RARE RECORDS CATALOGUE
Y-Z
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

1857. YAHOWA 13/ FATHER YOD AND THE SPIRIT OF ‘76: “Kohoutek” (Higherkey Records) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1972 US pressing of spaced out acid psych classic. Comes with insert. The first album by this sectarian collective lead by Father Yod – who would rename the group as Yahowa 13 later on. Like many of their homebrew recordings, this one is also somewhat of an amateur effort spiked up with subliminal acidic recognition-flashes of tribal jams your ancestors might have cave-dwelled to. The LP is split up into two sidelong tracks built up around extemporaneous sermons carried by improvised late-period psychedelic rock-outs that resonate to the rhythms of your own inner brain waves and tapping right into your endorphine reserves. Soaring distorted guitar, funk-rock piano and organ, female backing vocals, and odd dabs of miscellany set the instrumental mood against which you can erect your own private little sect. In all a fantastic brain-melting disc just like all the other Yahowa 13 related recordings. Getting scarcer with the minute it seems. Price: 450 Euro
1858. YAHOWA 13: “Yahowa 13” (Higherkey Records – 3305) (Record: Near Mint/ Jacket: Mint). Original 1974 pressing. “This was the first album from Yahowa 13, which is the band formed by the Source Family after the larger Spirit of ’76 assembly was laid to rest. The nucleus of musicians is unchanged, but a move towards more commercial sounds can be observed along with the new band name. This self-titled LP is sometimes confused with “Savage Sons of Yahowa” but has a front cover picture showing Father wearing a robe and medallion, staring into the camera. Like “All Or Nothing At All”, this album consists of actual songs. This time they’re rock songs with an obvious debt to the Rolling Stones. Some of them re kind of cool but the songs get less interesting as they get along.” (excerpt AM – Acid Archives). 500 copies were pressed back in the day, unlike the others, but these days they are as rare as the rest of the cult’s output. I ride hard for every single Yahowa record and every one is as essential as the next. Deep fried acid boogie to spice up your daily life routine. Price: 350 Euro

1859. YAMA and the KARMA DUSTERS: “Up From The Sewers” (Manhole – 1A) (Record: Near Mint 〜 Mint/ Jacket: Near Mint 〜 Mint/ Insert: Near Mint). Original US private press LP housed in a silk-screened cover that comes complete with always missing insert. There are 2 versions of this jacket, this is the rarer version of the two depicting the rose as opposed to the fist one which surfaces more frequently. YES!!!! Time for some sewer rock… “This crudely packaged underground album contains a pro-level mix of urban Dylan & Zappa inspired counterculture and rootsy Dead ’70 rural moves. It’s an appealing sound with a fully electric folk-rock setting, strong vocals, fine arrangements and ambitious lyrics. A bit left-field for fans of basement garage and psych, but “Up From The Sewers” should appeal to anyone with an ear for anarchic yet well-executed early ‘70s singer songwriter sounds. I finds this clearly superior to albums such as Drnwyn or Nosy Parker.” (PL – Acid Archives). Original 1971 pressing of this great underground album with a folky feel, nice electric guitar and stoned vocals. Top copy of a totally underrated classic!!! SEWER ROCK RULES!!!!! Price: 350 Euro

1860. YAMAMOTO HOZAN: “Le Japon Aux Quatre Saisons” (Yupiteru Records – YJ25-7032) (Record: Near Mint 〜 Mint/ gatefold Jacket: Near Mint/ Silver Obi: Near Mint 〜 Mint/ Insert: Mint). Original 1st pressing from 1980 in virginal condition. Stunning slice of austere music presented by Hozan Yamamoto (bamboo flute), Ryo Noda (Saxophone), Sadanori Nakamura (guitar) and Yasuo Arakawa (bass). Recorded in 1979, the quartet creates a bewitching piece of music that opens up with filed recordings of birds in some far away jungle and which slowly fuses into a solitary shakuhachi call to arms that interacts with the cries of the birds. Balancing between improvisational jazz and modern composition, slowly the other quartet members join in and the music steers into some delicately crafted improvisational interplay. The musical micro cosmos slowly unfolds itself and brings out a panoramic array of sound that engulfs the aural landscape. The quartet’s intuitive approach is brimful with poetic resonance, and while busy folding and manipulating space they inhabit the gift for unexpected impact. This is free improvised music endowed with beauty; its enhancement gives the already skeletal music undercurrents of depth. One of the biggest sonic revelations of late, this is truly a beautiful piece of work. Top condition 1st original pressing complete with silver foil obi and insert. Impossible to upgrade upon this one. Highest recommendation. Price: 75 Euro
1861 YAMAMOTO HOZAN – AOKI REIBO - YOKOYAMA KATSUYA: “Gendai Shakuhachi Gaku – Sanbon No Hibiki” (Toshiba Records – TH-7072) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – has some very faint mildew spots due to age/ Obi: Near Mint). This is a real stunning and sadly much overlooked LP that beholds some austere bamboo flute recordings by Yamamoto Hozan and fellow woodwind blowers. Only shakuhachi and other bamboo flutes pass the revue and right from the beginning the tone is set as Yamamoto drifts into some stripped-to-the-bare-minimum approach that slips gently into focus of images from Zen gardens, half-remembered dreams and desolate dense words. Much of the music is tender and forlorn, as sensuous and evocative as the cover’ artwork but at times it can get quite harsh as well with Yamamoto & cohorts blowing their guts out. But even then the music never gets crowded. The focus is tight and close up sound make that the whole affair opens up when playing like a stormy vista of dark clouds, the ominous atmospherics alternating with hovering & shifting drones. Quite a compelling recording that leaves you begging for more once you get through it. Top condition and complete with always missing obi. This is one of his more obscure and deep subterranean vibed recordings that raises the hairs on the back of your neck and gives you goose bumps all over. Devastatingly beautiful. Amazing condition but sadly quiet a hard one to unearth, so… Price: 175 Euro
1862. YAMAMOTO HOZAN with SHARPS & FLATS: “Beautiful Bamboo Flute” (Philips – FX-8510) (Record: Excellent – has a couple of harmless sleeve lines/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Mucho in Demand & Bloody rare first original pressing all complete with obi. Killer Japanese oriental rare groove jazz slide!!!! One of the coolest albums ever cut by Japanese wood flute player Hozan Yamamoto – a set that has him working with very groovy backings from the Sharps & Flats ensemble – who almost give the whole thing an MPS label blending of funky jazz and world music sounds! The approach is wonderful – a bit more upbeat and swinging than some of Yamamoto's other records, as Nobuo Hara leads the larger group with a totally cool sound – which makes the flute lines a sweet exotic touch over straightforward, soul-drenched, big band jazz! We might even link the sound to some of Dorothy Ashby's grooviest albums for Chess/Cadet – although with flute, instead of harp. Killer oriental Jazz slide, original 1971 first original pressing of an LP that virtually impossible to dig up. Price: Offers!!!!
1863. YAMASHITA YOSUKE TRIO: “Mina’s Second Theme” (Victor – SMJX-10075) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Bloody rare 1st original 1969 pressing, complete with never seen or offered before OBI!!, making this baby an instant bloody rare collectible item. Recorded on October 14th, 1969, this is again a milestone recording in the history of free jazz in Japan. Right from the start the genius of Yamashita gets hurled in your face like an avalanche of impressive physicality that his piano playing exerts while immediately the harsh and angry tenor of Nakamura Seiichi (the big revelation on this disc) interlocks with Moriyama Takeo’s dynamic and frenzied drumming, making that both circulate like fruit flies over and around Yamashita’s dervish-like twisting and spinning piano centrifugings. He manages to steer the trio right into his simultaneously disarranging and discomposing counterflows of heavy hardcore jazz, creating a turbulence of trepidation. This is free jazz fermenting under a feverish urge to display a dynamic and determined harmonic grounding that is dissonant as well as angry, cubistically disjunctive as well as physically engaging, a collective sonic combustion as well as individualistic subsuming. The whole disc is a stroke of genius and true fire music in the real meaning of the term. A classic Japanese free jazz scorcher, original 1969 pressing, complete with obi in top condition!! Highest possible recommendation. Price: 400 Euro

1820. YAMASHITA YOSUKE TRIO: “Mokujiki” (Victor Records – SMJX-10088) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint ~ Mint). Another vintage cornerstone of the Japanese first wave free jazz pantheon. Classic first wave trio line-up with Yamashita manning the ivory keys, Nakamura Seiichi fire-breathing on tenor and soprano saxophone with Moriyama Takeo’s dynamic and frenzied drumming interlocking perfectly and catapulting the whole affair into the stratosphere. When the first burst of sonic madness comes in, it is every bit as violent as the intervening action. Clangorous piano chords burst in over a kaleidoscopic array of sax and drum interaction, flying aloft and with impetuous roar pursues the foaming surges of water breaking on rocks, making it feel as if the trio is engaged in trench warfare. The particular chemistry & poetry between these three players is furiously alive. Drums skitter in freefall, as Yosuke Yamashita’s piano-playing veers from modal jazz to free atonality, switching dance partners from Alice Coltrane to Anton Webern while Nakamura makes you feel like standing in the midst of a prison riot in full swing with Moriyama keeping the beat amidst tears and fist shaking tirades. This is the real deal a free jazz king-hell, highlife fuck-around sonic experience from start to finish. Bloody rare first original pressing all complete with rare obi and in top condition. One of the hardest to track down of Yamashita Yosuke’s early releases. First copy I have in over a decade. Price: 575 Euro

1864. YAMASHITA YOSUKE TRIO: “Dancing Kojiki – Intro & Theme; Mokujiki – Jul. 1969 in Waseda” (Maro Records) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Booklet: Mint). Privately released free jazz monster that hit the streets in April 1971 in supposedly a micro edition of 250 to 300 copies. This copy has the always-missing inserts and the RARE OBI!!! The label itself was established by actor and Butoh dancer Miga Akago with the sole intention of releasing this vintage archival material, making that this release is the single one to have ever come out on the Maro Records imprint. The sound was culled from the Tokyo 12 Channel television station who had recorded Yamashita Trio’s concert of July 1969 at the Waseda University and subsequently also issued it as the video “Document Seishun”. But that aside, the material on this disc is just a vicious racket of free form interplay of the highest echelon. At this time, the inaugural trio was besides Yamashita freewheeling on the keys made up out of Nakamura S. howling away at the sax like a werewolf in heat and Moriyama T. pounding away on the drums like a tsunami rolling with a thunderous behemoth force into a remote fishing village, flattening all that comes into its way. The three of them raised hell and resurrected Cain along the way. If the Four Horsemen of the Apocalypse had to generate a sound to accompany them upon Judgment Day, this would be it and nobody would be spared. A terrifying whirlwind of sonic furry. Hardcore free jazz at its most incinerating. Killer material. Price: 350 Euro

1865. YAMASHITA YOSUKE TRIO with DAIRAKUDAKAN BUTOH TROUPE: “Arashi” (Frasco – FS-7019〜20) (Record 2 LP set: Near Mint/ 6 paged booklet: Mint/ Insert: Mint/ Obi: Mint/ Gatefold Jacket: Mint). WHITE LABEL PROMO ISSUE!!! Grab on to something solid. You’re in for a head spinning mind fuck that will paralyze all your senses. This is heavy shit and one of the hardest blowing free jazz artifacts to come out of Japan – also one of the weirdest and most eerie ones. The Yamashita Yosuke Trio – a power trio in their own right – clashes here with the avant-garde Butoh dance/ performance troupe of Dairakudakan. In interaction with each other, these two avant-garde art forms unleash a surreal whirlwind of jet-blasting all scorching free jazzing power interpolating with heavy breathing, shuffling, cries, shrieks, esoteric howling, spastic puffing and demonic exorcising rites as if Hijikata were among them. The sounds are great and are unlikely anything you have ever heard or thought that free jazz would be like. Still, the only thing that is missing while listening to this heavy blast of freedom is the actual experience of sitting through whirlwind in person in real time. The detailed 6 paged booklet oozes the pain a bit and comes with a ton of color photographs so that you at least could have some idea of the surreal nature of this event. Ominously heavy, soul scorching, deliriously insane, Dairakudakan troupe infuses Yamashita’s power antics with the raw extreme of the Ankoku Butoh tradition, the apocalyptic sentiments of the A-bomb that destroyed Hiroshima and absurdist vaudeville theatre, excavating sub-conscious and primal impulses that ultimately go beyond the cultural specificity by addressing such broad human issues as generation, identity and change. Sometimes they do it subversively, sometimes with broad strokes, sometimes with the proverbial twinkle in their heavily made-up eyes and the soaring whirlwind of the freely roaring all incinerating power jazz trio. Heavy shit. Released in 1977 and scarce with obi and all present. Price: 250 Euro

1866. YANAGIDA HIRO: “Milk Time” (Liberty – LPC-8037) (Record: Near Mint/ Jacket: Excellent). Bloody rare white label promotional copy on RED WAX, TOP COPY. The famous “gorilla” cover album. Hyper rare Japanese psych monster. Heavy freaking jams executed by the leading lysergic scenesters of that day including Yanagida Hiro (keyboards), Tsunoda Hiro (drums & percussions), Kimio Mizutani (Electric Guitar), Hiroki Tamaki (Electric Violin), Nozomu Nakatani (flute) and Keiju Ishikawa (bass). I was trying to hold my breath and not choke on my lunch when I read that Cope stated that Zappa’s Hot Rats inspired Milk Time. Well I guess that a healthy imagination gets you a long way off the tracks and into the bush of inflated mysticism. Probably the violin wailing of Tamaki had him thinking of Jean-Luc Ponty but then again maybe someone could say that Nigel Kennedy also got inspired from this lot, since the truth is obviously in the ear of the beholder. That aside, it does not diminish this album one tiny bit and till this day it is regarded as one of the cornerstones of heavy freaked out Japanese psychedelia. “Milk Time” was released on November 5th, 1970 and encapsulated perfectly the then reigning New Rock aesthetic. A little background: following the demise of Apryl Fool, Yanagida Hiro failed to mourn for too long and while being completely submerged under the spell of experimental rock, he didn’t let the break-up affect his newly brooding musical projects. Yanagida quasi immediately agreed to a proposition of Narumo Shigeru (Flied Egg) to join forces in order to realize Japan’s first free of charge open-air concert, the 10 yen concert. Next to becoming actively involved with organizing festivals, he also became one of the driving forces behind one of the first Japanese super groups, the legendary Food Brain, a session band whose members consisted of ex-Jacks drummer Tsunoda Hiro, ex-Powerhouse guitar terrorist Shinki Chen and ex-Golden Cups bass player Kabe Masayoshi. Food Brain’s first and sole recorded album “Bansan” appeared in October of 1970 on the Polydor label and was characterized by an advanced rock approach camouflaged neatly as an extended improvisational jam session. Shinki Chen’s induced Powerhouse-like blues rock imprint was omnipresent throughout the album and in combination with the progressive rock sound of Yanagida Hiro’s inventive organ play, sucking in Canterbury induced influences in the vein of Caravan and Egg. From this point on Hiro began, even more than during his Apryl Fool phase, pushing towards a distinctive progressive rock style. Since Food Brain was only a one-off session band, its members dispersed quickly, each going their own separate ways. Shinki Chen and Kabe Masayoshi continued to pursue a blues 〜 rock based direction and formed the illustrious formation Speed Glue & Shinki. Hiro Yanagida on the other hand continued to follow a progressive rock styled direction and erected the Yanagida Hiro Group, together with drummer Tsunoda Hiro, bass player Ishikawa Kei (ex Far Out and Chronicle), violinist Tamaki Hiroki (Food Brain, Tamaki Hiroki and SMT) and former G.S. guitar slayer Mizutani Kimio, who made name for himself with outfits like The Adams and The Outcast. This line-up was active on different fronts and provided, among others, the music for some plays of Terayama Shuji’s avant-garde theatre company Tenjosajiki. Their first recorded output “Milk Time” resulted out of a session that occurred at the studios of Toshiba Liberty in November 1970. The sound of the record was, if compared to Food Brain, characterized by a encapsulating vibe of a psychedelic progressive rock band unleashing some wild interaction play between electric violin, furious drum rolls, Mizutani’s acidic guitar riffs and Dave Steward like keyboard patterns. It was the first album released in Japan that mastered a clear progressive rock sound infused with freakingly heavy psyched out moves and molding it into its won signature sound. With “Milk Time” Yanagida Hiro had succeeded in developing an experimental rock sound unheard in Japan until then. A total killer album and one of the greatest to seep out of spiked up Tokyo. Original copies are next to impossible to score these days. This one is a beautiful one, vinyl is EX 〜 NM as the jacket has some wear on the lower left corner. Seen the age and scarcity of this monster it is in overall EX condition. Took me 6 years to dig up a spare and the music will fry your skull, just fabulous improvisational freaked out psych with some progressive touches. Mizutani and Tamaki are just shredding it here while Yanagida keeps on humping the keys. Total must!! Price: Offers!!!

 

1867. YANAGIDA HIRO: “Hiro” (URC Records – URC-4017 -1972) (Record: Near Mint/ Foldout Jacket: Excellent only defect split lower seam in middle, apart from that perfect/ Insert: VG++ has some wrinkles). Released in November of 1972 is this progressive psych-folk-rock masterpiece by Hiro Yanagida. Especially the last 10-minute plus track is a real killer with vicious leads, demonic interplay, soaring riffage, there were the rest of the album is folk ballad and soft psych induced rock effort. Overall a great album that grows on you the more you lend your ear to it. Sadly enough these babies almost never pop up, especially in such an immaculate condition as this one. Apart from that, the early recordings of Yanagida Hiro can be seen the dawn of Japanese rock and are now considered as historical extremely valuable artifacts. Also the Fluxus inspired cover art is stunning. Top-notch copy. Has been 3 years since I have seen a copy of this disc. Just awesome. Price: 400 Euro

1868. YARA FAMILIES: “Shirohama Blues b/w Go Go Chinbora” (RBC Records – THEP-344) (EP Record: Mint/ Picture Sleeve: Mint). WOW! This is a brutally great little side-winder. Originally recorded during the late 1960s ~ early 1970s, the Yara Families bring forth a bastardized son of a mixed marriage between Sanshin driven Okinawan folk music infused with a rudimentary swinging downbeat drum break, cheap swirling & detuned Farfisa organ lines that support intoxicating dervish-like female vocals. It births out a swinging cocktail vibe impregnated with a psychedelic undertone that works intoxicatingly great. It is easily to understand why a new breed of Tokyo club DJ’s are championing long lost Minyo vibes that have a certain weird edge. Probably the best summer sounding head twister and butt-shaker so far to spice up your decadent cocktail garden parties where everybody ends up naked in the garden pool. Brilliant!!!! Price: 50 Euro

1869. YARDBIRDS: “Five Live Yardbirds” (Columbia – SX-1677) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint) UK Mono pressing in amazing condition. “Here is a rare animal – a live album from a major 60s band that actually males sense, is great even. Like a well-oiled locomotive, the Yardbirds roll and groove their way through ten classics and obscurities from the US R&B scene, several of which the group made their own for decades to follow. Cheered on by an enthusiastic Marquee crowd, Keith Relf and Eric Clapton engage in a series of harmonica-guitar battles with outstanding peaks reached in a blazing ‘Too Much Monkey Business’, a surging ‘Smokestack Lightnin’ and of course the rave-up blueprint par excellence ‘I Am A Man’. The recording has the presence and dynamics (often lost on inferior reissues) to bring the band right into your living room and all over this is a British Beat classic no happy homestead can do without. Its historical importance cannot be overestimated, especially in America, where four of the best tracks made up one half of the massively influential Having A rave Up album.” (PL – Galactic Ramble) Top condition, next to impossible to upgrade upon. Price: 200 Euro
1870. YARDBIRDS: “Five Live Yardbirds” (Odeon – OP-8865) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Excellent). Original Japan press complete with always-missing obi. Top condition. Price: 200 Euro
1871. YARDBIRDS & SONNY BOY WILLIAMSON: “S/T” (Philips Japan – SFL-7375) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original Japan 1st press issue of 1967, comes complete with never seen obi. The whole affair is in NM condition, a small miracle and to make things even more salacious, it has the never present obi. Comes in Japan only jacket design. Hideously rare item & in TOP condition, in short a museum piece. Price: Offers!!!
1872. YASUI KAZUMI: “Zuzu” (Polydor – MR-3129) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Mint). TOP COPY of this heavy female vocal rarity!!! One of the best, totally under the radar female vocal albums to ever seep out of Japan is this 1st album by poetess Yasui Kazumi. She only made two albums, both borderline crazy rare items and this one here was her first recording, released on October 1970. The music is just breathtakingly beautiful, softly hushed Bossa Nova/ Enka/ Kayokyoku inspired female vocal trash, delicately orchestrated without being blatantly over the top, the whole album is a eargasmatic affair that will hush your demons to sleep. Impregnated with that late sixties/ early seventies vibe, sparsely orchestrated, creating a very laid back atmosphere. Yasui’s voice is completely relaxed, free and easy; it is as if she isn’t even trying! But then again it is far from perfect and accomplished and it is exactly there where lies her charm and intoxicating quality. Surely she is a gifted singer without being a great vocalist. She was a poetess after all and her fragile, at times fractured and broken vocals add only to the melancholic nature of this disc. Still the arrangements are top shelf, strings, tropical piano and guitar lines that only add to the sensation of feeling that afternoon summer sunshine warming your face while a soft breeze heralding a tropical storm is telling you to better take shelter soon. Although that the overall feeling of the LP is just breathtaking and disquieting, there is nevertheless an omnipresent hearth-stirring and overpowering endomorphic and schizoid sadness that impregnates it all. You just cannot shake it off and it pierces right through to the deepest canyons of your soul. And then on the other hand it is simultaneously softly upbeat, sultry and thermically thrilling, erotically charged with a choleric vibe that is almost mythical, casting out an echo that reverberates somber melodies injected with intermittent burst of hopeful and beautiful naive vocals. Yasui’s vocals aren’t virtuosic, yet they are intimate and at times disconcertingly seductive, which results in bursts of electrifying moments as if she is struggling to breathe out music that is slightly beyond her immediate grasp. This just adds more to her spellbinding charm, making it all fragile, sexy, painfully deficient and offering you the listener in return a redemptive ascent to heaven. Don’t say you haven’t been warned, once this record sucks its claws into your skin, there will be no return and you will be haunted by Yasui’s charm and melancholy. Earbleedingly beautiful, hideously rare and so essential it just makes me cry blood when thinking about her, let alone listening to her music…that would be a too devastating experience. Fooking rare & TOP MINT copy! Price: Offers!!!!
1873. 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 1st 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 1st 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: 200 Euro
1874. YASUMI NO KUNI: “S/T” (URC Records – UX-8026) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). TOP COPY complete with always missing OBI!! Here you have a first rare pressing of this all time excellent psychedelic folk album, released in 1972 and housed in a fold out jacket. Second editions came out in a single jacket. Both editions are rare these days but this first press edition is getting quite difficult to lay yer hands upon and is still largely undetected by foreign collecting lunatics. But that is bound to change, which will push up the prices tremendously. The personal of Yasumi no Kuni is centered around singer/songwriter Teruyuki Takahashi (vocals and guitar). From the late 1960s until the early 1970s, all of the later period Jacks members (except Yoshio Hayakawa, who instead produced this sonic gem) -Hitoshi Tanino (bass), Hiro Tsunoda (drums) and Takasuke Kida (flute, vibraphone, saxophone, trumpet, keyboards – of Melting Glass Box fame)- had joined as the backing musicians. This album was released on URC in 1972 (this one here is that pressing), as one album that included seven tracks from their first privately released album 'Yasumi no Kuni' (directed by Yoshio Hayakawa. Released in 1969 as a limited edition for URC club members only. The disc came out in an edition of a couple of hundred copies. The B-side was coupled with “Nobuyasu Okabayashi Recital”, so it can nor really be regarded as a 1st full-length album) and five tracks from their second album “Fy Fan” (produced in 1972, but not released, until the late 1980’ties). So this disc was their actual first full-length album. A true psychedelic acid folk gem that will elevate your limpid parts right out of your sofa. Mind-bendingly great psych/acid folk rock filled with a sense of loneliness, bleakness, deprivation, galactic space, nihility, fallacious reasoning and enough eternal smiles to betray the emptiness inside. Stellar stuff and extremely rare 1st pressing. Yasumi no Kuni…alone can answer all your longings and fill every vacuity of your soul. Recommended to those who like Jacks, Hayakawa Yoshio’s 1st solo album, Melting Glass Box, and assorted travelers. Copies complete with obi are getting next-to-impossible to dig up these days. Price: 300 Euro
1875. YATHA SIDRA: “A Meditation Mass” (Brain - 1045) (Record: Excellent ~ Near Mint/ Gimmick Gatefold Sleeve: Excellent ~ Near Mint). FIRST ORIGINAL GERMAN PRESS!! Yatha Sidra rose from the ashes of Lea Gamble, a German group that played soul-based hard rock; fronted by two brothers (Rolf and Klaus Fichter), the new band would soon switch musical direction. “A Meditation Mass” is comprised of four long instrumental passages that drift between prog rock and acid folk. However what makes this album such an oddity is the strange mythical experience it stretches out over four parts segueing seamlessly into one anotherreferences to jazz, eastern music, tribal settings and plain folk all pass the revue without ever being straight into your face and indulging itself in overt showmanship. Instead it is quite an introverted disc, shunning away from any possibly attention it might gain. Though the record was released in the early 70s, it has that late 60s acid haze hoovering all over it without being straightjacketed in any possible fashionable genre. Starting off with meditative blissful sounds, such as watery noises and a wind hum, a falnged accouctic guitar riff gently float into the mix and with it very dreamy and hypnotic electronics whirs start closing in and adding to its already hypnotic qualities. The music slowly ebbs and flows as other instruments are pulled into the strange cosmic drift of sounds. Washes of cymbals, vaguely ethnic percussions, a flute, vibes and other sounds even some group chanting with electronically treated voices while the guitar weaves steadily to keep it together as it slowly builds up. On the second and third part, the band veers into far more free form improvisation, from jazzy sections with an upbeat swing to to electric guitar over a trance like rhythm, to a bizarre drum and fluet duel to intense freak outs before once again becoming calm and relaxed. Still, for Kraut enthusiasts, A Meditation Mass could easily maintain a space between your Harmonia and Ash Ra Tempel albums. For everyone else, this is an excellent psychedelic folk gem that balances the gentle, restrained playing with the fearless, open-ended musicianship required to perform a 50-minute prog piece and make it work. Hideously rare original 1st pressing in gimmick gatefold sleeve. Price: 550 Euro
1876. YLEM ~ FOAM/AWA SEALED 2LP set: (Ylem Records – YOL-0000) (Sealed Copy!!). Extremely sought after rarity. This 2 LP set originally released in 1981 sheds some light on Japans early noise and new wave experimental scene with outfits like Merzbow, Noizunzuri, Amerikakorps, The Dildos, RNA Organism (of Vanity Records fame), Mad Tea Party (of Vanity Records fame), etc. Great record set with gimmick and cut out inner sleeves. The records were pressed on clear vinyl. Normally the outer bag is in most cases missing. This copy is complete with all the inserts, inner jackets, etc. Twenty bands pass the review and 23 tracks are featured on it. The bands are the following: A. T. RHYTHM (Kyoto), SHINOBU (Kyoto), AMERIKAKORPS (Tokyo), THE DILDOS (Osaka), BUSHMAN-19 (Tokyo), MONGOOSE NO MIGIASHI (Tokyo), SUTAMINA (Tokyo), R.N.A. ORGANISM (?), PERFECT MOTHER (Tokyo), SALARIEDMAN CLUB (Kyoto), X YASUHIKO MURAI,INTERON (Kyoto), NOIZUNZURI (Kyoto), MINIMAM LETHAL DOSE (Tokyo), MAD TEA-PARTY (Tokyo), PERSONAL EFFECTS only (Tokyo), MERZBOW (Tokyo), MONO SEXION (Kyoto), BASE (Kyoto), AIRYFARM (Tokyo) and HYPERSPACE (Tokyo). It all got produced by Kaoru Sato. A true beauty to behold and extremely rare these days. Hardly ever offered and seen sealed copy of this rarity 2 record set that comes with insert, outer paper bag, clear vinyl discs and gimmick cut out individual sleeves. Price: 200 Euro
1877. YOKO ONO: “Fly” (Apple Records/ Toshiba Musical Industries – AP-93021B) (2 LP Set: Mint/ Gatefold Jacket: Mint/ Circular 1st issue Apple Obi: Near Mint/ Poster: Mint/ Individual Imprinted Inner Sleeves: Mint). 1st original Japanese press complete with hideously rare 1st issue circular obi. White label promo issue!!!! This never surfaces, 2nd presses with different obi are common, 1st pressings just never surface and it appears they only exist as promo copies. Top item, top condition and mega rare. Price: 500 Euro
1878. ONO YOKO: “Approximately Infinite” (Apple Records - EAP-93088 –B) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ 2 Imprinted Inner Sleeves: Near Mint/ 4 Paged Booklet and an additional 8 Paged Booklet: Near Mint). Original 1972 Japan 1st original pressing in top condition. Price: 40 Euro
1879. YOKOTA TOSHIAKI & PRIMITIVE COMMUNITY: "Genshi Kyoudoutai" (Think/ EMI Music Japan – DTHK-015) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Killer 1971 Japanese psychedelic jazz gem. High quality and ultra limited reissue identical to the original. Comes pressed on red wax. Timely and instantly out of print high quality reissue of only 400 copies of one of Japan's best psychedelic hoedowns that put Ceremony to shame. Viciously expensive if an OG turns up, the music on the other hand is brain ripper that will lead all of you heavy psych freaks to the best ear-gasm you had in years! Super fuzz wah guitar by master mind Mizutani Kimio and organ jamming stoner/ ethnic/ psych-prog filled with raw, heavy experimental twists and turns, this disc has made all those moves their trademark sound. Non-stop lethal assaults of fuzz guitar and overdriven organ workouts Just a beast of a disc, composed out of monstuously long freak out tracks that are filled with ear blistering volcanic melt down psychedelic burn out tracks, every one a winner, long spun out tribal jams, fuzz drenched wah-wah, ritual and tribal drumming. This LP is a genuine monster and listening to it feels like sitting in a pool of LSD-25 and suddenly feeling your nuts on fire. A teeth-grinding frenzy of a recording that has all the proper ingredients for an outrage, filled with ethnic smash 'n' grabs, jungle shoot-outs, a sheer lust for raw sounds that buffer dilution beneath a riptide of Western influences, all injected with searing fuzzed out electric guitar that cutt through the air like a buzzsaw. In short, you heard nothing even remotely good as this one. Killer!!! Price: 150 Euro
1880. 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: 150 Euro
1881. YOSHI WADA: “Off The Wall” (FMP – SAJ-49) (Record: Mint/ Gatefold Jacket: Mint). Freakingly rare and TOP copy. “Fluxus artists and Japanese underground minimalist Yoshi Wada. Off The Wall was the second of Wada’s ‘official’ albums, released in 1985 by FMP, and to my mind it’s the best of his available recordings, surpassing even The Rise And Fall.. in terms of brain-bending psychoactive power. Scored for twin bagpipes, organ and percussion this one conflates the higher-minded logic of Terry Riley, LaMonte Young and Tony Conrad with the hallelujah sound of the Albert Ayler Orchestra to birth a truly singular future-primitive hybrid, with fathoms of microtone-rich tones enveloped by huge organic drones, ancient folk tunes and dizzying harmonics.” (David Keenan – VT). Price: 350 Euro
1882. YOSHI WADA: “Earth Horns with Electric Drone” (EM Records – Omega Point – ) (3 LP Set: Mint/ Jacket: Mint/ inserts: mint).  Completely evaporated item, killer from start to finish. “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 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: 120 Euro
1883. YOSHIDA MINAKO: “Fuyu no Tobira” (Showboat – 3A-1004) (Record: Mint/ Foldout Jacket: Mint/ Obi: Mint/ Insert: Mint). This disc was Yoshida Minako’s first record, dating back to 1972. The music on the other hand is just plain stunning. Heavenly female vocals (Yoshida has been described as the Japanese Laura Nyro, although that to my ears this description would do Minako injustice). The boys of Caramel Mama acting as her musical accompaniers, being Haruomi Hosono and Takeshi Eiichi of the Happy End, back her up her. Great soft psych female vocals. Highest recommendation. Price: 200 Euro
1884. YOSHIZAWA MOTOHARU: “Inland Fish” (Trio Records) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Liner notes insert: Mint) This update seems to be filled with obscure and rare Japanese free jazz discs. Well, here you have another one of those all time classic free blasting discs. Recorded live in concert in 1974 that was organized by the as legendary figure, free jazz promoter, all round provocateur and essayist on obscure music and existentialism Aida Akira, “Inland Fish” sees legendary contrabass virtuoso-innovator-improviser Yoshizawa Motoharu ripping through and excavating some previously undetected sound spheres, creating elaborate and highly challenging excursions into death space. On side two, he gets backed up by free hitting drum wonder and skin manipulator Yoshisaburo Toyozumi, who is responsible for pushing the levels of excitement towards stratospheric heights by interlarding Yoshizawa’s lonesome excursions with well aimed drum salvos that stir up a conversational pattern with Yoshizawa’s abstractly tinted bass lines. Brilliant stuff and getting ooh so scarce, like most interesting titles of Japan’s free jazz scene. This copy is as mint as can be, everything is intact and the disc comes with the almost never seen obi, so go figure the scarcity. Stunningly beautiful copy for even greater music. Price: 150 Euro

1885. YOSHIZAWA MOTOHARU: “Outfit Bass Solo 2 1/2” (Trio Records – PA-7133) (Record: Mint/ Jacket: Mint / Insert: Mint/ OBI: Mint) Top 1st original press copy of Japanese free jazz masterpiece complete with rarely seen obi. Another brilliant totally vanished free jazz classic by all time great bass virtuoso Yoshizawa Motoharu who has played with Abe, Haino, Mikami, Takagi Mototeru, Derek Bailey, Steve Lacey, Butch Morris and everyone who has any name on the free hardcore blowing jazz circuit. Killer material and almost impossible to trace these days. Sadly enough almost nobody outside of Japan's borders acknowledges the greatness of Yoshizawa, which once again is sad because the real gems remain undetected and untouched. One word of advice, don't wait until some bum hypes this up one day in a magazine of some sort. Believe your own ears and instincts and check this subliminal stuff out. Forget reviewers, trust your own instincts for a change. Stellar stuff and rare mid-seventies free improvisation work-outs. Again, stuff for the more advanced listeners out there. Price: 125 Euro

1886. YOUNG, LARRY: “Lawrence Of Newark” (Perception – PLP-34) (Record: Near Mint/ Jacket: Near Mint). Original 1973 1st US pressing. The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 -- his first non-Blue Note date as a leader and post-Lifetime -- as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes -- James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew. Made up of only five tracks, rhythm is the hallmark of the date as evidenced by the conga and contrabass intro to "Sunshine Fly Away." Deirdre Johnson's cello opens up a droning modal line for Young to slide his organ over in what passes for a melody but is more of an idea for a theme and a trio of variations. Armen Halburian's congas echo the accents at the end of the drum kit and Young's own tapering pronouncements moving back and forth between two and four chords with a host of improvisers inducing a transcendent harmonic hypnosis. The centerpiece of the album is "Khalid of Space Pt. 2: Welcome." Sun Ra's edict about all of his musicians being percussionists holds almost literally true in Young's case. The soprano saxophonist sounds as if it could be Sonny Fortune (billed as "mystery guest"), but he's way out on an Eastern modal limb. Young's right hand is punching home the counterpoint rhythm as Abdul Shadi runs all over his kit. Blood Ulmer is accenting the end of each line with overdriven power chords, and various bells, drums, congas, and djembes enter and depart the mix mysteriously. Young is digging deep into the minor and open drone chords, signaling -- à la Miles -- changes in intonation, tempo, and frequency of rhythmic attack. And the cut never loses its pocket funk for all that improvisation. It's steamy, dark, brooding, and saturated with groove. Awesome.” (AllMusic – Thom Jurek). Top copy, hard to find in such clean condition as this one here. Price: 120 Euro
1887. YOUNG, LARRY: "Lawrence Of Newark" (Perception – PCL-1004) (Record: Near Mint ~ Mint/ Jacket: Mint, still in original shrink/ CAPSULE OBI: Mint, still in shrink/ Insert: Mint/ card Mint). Original 1973 1st Japanese pressing. Hideously rare, first copy I see with capsule obi present and the whole affair is still housed in shrink. Record is completely virginal and sounding far superior to the US one, pressed on Japanese high quality vinyl and prepared by the Teac Audio Systems Corporation who released this beauty. Since they were not in the distribution of record-business themselves, the Japanese issue of Larry Young's masterpiece sold poorly and few copies remain in circulation. Top copy, hard to find in such clean condition as this one here. Price: 200 Euro
1888. YOUNG MARBLE GIANTS: “Colossal Youth” (Rough Trade/ Japan Record – RTL-3) (Record: Near Mint/ Jacket: Excellent – has a lower middle seam crack/ Obi: Mint/ Poster: Mint/ Insert: Mint). Very scarce high quality Japanese first original pressing all complete with POSTER. Young Marble Giants’ Colossal Youth is a collection of sparse, evocative tunes emphasizing Alison Statton’s floating vocals and minimal guitar/organ/bass/drum machine arrangements. Comparable to little else from its time or since, this is rock music at its most austere. The original album had 15 songs and every single one is a killer, stripped won of all pretentions and instead crammed to bursting with minimalist loner youthful angst vibes. Price: 125 Euro
1889. YOUNG, NEIL: “S/T” (Warner Japan/ Reprise – P-8121R) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Rock Age Flower Obi: Excellent). Neil’s first ever LP, this copy here being the Japanese pressing as it was released in 1971 on these shores. 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 Neil Young’s finest moments amongst many. Here you have the rare Japanese issue that came with the hardly ever seen Hana/ Flower/ Rock Age obi. Top condition, all is just as good as it gets. Being between Near Mint and Mint and that is a very thin line. Massive. Price: 350 Euro
1890. 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: 400 Euro
1891. YOUNG, NEIL: “Tonight’s The Night” (Reprise/ Warner Bros. Japan – P-8556R) (Record: Mint/ Gatefold jacket: Mint/ Obi: Mint/ Booklet: Mint). TOP COPY!!!! Original 1st Japanese pressing complete with inserts and obi. Top copy. Neil Young's darkest masterpiece. Everything is in shambles, Crazy Horse constantly threatens to careen out of control, and Young sometimes sounds so depressed it's a wonder he managed to tune his guitar. Recorded in 1973 but not released till 1975, Tonight is Young's most hauntingly powerful album, full of cracked folkie ballads, ferocious rockers and bleak reveries inspired by the heroin deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry. It's a glorious mess, with Young and Crazy Horse thrashing through the wilderness and giving death the finger. Just awesome. First original Japanese pressing on high quality vinyl complete with inserts, gatefold and obi. Price: 60 Euro
1892. YOUNG, NEIL: “Time Fades Away” (Reprise – P-8375R) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ OBI: Mint/ Poster: Mint/ Insert: Mint). Top copy and all complete high quality Japan 1st original pressing from 1973. The dark haunting brilliance of “Time Fades Away” sits perfectly next to “Tonight’s The Night” and “On The Beach”. This is the heart of darkness of Neil Young’s recorded output. The edgy moody darkness of recording and brilliantly erratic song selection offer a portrait of Neil Young beginning to balance on the edge, trying to cast out and exorcize his demons. This made at the time many of his fan base to turned away but others came just for this chill and stayed forever. Killer recording, first time I have an original 1973 Japanese pressing up for grabs all complete with obi and all the rest. Top copy. Price: 70 Euro
1893. YOUNG, NEIL: "Time Fades Away" (Reprise – MS-2151) (Record: Near Mint/ jacket: Mint, still in original shrink/ Poster: Mint). Top copy, US first original pressing. Price: 75 Euro
1894. YOUNG NEIL & CRAZY HORSE: “Zuma” (Warner Pioneer Japan – reprise – P-1009OR) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint) Original 1975 1st Japanese press issue complete with obi. Total classic in superior pressing. Price: 60 Euro
1895. YOUNG, NEIL: “On The Beach – Nagisa Nite” (Reprise Records Japan – P-8421R) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4-Paged Insert: Mint). Rare Japanese pressing in mint condition of this all time greatest Neil Young slide. "The hard-edged sound of On The Beach is a contributing factor to its greatness, since the album poses aesthetic and political questions too serious to be treated prettily. Through various opposed personae, Young evokes primary social and psychic polarities that exemplify the deterioration of American culture. Though not named, the figures of Charles Manson and Patricia Hearst appear as emblems of apocalyptic social dislocation in the album's two masterpieces, "Revolution Blues" and "Ambulance Blues." In each song, by empathizing with the emotions of both predators and victims, Young has dared what no other major white rock artist has - to embrace, expose and perhaps help purge the collective paranoia and guilt of an insane society, acting it out without apology or explanation." (Stephen Holden, Rolling Stone, 1974). Say no more, this sums it up perfectly. One of the greatest discs ever recorded. Rare mint copy of this 1974 Japanese pressing with all included. All time highest recommendation. Price: 90 Euro

1896. YOUNG, NEIL: “On The Beach” (Reprise – R-2180) (Record: Mint/ Jacket: Mint/ Flower Inner Sleeve: Mint/ POSTER: Mint). Rare US original press – PROMO ISSUE THAT COMES WITH PROMO ONLY and rarely seen PROMO ONLY SHOP POSTER!!!!! Rare US pressing in mint condition of this all time greatest Neil Young slide. "The hard-edged sound of On The Beach is a contributing factor to its greatness, since the album poses aesthetic and political questions too serious to be treated prettily. Through various opposed personae, Young evokes primary social and psychic polarities that exemplify the deterioration of American culture. Though not named, the figures of Charles Manson and Patricia Hearst appear as emblems of apocalyptic social dislocation in the album's two masterpieces, "Revolution Blues" and "Ambulance Blues." In each song, by empathizing with the emotions of both predators and victims, Young has dared what no other major white rock artist has - to embrace, expose and perhaps help purge the collective paranoia and guilt of an insane society, acting it out without apology or explanation." (Stephen Holden, Rolling Stone, 1974). Say no more, this sums it up perfectly. One of the greatest discs ever recorded. Rare mint copy of this 1974 US pressing with always-missing PROMO poster included. All time highest recommendation. Promo copies that float around always have the poster missing, this one comes complete with the poster. Poster is in MINT condition and has NO signs of any use or pinholes. This Neil Young slide just NEVER shows up all complete with poster. One-off chance I believe. And the poster is bloody BIG...... one of the few PROMO copies around in NM condition with POSTER present..... Price: Offers.!!!!!

1897. YOUNG, NEIL & THE SHOCKING PINKS: “Everybody’s Rockin’” (Geffen Records/ CBS Sony Japan – 25AP-2689) (Record: Mint/ Jacket: Mint, still in shrink/ Capsule Obi: Mint, still in shrink/ Insert: Mint) Original first Japanese press issue from 1983. A largely overlooked but nevertheless a fantastic Neil album. During the 1980s Neil Young confused a lot of people. A lot of people in the ’80s would be an understatement. He began the decade with ‘Hawks and Doves,’ a fairly straight-ahead, somewhat country-lined rock album. He followed it with the brash, and often repetitive, ‘Re-Ac-Tor’ with Crazy Horse, cranking up the guitars once again. Trans, an album inspired by, and based on, electronic sounds, followed this. It confused the shit out of people and also out of his newfound label Geffen. Young’s next stop was straightforward country music. He delivered an album to Geffen made up of authentic, old school country songs. But by this point, Geffen, totally confused by Young’s genre jumping, rejected the album and told Young that he needed to make a real rock ‘n’ roll record. Young, in turn, took those instructions at face value. “They told me they wanted me to play rock ‘n’ roll, and told me I didn’t sound like Neil Young,” He said. “So I gave them ‘Everybody’s Rockin” and said, ‘This is a rock ‘n’ roll album by Neil Young after someone tells him what to do. This is exactly what you said you wanted.’ As long as it’s good music and I’m playing with my friends, I don’t care what genre it is. All my music comes from all music. I’m not country, I’m not rock ‘n’ roll. I’m just me, and all these things are what I like.” Well … rockin’ it was, and remains that way 32 years later. Say what you want about it –call it two steps away from Rutles territory, a parody, pastiche, tribute or whatever other fancy-ass words you wanna toss at it, ‘Everybody’s Rockin” is a genuine rock ‘n’ roll album, all 28 minutes of it! Backed by the Shocking Pinks, Young plunged head first into the sounds of 1950s rock ‘n’ roll. And all this years later, it sounds GREAT…totally overlooked Young LP that is as a classic as his early works. Price: 45 Euro

1898. YOUNG NEIL with CRAZY HORSE: “Sleep With Angels” (Reprise – 1-45749) (2 LP Set: Near Mint/ Jacket: Mint, still in shrink/ Insert: Mint) Rare 1994 release in top condition. “Though it once again reunites him with Crazy Horse and includes such typical rock workouts as the lengthy "Change Your Mind" and the raucous "Piece of Crap," Sleep With Angels is more musically varied than most of Neil Young’s albums with his erstwhile backup group, ranging from piano-based ballads like the album opener, "My Heart," and closer, "A Dream That Can Last," which might have fit on After The Gold Rush, to the country-folk "Train of Love," which sounds like a leftover from Harvest Moon, and the hard-edged grunge of the title track. The Crazy Horse influence comes in the songs' structural simplicity and the unpolished playing. Though musically diverse, Sleep With Angels is a song cycle in which Young repeats the same themes and images. To put it simply, the album is about death, presumably primarily the suicide of Kurt Cobain, which occurred while it was being recorded. From "My Heart," which declares, "It's not too late" and "Somehow, someone has a dream come true," to "A Dream That Can Last," which declares, "There's a better life for me someday," Young begins and ends with a shaky, uncertain optimism, even though his language is riddled with references to violence, especially gunfire, and desperation. As in the album's title, even the references to sleep and dreams are about death. Young repeats some of the same lines from song to song and sometimes the same music ("Western Hero" and "Train of Love" have the same tune). The album thus has a tired, mournful feel that is both compelling and off-putting. Young had not investigated such forbidding territory since the days of Tonight’s The Night and On The Beach and Sleep With Angels is on a par with those often harrowing works.” (William Ruhlmann - All Music Guide). Price: 85 Euro
1899. YOUNG, NEIL & CRAZY HORSE: “Neil Young & Crazy Horse At The Fillmore 1970) (Reprise – 44429-1) (SEALED TEST PRESSING). Bloody rare test pressing – only 20 copies in existence and this one is sealed. Price: 500 Euro
1900. YOUNG, NEIL: “OST Dead Man” (Vapor Records) (2 LP set: Near Mint/ First edition Jacket: Near Mint/ 2 Imprinted Inner Sleeves: near Mint). First original press copy, housed in 1st issue jacket with different texture as opposed to later issues and counterfeits. A "soundtrack" in the true sense of the word. It is a collection of incidental music by Neil Young done without lyrics or real songs. Neil Young's ashy, echoing guitar dominates throughout the recording, spiced up here and there with some poetry and spoken weird taken of the movie by Johnny Depp. That dialogue is right in tune with Neil Young's jangling, scraggly electric guitar score, which twangs portentously on the soundtrack. Switching occasionally to pump organ, detuned piano, and acoustic guitar, the atmosphere is loomy, desert rat infested, eerie and lost in the grains of sand and tumbleweeds. The sparse, almost one-note, score pulls off the trick of seamlessly fading into the background, evoking appropriate feelings when necessary. The results not only evoke the hostile, desolate landscapes of the film's Old West, but work on their own terms as ambient mood music for the non-new age crowd, creating an atmosphere of restless disturbance with subtlety and grace. This is the rare very limited press 2 LP version of the soundtrack, rarely surfaces and a massive release in the already massive and totally obligatory Neil Young discography, although that this one might be his strongest album yet. Price: 200 Euro

1901. YOUNG, NEIL & CRAZY HORSE: “Cow Palace 1986” (Let Them Eat Vinyl – Letvo-47LP) (3 LP Set on Colored wax: Near Mint/ Heavy Book-like jacket: Near Mint/ Attached Inners: Near Mint/ Outer Slipcase Box: Near Mint). Heavy-duty box set, elaborate packaging and vary-colored vinyl. Total fetish object. The ghosts of Rust Never Sleeps/Live Rust haunts this release – unsurprisingly, since San Francisco’s Cow Palace paid witness to some of the incendiary recordings that made up those two albums a decade before this performance was captured. Remember the Ewok roadies setting up over-sized, parodic equipment from that earlier tour? The same playfulness pervades this show: Neil fielding phone calls from his “mom” and an angry neighbor, demanding that he keep the noise down as – so the conceit goes – he practices in the garage with Crazy Horse. Doobie jokes elicit a roar of recognition; Young claiming that he’s rehearsing for a big concert in San Francisco? The audience fairly loses its mind. Those late 70s shows saw Young assert his relevance in the face of punk’s gobby rise, yet electronica experiments in the early 80s were met with disdain, while Young’s record label baulked at the rockabilly and country LPs that followed. This 1986 return to balls-out rock is hamstrung by Young – naturally imbued with rock’n’roll aura – needlessly embracing clichés: from they we’re-just-kids- foolin’-in-a-garage shtick to the “born to rock” refrain of Opera Queen. Patient fans who sat through a ho-hum second half laden with the majority of Young’s then-unreleased 1987 album, Life, were rewarded with The Needle And The Damage Done, Powderfinger, Like A Hurricane and Hey Hey, My My. Totally essential!!!! Price: 85 Euro

1902. 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
1903. YOUNG, NEIL: “In Concert” (TMOQ – The Swinging Pig – TSP-074-2) (2 LP Set on Blue Vinyl: Near Mint/ Jacket: Excellent). Long deleted 1990 issue live gig of Neil Young that took place in New York & Los Angeles in 1970. Price: 85 Euro
1904. YOUNG NEIL & CRAZY HORSE: “Prisoners of Rock ‘N’ Roll” (TMOQ – The Swinging Pig – TSP-099-3) (3 LP set on blue, red and white vinyl: Near Mint/ Gatefold Jacket: Near Mint) Long deleted TMOQ soundboard live recording of Young and the Horse in action at the Cow Palace, san Francisco, November 21, 1986. Price: 150 Euro
1905. YOUNG, NEIL: "BBC Broadcast" (TMOQ – Matrix: NY-533-A/B) (Record: VG++ ~ EX/ Jacket: Near Mint). Rare original 1970s vintage boot on the highly acclaimed Trade Mark Of Quality Label. "On February 23, 1971 Neil Young visited the BBC Television Centre in London to record a solo performance that would air as part of the BBC's In Concert series. Young treated the live crowd and television audience to a set that was heavy on material from his Harvest LP, which wouldn't be released until February 14, 1972.". Stunning and intimate material and rare Neil Young live recording. Price: 100 Euro
1906. YOUNG, NEIL: “The 1970 Carnegie Hall Show” (The Amazing Kornyfone Record Label – TAKRL-908) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Great old tyme 1970s original boot edition of Young shining in concert in 1970. Was released on the famous TAKRL label and sounds crystal clear for a recording out of that period. Top copy and so great with young tackling is famed songs with much pathos and sentiment. Devastatingly beautiful and so indispensable for any self-proclaimed Neil Young aficionado. Price: 60 Euro
1907. YOUNG, NEIL: “Boulder Colorado” (Trade Mark Of Quality – TMQ-71072) (Green Wax LP: Near Mint/ Jacket: Excellent/ Insert: Near Mint). One of the more desirable and rare Neil Young Vintage bootlegs, 1st TMOQ pressing on green vinyl. The rarest issue, only released in an ultra limited run…this copy is as good as you ever hope it to be…Price: 450 Euro
1908. YUASA JOJI: “Obscure Tape Music of Japan Vol. 1 – Aoi no Ue” (edition Omega Point – Archive Series OPA-001LP) (Record: unplayed/ Jacket: Mint/ Insert: Mint). Released in a minuscule run of merely 150 numbered copies. Long out of print. Famous composer JOJI YUASA's legendary earliest example of musique concrete “AOI-no-UE” (1961) and his final electronic music composition “My Blue Sky No.1” (1975) made at NHK electronic music studio. The sound of “AOI-no-UE” is made from voices of Japanese traditional Noh theater. “My Blue Sky No.1” on the other hand was made from only clicks and pulses as sonic sound sources. Both works are world premiere issues as obscure tape music series and have never been released before. From the liner notes by Yuasa Joji: “This CD contains one of my comprehensive work on music concrete "Aoi-no-Ue" and my last electronic music "My Blue Sky (No.1)" before I went into computer music. "Aoi-no-Ue" is a Noh-play composed by Ze-Ami in 15th century, based on famous "The Tales of Genji" written by Murasaki Shikibu in 11th century. The text is recomposed by me keeping original words. And it was sung in the style of Noh-chant by three brothers of Noh actor, Kanze Hideo, Hisao and Shizuo. This work "Aoi-no-Ue" is composed mainly based on metamorphosed sound of Noh-chant. The other sound is concrete sound such as birds songs, water drops, glasses, warped sound of vibraphone, some generated electronic sound and others. My Blue Sky (No.1) is a special electronic work for me, for most of my other works on this field are based on White Noise. Where as only this piece is exceptionally using the other generated sound. However, my thoughts on denying to use so called bare generated waves such as sine, square triangle or saw are not changed. In this work only 'clicks', 'pulses' and various kinds of 'beats' induced from them, varying pitches, width and their frequency of the pulse are adopted. For example I controlled successively occurring pulses of low frequency of sine wave by means of triggering with the frequency of square wave.” Over the top fantastic LP set shedding some light on obscure and totally forgotten jewels out of Japan’s musique concrete and electronic music history. Released in an edition of only 150, these babies are destined to become (and are already) massive collectable material. Stellar music. Price: 150 Euro
1909. YUASA JOJI: “Triplicity For Contrabass – Masahiko Tanaka, Electronic Studio of the NHK” (RCA Red Seal – JRZ-2104) (Record: Mint / Jacket: Mint/ Obi: Excellent). MINT UNPLAYED COPY!! COMPLETE with OBI – first time I have a complete copy with obi.  Original 1974 pressing, 1st and only press of this album, never has been reissued in any format yet. As you might know, trying to score of find vintage real time Japanese electronic masterpieces is a pain in the ass. I know, I tried countless times to secure copies of some of these grails and only after many years of persistence I managed to assemble a small lot of cornerstone recordings. And like one might say, persistence pays off, since finally I can share with you my sole spare copy of this rarely offered masterpiece. First of all, don’t let the title mislead you since this disc – although its has processed sounds of contrabass on it – is 100% pure and sheer electronic music, vintage white noise spiced up with endless stream if female telephone operators popping in and out of the mix. But I am going a bit too fast here. Made out of three compositions entitled “Triplicity For Contrabass” (avant-garde – contemporary and electronic music composition - 1970); “Projection Esemplastic for White-Noise” (electronic music composition - 1964) and “Voices Coming” (tape-splicing music composition - 1970) Yuasa Joji delivers here his ultimate masterpiece, one of the cornerstone recordings to document the evolution of electronic music in Japan. Ranging from modulated and altered contrabass sounds towards sheer blizzard storms of eerie electronic white noise beating down your eardrums evoking images of detuned jet engines, bleeping submarine-like sonar eavesdropping and aborted shuttle missions over to spliced tape snippets of telephone operators zooming in and out of focus, evoking echo-y stipulations and ghostly revelations, beamed up and out of a foggy afterlife. And for those hipsters who valuate their musical tastes molded on other people’s list, reference works and books, check out your “Ni Hon No Denshi Ongaku – Japanese Electronic Music” book by Kawasaki Koji on page 514. There you have it listed so start drooling. Next to impossible to dig up, 1st spare copy to fall in my lap in 6 years. Just massive. Price: 300 Euro
1910. YUASA JOJI: “Projections” (Columbia – OP7172〜6N) (5 LP Set: Near Mint ~ Mint/ Box Set: Near Mint ~ Mint/ 20 paged Booklet: Mint/ Obi: Mint). TOP COPY, virginal all the way and impossible to upgrade upon. Seems untouched. Hideously rare 5 LP set by this Japanese maverick avant-garde and electronic music composer. Complete with always missing obi! Originally released in November 1975 and till this day unreissued. This 5 LP set focuses on the various compositional oeuvres of Yuasa and each LP is dedicated to a discipline he excels at. First LP – Orchestral Works (works from 1975, 1967 and 1972); 2nd LP – Chamber Music (compositions from 1955, 1974, 1963, 1967, 1970 and 1973); 3rd LP – Piano Music (compositions from 1957, 1959 and 1972); 4th LP – Tape Music (compositions from 1969 and 1966); 5th LP – Choral Music (composition of 1971). This one just never surfaces. Highly if not totally essential if you are into (and you should be into this shit) Japanese avant-garde, electronic music, musique concrete, tape music and contemporary music. Hyper rare but oh so bloody good, makes your skin curl up and down. Top copy and utterly virginal, they do not come cleaner and more pristine as this one. Price: 450 Euro
1911. YUASA JOJI with SATO MASAHIKO & YOSHISABURO TOYOZUMI: “Koten” (Ex-House) (Record: Near Mint/ Plastic Case Jacket with Inserted Artwork: Near Mint/ Triangular Obi: Near Mint). Top copy original 1st pressing all complete with outer plastic slip case sleeve and triangular obi. Freakingly rare private press by this electronic music and avant-garde composer Yuasa Joji for and with the help of Terayama Shuji’s Tenjosajiki guerilla theatre troupe on one side and teaming up with free improvisation players on the other side. The whole of the material was recorded live on December 19th 〜 21st, 1977. But instead of steering of in some highbrow avant-garde noodlings, Yuasa hooks up with free jazz heavy scenesters such as Sato Masahiko and Yoshisaburo Toyozumi, flanked by Yoshihara Sumire on percussion and Fujikawa Yoshiaki blowing his sax to smithereens and in unison they whip out a whirlwind of dusty tornado like free form blood-sucking action moves. But this freeform tordano is blowing hard but be it in a stripped down and in an almost austere kind of way. Minimal freeform actions, heavy on sonic resonances and moving into deep subterranean kind of spaces, creating weird hell broth kind of sonics that has the players moving around as if they were engaged in a trench warfare for snipers, constantly hurtling in and out of focus. In all the interaction has more emphasis on the avant-garde aspect than on the bluntly free-jazzing dialectic – focusing on tiniest of gestures that trigger little butterfly-induced storms on the horizon and engaging in some panoramic sonic intercourse that still manages to engulf the aural landscape. On the B-side he hooks up with some Tenjosajiki players/ actresses such as Ran Yoko, Wakamatsu Takeshi, Nemoto Yutaka, Shinozaki Ko and Suetsugu Akiko. Together they set out on a piece heavy on theatrical vocals and embarking on a more Tenjosajiki induced trip. In all an amazing recording that sheds some more light on Japanese avant-garde and its hook-ups with the Tenjosajiki guerilla troupe. Bloody rare private press, was released in an edition of 300 and came housed in a heavy plastic case holding the record and artwork as well as the triangular obi. 1st copy to cross my path in 10 years and getting near to impossible to wheel in these days. Top copy. Act now and hold yer peace forever. Price: Offers!!!!
1912. YUIKONGA - ENDLESS ENDLESS - SHINODA ETSURO: “Dare ni mo Shirarezu ni Kieru Shika nai sa”. (Philips – FX-8512) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) First ever copy complete with obi. Ok strap in folks, here ya have the 1st original pressing of this historic and wicked slide. Original copies just do not come up, 2nd pressings with the single jacket surface from time to time, but the 1st pressing in different jacket is near impossible to unearth, until now. One of my all time favorite Japanese early seventies (1971) discs of all time is this Yuikonga record, a real hybrid and derailed passion filled slab of counter cultural vigor. Shinoda Etsuro, who originally was affiliated with the original Tokyo Kid Brothers line-up, conceived the record. Music-wise this disc encapsulates and fuses a wide range of styles, all utterly Japanese and ranges from domestic acid folk excursions to sake drenched enka escapades, psychedelic New Rock hoedowns, Buddhist esoteric chanting, field recordings, rural sitar strummings, loner flute intro's, intoxicating hymns with female vocals set against a swirling background, frazzled Enka crooners, fuzzed-out Tenjosajiki dementia, etc. It has all the works and this is partly due to the heavy line-up that assisted Shinoda on this album. Apart from Terayama Shuji's, whose imprint hovers heavily over the album, Shinoda got enforced by some of the finest scenesters of that day such as members of the Flower Traveling Band, who were responsible to add some acidic teenage psyched-out angst, ex-Tempsters front man Matsubashi, the female completely under-recorded psychedelic folk chanteuse Lily, the Kimio Mizutani Group spearheaded by all time seventies icon acid guitar wonder Mizutani himself, arrangements by the hand of Yanagida Hiro (of Milk Time, Apryl Fool, Floral, Food Brain, etc fame), etc. In other words, stellar and over the top. A real brain peeler of a disc. Recorded in 1970 after that Shinoda returned back to Japan following a successful stay in New York with the Tokyo Kid Brothers "Golden Bat" production, the album was his musical statement to the end of a decade, all summed up in a musical testament (Yuikonga means Last Will and Testament Songs) that encapsulated all that had gone by and what was still to come. Hyper psychedelic masterpiece/ acid loner folk gem and one of the best discs to come out of Japan during that period. If you are into Tenjosajiki, Opera of Tadanori Yoko, Flowers, Flower Traveling Band's Satori, Food Brain, Melting Glass Box, etc, then this baby has written YOU all over it. This is the first original pressing, an edition that only once every 2 decades surfaces. Extremely rare especially a complete copy with obi. The music is just stunningly great. All time highest recommendation.You cannot live without this gem, tops almost everything. Killer disc, ultimate psyched out loner acid folk dementia and Buddhist deranged crooner stuff. Wow…what a mind torcher. Price: Offers!!
1913. YUIKONGA - ENDLESS ENDLESS - SHINODA ETSURO: “Dare ni mo Shirarezu ni Kieru Shika nai sa”. (Philips – FX-8512) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint) 1st original pressing of this historic and wicked slide. Original copies just do not come up, 2nd pressings with the single jacket surface from time to time, but the 1st pressing in different jacket is near impossible to unearth, until now. One of my all time favorite Japanese early seventies (1971) discs of all time is this Yuikonga record, a real hybrid and derailed passion filled slab of counter cultural vigor. Recorded in 1970 after that Shinoda returned back to Japan following a successful stay in New York with the Tokyo Kid Brothers "Golden Bat" production, the album was his musical statement to the end of a decade, all summed up in a musical testament (Yuikonga means Last Will and Testament Songs) that encapsulated all that had gone by and what was still to come. Hyper psychedelic masterpiece/ acid loner folk gem and one of the best discs to come out of Japan during that period. If you are into Tenjosajiki, Opera of Tadanori Yoko, Flowers, Flower Traveling Band's Satori, Food Brain, Melting Glass Box, etc, then this baby has written YOU all over it. This is the first original pressing, an edition that only once every 2 decades surfaces. Killer disc, ultimate psyched out loner acid folk dementia and Buddhist deranged crooner stuff. Wow…what a mind torcher. Comes 50% cheaper since it has the obi missing so… Price: 600 Euro
1914. YUJI OHNO TRIO: “Mr. Happy-Gon” (RCA records – JRS-7263) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare 1973 original of Japanese jazz masterpiece. Just never surfaces, let alone all complete with obi. Yuji Ohno would later down in his career become successful and famous as the main composer for the Lupin The 3rd anime soundtrack series, a feat I believe is quite mediocre as the music totally sucks donkey balls. But before he became a corporate sellout, Yuji Ohno recorded his jazz debut in 1973 and this one recording is nothing short but a masterpiece of a piano trio in virtual swing and burning the ivory keys. Price: 450 Euro
1915. YUKI SAORI: “23 Sai – 23 Years After – Saori Yuki Sings Love Life” (Express – ETP-8171) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). WHITE LABEL PROMO with OBI!!! Rare female vocal album, released in the early 1970s. Yuki Saori’s first album, another early seventies wanna-be idol singer glancing over the brink of utter obscurity. Lolita-like soft pop songs all interlarded by soft whispers and up-tempo hip shakers. Yuki is gifted with a sea breeze like soft sexy voice. Music-wise, her efforts can be best described as utterly charming and the disc offers a glimpse at early seventies cute Japanese coquette pop songs that still brim over with some lush ornamented back spinning musicians, early seventies glam influences and utterly innocent pseudo erotic references. Next to that, the young Saori was gifted with a set of heart melting vocal chords, great looks and a totally disarming charm that will not leave you unmoved. Compared to the female J-Pop deities we get assaulted with on a daily basis these days (at least the ones of us residing in the land of the rising noise and credit card destruction) one cannot but notice that production and musical standards in the wake of the sixties were taken way more seriously than the present-day consumerist attitude that churns out one “starlets for an hour” after another. The musical backing is stereotypical for bubble Japan, funky at times, slightly overproduced but what keeps it standing at all times is the Saori’s virginal but sexy voice. The album is quite a tough one to come by and quite in demand by Lolita fetishists. If only Saori had embarked unto a more iroke-tinted path she would have shone like no one less. Interesting record but sadly overlooked and hard to get these days. Failed to live up to its commercial potential and just disappeared. If you are into Japanese female singers, she is definitely worth to lend your ears to. Never seen a copy complete with obi, but here is one. TOP-notch copy white label promo…awesome. Price: 200 Euro
1916. YUMI KAORU: “Yumi Kaoru New Album - Konou No Onna” (Philips – FX-8070) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Attached Photo Insert: Mint). Original 1973 press. Top copy of one of Japan’s most sought after erotic artifacts. Yumi Kaoru was a famous and popular actress that arrived on the scene in the late sixties, making her debut as a chanteuse in 1967 on the Crown label, which was followed by a string of EP releases. It wasn’t until 1973 that she made her first full-length album for the Philips label entitled “Tabako no Hi O Keshite” which was quickly followed that same year by this album here in question. It was the beginning of the seventies and she began to appear nude in magazines, followed eventually by her second LP and first sole nudity album. Apart from being blessed with a stunning body, she was also gifted with a honey dripping syrupy voice and thanks to that she was able to bring forth swinging Kayokyoku vibes, heavily loaded with a butt-shaking 1970s vibe and enough sex appeal to defrost Antarctica. Sulky songs didn’t cut it for her and instead she brought a swinging emotional atmosphere to the genre, which catapulted her appeal and popularity to even higher regions. The backing band follows her moves as tight as a rock, never dropping a single beat and steering her intoxicating vocals to even higher regions. The mid-seventies arrived and one can feel the unbridled optimism in the music, decadence just lay around the corner, waiting to get embraced. In short just a stunning period piece that bolstered female sex appeal up with soft erotic vibes, nudity and a Kayokyoku swinging vibe. This is a lethal combination that will make your balls contract violently and make them crawl up straight into your belly. Yumi Kaoru just ruled. Very rare complete top item. Price: 250 Euro
1917. YURA YURA TEIKOKU: “Menocar” (Midi – CXLP-1020/1021) (2 LP Set: Mint/ Gatefold Jacket: Mint/ Insert: Mint). Mint copy of this two LP set that was released separately by Midi-Creative years ago. Mint copy of this early 2LP set that is out of print LP’s. Awesome release by Tokyo's hardest working psychedelic combo who managed to rise out of the slumming undercurrents of the scene. Without a single doubt they were best band on the island until they broke up and disintegrated and this was especially due to Sakamoto's visionary song craftsmanship, great vocals and exquisite guitar gunslinger abilities. This LP is comprised out of stellar tracks only and especially the last one will be deviational with Kurihara Michio closing the ranks a s guest guitar slasher. Great psych rock that combines classical influences with contemporary sonic desires. Great all way round and getting very scarce and collectible on these shores. Price: 200 Euro
1918. YURA YURA TEIKOKU: “Yura Yura Teikoku No Shibire” (Midi – CXLP-1050) (Record: Mint/ Jacket: Mint/ Insert: Mint). Comes on Green vinyl. Price: 125 Euro
1919. YURA YURA TEIKOKU: “Yura Yura Teikoku no Memai” (Midi – CXLP-1051) (Record: Mint/ Jacket: Mint/ Insert: Mint). Comes on red vinyl. Price: 125 Euro
1920. ZAPPA, FRANK: “Hot Rats” (Bizarre/ Reprise – RS-6356) (Record: Near Mint/ Gatefold Jacket: Near Mint – STILL IN SHRINK/ Inner Sleeve: Mint). Original 1st US pressing in perfect condition. Jacket comes still housed in original shrink-wrap so impossible to find a better condition one out there. Shrink-wrap copies are damned rare!!! Music needs no introduction, Zappa’s masterpiece. This may be the ultimate perfect copy for you. Next to impossible to upgrade upon this one here!!! Price: 300 Euro
1921. ZAPPA, FRANK: “Weasels Ripped My Flesh” (Reprise Japan – P-8003R) (Record: Mint/ jacket: Mint/ Obi: Mint). Bloody rare 1st time Japanese pressing with cool obi. Rarely surfaces these days, this one is a top-notch copy. The obi is what this one is all about, just lovely. The music is of course also fingerlickingly great!! Price: 375 Euro
1922. ZAPPA, FRANK: “Lumpy Gravy” (Verve – 2317-046) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Original 1968 UK pressing. UK pressing is a bitch to dig up these days. ‘The way I see it, Barry, this should be a very dynamite show.’ And boy, the anonymous drone of a voice, which kicks off Frank Zappa’s first solo album, sure is right. ‘Lumpy Gravy’ is musical dynamite. ‘Lumpy Gravy’ is a carefully contrived collection of the classical, jazz-influenced and popular music genres, accompanied by comedic spoken word elements. For anyone familiar with Edgard Varese, his influence will be almost at once glaringly apparent. On first listen, much of the album tends to come across as arbitrary, and even dissonant; on future approaches to ‘Lumpy Gravy’, a greater sense of structure will become clear, and a level of respect for the piece will grow without relent. One of may all time fave Zappa recordings. Price: 150 Euro
1923. ZAPPA, FRANK: “Apostrophe” (Discreet Japan – P-8467D) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 4 Paged Comic Insert: Mint). Comes complete with obi and Japan only illustrated comic insert. TOP copy, rare with the comic insert present!!! Price: 75 Euro
1924. ZAPPA, FRANK: “The Man From Utopia” (CBS SONY – 25AP2642) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Booklet: Mint). First original Japanese pressing from 1983 all complete with always-missing Japan only booklet. Top condition. Price: 60 Euro
1925. ZAPPA FRANK: “Lather” (RYKO Disc – VAJK-001/5) (5 LP Record set: Near Mint/ Box: Near Mint/ Booklet: Near Mint/ Obi: Near Mint) Japan only 5 LP box set with booklet & Obi. Japan only 1996 release on vinyl as a 5 LP box of this subliminal Zappa work. Läther was supposed to be released in 1978 as a four-record box set, but (depending on which story you believe) Warner Brothers would not allow Zappa to put it out, and they refused to release it. Instead, Zappa turned around and released a series of albums that utilized a lot of the songs from Läther on them. These albums, Sleep Dirt, Studio Tan and Orchestral Favorites, we'll eventually get to. You'll also hear elements on Zappa In New York and Sheik Yerbouti. Finally, in 1996 - three years after Zappa's death, Gail Zappa and Rykodisc answered the prayers of many Zappa devotees and brought this set out, eighteen years after it was supposed to be issued. Was it worth it? Simply put: Damn straight. Many of the songs here will sound familiar to you. Encased on this three-CD and a Japan ONLY 5 LP issue set include early versions of "Broken Hearts Are For Assholes" and "Honey, Don't You Want A Man Like Me?" (including a brief confrontation between a disgruntled concert attendee and Zappa). These versions are a little rough, compared to the more polished versions you can hear on other albums, but they're of historical significance. An additional version of "Big Leg Emma" is a lot of fun to listen to - and I'm always interested to hear different versions of "Titties 'n Beer" just to hear the interplay between Zappa and drummer Terry Bozzio. Rare and limited and in great condition. Does turn up only sporadically, making it much sought after. Booklet and obi present. Box has no wear whatsoever. Great copy. Rare indeed…Price: 350 Euro
1926. ZAPPA, FRANK & MOTHERS OF INVENTION: “Safe Muffinz – El Montev legions Stadium 1971” (TAKRL – 1929) (Record: Near Mint/ Jacket with Paste On’s: Mint, still in shrink). Legendary old skool boot issue, blue Xerox past on version, first issue. Price: 90 Euro
1927. ZAPPA, FRANK & MOTHERS OF INVENTION: “Poot Face Boogie” (TAKRL – 1909) (Record: Mint/ Xerox Paste On Jacket: Still in shrink, Mint). First issue if this classic vintage Zappa boot. Price: 90 Euro
1928. ZAPPA, FRANK & MOTHERS OF INVENTION: “No Commercial Potential” (The Amazing Kornyphone Record – TAKRL-24907) (2 LP Record Set: Excellent/ Jacket: Excellent). Same set also released as "Vitamin Deficiency"; and they're both put together by two classic Zappa-bootlegs: "Poot Face Booogie!" and "Safe Muffinz" LP (which is the same as "Poot Face Boogie", though slightly better sounding) is a recording of Zappa & The Mothers live in Ahoy Halle, Rotterdam, Holland, November 27th 1971, plus a couple of bonus studio-tracks. Not too bad audience recording. Price: 50 Euro
1929. ZAPPA, FRANK & MOTHERS OF INVENTION: “Necessity is…” (Mud Shark – MZ-3601) (Record: Excellent/ Paste On jacket: Excellent). Vintage old style Zappa boot that came out in the mid-seventies and is graced with those incredibly cool looking paste-on covers, Xeroxed paper glued to a white jacket. Aaah, those where the days…The cover states “previously unreleased tracks and studio alternates 1963〜69), all material by the Mothers and Uncle Frank, again highly essential and awesome. Hard to find these days vintage Zappa mid-seventies released boot in nice nick. Price: 50 Euro
1930. ZAPPA, FRANK/ BEEFHEART: “Confidential” (No label – 365A/B) (Record: Excellent/ Paste-On Xeroxed Jacket: Excellent). Astounding vintage mid-seventies bootleg of Zappa teaming up forces with Captain Beefheart. The Zappa/ Beefheart boots are the hardest to track down as you can imagine. This one contains a whole load of material, all collaborations between these two semi-gods, recorded between 1963 ~ 1974. Filled with rarities, outtakes, live versions and off the wall ranting in between it all. Highest possible recommendation. Price: 70 Euro
1931. ZAPPA, FRANK: “Bacon Fat” (Swingin Pig Records – TSP-300-24/2) (2 LP Record Set: Near Mint/ Individual Imprinted Inner Sleeves: Near Mint/ Jacket: Mint, still in shrink). Rare numbered to 300 copies only limited edition that came out on the great Swinging Pig Records label, pressed on blue and yellow vinyl. This issue is numbered as 295/ 300. Stunning Frank Zappa & Mothers of Invention live show, recorded Live In Toronto, Canada August 1969. Price: 100 Euro
1932. ZAPPA, FRANK: “Austin, 26 Oct. 1973” (No Label –ZAP-007A〜D) (2 LP Set: Near Mint/ Jacket: Near Mint). Limited to 200 copies only stellar Zappa & Mothers live recording that took place at the Armadillo World Headquarters, Austin, Texas on October 26th, 1973. 200 copies only pressing that came out on red colored wax. Stellar sound quality of classic Mothers high flying bonanza weirdness and madness. Price: 75 Euro
1933. ZAPPA, FRANK: “Zappa/ Wazoo ~ Joe’s Damage” (Vaulter Native Records – VR 2007-2-1/3LP) (3 LP Record Set: Mint/ Individual LP Sleeves: Mint/ Individual Imprinted Inner Sleeves: Mint/ Outer Slip Case Box that holds all: Near Mint). Limited pressing of 100 copies only on vinyl that came out in 2007 as an original issue. Each LP comes pressed on colored marble vinyl. Stunning package that beholds even greater music. Price: 200 Euro
More Frank Zappa Titles can be found under the "M" section - Mothers Of Invention.
1934. ZEN: "Meiso" (Philips – PH-7515) (Record: Near Mint/ Gatefold Jacket: Mint/ Imprinted Inner Sleeve: Near Mint). Another totally vanished obscurity out of 1971, depicting some sonic activities taking place on the far edged fringes of Japan's sonic landscape. I categorize the disc amongst psychedelic and devastating field recordings, with a strong emphasis on the psyched-out character of this recording and accompanying art work. The record follows sessions carried out by some seriously "way-out-there" Zen monks. Interlarded by the sound of wooden getta, rain, insects, etc the recordings took place on two different locations, being the Eiheiji Temple in Fukui and the Shofukuji in Kyoto. Without any reasonable doubt, these esoteric monks certainly had attained the level of enlightment judging from the sounds they produced, the background noises, natural elements and atmospherics that neatly blend in and the psychedelic artwork that accompanied the release, done by the hand of Tadanori Yokoo. Not to mention the cryptically encoded liner-notes that are spray-painted all over the inside of the cover, reading like some outward bound mystical and spaced-out mumbo jumbo. "no-Direction known: satori. no-THING perceived: no-SATORI. no-DECISION decided: epiphany. no-FLASH decoded: no-EPHIPANY. no-BELL answered: entropy. no-BRA anchored: no-ENTROPY. no-GOAL attained: satori." Get the picture? The records dwells in the same outward regions of your caved in mind. Excellent and psychedelic as hell. The disc is quite rare and I have seen it offered here at a Tokyo record shop for 300 dollars. I will let it go for half that price. Top notch copy. Highest recommendation. Price: 150 Euro
1935. ZEN: “S/T” (Philips – PH-8531〜4) (Cloth Bound Box: Near Mint/ 4 LP’s: Near Mint/ Two detailed and fully illustrated and annotated in English and Japanese booklets of each 30 pages: Mint/ Obi: Mint). Hideously rare 1971 4 LP box set release, first time I actually can lay my hands upon a copy after having many rumors about it – all complete issue with books and OBI. This set was recorded by a team of Philips engineers with the full cooperation of the Zen Buddhist sect known as Rinzai. The recording sessions took place live during various ceremonies in a total of four Rinzai Zen temples in Japan, Shofuku-Ji in the Kobe city of Hyogo and at Daitoku-Ji, Shokoku-Ji and Myoshin-Ji, all in Kyoto. The set opens up with the sounds of the heavy wooden gates to the inner temple being opened to welcome early morning visitors. Morning chants start drifting through the air, monks are heard begging for rice in a shopping arcade, recording of the Kenchashiki ceremony where some 40 high ranking Zen priest are heard entering a special tea ceremony room – the sound of their footwear are heard as each receives a bowl of o-macha and joins and endless procession during which the tea is offered to Hotoke-sama (manifestation of Buddha). Other tracks include a solo voice chanting the evening prayer, Ryogonshu – a highly melodic chant accompanied by traditional Zen instruments; the breaking of the nightly silence at 3:30 am by the sound of a bell waking up the monks; giant gongs and wooden drums permeating into silent atmosphere of the mountain temple; morning and evening meditation sessions; monks walking in silence the mountains towards the village in order to go alms-begging; etc. This set is a sheer intense listening experience, balancing between environmental sound recordings, religious sonic experiences and minimal music excursions. One of the best sets ever devoted to the subject, this one just never turns up. Much acclaimed but seldom seen, this baby is a monster. Highest recommendation. Comes with two fully illustrated booklets and a cloth bound box and OBI…. Price: 200 Euro
1936. ZIOR: “S/T” (Nepentha – 6437005) (Record: Near Mint/ Gatefold Jacket: Excellent). Original IK 1971 pressing!. Next to impossible to score in this condition. Record is top all the way, the gatefold jacket has minimal handling wear as usual, no splits or defects of any kind. “Long considered an important collectible by metal archivists, this is an excellent slice of garage metal and blues-rock, with occasional psych flourishes. It’s none the worse for its rawness and lack of polish, and shows potential that went sadly unfulfilled. It gets off to a blistering start with the filthy garage blues of “I Really Do”, before a brief respite with the disarmingly lovely but lightweight psych of “Za Za Za Zilda”. It’s back to business with “Love’s Desire” a foot stomping barnstorming rock anthem not dissimilar to Slade. “New Land” is driven along by superb alternating keyboard/ guitar riffs while “Oh Mariya” is catchy garage rock along early Blue Oyster Cult lines. Thereafter the album relies on a more typical heavy blues format.” (Galactic Ramble). Great heavy psych blues LP that deserves a wider re-appreciation. Price: 475 Euro
1937. ZNR: “Barricade 3” (Isadora – ISA-9002) (Record: VG++ ~ EX, has 3 scuffs on side one that do not affect the playing and one scuff on side 3 on the 3rd track that causes some pops for about 30 seconds/ Gatefold Laminated Jacket: Near Mint). First original pressing. “Ever find something so strange, you wonder why it's not better known just BECAUSE it's so strange? That pretty much sums up ZNR. Perhaps the least startling thing about this album is the sketch inside by none other than Captain Beefheart. Centered around the French multi-instrumentalist duo of Hector Zazou and Joseph Racaille, ZNR also featured Patrick Portella, Gilly Bell, Fernand D'Arles, Andre Jaume, David Rueff and Harvey Neneux. The main sound is centered around early synths (namely the VCS3 and the ARP 2600), acoustic and electric pianos, and clarinets, bolstered by other instrumental contributions on a variety of instruments. The tracks are mostly concise, many clocking in at under two minutes. There are also a few suites, including the standout "La Pointe De Tes Seins Est Comme Un Petale De Pavot". Racaille provides the majority of what few vocals there are; his smooth speak/sing style adds a lot to the music. Zazou's vocals consist of a multi-lingual bit of absurdity and a heavily vocodered rumble. As a point of interest, many of the lyrics seem multi-lingual; bits of Spanish, French, English, etc. all show up in the same sentence. Much of the music is inspired by the great proto-minimalist Erik Satie, while still being uniquely ZNR. Some tracks come across as no wave classical; others are more pastoral and beautiful. The combination of unusual instruments and odd but endearing arrangements makes for a solid listen. An overlooked treasure” (Another World Of Sound). Price: 150 Euro
1938. The ZOMBIES: “Odessey & Oracle” (CBS Sony – SONP-50089) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near mint). 1st original Japanese pressing as released in August 1969 in Japan. Japanese pressing of this album is virtually inexistent due to poor and depressing sales at the time following no marketing to promote this masterpiece. Hence these days, if the Japanese pressing of the Zombies album does turn up, we have a reason to rejoice. Unlike a lot of albums of the psychedelic era, Odessey and Oracle doesn’t rely on any gimmick. It’s a straight up, no bullshit album, and rightly so regarded as one of the best collections of pop music ever recorded. Odessey and Oracle is a stripped down and classically influenced ear candy; a psychedelic Baroque Pop album. There is no extra studio sheen, no pointless orchestration. When an instrument comes in, its presence is essential to the composition. Such bluntness is refreshing amidst a lot of today’s musical excess and studio wizardry, and remains a trademark for some of the best albums of the 60s. A truly beautiful album. Price: 200 Euro
1939. ZOO NEE VOO: “The World of Zoo Nee Voo” (Columbia – YS-10042-J) (Record: VG++ ~ Excellent/ Gatefold Jacket: Excellent). Original press of this rare Cult GS artifact. I have a problem, I just love this stuff way too much, probably too much for mere mortals to ever be able to get a grasp on and the same goes for this Zoo Nee Voo album which keeps my world rocking and shaking, although it might sound ordinary to you, it certainly sounds ground shattering to me. Released on October 10th, 1968, this album was the band’s first ever effort, bringing forth a swirling collection of cover tunes but transforming them into something…else. Previously active in the amateur band Makkuruzu, lead guitarist Yamamoto hooked up with fellow university mates (bass player Tsukaya who played bass in various outfits roaming the discotheque scene + Machida and Kamiike who were active in the student folk band Castle & Cuits and finally fellow Makkuruzu member Kiriya– all students at Tokyo’s Meidai University) and decided to form a new outfit, mainly focusing themselves upon a R&B repertoire and formed the newly born Zoo Nee Voo on March 1968. The quickly secured their place in the sun and shortly after their formation they appeared (on March 23rd!!) 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 viciously delirious R&B monster. 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 Sam and Dave, James Brown, Otis Redding and so forth. 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. Price: 150 Euro
1940. ZWEISTEIN:Trip, Flip Out, Meditation” (Philips) ((3 LP Set: Near Mint ~ MINT/ Triple gatefold laminated Jacket with mirror attached: Near Mint). PERFECT COPY, best I have seen till this day. Top German original press copy. Released by the famous Philips label in 1970 as a triple album in an exotic metallic gold and silver sleeve with a small circular mirror mounted on the front cover. The music splattered over these 3 records was far removed from the motorik driven Krautrock and instead steered off into a mad-max-mix of primitive electronic experimentation, fractured folk song dementia and playground chanson weirdness, all manipulated with eerie electronics, defractured into pulsating noises, primitive avant-garde synthetic low style aesthetics, electric madness, psychic mazes hurtling sound clusters in and out of focus, all guided by an intuitive approach towards thundering low-fidelity outbursts of asymmetric demented lunatic whiplash assaults. How Philips ever decided to front the considerable production costs for such an extravagant release would demand is mysterious, but that the product had a kind of a romantic obsession with Zweisteins female member. Late at night when the studio was empty Zweistein rummage through the Philips studio and experimented with whatever equipment they could lay their hands on. During the whole time, the tape recorders were left rolling, hence three records instead of one. Once all was canned, the producer was fired shortly after Trip-Flip Out-Meditation blundered its way onto the record racks. It won’t be a surprise that just after a matter of weeks Zweistein's epic was deleted and sent to the vinyl junkyard never to be heard or seen again. Dag Erik Ashjornsen slaggs this album off in his German progressive and electronic rock guide Cosmic Dreams at Play. But he is a twat with a narrow-minded view on music. To these ears it is truly a warped masterpiece! But be warned, don’t expect that typical propulsive, motorik groove. Zweistein steered away from such a dull and degrading experience. They were the other end of the spectrum, exploiting the studio possibilities like a wooden Indian with a head full of Thorazine and flushed out a world of damaged, freaked out crumbling soundscapes, dense black holes of outer space FX, all with an act of lunatic violence, soaked the sonics down with lysergic maze while running naked around the studio with cowbells around their necks and in the process barfing out an orgy of deconstructed folk and a lo-fi orchestra of tape experiments and druggy noisemaking. In the end the music comes over like a huge twisting squirming living thing, constantly changing shapes, blurry and indistinct one second, sharp and crystalline the next, long stretches of hiss and thud and clatter, peppered with gorgeous little pockets of lilting fuzzy folk, only to be pulled apart moments later into shards of angular sound and chunks of smeared melody. It is all there, the sounds of jets, running water, warbly organs, reverbed wheezes, voices chopped up and blurred into fuzzy streaks, dense clouds of crowd sounds, tape speed shifts and chipmunk like vocals, sweeping industrial soundscapes, children playing, backwards loops, everything dusted with a thick layer of FX. “Trip - Flip Out – Meditation” is almost less music, and more some massive sonic experiment, a crazy freaked out drug trip, captured and carved into wax, at once totally epic and ambitious, but at the same time totally primitive and childlike. Upon getting sucked into this fuck-up sonic Valhalla, I constantly have to press my eyeballs back into their sockets out of sheer bewildering amazement, feeling my balls contact violently and crawling straight up into my belly. It is such a powerful weird electronic avant-garde experimental trip that will make you speak in curiously zombie like tones for weeks on end. Highest possible recommendation. Price: 500 Euro
1941. ZZ TOP: “ZZ Top’s First Album” (London – PS-584) (Record: Near Mint/ Jacket: Near Mint – still housed in original shrink/ Imprinted Inner Sleeve: Excellent ~ Near Mint). Original US first original pressing in outstanding condition. “ZZ Top’s First Album may not be perfectly polished, but it does establish their sound, attitude, and quirks. Simply put, it's a dirty little blues-rock record, filled with fuzzy guitars, barrelhouse rhythms, dirty jokes, and Texan slang. They have a good, ballsy sound that hits at gut level, and if the record's not entirely satisfying, it's because they're still learning how to craft records -- which means that they're still learning pacing as much as they're learning how to assemble a set of indelible material. Too much of this record glides by on its sound, without offering any true substance, but the tracks that really work -- "(Somebody Else Been) Shaking Your Tree," "Backdoor Love Affair," "Brown Sugar," and "Goin' Down to Mexico," among them -- show that from their very first record on, ZZ Top was that lil' ol' blues band from Texas.” (All Music Guide) Price: 150 Euro
1942. ZZ TOP: “Rio Grande Mud” (London – XPS-612) (Record: Near Mint/ Jacket: Near Mint, still housed in original shrink/ Company Inner Sleeve: Near Mint). Original US first original pressing in outstanding condition. “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). Price: 150 Euro
1943. ZZ TOP: “Tres Hombres” (London Records/ King Records – SLC-529) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ Insert: Mint). First original Japanese pressing with 1st issue obi – WHITE LABEL PROMO. Original Japanese high quality pressing of their third LP. Man, they fucking brought the house down. But after this one it went downhill fast, so this was their high water mark so to speak and shows exactly where the wave crashed into land and pulled back into the sea. “Beer Drinkers & Hell Raisers” yeahhhh….take this shit to Syria!!!! Stunningly clean with obi. Price: 150 Euro