RARE RECORDS CATALOGUE

1249. UC HUREL or 3 HUREL: “S/T” (Diskotur – DTLP-29/ DTLP-10.003) (Record: VG++ ~ Excellent, has some scuffs but plays great/ Flimsy Extremely Fragile Jacket: VG++) First album by this amazing Turkish folk psych band. Plays between VG++ and EX, only some faint surface noise between tracks and 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 1^st 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. I take no prisoners with these one so …. Better to move in now quickly and swift for the kill and hold your peace forever. Price: 300 Euro

1252. UMEMIYA TATSUO: “Furyou Bancho” (Teichiku Records – ASL-1) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Near Mint/ Attached Booklet: Near Mint). Totally top copy of this biker actor enka oddity. Umemiya was a famous actor, starring in a large amount of roles and mostly portraying the good looking biker bad boy. if you want you can describe him as the male counterpart of Kaji Meiko during the early seventies. He also made one enka record that is regarded highly by most Japanese due to his rather good vocal skills, the gorgeous outlaw biker jacket with attached picture booklet and its cult stature. This copy is complete with all attached and is top notch. A rarity indeed and should apply to Kaji Meiko fans, underground pink violence sixties flicks lovers and just cool enka lovers. Recommended and rare. Price: 50 Euro

1255. 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

1256. URABE MASAYOSHI: “S/t” (PSF – PSF-81/ LP) (Records: Mint/ Jacket: Mint) 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 ultra collectible. Here you have a stunning unplayed mint copy. Won’t turn up again any time soon in such a pristine condition so do not sleep too long over it. Price: 70 Euro

1257. URABE MASAYOSHI: “Jyu-U (A Brute)”, (Self Released/No Label No Cat 2xLP.) (Vinyl: Near Mint = Unplayed/ Gatefold Sleeve: Mint/ Insert Mint) Stunning copy of this impossible to find, long-gone self-released double album from the exhilarating and intense young alto saxophonist Masayoshi Urabe. With scalp-shearing performances from 1987, 97 and 2000, this album was only available direct from the saxophonist himself and was pressed in a minuscule edition of 100. This is hand-numbered 84/100. Beautiful, delicate, fold out package. Very rare. “For all the talk of Japanese saxophonist Masayoshi Urabe’s eviscerating power, he has a beautiful voice on the saxophone, a forlorn castrato, and his staggering control of the upper reaches of his horn results in some of the most emotionally articulate playing of any contemporary saxophonist. Much more so than his shadow, the late altoist Kaoru Abe, Urabe is interested in immediacy of communication and perhaps this is why he sees his spiritual allies as coming more from Rock – he’s a huge Lou Reed fan - than jazz. Still, by the very fact of the saxophone in his mouth, there are echoes of other horn-wielding musicians, whether unconsciously channeled or not… but it’s Urabe’s expressive use of silence that most marks him off from anyone else, the way he holds a sound in his lungs for minutes before allowing it all to come screaming out, as if in an attempt to re-connect long-fried synapses, to tear a piece of himself back from the past. Despite the violence of his delivery the prevailing mood is deeply melancholic, with huge sections of nothing serving to supernaturally magnify the significance of the slightest gesture,” The Wire. For fans of Free Jazz, Improv, Keiji Haino, Kosokuya, Masayuki Takayanagi, Evan Parker, Albert Ayler, Acid Mothers Temple, Chie Mukai, Ghost, Fushitsusha, Mainliner, Musica Transonic, High Rise, White Heaven. Copies change hands here in Japan for 400 Dollars these days, this one you can get for a fraction of the current market price. My last copy, after that it is all gone. Edition of only 100 copies so bound to be the best investment you will ever make, but that aside the music is even better, if not stellar. Will blow you to kingdom come. Best copy in existence probably? Price: 375 Euro

1258. URABE MASAYOSHI & CHIE MUKAI: “Dual Anarchism” (Siwa) (Wooden Box: Mint/ Silkscreen Jacket: Mint/ Record: Mint/ Video: Mint/ Case: Mint). Released as an artist edition in a run of ONLY 20 copies. Edition of 20 copies long gone and out of print. This one is numbered #14/20. The record, housed in a handmade textured gatefold jacket comes housed in a huge handmade black wooden box where it slips into. Upon taking it out the box revels a videocassette that give you visual splendor of this gig. “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 between1990-2001 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 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. This is a vinyl only edition of 400 copies and comes in a silk-screened sleeve.” (Label description). Glorious, devastatingly beautiful, challenging clash of two titans of the Tokyo underground. Highest recommendation. Price: 500 Euro.

1259. URABE MASAYOSHI & MUKAI CHIE: “Dual Anarchism” (Siwa – Siwa#9) (Record: Near Mint/ Silkscreen Jacket: Mint/ Insert: Mint). Edition of 400 copies long gone and out of print. “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 between1990-2001 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 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. This is a vinyl only edition of 400 copies and comes in a silk-screened sleeve.” (Label description). Glorious, devastatingly beautiful, challenging clash of two titans of the Tokyo underground. Highest recommendation. Price: 25 Euro

1260. VALENTE, DINO: “S/T” (Epic – BN-26335) (Record: Near Mint/ Jacket: Near Mint). Top shelf copy of Dino Valente’s subliminal acid folk psych all time masterpiece. Yellow Epic Records label. Just a top-notch copy with no defects, so strictly graded as Near Mint to mint. Jacket is just mint with no signs of storage wear whatsoever. Comes with the original Epic inner sleeve Price: 150 Euro

1263. VAN DYKE PARKS: “Song Cycle” (Warner Japan – P-8095W) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Ultra rare Japanese press with obi. Comes with insert. Great original copy, Japanese press with obi of this historical recording where field recordings, psychedelic music, mondo elements and plain weirdness blend beautifully into one mishmash of sound. Stunningly beautiful copy and dead rare. Price: 125 Euro

1269. 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). Price: 40 Euro

1270. VASILISK: “Whirling Dervishes” (Eskimo Records) (Record: Mint/ Jacket: Excellent ~ Near Mint/ Insert: Mint). Very rare 1st ever Vasilisk LP released in a tiny run of only 300 copies. Following the demise and breakup of White Hospital, both of its key-members splintered off into Vasilisk and Grim. Tomosada Kuwabara started up the unit Vasilisk with Yukio Nagoshi (percussions/guitars) and Chiaki (percussions) and recorded their first album “Whirling Dervishes” in 1987, released through Eskimo, which was the label established by Jun Konagaya who by then had erected his Grim project. “Whirling Dervishes” is quite a mesmerizing recording on which the group employed a wide variety of unusual instruments such as African skin-drums, African flute, Tibetan percussions, Ancestor's voices, making them one of the first ritual bands combining ethnic tribal music with industrial undertones. Vasilisk took the noise aesthetics of White Hospital towards a next level and channeled it towards more industrial tinted realms, infusing it with minimal constructed textures of fragmentized sonic motion with silence and sound being an expression of ecstatic mystery. Still densely layered, it dwells more into the regions of hybrid ritualistic music infused with a gradual intensification of trance inducing soundscapes that move towards a cathartic climax without ever stranding into the quicksand of easy ethnic smash’n’grab. Instead eloquent gloomy ornamentation and esoteric cosmic phrasing seep through, making it a stupefying listening experience. Brilliant stuff. SOLD

1271. VASILISK: “Acqua” (Musica Maxima Magnetica) (Record: Near Mint/ Jacket: Near Mint). Third and last Vasilisk album, only released in Italy at the time. Following the fall-out of White Hospital and Grim, Vasilisk came into being, releasing three discs in total. Vasilisk took the noise aesthetics of White Hospital towards a next level and created still chunks of noise but this time leaned more towards the regions of minimal constructed textures of fragmentized sonic motion with silence and sound being an expression of ecstatic mystery. Still densely layered, it dwells more into the regions of hybrid ritualistic music infused with a gradual intensification of trance inducing soundscapes that move towards a cathartic climax. Brilliant stuff. Price: 50 Euro

1272. 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: 300 Euro

1273. VELVET UNDERGROUND & NICO: “S/T” (Verve - V6-5008) (Sealed Copy). Printed banana gatefold stereo copy with slight misprint on spine. Original 1971 pressing. 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 very nice, solid keeper copy; sealed copy. In all a stellar copy in great shape. Price: 150 Euro

1277. VINKO GLOBOKAR: “Ausstrahlungen – Fluide – Atemstudie” (RCA Red Seal – JRZ-2103) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 10-paged booklet: Near Mint). Released in 1973 on the legendary Japanese RCA red Seal imprint. Born in Anderny, France in 1934, Globokar made his debut as a jazz musician. Subsequently he studied trombone and received First Prize both in trombone and chamber music. He studied composition and conducting with amongst others Luciano Berio. Globokar has premiered a large number of trombone works composed by, among others, Luciano Berio, Mauricio Kagel, Karlheinz Stockhausen, Louis Andriessen and Toru Takemitsu. He has composed approximately 100 works for solo instruments, chamber groups, orchestra, chorus and theater. In 1969 he, along with C. Alsina, J.P. Drouet e Michel Portal, founded the free improvisation group New Phonic Art. “One could say that, as a composer, Vinko Globokar emerged unexpectedly and from nothing. His work have the qualities of a masterwork. He has always pioneered a way that runs far distant from the beaten path. Voice: by blending a variety of ways of using spoken voice and sung voice in an extremely original way, he has demonstrated that music is a language. Finally, the sound of the scream of terror is, along with other poetic qualities, the basis of most of his compositions. The complete instrumental and stylistic mastery which Globokar possesses has made him distrustful of any and all conventions. His inimitable contribution to contemporary music consists above all in the imaginative use of classical musical instruments and of non musical objects. From his earliest years in Paris, Globokar understood that collective interpretation represents an extremely complex exercise in social and spiritual communication. This is another central point of his inspiration. All of this, of course, is not produced in the isolated universe of a glass menagerie. Globokar's music absorbs the world in order to transform it. His watchword is function and this applies both to the means and to the end. Beyond all of the sensual experience, the fundamental themes such as power, emigration and resistance must all possess this quality which, at one point, was ascribed to illuministic philosophy. To make this exercise succeed, one must remove one's ego. Only someone who really has something to say can succeed in this. The greatness of Globokar's work is owed precisely to this lack of vanity, babble and empty words” (Werner Knuppelhotz) A modern day masterpiece of avant-garde sonic that desperately needs a wider appreciation. Brilliant! Price: 45 Euro

1279. VISITORS: “S/T” (London) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1^st press Spanish pressing. Lead by France’s mastermind producer Jean-Pierre Massiera, Visitor’s sole album out of 1974 is a psychedelic nightmare that featured a super group of French veterans. Together this bunch of musical misfits was responsible for spewing out this rare dark and doomed laden psyched out progressive masterpiece. Complex over-the-top arrangements, violins from outer space, rubber burning guitar leads, doped up sacrilegious organ layers, twisted and utterly insane choral voices popping up from behind the shadows,…, this is definitely the shit. The LP also contains a super weird but almost alien-esque version of “Dies Irae” that will suck the air out of your room and make your eyes pop out of their sockets. Don’t tell me you haven’t been warned…..this is some seriously dangerous shit brother…Price: 450 Euro

1280. VLASMAN, TON: “White Rooms with Disintegrating Walls” (Flame Records) (Record: Near Mint/ Jacket: Near Mint/ Colorful Design Insert: Mint). Freakingly rare Dutch micro label release!! Top shelf drug induced acid folk dwellings with spun out long tripped-out tracks. Ton is either blessed or cursed with a voice that sounds just like Bob Dylan. His language barrier keeps him from coming close to anything as profound as Dylan wrote but it offers an interesting twist on this album. His cover of the Velvet Underground's Pale Blue Eyes is the closest you'll probably ever get to hearing Dylan cover them. The album is split distinctly into the vocal tracks and two long raga blues instrumentals that have a bit of Floydian overtones to their production. Both the vocal and instrumental tracks stand well on their own but compliment each other when placed into context. This is a real Dutch space folk monster from 1970. The title alone tells you where it's coming from! A wildly drug induced album full of dark psychedelia with folky overtones and exotic instrumentation. Great stoner hippie folk on the cosmic mystical level; full of weird urban folk and Indian effects!! When recording the LP, Ton was accompanied by Frans Schoonen (organ, flute and harmonica) and Leo v.d. Vugt (Chincha tumba and tambourine). Eye-peeling and acid leaking psychedelic fantasy cover art – all complete with the always-missing colorful design poster-like insert, which is almost all cases, is missing. Top-notch complete copy. Price: Offers

1281. VODKA COLLINS: “Tokyo New York” (Express) (Record: Excellent/ Fold Out Jacket: Excellent/ Insert: Excellent) One of my all time favorite Japanese glam psych discs, this sucker will burn black holes into your eardrums, so don't tell me you haven't been warned…..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 Japanand 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. A must, one of the greatest gem and widely overlooked Japanese rock artifacts. Interesting side note: it is said that the gorgeous female model to appear on the sleeve is no one else that Flower Meg, nude model and chanteuse who also delivered one hideously rare album. Allan Merrill sure know how to pick his entourage…..this records kicks ass and comes with our highest possible recommendation. Price: 175 Euro

1286. WALKER, SCOTT: “Scott 2” (Philips – SFX-7114) (Record: Excellent ‾ Near Mint/ Gatefold Jacket: Excellent / Attached 4-Paged Insert: Near Mint/ Obi: Near Mint). Bloody rare 1^st original Japanese pressing, complete with obi and attached insert. Comes in Japan only jacket art. Top condition. Price: 60 Euro

1290. WALKER, SCOTT: “Custom Deluxe” (Philips – FD-45) (Record: Near Mint/ Gimmick Cut Out Textured Heavy Gatefold Jacket: Near Mint/ Obi: Near Mint/ Attached 10 Paged Picture Booklet: Mint). Original 1^st Japanese pressing, the rarest Japan only Scott Walker release. Rare Japan only issue in amazing cover art of this subliminal Scot Walker album. I believe this one needs no introduction. All I can say is that Scott Walker still rocks my world as no other. Stuff of legends. Top-notch copy. Top copy. Price: 100 Euro

1291. WALKER, SCOTT: “Sings Songs From His TV Series” (Philips Japan – SFX-7174) (Record: Excellent/ Gatefold Jacket: Excellent/ Obi: VG++). Rare Japanese pressing in gatefold sleeve with OBI!. To an extent, Walker's first three albums balanced his contrasting identities: alongside Brel and dark melodrama, Walker included some lighter fare that would satisfy old fans. However, he rejected standard practices relating to singles: he selected his interpretation of Brel's bawdy "Jackie" as his first 45 and released it after his debut album, with "The Plague," a bluesy Camus-inspired number, on the B-side. It made the British Top 20. Nevertheless, his label had him cater to past fans with the second single, the insipid "Joanna." Then, on the Billy Cotton Band television show, Walker famously treated his easy-listening audience to Brel's "My Death" — at the time, quite radical. There were other compromises: in early 1969, the BBC gave Walker a television series on which he crooned schmaltzy covers, Brel numbers and a few of his own songs; this spawned the album here in question. With the success of his first three LP's, Philips had a cash cow on their hands, and as they usually do, rushed out this feat. Like any of Scott's albums, this one is according to my humble opinion also indispensable although many out there seem to find time to slag this one off. For me, there are no bad and only great Scott Walker albums and this one is no exception to that rule. Again greatness in disguise. Essential….Price: 40 Euro

1292. WATAZUMIDO: “Houchiku to Shakuhachi” (Polydor – LPJ-36) (10-Inch: VG++ ‾ Excellent/ Tip Back Jacket: Excellent). Watazumido’s first ever released early 1960s 10-inch record. I believe judging on the catalogue number that this one was released as early as 1962 and it contains the first ever recordings by the then still unknown Watazumido. Of course this is the original pressing of that day. Already, his signature sound is present be it in a still early stage, less raw and unseasoned as his latter work but already brimming over with an adventurous approach to the shakuhachi. The interesting thing about this recording is that one can get a glimpse of Watazumido as an artist in an early budding stage of his career, fresh sounding and looking for a way to surmount the horizon blocking his field of vision. Just massive and historically important artifact. First time ever I have a copy of this disc, I heard much rumors and talk about it but never managed to actually track one down. Finally here is an original 1962 press copy for you and bound not to turn up again within the next couple of years/ decade. Took me 8 years to find a copy of this one. Great condition seen its age…and comes with the all time highest recommendation. Price: 200 Euro

1293. WATAZUMIDO: “Houchiku” (Polydor – LPJ-49) (10-Inch: VG++ ‾ Excellent/ Tip Back Jacket: Excellent). Watazumido’s second release and his first full-length release. This one was released as early as 1963. Of course this is the original 1963 pressing. Here, Watazumido pick up where he left off on his debut recording and already he is stretching and tearing at the limits he felt during his debut, surpassing them en ending up closer to that horizon blocking his view. Cosmotheistic as his playing already was, it blends already perfectly the wild abandon-still-budding style with feather-light delicacy, marking him already as a blowing force to reckon with. However, this recording is also a snapshot of a gone world because apart from the date it was recorded it sees Watazumido in his prime as a musicians unconstrained by notions of professionalism or competitiveness, performing as though possessed, for an audience of none, seeking transport to another state of consciousness, crossing that horizon. By trying to overcome his limitations he crates already a soothingly hypnotic quality that permeates all of his playing up to this point. And even then in 1963 it was already crystal clear that they had a genius in the making here. These recordings are totally awe-inspiring and like the other 10-inch, I have so far never encountered or seen another copy of this disc. Original 1963 press copy in great condition, sadly the jacket has a dent on the upper right corner. That aside and seen its age I would conservatively grade this beast as EX all the way. Hopelessly rare. Price: 200 Euro

1294. WATAZUMIDO: “S/T” (Philips - PH-7510) (Record: Near Mint – Catalogue seal on label/ Gatefold Jacket: Near Mint/ Obi: Mint). Stunningly beautiful copy complete with gatefold jacket and the always-missing obi!!! (Philips – PH-7520) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Top copy of one of Watazumido’s hardest to track down records. Watazumido is perhaps the most legendary of all modern shakuhachi players. Regarding himself as something other than a musician, Watazumido based his music in an uncompromising vigorous physical discipline. He was a practitioner of the Jo stick, a long hardwood pole with which he used to stretch, massage, pounds and invigorate his body in a daily regimen beginning at 3:30 AM each day. Now that is a sluice of hardcore for ya all. He is known for the blowing an original, personal style of Honkyoku on bamboos of enormous size and length called hochiku flutes. On this rare recording he showcases it all, filled with rough blowing, harsh bamboo flute sounds and ethereal sonic, Watazumido is bound to blow your head as no other. One of his rarest discs out there in top notch condition here for snaps. Highest possible recommendation!! SOLD

1295. WATAZUMIDO: “Ryoubozenei” (Philips – PH-8505) (Record: Excellent – has one hardly audible mark on side one/ Jacket: Mint/ Obi: Mint). Head-splitting amazing shakuhachi disc by Watazumi, this one a disc that pops up hardly ever, complete with obi. Maverick woodwind magick combined with Watazumi’s bloodcurdling howls, rants and air-cutting brash breathing action, adding some extra noise-nick dimensions to his already harsh blowing style. This disc is a sheer lust for anyone into raw bamboo flute sounds and its enhancements that give this already deceptively skeletal music undercurrents of depth rarely encountered. Watazumi’s intuitive approach brims over with poetic resonance that is blessed with a gift for unexpected impact, existing on its own plane while being busy with simultaneously folding and manipulating space. In short some serious action is always going down on his recordings and nobody before of even after him came even close to the sounds he managed to hurl out of his instrument. SOLD

1296. WATAZUMIDO: “Musoushoku Muchouon - Watazumido-So His Practical Philosophy” (Columbia – ZX-7016~7-N) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Attached 4-paged Booklet: Mint/ Obi: Near Mint). Comes with never seen before obi intact, this is his hardest to track down and definitely rarest (apart from his early 10 inches) records by grandmaster Watazumido. Original 1974 pressing. Maybe my preferable recording by Watazumido as it sees him live in action before a small assembled crowd and alone recording it the studio, creating an interesting juxtaposition as to being able to hear his music in two different settings but recorded during that same year. The first two sides of this recording were recorded on December 5th, 1973 at the Tokyo Bunkakaikan Hall as part of a Watazumido lecture, there were the other two sides were recorded on January 24th, 1974 at the Nippon Columbia Dai Ichi Studio. Especially the live recording is very interesting as it depicts another side of Watazumido as he interacts with the audience, answers some questions and enlights them on his playing style. This is my most treasured Watazumido recording, finally I could upgrade to an copy with obi so this promotional copy I can let fly out. Apart from the upgrade I wheeled in, I never saw another copy of this beast for the last 7 years. Fantastic music and while sitting through this one, I can guarantee you to get an almost religious epiphany. A true beast!! Price: 350 Euro

1299. WATTS, ALAN: “Dhyana, The Art of Meditation” (Ascension – ASC-7-2000) (Record: Near Mint/ Jacket: Excellent). Original 1977 press. Great meditational bliss by this self proclaimed zen guru Alan Watts. Meditative bliss entrapped in the grooves of a record. Ever tried levitating at home? Well then this one might just do the trick. Price: 30 Euro

1300. WENDELL HARRISON: “An Evening With The Devil” (Tribe – PRSD-2212) (Record: VG++ ~ Excellent/ Jacket: VG++, has split upper seam and storage wear). Original 1975 pressing on the highly collectable Tribe records. Classic spiritual jazz/ free jazz/ black power political groove monster. "The compositions we play are reflective of the music of our times whereby we play Jazz, Funk and African music with its poly or many rhythms. I wrote all the tunes in this particular L.P. and it is written as a suite of 5 movements, which means that the music can be performed along with poetry and dancers. On our last L.P. 'Message From The Tribe', we featured the compositions of our very talented composer, arranger and trombonist Phil Ranelin. On one side of the L.P. he wrote all the compositions and on the flipside I wrote all the tunes. This album was produced by us on the Tribe record label. As far as the music in 'Evening With The Devil' is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theater group in Detroit called the Black Messengers." (Wendell Harrison). One of the rare early albums on the Detroit based Tribe label, now made legendary by the compilations on Soul Jazz and PVine. Tenor player Wendell Harrison leads a group that includes heavyweights such as Marcus Belgrave, Charles Eubanks, and Phil Ranelin, and which features occasional poetry by the "Black Messengers". The groove is laidback and spacey, spiced up with some groovy electric piano, and good mellow solos that have a nice soulful vibe to them. Other parts of the album are a little bit more free jazz intoned and have a sharp edge to them. Just a killer album. SOLD

1301. WERREN, PHILLIP: “Electronic Music” (Private) (4 LP Set: Near Mint/ Box Set: Near Mint/ Booklet: Mint). Probably the rarest Canadian private pressing is this 4 LP box by electronic music composer Phillip Werren, released in the early 1970s in a minuscule edition of only 100 copies. So far I have never seen any original being offered for sale before – until now. “Apparently this album was initially released in 1971 as a 4LP boxset in a limited run of only 100 copies! I don't even want to imagine what that cost to produce but I imagine it was hideously expensive, so those lucky folks that did manage to track one down must be in possession of something of a musical goldmine now. Phillip Werren is a Canadian musician but his works have remained undiscovered by most of the experimental electronic scene, mainly because they've been so damn hard to get hold of, thankfully Cast Exotic managed to get permission to re-issue this crucial set of works for a price that won't set you back a small yacht. If you've had your eardrums tantalized by the classic 'Ohm' boxed set or the BBCs collection of Radiophonic Workshop cds then you're bound to know what direction this is heading - the first disc is two elongated pieces of deep drone and bubbling Buchla synthesizer modular synthesizer with heavy tape editing. The first three pieces Phases I, II and II are part of what Werren calls the Yeats cycle, and are based on the poetic images of W.B. Yeats. Unsurprisingly there are elements of spoken word hidden amongst the fragmented synthesized elements, but this never becomes cheesy or overworked, Werren approaches it with respect and it works quite magically. Elsewhere on the second disc we have the gorgeous 'To Phyllis’, which takes the fizzing Buchla sounds and slowly layers them over each other creating glorious otherworldly textures destined for interstellar travel. The interestingly titled 'Polish Wedding Music' is another highlight, it was created at Radio Warsawa in Poland and takes found sounds (maybe from a Polish Wedding) and throws them up against the mighty synthesizer for a musique concrete vs. synthesis exploration, ending in a cacophony of clapping and speech. It's an incredibly journey to take listening to 'Electronic Music' and a pleasure to know a work like this is available once more! Essential.” (Boomkat). And “In 1971 Phillip Werren released a 4 LP box through Simon Fraser University of his early Electronic Work which was recorded at S.F.U., McGill University & Radio Warzawa, Poland. Only 100 copies wherever made. A few years ago I discovered this record and was completely blown away. The LP has heavy elements of tape collage, Modular Synthisis, voice, and experimental thought. Some of the pieces where conceived by psychedelic and occult influences. Much of the record was done with a Buchla 100 Series, the first of their modular synthesizers. I tracked down Phil in Toronto where's he's been living a number of years. Phil taught music composition and theory at York University in Toronto from 1977 to 1997,where he headed York's Electronic Music Studio. The Album was created for the most part at the height of the late 60's at Simon Fraser University. "1968 was a year of great upheaval: at SFU, Canada's Berkeley, 114 people were arrested for their part in the protest over the firing of the entire faculty of the Political Science and Anthropology department. Marcuse, Baba Ram Dass and others came to speak to us at peril to themselves; acid and mescaline abounded and apocalypse seemed to fairly shout out at us in the rarified atmosphere of Burnaby Mountain. The neo-fascist architecture of the university seemed to beg for anarchy and chaos and linear thought itself seemed doomed to extinction." The electronic music studio at SFU was at that time probably the most sophisticated studio in Canada. After working in studios at Columbia and Radio Warsaw, both of which were small and somewhat limiting, I found it impossible to continue composing with the Princetonian precision in which I had been schooled. The SFU studio contained the most recent synthesizer designed by Don Buchla. I only vaguely understood what it did and realized that I would have to put aside my rigid preconceptions of how one sound should follow another. The sequencer, a device which can generate a sequence of sound events in a more-or-less random pattern and at times seemed to have a life of its own, became for me a sort-of window through which I could see/hear a universe of sound I had never imagined possible. It was necessary for me to Òstep backÓ from these sequences of sound-events, to control them in some other way: through the mix of one sequence with another in time and space." This album is a nugget of Canadian Psychedelic Avant-Garde history, up there with the early works of Bill Bissett, The Nihilist Spasm Band, and Intersystems. Also in line with early America works by Robert Ashley, Tod Dockstader, and Gordon Mumma.” (Cast Exotic Archives). This is an outstanding 4 LP set box depicting vintage tape and electronic music, a mastery assemblage of otherworldly sonics that deserve to stand alongside early 60s classics by Luciano Berio, Luc Ferrari and Xenakis. Price: Offers.

1305. The WHO: “Sell Out” (Polydor Japan – SLPM-1394) (Record: Excellent/ Jacket: Excellent). Original first issue Japanese pressing that comes housed in a Japan only jacket. Music needs no introduction I guess, a classic all way round. Great condition and hardly ever surfaces on these shores so rare forever. Price: 550 Euro

1308. WILLIAM S. BURROUGHS: “Nothing Here Now but the Recordings” (Industrial – IR0016) (Record: Near Mint/ Jacket: Near Mint). Original 1981 press as released on Throbbing Gristle’s own Industrial Records imprint. Definitely the greatest Burroughs recording to have ever seen the light of day on wax. The LP collects tracks recorded from 1959 up until 1978 but the largest bulk of the material was recorded in the early 1960s. It is a magnificent collection of Burroughs tape, radio and TV cut-up experiments. His nasal clinical voice interlocks neatly with rasping blurring slur of the tape hissing away, spiced up with radio buzzing statics, street noises and cut-up juxtapositions. Reverb and echo bouncing off against the hotel walls where it all was recorded before being sliced to pieces, re-connected and dismembered, this sonic travelogue into the working mode of one of the 20^th century’s greatest ever writers is a truly alchemical voyage, a chilling trip through rasping reverb drenched spoken weird executed in the clipped clinical monotones typical of speeded up and slowing down voices of an analytical mind at play. Aural experimentation through recorded sub-vocal speech and manhandling throat held microphones and inching the recorded tape manually across the recording heads of the machine, it takes you on a voyage few artists have ever undertaken. Just sheer brilliance!! Price: 150 Euro

1309. WILLIAM S. BURROUGHS; GIORNO, JOHN: “S/T aka A D’Arc Press Selection” (Giorno Poetry Systems Records – GPS-006~007) (2 LP Set: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Original 1975 pressing. Burroughs reads pieces of "The Chief Smiles"; "The Green Nun"; "Ah Pook Is Here"; "Cities of the Red Night"; "Junkie"; "Naked Lunch"; "Exterminator"; "From Here to Eternity". Giorno: "Suicide Sutra"; "Eating Human Meat"; "Subduing in America". Burroughs' raspy, crackled voice was ideally suited to his surreal cut-and-paste narratives, and while it may be better to read his actual prose, this is an ideal spoken-word collection of his works. Stuff of legends. Price: 65 Euro

1310. WILLIAM S. BURROUGHS; GIORNO, JOHN & ANDERSON, LAURIE: “You Are the Guy I Want to Share My Money With” (Giorno Poetry Systems Records – GSP-020~021) (Record and Gatefold Jacket are SEALED/ MINT). “An obscure 1981 release that only got anything approaching mainstream notice retroactively -- after Laurie Anderson's surprise breakthrough with 1982's Big Science and its unexpected hit single, "O Superman" -- this is a double-LP set featuring one side each of contributions from Anderson, poet John Giorno, and William S. Burroughs, plus a fourth side that had three lock grooves in it; depending on where the needle was placed, you'd hear more works by one of the three participants. Anderson's contributions are rough-sounding early versions of minor pieces that eventually ended up in her masterwork, United States I-IV, plus an early recording of "Born, Never Asked" that's lacking in comparison to the richer-sounding remake on Big Science. Burroughs’ pieces are primarily of interest to die-hard Burroughs fans, as they come mostly from the era when he was simply reworking old manuscripts, and as a poet, John Giorno makes a pretty good small-press publisher.” (All Music – Stewart Mason). Ok a review although Mason’s easy diminutive demission of Giorno as a “pretty good small-press publisher” is a too unrespectful for my taste. Yuppie trash statements of Mason aside, Giorno and Burroughs are both heroes in my world and this record is a testament to back up my claims. Essential stuff. Price: 75 Euro

1312. WILSON McKINLEY: “Spirit of Elijah” (Voice of Elijah) (Record: VG++, has some scuff marks, plays solid EX/ Jacket: Excellent). Xian basement psych masterpiece. Original pressing. “The gradual discovery of great Christian rock albums from the 1970s is one of the more remarkable exploits within local music archeology. Ranging from the powerful Old Testament guitar-psychedelia of Fraction to the wide-open marijuana jams of Kristyl, a whole field of outstanding rock music was rescued from a quiet death in "religious/new age" bins by curious collectors during the 1980s-90s. These obscure LPs spring mainly from the "Jesus Movement", a reflection of renewed interest in Christ among young Americans in the fallout from the psychedelic era. The born-again kids, often ex-hippies and ex-dopers, didn't see the point of squeaky clean gospel and Sunday School folk-pop to celebrate their faith, as secular rock music had progressed far beyond such lameness. One of the first and most important bands in the Jesus Rock scene was Wilson McKinley. Originally a band of non-religious musicians from Spokane WA, they experienced a joint conversion to Christianity in 1970. As other fine "X-ian" bands like Last Call Of Shiloh and Rainbow Promise, they looked to the West - meaning the San Francisco ballrooms - for a new sound to match their new faith. McKinley's second album and acclaimed masterpiece "Spirit Of Elijah" shows a strong Moby Grape influence, including a cover of "He". The open, flowing nature of the SF acid rock makes for a perfect marriage with the peaceful, non-sermonizing message of the words. The album is strong all through with a peak in the epic title track, a spine-chilling apocalyptic vision made even more powerful by its low-key, introvert folk rock presentation.” (Lysergia.com) Price: 250 Euro

1313. WITCH: “Lazy Bones” (Shadoks) (Record: Mint/ Jacket: Mint). “The Witch was a Tuff sounding lo-fi band From Zambia. Witch released just one album, Lazy Bones, in 1975. It is a work of sheer genius. Witch played a sort of wah-wah psych but with a bit more darkness. Check out the opening track, "Black Tears." It starts out rather melancholy and builds into a chugging, almost Sabbath-inspired shuffle before finishing with a doomy end. Lazy Bones!! sounds as if it was recorded live to 2-track with the vocals and some acoustic guitar added later. The spartan production only makes the album more Tuff. The drum fills and vocals at times overload the mics. You can almost hear the suffocating heat of whatever slap dash Zambian studio they were in.” (Tuff Rock). A stunning blast out of Zambia in 1975. A soul-shouting edge combines with hard driving punk/garage guitars, tons of wah-wah, mesmeric melodic constructs, heavy African rhythms and powering blues testifying that sounds like a more militant/low-down take on South American psych. Price: 50 Euro

1315. WOODEN SHJIPS: “S/T” (Holy Mountain) (Record: Mint/ Jacket: Mint). Modern day psychedelic freak workouts by these Frisco jammers. Price: 20 Euro

1316. WOODEN SHJIPS: “Shrinking Moon For You b/w Death’s Not Your Friend & Space Clothes” (Self Released) (Record: Near Mint/ Paper Sleeve Jacket: Mint). “Self-released Shrinking Moon for You 10-inch: packaged in an unassuming, clear plastic sleeve with hardly any information besides song titles. Beyond sending bloggers and journalists into a tizzy over their sexy, squalling grooves, this set confirmed Wooden Shjips as essential California. While Devendra Banhart and Vetiver reel in mellow '70s album rock and Comets on Fire carry the torch of scraping psychedelia in the key of Quicksilver Messenger Service, Wooden Shjips recover the dark star lurking behind flower power in groups like Blue Cheer and yes, the Doors. The A-side is all feverish face melt, but it's on "Clouds over Earthquake" that the band really sets the agenda. A shapely guitar lead dissolves into the heat waves of a droning pulse, eventually giving way to band leader Ripley Johnson's echo-chamber vocal: "Fire / The sun is rising / Cut through the black clouds / Over earthquake.” (San Francisco Bay Guardian) Dominated by the druggy thud of the A-side’s “Shrinking Moon for You,” the three songs on their debut evidenced a band that could not only hit the Reed/Cale/Morrison/Tucker mainline straight on, but also channel vintage Texas screamers like the 13th Floor Elevators (as on the organ-laced “Death’s Not Your Friend”) as well as the far more Faust-like experimental textures that emerged with the backwards vocal snippets and drone figures of “Space Clothes.” With a three-song 10" pressed up and ready to go, the band opted not to go the expected route of sending out copies to shops and distributors in the vain hope of sales. Instead, they simply gave them away. Price: 150 Euro

1317. WOODEN WAND & THE VANISHING VOICE “BUCK DHARMA” 2lp (TIME-LAG 026) (New – Unplayed 2 LP set). Wow boy, Time-Lag never fails to knock me down with astonishment and this recording is again proof of their stellar and flawless roster so far. This one hasn’t been of my turn table lately (apart from an occasional Ike Reiko backspin), submerging me time and time again within the undercurrents of forest dwelling mercurial communal intercommunication. What makes this disc so memorable to these ears is that they eloquently seem to blur the lines and differences that exist between a mere song and unbridled improvisation. This ejaculates their music into outward bound psychedelic realms with a touch of healthy forest dwelling, trancey folk motives, lo-fi tribal stomp and austere mushroom gathering set to music, creating a melting pot of dower psych coiled up with some acid folky moves and down beat improvisational hoedowns. Just sheer brilliant! Highest recommendation. Grab a copy while they are available. Price: 80 Euro

1318. WOODEN WAND: “Harem of the Sundrum & The Witness Figg” (Time Lag Records) (Record, 7’’ and sleeve are brand new). Again, Time-Lag delivers another jewel of a disc and as a label they never fail to amaze us with the quality, fine music and eye for detail that characterizes their releases. This disc sees Wooden Wand and the Vanishing Voice pivotal figure James Toth embarking on an austere and introverted solo excursions into the realms of “bottom of the well” sub-cultural folk vibrations, vibrating with barn-like intergalactic strummings that keep on resonating through your skull after having sit through this disc. What a killer and this one arrives just at the brink of this year’s closure. Excellent late night listening with spliff in hand by the fireplace. It certainly will get you “out” there. One of the best new things we have lend our ear to recently, honest and beautiful. Highly recommended and comes with additional 7’’. Grab these babies while they last. Price: 70 Euro

1319. WOODS FAMILY CREEPS: “S/T” (Time Lag – Time Lag-Red Records 2) (Red Wax Vinyl: Mint/ Gatefold Jacket: Mint). Limited to 300 copies, this one being 113/300. “Newest incarnation of NYC’s wondrous woods, as the trio of Jeremy Earl, Jarvis Taveniere, and G. Lucas Crane. For sure the finest yet from these folks… lysergic & infectiously bent acid folk mashed into Faust IV style electronically dosed pop grooving, all awash in odd studio effects, motorik percussion, cracked fuzz, unique vocal gush, twisted lyrics, and burning psych jams… plus enough sweet hooks to get yr next freakout party moving right. Hell yes, its a wicked one… lusciously hand packaged in a custom black art paper heavy 60s style gatefold cover with full size, full color paste-on front photo artwork, black on black screen printed back cover & interior, printed labels, hand stamped spine, and pressed on 180gm bright red vinyl. Hand numbered limited edition of 300 copies.” (Label Description). Price: 60 Euro

1329. XENAKIS: “Persepolis” (Philips Japan – SFX-8683) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Hideously rare Japanese 1^st pressing – WHITE LABEL PROMOTIONAL COPY with OBI - that comes with different cover art than the French pressing of the album. What makes this copy so bloody sought after is the presence of the rarely seen obi attached to the jacket. The music needs hardly any introduction to the readers of these pages but just in cage you are wondering who this funny fellow was, a quick rundown. To punt it bluntly, Xenakis is a tank and “Persepolis” adequately proves this point. The monolithic mass of the composition has more connection to the hypothetical first bludgeoning forays into noise as practiced by an angry snot-nosed teenager than it has to anything made by those who consider it authoritative. “Persepolis” floods the pathetic streets of civility with layer after layer of undulating moans, grotesque annihilative washes of unrelenting sonic mayhem and convultional sibilating shrieks. The multitude of tape pieces emerging from this time (1971) have some amount of nimbly spliced twists and tasty dollops of academic masturbation coming out to the foreground. Xenakis’ music on the other hand is especially on this groundbreaking composition far removed from it and is as human or inhuman as our atomic makeup. Persepolis is a demanding piece and an all obliterating in its path type of listening experience; it’s not one to use for ambient mood-music! But, like many of Xenakis’ best works, it provides opportunity for intense and a transformative experience; you won’t be the same at the end of this pieces as you were when you started listening (you may even hate it). To these ears, it is one of the greatest compositions ever, life will never ever be the same after sitting through it. Massive! Price: 200 Euro

1330. XENAKIS: “Persephassa” (Philips – X-8593) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japanese pressing of this historical Xenakis' slide complete with obi, all in immaculate condition. Historical and rare record by this fantastic composer, here performed by the Percussions de Strasbourg. Superb avant-garde and experimental music of the highest echelon. N eeds no further introduction I guess. Extremely beautiful copy in top-notch condition. Especially this Japanese pressing hardly turns up these days and has a different cover as the French edition. The disc comes w ithobi, making this disc even more a valuable historical artifact. Price: 60 Euro

1331. XENAKIS IANNIS 5 LP BOX SET: “Xenakis” (Erato/ Nippon Columbia – OS-2363~7-RE) (5 LP's: Excellent ~ Near Mint/ Outer Box: Excellent, small damage on upper side of the lid's spine of about 1 cm, nothing serious/ 12 paged Illustrated Japanese Booklet: Near Mint/ 36-Paged Illustrated French Booklet: Near Mint). Rare Japanese pressing on high quality vinyl of this legendary but rare 5 LP box documenting the many sides of the greatest composer ever, Iannis Xenakis. Ranging from orchestral works over to orchestra and magnetic tape compositions up to pure electronic works, this box sheds great clarity upon some of his works such as the highlight of the set the early electronic works that concern themselves with the human expression as poured into a cloud of pointillistic noise. With the total control that electronic and magnetic tools allowed, Xenakis could fully explore his concepts of sonic architecture. Massive stuff and hard to get in such a nice nick as this copy here. Totally indispensable!!! Original 1970 Japanese pressing!!!!! Price: 200 Euro

1344. YANAGIDA HIRO: “Second Album aka Nana Sai no Roujin Tengoku” (Atlantic – P-8027A) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint) Rare blue label promotional copy. The follow-up to “Milk Time”. Original press as released on March 1971 and housed in an eye-popping gatefold jacket. After disbanding Apryl Fool, Yanagida Hiro wanted to pursue a more improvisational rock approach, which first translated itself in “Milk Time”, closely followed with his 2^nd self-titled album. Like his previous outing, Yanagida goes here to fuse psychedelic freak out aesthetics and inter-marries it with heavy hot-boiling progressive rock moves, even to such a delirious extent that on one track you are hit in the face by a demonic swirling crooning Elvis high on laxatives and belching his guts out on amyl nitrate while dodging the lysergic twists and turns of the whole sonic affair. Although the cover of the album is spared from having a title, the original obi that came with the LP release baptized this album as “Nana Sai no Roujin Tengoku”, alluding to the lysergic regions this sonic beats could unveil its wings unto. And it surely lives up to all of its expectations, especially after having gazed upon the list of participants responsible for this lysergic racket. The main sonic terrorists are Hiro Yanagida, Kimio Mizutani, Keiji Ishikawa and Kiyoshi Tanaka, who on occasion get flanked and assisted by Hiroto Kawamura, Nozomu Nakatani, Ichiro Mimori and last but not least Speed Glue & Shinki’s/ Juan Dela Cruz’ Joey Smith. In short, Yanagida is here joined by a group of likeminded freaks for a session that blusters along hairy acid peaks, freeform freak-outs, sludgy doped out Elvis-impersonator like beached whale howling in guttural cadence and pure primeval ego-erasing Dionysian rites drawn out from the echoing layers of sneering fuzz-a-delic riffage and howling at the moon kind of organ swirls. It all sounds like the clouds splitting open and make the sun’s rays cascade down in order to reach a critical mass that will shatter your nervous system and unshackle it from your conscious mind in order to resonate and vibrate together in perfect sound forever. Massive psych artifact, hopelessly rare and obscure and a true bitch to get your hands upon, so here is a chance and be warned, this is a beast. Massive recommendation!!!! Price: Offers

1348. YASUMI NO KUNI/ OKABAYASHI NOBUYASU: “S/T” (URC Records – URL-1003) (Record: Excellent, only has a very few faint scuffs/ Jacket: Near Mint). Again a bloody rare artifact and I truly mean bloody rare. Recorded between 1969, the disc was produced by Jacks leader Hayakawa Yoshio and on the recording participated amongst others Melting Glass box member Kida Takasuke. The music ranges from fragile folk songs to beautifully erected psych folk that gets beefed up with vicious electric guitar leads, fuzz licks and acidic elements. At times the music touches even the same frenzied heights as the Jacks used to attain. In other words just stunningly brilliant and quite rare, if not x-rated like rare. Allow me to elaborate on this for a moment. Basically this recording of Yasumi no Kuni can be regarded as a Kida Takasuke solo unit. Previously active as a roadie for the Jacks, this was at one point a demo tape that Kida had recorded. A friend of his who had heard it handed it over to the freshly established URC label and soon it would become Kida’s recording debut. On the time of its release – only available as a subscription only extremely limited LP, Yasumi no Kuni became coupled on side B by a recording of folk big name Okabayashi in order to give the disc some more visibility. This album was officially released in July 1969 and this is that 1^st pressing. Later down the line the Yasumi no Kuni side would be augmented in a full scaled and full length album which resulted in the 1^st LP album of the group, but this is where it all began, in the form of a limited subscription only LP supplied to the members of the URC record club, hence making that not many copies are floating around these days. Apart from that it is a stunning masterpiece and hideously rare…. Price: 300 Euro

1353. YOSHI WADA: “Earth Horns with Electric Drone” (EM Records – Omega Point – ) (3 LP Set: Mint/ Jacket: Mint). “The long drone is a meditative musical form that rewards patience and, ultimately, forgetting. This fourth and final EM Records reissue of minimalist works by Fluxus artist Wada is a live performance from 1974. Four specially prepared long-necked horns are played then electronically recycled to harmonize with the room's natural resonance. Despite the extended duration (77 minutes of the original 160-plus minute performance) and arguable stasis of the sound there is an ever-present humanity to the piece. Unlike purely electronic drone constructions (like Jim O'Rourke's recently reissued Long Night), the players' limitations of breath and wavering tone due to the odd instrumental properties keep their presence more obvious. Also, the live recording picks up extraneous room noises such as an irritated baby, a woman with a throat tickle and chair legs scraping from time to time. At its heart Earth Horns is an immersive experience, almost like a floating isolation tank, which comes from paying less direct attention, forgetting the sound and even yourself.” (Exclaim.Ca). Price: 150 Euro

1354. YOSHI WADA: “Lament for the Rise and Fall of the Elephantine Crocodile” (India Navigation – IN-3025) (Record: Near Mint/ Jacket: Near Mint, still in shrink). “Best known for his work as part of the Fluxus collective, sound artist Yoshi Wada only released two albums, the rarest of which is reissued here. 1981's Lament For The Rise And Fall Of The Elephantine Crocodile contains two pieces: one half-hour vocal drone focusing on overtones in a reverberant space, and another, slightly longer piece based on a bagpipe-like homemade instrument, which drones in a magnificently aggressive fashion exhaustively. On this piece you can certainly hear the connection between Wada and cohort la Monte Young, but there's also a real similarity between this latter composition and Jim O'Rourke's early organ drones. These pieces present a similar illusion of featureless, complete temporal stasis, with sustain spiraling off into infinity. Which, in case you're unclear on the matter, would be a good thing. Highly Recommended.” (Boomkat) Price: 200 Euro

1360. YOUNG, NEIL: “Everybody Knows This Is Nowhere” (Warner Japan – P-8122R) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint/ Company Inner Sleeve: Mint/ Rock Age Flower Obi: Mint). Top Copy that comes with the hyper scarce Flower Rock Age Obi!!! Well I suppose everyone is more than　 familiar with this album, probably one of the finest and best rock albums to seep out of the States at that time. Here you have the rare Japanese issue that came with the hardly ever seen Rock Age Flower obi. Top condition, all is just as good as it gets. Massive. Price: 500 Euro

1364. YOUNG, NEIL: “Harvest Moon” (Reprise – 9362-45057-1) (Record: Excellent/ jacket: Excellent/ Inner Sleeve: Excellent). Rare 1992 Germany only LP release of harvest Moon, one of the hardest LP's of Neil Young to track down. “Neil Young has spent the last twenty years flitting from style to style like a moth trapped in a warehouse full of light bulbs. So it should come as no surprise that after a couple of albums in which he explored the outer limits of guitar noise, Young has pulled the plug, strapped on his acoustic and wheeled in the pedal steel for Harvest Moon. The title echoes Harvest, Young's countryish album of two decades ago, and the music recalls its gentle flavor. Harvest was a mellow bestseller, an uncharacteristic middle-of-the-road pit stop in a decade of deeply personal and sometimes highly eccentric releases, and Harvest Moon also sounds as if it was made for lazy hammock-swinging afternoons. But beneath its placid surface are the craggy scars of middle age, when holding onto and cherishing love is a lot more difficult than finding it. When Young last explored the same subject on Ragged Glory, from 1990, he whipped up great funnel clouds of feedback. Harvest Moon sounds like the calm after the storm, with a hushed musical landscape at times populated only by a ghostly harmonica, a few spooky bass lines and Young's cracked, lonesome tenor. The opening series of songs traces a path from restlessness to reaffirmation, in which the rootless "Unknown Legend" and the doubt-filled narrator of "From Hank to Hendrix" finally find contentment beneath the "Harvest Moon." As if to show how his perspective has changed, Young uses orchestration similar to Harvest's "A Man Needs a Maid" on "Such a Woman," but the earlier song's outdated perspective has transformed into homage. On "One of These Days," which looks back fondly on lost friends (with initials C, S and N, perhaps?), and the corny "Old King," Young briefly detours toward the maudlin and trivial. But "War of Man" and the towering "Natural Beauty" bristle with the paternal anger of one who appreciates just how fragile everything on the planet is – including the planet itself. The Stray Gators and a bevy of singers, including Linda Ronstadt and Nicolette Larson, give these melodies just the right amount of massaging. And within these spare settings, Young's search for shelter from the storm resonates like a heartbeat.” (Greg Kot – Rolling Stone). Just eye-wateringly beautiful. I am a Neil Young nerd after all. A tough one these days. Price: 70 Euro

1366.YOUNG, NEIL & CRAZY HORSE: “Winterlong” (Swinging Pig Records – TSP-042-1~2) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Comes on white and grey marbled wax. When it comes down to Neil Young live recordings and highlights out of his decades crossing career, I guess you can safely assume that his 1970”s period ranked amongst his most adventurously inflamed and this stellar live recording out of 1970 is proof to underscore my statement. As a matter of fact, this is actually my all time favorite Neil Young live recording ever (and I have quite a collection of Young live boots). First of all, there is the packaging: a nicely looking boot on white colored high quality vinyl housed in a beautiful foldout jacket graced with some seemingly never published before live shots of Neil in action with his newly found band of conspirers Crazy Horse (still with Danny Whitten). Then of course there is the music. The first two sides are comprised of an acoustic solo set; the other sides are made up out of lysergic electronic set, with the sidelong “Down by the River” as climax. The song has never sounded any better, staring of as a down tempo slugger only to pick up speed along the way and to burn out as an acidic flame thrower, disintegrating the very few brain cells you will have left after sitting through this disc. Excellent and psyched out to the max. This disc receives my highest recommendation. Stellar stuff and quite rare these days. Price: 150 Euro

1377. ZOO NEE VOO:“Original Hits” (Columbia – YS-10073) (Record: Excellent/ Gatefold Jacket: Excellent). Original press of this rare Cult GS artifact. Released on October 10^th, 1968, this album was the band’s first ever effort, bringing forth a swirling collection of cover tunes but transforming them into something…else. Focusing themselves upon a R&B repertoire Zoo Nee Voo was erected on March 1968. The quickly secured their place in the sun and shortly after their formation they appeared (on March 23^rd!!) on the Nippon Broadcast program “Baitaris Folk Village” where they performed “Mustang Sally”, “My Girl” and “Aoi Kage”. Hereafter, they got signed to Columbia Records and released their first album. This was follwed by a string of 7 inch releases, one more full length LP called “Golden Zoo Nee Voo” that saw the light of day on in 1969. Shortly thereafter it was followed by their last effort “Zoo Nee Voo Original Hits” which was released on December 10^th, 1969. And again it was crammed to bursting with viciously delirious R&B monster songs. Covering songs with great conviction and over-saucing them with Japanese styled English, demented organ swirls and sharp cutting guitar riffs, the Zoo Nee Voo brought forth songs by the Beatles, Righteous Brothers and a whole string of originals. Fantastic genre piece that is sadly overlooked. I live by this album, it may sound banal but actually it is a soul jerker and vicious blast of a disc, so highest recommendation and rare to say the least. Just hardly ever turns up on these shores, 1^st time ever I have an original 1969 copy to let go. If late 1960s R&B styled garage juvenile delinquent moves are your thing then this is just an essential piece to map down your Japanese garage and psych quest. Price: 180 Euro

1381. ZZ TOP: “Rio Grande Mud” (London/ King Records – SLC-809) (Record: Near Mint/ Jacket: Excellent/ Insert: Excellent). Original 1975 Japanese pressing. “With their second album, Rio Grande Mud, ZZ Top uses the sound they sketched out on their debut as a blueprint, yet tweak it in slight but important ways. The first is heavier, more powerful sound, turning the boogie guitars into a locomotive force. There are slight production flares that date this as a 1972 record, but for the most part, this is a straight-ahead, dirty blues-rock difference. Essentially like the first album, then. That's where the second difference comes in -- they have a much better set of songs this time around, highlighted by the swaggering shuffle "Just Got Paid," the pile-driving boogie "Bar-B-Q," the slide guitar workout "Apologies to Pearly," and two Dusty Hill-sung numbers, "Francine" and "Chevrolet." There are still a couple of tracks that don't quite gel and their fuzz-blues still can sound a little one-dimensional at times, but Rio Grande Mud is the first flowering of ZZ Top as a great, down-n-dirty blooze rock band.” (Stephen Thomas Erlewine, All Music Guide). Hard to come by 1^st original Japanese pressing on high quality vinyl. Price: 30 Euro