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

1493. 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: 500 Euro

1494. QUARTETO EM CY: Billbox – Querelas Do Brasil – A Logica Do Som” (Philips – 6349.351) (Record: Excellent/ Jacket: Excellent). Ultra clean and top condition Brazilian first pressing from 1978. Quarteto Em Cy were one of the most important female vocal quartet too see the light in Brazil. The group, formed by four sisters, began its career around 1963 and was discovered by the fundamental poet Vinícius de Moraes. With several changes in its formation throughout the years, this release was recorded by the four original members. It's a deeply swinging Bossa Nova impregnated sound that drifts on sweltering rhythms and sweet oozed butt-shaking voices, bring songs by great composers such as Jorge Ben, Caetano Veloso, Chico Barque and others. The group's excellent vocal performances are enhanced thanks to the excellent backing band. Amazing slide and in excellent condition for a Brazilian record. Hard to improve upon. Price: 75 Euro

1495. 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!!!

1496. QUICKSILVER MESSENGER SERVICE: “S/T” (Capitol Records – ST-2904) (Record: Near Mint/ Jacket: Near Mint, still in shrink - Sleeve has NO ring wear at all) Original 1st US pressing on the rainbow Capitol imprint. Perfect copy, jacket is NM with no ring wear at all which is no small feat for this disc. ‘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 be-cause 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. Price: 250 Euro

1497. 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: 350 Euro
1498. 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: 175 Euro
1499. 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: 200 Euro
1500. 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
1501. 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
1502. 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
1503. 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
1504. 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. Price: 75 Euro
1505. 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! Price: 75 Euro
1506. 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
1507. 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. “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. Price: 150 Euro

1508. 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

1509. RAMONES: “California Sun / I Don’t Wanna Walk Around With You b/w I Wanna Be Your Boyfriend” (Philips – Nippon Phonogram – SFL-2132) (EP Record: Near Mint/ Picture Sleeve: Mint). WHITE LABEL PROMO, rare 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: 250 Euro
1510. RAMONES: “The Ramones Leave Home” (Philips – RJ-7208) (Record: Near Mint/ Jacket: Near Mint/ Picture Insert: Near Mint/ Obi: Near Mint). Original Japan first original pressing all complete with obi & Insert. Rare WHITE LABEL PROMO issue. Second verse, not quite like the first.... Released a mere nine months after the Ramones groundbreaking debut, 1977's Leave Home was in many respects a continuation of the sound and attitude of the first album, with its unrelenting barrage of chunky guitar downstrokes and Mad Magazine-influenced lyrical absurdity. But even a cursory listen reveals the Ramones had made plenty of progress in less than a year. The performances on Leave Home are tighter and better focused than they were on Ramones, and Tommy Ramone’s minimalist drumming gained a bit of swing that was absent on the debut. The Ramones sound more comfortable with their attack, never quite as simple as it seems, while also bearing down with a greater speed and ferocity that finds them hitting their stride in the studio. Just as importantly, the production is noticeably more polished this time out, which helps more than one might expect. Without the strict left/right separation of Ramones, Leave Home is more friendly to the ear, and the increased clarity does wonders for the passionate bleat of Joey’s vocals, Johnny’s unrelenting Mosrite abuse, and the melodic details that lurk beneath the surface of the Ramoneswall of noise. And if the first album was full of immediate classics, Leave Home has more than its share of great tunes, including the anthemic "Pinhead" and "Commando," the high-velocity teen romance of "Oh Oh I Love Her So" (certainly the greatest love story ever set at a Burger King), and the catchy invitations to bad behavior in "Carbona Not Glue" and "Glad to See You Go." (All Music Guide). Rare 1977 promo Japan original with obi. Price: 350 Euro

1511. RAMONES: “Rocket To Russia” (Philips – RJ-7295) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Original Japan 1st pressing in top condition. Comes with rare 1st issue obi. “The Ramones third album, Rocket To Russia, perfected it. It boasts a cleaner production than its predecessors, which only gives the Ramones’ music more force. It helps that the group wrote its finest set of songs for the album. From the mindless, bopping opening of "Cretin Hop" and "Rockaway Beach" to the urban surf rock of "Sheena Is a Punk Rocker" and the ridiculous anthem "Teenage Lobotomy," the songs are teeming with irresistibly catchy hooks; even their choice of covers, "Do You Want to Dance?" and "Surfin' Bird," provide more hooks than usual. The Ramones also branch out slightly, adding ballads to the mix. Even with these (relatively) slower songs, the speed of the album never decreases. However, the abundance of hooks and slight variety in tempos makes Rocket To Russia the Ramones’ most listenable and enjoyable album -- it doesn't have the revolutionary impact of The Ramones, but it's a better album and one of the finest records of the late '70s.” (All Music Guide). First Japanese press issue all complete with Obi and in TOP condition is getting impossible to dig up anymore, but here is a virginal copy. Fucking killer slide, and still so up-to-date…send them a rocket and rock!!!! Hell yeah!! Price: 300 Euro

1512. The RAMONES: “End Of The Century” (Sire Records/ Nippon Phonogram – RJ-7653) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Bloody rare 1st press Japan original w/ obi in immaculate condition. Original & rare Japanese 1st press issue of this 1980 Ramones LP that was produced by Phil Spector. Price: 200 Euro
1513. RANELIN, PHIL: “The Time Is Now” (Tribe – TRCD-4006) (Record: Near Mint/ Jacket: Mint, still in shrink). Original first pressing on green colored Tribe label and in outstanding condition. Phil Ranelin’s first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective – Marcus Belgrave and Wendell Harrison - as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie "Shoo-Be Doo" Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By").  The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music.” (Thom Yurek – All Music Guide). Top condition US original, housed in shrink, disc maybe played once. Price: 300 Euro
1514. RAS MICHAEL & THE SONS OF NEGUS with JAZZBOE ABUBAKA: “Tribute To The Emperor Rastafari” (Trojan Records/ Trio Records – PA-6314) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Rare Japanese first press issue of 1978 all complete with obi. In the early 70s Ras Michael recorded Dadawah Peace And Love, on which his group was augmented by studio musicians, a blend of Rastafarian chant, reggae, southern soul and psychedelia greatly enhanced by its imaginative arrangements. Nyahbinghi was a collection of chants and hymns in the style of his Zion disc singles. In 1975, he recorded Rastafari, on which several well-known reggae musicians augmented his group. The album’s tight arrangements and excellent songs brought him into the reggae mainstream, but the momentum was lost with 1976’s Tribute To The Emperor with Jazzboe Abubaka and Freedom Sounds. Price: 50 Euro
1515. RAVI SHANKAR:“At The Woodstock Festival” (World Pacific/ Toshiba – WP-8920) (Red wax Record: Near Mint 〜 Mint/ Gatefold Jacket: Near Mint/ OBI: MINT) Original Japanese pressing – WHITE LABEL PROMO issue that comes on red vinyl. Comes with hardly ever seen obi present as well, TOP copy. Price: 100 Euro
1516. RAVI SHANKAR: "Asa No Raga - Ravi Shankar In San Francisco" (World Pacific/ Toshiba Musical Industries LTD In Japan - WP-8530) (Record: Mint/ Flip Back Fragile Jacket: Mint/ OBI: Mint). "On Ravi Shankar’s World Pacific sides, the longer ragas were usually the highlight. These contained the true essence of Indian music: long, undulating ragas that slowly evolved and built in intensity. Unfortunately, there was usually only room for one on each album (if that); however, Live In San Francisco contains three extended pieces and is perhaps his best World Pacific album. Accompanied by Alla Rakha on tabla, Shankar shows his rhythmic grace and sheer stamina on these performances, to a live audience's delight. Recorded at the San Francisco Civic Auditorium at a time (about 1967) when consciousness in Indian music was growing at an incredible rate, Live in San Francisco is an awesome performance and an amazing historical document as well". (All Music). Scarce Japan 1st Original press issue complete with OBI!!! rarely turns up in such virginal & TOP condition as this baby here, seems it was only pressed yesterday!!! Price: 75 Euro
1517. RAVJUNK: “Uppsala Stadshotel Brinner” (Private) (Record: Excellent/ Jacket: Excellent). 1977 original Swedish private press gemstone of a record, an insane and junked out psychedelic punk beast made up out of long spacey tracks with Heldon-like heavy blasts of white lightning, and raw amphetamine drenched psych ripping guitars. Totally awesome but sadly massively underrated album. Most copies you encounter are always trashed beyond belief, this one is really nice and one of the best I have seen so far. Damned hard to dig up these days. Excellent and clean copy, which is no small feat these days so..... Price: Offers!!!!!
1518. 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!!!!
1519. RAW MATERIAL: “Time Is …” (Neon – NE8) (Record: Near Mint – one tiny scuff on last track is inaudible/ Gatefold Jacket: Excellent ~ Near Mint - with no defects or damages, beautiful preserved/ Company Inner Sleeve: Near Mint). Original UK pressing of their 2nd and last effort on the highly collectible Neon label. Music wise it is filled with more hard and heavy progressive moves at opposed to their 1st album and sounding not unlike Van Der Graaf Generator crossbreeding with early King Crimson. This copy here is just top shelf, no defects and jacket is also as good as can be, sharp corners, no edge wear or creasing. Hard to find a better one like this one here. Price: Offers!!!!
1520. R.D. BURMAN: “OST – Krishna Shah’s Shalimar” (Polydor Of India LTD – 2392.147) (Record: Excellent ~ Near Mint/ Gimmick Multifold Gatefold Jacket: Mint). Original 1st pressing of 1978 in stunning condition, complete with 1st issue multifold gimmick gatefold jacket that folds open like petals on a flower. Top condition, especially seen the fact that this is the original Indian pressing, quite hard to dig up an original from over there in such a pristine nick. Rahul Dev Burman, also known as R. D. Burman, was one of the great music composers of Bollywood. This soundtrack is possibly the most revered Bollywood moog/sitar funk LP ever and on here R.D. Burman displays some of his best work ever, using huge orchestra musical instruments, female dervish like voices, soulful and funky vibes, sitars spinning out of control, electric twirls and twists, hard chunky funk with massive beats, horns and wah, just delirious and intoxicatingly addictive. The album has been issued twice, with the front cover for the first issue being used for the back cover of the second. The better of the two has a superb multi-page gatefold, which is this copy here. Always expensive as it's in such demand, but highly recommended. This is probably the best condition you will ever see of this disc, so…Price: 200 Euro
1521. 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
1522. 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!!!!
1523. 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
1524. 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
1525. 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: 450 Euro
1526. 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
1527. REID, BOB: “The Best Of Emergency – Recorded Live At The Exit – Rotterdam June 15, 1973” (Kwela Record – 30 K 020) (Record: Excellent ~ Near Mint/ Jacket: Near Mint,). Rare free spiritual jazz LP recorded in Rotterdam but only released in the US in 1976. The band has a killer line-up consisting out of heavy weight players like Boulou Ferre, Takashi Kako and Sabu Toyozumi! Check the long and meditative 'Africa Is Calling Me', which is absolutely stunning. Emergency was a short-lived jazz group centered in Paris in the early 1970s. The band's one recording, a live set, was issued on Kwela Records, a private press label out of the US but released a couple of years later, and is one of those rare gems that not only marks its time and place in the history of the music perfectly, but also transcends it. The four pieces that make up this recording come out of the post-Coltrane modal aesthetic and with the addition of an electric guitarist, moved out into other directions both texturally and harmonically. The music naturally veers into free jazz territory. The "Emergency Theme" is the band's manifesto in that it brings all the dynamic and textural elements into a harmonic caterwaul that is amazingly accessible and taut. Kako’s and Tyner backbone offers large spacious chords for Ferre to feed from and Spearman takes the whole sonic mass as his cue to explore the outer reaches of his tonal range. The rhythm section never attempts to keep the music centered or grounded but instead pushes the three soloists harder. A true, fiery blowout of honk and skronk, Spearman observes the dictums of his teacher Frank Wright and attempts to turn his horn inside out. This is a must for anyone who is interested in the development of free jazz in the 1970s. Bloody great!!! Price: 125 Euro
1528. REID, STEVE Featuring the Legendary Master Brotherhood: “Nova” (Mustevic Sound Inc. – MS-2001) (Record: Near Mint/ Jacket: Near Mint, still in shrink). Original 1976 US pressing that was pressed back in the day in an edition of only 1000 copies. This is an astounding record by an artist who has been criminally neglected. The list of those who could make out jazz funky is a short one. Ornette of course springs to mind as do the musicians of the Art Ensemble and their Chicago brethren. Drummer Steve Reid must now be added to that list. From the swaggering thunder of "Lions of Juda," to the gentler songs that close this album, there's nary a misstep. This music is as beautiful and dangerous as a shower of broken glass -- just when you think you've got a song figured out, this clever group of largely unsung musicians heightens the tension and takes things careening off in an unexpected direction. Have no fear though, these men are always nothing if not firmly in control. This is a wonderful document of a long vanished New York scene that was long on every emotion, not just fury. Find this album and buy it.” (All Music Guide). Just an eargasmatic recording, not many records reach this level of accomplishment. Top condition US original…this is a fix that will always find a vein and transport you straight to Valhalla. Price: 350 Euro
1529. 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: 75 Euro
1530. 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
1531. 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: 50 Euro
1532. REVEREND GARY DAVIS: “1935 ~ 1949” (Yazoo Records – L-1023) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). First original Yazoo issue from 1970, complete with the 1st issue reddish like Yazoo imprint label and sturdy jacket. Pre-War gospel doesn’t get much more sacrosanct & stripped down than this. Davis’ refusal to defer to secular material in the studio effectively derailed his recording career for over a decade. Still, nearly all of the tunes on these first sessions became anchors of his repertoire. Several find the blind street busker breaking into spontaneous sermonizing mid-song, as on “Lord, Stand By Me” where he shouts freely & passionately about The Savior’s stalwart role in keeping him safe from harm. His is a New Testament God invoked with Old Testament fervor. And then there’s the sterling fretwork, filled with clever rhythmic counterpoint, multiple keys & clarity of voicing rare even in guitarists today. Davis subsequently got scooped up in the Folk and Blues Revival of the Sixties, but these earliest sides remain his most lasting musical achievement. 1st Yazoo issue!!!! Price: 50 Euro
1533. REVEREND GARY DAVIS: “Ragtime Guitar” (Transatlantic Records – TRA-244) (Record: Near Mint/ Jacket: Near Mint). Original 1st UK pressing of 1971!!! All time classic by this rural blues master, his Transatlantic outing is quite rare but so good. Price: 75 Euro
1534. 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!!!
1535. The REVOLUTIONARIES: “Outlaw Dub” (Trojan Records – Trio Records Japan – PA-6351) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1979 Japanese 1st original pressing on high quality wax. Killer heavily-reverbed dub slide that begs to be played on constant rotation. Price: 50 Euro
1536. 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
1537. 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 first original pressing 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 first press issue and it is in absolutely top & flawless condition. Price: 350 Euro
1538. RHYTHM DEVILS: “The Apocalypse Now Sessions – Rhythm Devils Play River Music” (Passport Records – PB-9844) (Record: Mint/ Jacket: Mint) Chilling to the bone and creepy percussion album by the Rhythm Devils, a combo spearheaded by the Grateful Dead’s Mickey Hart and Bill Kreutzmann. While being in the process of conceptualizing the musical underpinnings of “Apocalypse Now”, director Francis Ford Coppola attended a Grateful Dead concert at the invitation of the late impresario Bill Graham. In the “Drums” improvisation segment of the evening, when Hart and Kreutzmann let loose with their percussive underworld of innovative instruments, he found the perfect accompaniment for his cinematic vision of the Apocalypse. Hart and Kreutzmann were recruited to bring together the myriad sounds and colors for this retelling of the primal myth. To the subsequent 1979-80 sessions at the Grateful Dead's Marin County studios, each musician contributed a personal selection of instruments and objects, resulting in a massive assemblage of possible sonic palettes. Instruments were arranged in sound groups, and the musicians moved among them as they watched the film being screened before them. This album is a collection of the resulting jungle of sound and passion. Sadly enough only a tiny fragment made it into the final movie version. Still the music is hair rising great, psychedelic tribal music that embodies all the best aspects of your Ocora, Musicaphone and obscure field recording-tribal records. Simply a must, but be sure to put the cat out upon spinning this beast. Price: 50 Euro

1539. 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

1540. 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

1541. 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
1542. RITA: “Super Erotica b/w Make Love To Me” (JAG – 122007) (Record: Excellent/ Tip Back Picture Sleeve: near Mint). Classic French porno funk sleaze butt shaker. This funky Hammond plus electric guitar butt whipping & ass shaking monster isn't sexy, it is actually dripping with sex all over, creamed off by a completely out-of-control moaning and sighing French vixen who is in heat like a cougar after a 6 year sabbatical and ready to mate. In one word a psyched out, Hammond organ deranged funky porno floor filler. The release date is unknown; some speculate it to be from the late sixties while others swear that it is early seventies. Whatever the case, it is just a monster disc, filthy, sexy, funky and ass-kicking swinging. The female moaning, sighing and shrieks of guilty pleasures are so bloody hot that you will think your pants are combusting spontaneously. If you are planning an orgy party with the buddies over the weekend, then this slice of deranged French porn music will be the right thing to lay on the record player. Honey will start dripping from the skies, heavens will part and scarcely clothed lingerie babes will decent on you. Rarely turns up especially in such a top condition as this copy here. Highest possible recommendation!! Price: 100 Euro
1543. 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: 125 Euro
1544. ROACH, MAX: “We Insist! Max Roach’s – Freedom Now Suite” (Candid Records/ Victor – SMJ-6169) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Additional Article 46 page liners: Excellent/ Obi: Near Mint). Top condition original Japanese press issue. “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 (Candid, 1960), 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). Price: 75 Euro
1545. ROACH, MAX – MAX ROACH QUARTET: “Speak, Brother, Speak! – Max Roach Quartet At The Jazz Workshop” (debut/ Victor Records – VIJ-5013M) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). First original Japanese pressing all complete with obi that was not released domestically until 1976. 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). Price: 50 Euro
1546. 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!!
1547. 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
1548. 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
1549. 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!!!!!
1550. ROLLING STONES: “Out Of Our Heads” (Decca – SKL.4733) (Record: Near Mint ~ Mint/ Jacket: Mint, still in original shrink). Rare UK UNBOXED DECCA issue for export, stereo in Mint condition. RARE with matrix numbers ending in 1W/1W and the matrix numbers are respectively ZAL-6973-1W and ZAL-6974-1W. One small detail to take notice of is that the Copyright year is misspelled as "965" instead of "1965": This is sometimes marketed as "extremely rare misprint". All sleeves with non-boxed vinyl labels and most of the sleeves with boxed vinyl labels have the "Clarifoil" text in the left corner. It was also the first LP that had only the MADE IN ENGLAND. THE DECCA RECORD CO.LTD. on the upper part of the label. There are six different tracks to the US version, and although there are three Jagger/Richards songs there’s only one group written song, meaning this, in marked contrast to the US version of the album, has a preponderance of covers on it. There is not a hit single on the album, which probably accounts for it failing to become the band’s third number one in succession on the UK album charts, although it was not unusual at this time for artists to release albums without including their singles. This is a rare TOP copy in shrink, all is NM~M and has those early 1W/1W (1BU/1M) matrix numbers so…one off chance I believe. Jacket is still housed inshrink as they were probably shrinked for export. Spotless sleeve!!! Impossible to ever upgrade upon this copy I think. Price: Offers!!!!
1551. ROLLING STONES: “Vol.2” (London / King Records Japan – MH-197) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint/ Insert: 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 February 20th, 1965. Top condition with obi. Price: 450 Euro
1552. ROLLING STONES: “Vol. 3” (London/ King Records Japan – MH-208) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint/ Lyrics Insert: Near Mint/ Obi: Near Mint) Top condition all complete with insert and rare first issue OBI!!! Impossible to get in top condition these days and one of the rarest Japanese releases by them. Very rare Japanese first original pressing that came out in June of 1965. Record is in outstanding condition, Near Mint ~ Mint all the way. Jacket is conservatively graded as Near Mint as it is as perfect as you can hope it to be, being impeccable. Most of the times, when these babies show up they are completely trashed so it is a real pleasure to be able to offer this virginally clean copy. It comes with the impossibly rare first issue obi as well. So make your move, impossible to upgrade upon this one… Price: Offers!!!
1553. 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
1554. The ROLLING STONES: “High Tide And Green Grass” (London Records/ King – SLC-166) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Picture Booklet: Near Mint/ OBI: Mint). Rare Japan 1st original pressing from December10th, 1966 in outstanding condition. Price: 300 Euro
1555. 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
1556. ROLLING STONES: “Their Satanic Majesties Request” (London Records – NPS-2) (Record: Near Mint/ 3-D Gatefold Jacket: Near Mint/ First Issue Obi: Near Mint/ Insert: Mint/ Imprinted Inner Sleeve: Near Mint). First original UK pressing of 1968. Green label Japan export only label with boxed “London ffrr” label. Complete with very first issue obi for Japan in mint condition. Comes with Japan only insert and inner sleeve. The Stones discover psychedelics and indulge in them, resulting in this aural beauty! Like Mick Jagger commented on the making of the LP, diminishing it a bit “There’s a lot of rubbish on ‘Satanic Majesties,’” he said in 2003. “Just too much time on our hands, too many drugs, no producer to tell us, ‘Enough already, thank you very much, now can we just get on with this song?’ Anyone let loose in the studio will produce stuff like that. There was simply too much hanging around. It’s like believing everything you do is great and not having any editing.” Well, that sounds like the right ingredients to make something bloody great! I have a great fascination with the album's inventive arrangements, which incorporated some African rhythms, Mellotrons, and full orchestration. Just love it and probably my all time fave Stones album. Hardly ever surfaces in such immaculate state as this copy here. Price: 550 Euro
1557. ROLLING STONES: “Their Satanic Majesties Request” (King Records/ London – SLC-192) (Record: Mint/ Gatefold Jacket: Mint/ Circular Obi: Mint/ 2 Inserts: Mint). First original Japanese pressing of 1968. Complete with circular obi in mint condition. Hardly ever surfaces in such immaculate state as this copy here. Price: 300 Euro
1558. 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: 300 Euro
1559. 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
1560. ROLLING STONES: “Sticky Fingers” (Warner Pioneer Japan – P-8091S) (Record: Near Mint/ Jacket: Near Mint/ Rock Age Flower Obi: Near Mint/ Insert: Mint/ Picture Inner Sleeve: Near Mint/ Lyric Sheet: Mint/ Rock Age Card: Mint). Finally an utterly clean original in stock of this junked out masterpiece. Without a question, this one is one the rarest Japan released Stones LP around, complete with the hideously rare “ROCK AGE” flower obi in top condition. Hideously much in demand recently, which had as result that copies are hard to come by here in Japan. What makes this copy so special is the presence of the 1st limited edition original version of the Rock age flower obi!! Only 2nd time ever time I have a copy with this obi. Price: 450 Euro
1561. 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. Price: 150 Euro
1562. ROLLINS, SONNY: “At The Music Inn” (MGM Records – MM-2092) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing with obi. White label PROMO issue in top condition. Price: 40 Euro
1563. 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
1564. 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
1565. ROXY MUSIC: “S/T” (Island Records/ King Records – ICL-43) (Record: Mint/ Heavy Gatefold Jacket: Mint/ Obi: Mint/ 4 Paged Insert: Mint). Rare Japanese 1st original pressing, complete with 1st issue obi. “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, in archival condition. They don’t come any better than this one here. Killer with no filler!!!! Price: 275 Euro
1566. 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
1567. 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
1568. 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
1569. 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
1570. 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
1571. 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 original pressing 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: 50 Euro
1572. 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
1573. 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
1574. 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: 275 Euro
1575. 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: 200 Euro