RARE RECORDS CATALOGUE
S-T
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

1844. SABIR MATEEN, DANIEL CARTER & DAVID NUSS: “Tenor Rising, Drums Expanding” (Sound @ One) (Picture Disc: Near Mint/ Outer Plastic Sleeve: Near Mint). Long gone and out of print monster free jazz slide that was released way back in 1997. It is just the greatest high energy free jazz disc that at that time just came out of nowhere and vanished almost as quickly, creating quite an upheaval by the ones who experienced this tidal wave real time. Daniel Carter and Sabir Mateen collaborate in many groups, most notably in TEST, and David Nuss' highest profile gig is with the No-Neck Blues Band. Comes on a salivating great designed picture disc by Rita Ackerman. Highest recommendation. Price: 50 Euro
1845. SAHIB SHIHAB: “Jazz Sahib” (Savoy/ CBS Sony – SOPU-37-SY) (Record & Jacket & Insert & CAP OBI: Mint - SEALED). Crystal clean SEALED Japan original 1st press issue with rare OBI. Rare original Japanese high quality pressing of this masterpiece, first one I can lay my hands on complete with Obi & still SEALED. Personnel: Shahib Shihab (baritone saxophone), Phil Woods (alto saxophone), Bennie Golson (tenor saxophone), Hank Jones, Bill Evans (piano), Paul Chambers, Oscar Pettiford (bass), Art Taylor (drums). Legendary hard bopping and butt-shaking slide recorded way back in 1957, at the height of the Beats generation. If you haven't been converted to the thrills of be-bop saxophone battles, the kind that drove Jack Kerouac and his buddies into frenzies in the early 50's, this slide originally recorded and released on the Savoy label offers you a great peak into that West Coast Jazz madness. It will open you up to a corker, with all the players involved nipping at each other's heels. Sahib Shihab on baritone saxophone presents an unorthodox three-saxophone front line with some richly colored vehicles for improvisation. A special treat: The pianist is a very young and boppish Bill Evans. Legendary and top notch Japanese original pressing with OBI and SEALED. Jaw-droppingly great stuff. Price: 100 Euro
1846. SAHIB SHIHAB: “Sentiments” (Storyville/ Sonet – SLPS-1008) (Record: Near Mint/ Jacket: Near Mint ~ Mint). Original Danish 1972 pressing on Storyville, 2nd label (which came out a couple of months after) with the big “Storyville lettering on the label. Of all the American jazz artists who relocated to Europe and Scandinavia in the 1950s and 1960s, Sahib Shihab remains one of the most highly regarded and versatile, yet least celebrated. Sentiments was recorded in Denmark in March 1971 and was released on the Danish Storyville label. The album features Shihab alongside Danish super-bass man Niels-Henning Ørsted Pedersen, and two fellow Americans, drummer Jimmy Hopps and pianist Kenny Drew (like Shihab, Drew also settled in Denmark and recorded extensively for Danish label Steeplechase). Sentiments was Shihab’s last album as leader, although he did go on to record projects as co-leader with the likes of fellow American Phil Woods and French pianist/composer Jef Gilson. Fantastic recording and this is the rare original in absolutely TOP condition. Rarely surfaces this clean. Price: 275 Euro
1847. SAHIB SHIHAB: “Sahib’s Jazz Party” (Norma/ Tokuma Japan – NLP-2011) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Rare very first Japan original pressing that came out over 30 years ago in top condition. Sahib's Jazz Party is his third album as a bandleader. Recorded live in its entirety Sahib's Jazz Party features a few highly entertaining announcements by the master himself leaving the impression that Sahib was a bit far out that day. The performance is beautiful and passionate. He plays flute and saxophone backed up by a Danish jazz orchestra even with an electric guitar, in clean mode of course. Especially in the third part of the "Conversation" piece the dialogues between saxophone and trumpet are amazing while in "Charade" Shihab uses his flute to conjure a mind-relaxing atmosphere. The rhythms are all quite hot and whipping. The drummers must be some kind of madmen. Yes, there are two drummers indicated for the "Conversation" long track and the ever pulsating and vibrating rhythm patterns will prove that right. Bass and guitar rather back up everything and fill the gaps with simple notes which add just enough to leave the whole picture feeling full and round. Sahib's Jazz Party holds the same level as the most appreciated works of Miles Davis and John Coltrane during their modal jazz stint. All-in-all, the whole band is steaming and so full of passion, any listener will be electrified without fail. Price: 100 Euro
1848. SAHIB SHIHAB with Clifford Jordan; Herbie Mann; Eddie Costa; etc: “The Jazz We Heard Last Summer” (Savoy Records/ King Records – KIJJ-2042) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japanese pressing. This split LP pairs a sextet led by multi-instrumentalist Sahib Shihab with another under the direction of Herbie Mann. Big names all the way around on this one. On the Shihab session, John Jenkins and Clifford Jordan round out the front line, while Hank Jones, Addison Farmer and Dannie Richmond hold down the rhythm. Mann, on the other hand, is joined by Phil Woods, Eddie Costa, Joe Puma, Wilbur Ware and Jerry Segal. Nothing overly surprising here, but one can expect quality performances by all. The album's opener, "S.M.T.W.T.F.S.S. Blues," and Jenkins’ own "Rockaway" are especially pleasing themes, as is the Phil Woods contribution, "World Wide Boots." Generally speaking, the Shihab tracks are a bit meatier, causing the momentum to taper off toward the end of the disc. This should not, however, sway fans of late-'50s bop, as a number of the scene's top players are featured on this admittedly short set.” (All Music Guide). Price: 50 Euro
1849. SAHIB SHIHAB Featuring: Kenny Clarke; Benny Bailey; Francy Boland; Milt Jackson; Ake Persson & Jimmy Woode: “Companionship – Jazz Joint Vol. 2” (Vogue Schallplatten – LDVS-17243) (2 LP Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Top condition copy, German 1st original pressing of 1971. They hardly ever surface this clean! Double-length brilliance from the mighty Sahib Shihab – a set that collects a number of killer 60s sessions with members of the Clarke Boland Big Band – all of them great! The small combo work here is amazing – hard-hitting modal jazz that matches, if not tops the best MPS/Saba sounds of the time – all produced to perfection with a really sharp edge, and a cutting approach to jazz that's gone onto inspired countless others in the current scene – including artists on Schema and Ricky-Tick Records, as well as most Japanese club jazz combos! But long before any of those cats started copping his groove, Sahib Shihab had it all totally together – a great ear for his own amazing solos on baritone and flute, and a way of hooking up with players like Francy Boland on piano, Fats Sadi on vibes, Benny Bailey on trumpet, Jimmy Woode on bass, and Kenny Clarke on drums. All players here were Shihab's partners in the Clarke Boland Big Band, and they use these small combo sessions to explore some great new ideas – stripped-down groovers that are heavy on rhythm, and really allow full expression from all the players involved. Price: Offers!!!
1850. SAIRAIJI HIROMI: “Hatoba” (Columbia – ALS-5171) (Record: Excellent ~ Near Mint/ Fold Out jacket: Mint/ Obi: Mint. Completely vanished head twister, copies have completely dried up. Finally I was able to unearth another copy of this much in demand but hard to score deep underground enka masterpiece. Ok here is the deal, we are gonna hit you with something really obscure, so obscure that all the underground stuff you thought you knew seams like mainstream in comparison. This is real hardcore obscure shit that no-one even knows about. I have to encounter the first person yet who knows about this disc, apart from PSF’s Ikeezumi who introduced me to this jewel of a disc with the words: “You want to hear some real underground stuff? Like bottom of the well Enka that is so deliriously great everyone fail to notice it because it blinded them like gazing at the sun for too long?” Of course I was keen to hear what he would hit me with and he spun me the first track of this debut album by then 19-years old Sairaiji Hiromi. I was immediately blown away. I had never ever heard anything quite similar like this. I had trouble to gather my sanity after that, my legs were shaking, my word phrasing became a stuttering mess of vowels, in other words I was perplexed. Well, how can I describe this rarity? Best thing I can come up with is “Underground Female Enka Howling”. Although Sairaiji was only 19 years old at the time of recording this in 1972, she sounds like a weather beaten down old nag, a witch out of a Kobayashi flick, nasal deranged vocals, wailing away like an old wolf in heat, disturbing but mesmerizing at the same time. Psychedelic but oddly Norman with a demented twist. I never heard a girl howl like this, not even Lisa Suckdog come close…hardcore stuff and the best record I heard in 2005 amongst others. Of course after being exposed I searched high and low for a copy but due to extremely bad sales, most copies were taken out of circulation and destroyed. I finally found myself a copy and only last month I acquired this one. These babies just do not turn up but since no-one is aware of the sheer demented beauty of it they are still quite cheap. So this one has my all time highest recommendation. Extremely rare. Price: 150 Euro
1851. SAISEI KOUBOU: “S/T” (Private) (Record: Near Mint/ Jacket with Golden Wax Seal: Near Mint). Hideously obscure Japanese power psychedelic unit, active during the mid-eighties and who released in 1987 only one bloody rare LP, printed in an edition of 200 copies of which only 30 copies came with the gold lacquered seal on the jacket. Only the 2nds time ever I can offer a copy of this BEAST. This copy here is one of those 30 lacquered ones. Saisei Koubou was a 4-piece psychedelic sonic assault unit assembled out of Uchino Hiromi (bass, vocals), Enomoto Ryuichi (guitar), Fukushima Toru (keyboards), Sasaki Masahiro (drums, percussion) and occasionally Hirota Tokuomi (vocals). Recorded as the basement life house of Plan B, which also acts as Butoh dancer Min Tanaka’s Tokyo base of operations (he is also credited on the label imprint), Saisei Koubou spew out a shape-shifting amphetamine driven high tempo take on basement psychedelic rock, infused with hypodermic flashes of avant-garde rock moves and rampaged drum/ convulsive guitar riffing that pierce through the void. Straight ahead, unshakable heavy rock moves are simultaneously junked up with doomsday-cult like vocals, monolithic power-drilling tempo changes, missile-firing drum patters shifting in and out of range like a meteorite shower lightning up the pitch-black dark night. Enomoto’s wrist-slashing guitar antics spew out torrentially thick sheets of almost metal like riffing, making whole thing explode into some staggering guitar/drums rhythm-changing freak-outs. The whole affair is desperately but hypnotically bleak and sums up enough exhilarating fist shaking tirades uglier than a group of mutants at an insane asylum. Deep underground rock moves with a vengeance. Impressive. Extremely rare private pressing. No one has a copy apart from that lucky guy who bought a copy from me over 14 years ago. Never seen another one until now…Price: 300 Euro
1852. SALLY MAY: “Kinpatsu Enka” (Victor – SJX – 35) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: MINT). Bloody rare 1st original pressing with OBI!!!! Never had a copy with obi before – this is rare as hell freezing over on a hot summer day! Here is a freak oddity for you. Although being a Caucasian chick, Sally May was born in Tokyo on February 13th, 1947 as a mixed race child out of a Japanese mother and an American father. From an early age on she had the longing to become a singer and she started out singing at the family’s restaurant. In 1963 she was scouted out by the lead singer of the Five Suns band and stated out singing occasionally with the band The Sharp Hawks. Soon hereafter she debuted as a singer for commercial ads and a model, followed with an occasional role in a major movie. This attracted the attention of the Victor label who approached her and by September 1969, the album “Kinpatsu no Enka – Sally May” was released, which translates literally as “Blond Haired Enka”, a title and accompanying jacket that must have driven the fantasies of Japanese men for blond women even to higher realms at that time. The record was neither pop nor rock but consisted out of solid enka tunes sung by a blond nymph who later down the road would star in various films and some roman porno flicks. The music was especially well received by Pachinko Parlor attendants, Snacks, taxi drivers and other venues who had the radio on, gushing out her blond toned voice. Due to the eye-popping red background supporting a fully kimono clothed blond nymphet that suggested lust and erotic induced contents (which were far from present on this album) normal punters and young youths stayed away from it, making it till this day an extremely unknown and hard to come by cultural oddity. Recommended for those into the weirder aspect of Japanese popular 1960s culture and for all of you Enka lovers out there who are starving for some really hard to come by shit. Awesome jacket!! OBI is just mega rare and this copy is next to impossible to upgrade upon!!!! Erotic kayokyoku heavy weight. Price: Offers!!!!
1853. SALVADOR DALI: “Opera Poema Etre Dieu” (Tecnodisco – ED-50001‾3) (3 LP Set: Excellent, some minor paper scuffs at times/ Box: Near Mint/ Booklet: Near Mint) Original Spanish pressing, recorded in 1974, released in the late eighties. Much talked about Dali recording since Salvador Dali was the only painter who also wrote a libretto for an opera-poem called “Être Dieu” (“To Be God”), a reflection of his personality. Dali began to write the libretto for this opera in the year 1927 together with Federico Garcia Lorca one afternoon in the Café Regina Victoria, Madrid. In 1974 Dali made a record of the opera in Paris for which Igor Wakhevitch wrote the music and the Spanish writer Manuel Vazquez Montalban, in accordance with an expose by Dali, made the libretto. During the recording, however, Dali refused to follow Montalban's text word by word and began to improvise saying “Salvador Dali never repeats himself”. This demonstrates his work in surreal pictures and sound. Totally mind blowing. An epic, surrealistic poem recited by Dali in French with the help of several voice actors. An amazing array of sounds backs him, ranging from symphonic orchestra to acid/prog rock band to tape effects, electronics, percussion and found sounds. In the plot Dali creates the world, gets in trouble and his saved by his wife Gala. Awesome disc. Price: 150 Euro

1854. SAMURAI: “Good Morning Starshine b/w Temple Of Gold” (United Artists – HIT-1609) (Record: Excellent ~ Near Mint – 2 faint hairlines but plays NM/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Mint). Rarest Samurai release and I haven’t seen a copy of this beast for over 13 years!!! Released in 1969, just prior to their debut LP, Samurai recorded this one of EP single containing two killer tracks that do not surface on their LP’s or anywhere else for that matter. Which is a pity ‘cause it ranks as one of the best releases the band ever did, far surpassing their albums in quality and psychedelic flavor. The opening track “Good Morning Starshine” is a head swirling upbeat song floating on a wave of chaotic but ecstatic background voices, late Sixties London popsike vibes and a optimist hippie vibe drifting on flutes and such. The B-side with “Temple of Gold” is a whole different affair, totally Eastern sounding and carried by a heavy Sitar beat, flutes, doped up vox and a beat that will set any dance floor on fire. Head twisting late Sixties vibe that is totally intoxicating and so far removed from Samurai’s later progressive signature sound. This is Sixties psychedelica in full swing, just sheer fantastic and track that would set any obscure Sixties psych compilation on FIRE!!! Problem is…this EP is stupendously rare and obscure, first copy ever I see in real life apart from some blurry pictures in a book. Do not let the picture sleeve fool you, this ain’t got nothing to do with “hair” and such, I guess it was just a fruitless attempt to shift copies on the similarly named movie success wave but needles to say, that attempt flunked and this EP became one of Japan’s rarest popsike recordings out there. Fantastic!!!! Price: 350 Euro

1855. SAMURAI: “Kappa” (Philips – FX-8511) (Record: Near Mint/ Gatefold Jacket: Excellent 〜 Near Mint/ Insert: Near Mint). TOP COPY, First original pressing, it has been a while since I could score an original, these babies getting scarcer by the second. The fist record to see the light under Miki Curtis new born Samurai banner, originally released on April 1971. Ok tyme to strap yourself in because it is going to be a wyld ride. After having played all over the hotel lounge scene during the mid and late sixties, Mickey Curtis and his samurai band returned home, disbanded and disintegrated only to rise as a phoenix out of their ashes, be it in a slightly altered form, both music wise and member wise. So although two lounge albums appeared under the Samurai banner previously, one can safely state that this was their debut as a group merging hard rock, jazzy moves, organ driven swirling psych and prog rocking dementia into one coherent and addictive sonic wash. To put it very bluntly, side one can be considered the “song side” although that is in a way an overstatement ‘cause the band mainly exploits the word “song” to embark on freefalling spun out excursions into the darkest corners of your perverted mind. The second side is totally instrumental and swings in between freak-out acidic jams towards tribal percussive driven ethereal freeform evocative music. Juggernaut brooding organ riffage fuses with heavy amplified rock moves that at times even approaches Sabbath levels of intensity. Just massive and one of the cornerstones within the early seventies Japanese psych pantheon. Totally essential. Price: Offers!!!!
1856. SAMURAI: “S/T” (London/King Records – SLC-409) (Record: Mint/ Gatefold Jacket: Near Mint ~ Mint/ Obi: MINT). Freakingly rare Japanese white label promotional press with never seen obi present, all in virginal MINT condition. First of all, don’t get confused; we are talking here about the UK band Samurai, not the Japanese one. Original UK copies of this album are a bitch to find these days but Japanese pressings of this album are even a tougher score simply because a/ they never made it past the “promotional press” stage and b/ although some copies made it to some shops here back in 1971, no one so far seems to have actually seen a regular Japanese edition one, so the few copies that do float around are all promotional press copies. Then, another issue is that of those promo copies, only a handful seems to have survived with the Obi intact, making this copy here a genuine rarity. Only the 2nd copy to surface in 15 years of time. For the rest, Samurai is a great UK progressive rock band that came into existence after the band Webb folded its activities and Samurai went one to record only one single album. The music is astonishing and should appeal to all psych/ prog lunatics out here. Comes housed in an eye-popping gatefold sleeve with matching deliriously detailed artwork. Top copy!! Price: Offers!!!!
1857. SAN FRANCISCO SOUND: “Fifth Pipe Dream Vol. 1” (private – S7-11680) (Record: Near Mint/ Gatefold Jacket: Near Mint). 1st pressing that comes housed in a B&W gatefold jacket, 2nd press came in a colored version. 1st pressing of this beauty is damned rare there were the 2nd pressing turns up at regular intervals. Top condition!!! Essential compilation with unreleased tracks by Tripsichord Music Box; It's A Beautiful Day, Indian Puddin & Pipe, etc. Stupendous b&w gatefold cover art that is in top condition, no shelf or ring wear. Amazing artifact as spewed out of the cradle of acid rock at that time, totally essential genre piece. First time I have an original in near perfect shape. Price: 400 Euro
1858. SANDSTONE: “Can You Mend A Silver Thread” (Private US – 1971/ SA-2911) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top copy of rare US 1971 private press psychedelic folk masterpiece. THE US psych folk album everyone’s chasing it seems. Locally released female vox led folk album that could have been a UK release in the Stoneangel, Pentangle, Mellow Candle realms. Haunting female vocals, original compositions, flute, harpsichord, bass/ drum, cello and guitars create a beautiful outer-wordly feel. To my ears the best US folk psych album I’ve yet heard… Amazingly clean copy of a record that was originally released in micro quantity…Price: Offers!!!!
1859. SARA & MELODY: “Sound of the Pacific” (King – SKK-635) (Marble Wax Record: Near Mint/ Outer Hard Slip Case Plastic Jacket: Mint/ Inserted four paged Jacket: Mint/ STICKER OBI: Mint). Freakingly rare original 1st pressings with rare sticker OBI!!!! Copies with sticker obi still attached to the outer plastic case are almost non-existent anymore, the sticker obi is always missing and torn off. This copy here is the only fully intact copy I have ever seen. OK, let’s cut to the chase. Here you have a bloody rare Japanese psychedelic oddity I have never ever seen offered for sale before since hardly anyone knows about this gem – apart from some heavy Japanese collectors only. And it is quite an oddity that defies categorization. Nope, no point in checking the dreadful Japrocksampler or any of the Pokora books, I doubt you will find any info in there. So what is it all about? Sara and Melody were two young Japanese nymphets that heralded out of the Hawaiian islands – at least that is the story and they cut this one album while crossing the seas towards the motherland around 1968〜9. There they were recruited by no one else than the legendary Ishikawa Akira (of Count Buffaloos and Uganda fame) in order to cut this one-off album. Stylistically the album is hard to categorize but in order to try and describe this gem the closest I can come up with is “groovy psychedelic Japanese Minyo cross-breeding with Sergio Mendez kind off Latin vibes and Bossa rock styled moves”. And to top it all off, it was sung in perfect English, making it all the more exotic and off-the hook. In short it is late sixties Japanese psychedelic mondo rock that in decades to come would inspire contemporary groups like the Hair and ilk, plundering the sonics of this disc to death. “Sound of the Pacific” is a real gem of an album that comes housed in a fold out soft paper jacket complete with totally psyched out jacket art which on its turn is housed in a hard case plastic cover. The disc is then pressed on colorful marbled wax, making it visually even more lysergic. It fits the music like a velvet glove. Hideously rare, especially with outer plastic cover intact. Just never surfaces on these shores and comes with the highest possible recommendation if weird but oddly normal genre defying Japanese weird pop psych is your thing. No fuzz or so on this one, but mind bendingly great nevertheless. Bound to never surface again, just mark my words. AWESOME!!! And blooooody rare. Totally mint copy with OBI present so….. Price: 500 Euro
1860. SATO MASAHIKO & SOUNDBREAKERS: “Amalgamation – Kokotsu no Showa Genroku” (Liberty Records – LTP-9018) (Record: Near Mint/ Jacket: Excellent). TOP COPY!!!!! White label promo on RED WAX!!!! Original totally mint copy. This is definitely one of the weirdest, oddball Japanese sound artifacts of all times, being “Kôkotsu no Shôwa Genroku”, also known under the title “Amalgamation”. The album was composed, arranged and conducted by Sato Masahiko for which he got backed up by The Sound Breakers, a loosely assembled collective consisting out of the crème elements of the that day free jazz and New Rock scene. He teamed up with guitar slicker Kimio Mizutani, Louis Haynes on drums, Terakawa Masaoki (Love Life Live + 1) pumping the bass, free jazz drummer Toyozumi Tozaburo (Takayanagi Masayuki & Abe Kaoru free jazz team mate) and the free blasting sax howler Mototeru Takagi. Except for the vicious rock-jazz-beat interplay on this record, slashes of radio phonic sound sources, genuine Japanese music, classical intersections and sound infusions of field recordings and environmental sounds get patched on top of one another. The kind of collage – musique concrète compositional touch resulting out of this all was, even for those times, rather audacious. The other element that made the stupefaction complete, by adding a taste of schizophrenic angst to it all, were the radio edit insertions containing pieces of speeches by Hitler addressing an assembled mob of hysteric Nazis and spoken word interpellations by Emperor Hirohito, backed up by machine gun pumping and sound bites of air raids, which reflects clearly on the radical atmosphere of student upheaval that was omnipresent in the years 1969-1970 as part of the Anpo Tôsô. This all, fueled up with jaw dropping Hammond organ-guitar improvisatory interplay by Yanagida and Mizutani. During the second part of the “Amalgamation” composition the overall pace is set by dense duo interchange between the squealing sax eruptions of Mototeru Takagi and the propelling percussive rattles of Tozaburo Toyozumi, interspersed by descending angelic voices and inserted street sounds. Overall a ground breaking and, sadly enough, an almost completely vanished and forgotten historical milestone, which attempted clearly to bridge the gap between rock, avant-garde and free jazz by creating an hybrid-like masterpiece, light-years ahead of its time. In short, this record is a monster and listening to it comes over as sitting in a pool of liquid LSD and suddenly feeling your nuts on fire!! Best aural experience ever, I can tell you that much. Price: Offers!!!!
1861. SATO MASAHIKO: “Transformation ‘69/ ‘71” (Express – ETP-9041) (Record: Near Mint/ Jacket: Mint/ Obi: Mint) Very rare promotional white label copy with OBI!!!!. I do not know what it is with Japanese free jazz these days but discs documenting that scene are rising quicker than a high tide on a full moon and next to that it seems almost completely impossible to dig them up anymore, like there is a great stock-before-famine-comes tide washing through the archipelago as far as rare records are concerned. And this disc is no exception; it has been years since I could lay my hands upon a copy of this classic masterpiece. Sato Masahiko’s classic trio where he gets flanked by Yasuo Arakawa and Masahiko Togashi. One freakingly heavy sidelong track and one two track side grace this disc, both highlighting a different side of the trio in action. Side A opens up with “Tigris” a soft free floating lyrical seven minute excursion that showcases Sato as a golden boy on the ivory keys while Arakawa and Togashi provide the perfect backbeat. Free but smooth as silk, just perfect. The second composition “On a Clear Day” almost sees Sato meandering into Monk like influenced waters that begins slow paced before venturing of into a high gear accelerated speed up frenzy that remains an artfully structuralized berserker. There is much solo space for each of the three players and the spacious mix buts each of the three upfront on different occasions. It is a stunning showcase of three gifted players at the top of their game. Both of these tracks were recorded on March 17th and 20th, 1969. The B Side sidelong track is a whole different affair. Being recorded two years later on March 2nd, 1971, the trio sounds here like being on fire. From the opening notes on, one can feel and hear a different mood set, a tad introvert and dark but when things get rolling, it becomes an unfettered affair, fusing power and poetry into one coherent slab of paradigmatic oriental Fire Music. Cascading notes, tornado-like curveballs of sonic clusters that sound like almost a piano induced frenzy as an afterthought to a firestorm of improvisational interplay. Collective improvisation built up around piano pounding and droning base stroking aesthetics evolve into a workout spiked with moments of real intense beauty especially with Sato sweeping across the keys, injecting his play with electronic sounds and prepared piano moves while Arakawa scrapes his bass snares and Togashi cooks up a storm of muffled brushes and strokes. Still like most true inventive Fire Music it is also an exhausting and equally rewarding listening experience. These cats had it all down; gracious free-floating grandeur that touches divinity while creation unfolds itself. Just massive and highly important recording. Getting extremely rare these days. Price: Offers!!!!!
1862. SATO MASAHIKO: “Transformation ‘69/ ‘71” (Express – ETP-9041) (Record: Near Mint/ Jacket: Excellent ~ Near Mint) Same as the above listed one, but coming dead cheap as the obi on this one is missing. Stupidly rare free jazz beast from down here, hardly ever turns up and when it does the condition always is a bit off. This one is super clean and a real head spinner. Getting extremely rare these days. Price: 375 Euro
1863. SATO MASAHIKO TRIO: “Deformation” (Express – EP-8005) (Blood Red Wax Record: Mint/ Gatefold Jacket: Near Mint ~ MINT/ Obi: Excellent). Rare WHITE LABEL PROMO red wax Express label copy. Comes with always missing OBI!! WHITE label PROMO Copy!! Copies with Obi are fucking seriously rare – haven’t had a copy on red wax with obi for over 5 years now and this is only the 2nd time evr I have seen a copy with obi, so go figure. OK, if obscure and hard to track down Japanese avant-garde and free jazz is your thing then look no further. This disc, released in 1969 is a hard nut to come by since due to extremely poor sales only a handful of copies and some promo copies are known to have hit the streets, making it now one of the hardest free jazz documents to track down. This one comes on bloody red wax. But all this idle talk aside, it's the music that really counts. And it burns hard…hardcore trio line-up consisting out of Sato Masahiko on piano, Arakawa Yasuo on bass and Togashi Masahiko on drums. Together they are responsible for unleashing a jaw-droppingly great amalgam-sounding explosion of disruptive energy. They trash out an entirely new Japanese free jazz methodology by incorporating enka and minyo tapes into the performance, rendering it into an otherworldly, if not almost eerie listening experience. Loud percussive crashes collide with rattling piano rolls that get underscored by blood-thumbing bass riffage. When all interaction gets mineralized into a minimalist excursion the minyo tape insertions dwarf into the foreground, making it all sound like rural traditions going bananas through a intravenous fix of avant-garde that gets nuked right into the bloodstream of the national subconscious. Chilling, lysergic, stupefying and outward bound, this is some of the best freeform junk that came out of the archipelago. Comes on BLOOD RED WAX and with the never seen always-elusive OBI!! Highest recommendation. Price: Offers!!!
1864. SATO MASAHIKO TRIO: “Palladium” (Express – EP-8004) (Record: Near Mint/ Jacket: Near Mint/ OBI: VG++). Never seen before WHITE LABEL PROMO issue!! Classic Japanese free jazz monster. First original pressing of 1969!! The year of 1969 was the year that Japanese free jazz began to lift off (see We Now Create LP of Togashi Masahiko with Takayanagi, Motoharu and other heavyweights releasing the 1st free jazz LP in Japan) and blossom into a fierce musical power to be reckoned with. Legendary combos such as Togashi Masahiko/ Sato Masahiko's ESSG, Yamashita Yosuke Trio, Takayanagi Masayuki New Directions and Motoharu Yoshizawa Trio were soon responsible to be the originators of this new scene of sonic terrorists. Each of them released that year groundbreaking albums, colored by their own approach to jazz methodology and Sato Masahiko's fully made a mark for himself with this first album centered around him as a leader. The record eventually ended up receiving a jazz magazine's award and is since then regarded as a classic disc in Japan's free jazz pantheon. This album is quite remarkable and its take on free jazz is light years removed from the European and American scenes since it opened up sonic gateways to new unexplored territories. First of all it is quite avant-garde tinted in its execution of the material and juxtaposing it fusing it with a fresh influx of careful and delicately crafted improvisational interplay. Sato Masahiko plays prepared piano, Arakawa Yasuo caresses his bass with a bow and Togashi Masahiko enriches his percussive interplay with chimes and bells. The record opens up with a ethereal soundscape that suddenly merges into the Beatles' “Michelle”, sounding tenderly tense and pregnant with delicate thunders that remain concealed behind velvet curtains, making it one of the most sensitive and vulnerable song ever to be played by a free jazz combo. “Michelle” unfolds its hidden beauties over a span of 14 minutes before rolling into a collaboration of sonic molecules shifting in and out of focus and flowing as liquid and free as a mountain stream and meandering into the main theme again, al entwined around Sato's quicksilver-like mercurial bivalent playing. And this was so far only side one and the air is already getting thinner. Side two picks up where side one left off and takes you further along on a ride that showcases the virtuosic playing of the trio. In short, this disc is breathtakingly beautiful, brimming over with delicate improvisational interplay that will haunt you and keeps you begging again and again for more. Far removed from any other free jazz disc I know, this one gives you a peek at the other side of the spectrum, earbleedingly beautiful. A classic and monster in its own right. All time highest recommendation, WHITE LABEL PROMO ISSUE with OBI. Price: 250 Euro
1865. SATO MASAHIKO TRIO: “Penetration – Masahiko Sato Trio in Berlin” (Toshiba – TP-9521Z) (Record: Near Mint/ Liner Notes: Near Mint/ Outer Box Set: Near Mint/). This is the BOMB!!!! Insanely rare & hardly ever seen before Japanese free jazz monster. The LP came out in the same single disc box set series just like Uganda. And like Uganda, this disc is almost as rare, never surfaces and is just rarer as a hen’s teeth. This is the 1st original pressing released in a box. There is a common later press that comes in a different jacket, released on a different label (Express I believe) and even the music was cut short as opposed to the original version if I recall right. So here is the first original pressing and copies in existence are very few and far in between. It just never turns up and so far I know of only a handful of people owning a copy of this edition. But the music is what really counts here and that is a vicious one. Recorded live at the Berlin Jazz Festival on November 6th, 1971. The trio at this point consisted out of Sato Masahiko (Piano and ring modulator), Arakawa Yasuo (bass) and Ozu Masahiko (drums). What makes this disc possibly the greatest LP ever recorded by Sato Masahiko (apart from his Sato Masahiko & Soundbreakers album) is his use of fusing piano with electronic sounds and the employment of a ring modulator. By doing so he creates a wonderful eerie fusion of acoustic and electronic generated sounds that mingle with the free jazz aesthetic the groups exerts. Due to the ring modulator and the contact microphones attached to his piano, the trio’s improvisations get revved up with a reverberating echo and an electronic buzzing and whirling, creating some sort of background hissing feedback that zooms in and out of focus, adding an extra demented touch to Sato’s visions of piano drivin’ free jazz. The two side-long tracks are pregnant with a buzzing electronically charged tension that hovers in the air and almost sets the scene for an aquanautic-like recorded free improv brawl. The overall atmosphere is dense and inseminated with a thunder like tension that looms over the session, like the moist heat and threatening tempestuous winds assembling and gathering furious strength on the horizon ready to unleash their wrath and tropical tempestuous anger upon mankind. A roaring silence pregnant with suspense and danger which unleashes its full swirling whirl-blasting rage upon coming of age on side two. I guess this is as close one can come simulating the sounds of sitting in the midst of a tornado with debris flying around your head. Amazing disc that simultaneously appeals to the free jazz/ improvisation and electronic music lover that resides within me. This first edition box set version is super rare since the record bombed upon its release and failed to sell any copies. Some years later down the road, the Express label released it as a single jacket budget issue housed in a different quite hideously designed jacket, which is more easily available. But this 1st press copy just never turns up, making it one of the rarest Japanese free jazz/ experimental discs to have seen the light of day. Price: Offers!!!!

1866. SATO MASAHIKO & JEAN-LUC PONTY: “Astrorama” (Liberty Records – LPC-8039) (Record: Near Mint/ Silver foil laminated sleeve: Near Mint/ OBI: Mint). Rare 1971 groovy jazz head-spinner – next-to-impossible to score with OBI but here it is, virginal 1st press original with the monster rare OBI. Recorded in 1970, "Astrorama" contains four originals, three -Ponty's and one Sato's. With no doubt it is Ponty's album first of all - his violin fusion shredding absolutely dominates here even if experienced ear can hear some interesting Sato soloing in few places. Sato plays electric piano here trying to adapt his very different techniques to Ponty quite conservative jazz fusion's requirements. As a result he sounds more as Hancock on his very early fusion recordings. They get flanked by drummer Motohiko Hino (brother of renown trumpeter Terumasa Hino) guitarist & shredder Yoshiaki Masuo who brings some real heat with simmering psyched out fuzz licks and bassist Dane Niels Henning Orsted Pedersen. Ponty feels a true leader and obviously dominates with quite enthusiastic support from electric guitarist and drummer. Sato balances with different success between electric piano fusion passages and more complex, free and partially psychedelic pieces. The set pairs Ponty's great electric violin with the keyboards of Masahiko Santo - a player with a vision that's as far-reaching and searching as Ponty's music at this point in his career - deeply expressive, but without any of the cliches that might have come into this sort of a record a few years later - and often handled with some deeply spiritual overtones! This is definitely is one of Jean-Luc's best albums ever - even though it's one of his most obscure. A killer album only ever issued in Japan and a true deep jazz slide! Impossible in this condition with OBI. Price: 575 Euro

1867. The SAVAGE RESURRECTION: “S/T” (Mercury SR-61156) (Record: Excellent/ Jacket: Excellent ~ Near Mint). Original US pressing in sublime condition. “One of the classic heavy psych albums, this is one that every fan of the genre seems to like. What makes the album so cool is that they have not one but two wild guitarists, and the dual lead guitars spew fuzz and feedback brilliantly throughout.” (excerpt – AM – Acid Archives). Awesome wild fuzz drenched psych snarler that rivals with all the best records of that time. Awesome and great copy to boot, just a shy away from NM, so EX all way round. Price: 200 Euro

1868. SAVOY BROWN BLUES BAND: “Black Night b/w Little Girl” (London – TOP-1421) (EP Record: Mint/ Gatefold Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Very rare and seldom seen Savoy Brown’s first single release in Japan from 1969 that comes housed in beautiful Japan only sleeve art. This one came out in the short-lived but stunning “Art Rock Series” that spewed out a few single releases such as Country Joe & The Fish and others. Sales were low and distribution poor, which makes that these EP’s rarely are offered for sale or surface at all. First time ever I could see Savoy Brown’s first EP, which looks stunningly beautiful just like the day it was released in 1969. The band’s debut release in Japan with 2 cuts from their 1st LP. Killer two-tracker!!!!! Price: 200 Euro

1869. SAVOY BROWN: “Getting To The Point – Art Rock Best Series” (London/ King Records – SLC-283) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Perfection, impossible to ever upgrade upon mega rare Japan ONLY Savoy Brown issue all complete with obi. The 2nd Savoy Brown LP, released in Japan in November 1969. Getting to the Point marks the debut of a vastly different lineup, still led by Simmonds but now fronted by new vocalist Chris Youlden. The pair got off to a good start by writing or co-writing most of the album. The playing is solid white boy trashy blues and Youlden's vocals are deeply rooted in the mannerisms of tourchbearers B.B. King and Muddy Waters. Still, he has a confident voice and front man persona. He turned out to be a true and well fitting addition to the band with his rich, often mournful vocal that harnessed perfectly to Simmond’s fluid guitar lines, levered in home grown material from both men that trademarked their sound. The line-up soon enriched by the arrival of bassist “Lonesome” Dave Peverett and drummer Roger Earle. Originals like "Flood in Houston" and "Mr. Downchild" provide the highlights. Never ever offered before and truly rare Japan 1st original pressing with obi in virginal condition. This is actually the 1st copy I ever see apart from a picture in a book some years ago. A one-off chance! Price: Offers!!!
1870. SAVOY BROWN: “Hellbound Train” (London/ King Records – SLC-416) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Excellent). Hopelessly rare 1st original Japanese pressing – white label test pressing – complete with impossible to get OBI. Killer UK psychedelic white trashy blues-rock. The Japanese issue with obi just never surfaces on these shores, believe me they are insanely rare and collectible. Sonic wise, it blows the UK press out of the water, stellar mastering and pressing quality back in the day. First time ever I see a 1st original Japanese pressing of this beauty with obi. Awesome. Price: 350 Euro
1871. SAVOY BROWN: “Street Corner Talking” (London/ King Records – SLC-381) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare 1972 Japanese first original pressing all complete with obi. Street Corner Talking is the seventh studio album by the band Savoy Brown. Released by Parrot in 1971, it was the first album released by the band since the departure of Lonesome Dave Peverett, Roger Earl, and Tone Stevens who all went on to form the band Foghat. This left Kim Simmonds as the only original member left in the group. Simmonds recruited a fresh lineup of musicians, which, in turn, ushered in a new sound for the band. things went a little smoother than he might have imagined, picking up piano player Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell, all from Chicken Shack. He also hired singer Dave Walker, who was the former frontman with the Idle race, and together the new lineup recorded Street Corner Talking, one of Savoy Brown’s finest moments. Gelling almost instantaneously, Walker’s cozy yet fervent voice countered with Simmonds’ strong, sturdy guitar playing, and an exuberant mixture of British blues and boogie rock prevailed. All of the LP’s efforts are solid examples of the group's blues-rock power, from the slick cover of Willie Dixon’s"Wang Dang Doodle" to the deep feel of "All I Can Do" to the subtle strength of "Tell Mama," Walker’s best-sung tune. The album's blend of sultry guitar blues and upfront rock & roll flavor give it a multi-faceted appeal, with every musician contributing his talents uniformly, which is something that's rather difficult to achieve after there's been a wholesale change to the personnel. Price: 250 Euro
1872. SAWADA SHUNGO QUINTET: “Formation” (Victor – SMJX-10093) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top condition first press original from 1971 and all complete with rare obi. Searingly soulful work from the group of guitarist Shungo Sawada – a player we mostly know from his groovy instrumental sides of the 60s, but who sounds plenty darn hip in this setting! The record has a nice sort of soul jazz groove on most numbers – one that takes Shungo's warmer hollow-body guitar sound and wraps it around some sharper lines on alto sax and piano – plus a bit of flute on some numbers – all in ways that extrapolate nicely from mid 60s Blue Note and Prestige modes, and take off in unusual timings and rhythms. The line-up consists out of Sawada Shungo on guitar, Kikuchi Hideo on alto sax, Tokuyama You on piano, Tokutani Yumi on bass and Suzuki Takahiro on drums, creating deliriously addictive music here that speaks volumes on its own! Price: Offers!!!!
1873. SCHAEFFER, PIERRE with GUY REIBEL: “Solfege De L’Object Sonore” RTF – Groupe de Recherches Musicales de l’O.R.T.F. – O.R.T.F. – SR2) (3 LP Set: Near Mint ~ Mint/ Individual LP Sleeves: Mint/ Thick Accompanying Book: Mint/ Outer Imprinted cardboard Box Set Sleeve: Near Mint). Original French 1967 pressing in TOP condition. Full title being “Pierre Schaeffer – Trois Microsillons d’exemples sonores de Guy Reibel assiste de Beatrice Ferreyra illustrant le Traite Des Objects Musicaux et presentes par l’Auteur – realization du groupe de recherches musicales de l’O.R.T.F. – Editions du Seuil”. The first achievement in 1967 included three LPs and a book containing the author's comments on each of the sound samples. This treaty summarizes Schaeffer’s research conducted around sound phenomenon in its various aspects. This is an in-depth reflection on the nature of sound. Some of the themes are the timbre of the sounds and the concept of the musical instrument, the time limits of the ear, a typology of musical objects, and the four elements of music theory. It is primarily intended for those who work with sound material. The sound pieces themselves were conducted by Guy Reibel, Beatriz Ferreyra, Henri Chiarucci, François Bayle and Pierre Schaeffer himself. These investigations find their culmination in this ominous set here. The focus lies on sound accessing the stage of "musical object" when it meets certain criteria that make it "appropriate" to be used as music and it is presented here for the first time with the concept of "reduced listening". This revolutionary concept overturns traditional attitudes of listening to music, or even listening at all. It consisted of a radical form of listening, freed from source concepts (the origin of the sound) and the sense (cultural significance, in particular) in order to relate to its intrinsic characteristics, its material, hearing texture, shape. Today this Treaty is one of the most important reference in the theoretical musical research in the twentieth century. Original copy of legendary French box 3 LPs + booklet by the father of experimental avant-garde music. Complete original box from 1967 including 3 LP’s (in perfect condition) + cover + Book. Housed in extremely fragile carton box (clean with just a small crease). Always damaged or with the outer box missing, this copy here is the best condition possible and all complete, so … Price: Offers!!!!!
1874. SCHAEFFER, PIERRE: “1. La Radio Et Ses Personnages” (RTF) (2 LP Set: Excellent/ Hard Cover Thick Gatefold Jacket: Near Mint/ Attached Notes: Near Mint). Subtitled as “Dix Ans Radiophoniques Du Studio Au Club D’Essai 1942 ~ 1952”, was released around 1963 by RTF – the Radio Television Francais label. This was the first release of a complete set of 5 that in total span over 10 individual records. Price: 100 Euro
1875. SCHAEFFER, PIERRE w/ a.o ANDRE ALMURO, PIERRE HENRY: “2. L’Ecran Sonore” (RTF) (2 LP Set: Excellent/ Hard Cover Thick Gatefold Jacket: Near Mint/ Attached Notes: Near Mint). Subtitled as “Dix Ans Radiophoniques Du Studio Au Club D’Essai 1942 ~ 1952”, was released around 1963 by RTF – the Radio Television Francais label. This was the second release of a complete set of 5 that in total span over 10 individual records. Price: 100 Euro
1876. SCHAEFFER, PIERRE w/ a.o. PIERRE HENRY: “3. Le Texte Et Le Micro” (RTF) (2 LP Set: Excellent/ Hard Cover Thick Gatefold Jacket: Near Mint/ Attached Notes: Near Mint). Subtitled as “Dix Ans Radiophoniques Du Studio Au Club D’Essai 1942 ~ 1952”, was released around 1963 by RTF – the Radio Television Francais label. This was the third release of a complete set of 5 that in total span over 10 individual records. Price: 100 Euro
1877. SCHAEFFER, PIERRE: w/ a.o. PIERRE BRASSEUR, PIERRE HENRY “4. La Mise En Ondes” (RTF) (2 LP Set: Excellent/ Hard Cover Thick Gatefold Jacket: Near Mint/ Attached Notes: Near Mint). Subtitled as “Dix Ans Radiophoniques Du Studio Au Club D’Essai 1942 ~ 1952”, was released around 1963 by RTF – the Radio Television Francais label. This was the fourth release of a complete set of 5 that in total span over 10 individual records. Price: 100 Euro
1878. SCHAEFFER, PIERRE w/ a.o. ANDRE GIDE, ALBERT CAMUS: “5. Machines A Memoire” (RTF) (2 LP Set: Excellent/ Hard Cover Thick Gatefold Jacket: Near Mint/ Attached Notes: Near Mint). Subtitled as “Dix Ans Radiophoniques Du Studio Au Club D’Essai 1942 ~ 1952”, was released around 1963 by RTF – the Radio Television Francais label. This was the fifth and final release of a complete set of 5 that in total span over 10 individual records. Price: 100 Euro

1879. SCIENTIST: “World At War” (Black Ovation Records – BOR-103) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). 1981 Canada ONLY issue and the rarest Scientist out there. Dub Mir present the first reissue ever of World At War  by Scientist. Jimmy Riley meets Scientist in dub. Classic Scientist dub action over tough Sly and Robbie Channel One rhythms. All tracks recorded at Channel One by Prince Jammy, Scientist and Jimmy Riley. Top ranking dub. Price: 250 Euro 


1880. SCIENTIST VS PAPA TAD’S: “Allied Dub Selection” (TAD’S – TRP LP 10180) (Record: Near Mint/ Jacket: Near Mint). Original 1st pressing in exquisite condition. The Tad Dawkins & Jah Thomas produced dub album “Allied Dub Selection”, featuring dub versions mixed by Scientist and Papa Tad’s aka Tad Dawkins, was released in 1980. At the time of its release, the dub craze had ran its course and not that many dub sets were being released anymore. In 1974-74 the first handful of dub albums appeared, over the next few years followed by hundreds of dub albums as every producer maximized the financial return of his vintage riddims. Dub albums were usually pressed in very small quantities and disappeared quickly. This explains why so many vintage dub albums including this “Allied Dub Selection” are referred to as ‘rare’, which however says nothing about the quality of an album but it a head bobbing one, reefer time all day long. The excellent dub set from Tads featuring mad announcements from Striker Lee introducing each side of the vinyl as if it were a real clash.  In fact, this is pretty much a Jah Thomas dub album, since all the rhythms are his cuts to No No No, Boby Babylon, Bobby Bowa, Mean Girl etc. and of course Heavenless, the foundation for his biggest hit Triston Palma's Entertainment. These are mixed at King Tubby's by Scientist and sound as crisp as the day they were mixed. Killer brain melting Dub classic. Price: 200 Euro
1881. SCIENTIST: “Scientist In Dub” (Jah Guidance – VPRLP-1007) (Record: Near Mint/ Jacket: Near Mint – still in shrink). Damned scarce original Jamaican 1st press issue as released in 1981. Produced by Linval Thompson, recorded at Channel One studio, mixed at King Tubby's studio, backed by the Roots Radics. Quintessential deep organic sounding and spacey dub album by Scientist, so you know what you are in for. Top condition original press copy, I do not believe they come any cleaner than this beauty here. Price: 300 Euro
1882. SCOTT, TOM: “Rural Still Life” (Impulse – AS-9171) (Record: Near Mint/ Gatefold Jacket: Mint – still housed in original shrink/ Insert: Mint/ Company Inner Sleeve: Mint/ Direct Import Obi: Mint). Top condition 1969 original 1st press that comes with bloody scarce Japan Direct Import Obi and insert. “This 1968 LP from the early days of jazz fusion lacks the seamless merging of styles that would mark the commercial success of Tom Scott’s later career. Instead, the 19-year-old reed player and the members of his quartet careen all over the style map -- with varying degrees of success. The title track piles on electronic effects that turn Scott’s saxophone work and Mike Lang's keyboard playing into abrasive quacking. Scott’s "Freak In" continues the indiscriminate gimmickry, masking the respectable talents of the quartet. "Juss Messin' Around" is a faceless piece of mainstream jazz, while the lightweight treatment given "Body and Soul" trivializes a standard that has long been a rite of passage for sax players. On a more promising note, Scott’s mid-tempo "Song #1" has an original melody and ambitious arrangement, including an effective overdubbed woodwind choir. This track, along with Scott’s "With Respect to Coltrane" -- a satisfying piece of modal hard bop -- helps redeem the session somewhat. At the time of this recording, Scott was already a fixture of the Los Angeles studio scene.” (All Music Guide). Never seen this one with the first issue obi flashing proudly its colors! Price: 100 Euro
1883. SCRATCH THE UPSETTER: “Cloak & Dagger” (Rhino Records – SRNO-8002) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent). Damned rare very first UK pressing from 1973 in outstanding shape, next to impossible to find in such nice condition. 1973’s Cloak And Dagger saw Lee “Scratch” Perry and his Upsetters embarking on a definitive early dub voyage. One of the first LPs cut at the now legendary Black Ark Studio - and originally released under the artist name Scratch The Upsetter - Cloak And Dagger features pioneering production of both instruments and effects. There are two quite different versions, both worth seeking out. The Orchid issue is the UK version, in which Perry pitched up the tapes to cater for the skinheads in Britain and features a different mix. The Jamaican version is slower and slightly more experimental - it's on the cusp of becoming dub in the way he mixes the instruments and strips a track down, but with fewer of the dub fix as yet. Here, rocksteady grooves, thick bass tones and vocal features from Tommy McCook and Winston Wright gave Perry the foundations from which he could experiment with the array of delays, reverbs and other effects that were stored down at Black Ark. The resulting record has become a blueprint for so many subsequent dub-reggae releases. Top shape UK original pressing. Damned rare in such nice condition as this baby here. One of a kind! Price: 400 Euro
1884. SEA ENSEMBLE: “We Move Together” (ESP Disk – esp-3018) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink). Top condition original pressing. Impossible to ever improve upon. The next-to-last new release on ESP-Disk before the label was shuttered in 1975, the Sea Ensemble's We Move Together harkens back to the label's mid-'60s avant-garde heyday. The husband-and-wife duo of Donald Rafael Garrett and Zussan Kali Fasteau rattles, strums, and bangs a variety of mostly percussion instruments, with bass, cello, clarinet, and piano sharing space with then-novel Asian instruments like the nye, shakuhachi (a Japanese bamboo flute), and sheng (a Chinese free reed instrument roughly akin to a pan flute). The four shorter pieces on side one explores a variety of moods and sounds, but the 20-minute epic on side two, "Stork Cools Its Wings," builds to an almost violent climax before returning to its placid beginnings. Totally amazing LP, top condition, sleeve still housed in shrink!! Price: 75 Euro
1885. The SEA URCHINS: “Fright 032” (Fierce Recordings) (One-sided 7 Inch Single: Near Mint/ Gatefold Picture Sleeve: Near Mint) Rare Sea Urchins privately released single that was recorded on 30.01.1988. Amazing slide by one of the core bands that colored the Sarah label. Price: 75 Euro
1886. The SEA URCHINS/ The ORCHIDS: “Summershine b/w From This Day” (b aba ba-ba ba – 005) (2 track one-sided flexi single: Excellent/ Picture Sleeve: Near Mint). Another UK underground mid 1980s gem of a recording that hardly ever surfaces. Price: 50 Euro
1887. SECTION 25: “From The Hip” (Nippon Columbia – YX-7334-AX) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan original first pressing from 1984. Blackpool outfit's Factory recording and quite simply has both sides of one of the most important record of the early shitty eighties in the wake of the fall out of New Order, Looking From A Hilltop. It was a more melodic, polished and musically eclectic venture as compared to their previous releases and saw the band sonically exploring further genres and dynamics. While some suggest mistakenly that by now they were more commercially driven, “From The Hip” does have a bit more hi-fi than low-fi seeping in as the band became more adventurous. There was a faint light ahead at the end of the tunnel it seemed back then and for that alone – in retrospect its worth price of admission alone, a b-boy electro classic which was a massive tune in Brooklyn at the time. Incredibly, still sounding completely contemporary, its hard to find words for a tune that has provided the backdrop to my teenage mischief so many years ago. Original Japanese pressing with obi. Price: 50 Euro
1888. The SEEDS: “Future” (GNP Crescendo – GNP-2038) (SEALED). Top condition, seal is 100% intact, NO damages, sharp corners, straight edges and fully readable spine. Original 1st pressing out of 1967 housed in heavy gatefold jacket in sealed condition, so I guess upgrading on this one will be out of the question. This album is just fantastic. Here the band had the audacity to experiment with record company money and studio downtime in order to squeeze out an utterly noncommercial but amazing disc that defines a isolated spot in space and time, alienating them from their garage pop audience but giving them instead all the underground credibility and a chance to align themselves with a new sound that would secure them a place in history, at least as far as my personal musical history is concerned. Saxon writes in the inner-sleeve essay "Originations of the Flower Generation" "...The farmer lives by the elements alone, the sun, the rain, and the earth, but the earth needs its seeds to sow the flower generation of the leaf and crying there on the earth below". It's heady stuff, the droning organ riffage, passionate sneering garage vocals of Saxon, fuzzed out guitars strung out on whatever was available, all of these elements permeates incessantly throughout the whole of the disc. The leadoff single, "A Thousand Shadows" is a fuzz-out and the rest of the album gives way to a very strange quest to sound complex. The complexities begin with the album cover with its gatefold and flower cut-outs and lushly printed photos, a Saxon-penned essay, all the works and no expenses spared. The music on the other hand displays a band allowed to run amok in a studio with the label footing the cost. This leads to a bizarre glee that permeates this album, from its whimsical and bewildering array of sound effects and exotic instruments, to the ultimately charming and naive playing and singing. Stunning album of which I cannot get enough…top & SEALED condition, Perfectly preserved original 1st 1967 pressing, etc…Price: 250 Euro
1889. The SEEDS: “Pushin’ Too Hard b/w Try To Understand” (London/ King Records – TOP-1304) (7 Inch Single: Near Mint/ gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare 1968 Japan only single issue with Japan only picture sleeve design in top shape, just never turns up, first copy I see in over 15 years. Price: 450 Euro

1890. The SEEDS: “A Thousand Shadows b/w March Of The Flower Children” (London Records/ King Records – TOP-1181) (Single Record: Excellent/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Top condition Japan 1967 original – Japan only issue. Comes housed in unique Japan only gatefold picture sleeve that is just gorgeous. One of the rarest Seeds artifacts out there. Virginal condition! Price: 450 Euro.

1891. The SEEDS: “In Concert” (King Records – SLC-219) (Record: Mint/ Jacket: Near Mint ~ Mint/ Insert: Mint/ Circular Obi: Mint). Bloody rare Japan only jacket design issue all complete with even rarer obi – white label promo copy as issued in November 1968. Top condition and monstrously rare! Impossible to upgrade upon, the perfect copy with obi & promo!!! The songs really were cut live to tape, with no overdubs and edits, and the Seeds sound plenty tight and enthusiastic here, with Sky Saxon’s vocals reaching a near-feral intensity on "Satisfy You," "Night Time Girl," and "900 Million People Daily All Making Love," and Jan Savage’s guitar work cutting significantly deeper than in the original recordings of these tunes. A few new tunes were played at the "live" sessions, and "Humble and Bumble" and "The Gypsy Plays His Drums" aren't milestones in the Seeds’ catalog, but they attack the hits with force and commitment, and the almost-ten-minute rave-up on "Up in Her Room" is some sort of crazed triumph. Maybe not raw, but more alive than you think, and one of the Seeds’ best offerings. Price: Offers!!!
1892. The SEEDS: “Fallin’ Off The Edge” (GNP Crescendo – GNPS-2107) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1977 US first original pressing. The title track to this collection of rarities and alternate takes, "Fallin' off the Edge (Of My Mind)," is, improbably enough, a psychedelic hoe-down. Literally. Sure, the lyrics are suitably mind-bending, but Jan Savage's guitar playing is pure country. It works in spite of itself, but is hardly representative of the rest of the material (it's the only song co-written by Kim Fowley). It also proves that, contrary to popular belief, the Seeds did have other musical interests beyond psych, garage, and blues. "Daisy Mae," the B-side to "Can't Seem to Make You Mine," is another oddity. In it, Sky Saxon (b. Richard Marsh) wraps his wavery, sandpaper-edged tenor around an R&B number that sounds like a cross between Buddy Holly and Little Richard. The other numbers adhere to a more traditional psych standard. They include alternate versions of "Wind Blows Your Hair" (plus a reprise), "Nobody Spoil My Fun," and "Pushin' Too Hard," their signature hit. Although there's no topping their first two releases, Seeds and Web of Sound, fans are sure to find Fallin' off the Edge of interest. (All Music Guide). Top condition copy, so…. Price: 75 Euro
1893. SEVENTH SONS: “4:00 A.M. At Frank’s” (ESP – 1078) (Record: Near Mint/ Jacket: Mint). Original 1968 US pressing of this psychedelic raga induced mind bender. Addictive and beautiful garage-basement psychedelic raga jams with Buzzy Linhart on guitar and vocals. Basement Eastern stuff with percussion and flute made up out of sidelong head spinning tracks and a cyclone cellar vibe brimming over with primitive anthropoid vibes and tribal cave man stomp that will put you in a naked dance trance. A classic. Price: 150 Euro
1894. SEX PISTOLS: “Never Mind The Bollocks Here’s The Sex Pistols” (Warner Bros – BSK-3147) (Record: Near Mint ~ Mint/ Jacket with Submission sticker: Near Mint). 1st press – US PROMO white label issue, complete with “submission” sticker on back and “This Album may contain material unsuitable for airplay” sticker on front. Price: 150 Euro

1895. SEXUAL NUDE SOUND: “Ai No Sasayaki” (Private Press) (33 RPM EP Record: Excellent ~ Near Mint/ Inner Sleeve Design Jacket: Near Mint/ Outer Sleeve Envelope Design Jacket: Near Mint with closing flap still intact). Bloody rare Japan late 1960s underground porno cum release, micro edition that only hit the racks of a few well-connected under-the-counter porn shops. Price: 150 Euro


1896. S-HATERS: “Come” (Midnight Music – CHIME00.04M) (Record: Near Mint/ Jacket: Near Mint) 1984 original pressing of amazing and totally underrated dark new wave/ cum spunk LP. Every track is a winner, all killer and no filler of 1980s dark-wave greatness!!! Price: 65 Euro
1897. SHELAGH Mc DONALD: “Shelagh McDonald Album” (Polydor – 2310.047) (Record: Near Mint/ Jacket: Excellent). Original 1970 German press of this fantastic female vocal psych folk album. I guess that most of you are familiar with the Shelagh Mc Donald story, of how she recorded two amazing beautiful albums before she had a bad acid trip experience and vanished from the face of the earth until she was discovered again in 2005 living in a trailer, cut off from the world for all that time. So I guess that everyone loves a good mystery and Shelagh’s one is cemented-in-time, almost a Nick Drake-ish combination of bathing beauty, unique musical talent and untarnished youthful promise that was cut short all of the sudden. It all began in the 1960s when McDonald managed to make her way down to London where she dove head first into the burgeoning British folk scene and simultaneously shifted also back and forth to Bristol, where the live folk club scene was also thriving. She started writing and performing her own music under the inspiration of Californian singer/songwriters like Joni Mitchell. Soon thereafter, she got noticed and picked up by Roberton who booked time for her in 1970 at Sound Techniques in London (studio run by legends Joe Boyd and engineer John Wood) to record songs for her first album, The Shelagh McDonald Album. She even got whilst recording it assistance from Nick Drake’s arranger, Robert Kirby. Once canned, the album got great reviews. Melody Maker even wrote “We’ve been a long time waiting for a successor to Sandy Denny since she abandoned solo singing to join a band (Fotheringay), but at last, in the lovely form of Shelagh McDonald, someone has come forward to fill the solo singer’s place.” So high expectations and idle hopes, the album was bound to do well but instead it failed to live up to the public’s insatiable appetite, at the time, for all things “folk.” And failed to catch on, selling very few copies. The album was largely ignored upon its release. The music on the other hand is some of the most eye-popping UK female folk you will ever hear. This copy here is the very rare original 1970 German 11-track LP with arrangements by Robert Kirby, the man responsible for the arrangements on Five Leaves Left & Bryter Layter. The overall affair is housed in a laminated picture sleeve. Price: 150 Euro

1898. SHEPP, ARCHIE: “Live At Donaueschingen Music Festival” (MPS Records – YS-2101-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1969 Japanese pressing. Top copy. Has been a while since I had a 1st press issue all complete with obi. Getting tougher and tougher to dig up these beauties with obi these last couple of years. One can argue that 1967 was Archie Shepp's peak year. In a way I adhere to this (although that his career was filled with peaks, just see his output on the Actuel/BYG label a couple of years later) with recording of one of his most out there albums "The Magic of Juju". Still, "Live at the Donaueschingen Festival" can be seen as some sort of an extent to which the Juju magic sound translates live. Split over two sides, the album gives some insight into one spun out piece. Archie Shepp's solos are frequent and extreme and are about to adhere a new meaning to the term Fire Music. Still not all is heavy breathing free shronk, there are also quieter moments with Grachan Moncur III, Roswell Rudd and Jimmy Garrison interlocking in some mesmerizing interplay. Also interesting is he audience’s reaction which at best can be described as emphatic. Some of them are awestruck, some are obviously put off. I guess it was just the impact of this new unheralded tsunami of free interplay that took them by surprise after having being subdued by middle of the road modal jazz for the last two decades. Again a classic in the free jazz canon, this is the original Japanese pressing of that day, complete with heavy gatefold cover and obi. Simply a must in my book Price: 80 Euro

1899. SHEPP, ARCHIE & CHICAGO BEAU: “Black Gipsy” (America/ Nippon Columbia – XM-140-AX) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Obi: Excellent). Top copy, Japan original 1st pressing with rare very first obi present. Of any other reedman, Rudd has had the most extensive history with Archie Shepp. Here on a late '60s Paris session, though, the saxophonist intriguingly fuses a loosely organized informal free jazz jam under a fundamental blues backdrop with the immediately distinguishable Leroy Jenkins and eight discernible instrumentalists, including himself, exclusively on soprano. Earl Freeman, Julio Finn, Sunny Murray, Clifford Thornton, Noah Howard and Dave Burrell sporadically are joined by vocalist Chicago Beau, who offers poetic vocal raps that put the blues element in context, recalling Shepp's own vocal dabblings, while Finn's harmonica touches upon Rahsaan Roland Kirk's blues/jazz experiments with Sonny Boy Williamson. Burrell's surprisingly tame piano lines and Murray's steady drum beat frame the first of two extended pieces. Most of the experimentation happens along the sidelines, unlike the more dynamic three-part follow-up, "Epitaph of a Small Winner, clocking in also at over twenty minutes, on which Burrell and Murray's playing is more characteristic. Murray throws around multi-rhythmic lines, rising to the foreground as the piece's momentary center, before fading to allow for Burrell's equally momentous solo featuring his distinct avant-ragtime approach. Damned rare 1st issue with rare original obi flashing proudly its colors. Price: 150 Euro

1900. SHEPP, ARCHIE & PHILLY JOE JONES: “S/T” (Columbia – XMS-161-AX) (Record: Mint/ Heavy Japan Only Gatefold Jacket: Mint/ Obi: Mint). Rare Japanese issue, this being the never offered before test pressing of this disc. Comes with never seen first press issue OBI. Killer free jazz blast with Archie Shepp on tenor, taking you on a tour of duty, which will be an unforgettable one. Backed up by some star heavy weight players, the group breaks into a line rhythm, as Shepp and Philly Joe Jones blend in. Line up includes Earl Freeman on bass, Leroy Jenkins on violin, Julio Finn on harmonica, Anthony Braxton wielding the alto-sax and Chicago Beau vocals. In totality, this is a mad, black and wild ever-twirling vortex of heavy fire music breathing out supersonic hardcore jazz, embalmed into a raging ball of fire that is belched out as a collective effort filled with lone scrams. Killer with absolutely no filler. Rare never seen before Japanese test press issue housed in a Japan only heavy-duty gatefold jacket. Price: 150 Euro
1901. SHEPP, ARCHIE: “Poem For Malcolm - Blase” (BYG Records – double actuel -208) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) Another vanished Japan issued Actuel LP complete with obi. Coupling two of Shepp’s classic slides, on “Blasé” the line-up: Archie Shepp (tenor), Jeanne Lee (voice), Chicago Beau & Julio Finn (harmonica), Dave Burrell (piano), Malachi Favors (bass), Philly Joe Jones (drums), Lester Bowie (trumpet & fluegelhorn). Jeanne Lee’s vocalizations on this one are awesome, giving a whole different dimension to fire music. A killer and all time classic. The other one is “Poem For Malcolm” Again, another instant classic. For this one Shepp gets flanked by Burton Green (piano), Alan Silva (bass), Claude Delcloo (drums), Philly Joe Jones (tympani), Grachan Moncur III (trombone), hank Mobley (tenor), Vince Benedetti (piano), Malachi Favors (bass). Total brilliance on black shiny gold. A killer that takes no prisoners and does not surrender. Awesome!!! Top condition and amazing sound quality. Obi is getting damned scarce these days. Price: 50 Euro
1902. SHEPP, ARCHIE: “Yasmina, A Black Woman & Live At The Panafrican Festival” (BYG Records/ Toho Geion – double actuel 203/ YX-9003~4) (2 LP Records Set: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Japan only 2 LP release, all complete with rare obi. Price: 50 Euro
1903. SHEPP, ARCHIE: “Poem For Malcom” (BYG Records – actuel-11/ 529.311) (Record: Near Mint/ Gatefold Jacket: Near Mint) Again, another instant classic. For this one Shepp gets flanked by Burton Green (piano), Alan Silva (bass), Claude Delcloo (drums), Philly Joe Jones (tympani), Grachan Moncur III (trombone), hank Mobley (tenor), Vince Benedetti (piano), Malachi Favors (bass). Total brilliance on black shiny gold. A killer that takes no prisoners and does not surrender. Definitely one of the highlights in Shepp’s expansive discography! Awesome!!! Price: 50 Euro

1904. SHEPP, ARCHIE: “Poem For Malcolm” (BYG/Nippon Columbia – BYG-16) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Excellent). Scarce Japan original of classic slide all complete with obi. Again, another instant classic. For this one Shepp gets flanked by Burton Green (piano), Alan Silva (bass), Claude Delcloo (drums), Philly Joe Jones (tympani), Grachan Moncur III (trombone), hank Mobley (tenor), Vince Benedetti (piano), Malachi Favors (bass). Total brilliance on black shiny gold. A killer that takes no prisoners and does not surrender. Awesome!!! Price: 85 Euro

1905. SHEPP, ARCHIE: “Yasmina, A Black Woman” (BYG/Nippon Columbia – BYG-4) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Near Mint). Scarce Japan original of classic slide all complete with obi. This is one of those all-time classics, one of those discs that helped to define a genre. The line-up on this vicious blaster consists out of Clifford Thornton (cornet), Lester Bowie (trumpet), Arthur Jones (alto), Archie Shepp (tenor & voice), Roscoe Mitchell (bass sax), Dave Burrell (piano), Malachi Favors and earl Freeman (bass), Philly Joe Jones (drums), Sunny Murray (drums), Art Taylor (Rhythm logs), Laurence Devereaux (balafon), hank Mobley (tenor). Wow, this is hardcore, all incinerating shit. Practically reads as a who is who of the free jazz world, Art Ensemble is also present, all the heavy weights of the scene interact with each other taking this baby to previously unreachable spiritual heights. Ultimate classic, totally mint and original Japanese press with rarely seen obi. I must be insane of letting this one go….Price: 100 Euro

1906. SHEPP, ARCHIE and the Full Moon Ensemble: “Live in Antibes Vol. 1” (BYG Records – BYG-32) (Record: Mint. Fold Out Jacket: Mint/ Insert: Mint/ Obi: Mint) Actuel 32. Another brain ripper, the first volume, preceding the one listed here below. Every album Shepp did for the Actuel label is a killer and sounds like no other free jazz record ever to be put down on wax. They are all classics. On this one he gets aided by luminaries like Alan Shorter (Fluegelhorn, voice), Clifford Thornton (valve trombone, shenai, piano), Archie Shepp (tenor, piano, voice), Joseph Dejean (guitar – just vicious), Beb Guerin (bass), Claude Delcloo (drums). Recorded live in concert at the seaside resort Juan-les-Pins (hard to imagine that these guys ever ripped through the night skies there seen the snobbery status of the town now). Stellar free music, a must. Superior sound and vinyl quality as opposed to the French issue, you will be in for an audiophile surprise here. Price: 100 Euro
1907. SHEPP ARCHIE and the Full Moon Ensemble: “Live in Antibes Vol. 2” (BYG Records – BYG-34) (Record: Mint. Fold Out Jacket: Mint/ Insert: Mint/ Obi: Mint) Actuel 34. Another brain ripper, the successive volume to the one listed here above. Every album Shepp did for the Actuel label is a killer and sounds like no other free jazz record ever to be put down on wax. They are all classics. On this one he gets aided by luminaries like Alan Shorter (Fluegelhorn, voice), Clifford Thornton (valve trombone, shenai, piano), Archie Shepp (tenor, piano, voice), Joseph Dejean (guitar – just vicious), Beb Guerin (bass), Claude Delcloo (drums). Recorded live in concert at the seaside resort Juan-les-Pins (hard to imagine that these guys ever ripped through the night skies there seen the snobbery status of the town now). Stellar free music, a must. Price: 100 Euro
1908. SHEPP, ARCHIE: “Live At The Panafrican Festival” (BYG Actuel – actuel-51) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1st pressing as released only in France way back in 1969. “As the '60s drew to a close in a hail of blood and lead, jazz gradually began to close its doors. What had blossomed in the '50s and '60s as young men struggled to raise a music out of the whorehouses of New Orleans and into the concert halls turned into something less and more than it had been. Musicians like Archie Shepp no longer looked to the future or to what they might borrow from classical forms. Instead, they looked back to the cotton fields, the slave market, and the slum to find their voice. The music took an angry turn, emphatically stating, "This is our music." Stunned by the assassinations of Martin and Malcolm, many young musicians turned from a country and a culture they thought had betrayed them. This live record finds Shepp reaching deeper into the music's past, going all the way to Algiers to play in the streets with whoever wants to lend a hand. The metaphoric value of that union is profoundly moving. The sound of the music is a joy, and one that will reward repeated listening. The '60s weren't a lot of fun for black musicians, regardless of what happened to flower power. This set is proof that for all the abuse that was heaped on them by their nation, for all the disappointments they endured, men and women could somehow emerge with their dignity intact.” (Rob Ferrier). One of the most difficult to track down Shepp slides and without a single doubt one of his finest and most adventurous recordings ever to be recorded. Killer slide from start to finish and in top condition. Price: 75 Euro
1909. SHEPP, ARCHIE: “Live In San Francisco” (Impulse Records – AS-9118) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Excellent). Original US first pressing. A great counterpart to some of Archie Shepp's studio albums for Impulse – a live date recorded in San Francisco, with a slightly freer, sharper edge! The sound is almost free at times, but always with that strong sense of focus that Archie brought to his brilliant work of the time – and the group's a well-honed ensemble who really understand each others motivations and inspirations – Roswell Rudd on trombone, Donald Garrett and Lewis Worrell on bass, and Beaver Harris on drums – all almost working at an ESP level together. Shepp plays a bit of piano on the record – in sharply angular tones that are almost more modern than his tenor – and titles include "The Wedding", "Wherever June Bugs Go", and "Keep Your Heart Right". Price: 75 Euro

1910. SHEPP, ARCHIE: “The Magic of Juju” (Impulse – AS-9154) (Record: Near Mint/ Fold Out Coated Jacket: Excellent ~ Near Mint) First original US pressing in TOP condition. Together with Shepp’s excursions on the BYG-Actuel imprint, “The Magic of Ju-Ju” is, at least to these humble ears, his best and wildest recording he ever did. Apart from that the disc is graced with possibly the best ever designed jacket art to grace a free jazz disc. Recorded on April 26, 1967 and flanked by Martin Banks (Trumpet, flugelhorn), Michael Zwerin (trumpet, trombone), Reggie Workman (bass), Beaver Harris (drums), Norman Connor (drums), Eddie Blackwell (rhythm logs), Frank Charles (talking drums) and Dennis Charles (percussion), Shepp launches into a voodoo inspired hoedown that tries to evoke the spirits of the living dead and summon them back up to join the limbo crazed freak-out. Here he unleashed his 18-minute tour de force “The Magic of Ju-Ju” title track that combines free jazz tenor frenziness with steady frenetic African drumming. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently grinding the piece to a halt. Without question, this disc is one of Shepp's most chaotic yet rhythmically hypnotic pieces. Highly essential, your life will be incomplete without it. Take my word for it. Price: 75 Euro

1911. SHEPP, ARCHIE: “The Magic of Juju” (Impulse – AS-9154) (Record: Near Mint/ Gatefold Jacket: Near Mint – still housed in original shrink/ Company Inner Sleeve: Near Mint/ Japan only Insert: Near Mint/ Direct Import Obi: Mint) First original US pressing in TOP condition. Still housed in original shrink and comes complete with Japan only insert and graced with the stupidly rare Direct Import Obi. Together with Shepp’s excursions on the BYG-Actuel imprint, “The Magic of Ju-Ju” is, at least to these humble ears, his best and wildest recording he ever did. Apart from that the disc is graced with possibly the best ever designed jacket art to grace a free jazz disc. Recorded on April 26, 1967 and flanked by Martin Banks (Trumpet, flugelhorn), Michael Zwerin (trumpet, trombone), Reggie Workman (bass), Beaver Harris (drums), Norman Connor (drums), Eddie Blackwell (rhythm logs), Frank Charles (talking drums) and Dennis Charles (percussion), Shepp launches into a voodoo inspired hoedown that tries to evoke the spirits of the living dead and summon them back up to join the limbo crazed freak-out. Here he unleashed his 18-minute tour de force “The Magic of Ju-Ju” title track that combines free jazz tenor frenziness with steady frenetic African drumming. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently grinding the piece to a halt. Without question, this disc is one of Shepp's most chaotic yet rhythmically hypnotic pieces. Highly essential, your life will be incomplete without it. Take my word for it. Price: 250 Euro
1912. SHEPP, ARCHIE: “On This Night” (Impulse – AS-97) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/Insert: Near Mint/ Direct Import Obi: Near Mint). Super clean US pressing in outstanding condition all complete with rare Direct Import OBi and Japan only insert. First time ever I could unearth a copy with the first issue obi as import. “Tenor saxophonist Archie Shepp’s third release for the Impulse label collects valuable loose ends recorded between March and August 1965. Among the highlights are a passionate reading of Duke Ellington’s "In a Sentimental Mood" and the title piece, a moving tribute to W.E.B. DuBois, featuring the haunting soprano vocalist Christine Spencer employing a distinct 20th century classical influence, with Shepp on piano. Shepp is the solo horn on these dates, playing at peak form with contributions from vibraphonist Bobby Hutcherson early in his career, David Izenzon or Henry Grimes on bass, and four rotating drummers, including Rashied Ali, J.C. Moses, Joe Chambers and Ed Blackwell playing a variety of percussion.” (All Music Guide). So rare with obi present and in outstanding condition. Price: 150 Euro
1913. SHEPP, ARCHIE: “Things Have Got To Change” (Impulse – IMP-88076) (Red Wax LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japanese 1st press original that comes on Japan ONLY RED wax & all complete with rare obi. Recorded in 1971, ‘Things have got to Change’ is about as late 60’s as you can get with its themes of revolution and black power. It displays some real genius at work here. ‘Money Blues’ and ‘Things have got to Change’ are both side long ‘jams’ that have very spare riffs, rhythms and chants to work with, yet both manage to maintain interest over fifteen plus minutes. The odd track out is side two opener, ‘Dr King, the Peaceful Warrior’, which is a quiet abstract ballad that features Archie’s tenor with Cal Massey’s electric piano. Money Blues floats on a simple beat, just steady quarter notes on the tympani while the soloists swing the rhythm in natural bluesy riffs that creates a sound similar to an ancient African procession. Lead singer Joe Lee Wilson demands his share of the money in constantly improvised rich baritone vocal lines that gives the music a theatrical and almost biblical effect. His voice works well here as his lines rise above the cacophony of the horns adding to the whole old school religious movie/theatre effect. Side two launches into the long improv ‘Things have got to Change’. Opening up with some excellent electronic sounds that fade as the percussion and horns play a loping African theme in semi-chaotic style, evoking a vibe not dissimilar to Sun Ra or Pharaoh Sanders. As the soloists veer off and the horns and electronics aim for the stratosphere, the vocals return with another chant that comes and goes over the duration of the piece. In a typical old school psychedelic audio trick, the grooves at the end of side two do not eject the needle but leave it locked into a loop of electronic sounds that I listened to for about two minutes before I realized that the side had actually finished playing so to speak. Rare Japan original pressing - top condition and comes with rare OBI + pressed on Japan ONLY RED WAX!!! Price: 150 Euro.
1914. SHEPP, ARCHIE: “The Way Ahead” (Impulse – A-9170) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Direct Import first issue OBI: Near Mint). First original 1968 US pressing in top condition – first copy I ever encounter with the direct import obi present. “This was a turning point for Shepp. For starters, he had looked all over the jazz/improv arena for the proper combination of players -- without a piano. One can speculate that this was because he cut his first teeth with pianist Cecil Taylor and that would perhaps ruin anybody for life. Recorded in 1969, The Way Ahead featured Ron Carter on bass, Grachan Moncur III’s trombone, Jimmy Owens’ trumpet, and drums by either Beaver Harris or Roy Haynes with Walter Davis Jr on piano. The set is a glorious stretch of the old and new, with deep blues, gospel, and plenty of guttersnipe swing in the mix. From the post-bop blues opener "Damn If I Know (The Stroller)," the set takes its Ellington-Webster cue and goes looking for the other side of Mingus. Shepp’s solo is brittle, choppy, honky, and glorious against a set of changes gracefully employed by Moncur and Owens. Harris’ stuttering, skittering rhythm may keep it anchored in the blues, but holds the line for anything else to happen. Likewise, the modern edge of things evidenced by Moncur’s "Frankenstein" turns up the heat a bit more. Shepp’s take is wholly different, accenting pedal points and micro harmonics in the breaks. On "Sophisticated Lady" and "Fiesta," Haynes fills the drum chair and cuts his manic swinging time through the arrangements, lending them more of an elegant flair than perhaps they deserve here, though they also dig deeper emotionally than one would expect.” (All Music Guide). Totally essential and stunning Shepp recording, top condition 1st US pressing. Thick spine and sharp corners gatefold sleeve is also crisp as a crust. TOP COPY!!! And with the OBI, which makes it damned rare. Price: 200 Euro
1915. SHEPP, ARCHIE: “Attica Blues” (Impulse – AS-9222) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint). TOP copy, first original 1972 US pressing. Shepp’s 1972's Attica Blues is a furious, tender blast of faintly psychedelic soul jazz – rendering it into a jewel in his vast, uneven discography. The opening title track refers to the shooting of 43 inmates at the Attica Prison riot some months before. Here, Shepp distils righteous, bristling anger into a huge, shuddering slice of funk. The line-up includes two electric bassists, four percussionists and blood curdling wah-wah guitars that spew out monster riffage – all underscored by huge slabs of horns, strings and desperate vocals. Some of Shepp’s classic R&B and more dance floor friendly tracks are still possessed with angry tenor blasts, while the gorgeous tracks such as "Ballad for a Child" hints at the lush melancholic protest of What's Going On by Marvin Gaye. The whole affair gets closed off with "Quiet Dawn", sung by the composer's seven-year-old daughter in a faltering voice, making it a perfect ending for an indispensable record. Rare to dig up in perfect condition!!! Price: 175 Euro
1916. SHEPP, ARCHIE: “For Losers” (Impulse – AS-9188) (Record: Excellent/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Direct Import Japan Liner Notes: Near Mint). US original pressing in niche condition for a record that most of the time is always trashed. “At the time this record was recorded, Shepp was bouncing back and forth between Paris and New York. He also bounced between the Impulse! and BYG labels. He also bounced between styles. For BYG, his music reached to grasp the bare beginnings of black music, back to Africa and the blues. His music for Impulse! tried to embrace the contemporary sounds of R&B, with very mixed results that to this day divide his fans. This record is a transitional one. For the traditionalists, there's his shattering and amusing cover of "I've Got It Bad" performed by the usual suspects one would think to find on an Archie Shepp record, including Cecil Payne and Joe Chambers. For those enraptured by albums like Attica Blues, songs like "Stick 'Em Up" will fascinate, as Shepp’s raspy tenor is joined not only by a legion of avant-garde brethren (including names like Beaver Harris and Grachan Moncur) but also by the funky wood of electric bass, guitar, and organ. Some will find those later tracks a bit hard to take. Some will even find themselves snickering. But for anyone wishing to understand the music and career of this brilliant musician, this is an undervalued piece of the puzzle.” (All Music Guide). Price: 50 Euro

1917. SHEPP, ARCHIE: “The Way Ahead” (Impulse – A-9170) (Record: Near Mint/ Laminated Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). First original 1968 US pressing in top condition. “This was a turning point for Shepp. For starters, he had looked all over the jazz/improv arena for the proper combination of players -- without a piano. One can speculate that this was because he cut his first teeth with pianist Cecil Taylor and that would perhaps ruin anybody for life. Recorded in 1969, The Way Ahead featured Ron Carter on bass, Grachan Moncur III’s trombone, Jimmy Owens’ trumpet, and drums by either Beaver Harris or Roy Haynes with Walter Davis Jr on piano. The set is a glorious stretch of the old and new, with deep blues, gospel, and plenty of guttersnipe swing in the mix. From the post-bop blues opener "Damn If I Know (The Stroller)," the set takes its Ellington-Webster cue and goes looking for the other side of Mingus. Shepp’s solo is brittle, choppy, honky, and glorious against a set of changes gracefully employed by Moncur and Owens. Harris’ stuttering, skittering rhythm may keep it anchored in the blues, but holds the line for anything else to happen. Likewise, the modern edge of things evidenced by Moncur’s "Frankenstein" turns up the heat a bit more. Shepp’s take is wholly different, accenting pedal points and micro harmonics in the breaks. On "Sophisticated Lady" and "Fiesta," Haynes fills the drum chair and cuts his manic swinging time through the arrangements, lending them more of an elegant flair than perhaps they deserve here, though they also dig deeper emotionally than one would expect.” (All Music Guide). Totally essential and stunning Shepp recording, top condition 1st US pressing. Thick spine and sharp corners gatefold sleeve is also crisp as a crust. TOP COPY!!! Price: 75 Euro

1918. SHEPP, ARCHIE: “Fire Music” (Impulse – Near Mint/ Gatefold Jacket: Near Mint). Second issue 1976 US press in top shape. Some of the most exciting jazz albums to listen to are those that try to strike a middle ground between the mainstream and the Avant-garde. One such example is Archie Shepp’s Fire Music: an often-fascinating album, rich in compositional and improvisational prowess. Employing a sextet including drummer Joe Chambers and alto saxophonist Marion Brown, Shepp puts together a record that is both challenging and accessible to most listeners. Fire Music’s masterpiece is undoubtedly “Hambone.” A multi-part composition, the song’s highlights are the opening theme, Ted Curson’s complex trumpet musings and a bluesy section featuring a tough and funky solo by Brown. The track’s momentum is maintained with the thematically dense “Los Olvidados” which features another sterling contribution by Curson. The spoken word piece “Malcolm, Malcolm-Semper Malcolm” is a tribute to Malcolm X and features bassist David Izenzon and drummer J.C. Moses. Concluding the album is a bizarre version of “The Girl from Ipanema,” with an solo by Shepp that is frankly, quite boring. Regardless, Fire Music is an album that belongs in any serious jazz fan’s collection.” (Robert Gilbert) Price: 40 Euro
1919. SHEPP, ARCHIE: “Doodlin’ ” (Overseas Records/ Teichiku – UPS-570-V) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint). Japan ONLY issue that comes graced in JAPAN ONLY sleeve art. Doodlin' was originally recorded November 9, 1969 in France. It was then released in 1976 on Inner City Records. The album features performances by Shepp with Alan Shorter, Bob Reid and Muhammad Ali. First time I see a copy with obi and 2nd copy so far I know off with obi surviving. These sold next to nothing when they were released in Japan and only a few remain in circulation with everything intact. Price: 450 Euro
1920. SHEPP, ARCHIE: “Day Dream” (Denon/ Nippon Columbia – YX-7570-ND) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). 1977 Japan only issue all complete with obi and insert. Top shape. Price: 40 Euro
1921. SHIRAKI HIDEO:“Plays Bossa Nova” (Teichiku – SKJ-1007) (Deep Groove Record: Near Mint/ Fragile Flip Back Jacket: Near Mint/ Obi: Near Mint). Impossibly rare original 1963 1st pressing in absolutely TOP condition – one of the rarest Japanese jazz slides out there. And in this condition + all complete with obi? Yeah, you might be tripping your head off as this is hardly possible but then again…here it is, the fucking real thing, the beast, the cornerstone that shaped the whole Japanese jazz scene from here on to come. And what a head twister this is, viciously sampled by Tokyo hip DJ’s, hunted down by break beat aficionados, cooked down by jazz heads, shot straight up intravenously by terminal addicts and devoured salaciously by swing vibe ejaculating hip cats, Hideo Shiraki’s 1962 “Plays Bossa Nova” is one of those – hyperbole fully gratified – “hyper rare and drop-dead killer awesome” - albums that causes seismic tremors of excitement to vibrate through Japan’s deep jazz music loving community. First of all – to put it into some perspective – the past 2 years I had 2 copies of Khan Jamal’s “Drum Dance To The Motherland” and three copies of Jan Garbarek’s 1st LP “Til Vigdis”  (& was offered a 4th copy which I declined because it did not excite me much anymore) to name but a few but never had I seen an original with obi in NM condition of Shiraki Hideo’s “Plays Bossa Nova” in over 20 years’ time. This one made my hearth skip a beat, made me reach out to my oxygen tank and suck myself back to the land of the living. Now that is excitement!  A complete copy with obi so far, I know of only 2 soul’s owning a copy. So I guess that it puts the meaning of rare towards another dimension. The LP itself “Plays Bossa Nova” was one of those legendary discs rumored about but very few had actually ever heard or seen an original copy since they are virtually non-existent and skyrocketing towards stratospheric heights after the hip Tokyo break beat samplers and deep groove DJ’s sniffed up the existence of this butt shaker. The opening track sets the mood with its loose polyrhythmic funk grooves and is a real swinger, after the first snippets of carefully caressed brush sounds fade out, Hideo Shirakiand cohorts fall in, shifting into a swinging hard bop/ manic Latin vibe induced tunes that sets the pace for the remainder of the album to slide into. Brushing sticks, shuffles, ruffles and rattles that get underscored by a bristling trumpet to flower upon and a thubbing bass to set the pass. This bat swings like Josephine Baker on steroids, it puts the major capital “S” back into swing with a twist and make your balls contact violently & crawling straight up into your belly because this baby is on FIRE! And it is hard to believe that this beast was recorded and released in 1962 in one session, since it surely doesn’t sound like it. Late night fume infested big city vibes that bring out the alley cats, pushers and pimps; this is an awesome slide that deserves to be reckoned with. Teeth-grindingly rare original in Top shape and all complete with mega rare OBI in such a beautiful condition it makes me press my eyeballs back into their pockets after they hit the pavement in disbelief. A classic beyond any doubt. Brilliant and so butt shaking awesome. But sadly – impossibly rare, never ever offered before in such condition (without the perforated whole in sleeve) and the original OBI present. You want a truly great record that is genuinely rare? Well – here ya have one…deal with it! Price: Offers!!! 
1922. SHIVA’S HEADBAND: “Take Me To The Mountains” (Capitol – ST-538) (SEALED ORIGINAL – NO Drill hole – PEFECT COPY with PERFECT sleeve). Top level copy 1st US 1970 pressing on the green Capitol label imprint – sealed original with NO drill hole in jacket. Shiva’s Headband, formed in Texas in 1967 by violinist Spencer Perskin and his wife Susan, soon developed a large cult following thanks in part to numerous live appearances which often found the band opening for more illustrious colleagues. Their recording debut came in 1970 with the beautiful Take Me To The Mountains. Despite the fact that Shiva's Headband was a card-carrying member of the psychedelic movement, they did not allow this to limit their musical style, deftly mixing blues, soul and country to form acoustic tapestries often dominated by Spencer's beautiful and creative violin playing. The album opens with the incisive "My Baby," followed by the country-flavored "Take Me To the Mountains." The remainder of the album is fresh and immediate, flowing through various musical territories without a moment of dullness. Shiva's Headband landed a recording contract with Capitol Records on the strength of their popular live shows, only to decamp to San Francisco and see things go completely awry. Although the band hated San Francisco, their position as an influential member of the psychedelic fraternity dictated that they remain there, and until the release of Take Me To The Mountains, their first and only release for Capitol, this is exactly what they did. Perskin's powerful fiddle playing is prominent throughout the album. Critics agree that their first effort, often described as a well-balanced blend of country and psychedelia, augmented by Spencer's fabulous fiddle playing, should have been far more successful than it was. An amazing and highly unique album. SEALED original!!! Price: 250 Euro
1923. SHORTER, AL: “Tes Esat” (America – AM-6118) (Record: Near Mint/ Jacket: Near Mint). Original 1st pressing, only released in France in TOP condition. Another all scorching free jazz wonder of a record. Al Shorter made two stellar albums as a leader and this is one of them (next to the Orgasm record on Verve), the hardest one to track down and one of the crown jewels of the America label imprint. And although both of his releases may be clouded in obscurity, there is not one of them that has not flattened me. Assisting Shorter on his sonic crusade are Gary Windo (tenor), Rene Augustus (drums, bells) and Johnny Mbizo Dyani (bass, piano, flute, bells) and together they unleash an all flattening force that brings to mind hurricane Andrew ripping through the Florida Keys. With Shorter at helm, the group spreads open their dynamic rhythmic ingenuity and almost extra-terrestrial improvising skills that reveal an almost psychotic high energy rush. In all the freedom on display here is very beautiful, abstract, powerful and certainly more than capable to transport you pretty far away from reality if you let it. Tes Esat is musically profound and profoundly musical, although it might be fogged up in a veil of hardcore free-jazzing abstract thought patterns. Killer disc all way round. Price: 150 Euro

1924. SHORTER, ALAN: “Orgasm” (Verve/ Polydor Records Japan – MV-2073) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Rare Japan original press all complete with OBI. It has been almost over 10 years since I last had a copy all-complete with cool obi. Top condition. “One of only two sessions led by flügelhornist Alan Shorter, this set is a near-classic. Shorter and his quartet (with tenor saxophonist Gato Barbieri, either Charlie Haden or Reggie Johnson on bass, and Muhammad Ali or Rashied Ali on drums) perform six of the leader's complex originals. Barbieri lets out some strong screams in places but sounds more restrained and coherent than on his other avant-garde recordings of the period. The rhythm sections are stimulating and alert, while Shorter, although not a virtuoso, comes up with consistently inventive ideas. The style is sometimes slightly reminiscent of Ornette Coleman, but Shorter had apparently not heard Ornette’s band before recording this music. Well worth several listens.” (Scott Yanow, All Music Guide). Beautiful condition Japan original, rarely surfaces, let alone with obi present. Price: 175 Euro

1925. SHORTER, ALAN: “Orgasm” (Verve – V&-8768) (Record: Near Mint/ Jacket: VG++ ~ Excellent - with the always obligatory drill hole present and mild ringwear as usual with the US pressing). Rare US original press, that is getting scarcer by the minute. Top condition. “One of only two sessions led by flügelhornist Alan Shorter, this set is a near-classic. Shorter and his quartet (with tenor saxophonist Gato Barbieri, either Charlie Haden or Reggie Johnson on bass, and Muhammad Ali or Rashied Ali on drums) perform six of the leader's complex originals. Barbieri lets out some strong screams in places but sounds more restrained and coherent than on his other avant-garde recordings of the period. The rhythm sections are stimulating and alert, while Shorter, although not a virtuoso, comes up with consistently inventive ideas. The style is sometimes slightly reminiscent of Ornette Coleman, but Shorter had apparently not heard Ornette’s band before recording this music. Well worth several listens.” (Scott Yanow, All Music Guide). Beautiful condition US original, rarely surfaces and the music just shreds from start to finish! Price: 125 Euro
1926. SILVER APPLES: “S/T” (Kapp – KL-1562) (Record: Near Mint/ Silver Foil Jacket: Excellent/ Poster Insert: Near Mint). White label PROMO MONO original pressing in great shape. Self-titled first album by '60s electronic legends Silver Apples, released by Kapp Records in 1968. This is the stereo version and the vinyl appears to be played only a very few times, looks and sounds NM. One of the first groups to incorporate electronic music sounds into a rock format. Minimalist style with a certain autobahn avant-la-letter aesthetic, spiced up with a pulsating & discordant beat make their music a hard one to resist, even to such an extent that their sound became a huge influence on electronic music in the 1990’s and indie rock later on. The duo of Simeon and Taylor used1940s vintage audio oscillator (actually nine audio oscillators piled on top of each other and eighty-six manual controls to control lead, rhythm and bass pulses with hands, feet and elbows) combined with rock drums. An absolutely essential piece of musical history from electronic/psychedelic/rock music's groundbreaking legends. Price: 175 Euro

1927. SILOAH: “Sukram Gurk” (B & U G – 1973) (Record: Excellent ~ Near Mint/ Laminated Jacket: Near Mint). Damned rare 1973 original German private pressing! The second album by these German dope-heads. Very few made housed in acidy laminated cover artwork that is a joy to behold when beholding a giant spliff between your fingers. Long, trippy tracks with doomy organ all over the place, some out-there vox in the background. Both Siloah albums are milestones from the München burgeoning underground scene. Pristine condition! Price: Offers!!!

1928. SIMMONS, SONNY: “Standing On The Watch” (ESP Disk – 1030) (Record: Near Mint/ Jacket: Near Mint). Original 1966 1st ESP pressing. ESP heavy monster hitter. This was Sonny’s ESP debut and the music on this LP set was instant proof of his exceptional talent. Here, Sonny guides the quintet through slow burning fire music with the tension gradually building up towards core melting heights and eventually spewing out volcanic washes of quivering sonic whiplashes, vicious sax lines and a delicately balanced interplay with the rest of the combo. In other words, it doesn’t get any better than this. The line-up for this occasion consisted out of Sonny Simmons (alto sax), his wife Barbara Donald (trumpet), Marvin Pattillo (percussion), John Hicks (piano) and Teddy Smith (bass). Delirious hardcore line-up squeezing out some of the most gorgeous spiritual fire music on the planet. Recorded on August 30th, 1966. This is an original 1966 US 1st press issue and matching high quality vinyl pressing. Near Mint all the way. Highest recommendation. Price: 100 Euro
1929. SIMMONS, SONNY: “Music From The Spheres” (ESP Disk – 1043) (Record: Near Mint/ Jacket: Near Mint). Original 1967 1st ESP pressing. Alto saxophonist Sonny Simmons was one of the most talented (if unfortunately lesser known) free jazz musicians of the 1960s. Born in Oakland, CA, Simmons began playing alto sax as a teenager in the early '50s and spent his early years collaborating with Prince Lasha and Charles Mingus. Except for a brief stint in New York in the early '60s, where he recorded with Elvin Jones and Eric Dolphy, Simmons spent most of his life in California where he met and married trumpet player Barbara Donald (featured on this album). His Music From the Spheres, recorded for ESP-Disk in 1966, with Michael Cohen on piano, Juney Booth on bass and Jim Zitro on drums, represents one of the highlights of his career. After almost completely disappearing from the jazz scene for nearly 20 years, Simmons made an amazing comeback in the early '90s with his brilliant Ancient Ritual” (F. E.). Top condition US first original pressing, getting damned hard to dig up clean originals that can rock your mind, heart and soul without breaking the bank – what can you possibly ask more for…Price: 100 Euro
1930. SKOGSBERG, JOAKIM: “Jola Rota” (Gump – GUMP-2) (Record: Near Mint/ Jacket: Excellent - faint wear visible as always - no splits or damages/ Company Imprinted Inner Sleeve: Mint). Top copy. Hideously rare and obscure copy of this almost impossible to find dead stoned Swedish forest dwelling acid folk psychedelic gem. Mint copies are next to impossible to find. The album “Jola Rota” is about Joakim Skogsberg's love for the grandiose Swedish landscapes, which has put its imprint upon his songs. On “Jola Rota” Joakim single-handedly created a minimal psychedelic and acid folk masterpiece infused with incredible soundscapes of derailed fuzzed out violins, soaring guitars, rattling hand percussion, droning vocals and pulsating bass rhythms, complimented by Joakim's “jolor”, a special singing style with roots in an ancient Swedish tradition of folk music. The album was for the most part recorded out in the woods, with a portable Nagra-reel-to-reel-tape recorder and a simple Philips-cassette recorder. Upon completion it was suggested for the album to appear on Gump Records, a subsidiary of Metronome. The reason was that the music was just too underground and weird to be in Metronome's register. Apart from Joakim's original recordings, some overdubs and effects were done in the studio during the autumn of 1971. Some of the droning sounds on the record were recorded in a tiny closet in Kärrtorp; a suburb to Stockholm where Joakim was living at the time. The album was pressed into approximately 1000 copies and only about 300 to 400 copies were actually sold. The rest of them were melted down and used in the pressing of other Gump records, making “Jola Rota” a much rumored and sought after Swedish droned-out and mesmerizing psychedelic artifact. This copy here is the rare original 1st pressing. After spinning and wrapping your head around this baby, life will never ever be the same again…Price: 400 Euro
1931. The SLITS: “Cut” (Island Records – 20S-78) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan first original press issue all complete with obi. Is getting damned hard to dig up as of recently as popularity is on the rise of the Slits. The punk pioneers who waited for the movement to evolve before release their debut album, The Slits dropped Cut in 1979 on Island Records, enlisting legendary UK dub producer Dennis Bovell to provide a bass-heavy bottom end that could carry the band’s scratchy guitars and Ari Up’s idiosyncratic vocals. The Slits were rock's perfect rebel girls. With hair back-combed through the brambles of late-Seventies punk and reggae, they radiated a tomboy sexuality that pastiched Patti Smith and Suzi Quatro and paved the way for other girls who just wanna have fun. On Cut, they shed their motley threads in favour of mud dredged up from the rivers of Babylon. Price: 75 Euro
1932. The SLITS: “Return Of The Giant Slits” (Epic Records – 25-3P-338) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan first press issue from 1981 all complete with insert and obi. Labeling The Slits groundbreaking just doesn’t (pardon the pun) “cut” it. No other post-punk band was as confrontational—an all-female trio calling themselves The Slits and posing muddily topless on their debut album cover was about as in-your-face as a feminist statement gets—or as determinedly uncommercial. Indeed, after being dropped by their label, Island, despite having made Cut, of the signature albums of the era, Viv Albertine, Tessa Pollitt, and Ari Up treated Sony, their new label, to an even more radical record, 1981’s Return of the Giant Slits. Already far removed from the male-dominated, louder-faster ethos of punk rock, The Slits, with new drummer Bruce Smith of The Pop Group and multi-instrumentalist Steve Beresford in tow, added world music and free jazz to Up’s Ono-esque ululations, Albertine’s skittering guitar, and Pollitt’s dub-wise bass rhythms. Predictably, Sony dropped the record like a hot potato, not even bothering to release it in the U.S. But the reputation of Return of the Giant Slits has continued to grow, with Albertine herself recently commenting, “It’s more experimental than Cut and brings in even wider musical influences. In some ways, I think it’s a better record.” Price: 75 Euro
1933. SMALL FACES: “Ogden’s Nut Gone Flake” (Immediate Records/ Toshiba Records Japan – IP-80135) (Record: Near Mint/ Jacket: Near Mint). Hyper rare Japan original 1st press issue that comes housed in Japan only sleeve art. Promo ONLY red wax vinyl pressing. Just never turns up!!!! There was no shortage of good psychedelic albums emerging from England in 1967-1968, but Ogden’s Nut Gone Flake is special even within their ranks. The Small Faces had already shown a surprising adaptability to psychedelia with the single "Itchycoo Park" and much of their other 1967 output, but Ogden’s Nut Gone Flake pretty much ripped the envelope. Ogden’s' first half consists of six tightly buzzing slices of the psychedelic R&B that was now their stock in trade. The sonic fare divides itself between punchy blue-eyed soul stompers like ''Afterglow (Of Your Love)'' and more psychedelic colored tunes like ''Lazy Sunday''. The second side contains the story of Happiness Stan and his quest to find the moon, spiked up with the vocals of Stanley Unwin. Here the songs are considerably more embellished and varied in texture; from the strange faux-folksy “Mad John” to the more rocking “Rollin’ Over”. The latter featured a brass section while the rest included strings, harps and all the usual trappings expected of bands that wished to signal their serious musical intent. But somehow at the heart of it all was the Small Faces’ muscular approach that makes Ogden’s certainly the least fey of all English psychedelic classics. In the same way as their contemporaries, the Zombies (with Odessey and Oracle), their masterpiece was their swansong and like that album it remains a pinnacle of British 60s pop. Price: Offers!!!!
1934. SMALLEY, DENIS: “The Pulse Of Time” (UEA Recordings – UEA-81063) (Record: Near Mint/ Jacket: Near Mint/ Illustrated 6-paged Booklet: Mint). Over the edge amazing electro-acoustic music LP from 1981, privately released by the university of East Anglia and containing three sparse musique concrète pieces composed between 1974 and 1979 at the GRM and UEA studios by New Zealand born/bred composer who is widely considered to be one the classics sound wizards out of the early British electro-acoustic music scene. The three pieces on “The Pulses of Time” each reveal discrete combinations of synthesized timbres, processed close-mic’ed instrumentation and slowly shifting/morphing drones. The three works on this record represent two types of electro-acoustic music. First of all, “The Pulses of Time” (1979) and “Pentes” (1974) existed only on stereo tape and were composed using the resources of the studios where they were created, being at the Groupe de Recherches Musicales in Paris and the Recording and Electronic Studio at the University of East Anglia, England. Both works involve extensive transformation of instrumental and electronic sounds. On the other hand, the third composition “Chanson de Geste” (1978) is a live performance piece, which needs closely positioned microphones to magnify sounds otherwise inaudible and to enable detailed sound balancing. The three works were composed over a period of five years. “Pentes” has been widely acclaimed and with another of Denis Smalley's works won the Fylkingen prize for electronic composition in Sweden in 1975. “Chanson De Geste” which uniquely combines new vocal techniques with clavichord sounds was composed for Carol Plantamura, one of the foremost American sopranos specializing in new music. The sound quality on this LP is astonishingly clear and deep and maybe it is just a footnote but I believe the superb cutting of Denis Blackham is due all credit, a name you might know from your Whitehouse collection since he is also responsible for cutting their records. Price: 250 Euro
1935. HARRY SMITH’s ANTHOLOGY OF AMERICAN FOLK MUSIC: “Volume Four” (Revenant Records – 6002) (SEALED). Revenant release from 2000 – still sealed. “There were to be four of them, and four volumes in the series. Red, Blue, Green were issued [on the original Folkways set], so that the element that was left out was earth…” . – Harry Smith from 1968 interview with John Cohen. Harry Smith was a true polymath–avant-garde filmmaker, alchemist, occultist, folklorist, painter, magician, archivist and expert on string figures, paper airplanes, and Ukrainian painted eggs–but is perhaps best known for his pioneering three-volume Anthology of American Folk Music, originally released in 1952 and reissued to great acclaim in 1997 by Smithsonian/Folkways. Compiled by Harry Smith contemporaneously with the first three volumes, Volume 4 of Harry’s historic Anthology went unissued for almost 50 years. Til now. “Legendary filmmaker/cultural icon Harry Smith (1923-1991) was the living definition of the term “culture vulture.” Smith pioneered animation in film and associated with everyone from Jean-Luc Goddard to Billie Holliday and Jimmy Page, and in the early 1950’s compiled the six-volume Anthology of American Folk Music for Folkways Records. This collection’s aim was to document the entire continuum of American roots music in all its diversity. It succeeded fabulously (and helped spark the folk boom of the ’50s and ’60s). After 50-odd years, Revenant in conjunction with the Harry Smith Archives has released VOLUME FOUR. This two-LP set details the beginnings of both 20th century country music and bluegrass (The Blue Sky Boys’ “Down on the Banks of the Ohio”) as well as their roots in Appalachian/Celtic folk (The Carter Family’s “Black Jack David”). The blues, and its impact on folk and rock & roll, is represented by Leadbelly’s epochal “Packin’ Trunk” (a direct influence on Carl Perkin’s rockabilly classic “Matchbox”), and the Memphis Jug Band’s rollicking, irreverent “Memphis Shakedown.” Anyone wishing to explore the roots of these classic American musics would do well to acquire this edition of Harry Smith’s Anthology.” (Interview). Price: 85 Euro
1936. The SOFT BOYS: “Give It To The Soft Boys” (Raw Records – RAW-5) (EP Record: Near Mint/ Picture Sleeve: Near Mint). 1977 UK first original pressing of subliminal ep record that just blows!!!! Like The Stranglers, The Soft Boys were often lumped in with the punk crowd, even though they had very little to do with it. Unlike The Stranglers though, who unabashedly exploited that scene as a springboard for their career, The Soft Boys association seems to be because of an inability to find a proper pigeonhole for them. Yeah, you'll find some punk rawness in "Wading Through A Ventilator", but that track has got Beatlesque pop and psychedelia at its nougaty center. Likewise for the rumbling "Face Of Death" and slightly bluesy "Hear My Brane". Hitchcock's overt weirdness made it difficult to call them power pop and musically they were too indebted to pop to be pure psych. Not that it mattered to Hitchcock anyway (then or at any time afterward) as he obviously followed his own muse. At any rate, this is a decent debut EP that's basically an unrefined look at what would end up on "Can Of Bees". Fucking brilliant!!! Price: 75 Euro
1937. The SOFT BOYS: “A Can Of Bees” (Two Crabs – Claw-1001) (Record: Near Mint/ Jacket: Near Mint). Top condition UK first original press of 1979 of one of the cornerstone recordings of UK underground disjointed neo-psych-cum rock. “The Soft Boys like so many other underground miscreants in the '70s, spent their formative years (unbeknownst to them) generating enough critical capital to earn much sought-after biographical adjectives like “influential” and “underrated.” The Robyn Hitchcock-led, Cambridge, England-born, pseudo-psych rock outfit's shared love for all things Byrds, Beatles, Dylan and Syd Barrett was both venerated and blown to smithereens on their 1979 debut long-player, A Can Of Bees. More angular and jarring than the band’s beloved 1980 follow-up, Underwater Moonlight, Hitchcock, Kimberley Rew, Morris Windsor and Andy Metcalfe sounded positively possessed, channeling both '60s progressive rock and late-'70s punk into an unholy guitar-driven onslaught fueled by Hitchcock’s surreal lyrics: opening a record with a line like “feel like asking a tree for an autograph” is one thing, but backing up those words with an atonal, apocalyptic blues riff is another. It’s an often-brutish affair that works more often than it should, with highlights arriving by way of the pounding and addictive “Leppo and the Jooves,” the incendiary “Do the Chisel,” and the impossibly dumb but nearly perfect pop gem “Sandra’s Having Her Brain Out.” (AMG). Getting damned hard to dig up as a first press but such a wonderful album that is a jagged, confident rock 'n' roll LP that resists categorization: not quite punk, not quite psychedelia and not quite New Wave, but close enough to stay dry under the umbrellas of all threeHitchcock's eccentric surrealist swagger is in a louder, rawer fashion that his later work and finds the Soft Boys developing their idiosyncratic blend of Syd Barrett-style psychedelia, angst-fueled punkyness and Lennon-esque pop. Brilliance from start to finish!!! Price: 150 Euro
1938. SOFT MACHINE: “Love Makes Sweet Music b/w Feelin’ Reelin’ Squeelin’” (Polydor – 56151) (7 Inch Single Record: Excellent ~ Near Mint/ Company Sleeve: Near Mint). Stupidly scarce 1967 UK first original pressing of Soft Machine’s first single release, comprised of 2 non-LP tracks and recorded before they were picked up by Probe. When this oddity does surface it is always in lamentable condition but this copy here is the cleanest by far, I have seen, hardly any signs of any play, no defects, no damages, next-to-impossible to upgrade upon. With an A-side that is reminiscent of the sunny mid-1960s British Invasion pop that has only tastes of the tripped-out psychedelic Canterbury experiences to come and a B-sides that combine that approach with darker verses reminiscent of a prelude to Song From the Bottom of a Well from Kevin Ayers' third solo album, this first single from the Soft Machine - recorded even before the demo sessions which were later released as Jet Propelled Photographs - represents a very embryonic point indeed of the band's development. Though Daevid Allen was in the lineup at this point, his presence is barely felt, whilst the jazzy influences that would inform their subsequent work are almost entirely absent - unless you count the freakier portions of Feelin' Reelin' Squealin' as almost a trip into free jazzing waters. Absolutely fantastic! Price: 500 Euro
1939. SOFT MACHINE: “S/T” (Probe – CPLP-4500) (Record & Gimmick Gatefold Jacket with movable parts: SEALED original – has tiny microscopic drill hole & original price sticker still proudly present upon the sealed shrink). Perfect copy! SEALED original, just mega rare, only a couple of copies (one can count them on one hand actually) are known to exist in sealed condition. First original pressing with the gatefold sleeve and the movable parts. In 1968 Soft Machine toured the USA, opening for the Jimi Hendrix Experience. During this tour, they recorded their first album, The Soft Machine, in New York. Disbanded after Ayers's amicable departure at the end of this tour, Soft Machine reformed with former road manager and composer Hugh Hopper on bass added to Wyatt and Ratledge, to record their second album in 1969. First original pressing of the original trio line-up, released only in the US at the time. Top copy, SEALED original with jacket has zero ring wear – which is no mean feat – but has a tiny little drill hole, sealed condition is just impossible for this disc. No exaggeration if I say this is a museum piece, one of only a known few (3 or so) sealed copies with original price sticker still firmly attached to the shrink. Price: Offers!!!!
1940. SOFT MACHINE: “S/T” (Probe – CPLP-4500) (Record: Near Mint/ Gimmick Gatefold Jacket with movable parts: Excellent ~ Near Mint). Perfect copy! First original pressing in TOP condition. In 1968 Soft Machine toured the USA, opening for the Jimi Hendrix Experience. During this tour, they recorded their first album, The Soft Machine, in New York. Disbanded after Ayers's amicable departure at the end of this tour, Soft Machine reformed with former road manager and composer Hugh Hopper on bass added to Wyatt and Ratledge, to record their second album in 1969. First original pressing of the original trio line-up. Top copy, jacket has zero ring wear – which is no mean feat – and NO drill hole and record is super clean, nearly impossible for this disc. The only upgrade for this one is a sealed copy I reckon. ASnd for that one I can recommend you the one listed above. Price: 250 Euro
1941. SOFT MACHINE: “S/T” (Probe – King Records Japan – SR-303) (Record: Near Mint/Jacket: Near Mint/ Insert: Mint). Hopelessly rare Japan ONLY issue & the cleanest & most perfect copy to ever cross my eyes so far. First Soft Machine disc but here you have the 1st Japanese press of this baby, with totally different jacket artwork that came out only in Japan. Mega rare, especially in this condition as here, 2nd time I saw a copy on these shores or anywhere else for that matter but first time I have one in absolutely TOP condition. First original 1st Japanese pressing of that day, totally different artwork but nevertheless the music is even better. Next to impossible to dig up on these shores, especially in such a near immaculate condition as this baby here. Price: Offers!!!!
1942. SOFT MACHINE: “2” (Barclay – N.0921019) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original French pressing of the Soft’s 2nd album that comes housed in a France only jacket art. Has been quite a while since I could lay my hands on a clean copy of this one. Clean and trouble free copy! Price: 50 Euro
1943. SOFT MACHINE: “Third” (CBS Sony – SONP-50336~7) (Record: Near Mint/ Gatefold Jacket: Near Mint). Japan only gatefold jacket artwork issue, 1st original pressing. Classic third Soft machine album that comes with a different Japan only gatefold sleeve cover art. Original 1st pressing, music needs no explanation I believe. Extremely hard to get your hands on Soft Machine pressing, top notch condition and much in demand on these shores. So no peace for the wicked, this is the stuff. Wyatt rules like always. Top copy. Price: 150 Euro
1944. SOLGER: “I Hate It – Raping Dead Nuns – Aman b/w American Youth – Dead Soldiers” (Bag Of Hammers) (EP Record: Near Mint/ Picture Sleeve Jacket: Near Mint). Long out of print and deleted reissue of impossibly rare punk slide that seeped out of rained down Seattle. Solger were the Proto-est of Proto Hardcore Punk bands. They were formed in the Spring of 1980 by seventeen year old Kyle Nixon after Black Flag came through town and blew his mind. The band soon started playing around town with the expressed interest of bumming out the Ramones-loving old-time punkers and trying to start a good and violent Hardcore Punk scene in their city. The Solger single is one of the greatest scum-encrusted forms of beauty to ever rise up out of the 80s. Unfortunately, by the time the record was released in 1981, it was a case of 'too little, too late'. Solger was broken up and the D.C. and Midwest Punks were already blazing away with their interpretation of what was happening in L.A. Solger was most certainly the unsung instigators of American Hardcore. The record gained collector status as the years went on. It got to the point where on Sonic Youth's first visit to Seattle in the mid-80s, Thurston begged from the stage for someone to sell him a copy for twenty bucks. Seattle based Garage/Punk label Bag of Hammers re-issued the single in the mid-90s, much to many poor bums' relief. Let’s face it, how can you possibly go wrong when a song is called “Raping Dead Nuns”? Brutally beautiful, this is the shit! Price: 30 Euro
1945. SOMEI SATOH: “Hymn For The Sun” (ALM Records – AL-11) (Record: Mint/ Gatefold Jacket: Excellent ~ Near Mint – has a couple of faint foxing ageing spots). Awesome totally obscure and largely unknown minimalist tranced out and zoned in masterpiece that will make even La Monte Young, Charlemagne Palestine and Terry Riley blush with shame. This is without a doubt one of Somei Satoh’s masterpieces, a deep resonating work that sounds like a deep minimalist and heavily droned out resonating piano opus slowed down to expose the glory of the intoxicating swelling drone, grinding towards an internal path to manipulate your inner organs. Somei’s relentless piano tones and overtones bring a challenging reverberation to ones’ respiratory system, especially when increasing the volume the sonic wash will snap you out of a trance by beginning to experience the perpetual force of the mighty drone and its overtones. With Somei pounding away on the ivories it seems the world is about fall apart around her. She builds on a drone of simplicity, often consisting only of a few notes played in rapid, repeating succession. The rapid pace in which it is all played makes it difficult to discern whether the piece grows more and more complex in its chaos or if it is simply the human mind-losing track of the notes. But one need to crank up the volume. Yowch. It’s amazing what a decibel or two will do to your appreciation of the visceral qualities of a piece, where the sweeping dynamic changes within the drone seem distracting at low volumes, they become every bit as affecting and even disturbing at maximum volume. In short upon discovering this gem for the first time some years back it came over like heaven itself had opened up to me and shown me not a vision of the future at all, but better than that, the beginning of the road to the future. The swirling epic on display does not restrict itself to a tiny repertoire of pitches and rhythmic values based on repeated motifs and stretches of static harmony. It is more than that although it encapsulates all of the above. It is a shimmering swirl of sizzling deep reverberations. It's quite mellow and meditative, yet ominously heavy and doom laden. As the disc progresses, momentary echoes of doom emerge from the sonic background, like thunder in the distance, or waves crashing on shore. It is a massive piece of meditative bliss as a single slow burning epic, very occult and austere sounding. Just a massive and amazing disc. If you dig Taj Mahal Travelers, Kosugi exploits, Japanese avant-garde, electronic music and ethnic field recordings, then this one has written you all over it. Will get bigger in years to come…highest all time recommendation and bound not to be reissued due to various implications. Price: 150 Euro
1946. SOMEI SATOH: “Mandala/ Sumeru” (ALM Records – AL-26) (Record: Mint/ Jacket: Mint/ Obi: Mint). Awesome totally obscure and largely unknown minimalist tranced out and zoned in masterpiece that will make even La Monte Young blush with shame. This is without a doubt Somei Satoh’s masterpiece, a deep resonating work that sounds like Geino Yamashirogumi’s “Osorezan” opus slowed down a zillion times while at the same time being invaded by hordes of Tibetan monks without a cause just humming away. In short upon discovering this gem for the first time some years back it came over like heaven itself had opened up to me and shown me not a vision of the future at all, but better than that, the beginning of the road to the future. The swirling epic on display does not restrict itself to a tiny repertoire of pitches and rhythmic values based on repeated motifs and stretches of static harmony. It is more than that although it encapsulates all of the above. It is a shimmering swirl of sizzling deep throating vocals, thick clouds of reverberating low end churn him that sink away in a never ending deep abyss of infinite blackness. It's quite mellow and meditative, yet ominously heavy and doom laden. As the disc progresses, momentary echoes of doom emerge from the sonic background, like thunder in the distance, or waves crashing on shore. The whole simmering side of side A was recorded at the NHK Electronic Music Studio in October 1982 and it is a massive piece of meditative bliss impregnated with rampaging Tibetan monks. The B-side is again deeply minimalist in its approach be it more avant-garde intoned and orchestrated but yet not less eerie and otherworldly like the previous side. It just highlights the drone coupled with a wash of minimal low end shimmer, as a single slow burning sidelong epic, very occult and austere sounding. Just a massive and amazing disc and the hardest to track down in the Somei Satoh discography. If you dig Taj Mahal Travelers, Kosugi exploits, Japanese avant-garde, electronic music and ethnic field recordings, then this one has written you all over it. Price: 250 Euro

1947. SONDHEIM ALAN: “Ritual-All-7-70” (ESP Disk – 1048) (MINT & SEALED ORIGINAL). Original MONO press from 1967 with 156 Fifth Ave address stated on back. Bloody rare SEALED first pressing, perfection!!. This historical free improvisation disc is a curious collection of short improvisations by the multi-instrumentalist Alan Sondheim -- who plays, among others, koto, English horn, electric and acoustic guitars, and various percussion and reed instruments -- and a bassist, percussionist (doubling on tabla and bongos), and drummer, with the wordless vocals of Ruth Ann Hutchinson echoing the horn lines and occasionally spiraling off into the ether on their own. Although they largely sound like live improvisations by a full band, the fact that Sondheim plays the majority of the instruments by himself suggests that these pieces were painstakingly overdubbed. But then that is a thought only and it does not diminish the stellar qualities of this album one tiny bit. Even upon repeated listening, the album never looses its adventurous approach and the music remains sounding fresh and challenging. Still the recording has that great chaotic feel plastered all over itself, an element that can partly be attributed to the musicians not being seasoned free players like other scenesters. Therefore the opening up to the freedom principle bubbles up out of a different mindset than those academia free jazz musicians. Instead of opening up a structure, they accepted in the improvisation a factor of chaotic meeting of souls where the feeling to feel-free emanated more out what they heard during that communal experience, enjoying it more like a mind confusing take on psychedelia. The freak element is certainly roaming at large here and it is exactly that part that makes this disc such a joy to sit through. A classic and still SEALED original press, genuinely rare. Price: 150 Euro

1948. SONIC ARTS UNION: “Electric Sound” (Mainstream – MS-5010) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). A milestone recording, no questions asked. This is the stuff you need. Once after the ONCE festival disintegrated, Robert Ashley, David Behrman, Alvin Lucier and Gordon Mumma erected the Sonic Arts Union, a kind of electronic music composers super group if you like. In retrospect one can only describe the music of the Sonic Arts Union by understanding the interests and tendencies of the 4 composers. If Cage represented the first wave of live electronic music production – the use of magnetic tape and the amplification of small sounds – then Ashley, Behrman, Lucier and Mumma surely represented four important extensions of that early electronic music. There is no greater statement to the gravity of their work than to realize that the four paths explored by these innovators were the leading indicators of musical practices that are still with us today. And this record is the testament to that, one of the most blood chilling electronic music discs to have caressed my ears. Listening to this and I am in the presence of greatness. Awesome. Price: 125 Euro
1949. SONNY CLARK TRIO: “S/T” (Blue Note/ Toshiba EMI – BST-81579) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original Japanese issue with very first OBI. Brilliant late '50s material by the great hard bop pianist and equally gifted supporting players, bassist Paul Chambers and drummer Philly Joe Jones. Clark was among the most inventive pianists of the period, a masterful ballad interpreter and dynamic up-tempo soloist, while Chambers and Jones had few peers, either as accompanists or in the spotlight. Price: 75 Euro
1950. SONNY CLARK TRIO: “S/T” (Blue Note/ King Records – GXK-8051) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original Japanese issue with 2nd OBI. Brilliant late '50s material by the great hard bop pianist and equally gifted supporting players, bassist Paul Chambers and drummer Philly Joe Jones. Clark was among the most inventive pianists of the period, a masterful ballad interpreter and dynamic up-tempo soloist, while Chambers and Jones had few peers, either as accompanists or in the spotlight. Price: 50 Euro
1951. SONNY CLARK TRIO: “S/T” (Blue Note/ King Records – BST-81579) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ Imprinted Inner Sleeve: Near Mint/ 2 stickers: Mint/ Sticker Insert Sheet: Near Mint). Original Japanese issue with rare Silver toned OBI. Best sounding pressing out there of this slide, virginal audiophile vinyl and suberb mastering! Brilliant late '50s material by the great hard bop pianist and equally gifted supporting players, bassist Paul Chambers and drummer Philly Joe Jones. Clark was among the most inventive pianists of the period, a masterful ballad interpreter and dynamic up-tempo soloist, while Chambers and Jones had few peers, either as accompanists or in the spotlight. Price: 85 Euro
1952. SONNY CLARK TRIO: “S/T” (Top Rank Records/ Victor Records – RANK-5032) (Record: Excellent/ Flip Back Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint/ Obi: Near Mint). The legendary “Time” album. Mega rare Japan very first press original MONO – all complete with two-sided imprinted inner sleeve and mega rare first issue OBI!!!! “This lesser-known Sonny Clark session (his only studio album not made for Blue Note) is sometimes issued under drummer Max Roach’s name, too. They are joined by bassist George Duvivier for a set of generally obscure Clark originals including "Minor Meeting," "Blues Mambo," and "My Conception" (which is taken as an unaccompanied piano solo). Although not obvious while listening to his recording, Clark’s life was in decline and this would be his penultimate date as a leader.” (All Music Guide). Beautifully sounding Japanese first original MONO pressing all complete with freakingly rare 1st issue obi. Never seen before with original obi and in such nice shape so… Price: 275 Euro
1953. SONNY MURRAY: “Sonny’s Time Now” (Jihad - 663) (Record: Near Mint / Jacket: Excellent/ Reprint Insert: Near Mint). Bloody rare 1st original pressing. In short, this one is a beast, a vicious sledgehammer free jazz monster that will cave in your skull. Here is what the Reverend Thurston Moore had to say about this monster classic of a disc: “Sonny was the drummer considered to be the first to realize and recognize and perform, on drums, pure FREE jazz. He played behind and along with Ayler early on and Cecil Taylor. He constructed groups, which always flew and raged with spiritual abandon. He took time as an abstract and turned it into free motion. This recording is super-lo-fi and is awesome. On it play Ayler (tenor) and Don Cherry (trumpet) as well as Leroi Jones (now known as Amiri Baraka) reading a killer poem called "Black Art". This music is very Ayler but more fractured and odd. Like a lot of these records there is only a front cover with the back of the jacket blank. Whether this was done for economic or artistic reasons is unclear. Jihad was a concern of Leroi Jones and anything released on this label is utterly obscure. The only other title I've seen is one just called "BLACK AND BEAUTIFUL" from the mid-60's which is Leroi and friends sitting on the stoops of Harlem chanting, beating drums and celebrating Leroi's "poems" ("The white man/at best/is..corny!") There was an ad for Jihad in an old issue of Jazz & Pop magazine which announced a Don Ayler (Albert's amazing trumpet-playing bro) LP but I've yet to meet anyone who's actually seen this. Recorded in 1965.” US original in decent shape and the rarest and hardest to track down slide by Murray, rare free jazz private press issue! Decent shape with a clean record in awesome shape and an EX sleeve, this one comes cheap! Price: 325 Euro
1954. SONNY MURRAY: “Sonny’s Time Now” (DIW – DIW-25002) (Record: Near Mint/ Jacket: Excellent, cracked middle seam/ Obi: Mint/ 4-paged Insert: Mint/ EP Record: Near Mint/ Picture Sleeve: Near Mint). Original Japan press issue all-complete with OBI, insert and the rare bonus EP single that comes housed in its own picture sleeve. Top copy. Originally released on Leroi Jones’ Jihad Productions label, this here is an identical Japanese high quality vinyl reissue of maybe 25 years ago, complete with original artwork and liner notes. A monster free jazz disc and the rarest in Sunny Murray’s discography. “Sonny was the drummer considered to be the first to realize and recognize and perform, on drums, pure FREE jazz. He played behind and along with Ayler early on and Cecil Taylor. He constructed groups which always flew and raged with spiritual abandon. He took time as an abstract and turned it into free motion. This recording is super-lo-fi and is awesome. On it play Ayler (tenor) and Don Cherry (trumpet) as well as Leroi Jones (now known as Amiri Baraka) reading a killer poem called "Black Art". This music is very Ayler but more fractured and odd. Like a lot of these records there is only a front cover with the back of the jacket blank. Whether this was done for economic or artistic reasons is unclear. Jihad was a concern of Leroi Jones and anything released on this label is utterly obscure. The only other title I've seen is one just called "BLACK AND BEAUTIFUL" from the mid-60's which is Leroi and friends sitting on the stoops of Harlem chanting, beating drums and celebrating Leroi's "poems" ("The white man/at best/is..corny!") There was an ad for Jihad in an old issue of Jazz & Pop magazine which announced a Don Ayler (Albert's amazing trumpet-playing bro) LP but I've yet to meet anyone who's actually seen this. "Sonny's Time Now" was reissued a few years ago in Japan (DIW-25002) on CD and LP (with an enclosed 7" of two extra scratchy tracks!) but even that is near impossible to locate. Recorded in 1965”. (Thurston Moore). And this cat knows what he is raving about. An all time hardcore jazz classic that will blow the roof straight of your little shack. Totally essential! Has been ages since I had a copy all complete with the single included!!! Price: 100 Euro
1955. SONNY SHARROCK: “Monkey-Pockie-Boo” (BYG Records Japan/ Nippon Columbia – ACTUEL 33) (Record: Near Mint/ Fold Out Jacket: Near Mint/ Obi: Mint/ Attached Insert: Mint) First original Japanese press copy of 1971 on state of the art vinyl quality. Promo issue with rare obi. 2nd time I have a copy with obi in the span of 15 years…damned hard one to unearth all complete with obi. Totally awesome copy of this hard to find original Actuel disc. This is the original Japanese pressing that came out in 1971 and has superior vinyl quality as opposed to its French counterpart version. Of course the sound quality is million times better than the shady Akarma editions. One of free jazz’s defining moments with wild animalistic guitar gunslinger Sonny Sharrock backed up by his wife Linda and Beb Guerin (bass) and skin shifter Jacques Thollot. Every one knows the story I guess. Essential listening material. Price: 200 Euro
1956. SONNY SHARROCK: “Black Woman” (Vortex Records - 2014) (Record: Near Mint/ Jacket: Near Mint – still housed in SHRINK) Rare original copy of one of the defining free jazz artifacts. What Takayanagi was for the east was Sonny Sharrock for the western hemisphere, an unrelenting heavy fretting power that until this day has not yet been equaled. Line-up on this disc is to die for – the crème of the crème of that day free roaring jazz scene, spearheaded by Sonny himself and unleashing the unabashed sonic frivolities of Milford Graves. Dave Burrell, Norris Jones and free howling witch Linda Sharrock. Tremendously great music, like a jet engine plane taxiing on the runway before incinerating the sound barrier. Original copy and still housed in shrink. Price: 100 Euro
1957. SOUFFRIAU, ARESENE: “Experiences Bimes” (Methaphon Records – 002) (3 LP Set: Mint/ Cloth Bound Box: Mint/ Booklet: Mint). Amazing 3 LP set, released in a tiny edition of ONLY 200 copies that evaporated into thin air before most people could pick up on it. “Hardboard linen LP box contains 3 LP's and a 20 page booklet with extensive background, notes (in Dutch, French and English) and photos from A.S.
Edition of 200 copies. Arsène Souffriau (born Brussels 1926) is a cornerstone of the first generation of Belgian electronic and experimental music composers along with Henri Pousseur, Karel Goeyvaerts and Leo Küpper. Regardless decades of dedicated work he received even less recognition than his Belgian contemporaries.In the late 60's Souffriau got some appreciation among the larger public for his contribution of electronic sounds to the 'Free Electronic Pop Concept' LP, a psychedelic pop album around the brothers Jess & James. But his professional musical career that started at young age reached much further than this: he worked as a conductor, composer, sound editor, functional music composer for film, documentary and theatre leaving a massive quantity of recordings. Since the early 60's, in his free time, he has independently been working in his home studio BIMES, where he has produced numerous experimental instrumental and electronic music works. The pieces on this release, which span over a period of almost 40 years, have been selected from Souffriau's private music archive and were mostly recorded at his BIMES studio. The pieces clearly depict the wide spectrum of his work throughout the time starting with the primitive concrete tape music from the early 60's, going through his period of (group) improvisation (Groupe Fusion) with analogue (and live) electronics towards the digital techniques in the 80's and 90's using MIDI and computer.” (label description) Just gorgeous and one of the best early times electronic LP’s to seep out of the low lands. Amazing!!! Price: 150 Euro
1958. SOUL NOW: “Get Down With Funky Sound” (Toshiba EMI – PRP-1013~1016) ( 4 EP Single Records: Near Mint/ Individual Picture Sleeves: Near Mint/ Outer Box: Excellent). Promo only 4 single set that was never commercially available and solely distributed amongst record company executives at the time. The whole affair comes in a flimsy slip case box set that holds together 4 EP singles with individual picture sleeves and company inner sleeves. Each group on display gets one side and the line-up consists out of the Kay-Gees “Get Down”; Kool & The Gang “Ride The Rhythm”; B.T. Express “Give It What You Got”; Crown Heights Affair “Dreaming A Dream”; Brenton Wood “All That Jazz”; The Bang Gang “Who Said Honky’s Aint Got Soul”; Tavares “It Only Takes A Minute” and Isaac Hayes “Chocolate Chip”. Prime soul and funk promo only singles box set that came out in 1976. All WHITE LABEL PROMO labels and comes with Promo picture sleeve ONLY art work. Never seen a copy of this set before until now. Price: 150 Euro
1959. The SOUND: “Jeopardy” (Korova – KOW-58255) (Record: Near Mint/ Jacket: Near Mint/ Printed Inner Sleeve: Near Mint). Original 1980 German pressing. The Sound’s debut is one of those albums that, once you hear it, seems like it’s been omitted from far too many necessities lists. The album was picked up on the strength of their first EP and Korova’s impressions of the demos. Dark in all the right ways and textured nicely with liberal washes of synth and a chugging debt to Krautrock, it explodes halfway through opener “I Can’t Escape Myself”. It is an intensely dramatic, mesmerizing number. The characteristic quickfire bass and upbeat drum kicks start almost inaudibly and rise like smoke filling a closed room. Guitar agitates in unison with the drums. Then singer/guitarist Adrian Borland begins: "So many feelings/ Pent up in here/ Left alone, I'm with/ The one I most fear." His paranoia intensifies across the verse, until the theatrical interjection of the chorus. Borland drips "I can't escape myself," as it's echoed, in screams and guitar jabs, in the background. But this is a brief, Kafkaesque release. The whole LP never lets go and blasts full throttle throughout the canyons of your mind. These are songs that haunt, blaze, rip, and govern, sometimes within the same moment. Oh, their elements: the guitars twitch like an itchy trigger finger, the vocals teem with fury and fire, the bass like a controlled nuclear reaction, keyboards always at the perfect color, whether dark or luminescent. Even when the band isn’t tearing paint from the walls with guitar fury, the mid-tempo smolders are in line with the best of the decade and should appeal to Echo fans thinking they’ve reached the end of the line. The album was critically lauded by NME, Sounds and Melody Maker but somehow failed to connect with audiences and despite a thoroughly excellent follow-up, From The Lion’s Mouth, the band never caught a foothold. In a story that’s far too common, the album wasn’t even released in the States at the time, only selling respectably at home and so it would languish on critics’ shelves alone. They’d soldier on though, a more forgiving time for bands to grow, and they would make five albums in total. The album serves as a nice jumping off point between punk and the burgeoning post-punk development. Sadly the band drifted out of music eventually, with exception of songwriter Adrian Borland, who worked as a producer until he took his own life in 1999. Price: 100 Euro
1960. SOUND CREATION: “Rock Fantasia” (Teichiku – FX-408) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ OBI: MINT). TOP COPY!! Bloody rare and hardly ever offered Japanese progressive & psychedelic rock masterpiece. COMPLETE with freakingly rare OBI – all complete copy! Only the 2nd time that I can klay my eyes on an all-complete copy – and even without obi these babies do not surface at all. Recently added to Pokora’s book with a 6 star value. Original 1972 issue that was released in the same series as S. Tanaka's "British Rock Live In Japan" brain melter!!! This was the 2nd Sound Creation LP which was this masterminded and centered around ex-Outcast organ player Hoguchi Yosuke (who was also co- responsible for getting People - Buddha Meets Rock off the ground) and here he got flanked by psychedelic guitar fuzz wunderkind Mizutani Kimio amongst other scenesters. "Rock Fantasia" is a totally different affair as its predecessor "Progressive Rock" and a more lethal listening experience for that matter. The focus is here on the key word "lethal" because that is what this slide is all about, it will floor you.... Deep space psyched out explorations not unlike Ummaguma-era Pink Floyd await you, a psychic maze of organ driven and fuzz-wah sultry lysergic madness. Slowly staring off with "Theme From Shaft", the band rapidly ripp off the straight jacket and transform it into a psych-funk/ space rock jam but it does not take them long to aim straight for Floydian asymmetric grooves and synthetic sounds that steer straight for the deep concealed depths of sonic kaleidoscopic and exploratory sound clusters, spiked up with enough lysergic microdots to get lost in a psychic maze. Slow-burning fuzzed out guitar action interlocks with mutant organ key action, providing escape routes from electronic music formulaic gridlock and instead aim at sweating out heavy psychedelic moves. Mizutani's guitar playing is totally addictive here, combining propulsion, eloquent ornamentation and enough cosmic fuzz-and wah-out phrasing to cut through the thick fog of your mind like a buzz saw. In short, a stunning and totally obscure and overlooked Japanese psychedelic masterpiece that stands shoulder to shoulder with Buddha Meets Rock/ Far Out and the likes. Copies with obi never turn up, this one has the obi flashing its glorious colors so...Price: Offers!!!!
1961. SOUND SCULPTURES: “S/T” (Wergo – SM-1049/50) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original 1985 German issue of this stunning 2 LP set that will bring you towards the drone zone. “Published by Wergo in 1985, Sound Sculptures is a gorgeous, state-of-the-art overview of Austria and West Germany’s instrument builders and sculptors curated by composer and music critic Klaus Hinrich Stahmer. A German equivalent to Bart Hopkins’ Experimental Musical Instruments compilation CDs, though the concept here being that composers/interprets will use someone else’s sculpture or sound construction to create their sound work. The title’s double-entendre is perfectly maintained throughout the album: sound producing actual sculptures and sound crafting as an art form. Particularly striking is the variety of sonorities emitted, from angklung-like metallophones to interactive electronic sensors, from industrial bleak soundscapes to subtle microtonal nuances, from improvised free music to drone-a-thon. This is rather un-classifiable music only occasionally sounding like Stockhausen or Boulez solo percussion pieces. Apart from the sculptures, additional instruments include: strings, bowed metals, metal chimes, saxophone, seashells, wood, processed vocals, voice, electronic effects, etc. While some composers/improvisers are instrument builders themselves, like Hans-Karsten Raecke, others are avant-garde music composers, like Greek-born Austrian Anestis Logothetis, whose enchanting and nuanced minimal music – one of the highlights of the set – blends electronic and acoustic sounds, and have a visual dimension often based on graphic scores. Wilfried Jentzsch studied with Xenakis in Paris and is now an electro-acoustic music composer living in Dresden. His piece Lithophonie is based on electronically processed sounds from a stone sculpture, with a decidedly stochastic touch in its clouds of high-pitched notes. Herbert Försch-Tenge‘s Tri-Cello II sounds like a Zoviet-France live recording, complete with bass string instrument hit with mallet, ethnic flute and long reverb effect. Too many good tracks here to mention, but this is a major addition to the sound art pantheon that can even help widen the definition of it.” (Sculpture Sonore). Price: 100 Euro
1962. The SOUNDS OF LIBERATION: “Unreleased” (Dogtown/ Brewerytown Beats – DGTWN-002) (Record: Near Mint/ Hand-pasted Jacket: Near Mint/ Insert: Near Mint). Long-gone limited-edition version with past on sleeve art. Limited to 300 copies only paste-on cover version. “Sounds of Liberation was a young musical collective based in Philadelphia’s Germantown neighborhood in the early 1970s. Their music, an innovative but accessible blend of free jazz and funk, both invoked and expanded on the ideas of artists as diverse as Pharoah Sanders, Curtis Mayfield, the Last Poets, “Mother Nature”-era Temptations, and Hubert Laws. They recorded a single album for the Dogtown imprint in 1972; the following year, not long before they disbanded, they cut several more sides—apparently in a studio, as there’s no audience to be heard and some multitracking is evident—at Columbia University. This vinyl LP brings those long-lost sessions to light for the first time.The Sounds consisted of saxophonist/flutist Byard Lancaster, vibist Khan Jamal, guitarist Monnette Sudler, bassist Billy Mills, drummer Dwight James, percussionist Omar Hill, and conguero Rashid Salime. Their compositions harked back to Sanders’ spirit-infused two-chord vamps, propelled by burbling, aggression-laced funk. Sudler, especially, is impressive—her leads are probing, her chording propulsive and sure. On sax, Lancaster alternates full-toned melodic ease with Sanders-like squawks and overtones, and his flute work is supple and adventurous. Jamal deftly accentuates his instrument’s dual role as a melodic and rhythmic voice, while Mills and the percussionists interweave with open-eared alertness. Side two consists of a single extended piece, “New Horizons (Backstreets of Heaven),” on which the group show themselves to be gifted vocalists as well as instrumentalists, although the somewhat muddy production precludes understanding many of the lyrics. The overall mood here is of youthful idealism and optimism, tempered by a startlingly mature aesthetic vision and well-honed musical acumen—all too poignantly reminiscent of a time when this kind of project might be considered almost “mainstream,” and the future looked bright with promise.” (David Whiteis). Price: 100 Euro
1963. The SPACE MEN: “Awa Crazy Dance” (Victor – SJV-156) (Record: Near Mint/ Tip Back Jacket: Near Mint). Oh boy, this is an old time favorite of mine that I have been hunting down for many moons. This LP is a must for instrumental rock fans with a twist. The Space Men were a guitar driven surf trash combo that was active in 1965 just before the GS boom took off, during the height of the so-called eleki-boom. For this particular recording – which is the most deranged out of their entire output – they decided to attack traditional Japanese summer festival tunes and Minyo songs such as “Awa-Odori”, “Sado Bon Dance Song”, “Kagoshima Volcano Song”, “Soran Fishing Song”, “Fishermen’s Feasting Song”, “Tea Picking Song”, “Flower Hat Dance” and other traditionals and infuse them with instrumental garage rock riffage, giving those traditionals an extra soaring edge without even for one second diminishing their rootsy flavor and “matsuri” qualities. The attacked songs remain intact but mixing them together with greased up garage sounds, trashy guitars and a healthy cavemen aesthetic catapults them into a whole different stratosphere filled with soaring jet engine fueled guitar riffage, pounding drums and teenage anxiety. Just sheer fantastic disc. Original 1965 pressing that is just as elusive as a white Siberian tiger. Took me almost 6 years to score my own copy, finally I have a spare to let loose. Highest possible all time recommendation!! Price: 250 Euro
1964. SPEDDING, CHRIS: “The Guitarist” (Odeon – OP-80381) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Excellent – a few wrinkles on the back). Rare WHITE label PROMO issue. 1970 Japan ONLY issue that throws together a bunch of tracks that defined his career put until that point in time. Throws together Spedding’s eye-catching exploits up to that point with even some tracks from his stint with Pete Brown’s Piblokto and the Battered Ornaments and some solo mastery. Tracks and cuts include: Rock And Roll Band; Dark Lady; Backwood Progression; Morning Call; Ought To Be A Law; Smoke Rings; Goodbye We Loved You (Madly); Plain Song”; “Staggered” and “New Song Of Experience”. Hardly e ver surfaces on these shores are it sold next to nothing but indispensible if you are into Piblokto and Battered Ornaments. White label promo with obi and inserts, what can a mortal soul ask possible more for? Price: 300 Euro
1965. SPEED GLUE & SHINKI: “Zenya” (Atlantic – P5044A ~ P5045A) (2 LP Set: Excellent ~ Near Mint/ 2 Individual Jackets: Near Mint / Inserts: Near Mint/ Outer LP sized obi flap: Excellent ~ Near Mint). TOP COPY!!!! Best copy ever & final upgrade!!!! One of the rarest Japanese heavy psych artifacts…Original press!! COMPLETE WITH OUTER BAG OBI – ORIGINAL!!!! Never turns up all-complete with the 2 large inserts and the outer bag OBI!!! In short, a monstrous rare album. By many – and rightly so – proclaimed as the defining Japanese heavy psych album of all times, Speed Glue & Shinki's disc first saw the light of day in 1972. When Food Brain disbanded in the autumn of 1970, Shinki Chen was keen on erecting his own outfit. Whilst scouting out possible brothers in arms to join in alliance with, he soon found a kindred spirit in Joey Smith who was up till then active as drummer and vocalist of the Philippine R&B group Zero Universe. Together with the addition of longtime collaborator Masayoshi Kabe, Speed, Glue & Shinki came into being. The name of the band left little too one's imagination and adhered openly to the glorious effects of narcotics such as speed and glue, elements that kept the band fueled up and on their toes. The exact date of the band's inauguration is not clear at all, but Masayoshi Kabe insists that it must have occurred during closing days of the year 1970. Joey's emboldened and simple drum patterns, Kabe's ever wandering off incorrigible and wildly extravagant bass hopping combined with Shinki Chen's unusual heavy phrasing that unleashing an abundantly roaring guitar sound were the three key elements responsible for the birth of one of the most interesting deep subterranean sounds a Japanese rock outfit had ever spewed out, surpassing many of their foreign contemporaries as far as sonic mayhem, matching attitude and love for illicit substances was concerned. The producer for this venture was again Orita Ikuzo, who was also responsible for putting Food Brain down to wax, letting the band vivaciously, without any external pressures and interferences; register their washes of sonic mayhem and maniac fury directly to tape. Officially released in 1971 as a debut double album filled to bursting ominously heavy fuzz guitar tsunami attacks and completely wasted vocals. This disc is THE absolute cornerstone of Japanese psychedelia. Primal demented and utterly wasted heavy psych bliss Heavy doom, acid drenched, dope infested heavy psychedelic fuzzed out masterpiece. Last side of the original 2 LP set ends surprisingly in an electronic music kind of outward-bound wash of sounds, making the album even more deranged than it already was. Anyway, I guess you know the story. Highest possible recommendation, this album rocked and still frazzles my world on a daily basis. One of the all-time best hard and doped up psych albums ever to have been put down on wax. And if you have to own only one Japanese psych album in your collection, be sure to make it this one. All the rest pales in comparison. Stunning copy with Outer OBI BAG and INSERTS!!!!! Price: Offers!!!
1966. SPEED GLUE & SHINKI: “Eve” (Atlantic – P-8081) (Record: Near Mint/ Jacket: Excellent/ All the 6 inserts: Mint/ Company Inner Sleeve: Excellent). Best copy around and this is an utterly clean stock copy - most of those are always in bad condition, but this one here is perfect!!!. The band's sound – as illustrated on this hideously rare LP – was an amphetamine infused heavy psychedelic blues-rock trip quelling the darker side of the New Rock (a term that hereafter became referred to by Japanese rock critics as the Yokohama sound). But unlike the Golden Cups, Speed, Glue & Shinki were obviously heavenly influenced by and more speeded up with kerosene infused greasy acidic raw garage aesthetic than their British blues rock role models. Unlike the high tensioned rock of the Flower Traveling Band, the straight forward seriousness of Blues Creation or the conflagrated artisan touch that Flied Egg beheld, Speed, Glue & Shinki succeeded in surmounting the self-parody of artistic pretension by embodying a sound of eastern dopes high on the raw and ostensible energy of an urban guerilla's sonic warfare. And this is where it all began. An historical piece of demented psychedelia. Top copy stock copy with no marks or any defects - haven't seen such a clean one in over 15 years and now up for grabs….Top condition!!!! Seems to be hardly played at all. Final upgrade copy maybe??? Price: Offers!!!!
1967. SPIROGYRA: “Old Boot Wine” (Brain – brain-1012) (Record: Near Mint, has one barely visible hairline on side 2/ Gatefold Jacket: Near Mint). Just a top copy. Spirogyra were one of the bands of the late English folk revival that embraced progressive-rock and psychedelia. Their debut album, St Radigunds (B&C, 1971), was an innovative work, with Barbara Gaskin on vocals, Julian Cusack on violin, Martin Cockerham on guitar and Tony Cox on electronic keyboards. This sequel, Old Boot Wine was slightly less innovative and disruptive although the textures got thicker (cello, flute) and jazzier. It is, all the same, a precious items to collect on vinyl. Price: 250 Euro
1968. SPJARNSVALLET: “S/T” (Musiknatet Waxholm – MNW-57P) (Record: Near Mint/ Jacket: Near Mint). Original 1976 Swedish pressing of rare free jazz slide. This albums does justice to a Swedish quartet who released only one self-titled classic album that explored and blend many musical traditions from around the globe. The Spjärnsvallet quartet was formed in the early seventies when percussionist Bengt Berger, who had studied music in India and was on his way to Ghana, met multi-instrumentalist Christer Bothén, who had learned in Mali and was on his way to Morocco for a long collaboration with Don Cherry. The two were joined by the late, genius multi-instrumentalist Kjell Westling and bassist Nikke Ström and in 1975 released this sole album. Price: 150 Euro
1969. SPOOKY TOOTH: “Spooky Tooth No Sekai” (Victor Records – FOX-7003) (Record: Excellent ~ Near Mint/ Heavy Japan Only Gatefold Jacket: Near Mint/ Obi: Near Mint). Bloody rare Japan first original pressing all-complete with mega rare OBI as released in October 1969. Just never surfaces all complete with obi. This full-length debut from British blues-rockers Spooky Tooth has a tone similar to Traffic with its psychedelic take on the influential pop and soul music of the '60s. A few cover tunes including Janis Ian’s "Society's Child" and the Nashville Teens’ "Tobacco Road" are included, but original songs like the soulful ballad "It Hurts You So" and "Bubbles" (with its Beach Boys sensibility) are the real standouts. The cheery, psychedelic "It's All About a Roundabout" is the catchiest number by far. On this dreamy cut, vocalist/keyboardist Gary Wright demonstrates some sharp melodic and compositional instincts. Although Spooky Tooth eventually became better-known for their straightforward blues-rock, the trippy pop of It’s All About counts as a career highlight for the group. Fans of late-'60s British rock are definitely advised to check out this impressive release.” (All Music guide). Classic slide, love it entirely. First time ever I could see an all-complete first issue Japanese pressing with obi. One of the rarest obi-releases from down here. Price: Offers!!!!
1970. SPRIGUNS: “Time Will Pass” (Decca – SKL-5286) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Company Inner Sleeve: Near Mint). UK 1977 first original pressing on Decca of this timeless & brilliant female vocals folk rock masterpiece. “Spriguns’ fourth album represented a giant leap forward, including for the first time that Mandy Morton was a colossal talent and not merely a competent folk singer. The big change is that aside from a superb progressive folk interpretation of ‘Blackwaterside’ she is writing all the songs and what brilliant songs they are. Perfectly capturing the ambience of the best traditional English folk songs, she waves spellbinding tales with luscious melodies and superb instrumental backing, including some crunchy lead guitar work and a powerful rhythm section. The two-minute title track with its pulsating synthesizer tones, is especially stunning and the closing ‘Letter To A Lady’ is a tour de force, with its poignant lyrics, haunting tune and climactic orchestral finale. It’s the perfect end to a just about perfect folk-rock album” (RF – Galactic Ramble). Spot on, just a magical listening experience. UK original press in top shape and comes with insert. Price: 250 Euro
1971. SPRING: “American Spring” (Toshiba Liberty – LLP-80537) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: MINT). Japan only issue & white label promotional copy. First time ever I can lay my hands on a copy of this one, just never surfaces on these shores. And to make things even more insane, this one comes all complete with OBI – making it one of the rarest domestic releases!!! Spring consisted of two sisters Marilyn and Diane Rovell, formerly of The Honeys. Marilyn was married to Beach Boy Brian Wilson who had a ghostly production role in this 1972 LP. It was released under the “American Spring” banner for the European market. As albums go, it’s a shimmering delight. Tennessee Waltz gets us off to a rustic start before Thinkin’ Bout You Baby (composed by Brian Wilson and David Sandler) floats off in a cloud of soft pop magnificence. The second Wilson / Sandler effort is the blissed-out Sweet Mountain which sounds like it belongs on 1968s Friends. Wispy and ethereal harmonies make for a hazy but rewarding listening experience. Spacey and fragile versions of Awake and Superstar enhance the gold-star quality of side one. Familiarity breeds extreme contentment on side two. This Whole World is the first in a run of three Beach Boys tracks from the Sunflower era. It’s transformed into something approaching Smile-like status – extended coda and an amazing instrumental breakdown. Dennis’ Forever is sung with the right amount of exquisite emotion while Good Time (not released on a Beach Boys album until 1977s Love You) is a kaleidoscope of fuzzy melodies and the classic late 60s surf vibe. The album concludes with a brace of Carole King numbers – the resigned tone of Now That Everything’s Been Said and the heart-heavy Down Home. Bloody rare Japan only jacket issue, the Japanese original pressing just never surfaces, first copy to cross my eyes that is all complete with obi, making it one of the rarest Japan releases all complete. TOP all the way. Price: Offers!!!
1972. SRC: “S/T” (Capitol Records – ST-2991) (Record: Excellent, only has a couple of superficial hairlines and plays NM/ Jacket: Excellent). SRC's self-titled debut record (1968) is a first-rate psychedelic music classic, filled with great melodies and harmonies, outbreaks of raw noise and incredible ripping guitar solos that make you stretch your head back in amazement. The guitar sounds like it has a personality of its own throughout the record. Price: 75 Euro
1973. St. CHRISTOPHER: “Bacharach” (Sarah Records – SARAH-403) (Record: Excellent/ Jacket: Near Mint). Classic UK mid 1980s underground slide released on the influential and highly collectible Sarah Records imprint. Price: 50 Euro
1974. STANLEY BROTHERS: “Bluegrass Hootenanny” (London – MH-186) (Record: Mint/ Fragile Flip Back Jacket: Mint/ Obi: Mint). Bloody rare and never offered before 1st original Japanese press issue from 1964 complete with obi. As can be imagined, those early Stanley Brothers slides sold poorly in Japan in 1964, making that only a handful copies are in circulation. This one is perfect, the obi is also crisp and clean, which is a small miracle. One of the defining blue grass and banjo slides ever, The Stanley Brothers are considered to be one of the most highly developed bluegrass bands of their time. Ralph and Carter Stanley perfected the "high lonesome" style of singing associated with Bill Monroe, and served it up with a high-octane accompaniment of banjo and guitar. The Stanley Brothers were a link between the kind of hillbilly singing that might be heard on Harry Smith's ANTHOLOGY OF AMERICAN FOLK MUSIC and the more sophisticated style of folk music that became popular in the '60s.Virginal condition 6 bloody rare 1st Japanese press issue. Impossible to upgrade upon. Price: 150 Euro
1975. STANLEY BROTHERS and Clinch Mountain Boys: “Hard Times” (Mercury/ Nippon Victor – SM-7153) (Record: Mint/ Fragile Flip Back Jacket: Mint/ Obi: Mint). Bloody rare and never offered before 1st original Japanese press issue from 1964 complete with obi. As can be imagined, those early Stanley Brothers slides sold poorly in Japan in 1964, making that only a handful copies are in circulation. This one is perfect, the obi is also crisp and clean, which is a small miracle. Along with Bill Monroe and Flatt & Scruggs, the greatest bluegrass artists of all time. Lonesome mountain harmonies, unique banjo playing and great songs. Carter's strong baritone voice is complemented by Ralph's high lonesome tenor on song topics that range from love, good times, God, and most prominent: misery and death. Songs of country sorrow abound and these dark classics don't disappoint. Tracks like "Hard Times" and "Dickson Country Breakdown" have simple lyrics that speak volumes in terms of telling stories of loss in three minutes, while the beautiful sound of hill music drives the scene home. Killer slide and never seen before 1st original Japanese press issue complete with obi from 1964. MINT condition!. Price: 150 Euro
1976. STANLEY BROTHERS: “Earliest Recordings – The Complete Rich-T-Tone 78s (1947~52) (Revenant Records – 6004) (SEALED) For a truly haunted high-lonesome sound, the duo of Ralph and Carter Stanley stands alone in bluegrass. This collection features their earliest recordings, beginning in 1947 for the Rich-R-Tone label, and presents the duo at their rawest and most unbridled. “This is the first time these titles have appeared on CD, and the first time without technical tampering of any kind. The improvement in remastering technology over the past three decades is truly remarkable. As never before we now are hearing these songs in all their exquisite beauty, just as they were originally sung and played. The enclosed booklet, with period photographs, text, and discography written by Gary Reid, makes an already wonderful reissue all the more enjoyable. This is pure, unadulterated, way-up-the-creek high-lonesome bluegrass‚ the lonesomest you are ever going to hear in this life. This set should be required listening – again and again – especially for those just getting started who think they already can sing bluegrass.” (Bluegrass Unlimited). Price: 75 Euro
1977. STEIG, JEREMY: “Wayfaring Stranger” (Solid State Records/ King Records – SR-3116) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan original press all complete with obi. Comes housed in Japan only sleeve art. One of the hippest, funkiest, most soulful albums ever from flute man Jeremy Steig-and a rare session for Blue Note! The feel here is a bit more stripped-down than other Steig albums of the time, with an especially strong focus on the bass of Eddie Gomez, who really gives the record a soulful sparkle. Don Alias plays drums, and there's also some sweet guitar from Sam Brown on the record too. Produced in 1970 by Sonny Lester. Japan only sleeve art issue, all complete with obi, damned a hard one to track down all complete but so worthwhile!!! Price: 100 Euro
1978. STEINMETZ, HUGH: “NU!” (Debut – debut-1148) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Freakingly rare and obscure Danish original pressing of this free roaming wild jazz monster. Comes on the ultra collectible Debut label, just a clean top copy – never seen such a virginal copy before of this record. Hugh Steinmetz’ name is not one that sets off alarm bells upon hearing it. Nevertheless he was a massively important and renowned musician in his home country and whilst digging through your own private free jazz collection, you will notice that he pops up all over the place and surfaces on numerous recordings. Steinmetz first of all participated in radiobroadcasts and concerts with luminaries and heavyweights such as Don Cherry, Archie Shepp, Gary Peacock, Albert Ayler, Rashied Ali, Roswell Rudd, John Tchicai, Louis Hjulmand, N.H.Ø.P. and many others. As far as recorded evidence is concerned, Steinmetz pops up on some of the key free jazz records to emerge out of that golden age. In 1967, he, John Tchicai, Finn Von Eyben, Giorgio Musoni and Karsten Vogel formed the group Cadentia Nova Danica together with Kim Menzer, Max Brüel and Steffen Andersen. The group recorded in 1968 the LP "John Tchicai and Cadentia Nova Danica", followed in 1969 by the LP "Afrodisiaca" on which Steinmetz was credited as co-leader and composer. In 1969 he also participated in Bremen (Germany) in the recording of the LP "European Echoes" with an international orchestra conducted by Manfred Schoof, and later that same year in Baden-Baden in the recording of the LP "Gettin`to Know`ya All" (see list for a copy, a vicious torcher of a disc) with an international orchestra conducted by Lester Bowie. In the end of the `60s and the beginning of the `70s, Steinmetz worked with among others Peter Brötzmann, Peter Kowald, Willem Breuker, Han Bennink, Misha Mengelberg, John Stevens, Evan Parker, Derek Bailey, Paul Rutherford, Irene Schweizer, Pierre Favre, Claude Delcloo etc. So you can see that he was more than just a free jazz wallflower you thought you never heard of but who is nevertheless omnipresent throughout your collection. As for this disc here, Steinmetz was elected "Danish Jazz Musician of the Year" in 1966 by The Danish Jazz Academy and he recorded that same year the groundbreaking LP "Nu" ("Now") under his own name with Niels Harrit´s Sextet with Per Aage Brandt piano, Karsten Vogel alto sax, Steffen Andersen bass and Bo Thrige Andersen drums. Massive free blast hardcore jazz record from up north, original press in amazing nick. Top condition, impossible to find better. Highest recommendation. Price: Offers!!!
1979. STOCKHAUSEN KARLHEINZ: “Elektronische Musik” (Deutsche Grammophon Gesellschaft – LG-1055) (Record: Near Mint/ Tip Back Laminated Jacket: Near Mint/ Insert: Mint). Bloody rare original Japanese pressing out of the early 1960s, housed in Japan only jacket and the follow-up issue to the one listed here above. Contains the 1st Japanese domestic release of compositions “Gesang der Junglinge”, (1955), “Studie I” (1953) and “Studie II” (1954). Another Japan only Stockhausen release that comes housed in Japan only sleeve art, first time ever I have a copy of this version. Impeccable condition out of a long lost place in time. Price: 150 Euro
1980. STOCKHAUSEN KARLHEINZ: “Shonen no Uta – Gesang Der Junglinge – Kontakte” (Deutsche Grammophon Japan – SLGM-1186) (Record: Near Mint/ Tip Back Jacket: Near Mint/ Obi: Near Mint). Very rare early sixties Japanese original pressing. These pressings just rarely surface. Housed in delicate and fragile tip back cover, this copy here is just near mint, hard to believe seen the decades that have passed since it was originally released. Monumental!! Price: 75 Euro
1981. STOCKHAUSEN, KARLHEINZ: “Hymnen” (NIPPON Grammophon/ Deutsche Grammophon – MG-9348/9) (2 LP Set: Mint/ Gatefold Jacket: Mint). Original 1st original Japanese pressing, dead mint copy. Sound wise it blows the German issue straight out of the gene pool, no shit – but sadly enough, the Japanese 1st press issue is also 10 times as rare, just NEVER surfaces. This double album is one of the most important albums to have seeped out of the 20th century, if not THE most important and influential album of that time zone, even surpassing the Beatles and whatever you care to throw up on me. Hymnen is next to that also one weird hell broth of an album, containing some of the most alien-sounding music ever committed to tape and it still sounds ravaging today, the sound of a one-man genocide, a tornado of dusty noise engulfing the aural landscape of your preconceptions. This work’s influence and implications are still being felt till this very minute in the worlds of rock, techno, ambient, classical and any other genre of modern music you care to name and will be for decades to come as it is cited with ever increasing frequency by a new generation of critics and musicians. Stockhausen once labeled Hymnen the sound of music after the apocalypse. And it rightly sounds so, the sound of the fall-out, busy folding and manipulating space and time. It is a music that is drenched in the past yet so of the moment, coming over like a broken radio in a constant state of tuning. Various fucked up, cut up, spliced, national anthems drift in and out, fuse together and disintegrate instantly, at times slowed down or speeded up, and so forth. Stockhausen manipulates sound via electronics to total extremes, making this one of the greatest sonic works of art to seep out of the 20th century. Just massive. Original dead mint Japanese1st original pressing – 1st time I encounter a Japanese press of this LP….bloody rare on these shores – for each Japanese press issue you find 75 German ones, so go figure…1st time I ever see a high quality vinyl 1st press Japanese issue, sounds like nothing else on this side of the moon. DEAD MINT copy. Price: 150 Euro
1982. STOCKHAUSEN, KARLHEINZ: “Klavierstucke I – XI” (CBS Sony – SONC-10297~98) (2 LP Record Set: Mint/ gatefold Jacket: Mint/ Attached Booklet: Mint/ Capsule Obi: Mint). Rare Japanese 1st original pressing complete with always-missing capsule obi. Expanding the boundaries of what were perennially perceived `pianistic' in the 19th century (its orchestral range in pitch, dynamics and extreme responsiveness), Stockhausen revisited and utilized unique strengths of the instrument such as applying distinct dynamics simultaneously on separate horizontal lines and redefined what was considered one of the instrument's ultimate deficiency as a non sustaining instrument into a unique strength - epitomized by the gradual, continuous decay of thunderous, complex clusters down to a single note in Klavierstuck X. Stockhausen was interested in the musical contrast and orchestration of extremes, both simultaneously and as they evolved through the entire piece. The particular milestone of this creative collection is the aforementioned Klavierstuck X. Lasting between 22 to 25 minutes, `organized sound' with assigned, specific numerical values act as agents that explore through maximum chaos and violence, austere Webernian simplicity and serenity, and everything in between. Similar to how Beethoven's Fifth symphony blazed through the transition from darkness of the first movement to the incandescent fourth impelled primarily by the modulation from a minor to major key, it follows a very specific but convoluted overall musical scheme that plays on volume, tempo fluctuations and flirtatious oscillation within the boundary of what we consider noise and 'clean' notes produced by a musical instrument. Any rendition must be supported by superb acoustics, and this is where surprisingly, Kontarsky's 1965 analog version reins supreme over the other easily accessible, digital Henck recording of the 80's.” (Gaetano) Comes on gloriously pressed audiophile vinyl and all is in absolutely TOP condition. Price: 75 Euro
1983. STOCKHAUSEN, KARLHEINZ:  “Aus Den Sieben Tagen” (RCA Records – JRZ-2102) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). 1973 Japan original press issue of essential Stockhausen slide with the always magical Michel Portal performing on clarinet. Price: 50 Euro
1984. STOCKHAUSEN KARL-HEINZ: “Spiral/Wach/Spiral/ Japan/ Pole” (2 LP Box set: Near Mint/ Box Set: Near Mint/ Booklet: Near Mint). Top copy of this brain meltingly great Stockhausen box set and one of his finest electronic works. Price: 150 Euro
1985. STOCKHAUSEN, KARLHEINZ: “Aus Den Sieben Tagen” (Deutsche Grammophon – 2720.073) (7 LP Set: Near Mint/ 7 Individual LP Jackets: Near Mint/ Outer Box Set: Mint). First original German pressing of monumental set spread over 7 LP’s and marking one of Stockhausen’s greatest endeavors ever. Top copy, both the individual records, sleeves and outer slip case box set are in immaculate condition. The individual sets do surface regularly but the complete box is a bitch to dig up these days. Price: 200 Euro
1986. STOCKHAUSEN. KARLHEINZ: “Mikrophonie I – Mikrophonie II” (Deutsche Grammophon – 2530.583) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Picture Inner Sleeve: Near Mint). Original 1975 German original pressing of probably Stockhausen’s finest moment ever, sounding non unlike the holy Taj Mahal Travellers on downers! Stockhausen acquired a 5-foot Paiste tam-tam (gong) which was first used in performances of Momente, where it was struck, caressed, scratched and scraped in various ways with various drumsticks, mallets and screwdrivers. After installing it in his garden, he noticed that he could get additional sounds from it using metal keys and stones. Eventually, he had his studio engineer from in the house record his actions out in the garden as he rubbed and hit the tam-tam, manipulating a microphone to capture sounds at different distances. The recording engineer also randomly manipulated the frequency bandwidth and gain, all without hearing what Stockhausen was doing outside. After returning inside they listened back and realized they had discovered a new sound world. In this piece Stockhausen essentially invented a form of "live electronics" (as opposed to electronic music produced by splicing tape or other means). He also pioneered here the use of the microphone as an instrument in itself (basically using its sensitivity and proximity to a sound source to create a range of musical values). This is why he calls the work Microphony. And it sounds amazing, like Sperm Whales on the prowl during an electrified gospel apocalypse. Wicked stuff. Price: 75 Euro
1987. STONE CIRCUS: “S/T” (Mainstream – S/6119) (Record: Near Mint/ Jacket: Excellent ~ Near Mint still in shrink, upper seam has some crackling damage where shrink has split). One of the hardest to track down releases on the Mainstream label. US original copy of much beloved heavy organ and guitar full out assault psych classic. These Montreal based musicians (save one), decided to journey south of the border to New York to find their scene. Known as The Funky Farm, Mainstream decided to change their name for the release of the album. They succeeded in creating a highly addictive mixture of psych-pop and acid rock with a whiff of experimentalism thrown in the mix and the end result sounds West Coast influenced sound with a highly melodic Strawberry Alarmclock vibe simmering through it all. Original Mainstream pressing out of 1969. Recently it has become one sought after major label LP’s of that period. Great from start to finish and its easy to understand its appeal. Top copy. Price: 350 Euro

1988. The STOOGES: “S/T” (Elektra – EKS-74051) (Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint – has small drill hole in upper right corner). Top copy, Top copy in perfect nick 1st press of the Stooges debut album as released in 1969. TRUE FIRST PRESSING with NO ADDRESS on label, record is absolutely in top condition, perfect all the way. “The dangerous psychedelic Stooges manage to quickly get down to the nitty gritty of sensual frustration for all of neo-American adolescent malehood... 1969, the lead song on the disc, is the perfect expression of the oldest complaint of rebellious anarcho/crazy youth. Iggy sounds a lot younger than twenty-two for the horny American youth whose fantasies he summarizes... I WANNA BE YOUR DOG is reminiscent of early Velvet Underground music carrying it into even more bizarre levels... NO FUN is a crazed song of repressed American boy/girl crazies... NOT RIGHT features some physically abusive guitar playing by Stooge guitarist Ron Asheton. Throughout the album Asheton reveals himself as an insane master of the power the Stooges channel into their music. This is probably the guitar style of the future ... The music is all 1969; Iggy and the boys doing Stooge music.” (Creem August 1969). Every copy out there has the Elektra address printed on the label but only a very few very first pressings came out WITHOUT the address on the label. Very first pressing and damned rare, first time ever a copy crosses my eyes in such nice shape…Price: 600 Euro

1989. The STOOGES: “Fun House” (Elektra – eks-74071) (Record: Near Mint/ Gatefold Jacket: Excellent – faint edge wear & with “Promotional Copy – Not For Sale” Sticker on the front of sleeve as is supposed to be). Rare white label promotional copy. Really great white label promo copy!!!! Record is clean as can be, sleeve has some mild storage wear but is still extremely nice condition, conservatively graded at EX!! Music needs no introduction, it is just one of the greatest recordings ever to have been trusted into wax. Rare white label promotional copy issue, US pressing. Brutal to say the least, best Stooges recording ever. Clean copies are far and in between and a bitch to dig up, this baby here is bloody nice!!! Price: Offers!!!!
1990. STRAWBERRY ALARM CLOCK: “Girl From The City b/w Three” (MCA Records – D-1025) (Single EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare Japan only issue that comes housed in great picture sleeve. Cool two psychy tracks by the Alarm Clock. Much needed addition for any single collection. First one I see in a couple of years time. This was released as a soundtrack issue for the Russ Meyer pulp flick “Beyond The Valley Of The Dolls”. Price: 150 Euro
1991. STRAWBERRY ALARM CLOCK: “Incense And Peppermints” (MCA Records – MCA-5007) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Bloody rare Japan original pressing – WHITE LABEL PROMO ISSUE – all complete with never offered before and always-missing obi. The Strawberry Alarm Clock made musical history with its first single, the infectiously psychedelic "Incense and Peppermints," which topped the singles charts in December 1967. It remains one of the Aquarian Age's most enduring anthems. And as the California combo's debut LP demonstrates, there was a lot more to the Strawberry Alarm Clock than their iconic trademark hit. Incense and Peppermints combines gorgeously melodic flights with a Sunset Strip sensibility--the album is filled with trippy soundscapes, fuzzy guitars, sophisticated harmonies and the evocative lyrics of tracks such as "The World's on Fire," "Birds in My Tree," "Rainy Day Mushroom Pillow" and "Paxton's Back Street Carnival." The result is a surprise-filled collection that All Music Guide calls "a strangely compelling mix of psychedelia, sunshine pop, garage rock, and California harmony.” (Sundazed Music). Top condition Japan only issue all-complete with ever elusive obi. White label promo issue, what can you possibly ask more for? Instant bliss assured. Price: 500 Euro
1992. STRAWBS: “From The Witchwood” (A&M Records – C19Y4009) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Great Japanese pressing with obi of classic UK progressive folk slide and arguably their finest moment. Top notch copy and sounding fabulous! Price: 45 Euro
1993. STU MARTIN & JOHN SURMAN: “Live at Woodstock Town Hall” (DAWN Records – DNLS-3072 (Record: Mint/ Jacket Excellent ~ Near Mint) original 1975 first UK pressing on the highly collectible DAWN records imprint, TOP COPY!!! Great electro-synthesizer/ drum and reeds interplay improvisational monster. Martin and Surman formed two third of the legendary Trio. On this disc the clash head first into each other, bringing forth a psyched-out-free-jazz-improvisational-lysergic interplay that will leave you into far out stellar regions. Great disc, super music, a real classic. This is the original UK pressing on DAWN records. Doesn’t turn up so frequently these days. Recommended for free music freaks. TOP COPY. Price: 50 Euro
1994. SUBVERT BLAZE: “Subvert Art” (Alchemy Records – ARLP-029) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint). Totally vanished hard psychedelic masterpiece by this trio, recorded at the late eighties. Subvert Blaze was together with Hanadensha one of the greatest band on Kansai scene and two of the most technically skilled. The trio was fronted by guitarist and doom head Kakinoki Yoshihiro (now of Garadama), wonder bass slammer Fujiwara Hiroaki (Slap Happy Humphrey, Cosmic Invention) and best drummer of the last 20 years Okano Futoshi (recently resurfaced in Acid Mothers but not as powerful as he used to be). Everyone’s jaws dropped to the floor when they hit the scene, they were just too much and ahead of everyone’s game. They were after all a killer assault psyched out power trio, highly technically skilled and bring forth brain ripping and adrenaline infused and amphetamine powered up acid rock that cannot possible get any better than this. Highest recommendation. Disc was released in 1989 in an edition of 500 and rarely surfaces these days. Downside is that the band never got any publicity and is virtually unknown. If that was not the case, this record would soar up into the several hundred dollar regions since it is bloody rare and the music is just ear blisteringly great. For hardcore psychedelic and acid rock fans. Price: 125 Euro
1995. SUCKDOG: “Drugs Are Nice” (Private) (Record: Near Mint/ Jacket: Near Mint, still in shrink). Self-released private pressing punk album that came out in 1898~90. It all starts with the jacket art, which is plain genius and sucks you right in. A pair of pimply, trashy-looking girls reclining topless on a bed strewn with dead flowers. When I saw that almost 8 years ago when I first encountered this LP (the only time ever I have seen a copy of this LP) I was already hooked on the LP even without hearing a single note. When I enquired the shop owner about its musical contents, he said it was possibly one of the worst albums ever made and I knew right then that it was going home with me. And yes was he right, the LP was bad but not in a sense you expect it to be. It was bad in ways that I didn’t know music could be bad. In fact, I wasn’t sure if it was really music at all and not some girlie late night joke going demented that had been pressed by mistake. That together with the utterly lo-fi and poorly recorded quality of the music going hand in hand with screeching noise that made it all as confusing as annoying. In short, it was musical bliss, heaven in disguise, a musical masterpiece precisely because of those reasons. Some one stated that the whole affair was: Drugs Are Nice was the brainchild of Lisa Suckdog, who, along with her band of assorted freaks and sex deviants, toured the states and Europe under the moniker Suckdog, bringing an interactive brand of performance art meets trailer park peep show extravaganza to the largely indifferent masses. Lisa sings like that nasty girl from your high school that guzzled cough syrup for breakfast and screwed all the hoodlum punk rock guys, while fronting a band of phencyclidine-addled Shaggs devotees. She's shrill, loaded, and out of control.” So spot on and it nails the music right on the head. Drugs Are Nice is unlike anything that has been recorded before or since, and that alone makes it worth hearing. This album doesn’t pretend to be anything other than what it is: an agglomeration of no-fi noise, and wailing made by a group of jacked-up teenagers taking their stab at infamy by creating something uniquely and horrifyingly their own. Art pure sang. To these ears the best trash/ punk/ avant-garde/ cum record ever made. It is such a dull and degrading experience that it is hard to keep a focus on what is really happening here. It is beautifully painful and makes you screaming around like a guinea hen just worked over by a pack of wild dogs. A lovely and intoxicating affair that disintegrates into chaos, drunkenness and the kind of hysterical fatigue that comes from spending too much time in middle slime USA. Highest possible recommendation EVER!!!!! Price: 200 Euro

1996. SUGIMOTO MIKI: “Zero Hadaka No Onna – Akai Tejo” (Solid Records – SD-507) (EP Record: Mint/ Picture Sleeve: Mint). Ultra limited EP release that sold out in the blink of an eye – one-time limited pressing of only 500 copies. Cornerstone Iroke/ Erotic sleaze out of the early 1970s underbelly of Tokyo. These tracks came from the movie that came out under the same name but apart from a CD reissue has never been released in holy wax. Released in 2017 and gone since then. Prime time sleaze for your guilty pleasures! Price: 75 Euro

1997. SUICIDE: “S/T” (Red Star Records – RS-1) (SEALED ORIGINAL). 1977 US original sealed condition. Alan Vega and Martin Rev’s bare-bones approach was both artsy and primitive. Innovative, yet still deeply rooted in the classic Rock & Roll of the 50’s and 60’s but impregnated with junk-wired crude synths and defunct drum machines which collide with Alan Vega’s emotive whispers, chants and blood curdling yelps. It all makes for a mesmerizing, if unsettling listening. Suicide were never a band you could cuddle up to, they were deliberately confrontational. Produced by Ramones Helmsman Craig Leon, the LP mixed scorched-circuit protest vamps such as Ghost Rider and Rocket USA with shimmering smacked-out doo-wop ballads, climaxing with the bone-chilling Frankie Teardrop in which Vega placed himself inside the teeming brain of a Vietnam veteran who murders his family before shooting his brain out and splattering them all over the wall. What a record….one of the greatest ever made together with the Stooges and the Velvets. Damned perfectly SEALED original US press copy…one out of the vaults and ready for your vaults. One of a kind….Price: 500 Euro
1998. SUKEBAN GERIRA: “Sudo Rika – Hieta Sedai b/w Tsuwa Noriko – Horete Furarete Blues” (Solid Records – SD-539) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Small press limited edition RSD issue that sold out in the blink of an eye. Price: 50 Euro
1999. SUKEGAWA TOSHIYA: “Compositions For Magnetic Tape” (FLORA – OBK-1001) (Record: Near Mint ~ Mint/ Hand Pasted Jacket: Mint without any mildew spots - virginal/ 2 pages hand typed liner notes: Near Mint). Bloody damned obscure and rare electronic music/ musique concrete masterpiece from Japan that no one knows as this one was privately releases in an edition of 100 copies (or less?). Sukegawa is a man of many colors, being active as a composer, music critic and magazine editor; he managed way back in 1983 to churn out this privately released masterpiece of electronic music and musique concrete. Don’t let the date fool you, although this masterpiece was created between 1979 and 1983 at the NHK studios of Hiroshima, it sounds very primitively like the late 1960s/ early 1970s much revered sound art pieces. Sukegawa successfully blends his stripped-down piano sounds with electronic, concrete and sounds of a demolished string ensemble into one beguiling work of collage art/ tape music. As the place of creation already hints at, his work is rooted deeply in nuclear disaster and the cobble-stoned way that hopefully leads to peace. He used studio downtime to pursue initial experiments into the organization of his sonic playfield, cutting across all abstract theorizing, the recording eventually became the score and is eye-filling, endowed with aural beauty. Sonically speaking that translates itself into a simple sound painting of urban noise pollution, music and luminous dust, muted speech – modulated by fading signals, fierce bursts of crackle, sibilant voices distorted into electronic sandpaper, radiophonic fizz, abyssal waveforms, floating sunlight on ripples of electronic hums, Blade Runner styled disquiet escapist sounds drift in and out of focus, etc. His ambient aesthetic flies aloft and with impetuous roar pursues something like the austere intimacy of haunting echoes, of waves breaking on rocks, making his sonic painting drenched in the past, yet so of the moment. One of the finest musique concrete and electronic pieces to have ever caressed my earlobes. Sadly enough….viciously rare and totally unknown, so you only have probably this one of chance to wheel in something extraordinary. Price: Offers!!!

2000. SUMMER JAZZ IN TOKYO: “V/A with Sato Masahiko Trio + 1/ Sawada Shungo Quintet/ George Otsuka Trio + Sugimoto Kiyoshi/ Yamashita Yosuke Trio/ Hara Nobuo & His Sharps and Flats/ Kosuke Mine Quintet/ Terumasa Hino Quintet + 1” (Canyon – CAJ-1002 – 1003) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Fold Out Insert: Near Mint). Freakingly rare and obscure 1970 release throwing together the crème de la crème of the Japanese freewheeling jazz community. The whole affair here on display was recorded live one hot summer day in the open-air arena of Hibiya Yaon Ongakudo on August 28th & 29th, 1970. Here you can actually “hear” the summer heat unleashed by these combos breathing down your neck and catering to all of your sonic wishes ranging from fierce magma molten free jazz blowouts to funked up and out butt-swinging head spins. Fierce improvisational interplay interlocks with steamy and groovy jazz workouts, blessed with a gift for suddenly unexpected impacts that hurtle in and out of focus and giving you the listener enough bewildering emotions to provoke tears and fist shaking tirades in order to sing to this recording’s splendor and awe-inspiring beauty. If every summer sounded like this, I would have a hard time getting my act together again and rejoin a modern-day reality of grey suits, instead hoping to remain moving to its asymmetric groove. Just a fantastic disc, allowing you a peak at the Japanese jazz scene one sunny day in August 1970. Just brilliant! Price: Offers!!!!

2001. SUN CITY GIRLS/ PRINCESS NICOTINE: “Princess Nicotine” (Abduction) (Record: Near Mint/ Jacket: Near Mint, still in shrink). First original pressing out of 1993. A compilation of Burmese pop and folk music. “How do they do it? Are they smarter? Are they better? How can it be ignored or denied? How is it possible that one of the most unique, perfectly composed and performed, intense and awe-inspiring musical legacies the world has ever known is looming north of the equator physically tucked between world cultural giants India, China, and Thailand, without more than a whisper from ethnomusicologists or those who define themselves as "purveyors of world music"? Not only are the roots of this music unique, but so are the results after incorporating outside instrumentation from modern colonial and (unavoidable) international influence. What the Burmese have done with a piano is so precise in its adaptation to existing form and melody that one would think they invented it. Burmese music has a very distinct sound and whatever instrument is assimilated into its core only seems to magnify its original intent without depending upon outside ideas as they relate to each component of it. This collection will immediately bring you up to speed to what you have been missing all along. I'll leave the over-analyzation to those who undoubtedly will suffocate us with praise for this music in the future because the time is NOW to dig it and to put the REAL music of Myanmar on the map ONCE and for ALL. Here are some of the greatest names of the past 50 years of Burmese musical history from the original recordings featuring Mar Mar Aye, Bo Sein, and the incomparable Tonte Theintan. Listen, and be amazed!” (Sublime Frequencies – Liner notes from the CD edition). Price: 75 Euro
2002. SUN CITY GIRLS: “Dawn of the Devi” (Majora Records) (Record: Near Mint/ Jacket: Near Mint). 1st original pressing of this classic Sun City Girls slide. These early SCG slides are seemingly vanishing at an alarming rate these days. Price: 75 Euro
2003. SUN CITY GIRLS: “Grotto of Miracles” (Placebo Records – PLA-19) (Record: Near Mint/ Jacket: Near Mint). Another early times Sun City Girls record, released on Placebo. Getting tougher to dig up these days. Price: 75 Euro
2004. SUN CITY GIRLS: “330,003 Crossdressers From Beyond the Rig Veda” (3LP set - Locust Music) (3 LP Record Set: Near Mint/ Triple Gatefold Jacket: Mint). 1st original LP pressing of almost a decade ago. Great copy of this already vanished 3 LP set. “333,003 Crossdressers From Beyond the Rig Veda, the Sun City Girls' all-time masterpiece and, despite previous heights, rather a shock considering the brief inactivity that preceded it. Basically a new best-of, Crossdressers is a gut-opening menu of heart-sweating street ballads, throat-flaming vocal prayers, Leone-in-India cow-pop, bells-only ringers, and mind-mapping sci-fi soundtracks. Vaguely split between a food-poisoned/gas-inhaled Torch Of The Mystics (disc one) and a ten-record historical edition of Live From Planet Boomerang (disc two), the peak's peak is the 34-min. 'Ghost That Trespass/Sussmeier', a five-part western mini-series which, with the addition of the violin-raping Eyvind Kang, sounds like the Revolutionary Ensemble dissecting amplified corpses while Ornette Coleman drags a bow across his own exposed ribcage. Actually the whole three-disc set is cluttered with body parts, but the Sun City Girls have always been physically abusive; Crossdressers simply tears more flesh and splinters more bone than any record before.” (Marc Masters). Best Sun City Girls LP out there, crossing genres between ethnic hoedowns, psychedelic freak-outs and experimental doped up dementia. Fucking classic that never fails to rock my world. Getting bloody rare 1st original pressing and not the shitty Italian boot that is floating around; this is the real deal here. KILLER!!! Price: 100 Euro
2005. SUN DIAL: “S/T” (Tangerine – MM07) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original UK first press issue from 1990, long time no see classic. When GARY ROMANs neo-psychedelic Sun Dial debuted in 1990 with Other Way Out, it was almost unanimously lauded by fans and press. Taking the late sixties psychedelic approach of bands like Led Zeppelin, Hendrix and the Beatles, the LP sounded like one of the great-lost albums from that era. The instrumentation was also a throwback to the period with crisp electric guitar backed by Turkish talking drums, bamboo flute, and Tibetan bells. Now, almost 30 years after the albums release, it is still cited as a neo-psych classic and still sounds awesome… Price: 150 Euro
2006. SUN RA: “Sun Ra Intergalactic Arkestra” (Souvenir Programme) (18 Paged Booklet: Mint) Bloody rare of a concert program booklet that was offered at Sun Ra’s 1st performance in Great Britain. It was held at the Queen Elizabeth Hall on Monday 9th November 1970. It comes with notes and pictures. The condition is like new, which is no small feat and is a unique piece of Ra’s tour in Europe at that time. Never saw one before until now and it is a bllody rare item but amazingly cool artifact. Comes printed on thick and high-quality paper. Stunning condition. Price: 300 Euro
2007. SUN RA: “The Heliocentric Worlds Of Sun Ra” (ESP Disk – ESP-1014) (Record: Near Mint/ Textured Jacket: Excellent). Top condition US first original pressing. Comes in the first issue textured sleeve with pasted wrap-around slick. The astonishing session that went light years beyond “free jazz” improvisation to create music of deeply felt, explosive and gentle gestures made from sound itself without reference to previous notions of melody or harmony. This set of tracks finds Sun Ra breaking ground by using synthesizers and having the Arkestra musicians double on percussion. Come with Sun Ra’s original self-created jacket art. For this quintessential ESP release. Price: 150 Euro
2008. SUN RA: “The Heliocentric Worlds of Sun Ra” (ESP Disk – ESP-1014) (Record: Near Mint/ Jacket: Excellent/ ESP Bosch Poster: Excellent). Great condition US 2nd press issue with no address on label. Comes with ESP poster present. The astonishing session that went light years beyond “free jazz” improvisation to create music of deeply felt, explosive and gentle gestures made from sound itself without reference to previous notions of melody or harmony. This set of tracks finds Sun Ra breaking ground by using synthesizers and having the Arkestra musicians double on percussion. Come with Sun Ra’s original self-created jacket art. For this quintessential ESP release. Price: 85 Euro
2009. SUN RA: “The Heliocentric Worlds Of Sun Ra” (ESP Disk – 1017) (Record: Near Mint/ Jacket: Mint, still housed in original shrink). US original 1st pressing with 156 5th Avenue address on sleeve and labels. Top condition, archive quality so…Price: 120 Euro
2010. SUN RA: “The Heliocentric Worlds Of Sun Ra” (ESP Disk/ Victor Records – SMJ-7455) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Top condition Japan first original pressing – all complete with obi. These are seriously rare, first issue with OBI, only 2nd time in all these years that I can offer a copy….so better not wait too long this beauty. Price: 250 Euro
2011. SUN RA: “The Heliocentric Worlds Of Sun Ra Vol. 2” (ESP Disk/ Victor Records – SMJ-7473) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Top condition Japan first original pressing – all complete with obi. The 2nd one on the ESP label, released by Victor Records here in Japan during the tail end of the 1960s, the first Japanese press issue – all complete with obi. First time in all these years I can offer a copy of this beauty so again – better not drool too long over this one, next one to pop up might be during the next decade…as they are totally extinct and a bitch to find during my archeological digs. Price: 250 Euro

2012. SUN RA: “The Heliocentric Worlds Of Sun Ra” (ESP Disk/ Victor Records Japan – SMJ-7473) (Record: Near Mint/ Jacket: Near Mint). Bloody scarce Japan 1st original pressing from 1968 by Victor Records, white label!!!! Original 1st press issues are getting impossible to locate and this baby is as clean as a virgin in a brothel. Original first time early Japanese press of this essential ESP title, released in Japan in 1968 by Victor. The music needs no introduction I guess, but just in case here is snippet of a review by All Abut Jazz writer Rex Butters: “With its tympanis, bass marimba, bass trombone, bass clarinet, and the bass of the great Ronnie Boykins, Vol 1 cruises the subharmonic. “Heliocentric” opens with Boykins walking Robert Cummings’ bass clarinet. Ra’s bass marimba, Boykins, and tympani thunder form a trio. Marshall Allen plays the extreme antagonist on piccolo amidst bass trombone blats from Bernard Pettaway. Tuned tympani, Pettaway, and the bass marimba prepare “Outer Nothingness” for Allen’s alto, followed by Cummings and Ra. Ra’s resonant bass marimba solo leads to a horn flurry and duet with Boykins. Shuffling keys on acoustic piano, Ra surprises with simultaneous runs on an electric keyboard on “Other Worlds.” The blistering pace he powers gives John Gilmore a good blow, before Ra returns for more two keyboard fun. Boykins plays counterpoint then joined in a round with Gilmore and Ra’s electric celeste on “The Cosmos.” Johnson’s cymbal work keeps the stars shining. A dreamy solo by Ra leads to worried blues by Boykins, back to Ra rocking on piano. Danny Davis’ flute briefly flies out of the bass bias on “Of Heavenly things,” although Boykins and the bass marimba clock most of the track. A wonderful solo by Ra, “Nebulae” features the electric celeste. The short “Dancing in the Sun” lets Gilmore and Allen lead the band in some sideways bebop” Top copy of this quintessential album, first 1968 Japanese press, white label promo copy. Hardly ever seen this version, mid-seventies issues turn up regularly but late sixties first time pressings on high quality Japanese vinyl just about never. Essential. Next to impossible to upgrade upon and sounding so much better as the US pressings. Killer. Price: 75 Euro

2013. SUN RA: “Jazz By Sun Ra” (Transition/ Trio Electronics Japan – PA-7006) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Insert: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Bloody rare and original Japan first original pressing that came out in the early 1960s. Comes complete with the rare booklet, insert and impossibly RARE OBI and the record is in impeccable condition. First time ever I can lay my eyes on a virginal all complete copy. Recorded for Tom Wilson’s Transition label in 1956, Jazz By Sun Ra, Vol. 1 is made up of the type of skewed big band music featured on Jazz In Silhouette and a smattering of other recordings The Arkestra made in Chicago but did not release until they had relocated to New York City in the 1960s. As an album made specifically for a willing record label, this sounds quite a bit more hi-fi than the many rehearsal tapes from the same time period released on El Saturn records in the coming years. As for the music, it’s all quite good. The Arkestra sounds very polished. Some great songs too, with Sun Ra’s arrangements giving this an adventurous feel. The harmonies were advanced and novel for the day. Hindsight may not make this seem all that innovative, given what came later, but you wouldn’t have found solos like John Gilmore’s on “Brainville” or “Future” anywhere else in 1957. The prominent percussion on “New Horizons” and “Street Named Hell” were also rare in a jazz context when this came out Then of course there is the closer, “Sun Song”, on which Sun Ra’s organ gives a big hint as to where he would go in the next few decades. This album is pretty consistently good from beginning to end. Sun Ra and his Arkestra may have made even better recordings, but this still ranks among their most listenable efforts. Hardly ever surfaces this clean and with everything complete…just never turns up. Price: 600 Euro

2014. SUN RA: “Jazz By Sun Ra” (Transition/ Trio Electronics Japan – PA-7006) (Record: Near Mint/ Jacket: Excellent/ 4-paged Insert: Near Mint). Rare and original Japan first original pressing that came out in the early 1960s. Comes with Insert. Clean masterpiece: Price: 150 Euro


2015. SUN RA: “Sun Ra & His Solar-Myth Arkestra – The Solar-Myth Approach Vol. 1 & Vol. 2”. (Actuel – Double Actuel 202/ YX-9001~2) (2 LP set: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Mint). Here you have a splendid copy of the two albums Sun Ra did for BYG Actuel. This copy comes in a fold out cover, with different cover design and pictures. Comes all complete with damned rare OBI. The vinyl pressing dates from the 1970 and was done in Japan, hence the superior vinyl quality. The original vinyl quality of the French actuels is often quite mediocre, so here is a top-notch quality item. Comes in thick cardboard fold out jacket. A real beauty to behold. The music on the other hand needs no introduction, I guess. This record stands out as one of Ra’s masterpieces. Highest recommendation. Original 1st Japanese press on high quality vinyl. Price: 200 Euro

2016. SUN RA: “Uchu Tankyu Vol. 1 - Nuits de la Foundation Maeght” (Nippon Victor/ RCA Records Japan – SHP-6203) (Record: Near Mint ~ Mint/ Laminated Gatefold Jacket: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). WHITE label PROMO issue complete with OBI. Top condition and impossible to ever upgrade upon. Original 1st Japanese pressing complete with never seen before space obi. A nice copy of this completely vanished Sun Ra item, housed in a gorgeous fold-out jacket. Truly beautiful and way rarer that the Shandar issue. First Japanese pressing on high quality vinyl I ever see with the obi present. These babies are getting so scarce these days and just never turn up any more in totally mint condition with the perfect condition obi present. Music is awesome, the overall package with the obi present is eye-popping beautiful. Price: 250 Euro

2017. SUN RA: “Uchu Tankyu Vol. 2 - Nuits de la Foundation Maeght” (RCA Records Japan – SHP-6204) (Record: Near Mint/ Laminated gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1st Japanese pressing complete with never seen before space obi. WHITE label PROMO issue. A nice copy of this completely vanished Sun Ra item – this being the follow-up volume to the above listed one, housed in a gorgeous fold-out jacket. Truly beautiful and way rarer that the Shandar issue. First Japanese pressing on high quality vinyl I ever see with the obi present. Price: 250 Euro

2018. SUN RA: “Uchu Tankyu Vol. 1 - Nuits de la Foundation Maeght” (Nippon Victor/ RCA Records Japan – SHP-6203) (Record: Near Mint ~ Mint/ Laminated Gatefold Jacket: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Top condition and impossible to ever upgrade upon. Stock Copy. Original 1st Japanese pressing complete with never seen before space obi. A nice copy of this completely vanished Sun Ra item, housed in a gorgeous fold-out jacket. Truly beautiful and way rarer that the Shandar issue. First Japanese pressing on high quality vinyl I ever see with the obi present. These babies are getting so scarce these days and just never turn up anymore in totally mint condition with the perfect condition obi present. Music is awesome, the overall package with the obi present is eye-popping beautiful. Price: 175 Euro

2019. Le SUN RA With LEROI JONES: “A Black Mass” (Jihad Productions – 1968) (Record: Near Mint/ Jacket: Excellent). Probably one of the rarest Sun Ra recordings out there. Just never comes up. “The most infamous and difficult to procure Sun Ra artifact; originally issued on Amiri Baraka (then LeRoi Jones)'s Jihad label (home of the original Sunny's Time Now by Sunny Murray as well). Originally issued in 1968, A Black Mass was personally distributed by Baraka via a network of radical Black literature bookstores and was not commonly found in the channels that records of the time moved in. As a result, it has enjoyed a mystical status for the better part of its 30+-year existence, and many hard-core Ra completists had a hard time shelving this one. A strange and revolutionary play by Baraka, with musical interludes by the Myth Science Arkestra. Very, very historic. "The play A Black Mass was written in Harlem in 1965, much of it probably at my desk at The Black Arts Repertory Theater School at West 130th Street and Lenox (now Malcolm X. Blvd.). It was first performed at the RKO Proctors Theater, Newark as a companion piece to J-E-L-L-O, a satire on the Jack Benny show where Rochester turns militant. The reason it was Newark is because late in 1965, I decided to walk away from the BARTS because with the mounting internal strife, the phenomenon of 'diminishing returns' had set in so disruptively that the vision of bringing Black Art into the community and creating what we were later to understand as Cultural Revolution could no longer succeed at that venue. Black Mass shows the heavy influence of the Nation of Islam even though, after Malcolm's murder, I became alienated from that Nation, essentially as a means of registering my allegiance to Malcolm. Even the Jacoub story I had gotten from Malcolm when he was still more directly motivated by Elijah Muhammad's teachings. Sun Ra was one of the most consistent and supportive artists associated with the BARTS. He was there several days a week, teaching all who would listen. At any rate, when I conceived of doing Black Mass to music, Ra was the only musician in my mind. Not just because of the 'otherworldliness' of the tale, but the sensuous 'outness' I knew Ra, with his Myth Science Arkestra, would bring, which I felt would give a material life to the text. The work was recorded in The Spirit House, on the first floor theater we had created by tearing down the walls of my rented one-family house, just as we had done at The Black Arts. With Sylvia Robinson (Amina Baraka, a Newark artist who would shortly become my wife), Yusef Iman (a BARTS original), Newark's Marvin Camillo (he and Yusef are both gone now), and Barry Wynn (Amun Ankra), we tried to recreate the staged version, which we had just done. And while there is something to be desired in our collaboration, the recording stands not only as a record of what The Black Arts was doing, but points I think into the future of the spoken word and the possibility of expanding what can be recorded and what kind of collaboration between word and music can come. The theme 'The Satellites Are Spinning' is the dramatic musical mise-en-scene throughout, though close listeners will hear some of the music, which characterized the Myth Science Arkestra rising and falling through the mainly improvised music drama. In total, the music is rich and evocative by itself. Heard with the text of The Black Mass, both connect and extend each other with a dramatic gestalt of Myth-Science music and the mythologized history deepens our emotional perception of what is being told. For me, re-heard with the benefit of study and another kind of thoughtfulness, it even projects a rationale that's more scientifically based, 'search-lighting' some evasive facts of human history as well as projecting the premise which I have long held, that art is creation, and that we must oppose the 'creation of what does not need to be created.' --Amiri Baraka. Great copy!!! Price: Offers!!!!
2020. SUN RA & HIS ARKESTRA: “Super-Sonic Jazz” (El Saturn – LP-0216/ H7OP-0217) (Record: Near Mint/ Jacket: Near Mint). Original Saturn release, top condition. Sun Ra had only been heading his Arkestra for a couple of years when they recorded the 12 songs featured on this 1956 session. But while the arrangements, ensemble work, and solos are not as ambitious, expansive, or free-wheeling as they became on later outings, the groundwork was laid on such cuts as "India," "Sunology," and one of the first versions of "Blues at Midnight." Ra’s band already had the essential swinging quality and first-class soloists, and he had gradually challenged them with compositions that did not rely on conventional hard bop riffs, chord changes, and structure but demanded a personalized approach and understanding of sound and rhythm far beyond standard thinking. You can hear in Ra’s solos and those of John Gilmore, Pat Patrick, Charles Davis and others an emerging freedom and looseness which would explode in the future.” (Ron Wynn – All Music). Near virginal copy, next to impossible to upgrade upon. Price: Offers!!!
2021. SUN RA and his Solar Arkestra: “Art-Forms From Dimension Tomorrow” (Saturn – CPLS-5412F) (Record: Excellent/ Jacket: Excellent). Second sleeve issue US pressing (black lettering sleeve – not blue lettering one), produced after Sun Ra's 1961 move from Chicago to NYC. Comes on the red colored and silver lettering SATURN label – not the later El Saturn pressing. Second issue with black lettering on front sleeve. Rare MONO pressing in great shape. Art Forms displays Sun Ra’s tendency to juxtapose stylistic extremes to showcase versatility. "Cluster of Galaxies" and "Solar Drums" are percussion soundscapes, "Ankh #1" a swaggering R&B tune. "The Outer Heavens" echoes Third Stream jazz, while "Infinity of the Universe" offsets a percussion battalion with thunderous low-register piano. "Lights on a Satellite" and "Kosmos in Blue" ground the set with stylish hard bop. Great spaced out Sun Ra recordings and to this ears one of the highlight recordings out of his expansive catalogue. Killer with absolutely no filler. Price: 400 Euro
2022. SUN RA And His INTERGALACTIC RESEARCH ARKESTRA: “The Invisible Shield” (El Saturn – 527/529) (Record: Excellent ~ Near Mint/ Hand Pasted on Faux Snakeskin Jacket: Near Mint). Rare Saturn release with Yellow and White label respectively. Comes housed in faux snake-skin embossed sleeve with pasted on slicks on back and front. On The Invisible Shield, you get two (maybe even three) Sun Ra's for the price of one. Although many fans admire everything the maestro produced, some prefer his idiosyncratic take on jazz forms, while others thrill when Sunny dispenses with tradition and transmits killer sound waves from space. The Invisible Shield has something for both camps. There's big-band swing, propulsive hard bop, lounge jazz, and hypnotic Latin exotica. The counterpoints are lease-breaking skronk, destabilizing electronic alchemy, and pan-galactic sonic emissions. The Invisible Shield is an extremely rare LP. It was never officially released on El Saturn and just a few hundred LPs were pressed around 1974 and sold at concerts. It never even had a standardized, printed cover—each copy was hand-designed or hand pasted. Often referred to as “Janus”, it was apparently conceived by Sun Ra as a self-contained album around 1970, but it was never issued. Eventually, some of these tracks were scattered across various obscure Saturn LPs of the seventies and eighties, such as “Invisible Shield” and “Space Probe” which we have here and which is not surprisingly exceptionally hard to find, the hybridized pressings of that masterpiece. Side one has “Island In The Sun – The Invisible Shield – Janus” and side 2 has “Space Probe” on display. Comes housed in a amazing faux snake-skin sleeve with paste on slicks. Hardly ever surfacing version! Price: Offers!!!
2023. SUN RA and his ARKESTRA: “Discipline 99” (El Saturn 61674) (Record: Near Mint/ Jacket: Near Mint) Top condition original 1974 Saturn pressing. From 1974, out of Chicago, comes Sun Ra and his Arkestra with their album Discipline 99/Out Beyond The Kingdom Of on El Saturn 61674 private press. It was recorded at a Hunter College, New York, performance by Sun Ra & His Arkestra on June 16, 1974. Selected titles were issued that year on LP (Saturn 61674); the album went thru several pressings with different-colored labels, at least as late as 1980. As with many privately pressed Saturns from the 1970s and '80s, the total press run is unknown, but presumably it totals in the hundreds, not the thousands, hence original copies are rare. Rare homemade private press by Sun Ra and his group! It is a plain white cover with a slick glued onto the front! Comes with hand-colored labels and this is the very first issue of this title. One of the rarer versions of this LP! Seven cut album of great free jazz! Most of Sun Ra's private presses on the El Saturn label were only 50-200 pressed! Amazingly clean and top copy! Price: Offers!!!!
2024. SUN RA And His ARKESTRA: “Horizon – Recorded Live in Egypt, 1971” (El Saturn Records – 1217718) (Record: Excellent / Jacket: Excellent). Original 1st pressing on Ra’s own Saturn label – this one is the test pressing with hand written annotated labels. Rare LP documenting during Sun Ra & his Arkestra’s first Egyptian visit. Recorded in Cairo on December 17, 1971, this is one of the only discs to have been issued in very limited numbers. It opens with a bang when the Arkestra launch straight into "Starwatchers" with a choral chant and solo from John Gilmore before the entire Arkestra dive headlong into a languid and free-form high tension jam, creating an arresting experience. Ra’s atonal mini-Moog unleashes in return a deep subterranean schizophrenic high voltage reaction with his sharp staccato injections ravaging the soundscape overtop of the animated strive of the Arkestra. It is simply a lethal listening experience, which comes over as the whole band is engaged in trench warfare, hurtling in and out of focus. Other maniac group fury leaps into renditions of "Discipline 2" as well as "Discipline 8" and although it are Arkestra standards, Ra succeeds in making them again utterly unique. "Space Is the Place" starts out as almost a tribal chant before breaking down into an extended free jazz skronk embellishing a raggedy group dynamic of The Magic Band, all complete with raw breakdowns of huffing brass and droning psychedelic bleeps and once the group are firing on all cylinders it is just impossible to resist, mainlining free jazz, electric boogie, basement crank - allowing the combo to interact at their most melodic -- on this disc, anyway. And everything is blessed with that magic and cool cassette-recorded audio-verite feel. Just fantastic!!! Price: 300 Euro
2025. SUN RA And His ARKESTRA: “Horizon – Recorded Live in Egypt, 1971” (El Saturn Records – 1217718) (Record: Excellent ~ Near Mint/ Paste-On Handmade Jacket: Near Mint). Original 1st pressing on Ra’s own Saturn label with hand pasted labels and hand pasted sleeve art. This one came out in various sleeve art mutations. Rare LP documenting during Sun Ra & his Arkestra’s first Egyptian visit. Recorded in Cairo on December 17, 1971, this is one of the only discs to have been issued in very limited numbers. It opens with a bang when the Arkestra launch straight into "Starwatchers" with a choral chant and solo from John Gilmore before the entire Arkestra dive headlong into a languid and free-form high tension jam, creating an arresting experience. Ra’s atonal mini-Moog unleashes in return a deep subterranean schizophrenic high voltage reaction with his sharp staccato injections ravaging the soundscape overtop of the animated strive of the Arkestra. It is simply a lethal listening experience, which comes over as the whole band is engaged in trench warfare, hurtling in and out of focus. Other maniac group fury leaps into renditions of "Discipline 2" as well as "Discipline 8" and although it are Arkestra standards, Ra succeeds in making them again utterly unique. "Space Is the Place" starts out as almost a tribal chant before breaking down into an extended free jazz skronk embellishing a raggedy group dynamic of The Magic Band, all complete with raw breakdowns of huffing brass and droning psychedelic bleeps and once the group are firing on all cylinders it is just impossible to resist, mainlining free jazz, electric boogie, basement crank - allowing the combo to interact at their most melodic -- on this disc, anyway. And everything is blessed with that magic and cool cassette-recorded audio-verite feel. Just fantastic!!! Price: 500 Euro
2026. SUN RA And His ARKESTRA: “Horizon – Recorded Live in Egypt, 1971” (Saturn – 121771) (Record: Excellent ~ Near Mint/ Paste-On Handmade Jacket: Near Mint). Original 1st pressing on Ra’s own Saturn label from 1972 with earliest label version and housed hand pasted sleeve art. This one came out in various sleeve art mutations but this sleeve is the earliest and rarest variation of the Horizon mutations. Top Shape! Price: Offers!!!!
2027. SUN RA AND HIS INTERGALACTIC RESEARCH ARKESTRA: “The Invisible Shield” (El Saturn – 14400) (Record: Near Mint/ Hand Pasted Jacket: Near Mint). Top copy of this illusive mind-bending Sun Ra slide. Released in 1974 in a limited-run LP sold at live shows, Invisible Shield is one of the rarer Sun Ra albums. Mostly recorded in 1961 and 1962 with a final piece from 1970, the nine tracks here have a trajectory that mirrors Sun Ra's career and seemingly the progression of jazz itself. The opening original, “State Street,” is a big band effort long on swing, with tight horn charts and solos propelling it along. The context shifts to small group versions in stereo of standards “Sometimes I’m Happy” (with soulful piano by Sunny), “Time After Time,” “Easy to Love,” and “Keep Your Sunny Side Up,” which feature tenor saxophonist John Gilmore, trumpeter Walter Miller, and a driving Ronnie Boykins on bass. Things close with the wild electro-acoustic free jazz title track and the echoey and ambient “Janus.” There's no real reason why this should be so obscure, because it certainly in Sun Ra flashing one of his many colors. Totally essential mind food! Price: 550 Euro
2028. SUN RA & HIS ARKESTRA: “Some Blues But Not The Kind That’s Blue” (El Saturn – 1014077) (Record: Excellent ~ Near Mint/ Paste on Sleeve: Near Mint). Original 1978 US pressing in top shape. A nice 1977 date that's heavy on standards. Ra’s work is generally remembered as being rather "out-there," but Some Blues helps remind listeners that he had learned all the rules well before setting out to break them. Aside from the two Sun Ra tunes, this is a pretty inside date with some major statements from Ra on piano and John Gilmore on tenor. The title track (one of only two originals) opens the record with a minute and a half of chaos from Ra’s stripped-down, bass-less Arkestra, until suddenly he pounds out a brief piano motif that stops the band in its tracks. The jam strides on confidently, showcasing an amazing interplay between Ra’s groove-heavy piano playing and the swagger of John Gilmore’s tenor sax. For the most part, the other standards follow suit, with the exception of a bewildering reading of "My Favorite Things," that begins with Ra mostly ignoring the chord-changes of the original and instead focusing on the piano as a solely percussive instrument, allowing his band mates ample solo time to hint at the original melody. Everyone gets a bit of solo room, and the flutes and bass clarinet add some really nice colors, especially on "My Favorite Things," a song so closely identified with the John Coltrane Quartet hat this version is almost startling in its contrast to Coltrane’s myriad versions. Midway through he explores the melody in various keys and tempos, and in that moment you can actually hear the confusion on the rest of the band’s faces. Price: Offers!!!
2029. SUN RA AND HIS ASTRO INFINITY ARKESTRA: “Strange Strings” (Saturn – LP-KH-5472) (Record: Excellent ~ Near Mint - has faint hazing that does not affect the paly at all, no signs of usage, no defects or marks, apart from that the LP would have been Near Mint visually as well as sonically/ Jacket: Near Mint ~ Mint) TOP COPY!!!! First original pressing in near perfect condition. “For more than a year Sun Ra had been collecting exotic stringed instruments from curio shops and music stores on his travels, and had gathered together a koto, some ukuleles, a mandolin, and various Chinese instruments. One day at a rehearsal in 1966 he passed them out to the horn and reed players of The Arkestra and explained that their next record would be with strings, since they needed to reach their audience in a different way than traditional jazz could provide. When they complained that they didn't know how to tune the instruments, much less play them, Sun Ra explained how that was precisely the point it was to be an exercise in ignorance, music at the point where knowledge gave way to the pure spirit which could guide their playing. The result was a remarkable piece of textural, atonal music, save for the few moments where singer Art Jenkins growled through a megaphone. In retrospect they seem to have found the nexus at which Stockhausen and Cornelius Cardew's scratch orchestras met; but if anything, Strange Strings is a more organic and satisfying work, all the more astonishing as having been the most completely improvised piece of music in the history of jazz.” (John F Szwed – The Wire, from the article “100 Records that Set the World on Fire While No One Was Listening”). The most outward bound and avant-garde inspired Sun Ra recording, bordering on the fringes of sheer noise, sonic warfare, sheer improvisation, and spiritual jazz shronk. Total killer!!! Hard to find this clean. Price: Offers!!!
2030. SUN RA: “Aurora Borealis” (Saturn – 91379) (Record: Near Mint/ Jacket with front and back pasted slicks: Near Mint). Original 1981 Saturn pressing with P.O. Box 7124 Chicago address on label. “Aurora Borealis is a very interesting album of solo piano from Sun Ra. Side A features two Ra compositions, "Aurora Borealis" and "Omniscience," both of which feature pretty melodic passages laced with dissonance and some thunderous low chords. Despite getting pretty "out," there is always a strong sense of structure and some downright stunning passages. Side B begins with Ra interpolating Rachmaninov’s Prelude in C# Minor (!), then moving into "Quiet Ecstasy," a beautiful, sparse and contemplative piece. Aurora Borealis is one of only a handful of solo piano dates from Sun Ra and remarkable for that alone.” (All Music Guide). Essential Sun Ra slide, original pressing in top shape that comes in handmade sleeve. These do not turn up that often – especially in such top notch shape as this beauty here. Price: 500 Euro
2031. SUN RA & HIS ASTRO-INTERGALACTIC INFINITY ARKESTRA: “Nature’s God” (Toth Intergalactic – 1272) (Record: Near Mint/ Hand Pasted Sleeve: Near Mint). This is the very first press issue that came on the yellow colored Toth label imprint label, later issues had different sleeve art and other colored labels. In 1971, in Denmark, at the end of a tour, Sun Ra suddenly decided to take his whole band to Egypt. They had no concerts and no contacts there but Ra sold some recording rights to Black Lion to pay for the tickets and they flew out. They were stopped at customs and their instruments were temporarily impounded but they were let through as tourists. Then they booked into a hotel facing the pyramid at Giza. Word got to Hartmut Geerken, then working at the Goethe institute, and he quickly threw a concert together at his house in Heliopolis, for which Brigadier Salah Ragab borrowed army instruments for the Arkestra to play. Ra's Moog had made it through customs and a Tiger Organ was hired. One of the audience booked the band in for a Cairo TV session the following day. Then Ragab persuaded the Ministry of Culture to book a concert at the Balloon Theatre. Two more concerts followed -- at the American University and the Versailles Club. They stayed for more than a fortnight, making a film while they were there and finally, by band-members selling various personal items, raised the money to fly home. The first tracks are from the Cairo TV broadcast and the whole collection features more familiar groove-based pieces characteristic of the period, interspersed with Moog and electric keyboard solos. June Tyson reappears for 'To Nature's God' and the highly eccentric 'Why Go To The Moon?'" Top condition. Price: 400 Euro
2032. SUN RA & HIS OUTER SPACE ARKESTRA: “A Fireside Chat With Lucifer” (Saturn – 1984SG-9) (Record: Near Mint/ Hand Painted Touched Jacket: Near Mint, still housed in original Shrink). Top condition US original press issue. Like many Sun Ra albums, Fireside Chat offered stylistic random shuffle, as was the artist's intent, reflecting his eclectic, seemingly irreconcilable approach to compositional extremes. With Sun Ra you get everything except consistency and predictability. Side B consisted of the inscrutable 21-minute title track, while Side A consisted of three unrelated, shorter works (the wryly apocalyptic "Nuclear War," a languid, atmospheric ballad titled "Retrospect," and the soul groove "Makeup"). Fireside Chat was pressed in limited quantities, with hand-made Xeroxed covers (sans personnel or credits but at least two different art work versions do exist), and sold at concerts. Some were re-touched by adding some hand painting, like this one here. Original copies are incredibly rare. This one is in top shape, housed in shrink and sounds stellar! Price: Offers!!!

2033. SUN RA And His BLUE UNIVERSE ARKESTRA: “Universe In Blue” (El Saturn – ESF-200) (Record: Near Mint/ Jacket: Excellent). The Universe In Blue is a fantastic set, housed in cool silk-screen sleeve art. There are couple of sleeve variations but this one does not pop up that often. The recordings culled from those evenings are far from being hi-fidelity; they were probably put down on tape by only a pair of microphones straight to tape. That aside, they still provide an intriguing glimpse into the Arkestra's sonic universe and showcase the virtuosity of their interplay. The title cut is just a slow blues soloing showcase with Sun Ra’s "intergalactic space organ," a soulful, moody organ crawl which fuses into trumpet and John Gilmore’s tenor sax, and back to Ra. June Tyson takes center stage for "Blackman", giving a particularly impassioned performance, showcasing June Tyson in one of her most profound recorded moments, unleashing a gospel-ish wail singing about “when the black man ruled the earth”. Still, this is not where all the fun stops. The final track is certainly another high-water mark and with “Another Shade of Blue” the group veers into a relentlessly wild 11 minutes + bluesy jive. The audio clarity is not the best and if you are looking for audiophile quality you better steer away from most Ra recordings but the playing is awesome. Ra sticks to organ for the entire date, and it's just wonderful to hear what the Arkestra does with such a "simple" form. This is not an easy catch, a fairly inside/ intimate date and fans of Ra and Gilmore’s and playing will be especially pleased. Price: Offers!!!

2034. SUN RA & His ARKESTRA: “Ra To The Rescue” (Saturn Records – Sun Ra Saturn-9-1983-220) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Original 1983 Saturn records pressing of classic and fantastic Sun Ra slide. Ra To The Rescue is a live set recorded at the Squat Theater in New York in 1982. It's quite well recorded, although some of the tracks are faded or edited somewhat abruptly. "Ra to the Rescue (Chapter 1)" is an insane solo synthesizer workout that has Ra in full sci-fi mode. He does things with a synthesizer that you never would have thought possible. For Chapter 2, it's Marshall Allen’s turn, doing things you never thought possible with an alto saxophone. Then the album shifts gears into a very nice arrangement of "Fate in a Pleasant Mood" that leaves out the lyrics, but has nice "la-la-la" vocals and hand claps. The second side of the album heads in a blues direction. "When Lights Are Dark" is a very swinging basic blues, with just bass and drum accompaniment. "They Plan to Leave" starts with a bluesy piano intro, then June Tyson and John Gilmore singing Ra switches to synth, then takes the vocal lead while Tyson and Gillmore continue in the background. "They Plan to put the White House on the moon, soon! and the Kremlin on a satellite!" This is another great Arkestra vocal track. "Back Alley Blues" closes the set with a fantastic gospel-blues stomper. Ra To The Rescue may be tough to find, but it's well-worth seeking out for fans.” (All Music Guide). Price: 350 Euro
2035. SUN RA And His ASTRO-INFINITY ARKESTRA: “Continuation” (El Saturn – 520) (Record: Excellent ~ Near Mint/ Hand Made jacket: Near Mint) Scarce Sun Ra recording housed in arty handmade sleeve. “Continuation is an interesting late-'60s date with a nice mixture of styles. "Biosphere Blues" is a great slow blues with room for a number of solos, but anchored by the phenomenal playing of Ronnie Boykins. "Intergalaxtic Research" has some creepy space voice over a plodding beat which is joined by creepy organ, and "New Primitive Earth" is a weird flute/bells/koto experiment. "New Planet" is very cool space-exotica with Bugs Hunter (presumably) adding enormous washes of reverb and echo at various points in the tune. "Continuation To" starts with a crazed circus fanfare and then features Sun Ra on speed piano before calming down for a trumpet solo over an eight-beat bass ostinato. "Jupiter Festival" is a cacophonous romp with the saxophones' swooping squeals matched by Boykins’ squealing arco. Continuation features several interesting instruments, like the Jupiterian Flute and Neptunian Libflecto and the space voice of Art Jenkins and is one of several albums that demonstrate what a great player Ronnie Boykins was.” (AMG). Mind-blowing music from Sun Ra & The Arkestra – sounds recorded during the same marathon session that gave the world the records Other Planes Of There, When Sun Comes Out, and When Angels Speak Of Love! Ra plays a variety of unusual instruments alongside piano – including the piano strings, space organ, and clavioline – alongside some sublime straight horn work from John Gilmore on tenor, Marshall Allen on alto and oboe, Pat Patrick on baritone, Danny Davis on alto and clarinet, Walter Miller on trumpet, Robert Cummings on bass clarinet, and Ali Hasaan on trombone! The lineup here has that raw power the Arkestra first unleashed after their initial move to New York – almost a sense of new freedom in the new environment – even at a time when they weren't clicking on a financial level, but still continued to push forward with new ideas in music! Some passages have this great approach that links the cosmic ideas of the Arkestra with older traditions of jazz soloing – while others reflect the growing concern of the group with new textures and sounds – making for some very impressive elements on both the horns and percussion. The group is completed by Ronnie Boykins on bass, Art Jenkins on space voice and percussion, and Tommy Hunter on drums, percussion, and some mighty nice reverb. Amazing Sun Ra slide that brings forth especially the versatile capabilities of Boykins. That alone is already worth the price of the admission. Comes housed in unique handmade sleeve by Ra or somebody in his then entourage. Price: 650 Euro
2036. SUN RA & HIS ARKESTRA: “Disco 3000” (El Saturn - ?) (Record: Excellent ~ Near Mint/ Hand Pasted & Hand Colored Jacket: Excellent ~ Near Mint). Original 1978 1st press issue on Ra’s own Saturn imprint. 2nd press has totally different jacket. Best sounding and cleanest copy I have had so far and comes housed by a hand colored front sleeve. The main instrument, at least on the twenty-six minute title track, is a prototype made by Crumar called the 'Crumar Mainman' which Sun Ra described as 'like a piano, organ, clavichord, cello, violin and brass instruments', quite a stunning piece of gear then. The most interesting thing is the way Ra uses pre-programmed percussion, underpinning the track and allowing him to make in-roads into the murky world of electronic music, with one foot in disco, one foot in free jazz and two hands stretched out into space. Elsewhere we drop into safer territory (just) with Sun Ra allowing his fellow players John Gilmore, Luqman Ali, Michael Ray and June Tyson a chance to shine, but this is peculiar music from start to finish and I wouldn't have it any other way. Amazing and transcendent music. Price: 500 Euro
2037. SUN RA: “When Spaceships Appear” (Saturn – 10-14-85) (Record: Near Mint/ Hand painted Sleeve: Near Mint). Obscure material from Ra – of mid 80s vintage, but still quite tough to find! Side one features material from live sessions – including the great "Drummerlistics", which features excellent percussion by James Jacson, and the tracks "Children Of the Sun", and "Fragile Emotions Blues". Side two features "Cosmo Party Blues", "Space Shuttle", "Fate In A Pleasant Mood", and "They Plan To Leave". White labels and hand drawn sleeves, top condition so….don’t think twice it is alright Ma! Price: 400 Euro
2038. SUN RA: “Stars That Shine Darkly/ Hiroshima” (Saturn – 11-83) (Record: Near Mint/ Hand Painted Jacket: Near Mint). One of the most enigmatic Sun Ra albums you'll ever hear – a really striking recording that's filled with a great sense of majesty and cosmic exploration! The extended title track "Hiroshima" features Ra playing pipe organ – using the instrument quite freely and expressively, to create these sounds that are both oddly spacey, but also have almost an ancient Egyptian sort of feel! The track is one of the sparest ever from Ra, but also one of the most moving – an extended tapestry in sound that's filled with amazing moments. The flipside of the record features "Stars That Shine Darkly" – a real gem that features guest work from Archie Shepp on tenor, Don Cherry on pocket trumpet, Lester Bowie on trumpet, Don Moye on percussion, and Philly Joe Jones on drums! With a lineup like that, there's a wonderful interweaving of jazz styles and traditions going on – all grounded in a slightly more familiar Arkestra mode, thanks to John Gilmore on tenor and Marshall Allen on alto. The tune beings quite freely, and almost sparely – sounding a bit like some of the late 60s Paris recordings by either Shepp or Cherry – but as it moves forward, it develops a bit of a pulse – and also shows some strains of AACM influence as well! Side A: Stars That Shine Darkly (Ra) (part 1) Ra- p; with Sun Ra All Stars: Lester Bowie-tp; Don Cherry-tp; Archie Shepp-ss, ts; Marshall Allen-as; John Gilmore-ts; prob. Eloe Omoe-bcl; Richard Davis-b; Philly Joe Jones-d; Clifford Jarvis-d. Live in Montreux, Switzerland, November 1983. Side B: Hiroshima (Ra). Sun Ra-pipe org. Live, unknown place but surely in Europe, November 1983. Comes in hand drawn sleeves and blank labels….Price: 500 Euro
2039. SUN RA: “Oblique Parallax” (Saturn – SR72881) (Record: Near Mint/ Hand Painted Sleeve: Near Mint). Original 1981 original US press that comes housed in a unique hand-painted sleeve. “Although this release may prove to be exceedingly difficult to locate, Oblique Parallax boasts live performances from free jazz keyboardist Sun Ra at the Jazz Center in Detroit, Michigan. The material within includes Ra’s solos, as well as a few Arkestra offerings. The album begins with an unaccompanied electric organ on the "Oblique Parallax," which meanders into a slightly more assertive and impassioned composition, "Vista Omniverse." "Celestial Realms" follows, as Vincent Chancey (french horn) joins Ra with some minimalist, but audible contributions from Eric Walker (drums). Chancey weaves unfettered over Ra’s cordial yet jarring chord progressions. The second half of the platter consists of the lengthy centerpiece "Journey Stars Beyond." The offering commences in much the same fashion as "Celestial Realms" had ended, with Ra, Chancey and Walker conjuring up pastoral sonic imagery prior to propelling themselves headlong into an aggressive instrumental assault led by Walker’s frenetic and dexterous percussive inflections. The remainder of the Arkestra follow suit with an exceptionally powerful blast of free jazz improvisation as Ra switches to a synthesizer for some of his trademark out-of-this-world runs that simply defy accurate description -- however, enthusiasts will be able to relate to the intensity and ferocity that the Arkestra has become synonymous with. Parties interested in the music of Sun Ra should seek this title -- which will most likely be on vinyl -- for an exemplary set of avant-garde free jazz from one of the masters of the genre.” (All Music Guide). Like any other Sun Ra slide, this one is equally indispensable! Hand-painted sleeve variations are scarce. Top condition. Price: 475 Euro
2040. SUN RA: “Oblique Parallax” (Saturn – SR72881) (Record: Excellent ~ Near Mint/ generic Outer Sleeve: Near Mint). Original 1981 original US press. Although this release may prove to be exceedingly difficult to locate, Oblique Parallax boasts live performances from free jazz keyboardist Sun Ra at the Jazz Center in Detroit, Michigan. The material within includes Ra’s solos, as well as a few Arkestra offerings. The album begins with an unaccompanied electric organ on the "Oblique Parallax," which meanders into a slightly more assertive and impassioned composition, "Vista Omniverse." "Celestial Realms" follows, as Vincent Chancey (french horn) joins Ra with some minimalist, but audible contributions from Eric Walker (drums). Chancey weaves unfettered over Ra’s cordial yet jarring chord progressions. The second half of the platter consists of the lengthy centerpiece "Journey Stars Beyond." The offering commences in much the same fashion as "Celestial Realms" had ended, with Ra, Chancey and Walker conjuring up pastoral sonic imagery prior to propelling themselves headlong into an aggressive instrumental assault led by Walker’s frenetic and dexterous percussive inflections. The remainder of the Arkestra follow suit with an exceptionally powerful blast of free jazz improvisation as Ra switches to a synthesizer for some of his trademark out-of-this-world runs that simply defy accurate description -- however, enthusiasts will be able to relate to the intensity and ferocity that the Arkestra has become synonymous with. Parties interested in the music of Sun Ra should seek this title -- which will most likely be on vinyl -- for an exemplary set of avant-garde free jazz from one of the masters of the genre.” (All Music Guide). Like any other Sun Ra slide, this one is equally indispensable! Price: 250 Euro
2041. SUN RA & HIS ARKESTRA: “Over The Rainbow” (Saturn - ?) (Record: Near Mint/ generic Outer Sleeve: Near Mint). Original 1977 Saturn pressing. Comes housed in generic carton sleeve for export, here to the UK as shown with sticker on lower right corner. Tracklist include: A1 We Live To Be/ A2 Gone With The Wind/ A3 Make Another Mistake/ A4 (Take The) "A" Train/ B1 Amen Amen/ B2 Over The Rainbow/ B3 I'll Wait For You. Another highly essential Sun Ra set recorded over two nights back in 1977. Awesome stuff!! Price: 175 Euro
2042. SUN RA: “I’m Gonna Unmask The Batman b/w The Perfect Man” (El Saturn – ES-537) (7 Inch Single Record: Near Mint/ Dust Jacket: Excellent). Rare 1974 Sun Ra and his Astro Intergalactic Infinity Arkestra – original pressing in top condition. The very first issues of this single came out with hand drawn labels that later on became printed ones in various variations. The hand-drawn one are damned scarce, 2nd copy I see so far. The A-side is etched 'Sun-Ra 74 74' twice and the B-side is etched '52473B.' Well, this may be the most psychedelic and tripped out Sun Ra recording out there, oozing out dripping psychotropic’s. Ra’s cash-in Batman tribute ‘I’m Gonna Unmask The Batman’ succeeds brilliantly in mixing cosmic jazz with R&B that sounds both ancient and futuristic. The B-side, “The Perfect Man” will cave your head in, greasy funk & jazz mayhem with Sun Ra’s remarkably mini-moog to the fore, drums from heaven and a jaunty demonic bass lead that just about knits everything together… an exploration of loose polyrhythmic funk grooves, sensual, heavy, and far out sounds designed strictly for psychedelic mind-expansion. Ra incorporates a Moog synth into it; and probably recorded it in mid-1973. A bluesy horn riff acts as the bedrock before Ra runs amok with the molecular shifting synthetic instrument. It’s a strange mismatch, but “The Perfect Man” feels like a rare link between dapper nightclub blues and the space-bound sounds of new wave, disco and deranged psychedelic tripped out sounds. The song encapsulates Sun Ra’s freewheeling, alien brilliance like no other and swings like an asymmetric electrified demented lunatic on downers. Just sheer brilliance. Top copy. Price: 400 Euro
2043. The SUN RA ARKESTRA: “Meets Salah Ragab In Egypt Plus the Cairo Jazz Band” (Praxis – CM-106) (Record: Near Mint/ Jacket: Near Mint) Original 1983 pressing, only released in Greece and in top – flawless – condition. The Arkestra returned to Egypt in 1983, recording Sun Ra Meets Salah Ragab In Egypt, a joint venture between Ra and the composer with the Cairo Jazz Band. Ra used tracks from November 1983 Montreux shows (part of a week's European sortie where his Sun Ra All Stars included Allen, Gilmore, Archie Shepp, Don Cherry, Lester Bowie, Philly Joe Jones and Clifford Jarvis) on two Saturn volumes of Stars that Shine Darkly, adding tracks from other gigs, including the 14 minute pipe organ solo "Hiroshima". Amazing Archestra performing in Egypt and together with the music from the Egyptians offers a fascinating peek at an attempt to integrate jazz improvisation with Arab culture. Price: 200 Euro
2044. SUN RA: “Of Mythic Worlds” (Philly Jazz – PJ-1007) (Record: Near Mint/ Jacket: Near Mint). Top condition copy with no cut out on the sleeve, most of these have a cut-out corner sleeve but this one is one of the few out there that fully intact and pristine. This is a fine album recorded in 1979 that sounds like a studio date. The second Sun Ra album to be released on Philly Jazz following Lanquidity. Undated live recording of Sun Ra's music that is equational. It is based on a system and philosophy as old as the most ancient of civilizations, and it points the way of the future as well. Music is not seen as merely entertainment. Ra has oftentimes mentioned the potentials of music to change the social order. In fact, the highlight of many of his performances is his self-conceived cosmo-drama which is essentially a dramatic monologue by Sun Ra in which he outlines the paths toward omniversal perfection. The Arkestra itself becomes the musical foil for Pharonic wisdom and cosmic insight. "Mayan Temples" is a great piece: slow and exotic with lots of flutes and bass clarinet. A nice reading of "Over the Rainbow" follows, then a great piano feature called "Inside the Blues." Side two heads just a bit farther out, with "Intrinsic Energies" sounding like some kind of space bebop while "Of Mythic Worlds" is a great tenor feature for John Gilmore. This is another album that is a bitch to find in top shape but well worth it. Price: 200 Euro
2045. SUN RA: “The Magic City”(Impulse – AS-9243) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top copy, 1st original issue on Impulse. Quite a bitch to find in NM condition like this one here. The boundaries of Sun Ra’s self-proclaimed "space jazz" underwent a transformation in the mid-'60s. The Magic City is an aural snapshot of that metamorphic process. Many enthusiasts and scholars consider this to be among Ra’s most definitive studio recordings. Although the "city" in the album's title was thought to have been New York -- where the disc was recorded -- it is actually Ra’s earthly birthplace of Birmingham, AL. The Magic City consists of four free jazz compositions: the album side-length title track, The Shadow World, Abstract Eye and Abstract I -- two variants of a common work. These pieces are essentially ensemble improvisations recorded live. Any direction from Ra, indicating the order of soloists for instance, would be given either through his playing or with hand signals. Sun Ra & His Solar Myth Arkestra took up residency in Manhattan's East Village in the early to mid-'60s. Their neighbors included Pharaoh Sanders as well as Babatunde Olatunji. In fact, “The Shadow World”, “Abstract Eye” and “Abstract I” were actually recorded in Olatunji’s loft. The title track begins with weaving distant and frenetic lines from Ronnie Boykins (bass) and Ra (piano, clavoline), connected by intermittent eruptions from Roger Blank (drums). All the while, Marshall Allen’s dreamlike piccolo randomly maneuvers through the sonic haze. The piece also contains an ensemble onslaught that abruptly contrasts with everything experienced up through that point. In the wake of the innately earthbound “Magic City” are three comparatively shorter pieces with subtle undercurrents that return Ra to space motifs. For example, the importance of sonic contrast defines “The Shadow World” by juxtaposing the lightly churning bass and cymbal into some surreal keyboard interjections from Ra.” (Lindsay Plane – All Music Guide). Essential. Great and clean copy….Price: 75 Euro
2046. SUN RA & His ARKESTRA Featuring JOHN GILMORE: “Jazz In Silhouette” (Impulse – ASD-9265) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve). US original pressing on the Impulse label – WHITE label PROMOTIONAL issue. “Throughout their mid-to-late-'50s stay in Chicago, Sun Ra (piano) and his Arkestra established themselves as formidable purveyors of a new strain or sub-genre of jazz. Having evolved from elaborate reworkings of familiar standards, Jazz in Silhouette (1959) presents a collection of originals, building upon Ra’s abilities as a consummate multi-tasker -- writing, arranging, scoring parts for his band, in addition to performing. He stretches the boundaries of the music to suit the Arkestra simultaneously progressing his distinct sound. Seminal readings of the quick and complex "Saturn" and "Velvet" are offered with unmatchable dexterity and precision. The latter title comes off like a confused version of "Jeepers Creepers" as Hobart Dotson (trumpet) prominently displays his unquestionable tonality. "Ancient Aiethopia" is one of the more involved works, both in terms of length -- running over nine minutes - and the Arkestra’s capacity for Ra’s compositions. "Blues at Midnight" is another expansive outing that, by contrast, is for the soloists rather than full ensemble. John Gilmore (tenor sax), Ronnie Boykins (bass), Pat Patrick (baritone sax), and Marshall Allen (alto sax) all shine behind William Cochran’s (drums) solid contributions. Equally significant is the running dialogue Ra maintains during other musicians' leads, directing the ebb and flow with an uncanny fusion of melody and rhythm. Undoubtedly, this is a factor in the freshness the material retains. It is also a prime example of Ra and company in a transitional phase, prior to their full-fledged explorations into the avant-garde.” (All Music Guide). Beautiful condition white label promo. Price: 150 Euro
2047. SUN RA: “Angels And Demons At Play” (Impulse – AS-9245) (Record: Near Mint/ gatefold Jacket: Excellent/ Company Inner Sleeve: Near Mint). US original pressing on the Impulse label – WHITE label PROMOTIONAL issue. Sun Ra’s Angels And Demons At Play is a diptych created by merging two recording sessions. The first is a laid-back introspective affair ("angels?") recorded in 1960. Even frolicsome, these bouncy melodies follow the percolating rhythms with a gently leading reed, as Marshall Allen exemplifies on flute in "Tiny Pyramids." Also dating from before the truly experimental Sun Ra period, the last three tracks were recorded at RCA Studios in Chicago in 1956. Still very accessible, here several horns, among them reaching trumpets ("demons?"), trade briskly back and forth in solid and lively big band arrangements. Price: 150 Euro
2048. SUN RA: “Fate In A Pleasant Mood” (Impulse – AS-9270) (Record: Excellent ‾ Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original US Impulse Record pressing, WHITE label PROMO issue. This recording captures the Arkestra in an interesting transitional phase. Fate In A Pleasant Mood is one of the final recordings from the Chicago period that had Ra forging a personal sound using elements of swing and bop, with stellar horn arrangements and propulsive timpani drums. Fate In A Pleasant Mood is an early Sun Ra recording that contains in seminal form any number of elements of Ra’s later work. But though those elements are here, one would not have guessed from this recording the gigantic and audacious steps forward Sun Ra would shortly take. Certain pieces, however – for example, “Space Mates” – when drawn to their logical conclusions, lead directly toward the freer sense of form, structure and rhythm Ra later made the cornerstone of his most important music. The textural scope of “Space Mates,” its unpredictable format, and the way in which sound is both isolated and explored for its own sake and yet is completely logical compositionally. Other pieces like “Distant Stars” express a more overtly rhythmic and boppish aspect of Ra’s music that he was also to retain and to combine with the freer forms. Highly essential. Price: 75 Euro
2049. SUN RA: “The Nubians Of Plutonia” (Impulse – AS-9242) (Record: Near Mint/ gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US original press on the Impulse label. In the late '50s, Sun Ra emerged from big band to modern/progressive big band status, began to employ electronics, and used a more Afro-Centric percussive focus. This recording perfecly demonstrates those qualities, and more. There are several definitive themes from The Arkestra included, such as "Plutonian Nights," "Nubia," "Africa," "Watusa" and "Aethiopia." coming chronologically between the other two groups of tunes, evidence an Arkestra moving into ever looser, more abstract ground. The percussion becomes more varied and moves ever closer to the foreground. "The Golden Lady seduces with a swaying groove created by a combination of simple parts: hi-hat, cow bell, wood blocks, rolling floor toms and bass. Ra then sets up a dark melodic theme, and then the Arkestra proceeds to weave a series of jaunty, blues-tinged solos into the fabric of the groove. "Nubia , "Africa and "Aiethopia continue this excursion into more mystical, rhythm-based territory. The Arkestra utilizes the same ominous, simmering percussion beds, now augmented by more exotic instruments like Pat Patrick's 'space lute,' which gives a playfully sinister sound to "Africa . Originally released on his own Saturn imprint, it was released also on the Impulse label and graced with an awesome gatefold jacket cover art. Price: 120 Euro
2050. SUN RA ARKESTRA: “Unity” (Horo Records – HDP-19-20) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original 1979 pressing on the elusive HORO records imprint. “A live recording of a joyously swinging concert, this record finds Ra entering the final phase of his career, where he mixed his outer space/ancient Egypt inspired free jazz with the big band swing of his youth. It's a tribute to both Ra and the band that they were able to reconcile these two diametrically opposed types of music and make them work so well. Some of Ra's most steadfast sidemen are in attendance here like the saxophonists Marshall Allen and John Gilmore, along with some new additions like Michael Ray on trumpet and Craig Harris on trombone. Quite a bit of the material presented here would make for stumping "blindfold test" material, particularly when the band almost raises the roof on righteously swinging versions of Fletcher Henderson's "Yeah Man!" or the Jelly Roll Morton classic "King Porter Stomp." The group pretty much runs through the history of jazz moving from swing to bop on Tadd Dameron's "Lady Bird" and post-bop, checking in with Miles Davis's "Half Nelson" and a very Coltrane-ian run through of "My Favorite Things." It's only at the end of the concert that they leave Earth orbit with fine versions of legendary Sun Ra tunes "The Satellites are Spinning" and "Enlightenment." This one might be a bit of a bear to track down, and I'm not sure if it's still in print or not, but it is well worth the effort. This edition of the Arkestra was rock solid, and like fellow polymaths Jaki Byard and Rahsaan Roland Kirk, they had the entirety of jazz at their fingertips.” (Music & More BlogSpot). Original press, getting a tough one to score lately. Price: 150 Euro
2051. SUNN O))): “White2” (Southern Lord – SUNN-31) (2 LP Set on Clear Vinyl: Near Mint/ Gatefold Jacket: Mint/ Poster: Mint). Long out of print stunning copy of this heavy drone disc, if La Monte Young could manage to sounds as deep minimal as these guys, I would be hooked and lost forever. Packaged in a gorgeous gatefold sleeve. This vinyl edition also adds one track, the 18 minute "Decay [The Symptoms Of Kali Yuga]" that previously only appeared as an mp3 bonus on Southern Lord's "Beast Of" Attila Csihar cd. Aside from that addition, what we said about the cd version applies, as follows:
 And the vibrations continue...like the ice age envisioned in that recent movie The Day After Tomorrow, White2 by Earth-worshippers SUNNO))) has finally arrived to obliterate all life foolish enough to have futilely flourished in the interim since the release of their previous album White1 last year. It's doom time, folks. White2 was recorded at the same sessions as White1, which saw the core SUNNO))) duo of guitarists Stephen O'Malley and Greg Anderson augmented by guests including Rex Ritter and Joe Preston both of whom appear on this disc. Also present is vocalist Attila Cishar, the Hungarian black metal icon best known for fronting Norway's infamous Mayhem on their classic De Mysteriis Dom Sathanas album! 
This disc clocks in at 63 minutes, divided amongst three long tracks, the first of which, "Hell-O)))-Ween", starts things off as you'd expect: it's a sonic glacier, prime Earth-styled SUNNO))) drone-grind. But track two, "bassAliens" moves into weirder, more abstract territory, a haunting, cave-dwelling improv whose electric noises could be the awakening of some cosmic Cthulhoid monster. Then the last and longest track "Decay2 (Nihil's Maw)" ups this album's quota of terror and beauty both. A spacey, droney, dark dream scream from the throat of Attila... White2 is metal maybe, experimental yes, and quite a scary success. The farther-out stuff on this disc could be and has been rightly been compared to the music of Keiji Haino, cloaked in the same blackness. From riffage to ritual, recommended.” (Aquarius Records). Couldn’t have said it any better. Highest recommendation if you are into the more heavier and darker side of the minimalist drone. Price: 150 Euro
2052. SUNN O))): “Black One” (Southern Lord – SUNN-50) (2 LP Set on Marble Vinyl: Near Mint/ Gatefold Jacket: Mint/ Individual Imprinted Inner Sleeves: Mint). Long gone limited release of 2005. The LP comes across as an experiment on paranoid induced fear that toys with listeners’ possible afflictions such as agoraphobia and claustrophobia. Each track has its own disconcerting elements that consistently build on the feeling of dread that emanates through the whole album by using an expanded cast of special guests (Oren Ambarchi, John Weise, as well as black metal purveyors Wrest and Malefic) that lend definite personal stamps to the proceedings. And even though this chilling macabre emanates throughout the album, the tracks are wonderfully dense with layers of sound. Oren Ambarchi brilliantly administers the aforementioned brief opening piece, called “Sin Nanna”. It is followed by the devilish “It Took the Night to Believe.” The odd structure of this song makes it feel like an excerpt of a larger piece, but that element along with Wrest’s vocals adds to the malevolent feel of it. Other standout tracks include the oppressively depressing “Cursed Realms (of the Winterdemons)”, “Orthodox Caveman”, and the absolutely stark closer, “Bathory Erzebet.” (Bob – Scene Point Blank). Like any other Sunn 0))) LP, their releases were highly limited, evaporated into thin air moments after they hit the streets and best of all, once exposed to their sounds, they keep on resonating through the canyons of your mind. No escape. Fabulous!! Price: 150 Euro
2053. SUNN O))): “The GrimmRobe Demos” (Southern Lord – SUNN-37) (2 LP Set: Near Mint/ Gatefold Jacket: Mint). Long gone and deleted 2 LP vinyl edition. Everything by these guys turns out to be collective, which makes sense since their sound is just awesome. “The GrimmRobe Demos was the first most of us had ever heard of this supposed Earth tribute band, their debut disc sounded as a filthier, sludgier version of Earth's classic 2 album. We were in doomdirgedeathdrone nirvana. And still are. The GrimmRobe Demos still sound as heavy and sludge-y and as gloriously grim as ever. 
The packaging is of course fantastic, a super thick gatefold sleeve, printed in that deep blue and silver. So yeah, Sunn 0))) performing live, back in 1999, when they were still an opening act (opening for Angel Rot, who?), 25 + minutes of crumbling low end destruction, gritty and grimy and filthy, a massive roiling morass of down tuned guitar rumble and shimmering feedback, gorgeous and of course brutal, and capturing Sunn 0))) near the beginning. 
Of all the SUNNO))) releases, and there have been a LOT, this remains perhaps the closest to the original template of worshipping Earth II to a T. Which as far as we're concerned, at least sonically, is a very good thing. Turning sound into something so slow and physical you could almost feel it more than hear it. Long tracks of primordial dirge, humming and rumbling and crumbling and moving like a blackened glacier, riffs sprawled out over minutes instead of seconds, a slowly churning propulsive murky low end beast. Essential for all devotees of the ultra-heavy!” (Aquarius Records) So good and so addictive. Price: 100 Euro
2054. SUNNY MURRAY: “S/T” (ESP Disk/ Victor Records – ESP-1032/ SMJ-7461) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Finally, Sunny Murray’s debut on ESP is such a vital slab of the freedom principle it cannot be omitted from any collection. But it took me years to finally dig up the first Japanese press issue of this one all complete with the very first Obi smacked on it – blue colored Victor obi. Was not the easiest catch but persistence finally paid off. These babies came out in the late sixties here in Japan and sold poorly – hence that these first issues rarely come up for air. This copy here is in amazing shape, obi also has no damages. Music-wise, I guess you know so any further explanation will be as worthless as the tits on a boar hog. Killer. Price: 175 Euro
2055. SUNNY MURRAY: “S/T” (ESP Disk – 1032) (Record: Near Mint/ Jacket: Near Mint). Original 1966 US first pressing with 156 5th Avenue address printed on sleeve and label. One of the greatest albums on ESP – and a darkly-tinged document that points strongly towards the future of jazz at the end of the 60s! The album's one of the most focused of the early ESP years – and it features drummer Sunny Murray stepping out strongly as a leader – working with players who include Jacques Coursil on trumpet, Byard Lancaster and Jack Graham on alto saxes, and Alan Silva on bass – all with an intensity that prefaces some of the players' later freedoms on the French scene at the end of the decade, and modes to come during the loft jazz years of the 70s! The horns are never too free, and they come together in a flurry of sharp edges that reminds us a bit of sound structures in Archie Shepp's work at the time – but almost more organic and open overall. Price: 75 Euro
2056. SUNNY MURRAY: “Big Chief Sunny Murray In Paris” (EMI Pathe – C062-10096) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint). Damned rare original French 1st press issue in immaculate condition – it seems to be all virginal even after all this years and makes it next-to-impossible to ever upgrade upon. “The group assembled for this Parisian studio date includes musicians from France (Guérin, Tusques & Vitet), South Africa (Beers), Jamaica (Terroade), and the US (Bibbs, Friend & Silva), and the huge sweeping sound they conjure while absolutely NAILING Murray's highly irregular compositional structures is as thrilling as free jazz gets. Hart Le Roy Bibbs appears once only in a wildly memorable turn. Everywhere and throughout Murray uses the ensemble's orchestral instrumentation to explore his fascination with "sound displacement" & the far extremes of the frequency range. Prepare your hearing for searing high-end burn! The record resolves beautifully in a performance of "this nearly was mine" that manages to be both otherworldly and poignant.” (reissue notes). Killer free jazz slide and this is the 1st time ever I have come across such a top shape French pressing, flawless. Killer!! Price: 200 Euro
2057. SUNNY MURRAY: “Big Chief Sunny Murray In Paris” (Odeon – OP-8755) (Record: Near Mint/ Jacket: Near Mint). Original Japanese pressing that comes on high quality Japanese vinyl + the whole affair comes housed in a Japan ONLY designed sleeve, making this issue one of the rarest Murray slides out there. “The group assembled for this Parisian studio date includes musicians from France (Guérin, Tusques & Vitet), South Africa (Beers), Jamaica (Terroade), and the US (Bibbs, Friend & Silva), and the huge sweeping sound they conjure while absolutely NAILING Murray's highly irregular compositional structures is as thrilling as free jazz gets. Hart Le Roy Bibbs appears once only in a wildly memorable turn. Everywhere and throughout Murray uses the ensemble's orchestral instrumentation to explore his fascination with "sound displacement" & the far extremes of the frequency range. Prepare your hearing for searing high-end burn! The record resolves beautifully in a performance of "this nearly was mine" that manages to be both otherworldly and poignant.” (reissue notes). Killer free jazz slide and a tough one to find with Japan only cover, great condition. Killer!! Price: 100 Euro
2058. SUNNY MURRAY: “S/T” (RCA JAPAN/ Shandar Records – RCS-6092) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Stupidly rare original all complete Japanese press issue with never offered for sale before OBI present, first copy in 15 years I encounter with obi. Rare original high quality 1st Japanese pressing from 1973. Another vital free jazz slide by Murray, this time the 1968 released original on the highly collectible Shandar records. France has been kind to the free jazz expatriates who have traveled there for fame and perhaps even fortune and the variety of labels that had sprung up during the course of the late-sixties if only to document this budding movement should only be one aspect as to how much of a following avant jazz had over there back in the late-sixties. This self-titled Sunny Murray album features many of the up-and-coming French free players along with trumpeter Ambrose Jackson, a name that seems to slip in and out of many of these expat jazz discs. Playing is excellent and the group play like salmon swimming upstream. Totally essential. Obi is crazy rare. Price: 450 Euro
2059. SUNNY MURRAY: “An Even Break – never give a sucker” (BYG Records – BYG-30) (Record: Mint. Fold Out Jacket: Mint/ Insert: Mint/ Obi: Mint) Actuel 30. WHITE LABEL PROMO ISSUE with OBI!!!! Another blast of total freedom, spearheaded by one of the greatest drummer that still roams the face of this earth. Personnel: Byard Lancaster (alto, soprano, bass clarinet, flute), Kenneth Terroade (tenor, flute), Malachi Favors (bass), Sunny Murray (drums, balafon, poetry reading). One of the greatest discs recorded by Murray. Again original Japanese press on killer quality vinyl with insert and obi. Rare to say the least, hardly ever turn up. Sounds so much superior as opposed to the crappy French issue. This is how it was supposed to resonate through the empty canyons of your mind!!! Price: 125 Euro

2060. SUNNY MURRAY: “Hommage To Africa” (BYG Records – BYG-3) (Record: Mint/ Fold Out Jacket: Mint/ Attached Japan Only Insert: Mint/ OBI: Excellent) Actuel 3. Bloody rare WHITE LABEL PROMO ISSUE!!! One of the greatest discs recorded by Murray. Again original Japanese press on killer quality vinyl with insert and obi. Rare to say the least, hardly ever turn up, especially with the first issue obi present. Sounds so much superior as opposed to the crappy French issue. This is how it was supposed to resonate through the empty canyons of your mind!!! Price: 125 Euro

2061. SUNNY MURRAY: “The Untouchable Factor – Charred Earth” (Kharma Records – PK-1) (Record: Near Mint/ Jacket: Near Mint with only a few faint mildew spots on back but extremely minimal). Original 1977 US private press free jazz mind fucker. The album is from a live gig that opened up the New Year in 1977. The title track starts the record off on a dark, solemn note. The pace picks up significantly on "Seven Steps to Heaven" with a rhythm section that lurches as Byard Lancaster solos - let's just say these cats tear the roof off the sucka. "Tree Tops" goes into free jazz ballad mode, with a soothing melody provided by Lancaster on sax, a droning bowed bass in the background, and Murray and Burrell providing some fireworks). "Happiness Tears" is a pleasant, up-tempo piece that veers almost into boppish territory. "Peace" rounds out the album on a hopeful ballad-like tip, picking up where the previous tune left off while slowing things down a few notches. Lancaster and Burrell both get plenty of solo time on these last two tracks. Again, Murray doesn't really solo per se on the album, but his drumming provides the pulse and thus propels the music throughout. Price: 75 Euro
2062. SUPERSISTER: “Present From Nancy” (Polydor - 2441.016) (Record: Near Mint ~ Mint/ Laminated Gatefold Jacket: Near Mint/ printed Inner sleeve: Near Mint). Original 1970 1st Dutch pressing, housed in laminated gatefold jacket and released on the Dutch “Polydor – Medium” imprint. First album by this fantastic Dutch band. “With their debut album “Present from Nancy”, Supersister started what would be one of the most amazing prog musical careers in the Netherlands. Heavily influenced by Soft Machine, Supersister managed to come out with an original approach to their jazz- tinged prog stuff: in no small degree was van Geest’s vivacious flute playing a crucial factor for the band’s originality, since his bucolic style complemented beautifully the jazzy vibrations delivered by his three partners. In this way, the quartet fulfilled a delicious sonic amalgam, seasoned by abundant touches of witty weirdness – the sense of humor that comes out in many passages of the album (and in general, throughout the band’s whole repertoire) helps to enhance the sense of excitement that all four musicians seem to be genuinely enjoying while they move across the complex melodies and rhythm patters. The 2-part namesake opener sets the general mood for the album: a sheer display of pure energy delivered through neck breaking performing and interplaying. Things get even more frantic in the first two sections of ‘Memories are New (Boomchick)’ - a sort of SM on steroids - until its last section takes us to a more languid ambience. ‘Corporation Combo Boys’ is a brief musical parody including some silly ensemble chanting and a final applause. A merry joke that serves as a prelude to ‘Metamorphosis’, another typical Supersister number that includes the densest passages in the album, together with other playful ones: there is a frantic jam that reminds me of a pursuit scene in a WB cartoon. ‘Dona Nobis Pacem’ closes down the album in a most extravagant way (yet!), focused on a twisted use of Gothic ambiences. Stips’ electric organ provides lots of successive phrases and layers for quite a long time before, near the end, an unexpected shift brings in merry- go-round motif, as if we ere being transported to some kind of funfair: finally, with a gong bang the song ends, and so does the listening experience. I recommend any of Supersister’s first two albums as a starting point for the uninitiated; I also regard “Present fro Nancy” as an indispensable item in any good prog collection” (review by Cesar Inca – prog Archives.com). 1st original Dutch pressings are hard to come by these days, especially in such a perfect condition as this one here. Price: 200 Euro
2063. SUPERSISTER: “To The Highest Bidder” (Polydor – 2925.002) (Record: Near Mint/ Gatefold Jacket: Near Mint). TOP COPY! Original Dutch 1971 pressing. “Following in the same path as their debut album, Supersister achieved their definite masterpiece in the shape of 'To the Highest Bidder': in fact, Supersister proves to be one of the most prominent Dutch prog acts of the 70s, equaling to Focus and Finch in prowess, fire and excellence. In many ways, Supersister incarnates the Netherlands' response to Soft Machine, since their music is overtly inspired by Canterbury's jazziest self; they also have clear hints to Zappa's sophisticated absurdity and the distinctive dynamics of avant-garde free jazz (track 3 being the best example). Supersister's approach to humor in the context of jazz-oriented prog is a crucial component of their music, since it allows all four musicians to keep a light-hearted feel in their performances, while exhibiting their own individual skills and challenging interplay. The flautist's role is certainly special, since van Geest's style has a remarkable tendency towards the pastoral, yet in a strange way, it works effectively in the middle of the combined jazzy leaning of his other partners. The fact that two tracks are 10+ minute long allows the foursome to explore into their musical ideas and explore its potential variations: 'A Girl Named you' (a Supersister classic) is full of Latin-jazz colors, while 'Energy (Out of Future)' adds some exotic African-like beatings in the middle of the band's exhaustive musical and rhythmic travels. Both tracks portray obvious bombastic aspirations, but at the end of the day, the band manages not to take this impetus too far by keeping a sense of fun. As a result, there is a constant, unhidden touch of fun and freshness displaying all through these pieces; in this way, the friendly listener can rest assured that his senses won't get fed up at any point, since the pleasant flavor stays unpolluted. The remaining tracks are apparently more serene, but not less funny: 'No Tree Will Grow (On Too High a Mountain)' ends its reflective portrait with the sound of a crowd cynically laughing, while 'Higher', in contrast to the previous track's tour-de-force, is a bossa nova theme, serving basically as a sweet frivolous closure. Together with Focus and Finch, Supersister is part of the Netherlands' Prog Holy Trinity, and they surely deserve to be as acknowledged as the others... at least.” (progarchives). Simply a killer album. First original pressing in TOP condition. Price: 175 Euro
2064. The JOHN SURMAN TRIO: “The Trio” (Columbia Records – YS-2428~9-Y) (2 LP Record: Near Mint/ gatefold Jacket: Near Mint/ Attached Picture Booklet: Near Mint/ Obi: Mint). Bloody rare Japan ONLY 2 LP issue. Basically the contents are the same as the Trio 2 LP white album but I must confess that the recording and mastering on this one is light-years better, turning it into a whole new listening experience. Next to that it comes housed in killer Japanese gatefold jacket artwork and as a bonus one gets a picture booklet attached inside the gatefold displaying cool B&W pictures of the band in action. So beautiful. And as icing on the cake there is the original obi to put it all into perspective. Bloody rare issue, first time ever I came across a copy. Top condition and the sound quality is bewilderingly awesome!!! Price: 350 Euro
2065. SURMAN, JOHN; STU MARTIN; JOHN McLAUGHLIN; DAVE HOLLAND & BERGER KARL: “Where Fortune Smiles” (Dawn Records – YS-2487-YD) (Record: Near Mint/ Coated Gatefold Jacket: Near Mint/ OBI: Near Mint). Japan 1st original press issue in great shape and complete with rare OBI. Another vital slide by UK’s finest, this time the line-up consists out of John McLaughlin, John Surman, Karl Berger, Stu Martin and Dave Holland. With the addition of McLaughlin, the Trio’s sound gets seriously electrified, as well through the addition of the vibes, the free jazzing blasts now swirling towards a joyful amalgam of Improvised spiritually intoned psychedelic swing that focuses on the rhythmic continuity and development, emphasizing continual tempo and textual shifts. Not overtly as abstract as their previous outings, “Where Fortune Smiles” is about the sounds being part of a greater all-enveloping sense of space. McLaughlin certainly steals the show here and his fret-action is splattered all over the place, making it a bewildering listening experience. Again a killer to these ears. Original Japanese pressing which is rare – especially the first gatefold pressing with DAWN OBI present -  and sounds fantastic. Price: 350 Euro
2066. SURMAN, JOHN featuring John Marshall; Terje Rypdal; Chris Laurence; John Taylor & Malcolm Griffiths: “Morning Glory” (Island Records/ King Records – SR-3164) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan 1973 original 1st pressing all complete with insert and dammed rare obi. “For Morning Glory, John Surman sets aside his signature baritone saxophone in favor of soprano sax, bass clarinet, and synthesizer -- the result is a record as radiant and beautiful as its title portends, comprised of four epic tracks that despite their scope represent his most mainstream work to date. The skill and dexterity of the improvisations here are astounding. Surman and sidemen Terje Rypdal (guitar), Chris Laurence (bass), John Taylor (electric piano), Malcolm Griffiths (trombone) and John Marshall (drums) connect on an almost telepathic level. But for all its experimental approaches and ingenious ad-libbing, Morning Glory is a remarkably generous album, inviting and approachable like few avant-jazz dates before it. So much of Surman’s brilliance hinges on his refusal to alienate listeners regardless of their personal leanings and expectations, while at the same remaining true to his singular muse.” (All Music Guide). Amazing Surman slide that tests your sanity via screeching sax, wailing guitars, piano clunking, trombone growls and bass drones, Nucleus-like groove and wild axe growls. Killer! Price: 200 Euro
2067. The JOHN SURMAN TRIO: “Live In Altena” (JG. Records – 018 ST) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Attached Insert: Mint). Rare original 1970 private press issue in TOP condition. Was later reissued on a different label in a hideous sleeve, but this one here is that very first press issue. Impossible to ever upgrade upon. And the music? Well you know, it clears the cobwebs straight out of your head. Bloody amazing!!! Price: 150 Euro
2068. The JOHN SURMAN TRIO with Eddie Louiss and Daniel Humair: “Our Kind Of Sabi” (MPS Records/ Nippon Columbia – YS-2506-MP) (Record: Near Mint/ Textured Gatefold Jacket: Excellent ~ Near Mint, some mildew spots inside the gatefold/ OBI: Near Mint). White label promo, 1971 Japan only issue, 1st press original that comes with rare obi all complete. The brilliant French Hammond organist and pianist Eddy Louiss worked with the likes of Kenny Clarke, Jean-Luc Ponty, and Stan Getz; reed player John Surman and drummer Daniel Humair have long been major forces on the European scene. Louiss also recorded the title piece on Stan Getz’s “Dynasty” album – here the trio presents a wilder version with fiery solos from Surman’s baritone and Louiss on Hammond. This trio likes their Sabi hot with a Spanish tinge. On the Martinique folk song Zafe Ko Ida, the great Norwegian bassist Niels-Henning Orsted Pederson joins Louiss on Marimba and Humair on drums, keeping with the tradition of the Caribbean before Eddy switches to piano and the three transform the sound of the islands into swinging jazz. Song For Martine brings Surman back on soprano and Louiss once again sitting behind the Hammond with a plaintive balladic feel before moving into an Afro-Latin groove that underpins passionate solos. On Humair’s Out Of The Sorcellery Louiss pedals the Latin-esque two-beat bass line on Hammond as he and Humair conjure their magical interplay. A classy trio album with Louiss’ superb Hammond organ play front and center and a glimmering of the Caribbean dancing in the shadows. Japan only 1st original pressing. It was later reissued with different sleeve art on MPS, but this one here is the very first pressing in stunning gatefold sleeve art. Price: 475 Euro
2069. SURMAN, JOHN & JOHN WARREN: “Tales Of The Algonquin” (Deram – King Records Japan – DL-3010) (Record: Mint/ Jacket: Near Mint/ OBI: Excellent ~ Near Mint). Original Japan 1st original pressing of 1972 complete with rare DERAM obi. White Label PROMO issue. Tales Of The Algonquin, is one of the finest artifacts of the British modal and free jazz scene of the 1960s/1970s. Johns Surman and Warren, like their contemporary Mike Westbrook, take the big band form and flip it on its head by incorporating elements of modal, free, and progressive jazz. The results are powerful and this album is perhaps the greatest example of that quintessentially British jazz style. Long sought after by jazz collectors across the globe, this is the rare 1st original Japan press issue with obi. Price: 200 Euro
2070. SUZUKI HIROMASA + INAGAKI JIRO & BIG SOUL MEDIA: “By The Red Stream” (Columbia Records – NCB-7019) (Record: Near Mint/ Jacket: Near Mint/ 2 Separate Inserts: Near Mint). Rarely ever offered 1973 original first press issue in top condition. Suzuki Hiromasa was a busy bee during the hey-days of Japan’s brooding jazz scene of the early 1970s. Mainly active as a composer/ arranger/ collaborator and pianist, famed for such groundbreaking recordings such as “Funky Stuff”, “Rock Joint Biwa”, “Rock Joint Cither – Silk Road” and as a hired hand/ gunslinger on various recordings by other key scenesters. On this occasion here Suzuki teamed up with Inagaki Jiro and his Big Soul Media for a jaw-dropping dope jazz/ funk concept album centered around the theme of “global anti-war and peace”. This slide is blessed with all the right ingredients coming together in all the right places and sounding magical. Kicking off with the title-track “By The Red Stream”, evolving from a warm bluesy first half with pumping bass, groovy Rhodes and warm brass tones that builds up into a powerful cataclysmic funky jazz finale not devoid of any freeform psyched out touches to spice up the sonic palette. Followed by the fantastic “Warm, Honest & Love” – a delicate excursion cushioned on mellow keys and mollified bass, spiked with ambrosial sax lines to ease out the frantic electric madness one was to exposed minutes earlier. The B-side opens up deep into the salacious jazz rock of “There is Not Any War to End a War”, a psychic maze of corking & scrumptious all-consuming asymmetric grooves and moves, a whiplash assault booming with crazy sax lines, blood thick throbbing bass, caveman drum primitivism, flashes of sparsely but soaring guitar that cuts through like an acupuncture dartlike buzzsaw and frantic organ jamming. Pure genius all round. The quite aggressive four song cycle reaches conclusion with “Something Over the War”, a profound composition that is just the perfect closer for an already accomplished and sublime album. In short top shelf Japanese deep groovy jazz from the highest echelon. Hard to top this one off but sadly enough rare as a Dodo bird. Price: Offers!!!!!
2071. SWELL MAPS: “…in Jane From Occupied Europe” (Rough Trade – RTL-12) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 4-Paged Insert: VG++~Excellent). Rare Japan original press with obi & insert. The second & final studio LP from Britain's seminal Swell Maps is an experimental pop masterpiece, and a virtual line of demarcation for underground rock to follow into the '80s, '90s and beyond. “Noisy and experimental, Britain's Swell Maps experienced little commercial success during the course of their chaotic career, but in hindsight they stand as one of the pivotal acts of the new wave: not only was the group an acknowledged inspiration to the likes of Sonic Youth and Pavement, but their alumni - most notably brothers Nikki Sudden and Epic Soundtracks - continued on as key players in the underground music community... In mid-1979, the Swell Maps released their full-length debut A Trip to Marineville, a crazy-quilt of punk energy and Krautrock-influenced clatter. After the release of the speaker-shredding single "Let's Build a Car," the group recorded one final studio LP, Jane from Occupied Europe, before breaking up. Each of the members followed their own career paths, playing solo and forming bands: Sudden formed the Jacobites, Soundtracks joined Crime and the City Solution, and Head played with Television Personalities” (Jason Ankeny). Cacophonous and anarchic, imbued with an insular irony, and inspired equally by punk primitivism and Krautrock experimentalism, the Swell Maps pioneered a hyper intelligent yet unforgivingly amateurish approach to music-making that sounds now like a blueprint for all the aspiring art-school noisemakers that came in their wake. Never popular, always marginal, the band seemed to have operated with a sublime indifference to any potential audience they might have had, which makes them a contrarian's dream, the perfect band to listen to in order to indulge one's masochism and sullen anti-social tendencies at the same time, all without surrendering the cachet attached to being into something obscure that's not overtly silly. Absolutely fantastic slide. Damned rare Japan original with obi. Price: 150 Euro
2072. SWELL MAPS: “A Trip To Marineville” (Rather/ Rough Trade – Rough-2) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Imprinted Inner Sleeve: Near Mint). 1979 UK original pressing. Noisy and experimental, Britain's Swell Maps experienced little commercial success during the course of their chaotic career, but in hindsight they stand as one of the pivotal acts of the new wave. Based around the creative team of brothers Nikki Sudden and Epic Soundtracks, Swell Maps were underground heroes in their time fusing punk rock, noise pop and experimental rackets in Krautrock patterns to achieve a sound unlike any equal. In mid-1979, the Swell Maps released their full-length debut A Trip to Marineville, a crazy-quilt of punk energy and Krautrock-influenced clatter. After the release of the speaker-shredding single "Let's Build a Car," the group recorded one final studio LP, Jane from Occupied Europe. A Trip to Marineville should be up there with their contemporaries like Entertainment! and Metal Box, but for some strange reason it’s never received its dues as a classic. The ramshackle recordings are a radical case from the post-punk era, opting for random bursts of controlled, and a lot of the time, rather harmonious noise instead of disco rhythms. Awesome condition UK original press. Price: 100 Euro
2073. SWOONERS: “Portrait of D’Swooners” (Philips – FS-8027) (Record: Excellent/ Gatefold Jacket: Near Mint/ Attached liners with Portrait Picture: Near Mint/ Obi: Mint). Really nice copy of an album that for some reason only appears to be offered for sale in a totally trashed condition. To make matters even more salivating, this copy here has the always-missing obi present, the whole package is complete and in top shape. Second, final and rarest album by this Philippine sensation that swept through the underbelly of Tokyo in 1968. Of all the GS bands, the Swooners were possibly – according to some trustworthy sources – the best live act to catch in those days. Their recorded output however does not really capture the greased down and filthy psych trash they excreted on stage but still it hints sufficiently at the band’s appeal, ability and craftsmanship. Like so many outfits then, the Swooners repertoire was erected out of mainly cover tunes but they beefed them up with some weird pan-Asiatic feel that transcends words as especially comes to the foreground on such killer renditions like “Sunshine of Your Love”, “Hey Joe”, “You Keep Me Hanging On” and “Can’t Take My Eyes Of You”. The tracks are all beefed up with greasy guitar licks and cheap swirling organ lines, making this sucker a classic in the genre. Truly great album and copies in good condition are just impossible to find. This one comes in eye-blinding TOP shape, is the first original 1968 pressing and is just fantastic. Take no substitutes since there is only one real procurator of the hip GS, being the Swooners, fuzzy-wussy haired Philippine dope heads armed with cheap instruments. Copies in top condition, complete with obi just Don’t surface, take my word for it. Awesome!! Price: 250 Euro
2074. 13th FLOOR ELEVATORS: “You’re Gonna Miss Me b/w Tried To Hide” (Oldays Groovy Donuts – ODREP45014) (EP Single Record: Near Mint/ Picture Sleeve: Near Mint). Japanese limited edition EP issue of classic Elevators, all complete with nice picture sleeve. Price: 30 Euro
2075. 13th FLOOR ELEVATORS: “Easter Everywhere” (International Artists – IA-LP-5) (Record: Near Mint/ Jacket: Excellent with a faint trace of ever-present ringwear/ Lyrics imprinted Inner Sleeve: Excellent). Original 1967 pressing & rare very first press issue with the printing error on the back sleeve that lists “Posturos” instead of “Postures”. The 2nd Elevators LP following “Psychedelic Sounds Of” and it sold out its original pressing. Probably the best Elevators LP in my opinion, blessed with a muddy sound due to the low volume mastering by IA. Due to disappointing sales the LP was not repressed and since no unsold stock was left, it is hard to find a very clean and spotless original press copies of this LP. Cover is extremely clean and graded as EX with only the faintest of wear and has no splits, tears, or writings whatsoever – it will be difficult to find a better one. The record is utterly clean. Comes with the rare lyrics imprinted inner sleeve. There is NO “masterfonics” printed in the trail-off dead wax, making this the very first 1967 original pressing. (masterfonics one came out in 1977 so… This is an ultra-clean stereo press issue, which is clearly superior to the mono mix due to its hypnotic and elaborate soundscape of the stereo mixing. Great copy, very hard to find this clean so… Price: Offers!!!
2076. The 13th FLOOR ELEVATORS: “Bull Of The Woods” (International Artists – IA-LP-9) (Record: Near Mint/ Jacket: Mint – still in shrink). Top copy. Next to impossible to dig up in such a perfect condition!!! “This posthumous swansong was underrated for many years but has been revaluated from the 1990s and onwards, and in fact rates as the band’s best LP among some Elevators fans. Dominated by lead guitarist Stacy Sutherland, the band here has a dark , brooding intensity that has aged well. Rocky appears on less than half the tracks and there is no jug. The material was recorded during a chaotic six-month period in 1968, with some horn arrangements added by IA and drummer Danny Thomas when the album was put together in late 1968. As the original band was long gone, the LP didn’t sell well and some unsold copies crowded Texas warehouses for decades. Reissues and bootlegs are too numerous to list; the crucial fact is that prior to the master-tape sourced Sign Of The Three Eyed Men box set, none of the reissues and possible not even the IA box set repro from 1978 are from master tapes. The 1978 IA box set reissue can be identified via a matrix number that begins ‘A Ch…’.” (PL – Acid Archives). First original 1968 pressing in top condition, jacket still in shrink, difficult to score these days in such a perfect condition. Record is also flawless!!! Final upgrade copy. Price: 400 Euro
2077. 23 SKIDOO: “Urban Gamelan” (Sound Marketing System – SP25-5139) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). PROMO issue. Rare original Japanese pressing with elusive obi present. One of the greatest acts to crawl out of that depressing, Thatcher-doomed-laden country that was the UK in the eighties. “This British trio developed one of the most unique sounds to evolve from the UK's Industrial Culture -- which was self-consciously aware of its actions as critiques of control and power within Thatcherite society. Unlike Psychic TV and Coil who offered an aesthetic of extroverted abjection and vile transgressions (often to amazing results, mind you), 23 Skidoo embraced something like a bunker mentality, by preparing themselves with both body and mind for the possibility of a future attack, but more likely in defense of their own personal agendas. The group -- Fritz Catlin, Alex Turnbull, and Johnny Turnbull -- studied various martial arts along with the then little heard sounds of Indonesian gamelan. Unable to get a hold of a true gamelan, 23 Skidoo built their own out of scrap metal, kitchenware’s, and water jugs. Their personal discipline from their martial arts training made for an easy transition in terms of mastering the fluid, yet complex rhythms that made for an excellent junkyard replication of true Indonesian gamelan. "Urban Gamelan" finds 23 Skidoo addressing two distinct aesthetics, the first being their post-apocalyptic funk (which had been previously mapped out on their first album "Seven Songs") and the second emphatically pronouncing their faux-gamelan sound. The album in fact begins with a remix/ reworking of their hit single "Coup," which has had the infamy of getting ripped off by the Chemical Brothers. Driven by counterpoints of bass and distant bursts of haunted trumpets, the first half of the album recalls some of Pop Group's dub fuckery, with an inclination for a more natural funk. 23 Skidoo then drops all of the electric instruments for an exhibition of their complete gamelan repertoire. If you ever thought that Einsturzende Neubauten or Test Dept. needed to get their groove on, then you definitely need to check out 23 Skidoo” (Aquarius). A deadpan classic, addictive and recently a though one to dig up. Here you have the 1st original Japanese pressing, complete with obi and insert and like always pressed on high quality vinyl to ensure you even a greater ass-booting experience. Price: 75 Euro
2078. 23 SKIDOO: “Seven Songs” (Fetish Records Japan – SP25-5091) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Mint/ OBI: MINT). First original Japanese pressing from 1982, comes on high quality vinyl. RARE PROMO ISSUE & first time I have a copy with obi. "A more descriptive title would have been "Seven Panic Attacks," but even a bland title isn't able to prevent the undeniably savage, pungent impact of Seven Songs, a half-hour long album that plays out like a soundtrack to being bounty hunted in an expansive jungle. Following "Kundalini," a hectoring brain shake that hardly resembles the dormant energy it's named after, "Vegas el Bandito" enters and doesn't imply the James Brown of "Cold Sweat" so much as the panic of night sweats, churning out a taut groove of slap-happy bass, pattering drums, horn trills, and a scratchy-scratch guitar line that chases its tail. An echoing trumpet carries through the end of the song and drifts right on into "Mary's Operation," an anemic drone of even creepier horns and tape loops. "New Testament" is an industrial death lurch of rusted metallic sheets, giving way to "IY," a cluster of conga acrobatics with needling saxophones and frenetic chants thrown on top. "Porno Base," the real knockout, contains little more than a series of abysmal bass pluckings placed just far enough apart to induce chronic paranoia, sounding less like a smut-film score than "Welcome to the Terror Drone." The finale, "Quiet Pillage," despite its exotica reference, could only be played in the ruins of a lounge post-carpet bombing. This is post-punk at its most invigorating and terrifying." (Andy Kellmann - All Music). All-time classic!!! Price: 75 Euro
2079. TAGUCHI KUMI: “Emmanuelle Fujin” (Victor – SJV-868) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Hideously rare pink Iroke artifact – way rarer and tougher to dig up than the Ike Reiko LP, one that of late surfaces on a regular basis. Taguchi Kumi however remains the elusive white whale, this is only my 2nd copy ever in over 10 years. This time we could dig up a totally mint copy of this rarely seen erotic record, Taguchi Kumi’s sole recorded LP, following her instant fame after starring in some of Nikkatsu’s finest Roman Porno celluloid dreams such as “Tokyo Emmanuelle Fujin” (July 1975), “Tokyo Deep Throat Fujin” (1975) and “Aru Kôkyû Callgirl no Shôgen: Roshutsu” (June 1976). Compiled out of tracks that appeared in the aforementioned porn flicks, the disc is a stunning artifact and will especially appeal to those who were already enthralled by Ike Reiko’s erotic mumblings. Taguchi’s effort dwells into similar erogenous eras but is more mid-seventies discoed-down and funked-up. Hot dance floor how-downs spiced up with erotic moaning and hissings. In short it is a stunning and historical Iroke gem of oblivious times, an item that gets offered almost never. Stunning disc, Linda Lovelace’s “Deep Throat” vanished into nothing compared to this one, just brilliant. Price: Offers!!!!
2080. TAJ MAHAL TRAVELLERS “August 1974” (Columbia – OP-7147~8-N) (2 LP Record Set: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint/ Additional Taj Mahal Travellers Live Concert Insert: Mint). ORIGINAL COPY! Heavy hitting monster rarity, complete with always missing obi!!!! Here is the real deal, one of the rarest albums out of Japan. It is estimated that there are no more than 300 copies in circulation of which only 100 are adorned with the obi, making this gem rare as hell. Taj Mahal Travelers first album is quite easily to track down but their 2 LP successor, this one, is just impossible to get. The record is a fragile masterpiece, sound wise as well as art wise since the gatefold is made out of flimsy carton. Jacket is top all the way. Vinyl is shiny with no signs of scuffs or scratches. Amazing complete copy, hideously rare and bloody collectible. Once in a lifetime opportunity maybe, especially with the obi present. Act now and hold your peace forever. Price: Offers!!!
2081. TAKAGI MOTOTERU & TOSHIYUKI TSUCHITORI: “Origination” (ALM Records – ALM-04) (Record: Near Mint/ Jacket: Near Mint). Top condition copy!!! Well, here you have one of the Holy Grails of the Japanese free jazz underground, a disc that just never surfaces anymore. Impossible to track down these days, hardly ever turns up anymore. Pressing quantities upon its release were 300 copies, so rare as a hen’s teeth. Sadly enough, the outside world has their myopic gaze only locked unto the much-hyped (they are stellar of course and need to be hyped) two key players of that period, being Takayanagi and Abe, but fail to look beyond the yonder at the other hardcore players that often even surpass all the others. This is mainly due to music critics’ inability to scrap beyond the surface layer in order to dig out some of the nuggets that remain hidden underneath. And since people tend to put their faith and trust in such critics who hype middle-of-the-road mediocrity instead of stellar lunacies, gems like this one remain hidden from hardcore music enthusiasts. This disc is such a nugget and well conserved pearl of musical greatness. Mototeru Takagi may and should ring a bell if you ever took the time to check out PSF’s early releases. If so, you are certainly aware of his brain peeling recording “Deep Sea” (PSFD-47) of the early seventies with Yoshizawa Motoharu, another totally underrated player of that scene. Mototeru was a totally wicked sax howler, spewing out ashes of volcanic deep subterranean fury and eager malice, creating a tornado of dusty sax noise that will engulf the aural landscape of your listening quarters. Skin mangler Toshiyuki Tsuchitori who unleashes a boundless fury of pounding pulses and crashing sticks flanks him and provides a perfect counter-balance force to Mototeru’s all engulfing apocalyptic waves of sound. In all both of them are responsible for creating high-tension music that resemble at times as if they were engaged in trench warfare, although that both move through it on an intuitive approach. In short, this disc stands shoulder to shoulder with the best records of that golden free jazz age and is without a single doubt one of the Japanese underground scene’s defining moments of free interplay. It is a shame that this disc rarely if never turns up any more. It was released in an edition of 300 copies on the ALM records label in 1975. Slowly attaining super rarity status. Comes cheap as the obi is missing and sleeve has some very minimal signs of slight wear. Highest recommendation. Price: Offers!!!
2082. TAKAGI MOTOTERU, YOSHIZAWA MOTOHARU & YAMADA HIROKAZU: “Kozan” (Tiara Company – Tiara -001) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint) Private press released in a tiny edition, believed is that no more than 250 to 300 copies in circulation. First time to have a copy of this hardcore free blasting jazz monster lead by silver string mangler Yamada Hirokazu. Yamada is the real revelation on this album. Yamada wrestles with his six strings in an utterly unique way, giving a whole new meaning and insight into improvisation and free jazz for that matter. Most of the time his contributions are confined to metal stringed acoustic sprees that are strongly rigorous and rhythmic in style, reminiscent in some ways to the Andalusian gypsies if only they might have emigrated as far as Japan. The warm flamenco like tone clusters he exerts out of his instrument give the collision with the other improvisational heads on this disc an insectoid fluttering like quality, sounding a bit like moth-wings descending upon a microphone and building up percussively with an electronic rhythm exerted from the metal strings. His vocabulary is totally unique, bringing out the austere qualities of Yoshizawa and Mototeru more clearly, framing it more elegantly and his treatments add architectonic space spiced up with its echo and digitally-clipped rapid strumming. Yet subsequent movements on this disc are simultaneously tentative, light and all incinerating, fragmentary hesitant, brimming over with expected momentum and a drive of towards traditional warmth of a mathematical hall-of mirrors, all the time without ever loosing his signature identity. Yamada just sounds like no one else and like a speed-freak flamenco hooligan he rushes into utterly rabble-rousing improvisational waters. Takagi Mototeru meets him head on, junking up his bottlenecked Andalusian stylings with all inflammatory barbarous and poisonous sax rattles. Yoshizawa collides with both of them mid-way through, invigorating the battle front action with his home-made six stringed bass, manipulating it and evoking sounds like a muffled rolling thunder. Still at other times, Yamada sets out in a Fahey-esque mood, caressing his strings with much affection and creating a perfect counter-balance to the violent action that took place between the other grooves. In short, this is one of the most interesting Japanese improve discs I have heard in a long time. Scarce beyond belief, private press and xxx ltd copies in circulation. It slipped between the cracks of obscurity and lay dormant way too long. Time to re-evaluate this torcher. All time highest recommendation. You have heard nothing like it yet. Price: 400 Euro
2083. TAKAYANAGI MASAYUKI & ABE KAORU: “Kaitaiteki Kokan” (Craftman Records – CMRS-1) (Record: Mint/ Jacket: Mint/ Live Concert Insert: Mint). Takayanagi's historically legendary duo with firebrand alto saxophonist Kaoru Abe, Kaitaiteki Kokan (Deconstructed Exchange) was recorded June 28, 1970 and released in September of that year in a predictably minuscule edition, and has always been viewed as a major meeting between two of the most important figureheads of Japanese free music. It is perhaps the most heavily fetishised record ever to emerge from the Japanese underground. So it is undoubtedly nice to see Kaitaiteki Kokan reissued – although being limited to a subscription only issue, but faithfully executed on high quality vinyl and exactly reproduced as it was an original pressing. Music-wise, it's more of a pitched battle than anything else: Takayanagi, on electric guitar, plays in a recognisably "jazz" style, amplifying and distorting genre motifs and signatures, and methodically pulling them apart with a spindly and harshly brittle feedback tone that's often grating to listen to; Abe just wails away regardless, full of bluster and seemingly paying little attention to his partner whatsoever, behavior not entirely untypical of him at this point in his career. This music, that one reviewer once described as “unlistenable,” will probably eat you…alive. There are two big differences between this and for example Topography of the Lungs. First, this is somehow more evil, more perverse, and more absolutely insane. Second, it somehow is all of those things while not having a drummer around to keep you strapped to the table. The lack of percussion actually works here. Takayanagi and Abe have a good sense of one another on this record that the movements in the music play out like little stories: the guitar makes a statement, the saxophone makes fun, the guitar gets indignant, the saxophone gets snarky, the guitar gets defensive, the saxophone tries to apologize, then the guitar gets the upper hand — and so on, through the wildest, weirdest tracks that exist in the free improvisation catalogue. Before this was reissued – albeit ultra limited, vinyl copies were being traded at 4-digit prices around Tokyo, but here is an identical high quality and ultra limited one-time only reprint. The high standards of this issue are baffling, eye for detail is insane – both as far reproducing jacket/ sleeve/ paper quality goes as well as for the pressing. And once these babies are gone, well they will be gone forever. Brutally beautiful on all fronts!!! Price: 150 Euro
2084. TAKAYANAGI MASAYUKI QUINTET: “Flower Girl” (Craftman Records – CMRS-0031) (Record: Near Mint/ jacket: Near Mint/ Obi: Near Mint). Identical and ultra limited high-quality reissue of one of the rarest free jazz LP ever made: Masayuki Takayanagi's Flower Girl. My ear to the ground has it that this is put out in an edition of 400 copies only. Originally it was released in a limited run of 100 copies in 1968, making it an incredibly rare record - released as a promotional album, and never marketed - gets its first vinyl reissue via Craftman Records. Japan's leading jazz guitarist Masayuki Takayanagi is one of the first to pursue free jazz music in Japan, and its activity has not been confined to the framework of jazz, but even a pioneer who pioneered the world of experimental improvisation is there. On the other hand, he is greedily working on music in all fields of the world, one of which is Bossa Nova. Half a century after the recording, it is a pleasant cool jazz album that can be enjoyed even without any prior knowledge, and at the same time, one of Bosonanova's early days in Japan with the first song "so Deep and So Blue" You can also touch And in the midst of a period of high economic growth, it is also a hidden attraction of this work that you can feel the existence of one person's willingness to try to mature culture as well as economic development, / 1968 recording, Composed by Sion Tomita (Torita Tomita) and arranged by Kiyoshi Yamaya. Performed = Masayuki Takayanagi Quintet (Takayanagi Masayuki (g), Sato Toshio (g), Mitobe Akira (vib), Kuwahara Eijiro(b), Hino Motohiko (ds). Price: 85 Euro
2085. TAKAYANAGI MASAYUKI NEW DIRECTION with ABE KAORU & YAMAZAKI HIROSHI: “JazzBed – Live September 27, 1970 at Tokyo” (Craftman Records – CMRS0117) (Record & Obi & Jacket: Mint – SEALED). Prescription only and immediately sold out deluxe LP edition (400 copies only) of previously unreleased recording bringing together the 3 titans of the early 1970 Japanese free jazz scene. This is a historical recording, with Takayanagi sparing with equally legendary Abe Kaoru and drummer Hiroshi Yamazaki. This is astounding and can be put next to Arthur Doyle’s Alabama Feeling and Peter Brotzmann’s Machine Gun, the levels of intensity reached in this all-out rampage of rule-less free jazz are equally as astounding as either recording. Consisting of two side-long tracks, what is being blasted to the angels of heaven is an active study in the pursuit of musical and language boundaries, those imposed on each instrument separately and in tandem with one another. This is high tension music thriving upon each player’s high voltage reaction and the trio go full bore for the entire performance – as if engaged in some sort of trench warfare. Still there is musical detail hidden in this maniac fury. If one pays careful attention to Takayanaga's guitar tones, they actually shift accordingly to the lines played by Abe and Yamazaki, making him move from high to low register, seldom playing in the middle and the tiniest gestures emanated by both of them trigger in return apocalyptic waves of sound. When the dynamics do change and one instrument drops out, the overtone quality of the other shifts to compensate. Make no mistake, what you are hearing is an assault on the senses -- deafening, roaring, ear-splitting, heart-wrenching animated strive -- but it is made with such purpose, such sincerity and rage, that this music sounds like nothing less than men who are screaming to each other in tongues of fire while trying to fly with the beautiful wings of Icarus before the wax melted when coming too close into the sun’s vicinity. Abe’s volatile yet determined playing uses the threat of technical collapse as a frequent motive for change while sustained momentum and emphatic concentration are reflected in his playing. As a trio, this recording represents an unusual setting for Abe, given that most of his recorded appearances are solo. Standing several steps in front of Takayanagi's blitzkrieg approach and some fantastically wide and crunchy drumming by Yamazaki, he sits on a wave of panoramic sound that floats somewhere between a tornado of dusty noise and the boundless fury of Atilla the Hun’s hordes galloping down the steppe. His notes crumble, as the raw force bends burrs and slurs them, twisting and shoving them, so that microtonal space is there in the shavings and curls. Abe still finds a way for notes to fit into the groove he's forcing them against. Still the overall exploratory sound floats on an intuitive approach of all three players, making you feel like standing in the midst of a prison riot in full swing. Killer!!! Price: 85 Euro
2086. TAKAYANAGI MASAYUKI: “Independence” (Union Records – UPS – 2010-J) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ has some mildew spots visible on back). One last copy back in stock – has been ages since I could lay my hands upon a copy again. Mucho in demand first original pressing. Top copy: Unbelievable, Independence on vinyl. Original 1971 press. This one just never turns up and I bet not many of you have seen this Holy Grail of a disc, well – it is much rumored about but has not been seen by too many eyes. This is the Loch Ness Monster of Japanese free jazz records – rumored to be out there but elusive to say the least. Until now… The first original pressing of 1971, probably one of the rarest free jazz documents ever to be put up for sale. It was an edition of only 500 copies so go figure it out. Still it is unclear how many copies are in circulation, it is estimated that no more than 300 remain in existence due to terrible sales at the time. This was Takayanagi’s first recording as a leader after his involvement with Togashi Masahiko’s “We Now Create” brain ripper. Here, Takayanagi gets flanked by the best free blowing heads on the scene being bass monster virtuoso Yoshizawa Motoharu and skin mangler Toyozumi Yoshisaburo. Hardcore kerosene driven free jazz blats from 1969. This is vicious music that until this day remains unequalled by any players on the scene. The defining free jazz document. All time highest recommendation. Not for pussies. Freakingly rare original pressing. Very nice condition, strictly graded at EX~NM. These babies are virtually impossible to get these days as Japanese jazz is beyond hot and freakingly sought after these past years and it won’t get any easier. So serious offers invited for this free jazz cornerstone of a disc. Price: Offers!!!
2087. TAKAYANAGI MASAYUKI NEW DIRECTION UNIT: “Axis Another Revolable Thing Pt.1” (Offbeat Records – ORLP-1005) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert Card: Near Mint/ Off Beat Records Promo Insert: Near Mint). Impossible these days to dig up anymore in top condition with obi and one of the strongest risers in price these last years. Comes with the always missing obi – the whole package is utterly mint. This copy is the never seen before WHITE label PROMO issue! Just never surfaces in such condition. Top Copy!!! Again Takayanagi vinyl rarity that is getting tough to unearth these days. Regarding the music, this is what the music critic Teruto Soejima had to say about the music on display on this disc: “Fragment II - Takayanagi's gut string guitar answers Kenji Mori's bass clarinet. Although Takayanagi apparently hadn't touched the gut string guitar for two years, his tone is incredibly sharp and clear. Midway through, Nobuyoshi Ino's cello comes to the fore, subtly changing the music's density. The effective use of fortissimo and pianissimo produces an invisible atmospheric undulation. Fragment III - a percussion solo by Hiroshi Yamazaki. This tune demonstrates how powerful a player yamazaki is and how very carefully he considers the organization of the whole. He's more than just a percussionist; he makes us aware of everything from body/space interaction to the origins of sound construction. Yamazaki was born in Tokyo on march 28, 1940. He began to make his mark in the Gin Paris period and had his own group for a time. In 1970 he joined New Direction. His experimental, ambitious approach has been widely praised. Fragment VI - in this mass projection piece, sound clusters issuing from the limits of physicality collide, pile up, and hurtle headlong in all directions. It's the energy of thick magma. In accordance with instructions given through Takayanagi's feedback technique, the flow of clumped sounds is gradually accelerated and taken all the way to the void of outer space. Sound makes consciousness float. Supreme ecstasy comes about only in this extreme place. Drifting through all of New Direction unit's music is the scent of blood. Not old, clotted blood, but fresh blood. This isn't a mere semblance of music; it's sound through which the blood of living human beings has passed. Which is why, in the group's performances, blood seethes, flows against the current, burns, oozes, rises, congeals, is spewed out, gushes forth. Vivid red blood. Takayanagi's ultimate artistic aim may well be the color of this blood. Blood calls forth blood. For these four musicians, playing music together essentially means drinking one another's blood. This could be regarded as a secret signing-in-blood ritual that, in turn, calls for solidarity from the audience. Truly, circumstances and art are instantaneously united in this place and time. To borrow the title of a Koji Wakamatsu movie, "blood is redder than the sun."” (Soejima Teruto) A monster blaster of a disc, vicious and unrelenting in its approach and execution. Totally mint top copy – with obi WHITE label PROMO!!! With card present!!! Price: 450 Euro

2088. TAKAYANAGI MASAYUKI: “Eclipse - Shinshoku” (Iskra Records/ Craftman Records – Iskra-001/ JP-1138) (Record: Near Mint ~ MINT/ Fragile Jacket: Near Mint ~ Mint/ Plastic Outer: Near Mint/ Insert: Mint/ Cap Obi: Mint) It is undoubtedly nice to see Eclipse reissued – although being limited to a subscription only issue, but faithfully executed on high quality vinyl and exactly reproduced as it was an original pressing. Came out a few years ago and dried up completely. Here is an identical high quality and ultra-limited one-time only reprint. The high standards of this issue are baffling, eye for detail is insane – both as far reproducing jacket/ sleeve/ paper quality goes as well as for the pressing. Without a single doubt one of the rarest Japanese private presses around!! On this LP, the line-up consists out of Masayuki Takayanagi: guitar; Kenji Mori: alto sax, flute, recorder; Nobuyoshi Ino: bass Hiroshi Yamazaki: drums, percussion. "Long-awaited reissue of a true masterpiece of Japanese free improvisation! Recorded in May 1975, less than a month after the legendarily intense April is the Cruelest Month, Eclipse has always been the rarest and most mysterious of the Takayanagi and New Direction records. With April Is... due to come out on ESP Disk (the release was scuppered when the label folded), Iskra the small label who were putting out Eclipse decided to reduce their pressing to just 100 copies. The original master tapes then vanished, and original copies of the LP began to change hands for huge sums on the collectors' market. Eclipse sees the same group that recorded April Is... and the two volumes of Axis playing at a dizzying peak of telepathic empathy. Grimly ratcheted tension, whooping freedom, slash and burn explosions, and the unmistakable hovering, molten whine of Takayanagi's guitar... simply put a classic, classic record that needs to be heard by anyone with an ear for freedom sounds." (Alan Cummings). So, what are the chances of coming across this masterpiece, let alone be able to wheel it in. Possibly one of the hardest to come by Japanese records, this one is a museum piece. The music on the other hand is ear-blisteringly massive, so it lives up 100% to its reputation, making it besides a simple record also a valid art – artifact. This edition immediately sold out upon release as it was a one-time only limited prescription edition only. This one is killer. Price: 100 Euro

 

2089. TAKAYANAGI MASAYUKI: “A Jazzy Profile Of JoJo” (Victor Records – SMJX-10096) (Record: Excellent ~ Near Mint/ Gatefold Jacket Insert: Near Mint/ OBI: Near Mint). One of the rarest and hardest to track down Takayanagi slides, 1st time I have copy of this one all complete with impossibly rare obi and all in amazing condition. It only took me about 16 years to finally lay my eyes on a copy with obi, making this one rarer and harder to get than his Eclipse LP or the one with Abe, both insanely rare but at least once a year a copy pops up. This one is a different affair, all complete with obi just about once every 20 years or so. First original pressing of this obscure album, originally recorded in Dec. of 1979. A "cool jazz" recording in the Tristano tradition, all executed solely by Takayanagi. Brilliant throughout and very introspective nature highlights Takayanagi’s high-level exquisite guitar playing. It's the same thing in jazz. I find no value in the free jazz of a musician that doesn't swing in 4 beat and plays a dreary in-code ad lib. Avant-garde music or Free Form does not exist without a respect for the classic, and thus, it turned out to be a special album reflecting Jojo's sincerity." One of the rarest Takayanagi recordings, never had a copy of this beast before all complete with Obi and in decent shape. Monster rarity and amazing condition with obi, which will make you wanna bleed a little if you are desperate to wheel this one in….Price: Offers!!!!!!!!!
2090. TAKAYANAGI MASAYUKI: “850113 – Takayanagi’s Angry Waves Live, January 1985” (Aketa’s Disc – AD-23) (Record: Mint/ Silk Screen Jacket: Near Mint ~ Mint/ Obi: Mint/ Insert: Mint). Freakingly rare Takayanagi LP, together with “Eclipse” and “Independence”, one of the 3 most sought after entries in his limited LP discography. Only the 2nd time I have a copy up for grabs, this one comes all complete with obi and always missing insert. This release can be seen – just as his “Eclipse” disc – as one of the more difficult to track down recordings since it was in fact a released as a private pressing on Aketagawa Aketa’s Disc imprint. Here, Takayanagi’s group is called Angry Waves and consisted out of Masayuki Takayanagi (electric jazz guitar), Nobuyoshi Ino (electric contrabass) and Hiroshi Yamazaki (drums, percussion). Recorded on January 13th, 1985 at the Hamamatsu Seibu City-8 Hall and released shortly thereafter, the trio literally take the jazz back to and reinsert it again into “free jazz”, invigorating it again with Takayanagi’s accumulated jazz techniques but redirecting them into a free-roaming aesthetic. His playing is almost stripped of the feedback roar that characterized his “Mass Projection” approach and instead fuels with some bare whispers alluding to feedback, a bare approach pregnant with imminent tension, obliterating and wailing string action, wild, free but always vibrating with modal deconstructed scales that obliterate right in front of your eyes into clouds of radiant meteoric dust. Takayanagi’s dense, free-riffing and compressed fleeting lines get underscored by a frantic and cascading drum rolls of Yamazaki and Ino’s slapping bass action, tearing into Takayanagi’s steel strings stirrings and setting down a polyphonic racket that perfectly gels together unorthodox wild, free playing with a gutted and restless modal-swing vibe, creating once again a new methodology for improvisation. Killer recording, original pressing complete with obi and insert. Awesome & top condition copy!!! Price: Offers!!!!
2091. TAKAYANAGI MASAYUKI & TOGASHI MASAHIKO: “Pulsation – 1983 - We Now Create Live at Zojoji Hall” (Paddle Wheel – K28P-6244) (Record: Near Mint ‾ Mint/ Jacket: Near Mint ‾ Mint/ Insert: Near Mint/ OBI: Mint). Complete and totally virginal copy with insert & rare OBI present!!! This duo between Takayanagi and Togashi is one of my personal favorite Takayanagi exploits and possible the most stripped won and minimal recording Takayanagi has ever undertaken. Built up around Togashi’s free floating percussive rattles and shakes, Takayanagi attributes a wide range of screeches and guitar induced scrapings to the sonic palette. It highlights again another facet of his free jazzing improvisational facet, you cannot get tired of the guy because just when you thought you had him all figured out, he blind-sights and surprises you again with something totally different. The David Copperfield of improvisational guitar interplay so to speak. Takayanagi’s approach to the deconstruction and consequently re-creation of new jazz was slightly different from other players, be it past or present. By applying a different methodology, Takayanagi wanted to break free from rigid jazz related connotations. He set out to focus himself on gradually extracting the sonic prerequisites and essential elements that make up jazz and replaced them instead with his own cultivated musical theories.Takayanagi’s main parameter of approach was the element of tonal color, taking to the stage the birth of an infinite space of sound. This exquisite and finely tuned sense of sonic coloration and its pitch was so conspicuously crafted that one could detect finer elements and radiant counterpoints, as is crystal clear on this disc and his interaction with Togashi. Elements of a certain rapturous refinement manifest themselves on a subliminal level. The only difference with his contemporaries, domestic as well as foreign, lies in the fact that he took ‘free-form jazz’ towards another planetary level. And this disc is again proof of that aesthetic. Mind bogglingly great. Virginal condition with OBI. Price: 400 Euro
2092. TAKAYANAGI MASAYUKI & TOGASHI MASAHIKO: “Pulsation – 1983 - We Now Create Live at Zojoji Hall” (Paddle Wheel – K28P-6244) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Near Mint/ OBI: Mint). Complete and totally virginal copy with insert & rare OBI present!!! WHITE LABEL PROMO!! This duo between Takayanagi and Togashi is one of my personal favorite Takayanagi exploits and possible the most stripped won and minimal recording Takayanagi has ever undertaken. Built up around Togashi’s free floating percussive rattles and shakes, Takayanagi attributes a wide range of screeches and guitar induced scrapings to the sonic palette. It highlights again another facet of his free jazzing improvisational facet, you cannot get tired of the guy because just when you thought you had him all figured out, he blind-sights and surprises you again with something totally different. The David Copperfield of improvisational guitar interplay so to speak. Takayanagi’s approach to the deconstruction and consequently re-creation of new jazz was slightly different from other players, be it past or present. By applying a different methodology, Takayanagi wanted to break free from rigid jazz related connotations. He set out to focus himself on gradually extracting the sonic prerequisites and essential elements that make up jazz and replaced them instead with his own cultivated musical theories. Takayanagi’s main parameter of approach was the element of tonal color, taking to the stage the birth of an infinite space of sound. This exquisite and finely tuned sense of sonic coloration and its pitch was so conspicuously crafted that one could detect finer elements and radiant counterpoints, as is crystal clear on this disc and his interaction with Togashi. Elements of a certain rapturous refinement manifest themselves on a subliminal level. The only difference with his contemporaries, domestic as well as foreign, lies in the fact that he took ‘free-form jazz’ towards another planetary level. And this disc is again proof of that aesthetic. Mind bogglingly great. Virginal condition with OBI + hardly ever seen before WHITE label PROMO. Price: 450 Euro
2093. TAKAYANAGI MASAYUKI: “Cool Jojo” (Three Blind Mice – TMB(P)-5018) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Top notch copy of this highly essential Takayanagi slide released in 1980 and which as of in recent years is getting harder and harder to track down due to a rising demand. “When he was not shredding all preconceived notions of free improvisation with his Sonny Sharrock-meets-Albert Ayler collective, New Direction Unit, guitar legend 'Jojo' Takayanagi moonlighted in a quartet called Second Concept. As recorded in 1979 and exploring the boundaries of cool as established by Lennie Tristano and Lee Konitz (whose compositions here augment his own), Takayanagi is unleashed in astounding eruptions of melodic command, worlds apart from his more celebrated work. Or is it really? "An abstract painting of a painter who cannot sketch well is nonsense. It's the same thing in jazz. I find no value in the free jazz of a musician that doesn't swing in 4 beat and plays a dreary in-code ad lib. Avant-garde music or Free Form does not exist without a respect for the classic, and thus, it turned out to be a special album reflecting Jojo's sincerity."--Takeshi 'Tee' Fuji, producer. Highly essential as are all Takayanagi's recordings and this one is no exception. Top notch all-complete copy! Price: 300 Euro
2094. TAKAYANAGI MASAYUKI: “Lonely Woman”. (Three Blind Mice - 1982) (Records: Mint/ Jacket: Mint/ Insert: Mint). Well, here you have a completely vanished Takayanagi vinyl record and without a single doubt one of his finest releases ever. Named after the Ornette Coleman composition, “Lonely Women” sees Takayanagi on a single- solo guitar improvisational road trip, elaborating on tunes from Tristano to Coleman, Charlie Haden and Lee Konitz, only to end up at a staggering and arresting rendition of “Love is the Color of my True Love’s Hair”. Takayanagi embarks here on an austere and sparsely note-clothed free jazz trip, where the sound clusters evaporate into thin air only seconds after they were unleashed. Although that the disc is utterly free, the tonal ranges are built up in an extreme but well-balanced manner, fragile and eruptive at the same time. In other words, this disc is just heartbreakingly beautiful and certainly one of the most interesting improvisation discs around, at least to these humble ears. Needless to say that almost all Takayanagi vinyl is extremely collectible and hard to come by, even on these shores. Lonely Woman is not different and is getting bloody rare the last couple of years, if not balancing at the brink of total extinction. Especially in such an immaculate condition like this one, with insert present. Of course, this baby has our highest recommendation. Price: 150 Euro
2095. TAKEBE YUKIMASA: “Yufusuge Hito no Uta” (Victor – SF-1029) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ 4-Paged Insert: Near Mint/ OBI: Excellent ~ Near Mint). Bloody rare 1st press original copy with obi. Copies all complete with obi only come around once every 10 years, seriously rare but fantastic Japanese acid/ downer folk. Totally obscure and under the radar release that came out in September 1972 on the legendary and ultra collectible SF series of Victor Records and which till this day remains completely undetected by a psych-out collecting crowd outside of Japan. This sole release by mystery man Takebe is without a single doubt one of the most beautiful lysergic folk releases to come out of Japan, a release that makes the much revered “Melting Glass Box” shrivel up in shame when compared to this one. According to these humble ears, this sole recording by Takebe is one of the best folk albums ever to have been put down on wax, a recording filled with a hard to pin down sadness from below the well that gets underscored by bizarre hallucinatory dreams of fever and delusory but fragile musical accompaniment by some heavy scenesters such as Yanagida Hiro (Food Brain, Milk Time, Apryl Fool, early incarnation of Tokyo Kid Brothers, Love Live Life + 1, Sato Masahiko & Soundbreakers, etc main man), Melting Glass Box chieftain Nishioka Takashi, Chito Kawauchi (of Happenings Four fame), Nakagawa Isato and other heavy weights. The music breaths out a deep resonating feeling of nostalgia, solitary seclusion and splendid isolation. Takebe drew his inspiration from Harvest era Neil Young and early times pastoral UK folk dwellings. If a terminology has to be applied in order to stigmatize this disc Acid Folk would be an appropriate banner to saddle it up with. But then again, that term solely falls hopelessly short to convey the total load the disc carries. Without a single doubt one of my all time favorite Japanese discs and possibly one of the greatest folk albums of all time. But then again, who am I to make such claims? Judge for yourself. The music on this disc surpasses hypes and trends and words will always fall short in an attempt to catch its brilliance. It just vibrates with a stupefying down to earth honesty and the beauty reminiscent to the fragile nature of a spider’s web covered in morning dew. Highest possible recommendation and mega rare + haven’t seen a copy complete with obi for over a decade now!!! Killer Japanese deep acid folk!!! Price: Offers!!!!
2096. TAKEMITSU TORU with KATSUYA YOKOYAMA (Shakuhachi) & KINSHI TSURUTA (Biwa): “Excerpt From Autumn/ 10Th Step Variation From November Steps/ Eclipse” (Deutsche Grammophon – MG-1056) (Record: Near Mint/ Jacket: Excellent 〜 Near Mint/ OBI: Excellent – only front and taped gently to sleeve). NHK radio copy that has catalogue seal. One of the greatest Takemitsu Toru compositions executed by 2 star players!!! Eclipse was the first composition in which Takemitsu used traditional Japanese instruments. Takemitsu reconciled here with his hitherto neglected Japanese heritage. Eclipse is an exceedingly slow, sparse piece employing a pentatonic scale and generous silences. The performance of Kinshi Tsuruta on biwa is nothing short of mesmerizing, with literally striking – the biwa’s massive wooden plectrum is traditionally employed to give a hearty whack to the body of the instrument, whether plucking a string or not. Scraping the plectrum along the strings is another eerie effect that seeps to the surface of this recording, and you could almost claim upon hearing it that Hendrix learned the technique here – it is that strikingly rock’n’roll. So you can get it that for me the biwa is the crystal meth of the lute world – once you’ve seen it played, everything looks different. You need more and on this recording while the two soloists, digging deep into the vocabulary of their traditions, detonate improvised fireworks and surround them with silence, you are left alone, baffled and stupefied. It’s a tremendous example of fruitful collaboration between composer and performing musicians, and to regard it simply as Takemitsu’s composition risks oversimplifying matters. Price: 50 Euro
2097. TAKEMITSU TORU: “Works of Takemitsu Toru – 1” (Victor Records – SJX-7503) (Record: Near Mint/ Jacket: Mint/ OBI: Mint/ Insert: Near Mint). Original 1966 Japan pressing all complete with obi and insert. Very first record to be released that is completely devoted to Takemitsu’s austere orchestral and chamber music works. Like his other compositions, “Coral Island” (for soprano and orchestra, “Requiem for Strings” and “The Horizon Dorian” (8 harmonic pitches with 9 echoes) are devoid of all sorts of grandeur elements and shine brightly through their simplicity as they are stripped down to the bare minimum. These enhancements are deceptively intense and give his music skeletal undercurrents of unmeasured depth. Totally bewitchingly beautiful, every Takemitsu recording is a feast for one’s auditory senses. Price: 75 Euro
2098. TAKEMITSU TORU: “The Works of Takemitsu Toru -2 – Water Music for Magnetic Tape/ Vocalism A.I/ Kwaidan” (Victor – VX-21) (Record: Mint/ Gatefold Jacket: Mint/ OBI: Mint). FIRST original press in gatefold jacket complete with always missing OBI. 2nd press came in single jacket. One of the very few completely electronic records by Takemitsu Toru is this gem here, a truly breathtakingly awesome disc. “Water Music” is for magnetic tape; “Vocalism A.I.” is a completely tape music piece and the whole of side B is also completely comprised out of spliced tapes and modulated sounds. Takemitsu’s electronic scores are far and few in between but they are so awesome. Upon creating them he approaches his subject and attacks its sonic matter through a system of Dickensian severity and dissects all of its sonic movements into spliced and sped up and down fractious pieces. His intuitive approach as one of the old skool Japanese composers to tackle purely electronic sound as if to create an arresting experience and by doing so he exists on its own plane and is both impervious to and not responsible for trends of any kind. Still this makes that his electronic scores sound truly Japanese and are brimful with poetic resonance, busy folding and manipulating space into its quest for the organization of sound. His tape experiments are endowed with beauty and the enhancements give his skeletal music undercurrents of depth. Too beautiful for words, expect that Takemitsu did not record much purely electronic music and records documenting his groundbreaking work are scarce and far in between. Finally able to snatch up a mint copy for cheap so…. do yourself a favor and get some quality into your life. 1st pressing just never turns up these days…. stunning Japanese electronic music!!!!! Price: 75 Euro
2099. TAKEMITSU TORU: "Takemitsu Toru No Ongaku <3>" (Victor - VX-22) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Excellent). First ever-original vinyl press, an edition that surfaces once in a blue moon. Recorded and released in 1966, this is the 1st recorded version of the piece. “ARC for piano and orchestra part 1 and part 2” has seen a couple editions and versions but this one here is the very first. Toru Takemitsu was one of the most important of those Japanese composers who have written music in the Western tradition, while preserving a fundamental Japanese identity, bringing his awareness of Japanese music and its traditions into a remarkable and very original synthesis. He makes use of Western or Japanese instruments, either separately or together, creating his own very individual sound. And this aspect becomes crystal clear in Takemitsu's ambitious two-part work for large ensemble and piano, “Arc”. The version here, as released in Victor’s “Contemporary Music of Japan” series of 1966, was the 1st ever recorded version of this groundbreaking piece and remains till this day quite elusive, which is a shame because Toshi Ichiyanagi on piano is just ravishing and without a doubt the pest performer of Takemitsu’s compositions (although later 1991 versions saw the light of day, his 1960s version is oblique to say the least). Stunning example of high-end Japanese avant-garde by one of the greatest composers of the 20th century. Highest recommendation. Price: 75 Euro
2100. TAKEMITSU TORU: “Works of Takemitsu Toru – 4” (Victor Records – VX-23) (Record: Near Mint/ Textured Gatefold Jacket: Mint/ OBI: Mint). Original 1970 Japan pressing all complete with obi and insert. First press issue that comes housed in a textured gatefold sleeve. Later issues came out in a single sleeve. The centerpiece of this eargasmatic slide is definitely the sidelong composition for biwa and shakuhachi called “eclipse”. Eclipse was the first composition in which Takemitsu used traditional Japanese instruments. Takemitsu reconciled here with his hitherto neglected Japanese heritage. Eclipse is an exceedingly slow, sparse piece employing a pentatonic scale and generous silences. The performance of Kinshi Tsuruta on biwa is nothing short of mesmerizing, with literally striking – the biwa’s massive wooden plectrum is traditionally employed to give a hearty whack to the body of the instrument, whether plucking a string or not. Scraping the plectrum along the strings is another eerie effect that seeps to the surface of this recording, and you could almost claim upon hearing it that Hendrix learned the technique here – it is that strikingly rock’n’roll. So you can get it that for me the biwa is the crystal meth of the lute world – once you’ve seen it played, everything looks different. You need more and on this recording while the two soloists, digging deep into the vocabulary of their traditions, detonate improvised fireworks and surround them with silence, you are left alone, baffled and stupefied. It’s a tremendous example of fruitful collaboration between composer and performing musicians, and to regard it simply as Takemitsu’s composition risks oversimplifying matters. Price: 75 Euro

2101. TAKEMITSU TORU: “Works of Takemitsu Toru” (Victor – SJV-1503‾6 - 4 LP Box Set) (4 LP Record Set: Mint/ Cloth covered slip case box: Mint/ Booklet: Mint/ OBI: Mint) It has been ages since I saw a copy of this monster and this one may be the cleanest and most perfect one ever top cross my eyes. That said, first time ever I have the very first pressing that comes housed in a slip case box and complete with viciously rare OBI. Also, he printing on the clothed spine is pristine – all copies I had so far the letters were erased due to age – on this copy here they scream loud and bright into your face. Looks like it was pressed and printed only yesterday – TOP MINT ISSUE, never seen such a virginal copy as this one here. This is without a doubt my all time favorite Takemitsu item, music wise as well as object wise. Housed in an ultra heavy cloth textured box, the 4 LP’s are all housed in individually colored jackets plus it all comes with a 50 (!) paged detailed booklet complete with pictures, drawings and recording info. Released in 1965 and without a single doubt the rarest of all Takemitsu recordings. Music wise it contains his best work. Contents: Disc 1 – Requiem For Strings, The Horizon Dorian 8 (harmonic pitches with 9 echoes), Coral Island for soprano and orchestra. Disc 2 – Piano Distance, Pause Uninterrupted, Le Son Calligraphie No 1, Le Son Calligraphie No 3, Eclipse. Disc 3 – Water Music For Magnetic Tape, Vocalism A1, Kwaidan. Disc 4 – ARC For Piano and Orchestra part 1 and part 2. Just a killer set, even containing (Disc 3) some of Takemitsu’s rarely seen completely electronic scores. Seen its age, the box and records are in plain perfect shape Like NEW; everything is like a virgin on her wedding’s night. What an artifact, hasn’t been of my turntable lately. Just glorious and all time highest recommendation. This shit burns. First time ever I have an all-complete copy with OBI!!!! Price: 300 Euro

2102. TAKESHI TERAUCHI: “Rashomon” (KING – 4K-31) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Original 1972 pressing. His rarest and best ever LP, this one sets your ears on fire and melts down your membranes, a true face melter of a disc!!! The hardest to track down but also greatest disc of Takeshi Terauchi. This disc is without any doubt the defining Takeshi guitar-fuzz drenched – killer surf – psych – trash record. Heavy reverb drenched guitar licks, pounding rhythm section, plowing bass lines and all create an all-incinerating whirlwind of trashy Far Eastern psych blizz. The Ventures on a speed binge, cave men armed with fuzz pedals and soaring jet engine powered guitar licks, this disc rocks like no other. Killer all way round! First original pressing in TOP condition, all complete with insert and salaciously great obi. Has been ages since I have seen a copy of this BEAST!!!! KILLER!!!! Price: 75 Euro
2103. TAKIS: “Musicales” (Pierre Cardin Presente – ED-2) (EP Record: Mint/ Picture Sleeve: Mint/ Numbered Outer Gatefold Sleeve: Mint/ 3 Inserts: Mint/ 2 x 4 Paged Inserts: Mint/ Outer Gimmick Textured box styled Gatefold sleeve that holds everything: Mint). Rare France only private press release from 1974 that came out in an edition of around 300 copies only. The Greek artist Takis first began exhibiting musical sculptures like the one seen here in 1974. Concerned with the repetition of sound, these sculptures use magnetic waves caused by electricity to activate the plucking of strings or other sound-making materials. Takis’ sound sculptures seek to implement a natural means of generating sound, separated from the arbitrary decision-making process of a lone artist; by using magnetism, Takis presents sound as a discoverable object, a series of events outside of his control Beautiful sound art artifact that seldomly is offered for grabs these days. All complete and Mint copy. Highest recommendation. .Price: 350 Euro
2104. TAKO: “S/T First Album” (Pinakotheca Records - PRL#10). (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent) First original press!! Released at the beginning of 1983 by the legendary and ultra collectible Pinakotheca Label. Taco was an outfit erected out of the ashes of Gaseneta and centered on core members Yamazaki Harumi and Ozato Toshiharu who were assisted on this studio recording by Tori Kudo, Machida Machizo, Narita Munehiro and Sakamoto Ryuichi amongst others. The disc was comprised out of various music styles ranging from full blown punk, new wave, cinematic soundtrack like interceptions, demented howling, new wave induced pop songs with psychedelic influences, sound collages, short wave radio crackles, backward tape collages, raging free jazz saxophone insertions and free form guitar terrorism. Some of the album’s tracks evoke images of a recording session taking place in a mental asylum with a vocalist strapped in a straight jacket. One could say that avant-garde meets demented insanity on the brink of a valium induced nervous break down, while other compositions evoke images of spaghetti-western like sound escapades infused with nasty guitar onslaughts clashing head first into baritone sax improvisations. Throughout the album pop up spoken word gibberish in various languages ranging from Japanese to Russian, French, Italian, German and Spanish, making it a colorful and highly varied album. Highly recommended and needles to say that copies are hard to track down, if not almost impossible these days, especially in such an immaculate condition as this copy. One of the finest discs on the always stellar and hyper collectible Pinakotheca label. Price: 100 Euro
2105. TALULAH GOSH: “Bringing Up Baby b/w Strawberry Girl” (53rd & 3rd – AGARR-24) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Active for just barely two years in the mid-'80s, Oxford, England-based indie prototypes Talulah Gosh were integral to the culture of fanzines, 7" singles, and dreamy-eyed guitar pop songs that would immediately pave the way for twee, indie pop, noise pop, and decades of future underground music. After Talulah Gosh came the Shop Assistants; a few years later Bratmobile; then even later, the Vivian Girls, not to mention the bands spawned by TG members after their breakup, like Heavenly and Tender Trap, all drawing on the melancholy melodies and reverb-soaked delivery that sound sublimely stumbled upon throughout this all-inclusive compilation. In their short lifespan, the band's recorded output comprised mostly multiple singles and compilation appearances. The tracks on this little oddity hold all the inventiveness and shambling energy of the C-86 scene or the homespun esthetic of the soon-to-follow K Records approach to twee and the softer side of punk idealism. Price: 35 Euro
2106. TANGERINE DREAM: “Ultima Thule” (Ohr Records – 0557 006) (EP Single Record: Near Mint/ Hard Carton Sleeve: Near Mint/ Outer Imprinted Plastic Sleeve: Near Mint). Scarce 1999 re-issue of Tangerine Dream's super rare 45 RPM single for Brain Records. Released in a matt black outer cover with a hard plastic cover overprinted with the band's logo, the item remains crisp and clean. Price: 50 Euro
2107. TANGERINE DREAM: “Electronic Meditation” (Odeon – EOP-80618) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Rock Now Obi: Near Mint/ 4-paged Insert: Near Mint). HYPER RARE RED VINYL 1st pressing!!!! Top copy! First original Japanese press of this all time classic Krautrock gem. Comes with the always-elusive “Rock Now” obi & 1st time ever I see a red wax copy of this one. A true gem of a disc and needles to say these vintage first Japanese press copies are as rare as apparitions by the Virgin Mary in Lourdes. Originally released in 1970, Tangerine Dream's first album “Electronic Meditation” is a wicked psychedelic tour de force take on electronic music featuring mainstay Edgar Froese, plus Klaus Schulze and Conrad Schnitzler. So this vintage line-up makes them some sort of a Krautrock super group that few could rival with. Sonic spheres range from imploding improvised dark drones of amplified cello, electric guitar, flute, organ and drums to head on full frontal blasts of freak extravaganza to psychedelic fuzzed-out, frazzled up and dead locking freak-out rock jams. Electronic Meditation is equal parts Algarnas Tradgrad and early Organisation/Kraftwerk. Definitely this disc in the ultimate krautrock classic. First original Japanese press with rare obi – and this is the press on red wax in outstanding condition – 2nd copy to cross my path in over a decade. Very 1st pressing and rare as hell!!!. Price: 400 Euro
2108. The TANGERINE ZOO: “Outside Looking In” (Mainstream – S/6116) (Record: Excellent/ Jacket: Excellent, has minuscule drill hole on upper right corner). Fabulous copy, 1st original US pressing. The band’s 2nd and last album and light-years better than their debut. This Boston psychedelic band got together in 1967. That same year, they got signed to the New York City-based Mainstream label and released their self-titled debut in early 1968. The follow-up album “Outside Looking In” is their masterpiece, exceeding the initial efforts of their debut. It is filled with rare late 60s grooves ranging from psych rocker originals to fairly heavy groovers filled with heavy organ, chunks of stretched-out stillness in the middles of long trippy guitar breaks, bewitching vocal harmonies moving into deep psychedelia. Elements of pop, jazz, garage and orchestrated psych are present on almost every track but without loosing for even a single moment a stylistic continence. This is a strong, enjoyable album, brimming over with delirious organ riffs, full-frontal trippy instrumental breaks, lysergic guitar bursts and beautiful chorus harmonies. Just beautiful and one of the highlights on the Mainstream label next to the Growing Concern and Stone Circus. Next to perfect copy of this all time classic. Price: 250 Euro
 2109. HORACE TAPSCOTT QUINTET: “The Giant Is Awakened” (Flying Dutchman – FDS-107) (Record: Excellent/ Gatefold Jacket: Near Mint). Original 1970 US first pressing in top shape. RARE WHITE LABEL PROMO issue. Pianist and composer Tapscott was one of the most unique and important figures in LA's jazz world, a guy who embraced self-determination and independence after leaving the Lionel Hampton Big Band in 1961. Tapscott was barely known outside of the city. But a year before he made The Giant Is Awakened, the great LA hard-bop saxophonist Sonny Criss recorded a classic album on Prestige called Sonny's Dream (Birth of a New Cool), all six pieces on which were composed and arranged by Tapscott, so it makes sense that producer Bob Thiele (who'd recently left the Impulse label) sought out the pianist for his new Flying Dutchman imprint. The band featured an unusual lineup with two bassists—David Bryant and Walter Savage Jr.—but aside from the pianist, there was the great alto saxophonist Arthur Blythe, who plays with a sharp, keening tone and relentless intensity. Intensity, in fact, is the defining quality of the record, which has a hard-driving energy that never seems to flag; drummer Everett Brown Jr. and Tapscott—making the molten vamping of post-'Trane McCoy Tyner feel almost polite—provide serious propulsion for the dark, stormy melodies at the heart of his writing. Four improvisations with lively piano, groovy rhythm section and bluesy sax. Tapscott demonstrates advanced techniques and by its inspired sound this album could be easily placed at the same level with similar Archie Shepp or even John Coltrane albums of "spiritual jazz". The album's opener, 17-minutes long "The Giant Is Awakened" is one among greatest composition coming from that time and genre. Price: 500 Euro
2110. TAPSCOTT, HORACE Conducting The PAN-AFRIKAN PEOPLES ARKESTRA: “The Call” (Nimbus – 246) (Perfectly SEALED original). Top condition US 1979 original pressing - SEALED. Large-group genius from the legendary Horace Tapscott – one of the few recordings of his groundbreaking Pan Afrikan Peoples Arkestra! The music here is totally righteous right from the start – even more searching and soaring than Tapscott's trio or solo work – thanks to help from some of the hippest, most spiritual players on the LA scene of the late 70s – a lineup you'll recognize from other Nimbus Records sessions, all working together beautifully to realize the unique vision of Horace! Tracks are long, and feature Tapscott on piano, Jesse Sharps on saxes, Adele Sebastian on flute and vocals, Herbert Callies on alto, James Andrews on tenor, Lester Robertson on trombone, Kafi Larry Roberts on soprano, and Linda Hill on additional piano – all working together perfectly as a unified ensemble. There's a strong Strata East vibe to the whole record. Price: 150 Euro
2111. TAPSCOTT, HORACE With PAN-AFRIKAN PEOPLES ARKESTRA: “Live At I.U.C.C.” (Nimbus Records – No. 357) (2 LP Record: Excellent ‾ Near Mint/ Gatefold Jacket: Near Mint). Original 1979 US first pressing of amazing spiritual jazz slide in great condition. An excellent double-length set from Horace Tapscott's Pan-Afrikan Peoples Arkestra – an extremely righteous ensemble that was one of the hippest things going on the LA jazz scene of the 70s! The vibe is free and spiritual, but it also has a wonderful groove pulsating underneath many of the tracks – that heir to the Impulse Records style that Tapscott and other Nimbus Records artists carried on well into the early 80s. The group here features some of Tapscott's Nimbus labelmates – including Sabir Matteen and Billy Harris on tenor saxes, Linda Hill on piano, Adele Sebastian on flute, Roberto Miranda on bass, and Jesse Sharps on soprano sax – and in a way, the album's almost a live summation of all the mighty talents brewing on the Nimbus label at the time! Price: 250 Euro
2112. TATUM, JAMES: “Contemporary Jazz Mass” (JTTP Records – JTTP-1001) (Record: Excellent/ Jacket: VG++~Excellent – no splits or damages, only faint trace of storage/ seam wear). Rare and first issue that comes housed in the B&W cover art! James Tatum's stunning, spiritualized Contemporary Jazz Mass is one of the only true jazz masses ever released. Inspired by Duke Ellington's Sacred Concerts, Tatum's masterwork was recorded on its first ever performance at St Cecilia Church in Detroit, and released on his own private label in 1974. Professional music educator and jazz composer Tatum had been working as a teacher in Detroit, and in the long aftermath of the 1967 riots he had started to instruct local children music in St Cecilia's. The Church commissioned the mass in 1972, and Tatum put together an ensemble of singers from within the church, backed by his own trio and local jazz musicians. Looking toward the great sacred works of Ellington, but with lyrics drawn straight from liturgy, the Contemporary Jazz Mass is a unique work of sanctified vocal jazz - nourishment for the spirit and soul! Price: 450 Euro
2113. CECIL TAYLOR JAZZ UNIT: “Nefertiti, The Beautiful One Has Come” (Fontana – SFON-7075) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ has a few faint foxing spots on the back visible against white background due to age). Original Japanese 1st original pressing in totally mint condition. First pressings of this classic Fontana title hardly surface these days, let alone in a condition like this one here. Nefertiti, The Beautiful One Has Come documents a pivotal period in pianist Cecil Taylor's evolution. Recorded a single night during a seven-week trio stand at Copenhagen's Cafe Montmartre in late 1962. The album also constitutes an extensive early chapter in the historic partnership between Taylor and alto saxophonist Jimmy Lyons, which lasted until Lyons' death in '86. It also marked the pianist's last recording with groundbreaking drummer Sunny Murray. On these pieces, Taylor lays out the materials in concise, moody introductions; Lyons raises the temperature with bluesy, motive-based essays, and both of them bob and keel on Murray's swirling ametric whitecaps. While Taylor's pianistic lexicon was expanding beyond even such early triumphs as the '60-'61 Candid dates, he still anchored these compositions with relatively conventional ballad structures ("What’s New") and chord patterns ("Lena"). Just bloody awesome. Top copy! Price: 75 Euro
2114. CECIL TAYLOR JAZZ UNIT: “Nefertiti, The Beautiful One Has Come” (Fontana – SFJL.926) (Record: Near Mint / Laminated Jacket: Near Mint ~ has a few faint foxing spots on the back visible against white background due to age). Original UK1st original pressing from 1962 in top shape. First pressings of this classic Fontana title hardly surface these days, let alone in a condition like this one here. Nefertiti, The Beautiful One Has Come documents a pivotal period in pianist Cecil Taylor's evolution. Recorded a single night during a seven-week trio stand at Copenhagen's Cafe Montmartre in late 1962. The album also constitutes an extensive early chapter in the historic partnership between Taylor and alto saxophonist Jimmy Lyons, which lasted until Lyons' death in '86. It also marked the pianist's last recording with groundbreaking drummer Sunny Murray. On these pieces, Taylor lays out the materials in concise, moody introductions; Lyons raises the temperature with bluesy, motive-based essays, and both of them bob and keel on Murray's swirling a-metric whitecaps. While Taylor's pianistic lexicon was expanding beyond even such early triumphs as the '60-'61 Candid dates, he still anchored these compositions with relatively conventional ballad structures ("What’s New") and chord patterns ("Lena"). Just bloody awesome. Top copy! Price: 125 Euro
2115. TAYLOR, CECIL: “Nefertiti” (Freedom/ Trio Records – PA-9708) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japanese press issue of all time classic. Complete with OBI and Insert, pristine and virginal all the way. Price: 40 Euro
2116. TAYLOR, CECIL: “Unit Structures” (Blue Note/ King Records – GXK-8147/ BST-84237) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). First original Japanese pressing on high quality vinyl of classic Taylor slide on Blue Note. After several years off records, pianist Cecil Taylor finally had an opportunity to document his music of the mid-'60s on two Blue Note albums. Taylor's high-energy atonalism fit in well with the free jazz of the period but he was actually leading the way rather than being part of a movement. In fact, this septet outing with trumpeter Eddie Gale, altoist Jimmy Lyons, Ken McIntyre (alternating between alto, oboe and bass clarinet), both Henry Grimes and Alan Silva on basses, and drummer Andrew Cyrille is quite stunning and very intense. In fact, it could be safely argued that no jazz music of the era approached the ferocity and intensity of Cecil Taylor’s.” (All Music Guide). Price: 50 Euro
2117. TAYLOR, CECIL: “Conquistador” (Blue Note/ King Records – GXK-8148/ BST-84260) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). First original Japanese pressing on high quality vinyl of classic Taylor slide on Blue Note. For the second of Taylor’s two Blue Note albums, the innovative pianist utilized a sextet comprised of trumpeter Bill Dixon, altoist Jimmy Lyons, both Henry Grimes and Alan Silva on basses and drummer Andrew Cyrille. During the two lengthy pieces, Lyons’ passionate solos contrast with Dixon’s quieter ruminations while the music in general is unremittingly intense. Both of the Taylor Blue Notes are quite historic and near-classics but, despite this important documentation, Cecil Taylor would not appear on records again until 1973.” (All Music Guide). Top condition. Price: 50 Euro
2118. TAYLOR, CECIL UNIT: “Nicaragua: No Pasau – Willisau Live 1983” (Private) (2 LP Set: Near Mint/ Silk Screen gatefold Jacket: Near Mint). Rarest Cecil Taylor LP, only privately issued in Germany at the beginning of the 1980’s and elusive ever since. Stellar line-up consisting out of Cecil Taylor (p), Brenda Bakr (vo), Jimmy Lyons (as), William Parker (b), Rashid Bakr (ds, per) and finally André Martinez (ds, per). Fierce Taylor performance, burning rubber and sucking in exhaust fumes as his free flying free jazz bird takes off and does not intend to touch down until this 2 LP set grinds to a halt. The man and his cohorts certainly had fire-breathing power, killer set, his rarest by far, first time ever I have a copy of this beast. TOP condition! Price: Offers!!!
2124. TAYLOR, JOHN TRIO: “Decipher” (MPS Records/ Teichiku Records – ULX-74-P) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Top condition, Japan original of killer jazz slide, first time ever I see an all complete issue with OBI!! “One of the hippest piano trio sessions ever on MPS a bold little set that features the British pianist John Taylor in a trio with Tony Levin on drums and Chris Lawrence on bass! Taylor's got a style that's quite unique with bits of early Chick Corea-esque lyricism, and touches of McCoy Tyner modalism, but also a singing approach to chords that's lively without ever being sloppy and which pushes the album with a tremendous amount of energy! The record's quite possibly the best that Taylor ever recorded and really one of the high points in the MPS trio session tradition.” (Dusty Grooves). Top condition Japan original with killer obi flashing its colors with pride. Price: 150 Euro
2119. T.C. MATIC: “S/T” (Trio Records – AW-23018) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). One of the most sought after Belgian discs is this Japanese pressing of T.C. Matic’s debut album, listed in the 100 rarest discs from the lowlands booklet. The European press is quite common but the Japanese edition, with obi just never surfaces (as a matter of fact it has been exactly 11 years since I last had a copy), became a kind of a Holy Grail for Belgian punk/ garage late seventies early eighties scavengers. T.C. Matic’s front man Arno Hintjes was before that active with the outfit Freckleface (remember that one?!) and founded Tjens Couter after Freckleface dissolved. Tjens Couter was also short-lived and quickly mutated into T.C. Matic, Belgium’s finest No-Wave combo. They hit the Lowlands with the force of an Indonesian Tsunami, tearing up the music scene of that day with their anarchistic beat. This is their first album, just great and the Japanese press is rare as hell freezing over on a hot summer day. Amazing Dada-ist like No Wave Punk disorderly sonics that makes me swirls beers at a feverish pace and make me run around like a pit-bull high on crack. Magnificent!!!! Price: 150 Euro
2120. TCHICAI, JOHN & ARCHIE SHEPP: “Rufus” (Fontana – SFON-7080) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st original pressing all complete with FIRST issue obi. Totally pristine condition of this legendary jazz slide, recorded in August 1963 and released in Japan fir the first time as a domestic pressing around 1966〜7. This is the very first issue with original obi present. Looks virtually untouched. Stunning slide and first time ever I encounter a first press issue all-complete with obi. Perfect condition, impossible to upgrade upon. Price: 250 Euro
2121. TCHICAI, JOHN: “Cadentia Nova Danica” (Freedom Records/ Trio Records – PA-9716 - 1968) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Insert: Near Mint) rare Japanese first original pressing all complete with rarely seen obi. Great trance inducing free jazz blasting monster. This is the original Japanese press. Recorded in 1968, Tchicai and fellow sonic hoodlums venture in a vicious maelstrom of trance inducing and tribal mantra like free jazz that will guide you to higher stratospheres. Explosive stuff balancing on the fringes of percussive interplay between the horn section and total group evocations towards a mumbo-jumbo hoedown of tribal interaction without ever entering the cacophonous regions of sheer battleship noise. Real nice free jazz disc, one of the nicer ones in the genre. Should appeal to lovers of early Art Ensemble of Chicago, Mazarette Watts and Don Cherry. Quite scarce these days and this is a real beautiful copy. Has been ages since I last had a copy with obi. Getting damned hard to dig up these past years!!! Price: 125 Euro
2122. TCHICAI, JOHN: “Afrodisiaca” (MPS/ Columbia Records Japan – YS-2404-MP) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Original 1st Japanese pressing of this rare free jazz beast, complete with obi. First copy with obi, pressed on high quality vinyl to ever fall into my hands, making it so much rarer than the original French and German issues…of course the sound is also so much better on this one. “Danish-born of Congolese-descent saxophonist John Tchicai's 1969 MPS release Afrodisiaca is a sprawling, multi-disciplinary work that rivals better known works like John Coltrane's Ascension.. No less a personal journey, Afrodisiaca stands, nearly forty years later, as a masterpiece that blends Afro-rhythms and harmonic conceits with improvisation of the freest kind, near-classical microtonalism and innovative sonic experimentation. Its reach as an underground classic is so broad that it's even considered by Sonic Youth's Thurston Moore to be “beautiful, baby, BEAUTIFUL!”…. Tchicai's oblique but beautiful soprano intro to “Fodringsmontage” sets the stage for collective free play that, despite everyone's involvement, is dominated by Doerge and Steinmetz. And, like Ornette Coleman's Free Jazz, its apparent anarchy is belied by the emergence of clearly arranged/cued figures that provide a clear rallying point. The sprawling, 22-minute title track that elevates Afrodisiaca to the position of masterpiece. Based around the scale of the African marimba-like balafon, it opens with two organs briefly playing the entire, dense, 19-note scale, resembling Gyõrgy Ligeti's microtonal intro to “Atmospheres”), before Steinmetz enters with a solo trumpet of painful beauty that gradually expands with both the addition of trumpeter Theo Rahbek echoing him from 30 feet away and the resonant sympathetic strings of the piano as Steinmetz blows into them. But that's only the beginning. The piece moves through a number of movements that include rich, vertical horn harmonies over Musoni's balafon and a propulsive, percussion-driven rhythm; a segment for four flutes that, again, utilizes the sympathetic strings of a piano to create an even lusher soundscape as a backdrop for Tchicai's moaning alto; and a bass solo from Steffen Andersen that, surrounded by horns emulating the wind, leads into a more full-fledged blow-out by all around a pulsating tribal rhythm. It's a sonic and rhythmic tour-de-force that has to be heard to be believed.” (All About Jazz). A drop dead free jazz hard blowing monster. Rarely surfaces these days in such exquisite condition. Seems like it rolled of the presses only yesteryear. This album still rules my waking hours and dreaming days. Totally 100% essential and don’t let anyone tell you otherwise, if they do you know they are full of nonsense. Price: 250 Euro
2123. TEITELBAUM RICHARD with TAKASHI KAKO; MASAMI NAKAGAWA & TOGASHI MASAHIKO: “Hiuchi-Ishi” (Nippon Columbia – YX-7518-ND) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare all complete Japan only issue from 1978 all-complete with rare obi. PROMO copy. On top of that, this is a promo copy. First time ever I see an all-complete issue with obi. This is a beauty of a recording and possibly the best one Teitelbaum ever put down on wax! Recorded in 1977 when Teitelbaum was in Japan, he teamed up with some ace free jazz players who could perfectly integrate a free floating playing style with Teitelbaum's synth noodlings from outer space, putting down 2 sidelong tracks that are simply bewitchingly beautiful. Electronic music meets free improvisation, and it gells remarkably well. Abstract without ever degrading into a gutless intelectual headfuck, the quartet birthes out an assymetric groove floating on synthetic sounds, reaching its zenith on the B-side with a minimal excursion into the void that starts off with the sounds of night insects chirping away, slowly and delicately building up a spectre of sonic clusters that takes you onto a trip into previously uncharterd sonic territories. Free jazz, musique concrete, sound art, electronic music, all gets dissected and mashed into a lethal and ravaging thing of austere beauty. Amazing record! Price: 175 Euro
2124. TELEVISION: “Venus b/w Friction” (Elektra Records - P-98E) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). WHITE LABEL PROMO issue. Bloody rare Japan only single issue by Television, housed in killer picture sleeve. Damned scare white label promo issue in top shape. Price: 400 Euro
2125. TELEVISION: “Venus b/w Friction” (Elektra Records - P-98E) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). RARE STOCK COPY issue, damned much scarcer than the promo one. Bloody rare Japan only single issue by Television, housed in killer picture sleeve. Stock copy with Butterfly label just hardly ever surfaces and this issue in virginal. Price: 400 Euro
2126. TELEVISION: “Double Exposure” (Boot – no number) (Record: Near Mint/ Jacket: Near Mint). Killer Television outtakes – 2nd pressing. The first press came out in a B&W sleeve with some kind of golfer sleeve art but the sound quality on that one was so bad, it isn’t even worth tracking it down anymore. This is the 2nd issue, better quality tapes were unearthed and it sheds some clarity on studio demo tracks of Television with Richard Hell still in its ranks and produced by Brian Eno. You also get treated on some high-quality live tracks, recorded at CBGB’s in 1975. Killer material, awesome sound quality, making this one of the best Television recordings out there. Price: 50 Euro
2127. TELEVISION PERSONALITIES: “I Know Where Syd Barrett Lives b/w Magnificent Dreamer” Rough Trade – RT-8) (7 Inch Single Record: Near Mint/ Japan Only Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Damned scarce Japanese press original that comes with a Japan only B-side recording. The whole affair comes housed in a Japan only gatefold picture sleeve. 1981 original! Price: 65 Euro
2128. TELEX: “Looking For Saint-Tropez” (Windmill Records/ King Records – GP-764) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Rare Japan original first press issue from 1979 of techno pop masterpiece created by ex-Placebo kingpin Marc Moulin. Rarely surfaces this Japanese press issue. Marc Moulin, the now-deceased front man of Belgian synth-pop trio Telex (former of Placebo), once said of his music, “the best compliment anybody could pay us is that our music is disposable - that’s what all music should be.” Well, sorry Marc. It may be rather dated, but I love it. And what’s not to love? It’s cheesy. It’s over the top. It’s almost unbearably catchy. It’s had a huge impact on today’s electronic music. Above all, it’s fun. Really fun. It’s like Kraftwerk with a lower budget, and a much better sense of humor. And they pretty much pioneered taking the piss out of Eurovision. Sounds stellar and TOP condition. Price: 75 Euro
2129. The TEMPOS: “Speaking of …” (Justice Recording Co. – J-LP-104) (Record: Near Mint/ Jacket: Near Mint ~ Mint – still housed in original shrink). Perfect condition original press copy. Damned rare 1966 original pressing of US garage cornerstone. “This is usually considered the best of the 22 rock titles released on the Justice custom label and it’s even rated as the best local garage LP from anywhere by some. I wouldn’t go that far but this is a fun, kick-ass album that has a true garage edge. There are numbers of great Stonesy band originals such as the opening “Two Timer” and “You’re Gonna Miss Me” (not the Elevators tune), along with some of the usual surd and R’n’B covers of the era. One of the few (maybe the only) Justice rock bands not to hail from the Atlantic seaboard states, this also sticks out due to an atypical recording with plenty of punch that reflects a hip moptop mindset among these Sylacuga High School punks. The LP came out in April 1966. A vital title to check out even for album-phobic garage fans” (PL – Acid Archives). Simply, a teenage garage masterpiece, top 5 record in my crumbling universe. Absolutely flawless condition. Price: Offers!!!
2130. TEN YEARS AFTER: “S/T” (Deram Records/ KING – DL-9) (Record: Mint/ Flip Back Jacket: Mint/ Insert: Mint/ OBI: Mint). Rare 1969 Japan 1st original pressing all complete with first issue obi. Amazing condition, impossible to find better. Really hard to get in such a virginal state as this beauty here, so clean it resembles almost a religious epiphany that makes people flock to religious Holy sites. Price: 200 Euro
2134. TEN YEARS AFTER: “Watt” (Deram/ King Records Japan – DL-25) (Record: Near Mint/ Gatefold Textured Jacket: Near Mint/ OBI: Near Mint/ Insert: Near Mint). Original 1st Japanese pressing from 1971, complete with always missing OBI. Alvin Lee just rips it up…. classic. 1st press Japanese originals all complete with obi completely dried up, damned rare these days…Price: 150 Euro
2131. TEN YEARS AFTER: “Cricklewood Green” (Deram/ King Records – DL-20) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Freakingly rare TOP COPY of this 1st Japanese pressing complete with DERAM obi. Released in July 1970, this is a virginal copy – hardly ever surfaces complete with obi in such a pristine shape as this copy here. Price: 200 Euro
2132. TENJOSAJIKI – J.A. SEAZER – TERAYAMA SHUJI: “Throw Away Books, Let’s Go Out On The Streets” (Tenjosajiki – TENJ-99002) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Triangular OBI: Excellent). One of the rarest heavy psychedelic private press records to seep out of Japan, 1970. Privately released in a run of about 300 copies – this is the first copy I see complete with OBI. Music-wise one of the most amazing teenage psych-cum records to seep out of Japan. "Typical of the company's early, crazed style is this viciously rare and obscure Throw Away The Books, originally released on their own label in 1970. Confusingly, there is a film soundtrack of the same title, but this is the extremely rare original theatrical version and contains entirely different material. Subtitled 'A High-Teen Symphony,' the performance centers around untrained adolescents reading out their own tortured, angry (and in one case, stuttering) texts and poems. Their stories of family disintegration and mother-hate, dreams and hopes for the future, and love songs to teen murderer Norio Nagayama and Mick Jagger are set to an attractively rough and ready pounding psych-rock soundtrack largely composed by organist Kuni Kawauchi. Kawauchi had been a member of pioneering Prog group Happenings Four and his brooding organ riffs feature throughout. As well as heavy rockers like the great opening 'Lets Go Ornette', with its ripping fuzz lead, Orff-style choral chants and motorbike effects, Kawauchi was also capable of delicate, folkish pieces ideally suited for some of the company's outstanding female vocalists, several of whom developed successful singing careers outside of Tenjosajiki. Also of note is a track composed by a young design school dropout, Shinjuku street hippy and winner of a nationwide longhair competition, by the unlikely name of JA Caesar (Tenjosajiki also had its own Sinatra and Salvador Dali). Set to a simple handclap rhythm, Caesar's tale of the panhandling life possessed a subtle melodic strength and depth that hinted at the minor keys of traditional folk song. Caesar soon came into his own, composing all the music for Terayama's performances and films for the next decade, and finally inheriting the remnants of the troupe after Terayama's death in 1983." -- Alan Cummings. Rare original with mage rare obi present. Comes housed in thick textured sleeve. All killer and no filler brain-freeze of a record. Price: Offers!!

2133. TENJOSAJIKI – TERAYAMA SHUJI – J.A. SEAZER: “Baramon” (Tenjosajiki Records – 1972/2002) (Record: Near Mint/ Jacket: Near Mint/ Tow Separate Gatefold Inserts: Mint). Top copy of this ultra rare privately released Tenjosajiki record “Baramon”. 1972 private pressing that came out in a limited run of about 300 copies back then and which was solely sold at the gay bars of Nishi Shinjuku. But about the music: “Some of the most exciting and evocative music of the early 70'ties in Japan was born out of the avant-garde theatre groups that had played such a central role in the 60'ties ferment. One of the most important was the Tenjosajiki Company formed by poet, filmmaker, boxing fan and all round agent provocateur Terayama Shuji. Renowned for Living-Theatre inspired audience participation happenings and extreme street theatre designed to shock the bourgeois; by 1970 the group had already a haven for runaway teens, and a focus for police investigation. Terayama was canny enough to realize that co-opting their music was an ideal way to hijack adolescent energies and he consistently used heavy amplified rock to jumpstart his chaotic, socially critical acid operas…By 1972, Baramon saw J.A. Seazer and Kuni Kawauchi (of the Happenings Four and Kirikyogen) splitting the compositional scores on a bizarre musical manifesto for sexual liberation. So far so Hair, but rather than a tribute to free love, Terayama instead composed an eloquent plea for the liberation of the sexual underclass suffering discrimination, in the form of a “gay revolution”. It wasn't Terayama's first engagement with the Tokyo queer scene – one of the earliest plays he wrote for the Tenjosajiki was a vehicle for transvestite actress and chanson singer Akihiro Miwa, who was rumored to have had a dalliance with Yukio Mishima. Baramon's opening is a blast – a densely narrated and impassioned call to arms set to a Nazi military march that links sexual second-class citizenship to imperialist social control and warmongering. Featuring the actual voices of numerous smutty, cross-dressing scene queens, the record's content was deemed so subversive that it was only sold under the counter of Tokyo gay bars. Like a biker backstage at the Cage Aux Folles, fuzzed out guitar riffs and heavy s welling organ-based psych rock tracks rub shoulders with the lachrymose ballads and tawdry, mascara smudging chanson still favored in certain Shinjuku nighteries.” (The Wire, Alan Cummings). So I guess you get the picture. Highest recommendation and rare to say the least. Pristine and immaculate condition. Price: Offers!!!!

2134. TENJOSAJIKI - TERAYAMA SHUJI – J.A. SEAZER: “Denen Ni Shizu” (CBS Sony – SOLL-100) (Record: Near Mint/ Jacket: Near Mint/ 4-paged insert: Near Mint/ OBI: MINT) Wow, splendid TOP copy WITH OBI of this hyper rare Tenjosajiki/ Terayama Shuji record. Hideously rare and oh so psyched out. Released in 1974, “Denen Ni Shizu” was the soundtrack to Terayama's self-directed movie, a fictional biography of some sorts. As usual, the music to this epic fractured narrative celluloid dream was undertaken by Seazer. This is what our brother in arms Alan Cummings once wrote about the recordings: “The deployment of disparate elements in an all-consuming flow, which works even independently of the images, is masterly. The familiar psych guitar, organ and choral chanting are heavy enough in places to approach Sabbath levels of dense pounding, and there's also a frighteningly visceral vocal turn from folk singer Mikami Kan. But the score also sees Seazer expanding his instrumental palette, scoring some tracks for sideshow brass band or gently plucked guitar, weeping violin and chant. The weird intervals of his sparse, medieval-influenced melodies linger in the memory with the force of nostalgia for a past not directly experienced. It's an amazing performance: from street hippy who'd never picked up an instrument to film soundtrack composer in five years. Seazer's soundtrack for “Denen ni Shizu” lost out by a single vote to Toru Takemitsu's for the best soundtrack of 1974”. This description nailed it perfectly and by now you must already be salivating heavily. Original press, stunning artwork, four paged insert, wicked stuff, rare as hell. What more can you possibly ask for? Rock bottom low price so act now and hold yer peace for ever, best copy to ever cross your path…Price: 450 Euro
2135. TENJOSAJIKI/ TERAYAMA SHUJI & J.A. SEAZER: “Saraba Hakobune” (Sound Marketing Systems Records – SM28-5409) (Record: Near Mint/ Jacket: Mint/ 4-paged insert: Mint/ Obi: Mint) Another rarity is this original soundtrack album to Terayama Shuji’s last movie with music by J.A. Seazer. Released in 1984, it was Terayama’s last completed movie and Seazer’s last contribution to his visionary and reactionary world. Saraba Habobune’s soundtrack is just stunningly beautiful, far removed from Seazer’s trademark bombastic scores. Instead it ventures into more pastoral and almost meditative psychedelic realms filled with traditional string pluckings, eerie flute, shahuhachi flirtations, esoterically floating beneath-the-surface female Orff-like choruses and ethereal shamanistic sense of poetry that create memory flashes towards a forceful nostalgia of a past not directly experienced. The whole is endowed with beauty and an austere intimacy spiced up with occasional echoes of circus sideshow callers that seem to recall aspirational surges out of a concealed depth of former delinquent activities. A deceptively intense, casual in feel, yet meticulous in its musical detail and lyrical transmigrative eclectic beauty. A true astonishingly beautiful and ear-filling piece of consummate art that is so hard to come to terms with. Extremely rare complete copy. All time highest recommendation. Price: 350 Euro

2136. TERASHITA MAKOTO: “Great Harvest” (Union Records – GU-5014) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition copy of freakingly rare and obscure but legendary Japanese jazz slide that saw the light of day in 1979. Copies just never turn up, especially with obi present. This is one killer and awesome modal jazz album that never fails to astonish.. Wonderful album from the Japanese pianist Makoto Terashita featuring Makoto Terashita – piano, Bob Berg - tenor saxophone, Errol Walters – bass, Jo Jones Jr. – drums and. Yoshiaki Masuo – guitar. This one-off outfit crafted out an excellent slide, consisting of 3 excellent originals from Terashita plus a couple of standards. The Harvest album was made in NYC. and breathes out a laidback fee, floating on a warm pulsating base with Terashita's lyrical piano playing taking you towards the stratosphere, without ever batting an eye and loosing that addictive swing that bubbles up from underneath. One of the nicest and most beautiful modal Japanese jazz slides ever recorded. Each time I play this, it makes me feel glad to be alive! Highest possible recommendation. Price: Offers!!!!

2137. TERRY RILEY: “Reed Streams” (Mass Art Inc. – M-131) (Record: Near Mint ~ Mint/ Jacket Near Mint). Freakingly rare Sweden only released private press original from 1966. Released in an edition of 200 copies only. Top mint copy. Psychedelic minimal masterpiece that rarely surfaces in its original form. “Riley's untitled piece for organ is a series of four- and eight-note patterns, exchanged and interchanged without standard modulation over a series of fluid musical "events" in which they interact with one another but contain their own identities. While the music may have been regarded as "simple" by the tired leftovers of serialism's last gasp for a while, the physicality of it is just plain rigorous. Riley moves through this 20-minute work of hypnotic interval and repetition with a fluidity that is nothing less than remarkable. Even today, nearly 46 years later, the piece sounds fresh, original, and not a little off-putting in its intensity. "Dorian Reeds" is a similar work that employs a different method to move into similar territory, employing the soprano saxophone and a small bevy of tape recorders -- since the reed instrument is not capable of producing the same multi-toned streams as an organ. Here four-, eight-, and 12-note streams are played and looped over one another via tape recorders -- no editing was done, as this was all recorded as performed -- and a long soprano saxophone deviates and acts as a percussive and thematic anchor for the streams of sound coming forth from the tape boxes. Here, modulation both happens and doesn't as everything is fixed around the notion of a non-fixed interval. The single-note horn that punches through the streamed mix is notable for its ability to play accents and create the sensation of rhythm from a solo instrument.” (All Music Guide). Riley's organ work never ceases to amaze me, and he shows an incredible ability to conjure up mantra-like rhythms from repeating organ phrases, which are occasionally manipulated with the reel-to-reel machines. The rhythmic clatter of the keys, which sounds a little like bones clinking underwater combined with the pulsating sound of the organ are utterly hypnotic and totally captivating, you almost don't hear the sound moving yet you're very aware that it is - like watching the sea from an airplane window. When he incorporates the tape recorders, which gives Riley more space to experiment with the sound, and he layers over noises and reverberations to come up with a piece that could just as easily be devotional music from an undiscovered African country. Bewitchingly intense and psychedelic as hell. Original 1966 private pressing in top condition. Price: Offers!!!
2138. TERRY RILEY: “Persian Surgery Dervishes” (Shandar Records – 83502) (2 LP Set: Mint/ Gatefold Jacket: Mint). Top copy, on the Shandar imprint and not the Shanti one. Minimal music milestone recording for dead cheap price. The Shanti sub label version is quite common but the Shandar 2 LP version (NOT on the Shanti label) is a tough one to dig up. Dervishes represents Riley's forays into a subdued, dark, arabesqued music floating between his serial tendencies and improvisation. A minimal music masterpiece, original press on SHANDAR label!! Still comes bloody cheap here, especially seen the TOP condition here, records and jacket are just untouched, mint condition. Price: 100 Euro
2139. TEXTURE SEXTET: “S/T” (IACP/Institut Art Culture Perception – TEX-1001) (Record: Near Mint/ Jacket: Near Mint). Rare French private press issue that was released in 1982 in a micro edition. Rare French Free Jazz Lp featuring Denis Colin (clarinet), Pierre Jacquet (bass), Michel Coffi (drums), Itaru Oki (flute), François Cotinaud (sax), Bruno Girard (violin). Fantastic heavy free jazz blast. The name of the Moroccan born Francois Cotinaud may ring a bell as he was present on Alan Silva’s Celestrial Communication Orchestra. Together with bass clarinet player Denis Colin, they form the center point of free jazz group Texture Sextet. They recorded this one of LP in 1983 for which Alan Silva acted as the art director and which was released through a tiny local Art Culture Center. The Sextet – due to the colorful nature of its diverse members created for free jazz a highly unique sound and with adding violinist Bruno Girard to the already ethnic sounding mix, the whole affair gets injected with a slight Balkan gypsy like sonic flavor. So together this Sextet brings hot boiling free jazzing sounds with North African and gypsy like elements thrown in the mix, creating a highly volatile and intoxicating sonic combination. Highly recommended!!! Top condition copy. Price: 150 Euro
2140. THEM: “Golden Them --- Gloria – Here Comes The Night b/w One More Time – Baby Please Don’t Go” (London Records – LS-156) (EP Record: Near Mint/ Sturdy Picture Sleeve: Near Mint/ 2 Inserts: Near Mint). One of the rarest Them releases – just never pops up. This was a Japan only live 4-track EP that came out in 1968 and came housed in a thick cardstock Japan only sleeve, all-complete with lyrics insert and additional insert. Very beautiful to behold and of course even more enticing when throwing it on and cranking up the volume ‘cause it is still one of the greatest garage/ mod crackers ever and this is the hardly ever offered Japan only first and only EP release. Top condition. Price: 100 Euro

2141. THEM: “Gloria – Them No Subete” (King Records – SLC-206) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Insert: Near Mint/ Circular Obi: Near Mint). Amazingly TOP condition and viciously rare Japan 1st original pressing as released in June 1968. All complete and in archive condition. Impossible to find in such perfect condition, disc is virtually unplayed, fragile flip back sleeve is completely virginal, the insert is pristine and the obi is utter perfection. Stunning condition for a disc over half a century old and sounding like a bell. Never surfaces with first obi intact, let alone as perfect as this one….I believe it will be impossible to ever upgrade upon this one. Price: Offers!!!!

2142. THEM: “Them Again” (London – SLC-220) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Bloody rare Japan only Them release housed in Japan only jacket art. This came out in November 1968 and is in top condition, they just do not surface any better than this one. The group's second and, for all intents and purposes, last full album was recorded while Them was in a state of imminent collapse. To this day, nobody knows who played on the album, other than van Morrison and bassist Alan Henderson, though it is probable that Jimmy page was seldom very far away when Them was recording. The 16 songs here are a little less focused than the first LP. The material was cut under siege conditions, with a constantly shifting lineup and a grueling tour schedule; essentially, there was no "group" to provide focus to the sound, only Morrison’s voice, so the material bounces from a surprisingly restrained "I Put a Spell on You" to the garage-punkoid "I Can Only Give You Everything." Folk-rock rears its head not only on the moody cover of Dylan’s "It's All Over Now, Baby Blue" but the main thrust is soul, which Morrison oozes everywhere -- while there's some filler, his is a voice that could easily have knocked Mick Jagger or Eric Burdon off their respective perches.” (All Music). Slightly different songs as the UK pressing for the Japanese version being Side A: Baby Please Don’t Go/ You Just Can’t Win/ Could You, Would You/ I Put A Spell On You/ My Little Baby/ I Can Only Give You Everything & Side B: How Long Baby/ Hello Josephine/ It’s All Over Now Baby Blue/ Bright Lights Big City/ Out Of Sight/ I Got A Woman. Top condition. Price: 200 Euro
2143. THEM: “Now and Them” (Tower – ST-5104) (SEALED). Top SEALED condition original pressing. No usual ring-wear, virginally white sleeve!!! First Them album without their enigmatic front man Van Morrison. This, their third real album was recorded after the band had relocated to the US and by now Kenny McDowell had been installed as their new lead vocalist. Some other changes also altered the group’s sound and by now the Them had pretty much abandoned the raucous r&b inflected blues-rock of their first recordings and set sail into a much more psychedelic influenced direction. That aside, with this recording it also became clear that the Them were operating as a solidified band for the very first time and not simply as a bunch of faceless, ever-changing nobodies backing Van Morrison. Alan Henderson, Them's bassist and the only constant during the band's career, deserves credit for not only keeping the band active but for allowing Them to evolve and grow. And it shows and became fully apparent on “Now And Them”. The disc turned out to be a sadly overlooked masterpiece of uncut 60's rock and it can be argued that it is maybe even better than anything previously issued under the name Them. A variety of different styles pass the revue, all tackled with much conviction and executed with crystalline clarity. Bridging raga infected moves, folk styling, pulsating hard driven rock and dabbling with psychedelic brainteasers, the band never failed to merge all these styles into one convincing ever evolving album. Just brilliant. Deprived of wasted opportunities, this LP is all killer with absolutely no filler. Even the non-original tracks are delivered with such inventiveness and enthusiasm that they successfully make these songs their own. “Now And Them” should have catapulted Them to the same level of success enjoyed by The Kinks, The Who and the Stones; sadly, a lack of real promotion and radio support prohibited this and Them would never rise above cult status. Truly highly recommended and damned hard to find SEALED. Price: 300 Euro
2144. THEM: “S/T” (Happy Tiger – HT-1004) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). Them’s star attraction, Van Morrison had been out of the group for years by the time this one came out in 1970. Upon its release they barely qualified as a band – bassist Alan Henderson was the sole holdover from the original lineup, and the only other member cited was American session musician Jerry Cole, who played guitar and drums as well as handling lead vocals. The tough blues-influenced rock of Them’s early sides had been replaced a by a psychedelic-tinged garage sound, and the fuzzy report of Cole’s guitar and the fevered sneer of his voice made for a better-than-average slice of West Coast studio-centric garage howling, though 1970 was pretty late in the game for this sort of stuff. Rumor has it that Ry Cooder and Jack Nitzsche are among the session men helping out on this set. The performances are pretty straightforward stuff, with whopping two original songs from Cole and covers of hits by the Rolling Stones, Wilson Pickett and the Beau Brummels. Some excellent heavy frazzled fuzz guitar breaks out here and there and although the record gets a bad rep here and there, to these ears it is a great one. Filthy, fuzzed out garage dementia by a group coming lightyears to late to the scene with this blistering sound. Amazingly clean original pressing, sleeve still in shrink which is no small feat. Price: 200 Euro
2145. BOB THIELE EMERGENCY: “Head Start” (Flying Dutchman – FDS-104) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Japan Only Insert: Near Mint/ Direct Import OBI: Mint). 1970 first original press all complete with rarely seen direct import OBI. “Head Start” was nothing short of a manifesto by Flying Dutchman boss Bob Thiele. Head Start is an ambitious, bold, genre-sprawling double album. Combining everything from psychedelia, rock, blues, bebop, free-jazz, swing and pop, it’s a captivating musical journey lasting fourteen tracks and over seventy-minutes. The four sides include a history of jazz, an electronic experiment, some finger-poppin’ hip soul jazz and a tribute to John Coltrane, whom Bob had produced at ABC Impulse where he made his greatest artistic statements. Bob Thiele Emergency was more like a pool of musicians. This allowed Bob to draw upon musicians whose style of playing was suited to specific tracks. Over thirty musicians played on Head Start. Some played on several tracks, other played on just one track. On the first side of Head Start, saxophonist Tom Scott takes center-stage. He was one of Flying Dutchman’s most successful artist. Tom showcases his skills from the get-go and breathes out an unmistakable sixties sound. Straight away, The Bob Thiele Emergency kick loose, on a track that sometimes, is the definition of groovy. Easy on the ear, you sense Bob is just toying with the listener. That’s the case. Freaky Zeke is very different. It’s best described as a genre-sprawling track. Here Head Start veers between jazz, blues, psychedelia and rock. Veering between reflective and wistful, the Coltrane tribute side is the album’s finest moment and features Elvin Jones, a thoughtful, pensive recital by New York radio DJ Rosko and an otherwise unavailable Ornette Coleman cut, unleashing one of his keening, braying, improvisational alto saxophone solosClosing Dedication To John Coltrane, is a live recording of Holiday For A Graveyard, featuring Ornette Coleman. This was recorded at John Coltrane’s funeral in 1967, in St. Lutheran Church, New York. The rest of the album is equally fascinating and includes such names as Tom Scott, Horace Tapscott, Howard Roberts, Joe Pass and Jon Appleton. Amazing slide and rarely seen Direct Import Obi flashing its colors. Price: 75 Euro
2146. THIS HEAT: “S/T” (Piano Records – THIS-1) (Record: Near Mint/ Jacket: Near Mint). Original 1979 UK first original pressing in top condition. Rare 1st press copy of this rare historical album. Released in 1979. This one is virginal and appears to be unplayed, hell even untouched. Most perfect copy to have ever crossed my path. Made up out of Charles Bullen - guitar, clarinet, voice tapes, etc; Charles Hayward - percussion, keyboards, voice, tapes, etc; Gareth Williams - keyboards, guitar, bass, voice, tapes, etc. This Heat's first album is an impressive and unprecedented achievement in rock composition. A landmark recording. Hayward fuels the trio's radical approach, while Bullen and Williams bring a broad array of voices to the band, mixing tape and concrete ideas in songs with unusual vocal approaches - a sonic soup that's pushed by a tremendous amount of passion. Killer album, totally mint. Price: 150 Euro
2147. THIS HEAT: “Deceit” (Japan Record – RTL-14) (Record: Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Mint). First original Japanese pressing of this subliminal LP – all complete with OBI. All complete Japanese pressings with obi in Top condition are getting tough to dig up these days, this copy is perfect all the way. “Out of all the boundary breaking that occurred during the fertile era of post-punk, This Heat's "Deceit" is one of the most expansive, imaginative, and remarkably wild records to have been produced during the time — and very possibly the last three decades. It's an impressive procession of tangential shards that encompass tape collages, Middle Eastern motifs, barbaric vocal clamoring, and occasional pointy-jagged-atonal guitar passages that alternate between hypnotizing and shooting clean through your spine. The typical structures of jazz, world music, and rock & roll are heaved into a blender, cooking up a post-punk paella that's about as relaxing as a cross-town walk through a hail storm. It ends up hardly resembling anything it takes cues from. As with a good number of the album's ten tracks, random peeks into "Paper Hats" at the minute markers will hardly sound like the same song. And that song hardly resembles any of the others on the record; yet, it encapsulates what makes the whole thing so exciting. The song in question trots along arrhythmically with some bass, drum, and spindly guitar interplay until sputtering into a wreck of those instruments and who knows what else — this 20-second interruption abruptly gives way to a march down a Twilight Zone-themed corridor of snaky guitar, pulsing high hats, and creeped-out atmospherics. If you can make out any of the lyrics (the ones in "Independence" should ring a bell, though), you'll realize the mushroom clouds and political figures depicted in the sleeve aren't the only evidence that the record is about war and nukes. Know this — if you really want to be thrown around a room, there's hardly a better source. No greater record has been made in an abandoned meat locker.” (All Music Guide). TOP and NM 1st original Japanese pressing with delicious OBI to feast on – hard to unearth these days in such a perfect nick. Price: 150 Euro
2148. THIS HEAT: “Deceit” (Rough Trade - 26) (Record: Mint/ Jacket: Mint). First original UK pressing of this subliminal LP. UK pressings in Top condition are getting tough to dig up these days, this copy is perfect all the way. “Out of all the boundary breaking that occurred during the fertile era of post-punk, This Heat's "Deceit" is one of the most expansive, imaginative, and remarkably wild records to have been produced during the time — and very possibly the last three decades. It's an impressive procession of tangential shards that encompass tape collages, Middle Eastern motifs, barbaric vocal clamoring, and occasional pointy-jagged-atonal guitar passages that alternate between hypnotizing and shooting clean through your spine. The typical structures of jazz, world music, and rock & roll are heaved into a blender, cooking up a post-punk paella that's about as relaxing as a cross-town walk through a hail storm. It ends up hardly resembling anything it takes cues from. As with a good number of the album's ten tracks, random peeks into "Paper Hats" at the minute markers will hardly sound like the same song. And that song hardly resembles any of the others on the record; yet, it encapsulates what makes the whole thing so exciting. The song in question trots along arrhythmically with some bass, drum, and spindly guitar interplay until sputtering into a wreck of those instruments and who knows what else — this 20-second interruption abruptly gives way to a march down a Twilight Zone-themed corridor of snaky guitar, pulsing high hats, and creeped-out atmospherics. If you can make out any of the lyrics (the ones in "Independence" should ring a bell, though), you'll realize the mushroom clouds and political figures depicted in the sleeve aren't the only evidence that the record is about war and nukes. Know this — if you really want to be thrown around a room, there's hardly a better source. No greater record has been made in an abandoned meat locker.” (All Music Guide). TOP and NM 1st original UK pressing – hard to unearth these days in such a perfect nick. Price: 150 Euro
2149. THIS HEAT: “Health & Efficiency” (Piano Records – this1201) (Record: Near Mint/ Jacket: Near Mint). Original 1980 UK first pressing. With their self-titled debut, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock. The album took the trio – Charles Bullen, Charles Hayward and Gareth Williams – two years to create, and placed them at the forefront of experimental music. The follow-up, the 20-minute Health and Efficiency, proved to be a less labored – and more conventional – record to make. Bridging the gap between the debut and their masterpiece, Deceit, the 1980 release found the band settling into a groove at their Cold Storage Studio. The eight-minute title track, remembers Charles Hayward, “was improvised pretty much fully-formed,” and included the sound of the neighboring school’s playground and the band rolling bottles around in the gallery space next to their studio. That’s where they found the maxi-single’s sleeve too – Pete Cobb’s blue and white image was on display in the same gallery. The track was recorded using a mobile unit found in the back of Melody Maker – the 16-track Zipper Mobile studio – and elements of second album Deceit were laid down at the same time. As Charles Hayward notes: “Everything seemed to fall into place.” On the B-side, the drone for “Graphic/Varispeed” came from the song “24 Track Loop” on the first album, albeit manipulated, slowed down and sped up. “In the process, we realized that we liked the morphing of the sound from one state to another as the vari-speed combed the sound across the equalization, like a microscope. So we recorded the process itself, which is what you hear here,” says Hayward. The intention was for the single to be able to be played at 33, 45 or 78 RPM – which you’re welcome to do.” (LITA) Original UK 1st pressing in top shape! Price: 120 Euro

2150. CHESTER THOMPSON: “Powerhouse” (Black Jazz/ Toei Geion – OPL-2006) (Record: Near Mint/ Textured Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare Japan 1972 original with rare OBI present. WHITE label PROMO issue. One of the few solo albums ever cut by organist Chester Thompson – a player who's known to most as the keyboardist in Tower Of Power, but one who's also remembered by a select funky few for this killer record for the Black Jazz label! The album's a stripped-down quartet session – with labelmate Rudolph Johnson on tenor, blowing some beautiful lines alongside long, drawn-out Hammond solos from Thompson! The overall feel is similar to some of the great late 60s Prestige sessions – especially Don Patterson dates – with the group free swinging away in a very live format, just like you might have heard if you caught them in some hip southside club. Other players include All Hall Jr on bass and Ray Pounds on drums – and the album features four long jamming tracks. Price: 275 Euro


2151. THOMPSON, MAYO: “Gorky’s Debt To His Father” (Texas Revolution – CFS-2270) (Record: Near Mint/ Jacket: Mint, still housed in original shrink) TOP copy, US first original pressing!! An all time classic neuro-stunner of a disc, housed in a simple apricot colored sleeve that enshrouds a half hour of insulation wilder than any of your bedroom fantasies. There where Thompson’s previous work had fractured the human heart so far that Red Krayola were accused of being a cheap and amateur art school prank, the material on this disc is even more daring the atonal bashings of his combo. Starting of with The Lesson, it already alludes at the regions the album will wade through at knee-length - guilt, obsession, depraved lust and indulgence. “I held your little breast in my hand, and I kept my eyes on your knee. I was breathless when you crawled in the door, and gasped when you sat on my lap.” That’s Vladimir Nabokov’s Lolita for you through the eyes of an acid flashback plagued Texan dessert rat. “You parted your legs with a smile...” Boy, that that coming out of puritan America – thank god Bush was not waving his scepter then. Still it hints at the overall tone the album is spray painted with being that the only love worth having is a doomed one. At the time, the album attained but a fraction of the success of the Red Krayola albums - themselves notorious rather than popular. Originally released by the label Texas Revolution and like all stellar discs Gorky’s Debt was recorded in mono. After it had hit the streets and was largely ignored by all the hip cats, the album was left to attract dust and cobwebs, sinking into oblivion for nearly the next twenty years until Drag City made it available for the masses many years ago. And even that version is getting thinner and scarcer every minute. Still the general outcome remains the same: compact Dadaist poems distilled into a half-hour of personal confessions. One of the greatest discs ever made without a single doubt. Original press copy, just about impossible these days, especially in such a nice condition as this baby here….Price: Offers!!!

2152. TIMMONS, BOBBY: “Jenkins, Jordan And Timmons – Soft Talk” (Top Rank/ Nippon Victor – RANK-5078) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Insanely rare Japan first original pressing all complete with OBI. MONO issue that comes housed in japan ONLY sleeve art, just never ever offered before. Four of the five selections on this LP are obscure jazz originals by altoist John Jenkins, tenor saxophonist Clifford Jordan or trombonist Julian Priester. Inspired by both Charlie Parker and Jackie McLean, Jenkins teams up with Jordan, pianist Bobby Timmons, bassist Wilbur Ware and drummer Dannie Richmond for some bop-oriented improvising. Strange that this would be one of only two sets led by Jenkins. This is truly a great set and the tunes are all very nice. Favorite tune is probably "Soft Talk". "Tenderly" is a nice ballad with superb piano solo work from Bobby Timmons. Jordan’s tone is round and strong much like a nice cup of sake. Bobby Timmons flows effortlessly through the tunes with extremely nice rhythmic lines. The other two cats in the rhythm section gel perfectly well with Jenkins and Timmons. Damned rare Japan 1st original pressing that comes housed in never seen before Japan only sleeve art and complete with obi. A one of a kind true rarity for your eargasmatic pleasures. Price: Offers!!!!
2153. TIMMONS, BOBBY: “Here Is Bobby Timmons” (Riverside – SMJ-6050) (Record & Jacket & Capsule Obi are Mint and in SEALED condition). Very first original Japanese press issue with capsule obi. “This is a classic Riverside set. Pianist Bobby Timmons by early 1960 had already had successful stints with Art Blakey (where he contributed "Moanin'") and Cannonball Aderley (writing "This Here" and "Date Dere"). For his first recording as a leader, Timmons (whose "funky" style was beginning to become very influential) performs those three hits along with his own "Joy Ride" and five standards in a trio with bassist Sam Jones and drummer Jimmy Cobb. Always more than just a soul-jazz pianist, Timmons (who effectively takes "Lush Life" unaccompanied) became a bit stereotyped later in his career but at this early stage was at the peak of his creativity. Essential music.” (All Music Guide). Sealed original Japan 1st press copy. Price: 75 Euro
2154. TINKABELLS FAIRYDUST: “Twenty Ten b/w Walking My Baby” (London/ King Records – TOP-1287) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint). Japan only picture sleeve issue of rare UK pop psych masterpiece. In 1969, a self-titled Tinkabells Fairydust album was assembled at Decca, and included four of the six songs that had appeared on their singles, as well as nine other tracks. Although this got as far as the test pressing stage, it never did get released, although a handful of finished copies did hit the streets but just never turn up these days. They did however release a couple of singles in the UK, all without picture sleeves and 2 singles in Japan only, which did come with picture sleeves but also hardly ever surface as sales were depressingly low and barely non-existent. Still one of the highlights of their repertoire was the in 1968 released track "Twenty Ten," which is a very nice minor-keyed piece of harmony-laden light psych. Comes housed in cool picture sleeve, first time ever I see a copy of this one. Price: 250 Euro

2155. TINKERBELL’S FAIRYDUST: “Twenty Ten – Walking My Baby b/w Lazy Day – In My Magic Garden” (EP Record: Near Mint/ Thick Flip Back Picture Sleeve: Near Mint/ 2 Separate Inserts: Mint). Freakingly rare Japan only 1969 EP release housed in great thick picture sleeve. The rarest one by the band out there. Price: 300 Euro

 

2156. TITUS GROAN: “S/T” (Dawn Records/ Nippon Columbia – YS-2468-YD) (Record: Mint/ Laminated Gatefold Jacket: Mint/ Insert: Mint/ Dawn OBI: Mint). Top copy of mega rare Japanese 1st press issue all complete with rarely seen DAWN Records OBI – all is in untouched virginal condition. Glorious underrated complex psych meandering into prog and filled with highly inventive arrangements and superb musicianship. “This is prog and no mistake – but it manages to avoid the self-indulgence of many contemporary LPs in the genre. This owes to several factors: the production is crisp and punchy, the band are particularly good musicians who are happy to rock hard (there are some memorable tough guitar parts) and their songs are tightly-structured with plenty of interesting twists. Their name is taken from Mervyn Peake, who also lends the title to the album’s magnum opus, the 12-munte four-part epic ‘Hall Of Bright Carvings’. ‘I Can’t Change’ is another cracker, combining an unusual structure with driving rhythm and a catchy melody. The only mis-step is the mainstream pop ballad ‘It’s All Up With Us’ which is respectable but out of place. A solid LP for people who like their prog lean.” (RMJ – Galactic Ramble). Hardly ever seen dead mint Japan 1st original press complete with freakingly rare Dawn Records obi. Best condition imaginable. Price: Offers!!!
2157. TOGASHI MASAHIKO & SUZUKI HIROMASA: “Variation” (Columbia Records – Takt Jazz Series – XMS-10014-CT) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). First original press issue from May, 1969 in impeccable condition. Bloody rare very first original pressing in top condition and all complete with impossibly rare very first obi. Another vital cornerstone out of the Japanese late 1960s jazz underground. Hiroshi Suzuki (tb) and Togashi Masahiko (ds), two veterans of the scene, get flanked by Tetsuo Fushimi (tp), Yuji Ohno (p), and Jun Suzuki (b). Together as a quintet they create a highly unique signature sound that balances perfectly the razor’s edge between free improvised interplay and structured modal jazz moves surfing an intuitive approach, creating in its wake an arresting experience of bewitching asymmetric grooves. Free form dialogues interlock with exotic percussion pieces, creating a fascinating mixture of discipline and freedom, kinetic kaleidoscopic compositions. The quintet exhibits a same thought pattern as they circle around a theme, moving then far afield and returning eventually to the starting point when you least expect it, moving away again, creating highly innovative jazz for that space in time. Just a stunning and highly unique recording. It has been over the past decades reissued in various forms and shapes but the first pressing of this one remained almost unfindable as sales at the time were depressingly low. Only in the years thereafter a re-appreciation emerged, pushing the LP out of obscurity. But for me, it is the very first time I can offer an all-complete first press issue with original obi. Just stunning and sadly silly-ass rare. Price: Offers!!!!

2158. TOGASHI MASAHIKO & TAKAGI MOTOTERU: “Isolation” (Columbia Records – JDX-49) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent 〜 Near Mint) PROMO COPY/ TEST PRESS Issue White label in TOP condition!!!! First original pressing of 1969, complete with 1st edition gatefold jacket and always missing obi!!! This disc is a real brain ripping free jazzing blast from the past. Togashi Masahiko may be a name you have already encountered if you are a bit acquainted with Japanese free hardcore blowing jazz. He was the man responsible for churning out Japan's first free jazz disc being “We Now Create” for which he got assisted by Takayanagi Masayuki and Yoshizawa Motoharu amongst others. The following year in 1969, he teamed up with another hardcore blowing spirit, Takagi Mototeru - one of Japan's most unique sax howlers and Sato Masahiko. Together they embarked on another free blowing trip, creating a hurricane of sound and a chunk of unrelenting power that leaves no stone unturned. Takagi is stellar as usual and he certainly deserves more attention. This disc is utterly fantastic, killer material and indispensable in any collection that cares even a bit about Japanese underground, hardcore jazz and adventurous sounds. Great Japanese hardcore blowing fire music collision between alto howler Mototeru Takagi and vicious rolling thunder like heavy hitting drum beast Sato Masahiko. To put it simply, this is a clash of two titans, both in the prime of their creative power. If free jazz is your thing, well look no further. Takehisa Kosugi once told me this was his all time favorite free jazz disc and upon listening to it, it is easy to understand why. 1st original press complete with obi is next to impossible to dig up on these shores. TOP copy, never seen before test pressing with obi, seriously rare so... Price: Offers!!!

2159. TOGASHI MASAHIKO & TAKAGI MOTOTERU: “Isolation” (Columbia Records – JDX-49) (Record: Near Mint/ Gatefold Jacket: Near Mint/) PROMO COPY/ TEST PRESS Issue White label in TOP condition!!!! First original pressing of 1969, complete with 1st edition gatefold jacket!!! This disc is a real brain ripping free jazzing blast from the past. TogashiMasahiko may be a name you have already encountered if you are a bit acquainted with Japanese free hardcore blowing jazz. He was the man responsible for churning out Japan's first free jazz disc being “We Now Create” for which he got assisted by Takayanagi Masayuki and Yoshizawa Motoharu amongst others. The following year in 1969, he teamed up with another hardcore blowing spirit, Takagi Mototeru - one of Japan's most unique sax howlers and Sato Masahiko. Together they embarked on another free blowing trip, creating a hurricane of sound and a chunk of unrelenting power that leaves no stone unturned. Takagi is stellar as usual and he certainly deserves more attention. This disc is utterly fantastic, killer material and indispensable in any collection that cares even a bit about Japanese underground, hardcore jazz and adventurous sounds. Great Japanese hardcore blowing fire music collision between alto howler Mototeru Takagi and vicious rolling thunder like heavy hitting drum beast Sato Masahiko. To put it simply, this is a clash of two titans, both in the prime of their creative power. If free jazz is your thing, well look no further. Takehisa Kosugi once told me this was his all-time favorite free jazz disc and upon listening to it, it is easy to understand why. 1st original press is getting next to impossible to dig up on these shores. TOP copy and seriously rare so... Price: 400 Euro
2160. TOGASHI MASAHIKO QUARTET (with Takagi Mototeru): “Speed and Space” (Teichiku Union Records – UPS-2014-J) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Mint). Hardly ever seen before 1st original pressing. Well here you have a real brain ripping free jazzing blast from the past. Togashi Masahiko may be a name you have already encountered if you are a bit acquainted with Japanese free hardcore blowing jazz. He was the man responsible for churning out Japan's first free jazz disc being "We Now Create" for which he got assisted by Takayanagi Masayuki and Yoshizawa Motoharu amongst others. The following year in 1969, he teamed up with another hardcore blowing spirit, Takagi Mototeru - one of Japan's most unique sax howlers and Sato Masahiko. Together they embarked on another free blowing trip, creating a hurricane of sound and a chunk of unrelenting power that leaves no stone unturned. Takagi is stellar as usual and he certainly deserves more attention. This disc is utterly fantastic, killer material and indispensable in any collection that cares even a bit about Japanese underground, hardcore jazz and adventurous sounds. First original pressing is next to impossible to come by these days and this copy is just top notch. It will certainly enhance your mediocre existence. Killer stuff. Price: 450 Euro
2161. TOGASHI MASAHIKO QUARTET: “Sketch” (Denon/ Nippon Columbia – YX-7516-ND) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). 1977 Japan original, released in the collectible Denon Jazz series, all complete with rare OBI. Classic Togashi Masahiki (percussion) slide where he gets flanked by long time collaborators Nakagawa Masami (Flute, percussion & sax), Kako Takashi (piano & percussion) and Midorikawa Keiki (bass, cello & percussion). A ravaging recording, kicking off with hypnotic bass throbbing and minimal freak out percussive rattles that catapult you straight into an almost South American Ibogaine induced lysergic state. Yes, deeply spiritual with a free roaming vibe filled with numerous rattles and shakes that set your hips on fire and your brain on deep-freeze mode. Togashi ventures into an exploratory sound world filled with kaleidoscopic skin shifting, creating a panoramic sound that floats somewhere in between the controlled burn of a shamanistic ritual and the boundless fury of jungle shoot-outs. One of his finest recordings that is nothing short of jaw-droppingly great that comes over like salvos of acupuncture darts aimed at your sensory pleasure points! Quite a hard to track down LP all complete with OBI and insert. Top condition! Highest recommendation. Price: 150 Euro
2162. TOGASHI MASAHIKO QUARTET: “Voice From Yonder” (Denon PCM Recording/ Nippon Columbia – YX-7519-ND) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Another elusive one in the amazing Denon Jazz series, Japan original press all complete with insert and OBI. One of the best recordings by percussionist and composer, Masahiko Togashi’s quartet from 1978. Joined with Takashi Kako, Yoshiaki Fujikawa and Keiki Midorikawa. Basically all that Togashi recorded during the mid to late 1970s is so largely overlooked. Totally unjustified as he did his best work during that period and this is again no exception. Like his other recordings from this era, “Voice From Yonder” is also blessed with an intuitive approach, breathing out a deep subterranean improvisational vibe that is both lethal and utterly seductive. Togashi’s play opens up the record in a seemingly attempt to dissect all of his movements into fractious pieces that in turn flow back into a high tension music resulting in high voltage reactions by the individual players. Delicately crafted improvisation that leaps into eruptive interplay that is always endowed with undiluted beauty. Again he asserts himself as one of the mid 1970s underground’s defining core players, who stands shoulder to shoulder with the greatest players out of the scene. Just amazing and highly recommended!!! Price: 150 Euro
2163. TOKEDASHITA GARASU HAKO: “S/T” (URC Records – URG-4003) (Record: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Well, here you have it. One of Japan’s most in demand acid folk rarities in great condition, a disc that hardly ever turns up since it has been detected by an overseas maniacal collector crowd. This means that copies of this gem here also hardly, if ever, resurface. This is the original first pressing with always missing OBI of this marvelous Japanese psychedelic folk gem filled with echo treated vocals, lysergic fuzz leads, dreamy arrangements, and an bountiful of strange effects. Tokedashita Garasu Hako was a one-time studio project that featured Takashi Nishioka (Itsutsu No Akai Fusen), Takasuke Kida (ex-Jacks), Tetsuo Saito, Kazuo Takeda (ex-Blues Creation guitar mangler), and Haruomi Hosono (ex-Apryl Fool). The disc is housed in gatefold cover, which is in excellent shape. Overall it is very clean and glossy with no seam split, tears, or writings. The disc is excellent, just top copy level quality stuff! Turns up rarely, Japan’s best psychedelic acid folk record that will leave your mind all over the place. A killer and mega rare these days. Here you have the first original press in gatefold cover complete with the always-missing obi. If there is one so-called acid folk album to seep out of Japan, then this will definitely carry that load with pride. Go ballistic, top copy!!!! Price: 350 Euro

2164. TOKK ENSEMBLE TOKYO: “Music For Living Process – Stromung – Nucleus – Munari By Munari – Corona for Pianist” (Victor – SJX-7539). (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Trying to fill the gaps in your Takehisa Kosugi discography? Well here I have another obscure one for ya. Released in 1975, this disc brings together some of the greatest players of the Japanese avant-garde scene. First original press issue all complete with RARE OBI!!! Toshi Ichiyanagi, Takemitsu Toru, Kosugi Takehisa, Maki Ishii, Yoshino Irino and Yasunari Yamaguchi amongst others all group together on this one. Kosugi contributes on the Toshi Ichiyanagi composition “Music for Living Process”, a stunning piece de resistance for shakuhachi (Katsuya Yokoyama is amazing on this one), harp, percussion, electric violin and piano. The overall atmosphere is austere and reminds me a bit of the soundtrack to “Kwaidan” as far as the otherworldly and eerie atmosphere is concerned. Kosugi accentuations are spot on and bring out the spooky character of Yokoyama’s shakuhachi play and Ichiyanagi minimal piano flirtations even more. In all, the piece possesses a beauty of blood curdling qualities and with this opening track is the mood set into which the other pieces will evolve. A stunning disc that needs to be discovered by a wider audience. If Japanese avant-garde is your thing, then look no further, this one will certainly enlarge your horizon. Highest possible recommendation. Copies with obi are damned RARE!!! Price: 250 Euro

2165. TOKYO KID BROTHERS: “Kaette Kita Kiiro Bat – Returning Golden Bat” (King Records – KR-7055-6) (2 LP Set: Mint/ Gatefold Jacket: Mint/ 4 paged attached Insert: Mint/ Obi: Mint) TOP COPY complete with OBI. Hideously rare monster Japanese cult underground experimental/ theatrical rock album released on the legendary King News series way back in 1971. This was one of Tokyo Kid Brothers earliest albums. Almost all of the albums they churned out during the late seventies and eighties are completely crap, but their initial period from 1968 till 1973 is just great. Backed by the Yanagida Hiro Group, the sound material that was recorded culled from various performances became, once the final ceased to an end, edited and compiled to make up the likely named double album issued by King Records who advertised it as a “Theater Rock Musical”. Psychedelic Dada-ism, theatrical lysergic pleasures, demented fuzz intersections, wild keyboard playing by Hiro Yanagida (Food Brain, Sato Masahiko & Soundbreakers, Milk Time, etc) demented choruses, female wailing crescendos, rural esoteric fertility rite like incantations, exorcist ritualistic tribal stomping, totally insane one liners, heavy bass shifting, heavy guitar licks, psychedelic mayhem, crazy stage action etc, just one great psyched out cabaret/rock opera recorded live in concert in 1971 and released that same year. Content-wise this album wouldn’t even sound strange in a post 9/11 climate, criticizing American popular culture, taken a piss with the grandeur and the unrelenting post-colonial attitude of dissolving non-Western cultures the largest powerbase in the world got famous for. The Kid Brothers already tackled this madness in 1971. But apart from that the music is stellar. If you like the psyched out dementia of Jashumon era Tenjosajiki and J.A. Seazer madness than this jewel has written you all over it – be it that some knowledge of the Japanese language will make you appreciate it even more since the dialectic intercourse is quite important on this disc. Extremely rare since these babies sold very poorly at the time. Comes housed in a great red-gold fold out jacket. Highest possible recommendation if you are into demented wild Japanese psychedelia of the early seventies spiked up with a theatrical feel, like sitting through an acid trip and trying to keep your senses nicely lined up without getting lost in the dissolving canyons of your mind. Still undetected by a most and almost impossible of digging up one of these gems with obi in mint condition, so…give me your best shot and be exposed to a psychedelic sonic world you never even thought existed. Price: OFFERS!!
2166. TOLLIVER, CHARLES MUSIC INC & ORCHESTRA: “Impact” (Strata-East/ Tokuma – JC-7514) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Seldomly offered Japan original 1st pressing in top shape – all complete with obligatory Strata East OBI!! Trumpeter/flugelhornist Charles Tolliver often straddled the line between the lyricism of hard bop and the adventurous nature of the avant-garde. Released in 1975, Impact contained a stimulating progressive edge within an energetic large band (14 horns, eight strings, and rhythm section) format. Tolliver’s arrangements are consistently bright and build momentum, while the soloists are given sufficient room to maneuver through the multiple textures. Featured soloists in the remarkable reed section include Charles McPherson, James Spaulding, George Coleman and Harold Vick. Essential brain food!!! Price: 250 Euro
2167. TOMOKAWA KAZUKI: “Nukusei” (Harvest – YC-8006 – 1976) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4 paged Booklet: Mint) Complete copy with rare OBI. This was Tomokawa’s second record he released. Great copy of this early Tomokawa record. He is undoubtedly the unequaled master of possessed song-spirit. Here the young Tomokawa wails and screams emotionally hard enough in order to strip the paint of the walls. Nevertheless at times he gets quite emotional and laid back in order to hush his haunting demons to sleep. Just a splendid piece of Japanese acid folk and chant exorcism. Tomokawa’s music is violent, emotionally charged with insane screaming modes, piercing sensitivity, cathartic rhythmic purge, thrashing acoustic guitar aesthetic and harsh, reflecting the atmosphere of the bleak northern prefecture of Aomori. Hardly turns up these days. Stunningly great psychedelic-acid-avant-outsider folk music. Highly recommended original pressing in top condition. Very rare early (2nd) Tomokawa disc. Hardly, if never, resurfaces. Act smooth and swift. This record will certainly enhance your sorry ass existence. Price: 100 Euro

2168. TOMOKAWA KAZUKI: “Inu – Akita no Concert” (Record: Mint/ Jacket: Mint/ Insert – Poster: Mint/ Obi: Mint). Rare original 1st press issue complete with always missing OBI and definitely the hardest to track down of Tomokawa’s output. If you dig Comus, then this record will split your brain in half. This record sees Tomokawa going back to heimat Akita to perform live, together with the excellent backing band the Pip Eleki Band. . Great copy of this early Tomokawa record. He is undoubtedly the unequaled master of possessed song-spirit. Here the young Tomokawa wails and screams emotionally hard enough in order to strip the paint of the walls. Nevertheless at times he gets quite emotional and laid back in order to hush his haunting demons to sleep. Just a splendid piece of Japanese acid folk and chant exorcism. Tomokawa’s music is violent, emotionally charged with insane screaming modes, piercing sensitivity, cathartic rhythmic purge, thrashing acoustic guitar aesthetic and harsh, reflecting the atmosphere of the bleak northern prefecture of Aomori. Hardly turns up these days. Stunningly great psychedelic-acid-avant-outsider folk music. For fans of Mikami Kan, Jandek, acid folk, Iuchi Kengo, J.A. Seazer, psych heads all around and adventurous music geeks. Highly recommended original pressing in top condition. Very rare early Tomokawa disc. Hardly, if never, resurfaces. Act smooth and swift. This record will certainly enhance your sorry ass existence. Price: 125 Euro

2169. TOMOKAWA KAZUKI: “Muzan no Bi” (Sound World – 28MR1) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). TOP copy. The hardest to track down Tomokawa LP (apart from Tiliqua’s hand painted edition of 40 copies). Tomokawa’s last album that appeared on vinyl (his next album to come out on vinyl hereafter was “Satoru” by Tiliqua), released in April 1986. Muzan no bi (Beauty without mercy, 1986) is a rhythmically urgent paean to his dead brother who killed himself on a level crossing. Here Tomokawa’s words tumble out urgently as though shouted through the night in the seconds before impact. Lyrical and emotionally laden songs are spiced up with fragrant symbolist imagery and flashes of gracious beauty, only to be rudely awakened his guttural moans, filled with dislocated emotional venom and avaricious guitar strummings. Tomokawa certainly reinvents the “folk” genre by remodeling the music and the culture it refer to, a culture heavily impregnated with rural exemplifications and drowned out Enka ballads, nursery rhyme and extrapolated field-hollering melodies. Tomokawa hijacked folk music with his accumulated energy and distorted underground worldview, rejuvenating it into a vibrant, sardonic and scornful as well as lyrically and melancholically laden music style. Filled with alchemical magic and trafficking in exquisitely handcrafted original compositions brimming over with increasingly heavy poetic sentiments, pained screams and tormented personal experiences such as revisiting the suicide of his brother that took place over twenty years ago on the album’s title track. In terms of content in Muzan no Bi Tomokawa still chases after those demons that haunt his dreams and waking hours. The deployment of the full group gives his sometimes-skeletal music undercurrents of depth and tonal richness. Although casual in feel, the utterly intense and meticulously crafted songs betray an abundance of musical detail, lyrical economy and austere intimacy. A record filled with bewildering beauty. Price: 175 Euro
2170. TOMOKAWA KAZUKI: Satoru” (Tiliqua Records – 004LP) (Record: Near Mint/ Hand Painted Jacket: Mint/ Bonus regular Jacket: Mint/ Insert: Mint). Rare TEST PRESSING, only one single copy in existence. Comes housed in a unique hand painted sleeve by Tomokawa, he made 40 of those all individually designed and numbered. Found this last unique one in storage so… Hand painted jacket edition – edition of 40 individually painted jackets, each one is unique….one copy surfaced again…..Music wise the record is identically to the version noted here above. But the real treat resides in the fact that Tomokawa personally has hand-painted 40 jackets, making each jacket unique and individual. Not two jackets are even vaguely similar to each other. If you are acquainted with Tomokawa’spaintings and visionary world, you know that this might be a once in a lifetime opportunity. 20 hand-painted ones were unleashed in Japan and snapped up instantly, the other 20 are destined for foreign fans. Seen against the prices one pays for a Tomokawa painting here in Tokyo, these hand painted editions are hard to pass on. They will never ever be offered again. Initially 30 copies were scheduled but due to the demand the edition was augmented to 40 copies. Searched high and low to acquire one hand-painted copy again, finally found one in a private collection. One of a kind copy, next to impossible to lay your hands upon these days. Music is stellar, deep demented Japanese acid folk howlings that will slap you in the face as a cold northern blizzard. This numbered copy is the top of the line, 1/40…the first one he ever painted, most sought after one and Rare forever so need a nice offer on this one!!!! “There is a raw immediacy to Tomokawa’s performances that effortlessly hurdles many linguistic barriers, speaking direct to the listener’s nerves and emotions … Tomokawa’s voice constantly storms against the confines of his own vaguely symbolist words, harshly screaming or melodically moaning, the emotional voltage that courses through his delivery constantly threatening to melt their neural circuitry.” (AC) and “Tomokawa succeeds in triggering apocalyptic waves of emotionalism through the tiniest gestures exhorted from his guttural howls and fevered guitar strummings. Keeping a razor-sharp balance between self-tormenting pained gloominess and soul-searching poetic lyricism he manages to create a tense and innovative acoustic music, sounding simultaneously ancient and contemporaneously authentic. And it is here that his especial strength resides, a music fully drenched in the past, yet so attuned to the present moment. His snarling howl and single syllable guttural moans seem to bridge time and space, epoch and eras; hermetic yowls recalling Enka crooners, circus sideshow barkers, carnival callers, Nikkatsu movie gangsters and soft-hearted balladeers, all embodied in the persona of Tomokawa Kazuki. A truly exquisite release, housed in a heavy full color jacket. Regular edition came out in a run of only 250 copies, all gone, and here is the single existing test pressing, unplayed condition and housed in a one of a kind unique hand-painted sleeve by Tomokawa himself of which he painted 40 individual and numbered sleeves with different cover art for each of them. These babies come never up for sale, let alone the one-of-a-kind test pressing. Another one that will make you bleed a little if you fancy it… Price: Offers!!!!
2171. TONITE LETS ALL MAKE LOVE IN LONDON: “S/T” (Instant – INLP-002) (Record: Near Mint/ Jacket: Near Mint). Original UK pressing. Track listing includes - Side 1: Pink Floyd – ‘Interstellar Overdrive’; Marquess of Kensington – ‘Changing of the Guard’; Twice as Much – ‘Night Time Girl’; Chris Farlowe – ‘Out of Time’. Side 2: Pink Floyd – ‘Interstellar Overdrive’ (Reprise); Vashti (Bunyan) – ‘Winter is Blue’; Chris Farlowe – ‘Paint It, Black’; The Small Faces – ‘Here Come the Nice’; Pink Floyd – ‘Interstellar Overdrive’. Stunning soundtrack recording that rarely turns up these days. Price: 250 Euro
2172. TOSHI TSUCHITORI: “Ajagara - Solo Drums” (D.Y.M Records – D.Y.M 003) (Record: Near Mint/ Jacket: Mint – still in shrink). Original private press issue of awesome drum master not unlike Milford Graves. Toshi Tsuchitori is a familiar name if you are acquainted with Japanese mid-seventies free jazz. He has backed up Kaoru Abe, joined Bailey on his tour through Japan, and played with Mototeru Takagi, Steve Lacy, and countless others. Released in 1980, this was Toshi’s third solo effort and dwells in similar regions as his first two LP’s. Hard to catalogue it as merely drums but it would be fair to pull it open to avant-garde and improvisation, deploying a wide range of percussive instruments, voice, tribal rhythms, gongs and just everything he could lay his hands on. Impressive tour de force that easily rivals Milford Graves percussion escapades. All the albums on the D.Y.M label were released in tiny quantities and hare hard to come by these days. Great document of Japanese free improvisation. Highly recommended. Price: 75 Euro
2173. TOSHIYUKI TSUCHITORI & RYUICHI SAKAMOTO: “Disappointment – Hateruma” (ALM Records – AL-7) (Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint/ OBI: Mint). All complete copy with bloody rare obi. Bloody ultra-rare album that came out in 1975/6 on the legendary ALM Records label. First time ever I succeeded in wheeling in a copy and this one is in top shape, so buckle up for this one if you need it. The rarest entry in the whole ALM Records catalogue. Unlike his YMO efforts, this release is a heavy beast of free improvisation, a clash of the titans, two – at that time – still utterly unknown underground headz. A beast of a disc and if you are looking for YMO middle of the road crap then this release will certainly be too far out for your skull to wrap itself around to. But if adventurous, free form percussive assaults are your thang, then this disc will certainly leave you gasping for air. To these ears, Sakamoto has never ever sounded better – maybe except for his brief stint with Taco on Pinakotheca – and he display here hidden qualities that got molded out upon erecting YMO. A shame, but here at least you can hear a glimpse of what could have been a constant in his career. Brilliant and comes with the highest possible recommendation. One of the greatest free form improvisation discs to seep out of Japan. Never an easy one to dig up, hardly surface once in a blue moon and copy all complete with obi is totally out of the question, haven’t seen one in over a decade until now, so maybe a good time to move in for the kill on this one… Top condition! Price: Offers!!
2174. TOYOZUMI YOSHISABURO with Ukaji Shoji – Hara Ryoh & Fujikawa Yoshiaki: “Sabu – Message To Chicago” (Nadja – PA-3162) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original 1974 pressing all-complete with rarely seen OBI. Haven’t seen a copy in ages as copies have completely vanished during the course of the last decade. “Message to Chicago” documents a wild October 20th, 1974 summit between legendary Japanese percussionist Sabu Toyozumi and baritone sax howler Ukaji Shoji. Toyozumi casts a fearsome shadow over the entire history of liberated musical thought in Japan, playing on sessions alongside titans like Takayanagi Masayuki, Hadaka no Rallizes’ Mizutani and even prog rockers Samurai. After that his duo settings with Takagi Mototeru ended in the spring of 1971, Sabu went to Europe and hung out with The Art Ensemble of Chicago dudes with whom he jammed together. This exposure to American free jazz in Europe opened up some other doors in Sabu’s head as far as free improvisational playing was concerned and upon his return to Japan, he began to put it into practice and channel his experiences into Japanese free interplay. He teamed up with Ukaji and after their first encounter they both flabbergasted by the stardust their collision had generated which prompted Sabu to form a unit to channel his Europe-experienced ideas through. The end result is an excursion as he called it into “New Jazz”, drawing blood from his Art Ensemble of Chicago encounter by venturing into some serious spiritual interplay based on AEOC compositions, which Sabu reinvigorated with his inventive skin action and stellar choice of compatriots to back him up. The one who definitely steals the show here is Ukaji Shoji, whose baritone shuffles out a shimmering turbulence and dynamic in tone and sound that is pregnant with a grinding rigor so swingingly free it brings magic back into the malevolent voodoo erraticism. The whole affair is a tantalizing one; the group gushes out a vibe as though they have just struck oil or hit the mother lode while digging for gold. Furious improvisations based on the AEOC inspired skeletal motives whip the whole band into frenzied thick and heavy workouts that trample over the artistic boundaries to flow freely into the overall shamanistic mood of improvisation. In one word…total killer and Ukaji steals the show here. Highest recommendation. Price: 250 Euro
2175. TOYOZUMI YOSHISABURO with TAKAGI, Mototeru: “Water Weed” (TRIO RECORDS – PA-3163) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint) TOP COPY, first original press complete with obi of this stellar Japanese free jazz monster unearthed. Released in 1975, this baby was recorded live in concerts in July of that same year. The line-up, as you might already expect, consisted out of skin mangler Sabu Toyozumi, reed howler and under-recorded/ under appreciated monster blower Mototeru Takagi and bass player Takashi Tokuhiro. Personally the earlobe blowouts by Mototeru are the highlight here. He is a totally underrated free blowing head that should not do under for Abe and the others. To me, he is even greater, more viciously toned down and all incinerating. If you combine such a lethal beast to a virtuosic power drummer as Toyozumi, you know you are bound to be catapulted into the outbound regions of our solar system. Free jazz won’t get any better than this. Sadly enough, vinyl copies of these babies, like most of the Japanese free jazz artifacts, are death difficult to track down and change hands for already monstrous sums within the sadly enough too little circle of people in the know. This disc is no exception to the rule, rare as hell, hard to find and offer here below the Japanese market value. Great condition, even better music. Cannot go wrong with such a sucker. You are in for a carrousel like head spin that will leave you shaky on your feet for days in a row. You have been warned. Price: 250 Euro
2176. The TOYS: “Omiya-san b/w Jangara Go-Go” (Daie Records/ Clinck Records – CREP-5734) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Insert & Obi: Near Mint). Japan, like many non-English-speaking countries, was home to a thriving garage/beat band scene in the 1960s. The Japanese scene was more peculiar than most: singing in both Japanese and heavily accented gibberish, the guitars were surf-ish Mosrites, and the material was often a strange fusion of Merseybeat, punk, and over-the-top weirdness. The Toys hit the scene in 1968 and only released this one EP, which is absolutely KILLER and it's truly like no other '60s rock you've heard, a true cult GS artifact. Spearheaded by vocalist Rudy Apt who was born in Jakarta, the Toys were a 5-piece outfit that created something truly unique. The B-side “Jangara Go Go” is an driven Matsuri based raunchy thrasher, spiked up with razor sharp guitar licks, knuckle wrestling with upbeat Shamisen slashing riffs set against a cascading rhythm section and coming over like a crossing between Terauchi Takeshi’s trashy surf aesthetic junked up with upbeat rural matsuri vibes. Completely intoxicating party crasher kind of song that makes you goof around in a teeth-grinding frenzy kind a mode after a five days and nights brutal Vodka orgy. The bass is all over spiking the Go-Go beat up even further. The A-side moves in similar intoxicated waters, a peculiar mixed punch of low style Matsuri frenziness, high speed garage trash and pure vintage global groovy dumbness that feels like burning oil on your legs after a night with a head full of acid! The guitar work is frenzied and imaginative; the vocals walk the line between tough raunch and low comedy. This one moves around like a cannonball, running around like a pit-bull on crack. So how can you resist this one??? Already completely sold out at the source in the blink of an eye, originals go for 4 figures, so don’t think twice it is ok…Price: 50 Euro
2177. TRAD GRAS O STENAR: “Rock For Kropp Och Sjal” (Silence – SRS-4608) (Record: Near Mint/ Jacket: Near Mint) TOP COPY, FIRST ORIGINAL PRESSING!!! Original Swedish pressing, top notch condition. Just perfect all the way. Fantastic album to merge fully fledged improvisatory jams with mind-blowing psychedelic folk fragrances, cosmic rock and communitarian politics and filling it with an ongoing raga-like intensity. Original Swedish pressing in just stunning condition. Next to impossible to upgrade upon. Price: 350 Euro
2178. TRADER HORNE: “Morning way – Asa No Hikari No Naka De” (Dawn Records/ Nippon Columbia – YS-2561-YD) (Record: Near Mint/ gatefold Jacket: Near Mint/ OBI: Mint/ 4 Paged Insert: Near Mint). Hopelessly rare 1st original Japanese pressing all complete with the green colored first issue obi. Rare dead mint copy of Trader Horne, Japanese Dawn Records issue of 1971. Like many bands before them Trader Horne released an album preceded by a couple of singles, the band promptly broke up and the album sank. Years later it is discovered by collectors and found to be high quality and of interest. The musicians in this band had a pedigree that should not have condemned the album unfairly. The female singer Judy Dyble had been the original one for Fairport Convention on their first album and Jackie McAuley had been a key member of primal Irish R&B band Them. However here they had both evolved into crafted folk with a production that should have crossed them over to the popular music charts. The songs are folk-pop with psychedelic production touches and like Amazing Blondel are infused with baroque elements of early music. Harpsichord, xylophone, auto-harp and organ all help this album sound different from many. There is a childlike air to many of the tracks, a fey innocence that is appealing. Some of the tracks have pseudo mystical themes such as the instrumental 'Three Rings for Eleven Kings' however this is never taken too seriously. Each track links to the next with a little short musical segue that provides continuity and reminds of the marvelous uncompleted 'Teenage Opera' by Mark Wirtz. Stand out tracks include 'Morning Way' with it's descending chord sequences and dual vocals and the deeply psychedelic 'The Mutant' with it's treated slightly unsettling vocals.” (Mark Coyle) Top shelf UK acid folk disc, ranging up there next to Trees, Fairport Convention, Mellow Candle and Caedmon. Original mint Japan 1st press with rare 1st issue obi. These babies do not surface at all anymore. Price: Offers!!!!
2179. TRAFFIC: “John Barleycorn Must Die” (Island Japan/ Nippon Phonogram – SFX-7205) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Excellent). Hideously rare 1970 Japanese FIRST press issue complete with the very first OBI and on the Pink Island Imprint complete with obi. The killer title tune alone is worth the admission fee, a traditional English ballad arranged by Winwood for acoustic guitar and flute, making it an instant acid folk classic.. Wood's flute is again exceptional, delicate and ornate, and Steve sings the song just right, with an admirable sense of restraint and simplicity. Simple and it works. Classic album in my book, this being a pristine rare Japanese 1st pressing with delicious obi. Very first Japanese press hardly ever surfaces, record and gatefold sleeve are crispy clean and hard to ever upgrade upon!!! Price: 250 Euro
2180. TRAFFIC: “Welcome To The Canteen” (Island/ King Records – AML(i)-1008) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). Original 1st Japanese pressing complete with rare obi and in totally immaculate condition. A live album recorded in 1971 showing that in a concert setting the band was amazing as well. Every single Traffic album is worthwhile on these shores and I consider them brilliant, at times too beautiful to handle even. Impossible to ever upgrade upon this one. Price: 100 Euro
2181. TRAFFIC: “Last Album” (Fontana – SFON-7104) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – has some mildew foxing visible on back due to age/ Insert: Excellent). Comes housed in Japan only sleeve artwork. One of the rarest Japan released Traffic albums. and one of their best!!!! Essential brainfood!! Price: 150 Euro
2182. TREE PEOPLE: “S/T” (Private) (Record: Near Mint/ Jacket: Near Mint). Original press copy of this glorious real people acid folk gem that Tiliqua Records has reissued on CD. Here you have a review of the album as it appeared on the Stylus magazine site and they could describe it quite accurately. “The forgotten legacy of the Tree People can be pretty accurately traced to one summer weekend in 1979 when Stephen Cohen, Jeff Stier, and Rachel Laderman, headed down to the secluded Rockin’ A Ranch Studio located somewhere in the backwaters of Oregon to record an album. Originally released as a limited run LP, the record slipped almost unnoticed into the dusty annals of history before Johan Wellens (owner and music archivist of Tokyo-based label Tiliqua records) salvaged the album from obscurity and re-released it on his own label. 28 years later, this long-neglected album flags up the telling historical debt that modern folk, in all its freaky derivations, owes to those early, unsung pioneers. While Cohen’s voice and acoustic guitar predominate, the contributions of Stier (percussion, recorder) and Laderman (flute) are just as essential. They react to his playing almost instinctively. It’s a good thing: the album’s nine songs often feel as though the group is merely jamming around pretty loose structures. (The quietly terrifying “Opus” might exemplify the group’s sensitivity to each other’s tonal fluctuations best.) Even the structured hippy rumba of “Morning Song” still sees Laderman frolicking with abandon on her flute over the syncopated rhythm. Perhaps as a result of their free-form approach, the tone of the album modulates between a dreamy acquiescence and a jagged purposefulness; the soothingly lyrical “Pot of Gold” and “The Pineapple Song,” the most structured pieces, contrast with the ad hoc violence of “Sliding”’s raw, steel-stringed riffs and raga-esque hand drum and the deliriously heathen cadenzas on “Space Heater” and “No More School.” These impromptu asides make listening to the album slightly unnerving, but hugely compelling—you never know when the next jarring slide or dissonant note is going to land. Like the reissue of Vashti Bunyan’s Just Another Diamond Day in 2000, this re-release goes some way toward preserving the easily overlooked tradition of outsider / psych folk from sliding into the realm of self-perpetuating myth. But to appreciate this album from a historical perspective, as the mere totem ancestor to folkies like Devendra, Espers, Six Organs of Admittance et al., would be to do it a gross disservice. Of even greater value, The Tree People is an album of exquisitely crafted music, regardless of its undoubted historical import. Here’s to their Lookaftering”. Reviewed by Paul Teasdale, Stylus Magazine. Top notch original copy of this utterly fantastic folk gem. Highest possible recommendation. Price: 150 Euro
2183. The TREES: “On The Shore” (Epic – EPIA-53017) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ 2-Sided Illustrated Insert: Near Mint). Bloody rare Japan 1st original pressing on high quality vinyl from 1971. Top copy, will be tough to upgrade on this one, just perfect on all fronts.” Their record company CBS applied pressure but not much money and so, due to lack of rehearsal and studio time, some of the musicianship suffers, and the original material is patchy. But the overall sound of this album is what is really impressive. Ceilia Humphries sings in an earthy and raw way sailing right down the middle of every note. On songs like "Murdoch" and "Sally Free And Easy" she sends a shiver up this reviewer's withered spine. "Murdoch" also sports a rather natty ‘wall of sound' ending, which is aided by a wailing organ. The musicians behind Humphries are where the real strength is. The twin guitars of Barry Clarke (lead) and David Costa (acoustic) are a muscular equal to the sometimes-luminary bass of Bias Boshell and solid drums of Unwin Brown. The sound is bold and more psychedelic than Fairport and you feel a band who are really into their style if not their stride. This is what you might enjoy more about this recording than others of the genre: the energy of the performances.” (Greg McLaren). One of the cornerstone folk rock acid discs to seep out of the UK. Fantastic female vocals set against simmering acidic guitar leads. Ceilia Humphries always sent shivers down my spine as a youth and I must confess I even had a secret crush on her. Nothing has changed much, I still do fancy her and upon hearing her angelic voice I get plagued with fits of religious hallucinations. One of the top UK folk rock albums of all time, splendid condition FIRST original 1971 high quality Japanese pressing. Top copy. Price: 250 Euro
2184. The TRIO: “Vol.1”(Pye Records – Teichiku – UPS-535-Y) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1st press Japanese issue, complete with never seen obi. Stunning UK free jazz combo with John Surman, Barre Philips and Stu Martin. The Trio glow with a mastery of dynamics and rapidly shifting phrases, creating UK styled free jazz through the prism of the improvisational movement in Europe. Total classic, I ride so hard for The Trio recordings because they never failed to bring forth pure liquid energy that always enthralls and transcends. Beautiful. Price: 150 Euro
2185. The TRIO: “Conflagration” (Dawn/ Nippon Columbia – YS-2567-YD) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Near Mint/ Obi: Near Mint). Original 1st Japanese high quality pressing on Dawn. Comes complete with rare “Dawn Records” OBI – which is hard to turn up. By now the Trio has expanded its base by including a string of high prolific scenesters such as Harold Beckett, Mark Charig, Chick Corea, Nick Evans, Malcolm Griffiths, Dave Holland, John Marshall, Mike Osborne, Alan Skidmore, Stan Sulzmann, John Taylor and Kenny Wheeler. As a whole big band styled group, the Trio moves and shifts and fuses together, sending out flickering embers of real Fire Music blessed with a distinct UK Isle flavor that will pull you even closer towards the improvised inferno on display between your ears. Although the whole is carefully constructed, the sonic mash soon explodes into an extended improvised head charge, constantly triggered with decaying melodies and burning solo explorations and the sonorous response it generates. Never a dull moment, again showcasing that early 1970s improv could easily rival with the European and US scenes. Fantastic. Original Japanese Dawn press with OBI. Price: 250 Euro
2186. THE TRIO: “The Trio By Contact” (Columbia Records – YS-2733-AX) (Record: Mint/ Textured Gatefold Jacket: Near Mint ~ Mint). Mega rare Japan only September 1972 first original pressing. Red label PROMO issue. This one was later reissued by Ogun Records in 1987 and came housed in totally different jacket art, but this one here is the very first Japan only issue. The reason that this record was solely released in Japan was because in 1972 Surman visited the World Expo in Osaka and with a freshly recorded master tape of the Trion in his possession he offered it to Columbia Records to release it. The LP comes housed in a gorgeous heavy textured gatefold sleeve that inside has detailed notes printed – which also states that next to Surman, Barre Philips and Stu Martin they were aided on side 2 by Alan Shorter on fluegelhorn. Of course, this is not 100% sure but listening to it, the playing tone fits Shorter like a glove and he had been playing with Surman around 1971 when in Paris. Nominally Thi LP is the third outing by the band, if one discounts "Conflagration" which was not strictly speaking a Trio record, though with the Trio at its core. As far as the Ogun label one goes it was released in 1987, 16 years after its being recorded in the Tangerine Studios in London. There's a misprint on the back sleeve saying it was recorded in 1979, but by then the Trio had long disbanded. Also the Ogun issue was remastered at the Rainbow Studios in Olso in 1986 and this one was remastered in 1971 in Tokyo. So this is the rarest Trio record out there and also – at least to these ears – one of the greatest recordings by the band. Sadly, it is viciously rare, first copy I see in over 10 years. Top condition and so bloody awesome!! One off chance to wheel in a true free jazz bloody rarity in the best condition possible. Price: 450 Euro
2187. THE TRIO: “The Trio By Contact” (Columbia Records – YS-2733-AX) (Record: Mint/ Textured Gatefold Jacket: Near Mint ~ Mint/ OBI: Mint). Mega rare Japan only September 1972 first original pressing. First ever copy to surface with mega rare OBI!!! Never offered before with obi, this is insane!!! Red label PROMO issue. This one was later reissued by Ogun Records in 1987 and came housed in totally different jacket art, but this one here is the very first Japan only issue. The reason that this record was solely released in Japan was because in 1972 Surman visited the World Expo in Osaka and with a freshly recorded master tape of the Trion in his possession he offered it to Columbia Records to release it. The LP comes housed in a gorgeous heavy textured gatefold sleeve that inside has detailed notes printed – which also states that next to Surman, Barre Philips and Stu Martin they were aided on side 2 by Alan Shorter on fluegelhorn. Of course, this is not 100% sure but listening to it, the playing tone fits Shorter like a glove and he had been playing with Surman around 1971 when in Paris. Nominally Thi LP is the third outing by the band, if one discounts "Conflagration" which was not strictly speaking a Trio record, though with the Trio at its core. As far as the Ogun label one goes it was released in 1987, 16 years after its being recorded in the Tangerine Studios in London. There's a misprint on the back sleeve saying it was recorded in 1979, but by then the Trio had long disbanded. Also the Ogun issue was remastered at the Rainbow Studios in Olso in 1986 and this one was remastered in 1971 in Tokyo. So this is the rarest Trio record out there and also – at least to these ears – one of the greatest recordings by the band. Sadly, it is viciously rare, first copy ever to be offered with the OBI complete…I know of exactly 2 people with an all-complete copy, making this one the 3rd out there, yes it is that rare, no shit.. Top condition and so bloody awesome!! One off chance to wheel in a true free jazz bloody rarity in the best condition possible. Act now & hold your peace forever!!! Price: Offers!!!

2188. TRIO BY TRIO + 1: “Yamashita Yosuke Trio + Oki Itaru Trio + Ono Yuji Trio + Kasai Kimiko” (Victor Records – SMJX-10101~2) (2 LP Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). One of the hardest to track down Japanese free jazz documents from the early 1970s is this no filler all killer 2 LP set you do not mess around with. Released in 1970, Trio By Trio is one helluva fuckaround & ravaging document filled with teeth-grinding frenzy & high voltage music bringing together three different trios, augmented by a female vocalist for the closing recording. Each performer gets granted a full side to his disposal, enabling them to showcase their respective exploratory sound. The first two sides are taken up by Yamashita Yosuke Trio and Oki Itaru Trio respectively, doing what they are best at, creating a panoramic sound floating somewhere between the controlled burn of frantic interplay and the boundless fury of a stampeding herd. The other two sides are invaded by the Ono Yuji Trio and again the Oki Itaru Trio where each combo is joined for one excursion by vocalist Kasai Kimiko. With her on board, the sonic horizon broadens up, balancing between free roaming flashes and spiritual intoned vocal delights and curious yowls, with the backing by each trio igniting sparks and setting of fireworks, creating a delirious female vocal spiritually inclined free jazzing exploratory marvels. On paper the line-up looks salivating great, however in reality it even blows away all preconceptions and expectations to be had by far. Damned rare Japan first original pressing which just hardly ever sticks out his head out of the murky mists of obscurity. Price: Offers!!!

2189. TRISTANO, LENNIE: “S/T aka Kyojin Lennie Trsistano” (Atlantic – MJ-7087) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Mint). Stupidly rare Japan very first original MONO press issue all complete with first issue obi. “Lennie Tristano’s Atlantic debut was a controversial album at the time of its release. Though Tristano was regarded as a stellar and innovative bebop pianist, he had been absent from recording for six years and had founded a jazz school where he focused instead on teaching. The first four tunes on this set shocked the jazz world at the time of their release. The reason was that on those four original tunes -- "Line Up," "Requiem," "Turkish Mambo," and "East Thirty-Second" – Tristano actually overdubbed piano lines, and sped the tape up and down for effect. While the effect is quite listenable and only jarring in the most splendid sense of the word -- because of the sharp, angular arpeggios and the knotty, involved method of improvising that came directly by improvising against the rhythm section of drummer Jeff Morton and bassist Peter Ind -- it was literally unheard of at the time. The last five tunes on the disc were recorded live with a rhythm section of bassist Gene Ramey and drummer Art Taylor. Lee Konitz plays alto as well. The tunes are all standards, including "These Foolish Things," "Ghost of a Chance," and "All the Things You Are." The performance is flawless, with beautiful interplay between Lee and Lennie and stellar harmonic ideas coming down from the bandstand in a fluid relaxed manner. This is a gorgeous album with a beautiful juxtaposition between its first and second halves, with the rhythmic and intervallic genius of Tristano as an improviser on full display during the first half and the pianist as a supreme lyrical and swinging harmonist during the back half.” (All Music Guide). Damned rare 1959‾1960 Japan first original pressing with 1st issue obi in stunning shape. Later pressings turn up often and for cheap but a true 1st pressing is something out of another world. Price: 125 Euro
2190. TRISTANO, LENNIE: “Descent Into The Maelstrom” (East Wind – EW-8040) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ Insert: Near Mint). WHITE label PROMO!!!! First of all, let me start off with saying that this LP is one of the most singular mind-blowing great free improvisation records ever to be put down on wax, documenting Tristano during the early fifties and early sixties, pondering away at the keys. All in all, this LP is a tough and hard-to-find gem that starts off with the utterly unique title cut. On this completely atonal track (which predates Cecil Taylor by a few years!!!), Lennie Tristano overdubbed several pianos, creating subliminal picturesque and extremely intense improvisational sonic soundzzz. The remainder of this album embroiders on similar themes and moods, mostly comprised of leftovers and rehearsal tracks, which considering Tristano’s slim discography, is as essential as can be, especially if you consider that free blowing heads like Takayanagi Masayuki were heavily inspired and in awe of him. Upon listening to the disc, it is easy to understand why – modal jazz fuses with atonal rhythms and abstract key changes, making it a hybrid and alienated listening experience, especially if you consider the recording dates of the tracks in question. Tristano is heard solo in 1961 and 1965, in a trio with bassist Peter Ind and drummer Roy Haynes in 1952 and (in what might be his last recordings) performing a pair of originals with bassist Sonny Dallas and drummer Nick Stabulas in 1966. Tristano fans can consider this important release to be essential. And a free jazzing head like myself find this disc as essential as Milford Graves “Babi Music”, Arthur Doyle’s “Alabama Feeling” and Mazarette Watts self entitled album on Savoy. This baby burns. It is the first pressing that came out on the Japanese East West Japan label, housed in a stunning calligraphy-styled sleeve. A second press is also circulating released by Inner City, but this one just never turns up, and first time ever I see a white label promo issue of this beast. Unique chance for stellar music to fall in your lap. Price: 75 Euro
2191. TROPICALIA: “Ou Panis Et Circencis” (Philips – R-765.040L) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition Brazilian original 1968 MONO pressing. This is the definitive Tropicalia concept album, originally released in 1968 and featuring all the key players in the movement: Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, Tom Ze and Nara Leao. It is an original, groundbreaking mix of psychedelic rock combined with boleros, sambas, bossa nova and jazz into a carnival-esque parade which redefined and first announced the new global sound of Brazilian music. What is stunning is that this anarchic and groundbreaking release was recorded at the height of the Brazilian military dictatorship, during an era where censorship, repression and the threat of violence was a constant in all (musical and) daily life inside the country. This classic album is Tropicália’s manifesto - a fantastical syncretic fusing of psychedelic rock & pop, Brazilian traditional music and the avant-garde. This is a NM/NM Brazilian original 1st pressing, never have I seen a copy this clean as the one listed here. Final upgrade copy. Price: 500 Euro
2192. TUDOR, DAVID: “Rainforest IV” (Edition Block Berlin – GR-EB-1) (Record: Near Mint/ Gatefold Jacket: Excellent). Recorded in 1973 and released as a gallery edition in 1980, “Rainforest IV” was an electroaccoustic environment conceived by David Tudor and realized by the Group Composers Inside Electronics (John Driscoll, Phil Edelstein, Ralph Jones, Martin Kalve, David Tudor and Bill Viola). Each composer has designed and constructed a set of sculptures which function as instrumental loudspeakers under his control, and each independently produces sound material to display his sculptures' resonant characteristics. The appreciation of the “rainforest IV” depends upon individual exploration and the audience is invited to move freely amongst the sculptures. These instruments/ sculptures are made having large physical proportions and acoustic presence in space, producing an environment that is both visual and acoustic. And also tactile.   David Tudor was found commenting on his creation: “In 1973 I made "Rainforest IV" where the objects that the sounds are sent through are very large so that they have their own presence in space. I mean, they actually sound locally in the space where they are hanging as well as being supplemented by a loudspeaker system. The idea is that if you send sound through materials, the resonant nodes of the materials are released and those can be picked up by contact microphones or phono cartridges and those have a different kind of sound than the object does when you listen to it very close where it's hanging. It becomes like a reflection and it makes, I thought, quite a harmonious and beautiful atmosphere, because wherever you move in the room, you have reminiscences of something you have heard at some other point in the space. It's (can be) a large group piece actually, any number of people can participate in it. It's important that each person makes their own sculpture, decides how to program it, and performs it themselves. Very little instruction is necessary for the piece. I've found it to be almost self-teaching because you discover how to program the devices by seeing what they like to accept. Its been a very rewarding type of activity for me. It's been done by as large a group as 14 people. So that was how our Rainforest was done.” Amazing piece of electronic music that actually sounds like you are being sucked up into the green panoply of a Borneo rainforest after a heavy rainfall. Original press of this fantastic electro-acoustic mind bender. Price: 150 Euro
2193. TUDOR LODGE: “S/T” (Vertigo – 6360043) (Record: Excellent ~ Near Mint – couple of faint sleeve hairlines barely visible on side B – so visual grading Excellent throughout, very nice and clean copy, the play grading is also excelent throughout, hard to improve upon/ Multiple Gimmick Gatefold Jacket: Near Mint, has thick perfect spine and NO wear on the seams, perfect all round – some foxing spots inside the gatefold/ Vertigo Company Inner Sleeve: Near Mint). Top copy 1st original UK pressing with stamped matrix numbers Side A: 3 6360043 1Y//1 ?420 1 1 and side B: 6360043 2Y//1 ?420 1 1 3 04. Comes with company inner sleeve with the Vertigo swirl logo. Original 1971 UK pressing on Vertigo swirl label. Original UK swirl label copy of great femme psych folk housed in sublime multi-foldout cover art. Superb copy. They do not surface that often in such a nice nick as this one here. Price: Offers!!!!!
2194. TURNER NIK: “Nik Turner’s Sphynx” (Charisma/ Nippon Phonogram – RJ-7506) (Record: Mint/ Jacket: Near Mint/ Fully Illustrated Japan only 4-paged Insert: Mint/ Obi: Excellent). Original rare white label promotional press. What makes this copy even more salivatingly great is the never seen obi on this original Japanese pressing!! “Nik Turner’s Sphynx” Totally vanished disc by former Hawkwind member. Unlike Hawkwind, this disc is quire esoteric in nature, hyper psychedelic and resembles field recordings, infused with spiritual sounds, acid dropping sounds, etc. For this record, Nik Turner went on to record his flute playing within the sarcophagus of the Kings Chamber of the Great Pyramid of Giza, Egypt. It gives the overall of the record a haunting quality. Guest musicians pop up here and there such as Steve Hillage providing psychedelic guitar licks and moog synthesizer drops and Miquette Giraudy deploying zither and pranaphone to complete the sonic palate. This is a stunning disc and comes complete with a full cover detailed 16 paged booklet, stuffed with on the spot pictures of Egypt, psychedelic artwork, demented hieroglyphics, bizarre word games, etc. Highest recommendation. Excellent copy of a vanished disc. Complete with never seen obi for a bargain price, I must be getting dement already for letting this one go for mere peanuts. Price: 200 Euro
2195. TUSQUES FRANCOIS & BARNEY WILEN: “Nouveau Jazz” (Columbia – SL-5005-AX) (Record: Near Mint/ Heavy Gatefold Jacket: Mint/ OBI: Mint). Monster rare Japan first original press, housed in Japan ONLY heavy gatefold jacket and complete with never offered before OBI. Top copy!!!!!Assembling the very same group of musical sorcerers this albums personnel (featuring Barney Wilen) reads like a who’s who of France’s early improvised music/free jazz scene resulting in a wholly unique European flavor while preserving the essence of other global inter communal travelers such as Don Cherry and Krzysztof Komeda. Originally extracted from three separate recording sessions in early 1967, Le Nouveau Jazz opens with themes conjured up for the short film Coda by French jazz documentarist Marc Pauly highlighting the composers adept ability in his multi-disciplined art further aligning him with the aforementioned pioneers. The rest of the album combines frenzied macabre picture music and emotive piano improvisations with the sui generis inclusion of a double - double bass formation courtesy of Beb Guerin and Jean-Francois Jenny Clarke. As Tusques’ second official album (following Free Jazz from 1965) this LP expands on this important French musicians vision. Stupendously rare Japan 1st original pressing, housed in Japan ONLY heavy gatefold jacket art and complete with never seen before OBI. This baby is … bloody … rare. Price: Offers!!!!!
2196. TUSQUES FRANCOIS, GUERIN B., VITET B., PORTAL M. & OTHERS: “Free Jazz” (Disques Mouloudji – EM-13507) (Record: Near Mint/ Jacket: Excellent – with langluette still attached and present – small white on white price tag tear on back, lower left – no splits or any damages). Original French 1st pressing in possibly the best condition ever offered. Fragile jacket is NM with original “langluette” still attached. This is always missing but complete here. Disc is also NM with hardly any signs of being played at all. TOP COPY!!! The LP was recorded on 26 October 1965 at the Comedie de Champs Elysee in Paris and issued on the small Mouloudji label the year after. These days it is regarded as the disc that originated the birth of free jazz in France. Main man Francois Tusques was flanked by Michel Portal, Bernard Vitet and Bernard (Beb) Guerin who later down the line would team up again in the ranks of the Michel Portal Unit. That all aside, this sonic masterpiece is a mature, cohesive and above all lunar jazz waves of simultaneous sound. The music veers from arranged to improvised passages in a very smooth manner in a heads down momentum kind of way that builds up into compulsive group interactions before meandering again in spontaneous individual sonic punctuations. There are hardly any extended solo sections or prominent egos to work around. Instead, time signatures change rapidly, pieces of melody are picked up, tossed around and then disappear as quickly as they came. Instruments intertwine throughout the entire record and everybody is on tiptoe and on the alert to what's going on around them. Decidedly "free", yet retaining melody, structure, rhythm, but never for too long before somebody comes up with another idea. The group as a unit accesses here the dawn of free music in France as the pure sound, teleporting these primal communication modes back towards each player’s individual sound that is in an ongoing state of expansion and derangement. Just beautiful and one of the key-recordings to document the birth of true free music in Europe. TOP COPY original 1st pressing in great condition, next to impossible to ever upgrade upon – apart from the tiny price tag tear – white on white on the lower left corner on the back. Price: Offers!!!!
2197. TUSQUES FRANCOIS, GUERIN B., VITET B., PORTAL M. & OTHERS: “Free Jazz” (Nippon Columbia – SL-5008-AX) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). First ever copy I encounter all-complete with stupidly rare OBI!!!. Japanese press of this legendary hyper rare slide that originally (and only) saw the light of day on the Mouloudji label. It was simultaneously released in Japan only but with a totally Japan only different jacket art, making it even rarer than its French counterpart pressing since it virtually did not sell anything here in Japan. Neither one of these issues turns up these days, making it one of the rarest European free jazz slides around. That aside, the LP was recorded on 26 October 1965 at the Comedie de Champs Elysee in Paris and issued on the small Moloudji label the year after. These days it is regarded as the disc that originated the birth of free jazz in France. Main man Francois Tusques was flanked by Michel Portal, Bernard Vitet and Bernard (Beb) Guerin who later down the line would team up again in the ranks of the Michel Portal Unit.That all aside, this sonic masterpiece is a mature, cohesive and above all lunar jazz waves of simultaneous sound. The music veers from arranged to improvised passages in a very smooth manner in a heads down momentum kind of way that builds up into compulsive group interactions before meandering again in spontaneous individual sonic punctuations. There are hardly any extended solo sections or prominent egos to work around. Instead, time signatures change rapidly, pieces of melody are picked up, tossed around and then disappear as quickly as they came. Instruments intertwine throughout the entire record and everybody is on tiptoe and on the alert to what's going on around them. Decidedly "free", yet retaining melody, structure, rhythm, but never for too long before somebody comes up with another idea. The group as a unit accesses here the dawn of free music in France as the pure sound, teleporting these primal communication modes back towards each player’s individual sound that is in an ongoing state of expansion and derangement. Just beautiful and one of the key-recordings to document the birth of true free music in Europe. Top condition and with seriously rare OBI!!!! Price: Offers!!!!
2198. TUSQUES FRANCOIS, GUERIN B., VITET B., PORTAL M. & OTHERS: “Free Jazz” (Nippon Columbia – SL-5008-AX) (Record: Near Mint/ Jacket: Near Mint). White label promotional copy, this shit is so obscure as a Japanese press that it is rumored almost no regular label copies exist. Japanese press of this legendary hyper rare slide that originally (and only) saw the light of day on the Mouloudji label. It was simultaneously released in Japan only but with a totally Japan only different jacket art, making it even rarer than its French counterpart pressing since it virtually did not sell anything here in Japan. Neither one of these issues turns up these days, making it one of the rarest European free jazz slides around. That aside, the LP was recorded on 26 October 1965 at the Comedie de Champs Elysee in Paris and issued on the small Moloudji label the year after. These days it is regarded as the disc that originated the birth of free jazz in France. Main man Francois Tusques was flanked by Michel Portal, Bernard Vitet and Bernard (Beb) Guerin who later down the line would team up again in the ranks of the Michel Portal Unit.That all aside, this sonic masterpiece is a mature, cohesive and above all lunar jazz waves of simultaneous sound. The music veers from arranged to improvised passages in a very smooth manner in a heads down momentum kind of way that builds up into compulsive group interactions before meandering again in spontaneous individual sonic punctuations. There are hardly any extended solo sections or prominent egos to work around. Instead, time signatures change rapidly, pieces of melody are picked up, tossed around and then disappear as quickly as they came. Instruments intertwine throughout the entire record and everybody is on tiptoe and on the alert to what's going on around them. Decidedly "free", yet retaining melody, structure, rhythm, but never for too long before somebody comes up with another idea. The group as a unit accesses here the dawn of free music in France as the pure sound, teleporting these primal communication modes back towards each player’s individual sound that is in an ongoing state of expansion and derangement. Just beautiful and one of the key-recordings to document the birth of true free music in Europe. Price: 375 Euro
2199. TUSQUES FRANCOIS: Intercommunal Music” (Shandar/ RCA RECORDS – RCA-6097) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Rare first original JAPANESE pressing – all complete with never offered before & mega rare OBI - in top condition. Those Shandar slides seem to have evaporated into thin air completely and first time ever I see a Japanese press original – pressed on high quality wax – all complete with the very first obi present. Strap yourself in for this one because you are in for a bloody wild ride, a whirlpool of frantic improvisational hardcore interplay that will make your head twist and turn. How could it be other wise with a line-up consisting out o the crème de la crème of intercommunal interplay. Spearheaded by Tusques himself on guitar, maracas and piano, he surrounds himself with such heavyweights such as Sunny Murray (drums), Louis Armfield (percussion), Alan Silva (Violoncelle), Beb Guerin & Bob Reid (Bass), Alan Shorter (Trumpet) and Steve Potts (alto). As a result you are treated to a blow-out tour de force that will make your head sizzle and dazzle for days – hell weeks even – on an end. Rare record on the highly collectible Shandar imprint run by Daniel Caux who passed away some years ago. His recordings will live forever. Massive!! The obi is so scarce these day, it only took me 14 years to find one…top condition. Price: Offers!!!!
2200. TUSQUES, FRANCOIS: “Intercommunal Music” (Shandar – SR-10.010) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top condition French 1st original pressing of subliminal free jazz head banger. Spearheaded by Tusques himself on guitar, maracas and piano, he surrounds himself with such heavyweights such as Sunny Murray (drums), Louis Armfield (percussion), Alan Silva (Violoncelle), Beb Guerin & Bob Reid (Bass), Alan Shorter (Trumpet) and Steve Potts (alto). As a result you are treated to a blow-out tour de force that will make your head sizzle and dazzle for days – hell weeks even – on an end. Rare FRENCH ORIGINAL pressing from 1971. Hard to improve upon. Price: 100 Euro
2201. TYLER, CHARLES ENSEMBLE: “S/T” (ESP Disk - 1029) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). Rare 1st original US pressing from late 1966 with the first address printed on back being156 5th Avenue. “Charles Tyler Ensemble was made in 1966 in New York City. The group was unique instrumentally for its time. Tyler added to a standard trio, that included Henry Grimes on bass and Ronald Jackson on drums, drummer Charles Moffett on ‘orchestral’ vibes and Joel Friedman on cello. Distinguishing Tyler, from Ayler, is the sourness of his flourishes. He avoids lengthy arpeggios, but tends towards eerie high-tension phrases, vibratos and nearly fully realized melodies. In the first track, “Strange Uhuru,” Tyler’s extraordinary birdlike peaks on the alto are perfectly matched with the registers of the vibes and the cello. The vibes return in “Lacy’s Out East” to interact with the bass. Generally, Grimes emulates Tyler’s attack in pace and Jackson stays simply and softly on the cymbal behind the upfront lines. Particularly in “Three Spirits” and “Black Mysticism,” Grimes’s playing establishes the significance of the bass as a solo instrument, rather than merely a part of the rhythm section. In “Black Mysticism,” in his solo, drummer Jackson clearly exhibits a diversely open approach to the kit. With Tyler’s lead, however, the music sparks its own identity. After all, this was a period in the history of jazz in which the freedom of the music’s expression predicted its controversial future.” (Lyn Horton). Getting scare 1966 original with inner sleeve present and jacket still housed in shrink. Killer LP and awesome condition Price: 100 Euro
2202. TYLER, CHARLES ENSEMBLE: “S/T” (ESP Disk/ Nippon Phonogram – BT-5056) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Top condition Japanese rare original with OBI. These do not turn up too often but deserve a mass appreciation nevertheless. Top condition and damned hard to dig up!!! Charles Tyler Ensemble was made in 1966 in New York City. The group was unique instrumentally for its time. Tyler added to a standard trio, that included Henry Grimes on bass and Ronald Jackson on drums, drummer Charles Moffett on ‘orchestral’ vibes and Joel Friedman on cello. Distinguishing Tyler, from Ayler, is the sourness of his flourishes. He avoids lengthy arpeggios, but tends towards eerie high-tension phrases, vibratos and nearly fully realized melodies. In the first track, “Strange Uhuru,” Tyler’s extraordinary birdlike peaks on the alto are perfectly matched with the registers of the vibes and the cello. The vibes return in “Lacy’s Out East” to interact with the bass. Generally, Grimes emulates Tyler’s attack in pace and Jackson stays simply and softly on the cymbal behind the upfront lines. Particularly in “Three Spirits” and “Black Mysticism,” Grimes’s playing establishes the significance of the bass as a solo instrument, rather than merely a part of the rhythm section. In “Black Mysticism,” in his solo, drummer Jackson clearly exhibits a diversely open approach to the kit. With Tyler’s lead, however, the music sparks its own identity. After all, this was a period in the history of jazz in which the freedom of the music’s expression predicted its controversial future.” (Lyn Horton). Damned rare on these shores and sounding – as it is a Japanese pressing – light-years better than the murky US ESP releases. Killer LP. Price: 75 Euro
2203. TYLER, CHARLES: “Eastern Man Alone” (ESP Disk – ESP-1059) (Record: Excellent ~ Near Mint/ Jacket: Near Mint – still housed in shrink). Original US 1st pressing. This 1967 recording by the avant-garde saxophonist -- his second for ESP-Disk' -- features Tyler on alto sax with accompaniment from David Baker (cello), Brent McKesson (bass) and Kent Brinkley (bass). The album starts out with 'Cha-Lacy's Out East’, which revisits a theme from his first album as leader. The proceedings are heady free form avant jazz, reaching into cosmic realms with it’s string-heavy backing providing soaring atmospheres. Tyler cut legendary records as a sideman to Albert Ayler, but as a leader, proves to be one of the most advanced, challenging, and exploratory players of the late '60s avant-garde. Top copy, sleeve still housed in original shrink, getting tougher each year to find in nice shape, I guess this one will do perfectly for your wet record dreams to start blossoming again. Price: 125 Euro
2204. TYLER, CHARLES ENSEMBLE: “Live In Europe” (AK-Ba – AK-1010) (Record: Near Mint/ Jacket: Mint) Final and last stellar release on Tyler’s own Ak-Ba imprint. Original 1977 private pressing. Killer LP that features an even more devastating line-up consisting out of Charles Tyler (alto, baritone sax), Ronnie Boykins (bass), Steve Reid (drums, percussion) and Melvin Smith (guitar). Again – just like his previous outing – Tyler succeeded in wedding a bop-to-free rhythmic approach to his free-jazz saxophone vocabulary. His working quartet was one of the underappreciated bands of the era and for this occasion guitarist Melvin Smith joins the quartet for Live in Europe, incorporating electric guitar into a free jazz context just like Sonny Sharrock did before him and rendering this recording in such a feast for your ears. Next to that, Tyler placed special demands on drummer Reid and bassists Boykins. He clearly was looking for them to supply a maximum of rhythmic tension, drive, and melodic counterpoint. But they also needed to simultaneously follow the dictates of the composition and flow in whatever directions the music might have taken them. So in that aspect, Reid and Boykins work in unison, taking the flow towards ecstatic highs and filling the space, playing with rhythms, creating tension and modulating effortlessly with the course of the free form structure of the music. But guitarist Melvin Smith performs heroically and with a powerful approach that matches and challenges Tyler, attacking his strings, making the music echo off the wall and resulting into pure heat and motion and polyphonic racket that has enough force to pin the listeners to their seats. Killer slide all way round and to these ears another vital and indispensable racket that that grows steadily in volume and thickness. This is music of lunar bodies spinning out of their axes but locking together by unfathomably complex rules of motion. Totally wicked!!! Price: 150 Euro
2205. TYLER, CHARLES: “Saga Of The Outlaws” (Nessa – n-16) (Record: Excellent/ Jacket: Excellent). US first original pressing with “Van Gelder” stamped in the dead wax. Alto and baritone saxophonist Charles Tyler was an early associate of Albert Ayler and recorded with him for ESP in the middle 1960s. Tyler also recorded 2 dates for ESP under his own name. Saga of the Outlaws was recorded "live" at Sam Rivers' Studio Rivbea in 1976 and is generally considered to be his finest recording. And that is a slight understatement, it is nothing but a tremendous record – one recorded with a rich, raw tone that's simply mind-blowing! Tyler here has all of the deep soul one got addicted to during his ESP years, but also a sound that's a bit more focused too – one that's extremely powerful, and boldly righteous – not exactly spiritual jazz, but also not loft jazz either. The sound is wonderful – Tyler's sharp-edged alto out front, in a group with trumpeter Earl Cross – a player who's a really great match in spirit and tone. Other group members include Steve Reid on drums, and bassist Ronnie Boykins and John Ore – players who each play in a different channel of the record! The set is billed as "a polyphonic sonic drama performed live by the Charles Tyler Ensemble" – which is a wonderful summation of the music. Charles moved to Europe in the middle '80s and died of cancer in 1992. This used to be such a common record back in the old days but a counter-surge is slowly making those classic Nessa records a bitch to catch. This one is in nice shape, the music is killer. Price: 75 Euro
2206. TYRANNOSAURUS REX: “My People Were Fair and Had Sky in Their Hair…But Now They’re Content To Wear Stars On Their Brows” (EMI-Regal Zonophone – LRZ-1003) (Record: Near Mint/ Tip Back Jacket: Near Mint/ Insert: Near Mint). RARE MONO pressing!!! Top condition. Original 1968 UK pressing in top condition, seems not have had any rotations at all, record, sleeve and insert are all spotless and in mint condition, which is in itself quite nothing short of a miracle seen the lamentable state of almost all copies that surface of this disc. This one definitely is one of the cornerstones and deserves – as one of the few discs out there – to get the overused term “acid folk” tagged to its existence. Why, because it certainly is a wyrd folk disc, ranking next to Comus “First Utterance”, those glorious COB discs, Algarnas Tradgard, Syd Barrett, 1st Dr Strangely Strange, Meic Stevens, etc, just top shelf music and top notch copy, hard to find especially a copy with no marks, clean mint insert and crispy clean minty jacket. Delirious!!! Mono pressings are a tough one to dig up in decent condition and this one is as clean as can be. Price: 300 Euro
2207. TYRANOSAURUS REX: “Prophets Seers And Sages, The Angels of the Ages” (Regal Zonophone – SLRZ-1005) (Record: Near Mint ~ Mint/ Tip Back Jacket: Excellent/ Insert: Mint). Near perfect copy!!!! Original 1968 UK 1st pressing. “Prophets Seers and Sages” was at the time the most underrated of the band’s four albums. Being recorded just six months after their debut, the album dwells into similar regions as its predecessor. There is the same reliance on the jarring juxtaposition of rock rhythms in a folksy discipline; the same abundance of obscure, private mythologies; the same skewed look at the latest studio dynamics, fed through the convoluted wringer of the duo's imagination. Most of the songs on this album have strong enough melodies and clever enough guitar hooks to have been hits if given the proper "commercial" trappings. “Prophets, Seers And Sages” sets itself up nicely as an album of very eccentric psychedelic folk, which turned many listeners off at the time. In all, "Prophets, Seers And Sages" is perhaps Bolan's most intimate album: with just an acoustic guitar and some of Took's charming percussion and backing vocals, an entire universe of potential elfin pop hits is uncovered. Price: 250 Euro
2208. TYRANNOSAURUS REX: “A Beard of Stars” (Regal Zonophone – SLRZ-1013) (Record: Near Mint ~ Mint/Laminated Jacket: Near Mint/ Insert: Mint). TOP Perfect copy. Original 1970 UK press in great condition. In late 1969, Bolan replaced Took with Mickey Finn, whom he had met in a health food restaurant. This duo recorded “A Beard Of Stars”, the final album to be released under the full Tyrannosaurus Rex name. An immediately noticeable difference on “A Beard Of Stars” was the introduction of electric guitar on many tracks. The album is excellent, arguably one of Bolan's very best works. There isn't a dull moment on “A Beard Of Stars”, and the standout tracks are special: "Lofty Skies" and "Pavilions Of Sun" are beautiful songs. "Dove" could pass for Rubber Soul-era Beatles. And the duo unexpectedly rocks out on the superb six-minute brain ripper "Elemental Child", which closes the album -- and the acoustic phase of Bolan's career. Essential! Next to impossible to upgrade upon this one. Price: 250 Euro