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

2209. 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

2210. 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!!!!

2211. 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

2212. 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

2213. UNIVERSAL EXPRESSIONS: “Roach Om” (United Sound – USR-4626) (Record: Near Mint ~ Mint/ Jacket: Mint, still housed in original shrink). This baby was sealed when I wheeled it in, so I let it breathe a bit and dropped the needle twice on the virginal record. Original 1971 US private press of excellent spiritual jazz slide. Universal Expressions’ is a superb, yet super obscure privately pressed album by a group spearheaded by poetess Roach Om hailing from the Bay Area. It’s quite tough to find proper information about any of the players involved or the album itself, not even the exact year this was pressed. All I can say is that this is a seriously deep and very funky spiritual jazz monster of the highest order, containing some gorgeous female afro-centric spoken word, rap-like vocals not unlike, for example, Camille Yarbrough or Sarah Webster Fabio. Sound-wise this could have easily been released on Strata East. Rumored to feature players from (Oneness Of) JuJu. Roach Om later on released one more Lp but had drifted by then into some deep gospel realms. But here she is flanked by stellar jazz cats and delivers a cornerstone spiritual free jazz slide that is nothing but totally intoxicatingly great. Top condition US original pressing, impossible to ever upgrade upon! Price: Offers!!!!
2214 UNNATURAL AXE: “Is Gonna Kick Your Ass” (Alternative Action Product – ISRC FIAAR-9900001-15) (Record: Near Mint/ Jacket: Near Mint/ Picture Insert: Near Mint/ Poster: Near Mint). Released in 1999 and comes complete with insert and poster. Awesome punk band from Boston and I quote you a review from an expert of the Boston punk scene: "It is 1977. A scruffy neighborhood of Boston sprouts a band of naive working-class kids who think they can shake up the world with their personal take on the punk rock experience. Not content, or possibly even competent enough, to be another Jam clone or a Clash clone, Unnatural Axe bash out their own brand of two-chord and three-chord rock, and crank it up extra high. Throughout 1978 and 1979 the Axe were playing regularly in New York, and at Cantone's, the Rat, and the Space in Boston as the opening act for the "big" UK and US new wave acts of the time. Their strangest billing must have been opening for The Police at the Rat in Kenmore Square. It is truly unfortunate that Sting squandered this "turning point" opportunity to learn the essentials of punk rock from Boston's finest. Sting's only question of the Axe vocalist: "Did you poop?" But such is the fate for the greatest moments of brilliance of our times: few people recognize it. The big club owners didn't see it and the major record labels didn't hear it. After two short years, the Axe packed it in. As a result, the Unnatural Axe discography is small, but what recordings do exist provide the documented proof that the Axe were, and shall always remain, the most important punk band Boston will ever call its own." (Monsieur Michel Bastarache). Absolutely Killer!!! Price: 35 Euro
2215. 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
2216. 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
2217. The UPSETTERS: “Blackboard Jungle Dub” (Clocktower Records – LPCT-0115) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Us first original press issue in top condition. “On Blackboard Jungle Dub, Lee Perry and the Upsetters produce another fine example of their subversive brand of dub with a unique blend of murky rhythm tracks, warbling guitar effects and distant-sounding horns. Although it does not quite match the quality of the classic Upsetters album Super Ape, Blackboard nevertheless impresses with both the brevity of "strictly" drum and bass cuts such as "Dreamland Dub" and "Kasha Macka Dub," and expansive touches like the animated DJ toasting on "Cloak A Dagger (Ver. 3)." Living up to the "Upsetter" moniker, Perry wreaks his inimitable brand of mayhem during "Fever Grass Dub" with a half-baked MC intro, lion roars and air raid siren imitations; effects which blend in well with other eccentric features like the spastic trombone solo on "BlackBoard ver. 2" and reverb-heavy percussion on "Cloak a Dagger." Just standard technique for Perry really, and part of the sound which made his productions instantly recognizable amongst many '70s and '80s dub releases. Blackboard Jungle contains classic dub taken to the outer limits and is one of the highlights of the Lee Perry catalog.” (AMG). This was the very first pressing with the sunset label. Awesome condition – hard to improve upon. Price: 175 Euro
2218. The UPSETTERS: “Scratch And Company – Chapter 1” (Clocktower Records – LPCT-0114) (Record: Near Mint/ Jacket: Near Mint). Top notch condition original pressing!!! Placed within legendary reggae producer Lee Scratch' Perry's prolific discography, The Upsetters Chapter 1 stands out as one of the eccentric genius's most interesting, adventurous works. Using a combination of established collaborators and new musicians, Perry creates a classic dub record that pulses with deep bass, echoing percussion and dissonant sound effects. Spiritual cuts (When Jah Come') are balanced by grand dub productions ( Tighten Up'), creating a cohesive, infectious sound that rivals the Upsetter's finest material. In short, this is pivotal Black Ark material blessed with brilliantly tripped out echoey dub production and scorching instrumentation laid down by the mighty Upsetters! Split roughly in half between Perry's nicely gritty instrumental mood-craft and hazy vocals, it features some uber prime Upsetters material. It's all here – heavily rumbling bass grooves, tripped out, though spiritually resonant vocals and just enough of smoky haze without getting too thick to breathe. Top condition 1st original pressing! Price: 150 Euro
2219. URABE MASAYOSHI: “S/T” (PSF – PSF-81/ LP) (Record: Near Mint/ Jacket: Near Mint) Long time no see…Released back in 1996 in a tiny run of merely 300 copies, Urabe’s first ever released disc has by now gained an almost legendary status, music-wise as well as collectible wise. The 300 copies were quickly snapped up, making that the record disappeared as fast as snowflakes being engulfed by an invading army of blitzkrieg-like all incinerating microwave directed Sahara solar winds. So this day, the disc is way harder to track down than all your Fushitsusha/ Haino and Abe Kaoru records all together. And believe me kiddies, this situation will only get worse in the years to come, when one finally comes to recognize the grandeur and splendor of Urabe’s talent. Armed with violent alto saxophone outburst that are flanked by deafening roars of utter silence, the musical landscape Urabe draws out is one where all extraneous notes and superficial sounds are stripped away and reduced to the bare minimum. He evokes a very minimal, but nevertheless rich in tonal color sonic palette that sounds more hardcore, right in yer face than any other improviser currently active on the scene. Squealing out high keening notes, sparkling clusters of micro-tonal sound atoms and all incinerating huge washes of well balanced chunks of silence hovering in space, Urabe succeeds in unfolding and defining one of the most hardcore-heavy-duty -free-form-fire-music discs ever to be released. Extreme shit and collectible. These have been vanished since some time now so…. Price: 100 Euro
2220. 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

2221. 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: 150 Euro

2222. VALENTE, DINO: “S/T” (EPIC – BN-26335/ XEM-119677) (Record: Mint/ Jacket: Mint still sealed and housed in shrink with Dino Valente name embossed on the shrink) Bloody rare US white label promo pressing & PROMO ONLY MONO issue by ex-Quicksilver Messenger Service kingpin.. First original press issue that came out in late 1969. Top copy, fully sealed with Dino’s name embossed upon the shrink. Rarely turns up at all – especially a sealed MONO only PROMO issue. Brilliant solo album, every song is a winner and especially Valente's cover of "Me & My Uncle" rips like no other. Dino Valente's sole album recalls the one issued by another San Francisco artist signed to CBS in the late '60s, Skip Spence: quirky, lyrically vague, folky yet psychedelic, and nearly devoid of commercial potential in spite of its largely pleasant (if moody) melodies and textures. Valente, however, was not as intriguing a lyricist as Spence, nor as intensely soulful a vocalist, and overall much sunnier in tone. Valente had a rather whiny voice, so it was wise to put so much echo on both his 12-string guitar (which accounts for most of the instrumentation on the record) and vocals, which both covered up some of his vocal deficiencies and added a sheath of mystery. Listening to his songs is like listening to some hippie trying to talk a vulnerable, confused, attractive girl, on the rebound from a failed romance, into taking up with him as a panacea to her problems: phrases are uttered and rejoinders offered, but one can't be sure exactly what the situation is or where it's leading. It's not the insufferable experience this description might lead you to expect, mostly because of the enticing (if similar-sounding) melancholy of the tunes. Definitely a dessert island record for me. Price: Offers!!!
2223. VALLE, MARCOS: “Vento Sul” (Odeon – SMOFB-3725) (Record: Near Mint/ Jacket: Near Mint – still housed in original plastic outer/ 4 Paged Insert: Near Mint). Top condition Brazilian 1972 original pressing. “During the hot Brazilian summer of 1971, Marcos and Paulo Sergio Valle, along with their significant others and six additional couples, rented a few modest fisherman shacks in the small village of Búzios to escape from Rio’s more populated beaches. The focus was making music and soul searching, as was the practice for affluent young hippies back then. They stayed for two months. “I wanted to go in a new direction,” says Marcos looking back. “I wanted to try out a rock influence and to risk a little bit more.” Shifting away from the studio musicians used on 1971’s Garra, Vento Sul was a rewarding collaboration with Brazilian progressive rockers O Terço. Originally released in 1972, Vento Sul not only channeled the Búzios beach bum vibe, but also manifested a floating dream like psychedelic sound.Elevated by a strong union between Valle and O Terço, Vento Sul’s magical spell of an album is a welcome addition to any South American friendly record collection and sits proudly with the best of Brazil. File after Os Mutantes and before Caetano Veloso.”(LITA). Top condition original Brazilian press issue, complete with insert booklet. I do not believe they come any cleaner than this copy here and you know how hard it is to dig up pristine Brazil original pressings from that day of age. That aside, all filler no killer LP here, it blows psychedelic sunshine straight up your starfish. Best condition imaginable!!! SOLD
2224. VALLE, MARCOS: “Samba ’68” (Verve – 710 017) (Record: Near Mint/ Jacket: Near Mint). Great sounding German original press of classic Valle slide. A vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout that wears its dated sound quite well. Valle interprets eleven of his own songs, including Brazilian standards like "Chup Chup, I Got Away," "Batucada," and "So Nice (Summer Samba)," as well as new tracks like "Crickets Sing for Anamaria" and "The Answer." The vocal harmonies of his wife provide a beautiful counterpoint to Valle’s voice on several tracks, making this one one of the most enjoyable Brazilian crossovers of the 1960s.Price: 40 Euro
2225. VALLE, MARCOS: “Previsao Do Tempo” (Light In The Attic – LITA-093) (Limited Edition Only Blue Wax Record: Mint/ gatefold Jacket: Mint, still housed in Shrink/ Booklet: Mint). Limited edition of only a few hundred for Japan that came pressed on blue wax. “Showcasing a groovy funk and jazz-fusion influence with help from then current backing band Azimuth (later known as Azymuth), synthesizers, Fender Rhodes, and electronic sounds took Valle’s samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), along with the inspiration of black American music and psychedelic rock from prior albums, to dimensions unheard. While not a complete departure, the vocals, grooves, and engaging songs of Previsão Do Tempo are guaranteed to make you feel free and think deep. Previsão Do Tempo was originally released in 1973 and quickly became a favorite of Valle disciples. Still committed to political/cultural criticism through his music, Marcos was reaching a plateau in terms of sound and vision (Previsão Do Tempo sports an arresting sleeve shot of Marcos underwater and also features contributions from Waltel Branco and O Terço).” (Light In The Attic). All time classic – limited issue on blue wax for the Japanese market. Price: 85 Euro
2226. 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
2227. 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

2228. The VAN DOGS: “Go Run” (Union Records – UPS-5144-J) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). Anyone with a healthy interest in the Japanese psychedelic underground will now by now that you cannot surpass the GS. Hell, I would even go as far as stating that true Japanese psychedelia is mainly confined to nothing but GS since those bands were brimming over with originality although most inexperienced ears easily slag off the whole movement as just a copycat fashion whim. Nothing however is further removed from the truth than such a nitwit statement and this disc here should proof that. The Van Dogs were an obscure unit that released two LP’s and a clutch of only 4 singles. Their biggest stake to fame probably comes from the fact that they harbored Panta of Zunokeisatsu. Still here we inhabit a totally different world. This record here in question was their first release and is now ranked amongst the rarest GS artifacts, especially since clean copies such as this one just do not surface. The group’s best remembered live act was that they always brought on stage with them their pet bulldog, pictured here on the jacket of their 1st LP. The Van Dogs originated out of the in 1959 erected rockabilly band Okada and the Caravan. From 1963 on, they began performing as the backing band for Yoshi & Sharp Hawks but around 1964 the whole folded up into an eleki outfit. By April of 1967 the Van Dogs recorded their debut LP for Teichiku/ Union Records. And altered their name in Van Dogs, named after Van, their beloved pet dog. They gigged mainly in and around jazz kissa but sadly enough the vanished from the scene around 1969 and were never heard off again. Their sound is centered around surf inspired fuzz guitar licks, spiced up with a demented and totally off the wall cheap organ swirls, all set against a steady and up-tempo backing. The Van Dogs certainly kicked ass, the organ sounds like it is been played by an Alzheimer patient high on laxatives and downers, while the guitarist churns out burning licks as if he was high on kerosene fumes and cheap pussy. The rhythm section is as straight as a Columbian drug cartel posse, impossible to move and stiff from snorting too much washing powder. Just so great! Prozac fermented surf trash for the elderly insane who can barely remember their name. That kind of music. Just top-class act. The record is a rare one. Awesome condition Price: 400 Euro

2229. 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!!!!!
2230. VAN MORRISON: “Astral Weeks” (Warner Bros. Japan – BP-8790) (Red Wax Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Impossibly rare and never offered before Japan original 1971 TEST PRESSING with white stamped labels and pressed on RED WAX. Comes with hideously rare very first press issue OBI as well!! “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 Japan first original white label with stamped catalogue numbers test pressing on red wax. Comes with the OBI as well so….Price: Offers!!!!
2231. VAN MORRISON: “Moondance” (Warner Bros. Japan – BP-8960) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Impossibly rare Japan very first press issue all complete with first issue obi in immaculate condition. Just about impossible to find very first press issue with obi, actually this is the very first copy I encounter in over 15 years! “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). Top condition, just perfect and next to impossible to upgrade upon. You know how rare this baby is so….give me your best shot and we will see where we end up. Price: Offers!!!!!
2232. VANNIER, JEAN-CLAUDE: “L’Enfant Assassin Des Mouches” (Suzelle – JR-9414) (Record: Near Mint/ Gatefold Textured Jacket: Near Mint). STEREO TOTALE!!!! Comes with the rarely seen killer hype sticker present. Original French 1st pressing in top condition. “Jean-Claude Vannier is best known in Europe (and all but unknown in the United States) as a celebrated composer of film scores, and as an arranger and producer of French pop music, he has worked with everyone from Brigitte Fontaine to Francoise Hardy To Johnny Hallyday. He is also known among music aficionados as the genius-arranger behind Serge Gainsbourg’s classic concept LP Histoire de Melody Nelson. That recording, with its bizarre and otherworldly blend of musical and non-musical sources, which effortlessly wound rock, jazz, pop, found-object music, avant-garde, and even funk into a seamlessly, utterly disconcerting whole, has been sampled worldwide by hip-hop artist and has been listened to with reverence by virtually everyone who's ever heard it. L’Enfant Assassin des Mouches ("The Child Killer of the Flies") is Vannier’s first solo recording, and an underground Francophone (and now worldwide) classic. Inspired by the work he did with Gainsbourg on Melody Nelson in 1972, he and his ensembles Insolitudes, set out to create his own concept work, blending everything he'd been working on and extending his range with total studio and aesthetic freedom. This suite, comprised of 11 parts (with truly weird and creepy track introductions by Gainsbourg), is a wonder, a truly strange bit of '70s musicalia. This set is the terrain where soundtrack music, classical music, gauche pop, hard rock, French café music, Middle Eastern modal music, vanguard musical iconoclasty, and sound effects collide, stroke, and ultimately come into union with one another -- often in a single cut. This music is alternately violent, garish, tender, elegant, silly, and gritty. Vannier plays piano, clavinette, and flutes, and directed the orchestra. The strings here are the result of a multi-tracked string quartet sounding like a 10001 string orchestra. He used three guitarists, electric bass, a single drummer and two percussionists, a reed and brass section, an accordionist, and a choir to achieve this. Its seamlessly beautiful yet hideous juxtapositions should never have worked, but they become the face of something so far beyond their individual parts that the end result is singular in both conception and execution. L’Enfant Assassin des Mouches is to music what surrealism was to literature: a bold new step that has been unmatched in vision and unequaled in performance since it was recorded. Highly recommended to anyone interested not only in soundtrack music, but in anything adventurous. This is a truly underground classic.” (Thom Jurek – All Music). Top original copy in almost virginal condition, hardly if ever offered in such pristine nick as this copy here and without a doubt one of the best records to seep out of France in its genre. Just bewilderingly awesome. Price: Offers!!
2233. VELVET CRUSH: “One Thing Two Believe b/w If Not True” (The Busstop Label – BUS007) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Insert: Near Mint). Original US pressing of amazing post punk slide. Comes housed in iconic picture sleeve design! Price: 50 Euro
2234. 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
2235. 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: 150 Euro
2236. 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
2237. 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: 150 Euro
2238. 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
2239. The VELVET UNDERGROUND: “VU – Collection Of Previously Unreleased Recordings” (Verve/ Polydor Kabushikigaisha – 18MM.0611) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press issue all complete with obi. The 10 tracks of VU (most of which originally intended for The Velvet Underground's unreleased fourth MGM/Verve LP) were recorded between 1968 and 1969. A slice of Velvet Underground that's almost as essential as the group's first few albums for Verve – material recorded during those years, but never issued at the time – finally put together in a legitimate package in the mid 80s, after years of circulating around as bootlegs! The songwriting here is really great – a strong extension of the group's work on White Light White Heat and their third, self-titled album – especially the latter, because there's some nicely sweet and spacey moments. Titles include "Stephanie Says", "Ocean", "I Can't Stand It", "Foggy Notion", "I'm Sticking With You", "Temptation Inside Your Heart", "Lisa Says", "One Of These Days", "Andy's Chest", and "She's My Best Friend". Price: 75 Euro
2240. The VELVET UNDERGROUND: “Screen Test: Falling In Love With The Falling Spikes” (Shining StaRecords - DOM 001) (Record: Near Mint/ Jacket: Near Mint). Top copy of the legendary old skool boot that came out in 1985. Matrix DOM-001-A1 / DOM-001-B1. It's my understanding that this issue with a blue & black/white cover dates from 1985 and is the first edition of this material. Top condition and totally evaporated classic VU recordings. Price: 150 Euro
2241. The VELVET UNDERGROUND: “Live At The Gymnasium” (Velvet Records – GYM-001) (Record: Near Mint/ Jacket: Near Mint). It's not certain on what date this nearly hour of unreleased live material was recorded at this New York club, or even whether it all comes from the same performance. However, it certainly isthe best-sounding live tape of the Cale lineup (evidently missing Nico on these performances), and one in which the vocals and lyrics can be clearly understood, despite some sonic imperfections. Highlights include the only good-sounding full '60s performance of "Sister Ray" with Cale; "I'm Not a Young Man Anymore," a song of which no other version exists (though it's not the greatest tune); a six-minute "Run Run Run" with more extended instrumental breaks than the studio version; and a great version of the relatively straightforward hard rocker "Guess I'm Falling in Love" that's superior to the one (also cut live at the Gymnasium in April 1967) on the Peel Slowly and See box. SOLD

2242. VICTIMIZE: “Where Did The Money Go - Innocence b/w Baby Buyer – Hi Rising Failure” (Last Year’s Youth Records – LAST-17) (EP Record: Near Mint/ Picture Sleeve with 8 Paged Booklet: Near Mint). Nice and scarce reproduction limited reissue from days long gone of this classic and full frontal fantastic punk slide. Released in 2004 in a numbered edition of 500, this one being number 221. Price: 35 Euro

2243. 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
2244. The VILETONES ’77: “Screamin Fist b/w Rebel” (Man’s Ruin Records – MR-055) (Single Record: Near Mint/ Thick Card Gatefold Picture Sleeve: Near Mint). Long gone reissue that came out way back in 1997 of Totono, Canada’s greatest Punk Rock band, the Viletones. The a-side’s a great, high-energy moronic punk banger that’s surprisingly tough for 1977; “relentless” is an over-used term in a genre defined by the two-minute-or-less song, but the word certainly fits here. On the flip, “Rebel” is a raw but engaging mid-tempo punker with its sixties roots showing, reprising the quick-paced ranting of the first number. Just a killer punk rock single in the purest form– Highest recommendation!!! Price: 20 Euro
2245. VIOLENT FEMMES: “Hallowed Ground” (London/ Slash Records – L25P-1201) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Promo issue – Japan original pressing from 1994 with rare obi present. “After the surprise success of their landmark debut, Violent Femmes could have just released another collection of teen-rage punk songs disguised as folk, and coasted into the modern rock spotlight alongside contemporaries like the Modern Lovers and Talking Heads. Instead they made Hallowed Ground, a hellfire-and-brimstone-beaten exorcism that both enraged and enthralled critics and fans alike. Like Roger Waters purging himself of the memories of his father's death through The Wall and The Final Cut,bandleader Gordon Gano uses the record to expel his love/hate relationship with religion, and the results are alternately breathtaking and terrifying. Contrary to initial public response, Hallowed Ground is not a parody. Gano, the son of a Baptist minister, may wear his faith like a badge of honor, but it's a badge, not a shield, and what keeps the songs so volatile is the fact that they're filtered through the eyes, ears, heart, and loins of a teenager. Like the first record, all of the songs on Hallowed Ground were written during Gano’s high-school years -- he was barely in his twenties when it was released -- resulting in a perfect rendering of the sweetness and brutality of the postpubescent teen, especially on the album's centerpiece; a searing indictment of loyalties broken and the snitches that break them, "Never Tell" is the perfect balm for the bloody righteousness of youth, and when Gano screams, "I'll stand right up in the heart of Hell/I never tell," it's hard not to stand right beside him. Christian imagery aside, Hallowed Ground is not as polarizing as some make it out to be. The band explores gothic Appalachian folk and child murder on the banjo-fueled "Country Death Song," bawdy and bluesy Lou Reed-inflected infatuation on "Sweet Misery Blues," and nuclear holocaust on the brooding title track, leaving little doubt that this is the same band that penned underground classics like "Gone Daddy Gone" and "Add It Up." Even the decidedly politically uncorrect "Black Girls," with its free jazz mid-section that includes everything from jaw harp to the screaming alto sax of John Zorn and the Horns of Dilemma is full of the same smirk and swagger that made "Blister in the Sun" the soundtrack to so many people's halcyon days. The Femmes are nothing if not true to themselves, and Hallowed Ground is a testament to their tenacity, courage, and sheer obliviousness to industry ogling. Each track is as naked as it is bursting with ideas, and as the landscape changes, the band changes with it, leaving the listener at a crossroads; with each incantation, growling invective, and honey-whispered promise, they're forced to either jump off the gospel train or ride it along with them into the mouth of Hell.” (All Music Guide) What a slide, it ruled my youth and still stands proud as one of the most important records in my collection. Brutally beautiful from start to finish, not many recordings are so important and perfect as this one. Bloody rare Japan original with OBI! Price: 150 Euro
2246. 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
2247. 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
2248. 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
2249. VITET, BERNARD: “La Guepe” (Futura – SON-05) (Record: Near Mint/ Jacket: Near Mint). One of the rarest releases on the legendary label and also one of the best in my humble opinion. Bernard Vitet was a key figure in the French free jazz / improv scene of the early 70’s. This mythical avant jazz LP is the result of a truly magical session Vitet put together in December 1971. Setting up around the concept of what he called a “free-dada-surrealist” ensemble/ group, Vitet embarked on creating a polyphonic adventure build up around a text by Francis Ponge. Central is the voice of Françoise Achard, around which Jouk Minor (reeds and “bizarre” instruments), François Tusques, the double bassist “Beb” Guérin, the composer Jean Guérin and the trumpeter (violinist, horn player, pianist, vibraphonist) Bernard Vitet invented an unattainable sound object in order to birth out an instantaneous musical drama of theatrics, sounds and words. The end result is quite a challenging excursion into free improvisation. This is not just your standard free jazz honk from the early 1970s but instead incapsulates it with even bridging over into the realms of 20th Century avant-garde/ experimental sound detail that would not have been misplaced on some of the most memorable albums on the Italian Cramps label. To these ears, “La Guepe” is one of the true high-water marks on the legendary Futura records imprint, cementing the creative genius that was Vitet while no one was listening. Price: Offers!!!!
2250. VITOUS MIROSLAV: “Purple” (CBS SONY – SOPC-57101 J) (Record: Near Mint ~ Mint/ Jacket: Mint – still housed in shrink/ Cap Obi: Mint – still housed in shrink). Japan only release, this is the very first 1970 press issue all complete and in top shape. Killer slide from bass great Miroslav Vitous, recorded shortly before Weather Report was formed. Vitous and Billy Cobham are on all five tracks, Cobham is typically awesome, and Vitous is showing off considerable range, including quite a bit of bowing. Joe Zawinul plays electric piano on the first two tracks, while Vitous himself plays keys (as well as bass) on two of the last three. A subdued John McLaughlin also throws in some shredding guitar work. One during an interview, Vitous commendted on Purple: “I made that album after Infinite Search. I was working with David Baker, the engineer, and was experimenting with different musicians and material. I had Billy Cobham, John McLaughlin and Joe Zawinul there. They experimented with me. After six months, I thought I had enough material and put together an album. I think there is some excellent music on it. Purple was made before Weather Report started, but you can already hear some material that we later played with the band. There’s a song called “Water Lily,” which has an identical skeleton to a piece we recorded with Weather Report called “Morning Lake.” There’s another Weather Report piece called “Seventh Arrow” that was also on Purple. There was a development of the material on Purple that ended up in Weather Report. It was a stepping stone.” Japan only issue, very first pressing in top shape. A head shredding slide that totally vanished…SOLD

2251. 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: 575 Euro

2252. 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: 150 Euro
2253. 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
2254. 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
2255. 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