1. AARDVARK: “S/T” (Deram – SDN-17) (Record: Excellent – has some faint paper scuffs but plays NM/ Jacket: Excellent ~ Near Mint). Original UK pressing. “Despite some good tunes and vocals, superb keyboard work, freaky arrangements and ballsy production, this album has a problem, and it becomes more pronounced the longer it goes on: there’s no guitar. On the shorter songs it isn’t so much of a drawback. ‘Copper Sunset’ has a mean riff and tough drumming, ‘Many Things To Do’ is catchy, jazzy pop with some ace piano and ‘Once Upon A Hill’ is a great mystical ballad. The rot starts to set in on ‘The Greencap’, however, and much of side two’s lengthy ‘An Outing, Yes’ and ‘Put That In Your Pipe And Smoke It’ is nigh-on unlistenable. With some fat, fuzzy fretwork this could have been unmissable. As it is, it’s highly enjoyable in parts, but taken as a whole it’ll probably only satisfy keyboard-prog nuts.” (RMJ – Galactic Ramble). To these ears a very balsy, freaked out organ fuzz fest that leaves no stone unturned. Heavy UK progressive fuzz-a-delic organ combo that sadly only recorded this one off album. Fucking heavy!!! Price: 250 Euro

2. ABE KAORU: “Winter 1972” (Sound Works – MN-3039) (Record: Mint/ Plain Cover: Mint). One of the rarest privately released Japanese jazz slides is this one by Abe Kaoru. Stunning saxophone solo action recorded in 1972 and released in 1973 in a tiny minuscule run of 50 to 100 copies only. Alongside noise guitarist Masayuki Takayanagi, the late saxophonist Kaoru Abe was in the vanguard of Japan's new music, articulating an approach to the saxophone that matched extreme velocity with an elastic facility with the instrument's most phantom registers and a sculptural approach to instant composition that saw him carve poignant shapes from massive blocks of silence. Abe died too young on September 9th, 1978 at the age of 29. This is the rarest of Abe's recorded works, originally released as a private issue in a plain white sleeve on the Osaka Soundworks label in 73/74. The early-70s were Abe's most prolific and inspired years and this live set from 1972 is a stone classic, a powerfully focused set of solo saxophone that works the molten flow of his brain and fingers into lines of dense, ferocious beauty, from drooling, all-out blurt to exactingly articulated ice-cold blues. Mesmerizing. Never surfaces, this one is the 1^st original pressing in absolutely Unplayed top condition. Price: Offers!!!!

3. ABE KAORU: “Mort A Credit” (ALM RECORDS – AL-8~AL-9 – first press) (2 LP set: Near Mint/ Gatefold Jacket: Near Mint). Recorded in 1975 and released in 1976. HYPER RARE First original pressing. Second pressing is very common and surfaces every other day but the 1^st press of this subliminal piece of vinyl just hardly ever turns up. First time ever that I can over the original press and in exquisite condition. 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 18^th, 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 Abe’s performance on this disc does resemble 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. Stunningly beautiful copy, hardly surfaces in such immaculate state. No storage wear, no marks on the jacket and looks like an untouched copy. Rare beyond belief in this state but still affordable. Price: 250 Euro

4. ABE KAORU: “Suisei Partitas” (Nadja – PA-6137~38) (Records: Mint/ Gatefold Jacket: Mint). 2 LP Set. Great original copy and first press of Japan’s all time hard blowing saxophone wonder Abe Kaoru. This is the 1^st 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 much in demand these days. Price: 150 Euro

5. ABED AZRIE: “Epic of Gilgamesh” (Shandar Records – 83519) (Records: Mint/ Box: Excellent, has some minimal storage wear). Comes with a 12-paged detailed booklet. One of the rarest Shandar items is this 2 LP box by Abed Azrie. It is an epic of Middle Easter music. Instruments are Oud, Nay, Kanoun, Viola da Gamba and percussion. Like the Pandit Pran Nath album, which touches on Indian vocal music, this item can be considered as its Middle Eastern counterpart. It is certainly as mind lifting as the latter one; only it does not resurface as much. Hardly never to say the least. If you are acquainted with the Pandit and La Monte Young record, you can have an idea of the direction this gorgeous box will steer you into, except that it will go in another ethnic phased direction. Rare to say the least and stunningly great music. 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. ACHE: “Green Man” (Philips – 6318.005) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Original 1971 pressing of this heavy progressive Danish whirlwind. Heavy guitar riffing interlocking with doomy & apocalyptic organ bursts spin in and out of focus, creating high-tension music driven by high voltage action and reactions. Dark sound with an ominous and menacing feel bordering on Van Der Graaf Generator styled prog/ psych moves. Killer slide in top shape. Highly recommended and a classic head twister on these shores. Price: 150 Euro

8. A CID SYMPHONY: (3 LPs on different colored vinyl: VG++ ~ Excellent, some scuffs here and there but plays very well/ 3 separate inner sleeves: VG++ ~ Excellent/ 2 cover slicks: Excellent) Original 1967 pressing! Hideously rare and obscure 3 LP set private press acid folk gem, released as 3 slides each in a different color LP's. “The artists' names are Fischbach & Ewing, but the LP is often listed as simply “Acid Symphony”. The music is stoned acoustic counterculture brainstormers with an Eastern vibe, blending instruments (dulcimer, guitar, sarod, sitar) and genres (country, blues, flamenco, jazz, folk-psych and raga). It's more of a bluesy-folky beatnik angle than psychedelia, so beware of the usual dealer hyperbole. Interesting period piece in any event, pre-dating the hippie era in its vibe. Engineered by Denise Kaufman of the Ace Of Cups, who handled the publishing vie her Thermal Flash Music company. The records are on green, orange and purple vinyl with matching inner sleeves”. (Acid Archives rant). Price: 300 Euro

9. 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: 120 Euro

10. AF URSIN: “Aura Legato” (La Scie Doree) (Sealed). Long out of print mint copy. Upon hearing this disc for the first time at the house of Belgium’s finest experimental sound sculptor Timo Van Luyk, I was baffled, stunned and blown to pieces. In an attempt to gather the remains of my scattered mind after sitting through the “Aura Legato” album, I had a hard time getting a grasp on reality again. In short, it was too much beauty of delicately constructed psyched avant-garde forest dwelling acid folk. Constructed entirely without any collaborators, Timo Van Luyk sculpted a worthy successor for his previous released “Murille” album. But there where “Murille” was a more abstract listening affair, “Aura Legato” sees him graduating with honors by delicately weaving sounds together into a carpet of droney-sounds processed out of a wide acoustic instrumentation. But unlike so many artists who churn out easily conceived middle-of-the-road crappy and cheap drone-like music, Af Ursin injects it with a warm personality reminiscent to the atmospheric and even melancholic acidic music box-like excursions of days long gone, filled with hand percussive rattles, flutes, guitar insertions and completed with dream-like otherworldly layers of ecstatic ritualistic music. The condensed overall effect is one of tripping through mysterious atmospheres that are seemingly filtered by a patina of ritual incantations and magic ceremonials. In short, Af Ursin proves that his music is not conceived as a fashionable whiff within the tides of hyped-up rural European bummer road music but instead betrays a well-rooted foothold within musical history as well as a musical vision erected out of a well-aimed quest towards a sonic divinity. This is without a doubt one of the best discs you will ever hear this year. A hypnotic listening experience. Stunning high quality full color covers with die-cut, black vinyl and red/gold labels in black inner sleeves. The covers make me think of ancient 78-rpm records. Limited edition of 350 copies and long gone and out of print. Highly recommended. Price: 70 Euro

11. AF URSIN: “AIKA – Un Reveil Siderant Dans le Passe Decompose” (La Scie Doree) (New Unplayed). Completely out of print and sold out at the source. Managed to wheel in the last copies around, so better move quickly to get your slice of future heaviness!! Extremely limited and numbered edition of 150 copies; all signed by the artist and graced in all unique handmade jackets. The year 2008 rolled towards its end and with it various magazines’ writers and critiques, blog mavericks and other music related tastemakers churned out their annual “best of” lists commemorating the past year’s highlights in recorded sound. Upon gazing at this wealth of so-called highlights, I succumbed into a lethargic state of utter depression and desperation. I could not believe my eyes since these self-proclaimed professional critiques obviously had – in my humble opinion – either no taste at all or had their ears crammed with bacterial infested earwax. So much crap praised to the stars, but then what else could you possibly expect from such hipsters. None of them either noticed of failed to mention this record in question, which according to me was definitely the sole highlight to seep out of that cultural wasteland called 2008. When I was about to foreclose and give up all hope, “Aika” by Af Ursin (the moniker that enshrouds musical maverick Timo Van Luijk) completely took me by surprise, blind-sighted me and filled my juvenile musical eagerness with hope beyond belief. Finally a record that had originality, addictive tonal colorizations and above all a sound that resembled no other. Right from its first crackly loops, “Aika” casted a spell on me and sucked me into an abyss filled with cinematographic visions, ritualistic mood swings and sacred pulsating vibrations. Built up out of an intuitive approach and injected with a crackling dusty approach to the overall sound, the minimal slowly building animated strive adds to the enhancement of the music and gives it already skeletal nature undercurrents of depth that keep on sucking you in. Bestowed with occasional haunting echoes of winter-beating polar plains, Af Ursin’s musical wonderland is deceptively casual yet intense in its feeling and meticulous in its musical detail and its lyrical economy. It offers an austere intimacy, which jacks in directly and gives access to the artist’s pulsing brain. And although the music seems to be superficially drenched in a dilapidated past, it is nevertheless the most viperous statement of how sounds should be commenting on this very moment. Limited edition of only 150 numbered copies, each gatefold jacket is meticulously been assembled by the artist himself, making that there are no two jackets alike. Apart from giving you sonic beauty, this release is also an aesthetical statement in packaging. This is without a doubt the best disc to seep out of 2008. Mark my words, this one will skyrocket in the months to come once some daring and adventurous minds will unlock its sonic mysteries and start howling at the moon. Highest recommendation. Price: 75 Euro

12. AFTER SHAVE: “Skin Deep” (Splendid Records – SLP-50.106) (Record: Near Mint ~ Mint/ Gatefold Jacket: Mint). Original 1972 Swiss heavy & dirty bluesy kraut rock jams. Top notch early 70s Swiss hard rock collectable record with a sound influenced by Cream, Deep Purple, Led Zeppelin and the usual suspects. They toured Europe in the early 70s and eventually recorded this debut album for the tiny Splendid label in 1972, which now has become quite sought after, especially in NM condition as this beauty here. They have been featured in a few books, including The Hard Rock Anthology 1968-1980, Encylopedie du Hard Rock des Seventies and the Hans Pokora books. Top copy 1^st original press issue. The music is filled with greasy filthy jams, caveman rhythm section and wild sleazy guitar riffs from here to eternity. Fantastic album!!! Price: 575 Euro

13. AFTERGLOW: “S/T” (TMA Records – MTS-5010) (Record: Near Mint/ Jacket: Excellent, has a drill hole). 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) Price: 200 Euro

14. AGATA MORIO: “Norimono Zukan” (Chop Records – CHOP-1201 – 1986) (Record: Mint/ Jacket: Mint/ Obi: Mint). Originally released in 1980 on the illustrious Vanity label, “Norimono Zukan” got repressed only one time as a limited edition and graced with an obi in 1986, six years after its original release. That is almost 20 years ago today and copies of the Vanity as well as of the Chop Records one are getting bloody scarce and hard to track down. 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 getting hideously scarce these days. Brilliant stuff. Highly Recommended! Price: 75 Euro

15. AGATA MORIO: “Eien no Enkoku” (private release) (3-LP's: Mint/ Heavy Duty Box: Mint/ Book: Mint/ Gimmick bag filled with toys and stuff: Unopened and Mint/ Inserts: Mint). OK, here is the beef. Agata Morio released in the early eighties this monster of a box set, privately released in an edition of 500 numbered copies. The discs never made it to the retailers due to the fact that it got sold out on prescription alone. The box itself is extremely thick and hefty and this due to the fact that it includes a mass of objects. Apart from the 3 LP's, you have a thick 100-page book that is lavishly illustrated by Agata, some inserts, and a sack filled with gimmicks and toys. A real sight for soar eyes and rare beyond description. The music is also stunning, ranging from Vanity era psychedelic techno-pop crossbreeding with folky influences and cheap electronic, creating an atmosphere that only Agata Morio is capable of doing. Hideously rare and bound to never turn up again. Highly recommended. (PS the box is huge and ominous). Price: 450 Euro

16. AGITATION FREE: “Malesch” (Vertigo – 6360.607) (Record: Near Mint ~ Mint/ Jacket: Near Mint). 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 top copy. Price: 550 Euro

17. AGUATURBIA: “Vol.2 Evol” (Mezcal Records – Mezcal LP1) (Record: Excellent/ Jacket: Near Mint). Rare Aguaturbia reissue that saw the light of day in a very limited run way back in 1991. For those of you who are a bit dazed as far as South American psych is concerned, Aguaturbia were a unit that roamed the Chilean pampas during the late sixties and early seventies. In short, Aguaturbia was the Chilean hard driven psych monster group. Music wise their sound consists out of guitar pile-drivers, howling, wasted femme vocals, jungle rhythm section and spiked up by influential time consuming rituals of mescal drinking /peyote eating / coke sniffing in order to feed their heads! Immensely heavy raw guitars blasting, the girl howls, everyone goes insane... So do you, so was I when first hearing it. Price: 30 Euro

18. AHORA MAZDA: “S/T” (Catfish – 5C054-24184) (Record: Near Mint/ Jacket: Excellent). Original Dutch pressing on highly collectable Catfish label. Original 1970 Dutch 1^st pressing. The band originated out of the hazy fumes of Amsterdam and their music was a reflection of the “spacey” music in the Netherlands, but upon listening to their sounds, they owe more to the cosmic music scene of Germany than the symphonic approach of their fellow countrymen such as Focus, Kayak and Finch. Known for their long jam sessions, Ahora Mazda recorded shorter excursions and more arranged songs for their self-titled debut (and only) album. The whole affair only took three days to be completed and be translated into one killer slide of an LP. The end result is a really fabulous psychedelic nugget from the land of the flowers and the windmills. It combines both more close-to-earth flute fronted bluesy jazz-rock not unlike German Rufus Zuphall and free freak-out improvisational soundscapes infused with some intoxicated horn blats. In all, killer slide, impregnated with vicious guitar licks, thumbing rhythm section and blasting sax lines, crossing borders between psychedelic mayhem and spiritual jazz rock moves. One of the best albums to seep out of the Low Lands. Awesome. Price: 300 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: 350 Euro

20. AKIYAMA TETUZI: “Don’t Forget To Boogie” (Idea Records-2008) (Record: Near Mint/ Heavy Duty Jacket: Near Mint/ Letter Pressed capsule Obi: Near Mint). "Like stated on the label “Sounds of Hell and Fear Forever”, this disc is total badass but not in the way you envision it to be. It will transcend all your premonitions and perceptions, burning your ass with molten tire irons and liquid rubber. Released in a tiny minuscule run way back in 2003, Don't Forget to Boogie isn't a quiet record, but the onkyo philosophy is still somewhat in action here, with tracks like "Money, Love Rock", a two-minute jam of squealing guitar picking that fades in and out with funny silences as if the amp is going on the fritz. Comes as no surprise that Toshimaru Nakamura (an expert on the mixing board) edited the album -- the experimental edges to this release are subtle and smartly consistent with the style of playing. Next up, the ten-minute swamp dirge "Dead or..." is pure, adulterous rhythm, built for knucklehead bobs, and has the kind of unblinking bloodshot focus and length of a total stoner-rock jam, like it's been played by a kid in his basement high on sparkling bud, hours spent on his discovery of this seriously hypnotic blues progression, strummed until his fingers go numb. It's also really necessary to comment on the packaging of this vinyl-only release, because the packaging is so jaw-droppingly gorgeous and in keeping with the fetishistic high quality that has become as much a part of the notoriety of the IDEA label as the music itself, so much so that it becomes an integral part of a listener's full appreciation of the sounds. The second side of the album also explores the genre with a slightly different approach, so it's appropriate to have to go through the rigmarole of consciously flipping the record to hear side B. Few records are so satisfying, so fun, so exciting, and so innovative. This kind of magic occurs just frequently enough in the music industry that every year I discover something I never thought could exist so perfectly.” (Lee Henderson). A stunner indeed…Price: 75 Euro

21. AKIYOSHI KUMIKO w/ Yonin Bayashi: “S/T” (Elec Records – ELEC-9 – 1975) (Record: Mint/ Jacket: Mint/ 4 Paged Insert: Mint/Obi: Mint). Comes with insert and in pristine condition. Well acquainted archivists and subscribers to this list may be, I guess, a bit acquainted with Japanese psych so therefore I think that the backing band on this record, the Yonin Bayashi (of Isokuhatsu fame) need no introduction. Akiyoshi Kumiko on the other hand might be a bit unfamiliar for Western music adepts. She was and still is a famous seventies actress that recorded three albums. This was her first recording effort, released on December 1^st, 1975. Apart from being a great actress she was also gifted with a stunningly great voice that sounded utterly erotic and innocently at the same time. The record dwells into great psychy and kayokyoku like regions and the songs are interspersed by Kumiko’s taped telephone conversations and interludes on which she tries to set up dates, get rid of stalkers etc. Quite a transfixing listening experience infused with erotically laden atmospheres. Psychedelic meets well-balanced progressive touches all mixed up with lullabies and kayokyoku styled songs. Highest recommendation. Quite hard to come by these days since a new crowd of domestic record geeks has rediscovered her lately who got fed up with the tsunami of mindless J-Pop icons and remodeled R&B bitches. Stunningly great all the way. Price: 50 Euro

22. AKSAK MABOUL: “Onze Danses Pour Combattre la Migraine” ((Crammed – Cram-011) (Record: Near Mint/ Jacket: Near Mint) Rare pressing of Belgium’s finest band ever Aksak Maboul. Recorded in 1979. 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 stooled 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. Price: 50 Euro

23. 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: 400 Euro

24. ALAN SILVA and the CELESTRIAL COMMUNICATION ORCHESTRA: “S/T” (BYG Actuel 42-43-44) (3 LP Set – all discs are Excellent ~ Near Mint/ Triple gatefold Sleeve: Excellent ~ 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” 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. 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: 125 Euro

25. ALICE COOPER: “Pretties For You” (Straight – STS-1051) (Record: Near Mint / Gatefold Jacket: Excellent, has some sticker residue on front). First Alice Cooper album, released on Frank Zappa’s label. A vicious slab of totally underrated amphetamine soaked underground psychedelic brain ripper. Total killer slide that makes your jaw drop and hit the concrete hard. Price: 100 Euro

26. ALICE COOPER: “Easy Action” (Straight – WS-1845) (Record: Near Mint/ Gatefold Jacket: Near Mint). Alice Cooper’s second LP, again released on the Bizarre label, original 1^st US pressing. As essential as the Stooges, MC5, Deviants and other delinquent doped up star chasers. Price: 80 Euro

27. ALL ABOUT AMERICAN FOLK SONGS: “S/T” (Columbia – YS-527-C) (Record: Near Mint/ Fragile Gatefold Jacket: Near Mint 360 Sound Obi: Mint/ Attached Inner Sheets: Mint). Rare and all complete early Japan only compilation from 1965 featuring Bob Dylan. One of the earliest slides to introduce the US booming folk scene to a Japanese audience featuring Bob Dylan, Pete Seeger, The New Christy Minstrels, The Brothers Four, The Clancy Brothers and Evelyne Beers. Top condition and first copy I encounter complete with obi. Japan only issue. Price: 150 Euro

28. 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: 150 Euro

29. ALLEN, DAEVID: “Banana Moon” (Virgin Records – C-1512) (Record: Near Mint/ Jacket: Near Mint/ Poster: Near Mint). Original 1^st UK pressing – comes with Allen designed poster. 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. Comes with very cool poster depicting Allen's own distinctive, suitable stoned notes and drawings. Amazing disc, an all time classic psych beast. Top copy. Price: 75 Euro

30. The ALLMAN BROTHERS BAND: “Eat A Peach” (2 LP set: Mint/ Gatefold Jacket: Mint/ 1^st Issue Obi: Mint/ 4 – Paged Insert: Mint/ Additional Illustrated Insert: Mint). Blue Warner Pioneer promotional copy, dead mint condition complete with obi and inserts. 1^st Japanese press copies with obi and all intact hardly pop up these days, top copy, just mint all the way from start to finish. Price: 220 Euro

31. ALLMAN DUANE: “An Anthology” (Victor Records Japan/ Capricorn – VIP-9511~12) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 6 Paged Insert: Mint/ 20 Paged fully Illustrated Booklet: Near Mint). First original Japanese pressing complete with obi and book. Top copy. Price: 50 Euro

32. ALVARIUS B.: “S/T” (Abduction – ABDT-004) (Record: Near Mint/ Jacket: Excellent/ Insert: Excellent). 32 instrumental acoustic guitar excursions into a realm of weird Lo-Fi rustic beauty that sketch retro-portraits of several folk guitar styles, some which may never have existed before. From abrasive to delicate, these lucid antique paintings with acoustic guitar employ Appalachian polyrhythms, dark melodies, flamenco thrash, alien tunings, pseudo eastern drones, cinematic back road twang, and other hybrid ideas not easily described. This record is a folk drifter classic. Originally released in 1994 on Abduction. Recorded from 1981-1989 by Alvarius B (AKA Alan Bishop/Sun City Girls) onto various portable cassette decks and includes the original 28 tracks. Price: 50 Euro

33. A-MUSIK: “E Ku Iroju” (Zeitgenossische Musik Disk – DI-830) (Record: Mint/ Jacket: Mint/ Booklet: Mint) Comes with the 16-paged booklet intact, filled with leftist cartoons, pictures and manifestos. This bloody rare sucker may appeal to all the Tori Kudo (Maher Shahal Hash Baz), Mukai Chie, Kuge Yoshio, Takahashi Ayuo (see your PSF back catalogue), John Duncan, Shinoda Masami, early times Sakamoto Ryuichi and Minor after-hours cum avant-rock live house scene adepts. Early eighties heavily left wing politically driven outfit spearheaded by Takeda Keiichi, leading an ever-evolving member base into the realms of a music driven political activism. Vital early 1980s underground artifact, hard to dig up these days. For the more advanced Japanese music listener. Excellent!! Price: 125 Euro

34. AMANAZ: “Africa” (Shadoks) (Record: Mint/ Jacket Mint, still in shrink). Great Zambian psychedelic rock album from 1975. Amanaz was formed in 1973. 3 songs are in the native language Bemba, and 9 songs in English, recorded in Kitwe, the 3rd biggest city in Zambia. Musically is goes in the same direction as Blo, The Witch and Question Mark, but this album is more mellow and stoned with amazing fuzz guitar all over which sounds like an African version of early Cream. “Fantastic psychedelic rock album recorded by Amanaz in Zambia in ’75; & in the early '70s Zambian way stylistically very much rooted in late ‘60s psych, with a few African moves thrown in here & there for flavor. Amanaz were a five piece band (two guitars, bass, drums, vox) & all five members wrote & sang, so there is a fair amount of variety in the songs, though they are stylistically coherent, moving from a sort of semi-Africanized “Loaded” Velvets feel to something maybe along the lines of a stripped down Iron Butterfly, maybe even hinting at something like early Funkadelic, but always high level, plenty of fuzz, riffs, post Ginger Baker drumming, & with a ramshackle underground sound & feel – raw, organic, beautiful. This feels like it was hand carved out of an old tree, rather than recorded in a studio. Mostly sung in English, with a couple of tunes in the Bemba language. A fairly close parallel would be the equally brilliant Chrissy Zebby Tembo album “My Ancestors,” also recorded in Zambia & released around the same time. Beautiful Sunday morning comedown feel. Sounds good immediately, but repeated listens reveals rare timeless magic.” (FM Shades). Price: 50 Euro

35. AMM: “At The Roundhouse” (Incus Records – Incus EP1) (Record: Near Mint/ Jacket: Near Mint). I guess that this baby needs no introduction I guess apart from the act that this one here is probably the best ever copy you will ever see, no shit. Got it from the original owner who bought it back in the day when it came out, spinned it once and shelved it away sealed securely, handling it like a newly born infant (apart from the sealing bit of course). AMM's “At the Roundhouse” has always been regarded as a mythical recording especially since for scavengers hunting down recorded evidence documenting the early British/free improv scenes as it was an obscure 7 inch issued on Incus as their first ever EP release and ever since it has become a hard to track down item, especially in near immaculate condition. Here, you can hear a very different AMM than the one active today. The unit was slimmed down to a duo after Cardew left, leaving just drummer Eddie Prevost and saxophonist Lou Gare. Although a line up of drums and a saxophone may come over as too jazzy at first sight, Prevost could be found proclaiming that their sound was decidedly non jazz. Still the he free improvised music here on display is definitely the most jazz work of the entire AMM catalogue - the element of silence that has become a later trademark of AMM, is present here already, but only for shorter periods. Still a shivering document and like most of you already know almost impossible to track down these days in such a nice nick as this copy here. To these ears it is still a defining era piece…..totally essential like most of the AMM recorded works. Price: 200 Euro

36. AMM: “The Crypt 12 June 1968” (2 LP Box/ Matchless Recordings – MR5) (2 LP’s: Near Mint/ Box: Excellent/ Insert: Mint). 2 LP box. Comes with the insert. This is the original edition of AMM’s historical recording. One of those seminal albums that is absolutely useless to describe. AMM’s influence on music extended from Pink Floyd to The New Blockaders and to Morphogenesis and basically any free form improvisation group with electronics of the last twenty years. This is their landmark recording in which Cornelius Cardew, Lou Gare, Christopher Hobbs, Eddie Prevost and Keith Rowe play more than 80 minutes of beautiful and intense noise at London’s The Crypt in 1968 on piano, cello, saxophone, violin, percussion, guitar and electronics. Beautiful Rowe drawing on the cover. One of the defining free improvisation – noise scapes albums ever. Highly essential if you are into free form sonic activities, this is IT! Top-notch copy. Price: 175 Euro

37. AMON DUUL: “Psychedelic Underground” (Metronome – MLP-15332) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint). Top Original Press Copy. Some albums just have the perfect name and some LP’s just have the name and the sound to match it. Amon Duul's is just that ravaging beast that quells the darker side of the psychedelic mandala, spiked up with an animated strive that leaps off into a maniac fury, branching out into a lysergic violent fit of tribal madness. And what a debut it was, “Psychedelic Underground” is psychedelic music at its most experimental, ripping the love & peace sub-cultural system apart like a pile of cheap hay with their thundering low-fidelity outburst of teeth-grinding jungle shout-outs. The whole affair comes over like a mutant variation of some obscure medieval initiation ritual gone completely overboard. The intoxicating sonic brew is uglier than any group of mutants you see at a bad insane asylum where the inmates are armed with searing brash electric appliances that cut through the air like a buzzsaw drenched in liquid LSD. The whole album rocks to its own weird beat of primitive, collective percussion & an overdriven 12 string acoustic guitar, with some occasional bass &/or fuzz cello, punctuated by hoots, yells, chants, moans, babbling – a primal, tribal, drug-soaked ceremony. And if that weren’t enough, the whole riotous affair was drenched in distortion, which only drives the whole sonic asymmetric groove further into the trashed psychedelic mind. Acid influenced tape editing, mixing, & some tape manipulations lend some variation & surprise to the tribal freak-out trip as if the whole gang was eager for violence in order to spent the whole recording session making chain whips and loading up upon speed to stay crazy and grooving. Just sheer brilliance. Top copy, 1^st original pressing! Price: 175 Euro

38. 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

39. AMON DUUL: “Disaster” (BASF – 29.29079-4) (2 LP Set: Mint/ Gatefold Jacket: Mint). TOP copy, 1^st 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

40. AMON DUUL II: “Phallus Dei” (Liberty Japan/ Toshiba – LLP-80640) (Record: Mint/ Jacket: Mint/ 4-paged Insert: Mint/ Obi: Near Mint). Bloody rare Japanese original pressing of the 1^st Amon Duul II record complete with OBI!!! Top notch copy of this groundbreaking first Amon Duul II record, original 1^st Japanese pressing from 1971!!. The disc was first released in Japan, 2 years after its German issue but pressed on superior vinyl. Japanese pressings of that period are so bloody rare, very few copies were sold so these days they are becoming so sought after due to its “scarce as gold dust” qualities. This is the best copy you will ever see, intact with 4-paged insert. Amon Düül II evolved logically enough from Amon Düül, an experimental German 60's jam-oriented band with political lyrics. Several members decided to drop the political side of the group in favor of more focus on the music, so Amon Düül II was erected, quickly evolving into one of the leading and most important kraut rock bands of that era. Their debut "Phallus Dei" is just a massive beast, psyched out tribal jamming, demented improvisations spiced up with vocal oriented blasphemy. The violin of Chris Karrer dominates a great part of the group’s sound, and his vocals sound like a crazed caveman on a rampage. He gets complemented in his madness by fellow travelers Frank Bornemann and Renate Knaup, a nymph graced with some uncanny cadaverous female vocal chords surfacing to the foreground on their most experimental parts. In all it is a meeting of freaked out mind-blowing hippie hoedowns that makes “Phallus Dei” what it is. Anyway, it's a historical musical document as well as an intriguing art manifesto - heavy, weird, and wild. Rare 1^st Japanese pressing in mint condition complete with 4 paged insert. They do not come better than this one. This is definitely IT!!!!! Top original 1^st issue Japanese pressing in dead mint condition complete with never offered before OBI, what could you possibly ask more for? Price: 350 Euro

41. AMON DUUL II: “Yeti aka Jigoku Amon Duul” (Liberty Japan – LP-80042) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent ~ Near Mint/ Insert: Near Mint) WHITE LABEL PROMO COPY ON RED WAX!!!! First original Japanese pressing complete with the Japan only Amon Duul II cool obi. Top copy!! These real time Japanese 1^st 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 in 3 years time. Price: 350 Euro

42. AMON DUUL II: “Tanz Der Lemminge aka Rokku Kyoudoutai/ Amon Duul Second” (Liberty Japan – LP-9300B) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent) White label promotional copy with first issue 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 1^st pressing originals with all complete – being obi, liners and poster in this case – 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: 300 Euro

43. AMON DUUL II: “Tanz Der Lemminge” (Liberty Germany – LBS-83.473/ 74X) (2 LP Set: Mint/ Laminated Gatefold Jacket: Mint). TOP mint copy, German 1^st press issue. Comes in laminated gatefold jacket and the whole affair is as mint as humanly possible, perfect copy with no defects. German press original is way harder to track down than the UK pressing of this LP. Top Copy, just Impossible to upgrade upon. Mint all the way. Price: 175 Euro

44. AMON DUUL II: “Tanz Der Lemminge” (Liberty – UAD-60004) (2 LP Set: Mint/ Laminated Gatefold Jacket: Mint). TOP mint copy, UK 1^st press issue. Comes in laminated gatefold jacket and the whole affair is as mint as humanly possible, perfect copy with no defects. Top Copy, just Impossible to upgrade upon. Mint all the way. Price: 120 Euro

45. AMON DUUL II: “Vive La Trance – Kokotsu Banzai” (Liberty Records Japan – LLP-80961) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Rare Japanese first original pressing, all complete and in TOP condition. Price: 150 Euro

46. ANDERSEN/ PLEYM: “Have Your Own Feeling Have Your Own Way” (Mayfair Music) (Record: Mint/ Jacket: Mint/ Booklet: Mint). With an edition of only 250 copies, it can be claimed that this record is probably the rarest private press out of Norway (and the most unknown). The Andersen/Pleym-Group was basically a duo, which recorded their sole album in their local school with the support of some friends. This introduction might suggest that you have to expect another record of well-known cover-versions but this is definitely not the case since all featured songs are original compsositions by the group. And great songs they are…melodic and natural, with a Singer/Songwriter-touch but with full instrumentation including organ, guitar and drums, bearing a strong Beatles-flavor. All the songs have been carefully remastered in order to leave the authentic feel and spirit. Price: 20 Euro

47. ANIMALS: “The Best Of” (MGM – SE-4324) (Record: Near Mint/ gatefold Jacket: Near Mint). Original US pressing in top condition. No need to get lost in endless explanations….you know what it is all about, every single track here is a winner…pre-punk avant-la-lettre, trashy vocals and lyrics enough to make a grown man weep and look back at his unfulfilled youth, the burden of too many expectations, so if you are experiencing a mid life crisis this record will bum you out to infinity and even wanna slash your wrists. However, if you inhabit the other side, this is a lethal shot of ephedrine, getting you back where you once were. Brutally awesome!!! Price: 30 Euro

48. 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: 125 Euro

49. The ANIMALS: “The Original Animals featuring Alan Price & Eric Burdon” (EMI Odeon – OR-8110) (Record on Red Wax: Mint/ Jacket: Mint/ Obi: Mint). Rare red wax promotional white label copy. Hardly needs any introduction, Japan only Animals release, issued on October 1969. This is the white label promotional issue that came on blood red wax and complete with the always-missing obi. Condition is mint all the way, cannot be upgraded ever. Top copy, stellar filthy white boy blues trash from days long gone. I just forgot how good this one was, burned a hole in my brain. A must!! Price: 200 Euro

50. ANODE CATHODE: “S/T (Punkanarchrock)” (Pinakotheca Records) (7 Inch EP: Near Mint/ 7-Inch “Omake” EP: Excellent/ Triangular Gatefold Sleeve: Near Mint). Comes with insert and bonus 7’’ that has nothing to do with the release, a sort of gimmick they stuffed in the packaging maybe to intensify their way-out-there-ness. Great item on the legendary and totally vanished Pinakotheca label. Super experimental, improvisational, utterly nihilistic and accidental music. Probably one of Pinakotheca’s most difficult to locate titles and one of the label’s greatest recordings. These guys went totally over the top and the music embedded within these grooves should appeal to psych heads as well as to adventurous music freaks, experimental music adepts and lovers of the avant-garde. Genre and border crossing music. Highest recommendation. Hard to track down and much in demand. Price: 100 Euro

51. ANT TRIP CEREMONY: “24 Hours” (No label) (Record: Excellent/ Jacket: Mint, still in shrink). First generation reissue from a decade ago. Probably the quintessential college campus psychedelic album. Completely self-released and pressed it on their own label, Ant Trip Ceremony does in a way sound like 　late night psychedelic folk rock album with some garage moves in between. 24 Hours is made up of a mixture of cover tunes and interesting originals, including the catchy “Outskirts” and the bizarre “Locomotive Lamp”. No less interesting were the cover songs, including a slow version of “Hey Joe” and a beautiful version of “Violets of Dawn”. Some interest in the Ant Trip Ceremony was recently generated by the rumor that David Crosby of the Byrds produced 24 Hours, but in fact this David Crosby was just a friend of the band, who were based in Oberlin, Ohio. Blessed with a primitive recording quality, it only adds to the magick and mystique embedded within their sound. “Odd late-night psychy folkrock that sounds like it was recorded at 4 AM by a bunch of guys on their way down from an acid trip – still turned on, but tired and reflective. Instruments ramble on each in its own time frame (jazzy or sloppy depending on your politics), supporting anemic, almost apathetic vocals sometimes fed through their weird filters. A few covers, some Dead-type instros, but mostly early spooky hippie folkrock” (PL – Acid Archives). I personally ride hard for this record, longtime fave and a real headspinner while stoned and drunk late at night. Price: 35 Euro

52. AOE MINA: “Ikebukuro No Yoru – Aoe Mina No Subete” (Victor Records – SJV-436~7) (2 LP Record Set: Mint/ Gatefold Jacket: Mint/ Attached Booklet: Near Mint/ Pin Up Poster: Mint: Obi: Near Mint). Released in 1969, another side of the stellar Aoe Mina, complete copy with pin-up poster, booklet and obi. Vintage and ultra clean copy of this stellar Aoe Mina disc. First of all there is her husky, drenched in a late night smog filled husky voice graced with a vibrating quality, then there is the back-up stuffed to bursting with twangey, echo drenched and downer surf guitar insertions that sound like the player was put on downers, making him sound like a lethargic senile dope fiend that drifted way out of course into down liner enka ensemble. Born in 1945, Aoe Mina first set a foot in show business in 1966 by debuting with the album “Kokotsu no Blues”. She became an enka star overnight and domestic crowds treated her like a queen. On this album, she sounds a bit less conventional in an enka drowned out kind of way, Mina’s husky voice still does not fail to do the trick, asserting once again that she belongs in that selected club of few immortal female singers. If she would have been born 30 years earlier, she could easily be labeled as the Japanese equivalent to Billy Holiday. Whatever she lend her voice to, it was sure to turn into aural gold dust. If Japanese female singers are your thing (it sure is mine) then diving into the back catalogue of Aoe Mina is obligatory. Drowsed out late night end of the decade kind of feeling, when Tokyo’s neon skyline shone as bright as ever, smoke-filled cabarets reluctantly protecting their mesmerizing talents from the outside world and sub-cultural figures throwing themselves by the dozen in front of Mina’s feet. It sure were the days of awe inspiring greatness. And Aoe Mina, together with Nishida Sachiko, Chiaki Naomi and Sono Mari were the divas to dazzle the crowds. Since those days their greatness and sublime take on Japanese enka and kayokyoku has never ever been rivaled again. Splendid all way round and so indispensable. TOP COPY & complete!!! Price: 75 Euro

53. AOKI RIKA: “Konketsu Ji Rika b/w Rika My Girl” (CBS Sony – SOLA-32) (EP Record: Mint/ Picture Sleeve: Mint). Bloody rare top copy of this underground twisted defunked kayokyoku bastard chanteuse. Released during the hazy days of a hot July way back in 1972, “Konketsu Ji Rika” was Aoki Rika’s first of only of two 7-inch EP releases, instantly marking her down as a genuine bitch Kayo chanteuse. Of course the main appeal amongst Japanese collectors hunting down the very few copies in circulation is the high level “BITCH” attitude spread wide across its grooves but also the killer tunes that came into existence due to the galvanizing combination of composer Tsutsumi Kyohei and song writer Hashimoto Atsushi make it quality material and catapult it into deranged groovy & fuzzed out funky realms dripping over with salacious street-cum erotic’s. And these qualities only get augmented with Aoki Rika’s natural kayo singing talent, making it a true undisputed gem that defies categorization and make it simmering with musical butt shaking sleazy qualities you dream of records to have but sadly always lack. This EP just bolsters all of your high hopes into two brain teasing seedy go-go bang up & peach-juicy ball crushing songs. Above all “Konketsu Ji Rika” and its B-side are masterpieces of sleazy bitching groovy floor-shakers. From the beginning Rika was catapulted as a weekly star whose pictures were published serially, making her a minor short-term celebrity. It all escalated with Rika landing her own movie, with her staring in the lead role, a pink violence flick entitled “Konketsu Ji Rika” of which this EP turned out to be the soundtrack. The title itself already hints at the tone of the flick, a depraved slang meaning half-breed Eurasian chick, jacking right into the high wave of cheap exploitation erotic violence movies that dominated back alley theatres at that time. The movie went in premiere on November 26^th, 1972, together with the release of this EP but sank as quickly as it came into the murky depths of obscurity. The music on the other hand is earlobe meltingly fantastic. Fuzz breaks, butt-shaking twist and turns, bitchy female vocals guiding you through titillating erotic zones, funky backbone arrangements that put the whole affair just through the roof. This disc just hits the nerves like a blast of summer lightning across the mountains, causing people exposed to it to foam at the mouth and chase their tales in impotent anger. So good, so bloody amazing, so killer and sadly enough…so rare. Top copy. Price: 400 Euro

54. 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

55. APRYL FOOL with TOKYO KID BROTHERS: “Love & Banana” (Musicolor Records) (33/3 RPM EP Record: Excellent, has only 4 inaudible hairlines/ Triple Fold Out Picture Sleeve: Mint). One of the rarest ever-Japanese private presses released in 1969 in an edition of apparently only 100 copies. Who knows how many copies still remain in circulation, so far only about 15 are – to my meager knowledge - traceable in private collections. The first recorded artifact of Apryl Fool, right before they started recording their first LP. This 33 RPM EP consists of a live recording where an embryonic Apryl Fool backs up an incunabular Tokyo Kid Brothers and together they are responsible to unleash some of the weirdest and most demented underground psych moves to seep out of Japan. First of all, Apryl Fool as the backing band here sound so lysergically primitive and exceptionally psyched out to such an extent that their sole LP begins to sound like an ordinary Sunday like church hymn. The newly formed Apryl Fool and Tokyo Kid Brothers seem on this live recording to have sprung from nothing to fully formed life and right from the first note they already head towards a genuine meltdown. It is total madness unfolding right before your eyes and ears, straight cut-up unaltered teenage psychotic and psyched out garage moves crossbreeding with a catatonic bull market populated with psychedelic Dada-ists. Eiji Kikuchi’s guitar howls, riffs grow bigger with each rotation and as a result your brain gets totally fried in the process. His guitar sound is warm, fuzz-drenched, fuggy and slightly muffled; it all gets quite adrenaline-charged and obliviously wasted as Yanagida kicks out some wicked anthropoid organ riffing while Matsumoto jump-starts some free-form juggernauting skin-action out of the drums. Slowness builds into full on acid-clatter made up of filled walls of vocals, toy keyboard sonic madness, creating a unique and massively intense, organ-drenched paeans that combine a wild avant-garde aesthetic with a love for child-like, ultra-naive nursery rhyme vocals and melodies with corridors of starlit psychedelic tongue action, rural esoteric fertility rite like incantations, drooling vocal theatrical lysergic pleasures, demented fuzz intersections, wild keyboard playing, wicked choruses, female wailing crescendos and exorcist ritualistic tribal stomping. Some of the material would eventually some years later end up on the first 3 Tokyo Kid Brothers LP’s, be it in another form with other backing bands and less demonically charged. But it was here that their creative seeds were planted. But this recording showcases both outfits still trying to break out of their primeval surroundings, it already points out the artistically high water mark of their creative forces, when the sky was the limited but had nowhere to go actually. Massively rare private pressing that till now has never been offered for sale because … copies just do not surface. And the music is just…insanely great. Simply a monster on all fronts. Price: Offers!!!

56. ARAKI ICHIRO: “Araki Ichiro no Sekai” (Victor – SJX-67) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Near Mint). 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. Price: 250 Euro

57. ARANIS: “S/T” (Aranis – Aranis-001) (Record and jacket are new). Privately released as a numbered 300 copy edition and bound to be gone in a flash! To describe their uniquely Belgian sound in a few strokes, the best comparison I can possibly come up with is that they sound like a cross pollination between Wim Merten's “Belly of an Architect” era mood swings and Univers Zero's “Ceux Du Dehors” intermingled with “Heresie” and “Crawling Wind”. The style of Aranis is at the same time bold and avantgarde, situated on a strange border between psychedelic Rock and the darkest areas of Classical Music. Their self entitled first LP is a magnificent testament of their surprising but highly unique style. While you won't find a lot of traditional rock instruments, these guys create their music out of a dynamic blend of jazz, classical and rock music that takes a while to fully permeate the listener's mind, but when it does, it's a real winner. The group's chamber music instrumentation (violin, accordion, piano, guitar, flute & double bass), together with Joris Vanvinckenroye's intricate writing and the very tight ensemble work, is enough to deliver the signature their sound. They are a group which has transferred music from medieval times to our modern age, and also one of few bands who can still amaze with their initial effort out of nowhere. The more you know about modern “classical” music, the more you will appreciate Aranis' references to Stravinsky, the French Impressionists, and the twelve-tonal or atonal music which dominated much of the twentieth century. Their rhythms, drumming, use of electric guitar and short pieces are definitely rock oriented, but they add in instruments characteristic of classical music. This is what Aranis as a truly Belgian group can do: they can wrap the millennia of their grim history in the millennia of their musical heritage. It is not something that easily crosses the Atlantic to the land of refuge. Yet there is nothing like it here, and listening to Aranis is a glimpse of something very special, out beyond your familiar shores. Price: 30 Euro

58. AREA: “Arbeit Macht Frei” (Cramps Records/ Warner Pioneer Japan – P-10286C) (Record: Mint/ Gatefold Jacket: Mint/ OBI: Mint/ Insert: Mint). TOP COPY, rare original 1^st Japanese high quality issue from 1973, complete with 1^st issue OBI. White label promo copy to boot!!! AREA was the neutron bomb that exploded in 1972 in the Italian rock scene. With musicians like the exceptional vocalist extraordinaire Demetrio Stratos, Paolo Tofani and Patrizio Fariselli and a unique mix of Marxism determinism with Jazz /fusion rock with some folky edges, they have offered a bunch of masterpieces through Cramps label.　 The most peculiar fact though is the almost inhuman Stratos voice, with a very wide range reaching the limits of human possibilities and an unrivaled technique that has to be heard to believe it. His unique style of singing set him apart from all singers of his time. Unfortunately he left this world very young at the age of 35. Anyway, this is a must have for everyone in adventurous music. Top copy original 1^st Japanese press issue with obi, impossible to upgrade upon. Price: 150 Euro

59. ARESA YUKI: “Yoru no Aji (Taste of the Night) b/w Yoru no Mekanizumu (Night Blues)” (Polydor – DP-2049) (Record: Near Mint/ Picture Sleeve: Near Mint). One of the rarest and most desirable erotic Japanese artifacts, this – one of only 2 EP releases by Aresa Yuki. Bloody rare and this is a top copy white label PROMO issue. First copy to drift into my orbit in 10 years!!!! Anyway, this is the shit!!! Aresa Yuki was one of those B-movie erotic actresses that had a huge potential but sadly enough never made it to the major league. Her real name was Tahara Hisako and she was born on January 25th, 1939 in the Miyazaki prefecture, on the island of Kyushu. After graduating from the local high school, she packed up and made the big balls move towards Tokyo, hoping for stardom and fame. She landed her first role in 1960 in the Nikkatsu production “Yakuza Sensei”, followed the following year with the stage play of “Shichioya Gakko”. Still they remained largely unnoticed affairs but a star had been born. She made her first recording debut with the EP “Your no Aji” in which was released in November 1969 on the Polydor label. Needless to say, the recording debut was hardly noticed at all and the EP sold next to nothing. Which was sad because these days it is regarded as one of the purest unadulterated erotic cum recordings to seep out of the seedy underbelly of Tokyo. The station Radio Kanto used to broadcast at regular intervals her debut single at their late night program that went under the same name “Yoru no Aji” but it is unclear of this EP was ever used as the theme song for the program. Still this was probably the most exposure she ever got and it did not help her singing career to get off the ground one tiny bit. That aside, Aresa’s debut recording is a true erotic stunner. Far from a talented chanteuse, Aresa succeeded nevertheless to breath some ultra depraved erotic vibes unto the wax, a heavy sultry husky voice uttering forth moaning and uttered shrieks of ecstatic pleasure, sibilating suffocated whispers of excitement while the Polydor Orchestra grooves away in the background like an airport hotel lounge band on laxatives, guided towards ecstatic heights by a smokey sax player who has nothing to loose except his virginity. Aresa in fact can’t really hold a tune, which makes this recording even more fantastic, out of tune singing mixed up with depraved moaning and groaning while the band keeps on injecting liquid Prozac. Killer slide and hopelessly rare…never say a copy in real life…but here is one, complete with flip back picture sleeve + this copy is the WHITE label PROMO issue. One of a kind item. Best record I had in the last decade…Price: 400 Euro

60. ARESA YUKI: “Itsu Made Mo, Itsu Made Mo (Love Me Forever) b/w Warui Kuse (You Have a Bad Habit)” (Polydor – DP-2075) (Record: Near Mint/ Picture Sleeve: Near Mint). White label promotional copy. Aresa Yuki’s second and final single release. Another erotic kayokyoku vital slide that just never surfaces. This was Aresa’s second and final attempt to cut it as a singer. “Itsu Made Mo” was released in June 1970. Again, Aresa is acting like a bitch in heat grooming around like a caged vixen on downers. The ingredients are largely the same as her debut recording and again, she is trying to make a sexual point here, a fact she succeeds in. Again, she dwells into the realms of a soft core soundtrack, dillitated with tuned down loungey groove jazz, sprayed over with a whiff of playful exotica, some Herb Alpert smokey horns, fluttering jazz flutes, smokey sax, slowed down hip shaking rhythms, very moody and dreamy sometimes, wild and playful at others, but always with Aresa's sexy croon, and of course her very convincing sounds of passion, accompanied by the proper breathless exhalations at the right moments. Killer slide and hopelessly rare…never say a copy in real life…but here is one, complete with flip back picture sleeve + this copy is the WHITE label PROMO issue. One of a kind item. Price: 200 Euro

61. ARESKI: “Un Beau Matin” (Saravah – SH10.019) (Record: Excellent ~ Near Mint/ Fold Out Jacket: Excellent ~ Near Mint) One of the piece 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. All time possible highest recommendation. Price: 50 Euro

62. ARIEL KALMA & RICHARD TINTI: “Osmose” (Disques SFP – SFP-5.022) (2 LP Records: Excellent/ Gatefold Jacket: Excellent). Here ya have another favorite of mine, a disc that hardly ever turns up due to either being hopelessly obscure or just plain hard to track down. Ariel Kalma's name occasionally comes up in conversation with those interested in the Progressive Rock scene that developed in Paris in the 1970s. He had joined forces previously with the likes of Christian Vander, Richard Pinhas and the French versions of MEV. In the late 70s he began to get adrift into the "New Age" scene, churning out a vast number of cassettes of such for neo-hippy scum market. But this LP, released in 1978, is a totally different bag and far removed from either his prog rock adventures or his debacle with the new age purist sectarians. Here Kalma teams up with Musique Concrete/Tape Composer Richard Tinti, who was connected with the activities of IRCAM. Ariel Kalma was recommended to Richard Tinti who had just come back fromBorneo with hours of rainforest ambiences in high quality recordings, which Kalma envisioned to underscore with some minimal noodlings. To their amazement, birds and keyboards, flutes and crickets, saxophones and frogs, war drums and (vintage) drum machines had much in common in terms of pitch, melodies, rhythms, effects. Ariel decided to blend his compositions with the rainforest atmosphere, and thus Osmose was created The basic idea here is to incorporate field recording of natural sounds made in the Somali coastal regions with Kalma's various instruments (Saxes, Flutes, Synthesizers, Keyboards, Guitar and Electronic Music Instruments/techniques). Theses tapes are themselves mixed, looped and layered to create the idea of hearing the music in a natural situation, whilst applying a range of compositional techniques to make the sound both plastic and fluid at once. A tape-looped tenor saxophone begins "Saxo Planetaria", soon injected by looped insect sounds from the field recordings, each layered behind Kalma's melodic Statements. "10/18/77" blends synthesizer, tapes and effects with a taped montage, while "Planet Aire" uses the same instrumental mix, with synthesizer creating a sub-harmonic drone underneath the natural sounds. Sides two, three and four are given over to an array of tape techniques. Rhythms appear in the form of loops, the most memorable being the bee that comes buzzing across the stereo field. The sounds themselves are orchestrated in a symphonic like context, and Kalma's sparse inputs on various instruments are correctly restrained, often not quite audible with intense concentration on the music to identify them! The drones interplay with the pitches of the natural sounds to create melancholic, Popol Vuh like grandeurs. The natural chirps and creaks blend with the music to become similar to ambient loops themselves; such that their very tonal nature shifts from being recognizable jungle sounds, frequently phasing into blurred rhythmic elements under the electronic parts. This is a joy being heard over headphones, or decent speakers in a very quiet environment, so that all the subtle sonic activity recorded can be heard. The editing and splicing is so well done that it is often not apparent that you are hearing a loop! Price: 150 Euro

63. ARMPIT: “A Thursday Afternoon At Bob’s House” (Monroe – PU-102) (Record: Mint/ Jacket: Mint, still in shrink). Totally demented outsider weirdo avant-cum-psych artifact that driveled out of rural middle-slime USA in 1977. Rare US private press release that upon listing makes you doubt that this stuff actually exists. The music consists out of psyched out and drugged down offensive lyrics, spiked up with sound effects and attempts to make actual numbers. When spinning it you get immediately sucked into Armpit’s twisted universe and you start thinking that “hey anyone could do this”, but then again those guys here were the sole ones who actually had the guts and balls to bring this into fruitation. Sounds like a crossover between Butch Willis & the Rocks teaming up with At Home and Gary Wilson. Totally wicked and demented US private press oddity. Rarely surfaces, this copy is as mint as can be. Price: 125 Euro

64. ART: “SUPERNATURAL FAIRY TALES” (Island – ILP-976) (Record: Excellent/ Jacket: Near Mint). Top Copy. MONO pressing!!!!! UK pressing on the Pink Island label with big “I”. 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. Great copy, only has a few hairlines that don’t affect the play. Price: 125 Euro

65. ART ENSEMBLE OF CHICAGO: “People In Sorrow” (Odeon – OP-80032) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Unplayed vintage copy, 1^st 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 1^st Japanese pressing with obi just never surfaces and this copy is dead mint.Price: 150 Euro

66. ART ENSEMBLE OF CHICAGO: “Phase One” (Columbia – YS-2621-MU) (Record: Near Mint/ Jacket: Excellent/ Insert: Mint). Original 1^st Japanese pressing released on high quality vinyl, making it sound so much fuller and warmer as opposed to the America label pressing when it first came out in France. This copy here appears to be Unplayed. 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. Price: 50 Euro

67. ART ENSEMBLE OF CHICAGO: “Chi Congo” (Odeon – OP-88010) (Record: Mint/ Jacket: Mint). Freaking rare original Japanese pressing on black wax. Total mint condition. 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 on red wax and housed in a Japan only jacket. So nice, so good, so delirious. Price: 70 Euro

68. ART ENSEMBLE OF CHICAGO: “Live At Mandel Hall” (Trio Records Japan/ Delmark – PA-6022‾23) (2 LP Set: Mint/ Gatefold Jacket: Mint/ Insert: Mint/ OBI: Mint). First original Japanese pressing complete with obi. Classic Art Ensemble live recording filled with spiritual free jazz excursions from the upper echelon. Rare Japanese 1^st press issue, sounding zillion times superior as compared to the regular US pressing. Comes with obi and insert. Price: 50 Euro

69. ART BLAKEY & JAZZ MESSENGERS: “Jazz Messengers ‘70” (Victor – SMJX-10086) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Attached Poster: Mint). Freakingly Rare Japan only issue. This LP was recorded and released as a commemorational album for their second visit to Tokyo in order to play a few gigs. Upon arriving, the band consisting out of veteran players such as Blakey himself manhandling the drums, Bill Hardman (trumpet), Carlos Garnett (sax), Joanne Brackeen (piano) and Jan Arnet (bass), dove right into the Victor Records recording studio and put down straight to wax this swinging bat. The date of this happening was late at night of February 19^th, 1970, occupying the legendary Victor Dai Ichi recording studio. The end result was a butt-shaking brain torcher of a hard-bop swing jazz album. The album comes in a thicker-than-life deluxe gatefold jacket, with silver imprinted letters; within the gatefold is a poster plus the obi. Top copy of this Japan-only released Art Blakey album that shreds the air to pieces. Highest recommendation. Price: 150 Euro.

70. 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 1^st issue obi intact and present. Top copy and dead cheap. Price: 100 Euro

71. ASH RA TEMPEL: “Join Inn” (Ohr/ Cosmic Music – N.840.104) (Record: Near Mint/ Laminated Jacket: Near Mint). Top copy first original French 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 French pressing. Totally essential. Price: 75 Euro

72. 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

73. ASO AI: “Umeromonoizen” (Tiliqua Records - TILIQUA-003LP). Found one last copy at a dealer’s place, traded with him for it, so final chance to own a slice of heaven and a future heavy hitter. This vinyl release of a 1999 demo tape only by Aso Ai album is by all who know her complete output – like PSF label head Ikeezumi – considered her best work to date. Well, gonna be tough since the pressing was extremely limited (like 250 copies) and they are all gone now, except for this one. So you have to ask yourself “Do I feel lucky punk?”. So here is the deal one more time: “The music of this LP is comprised out of Aso’s first demo/home recordings dating back to 1999. The material predates her initial “Umeromono” CD’s contents. Unlike “Umeromono”, the music she slowly breathes into being through her slow-motion like ‘less is more aesthetic’ on this LP-set sounds even more fragile and desolate than her current recordings. This is partly due to the fact that Aso recorded the whole affair in her bedroom, deploying all the instruments herself and capturing the rudimentary gracefulness of her acid folk escapades directly to tape. The overall atmosphere has a strong ‘low-fi’ fragrance hovering over it without ever compromising the rich musical texture Aso succeeds in conveying out of her stripped-to-the-bare minimum textural approach. The general result is one of organic and sincere beauty, embodying fragility reminiscent to a dew-covered spider’s web. This quality gets even intensified by her soft-poetic angel-voiced whisperings and her fragile, fleeting like husky voice breathing out an erotic naiveté that is lyrical as well as introverted, making it in its own humble way nearly a thing of perfection. She is destined to be one of the unsung queens of the female acid folk pantheon and this recording will be one of its Holy Grails. The disc is housed in a beautiful, heavy textured jacket, doing the music justice.” Without being narcissistic, “Umerumonoizen” is to these ears (and others as well) Aso’s finest recording to date, partly due to the unpolished nature of the whole affair and the intimate bedroom recording vibe that oozes out of it in a very lo-fi kind of key. Her recent recordings are a bit too beautifully recorded and on this one the primitivism still comes shining through, making it a modern day masterpiece. Extremely small pressing and this is a last copy. So this is your last chance to own a brilliantly executed female vocals acid folk gem. Price: 250 Euro

74. ASYLUM: “First and Last” (World in Sound) (Record: Near Mint/ heavy weight Jacket: near Mint/ Insert: Mint). Recorded in 1973 and released by World In Sound as a limited edition in 2004 and long out of print since then. This is an excellent and almost unknown 9-track psychedelic album, privately recorded/pressed in 1973. The band was found by Fork Union Military Academy school members in Virginia around 1970 -- the music room of the school became their 'refuge' from the predictable, regimented military school life... Thus was born the name Asylum -- a place of refuge. Shortly before graduating and after some line up changes the last dollars were saved to make this album. The music in the Airplane & H.P. Lovecraft veins is true 60s Westcoast psychedelic, garage, folk stuff .The electric cuts such as, 'I want you every day', 'Sometimes', 'I will be free', 'Deliverance', 'Help me be someone' contain, combined with male vocals the crystal clear voice of Elaine Lazizza (Cronin), great guitar work (electric & acoustic), excellent drumming & organ. Acoustic tunes sometimes remind of 'Serpent Power' (Label description). Price: 50 Euro

75. 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 2^nd 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!!!

76. 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: 30 Euro

77. ATSUMI MARI: “Yoru no Tame Iku” (Daiei Records – G-5001) (Record: Mint/ Gatefold Jacket: Near Mint/ Obi: Mint) First ever top notch copy with always missing OBI present I have to spare of this erotic ball buster. Extremely rare erotic kayokyoku gem released in 1968, top notch condition Fully fledged sex kitten, adult movie star and seasoned early seventies porno heroine Atsumi Mari had it all being a body built like a pleasure dome of unbridled sin, a husky voice filled with enough overdriven sex appeal to make you horny for weeks on a row and looks that could defrost even the most seasoned of male chauvinist pigs. An all round dreamboat chick and pink porno witch, everything a man could possibly dream off encapsulated into one compact single body. Apart from her main acting activities, she also briefly dabbled with a signing career on the side, releasing only two hyper rare albums. This is one of them, her debut album released in 1968 by the movie house Daie’s record branch. The original artwork that adorned the LP made that copies were all too quickly snapped up by Iroke fetishists making that the LP almost instantly disappeared. The music on the other hand is what counts here and stands as one of the best examples of the Iroke genre, filled with derailed passion, horny lyrics and love desperation all set against a lushly orchestrated background, cocktail lounge settings and psychedelic micro-dotted textural elements, turning it into a whirlwind of obsolete and adulterated psyched-out lust and desire. Great all over and it receives my highest recommendation as well as a top rank spot on the erotic female vocal list. Great nude picture of Atsumi on the cover….boy sweeter than honey and this baby was recorded late sixties – early seventies…golden age for Japanese vixens. A KILLER Babe and Disc. Next to impossible get these days, especially in such a nice NM condition. Hyper rarity at rock bottom price and in top-notch condition, I must be loosing my mind to let it go at a fair and reasonable price…. Price: 400 Euro

78. ATSUMI MARI: “I’ll See You In Hawaii” (Daiei Records – G-5004) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Pin Up Poster: Near Mint). Bloody rare 1971 1^st original Japanese pressing of this rare erotic artifact. This was Atsumi’s 2^nd and last album. After her ultra erotic debut LP, Atsumi took a trip to Hawaii and recorded the perfect follow-up, Hawaiian vibes all over but juiced up with her habitual feminine oriental erotic touch. This LP is much harder to come by as compared to her first album, only surfaces once every decade it seems. Comes housed in a gloriously beautiful gatefold jacket depicting Atsumi Mari in all her glory, and comes with attached fold out pin up poster as well. Classic Japanese erotic kayokyoku artifact that till this day remains highly elusive. First time ever I can offer up a copy. Perfect condition all the way. Highest recommendation. Price: 450 Euro

79. ATSUMI MARI: “Kawai Akuma b/w Mayonaka no Terasu” (Daiei Records – D-104) (7 Inch: Excellent/ Gatefold Picture Sleeve: Near Mint) Iroke chanteuse and actress par excellence. Bloody rare 7 inch by Atsumi that comes with fold out cover and stunning nude jacket art. The sounds are erotic as hell. Saliva drooling sexy and cute songs. All material by Atsumi Mari is so rare and so search after for that it just never pops up and when it does …there is a gastronomical price tag attached to it. This single has only has a very few very faint paper scuffs, nothing serious. If I had to grade the playing quality I would grade it excellent. The A-side has the stellar “Kawaii Akuma” track on it, pure unadulterated lust and hidden desires bold up within one song. Just brilliant. Killer. Extremely collectible erotic material and rare as hell. Hard to dig up in Excellent condition for the EP and with the gatefold picture sleeve in Near Mint condition, in short, this is a steal here. Highest recommendation. Price: 75 Euro

80. AYERS, KEVIN: “Joy of a Toy” (Harvest – SHVL-763) (Record: Near Mint ‾ MINT/ Gatefold Jacket: Mint). Super clean and perfect copy!!!! Original 1^st UK pressing out of 1969 with NO EMI on label. Subliminal 1^st Kevin Ayers record. 1^st UK pressings in great condition are a bitch to score these days and this copy is just like new. Music needs no introduction I think. Stunning piece of UK psychedelic folk/ psych of former Soft Machine member. This disc is an all time classic and if the music of this one does not please you one tiny bit, then I think these web pages are a waste of your time. All time highest possible recommendation. Price: 250 Euro

81. AYERS, KEVIN: “Joy Of A Toy” (Odeon Records – OP-80337) (Record: Near Mint/ Gatefold Jacket: Mint/ 4 Pages Illustrated Insert: Mint). Rare 1^st 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. Price: 150 Euro

82. AYERS, KEVIN: “Bananamour ~ Itoshi no Banana” (Odeon – EOP-80837) (Record: Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Obi: Excellent/ Insert: Mint). Hideously rare original 1^st Japanese pressing of this subliminal Kevin Ayers album. Hardly never 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 1^st album I bought back in the day and I have never looked back ever since. Top copy 1^st 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: 300 Euro

83. AYERS, KEVIN & THE WHOLE WORLD: “Shooting At The Moon” (Odeon EMI – OP-80172) (Red Wax Record: Near Mint ~ Mint/ Jacket: Excellent ~ Near Mint/ Illustrated 6-Paged Insert: Mint). Red vinyl pressing as only released for WHITE LABEL PROMO issue. Freakingly rare 1^st original 1971 Japanese pressing that comes on RED WAX – only as a promo. 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. 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. Price: 250 Euro

84. 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 1^st issue Japanese pressing complete with obi. First time ever I come across a copy with obi. Price: 150 Euro

85. AYLER, ALBERT: “Ghosts” ( Fontana – SFON-7054) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent). 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

86. AYLER, ALBERT: “Witches & Devils” (Freedom/ Trio Records – PA-7030) (Record: Mint/ Gatefold Jacket: Mint/ OBI: Mint). 1^st 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: 60 Euro

87. AYLER, ALBERT: “Love Cry” (Impulse Japan – IMP-88072) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Mint). Original Japanese pressing. 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 for dead cheap. Price: 35 Euro

88. AYLER, ALBERT: “Spiritual Unity” (ESP/ Victor – MJ-7101) (Record: Mint/ Jacket: Mint/ Obi: Mint) Damned rare 1^st 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 1^st press Japanese issue, complete with never seen before obi and as mint as the Virgin Mary on any given Sunday. Awesome!! Price: 120 Euro

89. AYLER, ALBERT: “Spirits Rejoice” (Victor – SMJ-7492) (Record: Mint/ Jacket: Excellent/ Obi: Mint). Freakingly rare Japanese real time press complete with obi. 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 1^st original Japanese pressing of that time, white label and on superior vinyl as opposed to the rather murky ESP pressings. This 1^st 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 1^st press obi intact. Massive. Price: 120 Euro

90. AYLER, ALBERT: “Spirits Rejoice” (ESP Disk/ Nippon Phonogram – BT-5003) (SEALED COPY). Original 1975 Japanese pressing complete with capsule obi & SEALED. Never surfaces in its original state sealed and with capsule obi. Killer live recording of Ayler's large septet configuration, featuring brother Donald, Charles Tyler, Sunny Murray and both Henry Grimes and Gary Peacock on bass. Compared to the bare trio of Spiritual Unity this nearly big band of two bass players and a strong horn section allows Ayler's expressive vision depth from the joyous to the aggressive in Ayler's 5 original compositions. Sealed Japanese pressing – they sure don’t come better than this one. Sealed copies? Forget it, until here and now. Price: 50 Euro

91. AYLER, ALBERT: “”Albert Ayler Volume 1 – Nuit de la Foundation Maeght 25 et 27 Juillet 1970” (Shandar – RCA – SHP-6202) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint) Original Japanese 1^st press issue pressed on high quality Japanese audiophile vinyl 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. Completely virginal copy, original pressing and sounding light-years better than the French issue. Copies with obi are completely vanished on these shores. KILLER. Price: 50 Euro

92. 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, 1^st 1959 pressing!!! Total killer!!! Price: 75 Euro

93. THE BADEN-BADEN FREE JAZZ ORCHESTRA: “Gittin’ To Know Y’All” (MPS – YS-2417-MP – 1971) (Record: Mint/ Gatefold Jacket: Near Mint). 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: 60 Euro

94. BADINGS HENK/ RAAIJMAKERS, Dick: “Electronic Music” (Epic – BC-1118) (Record: Excellent/ Jacket: Excellent). An excellent album of spare, early electronics -- performed on a range of apparatus that include "noise generator", sine wave generators, pulse generators, audio-frequency oscillators, and concrete sound sources. Works include "Evolutions", "Genese", "Contrasts", and "Capriccio" -- and the album's got a very spooky tone! Great Dutch electronic music, very old skool sounding without degrading into too much academic poopah. As a result it sounds warm, primitive, totally freaky and adventurous, making that those Dutch early tape composers had the best sounds on the European continent and easily could stand shoulder to shoulder with their US fellow composers, although that they even surpassed them on any given day of the week. Raaijmakers certainly steals the show here, he is a name to keep an eye out for. The boy with the golden tape splicing scissors. Awesome. Price: 50 Euro

95. BAILEY, DEREK & BENNINK, HAN: “S/T” (Incus Records – Incus-9) (Record: Mint/ Jacket: Excellent, has some aging stains near spine and on back, for the rest just perfect). Original 1^st pressing on the legendary Incus Records imprint. This selection of live duet performances from 1972 is one of the key free jazz improvisation records to seep out of Europe. “The guitar's greatest improviser bantering musically with the Netherlands' greatest drummer is, no doubt, a point of interest for those interested in the extremes of Western music. Before Bailey had recorded the infamous and now legendary Incus tapes disc, he had perfected his view of the atonal world (at least up until that time), undoing it with spiritual guidance from the ghost of Webern at his side. These two live dates reflect that direction, having been recorded less than a year before. Given that Bailey is investigating his undoing of the ritual tonal space, Bennink's woolly percussions are the perfect foil: Who better to stretch the perceptions of guitar music to its limit and beyond than a man for whom the drums are the only instrument in any band? Thus, the chase is on, moving from one dynamic range to the next in search of the perfect tonal space where things completely fall apart, only to be picked up in rather grotesquely fascinating order. This music asks no questions; it only shouts obscenities while laughing hysterically because it knows exactly what it's not doing.” (All Music – Thom Yurek) Price: 120 Euro

96. BAILEY, DEREK: “Aida” (Incus Records – Incus 40B) (Record: Near Mint/ Jacket: Near Mint). Possibly the greatest Bailey solo guitar record ever recorded, homage to the late concert organizer, music critic and writer Aquirax Aida. Attempting to illuminate on the grandeur of this music through a simple narrative proofs to be a totally futile attempt. Words just simply fall short here to express the tonal beauty embedded within the grooves of this disc. Instead, I can assure you that you will be knocked off your feet and get flooded with a wash of impressions upon immersing yourself in this parallel world. Leaping motives set against dissonant harmonics flourishes and scratched chords become the main mode of expression. In his hands, the acoustic guitar becomes an orchestra of disconnected instruments. Complex rhythmic stutters coalesce into an intrinsic logic of their own. The music is at one time utterly sparse and bordering on a high-strung tension that could disintegrate into thin air by merely listening to it, while at other times high scratches and pondering percussive rumbles emanate dense and impenetrable layers reminiscent of a thunderous summer storm raging at the horizon. At times, Bailey’s masterminded improvisational interplay gets interspersed with razor-sharp silences that hint at an imminent decay as the titles to the compositions already hint at such as “Niigata Snow”. This is an unbeatable record and a classic in its genre. I doubt that there are any other solo guitar albums as challenging as this one. All time highest recommendation. Price: 150 Euro

97. BAILEY, DEREK & BRAXTON, ANTHONY: “Duo 2” (Denon Jazz – YX-7555-AX) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Originally released in 1975 on the UK Emanem label, this copy here is the audiophile Japanese pressing on the Denon Jazz imprint, a subsidiary of Nippon Columbia. “Two of the leading exponents of these two centers were Anthony Braxton and Derek Bailey. The former grew up in Chicago, whereas the latter did not move to London until the mid 1960s, having grown up inSheffield. The two first came into direct contact when Braxton spent some time in London in 1971. They first worked together at a 1973 Braxton quartet concert in Paris that began with a duo piece. It was also one of the first concerts of improvised music to take place in the Wigmore Hall. The first part of the rehearsal held the previous day established what the musicians did not want to do - Bailey did not want to play notated compositions in unison, while Braxton did not want to improvise totally. A compromise was reached. Each half or set of the concert was to consist of a (different) sequence of six predetermined areas to improvise in. One section of each set, however, was left open (unpredetermined) to allow for the inclusion of other ideas that might arise during the concert. Also one section of the First Set was designated a guitar solo, and one of the Second an alto saxophone solo. Each of the two sets was played without a break. Note that for most of the concert, Bailey played a normal electro-acoustic six-string guitar augmented by stereo amplification, with the sound coming out of the two speakers controlled by two volume pedals. He also used his then other guitar, which had about nineteen strings, enhanced by a small practice amplifier. Two of these strings were "contra-bass" ones which went around his feet.” (Martin Davidson for the Emanem reissue). “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.” (Ben Watson – Bailey Biographer). Just a thrilling document and a dead pan classic, here on superior vinyl and sturdy sleeve all in immaculate condition. What can a poor soul ask possibly more for? A Must to these humble ears. Price: 60 Euro

98. BAILEY, DEREK: “Improvisation” (Cramps – n.2) (Record: Near Mint/ Imprinted Inner Sleeve: Near Mint/ Jacket: Near Mint). Original 1975 1^st pressing on the highly collectible Italian Cramps label. Top copy. This one is another one of my favorite solo guitar recordings. Still it is hard to choose since “Aida” as well as “New Sights Old Sounds” are in my little universe as indispensable. That is because both are quintessential live documents that see Baily live in action with his japan connection Aida in tow. Still, “Improvisation” is one of Bailey's finest solo works to be captured in a studio and hence the inclusion of this record in my personal Bailey top three. His playing here is phenomenal, almost sacred. Unlike Cage (who also has a disc in the Cramps catalogue), who's playing has a static, monotone quality, Bailey's playing includes a banquet of sounds, changes in pace, and challenging but intriguing note combinations. It almost seems like he is out to create creates passages that walk over themselves before veering off into microtonal and harmonic undertow jet streams. He has the ability of making a composition come over as a multitude of events that happen simultaneously but in a different universe by making full use of the instrument's strings, ranging from tackling them by scraping over to behind-the-bridge strumming. It is part of his signature chord clusters and once it gets to you, your life will never be the same again. Just marvel…..top copy and original pressing. Price: 120 Euro

99. BAILEY, DEREK: “New Sights, Old Sounds” (Morgue 03/04) (2 LP Record Set: Mint/ Gatefold Jacket: Mint/ Insert: Mint) First original press, released only in Japan in 1978 on Aida Aquirax private imprint. Recorded during Bailey’s visit to Japan for the first time in 1978. During those live dates 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 leave a postglacial exposed bedrock hovering in the death-space between you and your speakers. A transfixing and exothermic physical listening experience. Price: 300 Euro

100. BAILEY, DEREK: “Duo & Trio Improvisations” (Kitty Records – MKF-1034) (Record: Mint/ Jacket: Mint). Comes with the 4-paged insert with loads of pictures. Original, released in 1978, depicting Bailey’s visit to Japan, where he clashed head first with Japan’s hard core free jazz improvisers such as Kondo Toshinori, Abe Kaoru, Takagi Mototeru, Yoshizawa Motoharu and Tsuchitori Toshi. Great and indispensable free jazz document. Getting more and more scarcer every day, so grab your chance…excellent top-notch condition. Price: 70 Euro

101. 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 2^nd album that would see a release soon hereafter in Japan. TOP copy, rarely surfaces at all. Price: 120 Euro

102. The BAND: “Music from Big Pink”. (Capitol Records – CP-8661) (Record: Near Mint ~ MINT/ Jacket: Near Mint/ 2 Inserts: Near Mint). Rare 1^st original Japanese press issue, WHITE label PROMO issue that comes on RED VINYL. Only 1^st issue promo copies came on red wax! 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 20^th century. So further explanation is completely unnecessary I guess. Brilliant record, stunning condition, and rare Japanese press – promo & blood red wax that sounds astonishing. 1^st time I have a true 1^st pressing of this all time beast of a record. A masterpiece. Price: 300 Euro

103. BARDOT, BRIGITTE: “Konya Bardot To Tomo Ni – Bande Originale Du Film Special Brigitte Bardot” (Columbia – XS-83-AZ) (Record: Near Mint/ Gatefold Jacket: Excellent/ 8 Paged Fully Illustrated w/ Pictures booklet: Excellent/ OBI: Excellent). Original 1969 Japan only issue complete with very rare OBI. Obi just never surfaces. Mega rare 1969 Japanese ONLY issue of "Brigitte Bardot Special" that comes with different cover art than 1967 original issue. Many tracks are composed by Francis Lai. Brigitte Bardot sings on all of these tracks, including the brilliant "Contact", "Mister Sun," "Harley Davidson" and more! The whole affair comes housed in an eye-popping gatefold sleeve complete with an 8-page booklet packed with color and black & white pictures of Brigitte Bardot in all her beautiful and lustful incarnations, a sight for soar eyes for sure. The LP itself is an original Japanese first press issue. What makes this item so delusionally rare is that it includes the seldom seen original gold and violet obi strip, which complements this LP perfectly. This is the ONLY time I've ever seen an original obi for this title. The obi is seriously rare, saw only a copy once that sold for 1600$ on the bay. This one I can let go for a fraction of that price so you may have a steal here. Bloody great LP musically and seriously rare and almost impossible to come by. Highest recommendation. Price: 550 Euro

104. BARRETT, SYD: “The Madcap Laughs” (Odeon Records – OP-8927) (Record: VG++ ‾ EX but plays NM/ Gatefold Jacket: Excellent/ OBI: Excellent). Original 1^st Japanese pressing complete with rare obi. Music needs hardly any introduction I guess. First solo LP by former acid casualty and Pink Floyd king pin. 1^st issue obi and 1^st original Japanese pressing is seriously rare on these shores and this copy comes dead cheap. Record has a few hairlines but plays EX‾NM. Price: 300 Euro

105. BARRETT, SYD: “Barrett” (Harvest – SHSP-4007) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). 1^st original 1970 UK pressing with NO EMI on label in absolutely perfect TOP condition. Next to impossible to upgrade upon. Really PERFECT MINT copy, flawless....hardly ever offred in such perfect condition 1st UK pressing!!!! Price: 200 Euro

106. 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, red wax disc (jacket has stated 2000 yen price making it the 1^st press issue)…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: 600 Euro

107. 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: 200 Euro

108. BASIL KIRCHIN: “World Within World” (Island Records – HELP-18/ Black Label with Pink Island I) (Record: Near Mint/ Jacket: Mint) 1^st original UK Island pressing in TOP condition. One of the key psyched-out avant-garde and sound art key releases that saw the light of day in the early seventies (1974). This LP moves in strange ways by inhabiting an eerie slow motion minimalist technique that infuses as sonic sources the sounds of autistic children of Schurmatt - both "as themselves" and manipulated by Kirchin until totally unrecognizable. The other sound sources he turns to consisted out gorilla, hornbills and flamingo calls, amplified insect chatter, bird chirpings animal mating calls, jet and other roaring engine noises and the sounds captured at the Hull docks. Upon listening to this alienating sonic experience, one is forced to acknowledge that that no human ears have ever heard such sounds before, coming as they do from a different world in time and space. This record is a true masterpiece, psyched out, estranged, weird and mind stirringly strange. In one word a killer disc that will leave you baffled with your jaws hitting the pavement while your ears are wind milling in a 180-degree turn. Heavy shit and utterly addictive. All time highest recommendation and in pristine condition. Price: 200 Euro

109. BATOH MASAKI: “Kikaokubeshi” (The Now Sound – 1996). (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Completely vanished original 1^st pressing of this beast. 2^nd pressing was later reissued by Drag City but this one here is the 1^st press issue that was released in an edition of 700 copies way back in 1996. 1996 recordings by Batoh, leader of Japan's epic psychedelic folk-kings Ghost. Solo, he emits beautiful, dark, drone-folk, ambient with nocturnal nature whisperings around the blurry edges of his instruments. This LP is a follow-up to his previous solo LP “Ghost from a Darkened Sea”. Side A concludes with "Death Star," making for another timely tie-in. Sonic wise, it consists of a series of instrumental pieces which range from rainforest ambient to near-Total territory. Quite haunting and affecting, possibly more so than many Ghost releases. The material gets better with every listen, and adds up to something quite special that deserves to be more widely heard. This release was strictly limited to 700 vinyl copies and has since then completely vanished. Price: 50 Euro

111. BATTIATO: “Pollution” (Bla Bla – BBXL-10002) (Record: Excellent/ Laminated Gatefold Jacket: Excellent/ Imprinted Inner Sleeve: Mint). 2^nd album, original 1973 Italian pressing. “Like a woozy Greco-roman art-deco sun-marine destroyer, "Pollution" is the revolution in sound abounding like a cantankerous cacophonic cloud surrounding the shrouding pale. Franco Battiato's first two masterfully pieced-together reliefs give more respite and resolve than any reconstituted weed or leaf between your gritting teeth. This is and was evermore shall beast. It beat and bleat and breathe avant-garde idiomatically auto-didactically entrenched inestimably on electronic stifled sullen proclamation. In rough-hewn dedication to breaking fashions and hodge-podging his own meshed sonic clothing exterior marked refuting to be sparked by nothing less than cyan matter not no god art alive, striving writhing googolplex cortex brain matter splatter jumble yaya across the plains rebuffing sage and subtly sprayed with the age of 'future we upon us,' this classic from the early year of 1972/3. This is a distinct and spectacularly brilliant album shining brightly to the foreground of the mind's eye imagination-speak. It is simply no wonder that they are still eons ahead of their time. This recording is a haze pathogen to the very core and crux of the creative life-force itself - nevermore and wheretofores will undoubtedly not be able to be refracted sharply enough from the stuff of alien threshing heaving the chest, rings the navigation incessant, blessing the present most pleasant.” (bagatellen). First original Italian pressing, stunning album. Price: 250 Euro

112. BATTY, FABRICE: “Guitares” (Private) (Record: Mint/ Jacket: Mint). Totally bellow the radar freak out guitar album coming to you out of France’s mid 1970s deepest sewers and hitting you full frontal without any chance for mercy. The Randy Holden “Population” guy from Versailles, Fabrice Batty hopelessly obscure self-released psychedelic freak out Magnus Opus is one that you need to plug uncut and straight into your veins. Life will never be the same after that. Psychedelic guitar mayhem for days on end, mixed with a whiff of kraut rocking moves crossbreeding with Hadaka no Rallizes and Terry Brooks antics, Fabrice Batty is set to fry your brains right out of your skull. Don’t kid yourself, this disc is totally obscure, copies are very far and few in between and rarely make it to the surface. This disc is an ultimate killer slide that will flabbergast any psyched out guitar freak out there. Doped out to the max, fuzzed out and reverbed to infinity, Fabrice singlehandedly rewrote the book on psychedelic guitar moves. I can only guess one thing, after this the deluge? Rare and hardly ever offered for grabs, here is a genuine original copy in MINT condition. They don’t come any better than this. Hardly ever if maybe never offered for sale, so a great opportunity to wheel in a genuine rarity that will flabbergast you. Killer side that hardly anyone out there knows or has….Price: 350 Euro

113. BAUER, JOE: “Moonset” (Warner Bros. – WS-1901) (Record: Near Mint/ Jacket: Excellent, lower middle split seam/ Insert: Mint). Original US pressing, rarely seen white label promotional copy. This is a truly superb solo effort by the Youngbloods drummer. Helped out by his band mates, Bauer ventures into a similar aural stoned freaky jamming not unlike Skip Spence. Really great psychedelic album that sadly enough is more often overlooked than acknowledged for its greatness. Price: 50 Euro

114. 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

115. 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: 100 Euro

116. BEACH BOYS: “Pet Sounds” (Capitol Japan – TOJP-60116) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 8-paged Booklet: Mint). Limited anniversary edition that came out on RED WAX and in MONO, complete with original obi reproduction. Released in 2004 in an edition of a 1000 copies, which were snapped up within days of its release, of course Japan only. Japanese vinyl releases are premium quality pressings, much sought after by audiophiles and collectors alike. Long deleted pressing. A stone drop dead classic, Japanese press with obi and red wax…and rare MONO version…the works!! Price: 75 Euro

117. BEACH BOYS: “Pet Sounds” (Capitol Japan – CP-7560) (Red wax Record: Excellent/ Tip Back Jacket: Near Mint/ Lyric Sheet: Mint/ Company Inner Sleeve: Mint). Original 1^st Japanese issue that came out on RED WAX . Released on August 15^th, 1966, this was the 1^st Japanese pressing of this album. Japanese vinyl releases are premium quality pressings, much sought after by audiophiles and collectors alike. In the 1960s Toshiba pioneered top quality red vinyl pressings using their trademark Ever-Clean process this utilized a special ingredient intended to prevent the build-up of static electricity on the vinyl. Japanese pressings are synonymous with quality - the vinyl shines like no other vinyl - everything about their releases feels special. And it is this experience that was recreated here since the original mono red wax pressings of this subliminal Beach Boys album is just impossible to get and when it does surface on these shores, the price tag is astronomical enough to make you dazzle. That aside, apart from having an image so clean it would frighten the Pope himself, the Beach Boys had no lessons to be told as far as sex, drugs and rock’n’roll are concerned. The Wilson brothers may have sung about how nice it is surfing in California, but together they have stirred up more pussy during the sixties and early 70s to bedazzle even Dr No while sniffing enough coke to put the Medellin cartel on a 50 hrs working week in order to keep em supplied. So the Boys balanced on a tightrope between neatness and unbridled hedonism. Pet Sounds became eventually the masterpiece out of pop music’s history, teenage angst displayed in a heartbreaking and soul ripping manner disguised by a-capella vocals and neat arrangements. It made Brain Wilson the “Orson Welles of Rock”. A stone drop-dead classic, Japanese 1^st original issue red wax…the works!! Price: 200 Euro

120. The BEATNICKS: “Hit Stadio Best = 14 Ai No Kaseki” (Teichiku – SL-1300) (Record: Excellent/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Great Enka/ Kayokyoku mixed with psychy touched exploitation album. The late sixties and early seventies were a budding era inJapan for exploitation/ mondo/ exotica cross-fertilized Enka and Kayokyoku instrumental hybrid sonic excursions that defied categorization and in most cases even good taste. Partly the budding bubble economy and the strive for then big time booming record companies in search for tax deduction posts can be blamed for this development which aspired a huge wash of one-off odd musical experiments. Amongst this vast wash of recorded material there are some gems to be detected that these days sound totally out of place and great. The Beatnicks is one such a sonic hybrid mongrel that needs urgent reappraisal, at least as soon as someone can dig up some copies because – as could be expected – it sold poorly and sunk into the deep bowels of infinite obscurity, making it a rare and hardly ever seen Jap-exploitation album. One of the reasons that this baby is hunted down by a few knowledgeable diggers is the fact that on the opening track the erotic voice of actress and sex kitten Asaoka Ruriko can be heard. I know it is a fetishist thing but one of the elements that augmented the album's stature and a prime example of under-recorded erotic mumblings. The rest of the album is instrumental in a sleazy and syrupy kind of way, fusing Kayokyoku melodies (such as well known tracks originally breathed into live by the likes of Yasumi Kazumi, Nakayama Chinatsu, etc) with cocktail road trip exotica moves, defunct orchestration gimmickry, lyrical side twists, funk break butt-shakes, coked down nostril action and hotel lounge styled vibes underscored with loungey piano lines, harpsichord earwax slime and twangy desert-shore mercurochrome guitar slithery slashing. Opiated elevator exotica moves with an oriental sedative approach. I guess that sums this mutated numbed out mind fuck up adequately. The ideal music for a booming generation of Prozac headz with a sense for adventure that touches on the lysergic side of seeing pink elephants passing in front of your eyelids. Me personally I ride hard for this degenerated slice of Kayokyoku/ mondo/ exploitation deviated hell broth of a record. A strange disc out of an even stranger time. Never seen such a nice copy with total mint gatefold sleeve and obi present. PS. Tanabe Yuichi's piano lines are totally intoxicatingly great btw….. man I am hooked to this shit…..Price: 300 Euro

121. BELGRAVE, MARCUS: “Gemini” (Tribe Records – PRSD-2228) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Top original copy!! FIRST PRESS ISSUE housed in 1^st press Jacket art and on the collectible TRIBE Records label and not 2^nd issue on Gem Eye that came in a different jacket!!!! Killer vamp-heavy jazz record spiked up with lethal doses of groove-heavy riffs and waves. A lost classic of the spiritual soulful Detroit/Tribe jazz scene! Initially issued on the Gem Eye label in 1974, in a pressing of only 1000, the record's done nothing but increase in legend since. The sound picks up in the same domain as the better Art Ensemble Of Chicago records of the late 60s and early 70s -- with the rubbery funk electric bass lines and celestial groove. The record includes Belgrave's beautiful epic "Space Odyssey", which has a long flowing cosmic groove, nice electronics, and haunting trumpet solos. A focused, but still wonderfully loose set of spacey 70s soul jazz! To be honest it's already worth your money for the title track alone, 'Space Odyssey' is an outright classic track, so much so that Carl Craig even covered it. And this ain't no one track album scenario either. The band on this album is stupid, joining Marcus is Phil Ranelin, Wendell Harrison, Roy Brooks (Horace Silver's drummer on so many classic Blue Note albums) plus the don of the electric piano Harold McKinney. From down-home modal blues numbers like 'Odoms Cave' to Max Roach protest jazz and wicked spiritual inclined post bop. It's all here. In short, space-jazz killer material from start to finish. Top near mint original pressing, as released on TRIBE imprint label. Top copy, they just do not come any better than this baby here…Price: 400 Euro

122. BENNINK, HAN (H.J): “Tempo Comodo” (Datarecords - Data:823 – 6814.935.2Y9 (Record: Mint/ Jacket: Mint). Rare and obscure Han Bennink private press release that saw the light of day in 1982, released in tiny numbers. Recorded in 1982, Bennink reveals himself here to be a chameleon with a massive setup composed not only of drums but of exotic percussive and wind instruments. Amid a wave of cymbal crashes and furious tom rolls, Bennink spits out volcanic gibberish. The growls, howls and spluttering outbursts weave in and out of his rhythms, beginning at the point where the other ends and vice versa. He simply pushes jazz’s rhythmic possibilities of the drum as just a percussive instrument to their absolute limit. This is the sound of a man becoming his drum. All is original and in top condition. It perfectly suits the music, which is lo-fi as can be and like the jacket also entirely home-made. This is DIY from way back in 1982 and the recording quality is superb. Price: 150 Euro

123. BERHMAN, DAVID with TAKEHISA KOSUGI/ BEN NEIL & RHYS CHATHAM: “Leapday Night” (Lovely Music – VR-1042) (Record: Near Mint/ Jacket: Mint). First original pressing as released in 1987. Top condition. “Leapday Night” and “Interspecies Smalltalk” are sets of compositions for instrumental performers and a computer music system, which David Behrman designed and assembled during the 1980s. The system consists of pitch sensors ("ears" with which it listens to the performing musicians), various music synthesizers (some homemade), a computer graphics color video display and a personal computer. Each composition is built upon a computer program governing interaction between performers and the system, and creates situations rather than set pieces. The performers have options rather than instructions, and the exploration of each situation as it unfolds is up to them. “Leapday Night” was developed in the course of rehearsals and performances with Ben Neill and Rhys Chatham from 1983 to 1986. “Interspecies Smalltalk” was commissioned by John Cage and Merce Cunningham as music for the 1984 Cunningham Dance Company repertory work "Pictures," and was made for performance by Takehisa Kosugi. This record – with a heavy participation of Kosugi throughout – is one of those electronic music cornerstone recordings one keeps on referring back to and this record is no exception, even though it was released and conceived as late as in the late 1980s. “Leapday Night” offers viable escape routes from electronic and minimal music’s formulaic gridlock and like acupuncture needles aimed at pleasure points, the music’s minimalist synthetic groove creates a hypnotic mood that reaches its fullest effect when putting on the headphones, crank up the volume and escape from every day’s public agony. Just beautiful. Essential if you are into the La Monte Young and bubbling vintage electronic psychedelic end of things. A must to these humble ears. Price: 100 Euro

124. BERTOIA, HARRY: “Bellissima” (Sonambient – LPS-10570) (Record: Near Mint/ Jacket: Mint, In Shrink). First original pressing, privately released in 1979 by Bertoia himself. Beautiful sound sculptures by Bertoia that range from deep minimalism to carefully crafted avant-garde soundscapes. Harry Bertoia created these sculptures of different shapes, length and thickness in order to achieve a range of gentle and sharp sounds. He experimented as a way to seek harmonic balance with the metal, resulting in pure, unique tones. When touched, struck or brushed, these sculptures became abstractions of sound as they sway and knock against one another. The sounds are organic and mysterious, as tones resonate and flow into each other. The whole series of records that were released privately around the sounds that emerged from his sculptures is bewitchingly beautiful to say the least. Stunning in every way and so essential to the adventurous listener. Price: 50 Euro

125. BERTOIA, HARRY: “Space Voyage” (Sonambient – F/W 1023) (Record: Near Mint/ Jacket: Mint, In Shrink). First original pressing, privately released by Bertoia himself. Another vital slice in the Bertoia saga, delving further into the deep resonating world of his sound sculptures. Deep space listening indeed. Nothing sounds or sounded like Bertoia. Killer all the way. Price: 50 Euro

126. BERTOIA, HARRY: “Swift Sounds” (Sonambient – F/W 1024) (Record: Near Mint/ Jacket: Mint, In Shrink). First original pressing, privately released by Bertoia himself. Another vital slice in the Bertoia saga, delving further into the deep resonating world of his sound sculptures. Deep space listening indeed. Nothing sounds or sounded like Bertoia. Killer all the way. Price: 50 Euro

127. BERTOIA, HARRY: “Unfolding” (Sonambient – F/W 1025) (Record: Near Mint/ Jacket: Mint, In Shrink). First original pressing, privately released by Bertoia himself. Beautiful sound sculptures by Bertoia that range from deep minimalism to carefully crafted avant-garde soundscapes. Harry Bertoia created these sculptures of different shapes, length and thickness in order to achieve a range of gentle and sharp sounds. He experimented as a way to seek harmonic balance with the metal, resulting in pure, unique tones. When touched, struck or brushed, these sculptures became abstractions of sound as they sway and knock against one another. The sounds are organic and mysterious, as tones resonate and flow into each other. The whole series of records that were released privately around the sounds that emerged from his sculptures is bewitchingly beautiful to say the least. Stunning in every way and so essential to the adventurous listener. Price: 50 Euro

128. BESOMBES – RIZET: “Pole” (Pole – Pole006~007) (2 LP Set: Near Mint ~ Mint/ Gatefold Jacket: Mint). Rare French 1^st original pressing of 1976 in outstanding condition. Philippe Besombes and Jean Louis Rizet were French experimental musicians who only properly collaborated once, on 1975's Pôle (named for the independent label on which it was released), a double album of electronic music sometimes cited as the best French album in the genre. Despite superficial similarities, think early spaced out Tangerine Dream here; although that Besombes-Rizet were far more percussive, and the music has a completely different feel - comparisons with another French electronic duo, Heldon are more relevant. Much of the music spread across the album's four sides is quite spaced out with deep psychedelic undertones; lush melodies and Mellotron soundscapes are notable by their absence, substituted by brittle synth work and manic percussion. Highlighting a huge variety of electronic keyboards, the album’s seven tracks create a variety of moods and declarations. Ethereal choruses waft and float through the pulsing synths while drums weave the unusual sounds together. Full of electronic and electro-acoustic ideas and a variety of disparate moods. Fans of ‘70s synthesizers, Krautrock and the French scene will find much here to love. This is a psychedelic masterpiece, a stunning piece of work. The tracks are mainly instrumental and takes the listener through a trip one never fully recovers from. Rare French original especially in such a perfect condition as this one here. Absolute killer!!! Price: 150 Euro

129. BIG BROTHER AND THE HOLDING COMPANY: “Down On Me b/w Call On Me” (Mainstream Records/ Nippon Columbia – LL-2208-MS) (EP Record: Mint/ Gatefold Picture Sleeve: Near Mint) Japan only issue, this is the white label promo issue. Japan only picture sleeve release that was released in November 1968. The Japanese EP picture sleeve issue was already pretty elusive to begin with but the white label PROMO test press issue is genuinely rare as only a few copies are known to exist of this piece. So far, white label promo has never been offered for sale before. 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: 200 Euro

130. BIG BROTHER AND THE HOLDING COMPANY: “S/T” (Mainstream Records – YS-2220-MS) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Bloody rare Japan only issue – white label TEST pressing. The record saw its first commercial release in Japan in 1968 and has a totally different jacket as the 2^nd pressing that came out in 1969 – which took on the same artwork as the US version. This altered jacket art version was only briefly in print for about 10 months only in Japan, making that copies just do not surface anymore. This one here was the earlier test pressing, only about 2 to 4 copies in existence as a test pressing complete with Japan only jacket art. The whole affair is in TOP condition, next to impossible to upgrade upon. More perfect copies of this just do not exist. Comes damned cheap to, so no time to drivel around for too long. Price: 350 Euro

131. BIG BROTHER & THE HOLDING COMPANY: “Cheap Thrills” (CBS Sony Japan – SONP-50030) (Record: Excellent/ Jacket: Near Mint/ 4 paged Insert: Mint/ Capsule Obi: Mint). First original Japanese pressing, complete with the always-missing capsule obi that sit on top of the record. 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. 1^st original Japanese press is quite a tough one to dig up days. Price: 100 Euro

132. BILL BISSETT & THE MANDAM MASSACRE: “Awake In The Red Dessert” (See/ Hear productions – ST-55851) (Record: Excellent/ Jacket: Mint/ Insert: Mint). 1968 original Canadian pressing of a completely off-the-wall and messed up acid blurted sound poetry disc with improvised psyched out overtones, shot through with avant-garde electronic madness, caveman-like percussion banting and psychic maze ranting vocals that bring to mind the low style and high speed dumbness of Intersystems. The vocals of poet Bill Bissett come over like a man with the integrity of a hyena spitting out crazy disintegrating words in the style of a poison toad balancing on the verge of pure chaos, drunkenness and the kind of hysterical fatigue that comes from spending too much time on low-ball IQ record collecting message boards. In short, you have a winner here. “Now THIS is how we like our tribal stoner hippie psych! Haphazard, 
aspiring to be profound, ultimately delusional, pretentiously 
infuriating, deliciously primitive and yet, somehow winningly 
genuine! I suspect that Mr. Bissett was one very confident "poet" 
who clearly saw no limitations to his talent. He assembled a group 
of freaks to bang out percussion, play guitars and toy flutes, run 
tape loops and operate a Buchla box (pre-keyboard synthesizer). 
Which results in sort of a meeting between Ya Ho Wah 13 and the 
Shaggs' aesthetic and demonstrates that the line between a 
Captain Beefheart and a Von Lmo is indeed perilously thin. A 
Canadian private press issue from 1967 (with a companion book, 
no less!), "Awake In The Red Desert" had initially been slated for 
release on the seminal Allied label (Nihilist Spasm Band, 
Intersystems) but never quite made it past the acetate stage. 
Highly recommended.” [John Gibson] Small pressing of 500 copies and this one contains the usually always missing artwork Inserts! Cover with only the slightest yellowing from age, record very clean. As rare as BP Nichols!! Price: 500 Euro

133. 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: 125 Euro

134. BIRKIN, JANE: “Lolita Go Home” (Philips – FDX-186) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1^st 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: 125 Euro

135. BIRKIN, JANE: “Ex Fan Des Sixties” (Philips Japan – FDX-369) (Record: Mint/ Jacket: Near Mint/ Obi: Mint/ Insert: Mint). Rare Japanese 1^st issue with always-elusive obi. Serge Gainsbourg oversaw 1978’s Ex Fan des Sixties, and his presence hangs heavy over the record. But Birkin's patent, paper-thin vocal is as much a part of the sound as his musical imprimatur, and songs like "Apocalypstick," and "Nicotine" are up there with any of the duo's earlier, and better-known collaborations. Remember, after all, that the late '70s saw Gainsbourg kicking out some of his most contentiously aggressive and questioning music yet, and this pair of albums proves that he had by no means saved all his best material for his own releases. Often overlooked in favor of her earlier, or most recent material, these discs rank amongst Birkin's most instantly enjoyable. Killer slide in my opinion and the 1^st press Japanese issue complete with obi is something that rarely seen the light of day in this age of corruption. Highest recommendation, this slide rips my earlobes right of my head and leaves me with a burning desire for more, much more. Price: 100 Euro

136. BLACK SABBATH: “S/T” (Philips – SFX-7203) (Record Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint) TOP COPY, appears Unplayed & untouched. The very first Black Sabbath album, originally released in the UK on Vertigo lies here before you in its entire splendor as a 1^st original Japanese pressing with obi. 1^st with obi. You probably know the mathematical probability of such a disc to turn up these days…yep you guessed right, close to zero, especially with the obi intact and good condition. It goes without saying that these babies are ultra collectible and sought after by any conceivable vulture on this planet. The true scarcity value of this disc lies within the Vertigo obi, here all present and immaculate. Again the music hardly needs any explanation I guess. Black Sabbath’s first ever release after which thing were never the same again…ever. Songs blur together and riffs pound away one after another like the sledgehammers of Thor hacking through dead air while being high on elephant tranquilizers. Extended jams were an excuse for songs, doped up and slowed-down tempos bubble up out of the lysergic haze, make you the listener as well as the band at that point in time revel in its own dazed, druggy state of consciousness. Just massive and a dead stone classic…1st original Japanese pressing with Vertigo obi. Quite a fetish item. Price: 450 Euro

137. BLACK SABBATH: “Paranoid” (Philips – SFX-7266) (Record Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint) TOP COPY!!!! First original Japanese pressing, housed in a top notch gatefold jacket and complete with VERTGO OBI!!!. You probably know the mathematical probability of such a disc to turn up these days…yep you guessed right, close to zero, especially with the obi intact and good condition. It goes without saying that these babies are ultra collectible and sought after by any conceivable vulture on this planet. The true scarcity value of this disc lies within the Vertigo obi, here all present and immaculate. Again the music hardly needs any explanation I guess. Black Sabbath’s first ever release after which thing were never the same again…ever. Songs blur together and riffs pound away one after another like the sledgehammers of Thor hacking through dead air while being high on elephant tranquilizers. Extended jams were an excuse for songs, doped up and slowed-down tempos bubble up out of the lysergic haze, make you the listener as well as the band at that point in time revel in its own dazed, druggy state of consciousness. Just massive and a dead stone classic…1st original Japanese pressing with Vertigo obi. Quite a fetish item….Price: 450 Euro

138. BLACK SABBATH: “Vol.4” (Vertigo Japan – RJ-5049) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint/ attached 4-Paged picture insert: Near Mint). Original 1^st edition Japanese pressing out of 1972 on swirl label complete with insert and always missing obi. Original Vertigo swirl release out of 1972, Japan 1^st original press, photo booklet inside and the always missing and ultra rare obi present and in pristine condition. This monster of a disc needs no introduction I guess, just one indispensable skull fucker of an album. Great all way through. This one is in top notch condition, Japanese press on legendary Vertigo swirl label. Insane!! Boris and Corrupted fans, this is where it all began, the big bang. The first album Sabbath self produced and their last stint for Vertigo. Recorded in L.A and as a direct result of jacking into the excellent 1972 ‘straight from Columbia' cocaine route that spiked up the recording atmosphere, the band got enthralled by a narcoleptic smog. Hell they even credited the crystalline substance on the album sleeve, way to go and up the nose. As a result of that they birthed out sludgy psychedelic hard rock, infested with pharmaceutical and narcotic overexposure and heated up by the radiating burning haze of L.A.'s dessert sun. It surely cooked their skulls and the music reflects it perfectly, making this a heavy psyched out masterpiece. Drugged-out riffage, snarling demented vocals, heavy sludge sound, amphetamine paradise, a smoky bad-buzz psychedelic masterpiece of a record. Price: 300 Euro

139. BLACK SABBATH: “Master of Reality” (Vertigo – 6360-050) (Record: Excellent/ Outer Box: Near Mint/ Company Inner Sleeve: Near Mint). 1^st original UK pressing in TOP condition. Comes with the Box in top condition but poster is missing. First original UK pressing on the Vertigo label. Getting damned hard to dig up such clean copies as this one, box and record and inner sleeve are just near perfect all the way through. This one comes dead cheap as sadly enough the poster is gone missing. Amazing copy nonetheless. Price: 200 Euro

141. BLACK SABBATH: “Paranoid” (Vertigo Mexico – 6360.001) (Record: Excellent/ Jacket: Excellent). Original 1^st Mexican pressing that comes housed in a Mexico ONLY jacket art. Rarely surfaces and this copy is in damned fantastic shape for a Mexican pressing. Most copies of this one are completely trashed, this one is EX all the way with only a few superficial paper hairlines. Great Mexican only jacket art. Price: 150 Euro

142. BLACK SABBATH: “Black Sabbath Vol. 4” (Vertigo – 6360 071) (Record: Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint/ Company Inner Sleeve: Near Mint). First original pressing with CAT NUMBER 6360 071 and MATRIX (6360071 1Y 1 PORKY/6360071 2Y 1 PECKO.) Getting very tough these days to find this record in top shape as this baby here. Booklet and all enclosed, so….Price: 300 Euro

143. BLACK SABBATH: “The Best Of” (Vertigo Japan – FD-94) (Record: Mint/ Gatefold Jacket: Mint/ Attached 4-paged insert with gatefold sized band picture: Mint). Japan only release. 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. Top copy. Price: 200 Euro

144. BLACKWATER PARK: “Dirt Box” (BASF/ Teichiku – UPS-557-B) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1^st pressing from Japan, released in 1971. Killer hard rocking krautrock LP released in 1972 album from this German outfit with an English vocalist. This is the band that '70s-loving Swedish death-progressive metallers Opeth named their most recent opus after! But, it's an amazing slide. If you're looking for cosmic krautrock sounds, look elsewhere -- but if you enjoy early hard rock/proto-metal stuff like Led Zep or Lucifer's Friend, or dig the current champions of that sound, The Want, then check this out. Amazing one-off LP by this band and this is the bloody rare high quality 1972 Japanese pressing, ten times more scarce than the German one. Top condition. Price: 185 Euro

145. BLAINE, HAL: “Psychedelic Percussion” (Dunhill – D-50019) (SEALED). Rare SEALED ORIGINAL. Yeah, this is what it sounds like when talented and successful musicians loose their minds on drugs. The result is a superb exploitation psych treasure made by one of the most legendary session drummer in the music biz, having recorded with everyone from The Beach Boys to Frank Sinatra (the list is endless). Here, he builds on endlessly swirling thickets of rhythms, counter-rhythms and melodic percussive detailing, chopped out of a wide range and extraordinary arsenal of noisemakers as well as organs, celestes, clavinets and harpsichords, sometimes abetted by Paul Beaver (of Beaver & Krause) on electronics and Emil Richards on additional percussion. The actual experiential effect of listening to this stuff is anything but faux though, exploitation trappings or not (and the trappings are decidedly thick, with titles like "Love-In", "Trippin' Out", "Wiggy", and "Flower Society" etc), as your equilibrium is assailed by these whirlwinds of acidic motion. A fantastic record and a classic out of that era. Bloody top copy sealed original. Price: 160 Euro

146. BLEY PAUL: “Improvisie” (America – 6121) (Record: Excellent/ Jacket: Excellent). First original press issue. “Recorded in 1971 for the French America Recording label, Improvisie captures pianist Paul Bley, Annette Peacock, and master percussionist Han Bennink in concert in Rotterdam. Bley plays electric piano and synthesizer here, with Peacock playing both electric and acoustic piano, synthesizer, and electric bass as well as singing. There are two pieces on the set, the elegiac title cut, which is nearly 14 minutes in length, and the much more adventurous "Touching," which is nearly 24. On "Improvisie," elements of jazz phrasing and harmony usher in the piece haltingly, purposefully, almost reverently. A melody asserts itself from the ether, decorated by Bennink’s hushed use of multiple percussion instruments and Peacock’s accents on the theme itself. Tones and harmonic fragments whisper their way into the mix, governed by a crystalline use of spatial dynamics. Even as Bennink ups the ante with his instruments, Bley and Peacock and dance very slowly through their interaction. It isn't until the six-and-a-half-minute mark where things begin to get atonal and angular, but even here, space is the key to expression. The unhurried procession of tones and colors makes the piece, no matter how strange and ethereal it gets, feel purposeful and accessible in its exploration. "Touching" begins on the fringes as electronic sounds mash up against one another and Bennink decorates the blips and gratings with the organic rhythmic material that keeps it all on the ground. The intensity with which the work begins is off-putting at first, but quickly opens up and out into a more relaxed and perhaps even inviting manner. Peacock’s block chords add weight to Bennink’s light percussion and Bley goes to elongated, deeply held tones on his synthesizer, single notes as opposed to dense washes of sound. Peacock is clearly the force behind "Touching"; it is her pace, her piano lines, and her sense of time that unwind it from its elementals. When she begins to sing about six minutes in, the work becomes something else entirely: a new song form, or a new framework for it. Her poetic lyric illustrates the music rather than vice versa; whether she is crooning, droning, or emoting powerfully at the margins of her voice, the sheer musicality and ghostly richness in her approach are captivating and beguiling. Bley’s filling the spaces between her verses ranges from lilting melodic interplay to harsher, grinding tones that respond to Bennink’s manic yet taut and gentle percussive dance. The industrial sounds that begin to assert themselves about halfway through never quite overpower the musicality inherent in the piece's foundation. Even 35 years later, "Touching" is still a brave and uncompromising work, one that asks as many questions as it answers, and one that renews its freshness with each repeated listening.” (all Music Guide). Classic slide. Price: 50 Euro

147. BLIND FAITH: “S/T” (Polydor Japan – MP-1456) (Record: Excellent/ Gatefold Jacket: Near Mint/ Portrait Insert: Near Mint/ Obi: Mint). Original Japan 1^st issue complete with band portrait insert and always missing bloody rare obi in top condition. Short-lived classic rock supergroup Blind Faith's sole 1969 album is a dead on classic. The group fused the psychedelic blues of Eric Clapton with the soulful vocals and keyboards of Steve Winwood, interlocking with the polyrhythmic, Afrocentric skin-shifting of Ginger Baker and the steady bass pulsations of Gretch. "Can't Find My Way Home" is lyrically poignant and bordering on the addictive, making way slowly for a string of even more sonically subtle tunes. The record is simply all over the place stylistically without ever being adrift; "Presence Of The Lord" is rousing and melancholy at the same time, while the way the bass and guitar double-team on the introductory melodic line to "Had To Cry Today" have you glued to your headphones for weeks in a row. The 10-minute drum solo on "Do What You Like" sees Baker doing an exorcist rite and clears the road for more jam aesthetics, making that Blind Faith is not a purchase for the jam-shy. 1^st original Japanese pressings with pin up portrait and obi intact just do not surface anymore and this copy is as clean as they come. Price: 300 Euro

148. 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

149. BLIND WILLIE McTELL: “1927 ~ 1933 The Early Years” (Yazoo – L-1005) (Record: Near Mint/ Jacket: near Mint). Original 1^st Yazoo press of 1968 and comes on the 1^st issue reddish Yazoo label. Top condition. Yazoo's 1968 compilation of rare 78-rpm recordings from Blind Willie McTell. A record that put Yazoo on the map as an essential archival label of roots music. The very best of the magnificent Willie Samuel McTell -- aka Blind Willie aka Hot Shot Willie aka Georgia Bill -- exploring spiritual, ragtime, hillbilly, and above all, the blues. Price: 40 Euro

150. BLO: (Shadoks) (Record: Mint/ Gatefold Jacket: Mint) Tremendous release from Nigeria – ass shaking Afro-booty-shaking funk psychedelic masterpiece. Ltd to 350-hand numbered copies and already sold out at the source, these babies are destined to become extremely sought after. Authentic African ass shaking psych from Nigeria, a trio comprised out of Berkeley, Laolu and Odumosu who had been active with Ginger Baker amongst others. The three of them created the hippest Nigerian funk ensemble from the mid 70ties. Their sound is more complicated than some of their contemporaries, partly due to the insertion of dubbier styles and bits of psychedelic guitar to the more common Afro-Funk percussion and this in such a mode that almost sounds like they administered some fragrances from Can or other prog-like outfits. In short, they sound amazing. A true head bender of a disc that comes with the highest recommendation. Housed in a gorgeous fold out thicker than life jacket. Price: 70 Euro

151. BLOSSOM TOES: “We Are Ever So Clean” (Marmalade – 608001) (Record: Near Mint ~ Mint, perfect/ Jacket: Excellent – 2cm delicately repaired tear on front, otherwise Mint). Original UK 1^st pressing. Really clean original UK copy of this top-notch psych artifact. Hard to find in decent shape, this copy is awesome, record is near mint, just perfect, jacket has a 2cm delicately repaired tear on front but apart from that not even the slightest notion of any wear. So comes cheap here for such a top copy. That aside, this LP is one of the finest UK pop psych albums ever. Killer from start to finish with absolutely no filler. Masterpiece all way through. Price: 500 Euro

152. BLUE CHEER: “Outside Inside” (Victor/Mercury Japan – SM7285) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint). Blue Cheer’s second album was the first of the group to be released in Japan on March 1969. Comes with totally different artwork as opposed to the US version of the disc. Tremendously rare 1^st Japanese press with different cover, which I have never ever seen offered for sale before, let alone – if it did – being in such a splendid near mint condition as this one here, a true mega rarity!! “Outside Inside is the album that should have logically been on the Wire's hot 100. You rarely see original vinyl copies of it floating around but it seems to have vanished without a trace. The mix is overall much more separated and clear, stereo panning effects are used throughout, and the multi-tracked guitar makes an appearance in almost every song. Performance-wise, Paul Whaley's primal drumming really steals the show- his youthful exuberance dominates almost every cut without overpowering the other instruments (like the guitar distortion did on the debut). Don't let that mislead you into thinking Leigh Stephens is buried in the mix- he expands his palette to include all manner of distorted and clean electric guitar tones. Along with the sound of Ron Asheton on the Stooges' debut, this is one of those highlights in fuzz-rock history, from Link Wray on down that just can't seem to be duplicated. Track 2, "Sun Cycle" is perhaps my favorite 'Cheer track- it flows nicely and paces itself beautifully with a slow bluesy beginning that mutates into a "Wind Cries Mary" bass riff before the guitar soars out into Leigh's patented tone. The "solo" is pretty amazing in its simplicity- the fuzz pans from left to right channel while Whaley pummels the skins mercilessly in the background. Side two opens with a speedy cover of the Stones' "Satisfaction" which is just as monstrous as their take on Eddie Cochran's classic. Their original target audience probably held the Stones in higher regard than Cochran, so one wonders what they made of this demolishment. The fast arrangement is practically the same as Otis Redding's cover of this song, as featured memorably on the "Monterrey Pop" movie. No horns, of course, just layers of guitar, over Whaley's non-stop speed-freak pounding which never sounded so good- an amazing performance all around. If you paid attention to the periodic revival of sixties music throughout the '80's you probably heard the brief instrumental "Magnolia Caboose Babyfinger" on some college radio show- plus Mudhoney "covered" it on their debut LP, a sort of fuck-you to the critics. Right on, boys.” (From Perfect Sounds Forever). Mega rarity 1^st Japanese press in alternate cover art and in near mint condition…I doubt you will ever see a copy of this one surfacing again…Price: 500 Euro

153.　BLUE CHEER: “New! Improved! Blue Cheer” (Philips – PHS-600-305) (Record: Excellent 〜 Near Mint/ Jacket: Near Mint). First original US pressing. “Guitarist Leigh Stephens quit Blue Cheer after touring in support of their second album, Outsideinside, but he may have been amused by the fact it took three men to replace him when the band cut their next LP. There are two different and distinct bands at work on New! Improved! Blue Cheer; on the album's first six tunes, founding members Dickie Peterson (bass and vocals) and Paul Whaley (drums) are joined by Bruce Stephens on guitar and Ralph Burns Kellogg on keyboards, and this lineup bears little musical resemblance to the wildly over-amped power trio that cut Vincebus Eruptum less than two years before. This new edition of Blue Cheer was still strongly influenced by the blues, but the raw physical impact of the band had been significantly buffered, and Bruce Stephens’ rootsy guitar work was in a completely different league from the old band's bone-crushing onslaught. On side two, Blue Cheer return to power trio format with Randy Holden (formerly of the Other Half) on guitar, and while his style is also considerably different from Leigh Stephens’, his fondness for overwhelming volume and fierce, extended solos makes his contributions feel a lot more like the group's formative work; Peterson and Whaley also sound a lot more like their old selves here, calling up a thunderous report to match Holden’s thick but graceful leads, and if Blue Cheer are a more subtle and artful band with Holden on guitar, his contributions suggest an evolution from the towering proto-metal of Vincebus Eruptum and Outsideinside, rather than the dramatic stylistic departure of the album's first half.” (All Music). Price: 75 Euro

154. BLUE PHANTOM: “Distortions” (Kaleidoscope – LAL101) (Record: Excellent ~ Near Mint/ Laminated Jacket: Excellent). Original UK 1^st pressing in Top condition. “As instrumental exploito-psych goes, this is absolutely at the top of the heap, every bit as good as its American counterpart The Animated Egg. The songs are full of hooks, have great guitar tone and are relentless in their heaviness and groove. The best things here – most notably “Distillation” – with the worlds most perfect fuzz guitar create true listening bliss. Better than tons of hard rock (or jazz rock for that matter) albums by established artists” (AM – Galactic Ramble) Spot on, couldn’t have nailed it more perfect as this one here, vicious killer slide that leave you desperately gasping for more of the same medicine. Price: 175 Euro

155. BLUES AT NEWPORT ’63: “S/T” (Vanguard Japan – SR-660) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Obi: Mint/ 4 Paged Insert: Near Mint). Original 1971 Japanese pressing with obi! Copies in pristine condition with obi and booklet present are damned rare these days. Splendid snapshot of the Newport folk festival of 1963 which features killing sliding slides by blues masters such as Sonny Terry & Brownie McGhee; Mississippi John Hurt; Rev. Gary Davis and John Lee Hooker as well as new “white” kids on the block inspired by the race music such as John Hammond and Dave Van Ronk, who in his turn went on to be a major influence on the young Dylan. The recording quality is crystal clear and the vinyl is top of the line as is always the case with Japanese pressings. Stunning artifact that hasn’t left my turntable of late. “Trouble I’ve Had It All My Days” is just bone-chilling….Price: 75 Euro

156. BLUES CREATION & CARMEN MAKI: “S/T” (DENON – CD-5030) (Record: Excellent / Fold Out Jacket: Near Mint/ Insert: Near Mint) Original first pressing gatefold copy (on the orange coloured Denon label imprint). Single cover copies (second pressing of mid-eighties) are relatively common there were these original babies are just impossible to lay your hands upon, even here in Japan. The Carmen Maki & Blues Creation disc is probably way rarer than Blues Creation’s “Demon and 11 Children” one, so I guess you get the picture of its scarceness. The music is just stellar heavy psych with howling female vocals, loud, booming rhythm section, fire-works guitar leads. Record comes with the almost always-missing insert! Mega rare item, first original press in great condition. Almost never to turn up and one of those ultra collectible much rumoured about titles coming out Japan. Mega rare does not even come close to describe the scarcity status of this disc. Price: Offers!!!!

157. BLUES MAGOOS: “Tobacco Road ~ Psychedelic Blues Magoos” (Victor/ Mercury Records Japan – SM-7262) (Record: Near Mint/ Jacket: Near Mint). Original 1^st Japanese pressing housed in total different jacket art. Original release of November 1967 and in top condition, just near mint all the way. “(We Ain't Got) Nothin' Yet is extraordinary and magical; like the Box Tops' The Letter, it's one of those little two-minute blasts of pop which brought the transistor radio to life and which is the proverbial breath of fresh air on oldies radio stations daring enough to play psychedelia. Psychedelic Lollipop is the real thing; the Blues Magoos on the LP cover look like Captain Kirk abandoned them on some forgotten Star Trek planet, and the music inside the sleeve is authentic acid rock. They stretch John D. Loudermilk's Tobacco Road across four-and-a-half Seeds-style minutes, obliterating the Nashville Teens' 1964 hit recording in the process. David Blue's Queen of My Nights may have inspired the Troggs' 1968 hit Love Is All Around. The melody might be different, but the intro music is identical to what Reg Presley gave the world a couple of years after this. Producers Bob Wyld and Art Polhemus did a great job of keeping the intensity up across two sides of this album. James Brown's I'll Go Crazy gets splashy garage rock sounds and Mike Esposito's guitar power cannot be denied. Check out the jangle pop mayhem on Gotta Get Away. According to the LP The History of Syracuse Music, Vol. 7, Esposito performed in the Escorts with Felix Cavaliere, and that vibe from the Rascals' rendition of Lori Burton's I Ain't Gonna Eat Out My Heart Anymore has the same type of authority these kids pour all over Psychedelic Lollipop. One by One has the band going from the garage rock group to the Beatles transition -- and what's so disappointing is that they couldn't mature in this direction. Had this lineup stuck around for the ABC albums, who knows what they might have been capable of? Psychedelic Lollipop is a solid and precious gem from the Nuggets vaults, the difference between this and other one-hit wonders being that you can play the entire album repeatedly -- quite an accomplishment coming from the era of the hit single. That such a tremendous smash like (We Ain't Got) Nothin' Yet kicks the whole thing off is just an added bonus.” (Joe Viglione, All Music Guide). Rare Japanese pressing that comes in alternate jacket art and in total mint condition. Surfaces just about … never…. Price: 250 Euro

158. BLUES PROJECT & ANIMALS JAPAN ONLY THIN CAN 2 LP BOX: “Battle of Eric Burdon & The Animals + Blues Project” (Nippon Grammophon MGM – MM-9069/70) (2 LP set: Near Mint/ Insert Booklet: Near Mint/ Thin Can: Near Mint) TOP Copy, Just PERFECT. Japan only release from 1971, housed in a tin can box. Japan rare Battle Can 2 LP release. Very few copies pressed and in circulation of this gem. Beautiful all way through and hideously rare. And you thought that Johnny Lydon’s PIL released the first LP housed in a thin film can? Well think again, we are speaking of 1971 here and it is a monster indeed. Price: 350 Euro

159. BOB JAMES TRIO: “Explosions” (ESP Disc – 1009) (Record: Near Mint/ Thick Paste On Jacket: Mint). First original US pressing, 1^st ESP Disk issue and housed in a heavy carton jacket. Hard to dig up such a pristine 1^st press copy, record and jacket are near perfect!!!. “Explosions” was without a doubt Bob James’ finest moment and his recording debut (recorded May 10^th, 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. Price: 120 Euro

160.　BOB JAMES TRIO: “Explosions” (ESP Disk/ Nippon Phonogram – SFX-10726) (Record: Mint/ Jacket: Near Mint/ OBI: Mint/ Insert: Mint). Rare Japanese first original pressing that came out in 1978 complete with 1^st issue obi. Rare promotional copy. Price: 50 Euro

161. The BONNIWELL MUSIC MACHINE: “S/T” (Warner Bros. Records – WS-1732) (Record: Near Mint/ Jacket: Near Mint, still in shrink). Comes on golden Warner Bros. Seven Arts label. Top copy. “Sean Bonniwell was really one of the grandfathers of punk rock. Rock critics and fans alike often forget how good the original band was. Talk Talk’s follow up was the brilliant People In Me which barely dented the charts and in early 66 Bonniwell unleashed Point of No Return, a track with a swirling mass of organ and futuristic blasts of guitar. Their music was full of tension and uneasiness, and many consider Bonniwell a tortured genius. The Bonniwell Music Machine album was recorded mostly with the original lineup who had recorded the 1966 debut. That debut was sabotaged; managers and producers forced Bonniwell to fill half the record with cover versions of current popular hits. Stellar originals battled it out with covers of Neil Diamonds’ Cherry Cherry and a respectable gutsy stab at Hey Joe. Their second album was released in 1967 and was a small victory for a band that had fought for absolute creative control. The recording sessions were tension-fuelled wars between management, Bonniwell, and the band. Eventually, the band left Bonniwell, feeling that he sided with management and ruled with an iron fist. Bonniwell Music Machine saw the band forge ahead and move beyond their garage roots. The most popular song off the album, Double Yellow Line, was a real flamethrower, supposedly written while Sean was behind the wheel driving to the recording sessions! It was a unique statement that featured Bonniewell’s rants and hang-ups over some razor sharp guitars, a killer beat and strange fish bowl-like organ. Talk Me Down, Bottom of the Soul and the Eagle Never Hunts the Fly were just as vital and displayed Bonniewell’s alienation in spades. The Eagle Hunts was a monstrous, intense rocker with a wonderful fuzz meltdown that was supposedly disowned by the band during the recording sessions. Other strange pop songs like the psychedelic harpsichord-laden, harmony-rich Trap were a welcomed change in direction. Absolutely Positively was a fantastic fist pounding garage-punk anthem and Discrepancy was notable for two distinct vocalizations.” (The Rising Storm review). I couldn’t have said it any better but this review nails the album on the head, in short it is a killer classic that needs prominent display in any collection. Every track is a winner. Top notch copy and next-to-impossible to upgrade on this one. Price: 150 Euro

162. BORBETOMAGUS & VOICE CRACK: “Fish That Sparkling Bubble” (Agaric Records – UP06) (Record: Near Mint/ Jacket: Near Mint, still in Shrink). Original 1987 pressing. Clash of the titans…. “Collaborative date with Swiss electronic duo Voice Crack. What is most impressive is how complementary the approaches are here. Whereas Borbetomagus uses extreme volume and pitch centers in order to achieve the subtle nuances that emerge from the music in overtone series, semi-quavered fibrillations, and multiphonic nuances, Voice Crack constructs a virtual electronic city of all devices known to the recording world, from turntables and circuit boards to reel-to-reel tape decks to analog and digital delays. When the two are combined, as they are on each of this recording's five selections -- including such Borbetomagus classics as "We Don't Need No Warrior Goddess" and "My Tongue in Your Cheek" -- the sonic fields are much wider, more dissonant, and definitely subtler. The listener has to fully engage not only with the stolid emotional force pouring forth from the speakers -- though that's fine on first listen -- but also to sort out the panoply of textures, ambiences, colors, and tone fields that are slipping in, through, and around each other in the mix. This is complex listening, like trying to find one airplane's specific sound on a battlefield, but it is worth the effort. Once the shifting aural terrains are noted and put into play, anything can and usually does happen, and the tectonic plates of improvisation move against each other in mighty but stunningly beautiful ways. Skronk never sounded so pretty.” (Thom Jurek, All Music Guide). A classic in its own right. Top copy. Price: 50 Euro

163. BOREDOMS: “Onanie Bomb Meets the Sex Pistols” (Selfish Records – BEL-12025) (Record: Excellent – Near Mint/ Jacket: Mint/ Insert: Mint/ Original Inner sleeve: Near Mint) Unbelievable, a copy of this hyper rare 1^st Boredoms LP arrived here at our office. It has been 2 years since I had this record for the last time and in between all of this time I have not seen it offered anywhere, so I am a bit psyched to have one copy back in stock. Stunning original copy of the first ever Boredoms album ever, a true rare find that hardly if almost never surfaces anymore, especially not in a condition like this one. The disc is a glorified take on punk slashing riffs and demented noise-snot assaults, vibrating with a DIY aesthetic and a right in your face “fuck-you-all” & “if it don’t bend break it” attitude that is such a hilarious thrill to sift through. Abrasive, loud, obnoxious, deranged, demented and utterly insane, a sonic gem of psyched-up junk-cum-sound. It won’t get better than this, except for those Hantarash albums that steer through similar waters. Highly collectible, insanely rare and invigoratingly great. A must. Price: 150 Euro

164. BORIS: “Feedbacker at Last” (DIW – Phalanx) (Record: Mint/ Jacket: Mint/ Fold out poster: present and mint). Totally vanished virginal 1^st pressing. Released in an edition of 500 copies only – first pressing out of Japan from 2004, “Feedbacker at Last” proofed that Boris was back and with a vengeance. The disc turned out to be one of their finest recordings to date, alongside the “Flood” and “Amplifier Worship” releases, only that on this LP the band delivered one Magnus opus like 50 minute mind fucker of a track that encompassed all characteristics that make up their sludge and doom invested slow motion heavy fix take on psyched out madness. Starting out under a downer and Quaaludes induced tapestry of slowly bubbling but distorted washes of amp-grinding guitar, they suck you right into their maelstrom of unrelenting but tardy burgeoning and suffocating heaviness before pulling open all registers in order to burry you under tons of dilatory churning static hiss and at times torch-burning psyched out and blissful ignorance. To put it short, the gradual changes they evoke, like the changes in the heavens, though slow and lingering, produce in the end a sidereal blast of vehement exasperation. You have been warned. Highest recommendation. Comes with the poster. Price: 125 Euro

165. BORIS: “Akuma No Uta” (Diwphalanx – PXLP-102) (Record: Mint/ Jacket: Mint/ Insert: Mint). Legendary Boris LP that came out in 2003 in an edition of only 500 copies. Hereafter some US and European versions of it saw the light of day, but this one is the 1^st one, the original and highly sought after Japanese edition. Impossible to get these days. Price: 125 Euro

166. 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, spine has a seam split). Bloody rare original 1970 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: 400 Euro

167. BOUDEWIJN de GROOT: “Nacht En Ontij” (Decca – NU-370.021) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Booklet: Near Mint). Original Dutch pressing of this mind-warping psychedelic acid folk masterpiece. The always missing single is…missing, so this top copy comes dead cheap. Price: 50 Euro

168. BOWIE, DAVID: “The Rise and Fall of Ziggy Stardust and the Spiders From Mars” (RCA Victor – RCA-6050) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 4-Paged Insert: Mint). First original Japanese pressing with FIRST issue obi. 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: 320 Euro

169. BOWIE, DAVID: “S/T” (Philips – 852.146BY) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Original Dutch pressing of 1969 in TOP condition. Second self-titled Bowie LP on the blue colored Philips label. Record is Near Mint, no defects at all, gatefold Jacket is EX~NM with only a little spine wear from storage. Rarely surfaces in such impeccable condition and the music is nothing but killer from start to finish, one of the greatest LP’s ever! Wild Eyed Boy From Freecloud---yeah!!!! Price: 250 Euro

170. 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 1^st issue Glam Rock obi. The white colored glam rock obi was 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. Price: 350 Euro

171.　BOWIE, DAVID: “Aladdin Sane” (RCA Japan – RCA-6100) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Mint). WHITE LABEL PROMO ISSUE!!!!! Original first issue Japanese press of 1973 complete with the 1^st 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. NEVER SEEN BEFORE WHITE LABEL PROMO ISSUE. Price: 350 Euro

172. BOWIE, DAVID: “Space Oddity” (RCA Japan – RVP-6124) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ Insert: Near Mint). 1^st original Japanese pressing of 1976. Again genius at work, an all time classic that comes on high quality Japanese virgin vinyl. Price: 30 Euro

173. BOWIE, DAVID: “The Man Who Sold The World” (RCA – RCA-6078) (Record: Near Mint/ Jacket: Excellent/ OBI: Excellent/ Poster: Near Mint/ Insert: Near Mint). Classic Bowie slide and one of the greatest records ever recorded, every track is a winner. Original Japanese pressing with Glam Rock obi present in its full glory. Just deadly awesome…Price: 75 Euro

174. BOYKINS, RONNIE: “S/T” (ESP Disk – 3026) (Record: Mint/ Jacket: Mint). 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 particular 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: 125 Euro

175. 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

176. BRAINTICKET: “Psychonaut” (Bellaphon – BI-15156) (Record: Near Mint/ Jacket: Mint – still in shrink). Dead mint original 1972 copy, they do not come better than this copy here, it just looks like it could have been pressed yesterday. Brainticket gets considered and classified as Krautrock, and while their music is densely rooted within the genre, their national origin is a bit obscure. Bandleader Joël Vandroogenbroeck was Belgian born, and residing in Switzerland. The band was comprised out of several nationalities including Swiss, Italian, and even American musicians in their lineup. Because they did record for a short time for a fairly well known German progressive label Bellaphon, and the fact many of their albums were released in that country. The group is widely considered as one of the finest examples of that so-called genre “Krautrock”. Still the original Brainticket had already collapsed after the recording of their first album “Cottonwoodhill”. Some of the members went to join the group Toad. Meanwhile the desertion of its members didn’t stall organist/flutist Joël Vandroogenbroeck and like any good general should do he simply resurrected Brainticket with brand new musicians (amongst them being Carol Muriel, Barney Palm, Jane Free and others). 1972's “Psychonaut”, originally released on the German Bellaphon label seems like the polar opposite to the band’s first LP. First of all there was the complete shift in the band’s lineup that gels together like the most adhesive glue and zooms in on the music, resulting in a highly lysergic psychedelic head swirl injected at the right places with ethnic flashes and witchlike mushroom spiked vocals. For the rest there are fuzzed organ face melters, demented guitar riffage and ethnic percussive rattles, making it a quite hypnotic listening. In the end, Psychonaut is remains a slightly progressive rock album that still shows its psychedelic flavors and flashes its narcoleptic dementia with full pride. A classic. Top notch mint copy. Price: 200 Euro

177. BRAINTICKET: “Celestial Ocean” (RCA – LSP-10.406) (Record: Excellent/ Jacket: Excellent ~ Near Mint). Original 1973 German pressing. “Although Cottonwood hill seems to get all the freakish glory in the universe of Brainticket, for my money this is the better album. Although I suppose it's lacking a bit in the full on, balls-to-the-wall freakiness of that earlier album, Celestial Ocean is a more assured and graceful psychedelic voyage through parts unknown. One big plus here is the much more varied sound present here. Instead of spending half the album on a bubbling groove, the band explores a much wider series of sonic vistas. There's a mystical vibe here that manages to evoke Egyptian pyramids, Mayan temples, and Indian countryside’s. The album functions on sort of a bell curve of energy. The tracks, while very different, form sort of a suite. The first three tracks, "Egyptian Kings," "Jardins," and "Rainbow" start things off on a lilting note. Joel Vandroogenbroeck and Dawn Muir share a strange; half spoken duet on "Egyptian Kings" while "rainbow" definitely brings up the images of that aforementioned Indian countryside. Then the gears kick up a notch on the next three percussive tracks that throw in some awesome modular synth squeals. It's almost as wild as the first album, but it's much tighter and has more of a sense of traveling somewhere. There are also plenty of shades of early Popol Vuh and Tangerine Dream added in for fun. "Cosmic Wind" and "Visions" give us a beautiful coda, focusing more on acoustic sounds. This is a more relaxed album than Brainticket is generally known for. I think that it's the sound of a band very much in a prime groove and is a must hear.” (Dr. Schluss Garage of Psychedelic Obscurities). Spot on and nailed right on the head. Price: 150 Euro

178. BRAXTON, ANTHONY: “NO-47A – B-X” (BYG Records – BYG-14) (Record: Mint/ Fold Out Jacket: Mint/ Attached Japan Only Insert: Mint/ Obi: Mint) Actuel 14. Total indispensable classic. Line-up: Leo Smith (trumpet, flugelhorn, etc), Anthony Braxton (alto, soprano, clarinet, etc), Leroy Jenkins (Violin, viola, etc) and Steve McCall (drums, darbouka, etc). Brilliant all way round. Mint all way round. Original Japanese press that sounds light-years better than the French issue. Comes with totally cool obi. 1^st press issue. Price: 50 Euro

179. 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 1^st original Japanese Press FUTURA issue with obi & in shrink. Rare. Price: 100 Euro

180. BREAD LOVE AND DREAMS: “The Strange Tale Of Captain Shannon And The Hunchback From Gigha” (Decca – SKL-5048) (Record: Near Mint/ Jacket: Excellent some faint rainwear on back cover, for the rest all is crisp and clean/ Company Inner Sleeve: Mint). Original 1970 UK pressing. Stunning male – female acid folk beauty from the British Isles. Graced with a superb psychedelic fantasy artwork and graced with one of those unlikely lengthy title names, “The Strange Tale of Captain Shannon & Hunchback From Gigha” is a selection of the same session that sprouted out the “Amaryllis” album. Originally the band intended to release the whole as a double album, but management rejection and commercial considerations decided against it, hence the whole affair came out as 2 single albums. For this stunt however, with Pentangle’s Danny Thompson and Tony Cox aiding on the rhythm section, “Tales” resulted in flowering into an excellent example of acid folk rock. “The record opens with "Hymn to Sylvia," concerning McNiven's chance meeting with a female biker in England after he walked across Northern Spain and hitchhiked the length of France. This song and the closing title track (set on a remote Scottish island) are epic, immersing pieces that, along with Danny Thompson's upright bass and Terry Cox's drumming, give the album a solid yet flexible spine. Apart from a few small sections of forgivably pretentious gibberish (it was 1970 after all) the psychedelic or acid aspect to the music is so low-key as to be virtually non-existent. By which I mean that it sounds hypnotic and transporting without being wrapped in obvious elements that have come to be misheard as representative of psychedelic music. I find that, along with the nimble clarity of the guitar work and richness of the voices, the "flawed" lyrics and "dated" production are actually the strengths of this recording. And the fact that the duo still live in the landscape of Scotland lends an air of resilience to their music. After all, anyone could be a hippy troubadour in the Californian sunshine, right? Previous member Carolyn Davis is featured on one song and her voice bears a pleasing resemblance to that of the great Lal Waterson. There is an affecting breeziness to Rew's voice and McNiven's has a sensitivity akin to that of Lindisfarne or (the vastly underrated) Ralph McTell. McTell is best known for his recurring hit single about the plight of London's homeless people, but it's worth hearing The Boy With A Note (his album about Dylan Thomas) and Kenny the Kangaroo and (the imaginary village) Tickle on the Tum are among the best albums of genuinely innocent songs ever made.” (Brainwashed) “Tales” is a stunning album, rubbing shoulders with other jaw-dropping UK folk outfits such as Spirogyra, Trees, Fairport Convention and Comus. Totally indispensable and completely addictive listening experience. Top copy UK original pressing, hard to dig up these days in such a nice nick. Price: 300 Euro

181. BRIGADE: “Last Laugh” (Shadoks) (Record: Excellent/ Jacket: Mint, still in shrink/ Poster Insert: Mint). Reissue of this obscure LP release from 1970, originally from the Pacific Northwest. Reissue of long-gone Del Val LP from 60`s US garage-psych combo The Brigade, originally recorded for the bands vocal label in 1970. The band split before it's release so the album went unnoticed at time. Classic keyboard-Led psych-rock, with the track “Self made-god” being the absolute ear-blistering highlight. Oregon psychedelic classic. Organ / guitar driven garage psych of the upper echelon. Price: 50 Euro

182. BRIGGS, ANNE: “The Bird in the Bush” (Topic – 12T135) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). A saucy collection of ribald folk songs from the British Isles, including performances by Anne Briggs and the venerable master of the early Britfolk scene, A. L. Lloyd. These acapella recordings reveal Briggs as perhaps the most important revivalist singer of her generation. After hooking up with A.L. Lloyd and Ewan MacColl’s Centre 42 touring directive in 1962, Briggs quickly became one of the central figures of England’s burgeoning new folk music movement, shacking up for a time with Bert Jansch, performing in clubs throughout Britain, and periodically detaching from everything to head off into the country and lead the nomad’s life. Bert Jansch has compared Briggs' impact on the folk world to that of punk on rock, both because of her unconventional approach to traditional ballads and her habit of quelling stage fright with copious quantities of alcohol. Sexy isn't an adjective commonly associated with the 1960s folk scene, but you can hear a striking erotic charge on Briggs' versions of Martinmas Time or The Stonecutter Boy (recorded for a 1966 collection of erotic folk songs called The Bird and the Bush): quite what their effect might have been on an audience of earnest duffle-coated young men in 1962 boggles the mind. Folk aficionados rightly venerate Briggs for her freewheeling, humane approach to descanting melody. She has an innate grasp of both content and context and her delivery is unmatched, possessing grace more affecting for its almost artless roundedness, which nonetheless also admits to idiosyncrasy. Her voice is ‘jagged [and] intense,’ and yet completely at ease with itself. The acapellas are still considered Briggs’s most potent and historically relevant interventions. Briggs’s recordings are so powerful because they’re essentially recombinant records, documents of a questing, free spirit. From self-penned acoustic songs to traditional-cum-modernist folk-rock, from rambling, energetic bouzouki instrumentals to austere acapella, topped with a voice that stilled the air, for a period of ten years, Briggs had it all. Price: 200 Euro

183. BROTHER AHH: “Sound Awareness – Featuring Max Roach” (Strata-East – SES-19731) (Record: Excellent/ Jacket: Excellent ~ Near Mint). Spiritual and cosmic induced free soul jazz rarity, first original press out of 1975. Cosmic righteousness from Brother Ah -- an enigmatic musician who worked briefly with Sun Ra, and continued an exploration of the sonic heavens on his own! This rare 1975 album features Ah's Sound Awareness ensemble -- a 25 piece group that features a host of voices set to percussion, flutes, and other intimate and evocative instrumentation. The feel's quite hard to describe -- kind of a cross between Sun Ra and Moondog, with the righteous style of vocalization that you might find on some of the Max Roach experiments with voices, recorded in the relaxed and expressive style of the early AACM -- all of which means it's a great little record, with a very striking approach! Original pressing in top notch condition and a true mind bender of a cosmic jazz psychonaut disc. Fabulous in every single way! Price: 150 Euro

184. BROTZMANN/ VAN HOVE/ BENNINK: “S/T” (Free Music Production – FMP-0130) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original 1973 FMP pressing. 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: 100 Euro

185. BROTZMANN/ BENNINK: “Schwarzwaldfahrt” (FMP Records – FMP-0440) (Record: Mint/ Jacket: Mint). First original pressing from 1977 and not the more common 2^nd press. “Original LP released on FMP as a single LP, the album culled from the travels still stands a unique and instantly endearing entry in the oeuvre of each player. The whole has a raw verité feel splattered across the LP. Edits are often blunt with one piece ending abruptly and the next opening in progress. Over the course of the disc the duo moves about freely over the terrain, their shifting proximity to the microphone(s) adding a vivid spatial dimension to the music, the environment itself becoming an instrument. At one point early on Bennink beats a choppy rhythm on a log while Brötzmann twitters away on clarinet, the latter man gradually wandering away until he’s out of range of the mic completely only to return a minute later. The distant buzz of what sounds like a chainsaw undergirds the entire exchange, even spilling over into the next track. Several pieces later the fleeting drone of jet aircraft augments an argument of dueling penny whistles. Ambient birdsong of several stripes is also regularly audible across much of the program along with burble and babble of various-sized waterways. The two make direct use of the aqueous topographical features, submerging their respective reed instruments, blowing freely and taping the results. Taking the tactic to an extreme, the final cut of the original album consists of almost completely of an impromptu symphony of splashing sounds generated by hands, feet and dropped objects. Bennink’s customary playfulness comes through in the multitude of means he devises to make noise. Brötzmann adopts a matching level of open-mindedness and it’s a pleasure to hear him embrace such a sense of frivolity in the shared ad-lib approach. The two rarely seem concerned with adhering to any sort of agreed upon aural map at all. Their interplay is of the moment and lends a welcome aleatory air to the whole aural journey. The pinnacle comes on the companion disc during a 12-minute safari for tandem bass clarinets, the two giraffee-necked horns exploring the sound space beneath a peaceful arboreal canopy.” (Derek Taylor – Bagatellen). Monster free jazz slide that is beautifully painful and which sounds like walking into the woods with a head full of Thorazine. Original 1^st pressing, top condition. Take no substitutes! Price: 80 Euro

186. The Peter BROTZMANN SEXTET/ QUARTET: “Nipples” (Calig – CAL-30604) (Record: Near Mint/ Jacket: Excellent ~ Near Mint small white on white price tag tear in upper left corner/ Attached Frontal Harmonica Fold Out Booklet: Mint). Stunning top copy! “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. Price: 150 Euro

187. BROWN, JAMES: “It’s A Mother” (Polydor Japan – MP-1472) (Record: Excellent, some faint paper scuffs/ Jacket: Near Mint/ Obi: Near Mint). First original Japanese pressing with obi. 1969 was a fine year for James Brown as he released some of his best work. “It’s A Mother” was no exception as James and bandleader Alfred Ellis crafted some classic Funk with tunes like “Mother Popcorn (Part 1) & (Part 2)”, “Mashed Potato Popcorn (Part 1) & (Part 2)”, “I’m Shook”, one of Brown’s best instrumentals “Popcorn With A Feeling”, “Little Groove Maker Me (Part 1) and (Part 2)”, a funky rendition of “Any Day Now”, “You’re Still Out Of Sight” with singing by Bobby Byrd, and finally the instrumental “Top Of The Stack.” What a killer! James Brown definitely ruled and his backing band was total ace, tight, swinging, operating like a Spartan, almost skeleton machinery of an underdog operation high on hip-shaking vibes and buckets full of weed and amphetamines. A combination bound to get you on your feet and party all night. Original 1^st issue Japanese pressing with obi to salivate over. All killer with no filler. Price: 100 Euro

188. BROWN, MARION: “Why Not” (ESP Disk/ Nippon Phonogram – BT-5009) (SEALED COPY). Original 1975 Japanese pressing complete with capsule obi & SEALED. Never surfaces in its original state sealed and with capsule obi. After an aborted and unreleased session for the tiny, short-lived Pixie label, Brown returned to the ESP studio with his working quartet on October 23, 1966 to wax Why Not?. Rashied Ali sat in the drum chair otherwise occupied by the excellent Bobby Kapp, while bassist Norris Sirone Jones and pianist Stanley Cowell rounded out the unit. The most immediately striking thing about Why Not? is its utter and complete dedication to both wistful, romantic lyricism and the edgy, insistent "cry." There are few recordings in this music, which balance hunger and fullness so well. The theme toys with an expansive, Coltrane-like keen and ebullient, skipping Latin rhythms, Brown switching between a liquid purr and clipped barks. Cowell is the first soloist on what was one of his earliest recordings, lushly orchestral arcs clambering a poised modal staircase as Sirone and Ali follow an independent yet wholly relational path. Brown's solo is playfully loquacious, tugging at notes with hiccups and flourishes until he reaches a long, palate-cleansing passage of high harmonic squeals. A classic. Price: 50 Euro

189.　BROWN, MARION & HAMPEL, GUNTER: “Gesprachsfetzen” (Calig – CAL-30601) (Record: Mint/ Jacket: Mint). FIRST original pressing on the BLACK Calig label (Not the 2^nd issue that came on yellow & Black label). 1^st 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: 85 Euro

190. BROWN, MARION: “Afternoon of a Georgia Faun” (Odeon Records – OP-88011) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). White label promo copy, complete with Japanese obi. “Difficult as it may be for younger listeners to believe, there was a time when ECM released adventurous improvised music. Back near its inception in the early '70s, the label issued a wide variety and decent number of challenging avant-garde recordings that represented some of the most forward-looking musical thinkers of the time. One of these was Marion Brown, who, at the time of this session, was about midway between his extreme post- Coltrane explorations and the luscious, down-home evocations of Georgia that he would create for Impulse! over the next few years. He gathered 11 musicians, including a couple from the then current Miles Davis Bitches Brew band (Chick Corea and Bennie Maupin), the then little-known Anthony Braxton, Andrew Cyrille, and the late great vocalist Jeanne Lee for two side-long, wide-ranging pieces. The first, the title track, is a wonderful, percussive evocation of pastoral Georgia, something along the lines of what the Art Ensemble of Chicago were doing around the same time, but without the satire and with a greater sense of serenity. As the flutes, reeds, voice, and piano enter, there is no idea of "soloing"; instead, each contributes to the ongoing, evolving texture of the piece, creating a fabric that's as cohesive as it is unplanned. The remaining cut, "Djinji's Corner," is a bit more fleshed out, a little more "traditional" in one way, though still quite unusual for the time. Again, a reference point might be Art Ensemble works from around the same time, here a mélange of free horns and intense percussion, with Jeanne Lee soaring over the top, mixing words and glossolalia, similar to her stellar work on Carla Bley's Escalator Over the Hill. The effect is more eerie and spiritually infused than the preceding piece, with keening, bowed cymbals and deep pulses from the lower clarinet family. It gradually builds to something of a frenzy, but in an unforced manner that shows it to be merely another approach to the territory explored earlier. Afternoon of a Georgia Faun is a lovely, inspired album, a key work in Marion Brown's oeuvre and a recording that belongs in any collection of contemporary jazz.” (All Music Guide). Never seen Japanese pressing of this slide with obi before because these babies sold next to nothing, making them now rare forever. Price: 200 Euro

191. BRUCE PALMER: “The Cycle is Complete” (Verve – FTS-3086) (Record: Near Mint/ gatefold Jacket: Excellent). Bruce Palmer (acoustic/electric guitars/Fender bass) is best known for his association with the earliest incarnation of the Buffalo Springfield . It was he and Neil Young who trekked from their nativeCanada to Los Angeles in search of Stephen Stills with the hopes of forming a rocking teen combo. His tenure was cut short by deportation which stemmed from two separate marijuana-related convictions in 1967 and 1968, respectively. The Cycle Is Complete (1971) -- Palmer's only solo effort -- is an eclectic masterwork with stream of consciousness jams that combine folk, jazz and rock onto a quartet of primarily instrumental sides. Joining him are a seemingly disparate group of musicians which include Ed Roth (organ), Danny Ray aka Big Black (conga), and from the West Coast psych-fusion group Kaleidoscope: Chester Crill (violin), Paul Lagos (drums), Jeff Kaplan (piano) and Richard Aplan (flute/oboe). Also playing a pivotal part in the musical exchange is one of Palmer's pre-Buffalo Springfield acquaintances from the Toronto-based band the Mynah Birds. Rick Matthews would become better known several years later under his super freaky persona as the funky Rick James. Throughout this release he can be heard on percussion and most notably on the improvised 'scat' vocals that materialize from within the instrumentation. Each of the tracks is ultimately as unique as the proverbial fingerprint. They are indeed inclusively well developed musical statements. Alpha-Omega-Apocalypse is a frenetic and exploratory quarter-hour of jazzy intonations and features a bluesy vocal by James. Much in the same way that Skip Spence goes for it throughout his magnum opus Oar (1970), these musicians act and react on skill and intuition. The end result is something along the lines of latter-era Traffic and the psychedelic soul of the Rotary Connection. The brief Interlude sounds remarkably like Low Spark Of High Heeled Boys as Kaplan and Palmer solidify their respective association. Oxo swirls around a heavily Eastern-influenced progression that weaves in and out of some interesting sonic spaces and includes some non-lyrical vocalizations from James. The moody and brooding Calm Before The Storm is a languid and dark sojourn that is once again marked by some interesting ideas and, perhaps more importantly, equally engaging execution. ~ Lindsay Planer, All Music Guide. A genuine mind altering classic that rarely surfaces in such a top notch condition as this copy here. A sadly overlooked masterpiece that needs an urgent mass appreciation. Killer!! Price: 150 Euro

192. BRUHIN, ANTON: “Rotomotor” (Sunrise – 078-1962y) (Record: Excellent ~ Near Mint/ Jacket: Excellent, white on white tape seam). 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

193. BUBBLE PUPPY: “A Gathering of Promises” (International Artists – IA-LP10) (Record: Near Mint/ Jacket: Excellent). Top copy, 1^st original issue, 1969. The Bubble Puppy’s album is definitely one of those classics, and as a Texan psychedelic rock band, they formed in 1966 in San Antonio. Loosely based on the concept of dual lead guitars, the band moved in 1967 to Austin, Texas and signed a recording contract with Houston-based International Artists, home to the 13th Floor Elevators and the Red Krayola. In 1969, lightning stuck and the Puppy burst onto the U.S. Top 20 with “Hot Smoke and Sasafrass,” a slashing, frenzied 2:33 freak-out that kicks off the band’s brain-bending debut. The record “A Gathering of Promises” the group’s sole International Artists album, stands out from the rest of the roster with its rich vocal harmonies and heavier, Cream/Hendrix/Who sound. The Bubble Puppy’s catching appeal was embedded in its potent combination of throwing together soaring, fuzz-drenched guitars with disjointed drumming, well thought arrangements, and catchy graceful harmonies. Their sole International Artists album may be far removed from the deep acid psych of the Elevator’s Easter Everywhere or The Golden Dawn’s ‘Power Plant’, but it still remains highly enjoyable, being a lot more instant and easy to like and one of the label’s most refined rock efforts. Awesome copy. Price: 150 Euro

194. BUCKLEY, TIM: “Goodbye & Hello” (Victor Records/ Elektra – SJET-8183) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Outer LP sized Cut Out Obi: Near Mint). 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 for you then. Price: Offers!!!

195. BUCKLEY, TIM: “Greetings From L.A.” (Warner Pioneer Japan – P-8283W) (Record: Mint/ Gatefold Jacket with Postcard still in it: Excellent/ Obi: Mint). Rare 1^st 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: 150 Euro

196. 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: 200 Euro

197. 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: 200 Euro

198. 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: 200 Euro

199. BUFFALO SPRINGFIELD: “S/T” (Warner Japan/ Reprise – P-8053A) (Record: Near Mint/ Jacket: Near Mint/ Rock Age Flower Obi: Excellent/ Insert: Mint/ Card: Mint/ Company Inner Sleeve: Mint). Top-notch first Japanese pressing of this Buffalo Springfield album, complete with the salivatingly awesome “Rock Now Flower Obi”, insert and card present and in top condition. 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: 400 Euro

200. 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: 400 Euro

201. BUFFALO SPRINGFIELD: “Last Time Around”(Warner Japan/ Reprise – P-8055A) (Record: Mint/ Gatefold Jacket: Mint/ Rock Age Flower Obi: Mint/ Insert: Mint). Flawless copy, like new….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 1^st 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. Best copy in existence!!!! Price: Offers!!!!

202. BUFFALO SPRINGFIELD: “Last Time Around” (Atco – SD-33-256) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent/ Company Inner Sleeve: Excellent). Original 1968 US 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. Price: 30 Euro

203. BULL, SANDY: “ E Pluribus Unum” (Vanguard – VSD-6513) (Record: Excellent/ Jacket: Excellent). Amazing raga-infested acoustic guitar album that will appeal to John Fahey, Lorren Mazzacane Connors and Robbie Basho fans. Totally a must item. Recorded and released in 1968, “E Pluribus Unum” is a stunning guitar album that incorporates extended instrumental compositions for guitar fusing in and blending out a wide range of elements such as snippets of folk, delirious jazz licks, Indian scales, classical music fantasies and Arabic-influenced dronish modes. His blending of electric with acoustic string instruments was sort of a departure and breaking point that took him further away from his earlier acoustic classical excursions. Just like Dylan when he went electric, Bull was derided by the folk purists and shagged off at the time. But history proofed them all wrong and Bull stands now proud as being of those much acclaimed guitar heroes that mapped out unchartered territories of the instrument. And this disc here is proof as being one of his most amazing recordings. Soaked in tremelo and reverb, the raga-ish blues he evokes here display a raw evocative power that is mesmerizing as well and intoxicating upon listening to it. The disc is made up out of two side long totally fried pieces that will leave your head all over the place. Just stunningly beautiful and the definitive Sandy Bull record to add to your eclectic music collection. Highest possible recommendation. Price: 50 Euro

204. BUNALIM: “S/T” (Shadoks) (Sealed Copy). 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. One time only ltd release of 450 copies so acting fast may be the keyword here because this baby is a fast mover. In short heavy psych, doped up and way out there, without a doubt the best Turkish discovery to date. Ultimate highest recommendation. Get a copy while you can, sure to dry up in no time. Price: 90 Euro

205. The BURESSUN MAN b/w MOONLIGHT ’71: “Okurete Kita Gekko Gamen” (King – BS-1388) (EP Record: Excellent ~ Near Mint/ Picture Sleeve: Near Mint). 2^nd 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: 275 Euro

206. BURNING PLAGUE: “S/T” (CBS – S-64279) (Record: VG++ has some faint scuffs/ Jacket: Excellent). Burning Plague is a hard blues band that was founded at the end of the sixties in and around Brussels as an answer to the reigning British and Dutch "blues boom" at that time. But apart from the that day blues revival groups, Burning Plague were the ones that delivered the best white boys trash blues album. The dual guitar battle onslaught on the track “Hairy Sea” will blow your world to smithereens and their poignant belgo-anarcho styled lyrics such as “The law is out to get me and I did nothing wrong, so one day I will kill a copper, yes one day I take my gun” will make you wake up at night while you try to scream your lungs out. Talking about poetic justice….so brilliant, filthy, doped up and boozed out as only Belgians seem to manage when getting wasted on Westvleteren. This album rules so hard…..rare original 1970 press of my all time favorite white boy blues trash gem. Price: 250 Euro

207. BURRELL, DAVE & MOTOHARU YOSHIZAWA: “Dreams” (Trio Records – PAP-9010) (Record: Mint/ Jacket: Excellent, partly in shrink/ Obi: Excellent). Beautiful free-jazz record, recorded in November 30^th, 1973 in Tokyo and depicting a stellar interaction between two key improvisers, being Japan’s leading free jazz bassist Yoshizawa Motoharu and piano beast Dave Burrell. The whole record is comprised out of two mesmerizingly sidelong tracks that give enough room to let both titans breathe and interact with each other. Yoshizawa’s preternatural improvisations along the neck and body of his wooden bass meditate patiently on each bluesy sound, almost as if his fingers were playing along the surface of a slow-moving river. Every note that Burrell plays becomes a sensational lyrical interruption causing ripples, splashes, and oxbows in the flow of the music. Ear-melting beautiful totally free improvisation by way of both players’ sonic responses. Price 50 Euro

208. BUSTMONSTERS: “Weedhead EP” (Wildwest Records/ Alchemy Co – AWWR-011). (Disc: Near Mint/ Gatefold Picture sleeve: Near Mint). Clash of the titans like noise collaboration/ one-time-off-unit all-star noise super group that was erected out of Yamazaki Maso (Masonna), Akita Masami (Merzbow), Ohno (Solmania), Shohei Iwasaki (Monde Bruits), Fumio Kosakai (CCCC, Incapacitants), and other depraved noise-nicks. They recorded this one 7 inch graced with the awesome melon super-booty balloon vixen. Splendid noise artifact that rarely surfaces and is a tad overlooked, here on display in all its glory. Awesome! Price: 50 Euro

209. The BUTTERFIELD BLUES BAND: “The Resurrection of Pigboy Crabshaw” (Victor Japan – SJET-8084) (Record: Near Mint/ Jacket: Excellent). Rare 1^st Japanese pressing that comes on the blue Elektra guitar player label. Killer sound. When guitar virtuoso Mike Bloomfield left the Paul Butterfield Blues Band to form Electric Flag, many cynical scene watchers thought PBBB 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 PBBB launched a new phase of their career with the release of this seminal album. Rare Japanese high quality pressing from back in the day, top copy and sounding awesome!!!! Price: 50 Euro

210. 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: 400 Euro

211. Paul BUTTERFIELD BLUES BAND: “S/T” (Elektra/ Victor Records Japan – SWG-7519) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent). Original 1^st Japanese pressing, complete with obi!! “Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin’ Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of "Born in Chicago" to the melting ease of Willie Dixon’s "Mellow Down Easy" to the authentic devotion that emanates from Bishop and Butterfield's "Our Love Is Drifting." "Shake Your Money Maker," "Blues With a Feeling," and "I Got My Mojo Working" are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop’s and Bloomfield’s instrumental talents.” (Mike DeGagne – All Music) Man, I ride hard for this album because I am such a sucker for Bloomfield and Bishop’s and Naftalin’s playing. At times I do wonder if I am the last one inhibiting any good taste in classic trashy white blues-rock. I guess so…Price: 175 Euro

212. 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: 250 Euro

213.　BUTZMANN, FRIEDER: “Das Madchen Auf Der Schaukel” (Zensor) (2 LP Set: Near Mint/ Jacket: Excellent 〜 Near Mint). Original 1983 German press issue. “Butzmann has been plying overt eccentricity for quite some time, as "Wundershone Ruckkoppelungen" documents via his work from the late 60's/early 70's, though he'd find his true métier during the NDW zeitgeist, a period during which his work was hugely influential, having been an early member of D.A.F. "Das Madchen..." was Butzmann's second full length missive to gain release under his own name (he also operated as Din-A Testbild), after "Vertrauensmann Des Volkes" and it's a stunner. While the Dadaist tendencies and overt Residentialisms that he's become known for are much in evidence here, the sleeve's Sky Records-like graphics are no mistake either, as much of this successfully situates his mad hatter gambits within more overtly synthy climates, climaxing with the brain damaging "Incendio", a monster track with a vertigo-inducing electronic hysteria to it that begs comparison with none other than Igor Wakhevitch's Dr. Faust!” (Sound Ohm). A modern day classic. Price: 50 Euro

214.　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!!!!!!

215.　BYRDS: “Turn! Turn! Turn!” (CBS Japan – YS-597-C) (Record: Excellent 〜 Near Mint, has a little hazing but plays NM, no defects or marks/ Tip Back Jacket: Near Mint). RARE Japan 1^st issue TEST Pressing, predating the actual release and never offered for sale before. 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. TOP COPY, the vinyl has some hazing visible but has no marks or defects hence the EX grading. Test press copy!!!!! Rarest Byrds release!!!! TOP COPY!!!! Price: 375 Euro

216. BYRDS: “Fifth Dimension” (CBS Sony – SONP-50267) (Record: Near Mint/ Jacket: Near Mint/ Capsule Obi: Mint). Top copy, 1^st original Japanese pressing complete with the always missing capsule obi. 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 1^st Japanese original pressing complete with always missing capsule obi. Price: 200 Euro