RARE RECORDS CATALOGUE

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

6. ADOLPHUS, PAUL: “The Dawn Wind” (Himico Records – AMS5036) (Record: Excellent ~ Near Mint/ Handmade Gatefold Jacket: Excellent/ Insert: Excellent). Finally here is the real deal, 1^st original private pressing out of 1971, released in Kyoto back at the time in an edition of 100 copies. Of those 100 copies, only 50 of them came with the stamped jacket (like this one) and the remaining 50 came in a plain paper wrapped gatefold jacket. Until now as far as I believe never offered for sale so go bananas if you like to. Australian folkie Paul Adolphus created some magical music back in the 1973 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 one of those hideously rare first 50 with the hand stamped jacket, hand-wrapped paper jacket and inserts. 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. Great overall condition, fragile gatefold hand wrapped jacket is conservatively graded at EX all the way, record is conservatively graded in between EX and NM, just a top copy. Highly recommended but I need serious offers in the form of wrist slashing financial suffering on your part in order to take this one home with you. Price: Offers.

8. 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

9. 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

10. AGATA MORIO: “Otome no Bômu (Roman)” (King Records – OLF5) (Record: Mint/Jacket: Excellent ~ Near Mint/ Booklet with great artwork: Mint)/ Obi: Mint. Great original top-notch copy of Agata Morio’s second album released in 1972. The record is mint and hardly shows up in such a nice condition, especially with the A4 sized booklet (12 pages long in thick textured paper, full color artwork, just a beautiful relic stained with the smell and atmosphere of a long gone Taisho infested era) included, which reveals some great turn of the century induced Japanese manga art and assorted ephemera. The jacket of the record on the other hand is triple fold out cover in mint condition with NO marks of storage wear. Cover is glorious colorful design and a sight for soar eyes. Agata’s music itself is some Showa-influenced psychedelic acid folk masterpiece, infused with street scenes and spoken interventions, all interwoven with Agata’s beautiful soundscapes. It has that loner feeling hovering all over it. A real Japanese classic and quite rare on these shores. Great loner acid folk masterpiece, one of the best in the genre to seep out of Japan. Stunningly and legendary and stunning condition. Rare to say the least, especially with the booklet present. Price 85 Euro

12. 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: 500 Euro

15. AKIYAMA TETUZI: “Don’t Forget To Boogie” (Idea Records-2008) (Record: Near Mint/ Heavy Duty Jacket: Near Mint/ Letter Pressed capsule Obi: Near Mint). “OK, let me start off with saying I am not a fan of Akiyama but this disc made me revision my perspectives because this is a vicious monster!! 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 hilarious image of Akiyama on the cover sitting beside a dozen bottles of booze, a pile of skulls, a Tommy gun, gold change pouring out of his guitar case (he is, after all, the greatest rock 'n' roll street musician), cigarettes, the requisite fedora and vest, a deluxe guitar, a framed Hell's Angels poster, and, inexplicably, a tall glass of milk, represent a message of playful revelry in the badass tropes of rock 'n' roll. The gold inlaid text on the OBI strip that fits the sleeve's edge reminds us that the tribute comes from Japan. And the vinyl-only distribution of this release harkens back to the golden age when rock music faded into huffing murmurs after too many repeated plays on the old turntable with a needle as dull as a fingernail, which is exactly how this record sounds -- pre-played. 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

16. AKASAK 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

17. AKSAK (AQSAK) MABOUL: “Un Peu De l’Ame Des Bandits” (Crammed Discs – Crammed-002) (Record: Near Mint/ Jacket: Near Mint). “Founded in 1977 by Marc Hollander and Vincent Kenis, Aqsak Maboul already contained some of the key elements of the Crammed æsthetics: eclecticism, internationalism, deliberate and playful mixing of forms, cultures and genres. "Un Peu De L'Âme Des Bandits" was recorded by a lineup featuring English musicians Fred Frith and Chris Cutler. More intense and "experimental" than the first one, this album's music contains complex, completely written sections as well as totally improvised hardcore ambient pieces, not to mention drum machines, bassoons, sampling before samplers existed, Bulgarian, Pygmy, Polynesian and Delta Blues voices, tango, a Turkish tune, crypto-punk or pseudo-Varese music... Even the most ambitious moments of "...l'âme des bandits" are infused with Aqsak Maboul's customary playfulness: "Tango" for example is based on various existing tangos, the scores of which were cut-up, shuffled and randomly glued back together; the musicians then proceeded to learn the resulting "opus", and actually performed it live in one take; "A Modern Lesson" contains recorded fragments taken from every single other track on the album; the last section of "Cinema" is an improvised impression of a late-night program on Bulgarian radio...etc.... Un Peu De L'Âme Des Bandits was released on vinyl by Atem, Crammed Discs (002,002) in 1980.” (thethingonthedoorstep). Original press. Price: 60 Euro

18. ALAN SILVA and the CELESTRIAL COMMUNICATION ORCHESTRA: “Luna Surface” (BYG Actuel – BYG-11) (Record: Mint/ Gatefold Jacket: Mint/ Attached Insert: Mint). White label test pressing, Japanese original. High quality vinyl pressing from November 1970 and sounding so much better than the French pressings of that day, it will wrap your ears around your head in pure delight. For this flash of free form heaviness bolstered up in a ravaging whirlwind of maniac fury, Alan Silva collected many of the top free jazz players of the day and he let them reign free as they pleased. As a result, “Luna Surface” is an extreme sonic experiment and a weird hell broth of high-tension music triggering multiple high voltage reactions that could easily turn off a listener not yet sold on the 1969 avant-garde jazz scene. For this recording of Alan Silva's 1969 Paris session with a group of legendary free jazz players including Grachan Moncur III, Archie Shepp, Anthony Braxton, Dave Burrell, Leroy Jenkins, and Malachi Favors amongst others, Silva brought together many of the top free jazz players of the time in an amazing 11-piece ensemble and set them free, making this is a very free record and a historical document of Pan-African music. Probably one of the all-time most arresting listening experiences of free jazz ever to be put down on wax, players act out as engaged in trench warfare, leaping into violent fits of madness and blowing out deep subterranean apocalyptic waves of sound that constantly hurtle in and out of focus. The overall outcome is a true head cleaner, uglier than any group of mutants you’d see at a bad insane asylum. This is the fast lane folks…and some of us like it here. So one word of advice, blast this monster at full volume, get loaded on tasty narcotics and then snarl around looking for somebody to chain-whip. Super! White label test press Japanese issue out of 1970, superior sound quality blowing away the French issues and the badly presented Akarma boots. Price: 30 Euro

19. 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 (not the crappy Get Back/Akarma boot version on lousy vinyl) of this all time great slab of fire music. One of the – if not THE – hardest to track down title in the Actuel series and the sole 3 LP set to see the light on the label. “Seasons”, a “stereophonic picture”, as the piece was called on the inside of the three-fold album cover is a massive free jazz beast on every scale. The schematic printed on the inner cover gives you some clue to the piece, a thorny path through the chaos, but “Seasons” is extreme even in free jazz terms. For much of its extraordinary length, it is a billowing surge of noise, so loud, so chaotic, so exhilarating that you are swept up in it without hope of rescue or reprieve. The album was recorded live in the ORTF studio in Paris on December 29th, 1970 and released as part of that magnificent Actuel series of avant-jazz albums in 1969/70. These three give a hint as to the real audience for Silva's work. This album should not so much appeal to jazz fans, even adventurous jazz fans, but to those plunged into the deep end of psychedelia. In short it is a truly punishing but truly effective psychedelic trip. It's for the same people who manage to fight their way through Terry Riley's 40-minute live version of “Poppy No Good” and Amon Duul’s “Psychedelic Underground” and never stopped falling. So, as you can already guess it is a truly legendary record. The CCO was pretty much whoever Silva could round up for a given date, but this one-shot radio concert was its largest lineup ever. What you get are two 70-minute sections of the piece, as close as anybody without a time machine's ever gonna get to hearing it as it was in December '70, when this thing erupted through the earth and stood, shuddering and alive, before an audience of awestruck French hipsters. This is a serious piece of music. The band includes every member of the Art Ensemble of Chicago except bassist Malachi Favors; trumpeter Alan Shorter; saxophonist Steve Lacy; two electric violinists; two cellists; pianists Dave Burrell and Joachim Kühn; Silva himself on bass, electric violin, and a couple of different electro-acoustic instruments; and nearly a dozen other folks, all roaring in unison for two solid hours and then some. The music combines the eerie tones of 20th Century avant-garde composers like Xenakis or Christian Wolff with the blood-bubbling scream of primo free jazz. For about the first five minutes or so, all seems well, the piece shimmering out of the speakers as a duo for bowed bass and piano. But by fifteen minutes in, after Lester Bowie's muted trumpet has summoned the whole blaring outfit to full awareness, it's just one surging wave of sound after another, as relentless as the tides and as powerful, sweeping everything before it. Saxophone solos, triple-piano crescendos; this disc's got everything, and throws it all at you, one thing after another until you're panting as hard as the two drummers must have been. It's literally breathtaking, and the fact that it's half an afternoon if you decide to sit down and listen to the whole damn thing only adds to the generally overwhelming vibe. Not for the faint of heart, but recommended to everyone else. Absolutely recommended to the brave. Price: 120 Euro

20. 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

21. ALLEN, DAEVID: “Banana Moon” (BYG Records – 529.345) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Upper middle seam split of about 1cm). 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: 200 Euro

22. The ALLMAN BROTHERS BAND: “S/T” (Atlantic - Nippon Grammophon – MT-2026) (Record: Near Mint/ gatefold Jacket: VG++ ~ Excellent) Freakingly rare Nippon Grammophon pressing. The 1^st press. To make it even tastier, this copy is the white/ blue label promotional copy edition. Hardly ever surfaces and probably the rarest version around! Price: 200 Euro

23. The ALLMAN BROTHERS BAND: “Eat A Peach” (2 LP set: Mint/ Gatefold Jacket: Mint/ 1^st Issue Obi: Mint/ 4 – Paged Insert: Mint/ Additional Illustrated Insert: Mint). Blue Warner Pioner promotional copy, dead mint condition complete with obi and inserts. 1^st Japanese press copies with obi and all intact hardly pop up these days, top copy, just mint all the way from start to finish. Price: 250 Euro

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

27. 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

29. 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: 180 Euro

30. AMON DUUL: “Paradieswarts Duul” (Ohr – OMM56.008) (Record: Excellent/ Jacket: Excellent). Original 1971 pressing of this all time classic monster. There was a 1960's German commune known as Amon Duul that was involved in politics and music (as such things happened in Germany in the late 60's) that eventually split in half, with the more 'talented' musicians splitting off to form Amon Duul II, and the more politically active but musically, uh, primitive remaining as Amon Duul. This has a more acoustic sound than the first two, and was the final record released during the band's lifetime. "Paradieswarts Duul was recorded in 1970: a trippier, laid back, folky-acoustic affair, with flutes and bongos. Despite its quietness, the same awful core of inexorability described above pervades this work. They're satyrs in a trance, swaying madly in a weird pastoral setting, paralyzed on dark purple wine. Immerse your feet in their cool fountain of flutes and let that insistent bass riff lap away at your tootsies. They reveal themselves as the true bastard offspring of The Grateful Dead with toy instruments. And, by gosh, they've learned chord changes by this time - one extra chord at any rate, so that on 'Paramechanische Welt' you get their take on the Popol Vuh two-chord ecstasy, achieved with about three acoustic guitars and some warbling goon at the mike. (bloody forgot where I got this review from). Stellar classic album, original German pressing. . Price: 150 Euro

34. AMON DUUL II: “Phallus Dei” (Liberty UK – LBS-83279) (Record: Excellent ~ Near Mint/ Jacket: Excellent). 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. Jacket is accurately graded as “excellent” due to a small price tag tear on the back. LP is conservatively and strictly graded as “Near Mint”. Just top copy that comes cheap as hell. Don’t think twice it is alright 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

35. AMON DUUL II: “Phallus Dei” (Liberty Japan/ Toshiba – LLP-80640) (Record: Mint/ Jacket: Mint/ 4-paged Insert: Mint). 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, what could you possibly ask more for? Price: 185 Euro

36. AMON DUUL: “Yeti aka Jigoku Amon Duul” (Liberty Japan – LP-80042) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint/ Insert: Near Mint) First original Japanese pressing complete with the Japan only Amon Duul II cool obi. Top copy!! These real time Japanese 1^st pressing originals with all complete – being obi, liners – just never turn up anymore these days making them heavily sought after by any vulture aware of their existence. This early Amon Duul record is not different, top-notch copy. Music wise I guess you know the deal, heavy tribal psyched out strummings, disenchanted vocalizations, lysergic communal psych-outs, long tracks, and delirious blissful freak-outs. Massive!!! Comes with the highest possible recommendation. Don’t sleep on this one, top copies with obi just never turn up, my first copy in 3 years time. Price: 300 Euro

37. AMON DUUL II: “Tanz Der Lemminge aka Rokku Kyoudoutai/ Amon Duul Second” (Liberty Japan – LP-9300B) (2 LP Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Excellent) White label promotional copy with first issue obi!! First original Japanese pressing complete with the Japan only Amon Duul II cool obi. Impossible to dig up these days. These real time Japanese 1^st pressing originals with all complete – being obi, liners and poster in this case – just never turn up anymore these days making them heavily sought after by any vulture aware of their existence. This early Amon Duul record is not different, top copy. Music wise I guess you know the deal, heavy tribal psyched out strummings, disenchanted vocalizations, lysergic communal psych-outs, long tracks, and delirious blissful freak-outs. Massive!!! Comes with the highest possible recommendation. Like you might know, it is all about the obi, that glorious strip that easily triples of quadruples the value of your disc, so forget about the records, it is all in the obi boys and girls, the obi, the…aaaaghh. Price: 300 Euro

39. 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

40. 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

41. 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

42. ANTHONY BRAXTON: “Recital Paris 1971” (Futura Records – FUT-2024) (Record: Near Mint/ Jacket: Excellent, some wear on spine). Rare disc on the ultimately collectible Futura label. Original First original pressing. There are some pressings of this disc on labels who licensed the material but this one is the first original pressing, on Futura. Well you have to hand it to Braxton as a young guy, he had guts. Who else would be crazy enough in those days to dedicate the two sidelong pieces on the LP to Jonnhy Hodges and David Tudor.. That alone already says enough about what a radical musician young Braxton was. Brilliantly executed free blowing saxophone improvisations that let the hairs on your neck stand up, fierce and proud. Great!! Price: 60 Euro

43. ANTHONY MOORE w/ FAUST: “Pieces from the Cloudland Ballroom” (Polydor – 2310.162) (Record: Mint/ Jacket: Excellent). ORIGINAL German 1971 pressing of this all time subliminal minimal music masterpiece. Only released in Germany!! (Japanese pressing – which was the 2^nd pressing and last one so far would follow 15 years later). Anthony Moore gets assisted by members of Faust and creates and utterly hypnotic psychedelic minimal masterpiece. Stunningly mint copy that hardly resurfaces these days. One of the best discs in its genre, brain melting and music that will keep on humming throughout the canyons of your deserted mind. Highest recommendation. For fans of Charlemagne Palestine, Faust, Slap Happy, La Monte Young, Pandit Pran Nath, Scorces, Philip Glass, Steve Reich, Popol Vuh, Krautrock, psychedelic lunacies and just plain cool music. Original copies just never turn up it seems. Price: 450 Euro

44. AOYAMA MICHI: “Jonetsu no Hatoba b/w Aoi Chandelier” (Crown Records – CW-590) (Record: Excellent/ Picture Sleeve: Excellent). Original 1966 press. Aoyama Michi was a wild lady. Being born as a child out of a failed marriage of a Japanese lady and an African American soldier, she encountered some rough years doing her childhood, especially when her father decided to desert the family. Still that didn’t prevent her from eventually drifting into music and birthing out a soulful ridden Enka blues sound impregnated by her own pain and frustration and fueled by a growing addiction do liquor and a tendency to consume hard drugs. No wonder that she was entitled a difficult and hard lady and she got renowned for getting herself into trouble and in and out of jail. Still, all these hardships and tough street wheeling and dealings found a way into her own signature high-impact sound, a lost voice of a woman whose soul was on display. Especially her Crown Records years are considered her best. Unfortunately she never cut an LP for Crown and limited herself by churning out several 7 inches, all of which have become highly sought items. On this particular recording, Aoyama Michi brings forth two tear-jerking soulful Enka blues songs spiced up by a mail backing choir and the Crown house orchestra breathing out a smokey nightclub like vibe while Aoyama’s voice comes over like a wintered through witch singing from out of the grave. She is deep, her parental Afro-roots blood lineage also seeps through and give her that soulful character no other Enka singer ever possessed. The backing is fabulously executed, giving the whole an extra deep resonating dimension as if it came from beyond the depths of the ocean. Listening to Aoyama just makes the hairs on your neck rise up, while you desperately make a last run for that strychnine syringe in order to administer that last fatal shot towards heaven and subsequently hell. So I advise you strongly not to get into her music because once you do there is no way back….and you will be lost forever. You have been warned. Price: 120 Euro

45. AOYAMA MICHI: “Manhattan Blues b/w Ame no Hi no Machibouke” (Crown Records – CW-707) (EP Record: Near Mint/ Picture Sleeve: Near Mint). Original 1967 pressing. One of her rarest releases on the Crown label and possibly her best tunes ever. One of the hardest titles to come by in her Crown discography. Killer tunes from the voice emanating out of the bottom of the well, bringing you deep and depraved female enka. Massive. Price: 120 Euro

46. 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

47. AOYAMA MICHI: “Ore no Blues b/w Koi no Mebae” (Crown Records – CW-822) (EP Record: Excellent/ Gatefold Picture Sleeve: Excellent). Original 1968 pressing and one of the few Aoyama releases on Crown to be graced in a gatefold picture sleeve. Price: 100 Euro

48. 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: 85 Euro

49. 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. Sadly enough he didn’t attain as much attention as other American electronic music mavericks but upon spinning this disc on the Flying Dutchman label I could not wonder but why he is confined to residing in a shadow cabinet while instead he deserves his place in the burning hot sun. The reason for this is that his work on “Appleton Syntonic Menagerie” out of 1969 is just too asymmetric to be ignored since spinning this disc at loud volume in my office, it had me grinning like a crocodile in heat. 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. Why going to the moon with NASA as you have Jon Appleton in your home? Made up largely out of bubbling, whirl-like inorganic low tones and tape insertions, the whole affair evokes that weird but bewildering incantation. The music is just stunningly organic and abstract and can easily compete with the more common and big names that encircle the ephemerae world of electronic composers. 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. Appleton will never fail to amaze the listener due to its wistful and un-academic playful approach. One of the best examples of old-skool electronic music, recorded in 1961. This heavy ordeal was well worth the effort to dig up a pristine copy since the music interlocked within its grooves is just gorgeous and on of the best electronic experiments ever to be entrusted to vinyl. Killer stuff. Truly a top copy so it has to go for…Price: 150 Euro

52. ARAKI ICHIRO: “Araki Ichiro no Sekai” (Victor – SJX-67) (Record: Near Mint/ Gatefold Jacket: Near Mint). Freakingly rare copy complete with obi! Even no spindle marks so I wonder if this baby had any rotations at all. 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. 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. So believe the hype, get your hands on this one; it is such a beast of a disc. Price: 300 Euro

53. 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! I know we have been there before but forget all I have said or claimed in the past. I guess I was bordering on the cliffs of insanity and said stupid stuff like this xxx-called CDR group is bound to become the best release of the year. Forget it, sanity is back in the house and I take all back and throw all that CDR rubbish straight out of the window, together with the big egos and little talent attached to it. Now that we have all that cleared up, it is time to get serious and root our feet back into the muddy ground. Get in touch with reality again. And while I was rummaging my feet in that solid but moist earth again, I got blindsided by this awesome new Belgian band called Aranis. 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. This may be the best band you never heard. Totally fucking brilliant and up there running as one of the best if not THE best release of this unholy year 2007!!! Limited and numbered release, only 300 copies made and bound to become an instant classic. Price: 30 Euro

54. ARBETE OCH FRITID: “Se Upp For Livet” (Musiknatet Waxholm – MNW 75P) (2 LP Record Set: VG++ ~ EX/ Jacket: VG++) Released in 1973. Swedish avant-rock arcane renowned from the inclusion of their name in the eponymous Nurse With Wound “things you should lend your ear to” name dropping hype list that has become many peoples guide book in their quest to detect sounds worth listening to. Those aside, trust your own ears and check out this LP by these Swedish forest dwellers with links to International Harvester and Trad Gras Och Stenar. The band’s mainstay Ove Karlsson was inspired by the tape and drone experiments of Terry Riley. Riley who visited Stockholm frequently throughout the ‘60s. In his wake Riley had blown the heads of many local jazz, rock and folk musicians who, enlightened to the possibilities of the almighty drone, set out blending minimalist techniques with the traditional melodies and rumbustious jazz-rock jams. Unlike their compatriots Trad Gras Och Stenar, Arbete och Fritid cleaved deep into Nordic culture and recorded infrequently. By reworking folk melodies, already steeped in the rich overtones of keyed fiddles, bird-like flutes and thrumming drums, to drone-minded arrangements of horns and electrified instruments, Arbete och Fritid made the ancient music of Sweden much more accessible for the hip ears of the 1960’s dope smoking communal troupe. In all a stellar album, that seems to have fallen of the face of the earth recently. Great condition, only some light scuffs. Highest recommendation. Price: 75 Euro

55. 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 from Borneo 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

56. ARIESTA BIRAWA: “S/T” (Shadoks) (Record: Mint/ Jacket: Mint). Ltd to 350 hand-numbered copies housed in an ominously heavy jacket and long gone and completely sold out at the source. Psychedelic music from the Indonesian jungle, spiced up with herbal puffs and toad-licking ceremonial freak-outs. That is at least what I thought of it upon glaring at its jacket. Music-wise however, things are not as wicked and instead steer into Vertigo-styled Santana workouts. Overall nice sounding album, excellent guitar leads and mesmerizing language licks. Recommended and as with all Shadoks stuff housed in a thicker-than-life jacket. Get your copy now, these babies dried up long ago and getting a tough one to dig up, a thing that won't get any easier in the months/ years to come. Highly recommended. Price: 60 Euro

58. ART ENSEMBLE OF CHICAGO: “Chi Congo” (Odeon – OP-88010) (Blood Red Wax Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Freaking rare original Japanese pressing on red wax and complete with obi of this rarest of all AEOC vinyl artifacts. 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: 300 Euro

59. 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

60. ART BLAKEY: “Wild”. ( Fontana Japan – SFON-7401) (Record: Excellent/ Flip Back Jacket: Excellent ~ Near Mint). Rare Japan only 1965 release, one of the titles that came out in the Punch Jazz Series that released in total 10 albums, all by leading bebop and US jazz men. All of the releases come housed in awesome collage art covers. In this case, the cover already hints at the butt-shaking jungle rhythms Blakey and his sidemen will unleash. Compositions include the following: “Caravan – Skylark – When The Saints Go Marchin' In – Ugetsu – In The Wee Small Hours Of The Morning – On The Ginza.” Fantastic hard bopping and jungle driven sneer assaults that will shake the rheumatism out of your chalky bones. Rare 1965 Japan only release, housed in fragile but mint flip back covers. Hardly ever turns up and this one is in fabulous condition. A must for every music nut. If you are only used to sip watered down sour grape juice, then it is now time to haul in this vintage Bordeaux and spice up the quality of your living. Highest recommendation!!!! Price: 60 Euro

61. ART BLAKEY & THE JAZZ MESSENGERS: “Mosaic” (Blue Note – BST-84090) (Record: Excellent ~ Near Mint/ Coated Jacket: Near Mint). Truly original 1^st pressing as can be verified from the eye-like mark in the dead wax. Lots of copies surface of this one stating to be true 1^st presses but all of them seem to miss the ball and are second and latter presses. The 1^st print of this album had that specific eye-like mark in the dead wax. The first studio recording by Art Blakey's all-star Messengers of 1961-64 features five group originals (including "Mosaic," "Arabia" and "Crisis") and exciting solos from the great frontline (trumpeter Freddie Hubbard, trombonist Curtis Fuller and tenor saxophonist Wayne Shorter). All of the recordings by this classic hard bop group are totally essential for anyone with a vague interest into the finer aspects of jazz. With that in mind, one can safely say that “Mosaic” is truly exceptional and one of the finest discs to seep out of the legendary Blue Note imprint. It just had it all, the music being simultaneously lyrical, gutsy, bluesy and fiercely passionate. The sounds the band puts down on wax are brimming over with exciting twists and turns, with leader Blakey, as always, driving and prodding his disciples toward the finish line. There are many influences heard here: on 'Arabia' the Middle-Eastern, modal strains ring out; on 'Children of the Night', the tone is haunting. There are plenty of instrumental pyrotechnics, with the three horns (Curtis Fuller is added on trombone to the usual quintet) in harmonic splendor or in counterpoint. Wayne Shorter, continuing his role as composer and tenor sax virtuoso, is especially tight and focused on 'Down Under'. In all, totally essential stuff and this copy being top notch. A classic still unrivaled till this day. Price: 150 Euro

62. 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: 200 Euro.

63. ART BLAKEY & THE JAZZ MESSENGERS: “S/T” (Fontana/ Victor Japan – SFON-7035) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). First original Japanese pressing, complete with obi and all. Rarely ever surfaces with the 1^st issue obi intact and present. Top copy and dead cheap. Price: 100 Euro

64. ARTHUR: “Dreams and Images” (LHI Records – 12000) (Record: Excellent/ Jacket: VG++ ~ Excellent). Singer/songwriter Arthur Lee Harper billed himself simply as Arthur (no last name) on his first album, 1968's Dreams and Images – produced by mastermind Lee Hazelwood, and then as Arthur Lee Harper on his second and last, 1969's Love Is the Revolution. Beautiful introspective loner folk and a lost masterpiece that is in urgent need for reappraisal. Original press in nice nick. Price: 70 Euro

67. ASH RA TEMPEL : “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

69. ASAOKA RURIKO: “Asaoka Ruriko no Subete – Kokoro no Uramado” (Teichiku Records – SL-17) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Attached fold out 3 paged insert: Near Mint/ Obi: Excellent). Her rarest and best album, complete with stunning cover design created by grandmaster Tadanori Yokoo. Released in 1969, “Asaoka Ruriko no Subete – Kokoro no Uramado” was actress/ model/ fashion-plate trendsetter/chanteuse and former Nikkatsu action movie actress (she appeared in as much as 121 films!) Asaoka Ruriko’s first recorded endeavor. This time here she set her first steps – following highly popular careers as actress – into the kayokyoku-soft erotic and mildly fuzz drenched waters and with great success. The inside of the jacket depicts Ruriko as a fashion model in glorious late sixties eye blinding outfits whilst singing her heart out. Musically speaking, her debut is quite an interesting feat to lend your ear to. Balancing between well crafted and lushly orchestrated ballads perfumed with a odor resembling French mid sixties poppy girlie songs and a hinge at times towards a more lustful undertone, Ruriko succeeds even in taking you by surprise when amidst of all this sumptuous syrup overload by sweeping you of your feet when here and there some fuzz guitar licks come to the surface to give the overall vibe some bad-ass girly delinquent touch, like dipping the song slightly in an intoxicating mix of kerosene, youthful passion and feminine luxuriant dominative sex appeal. If Kaji Meiko, Asaoka Yukiji and Okumura Chiyo could caress your earlobes, then Asaoka Ruriko will certainly balsam your auditive senses and visual perceptive sensory organs. Great stuff, angelic vocals, lush Parisian orchestrations and a Linda Lovelace kind of vibe to guide you through the night, essential listening. Complete copy with fold out attached insert. First time ever I have a copy to spare of this gem. Highly recommended!! Price: 350 Euro

70. ASO AI: “Umeromonoizen” (Tiliqua Records - TILIQUA-003LP) (Record: Near Mint/ Jacket: Mint/ Insert: Mint). Found one last copy back in storage, so final chance to own a slice of heaven and a future heavy hitter. This vinyl release of a 1999 demo tape only by Aso Ai album is by all who know her complete output – like PSF label head Ikeezumi – considered her best work to date, hence the scavenging nature this disc is bestowed upon these days, especially due to the Wata split release and the exposure she is getting, everyone is all of the sudden roaming around for a copy. Well, gonna be tough since the pressing was extremely limited (like 250 copies) and they are all gone now, except for this one. So you have to ask yourself “Do I feel lucky punk?”. So here is the deal one more time: “The music of this LP is comprised out of Aso’s first demo/home recordings dating back to 1999. The material predates her initial “Umeromono” CD’s contents. Unlike “Umeromono”, the music she slowly breathes into being through her slow-motion like ‘less is more aesthetic’ on this LP-set sounds even more fragile and desolate than her current recordings. This is partly due to the fact that Aso recorded the whole affair in her bedroom, deploying all the instruments herself and capturing the rudimentary gracefulness of her acid folk escapades directly to tape. The overall atmosphere has a strong ‘low-fi’ fragrance hovering over it without ever compromising the rich musical texture Aso succeeds in conveying out of her stripped-to-the-bare minimum textural approach. The general result is one of organic and sincere beauty, embodying fragility reminiscent to a dew-covered spider’s web. This quality gets even intensified by her soft-poetic angel-voiced whisperings and her fragile, fleeting like husky voice breathing out an erotic naiveté that is lyrical as well as introverted, making it in its own humble way nearly a thing of perfection. She is destined to be one of the unsung queens of the female acid folk pantheon and this recording will be one of its Holy Grails. The disc is housed in a beautiful, heavy textured jacket, doing the music justice.” Without being narcissistic, “Umerumonoizen” is to these ears (and others as well) Aso’s finest recording to date, partly due to the unpolished nature of the whole affair and the intimate bedroom recording vibe that oozes out of it in a very lo-fi kind of key. Her recent recordings are a bit too beautifully recorded and on this one the primitivism still comes shining through, making it a modern day masterpiece. Extremely small pressing and this is a last copy. So this is your last chance to own a brilliantly executed female vocals acid folk gem. Price: 200 Euro

71. ASSAGAI: “S/T” (Vertigo Japan – SFX-7308) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Excellent). Assagai heralded out of from South Africa, consisted out of Chris McGregor, Dudu Pukwana, Mongesi Feza, Johnny Dyani and Louis Moholo. Upon touching down in the UK, they got signed to the Vertigo label. Although the band’s story is very short, they didn’t fail to leave behind an ever-lasting impression, riding the high foaming crest of the early 70's afro-funk rock wave. Assagai’s genius immediately comes to the foreground of this elusive LP with the butt-whipping opening floor burner “Telephone Girl”. Killer track, pushing open the blood vessels in your body, booty moving and balls contracting with lysergic funky tribal moves that are so hard to resist and will have you chase booty for the remaining of the night. More follow, making their debut album to stand rock-hard in the erosive powers that time brings along. Just fabulous LP. Sadly, Assagai recorded and prospered if only for a short stint, but their debut remains a classic not many can rub shoulders with. Top copy, dead mint wax and pressed on Japanese high quality superior vinyl from back in the day. Original Japanese pressing out of 1971. Price: 120 Euro

74. ATILA: “Intencion” (Wah Wah Records) (Record and Gatefold Jacket are Near Mint). “Often hailed as one the hard psych masterpieces to come out from Spain in the early 70's, "The Beginning Of The End" was the vinyl debut of Atila, a trio formed in 1973 by Eduardo Niebla -guitar- Joan Punyet -drums- y Francisco Ortega –keyboards-. Originally released in 1975 by the obscure New Promotions label in a alleged tiny pressing of 100 copies the album has reached "monster" status between die-hard collectors worldwide, sometimes reaching the 1500€ tag. An incredible progressive tour de force, the album combined the typical classical leanings, fierce guitar leads and dark keys all over in the best European tradition of the era (think Italian prog). Another rarity which finally reaches a wider audience thanks to Wah Wah in a well presented reissue that is completed by two bonus tracks which show the band delve into Pink Floyd-territory circa More/Ummagumma (think Careful With That Axe, Eugene and you'll be pretty close).” (Label Description). Another vital piece that unveils a bit of the cloud enshrouding the Spanish psychedelic scene of the seventies. Fabulous reissue, limited to only 500 copies, housed in high quality gatefold sleeve with an additional poster and already completely sold out and gone at the source. Numbered copy. This is a beast. Great all over. Price: 25 Euro

75. 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

76. ASHLEY, ROBERT: “In Sara, Mencken, Christ and Beethoven There Were Men And Women” (Cramps – CRSLP-6103/2) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). Minimal masterpiece centered around a lengthy never ending text and extremely strange poem by John Barton Wolgamot. It consists of one sentence repeated over and over, and the only changes from sentence to sentence are that different names are inserted: “In their very truly great manners of Jesus Christ very heroically Geoffrey Chaucer, Rupert Brooke…” Ashley's fascinating liner notes to this album offer a very reasonable interpretation of the very bizarre text. And the music? It's wonderful—Ashley and Paul de Marinis' electronics bubble in the background, and Wolgamot's words sound beautiful when read by Ashley, who delivers the text in his usual sprechstimme-on-downers style. He sounds like either a creepy old man or the Garrison Keillor of the avant-garde, depending on your perspective. Just highly essential and psychedelic as well as eye-opening listening experience. Original pressing that sounds light-years better than the crappy Akarma boot/reish…….a must to all experimental and psych headz out there. Price: 75 Euro

77. ATRIUM MUSICAE de MADRID: “Tarentule ~ Tarentelle” (Victor – VIC-28123) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint) Original audiophile Japanese press of this in 1976 released Harmonia Mundi LP. This is the 1983 first time Japanese press. In every list we have a few hidden surprises and this time round I guess it concerns this record here. A true gem, be it one of a delicate nature. Overlooked, forgotten, hell even completely ignored or erased out of our collective minds, maybe even casted out of our cultural heritage we tend to rub into people’s faces. So it is time to alter this. Maybe the name of the group may ring any bells with some of you since it concerns the same collective that brought you the stunning – difficult to pinpoint – “Musique de la Grece Antique” LP. With that said you might vaguely suspect into which sonic territories these lads tend to drift into. Here they set out to rejuvenate 15 and 16^th century baroque-styled folk tunes. More specifically, the album is dedicated to the tarantella, a dance form whereby a couple was surrounded by a circle of others and which was supposed to cure the long-term effects of a toxic spider bite. 'Concocted' by Italian and Spanish musicians whose names have long faded into oblivion, the musical antidotes (so the title of the first piece) were rediscovered by scholars in the 17th century and brought together in book form. Gregorio Paniagua, director of the Atrium Musicae de Madrid, shows great craftsmanship in the Baroque arrangements of the melodies. He creates his historical sound-world with impeccably played gamba parts, the purest of harp tones and gentle cloudlike chords on the positive organ. At times cacophonous percussion adds a little spice to the sound, and here and there a flute makes itself heard. These sharp accents, although melodious and pleasing to the ear, conjures up a vision of rustic, frenzied dancing. The disc is bathed in excellent sound reproduction and was recorded in 1976. If Thomas Binkley is to your liking, maybe this disc will also your ears. Highly recommended. Price: 40 Euro

78. AUNT SALLY: “S/T” (Kojima Records – JOY-3302) (Record: Excellent/ Jacket: Excellent/ Obi: Excellent/ Insert: Excellent) Originally released on Vanity Records (vanity record copies of this disc now exceed the 450 dollar mark!) in 1979, this is the second and final issue of this all time classic Kansai no-wave combo that was spearheaded by the teenage Phew. The line-up consisted out of Phew-vocals, Bikke-guitar & vocals, Mayu-keyboards, Yoshio Nakaoka-bass and Takashi Maruyama-drums. Art-damaged and utterly innocently lo-fi aesthetic. Indispensable artifact documenting the late seventies Kansai No-Wave frenzies of this historical combo. Highest recommendation. Price: 75 Euro

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

82. 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

87. AYLER, ALBERT: “Last Album” (Impulse) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent) (Impulse – SR-3122) Rare Japan press of this subliminal Ayler record, complete with obi. Music-wise, the disc is filled with occasional haunting echoes out of a different space-time continuum. This already gets clear on the opening track with Ayler blowing his lungs out on the bagpipes while ex-Canned Heat's guitar slasher Henry Vestine is ripping through some heavy dysfunctional guitar chords, attributing some existential lysergic angst to the musical palette. Just brilliant. Like the album title already points out, it turned out to be Albert's final recording. And also one of his most adventurous according to these ears and that is due to merging psychedelic musicians with free jazz heads. Amazing. Rare Japanese press with obi. Highly essential! Price: 50 Euro

89. 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

92. BAILEY, DEREK & PARKER, EVAN & BENNINK, HAN: “Topography of the Lungs” (Incus – Incus 1/ VIP-6605) (Record: Mint/ Jacket: Mint/ 8-Paged Booklet: Mint). 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: 85 Euro

97. BAILEY, DEREK: “New Sights, Old Sounds” (Morgue 03/04) (2 LP's: Near Mint/ Fold Out Jacket: Near Mint/ Insert: Near Mint) I was chocked with disbelief when informed that Bailey had passed away last year. He was truly one of the singular most unique and greatest players that ever caressed the six strings. Fortunately, I was blessed to witness him in action on several occasions and the impression he left behind still haunts me during my dreams. However I regret being an infant when Bailey visited Japan for the first time in 1978 because, as this document exhibits, he single-handedly was responsible for putting down one of the most feverishly enchanting solo excursions for the guitar ever to be put down on wax. Perhaps this disc is one of the hardest to get out of the Bailey catalogue since the 2LP set was released on Aquirax Aida's private Morgue imprint after the latter had invited Bailey to come to Japan and teamed him up with various players out of the Japanese free jazz underground. The disc itself has been out of print since 1979 and is particularly hard to come by especially in such as pristine condition as this copy here. The music is stellar as might be expected and sees Bailey recording solo in the studio while the second disc juxtaposes these recordings with him playing live. Although the playing style is introverted to some extent, Bailey still exerts improvisational chunks of molten lava balancing perfectly on a razor-sharp glacier string of dew-moistened basal ice. The capillary action he creates resembles hydrogen bonding in water molecules resulting in delicate movements of torrential but well controlled fury to bubble up to the surface. The attraction between his liquid-like phraseology and the bubble-free stoic picking of the strings leaves a post-glacial exposed bedrock hovering in the death-space between you and your speakers. A transfixing and exothermic physical listening experience. Price: 200 Euro

101. 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: 250 Euro

104. BASHO, ROBBIE: “The Grail & The Lotus” (Takoma – C-1007) (Record: Near Mint/ Jacket: Near Mint). Original 1^st press MONO copy. Released by Takoma Records in 1966. The Grail and the Lotus was the second Basho release. Basho can be seen as Fahey’s spiritual acoustic guitar brother, incorporating more eastern music aspects and philosophies into his playing. Basho’s playing is incredibly raga-like. It makes him seemingly dislocated geographically due to him wandering along Asian modes. So it will come as no surprise that he felt a close linkage to the music of Ali Akbar Khan, which is unmistakably present in his picking patterns and scales. His work is perfumed with exotism and at times it almost feels like he treats his six and 12 strings like a Sarod. The recording here is highly sophisticated and the playing crisp and clear but always with an ear tuned towards the Mystic East so to speak. His playing blurs the lines of conventional styles and technique and is dramatic, personal and expressive, all at the same time. As a guitarist, Basho was absolutely groundbreaking in his use of texture and color, complex right hand picking patterns blended with an almost completely free fretting hand and his linear approach to the neck. Top copy, 1^st original US mono pressing on Fahey’s Takoma imprint. Stuff of legends!! Basho is bewitching, important, beautiful and above all…essential to any self-righteous music lover. Price: 100 Euro

109. B.B. KING: “Live in County Jail” (ABC Records Japan – SR-641) (Record: Mint/ Jacket: Mint/ 4-Paged Booklet: Mint/ Double Obi: Mint). Rare original 1971 Japanese issue complete with the desirable double (yes that is two!!) obis present and intact. Recorded at the Cook County Jail in 1968, this wicked slide sheds some clarity on King’s early live recordings and presents some of his finest smoke-filled, late night whisky drenched Chicago-styled intoxicating blues songs, be it this time recorded at a well-known hard time penitentiary. Many artists owe credit to this master and upon spinning this disc it all becomes all the more vividly clear. B.B. King ruled and this collection had me and my lady butt-shaking till in the early wee-wee hours. Killer slide in dead mint condition. Hopelessly rare 1971 Japanese pressing with always missing double obi set for dead cheap. This is music to weep and swing to. Massive!!!! Price: 50 Euro

111. BEAU: “S/T” (Dandelion – S-63751) (Record: Excellent/ Jacket: Excellent). Top-notch copy of Beau’s first album, released on John Peel’s Dandelion imprint way back in 1969. Top-notch copy of this completely vanished UK folk masterpiece. Beau, which was the stage name of the English singer/songwriter Christopher John Trevor Midgley, released only a very couple of obscure albums on the Dandelion label in 1969 and 1970. His recorded output displayed some American folk singer/songwriters influences of the mid-1960s but apart from that Beau’s music was also rooted – be it in a less clearly visible way – within the UK folk tradition. Although upon superficial listening Beau’s voice and melodies can come over as a tad traditional, his records are nevertheless spiced up and interspersed with some wicked British folk-rock elements. Having received his nickname from a French teacher in school, Beau started his musical career in the Leeds rock cover band the Raiders. When he was 19, he left the Raiders to work as a solo folk artist, accompanying himself on a 12-string acoustic guitar. After auditioning for Elektra in the late 1960s, he got noticed by Dandelion Records, which was founded by Elektra U.K. executive Clive Selwood with famed British radio announcer John Peel. Beau’s self-titled debut came out in 1969 with acoustic arrangements featuring only his 12-string guitar, and its strongest and most dramatic track, “1917 Revolution”, turned out to become a hit single in Lebanon (though nowhere else). For his second and final Dandelion album, Creation, Beau was given electric-band backing on some tracks by fellow Dandelion artists The Way We Live. This album here was his first, great all the way through and highly necessary if you are into the whole UK late sixties and early seventies folk and folk rock scene. Great stuff and quite difficult to track down these days in such nice condition as this copy here. Price: 135 Euro

112. BEAUREGARD AJAX: “Deaf Priscilla” (Shadoks) (Record: Mint/ Jacket: Mint). Perhaps one of the best American psych recordings to be dusted off by the Shadoks label. The album was recorded in April 1968 at Western Sound Recorders L.A. for a famous surf label, but was never released. Southern California's Beauregard Ajax recorded Deaf Priscilla in late 1967 and early 1968, with legendary Del-Fi Records founder, Bob Keane producing, but the record was shelved when the group disbanded. As was the case for countless aspiring American rock collectives, the British Invasion from a few years earlier heavily influenced the five-piece, but as this was psychedelic age, the songs are augmented with slightly fuzzed-out blues licks. The actual tunes possess pleasing melodies, resulting in an overall light psych sound. Lyrically, the tone is usually pretty heavy, though, with such darker subject matters as loneliness, depression, failed relationships, and boredom. Perhaps better than Public Nuisance and as good as Brain Police from Rockadelic, this album is seen by some out there as a milestone such as Cold Sun's Dark Shadow. There isn't one track that is lacking energy -- songs such as "Loneliness Is A Sometime Thing," "Dead Woman Blues" and "Deaf Priscilla" are outstanding highlights. Perfect vocals, tons of fuzz guitar and tough lyrics. The LP version of this beast sold out immediately upon its release, so here you have a perfect copy offered for grabs. Price: 70 Euro

113. The BEAVERS: “Viva! Beavers!” (King Records – SKK-442) (Record: Excellent ~ Near Mint/ Thin Gatefold Jacket: Mint). 1^st original Japanese press of 1968, with flimsy gatefold jacket and record in awesome condition. 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 pristine – almost like new - nick as this one here. Took me 6 years to track down a copy, so here it is, a slice of psyched out history for ya all. Price: Offers

122. 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. For those in the need for a bit of background info, Bill, armed with his twin bass concept, played on The Rolling Stones’s “Exile on Main Street” album. Bill gracing the cover and the opening track “Journey to The East" is, however, sort of wonderful and crops up frequently on Jazz compilations. Plummer however was already since 1964 getting hot for Asian music in general and started to learn sitar from Hari Har Rao, and also refined his technique while hopping onboard of the Hindustani Jazz Sextet. “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). But I hear you already moaning about again a zillionth reinterpretation of the “Look of Love” but I have to say that Plummer’s take on the tune is one of the most beautiful ever executed – together with the Japanese psych rockers White Heaven version of the song. Plummer’s instrumental version is perfumed with a sensibility and certain lightness that at times hinges towards a baroque inclination, which is at the same time dreamlike as well as refreshing. 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”. In short, on closer inspection, “Journey to the East” reveals several hidden layers of mystic aural pleasures, slowly unveiling themselves like peeling away the layers of an onion. A classic and shouldered by many DJ’s for its break beating qualities. But for a psych head and music nerd as myself, the disc has loads of other pleasures up its sleeve and never failed to bring me pleasure whilst spinning it. A true classic that needs to find its way into every collection of a true music lovers’ fiend. Massively recommended. Price: 100 Euro

124. BINKLEY, THOMAS & STUDIO DER FRUHEN MUSIK: “Troubadours et Trouveres” (Telefunken – SL-7002) (Record: Mint/ Jacket: Mint/ 4-paged Insert: Mint/ Obi: Mint). Another deep dive into the wealthy treasure throve of 12^th and 13^th century Troubadour music, Thomas Binkley again digs up lysergic tunes that can make the devil dance and get women naked and dancing next to the bonfire, renouncing king and Pope and heralding a hedonist lifestyle. Original 1975 Japanese pressing of Binkley at the height of his powers. This is the real acid folk, you better believe it. Not even Skip Spence or COB come close to this how great they may have been. Thomas Binkley who died in 1995 and who was one of the guiding lights in the resurrection of medieval music is one of my unsung heroes. And this disc again proves he was way out there, a musical talent who championed early music of the 13^th century and performed it to perfection with exactly rebuilt vintage instruments. Binkley certainly had a taste for the more weird and arcane stuff, like present here, the music of the troubadours. Southern France in the 12^th century saw an amazing growth in vernacular secular lyrics. Poetry and music were used to glorify the blossoming chivalry and its ideals. Under the influence of Arab-Andalusian love lyric poetry, the art of creating songs (art de trobar) became an integral part of the knightly female cult, the minnesong backing up the minstrel service. The troubadour did not only perform chansons, that is to say vocal music also was measure music practiced in large and played on string, plucking and wind instruments. Comparatively little has been preserved of this music due to the fact this music was improvised and never written down properly since most of the performers were unschooled and incapable of writing. The musicians were generally of lower origins. Their music was widespread and at the same time attacked by the church as being solely of a physical, sensual nature, meaning almost pornographic. The minstrel was a dance musician so he always played from memory and improvising making this music so lysergic in its nature and worthy of the term acid folk, probably the sole music that truly deserves this fashionable term. I really cannot emphasize the joy of listening to this stunningly varied album, full of original musical touches and recorded in superb sound. Some of the best music ever to have been put down on wax and I am certainly not exaggerating about this one tiny bit. Do yourself a favor, get a Binkley in your life, after that their will be no return and you will curse all the hipsters who made you buy magazine and opinioned records for all these years. This is the real deal. I rest my case. Price: 40 Euro

125. BINKLEY, THOMAS & STUDIO DER FRUHEN MUSIK: “Minnesang Und Carmina Burana” (Telefunken/ King Records – SL-7003) (Record: Mint/ Jacket: Mint/ 4-Paged Insert: Mint/ Obi: Mint). This is one of those hidden gems in this time’s list, a disc everyone will most certainly look past, without even wondering how bloody great it can be. So what is it all about? Well that is for you to find out, life needs urgently some devastating sonic surprises and I am sure this will do the trick. In short the Studio Der Fruhen Musik under the leadership of the enigmatic Thomas Binkley (a name to watch out for, all he touched is utterly sublime) delivers here “old music” out of the period 1170 – 1455. Binkley was – as he showcases here as well – a prominent executer of 14^th Century troubadour music. Here he dwells into minnesangen and to these ears it sounds like acid folk avant-la-lettre. Hell, this is the only music worthy of the term acid folk as far as I am concerned, all performed on original instruments. And if you doubt my humble opinion, then check with Kawabata Makoto, he is a huge fan and follower of Thomas Binkley and will tell you the same thing. This is acid folk avant-la-lettre for the adventurous listener. Highest recommendation. Price: 40 Euro

126. BINKLEY, THOMAS & STUDIO DER FRUHEN MUSIK: “Minnesong and Prosody circa 1200 – 1320” (Telefunken – SAWT-9487) (Record: Near Mint/ Gatefold Jacket with attached 10-paged Booklet: Near Mint/ Obi: Excellent). Rare Japanese issue. Another totally overlooked monstrous gem in Binkley’s ear-fluttering oeuvre. The story is mainly the same as above, apart that the material is completely different. In the liner notes Binkley goes on to elucidate on the fate of the Trouvers/ Troubadours and the demise of their shortly blossoming but wealthy legacy. It all boiled down in the scandalous end of the Occitanean civilization. 700 years ago, this culture of music and poetry primed by the interest of wealthy patrons and flourishing within the pleasantries of particularly sympathetic and indulgent lifestyle, suddenly ceased. The monstrous war of avarice and hypocrisy, the Albigentian crusade (1209 – 1229) condoned by king and Pope alike, was the cruel blight that devastated the Langue-D’Oc. Armies systematically destroyed the cities, towns, monasteries and estates of the vast Mediterranean area; and when finally the killing and rape of the Provence ended, it was too late. The patrons of the Troubadours were no longer in a position to waste away the seasons with love and frivolity like before. As a result, the Troubadours unable to live in their homeland became displaced persons existing as they could in Spain and Italy, but slowly their culture and musical legacy wined away. Until Binkley picked it up and revived it again, restoring it to its former splendor. Massive stuff, improvisational interplay abound, long instrumental freak-outs, vocals popping out of odd corners etc. Just awesome and some of the best tunes on this list are on this LP. You want psychedelic folk music? Look no further; it isn’t going to get any better than this here. Price: 45 Euro

129. BLACK & BEAUTIFUL: “Soul and Madness” (Jihad Productions – Jihad-101) (Record: VG++ ~ Excellent, has some paper scuffs and one small mark/ Jacket: Excellent). Jihad was a label that was formed by Imamu Amiri Baraka to broadcast the work of the Jihad Cultural Center, Newark NJ. It produced and issued only three discs, but recorded much more. “Black and Beautiful....Soul and Madness” featured Baraka reading and reciting his poetry, and resulted in an incredible relic of the righteous underground of the late 60s and merging into one of the few classic albums on the Jihad label! The group on display here was a vocal group of sorts -- sometimes singing, sometimes rapping in a Last Poets-styled way -- often doing both at the same time, in a mode that was really compelling and extremely powerful! Fronted by Leroi Jones, on the first word music record he ever did that was completely devoted to the style. He got flanked by a great group of singers and together they boil down into a revolutionary exercise that got spiked up with raw African beat, graceful harmonies, and free-jazz sensibilities — a triad that doesn’t exactly mix with ease but they manage to pull it off with great conviction and deliver an astonishing tour de force. . The group included next to Leroi Jones the likes of Freedy Johnson, Leonard Cathcart, Aireen Eternal, Gilbert Monk and Yusef Iman – at times only aided with some spare percussion. In all, it is a recording that would have fit in with recordings by contemporaries such as Gil Scott-Heron, The Last Poets, and The Watts Prophets. The musical backing might be a bit too sparse and minimal at times, but the words still pack a contemporary punch. If one is interested in the historical origins of rap and hip-hop, one can find here some of the Zietgeist that would produce some incredibly powerful rhymes and tunes a generation later by such cats as Public Enemy and KRS-One, and today's underground rappers such as Common and Mos Def. But is also more than that, the record was not only forward in its thinking and in its musical effort, but to come out and talk about the Afro-American struggle for equal rights at the forefront of this avant-music was a feet in itself. The chanting that takes place on “Form is Emptiness” demonstrates its title well. Form is completely abonded in this exercise of spiritual reflection and the atonal community chant. “Madness” reaches the farthest out, displaying true violence towards the era’s racial differences and inequality. Baraka basically screams behind yelps and horn squeaks and cries. To come across the record in today’s musical world is very much a breath of fresh air, much in the way the ESP-Disk recordings of the late 60s were. While more abrasive and maybe less towards the traditional free-jazz efforts, the primal essence of Black & Beautiful, Soul & Madness is what keeps its tradition alive today. By staying minimal, it becomes timeless with its approach. A full-frontal killer slide and a tough one to dig up. Highest recommendation. Price: 200 Euro

130. BLACK SABBATH: “Master of Reality” (Vertigo – 6360.050) (Record: VG++ ~ Excellent, some faint paper scuffs, no scratches/ Jacket: Excellent/ Company Swirl Inner Sleeve: Excellent). Poster is missing. 1^st original UK pressing. Original UK Swirl label in box set jacket in great nick. Price: 120 Euro

135. BLONDIE: “Autoamerican” (Toshiba EMI Japan – WWS-91004) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Printed Inner Sleeve: Mint/ Poster: Mint/ 4-Paged Liner Notes: Mint/ Promo 7-Inch: Mint/ 7-Inch Sleeve: Mint). Original 1^st Japanese pressing in top condition complete with promo single. Complete copy!! . “It doesn’t sound like anything else other than Blondie and so is a bit timeless in that sense. The opening track, “Europa”, a brooding modernist instrumental that dissolves into a spoken word rant from Harry extolling the virtues of cars. It’s an amazing song and a cool way to open the collection. The album contains both The Tide is High (originally a late ‘60s rocksteady hit in Jamaica for the Paragons and U-Roy—I bow to their genetic coolness for knowing about this song then) and Rapture, the song that, more than any other piece of music introduced the world to the concept of what rap music was. It’s a masterpiece of pop. I listened to it three times today—quite loud—and the skill, charm and verbal dexterity with which Debbie Harry casually rattles off her dada-hipster rhymes still astonishes 30 years later. It’s got a groove as funky as one written by James Brown, Prince or George Clinton, a feat almost no other white group can lay claim to.” (dangerous Minds). The Japan only promo single here attached consists out of the tracks “Call Me” (Spanish version) and “Heroes” (David Bowie cover by Blondie and with an appearance by Robert Fripp). Absolutely killer. This disc still kicks my butt from wall to wall. Price: 50 Euro

136. BLONDIE: “Eat To The Beat” (Toshiba EMI Japan – WWS-81255) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Poster Insert: Mint/ 4 Paged Liner Notes: Mint/ Imprinted Inner Sleeve with Band Shots: Mint). “The bombshell of the Bowery, Debbie Harry fronted one of music's most eclectic bands of the Punk/New Wave era. Blondie infused straight-ahead rock, punk, dance, and funk into an amalgam all their own. They’d reached the apex of their popularity by their third album, Parallel Lines. Yet, with their follow-up, Blondie proved they still had plenty of ammo in their creative coffer by unleashing 1979’s Eat To The Beat. Clem Burke’s thunderous drumming sets the tone throughout while guitarists Chris Stein and Frank Infante, bassist Nigel Harrison, and keyboardist Jimmy Destri follow suit. The album’s two major hits, “Dreaming” and “Atomic,” still sound magnificent, with Debbie Harry’s silken voice booming above the swirling music.” (Blogcritics). Stunning vicious slide that has not lost any of its charms and amazing power, every track is a winner. Top copy Japanese pressing. Price: 30 Euro

139. BLUES CREATION: “S/T” (Polydor – SMP-1446) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top copy of their 1^st and rarest LP. Next to impossible to score these days, let alone in such a nice near mint shape as this copy here. Blues Creation was one of these outfits that tried to bridge the gap between the G.S. and the New Rock, making their entrée at the end of the sixties. The band’s history goes back to June 1968, when vocalist Nunoya Fumio together with Takeda Kazuo, Noji Yoshiyuki and Tashiro Shinichi enlisted themselves under the name Bikkies for the amateur band contest “R&B Tengoku”, a televisionized contest that appeared on the Tokyo 12 Channel. Failing to win the contest, the Bikkies after all reached the 5^th place, which wasn’t so bad seen against the brief television exposure they enjoyed. However, it was by that time already clear that the artistic centre of the group swirled around the skills of guitarist Takeda who, sensing that the times they were a changing, altered by January 1969, a time that marked the beginning of the decline of the Group Sounds, the quartet’s name into Blues Creation. Compulsory with the name change, Takeda firmly steered the group’s musical approach into the direction of a greasy Westernized fuzz-drenched blues-rock sound. This made that Blues Creation got spotted by Polydor, resulting in a studio recording during the spring that eventually made up their first album. Released in October 1^st, 1969 and simply entitled “Blues Creation”, the album was completely erected out of vicious sounding blues rock covers, construed around Takeda’s self inflammatory guitar licks. Still, changes to perform live were quite sparse due to the fact that all the members, except Nunoya Fumio, were still high school students, restricted their flexibility. Nevertheless they had the change to appear on a youth centered cultural television show named “Hallo Party”, followed by some stage action at the Dai Ikkai Nippon Rock Festival, which occurred on September 28^th. However drastic changes were to take place. By the end of 1969 Nunoya departed from the group’s ranks, followed in 1970 by Takeda dismissing all the resulting members and having them replaced by a new breed of track burning psychedelic rockers. Simultaneously with the drastic line-up permutation, Blues Creation altered with it also its sound into a more hard driven’ rocking blues approach, dashed with substantial burning acidic riffage, elaborated psyched-up differential jamming and with enough room for instrumental improvisation rundowns. The contents of their second album “Demon & Eleven Children”, which appeared on August 25^th, 1971, were unmistakably constructed under the influence of British hard rock. But that aside, the sound the band blasted out on their first LP remains a vicious psychedelic slab of filthy white boy trash licks and wasted snotty vocals, all injected fuzz drenched creeping soloing, long tracks impregnated with screaming and stoned vocals. Cover is super clean and the record is also as clean as possible. Top copy and hideously rare. Price: Offers.

140. BLUES CREATION: “Demon & Eleven Children” (Denon – CD-5029) (Record: VG++ ~ Excellent, has some scuffs but plays ballsy EX/ Gatefold Jacket: VG++, some damage within gatefold). Original 1971 press, comes dead cheap due to the slightly lesser condition of the disc but still a copy to steal. Simply a beast. 1st original pressing for dead cheap!!, quarter the price of a mint copy so.....a steal. Price: 180 Euro

142. BLUES CREATION & CARMEN MAKI: “S/T” (DENON – CD-5030) (Record: Excellent, plays nearly perfect, occasionally some minor surface noise pops up due to some sparse scuff marks but nothing too serious/ Fold Out Jacket: Mint/ Insert: VG++) Original first pressing gatefold copy (on the orange coloured Denon label imprint). Single cover copies (second pressing of mid-eighties) are relatively common there were these original babies are just impossible to lay your hands upon, even here in Japan. A couple of months ago, a copy with obi was offered for sale at a local shop (and sold) for 1600 Euro!! Just crazy and the Carmen Maki & Blues Creation disc is probably way rarer than Blues Creation’s “Demon and 11 Children” one, so I guess you get the picture of its scarceness. The music is just stellar heavy psych with howling female vocals, loud, booming rhythm section, fire-works guitar leads. Record comes with the almost always-missing insert! Mega rare item, first original press in great condition. Almost never to turn up and one of those ultra collectible much rumoured about titles coming out Japan. Mega rare does not even come close to describe the scarcity status of this disc. Great almost bargain-like price way below the Japanese market value, so it is now or never…. Price: 800 Euro

146. BOB JAMES: “Explosions” (ESP Disc – ESP-1009) (Record: Excellent/ Jacket: Near Mint). This is the original 1965 US press (with the 180 Riverside Drive address on the back), top notch copy pressing, housed in a heavy carton jacket. “Explosions” was without a doubt Bob James' finest moment and his recording debut (recorded May 10^th, 1965). Sadly enough he squeezed out records of mediocre quality hereafter which in a way secured his financial success. But for his debut recording, the young Bob was still filled with artistic passion and an unbridled love for the avant-garde arts. Flanked by Barre Phillips and Robert Pozar, James delivers here one of the finest ESP titles available, fusing free jazz with electronic music and tape collage excursions, the courtesy of Robert Ashley and Gordon Mumma. This cross pollination proved to be a highly successful (artistically speaking) endeavor with eerie soundscapes and ghostly voices to flow through and pop during the trio's free jazz escapades. In other w ords a true classic that may not lack in any collection, at least if you are serious about your music excavating activities. Extremely beautiful original and perfect copy. First original pressing!!! Price: 90 Euro

148. BOOK OF AM: “S/T” (Private – LMT-1016) (Record: Near Mint/ Gatefold Jacket: Excellent). Hyper rare original private pressing, top copy. “The Book of AM stands as a unique combination of recordings and artwork which stands up as an enduring testament of the fertile hippie scene which flourished in the Baleric islands during the seventies. Known to record collectors and psych/folk/prog music aficionados alike, this multicultural band formed in the island of Mallorca in the mid-‘70s and recorded a beautiful (and outrageously scarce) album, which has gained cult status as years passed by. The Book of Am was originally devised as a beautifully illustrated book focused on various world folklore and traditions, coupled with 4 LP’s which would represent a musical. This (never completed) 4 LP set would correspond to the four phases of day (dawn, morning, afternoon, night). Only the first of these records (morning) would eventually see the light of day in a tiny private pressing which changes hands nowadays for obscene amounts of money.” (label description) Much sought after awesome original copy of this all time zoned European acid folk psych classic masterpiece. The music is truly magical. Gatefold laminated jacket, beautiful high quality printing, But apart from that the music is stellar, one – if not – the best acid folk album ever to be put down on wax. Highest possible recommendation. Price: Offers

150. 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

151. 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

152. 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

153. BORIS: “Smile” (Diwphalanx – PXLP-173) (Record and gimmick cut out box are sealed). One time 500 copies only LP box edition that sold out within a day upon its release. Here you have a sealed one. “The record opens with “Message”, followed by a second track that spins out of control with a killer riff, some wailing lead vox, wild thrashy drumming, the various parts spiced up with swoops of backwards guitars, and a crumbling super distorted tripped out FX drenched outro. The next track is THE killer of the disc. With guitars so blown out, they threaten to FRY your headphones, a killer stop start groove, weird blown speaker bass, all wrapped around a pretty sweet pop hook, but the band do their best to bury it in crumbling distortion, and acid fried psych freakouts. Until the last half of the track, where things devolve into some super minimal dronescape with soft strummed whispery guitars, a damaged percussive thud, and lots of barely there shimmer. Our favorite track, oddly enough, is probably the next one, a cover of legendary Japanese group PYG's “Flower Sun Rain”, a gorgeously languorous drift, all reverby clean guitars, soulful vocals, simple subtle percussion, a brief squall of gorgeous sun blasted psychguitar, slipping smoothly back into that slow dreamy drift. We'd have been just as happy to hear Boris do a whole record of PYG covers after that one. But then comes “Next Saturn” another weirdly blissed out pop song, muted tones drifting over muted programmed drums and a thick sheet of distorted guitar, and the vocals, which in the past have often detracted from Boris' power, have definitely become an intricate part of their new sound and have improved vastly, now able to carry a song, and in some ways this whole record, and here they soar and croon, a wicked hook and a lilting moody melody. But it wouldn't be Boris if they didn't smash it to bits part way through, and they do, unleashing huge sheets of heavily delayed guitar and dubbed out drums, throbbing bass, all tangled up into glorious psychedelic meltdowns.Even the heaviest songs on Smile are infused with hooks and offer up brief glimpses of the poppiness underlying the crunch and rrroooar, no truer than on “Dead Destination”, a thick droned out, bliss blast of thick corrosive guitars, wild sinewy, buzz drenched leads, drums literally buried beneath layer after layer of whir and hiss and a dense wall of guitar. The second to last track, for its first half at least, is a gorgeous slowcore crawl, just plaintive vocals, delicate guitar, soft cymbal shimmer, a gauzy dreamy drift, that eventually fades to silence, before streaks of feedback fall from the sky, an avalanche of drums follow, until an incredibly emotive main riff, heavy and blown out, takes over, dragging the rest of the track with it, slowly churning, a sort of metallicized krautrock jam, the main guitar thick and distorted, but all around it glimmering harmonics and whirling melodies, those soaring vocals, and of course an appropriately majestic, dramatic in-the-red coda. The record finishes with a massive 20 minute track, untitled, that almost sounds like a single song synopsis of Boris' new sound. Beginning with tripped out backwards guitar, and skeletal melodies, briefly interrupted by a fierce squall of intense psychedelia, only to bliss back out, giving way to a dreamy dirgey shoegazey dirge, all cascading distorted guitars and hazy lazy vocals, eventually overtaken by huge crumbling slabs of slow motion distortion and blinding streaks of high end skree and moaning feedback, finally drifting off into a slow shimmery feedback infused fadeout.” (Aquarius) This Japanese version has knock out packaging, WAY better than the US version. Seen this one already doing strange things on the eBay scum market, fetching sums over 160$ and 300$ even......this one goes cheaper than there so grab em while you last. Remember the “Pink” boxset? Well this one will rocket to similar stratospheres so you know what that means, it isn’t about music, it is all about hype. Package is stunning as usual. Price: 150 Euro

154. BORIS: “Statement b/w Floor Shaker” (Southern Lord – Sunn-92.5) (7 Inch EP on Orange Wax: Mint/ Gatefold Picture Sleeve: Mint/ Card Insert: Mint). 1000 copies press limited edition that has been out of print for a while. Another vital addition for hipster poser metal heads. Price: 15 Euro

155. 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, different from the latter pressing. Does simply not turn up with 7-inch included, making it 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!!) dark vocals, swirling guitars. Impressive album, if this had been sung in English this disc would have soared over the 800-dollar mark without any doubt and gained massive appreciation in its wake. But due to the fact that it is sung/ narrated in Dutch (and what a stunningly beautiful language it is if you could only grasp the meaning of what he is ranting here about) the larger outside world pulled up their noses and just blatantly ignored this gem. Speaking of throwing pearls before the swines. Still that does not change the fact that this one here is probably one of my all time favorite discs, a piece of plastic that ruled my formative years while spacing away on acid and trying to capture & picture the fairy-tale demented deep dark outer worldly universe Boudewijn de Groot sings here into being. So in a fruitless attempt to hype this one up, here is some background info on this gemstone of a record. Up until this time in his career, which was utterly successful, Boudewijn had been working in tandem with lyricist Nijgh and de Groot with whom he carved out a series of successes that ruled the airwaves in the lowlands at those days (we are speaking ann. 1968 here). However, the following year (1969), his partnership with Nijgh and de Groot dissolved as Boudewijn embarked on a project together with Lucien Duzee, a former fellow student from the Dutch Film Academy. Together they wrote the script for a kind of radio play entitled “Heksensabbath”. This epic constitutes the major part of this album here “Nacht en Ontij”, which further contains the song “Babylon”. Lennaert had written the original lyrics for “Babylon”, but Boudewijn changed them so dramatically that he is mentioned as the lyric writer on the sleeve. 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. Sales were disappointing compared to the previous albums, although, up till today, a group of hard core fans still cherishes the album as one of their favorites, me one of them and bearing the flag. The album did not appeal to the broad public, the co-operation with Lennaert ceased to exist, the performances across the country led to frustrations as the public expected the album versions of the songs of Boudewijn's repertoire, but was given a simple guitar accompaniment. In the age of beat music this was not appreciated and led to unsatisfied reactions. This was one of the reasons that Boudewijn decided to leave the Dutch repertoire for what it was and to focus on English beat music. A short farewell tour in 1969 with the group Names and Faces as support band took him around the Netherlands and Flemish Belgium. Still that all aside, 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. Price: 300 Euro

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

157. BRANCA, GLENN: “Lesson No. 1” (99 Records – 99-01EP) (Record: Excellent/ Jacket: Near Mint). Original US pressing. Glenn Branca's minimal art-thrash music that combined classical compositional techniques with the power of rock that resulted in an infernal, crushing minimalism from massed electric guitars that owed as much to The Stooges as it did to La Monte Young. The whole whirlwind of tornado-esque sonics is played by a relatively conventional band line-up. Spidery repeated riffs lock and unlock with each other, creating a coalescing anthemic wall of sonic mayhem. By doing so, Branca shows his deep understanding of the sonic possibilities of the electric guitar. Over angular, juddering rhythmic constructions they uncoil celestial drones, metallic clangs and vicious scything distortions into a restless mini-symphony. Still, Branca keeps things on the move as he jungles with the instrument’s deficit disorder approach to composition and injecting it with a mash of remote influences such as Morricone-esque twangs and huge, shuddering crunches and cavernous ambience. Just an awesome classic. Original pressing!! Price: 50 Euro

158. BRANCA, GLENN: “The Ascension” (99 Records) (Record: Excellent/ Jacket: Excellent). Original US Pressing. “In 1982, the critic's reference points were the repetitious minimalism of Philip Glass and Steve Reich on one hand, and the "hard rock" of the Ramones on the other. These days it's hard to listen to Glenn Branca without thinking of Sonic Youth, whose two guitarists (Thurston Moore and Lee Ranaldo) both served tours of duties in Branca's guitar armies. That famous guitar sound, dissonant, jarring, clanging, ringing, chiming, heavenly, beautiful, which first appeared in The Static and the Theoretical Girls, would be used by Sonic Youth in more accessible manners to influence a new generation of alternative rockers. The Ascension features 5 compositions, none a moment too long or too short, none too leftfield to be inaccessible, none too mainstream to be boring. Just 40 minutes of sheer guitar bliss.” (CarParkRecords). A dead stone classic. Price: 50 Euro.

159. 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

160. 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

168. BROWN, MARION: “Le Temps Fou – Musique Du Film de Marcel Camus” (Polydor – 658.142/ Gravure Universelle) (Record: Mint/ Jacket: Mint). Without a doubt, the rarest Marion Brown release out there, copies just never turn up. This one here is a dead MINT original copy, best copy in existence – I can say so without a doubt. Original 1968 French pressing that was released as a soundtrack for the film “le Temps Fou”. For this occasion the line-up consisted out of Marion Brown (as, bells) Gunter Hampel (vibes, bass cl, tree bells) Ambrose Jackson (tp, cow bells, tambour) Barre Phillips (b, castanetes, whistle) Steve McCall (dr, triangle, tambour) and Alain Corneau (claves, cow bells). High-velocity improvised music with a cinematic swing element coming together into flashes of agitated outbursts and head-on collisions of broken fanfares spiced up with muffled screams of a tumbling down rhythm section. It is all in here and this is why this record is probably one of my all time favorite and most treasured Marion brown outings. Although the hardcore free element is present throughout all of the compositions, even to a lawless extent at times, the melodic arsenal Brown propels out of his bag of tricks enwraps however so much more. He wisely steers away from mindless suffocating nicey-nice defensive improvisation and instead junks it up with bursts and flashes of microscopic sub-structures of jazz forms like bogus Dixieland, hard bop and swing, honking it together with slick freeform virtuosity and ecstatic extrapolations, filled with unique organic and manic energy. This whole soundtrack is a stunning kinetic session that had me baffled and utterly stupefied because it is just so…beautiful. Original French pressing in dead mint condition. Price: 750 Euro

169. 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!! Price: 80 Euro

171. 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 native Canada 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

172. 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

174. BUCKLEY, JEFF: “Live ar Sin-E” (Big Cat) (Record: Excellent/ Jacket: Near Mint). Original 1994 release that only came out in a little run. Released in December '93, Live at Sin-e was originally just a four-song EP, shrewdly marketing a hot new performer's street cred. Newly signed to Columbia, Jeff Buckley gave two solo performances at New York's cafe Sin-e in which the yowl of his voice and the clang of his guitar couldn't drown out the roar of his raw ambition. Inj short a stuynning live document that only was released in a little run. But even then it was already crystal clear that Jeff Buckley – just like his father – would become stuff of legends. Price: 70 Euro

176. 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

180. BUDDY BOY HAWKINS & His Buddies: “1927 ~ 1934) (Yazoo – L-1010) (Record: Mint/ Jacket: Mint. Still in shrink). Great pre-war blues skiffles released on the collectible Yazoo records imprint. Price: 25 Euro

184. 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: 100 Euro

187. BURRELL, DAVE: “Echo” (BYG Actuel – BYG-20) (Record: Mint/ Gatefold Jacket: Mint/ Attached Insert: Mint). White label test pressing, Japanese original. High quality vinyl pressing from December1970 and sounding so much better than the French pressings of that day, it will wrap your ears around your head in pure delight. “In the fall of 1969 Free Jazz was reaching a kind of nadir/nexus. Within the industry it was controversial. Classic traditionalists (beboppers included) were outraged by men in dashikis and sandals jumping on stage and just BLOWING their guts out creating screaming torrents of action. Most musicians involved with this crying anarchy could get no bookings beyond the New York loft set. The French lovers of the avant-garde embraced this African-American scene wholly. This recording is one of many in a series of LP’s with consistent design. BYG released classic Free Jazz documents by Archie Shepp (at his wildest), Clifford Thornton, Art Ensemble of Chicago, Grachan Moncur III, Sunny Murray, Alan Silva, Arthur Jones, Dewey Redman and many others. A lot of these cats are present on this recording where from the first groove it sounds like an acoustic tidal wave exploding into shards of dynamite. If you can locate Alan Silva’s “Lunar Surface” LP (BYG 529.312/Actuel Vol. 12) you’ll find a world even that much more OUT.” (the Reverend Thurston Moore). This recording hits the nerves like a blast of summer lightning and make you feeling your balls contract violently crawling straight up into your belly. Beautifully painful teeth-grinding frenzy in sound. White label Japanese original 1970 test pressing, high quality audiophile vinyl. Forget the French pressings and the crappy Akarma junk, this is the real deal, so time to press your eyeballs back into their sockets and stick your head into a swarm of wild bees. Awesome! Price: 25 Euro

189. 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

192. CAEDMON: “S/T” (Kissing Spell) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). Long gone and deleted excellent reissue of Scotland's finest underground folk act that roamed the highlands around 1978. This is an exact reissue of their sole privately released album. This gem is considered to be one of the greatest psychedelic folk albums to seep out of the British Isles. And indeed it is. The band created a hybrid form of simmering electric folk-rock, spiked with ethereal female/male vocals emerging in between haunting atmospherics and fuzz ignited guitar soundings. A classic and one of the best psychedelic folk albums ever to seep out of the UK . Price: 50 Euro

198. CAMAYENNE SOFA: “La Percee” (Editions Syliphone Conakry – SLP-52) (Record: near Mint/ Jacket: near Mint). Great Mandingo sounds as always, plus the sweet down tempo headnodding afrobeat tune Samba-Mana “An offshoot of the popular Guinean band Sextet Camayenne, Camayenne Sofa dominated West Africa's hit parade during the 1970s. Their many hits included the chart-topper "Were Were." The group struggled with many personnel changes. Original members Bossély Keita, Mamadou Camara, and Salia Camara left to form their own group, Kaloum Star, while drummer Papa Kouyate was recruited for Miriam Makeba’s Quintet. Guineen and vocalist Ange Miguel went on to perform with Tambourinis. Camayenne Sofa has continued to perform, under the direction of t