RARE RECORDS CATALOGUE
A-B
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

Last updated: February 7th, 2021

1. ABE KAORU: Suisei Partitas” (Nadja – PA-6137~38) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). 2 LP Set, all-complete with first issue obi. Great original copy and first press of Japan’s all time hard blowing saxophone wonder Abe Kaoru. This is the 1st pressing. (Second press came out on the Kenwood imprint.) Amazing free jazz saxophone improvisational workouts. Legendary and utterly historic recording. Subtitled “Well-Tempered Alto-Saxophone Suite “Partitas – Unfinished” For Joyness Of All Beginners And Also Exparts”. Among the plethora of solo performances that have come to light since Abe's untimely passing in 1978 at the age of 29, this might well be his definitive statement. Originally issued in a miniscule run in 1981, “Partitas” captures Abe at the height of his powers in March 1973. The four lengthy pieces that comprise this set make for a most challenging listening experience that puts on display a soul of immeasurable depth filled with distress and solitary angst. His hard blowing guts gushes out furious dancing note clusters that balance on your earlobe before caving in on your skull. Generally speaking does Abe’s performance on this disc resembles a high tensioned sound, like a killer babe dressed only in high-heeled stiletto boots trampling on your private parts. A real killer, portraying Abe in a fascinating period of transition, delivering a highly salient and audaciously experimental recording that blows all of the nowadays would be improvisation impersonators straight out of the water with their tail whopping between their legs. Rare to say the least. Extremely beautiful copy hardly turns up in such a perfect state. Historical and a bitch to unearth complete with obi these days. Price: 150 Euro
2. ABE KAORU: “Mort A Credit – Saxophone Solo Improvisation” (Kojima ALM Records/ AL-8~AL-9) (2 LP Record: Near Mint/ Jacket: Excellent, some aging stains inside of the gatefold sleeve). Beautiful Japanese press original in great condition. Recorded in 1975, this was the last album of the legendary sax howler Abe to be released in his lifetime. The title was taken from a Céline novel, since Abe was a huge fan of the French writer. The recording consists of two alto improvisations, taken from a concert staged on October 18th, 1975 and five more (two on soprano, three on alto) taken from another performance a couple of days earlier. Abe brings forth a real tour de force in which roughly cut-off notes are spaced so regularly that their rhythms are like watching a slowed-down strobe light. With run after run of harsh, crude and almost bawdy staccato honking, he speedily races through the octaves in ascending and descending anti-order cadence, infused at times with shrill squeaks and squeals, an occasional blood curling melody and references of non-existent simplistic and jokey tunes. Furious forehead center blowing guts of dancing note clusters on your earlobe. Generally speaking does Abe’s performance on this disc resembles a high tensioned sound, like a killer babe dressed only in high-heeled stiletto boots trampling on your private parts. A real killer, portraying Abe in a fascinating period of transition, delivering a highly salient and audaciously experimental recording that blows all of the nowadays would be improvisation impersonators straight out of the water with their tail whopping between their legs. Rare to say the least. Historical and much in demand these days. Price: 150 Euro
3. ABE TADASHI:“ Saiminjutsu Nyuumon” (Union Record – JLS-1) (Record: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). 1st copy to emerge in a looooong time with obi. Top-notch copy of this beyond belief rarity out of the bowels of Teichiku/ Union Records early seventies scum psych weirdness. On the lookout for totally obscure and below the radar early seventies Japanese weirdness to impress your few friends and records buffs with? Well then look no further, this will certainly do the trick. First of all, Abe Tadashi is not exactly a name that will catapult your ass out of that lazy chair, unless you are acquainted with either the Japanese early seventies hypnotism community or with much sought after underground labels such as Tengu Records out of Osaka that released a similar cultural oddity by like Hikita Tenko. It is in a similar aesthetic that this Abe Tadashi disc falls into place. Abe Tadashi was an illusionist/ hypnotist and medical practitioner who got quite some minor fame in Japan in the years to follow. But at the time of this recording, Abe was just a struggling and largely unknown doctor and hypnotist who recorded this one oddity for Union Records. As might be expected, he tries on this recording to convince you of his powers, drowsing you off into a deep slumber as well as demonstrating his ability. Still that is not all that goes on and while Abe is doing his thing, there is quite some submerged musical activity going on in the background. Advertised as “musical hypnotism illusion” Abe is boarding on some weird musical endeavor, balancing on a loungey psyched out cocktail act that is trying to catch you off guard and let you seep into a deep slumber. The comforting voice of Abe that seems to be coming at you from beyond the grave is combined with the soft psychedelic musical vibes, deploying feedback and some other eerie effects that at no time sound disturbing create a weird atmosphere. The vibe is distinctly early seventies, spiced up with swirling light effects, velvet couches and a slightly drugged out vibe. This one will appeal to all of you insomniacs out there. Needless to say, this beauty is hideously rare and just never turns up here due to totally bummed sales at the time and the marginal public it was catering to, making that maybe only a handful are still in circulation today (while the remainder of the initial pressing was sadly enough but probably hoarded of to a near dumpster to get incinerated). Last copy I saw up for sale sold within 5 minutes for 700 dollars. This copy is near mint so a better copy does not exist I believe and seen in that light, combined with the scarcity of this artifact I think we have a fair price. Recommended for all of your hyper rare vinyl enthusiasts, borderline music brainiacs and just plain weirdness lovers. Price: 250 Euro
4. ABRAMS, MUHAL RICHARD: “Young At Heart, Wise In Time” (Delmark Records – PA-7028) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Top condition high quality Japanese pressing of often overlooked gem of a disc – comes with rare OBI present. “Muhal Richard Abrams as the founder of the AACM in Chicago, has been one of the unsung leaders of the avant-garde ever since the mid-'60s. A versatile pianist, Abrams is heard in two different settings on this, his second session as a leader. "Young at Heart" finds him stretching out on a solo piano performance that hints at earlier styles while exploring the potential sounds and silence of free jazz. Wise In Time has Abrams functioning as part of an explorative quintet with trumpeter Leo Smith and altoist Henry Threadgill, both of whom were unknown youngsters at the time. Fascinating music, it is recommended strictly for the open-eared listener who does not demand that all jazz swing conventionally.” (All Music Guide). First time ever I could find a copy with the bloody cool obi flashing it colors. These babies are getting so damned scarce it is bordering on the insane. Price: 150 Euro
5. ABRAMS, RICHARD: “Levels And Degrees Of Light” (Delmark/ Trio Records – PA-7024) (Record: Near Mint/ Jacket: Excellent – upper seam middle bump/ Insert: Near Mint/ Obi: Near Mint). Rarely seen Japan 1st original press issue all complete with rare obi!!! Although recorded early in the career of Muhal Richard Abrams, this brilliant LP shows the pianist/composer turning away from the stock jazz and studio work of earlier years -- to develop into one of the richest talents to rise from the Chicago avant underground of the 60s! At the time of the recording, Abrams was the president of the recently-founded AACM -- and for the session, he's surrounded himself with some of the best young talents from Chicago, including Thurman Barker, Anthony Braxton, Leroy Jenkins, and Maurice McIntyre -- all of whom help to create a complicated web of colors, shapes, and sounds, that prove that the youthful energy of the underground scene was more than capable of crafting sophisticated modernist documents. The album features three long works -- "Levels & Degrees Of Light", The title track finds Abrams broadly tracing out some of the territory he would continue to explore in succeeding decades, an ethereal, mystic quality (evinced by Penelope Taylor's otherworldly vocalizing and Gordon Emmanuel's shimmering vibes) balanced by a harsh and earthy bluesiness set forth by the leader's piercing clarinet. Other tracks are "My Thoughts Are My Future" and "The Bird Song". When the band enters at full strength with Anthony Braxton (in his first recording session), the effect is explosive and liberating, as though Abrams' band had stood on the shoulders of Coltrane, Coleman, and Taylor and taken a massive, daring leap into the future. It's a historic performance. Price: 150 Euro
6. ABWARTS: “AMOK/KOMA” (Zickzack Records – ZZ10) (Record: Near Mint/ Jacket: Excellent/ Insert: Excellent). Piece de resistance of the early 1980's German underground scene. After the Krautrock wave had ebbed out, the punk contagion spread through late 1970's West Germany like an unstoppable venereal disease. Especially Hamburg was hit hard, germinating out sub currential labels like the now highly collectable Zickzack venture. Helming the whole scene was Abwarts, ready to chant Babylon down. On their first album “Amok/ Koma” the four members plus their savage veteran mother scorn through the 14 original compositions with so much vigor, speed infested urgency and accelerated primitivism from beyond the cave that one has the feeling they wanted to finish the recording before the fuzz breaks down the door and takes them away – in straightjackets to the nearby mental asylum. Seemingly recorded in a crisis condition of post baby-booming Germany shaken up with terrorist upheaval and Bader Meinhoff activity, the band speed riffs through their bone-shaking amphetamine driven mantras. Guitarist Frank Ziewert's nagging riffage and nasal sarcastic singing give it all a feel of urgency, demonic possession and disease infested bliss. In all, the disc is a true forgotten masterpiece of punk nihilism, much more intellectually charged than their UK compatriots (apart from CRASS). Cold war Germany has never sounded so alive as when Abwarts were on the barricades, trying to bring down the wall and the Fourth Reich with it. Brilliant. One of the best discs to seep out of Germany (and Europe for that matter) during that hole in time. All time highest recommendation and top notch copy. Price: 75 Euro
7. ACID MOTHERS TEMPLE: “Live in Occident” (Detector – MP-19) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Comes on colored wax!!! Without a doubt the most sought after disc in the never-ending AMT catalogue is this 2 LP side from 1999, just before AMT would become a household name. This one is the rare Japanese edition that comes with obi and Japan-only insert. This live record, which was recorded in various spots around the US and Europe, is a pretty swell document of the kind of retro-psych powerhouse these gents have become. Though the lineup is stripped-down from their earlier recording lineups ("just" five people), Acid Mothers Temple deliver the goods. The music here takes off from the very beginning and doesn't really come down until the end, sometimes with straight heavy jams that wouldn't sound completely out of place on a High Rise record, sometimes Moog-fueled free-form freak-outs, and in some places they even bring in the melody and make this stuff just beautiful. Rare Japanese edition, totally top-notch copy that seems to have dropped of the face of the earth recently. Getting one of their – if not the most – collectible vinyl LP out of the early-days AMT line-up. Highest recommendation. Japan issue with obi is…seldom seen. Price: 125 Euro
8. ACID TEST - KEN KESEY AND THE MERRY PRANKSTERS: “ACID TEST” (Sound City Productions) (Record: Near Mint/ Jacket: Near Mint – clean with also a virginally white back sleeve). Original 1996 US private pressing of this legendary document of the Bay Area LSD and acid scene. Tripped out sound effected, stoned and wasted ramblings, disjointed tape loops all happening simultaneously with the Grateful Dead jamming and spacing out in the background. A corner piece and freak ticket item for anyone remotely interested into the doped out West Coast acid and counterculture scene. “Legendary documentation of the 1965-66 Bay Area Acid Test scene "from 14 hours of the actual trip" (recorded in a studio). Shows the other side of acid culture which is fun, unpredictable and avantgarde as opposed to the Leary camp's solemn religious/ psychological approach. Lots of amazing mind games and word play with Kesey and Ken Babbs in good form, ad libbed poetry, fractured harmonica solos, tape loops and the Grateful Dead lurking in the background. Released in March 1966, just as the Pranksters were splitting for Mexico. An essential piece, though even the vinyl reissue is hard to find nowadays.” (Acid Archives). This is a near mint top copy; do not believe they come any better than this baby here. A museum piece and a statement that comes on like a bare-knuckle fist messing up your already fractured sub-consciousness. Highest recommendation and can offer it at a very good price – just inquire. Price: Offers!!!
9. ACTING TRIO: “S/T” (BYG Records/ ACTUEL – actuel 14/ 529.314) (Record: Near Mint/ Gatefold Jacket: Mint) Scarce French original pressing. Totally underappreciated trio consisting out of Andre Maurice (cello discordato), Phillipe Mate (tenor – he would go on to record for Saravah), Jean-Pierre Sabar (piano). In many respects, Acting Trio is not unlike much of the Association for the Advancement of Creative Musicians (AACM)’s work from this period. Like the AACM members, Acting Trio works just as frequently with texture as with melody and makes great use of negative space, which allows for sometimes jarring tonal shifts when the composition demands it. Moreover, the Trio, and especially cellist André Maurice, coax some impressive nonmusical sounds from their instruments in the course of their sonic explorations. Yet while the Art Ensemble of Chicago were explicitly working within a pan-African musical tradition and all of the group’s other early members’ music had at least some roots in jazz, Acting Trio seems divorced from the jazz tradition. Maté played in some more straight-ahead jazz groups in the ‘70s, but the music he wrote for this album has no swing and its rhythmic base (usually provided by the cello) has little precedent outside of avant-garde classical and the then new European free improvisation scene. This is a wonderfully strange album. It has none of the immediate pleasures that some of Acting Trio’s labelmates were able to achieve, but it rewards those who can move beyond jazz dogma and listen with unencumbered ears. Yet for all its charms, it remains a footnote in the BYG Actuel catalog, and rightfully so considering the talents and clarity of vision of so many of the label’s other artists. Price: 50 Euro

10. ACTION PAINTING: “These Things Happen b/w Boy Meets World” (Sarah Records – Sarah-28) (Single Record: Near Mint/ Picture Sleeve: Near Mint/ Insert: Near Mint/ Post Card: Near Mint). Great release on the mighty Sarah Records imprint. Heralding out of Gosport, Action Painting 1990 release is powered along by high-in-the-mix acoustic guitar not unlike the Jam’s “That’s Entertainment” augmented by an urgent vocal howl that Robert Smith could have conjured up if he ever felt the need to sound three steps from self-pitying. So good but damned sadly convicted and banned to the dusty footnotes of a hazy and once high-water mark in UK nouveau-wave sensibility. Essential! Price: 35 Euro

11. ADDERLEY, NAT with WES MONTGOMERY; BOBBY TIMMONS; PERCY HEATH & SAM JONES: “Work Song” (Riverside/ Victor Records – SR-7012) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Excellent). Rare Japan 1st original pressing. “Work Song is a near-classic by cornetist Nar Adderley. He utilizes a cornet-cello-guitar front line with Sam Jones and Wes Montgomery, along with a top-notch rhythm section pianist including Bobby Timmons, Percy Heath or Keter Betts on bass and drummer Louis Hayes. First up is a fine early performance of his greatest hit, "Work Song." He also helps introduce Cannonbal Adderley’s "Sack O' Woe." Four songs use a smaller group, with Timmons absent on "My Heart Stood Still," which finds Keter Betts on cello and Jones on bass; "Mean to Me" featuring Nat backed by Montgomery, Betts and Hayes and two ballads ("I've Got a Crush on You" and "Violets for Your Furs") interpreted by the Adderley -Montgomery – Jones trio. No matter the setting, Nat Adderley is heard throughout in peak form, playing quite lyrically. Highly recommended.”(All Music Guide). Scarce Japan 1st original press issue from 1960! Stunning condition, no defects on the sleeve and clean record, hard to believe its condition after 60 years. Dirt cheap. Price: 50 Euro
12. AFTERGLOW: “S/T” (TMA Records – MTS-5010) (Record: Near Mint ~ Mint/ Jacket: Near Mint & housed in original shrink, has a small little drill hole – apart from that just perfect). Just beautiful top copy original US pressing of this mellow pop-psych masterpiece. Musically it is in the same league as British North American Act, Frederic and such glorious underrated bands. An obscure psychedelic band based in Oregon, Afterglow released only one album in 1968 before vanishing. Afterglow's lone, eponymous release was sort of like a sampler of American psychedelic styles, featuring songs that recalled not only the Doors and Jefferson Airplane, but also the Byrds, Donovan and trippy garage-psychedelic bands like the Strawberry Alarm Clock. Led by guitarist/vocalist Tony Tecumseh, the group formed in August of 1965 when Tecumseh was convinced by a friend to contact drummer Larry Alexander and a bassist named Mike. The trio, dubbed the Madallions, soon added vocalist Gene Resler and the band played several shows, usually at a local pizza parlor, before they went their separate ways to attend college. They re-formed in 1966, adding new bassist Ron George and keyboardist Roger Swanson. That fall, they began recording with producer Leo Lukla at his Golden State Recorders studio, but due to their studies, they were unable to complete an album until late 1967; the resulting eponymous record appeared early the following year on MTA Records. Afterglow was ignored at the time and the group broke up shortly afterward, but the record became a favorite of psychedelic collectors. Afterglow starts with "Morning," a gentle folk-rock song that finds the middle ground between the Byrds and Jefferson Airplane. Although there are a couple of tracks similar to "Morning" on the album, it is no more an indication of what's to follow as any other song on the record. Each song on Afterglow sounds as if it could have been written by different bands -- sure, there is the sighing "Mend This Heart of Mine," but it follows the downright bizarre "Susie's Gone," a which, with its dissonant Farfisa organs and slide guitars, sounds like a space voyage gone bad.” (AMG) Still housed in shrink, top condition. Price: 300 Euro
13. AFRICAN DJOLE: “Live 1978 Yankadi” (FMP Records – SAJ-54) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original 1985 West Germany pressing of totally under-the-radar FMP slide. “This was the first European album by the four Guinean musicians known as Africa Djolé. Playing an enormous assortment of drums, hollowed gourds, whistles, broken saw blades, and woodblocks, as well as a harmonica and their voices, this quartet led by African master drummer Fode Youla took their show to Berlin's Free Music Workshop in 1978 and took the whole joint by storm. And while it's true that the album's listeners can't see them dancing and moving along with their music, the sense of that movement is fully evident in the rise and fall, call and response, and continuous juxtaposition of one set of rhythms against or in concert with another. Movement and joy are felt with the introduction of each new rhythm played on the tam tams (drums played by all members of the group) and the sweet, grainy, chant -like singing that weaves its way into the heart of those rhythms. Here, the syncopation is so deft, so seemingly impossible to imagine let alone play, that it plays tricks on the mind of the listener. But despite the incessant percussion and the non-stop talking drums that tell stories Western listeners can only guess at because of the language barrier, this is one of the gentlest recordings of African music ever issued in the West. The "foreignness" of this thoroughly non-white music is displaced by the crowd noise, as well as the deep "funk" in the phrasing.” (All Music Guide). Price: 50 Euro
14. AGATA MORIO: “Norimono Zukan” (Vanity Records - Vanity0005) (Record: Near Mint/ Jacket: Near Mint). Bloody RARE Original Vanity press released in an edition of 300 copies, there was also NO obi upon the release of this record, come came only with the 2nd pressing of the disc on Chop records. Norimono Zukan was probably Agata Morio's most rumored about recording, partly due to the fact that Vanity Records birthed this baby and partly due to the fellow sub-cultural scenesters to participate on the disc such as Phew (who had just embarked on her Aunt Sally adventure), SAB and Chie Mukai amongst others. Unlike his early oeuvre he brooded out at the beginning of the seventies, characterized by his loner-acid-folk infested stance, his fondness for delicately balanced atmospheres revitalizing sentiments of long gone eras and evaporated traditional values, Agata sets out here on a totally different voyage. The times they were a changing and especially for Agata who began to embrace the glitching kitsch aesthetic of the burgeoning eighties by throwing himself head over heels into the realms of techno pop and synth-driven new wave. Although a certain pop feeling hovers over the larger part of the recording, still some traces of an unrelenting punk aesthetic and an indelible DIY attitude keep on resurfacing and pressing through a hard to ignore fragrance of anti-commercialism and “Us against Them” attitude. Especially appealing on this recording are the psyched-up choruses of ecstatic female vocals that underscore Agata's songwriting abilities, beefing it up with enough unrelenting teenage virility and unbridled sex appeal to elevate even the most limpid of body parts. Brilliant all way round and original Vanity press copies are hideously scarce these days, just impossible to unearth. First time I have an original copy to offer, so do not think twice it is all right…Price: 250 Euro
15. AGITATION FREE: “Malesch” (Vertigo – 6360.607) (Record: Near Mint/ Jacket: Near Mint - a breath away from stone mint due to some very fine & hardly noticeble faint trace ringwear rubbing on back left side). Top copy, hard to find in such great shape, especially for the jacket. Original German swirl copy of this psychy ethnic tinted krautrock masterpiece, the best Agitation Free disc in my book. Malesch was the band’s debut LP and it turned out to be a true cosmic Krautrock classic, blending spacey psych with a flair for Eastern "exoticism". The album was recorded in 1972 not long after the band was sent on a tour of the Middle East by the Goethe Institute, and incorporates field recordings from their trip: the bustle of Cairo streets, desert winds, calls to prayer, friendly airline pilots... In all, a killer album made up of mostly instrumental psych/ drone/ ethnic rock, and fusing it all into one combustible swirling head-trip. So recommended and so far out. Awesome & a top copy indeed. I do believe they do not come cleaner or better than this copy here, top shelf condition. I have never seen such a pristine copy as this one here.... they are damned rare so perfect as this one, so need some nice offers on this one. Price: Offers!!!!
16. AGITATION FREE: “2nd” (Vertigo Records – 6360.615) (Record: Excellent ~ - has a few barely visible sleeve lines one can detect under a bright light. Completely harmless and hardly detectable with the naked eye - plays mint/ Laminated Gatefold Jacket: Excellent ~ sole defect is small barely visible ‘white on white’ price tag tear on upper right corner – apart from that I would grade the sleeve as near mint ~ Mint). TOP COPY, first original pressing!!!! Classic German Krautrock masterpiece that was released in 1973. As opposed to Malesch, Second shows some slight change in direction for the band. It becomes readily apparent on the first track that the band's sound is slightly jazzier and the melodies are a little tighter and stronger. The guitar duels between Ulbrich and Diez are utterly gorgeous, and the melodies absolutely shimmer throughout the album. In all a fundamental Krautrock genre piece. Essential. Top copy, getting scarce on the ground clean originals. …. Price: Offers!!!!

17. AGUSA: “Hogtid” (Kommun2 – Kommun2-24) (Record: Mint/ Gatefold Jacket: Mint). Really fantastic Swedish psychedelic outfit that released this LP in limited numbers in 2014. Sold out quite quickly partly due to the limited nature of the release but mainly because this record is just plain awesome. The debut-album from Malmo’s Agusa follows up this tradition with an epic monster of a prog/psych/folk album. “Högtid” sounds like it was recorded in a cabin deep in the Swedish woods sometime in the 70’s with all analogue equipment, colored by lots of beard and incense (probably true at that, except the 70’s part..). With heavy organs, jagged guitars, rock-solid bass lines and plenty of rhythmic change ups and shifts, this is a true adventure waiting to take you on! If you’re a fan of vintage prog and psych, this one will make your facial hair tickle and have you on a barefoot stroll through the woods before you can remember where you put your left slipper (possibly naked, long flowing robe at the most). Pure quality! First pressing on black wax, the 2nd issue came out on color vinyl, but 1st pressing was the black one, which sold out pretty much upon its release date. Price: 50 Euro

18. AHMED ABDUL-MALIK: “Jazz Sahara” (Riverside – RLP-12-287) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original US first MONO press issue with small 92 mm sized Riverside labels. early example of fusing jazz with world music. Abdul-Malik switches between bass and oud; interacts closely with the droning violin of Naim Karacand, Jack Ghanaim's kanoon (a 72-string instrument), and Mike Hamway’s darabeka (a percussive drum); and mixes in Al Harewood’s drums and (on three of the four selections) the tenor of Johnny Griffin. The music is a qualified success, essentially Middle Eastern folk music with Griffin added in. This set is interesting and, in its own way, innovative and is a rare and important release from the little known but highly respected Abdul-Malik. He was one of the main Jazz musicians in New York in the 1960s to bring middle-eastern sounds and instrumentation into jazz. Radical stuff, very much ahead of its time. An essential album for anyone interest in how eastern sounds fused with jazz at this time - ranks alongside Yusef Lateef, John Coltrane and Pharoah Sanders. Price: 175 Euro
19. AIRWAY: “Live at Lace” (LAFMS – No Catalogue Number) (Paste On jacket: Excellent ~ Near Mint/ Record: Excellent ~ Near Mint/ Insert: Excellent) Rare original copy of early Airway – LAFMS LP that came out in a hand-made paste on Jacket sleeve way back in 1978. The racket on display here was recorded live somewhere in August of 1978 and the line-up consisted out of Vetza (vocals), Dennis Duck (sax), Rick Potts (mandolin), Juan Gomez (bass), Tom Recchion (drums), Chip Chapman (circuits) and Joe Potts (circuits & tapes). Needs no explanation I guess, just stellar deranged DIY pre-punk psychedelic Dadaism and blitzkrieg bopping avant-garde lunacies. LAFMS related material is bloody hard to get your fingers on and especially the singles the collective churned out in hideously tiny runs are almost impossible to locate. This item is just stunning condition and comes in a nice paste-on jacket that can serve as a sleaze DIY vintage art to laminate your lonely bedroom fantasies. Highest recommendation and I doubt another copy will cross your path again within many moons. Price: 250 Euro

20. AKASAK MABOUL – MARK HOLLANDER: “Onze Danses Pour Combattre La Migraine” (Kamikaze Records – KAM-1) (Record: Near Mint/ Jacket: Near Mint) Bloody rare first original Belgian pressing of Belgium’s finest band ever Aksak Maboul. This was the first release on the private label Kamikaze Records and was released in an edition of 250 copies. Recorded in 1979 and released that same year, the first original pressing is a true bitch to find. Music-wise this sucker is wicked as hell. The music’s idiosyncratic style and hard-to-pin-down genre made is such an adventurous listening experience. Partly this was caused because the end of the seventies were boring as could be and the eighties were just about to bust in and make everyone’s life even more miserable than it already was (on a cultural level). People were tortured on a daily basis by mind-numbing disco tunes, Rod Stewart reigned over the airwaves, polluting every household with his cock-sucking aesthetic to sound and Paul McCartney sounded like the Inquisition’s executioner on a rampage. In short the musical landscape sucked majorly and it proved to be a fertile breeding ground for experimental heads to take root in. Centered around Marc Hollander and Vincent Kenis, Aksak Maboul got formed in 1977 but it would be until 1979 that the unit recorded their debut album. What a fucking mind blender the disc turned out to be. No-one had heard anything vaguely like this before. Aksak Maboul, by then reinforced by other free-spirited RIO styled heads and fusing neatly fake jazz, electronics, imaginary African & Balkan music, minimalism...with each other. Hell, upon a close listen one can even detect faint hushes of pre-techno aspects such in as Saure Gurke and its characteristic keyboard stab pattern, which will mysteriously find its way into many classic Detroit techno tracks some ten years later. But not only that. Hollander was also deeply stooped within the tradition of classical music and one can also easily hear a sniff of Zappa, Philip Glass and minimalism, Henry Cow, Turkish music and Phil Miller. In all a sheer brilliant and fantastic album. It should appeal to almost everyone wandering into This Heat regions of musical expression. Highest Recommendation. Mega rare Belgian 1st original pressing in TOP condition…they just never turn up, especially as clean as this one. One of the best – if not the greatest – album to be released in Belgium and Europe for that matter, no shit…. Price: 350 Euro

21. AKSAK MABOUL/ AQSAK MABOUL: “Un Peu De l’Ame Des Bandits” (Crammed Discs / Sound Marketing System – SP25-5147) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Near Mint). Hopelessly rare 1984 Japanese first original pressing in top condition and with insert and obi complete. Has been over a decade since I last saw an all complete copy! Founded in 1977 by Marc Hollander and Vincent Kenis, Aqsak Maboul already contained some of the key elements of the Crammed æsthetics: eclecticism, internationalism, deliberate and playful mixing of forms, cultures and genres. "Un Peu De L'Âme Des Bandits" was recorded by a lineup featuring English musicians Fred Frith and Chris Cutler. More intense and "experimental" than the first one, this album's music contains complex, completely written sections as well as totally improvised hardcore ambient pieces, not to mention drum machines, bassoons, sampling before samplers existed, Bulgarian, Pygmy, Polynesian and Delta Blues voices, tango, a Turkish tune, crypto-punk or pseudo-Varese music... Even the most ambitious moments of "...l'âme des bandits" are infused with Aqsak Maboul's customary playfulness: "Tango" for example is based on various existing tangos, the scores of which were cut-up, shuffled and randomly glued back together; the musicians then proceeded to learn the resulting "opus", and actually performed it live in one take; "A Modern Lesson" contains recorded fragments taken from every single other track on the album; the last section of "Cinema" is an improvised impression of a late-night program on Bulgarian radio...etc.... Un Peu De L'Âme Des Bandits was released on vinyl by Atem, Crammed Discs (002,002) in 1980.” (thethingonthedoorstep). Original Japanese pressing from 1984 in absolutely top condition and seriously a tough one to dig up all complete!!!. Price: 200 Euro
22. ALAIN SAVEROT: “Original Magma” (Private) (Record: Near Mint/ Jacket: Near Mint). Ultra rare and obscure spaced out avant-psych collage album by this French painter. Fantastic experimental/ avant-garde/ cut-up/ musique concrete/psychedelic album that will rewire your mind completely while listening to it. Saverot creates a real collage-esque tour de force, spitting out a tornado of dusty noise that engulfs the aural landscape and chewing up snippets of Pink Floyd’s “Interstellar Overdrive”, junked out kaleidoscopic guitar picking snippets, exploratory ping pong sonics, raped and trashed out classical music trash and electronic music mishmash cut ups. Voices slowed down and speeded up, lethargic cries of lonely autistic children, mating whale sounds and aquatic bubbles cross-pollinate at the same time with tribal rhythms and shamanistic skeletal undercurrents of waves breaking on the rocks. All these haunting echoes of seemingly contradictory modes glue perfectly together in a sound of barren electronics communicating techniques creating omnivorous, osmotic psychedelic music that is heavily pregnant with ghost voices, snatches of motorcycle sounds, Syd Barrett’s Interstellar Overdrive zooming in and out of focus, Charleston spell-casting while combining the whole with aspects of Gary Kail, Pierre Henry, Luc Ferrari and The Cosmic Couriers. The end result is a seriously austere vision of sheet metal avant-garde music with a lysergic animistic edge. Electronic cut-ups of various sound sources keep on blurring the line between Industrial, psychedelia, avant-garde, electronic music and primitive collage techniques all blessed with the panache of the early Silver Philips and LAFMS sides. Totally amazing!!! One of the best discs I heard lately. Price: 250 Euro
23. ALAN SILVA & HIS CELESTRIAL COMMUNICATION ORCHESTRA: “Luna Surface” (BYG Actuel – Actuel-11/ BYG-11) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ OBI: Mint). Very rare Japan 1st original pressing all complete with 1st issue OBI – WHITE LABEL PROMO. This one is a free jazz blast. Original Japan vinyl pressing from November 1970 and sounding so much better than the French pressings of that day, it will wrap your ears around your head in pure delight. For this flash of free form heaviness bolstered up in a ravaging whirlwind of maniac fury, Alan Silva collected many of the top free jazz players of the day and he let them reign free as they pleased. As a result, “Luna Surface” is an extreme sonic experiment and a weird hell broth of high-tension music triggering multiple high voltage reactions that could easily turn off a listener not yet sold on the 1969 avant-garde jazz scene. For this recording of Alan Silva's 1969 Paris session with a group of legendary free jazz players including Grachan Moncur III, Archie Shepp, Anthony Braxton, Dave Burrell, Leroy Jenkins, and Malachi Favors amongst others, Silva brought together many of the top free jazz players of the time in an amazing 11-piece ensemble and set them free, making this is a very free record and a historical document of Pan-African music. Probably one of the all-time most arresting listening experiences of free jazz ever to be put down on wax, players act out as engaged in trench warfare, leaping into violent fits of madness and blowing out deep subterranean apocalyptic waves of sound that constantly hurtle in and out of focus. The overall outcome is a true head cleaner, uglier than any group of mutants you’d see at a bad insane asylum. This is the fast lane folks…and some of us like it here. So one word of advice, blast this monster at full volume, get loaded on tasty narcotics and then snarl around looking for somebody to chain-whip. Super & rare Japan 1st press with attached insert and OBI complete – PROMO issue. Price: 150 Euro
24. ALAN SILVA and the CELESTRIAL COMMUNICATION ORCHESTRA: “S/T” (BYG Actuel 42-43-44) (3 LP Set: Near Mint/ Triple gatefold Sleeve: Near Mint). Top-notch copy and original French pressing of this all time great slab of fire music. One of the – if not THE – hardest to track down title in the Actuel series and the sole 3 LP set to see the light on the label. “Seasons”, a “stereophonic picture”, as the piece was called on the inside of the three-fold album cover is a massive free jazz beast on every scale. The schematic printed on the inner cover gives you some clue to the piece, a thorny path through the chaos, but “Seasons” is extreme even in free jazz terms. For much of its extraordinary length, it is a billowing surge of noise, so loud, so chaotic, so exhilarating that you are swept up in it without hope of rescue or reprieve. The album was recorded live in the ORTF studio in Paris on December 29th, 1970 and released as part of that magnificent Actuel series of avant-jazz albums in 1969/70. These three give a hint as to the real audience for Silva's work. This album should not so much appeal to jazz fans, even adventurous jazz fans, but to those plunged into the deep end of psychedelia. In short it is a truly punishing but truly effective psychedelic trip. It's for the same people who manage to fight their way through Terry Riley's 40-minute live version of “Poppy No Good” and Amon Duul’s “Psychedelic Underground” and never stopped falling. So, as you can already guess it is a truly legendary record. The CCO was pretty much whoever Silva could round up for a given date, but this one-shot radio concert was its largest lineup ever. What you get are two 70-minute sections of the piece, as close as anybody without a time machine's ever gonna get to hearing it as it was in December '70, when this thing erupted through the earth and stood, shuddering and alive, before an audience of awestruck French hipsters. This is a serious piece of music. The band includes every member of the Art Ensemble of Chicago except bassist Malachi Favors; trumpeter Alan Shorter; saxophonist Steve Lacy; two electric violinists; two cellists; pianists Dave Burrell and Joachim Kühn; Silva himself on bass, electric violin, and a couple of different electro-acoustic instruments; and nearly a dozen other folks, all roaring in unison for two solid hours and then some. The music combines the eerie tones of 20th Century avant-garde composers like Xenakis or Christian Wolff with the blood-bubbling scream of primo free jazz. For about the first five minutes or so, all seems well, the piece shimmering out of the speakers as a duo for bowed bass and piano. But by fifteen minutes in, after Lester Bowie's muted trumpet has summoned the whole blaring outfit to full awareness, it's just one surging wave of sound after another, as relentless as the tides and as powerful, sweeping everything before it. Saxophone solos, triple-piano crescendos; this disc's got everything, and throws it all at you, one thing after another until you're panting as hard as the two drummers must have been. It's literally breathtaking, and the fact that it's half an afternoon if you decide to sit down and listen to the whole damn thing only adds to the generally overwhelming vibe. Not for the faint of heart, but recommended to everyone else. Absolutely recommended to the brave. Price: 150 Euro
25. The ALAN SKIDMORE QUINTET: “Once Upon A Time” (Deram – SDN-11) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint ~ Mint/ Company Inner Sleeve: Excellent). Original 1969 first UK pressing on the highly collectible Deram label. Best copy possible, label has exactly ONE visible spindle mark. “Once Upon a Time is one of an amazing 20 albums tenor saxophonist Alan Skidmore appeared on in 1969 and 1970 (including several veritable classics of British jazz, Mike Gibbs' Tanglewood 63, John Surman's How Many Clouds Can You See?, Stan Tracey's Seven Ages of Man, and Graham Collier's Songs for My Father). The lineup of this particular quintet, which represented Britain at the 1969 Montreux Jazz Festival, is truly stellar: in addition to Skidmore there's Canadian trumpeter/flugelhorn virtuoso Kenny Wheeler, pianist John Taylor, bassist Harry Miller, and percussionist Tony Oxley. Two of the six tracks are credited to John Surman, and one, the sultry "Old San Juan," is penned by John Warren, Surman's collaborator on Tales of the Algonquin, another classic release from the same year. If the Surman material reveals the discreet influence of the late-'60s Miles Davis quintet, Oxley's "Majaera" begins to explore the more dangerous territory of free playing he would return to the following year on his Four Compositions for Sextet. Elsewhere, John Taylor's "The Yolk" is a boisterous, brilliant piece of hard bop, and the last three tracks, segued together as a suite, explore a similarly wide range of styles. So much so that Skidmore aficionados tend to prefer the greater coherence of the following year's septet release on Philips, TCB, but Once Upon a Time remains one of the landmark albums of British jazz.” (All Music Guide). Top copy 1st UK pressing, amazing condition. Hard to improve upon. Price: 300 Euro
26. The ALAN SKIDMORE QUINTET: “TCB” (Philips – 6308.041) (Record: Near Mint ~ Mint - just perfect all way round with no blemishes at all/ Laminated Jacket: Near Mint) TOP condition copy, 1st 1070 UK pressing of this face melting British jazz slide. The perfect copy at last. Featuring Skidmore, John Taylor, Mike Osbourne and John Surman et al. This LP is made of lunacy. Predominantly the LP consists of fiery freeness that requires a great concentration. Nevertheless and almost as a fuck you to old guard critiques of free jazz. This becomes especially clear on the track Lantern Wood that displays the players’ proficient talents individually and serves the LP well as the calm before the storm. One of the key releases documenting the UK jazz scene. Great original 1st pressing. Killer with absolutely no filler. Impossible to ever upgrade upon. Clean as a virgin burning in heat!!! Price: 275 Euro
27. The ALBERT MANGELSDORFF QUINTET: “One Tension” (CBS Sony – SONP-50278) (Record: Near Mint/ Gatefold Jacket: Excellent, has mildew spots within gatefold). Bloody rare Japan 1st original pressing, yellow label promo issue. Exceptionally strong jazz album from 1963 - has a deep sound not so far from Dolphy's "Out to Lunch". This original Japanese pressing sounds fabulous, amazing sound. First time ever I could encounter a Japanese press, yellow label promo issue to boot. Price: 100 Euro
28. The ALBERT MANGELSDORFF QUINTET: “Folk Mond & Flower Dream” (CBS Record – s.63.162) (Record: Near Mint/ Laminated Jacket: Near Mint). First original German pressing as released in 1968 and one of the hardest to track down Mangelsdorff recordings. Export for Japan copy. “A lost 60s treasure from trombonist Albert Mangelsdorff – a session recorded after his legendary Now Jazz Ramwong album, but far more obscure than that one! The style here is quite far-reaching at times – not entirely free, but definitely showing signs of the increasing modernism coming into Mangelsdorff's music – a fresh, bold approach to jazz that not only made him one of the most inventive trombonists in 60s jazz on either side of the Atlantic, but also an incredible leader who was able to get each group member to fully realize his unique vision! Players include Heinz Sauer on tenor and soprano sax, Gunter Kronberg on alto and baritone sax, Gunter Lenz on bass, and Ralf Hubner on drums – and the piano-less quality of the record almost makes it feel like a farther-out extension of earlier experiments by Jimmy Giuffre or Hans Koller. The horn interplay is wonderful, and Mangelsdorff's solos are unlike anything else we can think of – very uniquely phrased and shaped, and filled with meaning and imagination. Titles include "Mobile", Thema Mal 3", "Folk Mond", "Flower Dream" and "Plakate".” (Dusty Groove). Truly an exceptional and fantastic recordings and one of the best free improvisation recordings to seep out of post-war Germany. Original 1st issue!!! Price: 75 Euro
29. ALLEN, DAEVID: “Banana Moon” (BYG Records – 529.345) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Original French pressing. This is Allen's first solo album which he recorded years after leaving the legendary Soft Machine and soon after forming the anarchic, experimental and drug-inspired ensemble Gong. The album's highlights include the moody 'Memories' with Robert Wyatt on vocals, one of the finest tracks to come out of the so-called 'Canterbury Sound', and the rocking opener 'Time Of Your Life' is a showcase for Allen's guitar pyrotechnics. The gatefold jacket will blind you when it flashes upon you the original artwork that includes Allen's own distinctive, suitable stoned notes and drawings. Amazing disc, an all time classic psych beast. Top copy. Price: 100 Euro

30. ALLEN, DAEVID: “Good Morning” (Virgin/ Nippon Columbia – YX-7122-VR) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Mint/ 3 x 12cm – 16,5 cm PROMO ONLY Pictures). Damned rare Japan original pressing, Promo issue with obi and complete with rare promo only set of 3 pictures of Allen and the band Euterpe, never seen these promo pictures before. Gong’s first album, Magick Brother, was recorded in the beautiful village of Deya on the island of Mallorca. It was to Deya that Daevid Allen retreated after leaving Gong with a purpose to stay “as clear and clean as possible” in pursuit of his musical direction. There he and his then partner and Gong co-conspirator Gilli Smyth found new collaborators in Euterpe, a band of Catalan musicians reportedly discovered covering Stairway To Heaven, and this part-mystical, part-spiritual and often whimsical solo album was born. Good Morning is a typically loveable, yet infuriating, Daevid Allen album; a charming and beguiling work meandering from nursery simplicity to deep contemplation. That it’s performed with a backing of local musicians doesn’t actually remove it, for the most part, from being texturally in touch with the Gong canon. Moreover, its delicate beauty was achieved in his modest home with a semi-professional reel-to-reel and two Revox tape recorders. Top condition original with rare OBI and mega rare set of promotional pictures! Price: 400 Euro

31. The ALLMAN BROTHERS: “At Fillmore East” (Capricorn Records/ Victor Records Japan – VIP-5079~80) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ Insert: Near Mint). Original Japan 1st pressing all complete with obi & insert. Killer and utterly classic slide. Price: 50 Euro
32. The ALLMAN BROTHERS BAND: “Brothers And Sisters” (Warner Bros. – P-8345W) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ OBI: Near Mint). 1973 Japan 1st original pressing with very first obi. First time ever I have a copy of this classic complete with the first issue obi strapped around it. Price: 75 Euro

33. Le ALLUCINAZIONI: “Un Documento Formidabile: La Registrazione Vera Del Viaggio LSD” (Company Discografica Italiana/ CDI – CALP-2043) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original Italian 1968 issue in amazing condition. Obscure Italian library/ psych~cum release of basically Mulatu Astatke & His Ethiopian Quintet - Afro Latin Soul recording junked and spiked up with weird electronic and eerie voices, attempting to recreate a hallucinatory experience in sound. A bunch of crazy Italians had used the “Afro Latin Soul” record by Mulatu Astatke and injected it with overdubbed mutant sound effects, jungle shoot-outs, underwater sonar bleeps, erotic female groaning and moaning, erectional heartbeat pulsations, psychedelic ambiances, gunshots, carousel, wild beasts, steamboat and cut-up crowd noises. Just incredible!!! Regarding the story of the Mulatu recording -itself a true rarity- and the value it reaches, it is unbelievable to hear it in this setting, which is totally demented. It is certainly something to wrap your mind around, sweating out heavy psychedelics while grooving to an Ethiopian nightclub vibe. The perfect marriage between asymmetric grooves and synthetic sounds, which is the vilest kind of bait these wicked Italians knew I would go for, just like rubbing burning oil on my rubber legs and fire up the dance floor at night with a head full of acid. Hell yes, it makes me move around like a cannonball, grooving to an intoxicating mix of demented lunacy and sultry madness. So bloody good!!!! Original 1968 pressing in amazing condition. Eye-popping cover art to boot!!!! Price: Offers!!!!

34. ALMURO ANDRE with ANTONIN ARTAUD/ JEAN COCTEAU/ JEAN GENET/ LORCA/ LARRONDE: “Poesie De Cruaute” (Disques Mouloudji – EMS-13524) (Record: Mint/ Jacket: Mint). Top copy and rare French original pressing on legendary label. André Almuro (1927-2009) was a painter, poet and composer, member of the Pierre Schaeffer's GRM and affiliated with the French surrealist scene. He composed some of the best radio-adaptations of French literature (Artaud, Genet, Hugo for example). He worked with Mouloudji and discovered the young Pierre Clémenti before he became the French cinema's black star. On this record, Almuro composed the music for the texts by Antonin Artaud, Jean Genet, Jean Cocteau, Federico Garcia Lorca and himself. Very strange and dark matter. Highly recommended for the fans of Jacques Doyen, Musique Concrete, Poésie de Cruauté is a fascinating piece of work. Here Almuro makes electronic music behind the narration of various poems by Artaud, Lorca, Genet, Cocteau and Olivier Larronde, unleashing a wash of electronic manipulated noises and sonic debris. Jean Bollery and Pierre Frilay read the poems, quelling the darker side with a certain amount of electronically manipulated effects added to their voices. Deep subterranean sonics that emanate out a weird hell broth of high-tension crackle that interacts perfectly with the high voltage voicing’s. It is an arresting listening experience, working best late at night, hurtling you in and out of focus with Almuro’s sonic manipulations and tiniest gestures triggering apocalyptic waves of subdued sound. Simply a stunning album brimful with poetic resonance. Fascinating. TOP COPY! Price: 200 Euro

35. ALTERNATIVE TV: “How Much Longer b/w You Bastard + Love Lies Limp (Flexi)” (Deptford Fun City Records – DFC02/ S.G. Records for flexi) (Single Record: Near Mint/ Flexi Disc Single: Near Mint/ Flip Back Picture Sleeve: Excellent ~ Near Mint). 1977 UK first original pressing in top shape and comes all complete with always missing flexi disc single! In March 1977, Alternative TV were formed by Mark Perry (vocals/guitar) with guitarist, Alex Fergusson. ATV (as they are known) played their first gig at the Nottingham Punk Festival in May 1977. They released their first single, ‘Love Lies Limp’, as a free flexi disc given away with the last issue of Sniffin’ Glue (no.12), August 1977. Following an abortive demo with EMI, ATV released the first proper single, ‘How Much Longer/’You Bastard’ on Deptford Fun City Records. For their first two singles Perry and Fergusson were accompanied by drummer John Towe (ex-Generation X) and Tyrone Thomas on bass; Towe later left to join The Rage and was replaced by Chris Bennett. This line-up was the most straightforwardly ‘punk’ version of ATV, although they combined short, fast songs with extended pieces such as “Alternatives to NATO”, in which Perry read an anarchist political text and envisaged the possibility of a Soviet invasion of Britain. Shortly afterwards they released the “How Much Longer/ You Bastard” 7″ in December 1977. The A-side was a pointed critique of punk style: “How much longer will people wear/Nazi armbands and dye their hair?” So bloody awesome and comes with the elusive first flexi there as well. Price: 100 Euro

36. ALTERNATIVE TV: “Life After Life b/w Life After Dub” (Deptford Fun City Records – DFC04) (Single Record: Near Mint/ Flip Back Picture Sleeve: Near Mint). 1977 UK first original pressing in top shape. Punk dub from the legendary ATV, originally released in 1978. Produced by Trojan Records artist and producer Joe Sinclair. The song presents a “conscious” lyric through an urban music form of its time. And here’s the result, more than 40 years on, the dub still rocks. Perry’s vocal, like no other from the punk era, talks of the afterlife, in a twisted nod to Nietzsche, he chants “Wake Me Up When We Are Dead”. Price: 75 Euro

37. ALTERNATIVE TV: “The Image Has Cracked – The First Album By Alternative TV” (Deptford Fun City Records – DLP01) (Record: Near Mint/ Jacket: Excellent). UK original first press from 1978!!! As the editor of seminal punk fanzine Sniffin’ Glue in the 70s, Mark Perry had a clear, uncompromising vision. With Alternative TV he extended the same visionary standards to his band, the audience and himself. For the opening live track he brings some unruly crowd members on stage with predictably chaotic results and making this slab of sonic dementia right from the start an unfairly neglected classic from the late-'70s post punk upheaval. Perry whips up a series of incendiary pieces that are simultaneously exploratively inventive as well as trashy chique, balancing the tightrope somewhere between the Fall’s hyperventilating urban gasps and deconstructive three chord rock’n’roll entropy. "Alternatives" captures the tense spirit perfectly, a live recording where over a gentle groove Perry invites the assembled punters to come up, only to have a bunch of chancers and screamers talk a lot about nothing much at all, until Perry spits vitriol at a pair of people in a punch-up and complains about "diluted shit." As an expression of going down defiant while punk became a new fashion, it's fierce and brilliant. A good half of the album comes from the same concert, including the harrowing final track, "Splitting in Two," as perfect a capturing of nails-dug-in-flesh paranoia and indecision as anything in music history. The album is a mixture of live and studio recordings, often on the same track, and Perry shows an obvious disdain for that elusive third chord, although that doesn’t stop him covering Frank Zappa’s Why Don’t You Do Me Right. When his Deptford mate Jools Holland shows up with a boogie-woogie piano intro, he’s rudely silenced by an instrumental snarl and a chanted chorus of Viva La Rock ‘N’ Roll, followed by a diatribe against French culture. Perry is not enamored with the French, and it affects his sexual performance on Nasty Little Lonely, which ends in noisy frustration. Price: 100 Euro
38. AMALGAM: “Wipe Out” (Impetus – IMP-47901) (4 LP Set: Near Mint/ Outer Box: Near Mint/ Booklet: Near Mint/ Insert: Near Mint). Original 1979 UK pressing of this monstrous 4 LP box set. Line up consists out of Trevor Watts (alto & soprano saxophones), Keith Rowe (guitars) and Liam Genockey (drums). Monstrously heavy sound with Keith Rowe riffing heavy rock out guitar lines while Watts blows his lungs to smithereens. “Here's a three-disc set of performances by Amalgam, saxophonist Trevor Watts' legendary jazz-funk free improv group from the '70s. These nine tracks were recorded on a late 1979 tour and originally released in 1980 in a four-LP box on Impetus. However, even sonic shortcomings don't take away from the sense of joy and raw power that pervades these structures. Wild free blowing alternates with passages of compositional beauty, some of the most intense moments occurring in quieter passages. "Roller Coaster" will serve as a microcosm of the set. The hard-driving funk of bassist Colin McKenzie whips the track into shape, Watts' harsh but sweetly expansive reed playing providing fitting contrast as he presents a melodic figure that returns throughout. The track then moves through various time and dynamic shifts, bits of meterlessness and composition rearing up amidst the tight rhythmic scree. The set's most unexpected element is guitarist Keith Rowe's fusion work. He shreds, bends and power-chords his way through each situation with ease and dexterity. This is fairly close to the 1979 AMM material on ECM but even more raucous, a real surprise for those who thought Rowe was about texture and subtlety. Tracks range from very brief to epic in scope, but most fade in, as if they'd been in progress for some time. The set affords a slightly faded but still vivid portrait of this important band in full flower, captured live in front of small but enthusiastic audiences. It's about time this document saw reissue and it would serve as a fine introduction to Amalgam's fascinating sound world.” (Marc Medwin). Killer set that will blow you away with a venomous howl and breath-taking rocking vibe leaving no stone unturned. Killer from start to finish. Price: 225 Euro

39. AMBOY DUKES: “Baby Please Don’t Go b/w Psalms Of Aftermath” (Mainstream Records – LL-2152-MS) (Single Record: Excellent/ Gatefold Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Japan ONLY picture sleeve release from 1968 that comes housed in uniquely Japan only acid-dripping sleeve art. Both the group’s first single and leadoff track of their self-titled debut album, the band’s cover of Big Joe Williams “Baby Please Don’t Go” is one of the finest acid-rock blues explosions ever put to tape. Using the cover version done by Them as a template, the Dukes take Them’s already half-crazed version fully over the deep end, both prophesying his future guitar hero status while cementing it among LSD punks who never got into “Cat Scratch Fever”. The songs b-side, “Psalms of aftermath” is pretty much what you would expect from the title, a much more docile affair full of sitar drones and “Ahhh-ahhh” background vocals. It ain’t nearly as good as the a-side, brother, but then again, so are most other songs. Does not turn up that often anymore. Price: 150 Euro

40. AMERICAN PRIMITIVE VOL. 1: “Raw Pre-War Gospel (1926~36) (Revenant Records – 6005) (Clear 2 LP Vinyl Record & Gatefold Jacket: SEALED). Original 1997 Revenant release. 77-minutes of gut-bucket, early gospel from the collections of Gayle Dean Wardlow and John Fahey, complete with a 24-page booklet of liner notes and photos. Includes Charley Patton, Rev. I.B. Ware with Wife & Son, Bukka White, William & Versey Smith, Blind Willie Davis, Frank Palmes, Bo Weavil Jackson, Elder Otis Jones, Blind Roosevelt Graves, Blind Joe Taggart, Blind Mamie Forehand, Jaybird Coleman, and more. The album’s subtitle says it all, since it simply doesn’t come much rawer than this. Familiar names such as Charley Patton, Bukka White, and Jaybird Coleman are included not only for the power of their delivery but to make it possible to market the disc to blues audiences. The real joy of this collection, though, lies in the work of obscure artists who generally recorded only a few sides. Compiled from the collections of Fahey and Gayle Dean Wardlow, the disc presents diverse styles of African-American sacred music by 17 artists such as the Rev. Edward Clayborn, Blind Mamie Forehand, Elder Otis Jones, and the Rev. I.B. Ware. Pentecostal shouts and ring shout-derived chants are included, but much of the disc is devoted to guitar evangelists. Bottleneck playing is the most common form of accompaniment, the slide guitar substituting for a congregational response to the vocal call. The guitar performances are balanced with other instrumental combinations less frequently associated with the gospel music of the 1920s and ’30s: harmonica duets, a fiddle-driven string band, and a unique pairing of pump organ and washboard. Awesome. Price: 85 Euro
41. AMON DUUL: “Collapsing Singvogel Ruckwarts & Co” (Metronome – SMLP-012) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). One of the first active Krautrock units, Amon Düül grew out of a multimedia artist commune in Munich that mixed radical political criticism with a unique vision of free-form improvisation. Their second album “Collapsing Singvogel” is a brutal one and will knock you flat out. It bore marked similarities to the first, being made up of tracks recorded at the 1968 jam session which ended up being the bulk of the group's released work. Unlike the other Amon Duul albums who generate their material from that session, Collapsing consists of snippets or songs that were the length of more conventional pop recordings, while sounding nothing like said pop tunes at all. The music is stripped down to its most basic components, making it intoxicatingly weird like standing in the middle of a psychic maze. Two-note guitar riffs form the basic whiplash assault and primitive percussive rattles and shakes attribute to the feeling of being trampled in a stampede of elephants coming your way. Madness all around and no way out, just lovely. The whole affair feels extremely stripped-down and basic, and the vocals are delightfully unintelligible and wordless Amon Duul succeeded in turning their own ineptness into high art. “Singvogel Ruckwarts” as well as “Psychedelic Underground” and “Disaster” are highlights from a marathon free form session, afterwards treated with electronic effects and edited into bite-size fragments. The end result is electrifyingly awesome and naively barbaric. This is the music trigger-happy cops paralyzed with a fear frenzy breathing down their necks would go for and I assume so would you. Rightly so! Price: 175 Euro
42. AMON DUUL: “Disaster” (BASF – 29.29079-4) (2 LP Set: Near Mint/ Gatefold Jacket: Mint). TOP copy, 1st original German press from 1971. The LP was released following Amon Duul's demise, but the music on display comes once again from their 1968 jam. Unlike the previous 2 LP’s, all studio manipulation is gone, making Disasters slightly less turbulent and therefore having the feeling of coming closure to a directly recorded live jam. Since the material of Disaster was a collection of material left from the jam, BASF made the album into a double LP set, making excellent use of its extended length. At times, the bass/bongo lines are accompanied by primal vocals as well as flutes, piano and some sort of stringed instrument--violin et al. is audible... much of this subtlety is lost in the first two releases. Disaster is just like the band that made it, a wonderful, weird, and pregnant with a cloud of hellish intensity that had to come down and engulf all for a last time. Disaster is 67 minutes long in its totality and as with the previous two releases, the emphasis is on open-ended, percussion-heavy, jungle-jangled guitar freakery and teeth-grinding chanting. Compared to the other two, Disaster is blessed with a more "live" feel to it, with less evidence of later studio additions or tweaks. So it rules all the way, making it again a vital addition to anyone’s collection. TOP COPY!!!! Price: 175 Euro
43. AMON DUUL: “Minnelied” (Brain/ Polystar – 22S-39) (Record: Near Mint/ Jacket: Near Mint/ Obi with liner notes: Near Mint). Japan issue in different sleeve art of the 1st Amon Duul slide. Same contents as the famous Psychedelic Underground LP. Loads of overdrive psychedelic jams, completely going into the red, raw and drenched in heavy psychedelic mind benders. Essential!!! Price: 50 Euro
44. AMON DUUL II: “Phallus Dei” (Liberty Japan/ Toshiba – LLP-80640) (Record: Near Mint/ Jacket: Near Mint / Obi: Near Mint / 4-Paged Insert: Near Mint). Bloody rare Japanese original pressing of the 1st Amon Duul II record complete with OBI!!! Top notch copy stock copy of this groundbreaking first Amon Duul II record, original 1st Japanese pressing from 1971!!. Best condition imaginable of next-to-impossible to dig up Japan 1st pressing. Price: 400 Euro
45. AMON DUUL II: “Yeti aka Jigoku Amon Duul” (Liberty Japan – LP-80042) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint) First original Japanese pressing complete with the Japan only Amon Duul II cool obi. Top copy!! These real time Japanese 1st pressing originals with all complete – being obi, liners – just never turn up anymore these days making them heavily sought after by any vulture aware of their existence. This early Amon Duul record is not different, top-notch copy. Music wise I guess you know the deal, heavy tribal psyched out strummings, disenchanted vocalizations, lysergic communal psych-outs, long tracks, and delirious blissful freak-outs. Massive!!! Comes with the highest possible recommendation. Don’t sleep on this one, top copies with obi just never turn up, my first copy back in stock in 8 year’s time. Price: 400 Euro
46. AMON DUUL II: “Tanz Der Lemminge aka Rock Kyoudoutai/ Amon Duul Second” (Liberty Japan – LP-93001B) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent ~ Near Mint/ Insert: Near Mint) Bloody rare Japan first original pressing all-complete with first issue obi and insert!! Has been almost over a decade since I last had a copy all-complete with obi. First original Japanese pressing complete with the Japan only Amon Duul II cool obi. Impossible to dig up these days. These real time Japanese 1st pressing originals with all complete just never turn up anymore these days making them heavily sought after by any vulture aware of their existence. This early Amon Duul record is not different, top copy. Music wise I guess you know the deal, heavy tribal psyched out strummings, disenchanted vocalizations, lysergic communal psych-outs, long tracks, and delirious blissful freak-outs. Massive!!! Comes with the highest possible recommendation. Like you might know, it is all about the obi, that glorious strip that easily triples of quadruples the value of your disc, so forget about the records, it is all in the obi boys and girls, the obi, the…aaaaghh. Price: 350 Euro

47. AMON DUUL: “Archangels Thunderbird b/w Burning Sister” (Liberty – LR-2588) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Damned hard to find Japan picture sleeve single issue by the mighty Amon Duul. The sole single they released on these shores, of which sales were depressingly low, making it a shy bird to encounter these days. First time in all these years I had the chance to wheel this baby in and it is in perfect condition. Price: 300 Euro

48. AMON DUUL II: “Carnival In Babylon” (United Artists Records – UAG-29327) (Record: Near Mint/ Laminated gatefold Jacket: Near Mint) Original UK first pressing of 1972. When you feel compelled to write the statement, “Thanks to all the paranoid people who meanwhile moved out” on the record label, you can kind of guess that there were some possible tensions around the Amon Duul II camp but then again a statement such as that also promises enough to provoke tears and fist-shaking tirades and that is exactly the beauty this album will bestow on you. Carnival In Babylon was recorded late 1971 in the Bavaria Studio. As compared to the acid damaged predecessors, “Carnival” welcomes a more melodic and accessible style. Apparently Amon Duul II had calmed down a bit by now since the intense acid images of their first three albums and with that they shook off the thundering low fidelity outbursts that characterized their previous efforts. Instead they combined propulsion, eloquent ornamentation and cosmic phrasing and birthed out an album with a healthy dose of progressive, ethnic folk rock - sprinkled with some mellow lysergic toppings – elements that make Renate Knaup’s mesmerizing vocals shine through vividly and reveal their exploratory sonic approach more as opposed to their previous LP’s. Still, the tradition of long improvisations is still maintained such as on the 10 minute long "Hawknose Harlequin", apparently edited down from a 40 minute long jam session and it sweats out heavy psychedelic vibes. In all, “Carnival” is their most beautiful album that acts like acupuncture darts aimed at your pleasure points. Price: 75 Euro
49. The ANIMALS: “Inside-Looking Out – Outcast b/w Don’t Bring Me Down – I Put A Spell On You” (London/ King Records – LS-69) (EP Record: Near Mint/ Picture Sleeve: Near Mint/ Lyrics Insert: Near Mint). Rare Japan only 4 track EP issue that saw the light of day in 1966. Comes housed in sturdy picture sleeve and is all complete with the insert. 4 killer tracks that always make me swing the bottle hard and let the caveman out. “Ice cold water running in my brain – and they drag me back to work again – pains and blisters on my mind and hands – of living daily with those canvas bags – it’s the freedom there that’s driving me wild – I’ll be happy like a new born child”. Hell yeah!!! Punk avant-la-lettre…..and I can’t help it, I just LOVE the fuckin’ Animals. You need to get your shit together and collect them all!!! The Animals were absolutely magnificent…but all you hipsters just fail to understand that, what a shame….Price: 50 Euro

50. The ANIMALS: “Inside - Looking Out” (London Records/ King – SLH-69) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint/ 4 Paged Insert: Mint/ OBI: Mint). Original Japan that came out in August 1966 – which comes all-completewith the rare first issue obi. Comes housed in JAPAN ONLY cover art! Mostly always trashed, this copy is just perfect. Common wisdom suggests the (original) Animals started hitting the skids after they dumped Alan Price and producer Mickie Most. Certainly both men had a hand in the recording of the Geordies' unforgettable string of 1964-65 smashes ("House of the Rising Sun," "Don't Let Me Be Misunderstood", "We Gotta Get Out of This Place" etc.), but frankly, the Animals improved after ditching the pair. This LP covers the material the band recorded with new keyboardist Dave Rowberry and ex-Dylan producer Tom Wilson. Simply put, it's Animals at their peak, combining fierce performances with a new facility in the studio. Moreover, it makes a strong case for Eric Burdon as the most powerful and incendiary R&B singer to ever come out of Europe, let alone the British Invasion. Burdon never sounded so committed, soulful and inspired than on the strutting "See See Rider," the ferocious "Inside Looking Out" and the agonizing "Ginhouse Blues". Yet Burdon's gut-bustingnever overwhelms the other Animals, whose excellent ensemble playing keeps Eric's occasional hysteria in check without sacrificing emotion. First original pressing, TOP condition – which is damned hard to get and complete with 4 paged booklet and RARE first issue obi. Top condition!!! Price: 375 Euro

51. THE ANIMALS: “The Best of Eric Burdon & The Animals” (MGM Records – SMM-2010) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Obi: Near Mint). Original 1968 Japan only release complete with obi. Every single track is a winner here. Stunning copy. Copies complete with obi and attached booklet are a tough score these days and this one is just near perfect, a steal. Price: 75 Euro

52. The ANIMALS with ERIC BURDON: “San Francisco Nights – When I Was Young b/w Monterey – Good Times” (MGM – SKM-1077) (4 Track EP Record: Excellent ~ Near Mint/ Flip Back Picture Sleeve: Near Mint/ Lyrics Insert: Excellent). Japan only picture sleeve 4 track ep from 1968. Classic Burdon slide, Japan only four-tracker. I bloody love the Animals, fail to see why no other out there shares my love for them, just top shelf psyched out garage mayhem. Price: 25 Euro

53. ANTHONY MOORE w/ FAUST: “Pieces from the Cloudland Ballroom” (Polydor – 23MM-0238) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Near Mint). Released in 1971, this is the Japanese pressing of this all time subliminal minimal music masterpiece. Anthony Moore gets assisted by members of Faust and creates and utterly hypnotic psychedelic minimal masterpiece. "Two great missing links in the incredible history of Uwe Nettlebeck's productions at Wümme, Germany. Slapp Happy founder Moore recorded Pieces From The Cloudland Ballroom a month after Faust cut their debut LP (fall 1971) and Secrets Of The Blue Bag a month before their second (with Slapp Happy's debut Sort Of following in May '72 and Tony Conrad/Faust's Outside The Dream Syndicate in October). Indeed, Faust's Werner 'Zappa' Diermaier and Gunther Wusthoff both contribute to Pieces, which is not a Krautrock or art rock LP but a bona fide minimal classic. Side one is 'Jam Jern Jim Jom Jum,' which has three singers chanting that mantra while Moore plays these odd, luminous repeating chords underneath. The first piece on side 2, 'mu na h-vile ni a shaoileas iad,' sounds uncannily like Richard Youngs' Advent with its quiet piano and piercing bowed sounds, while 'A.B.C.D. Gol'flsh' could almost pass for the trance rock classic that Moondog never got around to recording.” (Alan Licht) Stunningly mint copy that hardly resurfaces these days. One of the best discs in its genre, brain melting and music that will keep on humming throughout the canyons of your deserted mind. Highest recommendation. For fans of Charlemagne Palestine, Faust, Slap Happy, La Monte Young, Pandit Pran Nath, Philip Glass, Steve Reich, Popol Vuh, Krautrock, psychedelic lunacies and just plain cool music. Copies seem to have completely dried up these days. Price: 150 Euro

54. ANTHONY MOORE: “Secrets From The Blue Bag” (Polydor – 2310179) (Record: Near Mint/ Jacket: Excellent ~ Near Mint - has circular sticker aftermath - see pic). Original 1972 German first original pressing. “Slapp Happy founder Moore recorded SECRETS a month before their second (with Slapp Happy’s debut SORT OF following in May ‘72 and Tony Conrad/Faust in October). SECRETS, is three pieces for strings and voice all based on the same 5 note melody. It’s more “classical” than its predecessor, kind of what I expected ACADEMY IN PERIL to sound like. How and why Polydor was convinced to release these is beyond me (anyone know the story?) The Japanese CD reissues are expensive but the original albums are unfindable.” (Alan Licht). Just a stunning psychedelic minimal music slide only released in Germany at the time and a bitch to dig up these days. Perfect copy, unbelievable great music. Killer!!! Price: 300 Euro

55. APPEL, KAREL: “Musique Barbare” (Philips Records – 99954.1 L) (Record: Near Mint/ Hard Cover Jacket with Picture Book: Near Mint/ Attached Picture Book: Near Mint). Original hideously rare 1963 pressing!!!!! Very first pressing on PHILIPS, not the second issue that came out slightly later on The World’s Window. Original Holland first pressing, MONO issue. Top condition!!! “I paint like a barbarian in these barbarian times” Appel often told journalists and the same can be said about this recording eh made. In 1961, Jan Vrijman made a movie about COBRA expressionist painter Appel and the artist himself provided the soundtrack to it, completely erected and recorded with devises set up according to his directions in the electronic music studio of the Utrecht University. Some conventional instruments were also added to the mix at the Phonogram Studio in Hilversum. The soundtrack – which you see here – came out in a delusion eye popping beautiful book like hard cover jacket with cloth bound spine, contained a 30 pages counting photo book for which Jan Vrijman the text wrote with pictures of Appel taken by Ed van der Eslken. On the LP, Woebot wrote some nice words: “Quite a few famous artists have made records. I have seen LPs by Salvador Dali, Kurt Schwitters, Jean Dubuffet and Jean Tinguley. Usually the great men are assisted by a few musically-inclined chums. I've always been fascinated by Karel Appel, the Dutch "Abstract Expressionist" and founder member of COBRA. That collective's stuff pushes at the boundaries of the acceptable, it takes Expressionism down one of it's ill-trod paths, towards a scatalogical, wilfully out-of-control naiveity. I'm surprised COBRA isn't a bigger touchstone for musical things like Throbbing Gristle, Gabba etc. It's one of those rare instances of a hooligan bourgeois art-form.” (Woebot) In my book, this is one of the best ever recorded electronic art discs ever and Appel just sounds like he painted. Aggressive, wild, going berserk while shouting “My paintbrush is a rocket” which gets carried away in a maelstrom of electronic sounds, a tsunami of noise and assorted debris and we are talking 1961 here!! This is noise avant-la-lettre, but not like the noise salon bourgeois kids shit out these days, this on the contrary is quite mind alteringly innovative, rich in sonic texture and challenging upon spinning it. If I had to choose one disc to cling onto I would probably take this one. Top copy!!! Price: Offers!!!!
56. APPLETON, JON/ APPLETON SYNTONIC MENAGERIE: “S/T” (Flying Dutchman – FDS-103) (Record: Near Mint/ Gatefold Laminated Jacket: Mint). Finally I could dig up a truly top copy of this magnificent electronic music weirdo disc. Jon Appleton, born in Hollywood in 1939 was mainly active in New York, establishing himself as one of the pioneers of electronic music in the US. Jon Appleton reveals himself as a true master of musique concrete/ tape splicing and early times electronic music deployments since he manages to give momentum to a cool combination of tape effects, electronics, and studio wizardry, all bolstered up into one volatile mixture of organic rhythm, made out of concrete noises - that are at times quite upfront and brutal – and sonic electronic and totally alienated fragmentation bombs. He succeeded in creating an estrange and disaffected sound palette that mesmerizes to listener by transporting him to galactic avenues not yet visited. The music is strange, at times even a bit comical due to the acidic employment of tape snippets that pop up out of the blue, making it totally an out of this world listening experience. Made up largely out of bubbling, whirl-like inorganic low tones and tape insertions, the whole affair evokes that weird but bewildering incantation. Wistful bleeping, zigging and zagging, oozing in and out of focus, organic static buzzing and whirling it are all elements that at times swells up like some sonic tornado heading your way, pushing fourth hair-raising static interference, well controlled but nevertheless thunderous outbursts of white noise. The other sound he puts to use ad infinitum is concrete sound such as birds songs, water drops, glasses, warped sound of vibraphone, some generated electronic sound and others.. One of the best examples of old-skool electronic music, recorded in 1961. Killer stuff. Truly a top copy so it has to go for…Price: 150 Euro
57. APRYL FOOL: “S/T” (Columbia – YS-10068-J) (Record: Excellent ~ Near Mint – has one tiny visible hairline on side A/ Gatefold Jacket: Near Mint/ Attached Booklet Insert: Near Mint). Stock Copy in top condition. One of the Holy Grails of Japan’s psychedelic underground. Original first press issue in great condition. Apryl Fool was Japan’s true first super group and had in its ranks Yanagida Hiro, Haruomi Hosono, etc. The origins of the band can be traced back to the Floral – releasing two hideously rare picture disc singles – but the outfit’s defiance of a solid member base was mainly inflicted by Yanagida’s interest for British hard and psychedelic “acid” rock, causing a gradual but profound course alteration that eventually resulted in fellow band members Sugiyama and Yoshimura to desert the Floral’s ranks in search for greener pastures. By expelling the music-wise more conservative elements, Yanagida had suddenly the possibility to erect out of the Floral’s ashes, together with the remaining members, the psychedelic rock band Burns (see here below a copy of their sole recorded monster rarity). The formation was rounded off in April of 1969 by adding of Matsumoto Takashi on drums and Hosono Haruomi on bass, an enrichment in musical talent that eventually lead to the Burns folding into the legendary Apryl Fool. Their debut album was released that same month by Columbia records and the band ventured off straight away in staging a large number of energetic and driven live activities centered round clubs and live houses like Shinjuku Panic and Roppongi Speed. Their urge and determination to shake off any G.S. odors stirred Apryl Fool to quickly develop and master their own fascinating stage act, incorporating a lot of improvisational elements into their sound, something they considered to be extremely essential for their sonic maturation process. Yanagida Hiro had crowned himself in the mean time as bandleader. Acting as the major creative force behind the band’s compositions, his organ driven sounds were omnipresent, attributing to Apryl Fool it’s distinctive and characteristic sound. Still, as was the case with the Burns, a slumbering disruptive shift in the communal musical direction began to appear and this created a threat for the band’s further existence. Yanagida’s musical taste leaned more towards a British progressive and jazz-like feeling, there were the other members had other musical intentions. Matsumoto Takashi and Hosono Haruomi were contrary to Yanagida’s musical preferences strongly West Coast oriented. These differences in musical taste and subsequent direction initiated the group’s inevitable collision course towards disintegration, eventually happening after a final live performance on the 27th of September at the Nissho hall in Tokyo, a concert that ironically was staged to commemorate their debut album sale (Hatsubai Kinnen Muryô Concert) After this gig the band imploded and disintegrated. Still Apryl Fool can be seen as the first group to successfully shake of the GS straightjacket by replacing it for a demented psychedelic signature sound, filled with sneering and wailing organ riffs, nasal vocalizations, slow burning guitar strumming and a lysergic overall feel. A classic without a doubt. Recorded in 1969, this is the 1st hyper rare original press of 1969. Just next to impossible to get, especially in such a nice nick as this one here. Price: Offers!!!!
58. ARAKI ICHIRO: “Araki Ichiro no Sekai” (Victor – SJX-67) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint). Top copy, best one I have ever seen, perfect on all fronts and impossible to upgrade upon. Rarely seen and rare original copy. Kayokyoku and enka crossbreeding and merging with psychedelic twists and turns? It all happens here baby. Araki Ichiro is mainly known and famous as an enka singer, arranger and producer of other artists’ discs (such as Sandra Julien’s “Sexy Poem” for example). His solo output is also quite vast and enormous but might disappoint the most seasoned listener looking for that extra thrill and chill. However, in 1969, Araki did make this one oddity that stood out and proud in his total oeuvre, a disc that perfectly fused Japan’s traditional enka and kayokyoku stylings with lysergic and acidic elements that made “Araki Ichiro no Sekai” such a bewilderment upon unleashing it upon his fans and psych heads such as me. The closest comparison I can come up with in order to compare this LP is Carmen Maki’s illustrious “Adam & Eve” album. Heavy organ riffage fuses with demented fuzz guitar licks and orchestrated elements that blew in straight out of a runaway enka tune all complete with Araki lustfully crooning on top of it all. The disc is quite a hybrid affair, background vocals drift in on a pink fluffy cloud, Araki’s syrupy vocals on one occasion could get you all entangled in a hard to grasp stupefied disbelief that spells “turd” before he switches chairs on you and takes you from a completely different angle, flanking your blind sight and dropping demented musical twists on you that cannot be dodged. In some ways it comes over as Gainsbourg like arrangements with an oriental feel attached to them – a city-smeared kayokyoku feel - spiked up with lysergic accents and sneering fuzz guitar licks that pop up in and out of the mix. Still that is not all, Araki’s compositions also breathe out a swinging quality that clashes with syrup like vocalizations, juxtaposed against psychedelic elements and weird angles that come out of the woodwork. But the heavy use of fuzz all over the place makes this disc such a hard to pinpoint gem and renders it into an outcome of a secret chemical experiments that birthed out a new species of a degenerate nature ready to perverse your offspring. Just in one word, this disc is a stunner that will leave you puzzled and defractured after sitting through it, leaving you wondering in vein what the hell they just set loose on you. A dead stone classic, hard to come by, especially in such a top condition as this one here with obi intact. And start with side 2 first, it will leave you floored…and gasping with disbelief… Highest possible all time recommendation. Enka spiked disco psychedelic acid funk…. Crossbreeding with an oriental mutated version of Sinatra going berserk on the toxics of the Fugu fish and whipping it all out for all to see…just so great. Impossibly to upgrade upon top mint copy. Price: 400 Euro
59. ARESKI: “Un Beau Matin” (Saravah – SH10.019) (Record: Near Mint/ Gatefold Jacket: Near Mint) One of the pieces de resistance out of the Parisian sub-cultural early seventies acid folk meets avant-garde movements. Released in 1972, the album was the product of the unbeatable creative trio Areski-Brigitte Fontaine and Higelin, assembling a stunning masterpiece. Flanked by the French underground diva Brigitte Fontaine, Areski Belkacem masquerades his folk excursions with Northern African influences (he was of Algerian origin), series of hand percussive instruments, meditative trance-like elements, fantastic blend of otherworldly vocals with sparse instrumentation all framed into fragile song structures. In short, a true gem of a record that even surmounts Brigitte Fontaine’s greatest albums such as “Brigitte Fontaine est Folle”, “Comme a la Radio” and “L’Incendie” as far as the psychedelic folk element is concerned. A true gem and killer of an album that should appeal to anyone vaguely interested in acid folk, Didi Favreau, Vashti Bunyan, Linda Perhacs etc. This baby surmounts them all, creates his own private sphere of influences and cosmic deities. Viciously beautiful and bound to hound your waking hours and dreams. Another shy bird on the Saravah label that hardly ever pops up its head but such a stellar one. Perfection from start to finish! All-time possible highest recommendation. Price: 85 Euro
60. ARMONICORD: “Esprits De Sel” (L’Electrobande – ELB-7701) (Record: Near Mint/ Gatefold Jacket: Excellent) Very obscure, quite rare and hopelessly overlooked killer French free jazz private press slide that saw the light of day way back in 1977. Centered around saxophonist Jouk Minor, who played on essential free-jazz releases of the 1970s such as Michel Portal’s Splendid Yzlment, Bernard Vitet’s La Guêpeor Pierre Favre’s Candles Of Vision, Alan Silva’s Seasonsand The Shout and Un Drame Musical Instantané’s À travail égal salaire égal. Minor’s own group Armonicord, first included Bernard Vitet, Kent Carter and Rachid Houari. For the sessions of the band’s unique 1977 LP, the line-up had changed so as to expand the wind section and incorporate trombone and harpsichord players, which came to be Armonicord’s signature sound. The cover of the LP opens up to reveal a Jean Tinguely sculpture whose structure is used by Jouk Minor to draw each track’s graphic score on the front cover. It was the sole release of both Armonicord and L’Electrobande label. Contents wise, it consists of 3 long tracks, of which the first one is a straight, effusive and free-flowing improvisation effort in the style of Alan Silva’s Celestial Communication Orchestra, while the other 2 are more complex, varied and less categorizable musical endeavors. Track #2 Premier Jour, especially, is a strange alchemy of harpsichord, steel drums, mourning bass horns in unison, and guembri – a Gnawa, goat gut stringed instrument, played by Jouk Minor. This pensive, semi-improvised elegy goes through many false starts and dead ends, but rewards the listener in eschewing predictable jazz gimmicks or other familiar traits, for that matter. On track 3 as well, Odile Bailleux’s harpsichord brings a unique, baroque touch to the proceedings. The saxophone is sometimes heard in the background of the mix, with harpsichord or drums at the front. The drummer uses a varied set of percussions including bells, steel drums, rain sticks or gongs. The meditative mood is maintained through various atmospheres and instrument combinations. Great disc, among the best French free jazz has to offer. Price: 100 Euro
61. ARSENE SOUFFRIAU: “Chapitre Libre Et Souverain Des Amis Philanthropes En La Valee De Bruxelles – Musique Initiatique Du 4e Au 18e Degre Par Arsene Souffriau” (Chapitre Libre Et Souverain Des Amis Philantropes En La Valee De Bruxelles – CSLAP 01 ~ 03) (3 LP Record Set: Mint/ Book-like Heavy Gatefold Mint/ Attached Individual LP sleeves: Mint/ Insert Picture Card: Mint). Ultra rare private release out of the depths of the Belgian Free Masons dungeons that came out as a minuscule private pressing in the mid-1970s. Brilliant Masonic ceremony pieces for electronic – concrete and chamber music. One of the rarest and most obscure Belgian releases to seep out of the electronic music and avant-garde underbelly. This is actually the 1st ever copy I see of this disc after having heard about it for so many moons and this one came straight out of the archive of Souffriau himself. It is no surprise that this release is shrouded in obscurity since it was a Masonic related private issue that was only handed out to other members of the lodge. Copies never made it sale as that was not the intention of the disc but merely served as some sort of initiation rite that was passed on. But that aside, Souffriau is one of Belgian’s best kept electronic music and avant-garde secrets who during his active career worked shoulder to shoulder with Pierre Schaeffer and Ennio Morricone to name but a few. On this LP here, Souffriau steers into distinctively Belgian avant-sounding worlds, blending together medieval sounds for small orchestra with concrete sounds and electro-acoustic/ electronic sounds twists and turns, all completely devoid of any commercial potential and steering into secret realms of Masonic initiation rites and rituals, a music of the spheres so to speak. The insertion of concrete and electronic music elements makes this whole ritualistic music quite eerie and extra-terrestrial sounding. Excursions into tape-splicing and electronic sonics dissect all of the ritualistic classical movements into fractious pieces that suggest Souffriau exploiting an intuitive approach in order to pursue initial experiments into the organization of sound. In short if you are into weird and obscure electronic & concrete music avant-garde recordings, then this LP is as obscure and awesome as they get. Never seen a copy of this one before in my life and I doubt another copy will surface any time soon. Highest possible recommendation!!! Price: 500 Euro
62. ART: “SUPERNATURAL FAIRY TALES” (Island – ILP-967) (Record: Near Mint/ Jacket: Near Mint). Top Copy, MONO pressing. Original 1967 1st UK pressing on the Pink Island label – first issue with “eyeball” logo. First pressing, MONO issue!!! Classic Brit psych from the band that would later become Spooky Tooth!! Great effects courtesy of echoes phasing and vocoded vocals that make this LP a full-blown psych classic. A great collection of short & sharp psychedelic pop songs, strong melodies and tight structures, that make this UK album leaning more towards a US psych sound. Definitely one of the most entertaining early UK psych records. Top copy, hard to grade up on this one. 1st original UK pressing. Price: Offers!!!!
63. ART BLAKEY & THE JAZZ MESSENGERS: “S/T” (Fontana/ Victor Japan – SFON-7035) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese pressing, complete with obi and all. Rarely ever surfaces with the 1st issue obi intact and present. Top copy and dead cheap. Price: 75 Euro
64. ART BLAKEY: “A Night At Birdland With Art Blakey Quintet Vol. 1” (Blue Note – BST-81521) (Record: Near Mint/ Jacket: Near Mint – still in shrink/ Insert: Near Mint/ Direct Import Obi: Near Mint). Flawless copy of classic Blakey slide where he gets flanked by Clifford Brown, Lou Donaldson, Horace Silver and Curly Russel. Clean pressing all comlete with Direct Import Obi. pressing with obi. Virginal condition for cheap. Price: 50 Euro
65. ART BLAKEY: “A Night At Birdland With Art Blakey Quintet Vol. 2” (Blue Note/ Toshiba EMI – LNJ-70092) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint/ Obi: Near Mint). Flawless copy of classic Blakey slide where he gets flanked by Clifford Brown, Lou Donaldson, Horace Silver and Curly Russel. Virginal high quality Japanese pressing all complete with Obi. Virginal condition for cheap. Price: 50 Euro

66. ART BLAKEY And The JAZZ MESSENGERS: “Original Soundtrack From Les Liaisons Dangereuses 1960” (Fontana – SFON-3010) (EP record: Near Mint/ Flip Back Picture Sleeve: Near Mint). Scarce Japan only issue with nice picture sleeve. Amazing and classic music originally recorded as the soundtrack for the French film Les Liaisons Dangereuses, these tracks feature Art Blakey’s Jazz Messengers of mid-1959 with trumpeter Lee Morgan, tenorman Barney Wilen, pianist Bobby Timmons and bassist Jymie Merritt joining the explosive drummer/leader. In general, the music manages to stand on its own with the ensemble getting to stretch out a bit on the rare material. Price: 35 Euro

 

67. ART BLAKEY’s JAZZ MESSENGERS: “A Night In Tunesia” (RCA – RGP-1067) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Top condition high quality Japanese pressing of classic highflying Blakey session. However, this 1973 release is different as opposed to the Blue Note  with the same title. Still it oozes with all that title suggests...with tracks like “Night in Tunesia – Off The Wall – Theory of Art – Couldn’t It Be You – Evans”. Rarely seen Japanese press original housed in flip-back sleeve with rare obi…for dead cheap! Price: 50 Euro
68. ART BLAKEY& The JAZZ MESSENGERS: “A Day With Art Blakey 1961 – Live In Japan” (Baybridge Records – UPS-2148-9 B) (2 LP Set: Near Mint/ Gatefold Jacket: Excellent/ Obi: Near Mint). Killer 2 LP set recorded in Japan and only released domestically of awesome Art Blakey and Jazz Messengers classic line-up. This album, "A Day With Art Blakey 1961, " features Art Blakey & The Jazz Messengers on a live date at Sankei Hall in Tokyo, Japan in January 1961. The group features Lee Morgan (trumpet), Wayne Shorter (t sax), Bobby Timmons (piano), Jymie Merritt (bass), and of course Blakey on drums! This is practically the same line-up featured on the famous album "Moanin'," except Benny Golson plays tenor sax on that album. This is a great shot of what the Jazz Messengers sounded like on the road and recorded in Japan. The playing is great all around and very tight, especially the solos by Morgan and Shorter. Japan only issue, stellar and ultra clean 2 LP set all complete with rare first issue obi!!! Price: 50 Euro
69. ART BLAKEY & JAZZ MESSENGERS: “ Soul Finger” (Mercury – SFX-7334) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Near Mint). Original Japanese 1st original pressing complete with OBI “Soul Finger, released on Limelight in 1965 marks Lee Morgan7s and Freddie Hubbard’s final studio appearances as members of Art Blakey’s Jazz Messengers. Morgan had been an on-again-off-again member since the 1950s, but his tenure with Blakey through the early 1960s remained fairly constant. The set also includes a young John Hickson piano, bassist Victor Sproles and veteran saxophonist Lucky Thompson. While this set may lack the sheer high-energy crackle of some of the Jazz Messengers Blue Note dates, there is quite a bit to enjoy here. The title tracks kicks the joint off in bluesy style with the three-horn front line in a slightly dissonant intro before moving in a fingerpopping groover with some killer wood by Sproles used as fills between lines. The spunky Latin groove of "Buh's Bossa" offers Blakey’s consummate chops accenting the knotty, sometimes snaky melody line with some excellent comp work by Hicks Thompson’s underrated soprano work makes a beautiful appearance on "Spot Session," a sultry little groover. The real highlight of the set is "Freedom Monday," that offers taut hard bop lyric lines, extended harmonies in the front line -- especially between Hubbard and Morgan and a smoking Afro-Cuban rhythmic line highlighted by Blakey and Hicks. The program here showcases the sounds of a band in transition to be sure, but also the sound of a group with nothing to lose; in other words, plenty of chances get taken that might not otherwise fly.” (All Music Guide – Thom Yurek) Stunning copy. Price: 75 Euro
70. ART BLAKEY & THE JAZZ MESSENGERS: “S/T” (Impulse – IMP-88088) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Pristine copy of all-time classic Art Blakey slide for Impulse all complete with insert and obi. Condition is also virginal. Price: 50 Euro
71. ART BLAKEY & THE JAZZ MESSENGERS: “Three Blind Mice” (United Artists – SR-3082) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan 1970 first original pressing all complete with obi. Art Blakey & The Jazz Messengers rode through the rough waters of significant record label, personnel, and sound changes in 1962. A young Freddie Hubbard took the trumpet chair, trombonist Curtis Fuller was added, and a pre- Miles Davis Wayne Shorter played tenor sax. The richness of these three golden greats of modern jazz made for an intriguing sound, but it was short-lived, as all three left the group for bigger and better things. Where the anchoring piano player, composer, and music director Cedar Walton would sustain the ensemble before, during, and after this live date done at the Renaissance Club in Hollywood, the split melodic and harmonic responsibilities of the front line were not as sustainable as when Hank Mobleyn or Benny Golson and Lee Morgan were members. Blakey had also left the Blue Note label for this one-shot deal with United Artists Records, which was eventually reissued by Blue Note -- a full-circle deal if there ever was one. So this release is significant historically, while musically they're not bad at all. A half set of standards done the Blakey way, with "Blue Moon" a ballad feature for Freddie Hubbard and a bouncy, spare treatment of "That Old Feeling" with Walton in the middle of it, while Benny Carter’s evergreen "When Lights Are Low" has third-wheel Fuller up front, but cutting the melody short to only the second half of the line, at once clever and disjointed. Fuller’s adaptation of the children's song "Three Blind Mice" will always be known as quintessential Jazz Messengers fare, with a slightly soured, off-minor modal approach. The best piece is Walton’s Plexis," an outstanding construct of modal stealth piano propping up the three horns in a demonstrative attitude, with everyone briefly featured. This is one of the most potent editions ofArt Blakey n& the Jazz Messengers in distinct transition, heading toward their most revered period, with Walton compositionally leading them in many real and important ways.” (All Music Guide). Totally essential Blakey slide, first original Japanese issue with obi. Price: 50 Euro
72. ART ENSEMBLE OF CHICAGO: “a.a.c.m, Great Black Music – Message To Our Folks” (BYG Actuel/ Nippon Columbia – BYG-26) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Top copy, Japanese very first original pressing all complete with rare very first issue BYG obi. This is in addition also the WHITE label PROMO issue. Originally recorded at Studio Davout in Paris on August 12th, 1969. Classic Art Ensemble spiritual jazz noodlings. Top condition and complete with obi. The sound quality is killer all way round and surpasses the French issue by light-years. Obi is damned rare. Price: 125 Euro
73. ART ENSEMBLE OF CHICAGO: “Reese And The Smooth Ones” (BYG Records/ TOHO Records Japan – YX-6063) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Bloody rare and obscure Japan very first press issue all complete with hardly ever seen very 1st obi issue. In all these years this is the very first time I could lay my mittens upon this first pressing. Looks awesome with the OBI present. Top condition and killer slide to boot. Price: 100 Euro
74. ART ENSEMBLE OF CHICAGO: “a.a.c.m, Great Black Music – Reese And The Smooth Ones” (BYG Actuel – BYG-529.329) (Record: Near Mint/ Gatefold Jacket: Near Mint) Original French 1st original pressing on the great BYG Actuel records label. Released on the French BYG Actuel label, this a classic album recorded in Paris during August 1969 while the Art Ensemble was on its initial stay there with just a quartet featuring Roscoe Mitchell, Lester Bowie, Malachi Favors and Joseph Jarman. Reese And the Smooth Ones has a continuous piece featuring all the members playing lots of little instruments (horns, gongs, logs, bells, sirens, whistles, steel drums, marimba, banjo and more) in addition to their mainstays. Just stunning!!! Price: 45 Euro
75. ART ENSEMBLE OF CHICAGO: “A Jackson In Your House – Message To Our Folks” (BYG Records/ Double Actuel 204 – YX-9005~6) (2LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – no defects only very faint ageing spots inside gatefold/ OBI: Near Mint). Japan original pressing all complete with rare obi, throwing together two Art Ensemble Of Chicago BYG albums as a one package deal back in 1971. One does not see the obi to often, both discs are virginal and sleeve is clean as well. A steal for a classic slide of this caliber. Price: 50 Euro
76. ART ENSEMBLE OF CHICAGO: “People In Sorrow” (Odeon – OP-80032) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Unplayed vintage copy, 1st original Japanese pressing with always missing/ never-seen-before psychedelic Odeon Obi!! Original Japanese pressing as released in 1970, one year after the album first saw the light in day in France. “Comprised of just one piece -- split into two long sections as it was on the original LP -- People in Sorrow is a meditation on sound itself. This is the AEC at their most adventurous, yet their most dynamically restrained. There are periods of long silence interrupted sometimes only by a single percussion instrument, bass note, or series of tonal breathing from the horns. The effect is crystalline, sad, beautiful, and haunting. It is heartbreaking in its beauty and poignant in its intent. When tension seems to grow, efforts are made collectively to dispel it in order to stay focused on the thematic elements in the improvisation. When the AEC do engage in sound as a group and the flow becomes more immediate, there are always one or two instrumentalists holding back, anchoring everything in the mystery of sonic inquiry. There is only one section of the piece, about 13 minutes into part two, where edgy dissonance is allowed the space to give utterance, and its more in the form of tonal release than harmonic engagement. Because immediately after, the theme reasserts itself, albeit with Favors playing double time under the long, slow lines by Bowie and Jarman, and then only to underline everything that has taken place previously. The fire then takes hold and the AEC become what most people know them as -- intense free jazzers with a love for smeared textures and tonal white-out. But even here, three minutes before the end of the piece, everything moves back to the seamless and spatial, ushering in the silence that has its own voice as a kind of sixth member. The small, scalar statement made with the horns being breathed through rather than played upon is the heartbreaking exit upon a long, continuous drone upon a sopranino saxophone that takes it out with small notes from a thumb piano that don't so much end as cease to weep.” (Thom Jurek, All Music Guide). Original 1st Japanese pressing with obi just never surfaces and this copy is dead mint.Price: 150 Euro
77. ART ENSEMBLE OF CHICAGO: “Certain Blacks” (Columbia – YP-7061-MU) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Hopelessly rare Japan, 1storiginal pressing that came out in 1974 on the Columbia label and sounding so much better and fresher as opposed to the French pressing. This one comes with the stupidly rare OBI as well, first copy I ever see with obi present! “On Certain Blacks the core four of Roscoe Mitchell, Joseph Jarman, Lester Bowie and Malachi Favors enlist two guests to aid them in the LP-sized journey into deep blues forms: Chicago Beau on tenor, piano and harmonica and Julio Finn blowing second mouth harp. Drummer Don Moye wasn't yet with the band. His precursor William Howell favors a somewhat more rhythmically orthodox approach to the kit and a propensity for hard- boiled beats. Assuming the moniker Edward, Jr., Mitchell focuses his attention on the mighty bass sax. His corpulent lines blast and etch away at the Studio Decca rafters pouring forth with pathos-rich potency. Built on a simple vocal mantra and gospelized riff, the side-long title cut stretches far and wide and posits no shortage of righteous ebullience. The horns cavort and swirl around a rhythmic center eventually dispersing into solos cropped by boisterous shouts and unison returns to the staple aphorism. Jarman's switch to vibes leavens some of the momentum, but the six lock back on the groove thanks to Favors stout ostinato. A snippet of telling banter at the close betrays some surprising dissention at odds with the professed unity behind the piece. Side B divides in two with another Beau composition "One for Jarman and a rollicking cover of Sonny Boy Williamson's "Bye Bye Baby that revels in the syncopation-suffused ambience of a South Side rent party, heavy on the funk. The former tune features the Beau's ivories dancing in line with a lush contingent of horns, plumb bob bass and drums through a tropical-tinged reverie.” (Derek Taylor – All About Jazz). Spot on! Never encountered before Japanese press issue all complete with rare very first issue OBI!!!!. Price: 150 Euro
78. ART ENSEMBLE OF CHICAGO: “Chi Congo” (Odeon – OP-88010) (WHITE LABEL PROMO Record: Mint/ Jacket: Mint/ OBI: Excellent). Freaking rare original Japanese pressing – white label promo issue. This one comes all complete with OBI also. Obi is damned rare on this one. Total mint condition and obi is EX. A lost chapter in the career of the Art Ensemble Of Chicago -- an obscure early 70s album, issued by the mostly-blues Paula Records label in Louisiana, and one of the hardest to find albums in their catalog! The album features 3 long tracks -- "Chi-Congo", "Enlorfe", and "Hippparippp" -- played in an open and inventive style that recalls the best of the group's work in Paris at the end of the 60s. The core group manages to get their hands on more instruments than you'd hear from the entire percussion section of an orchestra -- and with amazing results! “Chi Congo is a wonderful primer to the fierce, chaotic and ever-shifting world that embodies their expansive sound and scope. Recorded in Paris in 1970, here AEC's lineup featured Lester Bowie, Malachi Favors, Roscoe Mitchell, Maurice McIntyre and Joseph Jarman, all playing an assortment of "little instruments," percussion, brass, and woodwinds--a list that's really too long to reprint. Most notably, however, is that this set features the first session by drummer Don Moye. Chi Congo is a barrage of noise, spirit, soul, restraint, and exuberance. As the liner-notes state, "The band's future is uncertain, but its past is quite glorious." Features a great cover shot of AEC in all their freaky, Afro-centric glory as a bonus. Great Black music for sure.” [DG for Other Music]. Rare Japanese pressing – white label PROMO issue and housed in a Japan only jacket. So nice, so good, so delirious. First time ever I can lay my mittens on a promo copy…Price: 250 Euro
79. ART ENSEMBLE OF CHICAGO: “Live At Mandel Hall” (TRIO Records/ Delmark – PA-6022‾23) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint) Virginal copy, rare Japan 1st original press issue all complete with insert & rare OBI. One of the best post-Paris live dates by the Art Ensemble Of Chicago – recorded right on their Southside home turf in Chicago, as something of a homecoming after their years abroad! The performance is really one continuous piece, divided up into chapters – and it starts off with an intensity that's bolder than much of the group's previous recordings – an almost-free sort of sound that's quite raw, and which must have been a great way to announce their presence back on the Chicago scene. As the piece moves on, it slows a bit in pace, and opens up more in mood – but always has an edge that's quite distinct – almost free of some of the wit that marked the Ensemble's work from a few years before. The core lineup features Lester Bowie on trumpet and flugelhorn, Roscoe Mitchell and Joseph Jarman on saxes, Malachi Favors on bass, and Don Moye on drums and percussion – but as always, all players get their hands on plenty of other instruments during the performance – an array of horns, gongs, bells, whistles, bike horns, and more – all used to great effect! Original 1st pressing in outstanding condition. Price: 75 Euro
80. ART ENSEMBLE OF CHICAGO: “The Spiritual” (Freedom/ Trio Records – PA-7034) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Booklet: Near Mint/ Obi: Near Mint). Rare Japanese pressing in top condition and with rare first issue obi present. THE SPIRITUAL, finds the Art Ensemble of Chicago at their artistic height. Reduced to an unusual drummer-less quartet for this session (reedsmen Joseph Jarman and Roscoe Mitchell, horn player Lester Bowie and bassist/banjo player Malachi Favors all double on various types of percussion), the group explores one of the main stems of jazz, New Orleans gospel and second-line music, without sacrificing its freer sounds. Indeed, without a traditional drummer, the group is free to play at its most unrestrained, unfettered by conventions of tempo. Yet somehow, there's a basic earthiness to this music, especially on the magnificent title track and the mysteriously beautiful "That the Evening Sky Fell Through the Glass Wall and We Stood Alone Somewhere?," which keeps the Art Ensemble grounded. Listening to THE SPIRITUAL is an experience akin to reading Ishmael Reed's vividly ironic lampoon of Western culture, MUMBO JUMBO. (All Music Guide). Another essential AEOC slide, first time I encounter this one with its original obi. Top condition. Price: 75 Euro
81. ART ENSEMBLE OF CHICAGO: “Tutankhamun” (Freedom/ Trio Records – PA-9715) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan original press issue all complete with scarce OBI. “This landmark album is one of the most influential free jazz recordings in the '60s avant-garde canon. Beginning with the bizarre vocal stylings of bassist Malachi Favors, Tutankhamun’s four lengthy tracks are filled with eccentric and eclectic horn arrangements, usually followed by extended improvisations. Creating a canvas of sound that swells from intense to distant, the Art Ensemble use rubato (non-tempo) musical statements with great tonal variety. What makes The Art Ensemble’s music different from others writing free jazz during this period is their use of dynamic contrast. The highlight of Tutankhamun is "The Ninth Room," a piece that emphasizes the experimental soloing abilities of saxophonist Roscoe Mitchell and trumpeter Lester Bowie. Drummer Joseph Jarman uses a variety of unconventional percussion instruments on this track, including various non-discernable metal and wooden objects. This album is for the jazz aficionado looking to explore new aural vistas. The music on Tutankhamun is more about texture than melody, harmony, or even rhythm and counterpoint. The beauty of this music, however, is that the notes we hear offer a compelling and thought-provoking journey into the possibilities of sound itself.” (All Music Guide) damned hard to find Japanese original with obi. Price: 75 Euro

82. ART ENSEMBLE OF CHICAGO: “Bap-Tizum” (Atlantic – P-8344A) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). 1973 Japan first original pressing, all complete with rare first issue obi. A seminal moment for the Art Ensemble Of Chicago – one of their first albums for a widely-distributed label, and an exceptionally strong live performance that really gets to the core of the group's unique approach! The material was recorded at the Ann Arbor Festival in 1972 – and has the Ensemble playing with a sense of focus and power that's even stronger than their previous indie and European records – really hitting their stride before a large live audience who totally gets their groove, and really eggs them on with enthusiastic support! As usual, the range of instrumentation is great – lots of different reeds, percussion, and brass – handled by the legendary lineup of Lester Bowie, Roscoe Mitchell, Joseph Jarman, Malachi Favors, and Don Moye. Classic slide and so killer…audiophile and clean Japanese high quality original pressing. Price: 75 Euro

83. ART ENSEMBLE OF CHICAGO: “Go Home” (GALLOWAY Records - GB 600 502) (Record: Near Mint/ Gatefold Jacket: Near Mint). Rare Free jazz beast. Only released in France in 1973 but recorded in 1970. “Go Home is an adventurous (even for this group), 1970 session that encompasses droning, atmospheric introductions and interludes ("Paris Hello Chi," "From Bengali"), rollicking old-timey swing ("From St. Louis"), splattery avant-garde honk-and-clatter ("Fly with Honey Bee") that includes an extended interlude of what sounds like junkyard percussion, a quite beautiful and atmospheric piece including vocals by AEOC trumpeter Lester Bowie’s wife, Fontella Bass ("Hello Chi"), and the side-long, Stravinsky-esque "Dance," which features eight additional horn players and a string section. Crisply recorded, it's a showcase for many facets of the Art Ensemble’s music, and a major work in their discography.” (All Music Guide) ORIGINAL FIRST PRESSING in TOP CONDITION!!!! Original press with machine stamped matrix numbers!! Near Mint all the way – for archival collector – next to impossible to ever upgrade upon this one. Price: 200 Euro

84. ART ENSEMBLE OF CHICAGO: “With Fontella Bass” (Columbia – YS-2792-MU) (Record: Near Mint/ Jacket: Near Mint / Insert: Near Mint). Japan only released jacket art that hardly ever surfaces. Finally could unearth a clean copy of this one. Hardly ever surfacing Japanese original pressing housed in matching Japan only jacket art. Still a tough pull to unearth these days, rare this cover…Price: 50 Euro

85. ART ENSEMBLE OF CHICAGO: “Phase One” (America – AM-6116) (Record: Near Mint/ Jacket: Near Mint). Original 1st France only pressing. To these ears, “Phase One” is prime time Art Ensemble of Chicago material, making it one of the headiest albums by them, rubbing shoulders with “Stance a Sophie” and “People in Sorrow”. The whole affair, which consists out of two sidelong tracks is a brilliant mix of dusty catatonic noise and ear-deafening silences making it to walk the razor’s edge between crystal clear avant-garde compositions and heated free jazz eruptions. The track "Ohnedaruth" builds slowly with a variety of percussion, breathing out a remarkable sense of sound and space before elapsing into a more reed-based approach that leads to the other sidelong head spinner "Lebert Aaly" – the group's brilliant tribute to the late Albert Ayler! The sound the band breathes into existence is incredibly deep and multi-layered with cosmic tonalities and bridges the gap successfully like no other ensemble between fire music and atonal free form avant-garde outings. Truly majestically executed all the way round. TOP COPY! Price: 50 Euro
86. ART ENSEMBLE OF CHICAGO: “With Fontella Bass” (America Records – 6117) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original first pressing, only released in France at the time. “This LP was recorded in a Paris studio in 1970. The band had been gigging regularly in the city and this session offered an intimate view of the live material including "How Strange" which appeared later on Live in Paris. "How Strange" is part of a suite with "Ole Jed," comprising nearly 22 minutes. Bass, an R&B and gospel singer by trade and Lester Bowie’s wife at the time, adds a wonderful theatrical and sonic dimension to the Art Ensemble’s creative juggernaut. "How Strange" begins with an African chant by Joseph Jarman and Bass. As the instruments enter in earnest, one can hear traces of "Round Midnight" waft through the background and then the musical reality play is off an running. Bass sings, roars, growls, chants and spits poetry, becoming another fiery instrument in the band's arsenal. On "Horn, Webb," Don Moye kicks it with a trap drum solo. For nearly four minutes before the tack comes to a standstill and the horns of Jarman, Bowie and Roscoe Mitchell come in, blaring in unison before the work becomes a long, spacious textural study with many dynamic and colorful shifts along the way. Thirty-six years later, this piece still sounds fresh, new, full of inquiry and excitement. This set stands the test of time beautifully.” (All Music Guide) Original pressing that was solely released in France at the time. Top condition. Price: 75 Euro
87. ART ENSEMBLE OF CHICAGO: “The Alternate Express” (DIW Records – DIW-8033) (Clear Blue Wax Record: Near Mint/ Jacket: Mint/ Obi: Mint/ Insert: Near Mint). Rare 1989 Japan only issue of the original line-up by the Art Ensemble. Came released on transparent blue vinyl. “A remarkable recording from a period when it seemed that the Ensemble’s powers were all but spent.The huge, blustering ‘Kush’ rekindles the wildness of their best improvising; ‘Imaginary Situations’ is a ghostly collective sketch; ‘Whatever Happens’ catches Bowie at his melancholy best, while Mitchell’s title-piece is a fine tribute to the group’s survivalist spirit. A valuable and welcome document that might called a comeback.” (Penguin Guide To Jazz). Completely vanished Japanese only issue, comes with cool obi and pressed on blue vinyl. Indispensable Art Ensemble slice of head music! Price: 50 Euro
88. ASAKAWA MAKI: “One” (Express – ETP-80125) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan 1st original pressing with all complete. WHITE LABEL PROMO ISSUE! Without a single doubt, “One” was and still remains the most challenging disc ever to have seeped out of Asakawa Maki’s creative sprawl that commenced in the late sixties. Still, “One” is sonically quite far removed from her characteristic laid back jazzy late night blowtorch scorned vocal settings she was renowned for. By now she had entered the eighties and embarked with this disc on her singular, most adventurous escapade ever. “One” was her 11th album and starts off on a similar note that characterized her output until then. Still, things are quite heating up under the seemingly tranquil surface layer and Asakawa embarks on a whispering and crooning voyage that will just set the pace for the unrelenting fury she, Yamashita Yosuke, Kondo Toshinori and Faces guitarist Yamauchi Tetsu will unleash on the sidelong “Pignose” that takes up the whole of side two. 100% pure improvisation blast and hardcore psychedelic free jazz shoulder rubbing with Kondo belching out noises made by amplified toys, disjointed trumpet squeaks and deranged vocal wails. Yamauchi counterattacks with frazzled and junked down guitar riffage, injected with enough sizzling feedback to keep the spiced-up flavors hot and boiling for Yamashita to respond to with well-balanced rolling thunder skin sniffing. While all this mayhem is exploding around her, Asakawa manages to keep her cool by improvising with vocal-induced spun out melodic phrases to interlard the erupting volcanic chaos that is boiling down all around her. In one word: dynamite stuff and the best ever Asakawa Maki record to be put down on wax. It is also the rarest of all her discs and one that has never been reissued; making it her most sought-after disc. Highly collectible. Should appeal to folk nicks, hardcore free jazz freaks and psychedelic chemists. Super stuff and a shy bird as of late. Price: 100 Euro
89. ASAKAWA MAKI: “Ura Mado” (Express – ETP-72053) (Record: Near Mint/Jacket: Near Mint/Obi: Near Mint/ Imprinted Inner Sleeve: Near Mint/ 4-Paged Insert: Near Mint). Top condition and all complete rare 1973 album and Maki’s fifth. Dark clad, nicotine stained and black sugarless coffee drenched female vocals against an avant-jazz backing, excellent for those late-night booze drenched evenings. Getting quite scarce and difficult to locate for a decent price. Rare in this condition which is all complete and just impossible to ever improve upon. Hardly resurfaces these days. Price: 75 Euro
90. ASH: “Kung Fu b/w Luther Ingo’s Star Cruiser” (Infectious Records – INFECT-215) (Single Record: Near Mint/ Picture Sleeve: Excellent ~ Near Mint). 1995 UK original pressing. Fun, feisty and full of unforgettable hooks, 'Kung Fu' is the debut single off Ash's first official album '1977'. Loud and mardy as all hell, this song doesn't outstay it's welcome deciding instead keep it concise and in keeping to their love of punk. This soon gives way leading to the nitro fueled b-side 'Luther Ingo's Star Cruiser' - an energetic short with fuzzy incomprehensible vocals and attack fire riffs that comes across as a homage to Japanese Alt. Rock due to its meagre runtime and no-nonsense mentality. Pretty damned great!!! Price: 30 Euro
91. ASH RA TEMPEL: “S/T” (Ohr – OMM.56.013) (Record: Excellent ~ Near Mint/ Gimmick Gatefold Jacket: Excellent). Bloody rare 1st original pressing with 56 number on jacket and label. 2nd pressings turn up all the time with the 556 number but the 1st pressing is a bitch to dig up these days. One can be short about this one…it is a monster disc, one of the cornerstones of the Krautrock pantheon. Never has the term "monster" been used to more adequately describe an album than in the case of Ash Ra Tempel's classic debut.  Without a doubt one of the absolute pinnacles of the Krautrock movement, this album is a thundering masterpiece of unrestrained experimentalism and absolutely searing atmospheres. Ash Ra Tempel is a completely instrumental work, and makes use of furious percussion, droning keyboards and guitars, and masterful use of repetitive tension as well as dense, mysterious atmospheres before releasing into explosive solo guitar licks courtesy of Gottching. The album is made up of two tracks, the furious "Amboss" (perhaps one of the finest guitar freak-outs ever put to record), and the more varied "Traummaschine", meaning "Dream Machine" in German, which incidentally gives a pretty good idea of how it sounds. "Amboss" opens with some droning keyboard riffs before gradually building up behind Schulze's unrelenting percussive attack, and then exploding into a cataclysmic orgy of blazing guitar, crashing cymbals and rumbling bass. The song builds and releases in this fashion constantly throughout its 19 minutes, yet without a second wasted. "Traummaschine" takes its time building up, beginning with cosmic synthesizer drones, after which a repetitive guitar line drifts in.  Before you know it, ten minutes have passed, and soft percussive pulses have entered the mix.  By then, the build up has become tangible, gradually becoming faster and more intense, above which huge droning echoes rumble through the speakers like howling solar winds.  The song builds and releases constantly, with the entire bottom falling out occasionally, leaving only wandering guitar notes or a lone bass line amidst the swirling ambiance. Overall, this album propels the listener into the furthest reaches of desolate space like few others.  A clear cut masterpiece.” (Greg Northrup). A total killer with absolutely no filler. This disc is the 1st original issue…comes in a beautiful designed multi-gatefold gimmick cover; all is in top-notch condition. First pressings in clean condition have completely been evaporated these past couple of years…. Price: Offers!!!!
92. ASH RA TEMPEL: “Join Inn” (Ohr – OMM 556.032) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint ~ Mint). Top copy first original GERMAN pressing out of 1973. “Yet another fundamental guitar oriented Krautrock album from Manuel Göttsching, and one that continues in the same basic style as the first two albums. Overall, Join Inn sounds a lot more mature and developed, yet on the other hand, a tad more restrained. The album sees the reinstitution of Klaus Schulze on drums and the album is structured almost in the same manner as the debut, with one side devoted to a guitar oriented jam, and the second to a more ambient, yet still quite dynamic, extended track. "Freak N' Roll" features a heavy percussive attack and slithering bass lines beneath Göttsching's more delicate touch. The song even shows off a slight jazzy sensibility, and overall doesn't have the same deep space vibe as the previous two albums. Instead, its a lot more down to earth, much more mature, and playing is extremely tasteful and pleasant. The intermittent climaxes still rock hard, but don't approach the shuddering heights of the self-titled debut. "Jenseits" is another stab at an ambient, ethereal piece in the vein of "Suche & Liebe" from Schwingungen, and is, in my opinion, a lot more emotional and dynamic. The vocals of Rosi Mueller are quite beautiful and are perfect atop the developing bed of synthesizer and electronic drones and flourishes. Basically, Join Inn, along with the first two albums, are supposed to be the essential works from Ash Ra Tempel, and I certainly haven't been disappointed by any of the three. This would be the final album of the classic lineup, as the group would be reduced to basically Manuel Göttsching and his girlfriend, Rosi, as well as a revolving door of guest musicians.” (Greg Northrup). Total classic acid psych fest. First original GERMAN pressing in TOP condition. Totally essential and getting damned hard to find on the ground, especially in such perfect nick as this baby here so…stop wiggling your tail in impotent anger & hold your peace forever!!! Price: 300 Euro
93. ASHBY, DOROTHY: “The Fantastic Jazz Harp Of Dorothy Ashby” (Atlantic Records/ Victor Records – SMJ-7369) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint). Unbelievable pristine – almost like new – first original 1966 Japanese pressing of subliminal jazz slide. The Japanese first pressing is next-to-impossible to find, actually this is the very first time I see a copy of this one. Without a doubt one of her milestone recordings. Only superlatives apply here because Dorothy Ashby is one of the coolest, grooviest people to ever lay her fingers on a harp and one of the few who've ever found a way to use the instrument in a jazz-based setting! This mid 60s date is a pivotal one for Ashby – as it has her opening up with some groovier touches than on her previous jazz records for Savoy and Prestige – a bit more of the sound that would showcase more strongly on her Chess/Cadet albums, given a nice sort of Atlantic sense of soul here! Players here are very hip – and include Richard Davis on bass, Grady Tate on drums, and Willie Bobo on percussion. The music is purely bright and swinging with a joyful mood. Dorothy Ashby is always there upfront while the brass section mostly fills the background with color. Typical for the ancient jazz, there are no vocals on this record but this only adds to the depth and intriguing atmosphere of the music. This one is haunting in its appeal and beauty. For the time it was released, this album was an utterly progressive effort and the pop sensibility of many tracks make it a great joy to spin. Impossibly clean Japanese first original pressing. Bloody tough one. Price: 125 Euro
94. ASHBY DOROTHY: “S/T” (Cadet/ Baybridge Records – UPS-2243-BC) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Rare Japan original 1st pressing that came out in 1983. One of the first leading ladies in jazz to explore the mesmerizing possibilities of the harp, Dorothy Ashby predated Alice Coltrane’s excursions on the instrument with more than a decade. very few jazz harpists in history and Dorothy Ashby was one of the greats. Somehow she was able to play credible bebop on her instrument. As a pianist she studied at Wayne State University, and in 1952 she switched to harp. Within two years, Ashby was gigging in jazz, and in 1956 she made her first recording as a leader. Between 1956-1970, she led ten albums for such labels as Savoy, Prestige, New Jazz, Argo, Jazzland, Atlantic, and Cadet, guested on many records, and was firmly established as a top studio and session player. She didn't approach her instrument as if it were a gimmick, and she wasn't content to be a background/mood specialist. She turned the harp into a lead instrument, and offered solos that were as tough and memorable as those done by any reed, brass, or percussion player. This is her sole record that was released in Japan as a domestic pressing and comes with cool obi. Price: 75 Euro
95. ASHBY, DOROTHY & FRANK WESS: “In A Minor Groove” (Prestige/ Victor – NJLP-8209) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan original press issue. In a Minor Groove is one of two albums she made in 1958 with flautist/ saxophonist Frank Wess, and it is a marvel; backed by fellow Detroit native Herman Wright on bass and the great Roy Haynes on drums, she and Wess weave mesmerizing melodic threads through standards like “Alone Together” and “Yesterdays.” But perhaps the most amazing track is “Bohemia After Dark,” which displays Ashby’s uncanny ability to turn her harp into a rhythm guitar! harp begins a medium tempo groove bopping along in a very harp-like way, until she comps behind Frank Wess. It, for all the world, sounds like a guitar chording underneath the cheerful boppiness of the flute. This is not to say that it's any replacement for another instrument, as Ashby more than adequately brings forward the whole range of the harp, with ringing tones and arpeggios that sparkle with a unique clarity. Her melodic lines are beautiful and strong and have that lovely allegiance to the piano in their completeness. The partnership with the flute is also inspired. Frank Wess is one of the most revered flautists in jazz history, but the juxtaposition of the two sonic spaces is simply marvelous. Both have a softness in tone, but the muscularity of the attack makes their excursion as challenging as it is delicate. As for the rhythm section of Roy Haynes on drums and Henry Wright on bass, they swing hard and provide a sensitive and telepathic understanding of the instruments and players they back up. Haynes stays on brushes throughout, providing a sympathetic cloud of support that propels, but does not overpower. To complete the character of the music, Wright's precise and sinuous bass lines stand out in relief as both clear statements and another unit of propulsion. A really great and quite original jazz album. Price: 75 Euro
96. ASHLEY, ROBERT: “In Sara, Mencken, Christ and Beethoven There Were Men And Women” (Cramps – CRSLP-6103/2) (Record: Near Mint/ Gatefold Jacket: Near Mint). Minimal masterpiece centered around a lengthy never ending text and extremely strange poem by John Barton Wolgamot. It consists of one sentence repeated over and over, and the only changes from sentence to sentence are that different names are inserted: “In their very truly great manners of Jesus Christ very heroically Geoffrey Chaucer, Rupert Brooke…” Ashley’s fascinating liner notes to this album offer a very reasonable interpretation of the very bizarre text. And the music? It’s wonderful—Ashley and Paul de Marinis’ electronics bubble in the background, and Wolgamot’s words sound beautiful when read by Ashley, who delivers the text in his usual Sprechstimme-on-downers style. He sounds like either a creepy old man or the Garrison Keillor of the avant-garde, depending on your perspective. Just highly essential and psychedelic as well as eye-opening listening experience. Original pressing that sounds light-years better than the crappy Akarma boot/reish…a must to all-experimental and psych headz out there. Original clean copies are slowly drying up it seems, this copy here is just a perfect one. Price: 100 Euro
97. ASSAGAI: “S/T” (Vertigo – SFX-7308) (Record: Near Mint / Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent). Seldom seen clean and super sounding 1971 Japan 1st original pressing on the Swirl label. Comes all complete with insert and the mega rare OBI!!! Awesome butt shaker that fuses wild and frantic Afro jazz blasts with erratic rock moves. Dudu Pukwana is the star here, blowing his silver horn to smithereens and making every track just irresistibly awesome. TOP copy, awesome sound quality and killer gatefold jacket art. Obi just hardly ever surfaces…and an all complete copy is where it is at….Price: 400 Euro
98. ASTRAL NAVIGATIONS: “”S/T” (Holyground – HG-114) (Record: Near Mint/ Paste on Wrap Around Paper Sleeve Jacket: Mint/ Booklet: Near Mint). Original 1971 UK private press issue on the legendary Holy Ground label, all-complete with the always missing booklet and in absolutely top shape. Astral Navigations was really a recording of two different bands, Lightyears Away and Thundermother. Light-years Away is folk/psych (more toward the folk end) and features Bill Nelson who was later to join with Be-Bop Deluxe. Great compositions with alternating male and female vocals set against a background of piano with some short, very fuzzed-out guitar breaks that frazzle the mind in a nice way. Thundermother is more dirty heavy rock that dwells in similar sonic regions as Leafhound and cohorts. Together they make up Astral Navigations and their sole recording is relatively obscure UK psychedelia/acid folk from 1971. This was a micro-pressing at the time and copies only surface seldom. Top copy of tremendous UK psych classic, one side is Leafhound-styled hardrock with seering leads, the other side is acid folk of the upper level. One of my all-time faves from the Isles. Has the original wrap-around sleeve + booklet. Price: Offers!!!!!
99. AT HOME:“S/T” (Accessory Records – ACC-002) (Record: Near Mint/ Flimsy Gatefold Paper Jacket: Near Mint). Finally!!!! After all these years of searching for a spare copy, I am able to offer one of the best oddball psychedelic recordings ever. Apart from my own personal copy, this is the 2nd copy ever to cross my eyes in 12 years time! OK, sorry for the hyperbole but to these ears, At Home is simply one of the best psychedelic oddball & weirdo records ever released and ranks proudly in my top 3 of best recordings ever. Released in the late 1970s or early embryonic 1980s, At Home was a UK studio project of some dodgy scam producer who was good at cooking up strange musical cocktails. He recruited a Frank Hannaway (farfisa accordion & rhythm box) and Michael Barclay (guitar) and without ever meeting each other commanded them to record some tracks. The end result was strung together in some crappy afterhours studio and resulted in the most waked-out Prozac soaked underwater-demented lunacy psychedelia ever to have been put down on wax. Out of tune desert twang guitar swirls interlock with cheap kaleidoscopic farfisa accordion moves and shift gearing rhythm box lines. Together the two protagonists move into some the grey area of the mazed elderly unhinged, taking them to a sub-aquatic world of psychotic anti-depressants reigned by asymmetric grooves and synthetic sounds. At Home sets free a sound that is a peculiar mix of low style, highly effective anti-depressants, liquid Prozac shoot-ups and pure dumbness. Listening to it makes you feel like diving into a pool that got emptied yesterday. Disintegrated Alzheimer symptoms get mixed up with limb numbing psychotic drunkenness and a kind of hysterical fatigue that comes from spending too much time with the elderly insane. The end result is this jangled mix of zombie-like psychotic lysergic madness and degrading lethargic Thorazine shoot-ups that it makes it hard to keep a focus on what is really going on around you. At Home is the best thing ever to hit my aural senses but it comes at a cost and your mental sanity will never be the same again. Don’t come wailing back at me that you haven’t been warned. Best record ever and I mean this!!!!! Price: Offers!!!
100. ATRIUM MUSICAE DE MADRID: “Musique de la Grece Antique” (Harmonia Mundi – VIC-28067) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Totally mint copy of this austere, obscure, acid folk-like and stone death cold avant-garde sounding gem of a record. I spare you all too long explanations and attach here the review the guys of Aquarius records penned down about this disc, which is spot-on to the point. “Unlike any Greek music we'd heard before, sounding more like a soundtrack to a film featuring pagan rites, very ceremonial and mysterious in nature. Unlike any "real" recording of Greek music I could imagine. What we now know is that the concept of this recording is that it's a partially-imaginary reconstruction by an unusual Spanish world-music ensemble of what the music of ancient Greece MIGHT have sounded like, based on what little historical documentation is available regarding musical practices of the period. Each track references some papyrii or other (so the spoken and sung texts are supposedly historically accurate) and the music is played on what are assumed to be authentic types of instrumentation (including a reproduction of an hydraulic organ!). As we said, much of the music is ritual-sounding, with chanting and bells. It has quite an occult vibe. There are also tracks of beautiful, folky female vocals backed by plucks of the lyre. Add to that stirring horns, droning flutes, percussive crashes, eccentric vocal flourishes, and much more. This disc is sometimes creepy, often lovely, always fascinating. A "lost treasure" vibe (as if some ancient Greek philosopher had invented some sort of anachronistic "marble cylinder" recording technology, recently unearthed by archeologists!) it's still totally amazing!” (Aquarius Records). Over the top great mind bending soundscapes. Can’t recommend this on enough. Japanese audiophile pressing. Price: 40 Euro
101. ATRIUM MUSICAE DE MADRID: “Musique de la Grece Antique” (Harmonia Mundi – HM-1015) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint). Original 1st French press issue of scarce title. A real pleasure of a disc to wrap your ears and mind around, a pearl that is both adventurous sounding and psychedelic enchanting in an avant-garde kind of way. Highest recommendation. Price: 50 Euro
102. AUDIENCE: “Friend’s Friend’s Friend” (Philips – SFX-7327) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent – has a few wrinkles near bottom). Rare Japanese original pressing with “Do It Rock” obi present. Red Label PROMO issue. Amazing classic UK psych/ prog masterpiece that always falls in between the cracks without deserving the mass appreciation it normally deserves. Killer slide, stupidly rare all complete Japanese original. Obi never turns up... Price: 300 Euro
103. AVANT GARDE: “Vol.2” (Deutsche Grammophon – MG9617/ 22) (6 LP Records: Near Mint/ 6 Individual LP Jackets: Near Mint/ 6 Individual Inserts: Near Mint/ Outer Slipcase Box: Near Mint/ OBI: Near Mint). Damned scarce Japan original pressing all complete with outer slipcase box and OBI. Contains records by Gruppe Nuova Consonanza; Bernd Alois Zimmermann; John Cage; Mauricio Kagel; Gottfried Michael Koenig and Karlheinz Stockhausen. First time I could get a copy of this glorious set all complete with obi. Price: 200 Euro
104. AYERS, KEVIN & THE WHOLE WORLD: “Shooting At The Moon” (Odeon EMI – OP-80172) (Red Wax Record: Near Mint ~ Mint/ Jacket: Near Mint/ Illustrated 6-Paged Insert: Mint/ OBI: Near Mint). Red vinyl pressing as only released for WHITE LABEL PROMO issue. Freakingly rare 1st original 1971 Japanese pressing that comes on RED WAX – only as a promo. To make things even tastier, this is the MONSTER RARE complete copy with obi, his first Japan release predating “Joy Of A Toy”. Copies with obi just NEVER surface. Ayers started out with the Wilde Flowers alongside Robert Wyatt and Richard Sinclair, and went on to form The Soft Machine before striking out alone and recording 'Joy Of A Toy'. His second solo outing, 'Shooting At The Moon' saw Ayers gathering a band called The Whole World with which to help realize his vision, amongst whose number was Mike Oldfield and (occasionally) Syd Barrett. Whimsical without prompting you to gouge out your cochlea, 'Shooting At The Moon' is a shuffling gem of an album - littered with musical tangents, floating preambles and avant adjuncts. Opening with 'May I?', Ayers allows a Hammond to lap around the toes of a very pretty accordion melody that perfectly frames his intoned lyrics concerning cafes in the afternoon eyeing up the ladies. From here, 'Reinhardt And Geraldine / Colores Para Dolores' has shades of both Bowie and The Doors amongst its grand chorus and backwards tape effects, 'Clarence In Wonderland ' is as twee as you like without becoming punchable, whilst 'Red Green And You Blue' is a horn-flecked epic. Released in 1971 in Japan, the sound quality is superior to the UK pressing and it comes housed in a thick jacket complete with 4-paged illustrated insert and mega rare OBI. Eye popping awesome Japanese only red wax white label promo copy…a beast and one of the best recordings to seep out of the UK. Serious offers only for this beast, forget about finding another with obi, they just do not ever surface…Price: Offers!!!!
105. AYERS, KEVIN: “Joy Of A Toy” (Odeon Records – OP-80337) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4 Pages Illustrated Insert: Mint/ OBI: Near Mint). WHITE LABEL PROMO issue complete with extremely rare OBI!! Rare 1st original Japanese pressing that came out on these shores in 1971. The first Kevin Ayers original Japanese pressing sold very little and just never surfaces here. Sound quality is stupefying amazing, pressed on high quality Japanese vinyl and comes housed in a heavy gatefold jacket. Additionally there is also a Japan ONLY 4 paged booklet present with all the lyrics transcribed. TOP condition first original pressing. PROMO white label. Promo copy and OBI = seriously rare on these shores. Price: Offers!!!!!
106.AYERS, KEVIN: “Whatevershebringswesing” (Odeon Records – EOP-80478) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Near Mint/ Japan only 4 Paged Insert: Near Mint/ OBI: Mint). Original 1st Japanese pressing. Comes complete with stupidly rare first issue obi, very first time I could lay my eyes and hands upon a copy with obi. Third solo album by Ayers, generally considered as his best album but then again any of his of the first four could claim the pole position as far as I am concerned. Especially the track – to name just one out of all the stunning ear candy on display here – is the song “Song From The Bottom of a Well” which is one of the greatest deconstructions of a pop song ever to have been put down on wax. Just amazing. This copy here is the rare Japan 1st pressing, housed in heavy gatefold and complete with Japan only 4 paged booklet. To boot, the obi is here so making this baby stupidly rare, copies still existing with obi are very few to say the least, first one to cross my path in over 15 years. One of the best albums ever recorded without a doubt. Price: Offers!!!!!!
107. AYERS, KEVIN: “Bananamour – Itoshi No Banana” (Odeon Records – EOP-80837) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Excellent ~ Near Mint/ Japan only 4 Paged Insert: Near Mint/ OBI: Excellent). Original 1st Japanese pressing. White label promo issue – complete with OBI. Hideously rare original 1st Japanese pressing of this subliminal Kevin Ayers album. Hardly ever turns up in such a nice nick with the obi attached. The music is well known I believe and is considered to be as Ayer’s best recordings ever. I personally ride for all Ayer’s albums but Bananamour was the 1st album I bought back in the day and I have never looked back ever since. Top copy 1st OG Japanese pressing with killer obi intact and present. Do not think this one will pop up again any time soon, almost impossible to lay your hands upon here in Japan. Killer with absolutely no filler. Masterpiece!!!! Price: 350 Euro

108. AYERS, KEVIN: “Bananamour” (Harvest – SHVL-807) (2 LP set – each one-sided TEST PRESS: Near Mint/ Gatefold advance Sleeve: VG++). Damned rare 2-sided test pressing from 1972~3. Has the stamped matrix numbers in the dead wax being respectively SHVL-807-A-3 and SHVL-807-B-3. For Bananamour, Ayers grounded himself in a newly formed trio for his follow-up to Whatevershebringswesing. With bassist Archie Leggett and drummer Eddie Sparrow at the hub, Ayers selected guest artists for a handful of the tracks: Whole World colleague Dave Bedford ("Beware of the Dog"), Gong’s new guitarist Steve Hillage ("Shouting in a Bucket Blues"), and former Soft Machine mates Robert Wyatt ("Hymn") and Mike Ratledge ("Interview"). "Interview" is easily one of the album's strongest, most original tunes, charged with a rugged, positively electrifying guitar sound courtesy of Ayers and psychedelic organ flourishes by Ratledge. And "Shouting in a Bucket Blues" is Ayers’ inspired pop/blues groove. Hillage delivers heat in this original studio recording of the song; he went on to repeat the performance many times while in Europe with Ayers’ Bananatour band, Decadence. The song "Decadence" is the album's centerpiece and towering achievement. Here, Ayers, Leggett, and Sparrow create progressive, atmospheric music quite unlike anything else on the record. Intended to break Ayers to a wider audience, Bananamour was his last release on EMI/Harvest before switching to a new label (Island) and a new manager (the influential John Reid). The ideas on Bananamour, arguably Ayers’ finest work, gave way to some very focused, full-fledged prog rock and blues numbers on his ambitious follow-up, The Confessions of Dr. Dream and Other Stories. Monumental slide and this here is the never-offered before original test pressing – 2 one-sided LP’s. Totally unique and a historical artifact to say the least. The sound quality is astonishing! You know this is damned rare so….be real convincing for this beast. Price: Offers!!!

109. AYERS, KEVIN: “The Confessions of Dr. Dream and Other Stories” (Island Records Japan – ILS-80112) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Printed Inner Sleeve with Lyrics: Mint/ Obi: Excellent). Bloody rare white label promotional copy, complete with never seen obi. Top condition. Forth album by Ayers for which he got backed up by some of the scene finest heads such as Mike Oldfield and Lol Coxhill (who were both in his band The Whole World); Mike Ratledge (of Soft Machine); Michael Giles (ex King Crimson); Nico and his multi-talented right hand man/guitarist who'd appeared on his last Harvest album, Bananamour - Ollie Halsall. The album contains both sides of Ayers easy-going CV. There's the knockabout, slightly boozy, bluesy rock of Day By Day or Everybody's Sometime And Some People's All The Time Blues or Didn't Feel Lonely Till I Thought Of You. And then there's the second half's four-part Doctor Dream suite which beautifully trots out some truly disturbing psycho-dramatic stuff, aided by the Teutonic iciness of Nico on the opening Irreversible Neural Damage. Just a brilliant Ayers album that again is indispensable according to these humble ears. Rare 1st issue Japanese pressing complete with obi. First time ever I come across a copy with obi. Price: 150 Euro
110. AYLER, ALBERT: “First Recordings” (Sonet/ Teichiku – UPS-2013-N) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Obi: VG++ ~ Excellent). Rare Japan 1st original MONO pressing with first issue obi. Recorded in Stockholm on October 25, 1962, this session is one of Albert Ayler's earliest recordings, and features a European backing group he assembled during his brief stay in Sweden before returning to the States in 1963 and beginning his legendary run with ESP-Disk' and Impulse! Though his genius is not yet fully formed, one can easily hear he's headed that direction, and this rare and long out-of-print recording is an essential piece of the history of one America's most uniquely lyrical voices on the saxophone. Price: 75 Euro
111. AYLER, ALBERT: “My Name Is Albert Ayler” (Debut/ Fontana Japan – SFON-7053) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint/ OBI: Near Mint). First original Japanese pressing of rare Ayler slide, all-complete with the first issue obi. This one came out in the mid/ late 1960s and sold poorly, making it now a hard one to turn up, especially with the obi present. Still it comes way cheaper as opposed to the debut pressing but equally rare. Every Ayler recording is obligatory mind food. Great condition. Price: 150 Euro
112. AYLER, ALBERT: “Ghosts” (Fontana – SFON-7054) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). First original hideously rare Japanese pressing of this subliminal Ayler disc, complete with first edition obi. Without a single doubt, Albert Ayler was the most iconoclastic figure jazz' has ever seen and many – if not all mortal souls – noticed his unequaled talent when “Spiritual Unity” hit the streets – be it in real time or when you first encountered it decades later, it never fails to make its everlasting impact when being first exposed to it. However, “Ghosts” can be seen as a similar feat since like most Ayler recordings it veers of in a similar way as a bomb starts a war. “Ghosts” has Ayler blowing a simple folk melody, which he slowly modifies, escapes from, and then returns to, while Gary Peacock scatters notes from his bass in seeming random fashion and Sunny Murray's stick skitters across his cymbals, neither of them ever attempting to get into a groove. This is some the most beautiful chaos jazz has ever encountered. Massive and this is the original rare first Japanese pressing in top condition. Price: 150 Euro
113. AYLER, ALBERT: “Witches & Devils” (Freedom/ Trio Records – PA-7030) (Record: Mint/ Gatefold Jacket: Mint/ Insert Booklet: Near Mint/ OBI: Mint). 1st original Japanese pressing complete with obi. This is Ayler's first recording with sympathetic accompaniment and the first of a series of excellent recordings made throughout 1964 --
easily his best year.  The songs, and Ayler's powerful, eerie and
beautiful playing, may well be the best he ever recorded. This is a
very intense and draining record to listen to, even though it only runs about 35 minutes -- no mellow understatement here :-) Sonny
Murray gives an equally impressive performance. These two players were superbly well matched, in my opinion, like Coltrane & Jones. The bass players are non-descript (one track features both of them, one features Henderson alone, and the other two feature Grimes alone) but certainly adequate to the occasion. Only the somewhat stilted and unimaginative trumpet playing is a let down. On some Ayler records from later in 1964, Don Cherry plays trumpet. The difference is dramatic. Top copy. Price: 75 Euro
114. AYLER, ALBERT: “Spirits” (Debut/DEB-146 – Freedom Japan – K18P-9386) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint) Original Japanese pressing in Top Condition. After touring Scandinavia with the Cecil Taylor Jazz Unit in 1962-1963, Ayler began imposing his style - which was still considered odd and too innovative by the always-conservative purists of jazz of the time – through a number of records of his own. Definitely the most interesting among them is ‘Spirits’, which was recorded in his then classic quintet line up at Atlantic studios in New York City, February 1964. For the occasion, Ayler recruited some of the finest jazz players as his sidemen: the album, originally released on Debut in Denmark and followed with a release on Transatlantic in the UK, features Norman Howard – a Cleveland based trumpeter who Ayler grew up with – and Henry Grimes and Sunny Murray as a potent rhythm section, with an appearance on bass by Earle Henderson, unknown at the time. (“if you don’t dig the music on this album, you should maybe blame yourself as being behind the time” from the original liner notes by ole Vestergaard Jensen). A bloody great record. Top Copy Japan original pressing, they hardly surface at all in a condition like this beauty here. Price: 40 Euro
115. AYLER, ALBERT: “Bells” (ESP Disk – 1010) (Picture Disk: Near Mint/ Silkscreen Jacket: Near Mint/ Imprinted Company Inner Sleeve: Near Mint). Original 1965 US MONO pressing that comes housed in silkscreen jacket artwork. Record is pressed on clear wax. Released in 1965. The transitional "Bells" was just under 20 minutes, released as one side of a clear vinyl LP with the other side empty of music. It was recorded at a May 1, 1965, Town Hall concert of ESP artists, displaying Albert Ayler's new group, which added Albert's brother Donald and Charles Tyler. The denser sound of "Bells" shows Ayler moving towards the bigger sonic statement made on Spirits Rejoice, his September 23, 1965, Judson Hall session. By the way, "Bells" as heard here is not, in fact, a single composition; rather, it is a medley moving from "Holy Ghost" to an unnamed theme and then into "Bells" proper. ESP-Disk' founder Bernard Stollman was so excited by "Bells" that it was released without delaying to record additional music to fill the other side of the LP. Top condition US original pressing. Comes with 2 sided imprinted inner sleeve. Price: 250 Euro
116. AYLER, ALBERT: “Bells” (ESP Disk – ESP-1010) (Yellow Wax Record: Near Mint/ Silk Screened Jacket: Excellent – some wear on back). Rare US original pressing that comes housed in silk screen jacket art with 2nd state address printed on back being 156th 5th Avenue, New York. Price: 75 Euro
117. AYLER, ALBERT: “Spiritual Unity” (ESP/ Victor – MJ-7101) (Record: Mint/ Jacket: Mint/ Obi: Mint) Damned rare 1st original Japanese pressing complete with obi in dead mint condition. One can be fairly short about this monster; it is a classic, Ayler getting flanked by heavyweights such as Gary Peacock and Sunny Murray. Joint in unison, the three of them just transform the air you breath into liquid molten lava. The whole affair feels like setting up in the calm eye of the hurricane and then – before you can realize it – you find yourself foaming at the mouth, trying the dodge the cloud of hellish intensity thundering down your path and feel the energy and excitement that you can only get while standing in the midst of a prison riot that is in full swing. Just massive and so damned essential. Bloody rare 1st press Japanese issue, complete with never seen before obi and as mint as the Virgin Mary on any given Sunday. Awesome!! First Japanese press issues all complete with obi are just getting impossible these days… Price: 200 Euro
118. AYLER, ALBERT: “Spirits Rejoice” (Victor – SMJ-7492) (Record: Mint/ Jacket: Near Mint/ Obi: Mint). Never offered 1st original Japanese press issue complete with 1st issue OBI!!! First issue with obi never turns up. I think no introduction is needed for this heavy free jazz blast. Monstrous heavy duty line-up consisting out of Albert Ayler (tenor), brother Don Ayler (trumpet), Charles Tyler (alto), Henry Grimes & Gary peacock (bass), Sunny Murray (drums) and Call Cobbs (harpichord). The whole sonic tsunami was recorded somewhere in September of 1965 at New York’s Judson Hall. Anyway, the copy here on display is the 1st original Japanese pressing of that time, white label and on superior vinyl as opposed to the rather murky ESP pressings. This 1st original Japanese pressing came out at the end of the sixties and the sound was taken directly from the original master tapes, making it a true rewarding sensory listening experience. This copy also comes with the hardly ever seen obi strip attached. True rarity in top condition up for peanuts. Cannot possibly go wrong with this one and I doubt you will ever encounter a copy like this again especially with the 1st press obi intact. Massive. Price: 150 Euro
119. AYLER, ALBERT: “Volume 1” (Shandar – RCA – SHP-6201) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) Long time no see original Japan press of the early seventies of this Shandar LP – with RAREST OBI variation. In Japan, Shandar was licensed by RCA Victor and the adorned the inner jacket with another picture and a complementary text. Also with this copy comes the hideously rare obi to flank the record’s spine, a rarely seen feat, making this item quite desirable. Almost virginal copy, original press. Price: 50 Euro
120. AYLER, ALBERT: “Volume 2” (Shandar – RCA – SHP-6202) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) Long time no see original Japan press of the early seventies of this Shandar LP. In Japan, Shandar was licensed by RCA Victor and the adorned the inner jacket with another picture and a complementary text. Also with this copy comes the hideously rare obi to flank the record’s spine, a rarely seen feat, making this item quite desirable. Almost virginal copy, original press. Price: 50 Euro
121. AYLER, ALBERT: “Volume 1 & Volume 2” (Shandar – RCA- SRA-9459~60) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Damned scare Japan ONLY 2LP set combining the 2 Shandar Records releases all-complete with obi. This is the rarest version of Ayler’s Shandar set and comes also with the rarest obi variation. Love this one to bits, Ayler’s historical Paris performances in its entirety pressed on beautiful Japanese vinyl. What can a mortal soul ask possibly more for? Price: 75 Euro
122. AYLER, ALBERT: “Love Cry” (Impulse Japan – IMP-88072) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japanese pressing – White label PROMO issue and first press issue obi. Man, just look at the mouthwatering line-up this baby has been graced with. Could it possibly get any better? Spearheading the group is of course Albert Ayler, who gets flanked by brother Donald Ayler on trumpet, Call Cobbs on harpsichord, Alan Silva on bass and grandmaster Milford Graves on drums. Ayler's Pentecostal blueprint blaring sound is omnipresent throughout the disc as he trades fleet, furious lines with brother Don while getting back-drafted by throb and rattle of Graves and Silva. Still delicacy conveys throughout and a reverence for melody is always at the fore, even when Ayler is biting his reed and squealing at the top of the alto's range. Balancing between contemplation and explosion, it all meshes perfectly into a fireball of perfection. An unbeatable classic. Top-notch copy, original Japanese pressing with first issue obi is getting genuinely rare these days. Price: 150 Euro
123. AYLER, ALBERT: “New Grass” (Impulse – IMJ-80015) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint / Insert: Mint/ OBI: Near Mint). Japanese first original domestic pressing complete with obi. TOP copy of Ayler’s “New Grass” complete with OBI!!!! Never offered anywhere – no eBay or anywhere else – this was the 1st Japanese issue. Just a monster. Possibly the most notorious Albert Ayler release and universally misunderstood (i.e., hated) by fans and critics alike. When New Grass was released in 1968 it received a hostile outcry of "sell-out." Listening to New Grass in hindsight; it must be taken into account that even though commercial elements are apparent -- a soul horn section, backup singers, boogaloo drumming from Bernard ‘Petty’ Purdie, and electric rock bass – Ayler’s vocals and tenor playing could hardly gain commercial radio exposure at any time. It's likely Impulse prodded Ayler to move into a more pronounced blues-oriented sound and he went willingly. Ayler wasn't a stranger to R&B or gutbucket blues; he had started his career-playing saxophone with Chicago bluesman Little Walter in the '50s. Ayler’s screeching tone remains intact on New Grass, but it's mixed with definite R&B riffs like the obvious honkin' nod to "Slippin and Sliddin" on "New Generation." Ayler’s attempt to explain himself on the opening track with "Message from Albert Ayler” reveals his impending dread over controversy concerning the material. It is a problem many artists face at some point in their careers when trying to move in a different direction, no matter what the reason; they may end up losing a majority of their audience by taking a foreign approach. (All Music Guide). Top mint copy with obi. Price: 150 Euro
124. AYLER, ALBERT: “In Greenwich Village” (Impulse – AS-9155) (Record: Excellent/ Gatefold Jacket: Near Mint/ Japan Import Insert: Near Mint/ Direct Import Obi: Excellent – some discoloration). US 1968 original pressing that comes with rare Japan Direct Import Obi and subsequent liner notes. Rarely seen the first Direct import obi on this one. This obi version was the first to come out in Japan, a US press imported and adorned with “Direct Import Obi”. Hereafter followed the Japanese 1st pressing done by King Records and thereafter followed by a domestic pressing by Toshiba. But this edition was the first variation to hit Japanese shores and the obi is bloody rare, first time I have a copy of this obi variation. Price: 125 Euro
125. AYLER, ALBERT: “Recorded Live At The Village Vanguard In Greenwich Village” (Impulse – SR-3114) (Record: Near Mint ‾ Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ OBI: Mint). Rare 1971 Japanese first original pressing all complete with first issue obi. WHITE LABEL PROMO issue. Killer Ayler slide that just open up to the hallucinogenic horn power of Ayler’s 1966 and 1967 Greenwich Village sets where he shares the stage with Joel Freedman, Bill Fowell, Beaver Harris, Sunny Murray, Alan Silva, Henry Grimes and brother Don on trumpet. Totally essential!!! Hardly ever surfaces – first press with obi. Top condition PROMO issue…Don’t think twice it is alright. Price: 200 Euro
126. AYLER, ALBERT: “In Greenwich Village” (Impulse – IMP-88064) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Obi: Near Mint). WHITE label PROMO issue, Japan original pressing, 2nd issue. Of course comes with the alweays missing and the much needed obi!!! TOP condition. Price: 150 Euro
127. AYLER, ALBERT: “Last Album” (Impulse – SR-3122) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint) Rare Japan press of this subliminal Ayler record, complete with obi. Copies with obi are getting impossible to dig up these days and it has been close to 10 years since I had a copy of this one. Music-wise, the disc is filled with occasional haunting echoes out of a different space-time continuum. This already gets clear on the opening track with Ayler blowing his lungs out on the bagpipes while ex-Canned Heat’s guitar slasher Henry Vestine is ripping through some heavy dysfunctional guitar chords, attributing some existential lysergic angst to the musical palette. Just brilliant. Like the album title already points out, it turned out to be Albert’s final recording. And also one of his most adventurous according to these ears and that is due to merging psychedelic musicians with free jazz heads. Amazing. Rare Japanese press with obi. Highly essential! Price: 125 Euro

128. AYLER, ALBERT: “Last Album” (Impulse – SR-3122) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Obi: Mint) Rare Japan press of this subliminal Ayler record, complete with obi. WHITE label PROMO issue. Copies with obi are getting impossible to dig up these days and it has been close to 10 years since I had a copy of this one. Music-wise, the disc is filled with occasional haunting echoes out of a different space-time continuum. This already gets clear on the opening track with Ayler blowing his lungs out on the bagpipes while ex-Canned Heat’s guitar slasher Henry Vestine is ripping through some heavy dysfunctional guitar chords, attributing some existential lysergic angst to the musical palette. Just brilliant. Like the album title already points out, it turned out to be Albert’s final recording. And also one of his most adventurous according to these ears and that is due to merging psychedelic musicians with free jazz heads. Amazing. Rare Japanese press with obi and first time I have a PROMO issue of this beast! . Highly essential! Price: 175 Euro

129. AYLER, ALBERT QUARTET: “The Hilversum Session” (DIW Records – DIW-25009) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ OBI with Insert: Mint). Original 1st high quality Japanese pressing from 1984 which was originally released on the Dutch small Osmosis label but the Japanese pressing surpasses it by far when quality, and eye for detail are concerned. One of those legendary recordings in free jazz. It was recorded in a Netherlands radio studio in front of a small invited audience, at the end of the Ayler Quartet’s European tour on November 9, 1964. The band -- Ayler, Don Cherry, Gary Peacock and Sunny Murray -- had been playing Ayler’s tunes for months and were uncanny in their ability to hear one another and improvise together at that point. It was also the last time the group would record together under Ayler’s name as a quartet, and they went out at a peak. The recording itself remained unissued until 1980 when it appeared on an LP on the long-defunct Osmosis label. These cats play together with the kind of intuition and foresight only a seasoned group can; they understand the nuances of the language they are speaking and know how to offer those to the listener emotionally, musically, and even culturally. Finally, as for the sound of the recording, it is stellar. Amazing slide and one of the highlights in Ayler’s oeuvre, at least to these ears. Top copy, beautifully laminated sleeve and high quality vinyl pressing. Price: 50 Euro
130. AYLER, ALBERT: “Live Lorrach/ Germany and Paris/ France 1966” (Hat Art – Hat Art 2009) (2LP Box Set, Records: Near Mint/ Box Set: Near Mint) Ear blistering great recording of Ayler and company in 1966, housed in a beautiful box set. Line-up consisted at that period out of Don Ayler, Michael Sampson, William Folwell and Beaver Harris. A group setting to die for. The group rips through wild ecstatic versions of Holy Family, Ghost, Our Prayer, Spirits, Holy Ghost, Bells and Jesus. You have to hear it to believe it. Indispensable in any collection devoted to serious music. Rare box set for a bargain price. 75 Euro
131. AYLER, ALBERT: “Holy Ghost” (Revenant Records – 6011) (Clear Vinyl 3 LP Set & gatefold Sleeve with Poster and Post Card: SEALED). Original 2004 Revenant 3 LP set release which was comprised from choice cuts of the Ayler CD box set they issued. By 1958, Albert Ayler and his horn had made some rounds: from boy prodigy to teenage member of Little Walter's Blues Band, from "Little Bird" of Cleveland to featured US Army Band soloist. Then he resolutely set out to forget everything he'd ever learned about how to properly play the sax so that he could really PLAY it -- unhinged, free from strictures of pitch and form, drawing on spirituals, folksong, marches, and other big whopping chunks of collective musical memory -- to channel symphonies to God out his horn. Seeking nothing short of Truth in music, Albert Ayler became THE catalytic force in defining the sound of the tenor in Free Jazz, and was a heavy influence on John Coltrane's later work. Holy Ghost is the first comprehensive attempt to build a monument in sound to Albert Ayler. The settings -- radio and TV sessions, studio demos, private recordings, live concert footage -- find his music at its most liberated. And with the sponsorship and assistance of Ayler's family, friends, and colleagues, Holy Ghost documents his never-before-heard first and last recordings, bookending rare and unissued music from every stage of his career. Price: 125 Euro
132. AYNSLEY DUNBAR BLUE WHALE: “Willing To Fight b/w Going Home” (BYG/ Nippon Columbia – MAX-1004-BY) (Single EP Record: Near Mint/ Flip Back Picture Sleeve: Near Mint/ 4-Paged Picture Insert with Lyrics: Near Mint). Damned rare Japan only single issue – WHITE LABEL PROMO issue in outstanding condition. Price: 100 Euro
133. AZAMA ETHEL: “Exotic Dreams – the Enticing Voice of Ethel Azama” (Liberty – LRP-3104) (Record: Near Mint/ Jacket: Near Mint). Original US press – PROMO copy & rare MONO pressing from 1959!!! “The debut album from Japanese Hawaiian vocalist Ethel Azama is one of the few Exotica albums to feature vocals throughout but that is only part of its special nature. Arranged by Martin Denny associate Paul Conrad, about half this LP plays like a vintage Denny or Arthur Lyman combo backing a Far East vocalist on ‘50s standards like “Harbor Lights” and “Nightingale”. Interesting as that is, the real trip lies in the album’s middle third, where Ms Azama & Co on several tracks crystallize an alien, psychedelic sound that seems a blueprint for the acid queen flavors of Grace Slick or Linda Perhacs. Azama’s Pacific Rim accent and icy vocal style combine with haunting oriental melodies and esoteric instrumentation to create music that isn’t exotic as music as otherworldly. “Green Fire” in particular is an extraordinary experience, sounding like something from a major label femme psych LP from 1969. “Lazy Afternoon” offers a cozier, stoned-out vibe, with a superbly drowsy arrangement that utilizes gong, wind chimes and vibraphone. More conventional tracks like “Mountain High, Valley Low” also take on a cerebral escapist quality that transcends the familiar Exotica trip. As most vintage albums in its genre, it is an excellent production, which contributes to its timeless quality. While not a masterpiece like Eden’s Island, parts of Exotic Dreams work as a female proto-psych complement to Eden Ahbez’ more famous work, and even the less adventurous tracks are a delight” (Acid Archives). Fantastic LP in TOP virginal condition, 1st 1959 pressing!!! Total killer!!! Price: 75 Euro
134. BAD BRAINS: “Black Dots” (Caroline Records) (Record: Excellent/ Jacket: Excellent/ Printed Inner Sleeve with pictures and annotated information: Near Mint). Original US pressing that came out in 1996 in an edition of 1000 copies, this is not the reissue that came out last year, first original pressing from over 25 years ago. Surfacing out of nowhere in 1996, Black Dots, which was recorded way back in 1979(!!!), turned out to be an archival release of the best kind, something truly rare and unheard that also captured a band at its best. This recording is a snapshot of that band at the cusp of their utmost aesthetic purity, in the picoseconds between the big bang of its inception and the inescapable compromise waiting outside its creators' heads. Also of great interest is the downplaying of guitar sounds and the amplification of the element of the bass in the mix, the soaking wet dubwise drums so clearly influenced by Jamaican and British space reggae, and the extremely "live" overdriven quality of the vocals. The formula understood by rock producers time out of mind has been guitars up front, vocals next, drums next, bass last. Bad Brains did it just about backwards from that, because their musical attack was a soundtrack for breaking and entering, running from the scene of a crime, real home-grown riot music.  These qualities render an almost cinematic, even documentarian quality to the recording, making it the punk rock equivalent of "Don't Look Back". It is verite in its most arresting and immediate form, in that it completely lacks what are commonly recognized today as "production values", yet also lacks the self-consciousness of a staged "live!" recording.  rehearsal cassettes much like this frequently changed hands in the late '70's and early '80's, radiating an almost toxic "you had to be there" coolness that rendered them little more than white noise to clueless "music industry" parasites that always seemed to be hanging around the bars of the clubs, looking for some phantasmal "next big thing", while the biggest thing of all was screaming right in their ignorant faces. (Tiny Mix Tapes). Ear-splittingly fantastic!!! Original US pressing! Price: 50 Euro

135. THE BADEN-BADEN FREE JAZZ ORCHESTRA: “Gittin’ To Know Y’All” (MPS – YS-2417-MP – 1971) (Record: Mint/ Gatefold Jacket: Near Mint). Rare Japanese first pressing – TEST PRESS issue with stamped white labels!!! Holy Shit!! This baby burns as hard as you giving head to the scorned tailpipes of a dragster car that has just completed his supersonic run across a melted down concrete speedway course. While you are trying to patch up your blistered lips after sucking down the kerosene fumes, these guys here do not back down one inch and keep on sucking the air out of the auditorium. This is supersonic hardcore jazz, embalmed into a raging ball of fire that is belched out as a collective effort that got name tagged as the Baden-Baden Free Jazz Orchestra. The collective was for this occasion made out of the hottest soul-incinerating players around such as AEC members and representatives of the European free blowing scene, a head on collision with Lester Bowie (tp, cond), Hugh Steinmetz (tp), Kenny Wheeler (tp), Albert Mangelsdorff (tb), Eje Thelin (tb), Joseph Jarman (ss), Roscoe Mitchell (as), Alan Skidmore (ts), Heinz Sauer (ts), Gerd Dudek (ts), Bernt Rosengren (ts), John Surman (bs), Willem Breuker (bcl), Terje Rypdal (g), Dave Burrell (p), Leo Cuypers (prepared p), Barre Phillips (b), Palle Danielsson (b), Steve McCall (dr), Tony Oxley (dr), Claude Delcloo (dr), Karin Krog (vocal). The European free jazz scene merges with their American counterparts, fusing into one inflammable and agitated collision force of communal interplay. Together they create an arresting listening experience and the music unleashed is made up of a torrential stream of powerful blows that creates a whirlwind of unrelenting fire music. Killer stuff. This is the original Japanese press of 1971 and comes in a thicker than life carton foldout jacket. Totally mint and awesome artwork. Rare these days and indispensable in any collection. Price: 75 Euro

136. BADINGS, HENK & RAAIJMAKERS, DICK: “Electronic Music” (Philips – SFL-7551) (Record: Near Mint/ Fragile Flip Back Jacket: Near Mint – has Upper left corner perforated hole/ OBI/ Mint). Very rare and hardly ever seen Japanese first original pressing that came out around 1961~1963 and which comes graced with super rare obi. Just never surfaces and it is hard to believe this disc got a Japanese release at the time. One of the best Dutch electronic pioneering albums. Price: 300 Euro
137. BAIKIDA E.J. CARROLL: “Orange Fish Tears” (Palm – PALM-13) (Record: Near Mint ~ Mint/ Jacket: Near Mint – small discoloration of tape residue on middle lower seam on back of sleeve – no defects or splits). Original top copy French 1974 pressing of one of the rarest Palm Records releases, the label run by Jef Gilson. Apart from the striking jacket art, the first thing that makes you blink twice is the amazing cast of players that flank Baikida on this outing, being Oliver Lake, Manuel Villaroel and Nana Vasconcelos. The whole affair breathes out an intoxicating free-spiritual-loft jazz vibe that sucks you straight into its meandering vortex. Although Vasconcelos spiced up the line-up, the album is devoid of any Brazilian flavors and instead oozes out intricate ethnic induced percussive rattles that make up the background against which Lake and Baikida unfold their abstract free improvisation, dwelling into AACM-esque territory. Baikida especially as a leader here brings forth a big warm dark tone and his conversational approach to improvising shines throughout this recording. He has the technique, versatility and extreme sensitivity that brings so much color to this recording. Really eargasmatically awesome. One of the rarest releases on the Palm imprint. Price: 550 Euro
138. BAILEY, DAVE SEXTET: “Bash!” (Craftman Records – CMRS-0009) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Obi: Near Mint). Limited high quality Japanese pressing of only 300 copies that sold out in the blink of an eyelid. Rare material from Dave Bailey -- a set that's filled with fire, soul, and imagination -- recorded as part of the drummer's amazing (and amazingly short) early 60s run as a leader! The date smokes with the same sort of energy as Dave's great "Gutter" albums for Epic -- a groove that's part Blue Note, part Prestige, and carried off with so much precision, makes you wonder why Bailey never recorded more as a leader. Players are all wonderful -- Kenny Dorham's on trumpet, Curtis Fuller's on trombone, Frank Haynes is on tenor, and Tommy Flanagan's on piano. Ben Tucker provides excellent bass work, and proves that him and Bailey were one of the best hard-bop rhythm teams ever! Identical and meticulously reissued high end Japanese pressing, the eye to detail is to be found not only in the pressing quality but also the jacket reproduction, which mimics the original to the finest details. Price: 65 Euro
139. BAILEY, DEREK: “New Sights, Old Sounds” (Morgue 03/04) (2 LP’s: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~Mint/ Insert: Near Mint) Top copy, Japan only release. Bailey was truly one of the singular most unique and greatest players that ever caressed the six strings. Fortunately, I was blessed to witness him in action on several occasions and the impression he left behind still haunts me during my dreams. However I regret being an infant when Bailey visited Japan for the first time in 1978 because, as this document exhibits, he single-handedly was responsible for putting down one of the most feverishly enchanting solo excursions for the guitar ever to be put down on wax. Perhaps this disc is one of the hardest to get out of the Bailey catalogue since the 2LP set was released on Aquirax Aida’s private Morgue imprint after the latter had invited Bailey to come to Japan and teamed him up with various players out of the Japanese free jazz underground. The disc itself has been out of print since 1979 and is particularly hard to come by especially in such as pristine condition as this copy here. The music is stellar as might be expected and sees Bailey recording solo in the studio while the second disc juxtaposes these recordings with him playing live. Although the playing style is introverted to some extent, Bailey still exerts improvisational chunks of molten lava balancing perfectly on a razor-sharp glacier string of dew-moistened basal ice. The capillary action he creates resembles hydrogen bonding in water molecules resulting in delicate movements of torrential but well controlled fury to bubble up to the surface. The attraction between his liquid-like phraseology and the bubble-free stoic picking of the strings leaves a post-glacial exposed bedrock hovering in the death-space between you and your speakers. A transfixing and exothermic physical listening experience. Price: 250 Euro
140. BAILEY, DEREK: “Solo Guitar” (Incus Records – Incus-2) (Record: Excellent ~ Near Mint/ Slim Paper Jacket First edition Hand Pasted Top Loader: Excellent ~ Near Mint/ Insert – Promo Sheet: Near Mint). Original 1st pressing, Incus Records SKY-BLUE turquoise blue colored label. Comes housed in first edition sleeve as well with is hand-pasted cover – Top Loader. Later versions are not loading on top and are not hand pasted. Comes with Incus promo sheet. Maybe the hardest Incus title to track down is this early Bailey release. Derek Bailey's first solo recording at the time of its original release was an utter revelation. The album consists out of an amazing series of improvisations and sees the guitarist on typically obtuse form, using his guitar in ways the instrument was never intended, extracting squeaks, drones and clatterings you never thought you could hear from the humble string instrument. No one, absolutely no one, was playing guitar like this in 1971. From the first note on it became clear that Bailey occupied a universe of his own, freely improvising with little reference to the jazz tradition, sending splinters of notes spiked up with ringing feedback and enshrouded in dusty deep subterranean tornados as his kaleidoscopic fingerpicking hurled in and out of focus and triggered apocalyptic waves of sound. His patented use of the volume pedal is also clearly in evidence. Bailey managed to avoid absolutely all clichés associated with playing the instrument and delivered a fascinating, complex, and ultimately delicious disc on its own merits. One of the cornerstone Bailey solo discs out there rubbing shoulders with “Aida” and “New Sights, Old Sounds”. Totally essential & really clean and beautiful condition, hard to improve upon. Price: 400 Euro

141. BAILEY, DEREK & ANTHONY BRAXTON: “Duo 2” (Denon Jazz/ Nippon Columbia – YX-7555-AX) (Record: Near Mint/ Jacket: Excellent – some foxing on back of sleeve/ Insert: Near Mint/ Obi: Near Mint). Japan original pressing from 1975 complete with scarce obi. Promo copy. Between them, Anthony Braxton and Derek Bailey must have released hundreds of discs, yet this duet is thrilling. Braxton hovers like an angry wasp, Bailey is mind-bendingly on form. What stands out about the best parts of this disc is that Braxton and Bailey are listening to each other. We get to hear as each musician changes his playing to match what the other is doing. We also hear how these two musicians' backgrounds meld. Braxton brings a blues-based aesthetic to his playing, while Bailey's guitar sounds like it's straight out of the tradition of late Twentieth Century European music. Bailey's playing will turn guitarists around. He shuffles through clipped harp-like harmonics, totally muffled sounds, and the percussive rattle of slackened strings. He allows Braxton room to do anything and everything, only to turn around at inconceivable points and match one of the saxophonist's many splattered 64th notes with a perfectly suitable sound of his own. Braxton's contributions include some tasteful flute and an absolutely fierce, howling, gurgling alto solo. Price: 75 Euro

142. BAILEY, DEREK with EVAN PARKER; MAARTEN VAN REGTEREN; TRISTAN HONSINGER: “Company 1” (Incus/ Victor Records – VIP-6621) (Record: Near Mint/ Jacket: Near Mint/ 2 Separate Inserts: Near Mint/ Obi: Near Mint). Evaporated Japan 1st original pressing from 1976 all complete. For the first concert Company, the line-up was Maarten van Regteren Altena, Tristan Honsinger, Evan Parker and Derek Bailey. Altogether they recorded a number of duo pieces, all the possible trio combinations, and also a quartet. The music here represents the four trio combinations and is the result of each trio taping approximately twenty-five minutes music out of which one 10 to 12 minute a piece was in each case chosen for the record. Usually in making a selection from recorded group improvisation the choice of the material to be used is based on a communally agreed verdict as to which music is 'the best' of that available. In this case, with the permission of the other players, Bailey was the sole arbiter and made the four selections without consulting the other three as to their preferences. His choice was guided by one specific criterion; he chose that part of the music by each trio which seemed to me to be most characteristic of improvisation and which best revealed the qualities which can be found only in improvisation. And so the legendary Company sessions were born and it all started here. Awesome! Price: 125 Euro

143. BAILEY, DEREK & HAN BENNINK: “Company 3” (Incus/ Victor – VIP-6644) (Record: Near Mint/ Jacket: Near Mint/ 2 Separate Inserts: Near Mint/ Obi: Near Mint). Long gone Japan original 1st press issue all complete with obi and inserts. Probably one of the high-water marks in the Incus catalogue, a clash of two titans, tow giants of free jazz/ improvisational collision that still sounds as fresh as the first day I ever heard it. Bennink is a beast, totally unique in his approach to percussive rattles and gels perfectly with Bailey’s idiosyncratic style to mishandling the guitar in and totally gentleman-like fashion. Pure white heat that feels like a bare-knuckle fight inside a velvet pagoda. Intoxicating from start to finish. Price: 125 Euro

144. BAKER, CHET: “Chet Baker Sings” (World Pacific/ Toshiba Musical Industries – WP-8386) (Red Wax LP Record: Near Mint/ Flip Back Sleeve: Near Mint/ Company Inner Sleeve: Near Mint/ OBI: Near Mint). Very first Japanese press original of subliminal Chet Baker slide. Comes on RED WAX + housed in Japan’s first ever sleeve design – as released in the first half of the 1960s + the rare obi is also present. “It's difficult to decide whether Chet Baker was a trumpet player who sang or a singer who played trumpet. When the 24-year-old California-based trumpeter started his vocal career in 1954, his singing was revolutionary; as delicate and clear as his trumpet playing, with a similarly bright and vibrato-free tone, Baker simply didn't sound like any previous jazz singer. His first vocal session, recorded in February 1954 and is so innocent-sounding it's like cub reporter Jimmy Olsen had started a new career as a jazz singer. The album's first six tracks, recorded in July 1956, are even more milk and cookies, thanks in no small part to syrupy material like Frank Loesser’s "I've Never Been in Love Before" and Donaldson/Kahn's drippy "My Buddy." Choices from the earlier session like "My Funny Valentine" -- arguably the definitive version of this oft-recorded song -- and "There Will Never Be Another You" work much, much better. The spacious musical setting, a simple trumpet and piano-bass-drums rhythm section, is perfect for Baker’s low-key style. Despite the few faults of song selection, Chet Baker Sings is a classic of West Coast cool jazz.” (All Music Guide). Rarely seen very first pressing that comes on RED wax, and OBI and in top condition and a true audiophile pleasure to sit through this one. Price: 175 Euro

145. BAKER, CHET: “Chet Baker Sings And Plays With Bud Shank, Russ Freeman and Strings” (Liberty – LLP-88172) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare Japan first original pressing with obi. WHITE label PROMO issue. “With the growing popularity of Chet Baker’s first vocal album, Chet Baker Sings, Pacific Jazz producer Richard Bock wanted to capitalize on both facets of his young star's abilities. Hence, the trumpeter turned vocalist entered the studio in 1955 with both his quartet-featuring pianist Russ Freeman and an expanded sextet including bassist Red Mitchell, Bid Shank on flute, and various string players. The resulting album, Chet Baker Sings and Plays, helped set in stone the image of Baker as the jazz world's matinee idol and icon of '50s West Coast cool. His laid-back style -- a mix of '30s crooner and Miles Davis sonet recordings -- appealed in its immediacy to a jazz public tiring of the hyper, athletic musicality of bebop. Similarly, his plaintive, warm trumpet sound was the more sensitive antidote to such brassy kings as Dizzy Gillespie and Clifford Brown. Others artists had performed many of these standards before, but as with "My Funny Valentine" on Chet Baker Sings, tracks like "Let's Get Lost," "Long Ago and Far Away," and "Just Friends" became definitively associated with Baker for the rest of his career. Chet Baker Sings and Chet Baker Sings and Plays are not only the two most important albums of Baker’s career, but are classics of jazz. (All Music guide). Pure deleight from start to finish and bloody scarce Japanese original!!! Price: 100 Euro
146. BAKER, CHET: “Chet Is Back!” (RCA Records – SHP-6114) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan only issue – MONO pressing – all complete with obi. Not one you see all that often but nevertheless like most of Baker’s recordings, another indispensable one. Love the sleeve design and the obi that completements it all. Does not turn up that often… Price: 50 Euro
147. The BAND: “Music from Big Pink”. (Capitol Records – CP-8661) (Record: Near Mint ~ MINT/ Jacket: Near Mint ~ Mint/ 2 Inserts: Near Mint/ OBI: Near Mint ~ Mint). TOP COPY - Rare 1st original Japanese press issue that comes on RED VINYL. Comes complete with rare first issue OBI in top shape. Exquisite copy of this all time masterpiece, rare original Japanese press. Wow baby, this album is so bloody perfect that according to these ears it is one of the defining discs to seep out of the 20th century. So further explanation is completely unnecessary I guess. Brilliant record, stunning condition, and rare Japanese press –blood red wax that sounds astonishing. Only the 2nd time I have a true 1st pressing of this all time beast of a record and the very first time I can offer an all complete one with OBI present. A masterpiece and quite a hard one to dig up all complete. Price: Offers!!!!
148. The BAND: “S/T” (Capitol – CP-8849) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint/ Insert: Near Mint). First original Japanese pressing all complete with first issue obi and all in exquisite condition. This one came out in Japan on January of 1970, following “Music From Big Pink”. It is a record stocked full of sleepers, diamonds that begin to glow at different times and seems to change shape as you continue to play it. The emphasis shifts from song to song and songs prominent in the early listening will retreat and be replaced in your consciousness by others, only in later hearings to move to the fore again. Little things pop up unexpectedly after numerous listenings and the whole thing serves as a definition of what Gide meant by the necessity of art having density. Such an ear-shattering recording, endowed with unspoilt beauty and a music that was – while being conceived – drenched in America’s Civil War era’s past but was yet also so of the moment. So it is not an overstatement to say that it is one of the single-greatest recordings ever. Top condition first original high quality Japanese pressing all complete with first issue obi – just what this baby needs!!!! Price: 350 Euro
149. The BAND: “Upon On Cripple Creek b/w The Night They Drove Old Dixie Down” (Capitol – CR-2412) (Red Wax EP Record: Mint/ Gatefold Picture Sleeve: Near Mint). Rare Band early EP Japan only release that comes on red wax and is in TOP condition. 1970 Japan only picture sleeve issue highlighting two tracks from the Band’s 2nd album that would see a release soon hereafter in Japan. TOP copy, rarely surfaces at all. Price: 100 Euro
150. BARNEY WILEN & his AMAZING FREE ROCK BAND: “Dear Dr. Leary” (MPS Records – YS-2301-MP) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Mint/ Insert: Mint/ OBI: Near Mint) ORIGINAL FIRST JAPANESE PRESSING FROM 1970 with heavy foldout cover. WHITE LABEL PROMO & best copy I have seen so far, impossible to upgrade!!!! Also the first time I can lay my mittens on an all complete copy with rare OBI! This is stellar oddball free jazz meets psychedelic pop record, the most perfect hybrid configuration between these two worlds. The result is a galvanizing mercurial mixture that rips through free hardcore jazz while touching elaborately at the lysergic colored mind drops scattered all over the 1968 music scene by the Beatles and other pioneering mind benders. Exotic, weird, out of place and totally in tune, while dropping out of fixed musical straight jackets, Barney and his free rock band artificially fertilize a new musical species and this before sheep Dolly and her test tube babies caused havoc amongst the straight people. They certainly have the ability to turn you on. Great stuff ignited by a defused atomic line-up. Personnel: Barney Wilen (tenor & soprano-saxophone), Joachim Kuhn (piano, organ), Mimi Lorenzini (guitar), Gunter Lenz (bass, electr. bass), Aldo Romano (drums) & Wolfgang Paap (drums). A rarity, first Japanese pressing on the MPS label and pressed on high quality vinyl. With obi – a small miracle! Price: 200 Euro
151. BARNEY WILEN & his AMAZING FREE ROCK BAND: “Dear Dr. Leary” (MPS Records – YS-2301-MP) (Record: Near Mint/ Heavy Gatefold Jacket: Near Mint/ Insert: Near Mint) ORIGINAL FIRST JAPANESE PRESSING FROM 1970 with heavy foldout cover. Stock copy and obi is missing so again a dirt cheap one. Price: 100 Euro
152. BARNEY, WILEN: “Auto Jazz – Tragic Destiny of Lorenzo Bandini” (MPS Records Japan – YS-2203-MP) (Record: Near Mint/ Heavy Laminated Gatefold Jacket: Near Mint, has only a few mildew stains inside gatefold visible against white background). Rare white label promotional copy. “French tenorist and racing enthusiast Barney Wilen's arrived at the 1967 Monaco Grand Prix with his Nagra sound recording system in hand, planning nothing more than to tape the race for private use. But when famed Italian Formula One racer Lorenzo Bandini lost control of his car and crashed, suffering horrific burns that claimed his life three days later,, Wilen et to work on integrating the tape into a new composition celebrating the driver's life and career. The resulting Auto Jazz – Tragic Destiny of Lorenzo Bandini remains one of the most adventurous and potent recordings in Wilen’s catalog, its careening, visceral music brilliantly paralleling the exhilaration of its subject matter. Bandini's Ferrari speeds in and out of the musical narrative, jockeying for position amid Wilen's soaring tenor and Eddy Gaumont’s crashing drums while uniting driver and musicians in their reckless abandon and addiction to adrenaline.” (Jason Ankeny – AllMusic) 1969 Japanese 5-track LP featuring the soundtrack of the 1967 Monaco Grand Prix incorporated into the five-movement 'Musique Concrete' suite in which the unfortunate Lorenzo Bandini lost his life after a crash on the 87th lap. Against a crashing free jazz setting with incorporated musique concrete sounds of vintage race cars speeding around, motors humming, race announcements, Wilen churns out an incendiary set fuelled with gut wrenching moves, twists and turns. The race sound s mix perfectly with the burning fire music, a match made in heavens that ended in disaster for Bandini. The whole affair comes housed in a great front laminated gatefold picture sleeve. Top copy original Japanese pressing on high quality vinyl. A feast for your ears and eyes, jacket comes in thick laminated gatefold jacket. Price: 150 Euro
153. BARNEY WILEN: “Moshi” (Saravah Records – SH 10028.10029) (2 LP Record: Near mint/ gatefold Jacket: Near Mint). In 1970 Barney Wilen assembled a team of filmmakers, technicians, and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects, and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier, and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, street-legal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of indeterminate origins. A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz and funky noise, with some cuts that are spacey, and others that are nice and funky. Price: 450 Euro
154. BARRE PHILIPS: “For Alto It Is” (Nadja – PAP-9002) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Comes housed in a Japan only designed jacket art, rare first press issue with obi. “This unusual meeting of minds pits bassists Barre Phillips (who also penned the proceedings), Palle Danielsson, Barry Guy, and J. F. Jenny-Clarke with percussionist Stu Martin in a tactile playoff with mixed results. It’s remarkable to think that four behemoths could sound so open, and so one shouldn’t be surprised to encounter a few tangles in “just 8.” For the most part, however, this introductory track maintains the clarity of separation that characterizes the album’s latter remainder. Either way, it’s a jaunty ride into an unprecedented sound-world. Martin anchors “whoop” with his engaging loops amid a menagerie of pizzicato signifiers. Along with “few too” it evokes a jack-in-the-box weeping for want of exposure. From that unrequited lament comes a bright promise, skewed by a hope that the world turns not even for itself. It’s a melancholic hope, to be sure, but hope nonetheless. Martin’s absence here makes the track an early standout: just the rocking of bows pressed into myriad shapes by insistent fingertips. “la palette” and “y en a” form another pair, taking a decidedly architectural approach to this most warped string quartet. Together, they form a cycle of destruction, pain, and healing. The album only really comes together in the final two tracks. Where “dribble” proves an apt title for its dotted ritual, “y. m.” dances like an anonymous car alarm stripped of its batteries and given new acoustic life. The latter is a particularly complex, anchored piece that spits out some utterly brilliant turns of phrase. For All It Is, for all it is, is above all an exercise in linguistics. Its cognates are familiar, even if the grammars are not. Although I’d likely recommend this one least out of Phillips’s otherwise astonishing ECM outings, for the completist it will be an intriguing blip on the radar of all four bassists’ careers.” (ECM Between Sound & Space). Price: 75 Euro

155. BARRETT, SYD: “The Madcap Laughs” (Odeon Records – OP-8927) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint / OBI: Excellent/ Insert: VG++). TOP COPY!!!!! Original 1st Japanese pressing complete with rare obi. FIRST EVER Barrett Japan release with stated price of 2000 Yen on the obi (slightly later 2nd press has stated price of 2200 yen on obi). The 2000 yen FIRST PRESS issue is genuinely rare. Music needs hardly any introduction I guess. First solo LP by former acid casualty and Pink Floyd king pin. 1st issue obi and 1st original Japanese pressing is seriously rare on these shores. Record / gatefold jacket and Obi are in near immaculate condition, top copy. Price: Offers!!!

156. BARRETT, SYD: “The Madcap Laughs” (Odeon Records – OP-8927) (Record: Near Mint/ Gatefold Jacket: Near Mint / OBI: Near Mint/ Insert: Excellent). TOP COPY!!!!! Original 1st Japanese pressing complete with rare obi – second issue with 2200-yen price on obi. Music needs hardly any introduction I guess. First solo LP by former acid casualty and Pink Floyd king pin. Original pressing – 2nd issue with 2200 yen stated on OBI is also getting seriously rare on these shores. Record / gatefold jacket and Obi are in near immaculate condition, top copy. Price: 450 Euro
157. BARRETT, SYD: “Barrett” (Odeon – OP-80173) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original Japanese pressing complete with obi. Japanese pressings with obi just never ever surface these days and to make it even sweeter this copy is as clean and as close to mint as they come. Impossible to dig up, especially with obi attached. This is one of the rarest Pink Floyd related artifacts. The music needs no further explanation I guess…so all you need to know about this baby is that they do not come any cleaner or better than this copy, all with Obi included … fabulous museum piece and of great historical as well as musical importance. Hold your breath, make your move and rest in peace for ever…Totally top notch copy, they do not come better than this one. Price: 500 Euro
158. BARRETT, SYD: “The Madcap Laughs & Barrett” (Toshiba EMI – EMS-67014~15) (2 LP Set: Near Mint/ Fold Out jacket: Near Mint/ Obi: Near Mint) First original Japanese press that couples the two first Barrett albums and lavishly adorns it with a broad-banded obi. Very rare early Japanese press Barrett artifact that almost never turns up, especially in mint condition like this one with Obi also mint. Highest recommendation and in pristine, immaculate condition. Price: 150 Euro
159. BARRON, BILL: “Hot Line – The Tenor of Bill Barron” (Savoy – MG-12183) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Rare 1964 US first original MONO pressing on Savoy and in virginal condition. Perfect with no blemishes or any imperfections – impossible to ever upgrade upon. A stunner from Bill Barron! The set's one of the few rare sides that Barron cut as a leader during the early 60s – and it ranks right up there with work by Ornette Coleman or Joe Harriott for sheer raw modern power! The group's a quintet – with Barron and Booker Ervin on tenor, Larry Ridley on bass, Kenny Barron on piano, and Andrew Cyrille on drums – and the warm interplay between Ridley's bass and Barron's piano provides a striking contrast to the sharp-edged horn of Barron and the adventurous drumming of Cyrille. Tracks chop around in a modal groove, but still also retain a bit of soul jazz flair – and like all of Barron's best work, they never forget how to swing, and swing they do! An extremely exciting set and one of the rarer ones on the Savoy label, especially in such top shape as this copy here. A one-off chance to wheel in such a beauty I believe. Price: 350 Euro
160. BARTZ, GARY: “Altissimo” (Philips – RJ-5102) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Seldomly seen Japan 1973 first original press issue all complete with insert and Obi. First time ever I can offer a complete issue with OBI present. That aside, this is one killer slide. Easy to see why with a line-up that consists out of scenesters Charlie Mariano, Jackie McLean, Lee Konitz, Joachim Kuhn, Han Bennink & Gary Bartz!!! With these cats around him, Bartz again pulled it off, this time with a crackling post-bop/ spiritual jazz effort of angular modal originals and swirling head-spinners with the pick of the tunes being 'Fanfare' 'Telieledu Rama' & the stunning 'Mode for Jay Mac'. All is executed masterfully, lending innovative elements from all genres into one boiling pot and calling it his own. The sounds fluctuate between intense and serene, but otherwise provide a solid, reliable backbone to the strength and passion of Bartz’s fiery saxophone melodies that exude joy and love, anchoring the album in a sense of contentedness so infectious that it might have even won over a few cold souls expecting straight jazz. Bartz’s saxophones are at their melodic best, dancing, skipping, and trilling through the arrangements, often interlocking with Kuhn’s frantic piano lines and Bennink’s cascading drum patters. This is one amazing album. Recorded in Norway in '73 this is as good as anything produced by the notable American independent labels of that particular era. Pristine Japanese original, sounding killer and looking awesome with the obi in place. Price: 125 Euro

161. BASIL KIRCHEN: “The Shuttered Room” (Trunk Records – SHUT001) (Record: Near Mint ~ Mint/ Stamped letter pressed sleeve: Mint/ Insert: Mint). Never before available 1967 soundtrack to UK horror flick which was released completely legitimately and taken from the movies original master reel....and put out in a tiny edition of only … 25 copies, so bound to be rare forever. That aside the music is a stunner. “As for the film and soundtrack, both were made in 1967. It was a horror film starring Gig Young, Oliver Reed and Carol Lynley, all directed by the most interesting director David Greene. Very few people really know about David Greene but his cinematic work includes Sebastian, I Start Counting and this, which is pretty impressive if you ask me. He obviously liked Kirchen and used him for four of his movies., but in all the times I spoke with Basil, I never found out why. And perhaps we’ll never know.” (Trunk) Very beautiful film score that has both that typical 1960s UK jazzy feel as well as the gift for the unexpected impact that quells the darker side, sliding into a deep subterranean slur and cutting across cinematic dustup-jazz again. An austere intimacy as well emanates out of the jazzy tracks that offers direct access to deceptively intense skeletal music that displays nevertheless a meticulous lyrical economy. This score to the Shuttered Room stands shoulder to shoulder with the best slides of that era and should be filled next to John Taylor’s LP on Turtle, Neil Ardley and the likes. Just stunning. Pressed in an edition of only 25 copies, this is bound to be rare forever…. Top condition. Price: Offers!!!!

162. BATAAN, JOE: “Gypsy Woman b/w So Fine” (Oldays Groovy Donuts – ODREP-45006) (Single Record: Near Mint/ Picture Sleeve: Near Mint/ Obi: Near Mint). Immediately out of print & limited Japanese pressing only of two-sided killer Joe Bataan heavy groover. Awesome pressing quality, eye-pooping picture sleeve with obi, what can you possibly ask more for. Price: 50 Euro

163. The BATTERED ORNAMENTS: “Mantle Piece” (EMI Odeon – OP-80031) (Record: Near Mint/ Gatefold Jacket: Mint/ 4-paged Insert: Mint/ OBI: MINT). Bloody rare 1st original Japanese pressing. First time ever a copy complete with Obi gets offered up for grabs. Bloody great Japanese original pressing of this all time masterpiece progressive record with Chris Spedding controlling the band after elbowing out Pete Brown. Mantle-Piece, the bands one and only album, is a bluesy, psychedelic, jazzy affair filled with interesting, quite playful and very British lyrics. A classic in my book. Top copy. Great gatefold artwork and insert. NM copy all way round all complete with never seen before first issue obi....which is so rare it boggles the mind at times, but hell, you must admit it looks amazing. Price: Offers!!!!

164. BAUHAUS: “Bela Lugosi’s Dead” (Small Wonder Records – Teeny-2) (White Wax Record: Near Mint/ Flip Back Jacket: Excellent – some very faint foxing can be detected. No damages). The very first pressing out of 1979, on white wax and housed in fragile flip back sleeve that comes only with that early first pressing. The dark entity of what eventually would morph into Goth had its origins in a single moment of dense, doomed sound, churned out by a newly formed band that saw the light of day just 6 weeks prior to entering the recording studio. Put down on wax in one single take was nine-minute epic “Bela Lugosi’s Dead”! “The bats have left the bell tower, the victims have been bled, red velvet lines the black box, Bela Lugosi’s dead” Bloody fucking chilling! Brooding and minimal descending bass lines underscore a macabre guitar and low-register singing. It all adds to the right feeling: as if coming from the grave itself, desolate and grim. With Haskins’ steady pulse and clatter interspersed with heavy-duty bass from David J. But what ultimately carries the day is the combination of Ash’s swirling, crisp and snarling guitar work, a mini-masterpiece of art-rock in itself, and Peter Murphy’s deep black croon, singing what he described later as lyrics meant to be as much horror-movie parody as anything else, but which still conveyed a romantic majesty thanks to the performance. Clean very first original pressing. Price: 100 Euro

165. BAYLE, FRANCOIS: “L’Oiseau Çhanteur/ Lignes et Points/ L’Archipel/ Espasces Inhabitables” (Philips – 836.895 DSY) (Record: Near Mint/ Jacket: Near Mint). L’Oiseau Chanteur (The Songbird) is the third part of Portraits de I'Oiseau-Qui-N'existe-Pas (Portraits of the Bird-That-Does-Not-Exist), music realized (in 1963) for the images of the painter and film director Robert Lapoujade. The technique employed uses and generalizes the notion of the musical instrument, the traditional writing taking into account the possibilities of the microphone and thereby becoming "experimental," while the concrete material, by its essence beyond the notation, assumes a voluntary quality. The "chants" form brief phrases for the French horn, the oboe and the harpsichord, prolonged by tone clusters of concrete and electronic origin. The imitation is of pure fantasy, having no recourse to any real melodic or rhythmic premise. Original top copy of this hard to find avant-garde and electronic music LP as released on the highly acclaimed “silver” Philips imprint. Getting tougher and tougher to dig up copies these days. Price: 250 Euro
166. BAYLE, FRANCOIS: “Grande Polyphonie” (INA GRM – AM727.04) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint). Top copy of this classic electro-accoustic/ electronic music slide by one of France’s top ace composers. Released on the always-stunning INA GRM label. Price: 75 Euro
167. BAYLE, FRANCOIS: “Tremblement De Terre Tres Doux” (INA GRM – n9101ba) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4-Paged Insert: Mint). French 1st original pressing from 1979 of one of Bayle’s greatest records. Top copy of this classic electro-acoustic/ electronic music slide by one of France’s top ace composers. Released on the always-stunning INA GRM label. Here Bayle’s sound clusters quell the darker side, at times leaping into a maniac fury, yet the next moment it shifts delicately into a deep soothing subterranean plasma pool of aural bliss. Listening to this is an arresting experience, sonic atoms hurling in and out of focus, and creating a kaleidoscopic and exploratory body of sonic delight. Bayle has the gift for the unexpected impact, always busy folding and manipulating space to pursue his initial experiments in the organization of pure sound. Getting extremely tough to dig these ones up the past few years, this one in particular was always thin on the ground. Eargasmatic!!!! Price: 75 Euro
168. The BEACON STREET UNION: “South End Incident b/w Speed Kills” (MGM Records – DM-1154) (EP Record: Excellent / Flip-Back Picture Sleeve: Excellent). Damned rare Japan only picture sleeve issue, white label PROMO issue from June 1968. Boston Sounds finest act, the Beacon Street Union released this one rare Japan only single, complete with eye-popping picture sleeve. Pretty stellar, hard hitting garage psychedelia, full of trippy vibes, like the anti drug anthem Speed Kills that is brimming over with nice guitar riffage and a total wasted vibe injected with a strong sense of urgency you certainly get from speed. The South End Incident is a bit slower but nevertheless strong shots filled with that much needed drug inspired dementia. Love those guys….Price: 150 Euro
169. The BEAU BRUMMELS: “Best of the Beau Brummels – Featuring Laugh Laugh” (Liberty/ Toshiba Records – LP-80273) (Red Wax LP: Mint/ Jacket: Near Mint/ OBI: Mint). Bloody rare Japan 1st original pressing that comes on red wax. This is also the white label PROMO issue. This one, especially with obi is damned rare these days. First copy ever I come across that has the obi present. The early Beau Brummels took the indulgently blissful sound of '60s San Francisco rock into a folkier, borderline country direction. Led by guitarist/writer Ron Elliott, the Brummels made a virtue of innocence and joyful bounce, and benefited from Sly Stone's energetic production. Formed in 1964 as an American answer to the legions of excellent British bands invading U.S. soil, the Beau Brummels were truly San Francisco's first great rock band. The melodic one-two punch of wailing vocalist Sal Valentino and brilliant songwriter/guitarist Ron Elliott instantly catapulted the Brummels into elite company when their first two singles — jangling rockers that anticipated the arrival of the Byrds months later — rocketed into the charts. And the Brummels, with a steamer trunk full of great tunes, were anything but one-hit wonders. This was their sole Japan release that comes housed in Japan only jacket art. Rarely surfaces, red wax complete with OBI. Price: 275 Euro

170. BEAUSOLEIL, BOBBY: “The Music Of Bobby Beausoleil – The Lucifer Rising Suite – Original Soundtrack and Sessions Anthology” (The Anja Offensive) (4 LP Set: Near Mint/ 4 Individual LP Jackets: Near Mint/ 4 Paged Insert: Near Mint/ 2 Posters: Near Mint/ Outer Box Set: Near Mint). Limited issue that saw the light of day in 2009. Very first pressing! All the music Bobby Beausoleil composed for the legendary Lucifer Rising soundtrack, crafted by legendary occult/avant-garde filmmaker, Kenneth Anger. Remastered recordings spanning 11 years, from the '67 recording to the Tracy Prison recordings of ’78 spread over 4 LP’s clocking in at just under 3 hours. Marching into the thriving psychedelic street revolution, Beausoleil formed an art rock band, The Orkustra, and began gigging regularly at Be-In events throughout the city. It was during this time, just months before the onset of the Summer of Love, that underground filmmaker Kenneth Anger discovered Beausoleil during a psychedelic arts festival called The Invisible Circus. Anger immediately cast Bobby as the lead man and fallen angel archetype in his latest celluloid ritual, Lucifer Rising. With typical melodramatic pomp, Anger approached Beausoleil in a parking lot after the festival, declaring, “You are Lucifer!” Beausoleil agreed to play the part under the condition that he would also compose the film’s soundtrack.” Now, for the first time, all of the music composed for the soundtrack project has been compiled into a single public release. The Lucifer Rising Suite begins with the 1967 version of the soundtrack and continues through a logical sequence of the recordings made in the years spanning 1976-79. The compositions that comprise the Suite are sequenced in an order that tells a story, after a fashion. It is a story that may be impossible to tell in a strictly literary manner, one that -- like a mirrors reflection into another -- is both personal and allegorical. A complete anthology of the recordings made for the Lucifer Rising motion picture soundtrack by Bobby Beausoleil with The Freedom Orchestra and The Magick Powerhouse Of Oz. This fully authorized and definitive release includes: - Remastered recordings spanning 11 years, from the 67 recording to the Tracy Prison recordings of 78. - 4 full-length LPs worth of Lucifer Rising material with half being never-before-heard sessions personally selected by Bobby Beausoleil. - 9 new pieces of art from Bobby: 8 record sleeve panels and one 2 x 3 poster. - 2 posters: one by Bobby Beausoleil and one by Dennis Dread. - A much-extended version of the Fallen Angel Blues piece by Bobby that originally appeared in the Kenneth Anger DVD set. - Hymns to the Solar Temple -- impressions on a visit to Bobby at the Oregon Correctional Facility in Pendleton, Oregon by Dennis Dread. - The Saga of a Soundtrack by Michael Moynihan. - Art from Dennis Dread for the back of the LP box, also to be included as a 2 x 2 poster. - Art from Dennis Dread for the front lid of the box, which will provide a window into the works of Bobby’s to be found within. All art has been created specifically for this release. Long gone and vanished and so damned awesome!!! Price: 150 Euro

171. The BELFAST GYPSIES: “Portland Town b/w People Lets Freak Out” (Warner Bros Records – BR-1643) (Red Wax 7 Inch Single Record: Near Mint/ 4 Paged Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Extremely rare Japan only picture sleeve issue that came out 1968 on red wax. As you know this one is seriously rare, so far only 3 copies have surfaced for sale over the past 20 years. It was a commercial failure upon its release in Japan, hence the scarcity of this one. The copies that have turned up so far were all promo copies, this one here is the rarer red wax stock copy with the misprint “Belfast Gipsies” printed on the label. Stunning to see that it even got beyond the promotion stage at the time. The Belfast Gypsies' sole single was a very credible blast of British Invasion-styled R&B-rock. Produced by Kim Fowley, it gives this rough-hewn R&B a manic, freaky edge on the cut "People, Let's Freak Out," especially. Total killer single, heavy garage vibe with wild exploding fuzz bursts, wailing vocals and a demented youthful sneer to ring through your deserted mind. Stick your nose in the speakers and get frostbite! Price: Offers!!!!

172. BELL, CHRIS: “I Am The Cosmos b/w You And Your Sister” (Car Records – CRR-6) (7 Inch Single Record: Near Mint/ Fragile Picture Sleeve: Near mint). Bloody scarce 1978 US first original press issue. After co-founding Big Star, the world only received two tracks of new music from Chris Bell during his lifetime—a 1978 single on the Car Records label entitled “I Am The Cosmos” b/w “You And Your Sister.” Sadly, Bell would be tragically killed in a car accident later that same year. Still, his sole recorded solo output during his all too brief lifetime surely left a deep imprint behind. The single kicks off with the anthemic “I Am the Cosmos” in all its dense, layered glory. Bell understood quite well how to layer guitars in a way where everything is heard cleanly in the mix, and whether it’s an electric on the edge of chaos or chunky acoustic rhythm, nothing overpowers the song, making it a lofty, psych-drenched mid-tempo stunner with gorgeous miasmic guitars and wistful vocals. The B-side, “You and Your Sister,” is a gentle, pastoral, folk-drenched pop song with yearning lyrics and elegant fretwork with minimal backing. Super clean US original pressing, hardly surfaces this clean and without a single doubt indispensable if you are graced with two well working ears. Price: 500 Euro

173. BERGER, KARL: “We Are You” (Trio Records – PA-7017) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint/ OBI: Mint). Rare Japan 1st press original from 1972 that comes in total different jacket art as opposed to the Calig issue. Flanked by die-hard free playing scenesters such as Allen Blairman (drums), Peter Kowald (bass) and Ingrid Berger (vocals, percussion), Karl Berger (vibes, piano & marimba) created a sound entirely his own, sounding at once airy and precise, harmonically advanced and still anchored in a distinctive free jazzing hard swing. He succeeded in counterbalancing the rich overtone range of the vibraphone by removing the vibrato mechanism. Ranging far afield melodically and harmonically, Berger's music sounded “free” but was set in an unfailingly rhythmic framework that fitted like a glove with the sidemen he choose for this recording. The end result is bewitchingly free-grooving and hypnotically spell binding with tempos shifting dramatically within the same composition. Karl floats like a butterfly on the vibes, expressing a magical quality of being penetrating and clear at the same time. One of the few free jazz slides where the marimba is the lead instrument and it is a real surprise to see it reach intergalactic proportions. Comes complete with rare obi as well and sounds bloody amazing. Absolutely a largely overlooked but deadly killer slide, every track is a winner and keeps you breathless and gasping for more of the same medicine. Price: 75 Euro

174. BERLINER DICHTER WORKSHOP: “S/T with DIETER ROTH – RUHM – WIENER” (Edition Hansjorg Mayer – 1973) (Record: Near Mint/ Jacket: Near Mint). Original 1973 West Germany private press issue of much sought after Dieter Roth record. In 1977, Friedhelm Döhl, director of the Basel Music Academy, described Dieter Roth as “an amateur who can say something to musicians on the subject of music, non-music, not-yet-music, no-longer-music and so on, from which musicians can perhaps learn to ‘speak’ musically, to make something out of nothing, to turn something into something different, something personal, in this case something Dieter-Roth-ish.” This applies perfectly on this 1973 recording of Roth and cohorts in action. Insanely great Fluxus document that balances perfectly on the tightrope between free improvisation and Roth’s primordial, passionate, chaotic, chthonic, and creative audio work. It is a seductive presentation of Roth’s wistfully perverse and reclusive sound art in which he so successfully broke down the distinction between artistic genres. On this here recording, Roth’s link to Fluxus involved, among other things, his interest in music/sound, in ephemeral materials, and in an anarchic, prankster humor. Just insanely brilliant!!! Price: 350 Euro

175. BIG BROTHER & THE HOLDING COMPANY: “Piece Of My Heart b/w Turtle Blues” (CBS Sony – SONG-80075) (EP Record: Near Mint - small tear on label/ Picture Sleeve: Near Mint). Early Japan only 2-track EP release of Big Brother in action with Janis. Comes housed in a Japan only picture sleeve art design that looks tremendously cool. Hardly ever surfaces on these shores... Price: 250 Euro
176. BIG BROTHER AND THE HOLDING COMPANY: “Down On Me b/w Call On Me” (Mainstream Records/ Nippon Columbia – LL-2208-MS) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint) Japan only issue, without a doubt the rarest Big Brother & Holding Company related release from down here. Japan only picture sleeve release that was released in November 1968. The Japanese EP picture sleeve issue was already pretty elusive to begin and so far this is only the 2nd copy ever I can hold in my mittens. Top condition all the way, impossible to upgrade upon and a must for any West Coast psych collector. Pretty sure this one will never ever cross your path again. Price: 300 Euro
177. BIG BROTHER & THE HOLDING COMPANY: “Cheap Thrills” (CBS Sony Japan – SONP-50030) (Record: Near Mint/ Jacket: Near Mint ~ MINT, still housed in original shrink wrap/ 4 paged Insert: Mint/ Capsule Obi: Mint – still housed in the shrink). First original Japanese pressing, complete with the always-missing capsule obi that sit on top of the record. Jacket and OBI come housed in original shrink and all complete with Japan only HYPE sticker present on top of the shrink!!! The music needs hardly any introduction I guess; a stellar Big Brother & the Holding Company flank Janis Joplin. The band is acidic as hell, guitar slasher James Gurley breathes out molten lava from his six silver strings, making hem next to Cipollina the best West Coast hired gunslinger. Massive. 1st original Japanese press is quite a tough one to dig up days. Top copy. Price: 150 Euro
178. BIG STAR: “#1 Record” (Ardent – ADS-2803) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Top condition 1972 US first original pressing with NO Cut Out in sleeve. Best condition imaginable! Hard to improve upon. No. 1 Record isn’t revolutionary — the group works within the well-defined forms — it’s just exceptionally good. The record oozes out as strong a statement of purpose as you’re likely to find on any group’s debut album. Also, it is the only Big Star album to officially include Bell as a band member and co-songwriter. Bell is often credited with giving the album its polished sound, as drummer Jody Stephens recalls, “Alex would come in and put down something rough and edgy and Chris would come in and add some sweet-sounding background vocals to it.” With Chilton and Bell sharing the songwriting, #1 Record was heavy with yearning pop song vibes of heartache and hope. Standouts such as The Ballad Of El Goodo, Thirteen and Try Again were precariously balanced between elation and despair. Big Star’s music was largely neglected upon its original release, mostly due to near non-existent distribution from Stax Records (who held the distribution rights to Ardent Records), but the band’s standing among rock royalty has steadily risen ever since. What was needed was for the band to make it, and unfortunately, they didn’t. Even though judging by the brilliance and timelessness of this album they were certainly big star but sadly it was never a #1 record. Shame. #1 Record sold less than 10,000 copies during the period surrounding its original release. Because of this, Bell and Hummel left the band. You would be hard pressed to find anyone who has tried to put melody to rock music since 1972 who doesn’t cite Big Star as a favorite. Simply one of the best records ever made. Original 1972 US pressing in amazing shape! Price: 500 Euro

179. BIG STAR: “Radio City” (Ardent – ADS-1501) (Record: Near Mint/ Jacket with PROMO seal on cover: Excellent ~ Near Mint) Top condition copy. Largely lacking co-leader Chris Bell, who made the decision to leave the band following the 1972 release of #1 Record and left Alex Chilton at the helm as primary songwriter on album number two. So one half of Big Star’s songwriting duo was gone and it left its influence behind. Big Star’s second album also lacked something of the pop sweetness (especially the harmonies) of their first album. What it possessed was Alex Chilton’s urgency (sometimes desperation) on songs that made his case as a genuine rock & roll eccentric. If #1 Record had a certain pop perfection that brought everything together, Radio City was the sound of everything falling apart, which proved at least as compelling. Still, Chilton was able to use this opportunity to shine and prove himself to be an incredible songwriter on his own. Journalists noticed: bearing a tongue-in-cheek title, Radio City garnered rave reviews and produced several cult favorites, including “September Gurls,” which has been covered by everyone from Mike Mills writes, “On Radio City, Chilton confirms his place as one of the best songwriters in rock and roll. While ‘September Gurls’ may be the best-known song from this album, every other song here is one that I wish I’d written.” Still, at the time Big Star created a hit record that sadly – in their time – never was. One of the best ever power pop records ever to have been put down on wax. Super clean copy, promo sticker on sleeve. Price: 500 Euro

180. BIG STAR: “Third/ Sister Lovers” (Omnivore – STXS-1078) (Record: Near Mint/ Outer Box: Near Mint/ All Inserts & Charts: Mint). Long gone issue of only 2000 copies that was released as a part of RSD in 2011. Third is definitely a masterpiece!!! But it is a bi-polar masterpiece due to its dramatic mood-swings between happiness and absolute hair pulling despair. Third never displays the pretention of being a great rock ‘n’ roll album. Instead it mines the depths of failed relationships before at a wink snapping back to honest uncut joy. The whole affair breathes out Alex Chilton’s mood for self-sabotage and self-destruction in its bleakest and most depressive forms. Third became a blueprint in depicting loneliness, anguish, bitterness and misery. But is does so without ever loosing its brutal honesty. But like all mental unsavory it is at one moment heartbreakingly beautiful and even pop-ish in its execution (“Thank You Friends”) and a couple of minutes later it can be devastatingly cruel (“Holocaust”). Even the Christmas track “Jesus Christ” has an echoing feel that keeps Chilton separated from his sentiment. Third is a peculiar beauty but it can be a tough nut to crack while immersing yourself into its emotional rollercoaster ride. It is a poetically superstitious record, a jangled mix of defiance and despair and sitting through it won’t make things any easier for you to swallow. But then again, watching things fall apart never is. Yet, it makes for amazing artistic expression; songs that relate to you on a more personal level, and take you to places of personal tragedy. Hope and comfort are found in the idea that others have also hurt as badly as you have. Third never intended or set out to be such a groundbreaking recording, it just happened and it is one of the few unheralded recorded masterpieces out there. Do you self a favor, immerse yourself in it, try not to slash your wrists or drown yourself in Quaaludes, Third is so beautiful it just hurts. Price: 150 Euro

181. BILLY NICHOLLS: “Snapshots” (South West Records – SWLP-003) (Record: Near Mint/ Gatefold Jacket: Near Mint). Long gone and deleted killer LP of outtakes and demos by Billy Nicholls that first saw the light of day in 1999. Perfect addition to “Would You Believe” and comprised of outtakes that certainly do not stand in the shadow of his sole LP. This is an amazing collection of softly brewed popsike songs, beautifully crafted and brimming over with baroque keyboards, tactfully arranged brass and sticky-sweet multi-part harmonies. A heady slice of sixties baroque pop (chimes, strings, multi-part harmonies, brass) the overall vibe is very London meets L.A. Just feels like an angel pissing down your ears. Beautiful! Price: 65 Euro
182. BIRKIN, JANE & SERGE GAINSBOURG: “S/T” (Philips Japan – SFL-7384) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Japan only issue from 1969 that comes housed in Japan only designed sleeve art. Comes complete with mega rare first issue OBI, which just never surfaces. First time in 15 years I see a copy all-complete with obi. This collection of vintage 1960s orchestral pop from the master of surreal Gallic eroticism includes kitsch masterpieces like "69 Annee Erotique" and Jane Birkin and Serge Gainsbourg's chart-topping "Je T'Aime (Moi Non Plus)," in a procession of jazzy instrumentals accompanied by Gainsbourg's throaty, Gitanes-coated vocals and the pertly sexy interpolations of his stunning wife. A classic and rarely seen Japan only 1st original press in altered jacket art. Complete with mega rare first issue obi!!! Price: 350 Euro
183. BIRKIN, JANE: “Di Doo Dah” (Philips Japan – FDX-171) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: MINT). TOP COPY Original 1975 Japanese pressing on high quality vinyl. Complete with always-missing OBI!!! Originally released in France in 1973 “Di Doo Dah” might be the ideal introduction to the world of Jane Birkin's recordings if just for the inclusion of the title track, “Help Camionneur!”,“ Kawasaki” and “Mon Amour Baiser” alone. Nevertheless, every single track on this album is absolutely erotic killer material. Featuring an incredibly sexy cover shot, Jane's second album is a much more relaxed sounding album than her first one. With Gainsbourg again providing the songs and the amazing Jean-Claude Vannier coming on board with the seductive arrangements, Jane really comes into her own here as a solo artist. This album also includes some great guitar work and is on the whole one of the great slow burn French funk albums from the early seventies. Utterly erotically charged, sweet silked nymphet voiced and beautifully orchestrated, this album will lift you up to previously unattained intoxicating heights of unbridled lustful pleasures. A pure pleasure-dome of joyful sin, this record is just too good to be true. All time highest recommendation in my book. Top copy and high quality original Japanese pressing. The sound quality is so much better than the French original or the recent reissue, simply sonic wise there is no competition with this one. Price: 250 Euro
184. BIRKIN, JANE: “Lolita Go Home” (Philips – FDX-186) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1st press from Japan complete with always missing obi. Together with “Di Doo Dah”, Birkin cut two fantastic albums that till this day keep on resonation through the empty canyons of my mind. Sexy, cute, bewitching. Original 1976 Japanese pressing on high quality vinyl. Copies with obi are completely vanished these days and this copy is just immaculate. Price: 150 Euro
185. The BIRTHDAY PARTY: “Prayers On Fire” (Trio Records – AW-23014) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 1st press original from 1982 all complete with rare obi. 1981 debut album from seminal Australian post-punk outfit the Birthday Party. What a name!!! It was an aggressive onslaught of controlled Beefheart-ian chaos and subliminal terror. Nick Cave’s dark lyrics are barked and howled into existence, demonic melodies rolling an tumbling over a backing band of misfits that explore a wide range of hidden influences such as weird jazz, pure destruction, punk, cross-breeding with a bone-chilling carnival sideshow. What a ride. Rare Japanese first original pressing with obi, has been ages since I last had a copy of this much needed beautiful sonic clusterfuck. Price: 150 Euro
186. BISHOP, WALTER JR.’s 4Th CYCLE: “Keeper Of My Soul” (Black Jazz Records/ Toei Records – YX-6090) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Bloody rare and never offered before Japan 1st original pressing all complete with beyond-cool obi. On his second and last Black Jazz album Keeper of My Soul (1973), Walter Bishop Jr. plays acoustic and electric pianos and organ with a sense of uplift, a quality characterizing the best soul-jazz of the day. Opening number "Soul Village" is a fascinating union of jazz and funk; today, it still sounds fresh in its immediacy. Here Bishop brings personality to his playing of a plugged-in piano, no easy task, while young saxophonist Ronnie Laws, a few years away from his descent into the disco-fusion abyss, captures in his solo some of the saxophone-generated warmth associated with his mentor, David "Fathead" Newman. The little remembered vibraphonist Woody Murray handles himself well, and the funk rhythm section cooks. Bloody rare Japan 1st original press with OBI, just surfaces about…never. Price: 450 Euro
187. BISHOP, WALTER Jr.: “Coral Keys” (Black Jazz Records/ Toei – OPL-2002) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). White label PROMO issue. Comes with rare first issue OBI. The songs on Coral Keys are decisive and radiant, thankfully free of the indulgences marring many jazz records issued in the early 1970s. The title-track finds flutist Vick catching a melodic light tropical breeze before and after a moderately ebullient solo by sure-fingered Bishop. On 'Waltz for Zweetie,' a close cousin of John Coltrane's 'My Favorite Things,' Vick's soprano conjures a lyric poetry that brings to mind Coltrane; here Bishop plays his heart out rather quietly. Highlighting 'Track Down' is Bishop's deployment of his formidable technique in the service of his active imagination." --Frank-John Hadley, Downbeat. Personnel: Walter Bishop, Jr. (piano), Idris Muhammed (drums), Reggie Johnson (bass), Harold Vick (flute & soprano), Alan Schwartz Benger (drums), Woody Shaw (trumpet). Black Jazz Records first original Japanese pressings all-complete are a bitch to find. Here is one for your pleasure…has been elusive ever since. Price: 275 Euro
188. B.J. WARD: “Vocal-ease” (Universal Music Japan – UIJV-75142) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). Japan only limited high-quality audiophile deluxe edition of B.J. Ward’s subliminal solo debut LP, following her stint with the Inner Dialogue. Price: 75 Euro

189. BLACK ARTISTS GROUP: “In Paris, Aries 1973” (BAG – 1973/ Private Press) (Record: Excellent ~ Near Mint – small non-sounding scuff on side of side 2/ Jacket: Excellent ~ Near Mint). Extremely rare free jazz monster record that resurfaces hardly ever in lists. Original 1st press private issue. This sucker was released privately by the group themselves in very tiny quantities. Sonic-wise, it is a slab right in yer face, pure freedom power of the highest quality. A scorpion sting ridden infectious improvisational interaction that really kicks out the jams on all levels of the intergalactic voodoo hoedown. The line-up consists out of Art Ensemble front man Joseph Bowie (trombone, conga, miscellaneous instruments), Baikida E.J. Carroll (trumpet, flugelhorn, bass, log drum, cowbells, misc. instr.), Charles W. Shaw JR (drums, woodblocks, gong, misc. instr., stylophone), Floyd Le Flore (trumpet, misc. instr., voice) and Oliver Lake (saxophones, flute, marimbas, mud drums, misc. instr.). The record itself is pristine, top copy. Jacket is also in superb condition. Next to impossible to upgrade upon this beast. For free jazz, improvisation and avant-garde psych maniacs. Highly recommended. Price: 375 Euro

190. BLACK & BEAUTIFUL: “Soul and Madness” (Jihad Productions – Jihad-101) (Record: Excellent ~ Near Mint/ Jacket: VG++ ~ Excellent – has some edge wear). Extremely shy bird to catch this one here. Jihad was a label that was formed by Imamu Amiri Baraka to broadcast the work of the Jihad Cultural Center, Newark NJ. It produced and issued only three discs, but recorded much more. “Black and Beautiful....Soul and Madness” featured Baraka reading and reciting his poetry, and resulted in an incredible relic of the righteous underground of the late 60s and merging into one of the few classic albums on the Jihad label! The group on display here was a vocal group of sorts -- sometimes singing, sometimes rapping in a Last Poets-styled way -- often doing both at the same time, in a mode that was really compelling and extremely powerful! Fronted by Leroi Jones, on the first word music record he ever did that was completely devoted to the style. He got flanked by a great group of singers and together they boil down into a revolutionary exercise that got spiked up with raw African beat, graceful harmonies, and free-jazz sensibilities — a triad that doesn’t exactly mix with ease but they manage to pull it off with great conviction and deliver an astonishing tour de force. . The group included next to Leroi Jones the likes of Freedy Johnson, Leonard Cathcart, Aireen Eternal, Gilbert Monk and Yusef Iman – at times only aided with some spare percussion. In all, it is a recording that would have fit in with recordings by contemporaries such as Gil Scott-Heron, The Last Poets, and The Watts Prophets. The musical backing might be a bit too sparse and minimal at times, but the words still pack a contemporary punch. If one is interested in the historical origins of rap and hip-hop, one can find here some of the Zietgeist that would produce some incredibly powerful rhymes and tunes a generation later by such cats as Public Enemy and KRS-One, and today's underground rappers such as Common and Mos Def. But is also more than that, the record was not only forward in its thinking and in its musical effort, but to come out and talk about the Afro-American struggle for equal rights at the forefront of this avant-music was a feet in itself. The chanting that takes place on “Form is Emptiness” demonstrates its title well. Form is completely abonded in this exercise of spiritual reflection and the atonal community chant. “Madness” reaches the farthest out, displaying true violence towards the era’s racial differences and inequality. Baraka basically screams behind yelps and horn squeaks and cries. To come across the record in today’s musical world is very much a breath of fresh air, much in the way the ESP-Disk recordings of the late 60s were. While more abrasive and maybe less towards the traditional free-jazz efforts, the primal essence of Black & Beautiful, Soul & Madness is what keeps its tradition alive today. By staying minimal, it becomes timeless with its approach. A full-frontal killer slide and a tough one to dig up. Always in bad shape, this record is surprisingly clean, the jacket has some storage wear but not too bad, best copy I have seen in over a decade. Price: 350 Euro
191. BLACK SABBATH: “The Best Of” (Vertigo Japan – FD-94) (Record: Excellent ~ Near Mint – has one tiny visible fingernail scuff on side 2/ Gatefold Jacket: Excellent ~ Near Mint – some foxing inside gatefold/ Attached 4-paged insert with gatefold sized band picture: Near Mint/ Obi: Near Mint). Japan only release. Complete with rare OBI!! Comes in heavy textured gatefold jacket and adorned with great picture 4 paged attached insert, making it one of the grail for every self-respecting Black Sabbath fan. Awesome and eye-popping beautiful release. Rare item with poster pin-up and OBI present. Price: 400 Euro

192. THE BLANKS: “The Northern Ripper b/w Understand – Break Down” (Last Year’s Youth Records – LAST-19) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Nice and scarce reproduction limited reissue from days long gone of this classic and full frontal fantastic punk slide. Serial killers, Nazis and Satan are always edifying topics for songs in my eyes and this is no exception. ‘The Northern Ripper’ is manic, nasty and not to mention trashy rock ‘n’ roll lunacy at its finest. Great record with a cheap & nasty lo-fi production, the intro to 'The Northern Ripper' features a chilling message taped from a news bulletin which claimed to be the voice of the then still at large Yorkshire Ripper. Released at a time when Sutcliffe was still at large, it’s crazy to think that punk rock glue casualties were pogoing to this when he could well have been coming for their mothers. Opening with a neat sample of the infamous Wearside Jack tape, it’s the closest the UK came to its own ‘Gacy's Place’. The two B-sides are nice also. Price: 35 Euro

193. CARLA BLEY with Mike Mantler; Steve Lacy; Kent Carter and Aldo Romano: “Jazz Realities” (Fontana – 195J-22) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Absolutely flawless condition, high quality Japanese pressing of this amazing jazz slide. Comes all complete with RARE OBI!!! One of the classic Fontana sessions by American players from the mid 60's. Carla Bley leads a group that includes Steve Lacy and Mike Mantler, and which runs through originals by Bley and Mantler like "Doctor", "Closer", "Walking Batterie Woman", and "Oni Puladi". Much nicer than her later stuff, and much closer to the New York avant sound of the 60's than her 70's work would ever lead you to think. Indispensable in my book and a top notch copy, virginal on all fronts. And with OBI present. Get it!! Price: 50 Euro
194. CARLA BLEY with Mike Mantler; Steve Lacy; Kent Carter and Aldo Romano: “Jazz Realities” (Fontana/ Victor – SFON-7092) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Obi: Near Mint). Absolutely flawless condition, very FIRST Japanese original pressing of this amazing jazz slide. Comes all complete with RARE very first issue OBI!!! One of the classic Fontana sessions by American players from the mid 60's. Carla Bley leads a group that includes Steve Lacy and Mike Mantler, and which runs through originals by Bley and Mantler like “Doctor”, “Closer”, "Walking Batterie Woman", and "Oni Puladi". Much nicer than her later stuff, and much closer to the New York avant sound of the 60's than her 70's work would ever lead you to think. Indispensable in my book and a top notch copy, virginal on all fronts. Very first press issue all complete with OBI present – first time I can lay my mittens on a virginal Japanese original pressing. Get it!! The obi is so damned cool it hurts they eyes every time I look at it. Price: 200 Euro
195. PAUL BLEY TRIO: “Touching” (Fontana – SFON-7078) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1966 Japan 1stpressing in top condition of classic Fontana slide. Comes all complete with rarely seen very first OBI flashing its colors! Crystal clear sounding pressing, on “Touching” Bley gets flanked by Kent Carter on bass and Barry Altschul on drums and as a trio they started recording compositions that featured works by Carla Bley, Ornette Coleman and Gary Peacock's wife Annette Peacock. Several trio projects materialized in Scandinavia during the years 1965-1966; from this point on Bley would spend increasing amounts of time performing and recording in Europe. “Touching” was recorded and released during that period and shows Bley in top form, free roaming on the keys but yet very lyrical in his approach, making the recording such a thrill to lend your ears to. "Pablo" is a free improvisation but otherwise the compositions contrast thoughtful moments with fiery group interaction. The playing by the trio is at a high level and it is interesting to hear Paul Bley’s mid-'60s avant-garde improvising style, which offered a contrast to the denser playing of Cecil Taylor. Beautiful recording!!! Just stellar, Paul Bley will be missed indeed. With bloody rare first issue obi present! Virginal condition! Price: 200 Euro
196. PAUL BLEY TRIO: “Blood” (Fontana/ Nippon Phonogram – SFON-7098) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Original 1966 Japan 1stpressing in top condition of classic Fontana slide. Comes all complete with rarely seen very first OBI flashing its colors! One of THE, if not the ground-breaking piano trio album recorded by Bley in the Sixties, where he’s joined by Mark Levinson on double bass and Barry Altschul, assaulting the drums. Bley showed an alternative means of musical development from the trios of Bill Evans, unpicking a tune and playing with its components in unpredictable ways – odd directions, digressions, after thoughts, even second thoughts – but so that the tune remains just visible, like a figure in a cubist painting (Bley’s Picasso to Evans’ Matisse). There are times when the music seems tempo free, even at a standstill; on other occasions different tempi are superimposed, something Bley would exploit further in his later music, particularly his solo performances. The trio performs as a unit, alert to every change in light and shade. Sadly, much of Bley’s work from this period is now perhaps unjustly neglected. Time to change that…rare Japan 1st original press all complete and virginal all the way through….lick your decals off baby! Price: 200 Euro
197.  BLEY, PAUL - The FABULOUS PAUL BLEY QUINTET: “S/T” (Columbia – YS-2756-MU) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japan 1storiginal pressing on Columbia Records, all complete with first press issue OBI. TOP COPY, original 1st pressing in totally MINT condition!!! Featuring Don Cherry, Ornette Coleman, Paul Bley, Charlie Haden and Billy Higgins. This is the first original high-quality Japanese pressing of this NY loft scene jazz masterpiece. Essential and great. Never seen a copy as pristine as this one here and the first time I could have it all complete with OBI, totally untouched. Not that rare or anything, but this condition is quite a jaw dropper, always hammered, this one is flawless. First time ever with the obi, which makes it a bit semi-rare….Price: 125 Euro

198. BLEY, PAUL: “Ramblin’” (BYG Actuel/ Nippon Columbia – BYG-12) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Mint/ Obi: Near Mint). Top condition Japan original press copy all complete with scarce obi. “Ramblin’ comes from an adventurous period in Paul Bley’s career, at a time when he was associated with some of the more avant-garde elements. His playing often takes an attractively aggressive approach, which he tempered in later years. There is his characteristic emphasis on the beauty of the single note. The gorgeous, lush sounds on "Albert's Love Theme," for example, or the slow, beautiful, expressive take on Annette Peacock’s "Touching" are filled with enormous depth. Carla Bley’s "Ida Lupina" is given a sophisticated treatment that emphasizes tonal bliss. As with all Bley recordings, this one takes close listening to appreciate its subtleties, but the joy is well worth the effort. Barry Altschul is spectacular on drums, with effective polyrhythmic support, and bassist Mark Levinson fits perfectly into the mix.” (All Music Guide). High quality Japan pressing, sounds much better as opposed to the French press issue. Price: 85 Euro

199. ANNETTE & PAUL BLEY: “Dual Unity” (Freedom – 2383-105) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint). Rare 1972 UK first original pressing – in just unbelievable top condition, no lamination defects, clean labels and untouched vinyl, virginal on all fronts. The combination of Paul Bley and his then wife Annette Peacock dragging all kinds of unstable synthesizer equipment around Europe and backed by the madcap skin shifter Han Bennink on drums, adds up to the stuff of musical legend. This is an amazing – one of the best - musical documents that arose from those encounters. Flanked by a mad rhythm section the music of Paul and Annette goes completely AWOL as asymmetric grooves and primeval synthetic sounds bounce of each other, Peacock is in top form, occasionally taking to mad hatter vocals while energetically attacking an acoustic piano as part of a mix that is continually saturated by synthesizer sounds emanated by her husband’s home made electronic gear. These electronic whiplash assaults seem more and more like radio frequencies jamming up the ether as things proceed into a tornado of dusty noises that slowly engulfs the aural landscape. Details like a frantic arco bass solo are undermiked, adding to the overall insanity. The whole affair is colored by an intoxicating intuitive approach that entirely exists on its own plane, hurtling in and out of focus that leaps at time s in a glorious maniac fury. Utterly fantastic, but sadly quite a bitch to dig up in recent years. Top copy UK first press issue in amazing top condition, impossible to ever upgrade upon or even find better, probably only played once to tape it. Seriously scarce in such a state. Price: 350 Euro
200. ANNETTE & PAUL BLEY: “Dual Unity” (Freedom / Trio Records – PA-7032) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint/ 4 Paged Booklet: Mint). 1971 Japan first original pressing – PROMO issue complete with hardly ever seen obi and booklet. Top condition. Sounding so much clearer and better as opposed to the French issue. The combination of Paul Bley and his then wife Annette Peacock dragging all kinds of unstable synthesizer equipment around Europe and backed by the madcap skin shifter Han Bennink on drums, adds up to the stuff of musical legend. This is an amazing – one of the best - musical documents that arose from those encounters. Flanked by a mad rhythm section the music of Paul and Annette goes completely AWOL as asymmetric grooves and primeval synthetic sounds bounce of each other, Peacock is in top form, occasionally taking to mad hatter vocals while energetically attacking an acoustic piano as part of a mix that is continually saturated by synthesizer sounds emanated by her husband’s homemade electronic gear. These electronic whiplash assaults seem more and more like radio frequencies jamming up the ether as things proceed into a tornado of dusty noises that slowly engulfs the aural landscape. Details like a frantic arco bass solo are undermiked, adding to the overall insanity. The whole affair is colored by an intoxicating intuitive approach that entirely exists on its own plane, hurtling in and out of focus that leaps at time s in a glorious maniac fury. Utterly fantastic, but sadly quite a bitch to dig up in recent years. Top copy high audio quality first original Japanese pressing that comes housed in a sturdy Japan ONLY gatefold sleeve art. Price: 300 Euro

201. ANNETTE & PAUL BLEY: “Dual Unity” (Freedom / Trio Records – PA-7032) (Record: Near Mint/ Gatefold Jacket: Excellent – some foxing visible but faint/ OBI: Near Mint). Same as the above but booklet is missing but the Obi is there, gatefold sleeve has some mild faint foxing due to age but apart from that it is spotless. Comes cheap. Price: 175 Euro

202. BLEY PAUL with GARY PEACOCK: “S/T” (Globe – SMJX-10118) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). From the moment “Blues” (Ornette Coleman) kicks off we’re already caught up in the flow of this magnificently swinging album. The band is in fine form, navigating its melodies with fluid energy. Bley proves his comfort in Coleman territory, easing his way through a series of dexterous detours. “Getting Started” (Paul Bley) follows up with a ballad, its brushed drums giving off a pleasing grainy feel, at once comforting and desolate. Peacock’s soloing is eager and impassioned, and just slightly askew. “When Will The Blues Leave” (Coleman) is a wonderfully syncopated affair. Brushes make room for drumsticks, adding a delicate punch to the overall sound. Even Bley cannot restrain himself from uttering cries of joy as the mood intensifies. Peacock’s solo connects splendidly in spurts of tightly knit clusters. “Long Ago And Far Away” (Jerome Kern) moves forward with a locomotive rhythm and finds Peacock in a particularly exuberant mood. “Moor” (Gary Peacock) shows off Peacock’s soloing yet again, as refreshing as it is restless. “Gary” (Annette Peacock) is a lonely catharsis forged in bass and piano. The bass solo here is dry and somber, as if contemplating a jump from a high precipice. When the piano returns, it’s not so much to pull the bass away as to keep it poised on the brink. “Big Foot” (Bley) is quite simply a rip-roaring good time. One can simply feel the joy of its creation. Finally, “Albert’s Love Theme” (Annette Peacock) presents us with a new direction as the trio goes its separate ways. Bley is consistently on point, Peacock hops with vivacious confidence, and Motian brushes and rat-a-tat-tats his way through five of the eight cuts (the remaining three feature Billy Elgart in his place). The recording, made in 1963 (Motian session) and 1969 (Elgart session), is trebly and pleasantly dated, giving it a classic feel while also remaining highly detailed. As everyone shines here, I tend to focus on a different musician with each new listen. This time it’s Peacock who captures my attention. His fondness for higher registers punches holes in the music and allows for an airier feel. The recording could hardly be any more different from ECM’s more recent sound, though the sense of space is still there. Peacock’s strings buzz ever so slightly; Bley’s ticklings bounce and sing; and the drumming gets the feet moving all the same. Considering the time and place this album was cut, and the synergy of its talents, it practically recommends itself.” (Tyran Grillo). Top condition Japan 1st original pressing. First time ever I come across the high quality Japanese pressing, all is in virginal condition and has the rare obi also. Price: 200 Euro
203. BLEY, PAUL: “Ballads” (Overseas Records/ Teichiku – UPS-527-V) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). First original Japanese press issue of an early ECM release, adorned with cool looking and rare 1st issue obi. This is an all-Annette Peacock set already demonstrated the crystal-clear recording and wide-open spaces for which the label would come to be so well known. Throughout the long opener, ironically titled “Ending,” pianist Paul Bley handles most of the thematic legwork, while bassist Gary Peacock and drummer Barry Altschul skitter across his ivory surface like ice skaters so skilled, they can stumble on cue. The title is multifarious. It’s the ending of a turn; the ending not of a life, but of the fallacy of its fulfillment; an ending of circumstance; an ending of watersheds; an ending of all the things in this world that buy us freedom, only to spit it back in our face. Altschul steals the show, soloing in slow-moving surroundings. The lagging pace lends further prominence to his playing, underscoring far more than mere virtuosity. As the piece goes on, it trickles like water, perhaps cluing us in on the title’s central meaning: that is, the music’s own loss of energy and creative source, a broken dam letting out its final drops. This is restrained music-making by a trio we know can swing with the best of them. Next is “Circles,” which seems to sweep up the mess of a long-waged battle, all the while showing an immense amount of fortitude in dealing with the prospect of an unclear future. Lastly, “So Hard It Hurts” gives a vivid sense of Annette Peacock’s compositional audacity and her unique way of turning gentility into pain, and vice versa. This time, Altschul is less cymbal-oriented and more focused on hitting the skins, providing ample room for bassist Mark Levinson’s own inspired finger work. Top condition 1st original press issue of rarely seen Japanese version. Price: 100 Euro
204. BLEY, PAUL: “Mr. Joy” (Mercury/ Nippon Victor – SMX-7092) (Record: Near Mint/ Heavy Gatefold Jacket: Excellent ~ Near Mint/ OBI: Near Mint). Very first Japan original pressing in outstanding condition, housed in heavy gatefold sleeve and complete with 1st issue obi. Recorded live at the University of Washington in Seattle in 1968, Bley is on piano here, along with bassist Gary Peacock and drummer Billy Elgart. “Most of the material is from Annette Peacock’s songbook. Gary Peacock turns in a performance here that is among his best on record, including some really outside soloing and a slew of marvelous motifs such as the way he plays in the high register on the cover version of Ornette Coleman’s "Ramblin'." Bley also gives a performance of several dimensions on that tune, going lighthearted with gospel chording that brings to mind Mose Allison and then digging up truffles, trilobites, and a pirate's treasure chest in a thrilling solo excavation. Elgart’s sure touch with the beat also gives the trio a sound that is different than when Barry Altschul or Paul Motian would do at the drums. At the time, this might not have been what Bley wanted. There are live recordings from this period that are much more open-ended, sometimes involving performances of songs where the theme itself is barely referenced. The drumming in these performances makes less overt reference to the beat. It is not an overall judgment that Bley is better whenst swingeth, but in the case of this particular recording the more concise performances have proven to be like mother of pearl found on the beach.” (All Music Guide). The music is generally upbeat, rather free and very accessible. There is one Ornette Coleman piece, ‘Ramblin'’, one Bley original - ‘Only Lovely’, and the other are penned by Annette Peacock. It’s a great place to get into Bley’s music! Price: 75 Euro
205. BLIND LEMON JEFFERSON: “The Best of Blind Lemon Jefferson” (Victor/ Milestone Records – SJET-8339) (Record: Near Mint/ Jacket: Near Mint/ 6 Paged Insert: Excellent/ Obi: Near Mint). Rare Japanese pressing out of the late sixties. Comes in fabulous cover art and on superior vinyl. “Among the influential guitarists of the 1920s only Lonnie Johnson claims a stature comparable to that of Blind LemonJefferson. Blind at birth,Jefferson began performing in his early teens, playing in the streets, at parties, wherever he could find an audience. As the years progressed, his repertoire expanded to include not only blues but also field hollers, work songs, ballads, prison songs, hymns -- all expressed in the idiosyncratic style he had developed. His guitar style is marked by unpredictable riffs and irregular rhythms that are free of any easily pinpointed influence. As a writer Jefferson was given to the dark, brooding tales, but he leavened chilling narratives such as "'Electric Chair Blues" and "Prison Cell Blues" with the light of salvation proffered in gospel numbers ("He Arose from the Dead," "I Want to Be Like Jesus in My Heart") and a randy sense of humor ("Match Box Blues"). Recording steadily during the last four years of his life, Jefferson left a body of work that made a significant impact on succeeding generations of blues artists -- Lightnin' Hopkins, T-Bone Walker, and B.B. King are among the giants who acknowledged Jefferson's impact on their own styles -- and signature songs such as "See That My Grave Is Kept Clean," "Black Snake Moan," and "Easy Rider Blues" that were recognized as genre classics. In addition he became a footnote in early rock & roll history when his "Match Box Blues" served as the foundation for Carl Perkins' 1957 rewrite, "Match Box," which was later covered by the Beatles. The Yazoo and Milestone albums are highly recommended, as all three offer a broad overview of Jefferson's best-known work with a minimum of song duplications and uniformly solid annotation. By contrast, the skimpy nine-track Penitentiary Blues duplicates a few of the songs on the Milestone set, and its generic annotation fails to provide any information about the album itself. Aficionados, however, will find the two versions of "Black Snake Moan" interesting, as well as the starkly rendered title song. The newest Jefferson title, Blue on Blues from Varèse Sarabande, divides a dozen cuts between Jefferson and Charlie Patton, with Jefferson's representative tracks including "See That My Grave Is Kept Clean," "Black Snake Moan," and "Penitentiary Blues.” (DAVID MCGEE – The new Rolling Stone Album Guide) Rare Japanese issue complete with obi. Totally essential bone-chilling stuff. Price: 75 Euro
206. BLOOMFIELD, MIKE with Nick GRAVENITES; Mark NAFTALIN & Friends: “The Jam – Initial Shock” (Cobra Records – COBRA010) (2 LP Record: Near Mint/ Jacket: Near Mint). Rarely offered 1989 original pressing of rare Italian boot documenting a fabulous jam session recorded between 1977 and 1979 of these Frisco heavy scenesters. Bloomfield was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks. He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, "Triumvirate", was released on Columbia, but didn't make much of a splash. Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived super group with Barry Goldberg, Rick Gretch (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels. Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations. By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37. Here you can hear him in intimate live session recordings that show he was always on top of his game. One of my all time fave players!!! Rarely seen boot from long time ago. Price: 50 Euro
207. BLUE CHEER: “Blue Cheer Album 4” (Philips – SFX-7258) (Record: VG++ and plays EX/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent). Bloody rare Japan 1st original pressing all complete with damned rare SFX-Obi. Record has a few lines and marks that do not affect the play much but the mega rare obi is present in its full glory. Damned rare and due to the couple of markings on the record, this baby comes dead cheap. Price: 350 Euro
208. The BLUE HUMANS Featuring RUDOLPH GREY: “To Higher Time” (Newalliance Records – NAR-104). Totally vanished 1993 Us 1st original pressing of brutal free jazz slide recorded live at CBGB on October 12, 1990 – spearheaded by illustrious Rudolph Grey who gets flanked by Alan Licht and Tom Surgal. The Humans' debut is practically as New York artsy underground as it gets -- a band with Rudolph Grey, fellow guitar maniac Alan Licht and Lydia Lunch collaborator/drummer Tom Surgal, produced by Thurston Moore, can't really be viewed otherwise. To Higher Time is a short record, as it was a 33 rpm EP slide but it doesn't waste a note when it comes to free noise mania. Grey and Licht each go merrily nuts on their axes, with Grey specifically playing left channel and Licht right, should a listener choose to listen to only one at a time. Everything picks up slowly but surely as the track progresses, achieving the same overall level of open-ended improv on the other tracks. In the final two minutes, the threesome come up with a series of blasting climaxes before coming to a sudden end -- not a bad way to bow out. Brilliant. The record came out on blue colored wax btw… Price: 50 Euro

209. The BLUE HUMANS: “Live – N.Y. 1980” (Audible Hiss – 003) (Blue Wax LP: Near Mint/ Jacket: Near Mint). Original 1995 first original US press issue of brutal, right-in-yer-face free jazz slab of sonic warfare. Comes on blue colored wax. “This album is the earliest recording of the explosive free improvisation group led by guitarist Rudolph Grey, recorded live in New York with a lineup that featured the power of legendary free jazz drummer Beaver Harris behind Grey’s corrosive feedback guitar. Free jazz saxophonist Arthur Doyle also appears through the smoke of guitar feedback, and speaker destruction is provided by Rudolph Grey, whose style is like a more aggressive and abrasive Sonny Sharrock. No wonder this post-punk free improvisation had a profound influence on Sonic Youth and later incarnations of the Blue Humans featured Thurston Moore on second guitar. Live in NY 1980 is a quintessential recording of the no wave scene that abridged punk, free jazz, and noise music.” (All Music) Grey had discovered/become a fan of Arthur Doyle during through a gig during Doyle’s Alabama Feeling period. Doyle's reed playing is absolutely in a class of its own. Grey describes in the liners describes Doyle as "dangerous" and "nasty"! The three came together around 1980, bringing their crazed free jazz to post-punk audiences. On this particular night, all three players are in top form. Harris can provide a light atmospheric backing or the full-on clanging and bashing usually associated with this music. Either way, he never settles down, providing a near-constant percussive backdrop for Grey and Doyle. The former shows remarkable restraint; clearly Rudolph respected his fellow players, for his feedback-drenched strumming and slashing meshes perfectly with the others. That leaves Doyle, who goes about as crazy as you'd expect! Doubling on tenor sax and flute, Doyle's shrieks and flutters are always perfect. Interestingly, there are several points over the long tracks where one or more players will duck out to allow the others to shine. Mostly this involves Doyle and Grey leaving room for the other, but there are several points where it's just Doyle and his horn. The recording quality is pristine; if it wasn't for the enthusiastic applause you wouldn't think it was live! This is yet another gem which has been allowed to go out of print. If you have even a passing interest in truly outrageous free jazz, the no wave scene, or the early days of punk/jazz fusion, I suggest you make the effort to get this. Price: 60 Euro

210. BLUES CREATION: “S/T” (Polydor – UPJY-9129) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint/ Obi: Mint). Quickly out of print limited high quality and faithful reissue of only 500 copies. Top copy of their 1st and rarest LP. Blues Creation was one of these outfits that tried to bridge the gap between the G.S. and the New Rock, making their entrée at the end of the sixties. The band’s history goes back to June 1968, when vocalist Nunoya Fumio together with Takeda Kazuo, Noji Yoshiyuki and Tashiro Shinichi enlisted themselves under the name Bikkies for the amateur band contest “R&B Tengoku”, a televisionized contest that appeared on the Tokyo 12 Channel. Failing to win the contest, the Bikkies after all reached the 5th place, which wasn’t so bad seen against the brief television exposure they enjoyed. However, it was by that time already clear that the artistic center of the group swirled around the skills of guitarist Takeda who, sensing that the times they were a changing, altered by January 1969, a time that marked the beginning of the decline of the Group Sounds, the quartet’s name into Blues Creation. Compulsory with the name change, Takeda firmly steered the group’s musical approach into the direction of a greasy Westernized fuzz-drenched blues-rock sound. This made that Blues Creation got spotted by Polydor, resulting in a studio recording during the spring that eventually made up their first album. Released in October 1st, 1969 and simply entitled “Blues Creation”, the album was completely erected out of vicious sounding blues rock covers, construed around Takeda’s self-inflammatory guitar licks. Still, changes to perform live were quite sparse due to the fact that all the members, except Nunoya Fumio, were still high school students, restricted their flexibility. Nevertheless, they had the change to appear on a youth centered cultural television show named “Hallo Party”, followed by some stage action at the Dai Ikkai Nippon Rock Festival, which occurred on September 28th. However drastic changes were to take place. By the end of 1969 Nunoya departed from the group’s ranks, followed in 1970 by Takeda dismissing all the resulting members and having them replaced by a new breed of track burning psychedelic rockers. Simultaneously with the drastic line-up permutation, Blues Creation altered with it also its sound into a harder driven’ rocking blues approach, dashed with substantial burning acidic riffage, elaborated psyched-up differential jamming and with enough room for instrumental improvisation rundowns. The contents of their second album “Demon & Eleven Children”, which appeared on August 25th, 1971, were unmistakably constructed under the influence of British hard rock. But that aside, the sound the band blasted out on their first LP remains a vicious psychedelic slab of filthy white boy trash licks and wasted snotty vocals, all injected fuzz drenched creeping soloing, long tracks impregnated with screaming and stoned vocals. High quality Japanese pressing straight from the original masters, housed in thick gatefold sleeve and with identical original obi reproduction. Long gone and out of print in the blink of an eye. Price: 85 Euro
211. BOA: “Wrong Road” (Snakefield – SN-1) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Top condition US original pressing of crude, full blown basement primeval smacked-out lo-fi deranged psych slide with snarling fuzz, cavemen rhythm section, cheap roaring keys, wasted vox. Hailing from the Detroit suburb of Auburn Heights, Boa recorded this little gem in 1971, completely live and on a Sony TC-200 in a Tupperware warehouse, giving their psych/garage a little punk twist. They did everything themselves: recording, pressing, packaging, and the marketing (which at the time was simply not done). A mere 200 copies of the original edition were pressed on their own label, Snakefield. Music-wise this outfit are the unheralded “Kings of White Trailer Trash Psych!!!!”. Just plain viciousness and uncut melancholy all embalmed into one fireball of demented filthy crude amphetamine infested psychedelic mayhem. I just love this one! Original US first pressing – private press issue – of insanely wild off-the-edge heavy psych artifact. Blessed with deliriously insane howling vocals and a gloriously addictive, smacked-out garagey basement vibe. Top copy with no defects, no small feat as many copies out there are a bit trashed – which is strange as upon listening to this gemstone it is hard to imagine anyone could safe this one from total destruction! In short psychedelic trailer trash of the upper level oozing out a “real underground” vibe!!! Rare in such clean nick as this one here, sleeve is also virginally white with no foxing or stains. Near perfect. Price: Offers!!
212. BOB JAMES TRIO: “Explosions” (ESP Disc – ESP-1009) (Record: Near Mint/ Jacket: Mint). Scarce US first original pressing from 1965 – very first press issue with 180 Riverside NY address on label and sleeve. Most copies you see are later press issues with different address. 180 Riverside is the earliest address and earliest ESP pressing, released initially in an edition of only 500 copies. All that came hereafter are re-pressings. “Explosions” was without a doubt Bob James’ finest moment and his recording debut (recorded May 10th, 1965). Sadly enough he squeezed out records of mediocre quality hereafter, which in a way secured his financial success. But for his debut recording, the young Bob was still filled with artistic passion and an unbridled love for the avant-garde arts. Flanked by Barre Phillips and Robert Pozar, James delivers here one of the finest ESP titles available, fusing free jazz with electronic music and tape collage excursions, the courtesy of Robert Ashley and Gordon Mumma. This cross pollination proved to be a highly successful (artistically speaking) endeavor with eerie soundscapes and ghostly voices to flow through and pop during the trio’s free jazz escapades. In other words a true classic that may not lack in any collection, at least if you are serious about your music excavating activities. Beautiful and perfect copy. First original 1965 ESP pressing in TOP condition. Price: 150 Euro
213. BOHEMIAN VENDETTA: “S/T” (Mainstream – S/6106) (Record: Near Mint/ Jacket: Excellent ~ Near Mint, has small drill hole in upper left corner.). Original US 1st pressing. Top condition and one of the best era genre recordings to hit you full frontal. “Interest in this has surged during the 2000s and rightly so since it’s generally a very cool LP and one of the few albums in a 45-dominated genre loved by many ‘60s connoisseurs: acid-punk (aka garage psych). Presumably inspired Electric Comic Book-era Blues Magoos, the Long Island quintet had problems with both drugs and attitude. The band originals are all excellent Vox organ/ fuzz psych completely free of flower power vibes and their reworked cover versions are pretty demented as well. The cough syrup high school stage-play vibe of “deaf Dumb & Blind” must be heard to be believed. It is not a perfect album with a few sections that drag on but the highs are higher than on almost any other LP of this kind. Released in March 1968, this is probably the best on the label, at least if you prefer the 60s teen-garage approach over hippie longhairs.” (PL – Acid Archives) Killer slide, amphetamine deranged teenage psyched out craziness!!! Top copy, record is best condition imaginable, jacket has small drill hole in upper left corner, so strictly graded at NM/ EX~NM... Killer slide and getting a though one to score due to surging interest, which is completely understandable since this record is so fucking awesome, it will bring amphetamine sunshine on a rainy day. Price: 400 Euro
214. BOOKER ERVIN with DEXTER GORDON, REGGIE WORKMAN, ALAN DAWSON and JAKI BYARD: “Setting The Pace” (Prestige/ Victor – SMJ-7424) (Record: Near Mint/ Flip Back Jacket: Near Mint). Japan very first original pressing from 1966 in virginal condition. With very stimulating playing by pianist Jaki Byard, bassist Reggie Workman and drummer Alan Dawson, tenors Booker Ervin and Dexter Gordon battle it out on marathon (19 and 22 1/2 minute) versions of "Setting the Pace" and "Dexter's Deck." Although Gordon is in good form, Ervin, who sometimes takes the music outside, wins honors. They make it sounding quite distinctive and completely original playing inside/outside music. An exciting set. Pristine condition…. Price: 50 Euro
215. BOOKER ERVIN: “The Song Book” (Prestige Records/ Victor – SMJ-7270) (Record: Excellent ~ Near Mint/ Fragile Flip Back Jacket: Excellent/ Obi: Near Mint). Damned rare Japan 1st original pressing all complete with 1st issue obi. Ervin is instantly recognizable with his distinctive blistering-hot phrasing and melancholy tone, all played with aggressive fervorGiven the adulation heaped on Coltrane by the jazz in-crowd, Booker Ervin remains, I think, seriously underappreciated. The choice of Tommy Flanagan is interesting, replacing Ervin’s usual partner and fellow Mingus stalwart, Jaki Byard. Byard has a strong inventive spirit compared with Flanagan’s more elegant and polished phrasing; however the presence of Flanagan may be due more to scheduling issues than creative intent. Amazing slide and never-seen before Japan 1st original press issue all complete. Seriously rare!!! Price: 200 Euro

216. BOOKER LITTLE 4 & MAX ROACH: “S/T” (United Artists/ King Records – SR-3038) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Japan 1970 first original pressing all complete with insert and obi. Virginal condition. “Trumpeter Booker Little at the beginning of his tragically brief career. The first six selections find the distinctive soloist playing with a quintet also including the young tenor George Coleman, pianist Tommy Flanagan, bassist Art Davis and drummer Max Roach (who was his regular employer at the time). Little contributed three now-obscure originals and also plays two standards and an early version of Miles Davis’ "Milestones." Overall, this forward-looking hard bop set is easily recommended.” (All Music Guide). Pristine first Japan press issue with obi. Price: 50 Euro

217. BOOMTOWN RATS: “S/T” (Mercury – RJ-7296) (Record: Near Mint/ Jacket: Excellent/ Insert: Excellent/ Obi: Excellent). Japan first original pressing from 1978. “Anyone who heard the Boomtown Rats’ debut single, "Lookin' After No. 1," with its rapid drum beat, slashing guitars, and aggressive singing about impatience with the dole queue, would think of the group as a particularly tight, standard punk rock band on the London scene in 1977. The Rats’ debut album also featured the leering "Mary of the Fourth Form," their second single, but the rest of the album revealed more traditional rock influences. "Joey's on the Street Again" sounded like the sort of street opera Bruce Springsteen was aiming for on The Wild, the Innocent & the E Street Shuffle. "I Can Make It If You Can" was the sort of ballad the Rolling Stones favored in the mid-'70s. Overall, there were enough power chords and snotty sentiments to justify the punk tag, but it was already clear that the Rats aspired to the mainstream.” (All Music Guide). Price: 40 Euro
218. BORN FREE – the 12 German Jazz festival – Various Artists - Doldinger Klaus Group, Dave Pike Set, Peter Brötzmann, Gunter Hampel Group, Albert Mangelsdorff, Free Jazz Group Wiesbaden, Phil Woods, Pierre Favre, Limbus 4, Joachim Kühn Group!: “S/T” (Scout – Sc-S11~14) (3 LP Set: Near Mint/ Laminated Triple Gatefold Jacket: Excellent ~ Near Mint). Bloody rare original 1070 German pressing in awesome condition. Festival Big Band, Albert Mangelsdorff Quartet, Klaus Doldinger Quartet, Phil Woods and his European Rhythm Machine, Dave Pike Set, Frederic Rabold Crew, Jazzworkers, Just Music, Free Jazz Group Wiesbaden, Frankfurter Trio fur Improvisation, Limbus 4, Modern Jazz Quintet, Peter Brotzmann Group, New Jazz Trio, Pierre Favre Group, Joachim Kuhn Group, Gunter Hampel Group, European Free Jazz Orchestra of the Art Ensemble of Chicago. Just a killer line-up bringing forth some of the greatest European fire breathing freeborn music on the planet. This will rip your lungs out!!!! Price: 300 Euro
219. BOULDERS: “The Greatest Rock Of All – Presents The Sixties Punk EP Box” (Moxie Records – Moxie Box 1) (4 EP Records: Near Mint/ Outer Box Set: Near Mint/ Poster Insert: Near Mint/ Sealed Bag of 2 Moxie Balloons & Candles: Mint). Absolutely killer sixties garage punk & snot-faced, pimple-scarred psychedelic teenage angst EP box set compilation. Drenched with killer all incinerating fizz assaults on the senses, teenage angst reigns throughout this set. Passing the revue are the Electric Co., Al Quick & Massochists, the Laymen, the Motion, Xcellents, The 5 Canadians, The Dirty Shames, The Emperors, The Era of Sound, The Sparklers, The Denims, Acid Head, Velvet Illusions, Teddy & The Patches, Thee Sixpence, Perils, Petrified Forest, Road Runners, Rear Exit, Pilgrimage. Fuck this beats sniffing glue for sure but is bound to give to the same pleasure. Recommended to all of your thrill seekers. Price: 75 Euro

220. BOWIE, DAVID: “The Rise and Fall of Ziggy Stardust and the Spiders From Mars! (RCA – RCA-6050) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Top shape – the rarest obi variation and Japanese original press issue of killer & legendary Bowie slide. Top condition, near mint all the way. The music needs no explanation I think, it simply is one of the greatest albums ever recorded during that period in time. Every track is a winner and spinning this one again put me in a state of transcendental bliss. Awesome. Price: Offers!!!

221. BOWIE, DAVID: “The Rise and Fall of Ziggy Stardust and the Spiders From Mars” (RCA Victor – RCA-6050) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint/ 4-Paged Insert: Near Mint). First original Japanese pressing with FIRST issue obi (there are 4 obi versions of this one and this one with the “2 Channel High Quality” marking is very first issue). Also on the label of the record is the “Victor Company Of Japan Ltd., Yokohama” printed indicating the very first pressing as later issues that came hereafter changed address from Yokohama to Tokyo. Top condition, mint all the way. The music needs no explanation I think, it simply is one of the greatest albums ever recorded during that period in time. Every track is a winner and spinning this one again put me in a state of transcendental bliss. Awesome. Price: 500 Euro
222. BOWIE, DAVID: “Aladdin Sane” (RCA Japan – RCA-6100) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Mint). Original first issue Japanese press of 1973 complete with the 1st issue Glam Rock obi. The white colored glam rock obi together with the Pink colored Glam Rock OBI were the first issue to appear in Japan in 1973, followed by a string of later presses with different colored obis. This copy here is the very first issue. Condition wise, this copy is as perfect as they possibly come. Again another of Bowie’s early killer slides, never fails to rock my boat. As of in the past couple of years, first press issues are evaporating at an alarming rate, making them harder to dig up, especially in top shape. So happy to provide a top-notch copy for your collector nightmare dreams. Price: 350 Euro
223. BOWIE, DAVID: “Aladdin Sane” (RCA Victor – RS-1001) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). 1973 UK first original pressing complete with the 1st issue imprinted inner sleeve present. This is the very first UK pressing with matrix numbers ending on 3T/ 3T. Condition wise, this copy is as perfect as they possibly come. Again another of Bowie’s early killer slides, never fails to rock my boat. Very clean NM copies are a bitch to dig up these days, so here is a top condition original to fulfill your needs. Price: 175 Euro
224. BOWIE, DAVID: “Space Oddity” (RCA Records – RCA-6067) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Poster: Near Mint). First original pressing from 1973 in top condition all complete with obi and poster. Amazing and totally essential Bowie slide, “Space Oddity” delves into a lightly psychedelic folk-rock, exemplified by the album's soaring title track, making it Bowie’s first successful reinvention of himself and also displaying his musical genius. Killer album from start to finish, high quality Japanese pressing all complete with poster and obi. Price: 250 Euro

225. BOWIE, DAVID: “Space Oddity b/w It Ain’t Easy” (RCA – SS-2252) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scarce Japan original single issue with picture sleeve. Essential for any Bowie aficionado. Killer single that bring together two amazing all time classic tracks. Top shape. Price: 85 Euro

226. BOWIE, DAVID: “Rebel Rebel b/w Queen Bitch” (RCA – SS-2355) (7 Inch Single: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Excellent). Damned rare 1974 Japan only picture sleeve issue with unique Bowie live shot gracing the cover. Hardly ever offered WHITE label PROMO issue. Label has catalogue number writing on label from the record company. This one just never pops up and the condition is pristine. Price: 500 Euro

227. BOWIE, DAVID: “Pin Ups” (RCA – RCA-6174) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan first original press issue from 1974. Pin Ups was hatched as a way to introduce Bowie’s audience to songs recorded by fellow English acts he loved, including Pink Floyd, The Mojos, Them, Pretty Things and The Easybeats. “These songs are among my favorites from the’64-’67 period of London,” he wrote in the liner notes. The fuzzed-out, filthy Mick Ronson guitar grind combined with the bull-rush Trevor Bolder bass on The Kinks’ thug rocker “Where Have All The Good Times Gone” sounds like it could be a sequel to such Bowie standards as “Watch That Man” or “Suffragette City.” Check out the glam-punky “Anyway, Anyhow, Anywhere,” where Bowie’s soul shouting and the Spiders’ psychedelic thunder reshape The Who’s seeker into . . . just pure Bowie. This is a band at their peak, putting their stamp on their generation’s songs with glimpses of past and future Bowie: hippie, punk, minimalist, pop star and . . . whatever period we’re in now. Here is Bowie introducing you to British Invasion acts like The Yardbirds and Them (featuring Van Morrison) courtesy of his sound and vision, from Ronson’s barreling, lunatic fringe solos to the complete psychedelic transformation of The Who’s “I Can’t Explain” into a sensual, seductive soul stroll. This is the capstone to the Spiders era, and it is a fitting finale, a glitter metal masterpiece as provocative as any of the band’s previous offerings. Price: 150 Euro

228. BOWIE, DAVID: “Station To Station” (RCA – RVP-6027) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ Near Mint). Original 1st Japanese issue. “Miraculously, Bowie's attraction to black music has matured; even more miraculously, the new relationship seems to have left his hard-and-heavy side untouched. Ziggyphiles can call it robotoid if they want -- I admire the mechanical, fragmented, rather secondhand elegance of Aladdin Sane and this adds soul. All of the six cuts are too long, I suppose, including the one that originated with Johnny Mathis, and David sounds like he's singing to us via satellite. But spaceyness has always been part of his shtick, and anybody who can merge Lou Reed, disco, and Huey Smith -- the best I can do with the irresistible "TVC 15" -- deserves to keep doing it for 5:29” (Robert Christgau, Christgau's Record Guide, 1981) The THIN WHITE DUKE RULES!!!!! Open those nostrils and vacuum up that railroad to your soul, bloody fucking KILLER!!!! Price: 75 Euro
229. BOWIE, LESTER: “Numbers 1 & 2” (Nessa – N-1) (Record: Near Mint/ Jacket: Near Mint). Original US press in top shape. Some of the earliest work ever recorded by Lester Bowie as a leader – and a set that stands in importance right next to the early Delmark AACM sides by Anthony Braxton and Roscoe Mitchell! Plus, the album's almost an early Art Ensemble of Chicago effort, given the lineup – which features Bowie on trumpet and flugelhorn; Roscoe Mitchell on alto, soprano, clarinet, and flute; Malachi Favors on bass; and Joseph Jarman on alto, sopranino, and clarinet!. The session was cut in 1967 by Chuck Nessa, and it features performances of the tracks "Number 1" and "Number 2" – very much in the Art Ensemble mode, with alternating instrumentation, sharp attacks and spare moments, plus a good dash of humor! Totally essential recording. Price: 40 Euro
230. BOXER: “Below The Belt” (Virgin Records/ Nippon Columbia – YX-7101-VR) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent/ Insert: Near Mint). Top condition copy, Japan high quality first press issue of 1976 with obi. After the disintegration of Patto, Ollie Halsal & lead Vocalist Patto team up together once again to light a fire under their next collaboration, Boxer, which picked up right there where Patto left off. Totally fabulous, Patto and Halsal is a combination made in heaven….sharing the same musical taste as well as a similar love for quality stimulants. It shows. I just love spinning this one when I am smashed up cause it takes me just that one inch further to oblivion!!! Top condition, Japanese first pressing. Price: 125 Euro
231. BOYKINS, RONNIE: “S/T” (ESP Disk – 3026) (Record: Near Mint/ Jacket: Near Mint – still largely in shrink). One of the hardest to track down ESP releases by former Sun Ra bass player. One of the last releases on the label to see the light of day before it folded up in 1975. Virginal copy. Legendary Sun Ra-bassist Ronnie Boykins stepped out on his own for his first and only release as a leader. He was invited by ESP in 1964 to record his own album, and in February 1974, he told ESP that he was finally ready, and the session took place later that month. This recording not only features Boykins' solid abilities as a bassist, including his marvelous arco work, but also his talents as a composer and arranger. In addition, one is treated to an all-natural bass sound, a rare sound during this era of jazz history. In septet format, Boykins' six originals create a variety of moods and textures that not only evokes the music of Sun Ra but also reflects Boykins' own sensibilities as an artist. Price: 175 Euro
232. BRAINTICKET: “Cottonwoodhill” (Bellaphon – BLPS-19019) (Record: Excellent, has only a few paper hairlines that do not affect the playing/ Laminated gatefold Jacket: Excellent). Top copy of this highly acclaimed psyched out whirlwind of a disc, first original pressing. “Cottonwoodhill is one of the trippiest records ever made, capturing the intensity of the peak LSD experience far more successfully than any Timothy Leary recording, and even today, when many such documents from that era can sound silly and dated, Brainticket’s fascinating debut still holds hallucinogenic potency. The record has only two proper songs, "Black Sand" and "Places of Light," with a side and a half of the album taken up by the three-part "Brainticket." "Black Sand" opens the disc with a driving funk beat and powerful organ and guitar interplay, adding in vocals distorted beyond coherency. "Places of Light" begins in a slightly lighter vein as a flute leads the proceedings, a looser jazzier piece that throws in some of Dawn Muir's odd spoken word vocals. Before one realizes what has happened, the piece has faded out and there is suddenly a crashing sound, car horns, and engines starting up. "Brainticket" is a bizarre roller coaster ride through weird sound effects and electronics, an endless organ riff, and Muir's acid-rush ramblings from hushed whisper to urgent screams, as any coherency she had earlier becomes lost to mind-expanding visions. Rather than the laid-back mellow groove of some psychedelic music from this era, Cottonwoodhill has a hyper energy in the frenetic organ riff and Muir's voice, like an acid trip out of control, while at times the various sound effects take over completely.” (Rolf Semprebon, All Music Guide). In short, a classic that must have a place in any collection. Massive. Price: 150 Euro
233. BRAST BURN: “Debon” (Voice Records – VO-1001) (Record: Near Mint/ Jacket: Near Mint). Original Japanese private press copy that came out in an edition of 500 way back in time of a completely vanished Faust/ Amon Duul inspired spaced out brain ripper of the highest level and housed in an acid leaking cover. It is so funny reading through reviews and stuff about this album and each time I am so amazed about the misinformation that is spewed out about this outfit by various sources such as the utter fiction report in Cope’s Japrocksampler/ boots on Phoenix and sorts and smokescreen crumbs dispersed by the Paradigm label of Mr. Clive Graham who also shamelessly bootlegged the LP without ever paying compensation even after we have contacted him about this on several occasions. He always has some lame excuse at hand in order to dodge any responsibility. What a treacherous hyena. So what or who was Brast Burn? Actually sprung out of the mind of Mr. Sakamoto, Brast Burn was a one-man project just like Karuna Khyal was a one-man brainchild project of Mr. Takahashi. Both were long friends since kindergarten (as was Mr. Nemoto) and upon moving to Tokyo in the early 1970s they happened to accidently move into the same building, living above each other. Incidentally both men were – without each other’s knowledge – recording some music basically out of sheer boredom. Sakamoto’s Brast Burn was the 1st project to get canned but upon its completion an outlet was sought to release it and since no one showed any interest, old time pal Mr. Nemoto was called in and together with another Tokyo enthusiast, the two of them set up the Voice Records label in order to release their friend’s hobby projects. The year was 1974~5. The sonic nebula of Brast Burn was unlike anything that had scorched the Japanese earth or the outside world for that matter. Gone are all the heavy poser rock and roll antics, making way for an introvert and intuitive approach attempting to map out the empty canyons of your crumbling mind. Fired up by psychedelic nocturnal hitchhiking sounds interfolding with monosyllabic autistic wailing vocals, Brast Burn jacks into and snarls around your skull, unleashing hypnotic brain-numbing mantras in order to weed out and crush the last stale remnants of any sense of reality. Desert winds blows viciously over shamanistic exorcist rituals, channeled through dislocated and disenfranchised guitar strummings that eventually interlock with high-wired obscure fertility rites of times long gone, creating a feeling of being soaked to the bones after sitting in a pool of mashed liquid peyote juice. The sole glimpse of sanity looming beyond the yonder is that vaguely distinctive but asymmetric strangled bottleneck guitar groove breathing a jangle mixture of defiance and despair down your neck. The unusual polyphonic swirl brought by Brast Burn is dissonant, chaotic, abrasive, scary and yet beautifully compelling and mind numbing intoxicating, bringing you to the brink of being disintegrated into chaos, drunkenness and the kind of muffled hysterical fatigue that comes from spending too much time in the blazing red hot sun of the Mojave desert. So, now you know you just need something potent like this, it will make the larger part of your collection totally obsolete. Killer!! Getting impossibly scarce and much sought after original pressing. Price: 400 Euro
234. BRAVE NEW WORLD: “Impressions On Reading Aldous Huxley” (Vertigo – 6360.606) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint, sole minor defect is a ultra small crease on back sleeve near opening). Awesome copy, original 1972 German 1st pressing, Vertigo Swirl. Filled with long stretched out tracks, spiced up with spaced out psychedelic exotic vibes and blessed with a gracefully stoned-through-your-head emotional atmosphere, Brave New World succeeded in creating a highly original overall sound. The music floats through mainly instrumental bits spiced up with lots of flutes, strange percussion rattles, studio sound effect manipulations and intricate arrangements of fluid guitar mixed with dreamy atmospheric parts. This was no ordinary instrumental fusion, rather a druggy kind of excursion through folk, rock and jazz in a dramatic and/or melancholic mood. Brilliant all way through and great copy to boot. Getting increasingly difficult to dig up in such a nice condition as this one. Next to impossible to upgrade upon this one!!! Price: Offers!!!
235. BRAXTON, ANTHONY: “This Time…” (BYG Actuel/ Toho Geion – YX-6036) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original 1st Japanese press issue of subliminal Braxton slide all complete with insert and rare OBI. “From the opening contrabass clarinet gurgle, it's clear this is no ordinary free jazz album, despite the fact it was released on the quintessentially volcanic free jazz imprint BYG Actuel. This Time features Anthony Braxton on alto and soprano saxophones, clarinet and contrabass clarinet, flute, sound machine, chimes, and voice, Leo Smith on trumpet, flügelhorn, horns, logs, and siren, Leroy Jenkins on violin, viola, flute, mouth organ, and electronic organ, and Steve McCall on drums, percussion, and darbouka in a striking display of vintage AACM multi-instrumentalism. That instantly recognizable Chicago mix of dazzling virtuosity and toy town tinkles and toots still sounds as fresh and crisp as it did when it was recorded back in January 1970; as well as exploring the further reaches of virtuoso improvisation and surrealistic poetry (on the title track), Braxton also throws the windows of the cage (pun intended) open onto the outside world: "In the Street" was recorded where it says it was -- in the street. The other pieces are generically titled ("Solo," "Small Composition," "Composition," etc.) – Braxton’s idiosyncratic algebraic/geometrical titles don't feature here -- but are about as far from generic as you could hope to get. Wild, wonderful, insanely creative, and absolutely timeless.” (Dan Warburton). Spot on description of quintessential free jazz slide!!! Hardly ever surfaces with obi present. Price: 150 Euro
236. BRAXTON, ANTHONY with SATO MASAHIKO; MIDORIKAWA KEIKI & TANAKA HOZUMI: “Four Compositions (1973)” (Nippon Columbia – NCP-8504-N) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Capsule Obi: Mint). First original Japanese pressing from 1973 – Japan only release. Only the first pressing came housed in a gatefold jacket. First ever copy I see all complete with the capsule obi present!!! Recorded in Japan in 1973 – here het gets flanked by three Japanese heavy weight free jazz heads being Sato Masahiko, Keiki Midorikawa and Hozumi Tanaka. The 1st press release of this LP is a bitch to find and came as a gatefold jacket issue. Second and later issues have an altered jacket and are easy scores. This is the 1st original issue in top condition and one of the best Braxton slides for that matter, he never topped this one. Comes with rare obi. Top condition. Gatefold sleeve is also virginally white…Price: 150 Euro
237. BRAXTON, ANTHONY: “Recital Paris 1971” (Futura Records/ Epic Japan – EPIA-53905-F) (Record: Near Mint ~ Mint/ Jacket: Mint , still in shrink/ Capsule OBI: Mint, still in shrink/ Insert: Mint). Rare disc on the ultimately collectible Futura label. Original First Japanese pressing complete with NEVER SEEN OBI. Well you have to hand it to Braxton as a young guy, he had guts. Who else would be crazy enough in those days to dedicate the two sidelong pieces on the LP to Jonnhy Hodges and David Tudor. That alone already says enough about what a radical musician young Braxton was. Brilliantly executed free blowing saxophone improvisations that let the hairs on your neck stand up, fierce and proud. Great!! Rare 1st original Japanese Press FUTURA issue with obi & in shrink. Rare. Price: 100 Euro
238. BRAXTON, ANTHONY: “3 Compositions of New Jazz” (Delmark/ Trio Records – PA-7026) (Record: Near Mint/ Jacket: Near Mint/ 4-Paged Insert: Near Mint/ Obi: Near Mint). Japan original pressing all complete with rare obi. Promo issue. “While it is not as powerful or as revelatory as For Alto, Braxton’s second album for Delmark, 3 Compositions of New Jazz is his debut as a leader and showcases just how visionary -- or out to lunch depending on your point of view -- he was from the very beginning. Recorded nine months after his debut with Muhal Richrard Abrams on Levels and Degrees of Light, Braxton’s compositional methodology and his sense of creating a band are in full flower. For one thing, there is no use of a traditional rhythm section, though drums and a piano are used. The band is comprised of Leroy Jenkins on violin and percussion, Braxton on everything from alto to accordion to mixer, Leo Smith on trumpet and bottles, and Abrams on piano. All but one track -- "The Bell" -- are graphically titled, so there's no use mentioning titles because computers don't draw in the same way. There is a sonorous unity on all of these compositions, which Braxton would draw away from later. His use of Stockhausen is evident here, and he borrows heavily from the melodic precepts of Ornette Coleman. The use of Jenkins’ violin as a melodic and lyric device frees the brass from following any kind of preset notion about what should be done. Abrams plays the piano like a percussion -- not a rhythm -- instrument, and colors the textural figures in, while Smith plays all around the open space trying hard not to fill it. This is a long and tough listen, but it's a light one in comparison to For Alto. And make no mistake: It is outrageously forward-thinking, if not -- arguably -- downright visionary. This is an essential document of the beginning of the end.” (All Music Guide). Japan original complete with the always-elusive obi. Price: 100 Euro
239. BRAXTON, ANTHONY: “For Alto” (Delmark/ Trio Records – PA-7021~2) (2 LP Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Near Mint). Rare Japan original pressing all complete with obi. But there is a different obi variation – yes there are two obi variations for this one. This copy here has a comment written on the obi by the great Japanese guitar improviser Takayanagi Masayuki, there were the other obi had a comment by Bill Quin. An amazing slide. Japanese press original with obi is damned scarce and this one comes cheap, so act now and hold your peace forever! This one is the rarest obi variation with comment by Takayanagi! Price: 75 Euro
240. BRAXTON, ANTHONY: “Town Hall 1972” (Trio Records – PA-3008~9) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ Japan Only Poster: Mint). All complete rare Japan 1st original press with OBI, insert & rare poster. This is the rare White label TEST press issue. This edition of New York's Town Hall concert is another clue into the puzzle of Braxton's musical genius. Braxton circa 1972 was a 27-year old Chicagoan, an affiliate with the Association for the Advancement of Creative Musicians (AACM), and a member of the legendary band Circle. The first half of this concert comprises two original pieces and Jerome Kern's standard "All The Things You Are." Played in trio, with Dave Holland and drummer Philip Wilson, the thoroughly composed pieces open into well-proportioned group improvisations and soloing. Within the context of the Kern song, this design is best demonstrated, its familiar melody tweaked by Braxton and Holland, slowing or speeding through passages to skew the frame of reference and the meaning of group interaction. Next, Braxton's quintet, featuring saxophonist John Stubblefield, Holland and Barry Altschul, takes the stage with vocalist Jeanne Lee. The two lengthy parts reveal just how far out Braxton was prepared to take jazz. Like his mentors in the AACM, his worldview of creative music includes operatic and orchestra components, free of traditional timing and parts. This music tracks the experiments of the Art Ensemble Of Chicago, but with a more composed sound and structure. It is another piece to understanding (and loving) the puzzle that is Anthony Braxton. Original press with rare poster & obi present! Price: 75 Euro
241. The WILLEM BREUKER ORCHESTRA 1966: “Contemporary Jazz From Holland – Litany For The 14th of June 1966” (Relax – 33004) (Record: Near Mint/ Fragile Gatefold Jacket: Excellent – amazing shape, no ring wear, sole defect is small price tag tear on upper right corner). Rare Dutch first original pressing on the highly collectible RELAX label which was also the house label of the Outsiders. One of the earliest heavy free jazz slides to seep out of the Low Countries, Breuker’s “Litany for the 14th of June, 1966” is an orgasm for the ear and the inner self. Breuker recorded his debut album, Contemporary Jazz for Holland, which included the composition Litany for the 14th of June 1966, in response to the Dutch police fatally opening fire on demonstrations by the Provo anarchist group. It is a fierce aural document written for small combo as well for orchestra and it creates the right racket, waking up a tornado of dusty noisy interplay, injected at the right spots and angles with vocals and poetry, engulfing the aural landscape with – for that time – a fresh exploratory and political sound. One of the key recordings of exciting fire blowing free jazz that upon listening to it feels like standing in the midst of a prison riot in full swing! Guns coming out of the demon hole that rips the system apart like a pile of cheap hay. So bloody amazing, it makes me want to – upon immersing myself in this sonic bliss – get loaded, then snarl around looking for somebody to chain-whip! Just heavenly. Amazingly clean original Dutch pressing, record looks absolutely virginal, so NM grading, the fragile jacket is also solid and clean, small defect is a minimal price tag tear on upper right corner, apart from that it would be totally perfect so EX grading. They hardly come any cleaner than this copy here, original 1966 pressing!!! Price: 400 Euro
242. BRIGGS, ANNE: “S/T” (Topic – 12T207) (Record: Near Mint ~ Mint/ Jacket: Near Mint). TOP COPY. Virginal all the way. Extremely rare 1st original pressing in near mint condition out of 1971 and one of the hardest Ann Briggs discs to track down these days, especially in such an immaculate condition as this copy here. “Fleeting, volatile, flighty, breathless: a flash of sunlight in the glade. Anne Briggs pure, unmistakable voice and her too short career summon the same images in my mind. A voice like a gentle tremor, as fragile and timeless as a dandelion clock. Her recordings are few and all the more precious for it.” (Boweavil Rec on the Topic Years). She was a free sprit of the 1960s and also one of the most distinctive and influential singers on the UK folk scene of that day – as this album here will prove. June Tabor once commented on Briggs with saying “If I hadn’t heard her, I’d have probably done something entirely different”. Colin Harper reminisces about her in one of his essays as “Ann Briggs was as the best of the music itself, sexy, wild, mysterious, otherworldly and vulnerable all at once”. Brigg's pure yet untutored vocal delivery had tremendous influence on many of the key figures of the British folk revival, namely, Sandy Denny, Maddy Prior, June Tabor and Linda Thompson. By the time of her retirement, she was legendary. But perhaps influenced by the emergence of rock elements in the folk scene, she also updates the arrangements of her guitar and bouzouki accompaniments so that even the traditional tracks are handled with a warm but modernly melancholic pastoral grace. An artist at what now has to stand as her peak. This disc here is probably her rarest LP ever, together with her CBS one. Totally near mint condition, I do not suppose they come any better than this and like you know, near virginal copies of female UK folk out of the sixties and early 1970s are next to impossible to unearth these days and I am afraid it won’t get any better soon. Massive record, stunning awe-inspiring music. Most beautiful, next to impossible to upgrade upon. Price: 375 Euro

243. BROOKS, TINA: “True Blue” (Blue Note/ King Records – GXK-8202) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). High quality Toshiba pressing. “Nicknamed Tina, Harold Floyd Brooks was one of those bop-based American jazz musicians who conveniently dropped into the media box marked gifted jazz junkie - a heroin addict, he died of liver failure at 42 in 1974. Though he was associated with the classic era of the Blue Note record label, Brooks' output was minuscule, even taking into account his short life. True Blue, partnering Brooks with trumpeter Freddie Hubbard, was the only album issued under his name during his lifetime, and has been unavailable for some while. Up to the mid-1980s, Brooks was a buff's preoccupation, whose work was almost impossible to obtain until Mosaic records issued a box set of his sessions. True Blue presents no surprises to anyone familiar with the sassy, sharp-struck, laconically-boppish Blue Note style of 1960, when it was recorded. But the saxophonist's clarity of ideas, forceful swing and distinctive mix of Lester Young's shapely lines and Sonny Rollins' improvisational momentum lifts it right out of the hard-bop stereotype. Good Old Soul is a lazily exclamatory soul-swinger with Hubbard's bright, attacking sound contrasting with Brooks' mellow tone and laid-back relaxation, Up Tight's Creek is a flying bopper, Theme for Doris unwinds with a faintly sinister noir-romantic feel out of a piano ostinato from Duke Jordan, and the infectious call-and-response title track takes off from a repeated hook before Brooks develops an arresting solo of airy brushstrokes and edgy wails.” (John Fordham) A total classic. Early Japan high-quality Toshiba pressing, sounding amazing, all complete with rare obi variation. These are just gone, only turn up very sporadically. Top shape. Price: 75 Euro

244. BROOKS, TINA: “True Blue” (Blue Note/ EMI Music Japan – BLP-4041) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Immediately Out of Print in the flash of an eyelid when they were released 8 years ago in an edition of only 500 copies…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 150 Euro

245. BROTZMANN, PETER QUARTET: “Nipples” (Calig – CAL-30604) (Record: Near Mint ~ Mint/ Jacket: Near Mint/ Attached Frontal Harmonica Fold Out Booklet: Near Mint ~ Mint). Stunning top copy! FIRST ORIGINAL PRESS that comes on the BLACK colored Calig label. SIGNED COPY by Brotzmann and Bailey!!! First black label issue is damned rare! “The whole affair starts off with a percussive noise and a saxophone in overdrive, immediately playing all over the place. Guitar, piano and bass arrive as well, and the musicians blast their way into a sound full of energy and openness. They sound to me like they’re playing together and separately at the same time. In your ears you can isolate each instrument and in each case you’ll hear a musician soloing like crazy, playing a dizzying path of spot-on notes. Listen to the whole, however, and you don’t get the mess that you might expect with six musicians each blazing his own path. Instead you get a new kind of cohesiveness. Everything fits together in an interesting way, without being planned to fit together, at least not in the conventional way that musical numbers are planned out. This track and the other one on Nipples were recorded in April of 1969 and fit in the category of old music that sounds like it could have been recorded yesterday. Or today, tomorrow or in the next century. It has both the wild energy of the best rock music and the timelessness of something new. It also has a historical place in free jazz, though that I can’t pretend to be the expert who can deliver all of the details. Free jazz is something fairly new to my ears, which is one reason it’s so amazing how easy Nipples is to listen to. This is intense, wild music, but to me it doesn’t sound as uncomfortably noisy as free jazz potentially could sound to someone not accustomed to its form. The historical significance of this release, as I understand it, is that Nipples is the only recording ever made by this particular group of musicians, including not only saxophonists Brotzmann and Evan Parker, but also guitarist Derek Bailey, pianist Fred Van Hove, bassist Buschi Niebergall and drummer Han Bennink, most of whom have carved out their own spectacular places in the history of jazz and avant-garde music. It also was has been out of print for 30 years, and therefore has been a much-sought-after rarity. The second track, “Tell a Green Man,” features the quartet, the sextet minus Derek Bailey and Evan Parker. It’s slightly slower and showcases the bass and percussion aspects more, but has the same unique textures and quality musicianship of the first track. The liner notes include a hand-written note (presumably included in the original album notes) from artist Nam June Paik stating that he owns only 10 records, including Beethoven, Chopin, Mozart, and Brotzmann, and that Brotzmann’s records “stand up very well among those masterpieces.” That’s a notion I can understand; I’ve yet to hear any of Brotzmann’s other records, but this recording is jaw-dropping, awe-inspiring and beautiful.” (Dave Heaton). Spot on, this is the shit. The record is spotless and in Near Mint to Mint condition, the sleeve has no defects and is signed by the two major players – BAILEY & BROTZMANN!!!. Booklet is intact and perfect – so near virginal condition, record appears to be unplayed, so a beautiful copy for a bit cheaper due to a few harmless faint mildew spots visible on the cover. Price: 450 Euro

246. BROTZMANN/ VAN HOVE/ BENNINK: “Balls” (Free Music Production – FMP-0020) (Record: Near Mint ~ Mint/ Silk screen Jacket: Near Mint). Original 1970 Top Copy FMP pressing. First time ever I have a genuine first pressing of this beast – comes housed in fragile silkscreen jacket, which came out in an edition of 200 copies ONLY!!!! (Only 1st press has stated on back “200 prints of this album for the 3-/3-/3- edition of VERLAG”). Comes with rounded edge opening on back as only 1st edition has. THE SECOND FMP release and as rare as Machine Gun – if not rarer!!! Comes with rounded edge opening on back as only 1st edition has. THE SECOND FMP release and as rare as Machine Gun – if not rarer!!!Recorded August 17th, 1970 in Berlin. BALLS isan excellent example of early European free improvisation. It was one of the first releases on the then newly erected and now legendary German FMP label (Free Music Production) following upon on BRO Records, and was the first recording by the Brotzmann/Van Hove/Bennink trio, which continued to play together throughout the 1970s. It was a true trio, not just a vehicle for Peter Brotzmann -- Fred Van Hove's blend of avant and tonal pop piano and Han Bennink's wild percussion, vocals and the periodic blasting on shells and horns play an equal role in the group's sound. This masterpiece of a recording orbits into the more daredevil end of European improvisation with Fred Van Hove splintering enough ivory keys to allow Brotzmann’s machine-gun-toting horn and Bennink’s percussive rattle and shakes access to some singularly oblique tonal regions without never ever losing their collective interlocking connection with the overall narrative drive that gels them together. This trio simply catapults the disc beyond the reach of conventional established jazz strategies and into an adrenaline rush of subtle subconscious logic that makes up this sonic whirlwind of “axing through ice” like melodically obscure hair-raising ferocity. And like the title already suggests, this is a “ball” crushing disc…not for the faint of heart. , but so hard to get as a true first pressing so…Price: Offers!!!!
247. BROTZMANN/ VAN HOVE/ BENNINK: “S/T” (Free Music Production – FMP-0130) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1973 FMP pressing with black & white full circle lettering imprint on label. FMP logo is UNBOXED --> rare very first issue!!!! Stunningly beautiful copy of this hard to find hardcore European free jazz blast from the past. Three dinosaurs of the early seventies EU free improve scene clinch with each other and belch out an unrelenting slab of unheralded fire music, filled with power, scorning tenor sax blasts driven on kerosene that infuse further the piano batterings of Van Hove and the animalistic slugging and skin sniffing of Bennink. The whole album is just a vicious slab of raw free interplay and stands as one of the defining moments of that early Euro hardcore jazz scene, churning out a message that they won’t butch for anything less. Heavy heroic and historical. This free improvisation beast is highly volatile, toxic and stupendously abrasive. The trio seems to be on a one-way ride towards oblivion, actively attempting to dynamite their way out of all the constraints and the blind alley that European jazz had driven itself into at that point in time. Steaming rhythmic propulsion and the sheer awareness of the power invested deep in each primitive individuality of the three participants propels the trio into one of the most challenging and instantly bowel loosing abstract series of all obliterating free form interplay ever to have been recorded. A solid classic that proudly rubs shoulders here with Arthur Doyle’s “Alabama Feeling” as far as intensity and remapping the genre is concerned. This disc creates a massive brain-buzz so distractive that I had to drink myself to smithereens in order to regain my sanity again. Dynamite stuff!! Price: 150 Euro
248. BROTZMANN/VAN HOVE/ BENNINK PLUS ALBERT MANGELSDORFF FMP 3 LP BOX: “S/T” (FMP – FMP-0030-0040-0050) (3 LP Set: Near Mint ~ MINT/ Silk Screened Outer Box set with back closing lid: Excellent). 3-LP set on FMP Records 0030, 0040, 0050, recorded August 1971. Comes housed in fragile slip case box set but the poster is missing so cheap. LPs are ELEMENTS, COUSCOUS DE LA MAURESQUE, and THE END. Original deluxe packaging for this now well-circulated music, this was also the first deluxe edition released by FMP. A white box that opens on edge and which includes the very plain jane first pressings (before there was even an FMP logo on the label) of the three LPs, all in immaculate condition. This box is a splendid copy, one out of the very limited and very prized edition. Only 300 copies were pressed. The music is fire breathing wrecking ball styled hardcore jazz that will drive your neighbors and loved ones insane – either with envy or despair. A killer item that does not come better as this one. Hyper rare and hardly ever – if almost never – offered up for sale. Great condition, the records seem hardly to have been touched by mortal hands, next to impossible to upgrade upon this copy. The box has some wear on spine and slight discoloration due to age. Highest possible recommendation and comes cheap seen the poster is missing. Price: 350 Euro
249. BROTZMANN, PETER: “Tschus” (FMP Records – FMP-0230) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Original early FMP release. TOP COPY 1st ORIGINAL PRESS on the “Unboxed” FMP Label imprint without the date of release printed on label and jacket. Later issues have the “Boxed” FMP label and have the date of 1975 printed on label and jacket. This is the RARE 1975 1st press, first time I see a copy of the TRUE FIRST ISSUE. Recorded (13 & 14 Sept, 1975) and released in 1975, Tschus is a wild one and made up out of hardcore European free players Peter Brotzmann (cl,as,ts,bs,vo), Antwerp/ Belgium based Fred Van Hove (p, accordion) and Dutch skin mangler Han Bennink (ds,cl, megaphone, etc). This cooperative trio released a number of albums for FMP in the late '60s and early '70s, and affords the listener a chance to hear a lighter, more playful side of Peter Brötzmann, whose reputation is derived from more extreme and assaultive sessions such as Machine Gun and Nipples. Surely part of this approach is due to the antic nature of percussionist Han Bennink, who, whether playing his drum set or the studio floor, accordions or clarinets, rarely fails to inject wit and sly humor into the proceedings. Tschus is arranged almost as a suite of shorter works, some having a relatively straight jazz and blues nature, others edging into the investigation of pure sound as championed by groups such as AMM. Van Hove's clear, supple piano playing often serves as the bridge between Brötzmann's wilder stylings and Bennink's (often literally) off-the-wall punctuations. Brötzmann's bass sax work on "Bierhaus Wendel" is lush and creamy, especially in conjunction with Van Hove's accordion. The album ends with a charmingly schmaltzy vocal rendition of the title cut, featuring Brötzmann's crooning over the strangled bird cries produced (who knows how?) by Bennink and Van Hove's cocktail piano. This alone is worth the price of admission.” (Brian Olewnick, All Music Guide). To these ears one of the most surprising titles out of the whole Free Music Productions catalogue since it depicts a whole different free-core side of these three – possible Europe’s greatest – improvisers. Just astonishingly great and indispensable in any adventurous music collection. RARE TRUE FIRST PRESS ISSUE!!!! Price: 200 Euro
250. BROTZMANN, Peter & BENNINK Han: “Atsugi Concert” (Gua-Bunge – GBLP-3388-01) (Record: Near Mint/ Silver laminated Fold Out Jacket: Near Mint/ A-4 sized picture Booklet: Near Mint) It has been ages since I had a copy of this beast in stock and copies have totally vanished over the years, so don’t drool around this one, get your action moves in gear ‘cause these bastards are scarce and mucho in demand. Ominously rare free jazz monster Japan-only private press that was released in 1980 in an minuscule edition of only 300 copies. But apart from its rarity status, there are several eye-catching elements tied up to this disc. First of all, there is the jacket, a beautifully designed (like only Japanese seem to be able to pull of) foldout jacket unto which all the info and designs are stamped in silver layers into the texture of the carton, giving it a soft glowing relief kind of shape. A state of the art job. Upon folding open the jacket, you see the disc sitting in a separate folder and a 25-paged booklet housed in a tray (tucked away in the back flap of the front jacket) and adorned with numerous pictures illustration this clash of titans during their 1980 series of concerts throughout Japan. A visually stunning artifact. Then there is the music. Boy, you are in for a real head-spin, Brotzmann and Bennink is the dream-team of free-ripping-hardcore spirits, vitriolic exchanges of blood churning squeals set against a tumbling background of deliriously insane skin action. Bennink matches here Brötzmann’s reed arsenal with his everything-including-the-kitchen-sink choice of instruments that included reeds, stringed instruments, and even, “sand, land, water and air”. Stuff of legends and indispensable if you are into adventurous sounds. And needless to say this disc is bloody rare. Price: 450 Euro
251. BROTZMANN/ MILLER/ MOHOLO: “Opened, But Hardly Touched” (FMP Records – FMP-0840/50) (2 LP Record: Near Mint ~ Mint/ Gatefold Jacket: Mint) original 1981 first original West German pressing. One of the first great sessions from FMP Records in the 80s – and an album that really shows the creative growth at the label since its start! The music is played by a very hip trio – with Peter Brotzmann on e flat clarinet, tarogato, tenor, alto, and baritone – plus Harry Miller on bass and Louis Moholo on drums – both players from the British scene who really seem to help Brotzmann find this new sort of space in his music – an ear for more subtle sound textures and tones that's spun out beautifully over the course of the double-length record. As an important release to the later generation of FMP as Machine Gun was to the first. First original press issue in stunning mint condition and the whole deal seems completely virginal and unspoilt. Best copy ever. Price: 100 Euro
252. BROTZMANN, Peter; AALTONEN, Juhani; KOWALD, Peter, VESALA, Edward: “Hot Lotta” (Blue Master Special – SPEL-306) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). TOP COPY of Viciously rare hard blowing Finnish released free jazz hardcore beast. Original 1973 pressing. With an all-star line-up led by Edward Vesala and including Peter Brotzmann and Peter Kowald it is kind of a surprise that this has fallen by the wayside. The two leading exponents of the German free jazz scene (Brotzmann and Kowald) were invited by the Goethe Institute in Helsinki to meet and clash with two of their Finnish counterparts. The newly erected unit for this occasion interlocked and blew up some dust and boulders and blotted out the sun in the process igniting this sonic blizzard. Brotzmann is all over the place, bare knuckle tenor eruptive sound clusters that in return set of a chain reaction of classic primitive polyphony meanders into some meditative passages before exploding and veering of again into a clawing wave that catapults out shards of instrumental brutality. Sometimes there are more concentrated little bursts of energy bouncing around for brief moments, smoldering with an underlying intensity that eventually leaps over into a full blazing roaring inferno of ferocious lyricism. A total European hardcore jazz classic that seems to have fallen in between the cracks of time without any one noticing or praising its greatness. One of the rarest European free jazz artifacts, copies just never surface. This one is a top copy. A monster and comes with the highest possible recommendation. Price: 300 Euro

253. BROWN, CLIFFORD & MAX ROACH: “At Basin Street” (Mercury Records/ Nippon Victor – SM-7180) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint). Rare very first Japan original press issue all complete with rare first issue obi & housed in first issue fragile flip back sleeve. The last official album by the Clifford Brown – Max Roach Quintet is the only one that featured the great Sonny Rollins on tenor. With pianist Richie Powell and bassist George Morrow completing the group, this date is a hard bop classic. Brownie and Rollins fit together perfectly on memorable versions of "What Is This Thing Called Love," "I'll Remember April," and a witty arrangement of "Love Is a Many Splendored Thing." Highly recommended. Pristine copy! Price: 125 Euro

 

254. BROWN, CLIFFORD: “Memorial Album” (Blue Note Records/ King Records Japan – BLP-1526) (Record: Near Mint ~ Mint/ Jacket: Mint/ Company Inner Sleeve: Mint/ Insert: Mint/ Silver Toned OBI: Mint). All complete and rarely seen high quality audiophile pressing of wicked slide. This album was recorded when ‘Brownie’ was new on the scene and still playing in the bop tradition of the time. In a few years he and Max Roach will forge a new blues-inspired sound to be called hard bop. You can already hear the blues in Brown’s bop playing, he’s not as technical as Dizz, nor as introspective as Miles, but Brown’s playing is always bright, energetic, melodic and a pure pleasure to listen to. The first recording date is actually on side 2 and sounds a little more modern than side 1. Side 2’s band features the aggressive almost avant-garde leaning drum work of Philly Jo Jones who plays lots of busy fills. You can hear the roots of Tony Williams and Elvin Jones in his adventurous stick work. Saxophonist Lou Donaldson is on fire and even outshines Clifford on a couple tunes. The side 1 band features a double saxophone section that makes for a very appealing retro swing band sound. Blakey’s drumming is more conservative and, in the pocket, than Philly Jo, but still great. This early record is not considered one of Clifford Brown’s best, that will come later with Max Roach, but it is still has some great be-bop with all the bright positive high-octane energy you would expect from this era in jazz. Price: 100 Euro

255. BROWN, CLIFFORD: “Study in Brown” (Mercury/ Nippon Phonogram – SFX-7304) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi. Near Mint). Super clean Japan original pressing with obi. Study in Brown features the 1955 version of the Clifford Brown/ Max Roach Quintet, a group also including tenor saxophonist Harold Land, pianist Richie Powell and bassist George Morrow.  One of the premiere early hard bop units, this band had unlimited potential. Highlights of this set are "Cherokee" (during which trumpeter Brown is brilliant), "Swingin'," and "Sandu." All of this group's recordings are well worth acquiring. Another highly essential slide that comes dead cheap. Treat yourself to a slice of greatness, this one elevate your mood exponentially. Price: 40 Euro

 

256. BROWN, CLIFFORD: “Clifford Brown Memorial” (Prestige/ Victor – SMJX-10097) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japan only original issue all complete with OBI. Rarely surfaces, comes in nice textured gatefold sleeve with obi present. Price: 50 Euro
257. BROWN, MARION QUARTET: “S/T” (ESP Disk/ Nippon Phonogram – ESP-1022/ BT-5008) (Record: Near Mint/ Jacket: Excellent – faint foxing due to age on back/ OBI: Near Mint). Very 1st Japan 1975 original press issue. “This 1966 release was saxophonist Marion Brown’s debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson along with Coltrane’s future drummer Rashied Ali and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin. While the music here feels, and for the most part is entirely improvised for maximum visceral effect, Brown already has his tone and style and is a clear standout. His unique phrasing and attack shows his tenderness, even in the angriest of these exchanges. He holds his own with the rhythm section and is at times lyrical and spacious, particularly in the middle sections of "Capricorn Moon" and "27 Cooper Square." While this is not his best recording, it is memorable as an early showcase for Brown's fully developed voice, and for Boykin’s and Ali’s fiery playing.” (All Music Guide). What a killer line-up and what a fierce set. Great condition original Japanese 1st pressing. Price: 100 Euro
258. BROWN, MARION: “Porto Novo” (Freedom/ Trio Records – PA-9714) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). First original Japanese press complete with obi and insert, top condition. “This was one of altoist Marion Brown’s best recordings. Although a very adventurous improviser, Brown usually brought lyricism and a thoughtful (if unpredictable) approach to his music. Accompanied by bassist Maarten van Regteben Altena and drummer Han Bennink for this stimulating session (recorded in Holland), Brown stretches out on five of his compositions and is heard at the peak of his creative powers.” (Scott Yanow, All Music Guide). Fabulous recording and arguably his best ever. Top notch dead mint copy with obi! Japanese first original pressings of jazz slides, all complete with their first press issue obi are – these past years – getting very difficult to dig up as there is a huge re-appreciation booming for these titles and it looks like this will only intensify in the years to come. Price: 150 Euro
259. BROWN, MARION & LEO SMITH: “Creative Improvisation Ensemble” (Freedom – PA-9717) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan only issue of a late 1960s recording between two creative fire music minds. First time I have a copy with obi. This unissued recording was solely released in Japan, making it a highly unqiue and rare record. Absolutely top condition. Price: 150 Euro
260. BROWN, MARION & HAMPEL, GUNTER: “Gesprachsfetzen” (Calig – CAL-30601) (Record: Mint/ Jacket: Mint). FIRST original pressing on the BLACK Calig label (Not the 2nd issue that came on yellow & Black label). 1st issue is pretty scarce. Top copy of this subliminal free jazz classic released on the illustrious Calig label, home of Brotzmann’s “Nipples” amongst others. Line-up for this vicious monster consists out of Marion Brown (Alto), Gunter Hampel (Vibraphone, bass clarinet), Ambrose Jackson (trumpet), Buschi Niebergall (bass) and Steve McCall (drums). Together, quintet are on phenomenal form, riding simultaneous waves of omni-directional rhythm and breath with classic ESP-style ferocity and dipping in and out of ear ripping and skull bashing source material. Brown’s playing is confident enough to resist the pressure of constantly initiating new ideas and as a result the dynamic of the group feels totally natural. His playing is also possessed of a raging, indignant anger, reinventing language as sound, melody and rhythm. There are no restrictions to the major – minor system, to tones and semi-tones, to tonality and atonality, no directions are drawn between beauty and cacophony, impression and expression, but all these elements are present and are handled in a complete unorthodox way. The artistic value of this disc lies in the subtle economy of pre-arrangement and the flexibility it enables. The musicians possess therefore the necessary degree of capacity for action and reaction, which leads in the individual as well as the collective improvisation to magnificent solo and group performance in each of the album’s five tracks. Fire breathing music for sure that will clear your head like no other cough medicine. A classic!! Price: 75 Euro
261. BROWN, MARION: “Geechee Recollections” (Impulse Japan – IMP-88144) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint – with a couple of faint mildew spots/ Insert: Near Mint/ OBI: Excellent ~ near Mint). Marion Browns 1973 classic for Impulse! Japan original WHITE LABEL PROMO issue with OBI!!! A surprisingly hard one to dig up with obi…for an otherwise easily attainable record. The obi though, first one I have in over a decade. Geechee Recollections is filled with laid back southern summer feelings with a deep African vibe. Brown hit a very different vibe than on his earlier ones and his ESP sessions -- as he seemed to absorb a lot of strong AACM-oriented influences, which mellowed his approach nicely, and gave him a strong spiritual side. On this great set from 1973, Brown plays with AACM-ers Steve McCall and Leo Smith, as well as Jumma Santos, William Malone, and Bill Hasson. Two tracks are spare, beautiful solos (with a hint of Maurice McIntyre lurking in the back) -- and other titles include "Buttermilk Bottom", "Once Upon A Time", "Tokalokaloka", and "Karintha". Earbleedingly beautiful mixture of free jazz moves, poetry, brimful with poetic resonance, making that it stands shoulder to shoulder with the best records of that golden era. Endowed with beauty and unexpected twists and turns, Brown music is filled with occasional haunting echoes racial tensions and fire-breathing sonics. Total killer slide, long overlooked and due to regain mass-appreciation. Clean copy, this record will enlighten your sorry-ass existence, take my word for it. Rare white label PROMO with obi!!! Top copy! Price: 100 Euro
262. BROWN, MARION: “Sweet Earth Flying” (Impulse – IMJ-80005) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original very 1st Japanese press issue all complete with obi. WHITE LABEL PROMO!! The second installment of his "Georgia" trilogy, Sweet Earth Flying is arguably Brown’s finest work and certainly one of the underappreciated treasures of '70s jazz. Again, the words and ideas of poet Jean Toomer underlie Brown’s conception (hence the album's title), though this time none of Toomer's actually poetry is utilized. Instead, he calls into service the remarkable keyboard paring of Muhal Richard Abrams and Paul Bley, an inspiration that pays off in spades. The two pianists alternate acoustic and electric keyboards, bringing a slight tinge of the propulsiveness of Miles Davis’ late-'60s bands, but with a grace, soul, and sense of freedom rarely achieved by Corea and Jarrett. In fact, Abrams’ feature on Part Five of the title suite is one of the single most beautiful and cogent statements he ever created. Brown’s sound on both soprano and alto has a unique quality; he tends to sound tentative and innocently hesitant when first entering, only to gather strength as he goes, reaching utter conviction along the way. Special mention must be made of vocalist Bill Hasson. He's featured on only one piece, but his deep-voiced recitation in a language of his own construction (drawing from West Africa, Brazil, the Caribbean, and North American down-home English) is a very special treat indeed. Very highly recommended to open-eared jazz fans of all tastes.” (All Music Guide). One of Brown’s finest recordings. Totally bewitching and indispensable in any collection is spiritual mesmerizing jazz is your thang! Price: 85 Euro
263. BROWN, MARION & GUNTER HAMPEL: “Reeds ‘n Vibes” (IAI Records/ Nippon Phonogram – RJ-7450) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Japan 1st original pressing all complete with obi – WHITE label PROMO issue. Largely overlooked but nevertheless bewitchingly beautiful improvisational interplay recording between two titans. Recorded and released in 1978, Reeds ‘n Vibes is an introspective and abstract meditative, quixotic and lyrical, sonorous and fleetingly graceful document that brings both Brown and Hampel together in a unique setting. Brown inhaled the old jazz tradition and exhaled here in return something uncanny, visceral, and startlingly new through his horn. He makes it sound solemn as an old spiritual, stripped down to the bare minimum and as meditative as a prayer meeting all at once. Perfectly finding common ground between his horn and the vibes of Gunter Hampel, which lean from a deep groove meditation on one end to a blissful drone on the other. Together they bring forth a wide range of expression, but it’s all stunningly expressed and built up into something introspectively majestic. There’s an overarching sense of profound beauty throughout it all. The music enters a phase of atmospheric, soulful composition that was simultaneously joyful and strange, balancing moments of melodic vibrancy with minimalist overtones. Even for the secular listener, this is an album that speaks of something beyond this realm. There’s a restrained groove about it at most times, but the duo is often reaching toward something greater and more intangible. It’s a highly different form of spiritual jazz than, say, John Coltrane’s chaotic Ascension. The feeling here is intense, but it’s also one that you wouldn’t have a hard time with getting deeply lost within all of the sounds. Top condition Japan 1st original pressing with obi & White label PROMO! Price: 75 Euro
264. BRUHIN, ANTON: “Rotomotor” (Sunrise – 078-1962y) (Record: Excellent ~ Near Mint/ Jacket: Excellent, has upper and lower middle seam split). Amazing original artifact by this experimental composer from Switzerland. On this LP, Bruhin single-handedly creates some of the most austere and primitively astonishing electro-acoustic compositions, all executed in an almost stone-age primeval and primordial crude manner. This becomes apparent in his modus operandi, mainly only exploiting two cassette machines and the pause-button that he employs to edit his sonic excursions. So how much more sincerely primitive can one possibly get? The sidelong title track is the piece de resistance, an ear-wrapping hypnotic mind bender that cajoles into a mesmerizing and bewitchingly soporific minimal composition for tape and voice. Early on, Nurse With Wound hailed Bruhin as one of the obscure heroic pioneers of experimental music, it is evident that his use of tape-echo and voice techniques and exploring vocal mutation put him alongside sonic poetry artists such as Brion Gysin, Henry Chopin. “Far away sounds coming from a cosmic dimension or from an abyssal space, moving fore and back. The loss of sound quality considered as stoned space improvement. 'rotomotor: ein motorische Idiotikon', the title track, is a 28 minutes long reading, one of Bruhin's major works. Rotomotor is a poetic Idiotikon of the Swiss-German dialect where, instead of the straight alphabetical order, the words are organized according to the similarities of their letters (each word differ from the previous one by just one letter). For this reading a delay equipment which repeated the signal after 0.6 seconds was used and each word is superimposed to the echo of the preceding one. On one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words. Again, a very simple concept perfectly accomplished. What results from the whole program is maybe difficult to describe, maybe more easily perceivable in a state of alternate consciousness. But surely a quite unique sense of acoustics approach; so no surprise to see him mentioned in the mythical Nurse With Wound reference list. Chance meeting in an Alpine chalet of a roto-Bruhin and an AKRE.” (Ubuweb). Price: 250 Euro
265. BRUSH aka ESCAPE: “S/T” (SEKIMEN G.O.D. Famous Co. Ltd - TPR-1176) (Record: Excellent ~ Near Mint/ Jacket: Excellent – no defects or splits, perfectly preserved but some visible foxing on white sleeve visible due to age/ Booklet: Near Mint). Impossibly rare 1971 original all complete with booklet and pressed on light blue colored wax. Only around 200 were ever pressed but far less has survived the times and it seems that only a handful seem to be still around. One of the most musically accomplished and all-time rarest psychedelic-progressive acid fried rock private press LP to seep out of the Japanese underground scene of the early 1970s!! Of course this is THE original press issue that has the word "SEKIMEN" imprinted on the spine of the sleeve!!! (the bootleg version on Shadoks does not have this printed on the sleeve) As could be expected, the white sleeve has some sings of age spots visible against the whitish background. The record itself on the other hand is original light blue vinyl!! (there where the boot was colored dark blue). And of course, it comes all complete with rare original booklet! This booklet is also 100% ORIGINAL! Another difference is that the sound quality of the original surpasses the muffled sound of the boot so…Escape was the pre-Flied Egg group that was lead by Tanaka Masayoshi. Escape is one of Japan’s most elusive vinyl artifacts and copies just do not surface and if they do it is at a rate of one every decade or so. The music on the other hand is just mind shatteringly great for a private press LP and sounds fully accomplished, filled with psychedelic fuzz and wah-wah attacks spiced up with colored mind-drops and lysergic sound clusters that are set against a heavy rocking background. Great Japanese heavy psych disc and comes highly recommended but is sadly extremely rare…. Price: Offers!!!!
266. BRUZDOWICZ – BOGAERT: “S/T” (Pavane Records – PV26-0010) (Record: Excellent/ Jacket: Mint/ OBI/ Mint). Never seen before Japanese issue of this utterly obscure Belgian old skool electronic music LP. COMPLETE with OBI – go figure the scarcity of this baby!! Totally off the radar and obscure Belgian electronic music record that has had me freaking out all day for the past month. So where to start? Well this disc has each side devoted to one composer. The A-side sheds some lights on Joanna Bruzdowicz, a former pupil of Pierre Schaeffer, Olivier Messiaen and Nadia Boulanger. She brings forth two demented totally freaked out vintage electronic compositions that could make even early Merzbow blush. The two compositions date out of 1970 and 1972 and were both recorded at the renowned IPEM (Institute of Psychoacoustics and Electronic Music) Studio in Ghent, Belgium. Criss-crossing in between bleeping speed up noises, broken-word fragmented snippets in Dutch, distorted and cut-up classical music trash and deep-sea depth charges of sonic cluster foil, Bruzdowicz definitely knows how to fuck with your inner earlobes. Freezing flashes of polar winds sweeping the Antarctic plains while being beamed up with flashes of intergalactic invasive forces mutating with electronically charged mutated deep-fried crickets as if they were bombarded with radioactive solar flares is the best description I can come up with to describe the sonic electronic music extravaganza that Bruzdowicz put on display here. Just amazing and possibly the best electronic music LP to have crossed my path in all these years. Even tone-deaf mutants could enjoy this!! Bogaert takes up all the B-side. His two compositions on display here date from respectively 1975 and 1981 and are a perfect match to the bleeping invasion force of Bruzdowicz. Again his pieces also were recorded at IPEM studio, which in a way is the signature sound underlying this disc. Supersonic deep electronic singular sine tones fuse into gradually built up moving pitches of glacial slow molding activity bringing life to a Delvaux painting encapsulated in frozen hibernated dream sequence. Alien-esque in its execution but yet deeply rooted into that sadly under-documented school of Belgian slow budding electronic activity that blows all of the other European and US electronic movements straight out of the water with their tails whopping between their hairy legs. It just shows you that there is definitely life on Mars. Just massive. Highest possible recommendation!! Never seen before Japan issue!!!! With OBI!!! Price: 150 Euro
267. BRYARS, GAVIN: “The Sinking Of The Titanic” (Polydor Records Japan – 25MM0155) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Excellent). Japan 1st original pressing complete with Obi and insert. PROMO issue. “This was his first recording of the composition, for Brian Eno’s Obscure label, a landmark recording, that went swiftly out of print and became a much sought after collector's item. The composition is an attempt to metaphorically replicate the disaster of 1912 utilizing various elements associated with it, including the songs and hymns reported played on board that evening both before the iceberg was struck and as the ship was sinking. It's structured as an "open" piece, in that material subsequently uncovered may be added and information that becomes discredited may be discarded. The overall mood is, befittingly, sub-aqueous with long sustained tones on the strings, bass clarinet, and horn written to give the impression of sounds traveling great distances beneath the sea. This album was recorded in a large, abandoned water tower that adds enormously to its reverberative nature. The hymns used take on a remarkably plaintive and ethereal character as the image of an undersea orchestra takes form. Bryar’s also incorporates taped narration from survivors and various underwater sounds, including the forlorn pinging of sonar, carrying the enormous and melancholy weight of searchers for the wreckage. Indeed, much of the great success of this work is its combination of minimalist compositional technique, the emotional impact of the hymns, and the scientific examination of the event from a distance over time. Always in the background is Bryars’ romantic notion of the sounds of the drowning orchestra still reverberating beneath the waves. The Sinking of the Titanic is arguably one of the signal compositions of the 20th century and an extraordinarily beautiful work.” (All Music Guide). Price: 100 Euro
268. BUCKLEY, TIM: “Lorca” (Elektra/ Victor Records – SJET-8320) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Insanely rare Japan original press issue in immaculate condition. Red label PROMO issue. With the release of Lorca, Tim Buckley stunned and, to a rare degree, alienated fans with the dissonant, at times wearying, avant-garde exercises in vocal gymnastics that took up the entire first side of this LP. Side two was far more accessible, though Buckley’s fusion of folk instrumentation with jazzy improvisation on extended compositions continued to take him further away from his folk-rock roots. It seems Tim knew that the record would be doomed from the start. Larry Beckett, Tim’s early songwriting partner, said that he wanted to purposefully alienate his fans with his new direction. Tim was once quoted saying that Lorca is a record that “you can’t put… on at a party without stopping things; it doesn’t fit in.” For the time, there aren’t many albums to which you can compare Lorca. The 1970s weren’t a time when popular folk artists were incorporating avant-garde and jazz elements into their sound. Buckley’s use of the chromatic scale sets Lorca apart from the more conventional and melodic folk music, which lived as the norm. The most obvious contemporary of Lorca’s would be Nico’s ‘Desertshore’, but even that record doesn’t have the desolate and stark qualities of Lorca. Top condition Japanese original press with obi, seriously rare on these shores and so damned beautiful!! Price: Offers!!!
269. BUCKLEY, TIM: “Goodbye & Hello” (Victor Records/ Elektra – SJET-8183) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Outer LP sized Cut Out Obi: Near Mint). TOP COPY!!! The obi, a rare feat these days considering that obis make a unique, attractive addition to the overall package and are becoming increasingly rare, especially on LPs from the 1960s and 70s. Their delicate and disposable nature meant that very early obis were routinely discarded, so that now they can often be worth several times more than the record they accompany. And this 1969 copy has the obi present, given an all-different aura to the disc in question here. Maybe lots of you out there fail to see the unique nature of this paper strip but here in Japan it is a big deal. The music I am sure, most of you are fully acquainted with, one of the key releases out of the totally essential Tim Buckley discography. Top copy mega rare original Japanese high quality pressing with never seen before jacket-size cut-out obi present. Speaking of rare major label records by renowned artists? Well I guess this will do it then. Price: Offers!!!
270. BUCKLEY, TIM: “Greetings From L.A.” (Warner Pioneer Japan – P-8283W) (Record: Mint/ Gatefold Jacket with Postcard still in it: Excellent/ Obi: Mint). Rare 1st edition Japanese pressing complete with always missing obi. When reading around about Buckley’s last recorded album, I was surprised to see that many are called to slag this album off. In my book, it is still an as great a disc as his previous records. By the time this record was in the making, Buckley had grown disenchanted with the music business and its commercial expectations that he composed this perverse opus as a mockery of that sleazy, bottom-line world. Bitterness seems to fuel many of the songs, which describe the sordid state L.A. had gotten into by the early '70s, stomping the already rotting corpse of flower power still further into the ground. Gone was Buckley the tender folkpoet, and in his place was a raging lounge lizard who plied a slick funk-rock designed as a backdrop to makeout scenes. The songs are full of assured swing and deft melodic sense. Needless to say, Buckley sings the hell out of every tune, his voice glidingand swooping elegantly over the music. He may have lost hisinnocence by this point, but he clearly hadn't lost his touch. In short, still a brilliant killer slide. One of his best just like all the rest. Rare Japanese pressing on high quality vinyl complete with rarely seen obi. Price: 175 Euro
271. BUCKLEY, TIM: “Happy Mad” (Private) (Record: Near Mint/ Jacket: Near Mint). Bloody rare Tim Buckley bootleg from decades ago. This one is probably his most known and search after, still copies are scare and far in between. Tim Buckley live recordings on wax are virtually inexistent. This recording here – which has great sound quality – were taken from a Danish radio broadcast in 1968 and from the Top Gear BBC radio broadcast in 1970. Amazing stuff and probably my favorite of the bunch. Price: 150 Euro
272. BUCKLEY, TIM: “The Poet Who’s Gone” (TB Records) (Red Wax Record: Near Mint/ Jacket: Near Mint). 200 copies issues, this one being 084/200. Another vintage Buckley live recording on LP, one that also came out decades ago. Another jaw-dropping live recording taken from a concert he staged at Knebworth in 1972. Sound quality is quite good seen the source and depicts a later-day Buckley and band ripping through songs like “Nighthawkin’”; “Dolphins”; “Get On Top”; “Buzzin’ Fly”; “Sweet Surrender” (blood curdling version that sets your neck hairs up and straight for days on end) and “Honey Man”. The rarest of the Buckley live recordings on wax, only 200 were made…Price: 150 Euro
273. BUCKLEY, TIM: “Blue Obsession” (Private) (Record: Near Mint/ Jacket: Excellent). The most obscure of all Tim Buckley live recordings is this one, recorded shortly before he passed away. The live material is culled from a concert he did at Starwood in 1975 and depicts Buckley more outward bound than he ever was. Tracks include: “Buzzin’ Fly”; “Nighthawkin’”; “Dolphins”; “Get On Top”; “Devil Eyes” and “Finale”. Sound quality is good and the music even better. Again released in a beyond minuscule run, making it obscure for ever. Highest recommendation. Price: 150 Euro

274. BUDD, ROY: “Goodbye Carter b/w Livin’ Should Be That Way” (Odeon – OR-2951) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare 1971 Japan only single issue of killer Roy Budd slide. Two loose polyrhythmic funk groovers guiding you through a psychic maze of intoxicating sounds. Comes housed in beautiful picture sleeve to boot. Rare as hell, does not surface that often, especially in a nice shape. Highest recommendation! Price: 275 Euro

275. BUFFALO SPRINGFIELD: “Bluebird b/w For What It’s Worth” (Atlantic – P-1071A) (EP Record: Near Mint/ Picture Sleeve: Near Mint) first Japanese EP release by Buffalo Springfield that saw the light of day for the first time in September 1971, quite late as opposed to the US release. Comes housed in beautiful Japan only illustrated picture sleeve. This was the 3rd single to come out by the band in Japan. Top condition. Price: 75 Euro
276. BUFFALO SPRINGFIELD: “Buffalo Springfield Again” (Warner Japan/ Reprise – P-8054A) (Record: Near Mint/ Jacket: Near Mint/ Rock Age Flower Obi: Excellent ~ Near Mint/ Insert: Near Mint). Top-notch first Japanese pressing of this Buffalo Springfield album, complete with the salivatingly awesome “Rock Now Flower Obi”, insert in top condition. Their rarest Japanese release!!! Wow, another totally wicked Buffalo Springfield item, Canada’s finest rock combo. Everyone needs some Buffalo in their lives so this one is the perfect side to do it with. Also top-notch condition, I do not believe cleaner copies exist. I must be delusional wanting to part of such unload such gems…Price: 500 Euro
277. BUFFALO SPRINGFIELD: “Last Time Around”(Warner Japan/ Reprise – P-8055A) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Rock Age Flower Obi: Mint/ Insert: Mint). Flawless copy, next to impossible to upgrade upon this one. Top-notch first Japanese pressing of this Buffalo Springfield album, complete with the salivatingly awesome “Rock Now Flower Obi”, insert in top condition. Their ultimate rarest Japanese release!!! Original 1st Japanese pressing of their last album after which Young, Stills and Murray each went their separate ways. Containing the ear-shattering “I Am A Child”. Total classic and indispensable. Found another one, which is a small miracle. Previous copy went out for heavy offers, this one comes dead cheap...rarest Buffalo Springfield Japan issue!!! Price: 500 Euro
278. BUNALIM: “S/T” (Shadoks) (Record: Near Mint/ Faux Leather Heavy Gatefold Jacket: Near Mint). Wow, this baby is a vicious one, the best Turkish psych album so far to these ears, easily obliterating the competition of fellow Andalusian fuzz mongers Erkin Koray, Baris Manco and Edip Akbayran. So with that said you know you are in for a bloody head spin. Formed in 1969, Bunalim quickly became notorious as Turkey’s dirtiest and sickest psychedelic combo. Compared to their highly acclaimed (rightly so) fellow scenesters, Bunalim were probably the sole ones to really adhere to a brain melting psyched out aesthetic. Lightshows, running naked through the streets of Istanbul, supporting the use of hallucinogenic mind candy and other paraphernalia-like elements that would make up the scene of that day in any given Western country. What makes them so adventurous and far out is that the setting is not a brain-dead, moron infested place like the fashionable Haight Ashbury but instead bloody Islamite Turkey with its repressive political climate. These guys were hardcore and meant business, which reflects in their music – vicious, fuzz infested deranged wailing sounds exerted by dope crazy apple tea sipping maniacs. In their lifetime, the band never released a full length album. Only 5 singles were cut and distributed amongst those in the know. So thankfully Shadoks stepped in and released this first full length brain torcher of an album, stuffed with old material from their hey-days and housed in a thicker than life fold out jacket. Loads of cool pics inside that make the wimps of Iron Maiden look like kindergarten yuppies. Long out of print deluxe issue that was issued in a run of only 400 copies. Price: 75 Euro
279. The BURESSUN MAN b/w MOONLIGHT ’71: “Okurete Kita Gekko Gamen” (King – BS-1388) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint). 2nd time only I ever came across this psychedelic rarity. Still totally undiscovered acid fried brain melter!!! Ultra rare 1971 Japanese single only psychedelic weird hell broth masterpiece that is still unknown to the outside world. Here you have a disc where you can wrap your brain around without ever hoping your life will be the same again. So what is this little gem all about? Made up out of two tracks, the first side focuses on a totally off-the-hook rendition of a famous early sixties TV title tune to the series “Gekko Gamen”. But here the title tune has been reworked, raped sideways by some psychedelic hoodlums and spiked up with some deliriously fragmented old-skool rural demented ramblings and tape fragmented snippets of old women choruses running havoc against a rocking and rambling blistered up whirlwind frenzy. This is like pre-war rural Japan meets lysergic acid causalities anno 1971. The second side is more psyched out in its approach and totally instrumental and combines the forces of Happenings Four mastermind Kuni Kawauchi with the sneering acid guitar fuzzadelic licks by hired gunslinger Kimio Mizutani, creating a psychedelic tornado of funked up and beefed down heavy butt shaking acidic dementia. Just totally awesome, much searched after by the hip DJ in-crowd in tune with their psyched out roots in order to spice their tittie shaking sets up. A real ball buster of a disc, very hard to get and unbelievably intoxicatingly great. Unreissued for all these years/ non-LP tracks by this group that only cut this EP and this will probably remain so due to its format. Highest possible recommendation. And you thought to be in tune with Japanese vintage psych? Forget it, this is only just beginning, like peeling the layers of an onion to unearth one treasure after another hidden from the outside world for all these years. This is one of such treasures so forget your Pokora’s, this goes way way deeper. Price: 200 Euro
280. BURRELL, DAVE: “Echo” (BYG Records/ ACTUEL – Acruel 20/ 529.320) (Record: Near Mint/ Gatefold Jacket: Near Mint) Actuel 20, rare French original pressing from 1969!! One of the greatest titles to be released on the label, totally burning, all incinerating blast of unrelenting power and freedom. This is IT. Personnel for this monger consists out of Clifford Thornton (cornet), Granchan Moncur III (trombone), Arthur Jones (alto), Archie Shepp (tenor), Dave Burrell (piano), Alan Silva (bass), Sunny Murray (drums). Heavy-duty workout, not for the faith hearted. All time classic and indispensable in any self-respecting collection. Rare to say the least. Price: 45 Euro
281. BURRELL, DAVE: “Echo” (BYG Records/ Nippon Columbia – BYG-20) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Mint/ Obi: Near Mint) Most sought after BYG/ Actuel title – together with Sonny Sharrock – that was issued as a Japanese pressing with OBI. Has been exactly 11 years since I last had a copy with obi. One of the greatest titles to be released on the label, totally burning, all incinerating blast of unrelenting power and freedom. This is IT. Rare Japanese original press with obi. Personnel for this monger consists out of Clifford Thornton (cornet), Granchan Moncur III (trombone), Arthur Jones (alto), Archie Shepp (tenor), Dave Burrell (piano), Alan Silva (bass), Sunny Murray (drums). The title track of Echo is a submergence in sound that begins as a collision. The simultaneous eruption isn’t cacophony so much as a wave of music, which, like the booming churn of the ocean, leaves you awash in particles of piano chords, horn bleats, drum rolls and thrumming bass. It was inspired by the augmented interval Burrell heard between ambulances and police cars while the same septet played at the Pan African Cultural Festival. The horns are Archie Shepp (tenor), Arthur Jones (alto), Grachan Moncur (trombone) and Clifford Thornton (cornet), with Burrell’s piano, bassist Alan Silva and the incomparable drummer Sunny Murray in the rhythm section. The other 20-plus minute track on Echois entitled “Peace,” built around a “do-ri-me” ascension on the scale. It is more orderly, dreamlike and Euro-classical in form, especially in the horn voicings, but quieter and less raucous only by comparison.Heavy duty workout, not for the faith hearted. All time classic and indispensable in any self-respecting collection. Rare to say the least. Price: 200 Euro
282. BURRELL, DAVE: “After Love” (America – 6115) (Record: Near Mint/ Jacket: Near Mint). First original press issue, only issued in France at the time and in TOP shape. “Pianist and composer Dave Burrell’s After Love was the seventh release on the French America Records imprint, a label dedicated to recording the works of American expatriates in Europe. After Love is made up of the title track -- a long 30-minute-composition in two parts -- and "March." The band is a compelling and provocative one. While Roscoe Mitchell is featured on reeds, there are two bass players – Ron Miller and Michel Gladieux. Alan Silva, normally a bassist, plays cello, (electric and acoustic) and violin. Don Moye and Bertrand Gauthier make separate appearances on drums. What is immediately striking is the lack of the piano's sonic presence on the session. It's here everywhere, but Burrell’s is going for something else on "After Love," and that is textural and harmonic interaction of the various stringed instruments as they encounter and dialogue with each other. The drums are almost a constant thrumming beat. Incessant, varying little in dynamic and not at all in tempo throughout part one's nearly 22 minutes. Mitchell interacts with the strings as does Burrell but the key improvisational and chromatic interplay is elsewhere. It's a breathtaking piece. Part two is moodier, introduced by Burrell and Mitchell with Silva’s bowed droning cello offering the point of engagement. This section crawls and creeps to a softly whispered conclusion. "My March" is almost a mirror image of the title track. Rhythm doesn't even enter into the piece until nearly halfway through its 22 minutes. The slow tonal unraveling of the first half gives way to an easy march, adorned by nearly breezy flutes, popping basslines, and spacious piano interludes. This is a fine offering showcasing where elements of formal 20th century composition meet the new jazz head-on and become something else altogether.” (All Music Guide). Top condition original pressing. Price: 50 Euro
283. BURRELL, DAVE: “Only Me” (Trio Records – PAP-9025) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent). Rare and hardly offered Japan only issue that saw the light of day in 1974. This is white label promo issue. Top condition. The side-long track “8th Ave, Rendezvous Blues” is nothing short of totally bewitchingly awesome, one which Burrell displays that he is the ultimate free jazzing silver key pounder par excellence. Largely overlooked in his discography but rubbing shoulders with his excellent BYG recordings, this one is so indispensable … highly recommended. Price: 50 Euro
284. BURRELL, KENNY: “Introducing Kenny Burrell” (Blue Note/ King Records – BLP-1523/ GXK-8011) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean Japan high quality Blue Note MONO pressing from 1977. Despite its title, this LP was actually guitarist Kenny Burrell’s second Blue Note album, although the first to be released. Teamed with pianist Tommy Flanagan, bassist Paul Chambers, drummer Kenny Clarke and the conga of Candido, Burrell displays what was already an immediately recognizable tone. At 24, Burrell had quickly emerged to become one of the top bop guitarists of the era, and he is in particularly excellent form on "This Time the Dreams on Me," "Weaver of Dreams" and "Delilah." A bonus of this set is a percussion duo by Clarke and Candido on "Rhythmorama." Brilliant, awesome – only superlatives apply here! Price: 70 Euro
285. BURRELL, KENNY: “Midnight Blue” (Blue Note/ Toshiba EMI – BST-84123) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition high quality Japanese pressing of classic highflying Blue Note title. This album is one of guitarist Kenny Burrell’s best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holleydrummer Bill English and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You." A classic Blue Note that oozes with all that title suggests...This is the best sounding pressing out there. Was released in a limited run in 1998, pressed on 180 gram virginal Japan-pressed vinyl, directly taken from the Rudy Van Gelder master tapes and cut my sonic maverick supreme and living mastering legend Kotetsu Toru (revered by audiophile nuts) & comes housed in fully coated sleeve. Also the rarest Japense high quality audiophile pressing out there. Press quantity was not that high at the end of the 1990-ties so these babies do not turn up too often. Price: 100 Euro
286. BURRELL, KENNY: “K.B. Blues” (Blue Note/ King Records – GXF-3052) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan ONLY issue released in 1979 of unreleased – until then – Kenny Burrell recording. Recorded on 10 February 1957, Kenny Burrell recorded the hidden gem ‘K.B. Blues’, which was released on Blue Note Japan in 1979. An all-star assembly back Burrell as Hank Mobley, Horace Silver, Doug Watkins and Louis Hayes play compositions such as Silver’s ‘Nica’s Dream’ and Lester Young’s ‘DB Blues’. A stunner from start to finish. Price: 100 Euro

287. GARY BURTON QUARTET: “In Concert – Recorded Live at Carnegie Recital Hall” (Victor Records – SHP-5737) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint) Very first Japanese original press issue all complete with obi. The final recording by Gary Burton’s classic quartet (features the vibraphonist/leader, guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses mixing together aspects of rock, country and folk music in their advanced improvisations. The material (by Mike Gibbs, Burton, Coryell and Bob Dylan) is quite strong, and there are some hints of the avant-garde seeping through the cracks. Essential listening material. Top shape with very first obi. Price: 45 Euro

288. The PAUL BUTTERFIELD BLUES BAND: “East - West” (Elektra Records/ Victor Records Japan – SJET-8071) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Japan 1st original press issue from October 1968, all complete with original first issue SJET obi. The raw immediacy and tight instrumental attack of the Paul Butterfield Blues Band's self-titled debut album were startling and impressive in 1965, but the following year, the group significantly upped the ante with its second LP, East-West. The debut showed that Butterfield and his band mates could cut tough, authentic blues with the energy of rock & roll, but East-West was a far more ambitious set, with the band showing an effective command of jazz, Indian raga, and garagey proto-psychedelia as well as razor-sharp electric blues. Butterfield was the front man, and his harp work was fierce and potent, but the core of the band was the dueling guitar work of Mike Bloomfield and Elvin Bishop, especially Bloomfield's ferocious, acrobatic solos, while Mark Naftalin's keyboards added welcome washes of melodic color, and the rhythm section of bassist Jerome Arnold and drummer Billy Davenport were capable of both the rock-solid support of veteran blues players and the more flexible and artful pulse of a jazz combo, rising and relaxing with the dynamics of a performance. The Butterfield Blues Band sounded muscular and exciting on classic blues workouts like "Walkin' Blues," "Two Trains Running," and "I Got a Mind to Give Up Living," but the highlights came when the band pushed into new territory, such as the taut New Orleans proto-funk of "Get Out of My Life, Woman," the buzzy and mildly trippy "Mary, Mary," and especially two lengthy instrumental workouts, the free-flowing jazz of Nat Adderley's "Work Song" and the title track, a fiery mix of blues, psychedelia, Indian musical patterns, and several other stops in between, with Butterfield, Bloomfield, and Bishop blowing for all their worth. East-West would prove to be a pivotal album in the new blues-rock movement, and it was the Paul Butterfield Blues Band's greatest achievement; Bloomfield would be gone by the time they cut their next LP to form the Electric Flag, and as good as Bishop was, losing the thrust and parry between the two guitarists was a major blow. But East-West captures a great group in high flight as the band members join together in something even more remarkable than their estimable skills as individuals would suggest, and its importance as a nexus point between rock, blues, jazz, and world music cannot be overestimated.” (All Music Guide). Absolute killer slide, top copy first original Japanese pressing on the blue colored Elektra “guitar playing” logo label and complete with 1st issue obi. Price: 375 Euro
289. The BUTTERFIELD BLUES BAND: “The Resurrection of Pigboy Crabshaw” (Victor Records – SJET-8084) (Record: Excellent ~ Near Mint, has one hairline/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1st Japanese pressing from December 1968 all complete with 1st issue SJET obi, rarely surfaces all complete. When guitar virtuoso Mike Bloomfield left the Paul Butterfield Blues Band to form Electric Flag, many cynical scene watchers thought the Butterfield Blues Band was down for the count. However, with Elvin Bishop’s magnificent metamorphosis to lead guitar player on The Resurrection of Pigboy Crabshaw, those nattering nabobs were quickly quieted. The album, titled in honor of Bishop’s nickname, found the band moving in an R&B direction, aided by the addition of a horn section manned by David Sanborn, Gene Dinwiddle and Keith Johnson. This newly-minted ensemble is especially potent on tracks like “Born Under a Bad Sign,” “Double Trouble” and “Drivin’ Wheel.” Far from being over, the Butterfield Blues Band launched a new phase of their career with the release of this seminal album. Rare 1st original Japanese pressing with rare SJET obi. Price: 375 Euro
290. The BUTTERFIELD BLUES BAND: “In My Own Dream” (Victor Records – SJET-8102) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent ~ Near Mint/ Insert: Near Mint). Rare Japan 1st original pressing that was released on March 1969. Comes complete with the insert and the first issue rare SJET type obi. Fresh from their triumphant appearance at the Monterrey International Pop Festival in June 1967, the Butterfield Blues Band entered the studio to record their fourth album, In My Own Dream. It chronicles the evolution of the band, continuing to add elements of jazz and R&B to its traditional blues approach. The horn section, staffed by David Sanborn, Gene Dinwiddle and Keith Johnson, was featured throughout the album, sharing the spotlight with guitarist Elvin Bishop and band leader Butterfield’s signature harmonica runs. Throughout the tracks, there is a spirit of a band being reborn and that exuberance jumps from the grooves with each listen. Beautiful condition and damned rare all complete. Price: 375 Euro
291. Paul BUTTERFIELD BLUES BAND: “S/T” (Victor Records/ Elektra – SJET-8173) (Record: Mint/ Jacket: Excellent/ Outer Jacket Cut-Out Obi: Near Mint). Ok boys and girls, time to get down and dirty with a heavy hitting monster rarity out of Japan, being this September 1969 released original Electra/ Victor LP by the Paul Butterfield Blues Band, all complete with the never-seen-before cut out wrap around obi!!! Bloody rare in this condition with cut out obi present. Music wise I guess you know the drill, top level West Coast prime white blues thrills and chills, Butterfield and Naftalin rule in my hemisphere. Price: 350 Euro
292. Paul BUTTERFIELD BLUES BAND: “Golden Paul Butterfield Blues Band” (Elektra/ Victor Japan – SWG-7186) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Near Mint/ Attached Insert: Near Mint). Original Japan only issue out of June 1970, complete with obi and housed in a Japan only gatefold cover art. First time ever I come across a complete top copy with obi!! Yes, these days it is all about the obi, a trend that will only get more frantically played in the years to come. Here the obi is shimmering and brightly present, a rare feat these days considering that obis make a unique, attractive addition to the overall package and are becoming increasingly rare, especially on LPs from the 1960s and 70s. Their delicate and disposable nature meant that very early obis were routinely discarded, so that now they can often be worth several times more than the record they accompany. And this 1970 copy has the obi present, given an all-different aura to the disc in question here. Maybe lots of you out there fail to see the unique nature of this paper strip but here in Japan it is a big deal. Next to that, you get a killer early day white boy blues trash executed by the finest musicians of their generation, a Japan only compilation housed in Japan only gatefold designed jacket. Just massive. Price: 175 Euro
293. The BUZZCOCKS: “Love Bites” (United Artists – GP-647) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ Obi: Near Mint/ 4-Paged Insert: Near Mint/ Additional Insert: Near Mint). Scarce Japan original press issue from 1978, all complete. “While Love Bites - following the excellent Another Music In A Different Kitchen - seemed a little dour and tentative at the time, at the heart lies an urge to finally throw off their past associations and forge something totally their own. The compressed twin guitars, sparse riffs and rumbling toms here reach their apogee. Already Shelley was talking of the past, as if trying to worry at the edges of love's mysteries to explain the inexplicable (Sixteen Again, Nostalgia). Being gay also lent his romanticism a fatalism that made his pleading voice even more affecting. He rejects hedonism (Just Lust) while resolving to remain grounded in realism (Real World), yet he still has room for the absolute power of love (Love You More - not originally on the album but added here). Of course, Ever Fallen In Love (With Someone You Shouldn't've)? remains their greatest achievement. The thundering motorik drums of John Maher drive Shelley's missive of faltering affection into all but the hardest of hearts. The truth was that the band's subsequent success following their biggest hit would be their undoing. After Love Bites the label of 'pop band' began to erode any loftier ambitions (subsequent gigs in larger venues actually saw the band facing screaming girls). A listen to the krautrock-ish rumble of Late For The Train, or the mantra of E.S.P demonstrates how there was far more to the band than just three-minute love songs. Bolstered by not only contemporaneous singles, radio sessions and demos, but also a whole gig, in its remastered and value-added form, Love Bites now sounds like a far more complete album than it did at the time. It's an essential purchase for anyone remotely interested in punk's history.” (Chris Jones – 2008). Japanese original press issue with both inserts and obi – does not pop up all that often anymore. Price: 150 Euro
294. BUZZCOCKS: “A Different Kind Of Tension” (Union Record – GP-766) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Insert: Near Mint/ Obi: Excellent). Rare Japan 1979 original pressing. A Different Kind Of Tension was the Buzzcocks' third studio album, recorded at Eden Studio in West London and released in September 1979. The packaging of the Japanese pressing is a wonder to behold with the nice obi flashing its colors and the nice 4 paged insert. As far as the music is concerned, it's conceivable that internal friction helped inspire the title of the third Buzzcocks LP; the group would splinter shortly after the album's 1979 release. But they went out with a bang, marshaling one of their most diverse and exciting sets of songs under the guidance of producer Martin Rushent. The breakneck pace of their first recordings is well represented by such tracks as opener Paradise, though by the closing sound collage Radio Nine, chief songwriter Pete Shelley has managed to indulge his more experimental side as well – without ever abandoning the trademark Buzzcocks wit and emphasis on melody. Top copy Japan original press that only sporadically surfaces on these shores all complete with obi and insert liners. But that aside, such a killer LP!!! Price: 175 Euro
295. The BYRDS: Turn! Turn! Turn! (To Everything There Is A Season) b/w She Don’t Care About Me” (CBS – LL-855-C) (EP Record: Mint/ Gatefold Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Original 1965 Japan 1st original pressing, housed in Japan only sleeve art and in top condition, like new!!! Price: 100 Euro
296. The BYRDS: “It Won’t Be Wrong b/w Set You Free This Time” (CBS – LL-895-C) (EP Record: Mint/ Gatefold Picture Sleeve: Mint/ Company Inner Sleeve: Mint). Original 1966 Japan 1st original pressing, housed in Japan only sleeve art and in top condition, like new!!!. Price: 200 Euro
297. The BYRDS: “Eight Miles High b/w Why” (CBS – LL-927-C) (Single EP Record: Excellent ~ Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Original 1966 Japan 1st original pressing, housed in Japan only sleeve art and in great condition!!!. One of the harder to track down Japan only Byrds single issue. Killer two-sider!!!! Price: 150 Euro
298. The BYRDS: “So You Want To Be A Rock’N’Roll Star b/w Everybody’s Been Burned” (CBS – LL-1037-C) (Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Top condition copy of damned scarce Japan only single issue from 1967. Nice picture sleeve as well, makes me want to collect all of the Byrds domestically released singles, not an easy task but a nice one to begin with! Price: 175 Euro
299. The BYRDS: “Child Of The Universe b/w Candy” (CBS Sony – CBSA-82077) (EP Record: Excellent ~ Near Mint/ Gatefold Picture Sleeve: Near Mint). Bloody rare 1969 Japan only Byrds EP, that again comes housed in Japan only eye-popping picture sleeve artwork and which was released in tandem with the Candy movie screening in Japan back in the day. First copy I see of this EP in over 10 years, just never turns up anymore. But what a killer sleeve, the perfect companion to even greater music behind it. Price: 300 Euro
300. The BYRDS: “I Trust b/w Citizen Kane” (CBS Sony – CBSA-82121) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Scarce 1971 Japan only the Byrds single issue with picture sleeve. WHITE label PROMO. One of the singles that turns up less often, first copy to cross my path again in over 8 years. Amazing shape! Price: 100 Euro
301. The BYRDS: “Cancelled Flytes” (Sundazed EP Box Set) (5 EP Set: Near Mint/ Five Individual Picture Sleeves: Near Mint/ Outer Box Set: Near Mint/ 4-Paged Insert: Mint). Here’s your chance to own five Byrds singles from 1965 and 1966 that almost existed... Comprised of unique mono mixes readied for release and then shelved at the last minute by Columbia Records, several of the cancelled songs on these 10 sides were later revisited and re-recorded; others, for reasons unknown, would remain unissued until now. The ’65-’66 era-Byrds possessed an unimaginable wealth of talent and vision. The group produced so many wonderful recordings that the process of choosing the next “hit single” was no easy task. The writing and recording skills of the band were being honed at lightning speed; as one session was nearing its end, the next studio date was already being envisioned. This scenario created an absolute wealth of finished Byrds’ masters, many of which served as candidates for potentially successful 45rpm single release. The Byrds’ studio experiences captured herein were nurtured and guided by some of Columbia Records’ most visionary producers of the time: from the assertive, hands-on approach of Terry Melcher, who would shape and mold the obvious but raw talent of the defiant young Byrds into one of Columbia’s hottest properties on the teen market; and Allen Stanton who, amid the turmoil of the group’s first personnel change, helped guide the members through major artistic-growth during the masterful Fifth Dimension sessions; to Gary Usher, whose laid-back style and studio-diplomacy allowed the band to exercise near-complete artistic control and creative freedom, while simultaneously maintaining the unique Byrds Sound. Housed in beautiful full-color picture sleeves featuring previously unseen photos, these gorgeous singles also feature period-accurate Columbia labels. Price: 50 Euro
302. BYRDS: “Turn! Turn! Turn!” (CBS Japan – YS-597-C) (Record: Near Mint ~ MINT/ Tip Back Jacket: Near Mint/ OBI: MINT). Freakingly rare Japan only issue from 1966 complete with NEVER offered before genuine OBI, first complete copy ever for grabs. Japan only jacket issue on the 360 Sound CBS label. Probably the rarest Byrds LP around is this Japan only issue. Second Byrds album, following their self titled debut. The album was released in Japan in April 1966. Comes housed in a laminated – Japan ONLY - alternate jacket and complete with always missing OBI. TOP COPY, no defects, best copy around and impossible to upgrade upon. Rarest Byrds release!!!! TOP COPY with obi, which makes this item damned rare indeed!!!! Offers!!!!!!

303. The BYRDS: “Younger Than Yesterday” (CBS – NIPPON COLUMBIA – YS-824-C) (Record: Near Mint/ Jacket: Near Mint/ 360 OBI: Near Mint/ Company Inner Sleeve: Near Mint). Bloody rare first original Japanese pressing from July 1967, complete with seldom seen OBI. Younger Than Yesterday, the Byrds' fourth album — and in some people's eyes, the pinnacle of their art — wastes no time, bursting out of the gates with still another national smash, "So You Want To Be A Rock 'N' Roll Star." Spotlighting the jazzy trumpet of Hugh Masekela, this paean to outrageous rock stardom was a highlight of the Byrds' appearance at the Monterey Pop Festival, possibly the most thrilling gathering of the musical tribes, ever. Every bit as exciting was "Have You Seen Her Face," the album's second radio hit. A return to space-rock, "C.T.A.-102," should have been nominated for a Hugo, the annual prize for the best work in science fiction. The standout track of Yesterday, nevertheless, is "My Back Pages," a good bet as the best-ever blend of lush Byrds harmonies and jangling guitar with Bob Dylan at his Finnegan's Wake lyrical best. Insanely rare FIRST ORIGINAL Japanese Pressing of 1967 with never offered before FIRST ISSUE 360 Columbia OBI!!! Top condition. Price: Offers!!!

304. The BYRDS: “Younger Than Yesterday” (CBS SONY – SONP-50306) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Second press issue from 1970 complete with rare capsule obi. Although a 2nd press issue, still one that rarely surfaces. It was released by CBS Sony when the license shifted from Columbia to the Sony threshold. Price: 150 Euro

305. The BYRDS: “Mr. Tambourine Man” (CBS Sony – SONP-50183) (Record: Mint/ Jacket: Mint/ Capsule Obi: Mint/ Insert: Mint). Rare original Japanese pressing from 1969 in totally mint condition!!! “The album that defined folk-rock still sounds fresh and exciting. The Byrds would move in decidedly more complex directions soon enough, but never again made an album so consistently good, so overflowing with gorgeous harmonies and 12-string guitars. All of the experiments work: the multiple Dylan covers, the re-working of ‘We’ll Meet Again’ into a rock/ pop song, the Beatles-inspired originals and revamped folk songs arranged as if they are one and the same. The only possible criticism is that the album is short on songwriting but since their musical vision is so singular and so consistent, there’s no way to quibble with any of the song choices, which stack up upon each other perfectly. In fact, it’s arguably this rivals or even tops Rolling Stones Now as the best ever rock and roll album not to be predominantly made up of an artist’s own songs (only 4 of the 12 tracks are originals). It’s also noteworthy that Jackie De Shannon, whose work from a year or so before is the most direct and clear forerunner of the folk-rock sound and who may to this day be the most underrated songwriter of the 60s and early 70s, wrote the lovely ‘Don’t Doubt Yourself’ Babe’, understanding The Byrds’ sound and style perfectly” (AM – Endless Trip). Best account and spot on review ever on this magical LP. Top original copy, mint all the way. Price: 200 Euro
306. BYRDS: “Fifth Dimension” (CBS Sony – SONP-50267) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Mint/ Insert: Near Mint). Top copy, 1st original Japanese pressing complete with the always missing capsule obi and insert. This record was first released in Japan on August 1970; 4 years after the release saw the light of day in the US. "Fifth Dimension" saw the start of The Byrds' gradual move away from their folk-rock beginnings into psychedelia, driven by McGuinn's chiming, jangling 12 string Rickenbacker, and new influences such as Indian Music & John Coltrane. Truly, like the rest of their output stunning material but “Fifth Dimension” probably stand head and shoulders above the rest. Killer slide and majestically classic LP. Rare 1st Japanese original pressing complete with always missing capsule obi. Top condition! Price: 200 Euro

307. The BYRDS: “The Notorious Byrd Brothers” (CBS Sony – SONP-50241) (Record: Near Mint/ Jacket: Mint, still in original shrink wrap/ Capsule Obi: Mint, still in original shrink wrap/ Insert: Near Mint). First original Japanese pressing that came out in July 1970 in exquisite condition. The Byrds pull no punches kicking off their fifth album, 1968's The Notorious Byrd Brothers, with "Artificial Energy," a devastating haymaker aimed at the go-fast generation. In the blink of an eye, they're into the most beautiful baroque folk-rock ever created, the Carole King/Gerry Goffin-penned "Goin' Back." It was the song that caused David Crosby to leave the band (witness the empty horse stall on the cover photo) an odd reaction, considering most of Notorious was layered with a phased and eerie deep-space vibe that seemed to come from another galaxy. "Space Odyssey" is the perfect post-film mint for Stanley Kubrick's intergalactic thriller 2001: A Space Odyssey. The heartbreak of "Draft Morning" says plenty about being eligible for conscription during the Vietnam War, while "Wasn't Born To Follow" was a perfect fit for silver screen epic Easy Rider, whose main characters were based directly on McGuinn and Crosby. Top copy Japan 1st original pressing all complete with capsule obi!!! Price: 200 Euro

308. The BYRDS: “Ballad Of Easy Rider” (CBS SONY – SOPL-255) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). Top copy, Japan 1970 original pressing that comes in Japan only jacket art. “If Dr. Byrds & Mr. Hyde found Roger McGuinn having to re-create the Byrds after massive personnel turnovers (and not having an easy time of it), Ballad of Easy Rider was the album where the new lineup really hit its stride. Gracefully moving back and forth between serene folk-rock (the title cut, still one of McGuinn’s most beautiful melodies), sure-footed rock & roll ("Jesus Is Just All Right"), heartfelt country-rock ("Oil In My Lamp" and "Tulsa County"), and even a dash of R&B (the unexpectedly funky "Fido," which even features a percussion solo), Ballad of Easy Rider sounds confident and committed where Dr. Byrds & Mr. Hyde often seemed tentative. The band sounds tight, self-assured, and fully in touch with the music's emotional palette, and Clarence White’s guitar work is truly a pleasure to hear (if Roger McGuinn’s fabled 12-string work seems to take a back seat to White’s superb string bends, it is doubtful that any but the most fanatical fans would think to object). While not generally regarded as one of the group's major works, in retrospect this release stands alongside Untitled as the finest work of the Byrds’ final period.” (All Music Guide) Awesome record, comes in Japan only artwork and all complete with delicious cap obi!!! Price: 150 Euro

309. The BYRDS: “Untitled – Taitoru No Nai Arubamu” (CBS Sony – SOPJ-136〜7) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Capsule Obi: Near Mint/ Insert: Near Mint). 1970 Japan 1st original pressing.Among the later Byrds albums, Untitled was always the one to own, even if you weren't a huge fan. It was one of the few modest commercial successes for the latter-day group. "Eight Miles High" is the high point, a 15-minute jam that showcases this band's prowess. The studio sides aren't to be overlooked, however -- the group by this time was modifying its established sound into more of a '70s mode, and the influence of new members Gene Parsons and Skip Battin was showing up, pushing aside the familiar timbre of Roger McGuinn’s 12-string Rickenbacker in favor of a leaner country-rock orientation. On some of this material, they sound more like Crosby, Stills, Nash and Young. The only song on the album to get heard by people other than serious Byrds fanatics was McGuin’s "Chestnut Mare," but "Truck Stop Girl," "All the Things," the group's version of Leadbelly’s "Take a Whiff on Me," and, especially, "Just a Season" (maybe the prettiest song McGuinn has ever written) also hold up very well.” (Bruce Eder) rare Japan original with obi – first time I have a copy of this one and it sounds total killer. Price: 150 Euro
310. The BYRDS: “Live In Washington 9/12/71” (Black Cat Records – No Number) Picture Disc: Near Mint/ Clear Outer Hard Plastic Sleeve: Near Mint). Old skool Byrds bootleg that is nothing short of pure awesomeness. Price: 45 Euro
311. The BYRDS: “Doin’ Allright For Old People” (Excitable Records – No Number). (Record: Near Mint/ Jacket: Near Mint – still housed in shrink). Old time bootleg that came out in 1979, documenting the Byrds on fire, live at the Boarding House in San Francisco on February 10th, 1978. Officially, the show where this live bootleg was recorded -- off a soundboard hookup, for broadcast -- wasn't a Byrds gig. Rather, it was a Roger McGuinn – Gene Clark – Chris Hillman performance at the Boarding House in San Francisco where David Crosby showed up. So you had all the singing and composing members of the band together – with Chris Hillman playing mandolin -- doing the best parts of their collective repertory, including a killer low-amplification version of "Eight Miles High." It was as close to a full Byrds reunion as anyone ever got - or ever will have. Amazing set, indispensable to any self righteous Byrds addict!!! Price: 50 Euro
312. The BYRON ALLEN TRIO: “S/T” (ESP Disk – 1005) (Record: Near Mint/ Past on Wrap Around Jacket: Near Mint). Original US MONO pressing as released in 1965. The Byron Allen Trio was among the first batch of ESP-Disk' jazz LPs. Recorded on the afternoon of September 25, 1964, at Mirasound Studio in midtown Manhattan, it was Allen's debut. He had been recommended to ESP-Disk' by Ornette Coleman, and one of the tracks, "Decision for the Cole-Man," reflects this connection. Allen and his trio also play in a style somewhat similar to that of Coleman's trio of that era with bassist David Izenzon and drummer Charles Moffett, though that's not to say that Allen, bassist Maceo Gilchrist, and drummer Ted Robinson don't display a sound of their own on the four tracks here. In the years since, though Allen made only one other album (and that 15 years later), this LP acquired legendary stature among jazz fanatics. Top copy. Price: 125 Euro
313. The BYRON ALLEN TRIO: “S/T” (ESP Disk – 1005) (Record: Near Mint/ Past on Wrap Around Jacket: Near Mint). Original US STEREO pressing as released in 1965. The Byron Allen Trio was among the first batch of ESP-Disk' jazz LPs. Recorded on the afternoon of September 25, 1964, at Mirasound Studio in midtown Manhattan, it was Allen's debut. He had been recommended to ESP-Disk' by Ornette Coleman, and one of the tracks, "Decision for the Cole-Man," reflects this connection. Allen and his trio also play in a style somewhat similar to that of Coleman's trio of that era with bassist David Izenzon and drummer Charles Moffett, though that's not to say that Allen, bassist Maceo Gilchrist, and drummer Ted Robinson don't display a sound of their own on the four tracks here. In the years since, though Allen made only one other album (and that 15 years later), this LP acquired legendary stature among jazz fanatics. Top copy. Price: 85 Euro
314. BYRON MORRIS UNITY: “Blow Thru Your Mind” (EPI Records – EPI-02) (Record: Near Mint/ Jacket: Near Mint/ PROMO ONLY 6 INSERTS: Mint).  Private press 1974 originall issue, this a never seen before “promo” issue that comes with 6 different promotional inserts!!!! Apart from that the condition is the best possible, clean like a newborn baby’s ass, virginal on all fronts. Blow Thru Your Mind is a lost classic of independent jazz, Byron Morris and Unity's "Blow Thru Your Mind", originally released in the USA in 1974. Unity was formed with similar values, aims and objectives to many other spiritually conscious groups at the time, as the name suggests. Uniquely, it managed to match the musical and spiritual searching of John Coltrane, Pharoah Sanders and Ornette Coleman alongside an equally experimental New York art-music dimension that was brought into the group by vocalist Jay Clayton, who had performed with, amongst many others, Steve Reich. With bassist Milton Suggs having played in Sun Ra's Arkestra, and Byron Morris having studied with Ornette Coleman and Rahsaan Roland Kirk, it is possible to see the musical path that makes up "Kitty Bey", twelve minutes of musical intensity, that sounds like nothing else ever recorded. Originally released on Unity's own EPI label and distributed by hand, this record has remained an underground classic recording for over 25 years. Never offered before unique copy with 6 different inserts and all is in virginal condition. One of a kind both condition-wise as package-wise, so do not think twice it is all right!!! Price: Offers!!!