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

1576. 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
1577. SABU ORIMO: “Wind Songs” (Siwa Records – SLP901) (Sealed) “Following a number of small run releases (and an appearance on a recent volume of PSF 's Tokyo Flashback series) here's a vinyl only set of Sabu Orimo's solo shakuhachi work. Recorded by Orimo in 2007-2008 and played on unlacquered natural bamboo flutes. With an approach to his instrument described as "Japanese old stone age style" (or the somewhat misleading term 'noise shakuhachi') Orimo might be said to be working on the fringes (of the fringes) of Japan's broadly defined 'psychedelic' scene. That said one could ask if Siwa's motives here might not just be a case of trying to peddle 'the hated music' behind a veil of blatant exoticism. Yes that does mean that after a number of rock/folk moves we're dishing up some more exquisite 'improv'. And you deserve it. Heavy weight vinyl only edition of 299 in five-color handpulled screen-printed sleeves.” (Label Description). To these ears, Orimo’s sonic universe is totally awe-inspiring. The recordings made by this 23 year old shakuhachi blower are all utterly unique and some refer to his sonic outpour as - playing as “Japanese old stone age style” and “noise shakuhachi”. This should already give you a hint at the sonic realms he set out to shred to pieces. This first and already long gone limited LP release (his 1st and only so far following a bunch of self released tapes and CDR’s) is a real tour de force. While confining himself to blowing only natural bamboo flutes without any superficial aids such as additional effects, Sabu rips through his instrument with a disemboweling force that brings to mind fellow howlers like Masayoshi Urabe, Abe Kaoru and Thomas Ankersmit to some extent. Although Sabu has not yet attained the grandeur and delicate touch of such masters like Watazumido, he nevertheless displays already the budding potential his talent beholds. “He has the power of a person cursed with a fire-breathing locomotive breath. Sabu however does not limit his sonic palette to the shakuhachi but includes ecstatic vocal outburst, growls, howl s and hisses, which explains to some extent his new approach to the sonic outcome of shakuhachi playing. A modern day master in the making, Sabu is someone to watch out for and this privately released tape by him will definitely stun you with disbelief because he transcends the idea of what a solo shakuhachi recording should sound like. A major new player on the scene…limited release so act fast. Price: 70 Euro
1578. 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
1579. 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
1580. 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
1581. 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!!!
1582. 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
1583. 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!!!!
1584. 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

1585. 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

1586. 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!!!!
1587. 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!!!!
1588. SAN FRANCISCO SOUND: “Fifth Pipe Dream Vol. 1” (private – S7-11680) (Record: Excellent – has a couple of faint hairlines – plays NM/ gatefold Jacket: Excellent ~ 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. 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. Price: 400 Euro
1589. SANDRA JULLIEN: “Sexy Poem” (Victor – SWG-7252) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – no defects and perfect sleeve but has a few mild mildew spots on back/ Nude Poster: Near Mint/ Attached Nude Pictures Booklet: Near Mint/ OBI: Near Mint). Top condition original with OBI & POSTER, getting so damned hard to find all complete and seriously in demand these days. Released in 1972 on Victor Japan, original press with all gimmickry included in top-notch condition. Together with the Ike Reiko disc, this is the rarest erotic psych chanson album to ever seep out of Japan and copies just never turn up, until now. Sandra Julien was a French porn actress who made her screen debut in Japan in 1970 with the movie “Shikijou Nikki” which premiered in 1971. Although that at that time porn flicks in Japan enjoyed very little publicity, the film turned out to be a success. Hereafter she teamed up with legendary pink violence movie producer Norifumi Suzuki and appeared in lustful depraved masterpieces such as “Gendai Pornoden Senten Seiinpuand numerous others. Apart from two hideously rare 7-inches, Sandra recorded one sole LP on the Victor label that came out in 1971, depicting in full splendor her beauty and pale skin, which drove punters nuts with unbridled lust. But apart from the lovely jacket and pictures/ poster that were included with the LP, the musical contents are just deliriously fantastic and stand quality-wise shoulder to shoulder with Ike Reiko’s “Koukotsu No Sekai” as the most sexiest disc ever recorded worldwide. Just imagine this: a French nymphet singing and moaning in the Japanese language impregnated with a heavy sultry French accent. How more erotic can music possibly get? Right, it cant, it climaxes right here. But apart from these ingredients, the music and songs are just perfect, filled to bursting with top notch arrangements (courtesy of Araki Ichiro), placing Sandra’s against an at times Kayokyoku background which she spices up with oversexed talk and pink induced atmospheric qualities, swingy loungy settings against which she succeeds in lifting up the benumbest and most dormant of your body parts and taking it to never experienced before explosive heights of ecstasy. But that is not all, Sandra even ventures aside from all the loungy mood sets also into lesbian moaning and groaning interaction (a duo with starlet Sugimoto Miki) set to a wild R&B Go-Go frenzy filled with tribal bongo rattles, swinging horn section and a never ending copulating climax. Throw ‘the Plastercasters’ out of the window and kiss goodbye to your Serge Gainsbourg records, Sandra Julien is more sizzling than a branding iron making it’s mark on the farmer’s herd. The sex is literally dripping from every note on this record with breasts, attitude, exotic musical accompaniment and more than you can possibly handle orgasmic moaning and spoken interludes resembling cheap phone sex by Sandra who is free to do her thing, which unsurprisingly is cooing sensually as the songs roll along, allowing her sexuality to take control. This disc is – as you could already guess bloody rare. A killer record all way round and one of my all time favorites. Bloody insane and great, so all time highest recommendation. Price Offers!!!!
1590. 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!!!!
1591. SARA & MELODY: “Legend From Ratman b/w Fujiyama Yei, Yei” (Seven Seas Records – THEP-382) (Splattered Colored Vinyl EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Sticker Obi on Outer Sleeve: Near Mint). Great EP release on colored splattered wax by these two Hawaian girls recording with Ishikawa Akira in the late 1960s. Groovy psychedelic kayokyoku vibes that will ignite the inner dance swinger inside of you. Beautiful edition that totally vanished and dried up. But this one is too good to pass on upon, take my word for it. Intoxicatingly addictive and brilliant!!! Price: 50 Euro
1592. 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: Offers!!!!
1593. 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!!!!
1594. 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!!!!!
1595. 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: 400 Euro
1596. 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!!!
1597. 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

1598. SATO MASAHIKO/ TOGASHI MASAHIKO: “Toki – Eternity? – Epos” (Polydor – GR-1001) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 4 paged Insert: Near Mint/ Separate insert: Mint/ OBI: Near Mint). Rare original press copy with always missing insert & OBI present!!! Heavy weight rarity alert!!! Released in 1971 and for some strange reason noted the Pokora book of rare discs...second time I have a copy of this gem to spare and first time I see a copy offered for that matter, so go figure. Centered around 4 heavy weight free jazz drummers being Togashi Masahiko (Takayanagi Masayuki, We Now Create etc), H. Tanaka, Joe Mizuki (Takayanagi Masayuki collaborator) and I. Harada, this album steers from the start on into dark and dreamy series of slow shimmering soundscapes. The whole of the disc puts forth texture and mood combined with slow burning rhythm assaults. T. Miyama and New Herd Orchestra, who provide some austere atmospherics on flute and chimes, rendering the whole affair into a hallucinatory and deep listening experience, also flank the four skin manglers. They are responsible for making the drum kit only but a part of the total sonic palette, spreading it out between wide open expanses of gong swells, chiming bells, bowed metal, wood blocks and tinkling chimes. In all, the group churns out an organic drift impregnated with a midnight ambience, punctuated by strange bits of percussive flares, but spending most drifting through deep dark cavernous expanses of sound and breathing out amazingly deep and physical sounds that are comprised out of a slow burning series of drones and shimmers. Huge low-end reverberations underpin delicate drifting bells. The resonating sonics are given ample time to invade your listening space and hi-jack the ether. Scintillescent high end sparkles bobble up at the rear end of your acoustical wave frequency’s periphery, super percussive skitter wraps around delicate melodic tom fills, occasionally sounding like a super slow abstract free jazz spread way out across the sound field, with some serious stereo panning to underscore the total outcome. It all blends into an amorphous maelstrom swerving from one speaker to the other, oozing out dizzying dreamy soundscapes of percussive melodic clatter and strange rhythmic textural. drones that subtlety transform into high-end infected free jazz splatter, a wash of sound that balances on a tightrope of dense TMT-like cacophony of deep sensory overload and the fine-spun swampland of submarine scintillation. Compressed fat rumblings build to propulsive percussive overload. In all this is just about as psychedelic as a disc can possibly get without the use of the ever-present fuzz guitar licks. The record fades into a barely there drone made up out of firefly-like flickering percussive dronescapes, reverberating gongs, little squalls of spray-painting free jazz shuffle, all woven into a lovely Zen like exploration of a dark and mysterious world of rhythm and sound. Dense swirls of cymbal sizzle, brief squalls of tom toms swell and then fade, little bursts of tribal freak-outs are underpinned by dizzyingly minute splatters of hand drums and cymbal crash, strange textures become near drones, etc, just an intoxicating listening experience that has left me zoned out and in need for a quick oxygen fix every time I spin this sucker. Awesome and still totally undetected. Highest possible recommendation and rare beyond belief. Price: 450 Euro

1599. SATO MASAHIKO & TOSHIYUKI MIYAMA & NEW HERD: “Yamataifu” (Toshiba – TJ-9004) (Record: Near Mint/ Gatefold Jacket with embossed relief print: Near Mint/ 16 Paged Booklet: Mint/ OBI: Mint). Original 1st press (unlike the faux and latter sleeve image in Cope’s self-invented book) issue all complete with book and jaw-dropping scarce OBI. It seems misinformation is spreading like a bug on web pages and sorts. Everywhere I see this album listed – on Discogs and other pages, people try to come away with the reissue version of it housed in a different jacket as being the sole pressing. Well, I hate to be the barer of bad news but all the imagery you see of this album is actually the late seventies common 2nd pressing. So for once and for all, here you have a chance to obtain or glimpse at the true 1st original pressing, released on the Toshiba label and not on Express, which was the label (subsidiary of Toshiba btw) for the 2nd later pressing. The 1st pressing of this album is – as opposed to the later press – quite a difficult one to locate and this copy here is the 1st spare I have in many moons. So what is it like? Well the sole thing almost all seem to agree about is that it is a brainiac killer slide of free-improvisation and big band funky comic jazz moves. The real treat is of course Sato Masahiko, spiking the whole three-part score affair up with his heavy ring-modulated electric piano (which would go in overdrive and reach for stratospherically heights on his “Penetration” album). This primitive electronic devise augments the tonal color of the whole affair, injecting it with cosmic radiation, beaming down from solar flares that got bombarded with mercurial jamming of jet-engined brass sections and kerosene fumes intoxicated body-swerving, omni-directional rhythms of triumphal, spirit/energy scatter shots, evoking images of a legion of ghosts marching all the way over the horizon. In short this wicked slide is together with “Penetration” (which takes this concept as a trio line-up to the next solar system like level of intensity) the ring modulator infected free jazz blast of all time that will have your ears whopping and woofing for weeks in a row. Insanely rare true 1st pressing with the obi in all galore flashing its true colors and with the detailed booklet. Bound to tank again to the depths of obscurity and you will probably have a hard time finding an original copy of this one again. So act now and hold your peace forever!! Just never surfaces, an all-complete copy with obi. All killer and no filler free jazzing earth scorching beast from the Far East!!! Price: Offers!!!

1600. 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 is a rare white label promotion copy. 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!!!!
1601. 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

1602. 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

1603. 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!!!
1604. 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
1605. 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

1606. SAVOY BROWN: “Lion's Share” (London/ KING Records – SLC-474) (Record: Near Mint/ Triple Gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Original 1973 Japan 1st pressing complete with obi. Lion's Share is one of the most underrated albums in the Savoy Brown catalog and sadly so because it is as good as it predecessors. Following the widely successful Street Corner Talking and Hellbound Train LP's, Lion's Share was in many ways the pinnacle of their style of bluesy-boogie music. While both of the previous albums were excellent, Lion's Share managed to exceed the high standards of both of those albums. From energetic rockers to blues ballads, the album has it all. Top copy. Price: 150 Euro

1607. 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!!!!!
1608. 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
1609. 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
1610. 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
1611. 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
1612. 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
1613. SCHAEFFER, PIERRE: “Parole et Musique” (INA GRM – n9106sc) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 8-Paged Insert: Mint). Who needs an introduction to Pierre Schaeffer, inventor of Musique Concrete? This LP recorded by Christian Zanesi & mixed by Francois Bayle is an absolute masterpiece. It was the first album by the master of musique concrete 
on the influential Serie Gramme releases and a cornerstone of electro-acoustic / musique concrete. First original pressing in top condition. Price: 100 Euro
1614. SCHWARZ, JEAN: “Erda Symphonie” (INA GRM Records – AM715.03) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Top copy of stellar electronic music masterpiece on the great INAGRM label. 1978 first original pressing. Very attractive and completely bewitching 1970s tape works by totally under documented Jean Schwarz. Side A is comprised out of 'Erda' (1971), which is a 27 minute piece in eight sections ranging thematically from 'Grillons' ('evocation of world of the insects'), '54 Oiseaux' ('songs of stereotyped birds such that give them the generators of studio 54' and 'Klook'/'In Memoriam' (both tributes to jazz greats; Kenny Clarke and John Coltrane respectively). It is a brutal cut up & slice musique concrete whirlpool of maddening sonic tornados that leave you gasping for air, just stunning. 'Symphonie' (1974) – which takes up the whole of side B, is a filmic 24 minute work using orchestral and flute timbres along with subtle tape effects and re-iterative motions. It puts Schwarz smack in the middle of the great composers and a relenting force to be reckoned with. Fantastic! Price: 75 Euro
1615. 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
1616. THE SEARCH PARTY: “Montgomery Chapel” (Century - 32013) (Record: Excellent ~ Near Mint / Jacket: Mint, still in original shrink-wrap). Here it is, one of the finest Christian acid folk records to hit the scene. This copy here is the 1969 Original pressing of this ultra rare West coast Xian Psych Monster with female vocals, dreamy downer vibes and vicious fuzz leads scattered all over the place. One of the best and most unique records from the whole psych era. the pinnacle of X-ian psychedelic folk records, complete with paste on cover. Personally, this is one of the most haunting and beautiful Christian records primitive Christian folk-rock LP ever to have waxed my ears. The Search Party privately recorded this sole LP and they surely hit on some truly unique moods and sounds. Drawing heavily from the west coast "psychedelic" sounds of the era, the Search Party lift off like a basement garage band and channel the compositions by a Catholic middle-aged priest and mould it into a crude and primal take on Californian trashy folk-rock complete with an unpolished psychedelic vibe injected with the right dose of fuzz guitar sounds, primitive organ play and unpolished male and female vocals. Side 1 cruises to a highlight with an unparalleled 9-minute downer folk-rock head twister that is nothing short of being addictive and makes you coming back for more and more. In all, fantastic primitive Christian folk-rock. One of the great private press psychedelic folk & garage LP’s of the era. Beautiful & TOP copy still in shrink-wrap. Next to impossible to upgrade upon this one here, I do not believe they come any better than this one. Price: Offers!!!
1617. The SEEDS: “A Web Of Sound” (GNP Crescendo Records – GNP-2033) (Record Near Mint/ Jacket: Near Mint ~ Mint, still housed in original shrink/ GNP Crescendo Inner Company Sleeve: Near Mint). Bloody rare US first original MONO pressing in absolutely fabulous condition. The quintessential 1966 rock album, “A Web Of Sound” retained the crazed energy of the Seeds first album, but dosed with a growing maturity and a willingness to experiment. The Seeds outdid their first album by far, and created a fascinating mix of garage and psychedelic rock, and the album seems like a journey through a slightly insane mind. It’s nonetheless a step forward for the band’s creativity with bottleneck guitar by Cooker providing counterpoint to Savage throughout — not to mention the brilliant “Mr. Farmer,’ where Hooper overlays oboe-like Farfisa sounds over his trademark Wurlitzer piano. Punk like “Tripmaker” and “Just Let Go” provide further highlights on album culminating with one of the first extended jams on a rock album: the simple yet hypnotic “Up in Her Room.” The latter reflects the album and the Seeds in general: repetitive and same-y sounding, yet effective because they deployed their sound so well. Still, “Up In Her Room” is the centerpiece off the album. After mostly 3 minute tracks, the 15-minute song Up In Her Room closes out the album. It's incredibly repetitive, but extremely enjoyable at the same time. The song captures the essence of the half-awake daydreams of an incredible high. Killer punchy MONO mix is a slab in yer face and a great wake-up call after being used to the more common stereo version. Price: 400 Euro
1618. 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: 300 Euro
1619. The SEEDS: “Golden Seeds --- Pushin’ Too Hard – Can’t Seem To Make You Mine b/w Mr. Farmer – Night Time Girl” (London Records – LS-181) (EP Record: Near Mint/ Sturdy Picture Sleeve: Near Mint/ Insert: Near Mint). One of the rarest Seeds releases – just never pops up, never on e-gay, or anywhere else for that matter. This was a Japan only live 4-track EP that came out in 1969 and came housed in a thick cardstock Japan only sleeve, all-complete with lyrics insert. Very beautiful to behold and of course even more enticing when throwing it on and cranking up the volume ‘cause the Seeds Pushin’ Too Hard – a quintessential anthem that should ring true for disaffected young ‘uns the world over – and Can’t Seem to Make You Mine, a song of such primal, wounded yearning that even a chauvinistic deodorant commercial couldn’t taint its luster, there remain plenty of treats beyond those immediate points of intrigue. While later efforts would slip towards psychedelia, this landmark recording showcases The Seeds at their fiercest and most undiluted: a primal thrust that perfectly encapsulates what it means to be a confused, angst-ridden outsider desperate for a little love and acceptance. One of the greatest garagae bands ever and this is the hardly ever offered Japan only first and only EP release. Top condition!!! Price: 550 Euro
1620. 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
1621. The SEEDS: “Can’t Seem To Make You Mine b/w Daisy Mae” (London/ King Records – TOP-1154) (7 Inch Single: Near Mint/ gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rarest of the rare Japan only Seeds releases, original 1967 single that comes housed in Japan only killer picture sleeve. Never surfaces, just bloody forget it. Top condition. Price: Offers!!!
1622. 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!!!
1623. The SEEDS: “In Concert” (King Records – SLC-219) (Record: Near Mint - Mint/ Jacket: Near Mint ‾ Mint/ Insert: Mint). Bloody rare Japan only jacket design issue as issued in November 1968. Top condition and monstrously rare! Impossible to upgrade upon, the perfect copy!!! Copies of this Japan only issue are so damned scarce they just never turn up. Here is a copy, in virginal condition but with obi missing, so it comes at a rock bottom price. Only my 2nd copy I see so far, so go bananas. Top condition. Price: 400 Euro
1624. 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: 125 Euro
1625. SEIKATSU KÔJYÔ IINKAI: “S/T” (Private press – Ski No.1) (Record: Near Mint/ Jacket: Near Mint). Top condition of quite rare Japanese private press free jazz monster that was privately released but pressed and prepared by the illustrious Kojima – ALM Label. The disc was pulled out the cloud of obscurity and granted with a re-appraisal by no-one else but SY’s own Thurston Moore, connoisseur par excellence who brought the existence of this gem back into view by listing it in his illustrious free jazz top 10 list of records you have to lend your ears to. “FREE JAZZ of course made a strong impression on the more existential-sensitive populace of Japan. Some real masters came out of the Japanese scene and were influential to some of the more renowned noise artists of today (Boredoms, Haino Keiji). One such Jap-cat is alt-saxist Dr. Umezu who has mixed it up with NYC loft-dwellers on more than one occasion. On this completely obscure, underground release he unleashed some pretty free shit with the likes of William Parker (bass), Ahmed Abdullah (trumpet), and Rashid Shinan (drums). Parker is possibly one of the most important FREE musicians working in NYC. He's got his own constant writing/performing schedule as well as gigs with anyone from Cecil Taylor to Charles Gayle.”(Thurston Moore) In short a killer disc, hopelessly obscure and almost impossible to obtain, until now, almost a virginal copy. Highest recommendation. Price: 275 Euro
1626. SEISHOKKI: “Organs Of Blue Eclipse – 1975~1977” (Siwa Records – SA-5001). (Record: Near Mint/ Silkscreen jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). Long gone and deleted limited LP release that came out over a decade ago in a run of only 300 copies. Archive recordings from almost 30 years ago by Seishokki a band formed in Asahikawa in northern Japan while it's members were still in high school. The story goes that the band's musical influences were as likely to be only heard of as actually heard but original member Ikuro Takahashi (who has since gone on to perform with a veritable who's who list of outfits that includes Fushitsusha, High Rise, Che-Shizu and Maher Shahal Hash Baz) recalls that along the way various members of the band had been moved by the extended thump and drone of Faust with Tony Conrad, the deep synthesizer explorations of Klaus Schulze and the passionate avant-folk of Kazuki Tomokawa. Some members of the band had also been drawn to the writings of critic/promoter Aquirax Aida who was responsible for the introduction of a lot of western free music to Japan. The onset of punk may have contributed a little to the freedom a bunch of non-musicians felt to start a band but Takahashi has suggested that a lot of their inspiration came from what was probably a misunderstanding of minimalism. What comes out in these recordings is a wonderfully primitive approach to the repetition of minimalism with exuberant forays into wild synth/percussion driven noise. The result falls somewhere between the original Amon Duul LPs and "Outside the Dream Syndicate" with a nod to the soon to come explosion of Noise in the Japanese underground. These are believed to be the only surviving recordings of this band with the exception of a vocal track with lyrics concerning an eternal teenage concern deemed too mortifying for release. Getting damned scarce these babies and the music is nothing short of utterly stellar, one of the greatest underground outfits to seep out of Japan. Price: 50 Euro
1627. SEVENTH SEAL: “S/T” (Acme – AC8018LP) (Record: Mint/ Jacket: Mint). Long out of print limited LP shedding some light on this one-time-off psychedelic headz collective comprised out of High Rise front man Nanjo Asahito, AMT’s Kawabata Makoto, Koizumi Hajime, Angel In Heavy Syrup’s bass player and ethereal vocalist Itakura Mineko and Shogo Nari/ Tsurubami/ Ohkami no Jikan drummer Emi Nobuko. While Kawabata was active in the early 1990s with various of Nanjo’s adhoc assembled splinter units, Kawabata briefly joined one of his other units Ohkami no Jikan, with whom he rehearsed for a considerable long time, replacing the ex-Fushitsusha guitarist Maki Miura and which eventually led to the erection of Seventh Seal, a short lived Amon Duul inspired jam unit. The music is basically a frantic swirling dervish like psychedelic jam session evolving around lysergic guitar lines, mantra-induced riffing, Mineko’s lovely scat-like vocalizations and an ever evolving and expanding acid soaked spaced out spun out improvisations. Great stuff, long out of print and desperately needed for an urgent reappraisal. Mint copy!! Price: 50 Euro
1628. 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
1629. 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
1630. SHARP FIVE: “Haru no Umi” (Columbia Japan – JDX-18 - 1968) (Record: Near Mint/ Gimmick Die Cut Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint). Rare 1st original pressing, totally underrated and vanished trashy psych killer LP. Record comes in a beautiful gimmick cover, fold out with inner 6 paged attached booklet, all with loads of pictures, poster etc. Well this is one stunning album that was released in November 1968. Sharp Five were an instrumental GS psychedelic garage Combo. This is their best-recorded album, you can ask any Japanese psych collector about it, he will agree. Vicious guitar licks, surf induced wah-wah and fuzz-distorted interceptions, all pored over with an oriental sonic garage back base. This really rocks and stings like a bat out of hell. A vicious party slammer, psyched up, fuzzed-out and fuelled up ready to leave burning tire tracks all over your sorry ass. We speak of 1968 here, real stunning album and quite rare these days. Highest recommendation. For psych heads. Price: 75 Euro
1631. 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: 50 Euro
1632. 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
1633. SHEPP, ARCHIE & CHICAGO BEAU: “Black Gipsy” (America – 30 AM 6099) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Top copy, first original pressing as only released in France at the time. 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. Price: 50 Euro
1634. SHEPP, ARCHIE & CHICAGO BEAU: “Black Gipsy” (America/ Nippon Columbia – YW-7576-MU) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Near Mint). Top copy, Japan original pressing with rare 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. Price: 100 Euro
1635. 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: 250 Euro
1636. 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: 40 Euro
1637. SHEPP, ARCHIE: “Blasé” (BYG Actuel Records – Actuel-21) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Excellent - Near Mint/ Attached Insert: Near Mint). Original 1st high quality Japan press issue in top condition and one of the highlights – albeit totally overlooked – on the excellent Actuel free jazz series. Originally recorded at Studio Davout in Paris on August 16th, 1969. An intense and sublime album by Archie Shepp with Lester Bowie and Malachi Flavors (from the Art Ensemble of Chicago) plus Dave Burrell, Philly Joe Jones and Jeanne Lee. White label PROMO issue. Price: 40 Euro
1638. 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: 60 Euro
1639. 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
1640. 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: 85 Euro
1641. 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: 85 Euro
1642. 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
1643. 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
1644, SHEPP, ARCHIE: “Three For A Quartet, One For A Dime” (Impulse Records – AS-9162) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original US first press issue. Although “Three for a Quarter One for a Dime” was not released until 1969, it was actually recorded in 1966 at the same show that made up the album “Live in San Francisco”. This album opens with Shepp and tromobonist Roswell Rudd leap-frogging an odd melody that’s part bop, part circus music and completely ‘out to lunch’, there is no doubt that we are in for a wild ride. As the band digs in, Rudd and Shepp do some quick exchanges before Rudd backs off and gives Shepp the floor. Archie responds with one of the most intense sax solos you will ever hear anywhere, no shrieks or screams, just an endless assault of notes played with a very gnarly expressive guttural sound. Towards the end of side one, Rudd re-enters and the two soloists raise a wonderful chaos that sounds much bigger than just two. On side two, Rudd takes a solo ride while Shepp backs him on the piano before picking up his horn for one more double solo to close things out. Throughout the preceding, Beaver Harris keeps up a steady roar on the trap set while the two bassists rumble around in the background, although not always particularly distinctively. So Essential it actually hurts. Price: 50 Euro

1645. 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

1646. 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

1647. 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

1648. SHEPP, ARCHIE: “Attica Blues” (Impulse – AS-9222) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: 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: 150 Euro

1649. 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
1650. SHIVA’S HEADBAND: “Take Me To The Mountains” (Capitol – ST-538) (Record: Near Mint/ Jacket: Near Mint, still in shrink). Top level copy 1st US 1970 pressing on the green Capitol label imprint. 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. Price: 150 Euro
1651. 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: 125 Euro

1652. 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: 150 Euro

1653. SHURI EIKO: “Eye Eye b/w Koi No Angle” (Clinck Records/ King Records – CREP-5721/ BS-756) (Single Record: Near Mint/ Picture Sleeve: Near Mint/ Obi: Near Mint/ Company Inner Sleeve: Near Mint). Long overdue but much needed high quality reissue of viciously rare sixties beat girl single. Sadly, sold out almost upon its release date, Shuri Eiko’s 1968 is a prime example of late 1960s Japanese Beat Girl galore and clear evidence that Tokyo was as swinging as London was at that time. The opening track “Eye Eye” (iye –iye) is fabulous Ye-Ye styled mono-syllabic swinging madness set to a groovy and pulsating beat. Innocence afloat, not a dark cloud on the horizon, it is unbridled optimism set to a miniskirt beat that is nothing short to being hypnotically intoxicating. The B-side is equally uplifting and blessed with great dessert styled twangy guitar set against and orchestration background against which Eiko laments a drooling psychedelic upbeat crooner. Your top of the crop sixties female beat galore! Original pressings are rare and largely expensive, so this high quality reissue is more than welcome but sadly already a tough one to dig up. Amazing shit! Price: 50 Euro
1654. SHURI EIKO: “Havana Anna b/w Crazy Love” (London Records – TOP-704) (7-Inch Record: Excellent/ Picture Sleeve: Excellent/ Company Inner Sleeve: Excellent). Damned rare and much in demand 1968 original first press of high in demand GS/ erotic ball buster by Shuri Eiko. Shuri Eiko (real name Tanabe Eiko) debuted in 1964 in Japan and shortly after in Las Vegas as the back-up vocalist for Sarah Vaughan. After her contract ended there, she went back to Japan in 1966, where she couldn't find much recognition. Still during that interim period she managed to put out a few 7-inch records, one of which was this one here but although the music is butt-shakingly awesome, it failed to attract any attention in Japan. Havana Anna is a jungle infested classic tune with assorted wild animal noises in the mix that brings Cuban vibes to the Far East but with little to no commercial avail. Later on it would become a big seller. The B-side is where all the glory is. Crazy Love is a great garage Beat Girl swinger that breathes out a much loved Sixties vibe. Twangey surf-infested guitars, ramshackle backing and Shuri’s great wailing vocal chords up front. A GS Beat Girl classic that is stunning, it gears every butt in the room into instant gearshift action! Still, the single failed to attract any attention. So with no artistic recognition in sight, she decided in 1969 to return to Las Vegas where she became a solo entertainer. With more experience, she managed to hit the Japanese market after her return there in 1971. She was the first Japanese woman to have a concert at Carnegie Hall in 1976. At one point The Beatles' drummer Ringo Starr asked her for a date, which she rejected. Later, she said with a laugh that she would have been a Yoko Ono if she had accepted it then. Anyway, Crazy Love is a bomb!!! Beat Girl deluxe garage vibes out of Tokyo but sadly damned rare. First time I have a copy on offer!!! Price: 400 Euro
1655. 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
1656. 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

1657. SIMON & GARFUNKEL: “Parsley, Sage, Rosemary and Thyme” (CBS Sony – SONX-60013) (Record: Near Mint 〜 Mint/ Gatefold Jacket: Near Mint ~ Mint – still housed on original shrink, perfectly preserved/ Capsule Obi: Near Mint 〜 Mint – still encapsulated in original shrink1st / Insert: Near Mint). Top copy – Japan original press issue complete with rare capsule obi that came out in November of 1968. Still housed in original shrink-wrap. This was their first true masterpiece - was also the first album on which the duo, in tandem with engineer Roy Halee, exerted total control from beginning to end, right down to the mixing, and it is an achievement akin to the Beatles' Revolver or the Beach Boys' Pet Sounds album, and just as personal and pointed as either of those records at their respective bests. “The album opens with one of the last vestiges of Paul Simon's stay in England, "Scarborough Fair/Canticle" -- the latter was the duo's adaptation of a centuries-old English folk song in an arrangement that Simon had learned from Martin Carthy. The two transformed the song into a daunting achievement in the studio, however, incorporating myriad vocal overdubs and utilizing a harpsichord, among other instruments, to embellish it, and also wove into its structure Simon's "The Side of a Hill," a gentle antiwar song that he had previously recorded on The Paul Simon Songbook in England. The sonic results were startling on their face, a record that was every bit as challenging in its way as "Good Vibrations," but the subliminal effect was even more profound, mixing a hauntingly beautiful antique melody, and a song about love in a peaceful, domestic setting, with a message about war and death; Simon & Garfunkel were never as political as, say, Peter, Paul & Mary or Joan Baez, but on this record they did bring the Vietnam war home” (All Music Guide). Just a great album, largely overlooked but still when you lend your ears to it, it is a fragile masterpiece like no other. All is just in immaculate condition. Price: 65 Euro

1658. SIX ORGANS OF ADMITTANCE: "Nightly Trembling" (Time-Lag Records - Timelag013) (Record: Mint/ Silk screen Jacket: Mint/ Insert: Mint) In 1999 Six Organs released "Nightly Trembling" as an anti-sorcery lathe cut edition of 30 copies or so. Time-Lag reissued the disc which offers the sound made for a web creating consciousness attempt. 40 minutes of deliriously great acid folk strummings and way outward-bound music. 180-gram vinyl pressing packaged in a black on black screen-printed sleeve/ letter pressed insert. Numbered edition of only 500 copies and long deleted. Here you have a chance to lay your hands on one of the much-hyped discs of recent years. Judge for yourself if all the hype is worth it or otherwise. Bound to become much sought after (already is) and much in demand. Mint copy. Price: 125 Euro
1659. SIX ORGANS OF ADMITTANCE: "For Octavio Paz" (Time-Lag Records - Timelag-014) (Record: Mint/ Silk screen Jacket: Mint/ Insert: Mint) During the winter of 2002~03 Ben Chasny sat down for a few late night sessions with wine in glass and recorded these instrumentals using just guitar and voice and on a few songs some bells. For Octavio Paz was the first Six Organs record to draw from the reverberations of a nylon string guitar, resulting in some of the saddest notes yet recorded on any Six Organs release. Stripped of the usual Sufi influenced lyrics, this disc proves that the spiritual flows freer through the non-delineated form of instrumental sound. Side B features a near side long steel string epic that conjures visions of dessert orgies, Appalachian witch hunts and the loading of a shotgun to be aimed at the six and twelve string bandits on the horizon...180 gram vinyl packaged in a white on white screen printed/ letter pressed fold out sleeve with letter pressed insert (label description) Numbered edition of 500 and long deleted. Mint copy. Price: 125 Euro
1660. 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
1661. SLAPP HAPPY & FAUST: “Sort Of” (Polydor Japan – 23MM-0240) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). First original Japanese pressing complete with obi, top copy. Slapp Happy was founded by keyboardist Anthony Moore to accompany his German wife Dagmar Krause's Brecht-ian induced songs. The band debuted with Sort Of (Polydor, 1972), one of the most austere and politicized works of that period. To flank the original line-up, American guitarist Peter Blegvad was summoned in, who happened to sojourn in Britain at the time while completing his studies. The rhythm section on the other hand turned out to be legendary and was borrowed from German affiliates Faust What a merger, a match made in heaven, bound to cross-fertilize one of the greatest and most underrated below the radar releases of that time, making it now a jaw-droppingly great historical artifact. The music spread out on this vinyl edition unveils a band that was not so much an avant-rock group, but instead embarked on a revelation-like trip that aimed at toying with rock's conventional boundaries and subversively evading a straight playing mode. This resulted with the band + Faust wandering into an impressive sonic no-mans land made up out of ramshackle avant-rock and detuned freeze-framed rock elements, only to stumble into jagged tunes of fractionalized beauty. Stellar and much sought after. This is the Japanese pressing of the disc. Historical and impressive slab of sonic derailed emotion and eclecticism. Price: 100 Euro
1662. 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: 80 Euro
1663. 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

1664. SLY & THE FAMILY STONE: “Stand” (Epic – ECPL-26) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint/ 8-Paged Illustrated Booklet: Near Mint). All complete 1st issue Japan pressing with rare capsule obi in immaculate condition. “Stand! is the pinnacle of Sly & the Family Stone’s early work, a record that represents a culmination of the group's musical vision and accomplishment. Life hinted at this record's boundless enthusiasm and blurred stylistic boundaries, yet everything simply gels here, resulting in no separation between the astounding funk, effervescent irresistible melodies, psychedelicized guitars, and deep rhythms. Add to this a sharpened sense of pop song-craft, elastic band interplay, and a flowering of Sly’s social consciousness, and the result is utterly stunning. Yes, the jams ("Don't Call Me Nigger, Whitey," "Sex Machine") wind up meandering ever so slightly, but they're surrounded by utter brilliance, from the rousing call to arms of "Stand!" to the unification anthem "Everyday People" to the unstoppable "I Want to Take You Higher." All of it sounds like the Family Stone, thanks not just to the communal lead vocals but to the brilliant interplay, but each track is distinct, emphasizing a different side of their musical personality. As a result, Stand! winds up infectious and informative, invigorating and thought-provoking -- stimulating in every sense of the word. Few records of its time touched it, and Sly topped it only by offering its opposite the next time out.” (All Music Guide). Top copy, Japan 1st original pressing with all complete. Killer!!! Price: 200 Euro

1665. SLY & THE FAMILY STONE: “There’s A Riot Goin’ On” (Epic – EPIA-53019) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint/ 8-Paged Booklet: Near Mint/ Insert: Near Mint). TOP copy, rare 1st original Japanese high quality pressing complete with the rare 1st issue capsule obi. “It's easy to write off There’s A Riot Goin’ On as one of two things – Sly Stone’s disgusted social commentary or the beginning of his slow descent into addiction. It's both of these things, of course, but pigeonholing it as either winds up dismissing the album as a whole, since it is so bloody hard to categorize. What's certain is that Riot is unlike any of Sly & the Family Stone’s other albums, stripped of the effervescence that flowed through even such politically aware records as Stand! This is idealism soured, as hope is slowly replaced by cynicism, joy by skepticism, enthusiasm by weariness, sex by pornography, thrills by narcotics. Joy isn't entirely gone -- it creeps through the cracks every once and awhile and, more disturbing, Sly revels in his stoned decadence. What makes Riot so remarkable is that it's hard not to get drawn in with him, as you're seduced by the narcotic grooves, seductive vocals slurs, leering electric pianos, and crawling guitars. As the themes surface, it's hard not to nod in agreement, but it's a junkie nod, induced by the comforting coma of the music. And damn if this music isn't funk at its deepest and most impenetrable -- this is dense music, nearly impenetrable, but not from its deep grooves, but its utter weariness. Sly’s songwriting remains remarkably sharp, but only when he wants to write -- the foreboding opener "Luv N' Haight," the scarily resigned "Family Affair," the cracked cynical blues "Time," and "(You Caught Me) Smilin'." Ultimately, the music is the message, and while it's dark music, it's not alienating -- it's seductive despair, and that's the scariest thing about it.” (All Music Guide). Sounds amazing and looks even better, top copy Japan 1st pressing getting so tough to score as of these past years. Best copy for light-years around. Price: 200 Euro

1666. 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!!!!
1667. 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
1668. SMITH, PATTI – The PATTI SMITH GROUP: “Easter” (Arista Records – IES-81053) (Record: Near Mint/ Jacket: Excellent/ 4-Paged Insert: Near Mint/ Additional Insert: Near Mint/ Obi: Near Mint). Japan 1978 original pressing of instant classic. Patti Smith's third album turned out to be her most commercial sounding album to date, and due to the inclusion of the Bruce Springsteen penned (with lyrical amendments from Smith) "Because The Night" it also became her biggest seller. Still, that does not mean that this one is by any chance her 'sell out' album though. No way, she still stuck to her defiant, poetic lyrics but here she manages successfully to create a balance between her art and commercial success. Every track is a bloody winner, and Patti shines throughout. Bloody hell, what do I miss the days when these slabs of sonic insurgence cut through the airwaves. Indispensable!!! Price: 75 Euro
1669. PATTI SMITH GROUP: “Frederic b/w So You Want To Be A Rock ‘N’ Roll Star” (Arista Records – 6RS-35) (EP Record: Mint/ Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Bloody rare Japan only EP release. Comes in a beautiful picture sleeve jacket. Top copy, original 1st pressing and absolutely obligatory mind food. Price: 150 Euro
1670. The SMITHS: “Meat Is Murder” (Rough Trade – 25RTL) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Near Mint). Rare and high in demand Japan 1st original press issue all complete with insert and obi. Damned the Smiths were a fantastic group, especially Johnny Marr in unison with Morrisey is alchemical sonic gold! A classic slide but these Smiths slides are getting so high in demand these past years, it gets difficult to dig up clean and all complete copies. This one here is just perfect, both condition wise as well as music wise. Killer!!! Price: 100 Euro
1671. The SMITHS: “The World Won’t Listen” (Rough Trade – VIL-28074) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan 1st press all complete with obi. I never get tired of the Morrissey/ Marr tandem who feed of perfectly of each other, giving the right dynamic to the whole signature sound of the Smiths. Compiling singles and B-Sides, it gave a good insight into the band’s single history. Totally essential in my world! Price: 75 Euro
1672. SMOKE: “At George’s Coffee Shop” (UNI – 73065) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1969 US pressing of this great bluesy psychedelic biker rock. Price: 75 Euro
1673. 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. Price: 250 Euro
1674. 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!!!!
1675. SOFT MACHINE: “Volume Two” (Probe/ King Records – SR-348) (Record: Near Mint/ Jacket: Excellent). Hopelessly rare Japan 1st original pressing, never seen a copy till this day and it sounds amazing!!!By the end of 1968 the Soft Machine had parted company with founder and bass player Kevin Ayers. Ayers, who operated at a more leisurely pace and was less jazz inclined than drummer Robert Wyatt and keyboardist Mike Ratledge, had been put off touring. But following a brief hiatus the band reformed with former road manager and school friend Hugh Hopper on bass. Volume Two's first side begins with Wyatt reciting the alphabet, ending the side's suite of songs by doing the same, backwards. This mixture of the absurd and the serious that was to eventually tip in the direction of the latter, provides a wonderful tension that no other band has ever really replicated though many have tried. Fearsome chord progressions, free noise and even scatting in Spanish: this was no ordinary college band. Volume Two could be said to be the band's best album. It was a taste of the pre-post modern: relegating lyrics to the role of noise that merely describes what the band's doing, or name checking friends of the group. No one makes records like this anymore. Just a sheer touch of pure genius. Bloody rare Japanese 1st original pressing!!!Price: 250 Euro
1676. 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
1677. 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
1678. SOFT MACHINE: “5” (EPIC – ECPL-38) (Record: Mint/ Jacket: Mint/ Capsule Obi: Mint/ 8-Paged Fully Illustrated Booklet: Mint). Rare original 1st Japanese press issue complete with always-missing obi and booklet. TOP condition. Price: 175 Euro
1679. SOFT MACHINE: “Turns On – The Peel Sessions 1969~71) (Strange Fruit – SFRLP201-1~4) (2 LP Record Set: Excellent/ Gatefold Jacket: Near Mint). On their good days, Soft Machine could slide effortlessly between jazz, rock, and classical influences and show a lot of other bands how it's done. Unlike a lot of other Peel Sessions releases, which include as little as a quartet of tracks, this volume, drawn from appearances on the BBC from June 1969 through November 1971, takes up two LP’s, and none of the space is wasted -- disc one also opens with Robert Wyatt's special invocational version of "Moon in June," written for the occasion and referring to it throughout. It is strange, but the bandmembers' playing is so confident and elegant that they make their case and then some -- they were already acquitting themselves better than other neophyte outfits like King Crimson, based on the evidence presented here. The sound is good and the group was on form throughout these appearances, evidently having been given a blank check (within reason) by the BBC. Stunning. Price: 75 Euro
1680. SOLE INSPIRATION: “Life b/w Hold On I’M Coming” (Soulsville U.S.A. – SV-USA-1003) (Single Record: Near Mint/ Dust Sleeve: Excellent). Bloody scarce Texas psychedelic soul 45 that rarely surfaces. Top condition and so bloody awesome!!! “Life” is the track to kill for, floating on heavy deep subterranean organ, sweet silked but slightly ominous vocals, bulbous bass throbbing and a simmering fuzzy-wah guitar sneaking up from below the surface injected with dark undertones, you have a sure winner here and this never gets stale. Bloody fucking killer slide! Never released with picture sleeve, just blank inner. Original US pressing. I cannot recommend this one enough! Tough one to unearth and not so well know so… Price: 100 Euro
1681. 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
1682. SOMEI SATOH: “Emerald Tablet” (ALM Records – AL-23) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint) Totally vanished TOP 1st original press copy complete with rare OBI of Somei Sato's excursions into vintage electronic music realms and minimalist trance inducing avant-garde. Released on the highly collectible ALM Records label (that also released the stellar ‘Action Direct” by Takayanagi Masayuki, GAP's sole LP and Kaoru Abe LP's to name just a few), the music Somei delicately spins into existence is breath-takingly stunning and inhabits the same austere regions as Kosugi's “Catch Wave”, the 1st Taj Mahal Travelers disc or the electronic excursions of the young Yuasa Joji. Copies of this baby are so scarce it took me 5 years to locate my own and another two to find this one. What makes the search twice as hard is that the disc must be in excellent condition because of the delicate nature of the sounds that inhabit its grooves. And this copy here is just like that, almost as virginal as your mother on her wedding day (at least I hope so for your mother's sake), just pristine. I cannot recommend this record enough, great vintage Japanese electronic music with a minimalist reductionist twist. All time highest recommendation if you are interested in minimal music, psych, avant-garde, vintage electronic and just deliriously good music, then this copy has written ‘you' all over it. Price: 200 Euro
1683. 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

1684. 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

1685. 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: 150 Euro
1686. SONIC’S RENDEZVOUS BAND: “City Slang” (Orchide - OR-1002) (EP Record: Near Mint/ very fragile Picture Sleeve: Near Mint). Top copy, original 1978 release, quite a bitch to dig up in any condition, let alone in such a nice shape as this one here. “What happens when you put members of the Stooges and the MC5—two of the rawest, most powerful bands of their day—in a band together?  You end up with the five minutes of sustained awesomeness that is “City Slang”. Sonic’s Rendezvous Band featured drummer Scott Asheton and guitarist Fred “Sonic” Smith from the aforementioned Detroit protopunk groups.  After those ensembles imploded in the early 1970s, Smith assembled the band and cut “City Slang”.  Due to internal band tension, the planned b-side “Electrophonic Tonic” was pulled prior to the single’s 1978 release.  But in a maneuver of sheer ballsy simplicity, the group remedied the situation by simply placing “City Slang” on both sides of vinyl, in mono and stereo version. Now, any rock song of that breaches the five-minute mark (much less one that appears on both sides of a vinyl single) needs to have either an interesting composition, a hypnotic quality, or tons of charisma to keep listeners engaged.  Sonic’s Rendezvous Band opted for the latter, delivering a powerful rocker with lurching grooves and a stuttering vocal hook.  There’s a killer bass breakdown in the middle, and a great ending where the band just rides out chord progression as Smith’s guitar delivers pummeling eighth-note rhythms.  The group even works in a piano into its assault.  To think, this was the only material released while the band was still active.  In a time when punk was insisting that rock had to be short, fast, and loud, Sonic’s Rendezvous Band demonstrated to the new kids that two out of three could be even better.” (Popmatters). Just killer, one of the greatest groups ever that only released this sole EP. Danger and just awesome. Top original copy. Price: 250 Euro
1687. 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
1688. 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
1689. 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: 175 Euro
1690. SONNY SHARROCK: “Black Woman” (Vortex Records - 2014) (Record: Near Mint/ Jacket: Near Mint) 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. Price: 75 Euro
1691. SONO MARI: “Ai Wa Oshiminaku” (Polydor – SMR-3007) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Picture Booklet: Near Mint/ Obi: Near Mint). Original 1968 pressing all complete with booklet and rare obi. One of Sono Mari’s hardest to track down slides, especially with all complete. Top copy. Price: 150 Euro
1692. SONO MARI: “Mari-Chan to Anata no Yoru” (Polydor – SMR-3013) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: Near Mint). Original 1st press all complete with hardly surfacing obi. The rarest of all Sono Mari discs, comes in beautiful psychedelic lettering adorned jacket. EX~NM copies, if they turn up at all, change hands here for quite some dough, problem however is that they just do not turn up in decent shape. This copy here is absolutely beautiful, has been ages since such a near pristine copy crossed my path with obi attached. Husky vocal stylings, lush and splendid backing provided by the Polydor house orchestra (they were to my ears the best enka and kayokyoku backing band ever to have stumbled upon the scene). Sono Mari is great all over here, in the early prime of her still unfolding star struck career. In one word, this is stuff that legends are made off. This is probably one of the most salacious Sono Mari album and this here is a pristine copy. Price: 150 Euro
1693. SONNY ROLLINS: “A Night At The Village Vanguard” (Blue Note – BLP-1581) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Card: Near Mint/ Obi: Mint). Original high quality Japanese pressing of killer Blue Note slide. Sonny Rollinsone of jazz's great tenors, is heard here at his peak with a pair of piano-less trios stretching out on particularly creative versions of "Old Devil Moon," "Softly As in a Morning Sunrise," "Sonnymoon for Two," and "A Night in Tunisia," among others. Not only did Rollins have a very distinctive sound but his use of time, his sly wit, and his bopp-ish but unpredictable style were completely his own by 1957. Truly magical. Price: 40 Euro
1694. 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
1695. SOUND CREATION: “Rock Fantasia” (Teichiku – FX-408) (Record: Excellent ~ Near Mint/ Heavy Gatefold Jacket: Near Mint). Bloody rare and hardly ever offered Japanese progressive & psychedelic rock masterpiece. 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 missing so... Price: 600 Euro
1696. 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 but sadly enough largely unknown outside the shorelines of Japan, one of the country’s psychedelic hidden gems. Original 1972 issue that was released in the same series as S. Tanaka's "British Rock Live In Japan" brain melter!!! A stunning and totally obscure and overlooked Japanese psychedelic masterpiece that stands shoulder to shoulder with Buddha Meets Rock/ Far Out/ British Rock Live In Japan and the likes and also enjoying the same line up as Ceremony and other lysergic studio one-off jams. Hideously rare, only 2nd time I ever see a copy up for grabs so..... give me your best shot. Copies with obi never turn up, first copy to surface with obi present. Top condition!!!! Price: Offers!!!!
1697. 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
1698. 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: 300 Euro
1699. SPACE MACHINE: “3” (Tiliqua Records – TILIQUA-002LP) (2 LP Record Set: Mint/ Gatefold Jacket: Mint) Haven’t seen one of these in ages. Came across one last unplayed copy hidden in a stock room of this beautiful LP, released 17 years ago in an edition of only 500 and which came pressed on shiny orange-colored vinyl. Yamazaki Maso’s first released Space Machine title on a foreign label. Housed in a beautifully designed fold out jacket, pressed on orange vinyl and released in an edition of 500 copies, the disc sold out in no time. The first disc is comprised of solo electronic excursions by Yamazaki at his home studio, there where the second disc is a recording taken from a live performance, an occasion at which he got flanked by AMT’s Kawabata Makoto and Nakaya Koichi. Deep space electronic escapades reminiscent of the early INA GRM days. Still such a beautiful slab of electronic mayhem, all analogue, buzzing and whirling inside an acidic lysergic bubble. Awesome! Price: 40 Euro
1700. SPEED GLUE & SHINKI: “Run And Hide b/w Calm Down” (Record: Near Mint 〜 Mint/ Gatefold Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Blue label PROMO issue. Top copy. Second and last Speed Glue & Shinki single to hit the streets of Yokohama way back in 1971 and instantly sinking into oblivion. Again dope-fueled heavy psyched out madness masqueraded as sleazy psychic maze that sounds like being on the rising edge of a speed trip. Stuff of legends. Top condition, blue label promo issue, has been almost 10 years since I have seen a copy of either of Speed Glue & Shinki’s singles but never in such a immaculate condition as these here. Price: 350 Euro
1701. 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!!!!
1702. 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
1703. 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: 175 Euro
1704. SPONTANEOUS MUSIC ENSEMBLE: “Karyobin” (Island – ILPS-9079) (Record: Near Mint – utterly clean, hard to improve upon/ Jacket: Excellent with NO ring wear or splits – fully readable spine, sharp corners, has minimal wrinkles on middle of the opening side which hardly stands out & a stamp inside the sleeve, apart from this it would be NM). TOP condition best ever condition I have seen of both the record and sleeve so far, pristine. Original 1st UK pressing on Pink Island “eyeball” label!!! One of the key-releases in Britain’s - if not THE cornerstone recording – budding history of improvised music. Hardly ever turns up, original 1968 Pink Island pressing in top condition. SME had already been going for a couple of years when Karyobin was recorded in 1968. Drummer John Stevens has pushed the group from the freedom of jazz into the wider challenge of collective free improvisation. The awareness and openness this demanded on the part of the musicians can be heard throughout this pioneering album. Compared to the magnificent raging bark of Peter Brotzmann's Machine Gun (recorded a couple of months later), the music on Karyobin distances itself from the energy and impassioned self-expression of free jazz. Evan Parker and Kenny Wheeler play with extraordinary closeness, between and beneath them Derek (Dennis!!) Bailey had already taken the guitar into unheard-of territory. The rhythmic flexibility of John Steven's gentle work provides the space for it all to happen. Like the best of the improvised music that has followed in the ensuing 30 years, it touched on a special kind of intensified awareness, an in-the-moment saying and listening that is enthralling to hear unfold. This is stuff of legends and together with that first AMM disc on Elektra one of the defining cornerstone recordings in the UK’s early history of improvised music. Totally essential, top copy. Record is NM all the way without any sings of any handling, cleanest copy I had for ages, jacket is EX, just a dash below NM…always prone to ring wear and other defects, this one is really clean without any major or minor damages!!!…Price: 600 Euro
1705. 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!!!!
1706. 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: 300 Euro
1707. 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!!!
1708. 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: 85 Euro
1709. 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
1710. 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
1711. STEPPENWOLF: “S/T” (Victor Records – SHP-5734) (Record: Near Mint/ Textured Jacket: Near Mint). Bloody scarce Japan only Steppenwolf issue that saw the light of day in 1968!!!! Price: 150 Euro
1712. STOCKHAUSEN KARLHEINZ: “Elektronische Musik – Denshi Ongaku” (Deutsche Grammophon Gesellschaft – LG-40) (Record: Excellent ~ Near Mint/ Tip Back Laminated Jacket: Near Mint/ Insert: Mint). Bloody rare original Japanese pressing out of 1958, housed in Japan only jacket. Contains the 1st Japanese domestic release of compositions “Gesang der Junglinge”, (1955), “Studie I” (1953) and “Studie II” (1954).  Probably one of the rarest Stockhausen issues around, only have encountered this one once so go figure…Price: 150 Euro
1713. 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
1714. 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
1715. 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
1716. 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
1717. 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
1718. 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
1719. 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
1720. STOMU YAMASHITA w/ KOSUGI TAKEHISA: “Sunrise From West Sea – Yamash’ta & the Horizon Live” (King Records/ LONDON – SLC(J)-359) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent). White label TEST PRESSING!!! Mega rare original copy of Japanese experimental psyched out head-trip whirlpool of improvisational interplay. Comes with always missing OBI!!! In short this is a clash of the titans. Recorded live at Yamaha Hall, Tokyo 1971, the line up consists out of It's a true master-piece for this genre, however never reissued yet for some reasons. Recorded live at Yamaha Hall, Tokyo 1971, featuring Stomu Yamashita (percussion), Masahiko Sato (electronic organ, who released another insanely rare album called “Amalgamation” under Sato Masahiko and the Soundbreakers banner), Takehisa Kosugi (electronic violin, a main man of Taj Mahal Travelers) and Hideakira Sakurai (electronic koto, shamisen, percussion). Housed in terrific gatefold cover art that perfectly matches the glorious music housed inside.  Copies just never ever surface anymore in this part of the universe and this is the first time I have one to spare. If you dig Taj Mahal Travelers, East Bionic Symphonia and assorted improvisational psyched out interplay than this monster has written “you” all over it. Massive to say the least and so bloody, insanely rare, never seen a test pressing of this beast before, totally unique item…Price: Offers!!!!

1721. STOMU YAMASH’TA, SATO MASAHIKO: “Metempsychosis – Composition For Percussion & Jazz Orchestra” (Columbia Records – NCB-7009) (Record: Near Mint/ Gatefold Jacket: Near Mint). TOP COPY and 1st original press!! Originally released in May 1971, this copy is an original pressing on Columbia and comes in top notch condition. Original first pressing that comes in a heavy gatefold sleeve, later pressings have single sleeves. This disc is a beast. Divided between two side-long tracks, the LP starts off under a blanket of shimmering acoustics, delicate percussive rattles and eerie orchestral soundscapes (executed by T. Miyama & His New Herd) before bursting open into a maelstrom of high-tensioned free-jazzing shronk colliding with orchestral blankets of horns set against Yamashita’s rattles and shakes. Almost like a supernova explosion blazing through death space, the whole group catapults out cosmic pearls of sonic debris, producing a supersonic shock wave unleashed during the explosion slamming out of your speakers. A real adventure in sound, the suite had carried me away to the depths of an unformed but intense reverie almost without ideas and images except those of seismic cataclysms. Top copy, first original pressing and hard to dig up on these shores. Highly recommended. Price: 50 Euro

1722. 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

1723. STOOGES: “S/T” (Elektra – EKS-74051) (Record: Near Mint/ Jacket: Near Mint – small drill hole in upper right corner as always). Top copy in perfect nick 1st press of the Stooges debut album as released in 1969. MEGA RARE and never offered before 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). Getting increasingly difficult to dig up in a perfect nick as this one here. 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. This is the very first pressing and damned rare, first time ever a copy crosses my eyes…Price: Offers!!!!

1724. IGGY AND THE STOOGES: “Raw Power b/w Search And Destroy” (CBS SONY – SOPB-244) (EP Record: Near Mint/ Picture Sleeve Jacket: Near Mint). Freakingly rare Japan only Stooges EP release that comes housed in Japan ONLY sleeve art. WHITE LABEL PROMO ISSUE in top condition. Price: Offers!!!!
1725. 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: 550 Euro
1726. 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
1727. 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
1728. 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: 120 Euro
1729. 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
1730. 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. Another vital slab of iroke kayokyoku soundtrack bits of a movie that originally saw the light of day in 1971 but of which no soundtrack was ever released. Now, decades later this limited one time pressing of Sugimoto Miki's erotic fumblings see the light of day and it is - as can be expected - so bloody great. Totally necessary but sadly enough long gone and out of print. One last copy up for grabs. Price: 50 Euro
1731. SUKEGAWA TOSHIYA: “Compositions For Magnetic Tape” (FLORA – OBK-1001) (Record: Near Mint/ Hand Pasted Jacket: Excellent – has some mildew spots from age/ 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!!!
1732. 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
1733. 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: 100 Euro
1734. 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: 100 Euro
1735. 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
1736. 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
1737. SUN RA and his SOLAR-MYTH ARKESTRA: The Solar-Myth Approach (vol.2)” (BYG Actuel – BYG-529341) (Record: Near Mint/ gatefold Jacket: Near Mint). Original French pressing. “A wild and passionate interstellar mix of free jazz, solo synthesizer and hard rocking cosmic philosophy specifically commissioned by the BYG/Actuel label (and apparently recorded in New York between 1970 and 1971)... this material "would prove to be one of the cornerstones of the entire Sun Ra/Arkestra career"... with Kwame Hadi, Akh Tal Ebah, Ali Hassan, Charles Stephens, Marshall Allen, Danny Davis, John Gilmore, Danny Ray Thompson, Pat Patrick, James Jacson, Ronnie Boykins, Clifford Jarvis, Lex Humphries, Nimrod Hunt, June Tyson and Art Jenkins... ". The 2 volumes that form the Solar-Myth Approach encapsulate the creative mood and the impassioned message that was going down as the '60s violently burned themselves out... in the cold dawn of the early '70s Sun Ra and his Solar-Myth Arkestra sent out their musical ray of hope to all who chose to hear it... over 20 years later and its effect remains both blinding and illuminating” (Edwin Pouncey) Price: 50 Euro
1738. SUN RA: “The Futuristic Sounds of Sun Ra” (Savoy/ CBS SONY – SOPL-57-SY) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Damned rare Japanese original MONO pressing, just about never shows up. Pristine condition. Sun Ra's only release for the Savoy label is a gem. Recorded in October of 1961, this is probably the first recording the Arkestra made after arriving in New York. As such, you're dealing with a smallish Arkestra (seven main instrumentalists, joined by vocalist Ricky Murray on "China Gate") that's still playing the boppish, highly arranged music characteristic of the Chicago years (1954-1961). Ra sticks to acoustic piano for the entire session, but various percussion instruments are dispersed throughout the band, giving a slightly exotic flavor to some of the tunes. John Gilmore plays bass clarinet on a couple tunes (as well as some great tenor solos), and Marshall Allen's flute playing is excellent, as always. This album was produced by Tom Wilson, who also produced the first Sun Ra LP, Jazz by Sun Ra (1956) for the Transition label, later reissued by Delmark as Sun Song (Wilson later went on to sign the Mothers of Invention to Verve and "electrified" Bob Dylan). With the exception of "The Beginning," all the tunes are very accessible. This is one to play for the mistaken folks who think the Arkestra did nothing but make noise. Excellent.” (Sean Westergaard, All Music Guide). Top notch copy and one of the hardest to track down Sun Ra records to be released by a major label. Just massive. Price: 150 Euro

1739. 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: 85 Euro

1740. 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
1741. 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: 550 Euro
1742. SUN RA: “Jazz By Sun Ra” (Transition – trlp-10) (Record: Side A = Near Mint/ Side B = Excellent and has some visible paper sleeve lines/ Jacket: Excellent). Original US first pressing on highly collectible Transition label. Recorded for Tom Wilson’s Transition label in 1956, Jazz By Sun Ra 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. US original press issue. Booklet is missing so this one comes cheap. You know how are these are to dig up in decent condition so…Price: 450 Euro

1743. 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. 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

1744. 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!!!!
1745. SUN RA: “At The Piano Playing Monorails And Satellites” (El Saturn – SR-509) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint). Part One. US original 1st press issue. Monorails and Satellites were two volumes of solo piano works recorded by Sun Ra in 1966. Volume 1 was released on his Saturn label in 1968, and volume 2 the following year. They were the first commercial LPs of the artist's solo piano excursions. The first volume featured seven idiosyncratic originals and one cherished standard ("Easy Street"), delivered in Sunny's singular manner. Despite Sun Ra's obsession with the future, Monorails and Satellites is something of a nostalgia trip. As a youth in Birmingham, Alabama, Sun Ra spent hours at the Forbes Piano Company, amusing himself (as well as staff and customers) at the showroom keyboards. He practiced standards, emulated his piano heroes, played the latest pop songs, and improvised. The idyllic reveries which the teen experienced in those formative years were no doubt recaptured during the Monorails sessions. The playing here speaks less of a style, and more of a collection of statements. Some of the originals, with their odd juxtapositions of mood, could be mistaken for silent film scores. Perhaps they were audio notebooks, a way to generate ideas, which could be developed with the Arkestra. Regardless of any secondary (and admittedly speculative) intent, they serve as entertaining standalone works. The fingering reflects Sun Ra's encyclopedic knowledge of jazz piano history as his passages veer from stride to swing, from barrelhouse to post-bop, from march to Cecil Taylor-esque free flights, with a bit of soothing "candelabra" swank thrown in. Sun Ra’s attack is mercurial, his themes unpredictable. The playing can be primitive or playful, then abruptly segue into something sensitive and elegant. Regardless of the tempo, he has a measured momentum. Price: 450 Euro
1746. SUN RA: “At The Piano Playing Monorails And Satellites” (El Saturn – SR-519) (Record: Near Mint/ Jacket: Excellent ‾ has some spine wear). Part Two. US first original press issue released in 1969 and the follow up volume to the album listed here above. The album showcases Ra's skills as a pianist, which is often compared to Cecil Taylor's. Monorails and Satellites vol. 2 is again a solo piano recording, showcases Ra's unique style, which bridges the bluesy architecture of Jelly Roll Morton with the angularity of Monk and Cecil Taylor's ascent beyond traditional structure. According to Ra's biographer, John Szwed, the title might refer to Stanley Kubrick's 2001, featuring a monolith that Ra remembered as a monorail, 'perhaps connecting it to his UFO experience'. Both albums shared the same sleeve of disembodied hands playing a keyboard that seems to be plugged directly into Saturn. These two rarely turn up and are a must for any Sun Ra acolyte! Price: 500 Euro
1747. SUN RA & HIS SOLAR ARKESTRA: “Secrets Of The Sun” (El Saturn/ Saturn – 9954 - FG-9954-E/ GH-9954-F – 208) (Record: Excellent ‾ Near Mint/ Jacket: Excellent with no defects or damages). Original US pressing on GOLD colored El Saturn label imprint, there are 2 jacket variations of this one and here you have the scarce b & w version, rarely seen and in outstanding condition. Secrets of the Sun was a transitional album for Sun Ra and his Arkestra. It was recorded during 1962 at a time when the musicians were relocating from Chicago to New York. Perhaps because of this, the Arkestra isn't at its full size, and the assembled performers toy with new ideas that would eventually feed into better-known works like Out There A Minute. Older compositions are reworked here too: 'Space Aura' dates back to the Chicago period, but the slow, horn-heavy swing takes on a more cumbersome sound to the version that appeared on Interstellar Low Ways. Secrets Of The Sun is a satisfying and by no means impenetrable entry into Sun Ra's catalogue, and is packaged with 'Flight To Mars' a seventeen-minute, highly experimental work from the same era, notable for opening with a pretty radical tape collage. Highly Recommended. Price: Offers!!!
1748. SUN RA AND HIS INTERGALACTIC INFINITY ARKESTRA: “The Night Of The Purple Moon” (El SATURN – IR-522) (Record: Near Mint/ Jacket: Near Mint) Genuine first press issue on pink colored labels with Innfinity Inc., P.O. Box 7124, Chicago, Illinois address. Pink colored labels are first issue and many variations do float around. Next up is the purple lettering on front and black lettering on back of sleeve, indicating it as a first press issue and not a later one. That said, this is tranquil, imaginative and unusually playful for 70's Sun Ra. Across several solo keyboard pieces, his sense of swing remains constant even as his playing becomes more ornamental, and at times there are pop leanings that heighten the album's accessible beauty. Ra fronts a quartet, playing a mini Moog and Rocksichord, along with Stafford James on electric bass, Danny Davis on alto, clarinet, flute and bongos, and John Gilmore on drums. With a warbled keyboard tone, Ra’s playing here is heroic, never allowing wild passages to undermine his sense of style. It is much more intimate and free of the excess found on his wilder albums Awesome condition. Toth pressings are way later issues. Price: 500 Euro
1749. 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!!!!
1750. 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
1751. 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
1752. SUN RA And His ARKESTRA: “Horizon – Recorded Live in Egypt, 1971” (El Saturn Records – 1217718) (Record: Near Mint/ Paste-On Handmade & hand Colored Paste On Jacket: Near Mint). Original 1st pressing on Ra’s own Saturn label with hand pasted & colored sleeve art. Damned rare variation that just about never surfaces. Top condition. 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: Offers!!!
1753. 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
1754. 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!!!
1755. 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
1756. SUN RA And His ARKESTRA: “Sound Mirror” (El Saturn Records - #19782) (Record: Near Mint/ Paste On Jacket: Near Mint – still housed in original shrink). Rare original first pressing in great condition and one of the more difficult to track down Saturn releases. Side one ("The Sound Mirror") is a fairly typical full-ensemble space chant from a live show in Philadelphia, 1978: lots of percussion and Ra’s vocals over a simple bass/horn ostinato. Side two contains more of the Italian Sun Ra Quartet sessions from January of 1978. These tunes sound more improvised than others from the same sessions, with each player basically soloing over Luqman Ali’s drumming on "Jazzistocology." "Of Other Tomorrows Never Known" is mostly a fairly tuneful synthesizer solo until John Gilmore joins him for the last part of the song, which has a surprisingly quick fadeout.” (All Music Guide). Price: 350 Euro
1757. 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!!!
1758. SUN RA & HIS ARKESTRA: “Disco 3000” (El Saturn - ?) (Record: Near Mint/ Hand Painted/ Colored & Hand Pasted Jacket: Near Mint). Original 1978 1st press issue on Ra’s own Saturn imprint. Comes with hand painted sleeve art!! 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. Top condition!! Price: 475 Euro
1759. SUN RA & His ARKESTRA: “Media Dreams” (Saturn Records) (Record: Near Mint/ Plain White Original Sleeve: Excellent). Original 1978 original pressing in top shape Incredible work from one of Sun Ra's most enigmatic periods! The album was recorded in Italy in 1978, right around the same time as "Disco 2000" (and not too far off from Languidity) – and it features Ra playing around with lots of cool spacey keyboards, in a spare cosmic style that's really out of this world! The overall sound is incredible – with an incredible sense of otherness that has Ra pushing the limits of the moog and organ to a level never heard before on record – and in a way, the set is everything you might have imagined when you first heard of Sun Ra as some strange jazz musician who claimed to be from outer space! The group is a quartet, with Michael Ray on trumpet, John Gilmore on tenor, and Luqman Ali on drums. It's a mostly free date, with "Constellation" and "Media Dreams" being the only tunes that seem to have been pre-composed (they are also the longest tracks on the album). The album starts with a keyboard showcase, with Ra supplying some super low tones along with some very queasy sounding organ. Then it's on to "Constellation" which has a great, really cheesy rhythm, courtesy of the Crumar Synthesizer/rhythm box, and excellent soloing from everyone, especially Gilmore. "Media Dreams" starts out really pretty, then gets progressively freakier. The rest of the tracks are basically soloing showcases for all the players. Price: 150 Euro
1760. 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
1761. 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
1762. 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
1763. SUN RA: “Lanquidity” (Philly Jazz – PJ665) (Record: Near Mint ~ Mint/ Silver Foil Jacket: Near Mint). Original 1978 1st pressing in TOP condition, next to impossible to upgrade upon this one. Best condition one I have ever seen so far. Jacket is flawless which is no small feat. While one can't quite call it the Sun Ra dance album, this 1978 recording, made for a tiny Philadelphia record label, finds Sub Ra Arkestra’s rhythm section settling into a steady groove on each of the lengthy tracks, while horns, reeds, guitars, and Sun Ra's keyboards solo in overlapping patterns on top. The title number recalls Charles Mingus' "Goodbye Porkpie Hat" in its slow pace and elegiac tone, while the middle three tracks have livelier beats with playing that often answers to the style of fusion played by many jazz groups in the late '70s. "There Are Other Worlds (They Have Not Told You Of)," the nearly 11-minute concluding tune, is the closest to more familiar 1960s and early-'70s Sun Ra, with its less cohesive lead work and the "ethnic voices" that speak, sing, and whisper about outer space. Lanquidity is extremely rare in its original vinyl pressing. There are always condition issues and this copy here will set you at ease as it is the most beautiful copy ever to have crossed my eyes. Vinyl is NM〜M, just flawless, fragile silver foil jacket is NM, making it next to impossible to ever upgrade upon this copy. Price: 450 Euro
1764. 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
1765. 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
1766. 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
1767. 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: 80 Euro
1768. 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: 175 Euro
1769. SUN RA ARKESTRA: “Unity” (Horo Records/ RVC Corporation Japan – RVJ-9003‾04) (2 LP Record set: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent/ Insert: Near Mint). A roaring 1977 show at New York's Storyville sees Ra taking the Arkestra back to big band roots on organ and Rocksichord, finishing with "Halloween in Harlem" and "My Favourite Things." A live recording of a joyously swinging concert, it 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. The group pretty much runs through the history of jazz moving from swing to bop 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 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. Rre Japanese issue with obi. Price: 75 Euro
1770. SUN RA AND HIS ARKESTRA: “Pictures Of Infinity” (Black Lion – 28.421-4U) (Record: Near Mint/ Jacket: Near Mint). Recorded in 68 when the Ra band had a steady lineup of some of his best sidemen ever, all of the playing on here is outstanding. Album opener “Somewhere There” starts with an all band free jazz blowout before the percussionists take center stage for a long African flavored section before the horns come blasting in again. The title track follows with a singsong group chant about space travel and more outside freak-outs from the ensemble. “Saturn” is crazy off kilter high-speed bop with killer sax solos. The remaining tracks get more into the sort of unique Sun Ra vision that make some his albums stand out from others. “Song of the Sparer” starts off like a ballad with a nice, but slightly off piano intro, but when the horns enter it becomes a painfully slow dirge with thick low chords on the horns and weird lounge figures on the piano, a real Sun Ra masterpiece. “Spontaneous Simplicity” closes out the album with a very pleasant laid back African modal jam and a weird, but pretty, solo from Ra on the very high keys on the piano. Top copy. Price: 40 Euro
1771. SUNN O))): “Flight of the Behemoth” (Southern Lord/ Bisect Bleep Industries) (2 LP Set: Mint/ Heavy Gatefold Jacket: Mint). Long gone and out of print slab of detuned heaviness, 1st original pressing. “'Flight of the Behemoth' was released before the duo's world-beating double punch of White One and Two, and doesn't quite have the refined, bass heavy drone insanity that made those albums so darn popular, but as you probably already know, Sunn O))) material is pretty much all indispensable, even the band's demos. The most interesting thing on offer here though is two collaborations with Japanese noise God Merzbow, who teams up with the boys to create quite menacing noise drone. This is comparable with his crucial Boris collaborations on Hydrahead, and makes me wonder why the acts have never followed up this collaborative urge. Maybe they weren't satisfied with the results? Who knows, but we've got this to be going on with for now. The record ends on a high (or loooow.) too with a ten-minute slice of prime low-end badness, destined to churn your bowels and cause plenty of upset to your long-suffering neighbors. Recommended.” (Boomkat) Bloody killer 2 LP set of heavy deep droned out heavy psychedelia that must be heard in order to be believed. One of the best LP’s of the last 10 years. Price: 150 Euro
1772. SUNN O))): “White Box Set” (Southern Lord) (Sealed Copy). All the material from the White1 and White2 albums + a bonus track all on vinyl. The boys at Southern Lord have hand-assembled (450) of these box sets. Each White box has a hand-developed, hand-numbered photograph of Sunn 0))) that is framed onto the front of the box. It is sealed with a special gold ink on white vinyl sticker that has the credits and track-listing. Inside each box is the following vinyl each inside its own thick color inner sleeve that has the credits/lyrics/photos etc..:  White 1 album Sides A and B: WHITE   VINYL. White 1 album Sides C and D: WHITE VINYL. EXCLUSIVE BONUS TRACK: CUT WOOD(ED) collaboration with ULVER. White 2 album Sides A and B: WHITE VINYL. White 2 album Sides C and D: PICTURE DISC LP (stark images of White2 collaborator: Attila Csihar on both sides), with both versions of "DECAY" Sunn 0))) "card". Unopened! Box and Vinyl are MINT and Vinyl is UNPLAYED! The Box Set was Limited to 500 and this is number 371/500 as it says on the photo on the front. Brilliant!! Price: 250 Euro
1773. 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
1774. 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
1775. 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
1776. 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
1777. SUNNY MURRAY: “Big Chief Sunny Murray In Paris” (Odeon – OP-8755) (RED WAX 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. RARE RED WAX pressing!!! “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 comes across this Japan only issue on RED WAX. Killer!! Price: 150 Euro
1778. 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
1779. SUNNY MURRAY: “Sunny Murray’s Untouchable Factor” (Baystate – RVJ-6030) (record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). One of the hippest, tightest sessions ever recorded by drummer Sunny Murray – a large group set recorded with his Untouchable Factor group – a great ensemble that includes Frank Foster on soprano sax, Oliver Lake and Arthur Blythe on alto saxes, Hamiet Bluiett on baritone, Don Pullen on piano, and Cecil McBee and Fred Hopkins on bass! The sound is somewhat straighter than Murray's free jazz of a few years before – almost in the mode that Foster was exploring with some of his large ensembles of the 70s – a platform for righteous jazz expression, but in a way that's still tied together strongly with a sense of rhythm. Other players on the group include the enigmatic Youseff Yancy on a host of instruments, including theremin – plus the under-recorded Monette Sudler on guitar. Some tracks are a bit more outside than others. Rarely seen Japan first press issue all complete with OBI. Price: 75 Euro
1780. 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: 85 Euro

1781. 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: 85 Euro

1782. SUNNY MURRAY: “Sunshine” (BYG/ ACTUEL Records – Actuel 48/ 529.348) (Record: Near Mint/ Gatefold Jacket: Excellent 〜 Near Mint). One of the harder to track down BYG/ Actuel titles. Original French 1969 first pressing. Sunny Murray's Sunshine is yet another all-star blowing session from the BYG Actuel series. Like many of the others, it is loud, very intense, and clocks in at just over 30 minutes. Also, and again like the others in the series, it is an indispensable document of late-'60s Pan-African art music. This is an opportunity to hear a number of fantastic players at the peaks of their respective careers. Represented here are three different groups. Both "Flower Trane" and "Red Cross" are performed by ensembles featuring (among others) Archie Shepp, Alan Silva, Arthur Jones, Lester Bowie, and Roscoe Mitchell. "Real," on the other hand, is a piece for the trio of Murray, tenor man Kenneth Terroade, and bassist Malachi Favors. This is some heavy music and is not for the faint of heart, but fans of avant-garde jazz will find a great deal to enjoy here. (All Music Guide). Killer and absolutely NO filler…Price: 50 Euro
1783. 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
1784. 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
1785. 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
1786. 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
1787. 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
1788. 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: 350 Euro
1789. 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

1790. SWEET SMOKE: “Just A Poke” (Catfish – 5C-054.24311) (Record: Excellent/ Jacket: Excellent) Original 1970 Dutch issue on the highly collectable Catfish label. Stunning copy with no defects. US band that settled down in Germany and recorded for the Dutch Catfish label. Two side-long tribal inspired jams not unlike Quintessence. Price: 50 Euro

1791. SWELL MAPS: “…in Jane From Occupied Europe” (Rough Trade – RTL-12) (Record: Near Mint/ Jacket: Excellent/ Insert: Near Mint/ Obi: Near Mint). Rare Japan original press with obi – PROMO issue. 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, promo with obi. Price: 150 Euro
1792. 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: 300 Euro
1793. The 13th FLOOR ELEVATORS: “Psychedelic Sounds Of” (International Artists – IA-LP-1) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Original MONO 1966 pressing in top condition – GREEN/YELLOW label. “The music in case anyone needs to know, is a fire-breathing blend of garage, folk-rock and embryonic psychedelia, the latter represented by the two pioneering numbers “Roller Coaster” and “Kingdom of Heaven” (PL – Acid Archives). Simply one of the greatest LP’s ever to have been put down on wax, simply jaw-droppingly awesome but I guess you already knew that. If not, it is never to late to start gnawing the skull, suck the bones, then soak the bastard with gasoline & toss a match on it. It is just such a thrilling experience. Clean copies of the album are getting increasingly difficult to unearth, many copies – if not most that you see in the wild – are trashed beyond belief, this one is in great condition, EX all way round. Mono copies hardly ever surface in such a nice condition. Price: Offers!!!
1794. 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
1795. 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
1796. 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
1797. TAJ MAHAL TRAVELERS: “July 15, 1972” (CBS Sony – SOCM-95) (Record: Near Mint/ Jacket: Near Mint/ 2 Separate Inserts: Near Mint/ Obi: Near Mint). Another totally “evaporated into thin air” original pressing up for sale of this all time historical milestone of an album. Top notch copy, comes complete with rarely seen OBI. It seems that the Taj Mahal Travelers records are on everybody’s want lists. Of course some years back this disc in question was shamelessly bootlegged and released in badly reproduced cover art and matching inferior needle-drop sound quality. So here you have the real deal with matching state of the art sound quality, if you are only familiar with the boot, you will be surprised how this disc is supposed to sound. During their active years, the TMT held site-specific concerts in remote outdoor environments, devised immersive multi- media events, and bewildered listeners via radio waves across several continents. From 1971 to 1972, the Travelers carried out a series of events across the face of Europe, trekking all the way to India. The LP here laid out before you was their first recorded sonic statement. Spearheaded by Kosugi Takehisa, the group recorded with an impressive array of instruments: electronic violin, oscillators, suntool, harmonica, sheet iron, vibraphone, electronic trumpet, vocals and a vast array of ring modulators. Kosugi and company deploy echo boxes with all the abandon of Eddie Hazel rocking a wah-wah pedal, lending the whole session a submerged, almost dub- like feel. Time seems to expand and contract as sound clouds drift across the stereo field like Chlorine gas presenting itself as a vapor and having its electrons raised into higher energy levels by a variety of excitations that will dispose its chlorophyll spores upon your eyelids and earlobes. You are in for a long ride. A classic and getting damned hard to unearth all complete with obi and 2 inserts present. Top condition. Price: 500 Euro
1798. 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!!!
1799. TAKA HIROKO: “Suki Suki Suki b/w Tokyo Nagare Tori” (King Records – NCS-183) (EP: Excellent/ Gatefold Picture Sleeve: Excellent). Mega rare and obscure erotic oddball weirdo 7-inch release out of 1969 that bombed so heavily upon its release, making it tank immediately into the deepest abyss of obscurity. The world of enka and kayokyoku is a tricky one since it is littered with staggering amounts of releases of which most can be considered to be middle of the road major crap. However, the most oddball and interesting pieces can be found amongst one-off wanna-be artists who pressed one or two singles which tanked upon its release after which the record company saw no further use for them. Those releases may have a certain twist and odd b-sides that – by today’s standards – defy all attempts to categorize it and open up doors to new musical alleys when exposed to it. The sad part is however, that those pseudo amateur releases are tough to dig up but then again it is always a musical reverie upon discovering one. And such is the case for Taka Hiroko who apparently was given the opportunity to cut this one EP thanks to her downtown Nakano Ongaku Kyoushitsu teacher. Upon hearing it now it is a small marvel to dig this one up since the a-side is an erotic, scat vocal stuffed and sultry sexy female singing set against a mondo enka background setting that even has been spiced up with some Chinese musical molecules to drift into the mix, making it such a weird kayokyoku tune. Taka even flutters and hushes some breathing into it all which swings into erotic realms when colliding with the background scat vocals. Prime example of minor negligee erotic moves out of 1969. So far I have only seen a copy of this EP popping up once on a private auction and it went for 3 times as much. Understandable since it is a delirious erotic underground sleaze ball recording that hasn’t center my record player for weeks. Killer slide if you are into sexy erotic kayokyoku with a wicked and demented twist to it. Price: 150 Euro
1800. 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!!!
1801. 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

1802. TAKAGI MOTOTERU: “Fukutsu No Tami – The People United Will Never Be Defeated ~ Solo Improvisation” (Chap Chap Records – POJE-9007) (Record: Mint/ Gatefold Rice paper Jacket: Mint/ Obi: Mint/ Insert: Mint/ Sticker: Mint). Released in a minuscule edition of 250 copies only. Live recording that took place in the small Hofu located rundown jazz club “café Amores” back in September, 15th 1996, which reveals Takagi in a lyrical, yet adventurous mood, improvising solo and asserting again he was everyone’s favorite free jazz howler to roam the Far East. On this recording, Takagi’s the reductionist stance that has more to do with disassembling and reconfiguring free jazz tongue than shutting down the instruments altogether. His tenor and alt sax playing has an odd, sepia-toned quality that serves to further confuse timelines, smearing bird-like phrases into little globes of light, rendering it into a beautiful transport. Timeless free jazz that effortlessly sidesteps the easy clichés associated with the genre. The cuts contained on this release glow with a mastery of dynamics and rapidly shifting phrases, a true guru of free-improvisation as expression. He displays here a slowed down, throaty style that means he can smear fragments into knotty drones that almost sound like a sing-song post-Frank Wright style. Overall, Takagi is very spacious here resonating with a ghostly feel that nevertheless emanate out vibrant and genuinely radically lyrical sonics and mournful long breathy tones punctuated by a decaying feel of inevitability. Just beautiful and a side of Takagi that has not been documented before. Released in a tiny high quality of only 250 copies, this one will be destined to be a future biggie – as is the case with all of Takagi’s output that is soaring towards the stratosphere these past years, and rightly so. Killer. Price: 75 Euro

1803. TAKAHASHI YUJI: “The People United Will Never Be Defeated! For solo piano 36 variations on !El Pueblo Unido Jamas Sera Vencido! By Sergio Ortega and Quilapayun (1975) FREDERIC RZEWSKI” (ALM Records – AL-19) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 8-Paged Booklet: Near Mint/ Additional Concert Flyer: Near Mint). Top notch copy of this totally vanished disc by Takahashi on the highly collectible and stellar ALM Records imprint, released in 1978. Avant-garde composer and key-man Takahashi Yuji here tackles masterpieces by Ortega and composed by AMM’s own Frederic Rzewski and invigorates them with his own idiosyncratic approach to the matter. Especially his compositions are awesome and his take on the matter is highly unique. Side two sees him delving into El Pueblo, turning him upside down and re-injecting the old master’s composition with an avant-garde twist ready to confront 20th century experimental heads. Apart from all this Kojima/ ALM Records are gifted with a top class mastering and engineering qualities, beefing up the listening experience with blissful aural impulses that will keep you hovering above your sofa. Brilliant all way through. Top notch copy. Price: 50 Euro

1804. TAKASHI NISHIOKA: “Maninnoki” (URC Records – URG-4018) (Record: Mint/ Fold Out Jacket: Mint/ Inserts: Mint) After the stunningly “Tokedashita Garasu Hako aka Melting Glass Box” LP, Nishioka departed from his one time only collaborators and embarked on a solo side career, next to his ongoing involvement with Itsutsu no Akai Fusen. “Maninnoki” starts off on a similar path that was left open after “Melting Glass Box” recording came to an end and sees Nishioka broidering on some of the same themes, taking them to hysterical acid folk heights. He even ventures into Dadaist lyrical excursions and phonetic word game dementia that brings ode to the delights of Ramen and other assorted downtown pleasures. The music is fragile, mind-shatteringly great and filled with well-balanced interludes, some found sounds snippets, psychedelic vapors and pastoral recollections gushed out of a concrete cemented jungle of Osaka. The B-side of the disc sees Takashi embarking on a more down to earth folk escapade, which still has some brightly shining moments. The artwork to grace the jacket, courtesy of Keiichi Tanaami, fuses neatly with the sounds embedded within the disc’s grooves and the whole package oozes out a deliriously intoxicating vapor that will succumb unto your senses. Great stuff and one of his best. Rare these days and still fairly undetected by a larger collecting crowd, although that the disc is quite hard to get a hold of. If early seventies acid folk and psych is your thang, this might be the fix you longed for all this time. Great stuff. Price: 100 Euro
1805. 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!!!
1806. TAKAYANAGI MASAYUKI & NEW DIRECTION UNIT: “Axis Another Revolable Thing Part 2” (Offbeat Records – ORLP-1009) (Record: Mint/ Jacket: Mint/ Obi: 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. Just never surfaces in such condition – correction does not surface in any condition. Well here you have it, another mega rare Holy Grail out of the Far East and one of the hardest to come by titles out of the Takayanagi catalogue on vinyl. Recently reissued on CD but here is the real deal. Flanked by long time collaborator Kenji Mori (multi reed), Nobuyoshi Ino (bass, cello) and Hiroshi Yamazaki (percussion), the quartet rip through three scorching pieces of group improvisation. Side one opens up with the side long “Gradual Projection”, a slow simmering track filled with contagious but contained excitement as if lost in deep space but being thrilled with the possible prospect of an alien encounter. The whole side is just loaded with excitement waiting to erupt, building up a tension of well balanced interplay that is at times even minimalist in its approach with Takayanagi accentuating pressure point and steering the quartet slowly into shark infested waters. Upon arriving on side two, the sea is polluted with sharks in a feeding frenzy; all hell seems to break loose and no rescue raft for miles around. Divided over two compositions entitled “Fragment IV” and “Fragment V”, the quartet hurdles in and out of focus as if engaged in a bloody trench warfare. Takayanagi’s kaleidoscopic finger picking emanates exploratory washes of sound balancing between the controlled burn of a roaring jet engine and the boundless fury of the Spanish inquisition rampaging through ergot infested villages. It is a maniac fury, a civilizing force that creates high tension music that results in turn in a high voltage reaction. The whole disc is an arresting experience, Takayanagi keeps hurtling in and out of focus and the tiniest gestures of his hand trigger apocalyptic waves of sound. The whole affair breaths out an intuitive approach that will make most improvisers blush with shame. This is consummate art, great all round and only superlatives apply here. Rare as hell as might be expected. Price: 400 Euro
1807. TAKAYANAGI MASAYUKI: “A Jazzy Profile Of Jojo” (Victor Records – SMJX-10096) (Record: Side 1 = VG++ ~ Excellent - has some hazing from inner sleeve but has no marks and plays EX all way through – Side 2 = Near Mint/ Gatefold Jacket Insert: Excellent ~ Near Mint). One of the rarest and hardest to track down Takayanagi slides, 1st time I have copy of this one.. 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. This one comes dead cheap due to the harmless hazing on side one, if it weren't for that the price would be over ton, so a cheap deal here for such a monster rarity. Price: Offers!!!!
1808. 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!!!!
1809. TAKAYANAGI MASAYUKI: “Action Direct” (Kojima Recordings – ALM-Uranoia/ UR-6) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Mint). Getting impossible to dig up these past last years due to rising popularity and utter scarcity. Top copy of one of the rarest Takayanagi titles. Original press of this almost impossible to score Takayanagi disc. Here is some back info that came with Tiliqua’s reissue of this essential Takayanagi slide: “Action Direct” was first released by Kojima ALM Records in 1985 in a tiny run and has been elusive ever since. “Action Direct is his final extension of his Mass Projection/cool mode - the spaces in his playing now filled in with tapes and effects instead of reeds, bass, cello and drums, the sustain now applied to a wall of sound rather than simple guitar feedback, the spare gestures now appearing against a self-created backdrop of noise.” And “…show a progression similar to Miles Davis’ pre-fusion mid-60’s albums, whose increasing use of pulse suggested rock without directly referencing it; Action Direct could be seen as Takayanagi’s Bitches Brew” (AL) “Action Direct embodies a certain duality, a dichotomy between musician and instrument, machine and man and between science and art. While bestowing his concept with the character of music (or musical collage), Takayanagi set out to transcend and empower the physical identity, reality and significance of the individual sound atoms that lay at the core of this conceptual piece. By unleashing a vast array of demonic sonic clusters and fragmentation bombs, he created a new sonic language that vibrates through our present-day existence”. One of the greatest discs – together with his “Independence – Tread on Sure Ground” debut and “Profile of Jojo” of Takayanagi and also – together with the aforementioned ones, the hardest one to get in its original splendor. Great copy that contains even greater music. One of those “Holy Grails” if avant-garde, free jazz and experimental music is your thing and again a personal favorite of mine. Long time no see original in top shape. Price: 400 Euro
1810. 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: 450 Euro
1811. 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!!!!

1812. TAKEMITSU TORU: “Requiem Pour Orchestre A Cordes – 1957” (King Records – SKF-3004) (Record: Near Mint/ Flip Back Jacket: Near Mint: Obi: Mint). Very rare and obscure 10-inch LP issue from 1962 in stunning condition. One of the missing releases of the early Takemitsu canon of work. Fragile flip back jacket and matching obi are in immaculate condition. Same goes for the record. Probably the best copy around. Price: 100 Euro

1813. 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
1814. 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
1815. 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
1816. 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: 100 Euro
1817. 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: 100 Euro

1818. TAKEMITSU TORU – Performed by STOMU YAMASHITA; MICHAEL RANTA; HIDEHIKO SATO & YASUNORI YAMAGUCHI: “Seasons/ Toward – Art of Toru Takemitsu” (Deutsche Grammophon Manufactured by Polydor Japan – MG-2331) (Record: Mint/ Gimmick Gatefold Jacket: Mint/ Imprinted 4 Plastic Inserts: Mint/ Obi: Near Mint). Japan only release. Same record as mentioned here above with one difference being the hardly ever seen obi present that adorns the already mouth wateringly great cover art. Rare, so don’t think twice about this one if Taj Mahal Travelers, Kosugi Takehisa’s “Catch Wave”, East Bionic Symphonia, psychedelic minimalism, Kosugi/Ranta/ Ichiyanagi LP on Iskra, GAP, Seiji Onishi and other sonic galactic high flyers are your kind of music. Awesome!!! Price: 300 Euro

1819. 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

1820. TAKEMITSU TORU/ XENAKIS IANNIS/ TAKAHASHI YUJI: “SPACE THEATRE” (RCA – JRZ-2501) (Record: Mint/ Gatefold Jacket: Mint/ Attached inner 10 paged booklet: Mint/ Obi Near Mint). Never seen before WHITE LABEL PROMO issue. On the RCA Red Seal label. Another totally vanished electronic music/ experimental record out of Japan, put out in 1970 in order to accompany the Japanese Pavilion at the World Expo in Osaka. Contains the following tracks: Iannis Xenakis’ “Hibiki Hana Ma”; Takemitsu Toru’s “Crossing” and Takahashi Yuji’s “Yeguen”. Extremely Japanese avant-garde disc documenting the 1970 Expo, when exploration and sound expanding awareness still had some meaning. Killer material, impossible to get these days with all in near mint condition + obi and booklet enclosed. Price: 175 Euro
1821. TAKESHI TERAUCHI: “The Brilliant Dimensions of Terry” (King Records – SKA-63) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Killer late period Takeshi guitar gunslinger album. Original 1973 pressing with all complete. Killer slide and on this one Takeuchi tackles a whole different breed of styles. Gone are the matsuri intoned trademark angles and instead he slams into well know period pieces like Stevie Wonder’s “Satisfaction” and “Theme from Shaft” and takes it towards the next level of trashy surf madness infused with greasy acidic guitar licks. The whole affair comes over as a wicked and demented take on early seventies well known chart busters and Takeshi renders them in wasted surf punk classics. Possibly his greatest effort ever. Top copy and one of his rarest albums out there. Price: 50 Euro
1822. 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
1823. 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
1824. 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
1825. TAKO: “2nd – Umai – Okashii” (Chaos Records – CHAOS-00002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Complete vanished 2nd Tako LP and the 2nd and last release on the illustrious CHAOS label, home of the 1st ever Merzbow LP. The famous follow-up album to their ecstatic debut album, although that at the time of the recording Tako had already disbanded. Unlike their debut, this album sees Tako as a quartet that slowly unfolds No-Wave textured dementia that seems to be birthed out by insomniacs on a Quaalude deluded downer trip with still enough Technicolor madness flashing behind their eyelids to whip out some splendid lysergic and devastating tracks. Without a single doubt, Tako were one of the best, if not the ultimate band (although extremely short-lived) to emerge out of the late seventies dead zone to invigorate the even more germ free plastic world that the eighties turned out to be. I wish that every band sounded like them, the world would be, sonically speaking, a better place to live in and we would have been spared from all the crap that had been gushed out in the mean time. Tako are definitely it and both of their albums are indispensable if you are even remotely interested in Japanese outsider music. Stellar and lunar surface like high recommendation for this one. Of course needles to say that these gems are getting xxx rare so forget to score another copy for many moons to come. A killer all way round. Price: 75 Euro
1826. 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: 450 Euro
1827. 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
1828. TANGLE EDGE: “In Search of a New Dawn” (Mushroom Productions – MUSHLP-1) (Record: Near Mint/ Gatefold Jacket: Excellent) Here you have a totally vanished, totally overlooked and scarce psychedelic rarity that seemed to have fallen of the face of the earth. “The Psychological Perspectives of Tangle Edge – In Search of a New Dawn” was Tangle Edge’s 1st ever album, that would be followed up by the excellent 3 LP set “Entangled Scorpio Entrance”. And what a debut LP this sucker was. It was released privately in a tiny run, way back in 1989. These Norwegian acid heads delivered a stunning LP, filled with ear blistering volcanic melt down psychedelic burn out tracks, every single one a winner, long spun out tribal jams, fuzz drenched wah-wah, ritual and tribal drumming (conga’s, Turkish drums, log drums etc), etc. All tracks were recorded live and the sound quality is stunning. Ultimate psychedelic music. These babies sold out in no time in 1989 and I haven’t encountered a single copy ever since. Until now. The LP’s were released in a gorgeous fold out jacket. Definitely to become a sought after disc in the years to come. Should appeal to fans of old time psych music (Michael Yonkers, Dead, Red Crayola, Aguaturbia, Tarkus, Laghonia, Erkin Koray, Bent Wind, etc) as well as to contemporary psych heads (Japanese psych, Dead C, LSD March, Up-Tight, FTB, etc) Highest recommendation. XXX rarity. Price: 75 Euro
1829. TAPSCOTT, HORACE Conducting The PAN-AFRIKAN PEOPLES ARKESTRA: “The Call” (Nimbus – 246) (Record: Near Mint/ Jacket: Near Mint). Top condition US 1979 original pressing. 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: 175 Euro
1830. 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
1831. 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
1832. TAYLOR CECIL: “Live at Café Montmartre” (Fontana Japan – SFON-7070) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare 1st original Japanese pressing on high quality wax out of the early sixties, complete with obi. This is the never encountered before WHITE LABEL PROMO issue in TOP condition, seriously rare!!! Stellar and mage classic Taylor free-jazz blast where he gets flanked by heavyweights Jimmy Lyons and Sunny Murray. Virginal heavy quality Japanese vinyl, impossible to find these days in such as immaculate condition as this one here. Beautiful white label promo issue…Price: 175 Euro
1833. 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
1834. 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
1835. 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!!!

1836. TAYLOR, CECIL: “Garden” (Hat Hut – Hat ART 1993/94) (2 Lp Record: Near Mint/ Box Type Jacket: Near Mint/ Japan Only Obi with Attached Insert: Near Mint). Great Taylor solo and group action recorded live in Germany on November 8th, 1981. “Recorded in 1981, the original double-LP release of Garden provided non-European followers of Cecil Taylor  their first glimpse at two very distinct changes. Given that he was using a Bösendorfer grand piano, the sound quality of his recordings improved greatly; it was finally possible to hear the fickle sonances and subtle timbres his lightning clusters produced. Secondly, his deeply percussive style was opening to other influences. The first volume opened -- as do all of his solo performances now -- with vocal extemporization and poetry, and on into the slowly evolving gradually revealing performance itself. On the second disc there is nothing but meat. Taylor is in full heat, flailing, banging, slashing out chords and high register trills with studied abandon and a careful attention to detail. Here is where Taylor shows his secret persona: the dancer. Rooted in blues and barrelhouse in some spots and in gagaku and kabuki theater in others, while in still others the classical ballet, Taylor’s playing style opens itself to embrace all of the above and spit them back out as part of his own musical iconography. Because whether it's the Jelly Roll Morton blues stomp in the secret heart of "Stepping on Stars," traversed by Merce Cunningham's defiance of gravity or Min Tanaka's influenced movement of rearranging space and time, or in the Ellington transmuted swing of "Driver Says," where Baryshnikov's movements through Balanchine (literally) informs the stride work along the middle register, it's all clearly part of Taylor’s idiomatic manner of creating language from the air. And that language -- if you've ever seen him play -- includes physical movement. That he can translate it so effortlessly here -- as its freshness and newness envelope him -- is a profound change, if not in direction (since his restlessness is legendary), then in approach. This is a new music by Cecil Taylor, one that invites listeners in and gives them room to move around.” (All Music Guide). Brillant! Price: 50 Euro

1837. TAYLOR, JOHN TRIO: “Decipher” (MPS Records/ Teichiku Records – ULX-74-P) (Record: Near Mint/ Jacket: Near Mint). Top condition, Japan original of killer jazz slide. 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. Price: 100 Euro
1838. 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
1839. 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: 150 Euro
1840. 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: 150 Euro
1841. 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
1842. 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
1843. 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
1844. TELEVISION: “Marquee Moon” (Electra Japan – P-10308E) (Record: Near Mint ~ MINT/ Jacket: Near Mint/ Insert: Mint/ Obi: Mint/ 2 Additional PROMO ONLY Inserts: Mint). Bloody rare and never seen before WHITE LABEL PROMO ISSUE!!! Only a handful of these in existence. All time NY punk classic, the album that helped to define and shape a whole scene and a new generation of headz and bands to come thereafter. Verlaine and crew ravage through some ephedrine chilled tracks. Verlaine shoots off in directions that he probably didn’t anticipate, indulging in a lyrical wanderlust he never permitted himself when he had the time to think about it. Richard Lloyd on the other hand just goes nuts. This is a stunning 1st press Japanese copy complete with all the works. Man what a disc. Everyone needs at least two copies of the 1st Television LP in their house. This is stuff of legends. Top copy Japanese white label PROMO pressing with obi & additional PROMO KIT that consists of 2 picture and band info sheets!! Seriously rare and damned cheap for such rarities…so don’t hold your breath for too long. Price: 200 Euro
1845. 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
1846. The TEMPTATIONS: “Cloud Nine” (Victor Records – SJET-8133) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japanese pressing all complete with the rare first issue obi. Best known for their silky soul vocals and smooth-stepping routines, the Temptations were firmly entrenched as the undisputed kings of Barry Gordy's Motown stable when cutting-edge producer Norman Whitfield walked into the studio and announced that it was time to shake things up. The resulting freak-out became the first half of the stellar Cloud Nine, an album that would become one of the defining early funk sets, with songs that not only took Motown in a new direction, but helped to shape a genre as well. On one side and across three jams, Whitfield and the Temptations would give '70s-era funk musicians a broad palette from which to draw inspiration. The title track, with its funky soul bordering on psychedelic frenzy, was an audacious album opener, and surely gave older fans a moment's pause. Only two more songs rounded out side one: an incredibly fresh take on "I Heard It Through the Grapevine," which jazzed up the vocals, brought compelling percussion to the fore, and relegated the piano well into the wings, and "Run Away Child, Running Wild," an extravagant nine-minute groove where the sonics easily surpassed the vocals. After shaking up the record-buying public with these three masterpieces, the Temptations brought things back to form for side two. Here, their gorgeous vocals dominated slick arrangements across seven tracks which included "Hey Girl" and the masterful "I Need Your Lovin'." Funk continued to percolate -- albeit subtly -- but compared to side one, it was Temptations business as usual. It was this return to the classic sound, however, which ultimately gave Cloud Nine its odd dynamic. The dichotomy of form between old and new between sides doesn't allow for a continuous gel. But the brash experimentation away from traditional Motown on the three seminal tracks which open the disc shattered the doorway between past and present as surely as the decade itself imploded and smooth soul gave way to blistering funk.” (All Music Guide). Rarely surfaces all complete with obi in such pristine condition. Bloody classic! Price: 150 Euro
1847. 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: 250 Euro
1848. 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
1849. 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
1850. TENJOSAJIKI/with Terayama Shuji, J.A. Seazer, Ishima Hideki (Flower Traveling Band), Kuni Kawauchi, Sato Hiroshi, etc: “OST Sho O Tsuteyo, Machi E Deyou - Throw Away the Books, Let's Go Out On The Street” (Victor – SJV-514) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). Hyper rare original first pressing in gatefold sleeve. Rarest of the RARE!!!! First time ever I could lay my hands on a complete copy with obi! One of the best heavy psych records to seep out of Japan and complete with obi is impossible!!!! Once saw a copy in 1995 and that was it, until now! “Tenjosajiki troupe, formed by poet, film maker, boxing fan and all round agent provocateur Shuji Terayama. Renowned for Living Theatre inspired audience participation happenings and extreme street theatre designed to shock the bourgeois. By 1970, the group had already become 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 the adolescent energies and he used heavy amplified rock to jump star his chaotic, socially critical acid operas. Heard today, even independent for their lyrical message, they're astonishingly powerful as pieces of music, deploying huge Magma choruses alongside juggernaut organ, guitar, bass, drums and fully out-there vocalizing. This disc that was originally released in 1970 is subtitled as a “high teen symphony”, the performance centers around untrained adolescents reading out their own tortured, angry 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 Kawauchi Kuni. Kawauchi had been a member of the pioneering Prog group Happenings Four and his brooding organ riffs feature throughout. As well as heavy rockers like the great opening “Let's Go Ornette”, with its ripping fuzz lead, Orff-styled 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 Tenjosajiki. Also of note is a track composed by a young design school dropout, Shinjuku street hippy and winner of a nation wide long hair competition JA Seazer. Set to a simple handclap rhythm, Seazer's tale of panhandling life possessed a subtle melodic strength and depth that hinted at the minor keys of traditional folk song.”Alan Cummings, The Wire. Well, this sums it up pretty well, a fantastic disc. Original copy in TOP condition and with OBI and needles to say hideously rare and virtually impossible to score here in Japan. You can count on one hand the people owing an original with obi, so go figure about the rarity of this bloodsucker. That aside, one of the best deep fried psychedelic whirlwind records to seep out of Japan while no one was listening or even bothered to take notice… Price: Offers!!!!
1851. TENJOSAJIKI/with Terayama Shuji, J.A. Seazer, Ishima Hideki (Flower Traveling Band), Kuni Kawauchi, Sato Hiroshi, etc: “OST Sho O Tsuteyo, Machi E Deyou - Throw Away the Books, Let's Go Out On The Street” (Victor – SJV-514) (Record: Near Mint/ Gatefold Jacket: Near Mint). Hyper rare original first pressing in gatefold sleeve. Near mint copy original pressing but without obi so letting this one go for a bargain bin price. Price: 550 Euro
1852. 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). One of the rarest heavy psychedelic private press records to seep out of Japan, 1970. "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 Price: Offers!!

1853. 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!!!!

1854. 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
1855. 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
1856. TENPYO – HEIAN JIDAI NO ONGAKU: “S/T” (Columbia – CDX-12) (Record: Near Mint/ gatefold Jacket: Near Mint/ Attached 10-Paged Booklet: Near Mint/ Obi: Near Mint). Original 1972 press issue. Like the title already suggests, this LP focuses on music out of Japan’s Tenpyo and Heian Era, which was situated 729 ‾ 749 AD and 749 ‾ 1185 AD respectively. It was a period when Buddhism, Taoism, Chinese influences and the power of the Imperial Court were at their height, reflecting itself also in the austere music at display. The end result is a serious head twister, minimalism avant-la-lettre, jacking straight into your subconscious mind flow and instantly elbowing La Monte Young and cohorts out and into the beginners section where they can watch and listen in pure awe!!! It even surpasses Gagaku in its hardcore minimalistic approach and it shows that Japan most certainly had a vigorous musical tradition before the advent of Chinese and Korean influence in the sixth century. This tradition persisted in part in Shinto ritual and chant—and possibly in the court music and dances that are handed down from the Nara and Heian. The Heian period is regarded as one of the great periods of artistic and cultural development in Japan. Beginning at the end of the ninth century, as the Tang dynasty collapsed and contacts with China were interrupted, Japan began to distance itself from it large mainland neighbor and develop a culture that was more uniquely Japanese and simplified and refined versions of Chinese art forms. Despite their usurpation of imperial authority, the Fujiwara presided over a period of cultural and artistic flowering at the imperial court and among the aristocracy. Recordings focusing on this period are rare, scarce and far in between. But this one is a real jaw-dropper, beautifully executed and it comes with a massively detailed and fully illustrated booklet. Price: 150 Euro

1857. 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!!!!

1858. 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!!!
1859. 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
1860. 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
1861. THAD JONES: “Detroit – New York Junction’” (Blue Note Records/ Japan – BN-1513) (Record: Mint/ Jacket: Mint/ OBI: MINT/ Inserts: Mint) Immediately Out Of Print in the flash of an eyelid…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Best possible project ever to restore this masterpiece to its original form!!! Sold out almost instantly!!! Price: 75 Euro
1862. 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

1863. 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!!!!

1864. THEM: “They Are Them – Wasureji No Them” (London/ King Records – SLC-258) (Record: Near Mint/ Fragile Flip Back Jacket: Excellent – has some spine wear, no splits and for the rest perfect, just a slight downgrade because of the spine wear/ Obi: Near Mint). Bloody rare original Japan ONLY first pressing from June 1969, all complete with super rare OBI + white label PROMO issue. Comes housed in Japan only psychedelic cover art. First time ever I see an all-complete copy with obi. Price: Offers!!!
1865. 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
1866. THEM: “Now and Them” (Tower – ST-5104) (Record: Near Mint/ Jacket: Near Mint). Top condition original pressing. 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 actually 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. Price: 250 Euro
1867. 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
1868. 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
1869. 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
1870. 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

1871. 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!!!

1872. 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
1873. 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
1874. 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!!!
1875. TOGASHI MASAHIKO QUARTET (with TAKAYANAGI MASAYUKI, TAKAGI MOTOTERU & YOSHIZAWA MOTOHARU): “We Now Create” (Victor Records – SMJX-10065) (Record: Near Mint/ Fold Out Jacket: Near Mint/ OBI: Mint). First original pressing out of 1969 – green colored Victor label imprint, top notch copy. Comes all-complete with the freakingly rare first issue obi!!! The first free jazz record to be released upon Japan 's shores by a domestic free-blowing combo was “We Now Create” by a group spearheaded by Togashi Masahiko. Their groundbreaking album was recorded within the span of a single day on May 23rd, 1968 and obtained in that same year a grand prize awarded as “best record of the year”, administered by the rather conservative mainstream jazz magazine Swing Journal. Masahiko Togashi released as a bandleader, under his name, the first domestic free jazz document to hit the epicenter of Tokyo. Assisted by the crème of the crème of the that day pioneering and adventurous musicians, the line up counted amongst its members Takagi Mototeru (ts, cornpipe), Takayanagi Masayuki (g) and Motoharu Yoshizawa (b). Their glorious and only output (in this particular line-up) was released in 1969 under the title “We Now Create” by Victor. A staggering document. Originally the quartet had been active as a quintet with trumpeter Oki Itaru in their ranks. Free howling assault on the senses, scorching interplay, vicious feedback outbursts and soaring saxophone blasts howling against tumbling-down percussive rattles. A killer all round. One of the defining moments of Japanese free jazz. Indispensable and highest recommendation. TOP COPY and first time in 15 years I have an all-complete copy with OBI!!!! Price: Offers!!!!
1876. 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!!!!

1877. 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!!!

1878. TOGASHI MASAHIKO QUARTET (with Takagi Mototeru): “Speed and Space” (Teichiku Union Records – UPS-2014-J) (Record: Near Mint/ Jacket: 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: 400 Euro
1879. 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: 300 Euro

1880. 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

1881. 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!!
1882. TOKYO KID BROTHERS: “Nansousatomikakenden” (King Record – SKD-1004) (Record: Near Mint/ Gatefold Jacket: Mint). TOP copy of their rarest and possibly greatest album. Has been over a decade since I last saw a copy. Released on King Records’ “NEWS” or “New Emotional Work Series” that also spawned out Love Life Live + 1 and other demented psychedelic heavy rock artifacts. After his retreat in 1968 from the Tenjôsajiki troupe (which he had co-founded with Terayama Shûji in 1967), Azuma Yutaka formed the musical group Tokyo Kid Kyôdai Shôkai, only to shortly thereafter renaming it in simply Tokyo Kid Brothers. Assisted by his friend and fellow Tenjôsajiki collaborator Shimoda Itsurô who acted as musical director, Azuma wrote and directed the troupe’s first play/ musical entitled “Goninme no Beatles”. First performed in January of 1968, the play was quickly followed by other creations such as “Tokyo Kid” and “Kiiro Bat” in 1970. Especially “Kiiro Bat” brought the troupe notoriety, attracting the attention of the producer of the highly successful American rock musical “Hair” who invited the Kid Brothers to New York. Still, embarking for New York as a large scaled ensemble was financially a heavy burden. After having scrapped together the needed travel fare through loans and pawning off personal belongings, the Tokyo Kid Brothers could finally set sail to New York. All the hardships seemed to pay off eventually and they gained even some moderate success with a couple of off-Broadway performance of “Kiiro Bat”. The version of the play performed there received a warm welcome from the local media who heralded it as “Impeccable originality, fascinating music”. They had succeeded in astonishing their overseas spectators with their hybrid acid rock and roll theatric creation. Eventually the troupe returned to Japan in January of 1971. Following their return, the troupe faced an extremely busy period and also their most creative one, resulting in releasing three astonishing LP’s that document the group as a bewildered bunch of theatric acid causalities high on psychedelic rock. The Japanese media stalked the troupe practically day after day while at the same time the Kid Brothers were preparing the staging of a new play entitled “Kaettekita Kiiro Bat” at the Kôrakuen Hall, where it would run for ten successive days with the musical support 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 – now hideously rare - double album issued by King Records who advertised it as a “Theater Rock Musical”. Almost simultaneously, the troupe also branched out by lending their support to Terayama Shûji by appearing in and helping out with the film and musical score of “Sho o Suteyo, Machi e Deyô”. It was also around this time that the Tokyo Kid Brothers troupe would record their final ball crushing and mind bending LP, which became this sucker here. Recorded live at a small Tokyo live venue called “La Mama” in 1971, the troupe unleashes their up-until-then characteristic sounds that consisted out of a healthy mixture of psychedelic Dada-ism, sleazy fuzzed up guitar licks, demented choruses, female wailing crescendos, rural esoteric fertility rite like incantations, exorcist ritualistic tribal stomping, heavy bass shifting, all creamed over with psychedelic mayhem, crazy stage action etc and so much more. Slithery and disoriented to the casual passer by, yet filled with abrupt acidic mood swings, break-slamming twist and turns, derailing percussion, plunging psyched out guitar licks popping out of hallucinatory after-images, only to get injected with derailing female choruses and psychotic argumentative agitation vocals with a no-technique approach that eventually melts down into a staggeringly primitive lysergic rock and roll basement theatre play filled with invigorative energy. And with this guerilla-styled approach the troupe created single-handedly (although heavily inspired by the Tenjosajiki Troupe) a genuinely new form of psychedelic music, one that is steeped in revolutionary theatre and its melodramas as well as amphetamine rammed psychedelic rock. Sadly enough, after 1971, some key players departed from the troupe and although the Tokyo Kid Brothers became a mainstream player, all of their underground aesthetics that made them appealing to heads like me evaporated into thin air. Still this LP, their last of that great initial period is a brain torcher. It was released by King Records in its “New Emotional Work Series”, rubbing shoulders with Love Live Life + 1. This is a beast and definitely their rarest one. It never turns up, especially clean copies, making this one here apart from a music revelation artifact also a museum piece. Highest recommendation!! Price: Offers!!
1883. TOMORROW: “S/T” (Parlophone – PCS-7042) (Record: Near Mint/ Flip Back Sleeve: Near Mint). Original 1967 UK first pressing on “yellow” lettering Parlophone label. Stupidly clean original STEREO issue. Getting damned hard to find these ones in acceptable condition and this one is super clean. Tomorrow were one of the first of the British psychedelic bands and this was their first and only album. Due to delay between recording and issue, it sold poorly with the psych bubble slowly bursting by 1968 even though it received glowing praise by the critics of the day. Lauded by John Peel, the band were first to play one of his radio sessions in 1967. It features the classic psychedelic single – arguably the best ever – ‘My White Bicycle’ that sold reasonably well but failed to chart. Tomorrow disbanded with Twink briefly joining Pretty Things on their masterwork ‘S.F. Sorrow before forming The Pink Fairies. Steve Howe turned his considerable talents into progressive rock with Yes. This legendary album is now regarded by many as the greatest true full psychedelic album ever made. It was issued in both mono and stereo, and personally I prefer the stereo version as the channel separation and mix are crucial for full affect. A beautifully recorded album and technically up there with the very best with complex effects and sounds. Hard to dig up these days in good condition, this one is exceptionally clean, hard to improve upon. Price: Offers!!!
1884. 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: 125 Euro

1885. 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: 100 Euro

1886. 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
1887. TOMOKAWA KAZUKI: “Satoru” (Tiliqua – Tiliqua-004LP) (Record: Mint/ Hand painted Jacket: Mint/ Insert: Mint/ Additional regular Issue Jacket: Mint) 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’s paintings 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!!!! Price: Offers!!!!!
1888. TOMOKAWA KAZUKI: Satoru” (Tiliqua Records – 004LP) (Record: Near Mint/ jacket: Mint/ Insert: Mint). Rare TEST PRESSING, only one single copy in existence. 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. Price: 250 Euro
1889. 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
1890. TORI KUDO & REIKO: “Light” (Siwa Records – SLP-801) (Record: Mint/ Printed Wooden Box with Screen Printed Sleeve and 9 Card Inserts: Mint). Handmade private release that saw the light as an edition of only 200 copies. Light was recorded live in 2005 and 2006 and features duo versions of tracks from the last three self released Reiko Kudo albums along with two previously unrecorded songs. Forgoing the big band explorations of Maher Shalal Hash Baz, here Tori and Reiko offer an intimate live set of Reiko's heartbreakingly beautiful songs of loss and longing. Easily the best-looking LP we’ve had the pleasure of grappling lately is this one, issued by Siwa Records years ago in an ultra limited run. Reiko and Tori are best known for their work with Mahel Shahal Hash Baz, but this stuff is even more casual, diffuse and haunting. Mostly just piano and female voice, the sound has an elegance and mystery that makes our veins wiggle. It’s like some sort of otherworldly cabaret, beamed in from Planet X. This LP version is just incredible—a wooden box, with nine separate compartments, each containing a printed booklet with lyrics. Quite unbelievable, even for Siwa, which has long set a tough-to-match standard for packaging. Long gone and out of print, has been a while since a copy surfaced. Price: 200 Euro
1891. TOSHIKO MARIANO QUARTET: “S/T” (Candid/ Victor Records – SMJ-7025) (Record: Excellent/ Flip-back Jacket: Excellent/ OBI: Near Mint) Damned rare Japan original 1st pressing all complete with hardly ever seen very first issue obi. One of the few recorded meetings of alto saxophonist Charlie Mariano and pianist Toshiko Akioshi in the studio – quite strange given that they were a couple at the time! The session's easily one of the last great American sessions by either player – a work that shows Mariano's alto really building on the strengths of his work in the 50s, and Akioshi's piano shedding some of its early bop influences, and going for the richly-toned sound that would serve her greatly in the 70s. The long tracks here offer plenty of space for Charlie's sharp tone to really do its thing – and that raspy warmth of the 50s is even more deeply soulful at this point – and augmented by a new sense of composition that gives the record some of its best tracks. There's almost a nascent sense of spiritualism here – quite unusual for the time Price: 150 Euro
1892. 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!!
1893. TOWER RECORDINGS - THE FUTURISTIC FOLK OF TOWER RECORDINGS: “Eternal Life” (Time Lag – Time-Lag-016) (Record: Near Mint/ Fold Out Jacket: Near Mint). Comes in an imprinted heavy-duty sleeve. Released long ago on the mighty Time-Lag label. Super rare artist edition of only a 100 hand-numbered copies. The “more regular edition” 2 LP set came in an edition of 400. This edition here was mainly handed out to a select few and the 2-LP set was divided across two separate fold-out jackets. The second set we have also listed here below. These sets were never put up for sale and evaporated immediately the day they came out; until now….. With a line-up consisting out of Matt Valentine, PG Six, S Freyer, Samara Lubelski, Tim Barnes, Andre Vida, Joshua Burkett and Noah Wall, the record is a stellar pre- The Fruits 3 LP set document. The music on the other hand is just stellar and resembles dusty boulders that subconsciously want to accelerate the asteroid of mountaineering balladry doom that is falling unstoppably towards our already caved in skulls in order to haunt the empty canyons of our minds. Just a beautiful listening experience. I happen to have spare copies of this edition – otherwise I wouldn’t dream of parting them. A modern-day classic. Highest recommendation. Price: 150 Euro
1894. TOWER RECORDINGS - THE FUTURISTIC FOLK OF TOWER RECORDINGS: “Vol. 2” (Time Lag – Time-Lag-017) (Record: Near Mint/ Fold Out Jacket: Near Mint). Comes in an imprinted heavy duty sleeve. Released on the mighty Time-Lag label. Super rare artist edition of only a 100 hand-numbered copies. The “more regular edition” 2 LP set came in an edition of 400. This edition here was mainly handed out to a select few and the 2-LP set was divided across two separate fold-out jackets. The first set we have also listed here above. With a line-up consisting out of Matt Valentine, PG Six, S Freyer, Samara Lubelski, Tim Barnes, Andre Vida, Joshua Burkett and Noah Wall, the record is a stellar pre- The Fruits 3 LP set document. The music on the other hand is just stellar and resembles dusty boulders that subconsciously want to accelerate the asteroid of mountaineering balladry doom that is falling unstoppably towards our already caved in skulls in order to haunt the empty canyons of our minds. Just a beautiful listening experience. I happen to have spare copies of this edition – otherwise I wouldn’t dream of parting them. A modern-day classic. Price: 150 Euro
1895. The TOWER RECORDINGS: “Message From The Celestial Explosions” (Holoscanner Consciousness – Holo One) (Record: Near Mint/ Gatefold Jacket: Near Mint 2 Inserts: Near Mint). Released privately over a decade ago in a one time limited run of 400 copies. Stellar drowsed out Tower Recordings outing with more ooze, more squelch. More free jazz/sporadic noise/groans. Sounds come in that disturb and some come in that sooth. A round of applause, a crash of percussion. A twang battles with a pinch of salted gruel. Ideas are half played out then collapse. Brass duels with guitars fed on gloopy porridge laced with mushrooms. The voice from the previous albums makes only minor league appearances and is cut short to make way for another dive into comforting gloom. This is way more frazzled yet just as enticing as The Galaxies' Incredibly Sensual Transmission Field. We're in a hole with this one, we were on top of the world with the other. Price: 75 Euro
1896. 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: 200 Euro
1897. 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: 200 Euro
1898. 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
1899. 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
1900. 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!!!!
1901. 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
1902. 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
1903. 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
1904. 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
1905. 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
1906. TRIBO MASSAHI: “Estrelando Embaixador” (Private) (Record on Green Colored Vinyl: Near Mint/ Jacket: Near Mint) Ultra limited high quality reissue in an edition of ONLY 50 copies (this one being 38/50) of mega rare 1972 Brazilian freak- out/tribal collective. This one is on green colored vinyl with beautiful imprinted matching plastic cover, which came out some years ago and sounds clear & loud sound! 'Estrelando Embaixador' is candomblé- inspired psychedelic party music and it is a great example of the excitement and strong affluence of musical rhythms in cities like Sao Paulo and Rio de Janeiro during the 70s. Heavy Bossa Nova/ Psychedelic/ Lysergic Madness/ Samba/ doped out rock/ ethnic smash & grabs/ Jungle shoot-outs/ mutant vibrations/ sweaty butt-shaking deep grooved voodoo funk & demented female & children vocals are all thrown into a maniac fury of a deep subterranean animated strive, creating high tension music that sweats out sunny high voltage vibes from beyond the rain forest. Listening to this weird hell broth but highly intoxicating slab of vinyl, catapults you into a kaleidoscopic panoramic sound that solely exists on its own plane, both impervious to and not responsible for trends of any kind but at the same time incorporating everything that makes killer slides so intoxicatingly addictive. When sitting through this glorious sonic Valhalla, it becomes clear that this highly unique record stands shoulder to shoulder with the best records of that golden era and is therefore one of psychedelic South America’s (and the rest of the world for that matter) underground’s scene defining moments, blessed with a gift for unexpected impact, sweating out heavy psychedelics and making you feel like your nuts are on fire. Amazing!!!! Price: 100 Euro
1907. 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
1908. 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
1909. The TRIO: “Where Fortune Smiles” (Pye Records/Teichiku – UPS-524-Y) (Record: Near Mint/ Jacket: Near Mint). Original Japanese pressing. 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 and sounds fantastic. Price: 50 Euro
1910. 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: 550 Euro
1911. 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!!!

1912. THE TRIP: “Atlantide” (RCA Italiana – PSL-10540) (Record: Excellent ~ Near Mint/ Multiple Gatefold Jacket: Excellent – has crease on left lower corner, for the rest pristine). Original 1st Italian pressing from 1972 that comes housed in eye-popping triple gatefold sleeve that opens up right in the middle. The Trip were an Italian trio that was blessed with a keyboard sound of their own and who displayed a stronger rock influence than many other progressive trios out of Italy, making them one of the more interesting Italian prog bands of that Golden era. "Atlantide" was, of course, about the mythical Continent between Europe and America and displayed a well-blended mix of classical musical influences, jazzy moods and melodic roots. Dramatic themes come in and out of focus on the LP – at times in beautiful variations of the same theme. Tempo changes, complex moods. Here, the Trip plays as a trio without a guitar player. The eight songs sound brooding and display extremely strong work on keyboards: from swinging and sparkling grand piano to bombastic Hammond and church-organ evoking The Nice and other silver key maverick groups. Great album!!! Getting tough these days digging up an original in beautiful condition, so here is your chance. Price: 275 Euro

1913. 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: 150 Euro
1914. TRISTANO, LENNIE: “Descent Into The Maelstrom” (East Wind – EW-8040) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). 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. Unique chance for stellar music to fall in your lap. Price: 100 Euro

1915. TROUVERES: “Clemencic Consort” (Deutsche Harmonia Mundi – HM-396-98) (3 LP Record Set: Near Mint/ Box: Excellent/ Booklet: Mint) Massive eye-popping and jaw-dropping great 3 LP box set. Another hidden highlights in the list this time – brilliant troubadour music out of the 12th till 14th century – the acid folk of that day. Probably the most cheerful and picturesque figures of the age of chivalry were these troubadours who operated mainly in Nord and southern France and northern Italy. There have been minstrels and strolling poets before and since them, from the time of Homer to something very like the present, but the troubadours are in many ways distinct. They were among the first indications of a return to culture and they bloomed like flowers in the midst of the darkness and ignorance of the Middle Ages, appearing first among the vine-clad hills and vales of lovely Provence in southern France. A hint of their charm lies in the very music of their name, which comes from the Provencal verb trobaire, to find or to invent, and refers to the finding of rhyme. They sang in the Provencal tongue, an ephemeral one founded on the decadent Latin, out of which grew the Italian, Spanish, French and Portuguese languages, not to mention the influence it exerted in the formation of English, Chaucer using the minstrel-songs as his first models. The troubadours occupied much the same position in France and the south of Europe. The era of the troubadour was comparatively short, scarcely three hundred years, in fact, from the beginning of the Eleventh Century to the close of the Thirteenth. This disc gives a nice insight into some of the songs and type of music they performed. Later in the 20th Century, modern day practitioners such as Rosina de Peira rejuvenated the genre and the Acid Mothers Temple collective based an entire album upon the rich troubadour traditions of the Occitan region. Trouveres records are quite a hard catch these days, this one is the most perfect copy you will ever see. Highly recommended. Price: 100 Euro

1916. TSUWA NORIKO: “Manjushake” (Philips – S-7013 – 1977) (Record: Mint/ Jacket: Mint/ Obi: Mint). I cannot stress enough the utter greatness of this disc. Released on June 10th, 1977. The totally obscure and unknown chanteuse, Tsuwa Noriko is one of my favorites Japanese female singers, but the style she ventures into is hard to pinpoint. This was her debut album (apparently she recorded also a second disc) and she sings in an utterly deep voice and the songs range from stained and melancholic bluesy chansons to lyrical kayokyoku excursions. Her voice is heavy and darkly laden, excellent for those late night excursions with the bottle of sake in hand, since her vocal cords are deeply resonating wells of a smoke filled voice with a bluesy kayokyoku feel attached to it At times she makes the hairs on your arms stand up, chilling, warms, desolate, lonely…One of the greatest female vocal records to emerge out of Japan and it should appeal to you if you are into Asakawa Maki, Morita Doji, Sai Yoshiko and other desolate singers. This copy comes with the obi, which is almost always missing. Quite rare and undetected record. Highest recommendation. I cannot stress enough the splendor of this disc. Only superlatives can do her justice Price: 50 Euro
1917. 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
1918. 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!!!!!
1919. 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
1920. 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!!!!!
1921. TUSQUES, FRANCOIS Avec BARNEY WILLEN: “Le Nouveau Jazz” (Disques Mouloudji – EM-13517) (Record: Near Mint/ Jacket: Excellent – has some few wrinkles on left opening side but comes with always missing “Languette” on back). Original French 1st pressing in outstanding condition, comes housed in fragile flip back sleeve that has a few wrinkles on the left front side but barely visible. Record is impossibly clean. First and bloody rare French original pressing on the yellow colored Mouloudji label. Rarely surfaces anymore, especially in such a condition as this one here. This one comes at a much more lower price than the Japanese press issue and this copy comes quite cheap, so give beggars can’t be choosers. Price: 500 Euro
1922. 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!!!!
1923. 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: 400 Euro
1924. 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!!!!
1925. TYLER, CHARLES ENSEMBLE: “S/T” (ESP Disk - 1029) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink/ Printed ESP Inner Sleeve: Near Mint). 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
1926. 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
1927. TYLER, CHARLES: “Eastern Man Alone” (ESP Disk – ESP-1059)(Record: Excellent ~ Near Mint/ Jacket: Excellent – has a lower middle seam split of 2 cm). 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. Price: 60 Euro
1928. TYLER, CHARLES: “Voyage from Jericho” (AK-BA – AK-1000) (Record: Near Mint/ Jacket: Near Mint). Top-level free jazz beast, released on the same label as Arthur Doyle’s “Alabama Feeling”. Rare 1975 Free jazz private press on the legendary Ak-Ba label, Tyler's own imprint that also released the equally impressive Arthur Doyle album “Plus 4 - Alabama Feeling”. AKBA Records released only 3 records filled with classic NYC loft-jazz sessions, most notably those of label boss Charles Tyler, - which you have here. Tyler was a screaming tenor player who also blew with Rudolph in the late 70's/early 80's. On this occasion, Tyler (Alto & Baritone sax) gets flanked and assisted by some cool cats, being Ronnie Boykins (bass, who also played with Sun Ra and his Arkestra), Earl Cross (trumpet), Steve Reid (drums) and Arthur Blythe (alto sax on two tracks). You can hardly go wrong with a line-up like this one here. Recorded in NYC on July 1974 and released the following year, “Voyage From Jericho” is a vicious slab of spiritual free jazz. Tyler trades furious lines with Earl while Reid and Boykins throb and rattle throughout. The free improve compositions may sound furious but still they convey much delicacy, thoughtfulness and reverence for melody, even while Tyler is churning down on his reed and squealing at the top of his lungs. In all, “Voyage From Jericho” is a brilliant timepiece filled with inspirational gleams recorded in a period of transition when the “rules” of free jazz were already beginning to rigidify and settle into a conventional pattern. It seems that here the quartet is trying to defy and combat these waves of ossification and trying to gush out a wholly different hardcore blowing animal. They certainly succeeded. Beautiful and rarely offered privately released free jazz deity of a disc. Price: 250 Euro
1929. 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
1930. 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
1931. 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
1932. 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