RARE RECORDS CATALOGUE
Y-Z
Q-R Ethnic Recordings U-V S-T O-P W-X K-L M-N V.A. I-J Y-Z G=H E-F C-D Compact Disk A-B

2911. 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: 575 Euro
2912. YAMADA CHISATO: “Yamada Chisato no Sekai” (King Records – SKD-5101) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint). Original 1978 release – WHITE label PROMO. 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: 50 Euro

2913. 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

2914. 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) Private press released in a tiny edition, believed is that no more than 250 to 300 copies in circulation. Stunning copy (insert is missing) 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 losing 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 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: 575 Euro
2915. 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!!!!

2916. 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

2917. YAMASHITA YOSUKE TRIO: “Koko Ha Shizuka Na Saizensen; Yokoyama Rie b/w Tenshi No Koukotsu M-3” (Solid Records – SD-515) (EP Record: Mint/ Picture Sleeve: Mint/ Picture Card Insert: Near Mint). Killer free jazz single outing that served for the soundtrack of a 1972 Wakamatsu Koji underground flick “Ecstasy of Angels”. Hardcore free jazz meets avant-garde underground cinematography with the Yamashita Yosuke Trio providing a suitable furious soundtrack for a series of Japanese Red Army Faction bombings in this controversial and frequently banned “pink film. Stuff of legends. Price: 40 Euro
2918. 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 very first gold colored OBI variation, complete with never seen or offered before OBI!!, making this baby an instant bloody rare collectible item.With the 1st issue obi that is has on the bottom the imprint “Victor Ongaku Sagyo Kabushikigaisha”. 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: Offers!!!!
2919. 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 very first gold colored OBI variation. One note – original pressing but with 2nd issue obi – it differs from the 1st issue obi that is has on the bottom the imprint “Victor Ongaku Sagyo Kabushikigaisha” there where the very 1st obi issue has “Victor World Group” printed on it so a slight variation with a huge price cut!! 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: 450 Euro
2920. 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: 275 Euro

2921. 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: Offers!!!

2922. 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: 500 Euro
2923. YAMASHITA YOSUKE TRIO: “Concert In New Jazz” (Union Records – UPS-2011) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Never seen before WHITE label PROMO complete with OBI! The rarest Yamashita Yosuke Trio record complete with obi, as released in September 1969. Top condition!!! 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 anymore these days. Without a doubt, his rarest disc and what a killer slide it is. Price: Offers!!!
2924. 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: 250 Euro
2925. YAMASHITA YOSUKE TRIO with DAIRAKUDAKAN BUTOH TROUPE: “Arashi” (Frasco – FS-7019~20) (2 LP Record set: Near Mint/ 6 Paged Booklet: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition copy – all complete with OBI and booklet – hardly ever seen WHITE label PROMO issue!!! Grab on to something solid. You're in for a head spinning mind fuck that will paralyze all your senses. This is heavy shit and one of the hardest blowing free jazz artifacts to come out of Japan– also one of the weirdest and most eerie ones. The Yamashita Yosuke Trio – a power trio in their own right – clashes here with the avant-garde Butoh dance/ performance troupe of Dairakudakan. In interaction with each other, these two avant-garde art forms unleash a surreal whirlwind of jet-blasting all scorching free jazzing power interpolating with heavy breathing, shuffling, cries, shrieks, esoteric howling, spastic puffing, and demonic exorcising rites as if Hijikata were among them. The sounds are great and are unlikely anything you have ever heard or thought that free jazz would be like. Still, the only thing that is missing while listening to this heavy blast of freedom is the actual experience of sitting through whirlwind in person in real time. The detailed 6 paged booklet oozes the pain a bit and comes with a ton of color photographs so that you at least could have some idea of the surreal nature of this event. Ominously heavy, soul scorching, deliriously insane, Dairakudakan troupe infuses Yamashita's power antics with the raw extreme of the Ankoku Butoh tradition, the apocalyptic sentiments of the A-bomb that destroyed Hiroshima and absurdist vaudeville theatre, excavating sub-conscious and primal impulses that ultimately go beyond the cultural specificity by addressing such broad human issues as generation, identity, and change. Sometimes they do it subversively, sometimes with broad strokes, sometimes with the proverbial twinkle in their heavily made-up eyes and the soaring whirlwind of the freely roaring all incinerating power jazz trio. Heavy shit. Rare white label promotional copy. Released in 1977 and getting a hard one to get all complete – let alone a WHITE label PROMO one in TOP condition. Price: 350 Euro
2926. 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: 150 Euro
2927. 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!!!!
2928. YANAGIDA HIRO: “Hirocosmos” (CBS Sony – SX-74) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ Mint/ Insert: Near Mint/ OBI: Near Mint). WHITE LABEL PROMO issue with OBI and Insert present!!!! TOP COPY!! Rare original that is recently getting damned hard to track down. Another totally vanished and ear bleedingly rare gem out of Japan’s psychedelic history, this was Yanagida Hiro’s (ex-Apryl Fool, Food Brain, Sato Masahiko & Soundbreakers, Floral, etc) second solo album released in 1973. Original near mint copy, they hardly ever surface anymore and if they do they certainly do not come in a nicer shape than this copy. The music is also just stellar and can be best described and as a mixture between Miles Davis electric mid-seventies electric period (minus the horns) cross-breeding with fusion and psychedelic elements, some snippets of unbridled improvisational jams and extended spun out instrumental tracks. Swirling key changes, synth driven organic whirlpools of exotic bliss, rigid time changes, swift communicative interplay that touches on freak out jams as well as on sweet oozing interludes. A real sonic gem, and probably the best disc ever made to accompany your autumn feelings of fleeting summer lust and last upsurges of vitality before winter settles in. One of the key recordings out of Japan’s psychedelic and progressive rock history and much in demand although never offered these days. Stunningly great original press. Mega recommended. Price: Offers!!!!

2929. 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: 75 Euro

2930. The YARDBIRDS: “Happening’s Ten Years Time Ago b/w Psycho Daisies” (Odeon – OR-1638) (Red Wax Two-Track Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rarest Yardbird’s single – Japan only issue that comes housed in unique picture sleeve with the record being pressed on RED wax (usually only black wax copies surface). Best condition around as most copies – if they turn up at all – are VG++ at best). This one here is pristine condition – and bringing forth two absolutely vicious killer Yardbirds tracks and gave a hint of the bedazzling Beck/ Page tandem guitar possibilities that hereafter sadly never came to full fruition. By shaking off their earliest blues purism (and Clapton along with it) they started producing their most original and experimental material. The single, “Happenings Ten Years’ Time Ago” was one of their most staggering moments: a pop art/freak-out single that was both simultaneously psychedelic and punk: occurring one year before the former and ten years’ time before the latter. A proponent of glorious proto avant-noise. The Beck/Page dual Telecaster attack (accompanied by then-session man John Paul Jones on highly percussive bass) shoved into a brutal three-minute epic caught in the confines of a pop single that paved the way for similar mutli-passage headfucks like The Pretty Things’ 1967 crushing acid flash, “Defecting Grey.” Opening with a near folk-like riff, “Happenings” wastes no time at all shifting gears into slashing rhythm guitars, co-joined by a far hurried, rhythm guitar cluster running down the neck at a mercurial speed that will repeat over and over throughout. Drummer Jim McCarty rains down a simple, pounding beat as Jeff and Jimmy slashing strings savagely all over the place with zig-zagging guitar lines. Just simply…jaw-dropping great! Price: Offers!!!
2931. The YARDBIRDS: “For Your Love b/w Happening’s Ten Years Time Ago” (Odeon – OR-2291) (Red Wax 7 Inch Single Record: Near Mint ~ Mint/ Gatefold Picture Sleeve: Near Mint – sate stamp inside gatefold/ Company Inner Sleeve: Near Mint). Top condition Japan original 1st press single issue that comes on blood red wax and is housed in Japan only gatefold picture sleeve. Top condition and hard to dig up in top shape psychedelic head jammer. Price: 275 Euro
2932. YARDBIRDS: “Five Live Yardbirds” (Columbia – 33SX-1677) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Company Inner Sleeve: Near Mint) Very first 1964 original UK Mono pressing in amazing condition – just flawless – on the black and blue Columbia label with XAX 2725-1N/ XAX 2726-1N matrixes and 1GD : 1L Mother stampers. Comes with the EMITEX company inner sleeve. “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 very first UK MONO pressing. One of kind piece in this condition so… Price: Offers!!!!

2933. 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!!!!

2934. YARDBIRDS: “Roger The Engineer – Yardbirds Featuring Jeff Beck” (Odeon – EOP-804513) (Record: Near Mint/ Textured Gatefold Jacket: Excellent ~ Near Mint – has minor foxing/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Top-notch copy, complete with rare obi. “Jeff Beck was the Yardbirds' lead guitarist for less than two years, but that was enough time for him to come up with a career's worth of mean, ungodly guitar screams. With Beck on board, the Yardbirds were an eruption of Swinging London noise, ripping all the country out of the blues for pure urban flash, sinister and slinky at the same time. The Yardbirds' previous guitarist, Eric Clapton, had been their blues conscience, quitting in disgust after their 1965 pop hit "For Your Love." Barely out of his teens, Beck replaced him but didn't even bother trying to duplicate Clapton's blues scholarship; Beck had his own sound, and he got it all onto the Yardbirds' 1966 classic Roger the Engineer, unreeling his brilliant pyrodelic riffs. Most English rockers sank themselves by imitating the sinuous midtempo pulse of Chicago blues until the beat just turned into vanilla fudge. Beck's 'Birds stayed out of that trap by pushing the rhythm to its outer extremes, speeding up the fast ones into manic garage-band rush while slowing down for ominous garage-Gregorian psychodirges. The dynamics were intense: Check out the way "Lost Woman" starts out loud, simmers down and then bursts into a screech-freak feedback crescendo before melting down to primal rock & roll, all in just over three minutes. Behind the guitars -- Beck on lead, Chris Dreja on rhythm -- drummer Jim McCarty and bassist Paul Samwell-Smith raced the engine, and singer Keith Relf's medieval fountain-of-sorrow brooding was one spooky sound. P Only the weaker tracks on Roger the Engineer are straight blues. "Over Under Sideways Down" is a spacey guitar adventure over tough frat-rock bass, the guys yelling "Hey!" on the one while Beck plays his vaguely Arabic lead riff. "He's Always There" is a bizarre love triangle of fuzz guitar and bossa nova, while "Turn Into Earth" and "Farewell" are prescient riddles about the dark side of psychedelia. Beck was gone by the end of 1966, but you can see him rip it up with the Yardbirds in the Antonioni film Blow Up. They're obviously intended as symbols of modern urban decadence and alienation, but they're the only sign of life in the movie -- rock & roll as a passionately human romance with the machine.” (Rob Sheffield, Rolling Stone, 1999). A classic, this being the rare original Japanese press housed in textured gatefold jacket. Top copy. Price: 175 Euro
2935. 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!!!!
2936. 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
2937. 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: 600 Euro
2938. YOKOTA TOSHIAKI & THE BEAT GENERATION: “Takasaki – Elevation” (Express – EP-8009) (Record: Near Mint/ Jacket: VG++~Excellent – has some faint edge and spine wear from storage) Bloody rare beyond your wildest dreams Japan first original pressing from 1970 – one of the highlights in the Japanese jazz canon but sadly originals are impossible to lay your hands on as averagely only one copy every 10 years pops up. This one eclipses Primitive Community and Flute Adventure by lightyears as far as rarity is concerned. Forget about the obi, so far no one has a copy so…this one here is the real deal. Killer slide arranged by Sato Masahiko and with a salivating line-up consisting out of Toshiaki Yokota: flute; Hideo Ichikawa: keyboard; Sadanori Nakamura: guitar; Jun Suzuki: bass; Takeshi Inomata: drums and Larry Sunaga: percussion. Elevation moves past some of the simply groovy modes into a range that's still nice and soulful, but which has Yokota stretching out as well! Here, Yokota envisioned his sound of flute jazz on the motive of Baudelaire and Kerouac and evokes this image through such compositions as “Elevation, 1er Partie”, the beautiful and groovy “On The Road”, showcasing some excellent arrangements on “Curved Navel”, the soulful “What I’d Say” and the very emotional bluesy tune “How Long Have I Been Waiting For You” as highlights! The whole album gets spiced up with bewitching keyboard lines and hypnotic electric bass, giving an extra punch to the rhythm vibes, providing a nicely stepping style that's sometimes a bit funky, sometimes a bit more laidback and which lets the keyboards move nicely with the flute, often in a way that allows some slightly trippy elements to bubble up to the surface. Record is pristine and virginally NM~M. Sleeve is VG++ ~ EX- with some faint traces from storage but with nothing disturbing and compared with a few others I could see over the years in collections, one of the nicest so far. Insanely rare first press original pressing of a record that just about never ever pops up so… act accordingly. Without any exaggeration, one of the top 5 rarest slices of Japanese jazz out there. Price: Offers!!!
2939. 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: 250 Euro
2940. YOSHI WADA: “Lament for the Rise and Fall of the Elephantine Crocodile” (India Navigation – IN-3025) (Record: Near Mint/ Jacket: Near Mint, still in shrink). “Best known for his work as part of the Fluxus collective, sound artist Yoshi Wada only released two albums, the rarest of which is reissued here. 1981's Lament For The Rise And Fall Of The Elephantine Crocodile contains two pieces: one half-hour vocal drone focusing on overtones in a reverberant space, and another, slightly longer piece based on a bagpipe-like homemade instrument, which drones in a magnificently aggressive fashion exhaustively. On this piece you can certainly hear the connection between Wada and cohort la Monte Young, but there's also a real similarity between this latter composition and Jim O'Rourke's early organ drones. These pieces present a similar illusion of featureless, complete temporal stasis, with sustain spiraling off into infinity. Which, in case you're unclear on the matter, would be a good thing. Highly Recommended.” (Boomkat) Price: 250 Euro
2941. 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
2942. 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
2943. YOSHIZAWA MOTOHARU: “Wareta Kagami Mata Wa Kaseki no Tori – Cracking Mirror and/or The Fossil Bird – Motoharu Yoshizawa Bass Fragments” (ALM Records – AL-6) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Excellent ~ Near Mint/ Insert: VG++). First original pressing complete with rarely seen 1st issue obi and one of the rarest and hardest to track down albums on the magnificent ALM record label, especially all complete with mega rare obi. Another brilliant totally vanished free jazz classic by all-time great bass virtuoso Yoshizawa Motoharu who has played with Abe Kaoru, Haino Keiji, Mikami Kan, 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. Beautifully executed free-roaming improvisations that are driven by Yoshizawa’s understated molecular-shifting bass pulsations, a spartan and almost skeleton machinery of an underdog operation. 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 instinct and check this subliminal stuff out. Forget reviewers, trust your own instincts for a change. Stellar stuff and rare mid-seventies free improvisation workouts. Again, stuff for the more advanced listeners out there. But sadly, this title is getting impossibly rare especially with obi. First one to drop in my lap in over a decade. Price: 500 Euro
2944. YOSHIZAWA MOTOHARU: “Inland Fish” (Trio Records – PAP-9020) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Mint/ Liner notes insert: Mint) Japan very first press issue all complete with rare first issue obi. Another one of those all-time classic free blasting discs. Recorded live in concert in 1974 that was organized by the as legendary figure, free jazz promoter, all round provocateur and essayist on obscure music and existentialism Aida Akira, “Inland Fish” sees legendary contrabass virtuoso innovator improviser Yoshizawa Motoharu ripping through and excavating some previously undetected sound spheres, creating elaborate and highly challenging excursions into death space. On side two, he gets backed up by free hitting drum wonder and skin manipulator Yoshisaburo Toyozumi, who is responsible for pushing the levels of excitement towards stratospheric heights by interlarding Yoshizawa’s lonesome excursions with well-aimed drum salvos that stir up a conversational pattern with Yoshizawa’s abstractly tinted bass lines. Brilliant stuff and getting ooh so scarce, like most interesting titles of Japan’s free jazz scene. This copy is as mint as can be, everything is intact and the disc comes with the almost never seen obi, so go figure the scarcity. Stunningly beautiful copy for even greater music. Price: 175 Euro
2945. 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
2946. YOUNG, LARRY: “Lawrence Of Newark” (Perception – PLP-34) (Record: Near Mint/ Jacket: Near Mint – still housed in shrink/ Insert: Near Mint/ Obi: Mint – still housed in shrink). Original 1973 1st Japanese high-quality pressing all complete with obi. “The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 -- his first non-Blue Note date as a leader and post-Lifetime -- as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes -- James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew. Made up of only five tracks, rhythm is the hallmark of the date as evidenced by the conga and contrabass intro to "Sunshine Fly Away." Deirdre Johnson's cello opens up a droning modal line for Young to slide his organ over in what passes for a melody but is more of an idea for a theme and a trio of variations. Armen Halburian's congas echo the accents at the end of the drum kit and Young's own tapering pronouncements moving back and forth between two and four chords with a host of improvisers inducing a transcendent harmonic hypnosis. The centerpiece of the album is "Khalid of Space Pt. 2: Welcome." Sun Ra's edict about all of his musicians being percussionists holds almost literally true in Young's case. The soprano saxophonist sounds as if it could be Sonny Fortune (billed as "mystery guest"), but he's way out on an Eastern modal limb. Young's right hand is punching home the counterpoint rhythm as Abdul Shadi runs all over his kit. Blood Ulmer is accenting the end of each line with overdriven power chords, and various bells, drums, congas, and djembes enter and depart the mix mysteriously. Young is digging deep into the minor and open drone chords, signaling -- à la Miles -- changes in intonation, tempo, and frequency of rhythmic attack. And the cut never loses its pocket funk for all that improvisation. It's steamy, dark, brooding, and saturated with groove. Awesome.” (AllMusic – Thom Jurek). Top copy, hard to find in such clean condition as this one here. Rarely surfaces with obi – all is as virginal as can be. Price: 350 Euro
2947. YOUNG MARBLE GIANTS: “Colossal Youth” (Rough Trade/ Japan Record – RTL-3) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ Poster: Mint/ Insert: Mint/ card: Mint). Very scarce high-quality Japanese first original pressing all complete with poster + Insert + card + OBI. Young Marble Giants’ Colossal Youth is a collection of sparse, evocative tunes emphasizing Alison Statton’s floating vocals and minimal guitar/organ/bass/drum machine arrangements. Comparable to little else from its time or since, this is rock music at its most austere. The original album had 15 songs and every single one is a killer, stripped won of all pretentions and instead crammed to bursting with minimalist loner youthful angst vibes. Price: 125 Euro
2948. 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!!!!!!!
2949. YOUNG, NEIL: “S/T” (Warner Japan/ Reprise – P-8121R) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Rock Age Flower Obi: Near Mint). Top condition! 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: 600 Euro
2950. 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: 600 Euro
2951. YOUNG, NEIL: “Everybody Knows This Is Nowhere” (Reprise Records – P-8122R) (Record: Near Mint/ Gatefold Jacket: Near Mint – only very faint foxing inside gatefold/ Insert: Near Mint/ Obi: Near Mint) Original Japanese high quality pressing with 2000Yen price printed on sleeve and obi. These used to be common on the ground about a decade ago but the times they are a changing… clean copies complete with obi are getting scarce and thin on the gorund. Great sounding pressing of all time killer slide. Highest recommendation. Price: 75 Euro
2953. YOUNG, NEIL: “Harvest” (Reprise – P-8120R) (Record: Excellent/ Heavy Gatefold Jacket: Near Mint/ Obi: Near Mint/ Inner Sleeve: Mint/ Insert: Excellent – folding creases/Gatefold 4 paged Insert: Near Mint). Bloody rare Japan 1st Press advanced BLUE LABEL PROMO COPY, just NEVER surfaces!!!! Great copy – 1st original Japanese high-quality pressing. True 1st press that comes housed in a heavy-duty gatefold sleeve – heavier and different texture of gatefold than the regular version. Another difference is inside the gatefold is the “Warner Bros. Pioneer Cooperation” notification which is imprinted in WHITE, there were regular version this is imprinted in yellow. Same goes for the quality and thickness/ roughness of the inserts, different from the regular version which is lighter and not rough textured quality paper. All is complete. That said, this slide is a masterpiece and a timeless classic. You know the deal. The promo issue on the promo only BLUE label which only surfaces sporadically. Only time I had a copy of the promo version was over a decade ago. Rarest Harvest pressing version out there and housed in a heavy gatefold sleeve. Price: 375 Euro
2954. YOUNG, NEIL: “Harvest” (Reprise – 10121R) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/Gatefold 4 paged Insert: Near Mint). All complete 2nd press issue that came out in 1976 in top shape. Price: 60 Euro
2955. YOUNG, NEIL: “After The Gold Rush” (Reprise Records Japan – 10120R) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Poster: Near Mint/ Insert: Near Mint/ Obi: Excellent). Japanese pressing complete with Obi intact and poster insert and insert. Getting scarce on the ground Japanese pressing with of all time classic slide. No matter how many times you spin this one, it remains a fantastic slide with every track sheer brilliance. Price: 75 Euro
2956. YOUNG, NEIL: “Journey Through The Past” (Reprise/ Warner Pioneer – P-5068~9R) (2 Lp Record Set: Near Mint ~ Mint/ Quadruple Gatefold Sleeve: Near Mint/ 4 Paged Insert: Near Mint/ 2 Individual Imprinted Inner Sleeves: Near Mint/ Obi: Near Mint) Top condition Japan 1st press original stock copy. Comes all complete and utterly essential according to these humble ears. Dead mint copy for drop dead bottom price, impossible to ever upgrade upon. Price: 65 Euro
2957. 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
2958. YOUNG NEIL & CRAZY HORSE: “Zuma” (Warner Pioneer Japan – reprise – P-1009OR) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Near Mint/ Insert: Near Mint) Original 1975 1st Japanese press issue complete with obi. Damned rare WHITE label PROMO issue. Total classic in superior pressing. Price: 125 Euro
2959. 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

2960. YOUNG, NEIL: “Tonight’s The Night” (Reprise/ Warner Bros. Japan – P-8556R) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Excellent – small bottom right tear/ wrinkle / Booklet: Near Mint/ 4 Paged Insert: Near Mint). Original 1st Japanese pressing complete with inserts and obi. Damned scarce WHITE label PROMO!!! 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: 150 Euro

 

2961. YOUNG, NEIL with CRAZY HORSE: “Tonight’s The Night” (Reprise – MS-2221) (Record: Excellent ~ Near Mint/ textured gatefold Jacket: Excellent ~ Near Mint – still has original price sticker on back/ Imprinted Inner Sleeve: Excellent/ Booklet Insert: Near Mint). First original US pressing on black colored Reprise label and comes housed in rough textured gatefold sleeve. Price: 125 Euro
2962. YOUNG, NEIL: “Tonight’s The Night” (Reprise – MS-2221) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 1976 Concert Ticket: Near Mint). Rare Neil Young artifact with signed jacket by Neil Young. Comes with a signature on the front by Neil Young. Some background info: I got this LP from a retired Japanese record executive who attended a Neil Young gig in Osaka back in 1989 (although this ticket dates back to a concert in Osaka of march 5th, 1976) and got his record signed back stage by Neil Young. The whole is in top shape and the signature of Neil is a nice and rare addition. Original 1st issue US pressing from June 1970. Again, to these ears a milestone recording. Top copy with signature and concert ticket!! Price: 300 Euro
2963. YOUNG, NEIL: “Time Fades Away” (Reprise – MS-2151) (Record: Near Mint/ Jacket: Excellent/ Poster: Near Mint). Bloody rare white label promo copy. Original 1973 pressing. The dark haunting brilliance of “Time Fades Away” sits perfectly next to “Tonight’s The Night” and “On The Beach”. This is the heart of darkness of Neil Young’s recorded output. The edgy moody darkness of recording and brilliantly erratic song selection offer a portrait of Neil Young beginning to balance on the edge, trying to cast out and exorcize his demons. This made at the time many of his fan base to turned away but others came just for this chill and stayed forever. Killer recording, rarely seen white label copy up for grabs. Price: 175 Euros
2964. YOUNG, NEIL: “Time Fades Away” (Reprise – P-8375R) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ OBI: Mint/ Poster: Mint/ Insert: Mint). Top copy and all complete high quality Japan 1st original pressing from 1973. The dark haunting brilliance of “Time Fades Away” sits perfectly next to “Tonight’s The Night” and “On The Beach”. This is the heart of darkness of Neil Young’s recorded output. The edgy moody darkness of recording and brilliantly erratic song selection offer a portrait of Neil Young beginning to balance on the edge, trying to cast out and exorcize his demons. This made at the time many of his fan base to turned away but others came just for this chill and stayed forever. Killer recording, first time I have an original 1973 Japanese pressing up for grabs all complete with obi and all the rest. Top copy. Price: 75 Euro

2965. 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

2966. 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
2967. 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
2968. 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
2969. YOUNG, NEIL + CRAZY HORSE: “Ragged Glory” (Reprise – 7599-26315-1/ WX374) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). Original 1990 pressing all complete. One of Young’s finest slides to kick-start the nineteen-noughties. Amplified guitar jams, distortion tuned up to eleven, killer songs, wailing riffs, pounding rhythm section and Young’s unique voice to top it all off when he drifts over into curiously zombie-like tones. Amazing slide, original 1st pressing – this one was the EU release and pressed in Germany, giving you that much craved for killer sonic experience. Awesome and one that seems to have dried up completely in the last decade. Price: 150 Euro
2970. YOUNG, NEIL: “War Song b/w Are You Ready For The Country” (Reprise – P-1150R) (EP Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint). Japan only 1972 release – with the title track War Song only available in this format. Price: 50 Euro
2971. 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
2972. 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
2973. 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

2974. 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: 75 Euro

2975. 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
2976. 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
2977. 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
2978. 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
2979. 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
2980. 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!!!!
2981. 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
2982. 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
2983. 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: 350 Euro
2984. 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!!!!
2985. 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: 350 Euro

2986. YUSEF LATEEF: “Lost In Sound” (Union Records – UPS-1020) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan very first original pressing all complete with hardly ever seen first issue obi and insert. WHITE label PROMO issue. Yusef Lateef's one and only album for the Charlie Parker label – cut during a period when he's been making real waves in the jazz scene with work on Prestige and Savoy! The set's a bit more straight ahead than some of Lateef's more exotic sides of the time – focusing on his work on tenor, and going for a soulful hardbop approach that relatively upbeat and swinging, with traces of the work that Lateef was doing in the Cannonball Adderley group of the time. Players on the album include Vincent Pitts on trumpet, John Horman on piano, Ray McKinny on bass, and either George Scott or Clifford Jarvis on drums – and all tunes save two are originals. Price: 150 Euro

 

2987. YUSEF LATEEF: “Into Something – Yusef Lateef No Sekai” (Prestige/ Victor Records - 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
2988. 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: 250 Euro

2989. YUSEF LATEEF: “Jazz ‘Round The World” (Impulse – A-56) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US first original MONO pressing in top shape. Yusef Lateef explores a number of different world music rhythms on a mix of woodwind instruments that includes tenor, basoon, flute, oboe, and shanas. He's joined here by the great Richard Williams on trumpet, whose playing with Lateef is always excellent. The rest of the group's made up of some of Lateef's best early rhythm players, including Hugh Lawson, Ernie Barrows, and Lex Humphries. Clean as can be original MONO pressing…hard to ever improve upon. Price: 200 Euro

 

2990. YUSEF LATEEF: “1984” (Impulse – A-84) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US first original MONO pressing in top shape – WHITE label PROMO issue. Really moody magic from Yusef Lateef who was definitely using his time on the Impulse label to open up some new territory in his music! This set might well be the most experimental that Lateef had recorded to date which was still filled with the exotic touches of his previous records, including work on a wide range of global reed instruments but handles with a deeper fascination with sound and shape, so much so that Lateef sometimes steps away from straight swing to some very creative moments. A key part of this sound is pianist Mike Nock – who joins Lateef here, and really opens up his own sound too, playing at a level that's light years past many American pianists, and really setting the stage for some of his work to come as a leader. The rest of the group is also amazing and is an unusual quartet with Reggie Workman on bass and James Black on drums. So essential! Price: 250 Euro
2991. YUSEF LATEEF: “A Flat, G Flat and C” (Impulse – AS-9117) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Top condition US very 1st genuine first pressing with serrated edge on the record itself. Haunting set of stripped down tracks by the brilliant Yusef Lateef, who not only plays his usual assortment of reeds here – tenor, alto, flute, and oboe – but also lays down a bit of theremin! He's accompanied by Hugh Lawson on piano, Reggie Workman on bass, and Roy Brooks on drums. Top condition US first original press issue. Price: 150 Euro
2992. YUSEF LATEEF: “The Golden Flute” (Impulse – AS-9125) (Record: Near Mint/ gatefold Jacket: Mint – still firmly housed in shrink and never opened/ Company Inner Sleeve: Near Mint). Time-machine virginal copy, original US 1st press issue for import to Japan and all complete with rarely – if ever- seen Direct Import Obi. “Van Gelder” machine-stamped in trail off. The emphasis is on older tunes and styles on this Yusef Lateef Impulse! album. Lateef (switching between tenor, flute, and oboe) plays such numbers as "Straighten Up and Fly Right," "Ghost of a Chance," "Exactly like You" (on oboe), and "Rosetta" along with some group originals. Lateef has long been a true original, and he revitalizes the standards while always swinging and being a bit unpredictable. Well worth searching for, this was Lateef’s final Impulse! album before switching to Atlantic. Damned rare all complete with Direct Import obi and gatefold sleeve still housed in original shrink. Price: 200 Euro
2993. YUSEF LATEEF: “Psychicemotus” (Impulse – AS-92) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint/ Direct Import Obi: Near Mint). US original press issue that comes with damned rare Japan Direct Import OBI. “Psychicemotus was released in 1965 and features Yusef Lateef on various flutes and tenor saxophone, George Arvanitas on piano, bassist Reggie Workman and drummer James Black. And while the Coltrane era of modal and free jazz was in full swing, Lateef always followed his own muse, and continued looking forward while looking back to ancient musics. His use of bamboo and Chinese wood flutes on the title track and "Bamboo Flute Blues" added not only dimension and texture, but rhythmic invention to standard jazz forms. Yet his readings of Jerome Kern’s and Oscar Hammerstein’s "Why Do I Love You," on which he plays tenor, swings elegantly while incorporating both hard bop and angular outside playing in his solo. Arvanitas is a near perfect foil for Lateef in that while he's not as technically flashy as Barry Harris, he is a deeply sympathetic player who uses accents and ostinati as grounding points, and prefigures rhythmic changes rather than just comping. The beautiful reading of Erik Satie’s "First Gymnopedie" on which Lateef plays flute is an utterly beautiful, restrained, and adventurous reading, and is allowed to resonate rhythmically with hand-percussion fills by Black. While not Lateef’s finest recording for Impulse (Live at Pep's takes the cake), it certainly is a worthy and memorable one.” (All Music Guide). Price: 150 Euro
2994. 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!!!!
2995. 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
2996. 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
2997. 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

2998. ZAPPA, FRANK & MOTHERS: “Roxy & Elsewhere” (Discreet/ Warner – P-5173~40) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press issue with obi. WHITE label PROMO issue. "After his affair with jazz fusion (Waka/Jawaka and The Grand Wazoo, both released in 1972), Frank Zappa came back in late 1973 with an album of simple rock songs, Over-Nite Sensation. But the temptation for more challenging material was not long to resurface and, after a transitional LP (Apostrophe, early 1974), he unleashed a double LP of his most complex music, creating a bridge between his comedy rock stylings and Canterbury-style progressive rock. Three-quarters of the album was recorded live at the Roxy in Hollywood and extensively overdubbed in the studio later. Only three tracks ("Dummy Up," "Son of Orange County," and "More Trouble Every Day"), taken from other concerts, are 100 percent live. The band is comprised of George Duke (keyboards), Tom Fowler (bass), Ruth Underwood (percussion), Bruce Fowler (trombone), Walt Fowler (trumpet), Napoleon Murphy Brock (vocals), and Chester Thompson (drums) -- drummer Ralph Humphrey, keyboardist Don Preston, and guitarist Jeff Simmons appear on the non-Roxy material. The sequence "Echidna's Arf (Of You)"/"Don't You Ever Wash That Thing?" stands as Zappa's most difficult rock music and provides quite a showcase for Underwood. Other highlights include "Penguin in Bondage" and "Cheepnis," a horror movie tribute. All the pieces were premiere recordings, except for "More Trouble Every Day" and "Son of Orange County," a revamped, slowed down "Orange County Lumber Truck"/"Oh No." Compared to the man's previous live recordings (Fillmore East, June 1971, Just Another Band From L.A.), this one sounds fantastic, finally providing an accurate image of the musicians' virtuosity. For fans of Zappa's intricate material like "RDNZL," "The Black Page," or "Inca Roads," this album is a must-have." (allmusic) Price: 300 Euro

 

2999. ZAPPA, FRANK: “Zoot Allures” (Warner – P-10266W) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Mint/ Obi: Near Mint). Top condition Japan first original press issue from 1976 and all complete! Price: 125 Euro
3000. 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
3001. ZAPPA, FRANK: “Studio Tan” (Warner Pioneer/ Discreet – P-10612D) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Mint/ Obi: Mint) Scarce Japanese first press original all complete with obi and insert. “Studio Tan is one of four albums culled from the ill-fated 1976 box set Läther and released by Warner Bros. without Frank Zappa having a word to say about the final product (including the horrible artwork). The 21-minute opener, "The Adventures of Greggery Peccary," is the culmination of Zappa's art of storytelling. A complex piece painstakingly assembled in the studio over three years, it allies the comedy rock of the Flo & Eddie era with the jazzy feel of The Grand Wazoo and the twisted prog rock of the 1973-1974 band. Yet, it is greater than the sum of its parts, proposing an unmatched musical narrative that makes "Billy the Mountain" the work of a child and amounts to a stunning synthesis of the man's influences, stylistic range, and studio techniques. Side two features an intentionally stupid pop song, "Lemme Take You to the Beach," and two instrumental pieces written a few years earlier. The personnel is for the most part the same as on Roxy & Elsewhere. If you like cartoon music and silly stories, it is worth your money for "The Adventures of Greggery Peccary" alone.” (All Music) Pristine condition!!! Price: 100 Euro
3002. 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: 75 Euro
3003. 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
3004. 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: 150 Euro
3005. The ZOMBIES: “S/T featuring She’s Not There & Tell Her No” (London Records/ King Records – MH-206) (Record: Near Mint/ Fragile flip back Sleeve: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Excellent ~ Near Mint) Freakingly rare Japan very first Zombie issue all complete with hardly ever seen first issue obi. “After the double-sided hit single "She's Not There" b/w "You Make Me Feel Good" topped the U.S. charts in the fall of 1964, London Records quickly culled together this LP for 1965 release. The dozen tracks were taken from material the Zombies cut for their 1965 U.K. debut album, Begin Here. Also included are "It's Alright With Me" and "Sometimes" from the combo's self-titled EP. Regardless of presentation, The Zombies aptly portrays the quintet of Chris White (bass), Rod Argent (keyboards/vocals), Colin Blunstone (guitar/vocals), Paul Atkinson (guitar), and Hugh Grundy (drums) in terms of the band's fresh blend of intelligent Brit-pop. Their efforts are equally laudable on the strength of originals such as "Tell Her No" and "What More Can I Do" as they are on the blue-eyed soulful medley interpretation of the Miracles’ "You've Really Got a Hold on Me". This is stylistically complemented by the R&B rave-up on Muddy Water’s "I Got My Mojo Working" and the ultra-hip jazzy arrangement of the Gershwin standard "Summertime." The Zombies' obvious appreciation for adeptly crafted melodies and rich vocal harmonies likewise made them favorites of pop fans as well as more discerning listeners. "Work 'n' Play" is an instrumental credited to producer Ken Jones. Initially, the piece was simply used to fill out the long-player. That was until the tune was more fully developed by the band, and under the direction of Argent’s fiery lead harmonica they turn the proposed filler into a rock & roll killer.” (All Music Guide) Stupidly rare Japan 1st original press with OBI. Price: Offers!!!!

3006. ZZ TOP: “ZZ Top’s First Album” (London – PS-584) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Original US 1971 first original pressing blue boxed label in virginal shape!!! “ZZ Top’s First Album may not be perfectly polished, but it does establish their sound, attitude, and quirks. Simply put, it's a dirty little blues-rock record, filled with fuzzy guitars, barrelhouse rhythms, dirty jokes, and Texan slang. They have a good, ballsy sound that hits at gut level, and if the record's not entirely satisfying, it's because they're still learning how to craft records -- which means that they're still learning pacing as much as they're learning how to assemble a set of indelible material. Too much of this record glides by on its sound, without offering any true substance, but the tracks that really work -- "(Somebody Else Been) Shaking Your Tree," "Backdoor Love Affair," "Brown Sugar," and "Goin' Down to Mexico," among them -- show that from their very first record on, ZZ Top was that lil' ol' blues band from Texas.” (All Music Guide) Final upgrade copy of classic first. Getting so though digging this up in top shape but here ya have one! Pristine! Price: 250 Euro

3007. ZZ TOP: “First Album” (Warner Pioneer – P-13398) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine condition Japanese pressing of ZZ Top’s first album – 2nd Japanese press issue – equally scarce these days. Top shape. Price: 150 Euro
3008. ZZ TOP: “Rio Grande Mud” (London Records/ King Records – SLC-809) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint) Original Japan 1st pressing complete with first issue obi. Original 1975 Japanese pressing. “With their second album, Rio Grande Mud, ZZ Top uses the sound they sketched out on their debut as a blueprint, yet tweak it in slight but important ways. The first is heavier, more powerful sound, turning the boogie guitars into a locomotive force. There are slight production flares that date this as a 1972 record, but for the most part, this is a straight-ahead, dirty blues-rock difference. Essentially like the first album, then. That's where the second difference comes in -- they have a much better set of songs this time around, highlighted by the swaggering shuffle "Just Got Paid," the pile-driving boogie "Bar-B-Q," the slide guitar workout "Apologies to Pearly," and two Dusty Hill-sung numbers, "Francine" and "Chevrolet." There are still a couple of tracks that don't quite gel and their fuzz-blues still can sound a little one-dimensional at times, but Rio Grande Mud is the first flowering of ZZ Top as a great, down-n-dirty blooze rock band.” (Stephen Thomas Erlewine, All Music Guide) Price: 75 Euro

3009. ZZ TOP: “Tres Hombres” (London Records/ King Records – SLG-810) (Record: Near Mint/ Jacket: Near Mint/ 4 Page Insert: Near Mint/ Obi: Near Mint). Clean, mean and damned rare Japanese pressing with OBI. Original Japanese high quality pressing of their third LP. Man, they fucking brought the house down. But after this one it went downhill fast, so this was their high-water mark so to speak and shows exactly where the wave crashed into land and pulled back into the sea. “Beer Drinkers & Hell Raisers” yeahhhh …. take this shit to the Donbas!!!! Stunningly clean with obi. Price: 250 Euro

 

3010. ZZ TOP: “Tejas” (London/ King Records – GP-1050) (Record: Near Mint/ Triple gatefold Jacket: Near Mint/ Imprinted Heavy Inner Sleeve: Near Mint/ 4 Paged Insert: Near Mint). Japan original first press issue from 1977. On Tejas, ZZ Top countrified the bluesy posture of their previous albums, resulting in a slight detour between the madcap spirit of Fandango and the psychedelic strut of Deguello. While the album lacks any singles as strong as "Tush" or "La Grange," "Arrested for Driving While Blind" is one of ZZ's classic anthems, capturing the group's wacky humor and jaunty good-time boogie. Other highlights include the driving "Enjoy and Get It On," "Avalon Hideaway," and the fine instrumental "Asleep in the Desert." Top condition. Price: 75 Euro
3011. ZZ TOP: “Deguello” (Warner Pioneer – P-10735W) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ 4 Page Insert: Near Mint). Scarce 1979 Japan WHITE label PROMO issue. “ZZ Top returned after an extended layoff in late 1979 with Degüello, their best album since 1973's Tres Hombres. During their time off, ZZ Top didn't change much -- hell, their sound never really changed during their entire career -- but it did harden, in a way. The grooves became harder, sleeker, and their off-kilter sensibility and humor began to dominate, as "Cheap Sunglasses" and "Fool for Your Stockings" illustrate. Ironically, this, their wildest album lyrically, doesn't have the unhinged rawness of their early blooze rockers, but the streamlined production makes it feel sleazier all the same, since its slickness lets the perversity slide forth. And, forget not, the trio is in fine shape here, knocking out a great set of rockers and sounding stylish all the time. Undoubtedly one of their strong suits.” (All Music) Price: 65 Euro
3012. ZZ TOP: “El Loco” (Warner Pioneer – SP-11051W) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st original pressing from 1981 – WHITE label PROMO and all complete with all inserts and OBI. El Loco follows through on the streamlined, jet-engine boogie rock of Duguello but kicking it up a notch with slickier grooves and a raunchier approach, edging towards a more party-rock oriented southern sound. Typical ZZ Top sound that falls short of the greatness they imbedded for their first three releases. Still, widely loved so… scarce Japanese promo pressing for your guilty pleasures. Price: 75 Euro