1. ABE KAORU: “Mort A Credit – Saxophone Solo Improvisation” (2LP/Kojima ALM Records/ AL-8~AL-9) (Record: Mint/ Jacket: Near Mint). Recorded in 1975. This was the last album of the legendary sax howler Abe to be released in his lifetime. The title was taken from a Céline novel, since Abe was a huge fan of the French writer. The recording consists of two alto improvisations, taken from a concert staged on October 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. Stunningly beautiful copy, hardly surfaces in such immaculate state. No storage wear, no marks on the jacket and looks like an untouched copy. Rare in this state. Price: 120 Euro

2. ABE KAORU & YOSHIZAWA MOTOHARU: “NORD” (ALM Records – UR-5) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Comes with the insert. This here is a stunning copy of the completely vanished disc that depicts Abe’s duo with legendary free form bassist Motoharu Yoshizawa. The disc stands as a critical summit between two of the major forces in Japanese free jazz at the time. Recorded in December 1975, it reveals a different side of Abe, with him toning down a bit his wildly over the top rampaging style in order to open up some dialogical space for free-wheeling bass wonder Yoshizawa. It is a fascinating and sadly one-off recording that documents at an important point in time the meeting of two giants and extremes of the free improvisation idiom. The recording itself is state of the art, wonderfully clean and acoustic recording quality. All in all one of the most interesting duo settings Abe can be found in and needles to say of invaluable historic importance. Highest recommendation and getting quite rare on these shores. So here is your change to score a completely mint copy of this disc that has brain-melting qualities embedded within its grooves. Mint all the way. Again a give away price. Price: 150 Euro

3. 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: 200 Euro

4. 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: 85 Euro

5. 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

6. 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: 400 Euro

7. ACID TEST - KEN KESEY AND THE MERRY PRANKSTERS: “ACID TEST” (Sound City) (Record: Mint/ Jacket: Mint). Original 1996 US private pressing of this legendary document of the Bay Area LSD and acid scene. Tripped out sound effected, stoned and wasted ramblings, disjointed tape loops all happening simultaneously with the Grateful Dead jamming and spacing out in the background. A corner piece and freak ticket item for anyone remotely interested into the doped out West Coast acid and counterculture scene. This is a dead mint top copy; do not believe they come any better than this baby here. A museum piece and a statement that comes on like a bare-knuckle fist messing up your already fractured sub-consciousness. Highest recommendation. SOLD

8. ADOLPHUS, PAUL: “The Dawn Wind” (Shadoks) (Record: Near Mint/ Gatefold Jacket: Near Mint). Finally was able to wheel in the real thing so I can let go of this boot version. Probably your only chance to hear this record since the original is…impossible to get. Australian folkie Paul Adolphus created some magical music back in the mid-1970 when he recorded this highly personal tour de force. Constructed out of mostly acoustic, intimate songs that our star dusted over with a bewitching psychedelic gloss and oriental spellbinding flavors through his use of shakuhachi, small gongs and furin. This excellent obscurity was recorded in Japan in '73, and although it was critically acclaimed, it was never widely distributed. This is due to the fact that it was a tiny privet micro release, only 100 copies were made and only 50 of those came with the hand stamped hand made jacket. The other 50 came without a stamp. This copy here is a reproduction that comes close but it is far from being identical since it lacks the luster hand-wrapped paper jacket and inserts that graced the original. That aside, you have at least a chance to suck up some of its glorious contents and looks. Massive real people intimate psychedelic and ethnic styled folk album that will be a perfect companion for those heat soaked summer nights. Stunning LP that for me personally blows Bixby out of the water. Highly recommended. Price: 40 Euro

9. 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

10. 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: 70 Euro

11. AFTER ALL: “S/T” (Athena – ALPS-1012) (Record: Excellent ~ Near Mint/ Jacket: Excellent, has a drill hole). Original US press. Largely overlook combo After All released this one LP way back in 1969. "Hastily put together in 1969 by a veteran quartet of Tallahassee, FL, musicians and together for only a handful of months, After All is merely a footnote in the history of late-'60s and Florida rock. Their single recorded effort, however, was a moody slice of acid-tinged progressive pop that, while perhaps not among the finest obscurities from the era, brings back the grooviness and off-the-cuff adventurousness of the decade in full color. All of the members of After All had a history playing in various rhythm & blues and jazz bands, dating back to the late '50s, performing at clubs and parties throughout the Tallahassee region. Drummer Mark Ellerbee was fresh out of Vietnam and a graduate of the Florida State School of Music when he bumped into fellow Florida State graduate and keyboardist Alan Gold, who was performing at the time in one of the area's top nightclub bands. With the addition of fellow scenesters bassist Bill Moon and jazz guitarist Charles Short, After All was officially born. The group envisioned creating a concept album by throwing together a variety of the era's newest styles, from acid and classical rock to structural complexity and surreal lyrics. To help with the latter, they enlisted a young local poet, Linda Hargrove, to provide the lyrics to most of the songs. The band knew a Nashville producer who was willing to record a "spec album" for them at no cost provided if they did it quickly, so they entered the studio in 1969 and recorded After All in a couple days. Following the release of the album on Athena Records, the instrumentalists returned to Florida and took up their respective careers again. Hargrove, on the other hand, remained in Nashville and carved out a fine, if under-recognized, career for herself as a country singer/songwriter and performer.” (Stanton Swihart, All Music Guide). Great and totally underrated west coast tinted Doors-vibe flavored psychedelic combo touching on brilliance and greatness but no one there to witness it. Fantastic album and every track is a winner. Highest recommendation. Price: 150 Euro

12. AGATA MORIO: “Zipangu Boy – Nippon Shonen” (Mario Records – FW-8001~2) (2 LP Record Set: Mint/ Gatefold Jacket: Mint/ Obi: Mint/ Booklet: Mint/ Pre-Order Only Booklet: Mint) Private Press!! Comes with 4-paged booklet and fold-out jacket. 1^st copy I see that has the real-time pre-order only booklet also included. Original press and quite rare these days. The whole affair is in a stunning MINT condition. Hardly turns up these days, especially with the obi attached. Great disc by this psychedelic acid folk genius Agata Mori, released on January 25^th, 1976. This disc has definitely the “total album – concept album” approach administered to itself. The disc has also some Van Dyke Parks (Song Cycle) first album-like soundtrack elements embedded within its grooves, with certain oriental-styled elements poured over it all, an experimental mix-down of the tracks which attributes a feel that is also present at the first three Agata Morio albums. So, if it is going in that direction, this disc cannot go wrong. A legendary and historical Japanese underground psychedelic disc. Also, a whole line-up of incredible guest musicians pass the revue and by merely looking at the ringing sounds of their names, this baby cannot go wrong. Over the top Japanese masterpiece. No reserve price, so grab your chance. This is a real stunner. SOLD

13. 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

14. 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

15. AGER KLAUS: “Sondern Die Sterne Sind’s” (FSM Aulos – FSM-53.544.AUL) (Record: Mint/ Jacket: Mint). Brilliant and largely overlook Austrian electronic music maverick that made this one stunning LP that is made up out of pulsating electronic compositions dating back to 1974 and 1976. Side one opens up with a sidelong piece for tonband, which sets you of out into the far regions beyond the reach of the controls of the sun. Mesmerizing electronic sounds hovering above nebula infested gas clouds, eerie and opaque as if it functions as a third dimension transporter towards the deepest regions of a deep cold space. From the start, it veers off into a very dense, massive and even threatening array of minimal droning electronics that trigger high levels of static energy. It is a mass of sonic thrills and chills, an alien mutation of sound. Captured through both concrete and pure electronic means, Ager approaches his clutch of sounds with a sculptural view and overlaps layers of cold drones before dropping off into a weird world that sounds like filtered insect song and demented bird chattering. He mingles a lot with filtered chatter noises that are somewhat disconcerting while just after the halfway point, the disc makes a precipitous drop into deep insectoid noises recalling swarms of radiating sunburned cicadas and locusts on a collision course with our blue planet. Towards the end, the weird between-station blips and scatters again make an appearance, and by that time their slightly more frenetic sounds actually feel welcome after the journey downward. It is quite a head-trip leaving you gasping for air. The second side of the album sees Ager colliding with the Austrian Ensemble Fur Neue Musik and wandering into nebula of twisted avant-garde moves that equally map out his extra-terrestrial tonal excursions. Just stunning LP and a much-welcomed rediscovery of a sadly overlooked electronic music composer. Total ace. SOLD

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. AGITATION FREE: “Last” (Barclay – XBLY80.612) (Record: Near Mint/ Jacket: Near Mint). Original press, only released in France back in 1976. Third and final album released by these German psychedelic space heads. Super clean copy. After the release of “Malesh”, Agitation Free went through some changes. In March 1973 Jorg Schwenke had to quit the group due to his increasing drug habits and Stefan Diez took in his place. Also a second drummer was also added to the line-up being Dietmar Burmeister, previously active on Seven Up with Ash Ra Tempel. With this new line-up, now a 6 piece combo, the group could be heard on a 90 minutes long production for radio, consisting of edited live performances (made during a ten days live session in a house in the German countryside), which was broadcasted in April 1973. This was followed by a very successful two months tour in France. While being there Agitation Free recorded for the French radio. Parts of these recordings finally made it onto their final album Last, which came out three years later, with pieces such as "Soundpool" (renamed version of "Ruckzuck" from Malesh) and a 17 minute long version of "Laila". Fantastic album!!! Price: 350 Euro

18. 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

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. AKETAGAWA SHOUJI: “Aketa’s Erotical Piano Solo & Grotesque Piano Trio” (Aketa’s Disc – AD-1) (Record: Near Mint/ Paste On Jacket: Near Mint, only has some ageing spots/ Insert: Near Mint). Never offered for sale before hideously rare Japanese free jazz private press monster LP. First release on the Aketa label. This one looks and feels like all those obscure private presses you became to love, white jacket with paste on paper on front and Xeroxed two page insert. Released in an edition of about 250 copies or so. The opening track is a whole side dedicated to Aketagawa’s solo piano excursions as recorded live in concert on March 30^th, 1975. Balancing between free improvisation, minimal trance-inducing composition interludes with Aketa humming and scraping is throat while all this is taking place. The second side of the album sees Aketagawa teaming up with drummer Miyazaka Takashi and bassist Yamazaki Kouichi. As a trio the force of Aketagawa is even more unrelenting, venomously spiked up and delivering a high-tension clash of free spirits. Once Yamazaki and Miyazaki fall in, the color palette and sonic texture of Aketagawa’s playing gets spiced up and the trio elevates itself to different intergalactic planes.. And slowly the whole starts to spin out of control, Aketagawa rummaging at the keys in a glorious disoriented fashion, derailing and getting it eventually all on the tracks again before loosing all control again. In all quite a stupefied listening experience and one of the best piano improvisation albums to have ever crossed my path. Delusionally glorious and fantastically disorienting in every possible way. Price: 250 Euro

21. 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: 80 Euro

22. 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

23. 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

24. 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

25. 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

26. ALBERT MANGELSDORFF with PAUL FUCHS/ LIMPE FUCHS (Anima); Friedrich Gulda; Barre Phillips, e.a: “It’s Up To You” (Preiser Records – SPR-3268) 2 LP Set: Near Mint/ Laminated Gatefold Jacket: Near Mint). Stunning Mangelsdorff disc on which he gets flanked by the crème of the avant-garde and experimental music scene of that day. One of the toughest to come by Mangelsdorff slides these days and also one of his most adventurous in sound. Highly recommended. Price: 150 Euro

27. ALEX: “S/T” (PAN – 87.305IT) (Record: Mint/ Jacket: Excellent) Comes with 3 paged press release kit. Brilliant and largely overlooked krautrock masterpiece by Alex who get flanked on his 1^st album by luminaries such as Holger Czukay & Jaki Liebezeit who produced the album next to performing on bass (Czukay) and drums (Liebezeit). The whole affair was also recorded at Can’s Inner Space Studios. This disc is greatly exotic sounding, impregnated with a healthy flair of Turk-Rock that does not lack authenticity based on Alex’ yearlong experience in Turkey. This potent mixture of kraut vibes and exotic Turkish influences boils down to an intoxicating brew that does not miss its effect. Swirling electric guitars, Turkish Baglama and Shenay and various percussive rattles form the main ingredients of this swirling exotic vibes psychedelic folk rock gem. Totally addictive listening experience that reveals Alex’ debut LP as one of the singular best Kraut-Turk psychedelic gems of that Golden Era. Highest recommendation. Original 1^st press issue complete with press kit release. SOLD

28. ALI AKBAR KHAN: “Pre-Dawn To Sunrise Ragas – Morning Ragas” (Philips – FDX-7501~2 – Connoisseur Society Recording) (2 Record set: Excellent ~Near Mint, all is perfect, only side one has one inaudible mark/ Gatefold Sleeve: Near Mint/ Booklet: Mint/Obi: Mint). Japan only release that came out in the mid-seventies. Comes with always-elusive OBI!!!!! This is one of the disc that has been blasting through the house while we have been cursed/ blessed with an incredible hot summer. Ali Akbar Khan’s music brought some coolness straight from the oasis into our home, hauntingly beautiful ragas that helped to lift the sake drenched veil of the preceding evening and striding wide-faced into the oncoming dawn. The disc kicks of with the two-side long Pre-dawn To sunrise ragas onto which he gets assisted by Mahapurush Misra (tabla), underscoring the delicate sarod, accentuating the ascending and descending movement of the piece, mixing in notes that fill it with the cheerful spirit of release as if a weight had been lifted from one’s shoulders. The other two sides of the disc are made up out of the more heavily freaking out “Morning Ragas” on which he gets flanked by Mahapurush Misra (tabla) and Anila Sinha (Tambura). He performs Hindustani classical music at its best and the discs on the Connoisseur Society series are considered amongst the finest ever to have been put down on wax. Although much of Ali Akbar Khan’s music is played in a traditional framework, the emphasis is still heavily on improvisation. The musical fabric is created at the moment of performance as especially becomes clear when immersing oneself in the “Morning Ragas”. This is music of the spheres that will even make la Monte Young blush with envy. Highest possible recommendation. Price: 40 Euro

29. ALI AKBAR KHAN: “Music for Meditation” (Philips – FDX-8505) (Record: Mint/ Jacket: Mint/ Obi: Mint). As far as Indian devotional music is concerned, it doesn’t get much better for me than Ali Akbar Khan. OK, you can call me old-fashioned, rigid or even middle-of-the-road as far as my musical choices go, but that doesn’t change the fact that Ali Akbar Khan really makes me levitate and I kid you not. Like the title of this disc already suggests, “Music for Meditation” did make me levitate, caressing drones transport you far beyond sandy dunes and soaks you into Music of the Spheres. Stunning piece of devotional music, Japan only issue in mint condition and complete with obi. Price: 50 Euro

30. ALI AKBAR KHAN: “Pre-Dawn to Sunrise Ragas” (Philips Japan – SFX-7676) (Record: Mint/ Heavy Gatefold Jacket: Excellent, only defect is a 1cm middle seam split on bottom/ Obi: Mint). Bewitchingly great Ali Akbar Khan slide. Ali Akbar Khan drones away on the sarod while being backed up by Pandit Mahapurush Misra on tabla. Two side-long pieces that suck you in and open you up to a world of earbleeding beauty. Early 1971 Japanese pressing, record is mint and the heavy gatefold jacket comes with nice obi. Stunning audiophile pressing. A masterpiece. Price: 50 Euro

31. 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

32. 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

33. 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

34. 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. 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: 75 Euro

35. 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: 40 Euro

36. 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: 55 Euro

37. 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

38. 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

39. 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

40. 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

41. 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

42. 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: 165 Euro

43. AMON DUUL: “Disaster” (BASF – 29.29079-4) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint, only some ageing stains within the gatefold). Disaster was released in 1971, 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. Strangely enough it seems that some people made it a personal missing to degrade this album, a fact I never was able to figure out because in my opinion it's a great one. So I can only make sense of it by concluding that it was unfairly trashed over the years by people with the integrity of a hyena and the style and mind of a poison toad, hence 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. SOLD

44. AMON DUUL II: “Phallus Dei” (Liberty UK – LBS-83279) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). Bloody rare UK blue label original pressing of this German psychedelic beast. This 1^st original UK pressing is housed in a totally unique acid dripping blue and red lysergic artwork. This UK only release is easily as rare as any major label UK album since 500 copies were only pressed at the time. LP is conservatively and strictly graded as “Near Mint”. Just top copy that comes cheap as hell. Don’t think twice it is all right in order to wheel in this baby. UK copies are scarce as a hen’s teeth and are recently on a steep rise in value. Top copy and killer album. Price: 400 Euro

45. 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: 375 Euro

46. 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: 250 Euro

47. 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

48. 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

49. 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

50. 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: 250 Euro

51. ANGLAGARD: “Hybris” (Colours – COSLP-013) (Record: Mint/ Gatefold Jacket: Near Mint/ Insert: Mint). Top copy and original 1^st pressing of this highly acclaimed 1992 progressive masterpiece from Sweden, filled with angelic voices, heavy mellotron action, wicked guitar burst of energy and so much more. One of the best progressive albums to hit these ears. Anglagard debut album is getting damned rare and most sought after. Top copy. SOLD

52. 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: 90 Euro

53. 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

54. 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

55. AOYAMA MICHI: “Shikara Naide b/w Onna & Sake” (Crown Records – CW-776) (EP Record: VG++ ~ EX/ Picture Sleeve: Excellent). Original 1968 pressing. Again Aoyama Michi delivers a stunning tour de force, again asserting that the stuff – sadly EP releases only – she released the Crown label stands out as one of the best female deep enka/ kayokyoku excursions ever to be put down on wax. A voice like a drunk whale, a rhythm section and backing band to underscore her every move, she surely managed to put a spell on anyone within hearing range of her siren songs. Massive and quite a bitch to dig up her Crown releases but apart from that, every single track she recorded for the label was a devastating killer tune. Highest recommendation. Price: 40 Euro

56. AOYAMA MICHI: “Minoue No Blues b/w Aru Onna no Jinsei” (Crown Records – CW-1141) (EP Record: Excellent/ Picture Sleeve: Excellent). Original 1971 pressing. Bloody rare white label promotional copy of Aoyama’s all too brief stint on Crown records. She never recorded a full length LP for the label, only a handful of EP’s and the music she recorded for Crown is the best and most deranged smokey swinging deep enka dementia you will ever hear. Price: 60 Euro

57. 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

58. 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!!!

59. 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: 285 Euro

60. 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

61. ARCADIUM: “Breathe Awhile” (Middle Earth – MDLS-302) (Record: Mint/ Jacket: Near Mint). One of the keystone albums out of the UK 1969 psychedelic/ progressive underground is Arcadium, brimming over with long intros, beefy organ lines and raw acid guitar runs. Extended built-ups suck you in, impregnated with perfect guitar slashing leads and this gets all combined with a trashy and loud garage production sprinkled with psychedelic influences. A match made in heaven!!! As you know, the pressings on this one are not the best and most copies play with some crackle. However this copy is as clean as they possibly get and plays WITHOUT crackles!!! No mean feat, probably one of the best copies around. Vinyl is NM all the way without any visible defects, hard to get a better one, unless it is sealed. Price: Offers!!!

62. ARDLEY, NEIL: “A Symphony Of Amaranths” (Regal Zonophone – SLRZ-1028) (Record: Near Mint/ Jacket: Excellent ~ Near Mint). One of the hardest to track down titles on the Regal Zonophone imprint. Original 1971 pressing, in shape of this much in demand UK jazz extravaganza slide with am all-star line-up that includes heavyweight scenesters such as Ivor Cutler, Harry Beckett, Derek Wadsworth, Karl Jenkins, Don Rendell, Dick Heckstall, Barbara Thompson and others. One of the finest UK jazz records to emerge out of 1972 that behold that rare mesmerizing quality and guide you towards the zonked out zone. Brilliant!!! Top copy 1^st original UK pressing. Getting rare and hard to dig up these days in a pristine nick. Price: 375 Euro

63. 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

64. 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

65. 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

66. 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

67. 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

68. ARSENE SOUFFRIAU: “Musique Maconnique” (Les Amis Philanthropes A L’Or de Bruxelles – A.P.101) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Ultra rare private release out of the depths of the Belgian Free Masons dungeons of 1971. Brilliant Masonic ceremony pieces for small orchestra and concrete sounds. One of the rarest and most obscure Belgian releases to seep out of the electronic music and avant-garde underbelly. This is actually the 1^st ever copy I see of this disc after having heard about it for so many moons. This comes as no surprise since it was a Masonic related private issue that was only handed out to other members of the lodge. Copies never made it sale as that was not the intention of the disc but merely served as some sort of initiation rite that was passed on. But that aside, Souffriau is one of Belgian’s best kept electronic music and avant-garde secrets who during his active career worked shoulder to shoulder with Pierre Schaeffer and Ennio Morricone to name but a few. On this LP here, Souffriau steers into distinctively Belgian avant-sounding worlds, blending together medieval sounds for small orchestra with concrete sounds and electro-acoustic twists and turns, all completely devoid of any commercial potential and steering into secret realms of Masonic initiation rites and rituals, a music of the spheres so to speak. The insertion of concrete and electronic music elements makes this whole ritualistic music quite eerie and extra-terrestrial sounding. Excursions into tape-splicing and electronic sonics dissect all of the ritualistic classical movements into fractious pieces that suggest Souffriau exploiting an intuitive approach in order to pursue initial experiments into the organization of sound. In short if you are into weird and obscure electronic & concrete music avant-garde recordings, then this LP is as obscure and awesome as they get. Never seen a copy of this one before in my life and I doubt another copy will surface any time soon. (PS. Metaphon just issued a box of old Arsene Souffriau recordings but this recordings was not included so this disc remains totally unknown and unheard). Highest possible recommendation!!! SOLD

69. 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

70. 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

71. 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

72. 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.

73. ART BLAKEY & THE JAZZ MESSENGERS: “New Year’s Eve At Sweet Basil” (Paddle Wheel – K29P-6426) (Record: Near Mint/ Jacket: Near Mint/ Insert/ Near Mint/ Obi: Excellent). This excellent all-around session showcases the 1985 edition of Art Blakey’s Jazz Messengers, a band that boasted such fine young soloists as trumpeter Terence Blanchard, altoist Donald Harrison, tenor saxophonist Jean Toussaint and pianist Mulgrew Miller. In addition to Harrison’s "Mr. Babe" and Walter Davis’ "Jodi," the ensemble successfully updates two Jazz Messenger classics: "Blues March" and "Moanin'." Japan only issue. Price: 30 Euro

74. 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

75. ASH RATEMPEL : “Starring Rosi” (OHR – KM58.007) (Record: Near Mint/ Sleeve: Near Mint). Classic Krautrock piece with Ash Ra Temple blotting out the sun with Rosi guesting on space whisper like vocals. Prior to the recording of Starring Rosi, both Enke and Shulze left the band, which quite altered the sonic palette of the group. The vacancies were filled by Dieter Dierks (bassist on Seven Up) and drummer Harold Grosskopf. The resulting compositions were the group's most accessible for a number of reasons. Song lengths were greatly reduced for one (nothing stretches beyond ten minutes) and the prominence of Rosi Muller's breathy spoken word lent the album a sense of unity. Spaced out improvisations are still plentiful abound and are delicately spiced up with psych-folk structures that simmer underneath it all, providing the band with a welcome set of boundaries. A dead stone classic that is getting harder and harder to come by in a top notch condition. Fantastic. Price: 125 Euro

76. 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

77. 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

78. 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

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: “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: 350 Euro

81. 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

82. 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

83. 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

84. 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

85. 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

86. 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

87. 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

88. BAILEY, DEREK & PARKER, EVAN & BENNINK, HAN: “Topography of the Lungs” (Incus – Incus 1/ VIP-6605) (Record: Mint/ Jacket: Mint). WHITE LABEL PROMO COPY!!! First ever Incus release – this here being its first Japanese press edition - and one of the best titles on the label, utterly insane and extremely rare these days especially in a condition such as this copy here. But apart from that the music is again stellar. Skin mangler Bennink is on this recording the central figure around which Bailey and Parker interweave their improvisational assault on the senses. While pivoting and fuelling the internal power struggles of Bailey and Parker, Bennink sparkled an inventive interplay locked in with his building and driving pulse. Bailey’s dissonant guitar soars in and out of focus with varying tonal centers, ducking Parker’s saxophone salvos and spluttering out ecstatic shards of metallic dislocated shrapnel fragmentations. The fusillade of Parker’s straight-up and infectious saxophone tones are loud, brash and confident but never sound tailored to fit a group context. Instead the trio unleashes a guerilla-warfare like unabashed attack that resembles acid rock freak-outs set to a free-falling improv background. Just sheer stellar music. All time highest recommendation, a classic unbeatable record. Price: 80 Euro

89. BAILEY, DEREK: “Solo Guitar” (Incus Records – Incus-2) (Record: Excellent/ Slim Paper Jacket: VG++). Original 1^st pressing. Signed copy by Bailey himself on the back in a blue pen. Maybe the hardest Incus title to track down is this early Bailey release. Derek Bailey's first solo recording at the time of its original release was an utter revelation. The album consists out of an amazing series of improvisations and sees the guitarist on typically obtuse form, using his guitar in ways the instrument was never intended, extracting squeaks, drones and clatterings you never thought you could hear from the humble string instrument. No one, absolutely no one, was playing guitar like this in 1971. From the first note on it became clear that Bailey occupied a universe of his own, freely improvising with little reference to the jazz tradition, sending splinters of notes spiked up with ringing feedback and enshrouded in dusty deep subterranean tornados as his kaleidoscopic fingerpicking hurled in and out of focus and triggered apocalyptic waves of sound. His patented use of the volume pedal is also clearly in evidence. Bailey managed to avoid absolutely all clichés associated with playing the instrument and delivered a fascinating, complex, and ultimately delicious disc on its own merits. One of the cornerstone Bailey solo discs out there rubbing shoulders with “Aida” and “New Sights, Old Sounds”. Totally essential. SOLD

90. 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

91. 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

92. 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

93. BAKER, CHET: “Chet Baker Sings” (Pacific Jazz – Toshiba Japan – PJ-1222) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Japanese pressing on superb vinyl. “It's difficult to decide whether Chet Baker was a trumpet player who sang or a singer who played trumpet. When the 24-year-old California-based trumpeter started his vocal career in 1954, his singing was revolutionary; as delicate and clear as his trumpet playing, with a similarly bright and vibrato-free tone, Baker simply didn't sound like any previous jazz singer. His first vocal session, recorded in February 1954 and covering tracks seven through 14 of this disc, is so innocent-sounding it's like cub reporter Jimmy Olsen had started a new career as a jazz singer. The album's first six tracks, recorded in July 1956, are even more milk and cookies, thanks in no small part to syrupy material like Frank Loesser’s "I've Never Been in Love Before" and Donaldson/Kahn's drippy "My Buddy." Choices from the earlier session like "My Funny Valentine" -- arguably the definitive version of this oft-recorded song -- and "There Will Never Be Another You" work much, much better. The spacious musical setting, a simple trumpet and piano-bass-drums rhythm section, is perfect for Baker’s low-key style. Despite the few faults of song selection, Chet Baker Sings is a classic of West Coast cool jazz.” (Stewart Mason, All Music).Price: 40 Euro

94. BANCO DEL MUTUO SOCCORSO: “Darwin!” (King Records – Seven Seas – GXH-2015) (Record: Mint/ Gatefold Sleeve: Mint/ Obi: Mint/ Insert: Mint). Originally released in Italy in 1972, this one here is the Japanese pressing of 1980, the 1^st Japanese pressing of this album, complete with obi. “The second Banco album is another in their series of classics and stands as one of my most treasured albums. In fact, Darwin!, was the first Italian album I got, and once I got to the shuddering grooves of "Cento Manni E Cento Occhi", I was completely converted to the passionate, thundering sound that would characterize one of my favorite bands. It's all here, the dual keyboard tapestry of the brothers Nocenzi, trading off Hammond assaults, delicate, heart wrenching piano runs and fire-breathing moog themes, building together in unison to moments of unimaginable climax. Atop this are the always-outstanding vocals of Franceso DiGiancomo, who comes crashing in with his operatic, distinctly Italian, vocal prowess. Nearly every song on here is a gem. "L'Evoluzione" is an utter whirlwind, beginning a tender ballad, then accelerating into a bombastic groove. "La Conquista Della Posizone Eretta" is a keyboard driven apocalypse, breathtaking throughout. And man... check out "Cento Manni E Cento Occhi". This is the song that made me a believer the first time I heard it, an up-tempo barn burner that moves through a number of themes, carried by Franceso's vocals, before arriving at its unbelievable, aggressive conclusion. "750,000 Anni Fa… L'Amore" is a tremendously moving ballad featuring Francesco backed only by a shimmering piano theme, an expressive, morose and almost romantic atmosphere pervade the song. All in all this is another unequivocal classic”. (Greg Northrup - May 2001). A dead stoned classic out the Italian underground and a must in my book. Stunning mint copy. Highest recommendation. Price: 55 Euro

95. The BAND: “Music from Big Pink”. (Capitol – ECP-80455) (Record: Near Mint/ Gatefold Sleeve: Near Mint/ 4-Paged Insert: near Mint/ Rock Now Obi: Near Mint apart from the small perforated whole in upper left corner). Exquisite copy of this all time masterpiece, rare original Japanese press that comes with the high in demand “Rock Now” type obi. 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 adorned with the much in demand pink rock now-styled obi. A masterpiece. Price: 125 Euro

97. 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

98. 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

99. 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

100. 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: 500 Euro

101. 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

102. 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

103. 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

104. 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

105. BEATLES: “Sgt. Peppers Lonely Hearts Club Band” (Odeon – OP-8163) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Company Inner Sleeve: Mint). Bloody rare 1^st original Japanese pressing on RED WAX, complete with 1^st issue obi in perfect condition. These 1^st press babies are damned rare these days, especially in this condition. SOLD

106. 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: 350 Euro

107. The BEAVERS: “Viva! Beavers!” (King Records – SKK-442) (Record: Near Mint/ Thin Gatefold Jacket: Mint). TOP COPY of this 1^st original Japanese press of 1968, with flimsy gatefold jacket mint all the way. This disc just never turns up, let alone in a condition like this one. Killer Japanese garage psych artifact featuring on lead wrist slashing guitar Ishima Hideki of later the Flower Travelling Band. The Beavers originally grew out of the band “The Outlaws”, a vocal oriented group formed in February of 1966 and who were mainly active around popular hangouts such as the Shinjuku ABC club and the jazz kissa circuit, made an appearance in the Nikkatsu movie “Aitakute Aitakute” (June 1966) and appeared on other visible events of the day. By June 1967, the band got signed to King Records and got rebaptised into The Beavers, now slimmed down to a 6-piece lineup consisting out of Narita Ken (vocals, harp), Hayase Masao (vocals), Ishima Hideki (lead guitar), Awamura Yukio (drums), Hirai Masayuki (guitar) and Arakawa Hiroshi (bass). Their debut single was “Hatsukoi no Oka b/w Hello Coffee Girl”, released on June 6^th 1968 and which turned out to be a massive hit with 100.000 copies going over the counter. From the 2^nd single on, sales dropped but still the Beavers maintained to withhold a place in the charts. With The GS boom slowly coming to a halt, the Beavers enjoyed some critical acclaim and were referred to as the Japanese Yardbirds at one point. The comparison is not that farfetched if you take into account the splatter fuzz drenched guitar fest on display courtesy of Ishima Hideki. Their sole “Viva Beavers” released LP came out on June 1968 but by then the height of the GS boom had already ebbed out, resulting in depressing sales which prompted the band to disband by April 1^st of 1969. Still the LP is monumental, comprised out of one side filled with all original compositions and one side stuffed with cover versions. The overall outcome is basically the same, killer vintage garage fuzz soaked songs, wicked sneering leads, snotty vocals and brimming over with Far Eastern teenage angst. Original copies of this beast just hardly ever surface on these shores, especially in such a nice nick as this one here. Took me 6 years to track down a clean and mean copy, so here it is, a slice of psyched out history for ya all. Best condition ever for this record. Comes with bonus single of the Beavers I threw in the package. Price: Offers!!!!

108. 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: 450 Euro

109. 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: 90 Euro

110. BETWEEN: “Mr. In Mr. Out” (Trio Records Japan – PA-7007) (Record: Near Mint/ Gatefold Jacket: Excellent, has some ageing stains/ Insert: Excellent) Rare Japanese pressing housed in Japan only heavy textured gatefold jacket of this spacey doped up and tripped out Krautrock masterpiece. Complete with OBI!! Musically, Between can be labeled as a mixture between Agitation Free’s “Malesh” LP crossbreeding with early Caravan after having mated with Middle & Far East indigenous music styles. Tablas, electronics, mesmerizing guitar motifs, sacred vocals, long tracks and a great recording make this meditative style quintessential! Between was quite influential at the time. The six members that recorded their debut album Einstieg back in 1971 and had drifted in from four different nations. The group was formed in 1970 on the initiative of Peter-Michael Hamel as Between The Chairs, but as this expression has different meanings in German and English, the name was soon shortened to Between. Hamel had studied composition since 1967 and wanted to create a new musical genre that could bridge all existing ones. The other German of the band, Ulrich Stranz, had a similar academic background. The Americans Robert Eliscu and Cotch Black (tablas and percussion) joined the ranks. The Argentinean Roberto Detree closed it all off, making the band a unique multi-national outfit. Between was musically very diverse and experimental, the musicians not afraid of trying out various new approaches at melding their different musical palettes and abilities, and coming up with some striking original music in the process. Just brilliant. Price: 50 Euro

111. The BEVIS FROND: “Miasma” (Woronzow Records – WOO-3) (Record: Near Mint/ Jacket: Near Mint). Privately released by Bevis Frond one man band aka Nick Salomon way back in 1986 on his own Woronzow imprint in an edition of only 500 copies. This was without a single doubt the best debut album ever released in the post haze fall out of the eighties, hacking back to that great 60s and 70s psychedelic whirlwind freak out blizz and glazy morning after dope infested haze. As the story goes, in June 1982, Nick Saloman had what could in retrospect be called a lucky accident. One night, his motorcycle plunged into an unfilled hole left by road workers and he flew over the handlebars into a railing, fracturing his elbow, ulna, radius, several toes, and his right heel and lacerating his head and chest. But three years later a small settlement allowed him to cover his debts, buy a car, take a vacation, and purchase a cassette Portastudio to make his own album. Saloman played all the instruments on that 1986 disc, which he called Miasma, and the recording project was baptized as the Bevis Frond. The whole debut affair comes over like a twisted Jekyll/Hyde act with howling freak outs of "Wild Afternoon" to the pure pop of "Splendid Isolation" and criss-crossing into Pink Floyd inspired baroque miniature "The Earl of Walthamstone" up to the epic "Maybe,". The years of being immersed into the psychedelic haze of 60s psyched out rock, the misfortune of operating a string of bands that went absolutely nowhere, frustration and eventually a life threatening accident all bottled up into and energetic blasts which growls and rips of his leads and his solos and the sheer thrust of Miasma. Initially Saloman had 250 copies pressed, and when the LPs were delivered, he passed a few out to friends and "figured the rest would be in the attic for decades." But one of his pals gave a copy of Miasma to Funhouse Records, a shop and distributor up the road. They called Saloman to ask for 200 more. A few weeks later they ordered another 500, then asked when the next Bevis Frond LP would come out. Soon foreign distributors were calling. And the rest is history. This one here is an original early Woronzow copy, top condition and filled with some of the finest song craftsmanship and psyched out dementia you will ever encounter. Bevis Frond ruled during my high school and university days and he still sounds on this one as good as then, splitting my head wide open again and again upon unleashing this monster. Massive!! Price: 80 Euro

112. The BEVIS FROND: “Bevis Through The Looking Glass” (Woronzow/Private) (2 LP Set: Near Mint/ Paste On Hand Made Jacket: Near Mint). Signed copy. Long gone private psychedelic UK head spinner released in an edition of 500 copies. This homemade LP came originally out way back in 1987. This is an original copy that came in a blank white cover, with a yellow piece of paper stuck to the front, and a handwritten message from Bevis underneath. It also includes a witty, wicked parody of the kind of lists sent out by specialist psych dealers, full of 'mind-splitting' guitar and 'brain-churning' visions. Stunning lo-fi psychedelic aural gems that take you all the way along Wonderland Avenue. Beautiful album and so essential to these ears. Price: 175 Euro

113. BIG BROTHER & HOLDING COMPANY: “Combination of the Two b/w Summertime” (CBS Sony – SONE-70008) (33RPM EP Record: Excellent/ Sturdy Cardboard Picture Sleeve: Near Mint/ Insert: Near Mint) Japan only EP release that comes housed in a hard card board sleeve. Price: 60 Euro

114. 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

115. 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

116. BILL PLUMMER & THE COSMIC BROTHERHOOD: “S/T” (Impulse Records – AS-9164) (Record: Excellent ~ Near Mint/ Gatefold Thick Jacket: Excellent, small drill hole in upper left corner) Original 1^st pressing of this much in demand sitar-jazz-exploitation gem. “Journey to the East”, the sole album by Plummer has since its release climbed in the arcades of oriental music aficionados and is one of the most successful in that domain by fusing jazz and oriental sounds. The totality of the disc runs over 38 minutes and is comprised out of an intoxicating assortment that blends jazz, psychedelic jazz and psychy pop. The opening track “Journey to the East, opens the album in a poppy tropical and psychedelic mood, rich in tonal variations and interspersed with a poem recitation by Hersh Hamel. But apart from that, one can safely conclude that on “Journey to the East”, Plummer’s sitar is dominating the playing field and he and his band adopt a rhythmic cycle emplaced over a few poppy-ish themes. This last one becomes especially audible on the reinterpretation of the classic “The look of love” (a secret Bacharach favorite of mine btw) and “Lady Friend” (of the Byrds). The merger of other instruments such as the harpsichord, flute, bass and the sitar as lead instrument map out an exquisite decorum that splendidly fuses jazz with Indian raga, which becomes especially audible on tracks such as “Song Plum” and “Pars Fortuna”, the first being voluptuous and nocturnal, there were the latter one is more contrasting and sinuous, pregnant with cult-like Coltraneian accents that bring to mind – be it only in the back of my head – fragrances of “A Love Supreme”. A true classic that needs to find its way into every collection of a true music lovers’ fiend. Massively recommended. Price: 100 Euro

117. BIRKIN, JANE: “Di Doo Dah” (Philips Japan – FDX-171) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Excellent). TOP COPY Original 1975 Japanese pressing on high quality vinyl. 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: 100 Euro

118. 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: 150 Euro

119. 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: 475 Euro

120. BLACK SABBATH: “Paranoid” (Philips – SFX-7266) (Record Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint) 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: 400 Euro

121. 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

122. BLACK SABBATH: “Paranoid” (Vertigo – 6360.011) (Record: Excellent, one scuff on side B/ Gatefold Jacket: Excellent/ Company Inner Sleeve: Near Mint). 1^st original press on the highly collectible Vertigo label. Complete copy with company inner sleeve present. Very nice copy, with 1Y/1 and 2Y/1 in the matrix, making this a 1^st press issue on the big swirl label. Dead cheap. Price: 125 Euro

123. BLACK SABBATH: “S/T” (Vertigo – VO6 – 847903VTY) (Record: Excellent, has only a very few paper scuff marks visible under a bright light, great copy/ Gatefold Jacket: Excellent ~ Near Mint/ Company Inner Sleeve: Excellent). 1^st original pressing on the BIG Swirl label with matrix numbers A-1Y*1 and B-2Y*1. Price: 250 Euro

124. 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: 400 Euro

125. 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: 220 Euro

126. BLACK SABBATH: “Attention!” (Fontana – BT-5036) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Japan only release. Comes housed in killer live action jacket with Osbourne howling at the moon. Obi also present, rarely if never surfaces these days. Fantastic copy! Price: 250 Euro

127. 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

128.. 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

129. 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

130. 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

131. 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: 600 Euro

132. 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

133. 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: 350 Euro

134. BLUME, ULRICH: “Accoustotrone Presents: Collage Abstracte – Electronic Music by Ulrich Blume” (Accoustotrone – ACT-002-UB) (Record: Mint/ Jacket: Mint). Here is an obscure electronic music LP for you all and so far it hasn’t been bootlegged yet on the shady Creel Pone label. Privately released library-esque electronic music LP by this still unheralded German composer Ulrich Blume. This LP here was his 2^nd outing, privately released and recorded at his personal home studio in Bremen. Released in a minuscule run back in 1988, Blume advertised his own sonic universe as “synthesized music one should listen to with semi-open headphone systems”. As a member of the obscure AME e.V (Arbeitskreis Musik-Elektronik), Blume deployed a wide range of electronic equipment and synths such as the Yamaha DX-21, Roland a-Juno 1, Korg MS-20/ MS-50 Synthesizers, Roland D-50 Linear Synthesizer, Korg SQ-10 Sequencer, Akai Midi-Arpeggiator, Fostex 3180 Stereo-Reverb, digital delay gimmickry, and a wide range of electronic gadgets that probably would create more confusion than comprehension if listed here. Still, although this whole affair was recorded in between 1986 ~ 87, Blume succeeds in churning out a certain eletronik Kraut motorik that touches on the fringes of early Kraftwerk but exploits it further into the fringes of abstract intergalactic ovulating sonic dementia that borders on deep space cosmic travel that till this day hasn’t been properly been brought into charts or maps. Mutating Teutonic bees buzz into hibernating hives of homunculus-infected activity that crackles out and about like alien sound forms impregnating electronically charged eggs of ice-cold extragalactic bacteria. It is a weird affair here on display, eerie, deep-spaced out listening modes that even manage to cough up pseudo religious toxic fumes of fourth dimensional interstellar space that is bound to crack open your cranium. Still largely undetected, Blume is destined for mass-appreciation and will instigate a whole new cult following if consumed properly. Amazing disc that commands the highest possible recommendation. Price: 75 Euro

135. 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

136. 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

137. 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

138. 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: 200 Euro

139. 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: 150 Euro

140. BORIS - MERZBOW: “S/T” (Inoxia-005/ 2004) (Record: Mint/ Jacket: Mint). Released in 2004 in an edition of 500 copies, this Boris-Merzbow collaboration LP only album disappeared immediately after its release.This album, housed in a gorgeous black on grey designed jacket, is without a single doubt the rarest of all the Boris releases and is already fetching some hefty sums here on the archipelago. But apart from that it is also one of the best Boris releases to date and sonic-wise light years away from the Boris-Merzbow “Megaton” CD that came out some years ago. There where “Megaton” consisted out of a slowly built up and almost minimal constructive/ delicately layered drone-electronic pulsations inhabits this album the total opposite side of the sonic spectrum. Slowly swelling drones set off towards the chilled no-mans land of death space until it suddenly erupts in an abrasive, vicious and ‘take no prisoners’ blitzkrieg of all incinerating doom infested hardcore that gets intertwined with and buried under tons of static hissing, white noise and electronic scum noises. This record is at the same time ominously heavy as well as hallucinatory great. Just one slab of a beefed-up Tokyo underground fix that will certainly keep you on your feet for days on a row. Beats sniffing glue, snorting amphetamines or injecting caffeine in your already perforated veins. This disc will without the help of all those artificial jack-ups disperse your already greatly diminished brain cells like colored confetti on a cocktail party. In other words: a KILLER! SOLD

141. 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: 125 Euro

142. BOUDEWIJN DE GROOT: “Nacht en Ontij” (Decca – NU-370.021) (Record: Excellent ~ Near Mint/ Sturdy Gatefold Jacket: Excellent, some writing inside gatefold, dated 1969/ Attached 9-paged Photo Book: Excellent ~ Near Mint/ Always Missing Single and Picture Sleeve: Excellent) Top-notch copy!!!!!! Rare 1^st pressing with single included as well as picture sleeve and housed in sturdy thick spined 1^st edition jacket. One of Holland’s rarest psychedelic artifacts. Brilliant and trippy as hell Dutch spooky acid folk masterpiece with tons of effects (courtesy of electronic composer Dick Raaijmaekers) This epic constitutes the major part of this album here “Nacht en Ontij”, which further contains the song “Babylon”. The musical intermezzo originated spontaneously in the recording studio, as the studio had a new phenomenon on display: the Mellotron, a keyboard instrument using short tapes consisting of recordings of many instruments, such as strings, wind-instruments, guitar, bass, etc., which could all be evoked by striking the keyboard. And it is here, with all this musique concrete and electronic music gadgetry that renowned composer Dick Raaijmaekers steps into the picture to spice up the overall atmosphere of the record with some eerie sound effects. The song “Heksensabbath” is filled with symbolism, occult scenes, witches, devils, magicians, kobolds and Satan ass-kissing worshippers. It was overloaded with mythical and mystic terms and the Dutch were not buying it. This disc, together with Karel Appel’s “Musique Barbare” are two of the ultimate best discs ever recorded and released in the Lowlands (being Holland, but if you include Belgium let’s not forget to throw in Burning Plague there as well). Totally essential! If there is one disc on this list you should own – or if you should own just one disc ever period, then this one it would be, take my word for it, you won’t regret it…. Everyone has been talking about acid folk, well it does not come with more blottered acid than this one here, if you can sit this one out without too much brain damage, be sure to call me. SOLD

143. 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

144. 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: 400 Euro

145. 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

146. 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

147. 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

148. 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

149. BRAXTON, ANTHONY: “Four Compositions (1973)” (Nippon Columbia – NCP-8504-N) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Mint). First original Japanese pressing – Japan only release. Recorded in Japan in 1973 – here het gets flanked by three Japanese heavy weight free jazz heads being Sato Masahiko, Keiki Midorikawa and Hozumi Tanaka. The 1^st press release of this LP is a bitch to find and came as a gatefold jacket issue. Second and later issues have an altered jacket and are easy scores. This is the 1^st original issue in top condition and one of the best Braxton slides for that matter, he never topped this one. Price: 75 Euro

150. 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

151. 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

152. 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

153. 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

154. 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: 90 Euro

155. 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

156. BROTZMANN, Peter & BENNINK Han: “Atsugi Concert” (Gua-Bunge – GBLP-3388-01) (Record: Near Mint/ Silver laminated Fold Out Jacket: Near Mint/ A-4 sized picture Booklet: Near Mint) It has been ages but at last I could dig up one last mint copy back in stock, so don’t drool around this one, get your action moves in gear ‘cause these bastards are scarce and mucho in demand. Better copies do not exist, plain and simple. Ominously rare free jazz monster Japan-only private press that was released in 1980 in an minuscule edition of only 300 copies. But apart from its rarity status, there are several eye-catching elements tied up to this disc. First of all, there is the jacket, a beautifully designed (like only Japanese seem to be able to pull of) foldout jacket unto which all the info and designs are stamped in silver layers into the texture of the carton, giving it a soft glowing relief kind of shape. A state of the art job. Upon folding open the jacket, you see the disc sitting in a separate folder and a 25-paged booklet housed in a tray (tucked away in the back flap of the front jacket) and adorned with numerous pictures illustration this clash of titans during their 1980 series of concerts throughout Japan. A visually stunning artifact. Then there is the music. Boy, you are in for a real head-spin, Brotzmann and Bennink is the dream-team of free-ripping-hardcore spirits, vitriolic exchanges of blood churning squeals set against a tumbling background of deliriously insane skin action. Bennink matches here Brötzmann’s reed arsenal with his everything-including-the-kitchen-sink choice of instruments that included reeds, stringed instruments, and even, “sand, land, water and air”. Stuff of legends and indispensable if you are into adventurous sounds. And needless to say this disc is bloody rare. SOLD

157. 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

158. 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

159. BROWN, MARION & HAMPEL, GUNTER: “Gesprachsfetzen” (Calig – CAL-30601) (Record: Mint/ Jacket: Mint). 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!! SOLD

160. 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

161. 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

162. BRUZDOWICZ – BOGAERT: “S/T” (Pavane Records – ADW-7064) (Record: Near Mint/ Jacket: Excellent, sticker on front). Totally off the radar and obscure Belgian electronic music record that has had me freaking out all day for the past month. So where to start? Well this disc has each side devoted to one composer. The A-side sheds some lights on Joanna Bruzdowicz, a former pupil of Pierre Schaeffer, Olivier Messiaen and Nadia Boulanger. She brings forth two demented totally freaked out vintage electronic compositions that could make even early Merzbow blush. The two compositions date out of 1970 and 1972 and were both recorded at the renowned IPEM (Institute of Psychoacoustics and Electronic Music) Studio in Ghent, Belgium. Criss-crossing in between bleeping speed up noises, broken-word fragmented snippets in Dutch, distorted and cut-up classical music trash and deep-sea depth charges of sonic cluster foil, Bruzdowicz definitely knows how to fuck with your inner earlobes. Freezing flashes of polar winds sweeping the Antarctic plains while being beamed up with flashes of intergalactic invasive forces mutating with electronically charged mutated deep-fried crickets as if they were bombarded with radioactive solar flares is the best description I can come up with to describe the sonic electronic music extravaganza that Bruzdowicz put on display here. Just amazing and possibly the best electronic music LP to have crossed my path in all these years. Even tone-deaf mutants could enjoy this!! Bogaert takes up all the B-side. His two compositions on display here date from respectively 1975 and 1981 and are a perfect match to the bleeping invasion force of Bruzdowicz. Again his pieces also were recorded at IPEM studio, which in a way is the signature sound underlying this disc. Supersonic deep electronic singular sine tones fuse into gradually built up moving pitches of glacial slow molding activity bringing life to a Delvaux painting encapsulated in frozen hibernated dream sequence. Alien-esque in its execution but yet deeply rooted into that sadly under-documented school of Belgian slow budding electronic activity that blows all of the other European and US electronic movements straight out of the water with their tails whopping between their hairy legs. It just shows you that there is definitely life on Mars. Just massive. Highest possible recommendation!! SOLD

163. 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

164. 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!!!

165. 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: 100 Euro

166. 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

167. 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

168. 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

169. 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

170. 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

171. 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

172. 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

173. 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

174. BURZUM: “Burzum 1992 ~ 1997” (Misanthropic Records) (6 LP Picture Disc: Excellent ~ Near Mint/ Poster: Near Mint/ Outer Box Set: Near Mint). Rare Burzum box set released by Misanthropy/ Cymophane records in 1998 as a limited edition. A set of stunning looking 6 picture discs released on super heavyweight vinyl.This is a complete set as it also includes a poster of Varg Vikernes. Top condition and highly sought after piece de resistance. SOLD

175. 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

176. Paul BUTTERFIELD BLUES BAND: “S/T” (Victor Records/ Elektra – SJET-8173) (Record: Mint/ Jacket: Excellent/ Outer Jacket Cut-Out Obi: Excellent ~ 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

177. 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

178. 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

179. BYRDS: “Turn! Turn! Turn!” (CBS Japan – YS-597-C) (Record: Excellent, has a couple of hairlines/ Tip Back Jacket: Near Mint). 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 alternate jacket. SOLD

180. 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: 250 Euro