RARE RECORDS CATALOGUE
U-V
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

1904. 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

1905. 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!!!!

1906. 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

1907. 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

1908. 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
1909. 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
1910. 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
1911. 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
1912. UTAI MAKURU DAIEI STAR: “Zatoichi – Onnatobakushi - The Guardman” (Daiei Records – DAL-7) (Record: Near Mint/ Flip Back Jacket: Near Mint). One of the greatest, largely unknown deep kayokyoku & Enka related discs ever to seep out of Japan is this live recording from September 1968 and put out by Daiei in February 1969 featuring an all-star cast of their actors and actresses, belching out the main themes to a.o. the Zatoichi & Onnatobakushi movies in front of a hysteric audience. It is a rare recording that sees movie heroes and heroines such as Katsu Shintaro, Nagisa Mayumi, Hongo Kojiro, Sanjo Mako, Enami Kyoko, Nanshu Taro, Sugata Michiko and Hiraizumi Sei appearing on stage and giving a rare performance as their screen characters. Japanese jazz (courtesy of the New Herd Orchestra) melts with groovy enka vibes, headspinning kayo-mood swings, twangey surf guitar licks and golden-screen theme decadence. It is a volatile mixture that sweats out psychic maze of sultry madness booming towards a cushion of asymetric grooves. that are filled with occasional haunting echoes and effects that take you back right into the action of the afore mentioned movies. Great butt-swinging Japanese decadence of a Golden Age that may never ever return. For some weird reason, this record is a bitch to dig up, been looking for a copy for over 10 years and finally have one to offer. Bloody great LP in top condition to be had for peanuts. Highest possible recommendation for the weird at heart!!!! SOLD

1913. 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

1914. 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
1915. 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
1916. 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
1917. 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
1918. VAN DER GRAAF GENERATOR: “Pawn Hearts” (Charisma – CAS-1051) (Record: Excellent/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Mint) 1st original 1971 press on the pink Charisma label. Comes with the always-missing insert. Intense third album and there most renowned due to King Crimson guitarist Robert Fripp helping out. Still that didn’t prevent Pawn Hearts to turn into a confusingly heady trip. On "Man-Eng," Peter Hammill showed off his operatic chops over processional keyboards and rollercoaster drums, then yowled, "How I can be free!" during a stampeding middle section that evolves into six minutes of kiting sax and keyboard abstraction. And the 23-minute "A Plague of Lighthouse Keepers" makes King Crimson sound like the Ramones, with its gaping, spacey interludes, free-blown solos, jarring shifts, and lyrics like, "When you see the skeletons of sailing-ship spars sinking low/You'll begin to wonder if the points of all the ancient myths are solemnly directed straight at you." These guys tried to channel all the myths at once, quelling the darker side of the progressive rock firmament and unleashing a deep subterranean high-tension experience that makes you feel like being engaged in trench warfare. Absolutely magnificent! Great condition. SOLD
1919. VAN DER GRAAF GENERATOR: “Still Life” (Charisma – 6369 976) (Record: Near Mint/ Jacket: Near Mint). Original German pressing in outstanding shape. Like any other VDGG recording, this one is equally essential and obligatory mind food. Peter Hammill rules the waves!!!! SOLD
1920. 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!!!!!
1921. 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!!!!
1922. VAN MORRISON: “Astral Weeks” (Warner Pioneer – P-4704W) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). White label PROMO issue, 2nd press issue, Japanese pressing. 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. Absolutely a classic, so beautiful it hurts. Totally essential on all fronts!!! Top copy, Promo white label with obi, what can you possibly ask more for? SOLD
1923. 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: 125 Euro
1924. 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

1925. 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

1926. 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: 175 Euro

1927. 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

1928. 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
1929. VANITY RECORDS – 2 LP SET BOX: “Vanity Music – Various Music” (Vanity Records – Vanity-0010~0011) (2 LP Record Set: Near Mint/ Gimmick Outer Box Set: Excellent/ All 5 Inserts: Near Mint). Complete copy with all the inserts and in great condition rare 2 LP box set on illustrious label. Vanity Records out of Osaka, run by Agi Yuzuru, was responsible for birthing out new sounds and labeling this new style of sounds “techno-pop”, a term Agi used to describe Eno-produced bands such as the Talking Heads and DEVO. Techno-pop would eventually achieved international fame via the Yellow Magic Orchestra. Inspired by the punk movement and the mass of independent labels that boomed in its wake in London and New York, Agi started Vanity Records in 1978 and released in total eleven LP’s, three singles, twelve flexis and six cassettes. Each of Vanity’s releases was limited to a run of 300 to 500 copies. The item here is an amazing 2 LP set crammed to bursting with primitive, murky minimal electronics. The set gives an overview into the label’s stock-in-trade musical philosophy, which was centered on raw, electronic experimentation which sounds impressively contemporary when put up against current glitch, minimal techno and laptop artists. The music on the other hand consisted out of various home-recorded materials by totally obscure and anonymous artists. It featured in total 13 groups such as Pessimist, Unable Mirror, MR, Anode/Cathode (see Pinakoteca label), Kiiro Radical, Tokyo, Daily Expression, Plasma Music, Nose, New York, Arbeit, Isolation and Nectar Low. Most of the recordings that ended up on this compilation were low-fi electronic music exploits that are at times quite interesting. In short fantastically zonked minimal synthesizer buzzing gems, light-years ahead of their time. Totally elusive and never offered for sale before ultra rare item, the rarest issue/ edition on the ultra collectible Vanity Records label. Top copy of rare and in demand title SOLD
1930. VASHTI BUNYAN: “Some Things Just Stick In Your Mind – Singles and demos 1964 to 1967” (Fatcat Records – FATLP-59) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint). "Some Things Just Stick In Your Mind" comes as another look back however, this time delving into Vashti's archive of pre-Diamond Day recordings. The collection's title is taken from her debut single - a song written by Mick Jagger and Keith Richards (Vashti had been taken under Andrew Loog Oldham's wing in the mid-'60s), sounding dramatically unlike the kind of rustic, pastoral sounds you'd associate with the eventual debut album. The upbeat, fully orchestrated sound that characterizes 'Some Things Just Stick In Your Mind' seems entirely at odds with the infinitesimally gentle, uninflected tones of Vashti's voice, but as the sleevenotes point out, at this point in time Ms. Bunyan wanted to integrate her quiet acoustic music into the established mainstream vocabulary. After this first single proved to be something of a commercial failure, Vashti stripped her sound back to a far more intimate setup of guitar, cello and voice on 'Train Song'/'Love Song', providing the first indications of the music that was to define her career. Three more unreleased singles appear on this first half of the collection, including the magnificently festive, beat-driven pop of 'Coldest Night Of The Year', which deviates about as far from Vashti's signature sound as you could imagine. The second half of the collection compiles demos dating back to 1964, containing unaltered recordings found on long-lost tape reels. This stuff, as you'd expect, provides an extremely intimate, unadorned representation of Vashti's songwriting, and finds her uniquely soft, even voice in its very finest form, with tracks like 'Autumn Leaves' and 'If In Winter' delivered with a pure, unfettered grace. Highly recommended.” (Boomkat). SOLD
1931. 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
1932. 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
1933. 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: 150 Euro
1934. 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
1935. 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: 150 Euro
1936. 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
1937. 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
1938. 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
1939. 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
1940. 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

1941. 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

1942. 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
1943. VON SCHLIPPENBACH, ALEXANDER: “The Living Music” (Quasar – HO-1) (Record: Excellent/ Jacket: Excellent – has some foxing faintly visible against white background of the sleeve). 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 great condition. A dash below the condition of the one listed above but still in awesome shape. Beautiful original pressing of head twisting free jazz cornerstone recording and so damned hard to find in its first press state. SOLD
1944. 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