier scale of what Stan Getz and Charlie Byrd did earlier in 1962 with the bossa nova. Unlike Getz, Rouse didn't feel he needed to be a purist about it, and welcomed all sorts of Afro-Caribbean variations into his music. His choice of bandmates reflects that: a three-piece percussion section with drummer Willie Bobo, conguero Carlos “Patato” Valdes and Garvin Masseaux on chekere (a beaded percussion instrument that is played by being shaken). Add to this bassist Larry Gales and a pair of guitarists, Kenny Burrell and Chauncey Westbrook along with Rouse and it is an unusual and exotic sextet. Burrell and Masseaux were part of Ike Quebec’s band on Soul Samba, but the two recordings couldn't be more different. For his part, Rouse’s embrace of bossa nova, as well as other Latin and Caribbean music, is firmly rooted in jazz -- and not American jazz trying to be Brazilian. Rhythmically, Rouse, who is a hard bopper if there ever was one, takes the rhythmic and harmonic concepts of the samba, marries them to Afro-Caribbean folk styles, and burns it all through with the gloriously unapologetic swing of jazz. The standout selections here are a pair of Luiz Bonfa tunes, "Velhos Tempos," and his classic "Samba de Orfeu." On the former, both guitarists play unamplified guitars in rhythmic counterpoint as Rouse offers first the melody, and then an improvisation in the upper register of the horn, on the latter, nix the counterpoint and listen, as both guitarists shimmer through the changes, one playing just behind the beat for a reverb effect. The percussion interplay is startling in its complexity, but seamless and warm in its balance, resulting in a fine section solo in the middle of the cut that is infectious. Ultimately, this is one of Rouse’s finest moments as a leader.” (All Music Guide). Another classic Japanese press Blue Note slide that is getting thinner on the ground…. Price: 75 Euro
1982. ROXY MUSIC: “S/T” (Island Records/ King Records – ICL-43) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ 4 Paged Insert: Mint/ Additional Insert: Near Mint/ POSTER: Mint). Rare Japanese 1st original pressing, complete with 1st issue obi. This copy here comes with the seldmly seen POSTER present, which was only distributed as a promo gimmick at the time. “Falling halfway between musical primitivism and art rock ambition, Roxy Music’s eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination – Brian Eno’s synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera’s guitar is terse and unpredictable, while Andy Mackay’s saxophone subverts rock & roll clichés by alternating R&B honking with atonal flourishes. But what makes Roxy Music such a confident, astonishing debut is how these primitive avant-garde tendencies are married to full-fledged songs, whether it's the free-form, structure-bending "Remake/Remodel" or the sleek glam of "Virginia Plain," the debut single added to later editions of the album. That was the trick that elevated Roxy Music from an art school project to the most adventurous rock band of the early '70s.” (All Music Guide) One of the greatest records of all time possibly, Roxy truly ruled! Spotless 1st original Japanese press with 1st issue obi & promo POSTER, in archival condition. They don’t come any better than this one here. Killer with no filler!!!! Price: 400 Euro
1983. ROXY MUSIC: “For Your Pleasure” (Island/ King Records – ICL-55) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Illustrated Insert: Near Mint/ Obi: Excellent). Japan 1st original pressing – white label PROMO issue. Possibly one of the all time greatest records ever released? “On Roxy Music’s debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the group's second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and it's easy to see why Eno left the group after the album was completed. Still, those differences result in yet another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting. This is especially evident in the driving singles "Do the Strand" and "Editions of You," which pulsate with raw energy and jarring melodic structures. Roxy also illuminate the slower numbers, such as the eerie "In Every Dream Home a Heartache," with atonal, shimmering synthesizers, textures that were unexpected and innovative at the time of its release. Similarly, all of For Your Pleasure walks the tightrope between the experimental and the accessible, creating a new vocabulary for rock bands, and one that was exploited heavily in the ensuing decade.” (All Music Guide). This is a record that just never disappoints one tiny bit, no matter how many times you give it a spin. It only grows deeper and deeper and reveals slowly its many layers as well as the great song writing ability of Ferry. In Every Dream House A heartache hits home heavy every time as it unravels the perfect companion to your solitary live. Stuff of legends that makes me hit the Quaaludes heavy each time I blast this one through the neighborhood, to great consternation of the people living close by, but I guess that by now they grew used to it… brilliant!!! Getting damned rare with obi. Price: 200 Euro
1984. ROXY MUSIC: “Country Life” (Island Records – ILS-80070) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original Japanese 1st press issue in top condition of subliminal Roxy slide. Continuing with the stylistic developments of Stranded, Country Life finds Roxy Music at the peak of their powers, alternating between majestic, unsettling art rock and glamorous, elegant pop/rock. At their best, Roxy combine these two extremes, like on the exhilarating opener "The Thrill of It All," but Country Life benefits considerably from the ebb and flow of the group's two extremes, since it showcases their deft instrumental execution and their textured, enthralling songwriting. And, in many ways, Country Life offers the greatest and most consistent set of Roxy Music songs, illustrating their startling depth. From the sleek rock of "All I Want Is You" and "Prairie Rose" to the elegant, string-laced pop of "A Really Good Time," Country Life is filled with thrilling songs, and Roxy Music rarely sounded as invigorating as they do here.” (AMG). Price: 150 Euro
1985. RUDOLPH GREY: “Transfixed” (New Alliance Records – NAR-050) (Clear Vinyl LP: Near Mint/ Jacket: Near Mint – Still in Shrink). Original 1988 pressing and till this day not reissued in any form. "Ghosts" is mildly reminiscent of the work Doyle and Grey were doing back when they were together in The Blue Humans. "1,000 Luminous Flowers" and the title track are blasts of pure guitar energy with the amps cranked up to 11. Only "Whirl" provides anything close to relief, and even it, which I believes features Crane on piano, is extremely dissonant. Definitely not for the faint of heart. Bloody awesome record that is in urgent need for reappraisal and reevaluation. So largely overlooked it almost hurts! Price: 50 Euro
1986. RUDOLPH GREY: “Mask of Light” (New Alliance Records – NAR-036) (Clear Vinyl LP: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Long gone and deleted 1991 release by this virtuoso free form avant-garde guitar player. On this one Rudolph Grey teams up with a heavy cast of characters in order to punch wholes in the sky. Side A sees him getting flanked by Jim Sauter of Borbetomagus on saxophones and Rashied Ali on drums. Their trio set was recorded live at the Musique Action festival in France way back in 1990. Side B sees Grey teaming up with Rashied Ali again and getting assisted by Jim Sauter and Alan Licht for the occasion. In all, the whole of this LP has just all the qualities for being a free form jazz pioneering classic if only it hadn’t been disregarded and slipped into the cracks of oblivion for all this time. So now might be the perfect time to reinstalling this monster into the Hall of Fame, the hall of monster free jazz head on collision discs that helped to shape a generation. This one sure helped to shape me. This is “ecstatic jazz” similar in spirit and execution to the BYG and Shandar labels of the time. Grey and cohorts revamped the spirit in the late '80s on the Lower East Side of Manhattan. The combo here on the disc brings forth a true battle royal of free improvisation that does not have to do under for classics such as Interstellar Space, Arthur Doyle’s 1st disc or Takayanagi’s Action Direct period. It is just that gooood. Price: 40 Euro
1987. RUSSEL, ARTHUR: “Tower of Meaning” (Chatham Square – CLS-145) (Record: Near Mint/ Jacket: Near Mint). Stupidly rare US first original press issue that came out in 1983 in a tiny run of only 320 copies. Tower Of Meaning was Russell’s first LP, one of four he released in his lifetime, alongside seemingly innumerable 12-inch EPs which appeared under a range of aliases. A epic minimalist orchestral composition conducted by the late Julius Eastman. Stunningly beautiful, mercurial, and moving. The transcendental, ephemeral soundscape originally intended for theatrical performance. This is the very first pressing from 1983 on Chatham Square. 'Almost medievally pure music in which tone combinations of two or three notes tuned to modal/raga scales are played by various instrumental groups. There is a love of listening to the pure combinations per se, as they are delivered at a regular, moderate pace...then, unpredictably, rich or dissonant chords will be held that open your mind's ear, and take your breath away....the sudden ceasing of the music at certain points also has a similar effect.'—(Blue' Gene Tyranny) Julius Eastman conducting an almost medievally pure music in which tone combinations of two or three notes tuned to modal/raga scales are played by various instrumental groups. There is a love of listening to the pure combinations per se, as they are delivered at a regular, moderate pace...then, unpredictibly, rich or dissonant chords will be held that open your mind's ear, and take your breath away....the sudden ceasing of the music at certain points also has a similar effect. Top condition, impossible to ever improve upon. Price: Offers!!!
1988. RUSSELL, GEORGE And His Orchestra Featuring BILL EVANS: “Jazz In The Space Age” (Decca Records/ Teichiku Records – SDL-43) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Very first Japan original pressing housed in fragile first issue flip back sleeve. WHITE label PROMO issue. “George Russell’s third release as a leader combines two adventurous sessions. The first features two pianists, Bill Evans and Paul Bley and a large ensemble including Ernie Royal, Dave Barker, Walt Levinsky, Barry Galbraith, Milt Hinton and Don Lamond among others. The three-part suite "Chromatic Universe" is an ambitious work which mixes free improvisation with written passages that have not only stood the test of time but still sound very fresh. "The Lydiot" focuses on the soloists, while incorporating elements from "Chromatic Universe" and other Russell compositions. The second session adds trumpeter Marky Markowitz, valve trombonist Bob Brookmeyer, alto saxophonist Hal Mckusick and drummer Charlie Persip to the earlier group, in the slow, somewhat mysterious "Waltz From Outer Space," which incorporates an Oriental-sounding theme, and "Dimensions," described by its composer as "a sequence of freely associated moods indigenous to jazz.” (All Music Guide). Never encountered before very first pressing housed in flip back sleeve – promo issue. Damned rare! Price: 150 Euro
1989. RUSSELL, GEORGE And His Orchestra Featuring BILL EVANS: “Jazz In The Space Age” (MCA Records/ Victor Records Japan – MCA-3138) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint – has a seal sticker on lower right corner/ Insert: Near Mint/ Obi: Near Mint). Japan 2nd press issue with obi. WHITE label PROMO issue. “George Russell’s third release as a leader combines two adventurous sessions. The first features two pianists, Bill Evans and Paul Bley and a large ensemble including Ernie Royal, Dave Barker, Walt Levinsky, Barry Galbraith, Milt Hinton and Don Lamond among others. The three-part suite "Chromatic Universe" is an ambitious work which mixes free improvisation with written passages that have not only stood the test of time but still sound very fresh. "The Lydiot" focuses on the soloists, while incorporating elements from "Chromatic Universe" and other Russell compositions. The second session adds trumpeter Marky Markowitz, valve trombonist Bob Brookmeyer, alto saxophonist Hal Mckusick and drummer Charlie Persip to the earlier group, in the slow, somewhat mysterious "Waltz From Outer Space," which incorporates an Oriental-sounding theme, and "Dimensions," described by its composer as "a sequence of freely associated moods indigenous to jazz. (All Music Guide). Price: 75 Euro
1990. RUSSEL GEORGE SEXTET with Guest DON CHERRY: “At Beethoven Hall II” (MPS/ Columbia Records – YS-2202-MP) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent ~ Near Mint). Original Japan press issue from 1969. This intriguing LP was innovative composer George Russell’s first recording after breaking up his young combo of the early '60s. Recorded in Germany at a concert, Russel is joined by cornetist Don Cherry, trumpeter Bertil Lovgren, trombonist Brian Trentham, tenor saxophonist Ray Pitts, bassist Cameron Brown and drummer Albert Tootie Heath for explorations of several lengthy pieces and a remake of "You Are My Sunshine." Price: 50 Euro
1991. RUSSELL, RAY: “Live at I.C.A” (RCA – RCA-6086) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Original 1973 Japanese pressing on high quality vinyl. White label promotional copy – complete with NEVER SEEN OBI! “Following the release of Rites and Rituals in 1971, Ray Russell's sextet was offered the chance to be recorded live during a concert at the ICA. That show, on June 11, 1971, was issued as an album. As intense as the Dragon Hill and Rites and Rituals LPs are, they do little to prepare the listener for the experience of the intense telepathic communication these musicians were capable of in front of a live audience. The colors are so much deeper, so much brighter, and the spaces so much more open in concert, that it's easy to hear where the sextet preferred to spend its time. Tracks one through four are all at the ICA and contain virtually the same personnel from Rites and Rituals minus Nick Evans. The standout is the four-part blowing session suite "Stained Angel Morning," where Russell reveals how deeply into the free jazz and heavy metal camps he really was. His stabbing, singing notes and psychotic runs up the fretboard have nothing to do with scalular architecture, but rather with viscera and tonal exploration. Harry Beckett and Tony Roberts were both moving away from the traditional scenes they'd grown up in, and further into areas inhabited by the Art Ensemble of Chicago and the Sun Ra Arkestra. They were hearing Lester Bowie, Marshall Allen, Anthony Braxton, and Roscoe Mitchell, and moving into free jazz with open eyes. The awesome tonal and harmonic assaults and transformations that occur among the musicians in "Stained Angel Morning" cannot be overstated. There is music on this suite that had never been made before and hasn't been heard since. The tonal explorations that this sextet undertook were wild, unruly, and literally savage. The musicians' ability to generate harmonics from inside the frame of a given improvisation and manage simultaneous consonance and dissonance was remarkable. And they rocked like champions while doing it. Each track is more outrageous and more profoundly disturbing than what came before. All of the current noise freaks -- Keiji Haino, Thurston Moore and Lee Ranaldo, Rudolph Grey, Masaki Batoh, Alan Licht, and even Jim O'Rourke -- owe a great debt to Russell and this band; they showed beyond all doubt that a perfect "fusion" of free jazz and hard rock was the most natural thing in the world.” (Thom Jurek, All Music Guide) Price: 250 Euro
1992. RUSSELL, RAY QUARTET: “Dragon Hill” (CBS – M-52663) (Record: Excellent; has a few faint scuffs/ Jacket: Excellent). Original UK mono pressing of this torcher. Ray Russel is not an unknown borderline gunslinger to most readers of these mumbo jumbo pages. Apart from appearing on some earth shattering recordings by Bill Fay, he also carved out a ear-shattering recording career as a free jazz sonic terrorist. “Dragon Hill” was released by CBS in 1969 and sees Russell teaming up with Roy Fry (piano), Ron Mathewson (bass), Alan Rushton (drums), Harry Beckett (trumpet & Fluegel Horn), Bud Parkes (trumpet), Lyn Dobson (Tenor Sax) and Donald Beichtol (Trombone). One of cornerstones of British free jazz extravaganza with Russell at helm, ripping through chords and bending the strings in mercurial ways while bolstering out tidal accumulations of high energy. The other members provide a spontaneous rhythmic framework that gets exploited in return by Russell who deals in approaching direct free rock as well as in acidic free jazzing moves. In short relentless jackhammer stuff of extended blowout jams that have enough lyrical economy and unrepentant force to take you through corrosive blasts of sound and alchemical magic to keep you puzzled for weeks in a row. Stuff of legends. Highest possible recommendation and dead cheap. Price: 150 Euro
1993. RUSSELL, RAY: “Rites & Rituals” (CBS – S-64271) (Record: Near Mint/ Jacket: Near Mint). Original UK pressing out of 1971, promotional copy! “Two years after the release of Dragon Hill, Ray Rusell had completely rethought his approach to jazz and free improvisation. The only remaining member of his quartet was drummer Alan Rushton, and added were the horn section of Harry Beckett, Nick Evans, and Tony Roberts from the four-piece choir that were featured sporadically on that album. Rites and Rituals focuses solely on exploration and power. The only player holding the floor in this new band was bassist Daryl Runswick. Russell was into playing the hell out of his guitar, employing effects combining scales in angular, edgy ways and trying to undo the notion of time. Rushton never played slower than double-time on anything, and often threw all notions of tempo and meter into the dustbin to make room for a "pure rhythm," one that danced alongside a soloist rather that provided his pulse. Inside the line was the deep funk groove that the horns created and Russell painted with fat, stabbing chords. Evans used his trombone like Maceo Parker played a saxophone. As the groove reached a fever pitch, as it did on "Sarana," the tune broke apart and evolved into a series of spacious yet frantic solos complete with studio distortion. On the title track, Roberts' whispering flutes and shifting timbres from Russell's heavily reverbed guitar create a spacious tension that is tread upon, lightly at first, by Rushton and Runswick, and answered harmonically by Beckett and Evans. They build chord structure and harmonic sequence in order to open a tonal space for improvisation by everyone simultaneously. Once it's open, it is explored tenuously at first, and then with the anger that only that era could produce. Each tune here -- there are four -- is a journey into that anger and into the question of how improvisation could engage jazz but be free of its historical entanglements, and was there a way to extend the boundaries of rock music, whose visceral power was enviable but presented a limited palette of expression. Rites and Rituals is an awesome exercise in the joy of freedom and a wonderful example of the changing face of electric jazz as it more fully embraced rock and funk's vocabularies.” (Thom Jurek, All Music Guide). A classic, riding high on my personal all incinerating free jazz list. Top original UK copy. Price: 250 Euro
1994. RUSSELL, RAY: “Secret Asylum” (Black Lion – 2460-207) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top copy! Original 1973 UK Black Lion pressing! This is one of the UK’s best ever roaring hardcore free jazz gems with top guitarist Ray Russell at helm as a leader. Russell has been blessed with an idiosyncratic guitar sound marked by emotional depth (just check his incendiary play on Bill Fay’s “Time of the Last Persecution”) and unbridled free-roaming wildness. Often compared to Takayanagi Masayuki and the late Sonny Sharrock, Russell himself claims to be influenced by Hendrix’ legacy. That and the unbridled testosterone impregnated moves that make up most of rock’s appeal, jazz’ fluxility and improvisation’s momentaneousness and promptitude became key elements that crossbred and mutated into a new strand of playing that in turn birthed out his signature sound. He became a much in demand session player but in stark contrast with the recordings on which he appears as a “hired gun” Russell’s shake off the shackles and chain that confine most artists to easy categorization and instead veered off into a stratosphere of sonic waves he could call his own where he explored the far edges of guitar extravaganza and “transplanted rock’s bold sound into the fluid and often spacious frameworks of jazz”. CBS released Russell’s 1st solo LP, Turn Circle, in 1968. Dragon Hill, his 2nd outing as a leader was credited to the Ray Russell Quartet and saw the light of day in 1969. By the time CBS released his 3rd LP, Rites & Rituals (1971), Russell had come fully into his own as one of free jazz/ fusion’s most original voices. But it wouldn’t be until “Secret Asylum” that he went totally overboard and entered previously uncharted hardcore jazz and avant-garde waters. Here he was by the crème of that day’s UK top players being drummer (and poet) Alan Rushton, bassist Daryl Runswick, trumpeter Harry Beckett and reedman Gary Windo. The latter opens “Spinetree” with an ear-shattering shriek, a burnished split-tone growl that splits open the earth and parted the heavens. Windo was beyond any doubt at the top of his game then, fully capable of unleashing a whole litany of squawks, blats and shouts, bristling and sparkling over with pure free expression. Rushton fits in nicely and his playing acts like a counterweight to all the heavy maelstrom action floating around. One of the highlights of the LP – actually the whole LP is one continuous highlight according to my ears – is “These That I Am,” which treats you to a totally over-the-top duel off Russell and Rushton who let’s his freak flag out and flying high and wide on this one. The two of them engage in some heavy trench warfare like action by firing off rounds of sickening midrange noise, heavy feed backing waves, tremolo dementia, piercing monstrous fretting and mercurial string action by Russell unleashing the demons of the apocalypse while colliding head first with erratic skin action and pillaging drum pounding. Heavy, hardcore free playing with an apocalyptic undertone. To these ears, “Secret Asylum” is an important album in terms of what a cross-fertilization of free form jazz and rock can encompass without losing its identity as a musical form. It is that it introduces and puts on display an artist of greater vision than there has been for many moons. It never sold many copies – hence the rarity status it enjoys these days – it never infiltrated the lives of many people but its existence means that that there is some record of the most arrestingly bizarre set of perceptions of a disenfranchised musical genius. Once exposed and open to it you may find an album of extrovert, ferocious ingenuity that is somewhat unnerving. Just plain massive!!!! One of the best records ever!!! Price: 175 Euro