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

1933. UC HUREL or 3 HUREL: “S/T” (Diskotur – DTLP-29/ DTLP-10.003) (Record: Excellent, has some minor paper scuffs visible under a bright light, still EX condition for a Turkish record, plays solid EX all way through/ Flimsy Extremely Fragile Jacket: VG++ ~ Excellent, only minimal storage wear) First album by this amazing Turkish folk psych band that came out way back in 1972!!! Debut album by these 3 brothers, diving into vintage ethno-psych moves. The disc plays for a Turkish vinyl out of 1972 as a solid EX, only some faint surface noise can be detected as usual between tracks housed in a super fragile flimsy cover. The music is a glorious blend of stoned ethnic vibes, executed on native instrumentation and spiced up with some western sounding elements such as bass, cookie-jar drumming, wired electrified acidic guitar lines, which all gets melted down and cooked up into one potent brew that in the end gets injected and spiced up with a far out echoing production vibe. Hard to come by 1st album in original Turkish pressing of these guys, comes highly recommended and like you already can guess, these babies are getting as rare as hell freezing over during a heat wave. Killer album and tough to score 1st original Turkish pressing from way back in nice nick. Highly recommended!! Price: 350 Euro

1934. UKAJI SHOJI: “Sound of Vision” (Private release 1987) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint) Over a decade or so, this record was fairly unknown and could – if lucky to encounter it – dig it up for under 200 euro or so. Sadly, due to a tsunami-like upsurge of interest in privately pressed Japanese jazz slides, those Golden Days can be considered ancient history. For over a decade now, I failed to unearth or get any lead on another copy of Ukaji Shoji’s sole privately released monster LP. Fortunately, a heavy trade with a free jazz collector yielded a copy straight out of the deepest dungeon of secret sonic marvels. The record is as a wild beast and the music is a recording of Ukaji flanked by all time free jazz drummer Yoshizaburo Toyozumi recorded at the legendary Tokyo’s Kid Ailakku Hall. A real free jazz monster of a disc. A slab right in yer face of vicious interplay between two of Japan’s finest still active fire music practitioners. Ukaji himself is a criminally under-recorded artist to say the least and discs by him just never surface. This one was released, I believe, in a tiny edition of 150 copies and only sold at local gigs way back. It is the first time in over a decade I have ever seen a copy up for sale, so rare does not even come close to describe the scarcity of this monster. Very nice recording in top condition. This one is the sole copy I know of so far that comes with the insert. Hideously rare, from the first groove it sounds like an acoustic tidal wave exploding into shards of dynamite. It breathes out that much beloved punk-primitive aesthetic that evolved out of the wake of US/Euro free jazz ground leveling. Ukaji’s blows caters evanescent, twisting runs in a style that, while hardly lacking in energy, stands in stark contrast both to Arthur Doyle's monumental sonic edifices and to the dense, furious blowing of the New York school of improvisers who grew out of Ayler and Coltrane. Throughout, Toyozumi gooses the proceedings with a masterful array of polyrhythm’s and his reactions are as lightning fast and tonally astute as anyone who came up in his shadow. Upon spinning this slide, you will be reaching for the seatbelt in anticipation of another obliterating slab of high energy instant composition. Ukaji’s playing is so hyper-focused, so exactingly executed, that he devours the minutes, bracketing accelerated, smeared scales with boppy heads and sudden invasions of the alto’s most phantom registers. It’s a fantastic set, one that explodes the tradition while simultaneously bolstering it, like all of the most ass-flattening free jazz dates. Ultra minuscule pressing that is getting so rare and sought after it is almost criminally insane. Price: Offers!!!!

1935. ULTRAVOX: “S/T” (Island Records – ILS-80912) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned scare original 1977 Japan first original pressing in top shape. Ultravox’s debut, Ultravox!, is certainly not their most well-known work. That wouldn’t occur for another three years, and only after some significant changes to both their lineup and sound with 1980’s Vienna. Their debut, co-produced by Steve Lilywhite and Brian Eno, may be one of the forgotten debut masterpieces ever. This, likely, was caused by the change in sound after the departures of John Foxx and Robin Simon. But, everything about this album falls into the category of fully realized louder side of glam, charged up with snarling synths, veracious lyrical vox attack, punky attitude with a budding pop sensibility. Without a doubt, their best effort they would not surpass hereafter. Damned rare Japan original press with obi, just does not surface at all. Price: 300 Euro
1936. UNITED STATES OF AMERICA: “S/T” (CBS – S-63340) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent). Original 1968 UK pressing on the orange CBS label imprint, twice as rare than the US pressing and much better sounding!!! USoA was the brainchild of Joseph Byrd. Erecting a band out of friends from academia and ethnomusicology, USoA became a politically charged experimental psychedelic rock combo unlike any that had come before. Utilizing a not exactly standard bass /drums /guitar /violin lineup, their sound was further augmented by ring modulators, organ, harpsichord, and calliope. The end result was a sixties rock band, drenched in psychedelic filigree, swooping electronic trippiness, all sorts of circus-y weirdness, bizarre editing and song structures, but never losing sight of great songs. The whole brew was stirred up by a storm of buzzing and bleeping, overloaded effects and tripped out swooping and soaring analogue noises and effects. Add to that an experimental montage, ambient jangle and ethereal ambience, resulting in a super damaged art-rock musical acid trip. The whole affair veers from country-ish campfire stomps, to smoke-y sultry ballads, to freaked out psych jams and everything in between. All is blessed with the absolutely gorgeous vocals of Dorothy Moskowitz and you get a psychedelic country pop rock record, filled with complicated and bizarre arrangements making it an unlikely melding of country rock, lush baroque pop and acid fried guitar leads. Imagine a Frankensteinian sonic monster constructed from Euphoria, Fifty Foot Hose, the Beatles, the Beach Boys, the Byrds...stir it up with some potent twentieth century composition and experimental minimalism influences and let it experiment with a suitcase full of homemade sound generators and you'd still have trouble imagining how great this record is. Total classic. Rare UK pressing. Price: 75 Euro

1937. UNIVERS ZERO: “S/T” (Atem – 7001) (Record: Near Mint/ Jacket: Excellent). Rare first original pressing of Belgium’s finest formation. No other band sounded as uniquely “Belgian” as Univers Zero. The music is haunting, dark, frightening, oppressive and threatening avant-garde chamber rock. For lovers of Magma, Univers Zekt, Shub Nigurat, Zao, Zeuhl music and the likes. Price: 75 Euro

1938. The UPSETTERS: “The Upsetter” (Trojan – TTL-13) (Record: Excellent/ Jacket: Excellent). Original 1969 pressing of Lee Perry's radiation soaked rootsy dub explorations. “In 1969, after serving what amounted to a producer-in-training stint at Coxsone Dodd's Studio One, Lee Scratch Perry began one of his frequent reinventions, this time emerging as the Upsetter, and he applied the name not only to himself but also to his new label and to the backing group he had assembled. The Upsetters were a fluid unit and initially consisted of studio veterans Gladstone Gladdy Anderson, Winston Wright, Hux Brown, and Clifton Jackie Jackson. This set is actually much more Upsetters than Upsetter, and keys primarily on Wright's bright organ playing. It's fun stuff, if not exactly like the heavier dub innovations Perry would slide into further on down the road.” (Steve Leggett, All Music Guide) A classic that is hard to fine in just an acceptable nice nick. This one is as nice as they get. Original press!!  Price: 125 Euro
1939. The UPSETTERS: “Super Ape” (Island Records – ILS-71050) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ 4-Paged Insert: Near Mint). Rare 1st original Japanese high quality pressing of heavy dub slide. “Super Ape offered a series of the producer's finest 1976 rhythms, from Devon Irons' "When Jah Come" and the Blue Bells' "Come Along" to Romeo's "War in a Babylon" and "Chase the Devil." All are bathed in the distinct, murky atmosphere that was becoming a Black Ark trademark, then served up in the form of dub-like de-constructions. Island's U.K./U.S. sequencing of Super Ape places "Dread Lion" at the album's heart. If any track fulfills the cover's promise to "Dub it up, blacker than dread", this is it. Vocals from numerous cuts seem to compete for their spot on the rhythm, while a dizzying mix of horns, flute and melodica swirl around them. Punctuating the song's rock-solid underbelly, Perry conjures startling thunderclaps from his mixing board.” (All Music) Killer dub finest slide. Never seen before 1st original Japanese pressing with Jah-OBI. Price: 150 Euro
1940. The UPSETTERS: “Super Ape” (Island Records – ILPS-9417) (Record: Near Mint/ Jacket: Near Mint). Original 1976 UK press in great shape of all-time legendary dub slide. Price: 100 Euro
1941. URABE MASAYOSHI & CHIE MUKAI: “Dual Anarchism” (Siwa Records – Siwa#9) (Record: Near Mint - SEALED/ Outer Wooden Box: Near Mint/ Hand Crafted Washi paper Jacket – Letter Pressed: Mint/ Enclosed Vide Tape: Mint & Unplayed). Freakingly rare very first edition of only 20 numbered copies, this one being 14/ 20. After years of pleading Siwa finally convinced Chie Mukai and Masayoshi Urabe to offer up this much needed document of their ongoing collaborative work. The original recordings were culled from live performances between 1990-2001 and were then edited by Urabe. Chie Mukai should be known to many for her work within the more structured confines of her band Che-Shizu but she also has an impressive history in improvised music that goes back to her time as a student with Takehisa Kosugi in the mid 70s. The Che-Shizu albums and her two previous solo releases have introduced a select few to the meditative drone of the er-hu (a traditional two string violin) but here she can also be heard on vocals, piano, toys and various percussion instruments. Likewise Urabe, known mostly for slowly wrenching unfathomable screams from his alto saxophone expands his instrument choices to employ a soprano saxophone, some percussion, harmonicas, chains and a particularly vicious electric guitar. This is passionate, physical and highly individual improvised music with an intensely human soul. A companion video that came with this ultra limited handmade wooden boxset does more to explain the physical nature of these performances than any audio document could. This is a wooden box only edition of 20 copies and comes in a silkscreened sleeve + lacquered box. Price: 400 Euro

1942. VALENTE, DINO: “S/T” (CBS Sony – SONP-50338) (Record: Mint/ Jacket: Near Mint/ Insert: Near Mint) Japan white label promo pressing and first and last solo LP by ex Quicksilver Messenger Servive kingpin.. First original press issue that came out in December 1970. Top copy, awesome pressing and scarce all together since the Japanese pressing of this disc was minuscule due to depressing sales. Rarely turns up at all. Brilliant solo album, every song is a winner and especially Valente's cover of "Me & My Uncle" rips like no other. This one comes with the always-missing insert. Sound just killer and far superior to the US pressing to these humble ears. Defenitely a dessert island record for me. Price: 200 Euro

1943. VAN DER GRAAF GENERATOR: “The Aerosol Grey Machine” (VERTIGO – 6360.510 A) (Record: Near Mint/ Laminated Jacket: Excellent ~ Near Mint). Italy ONLY VERTIGO swirl release of the 1st VDGG album. Comes on the big SWIRL label. Great condition and rarely turns up at all. Price: 200 Euro
1944. VAN DER GRAAF GENERATOR: “The Least We Can Do Is wave To Each Other” (Charisma/ Nippon Phonogram – BT-5171) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Rare 1978 Japan first original pressing in top condition. White label PROMO issue. Comes complete with rare first press issue OBI!!! Rarely surfaces these days with obi present. Price: 150 Euro
1945. VAN DER GRAAF GENERATOR: “The Least We Can Do Is Wave To Each Other” (Philips – 6369.901) (Record: Mint/ Gatefold Jacket: Mint/ Poster: Mint). Original German press copy complete with very scarce poster. The band’s second album and again a masterpiece in songwriting and dark ominous sounds. To these ears, every single track is a winner and Hammill is in top form, delivering his lyrics with all the passion and intent he can muster, leading the band into a maelstrom of ominous tidal waves of fear, sadness, and despair, despite which, the music does tend to be rather uplifting, thanks to the undercurrent of barely restrained majesty VDGG tended to have. A classic that never lets you down. Price: 150 Euro
1946. VAN DER GRAAF GENERATOR: “H To He Who Am The Only One” (Philips – 6369.907) (Record: Mint/ Gatefold Jacket: Mint/ Poster: Mint). Original German press copy housed in laminated gatefold jacket. “I was scared witless about five second into ‘Killer’ when peter Hammill spoke the words ‘so you live in the bottom of the sea’ with such menace that I thought it was Charles Manson … and thus the tone of the album was set. Menacing, lyrically challenging and demanding complete attention, VDGG inhabit a very dark space of their own. Classically trained keyboard player Hugh Banton gives Hammill a run for his money in the existential angst stakes while David Jackson on numerous saxes and the very underrated drummer Guy Evans are not far behind. As a bonus, Robert Fripp guests on ‘Emperor’. The musicianship is almost telepathic admits a maelstrom of shapeless and intimidating sound. This is progressive rock at its most exhilarating and complex. But it is also very, very dark” (SC – Galactic Ramble) A classic that never lets you down. TOP COPY!!!! Price: 120 Euro
1947. VAN MORRISON: “Blowin’ Your Mind” (London – HAZ-8346) (Record: Near Mint/ Laminated Jacket: Near Mint). Top copy, original MONO UK 1st pressing in exquisite condition. “Blowin’ Your Mind” was Van Morrison's first solo album that contained the hit "Brown Eyed Girl," but the LP is actually dominated by the agonizing "T.B. Sheets" -- all nine-plus minutes of it -- that dominates this record and takes the blues and reinvents it as noble tragedy and humiliating mortality. It is a devastating song, beautiful, yet very poignant with Van Morrison belching out his dilemma when visiting his girlfriend, rendering the experience into a song that is one of his most spirited exercises in blue-eyed soul. As Morrison narrates this true story about a girl with whom he once lived, he takes a magnifying glass to mundane details, grasping at distraction, trying desperately to sidestep the creeping Conradian terror—the horror— of experiencing firsthand our fleeting, fragile mortal existence. Fevered, you can almost feel the man’s cold sweat just prior to his transformation into a household name and major stardom. “The cool room Lord, is a fool’s room. The cool room Lord, is a fool’s room. And I can almost smell your T.B. sheets. I can almost smell your T.B. sheets. I gotta go.” The sound of a sick room. Of terminal bed sheets sticky with cold sweat and sputum. There’s an eerie inevitably to the groove of “T.B. Sheets,” the titular nine-and-a-half-minute psychedelic R&B opus. It is one of the most real songs about death you’ll ever hear. As life saps steadily from the singer’s beloved, tuberculosis-ridden Julie, there is no trite drama, no nostalgic sugar coating or grand deathbed epiphany, but rather an “Is That All There Is?” fatalism—a mild, detached, slowly-suffocating bleakness. “The sunlight shining through the crack in the window pane numbs my brain,” Morrison moans over a skittering Hammond organ. Bewitchingly great. Original UK pressing in amazing condition – lamination fully intact with NO damages, record also Near Mint, probably the best copy one may ever encounter. UK pressing is rare especially in great condition, the record barely caused a ripple on the surface of the lake when it was released and tanked quickly until it was re-released in the States. Top copy in glorious mono. Music wise - a total killer. Price: Offers!!!!!
1948. VAN MORRISON: “Astral Weeks” Warner Bros. Japan – BP-8790) (Red Wax Record: Near Mint/ Jacket: Near Mint). Impossibly rare and never offered before Japan original 1971 TEST PRESSING with white stamped labels and pressed on RED WAX. “Van Morrison never sounded more warm and ecstatic, more sensual and vulnerable, than on his enigmatically beautiful solo debut. Fresh off the success of "Brown Eyed Girl" and newly signed to artist-friendly Warner Bros., he explored the physical and dramatic range of his voice during extended poetic-scat singing, and set hallucinatory reveries on his native Belfast to wandering Celtic-R&B melodies. The crowning touch was the superior jazz quintet convened by producer Lewis Merenstein to color the mists and shadows. Bassist Richard Davis later said that Morrison never told the musicians what he wanted from them or what the lyrics meant. Maybe he didn't know how to. He was going deep inside himself, without a net or fear.” (Rolling Stone) Total classic slide that never seems to age how many time you spin it. Never offered or seen before before Japan first original white label with stamped catalogue numbers test pressing on red wax. Price: Offers!!!!
1949. VAN MORRISON: “Moondance” (Warner Bros. Records – P-8602W) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint/ OBI: Mint). Rare Japanese pressing of Van Morrison’s awesome slide. 2nd press issue, even so rare these days. The yang to Astral Weeks’ yin, the brilliant Moondance is every bit as much a classic as its predecessor; Van Morrison’s first commercially successful solo effort, it retains the previous album's deeply spiritual thrust but transcends its bleak, cathartic intensity to instead explore themes of renewal and redemption. Light, soulful, and jazzy, Moondance opens with the sweetly nostalgic "And It Stoned Me," the song's pastoral imagery establishing the dominant lyrical motif recurring throughout the album -- virtually every track exults in natural wonder, whether it's the nocturnal magic celebrated by the title cut or the unlimited promise offered in "Brand New Day." At the heart of the record is "Caravan," an incantatory ode to the power of radio; equally stirring is the majestic "Into the Mystic," a song of such elemental beauty and grace as to stand as arguably the quintessential Van Morrison moment.” (All Music Guide). First copy to fall in my hands in over 8 years. Top condition. Price: 100 Euro
1950. VAN MORRISON: “Tupelo Honey” (Warner Pioneer – P-8179W) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint). Original 1971 Japan 1st original pressing all complete with 1st issue obi. Tupelo Honey is typical of  Van Morrison’s early-'70s work in both sound and structure; after dispensing with the requisite hit -- here, the buoyant, R&B-inflected "Wild Night" -- he truly gets down to business, settling into a luminously pastoral drift typified by the nostalgic "Old Old Woodstock." At the heart of the record there are a pair of stunning love songs, "You're My Woman" and the hymn-like title cut, one of Morrison’s most enduring and transcendent compositions. Beautiful record, every track is a winner!!! Rare original 1st Japanese pressing with 1st issue obi. TOP condition. Price: 175 Euro

1951. VAN MORRISON: “Domino – His Band And The Street Choir” (Warner – P-8021W) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint/ Insert: Excellent). Bloody scarce Van Morrison 1st press Japanese edition complete with OBI. BLUE LABEL PROMO ISSUE – the rarest and earliest pressing ever. The dark night of the soul that culminated in Astral Weeks found its counterpart in Morrison's next two albums, the seminal Moondance and its subsequent sister, His Band & The Street Choir. Both released in 1970, these latter two albums defined the folk/soul/blues amalgam that would prove to be the foundation of Morrison's music. The photos inside the sleeve reveal Van as country gentleman, looking at home and (dare we say it) happy. This image is furthered by his then-wife Janet Planet's liner notes, which paint a picture of Van as a man reborn. The music more than bears this out. The tunes here are among the most soulful in Morrison's repertoire. The classic opener "Domino" finds him wailing over a punchy horn section and insistent, percolating rhythms, setting the tone for the rest of the album. Van rocks his way through the R&B-inflected "Blue Money," gets down on the funk workout "I've Been Working," and waxes lyrical on "If I Ever Needed Someone," which seems to be both a gospel song and love ballad simultaneously. This was perhaps Morrison's most open, exuberant recording. Van Morrison LP’s complete with obi are really a bitch to dig up these days. This copy is completely virginal. Price: 250 Euro

1952. VANILLA FUDGE: “The Beat Goes On” (Atlantic – SMT-1059) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Rare original Japanese first pressing complete with first issue obi all in top condition. The Vanilla Fudge, Mark Stein, Vinny Martell, Tim Bogert and Carmine Appice put the hammer down on the 60's by jamming pop ballads into their psychedelic meat-grinder and coming up with heavenly hash. No one has ever done "heavy" any better than the Fudge on their original albums, The Beat Goes On, Near The Beginning, Renaissance and Rock & Roll and their concoctions are always mentioned in the same breath as Hendrix, Zeppelin and Cream. Some people loathe this album, I for one am in the love-camp, and to these ears maybe the most challenging of the Fudge releases where they try to take it a step further down to nowhere and nowhere is the place to be. Top copy. Price: 150 Euro

1953. VANILLA FUDGE: “Near The Beginning” (Atlantic – SMT-1071) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). First original Japanese pressing that came out in August 1969. Top copy with rare obi present. Comes housed in a Japan only gatefold jacket art. The Fudge creating a big sound all around. While none of their "hits" are on this one it's still a great record steeped on the Hammond organ influenced power of this rambling band. Side two is one long jam recorded live at the Shrine Auditorium in LA. Fuzz guitars, Leslie organ effects, thundering drums and the steady bass to try to hold it together. A classic. Top copy and super clean, will be tough to ever upgrade upon this one. Price: 200 Euro

1954. VANITY RECORDS - AGATA MORIO: “Norimono Zukan” (Vanity Records - Vanity0005) (Record: Near Mint/ Jacket: Near Mint). Bloody RARE Original Vanity press released in an edition of 300 copies, there was also NO obi upon the release of this record, come came only with the 2nd pressing of the disc on Chop records. Norimono Zukan was probably Agata Morio's most rumored about recording, partly due to the fact that Vanity Records birthed this baby and partly due to the fellow sub-cultural scenesters to participate on the disc such as Phew (who had just embarked on her Aunt Sally adventure), SAB and Chie Mukai amongst others. Unlike his early oeuvre he brooded out at the beginning of the seventies, characterized by his loner-acid-folk infested stance, his fondness for delicately balanced atmospheres revitalizing sentiments of long gone eras and evaporated traditional values, Agata sets out here on a totally different voyage. The times they were a changing and especially for Agata who began to embrace the glitching kitsch aesthetic of the burgeoning eighties by throwing himself head over heels into the realms of techno pop and synth-driven new wave. Although a certain pop feeling hovers over the larger part of the recording, still some traces of an unrelenting punk aesthetic and an indelible DIY attitude keep on resurfacing and pressing through a hard to ignore fragrance of anti-commercialism and “Us against Them” attitude. Especially appealing on this recording are the psyched-up choruses of ecstatic female vocals that underscore Agata's songwriting abilities, beefing it up with enough unrelenting teenage virility and unbridled sex appeal to elevate even the most limpid of body parts. Brilliant all way round and original Vanity press copies are hideously scarce these days, just impossible to unearth. First time I have an original copy to offer, so do not think twice it is all right…Price: 250 Euro
1955. VASORI, CLAUDE: “Ionic Scrabble” (PSI – PSI-3038) (Record: Near Mint/ Jacket: Near Mint). Hideously rare French library monster. “Claude Vasori was an arranger and jazz musician working in France during the sixties and seventies, his output was prolific during this period and its not that uncommon to find his name somewhere on the back of many French pop records from this era. Most of his library work was released on the PSI label, along with other well respected session musicians such as Robert Viger, Vincent Geminiani and Georges Arvanitas. Ionic scrabble, like its cover has a very modern and minimalist style, yet at the same time, is also full of color and energy. Ozone, Turbine and Invisibility all exemplify jazz's heavy influence on the music Vasori was making, the crisp up-tempo drums, vibes and piano are great listening material during these winter months. The library label PSI just does not fail to amaze with this release. Released in 1974, the 18 mini-compositions on this LP are short illustration tracks for TV, radio and possibly film and bear the subtitle “Cycliques, Rhytmiques, Lancinants…Des Mouvement Perpetuels, Des Sons Inhabituels”. The rhythm structure consisting of bass and drums only is repetitive as fuck on all numbers and supported by a minimalist usage of piano, synth and guitar effects. The result is pretty psychedelic and spaced out instrumental music full with breaks, beats and spooky loops. Amongst the may tracks, “Shafting” needs to be highlighted here for its ultra cool wah-wah madness. Strangely progressive, it is hard to imagine this was issued only as a library record.” (El Topo's Delirious Music). A typical effect of many a good library tune, play this one LOUD it deserves it.Just plain ass whippingly great fucked up slice of coked up dance floor dementia. Price: 250 Euro
1956. VELVET UNDERGROUND: “S/T” (Verve Records/ Polydor Japan – MV-2060) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint/ Peel-able Banana: Mint). 1st original Japanese pressing WITH OBI!!. Well this is a disc that needs no explanation at all. If unfamiliar with this baby, you need to jack up fast and suck up desperately all the info you can get on music because this baby is the milestone in rock and psych and improv history. This here is a near mint copy of this 1st ever Japanese pressing that came out around 1970 housed contrary to the US and EU versions in a single cover, which is also near mint with also the Banana in brand new condition ready to be peeled off. Second Japan pressing came in gatefold sleeve; this one here is the rarely seen first press. In all a stellar and near mint copy in great shape. This is the original first edition Japanese pressing. Rarely – if never - turns up in such great shape… Price: 250 Euro
1957. VELVET UNDERGROUND: “White Light White Heat” (verve Records/ Polydor Japan – 23MM.0190) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). 1st original Japanese pressing with obi. 2nd Velvet Underground outing, hard to score 1st press original with obi…vinyl pressing is crystal clear, making your ears bleed. The music you all know the drill, indispensable to these ears. Price: 100 Euro
1958. VELVET UNDERGROUND: “White Light/ White Heat” (Verve Records – 23MM0190) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original 1st pressing – damned rare and rarely offered WHITE label PROMO issue. 1st original Japanese pressing with obi. 2nd Velvet Underground outing, hard to score 1st press original with obi…vinyl pressing is crystal clear, making your ears bleed. The music you all know the drill, indispensable to these ears. First time I can lay my hands on a Japanese promo pressing of this beast. Price: 200 Euro
1959. VELVET UNDERGROUND: “White Light/ White Heat” (MGM Records – 2353.024) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Original UK pressing of 2nd Velvet Underground LP, which came for the UK in an altered “Soldiers” cover. Very nice copy. Price: 50 Euro
1960. VELVET UNDERGROUND: “III” (MGM Records – 23MM0192) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent). Japan original 1st pressing – damned rare and rarely offered WHITE label PROMO issue. 3rd Velvet Underground outing, hard to score 1st press original with obi…vinyl pressing is crystal clear, making your ears bleed. The music you all know the drill, indispensable to these ears. Never seen before WHITE label PROMO…pristine! Price: 200 Euro
1961. The VELVET UNDERGROUND: “Live At Max’s Kansas City” (Atlantic – P-4721A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan 1st press issue complete with first press issue OBI. White label PROMO edition. There's a certain amount of disagreement among Velvet Underground scholars regarding whether or not this album, recorded by Andy Warhol associate and longtime fan Brigid Polk on a portable cassette recorder on August 23, 1970, does in fact document Lou Reed's final appearance with the VU. It’s fitting that The Velvet Underground’s Atlantic Records’ swan song had been recorded at Max’s Kansas City, in New York. It was one of The Velvet Underground’s favorite venues. So much so, that it was like a second home. The original record is that: raw and as it was played that night. Top condition white label promo issue with very first obi. Price: 200 Euro
1962. VICTOR ASSIS BRASIL: “Toca Antonio Carlos Jobim com Salvador, Helio Delmiro, Edson Lobo e Edson Machado” (Quartin – LP-RSQ-2) (Record: Near Mint/ Jacket: Excellent ‾ Near Mint). Top condition Brazil first original pressing. Victor Assis Brasil’s had a tragically short life as he passed away aged just thirty-five, but by this point his status was already cemented as one of Brazil’s top players. Gifted his first saxophone by his aunt at the age of fourteen, his debut LP was recorded just four years later, alongside some mercurial greats of Brazilian jazz, Tenorio Jr and Edson Lobo. Following the release of his first two albums, Victor was granted a place to study at Berkley College of Music, and it was during this period he recorded toca antonio carlos jobim upon returning to Brazil in the summer of 1970. At a time in Brazil when the smooth n’ easy groove of the Bossa beat no longer reflected the inflamed politics of a nation under the thumb of military dictatorship, Victor Assis Brasil morphed Jobim’s soothing originals into raw, deep jazz cuts. Released on the legendary Quartin Records, the LP is a rare gem from 1970s Brazil. Victor Assis Brasil, who leads a crack team of instrumentalists in reimagining the iconic works of Antonio Carlos Jobim. While anyone with an interest in Brazilian music has likely heard much of Jobim’s work interpreted ad infinitum, Assis Brasil’s arrangements give these dreamy classics some teeth; he and his band (which includes pianist and samba soul maestro Dom Salvador) create some of the deepest, most unique interpretations of classic tunes like ‘Wave’ and ‘Dindi’ I’ve ever heard. Beautifully produced by Roberto Quartin, the album plays like a Brazilian equivalent to the heavy platters being released by Impulse! and Lansdowne in the States and England at the time, and at 29 minutes, it’s one of those rare examples of an album that honestly should be longer. Fans of heavyweights like Archie Shepp, Joe Harriott, Jackie McLean, and yes, John Coltrane would be wise to investigate this album – it’s one of the single most effective bridges between bossa nova and post-bop jazz that never once falls prey to kitsch or novelty, instead showcasing Jobim’s masterful talents as a composer by means of almost total deconstruction. The album’s influences span both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin’s perfectionist approach to sound elevating the already incandescent music to divine new heights. Top condition for an original Brazilian pressing, hard to ever improve upon!!! Price: 450 Euro
1963. VIOLENT FEMMES: “S/T” (Rough Trade Japan – 25RTL-17) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Promo ONLY Info Sheet: Mint/ OBI: Mint). Rare 1984 Japan 1st press issue – PROMO copy. Never seen a copy with obi of this wrist slashing amazing record. Is there a more brilliantly icky – let alone unlikely hit-making – leadoff track in history than "Blister In The Sun"? A trio of Milwaukee nerds using little more than guitar, standup bass, and a snare drum, the Femmes did big-box string-band busker-pop years before Marcus Mumford was a rumble in his parents' pants. And they did it with a wickedly tragic sense of humor. When Gordon Gano whines "Why can't I get just one fuck?!" on "Add It Up," you hear the voice of every pimply, frustrated teenage dude since time began. Price: 75 Euro
1964. VIRGIN PRUNES: “Twenty Tens b/w The Children Are Crying” (Baby – 001) (EP Record: Near Mint/ Picture Sleeve: Near Mint). UK 1981 original first press issue of the Virgin Prunes debut single. Price: 45 Euro
1965. VIRGIN PRUNES: “A New Form Of Beauty 1” (Rough Trade Records – RTO89) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Original 1981 UK first pressing. The Virgin Prunes’ highly ambitious “A New Form of Beauty” project saw them tackle the tricky concept of the beauty that can be found in being different (in this case both physically and musically), an idea that had informed the initial formation of The Lypton Village. The first part of this project “A New Form of Beauty 1”(1981), took the form of a 7-inch single and featured “Sandpaper Lullaby” a song that was both mysterious and seductive and did little to prepare the listener for the noisy and dark emissions of their next 10-inch single “A New Form of Beauty 2 “(1981) which featured “Come To Daddy” a frightening tale of incest. Price: 30 Euro
1966. VIRUS: “Thoughts” (Pilz – 2021102-9) (Record: Near Mint 〜Mint/ Gatefold Jacket: Near Mint 〜 Mint). The band’s second and final album and it is a psych blast for sure. By now the drugs really kicked in, and it all got snarling nasty. Musically it is a big change from their first one. With a changed lineup that left only Krahe and Rieke from the original group who were flanked by new found sonic hoodlums Axel Nieling (drums), Jürgen Schäfer (bass, vocals), Bernd Rosner (guitar) and Werner Vogt (bass, guitar, vocals). The album was released on the now highly collectible Pilz label. Heavy sonic krautrock moves that catapult all the right ingredients right in yer face, heavy guitar and organ workouts, dopes out vocals, all the works, a classic. Top condition, you never need to upgrade ever again. Price: 400 Euro

1967. VODKA COLLINS: “Tokyo New York” (Express) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint) Rare Japan original 1st press – WHITE LABEL PROMO ISSUE with OBI!!! The band Vodka Collins was like a comet that burned briefly and brightly over the Tokyo rock scene. In their two year existence as a unit they dominated the rock n roll world of Japan and their sole album “Tokyo New York” is considered a milestone and a ground breaking LP amongst musicians in the domestic Japan rock scene. The disc contained three hit singles, “Sands Of Time”, “Automatic Pilot” and “Billy Mars”. All killer tracks. The core band of Vodka Collins consisted of singer-guitarist Alan Merrill and drummer percussionist Hiroshi Oguchi (of Tempters and PYG). Music-wise they can be affiliated with their British counterpart band T Rex. Quickly closing the ranks of the outfit was Hiroshi “Monsieur” Kamayatsu of Spiders fame on rhythm guitar, and Take Yokouchi (of the Four Leaves) on bass. Initially Vodka Collins actually started out when Merrill and Oguchi were called in to back up Monsieur on some solo shows after his band The Spiders broke up. Merrill and Oguchi started to experiment with Merrill's newly written glam rock songs providing the foundation for what would merge into Vodka Collins. With the addition of guitarist Take Yokouchi Vodka Collins was born. Right from the star they began recording and a steady fan base grew in their wake. The demand for an album was so great that the LP was hastily recorded a fact that attributed its charm and sparkling interplay. The Vodka Collins phenomenon was growing, and they were spearheading a new direction in the Japanese rock scene. However, beneath the surface, their management was choking the life out of the band by withholding money. Before Vodka Collins became insanely busy, Merrill was able to augment his Vodka Collins income by doing recording sessions as a session player for producers Yuya Uchida and Miki Curtis, playing on records by the likes of Garo, Too Much, Yamashita Kejiro and Hirao Masaki. When Vodka Collins’ fame hit the ceiling, he had to rely on the meager income the band was able to generate. Sucked dry by managers and chocked by overnight success, Vodka Collins split up in the winter of 1973. The band was being ripped and raped sideways, front and backwards which left Merrill with no other option but to board a plane for London the day before Vodka Collins were about to headline at the Budokan. Stellar disc comes with fold out insert and RARE OBI. To boot, white label promo issue. A must, one of the greatest gem and widely overlooked Japanese rock artifacts. Price: 500 Euro

1968. The VOIDOIDS: “Give It To The Hell! The Voidoids Live At CBGB’s N.Y.C. ‘77” (Private/ Memorial Records – No number) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Bloody rare and obscure privately released live recording of the Voidoids in their prime in 1977. This came out in Japan in 1986 in a tine run of only 200 copies. 33RPM single that has 6 tracks in total of vintage and well-recorded Voidoids live in action. My favorite Richard Hell live recording to date, it will be hard surpassing on this one, the material is vital to say the least. Best ever record!!! Price: 125 Euro
1969. VON SCHLIPPENBACH, ALEXANDER: “The Living Music” (Quasar – HO-1) (Record: Mint/ Jacket: Near Mint). Rare TRUE 1st original press on the blue-colored QUASAR label and housed in silkscreen sleeve that opens up on the top. 2nd pressing jacket opens up sideways. Third pressing saw the light on FMP records. This is the very first pressing in outstanding condition. Alexander Von Schlippenbach, along with Peter Brotzmann and Manfred Schoof, was one of the founders of the German free jazz collective FMP Records. Like all good collectives, FMP knew how to conserve resources: the entirety of the Living Music, as well as half of Brotzmann’s legendary 1969 album Nipples, was recorded by the same musicians in one day. Unlike Brotzmann’s corrosive, chaotic Nipples, the six pieces on The Living Music explore the concepts of open spaces and collective improvisation at least as much as they do everyone-solos-at-once clatter. As a result, Manfred Schoof’s "Wave" builds up an astounding head of steam thanks to the force of a seven-piece band all headed in the same musical direction, and there are parts of the title track that are downright contemplative, particularly a brief, fractured solo from Von Schlippenbach that's more Bill Evans Than Cecil Taylor. Brotzmann, of course, is the star of the album, and his spotlight comes on the second half of "Into the Staggerin," where the rest of the band lays out and Brotzmann plays a tenor solo that recalls Albert Ayler’s best work in the way it combines honk-blat-phwee aggressiveness and a genuinely lyrical compositional sense. Nipples may be the more famous of these two albums, but The Living Music may well be the better.” (All Music Guide). Spot on description and so right, although Nipples is monumental, this one might even be a notch better, no shit. TOP copy 1st original German private press issue – with jacket opening at the top in near perfect nick. Next to impossible to upgrade upon and so damned hard to find in its first press state. Price: 400 Euro
1970. VON SCHLIPPENBACH, ALEXANDER: “Globe Unity/ Sun” (MPS Records/ Nippon Columbia – YS-2105-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). Original Japanese pressing, 1st press as released in May 1969. First time I can wheel in a copy with OBI present!!! Top notch copy on the highly collectible, Japanese MPS label – first pressing released in 1969 in stunningly death mint condition and housed in a thicker than life fold out jacket. On this one Von Schlippenbach teams up with other hardcore players Peter Brötzmann, Günter Hampel, Manfred Schoof, Peter Kowald, Willem Breuker, Willi Lietzmann, Kris Wanders, Jaki Liebezeit (Can drummer) and Guru Guru’s own Mani Neumeier You can hardly go wrong with such a line-up. The music speaks for its self, lyrical free blowing jazz touching on almost divine spheres. This is an incredible example of '60s energy music, a sure-fire way to clear your head. Schlippenbach, Brotzmann, and their small circle of Europeans joined the Free Revolution years before any but a tiny handful in the States realized it. Consisting of two long-form orchestrations, the record shows two opposing sides to the composer: “Globe Unity” is the side of stands as a key predecessor to today’s “free” improvisation, while “Sun” suggests an early interest in the influences of mid-century “world” music in the Europeans’ task of making a unique, modern voice for itself outside of coexisting American forms. Great all over and ultra collectable, especially in this condition. A must and a benchmark in free improvised music circles. Price: 100 Euro
1971. VOX POP: “Just Like Your Mom b/w Vab Driver” (Bad Trip Records - 300) (Single Record: Near Mint/ Paper Sleeve Outer: Near Mint). Original 1980 pressing of classic punk slide that remains elusive ever since it was released. Vox Pop were kind of an all star psyched out trash punk combo that slumbered through the US West Coast underbelly. Made up out of members of illustrious bands such as the Germs, Dream Syndicate, 45 Grave, the Angry Samoans and Nervous Gender, Vox Pop was bound to crack some skulls. Sadly enough the band was totally under documented and left behind a couple of ep’s. Sonic-wise the band sounded like an outfit of noses-full-of-crystal-meth that were fronted by a singer snarling like a wounded grizzly bear, ripping through both sides of this killer slide. White suburban trash armed with beat up gear, Vox Pop was awesome. And like someone once said “There is no Sonic Youth, there is only Vox Pop” you can be sure you are going to be in for one hell of an amyl nitrate ride. Totally awesome! 1980 original pressing for cheap! Price: 50 Dollars