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

2421. 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

2422. 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: 450 Euro

2423. YAMADA CHISATO: “Yomigaeta Tsugaru Shamisen” (Canyon Records – C-4018) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ Obi: Near Mintt). PROMO issue all complete with obi of one of the hardest to track down Yamada Chisato discs. Original 1976 release. Again a Yamada Chisato release that surfaces way too infrequently and the 1st time in all these years I can offer a spare of this gem. Yamada’s improvisations on the shamisen evoke a spiritual quality similar to that of black sermon-like songs. The genre crossing activities Yamada hurdles himself into came from the conviction that Tsugaru shamisen can be combined with jazz and other musical genres “not just because Tsugaru shamisen is an excellent resource that has good melodies but also because it is a music that smells of the earth.” In other words, upon listening to the sound of the Tsugaru shamisen, the listener should be able to hear a sound that has the scent of Tsugaru attached to it, an eternal and mystical element that fuses neatly with other deeply rooted sounds. What is known today as Tsugaru shamisen is based on Tsugaru minyo and consists out of shamisen accompaniment to Tsugaru minyo, solo shamisen versions of these folk songs and improvisation on its themes. The songs aspect herein consists out of difficult and highly diverse vocal styles, as distinguished by Groemer, that include un-metered inflected speech, uninflected rhythmical speech, chanting on one tone, song-like chanting and highly contoured melodic lines. Yamada commented the following on this scary evolution in 1995: “From now on, we are facing a problem. To say it honestly, there are hardly any young people that are into it. Most or almost all of the famous performers have passed away and my spouse, Fukushi Ritsu, may be the last of these great ones that performs the Tsugaru minyo. So I think that after a span of thirty years the genuine Tsugaru minyo may be completely vanished. This is quite saddening…Also, young people these days seem very fond of karaoke and indulge themselves completely herein, so they won’t be become any good at singing minyo. It is a suffering trend of the times…. Another fact that fastens the corrosion of the Tsugaru minyo is the present day attitude towards art forms. In the old days, performers and entertainers were often found saying that art comes before money – it is unheard for artists to think about money. Maybe it was that in the old days everybody was poverty struck and may this attitude be supportable. But now, this attitude is not compliable anymore. Parents do not want to subject their offspring to poverty. Performing minyo does not bring food on the table anymore.” So here you have a piece of music that is bordering on the brink of extinction, Yamada on a solo excursion reworking some of the aforementioned minyo classics and variations to its themes. Mind-glowingly great! Price: 100 Euro

2424. YAMADA HIROKAZU, TAKAGI MOTOTERU & YOSHIZAWA MOTOHARU: “Kozan” (Tiara Company – Tiara -001) (Record: Near Mint/ Jacket: Excellent ~ Near Mint - no defects but some mildew spots visible as usual/ Insert: Near Mint) Private press released in a tiny edition, believed is that no more than 250 to 300 copies in circulation. First time to have a copy of this hardcore free blasting jazz monster lead by silver string mangler Yamada Hirokazu. Yamada is the real revelation on this album. Yamada wrestles with his six strings in an utterly unique way, giving a whole new meaning and insight into improvisation and free jazz for that matter. Most of the time his contributions are confined to metal stringed acoustic sprees that are strongly rigorous and rhythmic in style, reminiscent in some ways to the Andalusian gypsies if only they might have emigrated as far as Japan. The warm flamenco like tone clusters he exerts out of his instrument give the collision with the other improvisational heads on this disc an insectoid fluttering like quality, sounding a bit like moth-wings descending upon a microphone and building up percussively with an electronic rhythm exerted from the metal strings. His vocabulary is totally unique, bringing out the austere qualities of Yoshizawa and Mototeru more clearly, framing it more elegantly and his treatments add architectonic space spiced up with its echo and digitally-clipped rapid strumming. Yet subsequent movements on this disc are simultaneously tentative, light and all incinerating, fragmentary hesitant, brimming over with expected momentum and a drive of towards traditional warmth of a mathematical hall-of mirrors, all the time without ever loosing his signature identity. Yamada just sounds like no one else and like a speed-freak flamenco hooligan he rushes into utterly rabble-rousing improvisational waters. Takagi Mototeru meets him head on, junking up his bottlenecked Andalusian stylings with all inflammatory barbarous and poisonous sax rattles. Yoshizawa collides with both of them mid-way through, invigorating the battle front action with his home-made six stringed bass, manipulating it and evoking sounds like a muffled rolling thunder. Still at other times, Yamada sets out in a Fahey-esque mood, caressing his strings with much affection and creating a perfect counter-balance to the violent action that took place between the other grooves. In short, this is one of the most interesting Japanese improve discs I have heard in a long time. Scarce beyond belief, private press and xxx ltd copies in circulation. It slipped between the cracks of obscurity and lay dormant way too long. Time to re-evaluate this torcher. All time highest recommendation. You have heard nothing like it yet. Price: 500 Euro
2425. 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
2426. YAMAMOTO HOZAN & SAWAI TADAO e.o.: “Jazz Rock Koto – Ni Hon No Minyo” (RCA Records – JRS-7234) (Record: Side A is Near Mint & Side B is Excellent – has a couple of visible but inaudible hairlines/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: VG++ ~ Excellent – has a small tear and some wrinkles). Freakingly rare groovy & funky jazz slide out of the Far East that just about never-ever gets offered for sale as copies just remain hidden deep in the muddy banks of the Tokyo Bay. For starters sales were virtually non-existent when this one got released as not a dog was interested in another seemingly exploitation slide that fused – as the title suggested – jazz with traditional Japanese Minyo or folk songs. However, it turned out to be quite an explosive and highly addictively volatile sonic mixture, unequalled by hardly anyone! SOLD
2427. YAMAMOTO HOZAN with Sawai Tadao; Miyama Toshiyuki & His New Herd Orchestra: “Oriental Bossa Nova – Standard Bossa” (London Records – SLD-1) (Record: Mint/ Gatefold Jacket: Mint/ First Issue circular Obi: Mint). Freakingly rare but oh so bloody awesome Japanese first pressing of 1968 in absolutely Top condition and all-complete with hideously rare first issue circular obi. Incredible work from the Japanese scene of the end of the 60s – a record that mixes together traditional instrumentation, bossa rhythms, and groovier jazz touches – all in a sublime blend that would have been a feather in the cap of A&M or Verve Records at the time! The work here is really unique – bits of koto and shakuhachi amidst the fuller, soaring backings of the New Herd of Toshiyuki Miyama – who themselves are supported by some extra Latin percussion! The mix of modes is wonderful – a strong bossa undercurrent that keeps the whole thing gliding along nicely – thanks in part also to a great array of tunes from Brazil, Europe, and the US. Titles include "Constant Rain", "Mas Que Nada", "Sunny", "Il Bacio", "Un Homme Et Une Femme", "Vivre Pour Vivre", and "Agua De Beber". Best condition imaginable, perfect all the way. Obi is damned rare, first time I see a copy with obi in such a pristine condition like this one here. Price: Offers!!!!

2428. YAMASH’TA & The HORIZON w/ STOMU YAMASHITA, SATO MASAHIKO, KOSUGI TAKEHISA & SAKURAI HIDEAKIRA: “Sunrise From West Sea – Yamash’ta & the Horizon Live” (King Records/ LONDON – SLC(J)-359) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ OBI: Near Mint). Complete with always-missing insert and damned rare OBI. Mega rare original copy of Japanese experimental psyched out head-trip whirlpool of improvisational interplay. Comes with always missing insert. In short this is a clash of the titans. It's a true master-piece for this genre, however never reissued yet for some reasons. Recorded live at Yamaha Hall, Tokyo 1971, featuring Stomu Yamashita (percussion), Masahiko Sato (electronic organ, who released another insanely rare album called “Amalgamation” under Sato Masahiko and the Soundbreakers banner), Takehisa Kosugi (electronic violin, a main man of Taj Mahal Travelers) and Hideakira Sakurai (electronic koto, shamisen, percussion). Housed in terrific acid leaking gatefold cover art that perfectly matches the glorious music housed inside.  Copies just never ever surface anymore in this part of the universe and it has been a while I have one to spare. If you dig Taj Mahal Travelers, East Bionic Symphonia and assorted improvisational psyched out interplay than this monster has written “you” all over it. Massive to say the least and so bloody, insanely rare and above all in amazing condition. Record is NM and clean as can be, the gatefold jacket has no damages apart from a little minimal crease on back of the gatefold, so strictly graded at NM/ EX++. Don’t sleep on this one, comes quite cheap and amazing condition. Hardly ever surfaces these days with obi. Price: 600 Euro

2429. YAMASHITA YOSUKE TRIO: “Mokujiki” (Victor Records – SMJX-10088) (Record: Near Mint/ Gatefold Jacket: Excellent ‾ 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: 400 Euro

2430. 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 with rare Blue Colored OBI variation (rarest!), 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
2431. YAMASHITA YOSUKE TRIO: “Dancing Kojiki – Intro & Theme; Mokujiki – Jul. 1969 in Waseda” (Maro Records) (Record: Near Mint/ Jacket: Excellent - faint humidity stain/ OBI: Near Mint). Privately released free jazz monster that hit the streets in April 1971 in supposedly a micro edition of 250 copies. This copy has the always-missing 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. With obi present, this one hardly ever turns up! Price: 450 Euro
2432. YAMASHITA YOSUKE TRIO: “Concert In New Jazz” (Union Records – UPS-2011) (Record: Excellent – Near Mint – has one tiny visible but inaudible scuff on side A, track 2/ Jacket: Excellent/ Obi: Excellent ~ Near Mint). The rarest Yamashita Yosuke Trio record complete with obi, as released in September 1969. 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. Recorded live in 1969, the Yamashita Yosuke Trio – a power trio in their own right – set out in the calm eye of the hurricane and unleashes quickly a surreal whirlwind of jet-blasting all scorching free jazzing power interpolating with heavy teeth-grinding frantic moves, shuffling, cries, shrieks, piano bashing, spastic puffing and demonic exorcising Neanderthal drum rolls as if they set out to re-erupt the Krakatau through a series of ravaging high tension moves that result in high voltage sonic reactions. The sounds are great and are unlikely anything you have ever heard by them before. This heavy blast of freedom recorded here comes close to experiencing the actual fire-breathing whirlwind in person in real time. Ominously heavy, soul scorching, deliriously insane, the Trio acts as if on fire, Yamashita Yosuke’s is busy folding and manipulating space whilst pounding and kicking the living daylights out of his piano, interlocking at the same time with Nakamura’s howling saxophone antics and Moriyama’s propelling drum rolls. The Trio’s power antics excavate sub-conscious and primal impulses that make you feel like standing in the midst of a prison riot in full swing. Like a soaring whirlwind of freshly unleashed and freely roaring all incinerating power jazz trio, they rip jazz modes apart like a pile of cheap hay, producing all the proper ingredients for an outrage. Heavy shit. This record is like a cloud of hellish intensity come down straight at you. Original 1969 pressing complete with obi and extremely rare. Complete copies with obi just do not exist any more these days. Without a doubt, his rarest disc and what a killer slide it is. Price: 525 Euro
2433. YAMASHITA YOSUKE TRIO:  “Concert In New Jazz” (Union Records – KUL-5004) (Record: Near Mint/ Jacket: Near Mint). Second press issue of killer Yamashita Yosuke Trio record. The first pressing is insanely rare and pricey, but the 2nd press is economically more viable and will blast your ass out of the stratosphere nevertheless. Cheap but damned ball-buster and head-twister of a record.  Price: 50 Euro
2434. YAMASHITA YOSUKE TRIO: “April Fool – Coming Muhammad Ali” (April Fool – No.197241) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Rare 1972 Japanese free jazz private pressing. Recorded at the end 1971 and released privately the following year in a limited pressing, the trio consists here out of Yosuke Yamashita: piano, Seiichi Nakamura: tenor saxophone, soprano saxophone and Takeo Moriyama: drums. The trio unleash some heavy free jazz fire that gets cut up and spliced down with sound snippets that include Muhammad Ali speaking at press conferences and in an interview; sounds of his training; and an announcer's introduction and the 11-year-old singer Little Dion's rendition of the U.S. national anthem before Ali's fight. The end result is fierce fire music, breathing out volcanic washes of hot lava that get interspersed with cut & paste/ musique concrete –like sound bites, which give the tumultuous teeth-grinding frenzy an extra dimension. This would be the last recording by the classic trio that rips the sonic apart like a pile of cheap hay. Brutally astonishing and a mind-blowing classic!!! Price: 200 Euro
2435. YAMASHITA YOSUKE TRIO: “Up To Date – Live ’75.4.28” (Crown Records - JAW-2001-2) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Triple Gatefold Insert: Mint/ OBI: Excellent ~ Near Mint). Killer Japanese free jazz beast. First original pressing from 1975 that leaves no stone unturned. This oen turns up regularly – however an all complete copy with OBI just about never. Personally, it is the first time I could get my hands upon a copy with the obi present. Obi is so rare, not many people have a copy with it. The music on the other hand, all incinerating live recording with Yamashita in top form and the Trio delivers one of their finest recordings ever, gushing out, wave after wave of molten hot improvisation lava workouts, burst of energy that put the heat into Fire Music all over again. Dead stone classic. Next to impossible to score with the OBI present, first time I could have a copy with the obi so…beautiful and highly essential. Killer Japanese free jazz torcher!!! Price: 175 Euro
2436. YAMAYA HATSUO with J.A. SEAZER & HACHIMITSU PIE: “Yamaya Hatsuo no Horo Shishu – Shinjuku” (Victor – SF-1045) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Heavy rarity alert!! All complete with OBI!!! Released in November 1974, original press and not many copies are around due to the depressing sales and the eventual withdrawal of the album. This masterpiece of Japanese psychedelic outsider folk is one of my all time favorite discs. I had been hunting this one down for ages and now is the first time I can offer a totally mint copy up for grabs. Like the discs’ atmosphere already hints at upon playing, poet and old skool rural country dweller Yamaya gets here on all the compositions and texts assisted by wunderkind of the avant-garde Terayama Shuji (see Tenjosajiki and consorts) who provides the whole project with its unique blueprint. This bohemian rhapsody gets further more underscored by musical dervishes J.A. Seazer, Hachimitsupai and Agata Morio amongst others. So what does it sound like? Well that is a whole different affair and probably not many non-Japanese will be able to enjoy the delicate beauty of this gem. Like the title already hints at, Yamaya who came down from the deep country side finally struck down in cosmopolitan Tokyo’s Shinjuku district. There he graces through song and poetry the evaporating Taisho and Showa sleaziness of the district that is hastily making way for modernity to seep in. It is like an archeological treasure set to music, trying to catch a whiff of the fleeting time and charms of the past, a past you will be unfamiliar with unleash you could sniff it put about 50 or 70 years ago. Ranging from drunken balladeries to erotic reveries and kayokyoku excursions, the whole affairs brings to life the atmosphere that hovered over Shinjuku during the early sixties till the very early seventies, an atmosphere of downtown leaze, jazz bars run by old timers, street vendors, hookers and hustlers. He eloquently evokes the whole fluid surrounding of glorified tastelessness by virtue of being cheap and vulgar that ruled the area. This musical journey transcends genres such as folk, acid folk, loner folk, field recordings, psych and so much more, it encapsulates all yet it remains in a world of its own where genres do not apply. This is timeless music, beauty carved out of stone and collected sound, a personal diary set to music. People who like their music neatly catalogued and labeled should not try to break into this one, you won’t be able to get it. However, if you are a bit open minded, would like to have a peak unto what lies beyond everyone’s musical horizon and are not afraid of trying to come to terms with a music al piece even if it takes considerable time to grasp it all, then I cannot recommend this one strongly enough. And still it never fails to sound uniquely Japanese, unlike any other disc you may have heard, be it gagaku, shamisen strummings or the Flower Traveling Band, this one encapsulates and goes way beyond that all. This disc had me haunted for years, first on tape, then the CD version and finally when the bug fully bite through I went hunting the vinyl down. Life has not been the same ever since. First time I have seen a 2nd copy and the 1st time I can offer you this spare. These babies are so bloody rare it makes my ears and eyes bleed vinegar. Comes in a beautiful drawn jacket and gold lacquered like front jacket and booklet. Obi also intact. Highest possible recommendation and almost a give away price. Price: Offers!!!!

2437. 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

2438. YARDBIRDS, Herbie Hancock - OST – BLOW UP: “The Original Soundtrack Album Of Blow Up” (MGM – NIPPON GRAMOPHON – SMM-1138) (Record: Near Mint ~ Mint/ Fragile Flip Back Jacket: Near Mint ~ Mint/ Colored Picture Promo Only Booklet: Mint/ Additional 48 page booklet with B&W Pictures – Promo Only: Mint/ OBI: MINT). Hideously rare 1966 Japan first original pressing of the Blow UP – comes housed in Japan ONLY Alternate jacket art. This one here is the never offered before WHITE LABEL PROMO issue and comes with promo only appendices such as 2 booklets. To make it even better, this one here also comes with the impossibly mega rare OBI as well. TOP CONDITION and impossible to ever upgrade upon. The music of this soundtrack, serendipitously, is provided by jazz composer/keyboardist Herbie Hancock. His songs, as well as a rare Yardbirds’ tune, play a digenetic role in the film, which means that when you’re hearing the music, the characters are hearing it themselves as well during the film. There’s no incidental, omniscient orchestral bursts or keening strings. Thomas – the main character of the movie, plays an LP and we hear it; it’s just that it’s mostly Hancock. The remainder of the soundtrack is the wind, traffic, the rustling of fabric, the snap of the camera’s shutter – the sounds of the day and some live club recordings seeing the Yardbirds in action. Killer soundtrack to Michaelangelo Antonioni’s masterpiece. For the recording, Herbie Hancock, Freddie Hubbard, Joe Henderson, Ron Carter and Jack DeJohnette entered a New York studio to capture the vibe of 'swinging London' in a jazz mode - with grooves that create effective bluesy moods on the slow pieces and funky ones on the up-tempo tracks. Meanwhile in London, the Yardbirds (with Jeff Beck and Jimmy Page) were recording additional material for use in the Blow-Up movie soundtrack. Young Herbie Hancock contributed the bulk of the score, evoking the ambience of swinging London with grooves that create effective bluesy moods on the slow pieces, and funky ones on the up-tempo tracks. The soundtrack also includes a rare Yardbirds number, "Stroll On", one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. Sheer brilliance. The whole affair here is in Near Mint to Mint condition. Never seen before rare Japanese 1st press with alternate jacket art, white label PROMO issue with appendices and freakingly mega rare OBI…making this copy genuinely rare. Virginal condition on all fronts, impossible to ever upgrade upon. Price: Offers!!!!
2439. 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

2440. YARDBIRDS: “Five Live Yardbirds” (Odeon – OP-7479) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint) Japan first original pressing that comes on RED WAX and in amazing condition, impossible to ever upgrade upon. “Here is a rare animal – a live album from a major 60s band that actually makes 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. Red wax, killer sound and so bloody rare….Price: Offers!!!!

2441. 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: 150 Euro
2442. YARDBIRDS & SONNY BOY WILLIAMSON: “S/T” (Philips Japan – SFL-7375) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Original Japan 1st press issue of 1967, comes complete with never seen obi. Top condition, most perfect copy to ever cross my eyes, all complete with rare-beyond-believe 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. SOLD
2443. YASUAKI SHIMIZU: “Kakashi – 1982” (Better Days – YF-7061-BD) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare first press original all complete with OBI and Insert. A wonderful, rare record wrapped in a mysterious yet playful ambiance. Or maybe it’s just the impression that the Japanese language often gives me. ‘Suiren’ is an odd jazz-fusion-wave tune that sounds like its boiling, waiting to burst but somehow manages to stay in control. Like the nervous tick of a leg fidgeting under the table of a restaurant on a first date. Yasuaki Shimizu is a Japanese composer, producer and saxophone player born in 1954. He worked with Ryuchi Sakimoto on certain arrangements, with the South Korean artist Nam June Paik on art+sound installation pieces and even DJ Towa Tei (of Deee-Lite fame). “Suiren” was released in 1981 and is the opening title on the sought-after “Kakashi” album and is my personal favorite on this overall brilliant record. It weaves behind new wave, jazz, fusion, ambient and experimental music. Repetitive and hypnotizing, punctuated by exclamation marks on most first measures, the muted triangle percussion hits me straight in the heart. About 90 seconds into the song, the saxophone makes its appearance and the song goes from “this is cute” to “oh, this is some serious shit!”. Shimizu’s saxophone frees the song from the rest of the elements which are more calculated and repetitive. A joyful, mysterious slow-moving train ride led by the artist’s mellow voice that rocks us with this calming but funky lullaby. Every phrase is punctuated by the xylophone there to energize the piece, albeit very subtly. Price: Offers!!!
2444. YASUI KAZUMI: “Zuzu” (Polydor – MR-3129) (Record: Excellent - some faint sleeve lines visible under bright light that does affect playback/ Gatefold Jacket: Near Mint/ Attached Insert 4 Paged Booklet: Mint/ Obi: Mint). Mega rare first original press issue complete with never offered for sale before original OBI. To make things even more salacious, WHITE label PROMO issue! 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 an eargasmatic affair that will hush your demons to sleep. Impregnated with those 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. Mega rare WHITE label PROMO all complete with never offered before OBI! Make your best move… first cpy with obi to surface and up for grabs in over 15 years’ time. SOLD
2445. YASUI KAZUMI: “Sora Ni Ichiban Chikai Kanashimi” (Philips – FS-8002) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached 8 Paged Illustrated Booklet: Near Mint/ OBI: Near Mint). Her second and final album, original first pressing out of 1971 and complete with never offered before OBI. Only the 2nd time I ever see a copy of this one and far out the best condition one I had so far. First time ever I see a copy with OBI!!! Yasui Kazumi was a renowned essayist, fashion model and poetess who only recorded two albums, being Zuzu and Sora ni Ichiban Chikai Kanashimi. Both recordings are highly regarded as soft rocking psychedelic pearls against which Yasui recites her poetry in a sultry soft-spoken voice that simply puts you under a spell you hope never to be awaken from. The musical background is always subtle rather than of the dramatic kind, mostly a leisurely first gear pace as melody ripples gently around the periphery of her silky sexy voice, vocals and poetry. Just listening to her vocals brings around an everyday surrealism, virtually collapsing on itself as the music’s impact is intensified as Yasui’s delicate musings that shimmer around the laidback musical core. Her poetry set to music is the perfect encapsulation of beauty meeting elemental force and suggests that capturing this sense of natural perfection is something to generate excitement. The album is the perfect successor to Zuzu, picking up where the former left off and taking it a step further and deeper, making it a more stripped down affair where less is definitely more. It shows that Yasui was the hippy-chick poetess gifted with apart from being a talented word juggler, her strong articulations also led to denseness that never sounded cluttered or untidy but blessed the music with an air of girlish spontaneity, present in her phrasing and cadence and that together with the melodic development and transmutation shaped swirling into existence a highly bewitching recording. And for that, Yasui Kazumi became one of the finest – be it criminally under-recorded female vocalists to seep out of Japan. Fantastic record, hyper rare, original 1971 pressing, top condition with complete booklet and OBI present!!! Price: Offers!!!!
2446. 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: 250 Euro
2447. YATHA SIDRA: “A Meditation Mass” (Brain - 1045) (Record: Excellent ~ Near Mint/ Gimmick Gatefold Sleeve: Excellent). 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
2448. YOKOTA TOSHIAKI & PRIMITIVE COMMUNITY:Genshi Kyoudoutai” (Toshiba Records – TP-8066) (Red Wax PROMO Record: Near Mint/ Jacket: Excellent, has some mild edge wear but nothing serious & lower right corner crease). All hyperbole aside, this is one of the all-time rarest records to seep out of Japan together with Ceremony – Buddah Meets Rock. Top condition, red wax PROMO issue. Killer 1971 Japanese psychedelic jazz gem. One of Japan's best psychedelic hoedowns that put Ceremony almost to shame. Original copies just never ever turn up, this is the first copy I could claim in over 15 years of looking for a copy. 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 all interwove by Yokota’s spell-casting flute playing, 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 monstrously 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 cut through the air like a buzz-saw. In short, you heard nothing even remotely good as this one. Insanely rare, copies just do not turn up, let alone one with obi (only once saw a copy with obi changing hands for over 9K and that was over a decade ago). So much better as Yokota’s “Flute Adventure” which is mediocre at best, Primitive Community transgresses styles and genres without dropping a beat and blasting you away…this is the dope shit, sadly rare until infinity. Killer!!! SOLD
2449. YONIN NO KAI: “Gendai Ni Ikiru Ni Hon Ongaku – Developments Of Japanese Traditional Music Works Interpreted By Yonin No Kai” (Toshiba Records – TA-9306~9) (4 LP Set: Near Mint/ Outer Box: Near Mint/ Thick Fat Fully Illustrated Booklet: Near Mint/ 4 Individual Record Jackets: Near Mint/ Obi: Near Mint). Original 1971 Japanese original pressing of stupidly rare masterpiece. Like the title already hints at, traditional Japanese music pieces are reexamined through the eyes and ears of 20th centried seasonaled players rooted deep in the country's tradition and without loosing a grain of respect to the original format. Bloody fucking awesome box set, this one has been glued to my stereo for weeks, less-is-more attitude prevails throughout and almost making the rest of my record collection completely redundant. Not a set for novices out there, appeals to wintered through maniacs who have a heart for this stuff, and if you do, you will be floored and there will be no way back. Comes complete with obi. Price: 400 Euro
2450. 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) SOLD
2451. 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
2452. 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: 100 Euro
2453. 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. SOLD
2454. 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 virtusoso 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
2455. YOSHIZAWA MOTOHARU: “Outfit Bass Solo 2 1/2” (Trio Records – PA-7133) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ OBI: Mint) Top 1st original press copy of Japanese free jazz masterpiece complete with rarely seen obi. First and rarest obi variation, black colored with red lettering came out first, followed by the one listed here below. 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: 150 Euro
2456. YOUNG, LARRY: “Heaven On Earth” (Blue Note/ Toshiba Japan – BST-84304) (Record: Near Mint/ Jackey: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Japan original pressing with obi – Promo copy. Organist Larry Young who really found his own sound back in 1965 with the classic Unity album, is deep in the funk on this later Blue Note album. With altoist Byard Lancaster, tenor saxophonist Herbert Morgan, guitarist George Benson and drummer Eddie Gladden completing the quintet, there are some explorative solos but the less imaginative funk rhythms lower the content of the music somewhat. Larry’s wife Althea Young  has an effective vocal on "My Funny Valentine. Price: 50 Euro
2457. YOUNG, NEIL: “S/T” (Reprise Records – RS6317) (Record & Gatefold First State Sleeve: SEALED). Wow time to strap in, fasten your seatbelts and put on those dust goggles. I wonder if you have ever seen an item like this being offered for grabs before. What we have here is a SEALED copy of Neil Young’s first album, as far as I know a sealed copy has never been offered before. Let’s be realistic, probably not more than 10 copies of this floating around, maybe even less but then again I am guessing here. Young’s first solo LP, with the first state sleeve and the withdrawn first mix. So maybe you have an unique opportunity here to acquire a one of a kind item, of his other records sealed copies have turned up but his solo debut – as far as I know – no sealed originals have been offered so far. Price: Offers!!!!!!!
2458. 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: 475 Euro
2459. 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: 475 Euro
2460. YOUNG, NEIL: “Harvest” (Reprise – P-8120R) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Obi: Mint/ Inner Sleeve: Near Mint/ 2 Inserts: Mint). Top copy – 1st original Japanese high quality pressing, all is in top condition. True 1st press that comes housed in a heavy-duty gatefold sleeve. All is complete. That said, this slide is a masterpiece and a timeless classic. You know the deal. SOLD
2461. YOUNG, NEIL: “Journey Through the Past” (Reprise Japan Press) (2LP set: Near Mint/ Fold Out Jacket: Near Mint/ Obi: Near Mint/ Imprinted Inner Sleeves: Near Mint). Original Japanese press with cut out foldout cover, complete with imprinted inner sleeves and obi. This is the RARE WHITE label PROMO issue!!! Another stunning Neil Young slide, has the rare obi as well as the imprinted inner sleeves and gimmick gatefold. Great all over. Highest recommendation & Top condition. Price: 150 Euro
2462. 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
2463. 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: 85 Euro

2464. 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

2465. YOUNG, NEIL: “Rust Never Sleeps” (Reprise – P-1067R) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Imprinted Picture Inner Sleeve: Near Mint/ Obi: Near Mint). Japan original 1st pressing from 1979 of classic Young slide! Price: 40 Euro
2466. YOUNG, NEIL: “Live Rust” (Warner Pioneer Japan – P-5575~6R) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Imprinted Inner Sleeves: Near Mint/ 4 Paged Booklet: Near Mint). Top copy, 1st original Japanese pressing complete with obi, photo printed inner sleeves and booklet. Price: 75 Euro
2467. 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
2468. YOUNG, NEIL with CRAZY HORSE: Year Of The Horse” (Reprise Records) (2 LP Record and Jacket: SEALED) 1997 original 2 LP release. SEALED copy. Price: 200 Euro
2469. YOUNG, NEIL: “Eldorado” (Reprise – 25919-1) (Record: Near Mint/ Jacket: Near Mint). Only released in Japan at the time, original pressing of scarce Neil Young slide. When this five-song, 25-minute EP was released in Australia ONLY in 1989, it served notice that Neil Young was capable of writing powerful songs and playing fierce rock & roll again, a fact confirmed by the subsequent release of the Freedom album. Three of the songs on Eldorado turned up on that record (including "Don't Cry" in a different version), but "Cocaine Eyes" and "Heavy Love" did not, making this disc a necessary purchase for Young completists. Price: 75 Euro
2470. YOUNG, NEIL: “Old Man b/w The Needle And The Damage Done” (Reprise – P-1134R) (Single EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Japan only artwork picture sleeve issue from 1972 of classic Neil Young slide. Price: 75 Euro
2471. YOUNG, NEIL: “Tonight’s the Night b/w New Mama” (Reprise – P-1385R) (7 Inch Single: Near Mint/ Picture Sleeve: Excellent/ Company Inner Sleeve: Excellent). Rarest Neil Young single issue to see the light in Japan, just about never ever turns up. Price: 175 Euro
2472. YOUNG, NEIL: “Time Fades Away b/w The Last Trip To Tulsa” (Reprise – P-1275R) (7 Inch Single: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scare Japan only single issue. Another Japan only Neil Young single issue that always evades detection and rarely reaches the surface. Price: 100 Euro
2473. YOUNG, NEIL with CRAZY HORSE: “Mansion On The Hill b/w Don’t Spook The Horse” (Reprise records – 5439-19560-7 W9560) (7 Inch Record: Near mint/ Picture Sleeve: Near Mint). Long gone 1990 original German pressing of rare Neil Young single release. Only issued in Germany at the time. Price: 45 Euro
2474. 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: 575 Euro
2475. 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

2476. 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

2477. 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
2478. 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
2479. YOUNG, NEIL: “Coming Home” (Trade Mark Of Quality/ Orange Smoking Pig Label – 73028) (Record: Near Mint/ Paste on Sleeve with two slicks front and back: Near Mint). Damned scarce 1973 original – pressed in USA. Song titles include: “Side A: On The Way Home – Here We Are In The Years – After The Goldrush – Out On The Weekend – Band Introduction – Harvest & Side B: Old Man – Heart Of Gold – Time Fades Away – Look Out Joe”. All the tracks were recorded at the Scope Arena, Norfolk, Virginia on 29 January 1973 except for the last two tracks on side B, which were recorded at the John F. Kennedy Centre in Washington D.C. on January 1973. Good sound quality. Price: 75 Euro
2480. YOUNG, NEIL With CRAZY HORSE: “S/T” (Mushroom Records) (Multi-Colored LP: Near Mint/ Paste on Jacket: Mint – still housed in shrink). First pressing that came on multi-colored vinyl. Song titles include: Broken Arrow, I Am A Child, Helpless, On The Way Home, Dance Dance Dance, Sugar Mountain, Don’t Let It Bring You Down, The Old Laughing Lady, The Loner, Everybody Knows This Is Nowhere. Great live recording of the Cincinnati show. Indispensable original boot of Neil Young, so awesome. Price: 150 Euro
2481. 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: 400 Euro
2482. YOUNG, NEIL: “Ippodromo Le Capannelle” (No Label) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Classic Neil Young live boot with great sound quality recorded in Italy on September 1982. Stellar line-up here with in the band Nils Lofgren, Bruce Palmer, Ralph Molina, Joe Lala and Ben Keith. Recorded during his Trans tour. Indispensable. Price: 40 Euro
2483. YOUR EXOTIC PRINCE: “Music That Is In” (RLA Records Co. LP-505) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Impossibly rare private press free jazz/ odd ball/ real people freak out - free jazz funk slide. This is the mega rare original first press issue that just never turns up. This one was bootlegged and released in different cover art, but here is the real thing!!!The holy grail of Spiritual Jazz movement, cosmic echoes and free jazz at the best. "Credited only to "Your Exotic Prince" on the jacket, this record is completely out there and next to impossible to unearth for some perverse reason. As unindefiable as the cover is, the music is even more so. It comprises six tunes, each one essentially a nonstop caterwauling of horns, accordion, banjo (or is that a ukelele?), wah-wah guitar and drums. The musicians, if you can call them that, sound for all the world like a combination of Sun Ra's Arkestra, the Preservation Hall Jazz Band and your local junior-high stage band rolled into one. Even stranger are the bizarrely cut-off endings to each track. Just as the songs are clearly coming to a close, the sound stops, mid-din, as if the tape just ran out on the four-track. Awesome bastard-cum-free jazz-oddball deranged lunatic spiritual jazz slide from beyond the planet Jupiter. Released as a private pressing in a minuscule run, copies just do not surface. This was his 2nd LP and rare forever. Top condition to boot so, probably a one-off chance to wheel this one in. Price: Offers!!!!
2484. 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
2485. 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
2486. 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: 375 Euro
2487. YUASA JOJI with SATO MASAHIKO & YOSHISABURO TOYOZUMI: “Koten” (Ex-House) (Record: Excellent 〜 Near Mint/ Plastic Case Jacket with Inserted Artwork: Near Mint/ Triangular Obi: Near Mint). Lucky to offer another copy so quickly…Great 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!!!!
2488. 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: 400 Euro
2489. 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: 400 Euro
2490. YUSEF LATEEF: “Into Something – Yusef Lateef No Sekai” (SMJ-7127) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint/ OBI: Mint). Damned rare Japan 1st original pressing in top shape and all complete with hideously scarce obi. A real classic from Yusef Lateef – and like the rest of his best albums from the time, an incredible blend of hardbop, soul jazz, and some really wonderful exotic touches! Lateef plays a bit of oboe on the album – sounding really weird and snakey over laidback orientalist rhythms on the album's most out there tracks. On other tunes he picks up tenor, grooving more straight ahead, and also hits a bit of flute for the more gentle moments. The group's a quartet – with Barry Harris on piano, Herman Wright on bass, and Elvin Jones on drums. An all-time classic! Best condition imaginable, impossible to ever upgrade upon and with that very first issue obi present as well! Price: 250 Euro
2491. YUSEF LATEEF: “Into Something – Yusef Lateef No Sekai” (SMJ-7127) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint). Damned rare Japan 1st original pressing in top shape but the obi is missing. A real classic from Yusef Lateef – and like the rest of his best albums from the time, an incredible blend of hardbop, soul jazz, and some really wonderful exotic touches! Lateef plays a bit of oboe on the album – sounding really weird and snakey over laidback orientalist rhythms on the album's most out there tracks. On other tunes he picks up tenor, grooving more straight ahead, and also hits a bit of flute for the more gentle moments. The group's a quartet – with Barry Harris on piano, Herman Wright on bass, and Elvin Jones on drums. An all-time classic! Top shape but damned hard to track down 1st press original. Price: 100 Euro
2492. YUSEF LATEEF: “Other Sounds” (New Jazz - JLP-8218) (Record: Near Mint/ Jacket: Near Mint). Top condition deep groove original first press issue. “Other Sounds was the first album on which Yusef Lateef looked beyond the confines of jazz and popular music to hear and perhaps "sing" the music he heard from the East. He hadn't yet embraced it, but it intrigued him enough to employ the use of an argol on this recording. Lateef’s band on this date featured flügelhorn giant Wilbur Harden, pianist Hugh Lawson (who also played Turkish finger cymbals), bassist Ernie Farrow (who doubled on rebob), and drummer Oliver Jackson, who used an "earth-board" as well as his kit. The set begins innocently enough with a post-bop, semi-West Coast swing version of Irving Berlin’s "All Alone" that's all Lateef.  His lead with Harden quickly gives way to his long solo before the tune returns and they take it out. It's the next number here that marks jazz history. "Anastasia" begins with a deep gong from Japan and a dissonant Far East scale that calls drones into play against microtones and polyharmonics. After about two minutes it gives way to a gorgeously understated read of the Alfred Newman tune before giving way to the swinging blues of Lateef’s own "Minor Mood," which should have perhaps been entitled "Minor Mode." The tune is most notable for Harden’s slippery, open-toned solo in the middle register. The set ends with the beguiling and completely exotic "Mahaba," with the whole band engaging in vocal interplay in a made-up language and using all African instruments except for a flute. It sets the listener upright, and feels like an odd way to end a record, with this kind of inquiry, but that's Lateef at his best, always keeping listeners -- and his musicians -- on their toes. It's just beautiful.” (All Music Guide). Top condition original, hard to improve upon. Price: 300 Euro
2493. ZAID RAHBANI: “Abu Ali” (Zida International – LP-ZIDA-601) (Record: Near Mint/ Jacket: Near Mint.) Freakingly rare 1978 Beirut original pressing of head-fucking Eastern tinted groovy disco jammer, a 12" single from Lebanese composer, pianist, playwright and political commentator Ziad Rahbani. Late 70s Lebanon, Beirut to be precise, the Paris of the Middle East was a funky place to be! Each side of the record features one long track – building on a melody that's catchy, but spread out with a mix of jazz instrumentation, and "oriental" percussion and flute – so that the whole thing builds and builds as the music moves on, but with a sense of variety and sophistication that's quite different than the usual extended disco tunes of the time – which usually just have the same rhythm with just a few slight variations! There's a bit of vocals from Joseph Sacre, but most of the record is instrumental – a beautiful blend of Mid-East elements and disco sounds – handled better than anything else of this nature we've ever heard. 'Abu Ali' is a 10-minute epic that fuses neatly Arabic orchestration around an atmospheric disco groove and cosmic synthesizer lines. It begins with a few seconds of delicate cinematic embellishment - and then the bass slaps down, soulful and driven by a simmering beat. The mix gradually grows more and more symphonic, a bold regiment of brass alternating with sinuous violin lines and electronics: guitar, bass, and keys. The percussion moves steadily, with subtle changes throughout the piece. Jazz keys add glitter. A ney flute and hand drums, along with melismatic calls from Joseph Saqr, lend more clearly Levantine influences that emerge organically from the more traditional disco soundscape. No less beguiling is the more laid-back b-side, "Prelude (Theme from Mais El Rim)". Mais El Rim is based on classic premises: love, family, and trouble. All play a role in inspiring this overture, simpler than "Abu Ali" but no less careful in its arrangement. Here, Rahbani crosses from the cinematic into the theatrical but refrains from losing control over his composition at any time. Never is it bombastic; instead, it sounds like the beginning of a production worth sitting through, neither too light to be engaging nor too far into melodrama to entertain. Bloody awesome. Top condition. Price: Offers!!!!
2494. ZAKARRIAS: “S/T” (Deram – SML-1091) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Great condition 1971 UK original pressing of highly regarded eclectic period piece. One of the rarest records on the Deram label since sales were depressing at the time, tanking to Titanic lows, hence the scarcity of copies floating around out there. This guy mixed folk, blues, prog and heavy psych without a blush on his cheeks and gets away with it brilliantly. Long time favorite on these shores and a top copy. Near perfection on all fronts, hardly ever turn up in such nice nick as this one here. SOLD
2495. ZAPPA, FRANK:Chunga’s Revenge” (Reprise/ Warner Pioneer Japan – P-8045R) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint). Original Japan first press issue with first issue obi. Price: 175 Euro
2496. ZAPPA, FRANK: “Chunga’s Revenge” (Warner Japan – P-8045R) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint ‾ Mint/ Insert: Mint/ Flower Rock Age Obi: Near Mint). Rare Rock Age Flower obi copy, which is insanely rare in Japan and just surfaces once every 10 years. Truly insanely rare with first issue OBI attached in immaculate condition. So far, I have only seen 2 copies of this beauty in the flesh….. Price: Offers!!!
2497. 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: 350 Euro
2498. 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
2499. ZAPPA, FRANK – CAPTAIN BEEFHEART & The MOTHERS: “Bongo Fury” (Discreet/ Warner Pioneer Japan – P-10093D) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original 1975 Japan original first press issue all complete with scarce obi. Aesome & classic Zappa + Beefheart + Mothers slide that never gets boring. The Muffin Man still rules!!! Price: 150 Euro
2500. 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
2501. 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: 50 Euro
2502. 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
2503. ZAPPA, FRANK: “Beat The Boots! – Limited Edition Box Set” (Rhino/ Foo-eee) (10 LP Record set – (10 LP’s of which 2 x 2 LP Set: Near Mint/ Individual Jackets: Near Mint/ T-Shirt: Near Mint and Unworn/ Badge: Mint/ Outer Box Set: Near Mint/ Inner Box Set Pop Up Figures: Near Mint). Rare original 1991 US Foo-eee/Rhino label 10 LP Vinyl box set - a collection of 8 albums previously only available as illegally distributed bootlegs but released officially by Rhino Entertainment as part of Zappa's campaign to dissuade his fans from buying illegal recordings of his concerts. The recordings spans from early Mothers Of Invention period recordings - 1967 - to start Barking Pumpkin era concerts - 1982. Each album has been digitally re-mastered from the original bootleg source and manufactured with custom printed labels and ultimately packed in unique picture covers - comes complete with T-Shirt and badge. Everything housed in a sturdy card box with internal pop-up display - manufactured limited to 600 copies only. Price: 300 Euro
2504. 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: 75 Euro
2505. 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
2506. 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
2507. 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
2508. 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
2509. 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
2510. 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
2511. ZOMBIES: “I Love Her – Tell Her No b/w She’s Not There – Indication” (London/ King Records – LS-114) (EP Record: Near Mint/ Thick Flip Back Picture Sleeve: Near Mint/ Insert: Near Mint). Japan only 4 track EP release from 1967. Price: 50 Euro
2512. ZOMBIES: “Time Of The Season b/w Friends Of Mine” (CBS Sony – SONG-80047) (7 Inch Single Record: Excellent/ Picture Sleeve: Excellent). Nice Japan single issue. Price: 30 Euro
2513. ZOO NEE VOO: “Golden Zoo Nee Voo” (Columbia – YS-10070-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). Original press of this rare Cult GS artifact. The band’s rarest LP. Top condition and all complete with RARE OBI!!! 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. Killer record and first time ever I have a copy all complete with obi of this Japanese R&B fuzzed out garage corker. Price: Offers!!!