RARE RECORDS CATALOGUE

315. EARTH: “Earth – Live 070796” (D&M Berlin) (Record: Mint/ Jacket: Mint, still in shrink). This ultra limited special edition version was only briefly available and which documented Earth live in concert at the Messepalast/ Museumquartier Halle G as part of the Hyperstrings Festival in Wien way back in 1996. Single sided LP that comes in plain black sleeve, sealed with a sticker. If you are into the deep space droney side of the equation, then look no further than the early embryonic Earth line-up to experience the drone the way it was meant to be heard: huge down tuned guitars playing riffs so slow that each one lasts infinite, sludgy bottom gutter humming that slides and lurches like a blackened cryosphere of sizzling fuzz and hiss, slow motion stretched towards algebraic perpetuity meandering into one hovering detuned note of coeternity engulfing you like a tidal wave of chloral hydrate and narcoleptic laudanum, creating in their wake unrecognizable melodies due to the active components being stretched so far apart that disintegration of the whole structure become immanent any second now. This monster of a record is heavy, blowing all the rest like Boris and cohorts straight out of the squirmy muddy swamp of iconolaters and other copycats. The accidental brilliance of Earth makes this slab of detuned interstellar space nihility an utter classic. A disc with balls of a Spanish bull on a mix of steroid s and Quaaludes. Price: 100 Euro

317. EAST BIONIC SYMPHONIA: “Recorded Live” (ALM Records – AL-3001) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Ultra rare original, top-notch copy and 1^st time I have a copy to spare of this groundbreaking album. Officially released as a graduation effort in an edition of only 300 copies way back in 1976 by Kosugi Takehisa, this one copy here is one of those, the real thing and comes complete with insert having detailed liner notes by Yuasa Yoji. Not really an outfit with Takehisa Kosugi in its ranks, but consisting out of a collaborative effort of his students and recorded under his auspices was this improvisational ensemble baptized as the East Bionic Symphonia. Its line up consisted out of 10 members, of which some are still active in the today Tokyo underground scene. The band consisted out of Ozawa Yasushi (Fushitsusha’s long time bass player until he passed away this year) Okabe Kaoru, Hamada Kazuaki, Imai Kazuo (Imai Kazuo was the sole person who graduated from Takayanagi Masayuki’s guitar school and remains till this day active as a solo guitar improviser and as a member of the improvisational clitter clatter unit Marginal Consort.), Tada Masami, Koshikawa Kazunao, Sui Hajime, Mukai Chie (Mukai Chie is a legendary figure still today in the Tokyo underground scene, although that she originated from Osaka, still active solo as well as with her outfit Che-Shizu) Minegishi Masaharu and Hattori Tatsuo. Their sole recorded output was registered live and presented in the form of a graduation concert staged at the Kanda-Shi Bigakkô on the 13^th of July 1976. Their sound was centered around an avant-garde, improvisational amalgamative sound of different percussion and various snare instruments such as Imai Kazuo’s guitar and Mukai Chie’s kokyu drones, establishing a hypnotic and minimalist sonic universe, reminiscent to the Taj Mahal Travelers. The record itself was released in that same year by the independent record label Kojima ALM Records. Soon thereafter the ensemble ceased all of its activities, until they regrouped in 1998 under the name of Marginal Consort, performing some concerts in the Tokyo area. Although that the group remains active on an irregular basis, some of its key figures retrieved from its ranks due to conflicting interests and personal objectives. Ultra rare original pressing in top-notch condition. First time ever I have a copy to spare of this gem. Just turns up around never…and if TMT is up your alley, you cannot pass up on this one. Highest possible recommendation and rare beyond belief. Price: 720 Euro

318. EAST OF EDEN: “Mercator Projected” (Deram Japan – SL-289) (Record: Mint/ Jacket: Mint/ Insert: Mint/ Obi: Mint). 1^st original Japanese pressing out of 1976. “East of Eden's debut LP is one of the hardest rocking albums to come out of the progressive rock movement, and maybe the best non-Rolling Stones albums issued by English Decca during all of the late 1960s. It's also one of the most daring debut albums of its period, less tightly focused than, say King Crimson’s Court of the Crimson King but otherwise equally bold and maybe more challenging. The whole record is eerie -- coming from a pop culture where most psychedelic rock tended toward the light and airy -- the way the high-impact bass, drum, and guitar parts interact with the distinctly Oriental and Central/Eastern European classical influences. The title track is a surprise coming from any British psychedelic band of the period, opening with a pounding heavy metal beat pumped out on Steve York’s bass and Dave Dufort’s drums, while Dave Arbus’ electric violin subs for what would normally be the rhythm guitar part and Geoff Nicholson’s guitar twists a blues riff around before setting a Jimi Hendrix like wave of tonal pyrotechnics ablaze for the finale. Though most of the rest isn't as hard rocking as that, it is still progressive rock with balls. "Isadora" may have a few flute flourishes too many, but it also has a beat, and "Waterways", after a meandering opening, breaks loose in a hard-edged piece of heavy metal raga rock (with a sax part that fits in perfectly), something like what the Yardbirds’ might've attempted if they'd stayed together through 1969 and forsaken their pop pretensions -- and then it finishes with the kind of brooding, violin-based ballad that anticipates the 1973-era King Crimson. And "Centaur Woman" takes us back to almost a mid-1960s blues-rock mode, reminiscent of the Graham Bond Organization, except that East of Eden quickly kicks out the song structures, taking Coltrane-like sax excursions before throwing in an extended bass guitar solo. Side two of the album opens with the brooding "Bathers," perhaps the most conventional progressive cut on this album and, not coincidentally, the least interesting song here. "Communion," by comparison, is a composition whose inspiration was a string quartet, and is dominated by Arbus’ violin. The album finishes with the high-energy "In the Stable of the Sphinx," a blazing showcase for electric guitar, violin, tenor, and alto sax that's worth the price of admission by itself and must've been amazing to hear on stage.” (All Music – Bruce Eder). Price: 70 Euro

319. ED ASKEW: “S/T” (ESP Records – ESP DISK-1092) (Record: Near Mint/ Jacket: Excellent). Original US pressing, top copy and one of the hardest to track down titles out of the ESP catalogue. Amazing cover shot of cars burning in a riot-torn US street, “Ask the Unicorn” as this beauty is also called exerts a compellingly odd and appealing delicacy. Ed Askew’s debut somewhat fells in between the earliest Pearls Before The Swine song styled wailings and various British folk loners cross-breeding with Tiny Tim at his most charmingly odd. In all it is a stark almost stripped won naked and estranged beautiful album, his singing taking on the demons that besiege him, the forces of society and other assorted evils. It breathes out a feeling of yearning and of desperate loss, melancholy ridden and angst bereaved. Folk never sounded so desolate, deprived of hope. This is a lost classic rubbing shoulders with other ESP classics such as MIJ and Patty Waters. Highest recommendation!! Price: 100 Euro

320. EDIP AKBAYRAM: “S/T” (Shadoks) (Sealed) Limited edition 2 LP set housed in a snake skin imprinted box set that came out in an edition of only 99 copies. Edip Akbayram is considered to co-habit the top of the BIG three of Turkish delights and gets flanked by fellow acid drenched psychsters Erkin Koray and Baris Mancho. This deliriously insane 2 LP box set assembled some killer tunes and fuzz drenched Andalusia perfumed psych tracks from his first two albums and singles. In total the set clocks out with 22 tracks, 90 minutes of music. Edip's band Dostlar molded the songs into something which takes you on an Eastern trip, full of fuzz guitar, electric sax and great percussions. Edip's moustache muffled dark voice sends shivers down your spine and gets the adrenaline pumping through your fines, ready for action and high on expectation to jump into the dark belly dancing night spots of Istanbul. This is as good as Erkin Koray with a deep spirit and seemingly politically inclined lyrics. In all the set is filled to bursting with some marvelous, mind-blowing fusions of traditional folk music and the fuzz-driven rock, from the amazing singing on “Degmen Benim Gamli Yasli Gonlume” to the buzzing of “Garip”; from the psych-funk synth of “Haberin Varmi” to the searing lead guitar that closes “Ayrilik”, there's a great deal to enjoy. Comes with inserts complete with artwork and loads of pictures. Killer release. Price: 80 Euro

322. EDUARDO BORT: “S/T” (Movie Play – 17.0642/6) (Record: Excellent/ laminated Jacket: Excellent). Original 1975 press copy, hardly never if ever surfaces…and a killer with absolutely no filler music wise. Excellent copy of this seemingly vanished Spanish psychedelic progressive gem, originally released in the mid seventies. This album is without a single doubt one of the best psychedelic/ progressive gems and one of the rarest Spanish discs to seep out of

Spain

's Catalonian territories. Starting of with a flamenco tinted acoustic guitar excursion, Eduardo already hints at the hellish effects the blazing sun will leave behind upon his compositions, before embarking unto a fuelled up and all incinerating riffage infested elaborate tracks he will infuse with his deliriously mind numbing and sneering Spanish vocalizations. This disc really kicks ass and at times I do wonder if I am the only person on this nuked up planet that seems to acknowledge the eargasmatic splendor of this album. To my humble ears, this is one of the all time best discs to ever have seeped out of Spain. Largely unknown and forgotten, Eduardo Bort was definitely the man. Do yourself a favor and enrich your life with this quite scarce and brilliant psych/prog artifact. Summer is coming and you are going to need this in order to impress the dreamboat chicks you always fail to hook up with. Eduardo's acidic and doped up Spanish charm w ill do the trick for you. Highest recommendation. Price: 350 Euro

323. EL RODEO: “USC 1971 Audio Yearbook” (Private – 1971) (Record: Excellent ~ Near Mint/ Jacket: Mint). Here is an oddball private press kind of record for you, which seemingly has been released as an audio yearbook by USC University in 1971. Side one is the freaky one, strange and made up out of various sound bites and snippets, meandering in an audio collage variety, which set out to cover through sonic bites and mangled sound snippets a year in the life at the University of Southern California. A whole wide array of “found sounds” pass the revue being marching bands, football games, announcements, jam sessions, all cut up and laced together into a weird hell broth kind of cultural terrorism. Voices of school administrators get sliced into sounds of demonstrations, reverb madness which all gets mashed up through experimental tape fuck-ups, lo-fi dubbing and slowed down mix-downs, turning and dissecting the whole affair into fractious pieces that hurtle in and out of focus, making it seem that some student – while cutting up all these fragments – was using the University’s studio downtime to pursue initial experiments in the organization of “found” sounds. Still the record begins inexplicably with an eerie but utterly beautiful female vocal, singing in a bewitching manner. This mystery track – be it slowed down a bit – turned out to be a sampled fragment of Joan Baez’ “Baptism.” The second side dwells in an ordinary songfest junk, laced together out of jazz bands, recitals, folk tunes, all mated into one and eventually – mid-through – gaining a highpoint with a flabbergasted standup sing-along about "pornographic filth / X-rated trash". Great record, hard to compare it to anything else but it is highly recommended to those looking into the weirder, avant-garde, unclassifiable strands of sound. Awesome. Price: 150 Euro

324. ELDRIDGE CLEAVER: “DIG! - Recorded at Syracuse” (More Records) (Record: Excellent/ Jacket: Excellent). Rare 1968 private press. Powerful live material, recorded at a meeting of the Peace & Freedom Party of Syracuse, during a time when Cleaver was facing some of the greatest trials of his life. The recording quality's a bit shaky, but you'll be more than able to grasp what Cleaver is saying, and to hear the raw power that was charging moments like this in the American struggle for racial equality. Dig was a speech given by Eldridge Cleaver, who was then Minister Of Information for the Black Panther Party and presidential candidate for the Peace And Freedom Party, at Syracuse University in July 1968. Cleaver was a convicted rapist who gained fame with his book Soul On Ice published while he was still in prison. When he was released he joined the Panthers and became famous for his fiery writing and speeches about Black Power. This speech was given as part of his symbolic bid for the presidency. Cleaver starts with telling off his parole officer, and then goes into a variety of subjects. Despite his reputation, the first part of the speech is actually pretty tame. It doesn't pick up until the second half where he starts cussing and the crowd gets into it. Rare and top copy. Price: 250 Euro

325. ELECTION: “S/T” (Elektra – EKS-74023) (Record: Excellent/ Gatefold Jacket: Excellent). UK original pressing. “This band’s line-up was eclectic indeed, including members from Australia, Canada, Norway and the UK. The disc has an unusual style, blending complex Beach-Boys like harmonies with dreamy folk-rock backing and some fairly prominent trumpet work and orchestration; the results have a wonderfully quaint and trippy feel. George Hultgren later went on to considerable success with Sailor, but Trevor Lucas and Gerry Conway are likely to be far better-known.” (Galactic ramble). Amazing album filled with beautiful soaring harmonies, stellar songwriting and an ace backing to support it all. Female vocals are intoxicatingly delirious to say the least. Original UK pressing. Price: 175 Euro

326. ELECTRIC EELS: “Agitated: 1975” (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Long out of print limited edition live recordings of the Electric Eels dating back to some gloriously insane night in April, 1975. This copy is numbered as 202/500. This Cleveland early seventies psyched-up proto punk combo is stuff of legend. The Electric Eels are for me an unheralded musical highlight of demented amphetamine driven madness, completely over the top deranged and aggressively ramshackle sociopathic garage punk fuelled up with guitar grinding riffage, and a rhythm section barely holding it together while balancing at the edge of falling apart with psychotic vocalist Dave Mac Manus belching out in an impassioned fashion lyrical abuse about car crashes, homophobia and raw red violence. This is musical resistance crossbreeding with animalistic behavior, proving that together with Half Japanese, the Mirrors and the Styrenes, they were the only valuable catalysts to emerge of the musical dead zone of the seventies. Highly essential and prime example of agitated detoriating proto punk rock. The Sex Pistols were fashion-icon like pussies compared to these bats out of hell. Price: 150 Euro

327. The ELECTRIC PRUNES: “Mass in F Minor” (Reprise/ Victor Records Japan – SJET-8059) (Record: Mint/ Jacket: Mint). 1^st original rare Japanese pressing. The Electric Prunes themselves had little to do with this album. Their quintessential garage philosophy wouldn't let them come up with the concept themselves; the idea of an 'electric mass' sung in Latin and combining gospel and Gregorian elements with distortion and feedback and rock energy belongs to the band's "spiritual godfather" of the time, David Axelrod. He himself 'wrote' all of the 'songs' on here and took care of all the arrangements. Their third LP, Mass in F Minor, resulted in a quasi-religious concept album of psychedelic versions of prayers; a definitively excessive period piece, its best song ("Kyrie Eleison") was lifted for the Easy Rider soundtrack. Top of the line 1^st original Japanese pressing, pressed on high quality vinyl. Price: 150 Euro

328. ELUARD, PAUL: “La Voix de Paul Eluard” (Le Chant du Monde – LD-S-6021) (Record: Mint/ Fragile Jacket: Mint). Comes in a jacket adorned with a design by Pablo Picasso. Original 1964 issue. Price: 30 Euro

332. ESCAPE aka BRUSH: “S/T” (Shadoks) (Record: Near Mint/ Jacket: Near Mint, still in shrink/ Booklet: Near Mint). Exact reissue on blue wax of a 2000$ plus psych artifact. Escape was the pre-Flied Egg group that was lead by Tanaka Masayoshi. However, foreign dealers and even Shadoks, the label responsible for this sadly illegal reissue (although very beautiful represented, a class act), referred to it as Brush, always mistake the group’s name. That aside, the reissue is really a nice piece of work, housed in a heavy cardboard jacket and comes with booklet. Escape is one of Japan’s most expensive vinyl artifacts and copies exchange hands for 2500 Euro minimum. So this reissue was certainly most welcome (numbered 350 copies only issue). The music on the other hand is just mind shatteringly great, filled with psychedelic fuzz and wah-wah attacks spiced up with colored mind-drops and lysergic sound clusters that are set against a heavy rocking background. Great Japanese heavy psych disc and comes highly recommended. Long gone and out of print. Price: 120 Euro

333. ENSEMBLE GUILLAUME DE MACHAUT DE PARIS: “Le Chant des Troubadours” (Arion – ARN-38503) (Record: Mint/ Gatefold Laminated Jacket with Record slide-in Pocket and attached Illustrated 8-Paged Booklet: Mint). Original 1979 French pressing, one of the hardest to track down “acid folk” albums to seep out of that country. Another hidden highlight in the list this time – brilliant acid folk record stooped in the tradition of troubadour music out of the 14^th century – the acid folk of that day. Probably the most cheerful and picturesque figures of the age of chivalry were these troubadours who operated mainly in southern France and northern Italy. There have been minstrels and strolling poets before and since them, from the time of Homer to something very like the present, but the troubadours are in many ways distinct. They were among the first indications of a return to culture and they bloomed like flowers in the midst of the darkness and ignorance of the Middle Ages, appearing first among the vine-clad hills and vales of lovely Provence in southern France. A hint of their charm lies in the very music of their name, which comes from the Provencal verb trobaire, to find or to invent, and refers to the finding of rhyme. They sang in the Provencal tongue, an ephemeral one founded on the decadent Latin, out of which grew the Italian, Spanish, French and Portuguese languages, not to mention the influence it exerted in the formation of English, Chaucer using the minstrel-songs as his first models. The troubadours occupied much the same position in France and the south of Europe. The era of the troubadour was comparatively short, scarcely three hundred years, in fact, from the beginning of the Eleventh Century to the close of the Thirteenth. This disc gives a nice insight into some of the songs and type of music they performed. Later in the 20^th Century, modern day practitioners such as Rosina de Peira rejuvenated the genre and the Acid Mothers Temple collective based an entire album upon the rich troubadour traditions of the Occitan region. Trouveres records are quite a hard catch these days, this one is the most perfect copy you will ever see. And to these ears the best executed in its genre. Highly recommended. Price: 80 Euro

334. ESPERANZA ENCANTADA: “S/T” (Certhon – CS-7016) (Record: Near Mint/ Jacket: Mint, still in shrink). Amazing little girls female vocal folk rock album that had my ears glued to my speakers. "Little known small label release of this incredible Psych LP led by two 13, 14 year old females and a young boy probably the same age. Beautiful Crystal clear emotional Teenage female vocals in Spanish and English with unknown professional backing band providing us with great heavy Fuzz on my all-time favorite version of "Gimme Shelter" and also on originals like "Manna" and "Sobbing Crowd”. Covers include the Beatles songs "Let It Be" and "Hey Jude" that are like nothing you have ever heard before. Also a great version of Tim Hardin's "If I were a carpenter". Remaining tracks are all original compositions by Al Klein." (Female vocals blogspot) and then this review from the Acid Archives: “Young Hispanic vocal group doing mixed English and Spanish language material, about half covers of the Beatles, Stones, and Tim Hardin. The rest is originals with crystal clear teenage female vocals. Highly rated by some. The trio is backed by a pick-up band who provide some fuzz on "Gimme shelter" among the folkrockers.” Awesome record that deserves a wider audience. Highest recommendation. Honey for your ears. Price: 80 Euro

336. EUN HEE: “S/T” (Jigu Records – JLS-120560) (Record: Mint/ Gatefold Jacket: Excellent). Original 1972 Korean pressing. Rarely surfaces in such nice nick. Great Korean female folk record recorded and released in May 1972. This was her 2^nd and best record she ever released. The whole albums dwells in some ethereal realms, dreamy and mellow, carried by Eun Hee’s soft-gliding female vocals, underscored with beautiful arrangements, full of and brimming over with subtle pastoral romance. Her voice is bewitchingly beautiful, making the music as a finished product to some unforgettable moments. Some other tracks are accompanied by male voice, giving Eun Hee’s escapades a nice counterweight as well as being backed up by some cheap organ lines that only add to the magical feel that oozes out of this disc. Great female Korean folk album, original 1972 pressing and in top condition. Highly recommended for female folk aficionados. Price: 85 Euro

337. EXPO ’70 with Tomita and members of Golden Cups, Helpful Soul, Ishikawa Akira & Count Buffalo, etc: “Multiplex Sounds For ‘Global Vision’ Toshiba Pavilion” (Toshiba/ Expo’70 – 3-TP-4) (33 1/3 RPM EP on red wax: Mint/ Gatefold Jacket: Mint/ Circular Insert: Mint). Damned bloody rare 1970 Japanese psych artifact. This jewel was given to the visitors of the Toshiba pavilion of the 1970 World Expo held in Osaka. Musically, it is a brain blower with amongst the practitioners composer Isao Tomita (who also directed the 2^nd Helpful Soul album), Helpful Soul’s acidic guitar player Chei Kohsei, vocals by the folk group Rokumonsen, percussion and keyboard riffage by Ishikawa Akira & His Group, Golden Cup’s Mickey Yoshino on the Hammond organ and Yohko Uehara manhandling the sitar amongst others.Musically speaking it is all over the place. Tomita opens up an organ drone that quickly melts into an orchestral sprint-time like piece, which in its turn mutates after few rotations into a folky summer strung-out medley. Relaxation sets in, you feel comfortable and just when you thought it was safe to close your eyes for a moment you get funked up with some electric Fender Rhodes piano noodlings cross-breeding with Tomita’s orchestrated demons, shattering quickly into a totally acid spiked heavy fuzzed out guitar freak out that interlocks with now a totally going AWOL fender Rhodes freak out. You are by now breathless, you need a break so the whole affair gets mixed into a spiritual hippie stoned vocal track…and yes sanity sets back in, the mellow meltdown of a late sixties vibe. You need this come-down, especially after those five days and nights brutal Vodka orgy that just flashed before your eyes in a mere span of this 1^st alienated mutation side of this EP…finally it ends and then “bam” it veers of again, fuzz freak outs interlocking with wild marimba improvisational interplay. Does this side ever stop?? It just seems to go on forever and ever. After having come this far, I think I better spare you the details of the B-side, a whole different affair but nevertheless equally jaw-dropping. Environmental sounds crossbreed with a lullaby, birds chirp away and on the yonder some shamanistic bell sounds start to appear, the wind picks up, a desert sand storm is heading your way…time do doge it, seek shelter within this dungeon of manipulated sounds and marimba noodlings while the waves crash on the shore around you. This is almost a spiritual sound art/ musique concrete affair, heavily pregnant with the influence of Takemitsu, wild horses and misconnected telephones ringing without a reason. It all makes way for sitar, finger cymbals and stoned hippie vibes lulling you into a transcendental state of mind. The drugs definitely kick in now, heaven within reach. But then the kamikaze bee swarm starts coming back at you, free falling funk harpsichord vibes cross-mutated with pumping basslines, kick ass rhythm sections, inviting you to join the funk fest unfolding before your eyes, lysergic acid guitar fuzz licks kick in, titties bounce freely around and the fender Rhodes organist starts ripping his kit apart, notes are in free-fall, the groove is thick as hot syrup and it all kicks ass in a delirious crystalline and soulful warm dance floor slippery kind of way. Fantastic vicious slide that literally bounces all over the place without ever being unhinges or sounding dull. This is swarmingly and scorchingly soulful dementia filled with lurching rhythms, corroded atmospheric snippets and lysergic heavy fuzzed out rock guitars. The 1970 expo was definitely the place to be! Price: 400 Euro

339. FAHEY, JOHN: “Blind Joe Death” (Takoma – K80P-4448) (Record: Near Mint/ Jacket: In Shrink). Limited reissue version of a couple of years back and out of print. Fahey’s first album, released in 1964 for the record label he co-founded, is a beautiful introduction to this incredible artist. Fahey originally put out this record privately in 1959. By the time of the Takoma release, Fahey’s picking had become cleaner and more assured and his compositions from ‘59 had new life breathed into them. Blind Joe Death remains a wonderful album and displays Fahey’s ability to re-interpret the blues and folk idioms prevalent at the time in his own inimitable style. Price: 25 Euro

340. FAHEY, JOHN & HIS ORCHESTRA: “Of Rivers and Religion” (Reprise Records – MS-2089) (Record: Excellent/ Gimmick Jacket: Excellent/ Imprinted Inner sleeve: Excellent). Original 1^st US pressing. “In the 1970s Fahey recorded three "John Fahey and his Orchestra" albums, and this is the first. But it's not an orchestra, that's just a little joke, it's a Dixieland jazz band plus some other assorted acoustic accompanists. Fahey fans are divided - some like the trad jazz tracks and some hate them. Fahey himself thought they were the greatest bunch of musicians he'd ever worked with. Anyhow, this album is a real mixed bag. "Steamboat" is a collection of lazy generic slide riffs, very pretty but nothing too challenging; the two medleys (guitar duets) are extremely dull; "Funeral Song" is a rerecording of an old fave from "Requia" and is great but unnecessary; "Lord Have Mercy" is full-on trad jazz and is tedious (sorry John); "Song" is a solo guitar meditation, that's okay - so that leaves only two gems - "Texas and Pacific" which is a trumpet led jazz tune, great melody, and the gradual increase of pace works like magic, and the heavenly "Dixie Pig", which must be in my top 5 Fahey tunes - on that one the dobro player gets the best bits. I think I'll have it played at my funeral service. There won't be a dry eye in the place. But, well, two out of seven ain't that good by anyone's reckoning.” (Paul Bryant). Price: 35 Euro

344. FAIRPORT CONVENTION: “S/T” (Polydor Japan – MP-2211) (Record: Mint/ Gatefold Jacket: Excellent ~ Near Mint, only slight defect is lower middle seam split/ OBI: MINT) Ok, pay attention, Japan 1^st original pressing, WHITE Polydor PROMO pressing, complete with Japan only Gatefold sleeve and NEVER SEEN BEFORE OBI!! Impossible to track down Japanese pressing with obi.. England's Fairport Convention were wielding West Coast harmonies long before any other European band. Released in 1968 and in 1970 in Japan, Fairport Convention's debut album owes more to the Byrds than to let's say Pentangle, since it is brimming over with soaring harmonies and psychedelic infested guitars. Recorded pre-Sandy Denny, Judy Dyble sang like a siren and then left to form Trader Horne. Among the other original material, some of it dating from Richard Thompson's previous band, is a fair smattering of well-chosen songs from contemporary performers. The disc shows the band in a very embryonic form although you can already hear the superlative musicianship that would characterize their glory years. The music is half group compositions and half cover versions of songs by Bob Dylan and Joni Mitchell among others. The band showed their characteristic good taste in their choice of cover versions, kicking off the album with a storming cover of Emitt Rhodes' “Time Will Show The Wiser”. This is one of the many highlight on the album such as the brilliant “Jack O' Diamonds”, an exceedingly pleasant “Chelsea Morning” and the Dylan pastiche “It's Alright Ma, It's Only Witchcraft”. Historically seen, the inclusion of Joni Mitchell covers is quite surprising seen that she was virtually unknown and unreleased on record in 1967 when this album was recorded and her own versions of the two songs here did not appear until her second album, Clouds, in 1969. The Fairports knew her as she had been in the UK at the invitation of their producer, Joe Boyd, and she had played some British dates supporting the Incredible String Band. In all, this debut album is just as magical as the rest of the output the band would become known for, be it that at this point in time they were more harmony and psychedelic tinted as opposed to the folk trademark sound they would become renowned for. Still, elements of things to come do resonate through this album, make no mistake and this LP is just one of the finest to seep out of the UK at that time. This copy here comes with hideously rare beyond belief obi in mint condition + on a white promotional Polydor label. Top condition, impossible to dig up these days with obi intact, so start trembling! Highest recommendation. Price: 600 Euro

347. FAIRPORT CONVENTION: “Liege & Lief” (Island Japan/ King Records – ICL-37) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 4-Page Insert: Mint). Rare original Japanese pressing on highly collectible Island label, complete with obi. Japanese Pink Rim Island copy!! Top Copy. Copies with obi – or even Japanese editions without obi – just do not surface on these shores and are extremely collectible due to the small number of copies actually sold at that time. Here you have an almost virginal copy. “In much the same way that punk rock was a lightning rod for militant, culturally disaffected kids in the mid-1970s, the folk boom of the 1960s attracted angry young men a decade earlier. Fired up by the Luddite rhetoric that would later inspire punks, new folk attempted to re-forge a music that spoke directly to the ordinary working man in the bedlam of the industrial age; a music that did away with the star system, that was emotionally honest and - most importantly - saw its lineage as stemming directly from its own backyard. Unlike The Stones and their ilk, salivating over the latest US blues imports, musicians such as bassist Ashley Hutchings, guitarist Richard Thompson and vocalist Sandy Denny looked to the pubs and villages of old England for the authentic voice of the underclass, tapping into a rich tradition of romantic balladry. Fairport Convention's masterful 1969 recording Liege And Lief was new electric folk's first real breakthrough. It is still an incredible document, where extended, epic jamming (with obvious nods to the sprawling west coast psychedelia of Jefferson Airplane in Thompson's absolutely stellar fretwork) meets with frail English traditionals, all lit up with plenty of magical midnight air thanks to Denny's bewitchingly beautiful vocals. While their raucous demolitions of folk standards such as Matty Groves and Tam Lin are uniformly exhilarating, it is Thompson's Farewell, Farewell that really steals the show. It may just be the most heartbreaking song of remembrance ever written.” (David Keenan for the Sunday Herald, 2001). I guess that you can catch the drift, just indispensable and if you have to won only one single folk rock album, be sure to make it this one. Japanese original pressing on the Pink Rim Island label. Original Japanese pressings with obi intact are these days rarer than gold dust, so ya have a steal here, total mint condition. Comes with 4-page insert. Massive. Price: 350 Euro

349. FAMILY UNDERGROUND: (Qbico- Qbico-29) (Picture disc: Mint) "The latest offering from art label Qbico is this beautifully simple black and white picture disc from Danish Improv drone orchestra Family Underground. A companion piece to Double Leopards' Urban Concussion pic disk, also on Qbico, Ancient Shadows is equally thrilling and addictive, softly luring you into a pit of undulating drone, electric guitar flutter, scraped percussion and phantom vocalising. Family Underground create a whirling wall of sound, continually pulled down and rebuilt as their improvisations become more confident and detailed. Threaded though with feedback interludes, guitars furiously grind away or scrabble around like mice in an attic as the all-powerful drone anchors the swaying composition, keeping it from drifting off into deep space." (Edwin Pouncey). Popular by some, redeemed by others, Family Underground hovers in between both ends of the equation. Either way some of you won't care about trivial stuff like that since the scarcity and the out of print status of the disc alone are reasons enough to jump head first into these murky waters. …beautiful picture discs though. Price: 50 Euro

350. FAR EAST FAMILY BAND: “The Cave Down To the Earth” (Mu land – CD-7139-M9 (Record: Excellent ~ Near Mint/ Gimmick cut-out jacket: Mint/ Gimmick inner sleeve: Mint/ Liner notes: Mint) First original press complete with gimmick cut out jacket and the always missing obi, just top copy!!! Released in 1975. Beautiful copy of post-Far Out band the Far East Family Band. This was their debut release and without a single doubt their best effort, millions of times greater than the “Tenkujin” and “Parallel Worlds” albums. Pink Floyd inspired astral plane psychedelic excursions that will provide excellent support for those autumn mushroom head-trips. Price: 70 Euro

351. FARREN, MICK: “Mona – Carnivorous Circus” (Transatlantic – TRA-212) (Record: VG++, quite some scuffs, plays EX/ Jacket Excellent). 1^st solo effort by former Deviants front man, evaporating completely into a biker infested drugged out psychedelic masterpiece. Original pressing, has some scuffs so 50% cheaper than a mint copy. Still plays EX all way through. This disc ruled my teenage years, smoking sacred herbs and chewing mushrooms while Farren belched out his amphetamine deranged psychotic reactions. Those were the days…A classic. Price: 80 Euro

352. FAUST: “Faust IV” (Virgin – N840.019) (Record: VG++/ Jacket: VG++, has some spine and edge wear). Original French pressing, comes with the “Faust IV – German Rock Und Roll” sticker on cover. MONO pressing. Cheap good copy of this classic slide. Price: 25 Euro

353. FAUST: “The Faust Tapes” (Virgin – VC-501) (Record: Excellent/ Jacket: Excellent). Original UK pressing. Classic mind bending slide that needs no introduction. Price: 40 Euro

354. FAUST: “So Far” (Recommended Records – 1979) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint/ All 9 Picture Inserts: Mint/ Inserts Outer Bag: Mint). Complete copy of this 2^nd UK pressing out of 1979. Another vital injection into the Faust sage. SOLD

355. FEATHER DA GAMBA: “Like It Or Get Bent” (Private – DG-7743) (Record: Near Mint/ Paste on Jacket: Mint). Top copy original private pressing. Lo-fi basement dwelling rock obscurity covering an eclectic field similar to Ant Trip Ceremony late-night druggy haze and a cellar prevailing Stone Harbour on downers. Beautiful original copy of this unique stoned swampy Louisiana basement rock album, whose intimate atmosphere is not fully captured on the murky-sounding reissue that came out on Void a while back (neither did the reissue’s jacket that came off as plain looking, cheap and unappealing). For those who care about it, Feather Da Gamba was listed with 5 discs for value in 2001 Record Collector Dreams. Some years ago, a few original copies were excavated but they all – like most copies- suffered from H2O damage due to a flood, but this one shows no traces of that and is super clean. If you have to be critical, one can say there's minimal age hazing to the vinyl but that is about is, a common feature with privately pressed records that appeared in minuscule runs. Apart from that, mint as a newborn baby. No wear and no pressing defects, one of the best copies ever offered openly. Killer slide and unlikely to turn up again in such pristine condition as this one here. SOLD

358. FELA ANIKULAPO KUTI & AFRICA 70 ORGANIZATION: “Zombie” (Mercury Japan – RJ-7395) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). “Fela Kuti of Nigeria is the most dangerous musician in the world. For two decades, Fela has lived by the motto music is the weapon of the future, recording a half dozen albums each year that document the corruption and inhumanity of the Nigerian government. Writing, producing and arranging his own recordings, in addition to singing and playing saxophone and keyboards, he invented a hybrid of African and American styles dubbed Afro-Beat. The centerpiece of “Zombie” is the contemptuous title track, perhaps Fela’s most infamous recording. Taunting mindless authoritarianism ("Zombie no kill unless you tell him to kill"), it earned Fela a beating at the hands of Nigerian soldiers soon after its 1976 release (they burned his house down the next year). The frantic horn arrangement demonstrates how Afro-Beat incorporates soul, swing and free jazz, and Fela plays the organ like Booker T. trying to knock down the walls of Jericho.” (Rob Tannenbaum). Mesmerizing downbeats and single-minded grooves suck you in and suddenly the vibrant groove will grow more and more intense, militant and hypnotic, strong enough to raise the undead. Allen’s drumming is funky, the beat down tempo and the final effect devastating. Definitely Fela’s finest hour reminiscent to Miles Davis intoxicating mid-seventies whirlwind never-ending swings. A beast!! SOLD

359. FELA ANIKULAPO KUTI & THE AFRIKA 70: “Afro-Beat” (London – GXH-1049) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1978 Japanese pressing complete with obi. Great Fela Kuti disc, consisting out of 2 side long compositions brimming over with propulsive, hard-hitting African rhythms, funky as hell bass lines, jazz-influenced improvisational hoedowns and chanted call and response songs. The ideal music to form the soundtrack to his gloriously hedonistic lifestyle, political provocations and law-denouncing activities. The music became quickly known under the term Afrobeat!, a music poignant and sharp as a machete but also bursting over with a infectious joie de vivre. Brilliant all way round and impossible hard to get original Japanese pressings of this masterpiece. Grrrreaaaatttttt!!!!! Price: 40 Euro

360. FELA ANIKULAPO KUTI & THE AFRIKA 70: “Yellow Fever” (London – GXH-1055) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1979 Japanese pressing complete with obi. “Yellow Fever” opens with a couple of measures of guitar and bass interplay that sets up the standard funk-jazz vamp that will prod the entire length. The horn solos are reaching, explosive, and (though the word is overused) funky. Fred Wesley and Maceo Parker have some tough competition here, as these guys are unwielding in their voice. After eight minutes of instrumental eminence, Fela makes his own voice heard and gets to the meat of his product. The words speak of the strange practice of Africans lightening their skin -- this idea just doesn't jive with Fela's strong pan-African sentiments. As he gets progressively worked up, the choir responds to him exemplifying the idea and the vibe. Once Fella feels he's got his point across, he just lets the musicians have their fun until the end of this 15-minute rollick. An unbelievable and hard-hitting groove opens up "Na Poi" and slams in with absolute genius. This is actually another version of the same song from 1972. "Na Poi," banned by the Nigerian Broadcasting Company due to its sexual content, makes one wonder -- what was really going on in the Kalakuta Republic (his walled-in residence)? The instrumentation of "Na Poi" that began as genius settles into the familiar and works itself out until, once again, Fela decides to get down and literally dirty. This is an entertaining piece, but it doesn't really hold up to the rest of his material. (All Music Guide). Excellent disc, stellar even, stupefying….originally released in 1976, this is the original 1978 Japanese press. Hardly ever turns up, especially in such virginal condition as this one here. Brilliant all way through. Price: 40 Euro

361. FERRARI, LUC: “Presque Rien” (INA GRM – No.9104fe) (Record: Near Mint/ Foldout Jacket: Mint) Rarest INAGRM title and seemingly on everyone’s want list these days. Subliminal and all time classic electronic music/musique concrete/ filed recordings classic released in 1980 on the highly collectable INA GRM label. I have a problem of cataloguing this disc since it adheres simultaneously to the three styles mentioned here above. In short it is a kind of musical photography, in which unassuming ambient sounds of a small village in Yugoslavia, recorded throughout a long day, are telescoped by means of seamless dissolves into a 21-minute narrative in which no apparent “musical” sounds are included. A sound diary that includes the sounds of insects and other animals, traffic, and human voices. Ferrari referred to this genre of his work, characterized by the use of sounds to tell a story, as 'anecdotal music'. In his words, "The problem is to try to express ideas, feelings, passing intuitions by different means to observe everyday life in all its realities, whether they are social, psychological or sentimental." One of the finest titles on the legendary and highly collectable INA GRM label. Price: 175 Euro

363. FERRARI, LUC: “Und So Weiter – Music Promenade” (Wergo – WER-60-046) (Record: Near Mint/ Jacket: Mint). Similar in execution to his other masterpiece on INA GRM label being “Presque Rien”. Subliminal and all time classic electronic music/musique concrete/ field recordings classic released in 1980 on the highly collectable Wergo label. The composition “Und so weiter” was commissioned by Radio Bremen, Musika Viva (1966) and released in Paris at the Groupe de Recherches Musicales studio, recorded Aug. 1967 with Gérard Frémy, piano, making it a work for piano and magnetic tape. “Music promenade”, was recorded Aug. 1969 and it is a stereo mix from the four tracks version of the original sound installation. I have a problem of cataloguing this disc since it adheres simultaneously to the three styles mentioned here above. In short it is a kind of musical photography, in which unassuming ambient sounds recorded throughout a long day, are telescoped by means of seamless dissolves into a side-long narrative in which no apparent “musical” sounds are included. A sound diary that includes the sounds of insects and other animals, traffic, and human voices. Ferrari referred to this genre of his work, characterized by the use of sounds to tell a story, as 'anecdotal music'. In his words, "The problem is to try to express ideas, feelings, passing intuitions by different means to observe everyday life in all its realities, whether they are social, psychological or sentiment . Originally it was an installation, not at all something which had to be twenty minutes long. It was for four tape recorders playing non-stop, four times twenty minutes' worth of sounds, which get out of sync as the machines finish and rewind, creating a kind of permanent environment. But it was difficult to realize-installations weren't in at that time!-it was hard finding four tape recorders, eight loudspeakers, mixing desk and what have you... So the record label Wergo asked me to mix it down. al." One of the finest titles on the legendary and highly collectable Wergo label. This IS just one of the greatest electro-acoustic works put down to wax. Price: 100 Euro

366. FINN, SIMON: “Pass The Distance” (Mushroom – 100MR2) (Record: Near Mint/ Jacket: Excellent, has some ring wear from storage/ Insert: Excellent). Original 1970 UK pressing. The music can be best described as "apocalyptic folk", in the vein of the second Bill Fay LP. Simon Finn's sole recorded album originally released on the UK Mushroom label in 1970 and withdrawn shortly after its release is as influential as recently rediscovered obscurities such as Comus, The Trees and Jan Dukes de Grey. To name but a few. Personally, Simon Finn's album is a unique album, be it for its unorthodox musical content, and for its rarity. Just like Bill Fay's output, “Pass the Distance” simply evades any easy categorization. The music is filled with melancholy, doom-laden prophesying (just like Fay), but on tracks like "Jerusalem" and "Big White Car," Finn enters uncharted waters of an unequalled vocal rage, madness and hysteria in an attempt to avenge deities and unleashing a never before encountered ethereal wrath, all combined with primitive but poignant acoustic backing that were contributed by the young multi-instrumentalist David Toop. Toop and percussionist Paul Burwell were given free reign in order to extrapolate on Finn's songs as a blank slate for experimentation and improvisation. It resulted in a free from constraints, anarchic and nihilistic setting for Simon Finn's songs to take shape unto. Mandolin and harmonium lines that defied and neglected any melodic concerns are all over the place, only attributing to the already apocalyptic atmosphere to hover over the session. Add to that the use or misuse of heavy echo, stereo fading and phasing and you get a totally dislocated sense for structure, song which only alters the tension and greatness of the music that resulted out of it all. Just murderously beautiful and one of the best folk albums to seep out of the UK . SOLD

368. FISCHER, MARTIN aka MARTIN SCHWARZENLANDER: “S/T” (Arcana – 90287) (Record: Mint/ Jacket: Mint/ Booklet: Mint). Another totally obscure electronic music gem. I do not know what causes some electronic music records to crack up my skull like an Easter egg but I guess it is caused by the tonal colors excreted out of the Ghent IPEM Studio. Martin Schwarzenlander or Fischer as he likes to call himself (after adopting the name of his wife following his marriage to her) emerged out of the complete darkness; blind sighted me from out of a side alley and jumped on me completely by surprise. So who was this bloke? Well there ain’t a lot of info floating around on this great Austrian electro-acoustic composer apart from the little info I could piece together from this privately released Magnus Opus. Formerly a student of Stockhausen, Martin left Austria and went on the road, probably hiked is way to Belgium where he arrived in the mid-eighties, at the height of the country’s political left wing upheaval around nuclear warheads the US army intended to install there. Martin, still brimming over with a latent doped up sixties hippy idealism joined the low country counter cultural movement, belching out his disgust with the rise of neo-fascism and the new wake of US imposed militarism, all set against a background of the ever-present communal troubles between Flemish/ Walloon and German factions to make up Belgium. And Martin fitted right in, enlisted himself at the IPEM Studios in Ghent and began carving out some proto-punk idealistic spiked up electro-acoustic and musique concrete works, enriched with sound bites from demonstrations, political statements, spliced tape, white noise, magnetic tape manipulation, sound poetry and other lysergically deranged sound sources. It all boiled down into his own idiosyncratic maelstrom and presented here with 3 of his greatest works: "Warum sollte ich wohl? Ein Elektroakustiches Manifest gegen die Phallokratie" (realized at the G.M.E.M. studios in Bourges, 1987), "Nicht ein wassertropfen fehlt dem Meer"(realized at the Institute for Psychoacoustic and Electronic Music IPEM in Gent, Belgium, 1984) and "Unrecht in meinem Bad" (realized also at the IPEM, 1980). His 3 pieces create a unique style of magnetic tape manipulation and sound poetry, some of the best stuff in the field I’ve ever heard!! Politically charged, fueled up with cut-up voices, swirling vortex-like black hole electronic dementia, looped-out drones, voices popping up and fading away from out of the weirdest angles, news-flash snippets from the Belgian radio and TV blurb through the electronically charged fog, clogging up the ether like shortwave radio inspired coded messages that are spiced up with voices of varying pitch and intonation. It all gets charged with static and other noises floating in and around the sounds of these politically inspired voices and sonic rumble. The static electro-acoustic debris is to some extent obscuring these voices and messages that it often takes several listens before you can discern which language the voice is speaking or what it is trying to convey. It all gets refueled with Martin’s obsession for distortion, aberration, and sheer noise. A lot of electronic music, in fact, can be read as an elaborate attempt to give shape and purpose to random electro-acoustic charged noise and tape manipulation: to turn static into a signal, but to these ears only Martin succeeds in it with flying honors, he just sounds like no one else. Comes together with 12" booklet providing all the quotes you'll listen on the album in writing. Freakingly obscure electronic music private pressing, probably released in a tiny edition of 250 copies or so. To these ears, simple one of the greatest electric acoustic works ever to have been put down on wax. The best ever!!!! Price: 150 Euro

370. FLOWER TRAVELLIN' BAND: “Anywhere” (Philips – FX-8507) (Record: Excellent ~ Near Mint, has one hairline that is inaudible, for the rest perfect as can be/ Gatefold Jacket: Near Mint/ Insert: Mint). First Original pressing of this subliminal album. Original copies are just a bitch to dig up and just do not surface here anymore. They are as rare as a hen’s teeth. So here you have a top copy, only the gatefold jacket has some aging stains from shelving. As far as the music goes, allow me to use the words of the good people over at Aquarius Records to do the talking since they just could cut it with enough passion and love for this beast. “Along with a great take on "House Of The Rising Sun", this album also explicitly demonstrates, via covers, these Japanese freaks' radical recognition of the genius of two of their Western contemporaries, Black Sabbath and King Crimson. Like many other great artists, with humble beginnings Japan's Flower Travellin' Band cut their teeth on the material of their mentors. Though Anywhere is primarily a covers album, it's also quite a testament to both the band's veracity in their reproductions and their creativity in realigning the building blocks of rock & roll. Their cover of Black Sabbath's self-titled track was actually recorded in the same year as the original and their version of King Crimson's "21st Century Schizoid Man" only a year after its release. And they aren't merely content to play only the "Schizoid Man" opening riff, like so many other bands that have attempted to cover it, but take on the entire piece in all its schizophrenic freaked out glory, getting waaay into the improv element of the mid-section. The same is true for "Black Sabbath" and you have to appreciate singer Joe's take on the unique Ozzy voice. The most interesting track on the record though has to be their attempt at straight-up blues rock -- while their "Louisiana Blues" starts and finishes almost pedestrianly enough on the "Minglewood Blues" riff by Gus Cannon that was popularized in the rock scene by the likes of The Grateful Dead and Captain Beefheart, the interior of the song is a complete departure of sorts. Not only devoid of the original progression, it's not even "bluesy" at all. Here in the extended jam that makes up the meat of this musical sandwich, the Flower Travellin' Band's Eastern roots surface a bit. It's a precursor to the sound of their later albums Satori and Made In Japan.” (AQ) Just an essential – if not one of the single most essential Japanese psyched out rock artifacts of all time. Hideously rare 1^st original pressing. Rare as HELL freezing over on a hot summer day. Highest recommendation. SOLD

371. FLOWER TRAVELLIN’ BAND: “Satori” (Atlantic – P-8056A) (Record: Mint/ Gatefold Jacket: Near Mint / Obi: Mint/ Insert: Mint). TRUE ORIGINAL 1^st PRESSING, not the 2^nd pressing you are lead to believe is a 1^st press on e-bay and such. 1^st original pressing has 2000 Yen written on obi and back jacket. Second pressing has 2300 yen listed on obi & jacket. (1^st and 2^nd pressings have the same catalogue number but different price tag on obi & jacket. 2300-yen version came out a year later as opposed to the 1^st 2000-yen issue). And to make this baby even more mouth-wateringly rare is that this is the BLUE label PROMO issue that – as opposed to the regular issues – has a slightly different mix/ sound, making it sound more open and filled with depth as opposed to the regular issue. Never seen a true 1^st press blue label promo copy up for sale so far (never seen a true 1^st press on e-bay ever, let alone the blue label promo issue which predates the regular versions). This baby appears to be Unplayed has not even a single spindle mark. So without a doubt the best copy around and next to the Flower obi one, the rarest version – if not the rarest – version of FTB’s “Satori”. Top copy with always missing OBI and insert!! So go figure, just impossible to score and I doubt you have ever seen one like this. Mercurial second album by Japan’s best known seventies rock outfit. The record itself is an all time classic psychedelic masterpiece, maybe the band’s greatest output they have released during their lifetime. Original 1971 1^st pressing complete with 1^st issue obi marked at 2000 Yen and predating the 1^st issue regular copies as this is the Blue label promo issue of which only a handful of copies seem to exist. Satori is the band's second and arguably best album, alongside their debut “Anywhere”. Amazing top-level copy with all complete, obi and record are like new. Just a hyper rarity few of you out there even knew existed. Price: 550 Euro

372. FLOWER TRAVELLIN’ BAND: “Satori” (Atlantic – P-8056A) (Record: Excellent/ Gatefold Jacket: Excellent ~ Near Mint, some mild ageing spots on back/ Obi: Mint/ Insert: Mint). Top copy with always missing OBI and insert!! Much in demand recently, which had as result that copies are hard to come by here in Japan. Mercurial second album by Japan’s best known seventies rock outfit. The record itself is an all time classic psychedelic masterpiece, maybe the band’s greatest output they have released during their lifetime. Original 1971 pressing complete with 1^st issue obi, Satori is the band's second and arguably best album, alongside their debut “Anywhere”. Amazing top level copy with all completle, obi and record are like new. SOLD

373. FLOWER TRAVELLING BAND: “Made in Japan” (Record: Near Mint/ Box: Mint/ Obi: Mint/ Inserts: Mint). Totally mint copy of this box. Looks like the disc has been stored away since the day it came out. Everything is totally mint here, disc, inserts, box, obi, and newspaper. In most cases, the obi is always missing and the newspaper is shredded to pieces. This copy is MINT ALL THE WAY, making it a true rarity. A cleaner or better copy does simply not exist. Record is housed in a beautiful carton container. The music of the Flower Travelling Band can be roughly described as follows: “stellar '70s Japanese heavy psych rock outfit. This is an album that is not celebrated nearly enough -- possibly out of misguided notions of their being another bad psych knock-off among the many crowding the record racks in the early seventies. But Japan’s Flower Traveling Band were no mere cheesy imitators of occidental rock 'n roll, they were in actual fact a full-fledged, pioneering tour de force of psychedelic progressive hard rock, equaling the krautrock heavies of the era. FTB can be compared favorably to Amon Duul’s better efforts with their experimental meandering and the best trancey space-outs from Can. Yet there’s never a sense that FTB lose track of their compositions no matter how far out they take a track. Perhaps because even more than these experimental Krautrockers, FTB’s heavy (fucking ominously heavy) sound points to a major Sabbath, Purple, and Crimson influence. Those who couldn't get enough of FTB’s Satori will be pleased to know that their follow-up, third release Made In Japan is nearly every bit as good. Singer Joe’s voice still rings in the creepy falsetto style like Alan Bishop of the Sun City Girls singing balls out heavy metal vocals. As with their previous album, “Made In Japan” continued to fuse the heavy rock of early Sabbath with Eastern melodies. “Heaven And Hell”, the penultimate track here, is as pure a channeling of Jimi Hendrix as anything. The mellow closing track “That's All”, with its koto glissandi, parallels “Part V” on Satori and like that track, it's perhaps the most overtly Eastern in tone. But it's Joe’s vocal line that really kicks ass. At the end of the chorus he adds a little cadenza to his howl, extending the vocal line just beyond where one’s intuitively expecting a cadence.” Excellent to the point description by the folks at Aquarius Records. Mint condition all the way, so a real bargain I think. Probably one of the best copies in existence and I am not exaggerating one tiny bit. …. Price: 200 Euro

374. FLOWER TRAVELING BAND: “Make UP” (Atlantic K-5501-2A) (2 LP Record Set: Near Mint/ Gatefold Jacket: Mint/ Obi: Mint/ Insert: Mint) Top-notch copy of the Flower Travellin’ Band’s 1973 double album, this being the 2^nd press with obi. Overall in excellent to near mint condition. The music I think needs no introduction and is comprised here of 2 sides live material and 2 sides studio material. Again Joey and the boys go berserk over psyched out Deep Purple-ian riffs, acidic guitar licks, vicious leads, wailing vocals that would do the Sun City Girls proud. In other words an acid psych masterpiece. Recommended for all you psych heads out there, act now because a more prefect copy will never cross your path, since this one is just excellent and highly collectible. Comes dead cheap. Price: 60 Euro

376. FLUENCE (PASCAL COMELADE): “S/T” (Pole – pole-0008) (Record: Excellent/ Jacket: Excellent). Brilliant French spacey psychedelic disc in the vein of Heldon. Original 1975 French pressing on Pole Records. Balancing in between progressive and minimal electronic experimental vibes, Comlade succeeded in creating one fantastic album that is sadly enough overlooked by many and is desperately in need for mass-appreciation. Joining the Fluence line-up is Heldon and Lard Free kingpin Richard Pinhas coloring the whole into a vaguely oriental inspired minimal psychedelic drone record with rich cyclical electronic undertones that could even be inspired by Terry Riley. Not unlike the vibe of Heldon, Comlade’s Fluence is cyclic electronics with guitar on top except that Comelade's methods have a much softer meditative approach to them than Heldon’s or Pinhas' solo work. If you like Heldon, then this LP is just indispenable. Highly recommended. Price: 75 Euro

377. FLUXUS ANTHOLOGY: “with Walter Marchetti, Juan Hidalgo, LaMonte Young, Ben Vautier, Wolf Vostell, Milan Knizak, Robert Filliou, Alison Knowles, Emmett Williams, John Cage, Joseph Beuys, Yoko Ono, Dick Higgins, Philip Corner, Eric Andersen, Robert Watts, Nam June Paik & Ken Friedman” (Recorthings 1989) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Excellent). Finally, a TRUE 1^st PRESSING!! Rare 1^st original edition of 1989, not the common second rate reissue that is doing the rounds. Comes with imprinted inner sleeve that contains linernotes and graphic designs that on the bootleg version of this LP became partially displayed on the inside of the gatefold. This here is the 1^st and only original pressing, housed in single sleeve. Top-notch copy, 1^st press copies hardly surface these days. Indispensable Fluxus document. Price: 175 Euro

378. F.M.T: “You Got A Freedom” (ALM Records – UR-1) (Record: Mint/ Jacket: Mint/ Obi: Mint). Copy with the always-elusive obi, released by the legendary Kojima label back in 1979 and the 1^st release in ALM’s newly erected side label Uranoia. This sucker does never surface and comes with the rare obi. F.M.T. was in a way a kind of free jazz super group that roamed the Tokyo underbelly during the hedonist late 1970s. The line-up consisted out of the following all stars trio: Fujikawa Yoshiaki (sax, fl, etc); Midorikawa Keiki (cello etc) and Toyozumi Yoshisaburo (ds, perc, etc). Together they create heavy fire breathing interaction Recorded on 27, 28 June 1978 at Tachikawa, Shakai-Kyoiku Kaikan. The group's acronym was taken from the first letters of the members' surnames (Fujikawa, Midorikawa, Toyozumi), but it also stood for Free Music Trio. Following the recording the group also incinerated a crowd of 5000 people at their first and sole foreign life performance that took place at the German Moers jazz festival. The cover is graced by beautiful design drown out by Akio Suzuki, completed by liner notes by Japan’s number one free jazz scholar Teruto Soejima. The music on the other hand leaves nothing to the imagination; it is violent and furious as a hot tropical typhoon ripping through the coastal villages, leveling all in its path. Right from the start the disc throws you head on first into a titanic clash of the three members, spinning right away out of control into a brain-erasing whirlpool of classic liberating universal consciousness style freak-out that references fire music coupled to an approach of interaction that throws out notes and licks in favor of devouring and detonating time. The trio is in phenomenal form, riding simultaneous waves of omni-directional rhythm and breath with classic New Directions meets sound art improve noodling-style ferocity and dipping in and out of minimalist improvisational interaction source material infused with all of the modernist rigor of Mototeru Takagi, Abe Kaoru and a whiff of Milford Graves.. Their approach to improvised phonetics is as aggressively articulate as meticulously carved out while balancing on a tightrope of fragile interplay and communal freak out to fully develop the aesthetics of freedom. Truly an astonishing disc, insanely rare these days, especially in such a nice condition as this one here with obi intact. Essential. Price: 300 Euro

379. FOLKE RABE/ BO ANDERS PERSSON: “What?” (Wergo – WER-60-047) (Record: Near Mint/ Jacket: Excellent/ 4 paged Insert: Mint). A classic of minimal music is this LP What??, regarded as one of the groundbreaking works of its genre, and though many works utilizing extended timbres and drones have appeared since, this particular piece retains a very special place of artistic originality and hallucinatory sonic illusions, placing it in a quality of its own. Bo Anders Person, the main man in cult Swedish psychedelic groups such as Parson Sound and the first incarnation of Trad, Gras Och Stenar and Harvester shows up here on an LP with his text sound/electronic/hypnotic work Proteinimperalism (1967). On the other side of the LP Swedish composer Folke Rabe who was responsible for bringing Riley to Sweden after seeing him in the US, laid down the hypnotic electronic piece What?? (1967). The LP stated that Swedish Radio in Stockholm commissioned both compositions. In the end and in retrospect one can be very bold in stating that this disc is just an amazing artifact. Avant-garde composer’s Folke Rabe's What?? Can easily be considered as one of the groundbreaking electronic works in its genre. The whole affair was recorded and conceived in an utterly primitive, analog studio. History has it that Folke Rabe’s 25-minute piece was first unveiled in 1967 as part of a collective performance by Rabe and fellow sound artists Jan Bark and Trad, Gras & Stenar's Bo Anders Persson. Conceived out of electronically generated tones, each participating tone has been treated to sound fuller and richer and by doing so generating hypnotic qualities of pulsating electronic drones. It is a deep listening affair as the drones and timbres slowly shift and meander, making for one of the most minimal yet psychedelic and hallucinatory pieces of music ever made. Just stunning and totally indispensable. Hardly turns up and this is a top-notch copy. Price: 200 Euro

380. FONTAINE, BRIGITTE: “Comme a la Radio” (Columbia – YS-2600-SH) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 4-Paged Insert: Near Mint) Hyper rare 1^st edition Japanese press with bloody obi of this stellar Brigitte Fontaine slide where she gets flanked by the Art Ensemble of Chicago. Comes with liner notes by the legendary writer, critique and enfant terrible Akira Aida. First original and hyper rare Japanese press from 1973 in immaculate condition. Pressed on audiophile high quality vinyl that serves the music as no other. This is an amazing collaboration between two totally incredible musical explorers; French chanteuse Brigitte Fontaine (with percussionist partner Areski) and avant-jazz greats Art Ensemble of Chicago, recorded during the Art Ensemble's stay in Paris in 1969. Though coming from very different backgrounds, each artist's idiosyncratic approach, commitment to experimentation, disregard for genre boundaries, and keen sense for improvisation and working collaboratively yields an album that pushes each performer to new heights. The blend of Fontaine's vocals, Areski's understated percussion, and the Art Ensemble's horns is really seamless, evoking the mysterious, intriguing sounds of lounge jazz in a dada cafe, or, well, an intellectual French chanteuse melding avant-folk with free jazz, which is exactly what it is. Brigitte Fontaine is becoming more and more cemented as one of my absolute favorite artists ever. So great, so recommended!. 1^st issue Japanese pressings with obi just do not surface anymore. Top condition.SOLD

381. FONTAINE BRIGITTE: “L’Incendie” (Japan BYG – YX- 8010) (Record: Near Mint/ Fold Out Jacket: Near Mint/ 4 paged Insert: Near Mint/ Obi: Mint) Quite rare original Japanese pressing, complete with always missing obi. L’Incendie was the first ever collaboration on disc between Fontaine and Areski and as a duo they strung together a lysergic gem that moves through the sounds of gorgeous psychedelic acid folk, string and organ-backed polyphonic liturgical-style chants that advocate power to the people, medieval troubadour stylings, buzz-humming outward bound poetics, spoken word dementia, dislocated improvisational aesthetics, all intertwined with angelic vocals, weird spoken word intermezzo’s, pastoral “dejeuner sur l’herbe” laid back atmospherics that get spiced up with anti-bourgeois and inflamed revolutionary mumbo jumbo. Fontaine breathes out a relocated late-night kind of dada futurism border lining between seductive qualities and drowsed beatnik aspirations, while all the time balancing perfectly between a vast array styles. Just hauntingly beautiful and if acid folk needs a face to stick to the genre, hers would be it. A joyful and brain expanding listening experience. Released in 1971, this is the original Japanese pressing on high quality vinyl and comes with insert. Impossibly rare these days Japanese originals. Accept no substitutes. SOLD

382. FONTAINE, BRIGITTE: “3” (Saravah/ Nippon Columbia – YS-2731-SH) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ 12-Paged Illustrated Booklet: Near Mint) Scarce Japanese original pressing out of September 1972 in top notch condition. Comes with always missing obi and 12 paged booklet. This was Fontaine’s third album released on Saravah and produced by Pierre Barouh and flanked by a stellar cast that included Areski, Georges Arvanitas, Jaques Higelin, Phillipe Mate amongst others. “This self-titled LP is a more successful and listenable bridge between her pop and experimental impulses. For one thing, Areski only co-wrote a couple of these tunes and is not often heard on vocals. More importantly, the content is less jarring and more appealing, though equally eclectic. "Brigitte" has the sort of jazz-pop-makeout music mix that will entice fans of Francoise Hardy's 1971 album La Question. "L'Auberge," by contrast, could pass muster on a classical LP, sounding like a pious church hymn. Most of the material falls between these two poles, including some spoken poetry and pieces on which Fontaine is backed by little more than African-sounding drums. It's worth checking out for fans of fractured '70s art-pop with progressive and jazz influences.” (Richie Unterberger, All Music Guide). A classic album out or early seventies France that successfully blends avant-garde tendencies with psychedelic folk moves, intoxicating female vocals and a fragrance of pop, in short a masterpiece. Rare original 1972 Japanese pressing with all intact and present. So goooood. SOLD

386. FOOD BRAIN: “Bansan – Social Gathering” (Polydor - PLP-7608/P-Vine) (Record: Mint/ Jacket: Mint/ Insert: Mint). Comes with obi and insert. This is an exact duplicate of the original disc that came out on Polydor in October 1970 and was legally reissued by P-Vine in 1999 in an edition of 500 copies. Everything to this disc is identical to the original, even the labels. Pressed on heavy duty vinyl and housed in a heavy fold out thick as wood carton sleeve, it will come as no surprise that these babies sold out quickly when they were released upon an unsuspecting crowd in 1999. Also known under the title "Social Gathering", "Bansan" was Food Brain's sole recorded output. This is partly due to the fact that Food Brain was but a mere session group, erected out of the crème of the crème of the early seventies Japanese psychedelic underground scene. The line-up is just mouth watering and consisted out of Shinki Chen of Speed Glue and Shinki on guitar, Yanagida Hiro of Apryl Fool on organ, Kabe Masayoshi of Apryl Fool and Golden Cups on bass and ex-Jacks drummer Tsunoda Hiro. The music is a great jam session with wailing organ riffs, sneering acidic guitar insertions, blood clotting pounding bass lines and vicious snare drum insertions. Some free jazz like clarinet insertions also pop up un this all time Japanese psych mayhem disc, due to the courtesy of Kimura Michihiro. A real psychedelic, free improvisation and progressive masterpiece. Legendary to say the least. Completely vanished so here is your chance to obtain a great and superb copy of this all time jaw-dropping classic. Mint all the way. Price: 60 Euro

389. The FREDERIC: “Phases And Faces” (Forte Records – 80461) (Record: Near Mint/ Jacket: Near Mint). Top-notch 1^st original pressing of this eye-wateringly beautiful dreamy folk/ psych album. The Frederic heralded out of Michigan and on their sole recorded album they created some of the most beautiful earcandy, truly awesome popish songwriting dominated by dreamy harmony vocals and interlaced with wicked fuzzy leads scattered through the hazy late summer atmosphere. In all a solid masterpiece, quite diverse in its totality and leaning strongly towards fuzz-incited garage rock. In all very impressive album, especially seen the fact that it was released on such a minor and small label. Just listening to this, you feel like being in the presence of pure greatness. Total awe-inspiring and salivatingly astonishing teenage mystique. Price: Offers

391. FRIPP & ENO: “No Pussyfooting” (Polydor Japan – MPF-1218) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). “At the same time Brain Eno was working on “Here Come The Warm Jets”, he was flexing his experimental muscle with this album of tape delay manipulation recorded with Robert Fripp. In a system later to be dubbed Frippertronics, Eno and Fripp set up two reel-to-reel tape decks that would allow audio elements to be added to a continuing tape loop, building up a dense layer of sound that slowly decayed as it turned around and around the deck's playback head. Fripp later soloed on top of this. No Pussyfooting represents the duo's initial experiments with this system, a side each. "Heavenly Music Corporation" demonstrates the beauty of the setup, with several guitar and synth elements building on top of each other, the music slowly evolving, and Fripp ending the piece with low dive-bombing feedback that swoops over the soundscape, bringing the piece to its conclusion. "Swastika Girls," on the other hand, shows how the system can be abused. With too many disconnected sounds sharing the space, some discordant, some melodic, the resulting work lacks form and structure. Eno and Fripp later refined the system on Evening Star and Eno’s solo album Discreet Music. Fripp would take the system and base whole albums and live appearances around it. But it was here on No Pussyfooting where it all started.” (Ted Mills – All Music Guide). Original 1^st issue Japanese pressing, complete with obi and insert. Price: 40 Euro

394. FUMIO & OSAMU: “Shinchuugoku” (Atlantic – L-6063A) (Record: Excellent, has some minor paper scuffs/ Gatefold Jacket: Excellent/ Insert lyric sheet: Excellent). Bloody rare and much in demand copy of this hardly ever offered LP. Post Far Out and pre- Far East Family band psychedelic oozer by Fumio and Osamu. Released on August 25, 1972, “Shinchuugoku” lies also stylistically right and smack in the middle between Far Out, the “Mio & 11 Pikki no Neko” album and The Far East Family Band, meandering between a hippy laid back vibe and some molten psychedelic riffage. Fumio Miyashita (former Far Out) and Kitajima Osamu get on this venture backed by some heavy scenesters such as Ishikawa Kei (Far Out), Arai Manami (Far Out), Sayu Eiichi (former Zunokeisatsu and Far Out), the Flower Travelling band’s Joe Yamanaka (chorus) and Yuki, the PA engineer of Far Out. So basically, for the recording of this album, the whole Far Out line up is present with some additional guests. Together the collective is responsible of creating and spellbinding beautiful album that embraces lush, childlike and dreamy folk moves but with disquiet seeping in at its edges, intertwines it with freely floating fractured Eastern sounding skirling guitar lines and riffing, injecting at times venom into the songs melodic themes. Most of the time, it is just an hypnotic listening affair, sucking you back and putting you an a kind of mesmerizing laid back state. This folk spiked with psychedelics and converting the whole package into a vehicle for musical levitation. Some of the acidic guitar licks transform the songs hayseed simplicity into a vibrant mixture of Oriental mysticism and hazy hash induced catatonics. Just love and sucking you in deeper and deeper with each successive session. Excellent copy but you might detect some faint surface tickling in between tracks. If it wasn’t for that, price would be a tad higher. Still an solid EX copy. Highest recommendation Price: 600 Euro

397. FURIOUS PIG: “S/T” (Rough Trade – RTO-64) (Record: Near Mint/ Jacket: VG++, some damage on back). Furious Pig were a British band active briefly during the post-punk era. They formed in Totnes in Devon, and initially employed traditional rock instruments, but largely rejected these in favor of a mostly a cappella style, which was essentially a highly orchestrated form of chanting. In their live sets — supporting such groups as This Heat, The Raincoats, Pere Ubu, The Slits, The Fall and the Television Personalities — they would often augment this sound by using found objects as percussion. The band only released one disc, the 1980 EP I Don’t Like Your Face on Rough Trade Records, but was also featured on the NME's C81 compilation the following year, and they recorded a session for the BBC's John Peel, which was given a mixed reception by listeners. In all, the end result was a deranged EP of percussive a cappella group chanting, belching, screaming and loopy looning sounds. A classic!!! Price: 40 Euro

398. GALLO, VINCENT: “Recordings for Music for Film” (“LP set – Warp) (2 LP Record: Mint/ Gatefold Jacket: Mint, still in shrink) Brilliant 2 LP set comprised of austere acoustic guitar strummings that sound as a fragmentized report coming from the end of civilization, brimming over with feelings of isolation, remoteness, dislocation and subdued despair.　 Idiosyncratic downer folk atmospherics, cinematographic sound sketches and 29 tracks in 60 minutes could work on your average punk record, but this is by no means even closely related. Ranging from scraping, whaling bursts like "Brown Lung Hollering" to the sultry and cinematic "The Way it Is Waltz," this nine-year time capsule of music from '79-'88 might seem the best defense yet of Gallo's true talent. It feels like being sucked into a time warp upon listing to these lo-fi fragrances of unpolished beauty. Stellar. Price: 70 Euro

399. GALLO, VINCENT: “When” (Warp – Warp Lp87) (Record: Excellent, has some minor scuffs/ Heavy Gatefold Jacket: Mint). Getting scarce LP sedition of this truly beautiful album. “When, the first UK release by Vincent Gallo, isn't his first foray into off-screen music. Fans of the infamously awkward auteur will of course know him for some of the mind-blowing soundtracks he created for indie films throughout the 80s and 90s, culminating in the backdrop for his surreal and amusing gem Buffalo 66. But he was also involved in a number of punk-rock outfits prior to his career in film, as well as a spell in Basquiat's experimental art-noise band Gray. With this in mind it's quite difficult to know exactly what to expect from When, especially with its release on Warp records, renowned for their experimental electronica. The result is in fact a very simple selection of beautiful jazz meanderings ("I Wrote This For The Girl Paris Hilton"), obsessively sweet lullabies ("Apple Girl") and woozy, drifting instrumentals created completely without the aid of digital technology. Gallo's haunting vocals, far more prominent than in previous releases, make for disturbing listening. Full of high pitched, intimate and desperate whisperings--especially on tracks such as the sickly "Honey Bunny" and "Yes I'm Lonely"--he adds to the strangely hypnotic and sugary quality that dominates this fine collection of bizarre love songs.” (Caroline Butler). LP is in excellent condition, one scuff on side 2. Price: 100 Euro

400. GAMELAN SON OF LION: “Gamelan in the New World” (Folkways – FTS-31313) (Record: Excellent/ Jacket: Excellent, catalogue number on upper right corner/ Booklet: Excellent). American composers and musicians design and perform Indonesian gong ensembles in repertory ranging from traditional Balinese and Javanese music to modern compositions. This New York performance group has counted as its founding members Fluxus pioneer Phillip Corner, electronics composer Daniel Goode, and core member Barbara Benary. Equally inspired by the resonant decaying sounds of New York school composers like Morton Feldman, the stunning pacific gamelan music of its namesake & the wild antics of Fluxus, their sound is trancelike and beautifully inspiring collection. Price: 75 Euro

402. GANDHARVA: “The Money Box” (Sadhu Records – S-5226) (Record: Excellent/ Jacket: Excellent – minimal split seam in upper middle/ Loose Outer Obi-Like Insert: Near Mint). Stunningly great privately released acid folk gem, second album by Gandharva. This is quite an exquisite listening experience. Recorded and released in 1978, Gandharva’s “Money Box” was the follow-up to “Cosmic Sounds of Gandharva” (1977). Here, Gandharva gets assisted on side one by Hans Bayer who delivers the cosmic narrative story of the “Money Box” and the Eternity, who supposedly back up the mystic Gandharva. In all the disc can be summed up as a deliriously cosmic trance/meditation folk gem from California filled with moody echoey soundscapes delivered from a spacey acoustic guitar strummings, a slightly eerie vibe rather than starry-eyed peace & love ramblings, deep vocals, semi-improvised jam-like side long songs with some crude backings...imagine Acid Symphony 10 years down the line and back to the Stone Age meeting up with a messed-up trance psych and ranting like Ya Ho Wa 13 on an flirtation with a Indian wisdom revelation head trip. Stuffed to bursting with eastern spirituality...like the side one spoken bit that is reminiscent to some phony-sounding Indian guru... In all, the disc comes off as a peripheral vision of slanted sails blowing on perforated seas. A multifaceted moonstone radiating out beams of lysergic folk deprivation. Fantastic!!! Price: 200 Euro

404. GARRETT LUND: “Almost Grown” (World In Sound – RFR-006) (Record: Near Mint/ Heavy gatefold Jacket: Mint/ Insert: Mint). Long gone and deleted official small numbered reissue of this heavy-duty rarity. “Authorized reissue of this psychedelic rock record from 1975. Incredible over-the-top packaging, heavy textured gatefold sleeve, 180 gram vinyl pressing. There has never been a bootleg version of this LP and supposedly less than 10 original copies exist, so this will be the first chance for almost anyone to hear it. "First reissue (from the mastertape) of this lost Westcoast monster rarity with the blend of those early S.F. Bands like Tripsicord Music Box, Quicksilver Messenger Service, Kak etc. There is a fantastic songwriting with a cosmic lost in time feeling. Just Massive stuff. Long out of print heavy duty deluxe official reissue. Price: 75 Euro

405. GARY KAIL/ ZURICH 1916: “Creative Nihilism” (Iridescence) (2 LP’s: Near Mint/ Gatefold Jacket: Near Mint) Top-notch copy. Stupefying great 2 LP set released in 1984, documenting the musique concrete, tape loop, rapid-fire media barrages and sound experiments by Gary Kail. Kail was heavily involved at that time within the 80’s LA punk scene but upon listening to this vicious slide, you won’t notice such a thing. Recorded between 1979 – 1083, Gary Kail and some collaborators recorded this two hour collection of sound art, that resembles in a way the Dadaist sound collages of LAFMS collective and the early Destroy All Monsters output, although Kail’s sonic quest is more primitively structured (can you get more primitively derailed?) like for example taking the opening chord from the Beatles “A hard Day’s Night” and altering it through a primitive feedback loop system, messing it up completely and degrading it to mere hypnotic noise. Just awesome. For the rest he uses kitchen utensils, primitive guitar amps hotwired to each other and self made field recordings in order to create an utterly complex sonic collage through cutting and splicing tapes over a period of two years. This is a record made by a genius, a sadly overlooked masterpiece and eye-poppingly great disc. Highest possible recommendation. Price: 300 Euro

406. GASSMANN, REMI & OSKAR SALA: “Electronics” (Westminster – SWY-3) (Record: Mint/ Tip Back Jacket: Mint). Totally underrated or overlooked vintage electronic music LP. Japan only issue with totally different jacket. German Oskar Sala and American expat Remi Gassmann met as students of the renowned German composer Paul Hindemith, and they both turned out to be pioneers of electronic music. Sala worked closely with Frederick Trautwein on the latter's invention, the Trautonium, an early (late 1920s) electronic instrument that can be seen as a precursor of the first modular synthesizers. Sala helped develop and modify the instrument over the years, composing and performing numerous pieces for it. Outside of electronic music circles, Sala and Gassman are best known for creating the electronic score for Hitchcock's film The Birds. This album has one side dedicated to each composer, both working on the version of the Trautonium that had by that point (1961) developed into a full-blown electronic music studio. Gassmann's piece Electronics was the music for a contemporaneous ballet by George Balanchine, and Sala's side consists of Five Improvisations on Magnetic Tape. Both are solidly in the old-school electronic music tradition, strictly non-melodic and based around explorations of variation in timbre. Gassmann's piece is more minimalistic, with angular bursts of pointillistic sounds, and a great variance in dynamics. Sala's is, as its title implies, much more spontaneous and freewheeling, making excellent use of effects that process the sounds to create a greater feeling of physical space. Both illustrate the enormous possibilities that were available to electronic composers even before the advent of synthesizers. Price: 75 Euro

407. GAVIN BRYARS: “The Sinking of the Titanic” (Obscure Records – obscure no.1) (Record: Near Mint/ Jacket: Near Mint). Original 1975 press of this minimal music masterpiece. Totally vanished minimal music masterpiece released in 1975. I guess the music needs no introduction. Released on Eno’s Obscure imprint, this disc is one of Bryars’ all time best music. The record consists of 2 sidelong compositions being “The Sinking of the Titanic” and “Jesus’ Blood Never Failed Me Yet”. The disc contains some of the greatest minimal music escapades ever recorded. Highly historical and valuable recordings that should appeal to fans of La Monte Young (hell, its even better than La Monte), Pandit Pran Nath, Terry Riley, Charlemagne Palestine, Harold Budd, Terry Fox, Takehisa Kosugi, Taj Mahal Travelers, etc… Highest recommendation and in excellent stunning condition. Price: 45 Euro

410. GEINO YAMASHIROGUMI: “Osorezan” (Victor - Invitation – VIH-6010) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 4 Paged Illustrated Insert: Mint). Second press mint copy on the Invitation label. Comes with 4-paged insert. Well, here you have a completely vanished disc by an utterly fantastic but nevertheless totally unknown ensemble out of Japan, the Geino Yamashirogumi or the Yamashirogumi Performing Arts Group. This was the band’s first disc, the much-acclaimed "Osorezan", an over the top, completely ecstatic, haunting and esoteric psychedelic whirlwind masterpiece that leaves no stone unturned. The beginning of the disc alone, kicking in with a primal scream that will chase your cat into the curtains, is worth the admission price. Killer all around, demented female vocals, esoteric Buddhist chanting, wailing fuzz drenched and amped up guitars, pounding percussion, enchanting choruses, drugged out vibes, etc. I think you get the picture. An all-time and hard to find monster disc. This copy is mint all the way. If you think the picture shows signs of ring wear, you are wrong, that are actually laminated gold particles that decorate the jacket, which is gold on black background design. Price: 60 Euro

412. GEINO YAMASHIROGUMI: “Symphonic Suite Akira” (Invitation – VIH-28339) (Record: Mint/ Jacket: Mint/ 4-Paged Insert: Mint). The rarest and greatest Geino Yamashirogumi album. Badass soundtrack to the “Akira” animation move. Different score from the other “Akira” OST by Geino Yamashirogumi, which incorporates pieces of dialogue and scenes out of the movie. Both are rare as hell and do never surface here in Japan due to their reputation amongst high-end quality audio maniacs who buy the vinyl versions to blast through their top-of–the-line sound systems (after that these discs were praised to the skies in some of the leading high tech audio magazines here) and due to the extremely limited press run that these discs were issued in back at the mid of the eighties when the CD was in and the vinyl LP on its way out. Still that all aside, this disc is just a wicked monster, gamelan filled, psyched up swirling madness, infused with revved out percussive rattles, echo-drenched choruses, decaying sonic mayhem maelstroms swirling out into infinity, tribal beats, electronic stone-age pentatonic gamelan ensembles high on ketamine, all coming together to play homage to the end of times. The whole affair resonates and vibrates with a percussive music as if drummed out on stalagmites and stalactites of a cavern inhabited by the next generation of radiation victims, churning out apocalyptic harmonies, driven by an emotional energy junked up by demonic choruses, obstacle dodging acidic bats and double-headed drum dunkers. This is endangered diabolic gamelan madness cross-breeding with castrato choirs freaking out on psilocybin, spewing out agrarian-industrial sonic collisions of vernacular forms, a cataclysm beefed up with manipulative energy and acoustic freakery, opening up therapeutic doorways unto another three-dimensional soundworld. Apocalyptic gamelan psychedelics, I hope you can stomach it because this is some of the most beautiful and intense music ever created to caress your ears and fuck up your sanity. Awesome. Price: 200 Euro

414. GENYA: “S/T with BLUES CREATION, DEW, TAKAGI MOTOTERU TRIO, TAKAYANAGI MASAYUKI NEW DIRECTION UNIT, LOST AARAAFF, ZUNOKEISATSU” (TV Man Union – GNS-1001-2) (2 LP Set: Near Mint/ Fold Out Jacket: Mint/ Obi: Excellent) Woooow, baby, here is another heavy scorcher for ya! Without a single doubt, this one takes place amongst the select club of true Japanese rarities, one of those discs that never surface but are nevertheless much rumored about. And this is a copy with obi, rarely seen with obi attached but often whispered about. Legendary and historical recording that took place during three days in August 1971 as reaction against the scheduled enlargement of Tokyo’s Narita International Airport and subsequent expatriation of the farmers inhabiting the land. The festival brought together an amalgam of people, such as farmers, street beatnik hippies, student radicals and underground outsider musicians. This recording depicts the heated up atmosphere of the festival with its ideological arguments, angry insults and doomsday desperation hovering over the event. However, some staggering recordings by legendary artists were recorded for posteriori and are all included here, making hard-core music addicts and scholars of Japanese underground history quiet delighted. Released privately in 1971 in a tiny minuscule run, the disc collects a great selection of material and without a doubt the most insane piece of music on it is the side-long contribution by Takayanagi Masayuki and his New Direction Unit, flooding the gates of hell with his sonic assault that shook up farmers and student radicals alike, both parties failing to get a grasp on this sonic whirlwind of unrelenting power and soul scorching dementia. Other wild contributions are delivered by the Takagi Mototeru Trio, another prime example of Japan’s kerosene fuelled fire-music that whipped out the tails of any Mig fighter or B-52 that happened to cross the stratospheres high above the festival grounds. But that is not all, another staggering recording to appear on this record is the right in your face sonic assault performance by the first ever recorded ear imploding performance by Haino Keiji’s Lost Aaraaff unit, radical politically charged folk duo Zunokeisatsu, the heavy blues hitters DEW and Blues Creation, delivering wailing and electrically heated up performances, balancing on the verge of sheer riot, chaos and collective frustration. But that is not all, also the interactions, comments, verbal fights of student radicals, farmers and locals add as a great document to fully illustrate the heated up atmosphere of the festival. Listening to this, one comes to fully understand that Woodstock was for pussies. Great disc in top notch condition and rare as hell. Mint copy with obi and due to the always present obi, prices for this disc suddenly skyrocket into stratospheric realms…without obi it becomes 50% cheaper, strange world… Price: Offers

416. GERARDO MANUEL & HUMO: “Apocallypsis” (Virrey – DVS-720) (Record: Excellent/ Triple Gatefold Laminated Jacket: Excellent). Bloody rare first album by these Peruvian peyote chewers who got loaded and then snarl around, unleashing teeth-grinding jungle-shoot outs. Their mixture of heavy psych guitar moves, swirling organ flashes and stoned as hell dreamy psych parts may suffer dilution beneath a riptide of Western influences that incorporate influences such as Black Sabbath, Question Mark & the Mysterians and Hendrix amongst others but their sheer lust for raw sounds and searing brash electric guitar cut through the smoke-filled air like a buzz saw. Their mutant South American variation of psychedelic rock is highly effective and just like acupuncture darts it aims at the pleasure points, making you sweat out heavy psychedelics. Gerardo's vocals sound the strongest in his career, the electric guitars were recorded double tracked to produce the stereo effect. Perfect music to play at full volume late at night with a head full of acid. The whole affair comes housed in a eye-popping awesome gimmick cover, it has some crinkles in the lamination (nothing too serious) and the disc is in real nice shape, seeing it came out of Peru. Fabulous and hard to come by in such a nice shape. Price: 400 Euro

417. GHEDALIA TAZARTES: “Diasporas” (Cobalt Records) (Record: Mint/ Jacket: Mint) First LP ever by this French nomadic one-man orchestra/ singer. “He wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric nd vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies. Don’t become a black, an Arab, a Tibetan monk, a Jew, a woman or an animal but to feel all this stirring deep inside of you. The greatest trips are made in the deep end of the throat: the extra-European music open the ear to Ghedalia’s intra-European exotism. Where was music before music halls? Where was the voice before it learned how to speak? Ghedalia is the orchestra and a pop group all in one person: the self is multitude and others. The author and his doubles work without a net, freely connecting the sounds, the rhythms, his voice, his voices. The permanent metamorphosis is a principle of composition; it escapes control, refuses classification.To hell with the technocrates of noise and the purists of synthetic culture. All art like all true mythology use a double clavier, playing nature and culture, feeling and the distance of the flesh, death.” (Description to the Cd release). Rare artifact, first original pressing. Getting impossible to locate these days, just stunningly beautiful. Highest recommendation. Price: 175 Euro

418. GHEDALIA TAZARTES: “Tazartes” (AYAA – DT-0387) (Record: Excellent/ Jacket: Excellent, has a slightly bent upper right corner). Tazartes may be France’s best-kept secret as far as musical treasures are concerned. And fore some strange reason he continues after all these years to fill with a strange fascination, an undefined awe and admiration for the sonic worlds he exerts into my humble every day existence. Tazartes’ main instrument is voice, a peculiar voice that evokes images of the gypsies, traveling nomads of the Sahara desert plains, wailing muezzin trance like vocal stylings and so much more, all embedded into the voice of one single man. So it may come as no surprise that although he is an avant-garde composer, much of his music sounds like songs. Basically Tazartes creates a bed of loops and drones using taped samples and synths as a background over which he sings in a gypsy like way. This basic concepts gets then sliced up and interrupted by sudden cuts taped vocal interactions, string instruments embellishments, found sounds, which he then cutsback into a different loop and another song. “Tazartes wanders through music from chant to rhythm, from one voice to another. He paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker.” The basic concept on this disc here is the same as “Diasporas” but the recording sounds like a different affair altogether. Some of the vocals sound like they are being played back on actual keyboard sampler and there is more extensive use of electronic synthesizer sounds. The whole comes together in some sort of a call to prayer that fuses into a woman singing an operatic aria that is slowly interrupted by short samples of applause triggered by taps on a drum, which sounds a lot like fireworks at first. Listening to such strangely unique music is truly a beautiful thing and will leave you – if you are unacquainted with Tazartes sound sculptures – baffled with disbelief. Truly one of a kind type of music and everything by Tazartes is just indispensable. Music for the gods! Price: 65 Euro

419. GHOST: “Moungod Air Cave b/w Guru in the Echo” (Now Sound) (EP: Mint/ Picture Sleeve: Mint). The A-side was recorded way back in 1989 by the then core trio consisting of Masaki Batoh, Taishi Takizawa and Kazuo Ogino at a ruined basement somewhere in Tokyo, which only adds to the already alien-esque psychedelic take on folk of the band at that time. The B-side fasts forward a couple of years and sees the band expelling their demons at the Seiryu Temple in 1994. By this time the line-up has been fortified by adding guitar wizard Kurihara Michio to the combustible mix as well as Junichi Yamamoto, Iwao Yamazaki and Fuji to the already acidic core three-piece line-up. Simply Ghost at the peek of their powers, balancing between demented psych out fried acid folk and lysergic rural gutter dementia. Fabulous and comes housed in a great picture sleeve to boot. Price: 25 Euro

420. GHOST: “Holy High b/w Filament” (Holy Mountain) (EP: Mint/ Picture Sleeve: Mint). Again a vintage Ghost slide out of the early days when they ere at the peek of their powers. Line-up for this one consists out of Masaki Batoh, Kazuo Ogino, Junichi Yamamoto, Taishi Takizawa and Fuji. Two brain-frying tracks to put your mind at ease when the ghosts come out of your bedroom closet. Price: 20 Euro

421. GIBSON, JOHN: “Two Solo Pieces” (Chatham Square – LP24) (Record: Excellent/ Jacket: Mint, still in shrink). Minimal music masterpiece. “Jon Gibson achieved some degree of renown as a regular member of Philip Glass' original ensemble, but his own career as a composer has been somewhat overshadowed. These two compositions from the mid-'70s show that he was right at the vanguard of the minimalist movement with his better-known colleagues. Cycles, for pipe organ, is a steady-state piece with a basic seven-note chord and alterations thereof; it creates a cloud-like atmosphere, slowly shifting certain characteristics but maintaining a singular sound throughout. Cycles is related to Steve Reich's earlier organ works (Four Organs and Phase Patterns, the latter on which Gibson performed) but with the rhythmic element removed, leaving a mysterious stasis. Untitled is a lengthy melody for alto flute, where the performer is only required to perform the notes in sequence but may improvise as to repetitions, phrasing, rhythm, etc. Gibson's flute has a lovely sound, coming a little bit into shakuhachi territory, and the melody is captivating and haunting. The overall sense of serenity combined with the constantly shuffled elements makes this piece a luxurious joy. Originally issued by Chatham Square on LP in 1976 and long out of print.” (Brian Olewnick, All Music Guide). A classic in the minimalist music canon. Price: 30 Euro

422. GIL MELLE: “Andromeda Strain OST” (Kapp – KRS-5513) (Record: Excellent/ Gimmick Silver Jacket: Excellent). Rare original US pressing. “Gil Melle, one of the most important composers today, has achieved an impressive landmark in creating the first all-electronic score for a major motion picture, the Andromeda strain. The work embodies the most revolutionary techniques in the annals of avant-garde music as well as film literature. Melle's central idea was to compose directly to the film and for this, he designed a special electronic music studio on the universal lot. it housed a complete rear-image projection facility as well as a number of one-of-a-kind electronic musical instruments. The most important of these is the percussotron iii, which the composer designed especially for Andromeda. it is important to note that an instrument has never been created specifically for a film score in the history of the medium. It is indeed percussionistic as its name implies, and is heard throughout the various tracks. musique concrete also plays an important role here. Many field trips were made by the artist in order to record the natural sounds of 20th century life. Liberally woven into the fabric of this music are the indigenous sounds of the jet propulsion labs in southern California, buzz saws, wind, bowling alleys and even the railways. Orchestral instruments are also included and many important soloists are represented. All of these elements were eventually electronically transformed to suit the needs of the Andromeda strain score. As futuristic as all of these sounds, it nevertheless owes its direct ancestry to the very first form of film music, the nickelodeon. The compositional method is essentially one of creatively shooting from the hip and in turn gaining a vast amount of artistic flexibility as well as a very personal. Representation of the composer's musical thinking”. (From Mimaroglu website). Melle's pieces ranks as cinema's first true electronic musical score. Using a battery of electronic instruments combined with reprocessed musique concrete sounds, Melle crafted a bizarre and compelling score that laced the picture with an unrelenting undercurrent of aimless, microscopic evil. The score's single repetitive theme is a rhythmically seething, cricket-like undulation for low-octave electronics and piano, associated with the mutating bacterial entity. Stunning piece of electronic music/ musique concrete and hard to track down these days. Highest recommendation. Price: 200 Euro

424. GLASS, PHILIP: “Music With Changing Parts” (Chatham Square – 1001/2) (2 LP Record Set: Excellent/ Gatefold Jacket: Excellent). Another classic in the minimalist music canon, again as released on the Chatham Square label, 1^st original US pressing. “Music With Changing Parts is one of the seminal works in Philip Glass' career, and a defining point for the genre known as minimalism. Recorded in 1971, five years before he would break through to the public consciousness with Einstein on the Beach (which sucked heavily btw) (which, arguably, was the moment his music ceased to be minimalist in the strict sense of the term), it represents the genre in a very pure form. Over its hour-long course, it both maintains a steady state of sameness while percolating with all manner of variations. In retrospect, it's easy to see the affinities to the contemporaneous work of Terry Reily and Steve Reich, though all would soon branch apart. Here, the electric keyboards provide a pulsating substructure over which the winds, violin, and voice cast long, sighing lines forming the essential tension between dreaminess and rigor. There's also a palpable sense of excitement in the performance, the musicians very aware that they're on to something new and wonderful. This is an aspect of Glass' work, which would diminish over time as his compositions became increasingly rote and academic. Listeners who only know his music from the period after he had attained a degree of pop stardom should certainly hear his more vital, formative compositions including this one and Music in Similar Motion.” (Brian Olewnick, All Music Guide). Mind-liftingly transcendentally great stuff. Price: 55 Euro

426. GOLDEN CUPS: “Album Vol.2” (Capitol Records – CP-8473) (Record: MINT/ Gatefold Jacket: Near Mint/ Obi: VG++ ~ Excellent, slightly repaired bottom and upper end seam/ Company Inner Sleeve: Excellent). Total mint copy on blood red wax of this psychedelic mind fuck!! Only minus point is the obi, which had some minor damage on the seams, which has been repaired. For the rest just mint as can be copy. Second Golden Cups album and as usual every Cups album is bound to be an aural delight. This one is no different. However, compared to their first album there are some notable changes, stylistically as well as member-wise. First of all one of the Cups' members, Kenneth Ito was denied a Japanese work visa and was forced to return to Hawaii. Rather than replacing him, the band used this opportunity to rearrange their sound and wheeled in the 16 year old Mickey Yoshino to assist on keyboards. Despite his age, Mickey was a veteran GS musician who has earned his spores while playing with other bands the teen clubs scattered around the US Army base in Yokohama for two years. The personnel changes took place during the recording of The Golden Cups Album Vol. 2 so both Kenneth and Mickey are featured. But that aside it is perhaps the band's choice of material that stuck out most prominently against their first album and their follow-up “Blues Message”. Tracks such as “Woman Woman”, “My Love Only For You: Aisuru Kimini” (which was their 4^th single climbing all the way to #13 place on the charts), “Goodbye My Love: Sugisarishi Koi” and “Gimme Little Sign” were all indicators of the Cups' current fascination with Motown R&B which they spiced up with some nice fuzz licks. Possibly this is the most soulful album the Cups ever put down, standing out between the rest of their output. But that aside it is still a excellent effort and – as goes for all early Cups recordings – indispensable in any collection that has a special spot for Japanese psych. Great copy, original bloody rare 1^st 1968 pressing on red wax. Copies with obi present are next to impossible to locate these days, so seen against that and the virginal condition of the disc, you have a steal here. Price: 200 Euro

427. GOLDEN CUPS: “Blues Message” (Capitol – CPC-8005) (Record: Excellent ~ Near Mint/ Fold out Jacket: Excellent – Mint). Disc comes on red wax and is a first pressing out of 1969. Without a single doubt, “Blues Message” was the Golden Cups best ever recorded album, filled to the top with deranged wailing fuzz licks that will scrape-burn the skin of your body, leaving instead acidic tire tracks all over your sorry ass. The Cups never sounded as “way out there” as on this recording. Put down to wax at the height of their creative powers, “Blues Message” leaned stylistically close to the Butterfield Blues Band's East/West album and tracks such as “Walkin’ Blues”, “Get Out Of My Life” and “I Got A Mind To Give Up Living” all show up on the first side of the LP, For the rest they viciously rip through some churning riff loaded lysergic blues tracks like Canned Heat's “Evil Woman” and “Can't Keep From Cryin'” by the Blues Project, which metamorphoses into a real killer rendition, whapping your eardrums around without showing any mercy, leaving you breathless and gasping for air. This disc can be regarded as a transition period in Japan’s musical history when the GS slowly came to terms with its own rapidly declining popularity, realized mortality was looming just behind the corner and in order to ward off evil spells, a drastically shifting of gears was called for, heading straight on towards the up and coming hype that would be New Rock. “Blues Message” was such a transitional cornerstone. The band sensed a shift in trends to come, derailed from the GS tracks and headed for more psychedelic infested waters. Nevertheless, the Cups would not last long enough for the new wave to fully catch on. But this does not diminish one tiny bit the brain ripping qualities of this disc. Wailing fuzz mayhem all over and then I do not even mention the pulsating throbbing and fully fledged up frontal bass lines of Masayoshi Kabe. In one word, this record is a KILLER!! No surrender. First press on red wax in eye-popping condition. Price: 80 Euro

428. GOLDEN CUPS: “Live Session – Recorded Live At Yokohama Zen” (Capitol Records – CPC-8009) (Record: Near Mint/ Fold Out jacket: Excellent ~ Near Mint/ Attached Picture Insert: Near Mint) Top-notch copy that comes on blood RED WAX!! Rare 1^st pressing. Without a doubt the single rarest Golden Cups disc is this one, their live album recorded at Yokohama Zen in 1969, an event for which they were joined on staged by Yanagida Hiro (Food Brain, Apryl Fool fame) and Speed Glue and Shinki's Shinki Chen. Blistering fuzz crescendos, heart pumping bass throbbing, nasal wailing vox, all the works. The disc is housed in a fold out jacket and comes on red wax. Quality all way round. The music is even more stellar and documents the Cups at the height of their glory, R&B, filthy greasy rock covers and just plain trashy surf punk in the best tradition like “I'm So Glad”, “Season of the Witch” and the 10 minute lysergic “Zen Blues” amongst others. Great late sixties Japanese psychedelic trash. Highest recommendation and getting almost impossible top track down on these shores. Bargain sale price for this ultra collectible item, listed here at a drop-death-bottom price. It must be Christmas after all. Price: 200 Euro

429. GOLDEN CUPS: “The Golden Cups Recital – Recorded Live at Shibuya Concert Hall 1969” (Capitol – CPC-8011) (Record: VG++ ~ Excellent, has some inaudible scuffs here and there/ Gatefold Jacket: Excellent). Bloody rare original copy. Original 1969 copy and probably one of the rarest Cups albums. First copy I see with obi. That aside, this disc is together with the awesome “Blues Message” my all time favorite Golden Cups record. Although many disregarded this one due to the full big band orchestra – the Dan Ikeda & New Breed - backing them up, to me it just added a touch of dislocated lysergic dementia to the Cup’s psyched out pop madness unfolding itself in full Technicolor splendor before a crowd of screaming fans. Eddie Ban is wielding the ax drenched in a fuzz-distorted bath of greased lightning, while Masayoshi Kabe’s pulsating bass lines act out the pulsating vein around which the rest of the groups unfold their splendor. Crowd pleasers freak out dementia and ballads go hand in hand on this recording, fusing killer tunes with hit songs. In all this is an awesome sonic document that had me floored and gasping for air for days in a row. Rare does not even come close to describe the scarcity of this monster. Insane!! Comes cheap as hell due to some scuffs. Price: 200 Euro.

431. GONG: “Soft Machine + Gong” (Actuel Records – Double Actuel-201) (2 LP Set: Near Mint/ Gatefold Jacket: Near Mint). Original French press that couples two classic Gong and early Soft Machine and Gong incarnations into one deliriously great double LP. Surfaces only sporadically these days and when it does there are in most cases condition issues as with most Actuel/ BYG titles. This is possibly one of the cleanest copies around leaning towards mint as can be. Comes with great cover art to boot. Highly recommended and a disc that ruled my teenage adolescent life for years on a row when trying to chase that next ride to the stars – and this disc certainly facilitated the trip towards that ever uncertain destination. Highly recommended and essential!! Price: 175 Euro

432. GONG: “Magick Brother” (Actuel – BYG Records – actuel-5/ Released in August 1971) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint) Like you might now, some of the hardest Actuel records to come by are those of Gong. The music needs hardly any introduction and is next to the band’s “Continental Circus” disc one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Excellent music housed in extremely rare different jacket. Hardly ever surfaces and this copy is in excellent condition. Highly recommended and mega collectible. Price: 80 Euro

433. GONG: “Magick Brother” (Japanese Actuel – BYG Records – BYG-103/ Released in August 1971) (Record: Near Mint/ Fold Out Jacket: Near Mint) Like you might now, some of the hardest Actuel records to come by are those of Gong. But still if you search hard enough and scout out e-bay they eventually turn up. What however never turns up are the Japanese pressings of Gong on the Actuel label. Those were released almost simultaneously with the French Actuel editions but had two different characteristics. One was the superior vinyl quality (Japanese vinyl as opposed to the crappy French pressings) and totally different cover art, like this copy here. What makes this one also different is that it is a rarely seen promo copy with again slightly different artwork as opposed to the version that was actually put out. The music needs hardly any introduction and is next to the band’s “Continental Circus” disc one of their finest efforts ever. Deranged psychedelic bliss meets with acid visions, lysergic wet dreams, pothead pixies and assorted flashbacks. Excellent music housed in extremely rare different jacket. Hardly ever surfaces and this copy is in excellent condition. Highly recommended and mega collectible. Price: 275 Euro

435. GONG: “Flying Teapot” (BYG Japan – YX-7024) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Total mint copy of this early Gong Album that comes with obi and Japanese only altered jacket. Flying Teapot is Gong's first major foray into their Radio Gnome Invisible universe. Here, titular teapot transmits telepathic radio signals, disgorges its Pot Head Pixies onto the prayer mat of an angry alien named Lawrence, who are then rescued by a yogi named Banana, encounter Zero The Hero and are ultimately seduced by The Good Witch Yoni. And so much more delirious outer space rantings. Gong is definitely an acquired taste, arguably one of the trippiest bands ever to have mounted a stage. The 12-minute title track “Flying Teapot” devolves from soundscape to sax solo to deep space explorative dancing on a thin wire, which may match the story line. Even better are the humorous songs that set up a specific scene like “Radio Gnome Invisible” and “The Pot Head Pixies”. However, the highlights are the blissed-out electronic passage “The Octave Doctors And The Crystal Machine” and the zany erotic “Witche’s Song/I Am Your Pussy” sung by sexy underground almost sex kitten like witch Gilli Smyth. In the spirit of chemical experimentation, Gong acknowledges no boundaries and seeks no destination twice. Like Pink Floyd and Hawkwind and the other spaceships of the Sixties, they sail through space at their leisure, tell jokes to one another, slip into interstellar overdrive sometimes, and arrive where they arrive and when they arrive. What separates them from their fellow spacemen is their absurd sense of humor; Floyd and Hawkwind were usually far more serious. The Flying Teapot is like a sonic sculpture that suggests the human form; maybe it says something deep about the universal human experience or maybe it just knows that naked people like to stare at fully clothed mammals. A classic. This is the rarely seen 1^st Japanese pressing, complete with obi, gatefold, insert and virginal high quality vinyl. Just intoxicatingly and mind bending, skull scrapingly great. Price: 250 Euro

439. GRACHAN MONCUR III: “Aco Dei De Madrugada – One Morning I waked up very early…” (BYG Actuel – BYG-27) (Record: Mint/ Gatefold Jacket: Mint/ Insert: Mint). Unplayed MINT copy. White label test pressing, Japanese original. “Essential stuff -- and one of a few albums recorded for BYG/Actual by trombonist Grachan Moncur III -- some of his best work after his initial classics for Blue Note! The album features Moncur fronting a European rhythm section -- performing one side of interpretations of Brazilian folk tunes: "Aco Dei De Madrugada" and "Ponte Lo"; and another of two originals: "Osmosis" and "Tiny Temper". Anyone familiar with Moncur's style can't help but appreciate his coloristic slides and slurs, or his marvelous textural splashes of tone, or his individual phrasing, shaped more by his unique vision than any standard trombone slide or valve brass tradition. While his wonderful Blue Note sides were very modernist, these BYG sessions find Moncur at his most expansive -- more groundbreaking work from one of our favorite "new thing" artists!” (Dusty Groove) 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. One of the hardest to come by Actuel titles. Price: 50 Euro

440. GRATEFUL DEAD: “Viola Lee Blues (part 1) / Viola Lee Blues (part 2)" aka Cisco Sound” (7-Inch) (Toshiba Records - BR-1781) (Record: Excellent, some faint paper sleeve scuff marks/ Fold Out jacket: Mint) Wooow, another true killer of a disc and a monster rarity, an original single release by the Grateful Dead to accompany their 1^st album release in Japan way back in 1967!! Housed in a rarely seen sleeve, only used for this single to accompany this Japan release, the disc covers the track Viola Lee Blues, split over the two sides. Killer all way round in super condition and true rare find, virtually impossible to lay your claws upon. Extremely collectible, Dead singles of their early days are almost impossible to find, especially those issued in Japan since they were put out in extremely little runs. Due to poor sales they were pulled out of circulation, making them these days almost impossible to find. The music is also stellar and Viola Lee Blues is a true acid drenched stopper of a track. Comes in nice fold out sleeve. Price: 300 Euro

441. GRATEFUL DEAD: “Good Morning Little Schoolgirl b/w The Golden Road” (Warner Japan – BR-2227) (Record: Excellent/ Sleeve: Near Mint). Monster rarity, Japan only 7-inch release of the Dead in order to boast up the sales of the accompanying first album when it was released in Japan. Great cover art, green Warner label, totally wicked and bloody rare. Top-notch condition. Price: 300 Euro

443. GRATEFUL DEAD: “Live Dead” (Warner Pioneer Japan – P-5014/5W) (2 LP set: Near Mint/ Gatefold Sleeve: Near Mint/ Obi: Near Mint/ 4 Paged Insert: Near Mint). Rare Japanese original pressing with obi intact and additional 4 paged insert, rarely turns up with obi and all in immaculate condition. This album has it all: the overwrought psychedelic lyrics and feedback solos, the chimes and the mood music, but it also has the driving blues and the backbeat. And, of course, it's live. On that score, it succeeded wildly, pulling parts of shows from February and March of 1969 at the Fillmore West and the Avalon Ballroom, and it came out in the fall just after the Summer of Woodstock (where the Dead played, getting electrocuted whenever they touched their instruments). The total time of the album is just over 73 minutes, an abbreviated representation of their marathon concerts, but it is the show all Dead fans wish they had been to, and which some think they were at. The music on display is a primordial soup, the swirling of matter and antimatter, pops of the bass, chips of the drums, taps of the cymbals, plunks of the guitar all subatomic particles in chaos. Then, slowly, a rhythm emerges, the celestial bodies start coming together, arpeggios are sprung, and we're moving. Then real form develops, and we have a guitar line, a bass line, a beat. It gets stronger, and then Jerry's guitar, the voice rises above the rest, and we're off into a 23-minute version of the ultimate trip song, “Dark Star”, which from then on transmutates into various songs as an excuse for extended improvisational jams and freaks outs disguised as “St Stephen”, “The Eleven”, “Lovelight”, the bone-chilling creepy “Death Don't Have No Mercy” before stumbling down in a grand finale of unwrought feedback that fades out in the hymn “And We Bid You Goodnight”. Definitely one of the greatest live albums of all time by one of the greatest bands to ever have walked the face of the earth. This is the hideously rare original Japanese pressing complete with obi, all in stunning mint condition. Don't sleep over this one, hardly shows up and it is a Killer. Price: 150 Euro

444. GRATEFUL DEAD: “Europe ‘72” (Warner Pioneer Japan – P-5070~72W) (3 LP Set: Near Mint/ Triple Gatefold Jacket: Near Mint/ Booklet: Mint/ Obi: VG++). Rare Japan pressing, white label promotional copy. Issued as a beautifully packaged 3LP tri-fold album. There weren’t many bands that got that treatment and the applied expense given The Dead. But Warner Brothers Records knew they had something special and they were not wrong. Give this set a listen and you’re immediately struck by the cohesiveness of the band. “Europe ‘72” encapsulates a time of great clarity for the band. Pigpen, a popular mainstay of the band was still around. The Dead themselves were as expansive and as perfected as they were ever going to get. Popularity was at an all time high. It was an excellent time to tour Europe and to treat the growing Euro audiences to the Dead’s legendary shows and mellifluous styles. “Europe ‘72” is the capture of that trip. What it has become is a documented legend, showcasing the essence of rock and roll. Price: 150 Euro

445. GRATEFUL DEAD: “Blues for Allah” (Liberty Japan – LLS-80373) (Record: Mint/ Jacket: Mint/ Obi: Mint/ 6-Paged Japan only Insert: Mint). Rare Japanese white label promo pressing with obi present. “The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir’s Ace Studios to record Blues for Allah. The disc was likewise the third to be issued on their own Grateful Dead Records label. When the LP hit shelves in September of 1975, the Dead were still not back on the road — although they had played a few gigs throughout San Francisco. Obviously, the time off had done the band worlds of good, as Blues for Allah — more than any past or future studio album — captures the Dead at their most natural and inspired. The opening combo of "Help on the Way," "Slipknot!," and "Franklin's Tower" is a multifaceted suite, owing as much to Miles Davis circa the E.S.P album as to anything the Grateful Dead had been associated with. "Slipknot!" contains chord changes, progressions, and time signatures, which become musical riddles for the band to solve — which they do in the form of "Franklin's Tower." Another highly evolved piece is the rarely performed "King Solomon's Marbles," an instrumental that spotlights, among other things, Keith Godchaux’s tastefully unrestrained Fender Rhodes finger work displaying more than just a tinge of Herbie Hancock inspiration. These more aggressive works contrast the delicate musical and lyrical haiku on "Crazy Fingers" containing some of lyricist Robert Hunter’s finest and most beautifully arranged verbal images for the band. Weir’s guitar solo in "Sage & Spirit" is based on one of his warm-up fingering exercises. Without a doubt, this is one of Weir’s finest moments. The light acoustic melody is tinged with an equally beautiful arrangement. While there is definite merit in Blues for Allah's title suite, the subdued chant-like vocals and meandering melody seems incongruous when compared to the remainder of this thoroughly solid effort.” (Lindsay Planer). Price: 75 Euro

447. GRAVES, MILFORD & DON PULLEN: “Nommo” (SRP Records – LP-290) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Extremely nice copy of this all time free jazz classic disc that these days rarely surfaces at all. I guess reputation precedes this disc, making all attempts to describe it futile and in vain. I guess that most people subscribed to this list or browsing through these pages are more than familiar with its reputation, stature and historic value within the free jazz sub-underground. Indispensable private press that is getting bloody rare. Fantastic copy that contains even better mind shifting music. Stellar.SOLD

448. GRAVES, MILFORD & DON PULLEN: “Nommo” (IPS Records – IPS-290) (Record: Near Mint/ Jacket: Mint, still in shrink). Comes with different cover art than the regular “Nommo” version. 1967 pressing. Extremely nice copy of this all time free jazz classic disc that these days rarely surfaces at all. I guess reputation precedes this disc, making all attempts to describe it futile and in vain. I guess that most people subscribed to this list or browsing through these pages are more than familiar with its reputation, stature and historic value within the free jazz sub-underground. Indispensable private press that is getting bloody rare. Fantastic copy that contains even better mind shifting music. Stellar. Price: 250 Euro

449. GRAVES, MILFORD featuring ARTHUR DOYLE: “Babi Music” (IPS – IPS-ST004) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). TOP COPY! Take cover for the ultimate Milford Graves disc… this one is like being engaged in a trench warfare and taking prisoners is out of the question, vicious assaults until the last man is left standing and shredded to pieces. Together with Takayanagi’s “Independence”, Frank Wright’s “Church Number Nine”, Yamashita Yosuke & Dairakudakan, Bennink & Brotzmann’s “Atsugi Concert” and Rashied Ali & Frank Lowe’s “Duo Exchange”, this is one of the most vicious, infernal free jazz epic discs ever to be put down on wax. In short this is Free Jazz Soul Music, star-dusted with magical, free-flowing vibrations. When the other players hit, at moments completely slamming – delirious Doyle sax eruptions of volcanic proportions augmented with ecstatic screaming, it feels like planets collide, cosmic forces at work, the Big Bang reversed. At times the chaos of the gargantuan interplay begins to spin out of control melts eventually into a the thread holding all firm together, without warning it gets astray again, but then something extraordinary breaks through and it all connects. This is religion in sound, an epiphany, an orgasm. The band consists of Hugh Glover on reeds, Arthur Doyle on reeds and voice, and Milford Graves on drums, and they all sound totally crazed for the duration of the LP. A real high-water mark for the whole genre, and possibly Arthur Doyle’s finest hour. Beats sniffing clue at the local gas station. Highest possible recommendation!!! SOLD

450. GRAVES, MILFORD & ANDREW CYRILLE: “Dialogue of the Drums” (IPS 001) (Record: Excellent/ Jacket: Excellent) American original press. Recorded in 1974 in New York at the Wollman Auditorium of Columbia University. This is probably the most challenging percussion album ever to have been put down on wax and upon glaring at the variety of rattles and shakers brought to the stage by these two monster percussionist you can get a hint of the adventurous territory these two are bound to cover. Andrew Cyrille comes armed with tom-tom, gongs, whistles, hand clapping, words, phonetics, temple blocks, agogo bells, chimes, tympani, cymbals, darabukkeh, foot rhythms, osi-d, castanets there were Milford Graves spices up the palette of percussive rattles with phonetics, bgo, darabukkeh, whistle, gongs, osi-d, galloping, tympani, cymbals, balafon, agogo bells, foot rhythms, bells, tambourine, shakers, words, African talking-drum, mnemonics, etc. In short, this sonic Valhalla is a summit between drum-masters whose rhythmic arsenals stretched far beyond the traditional drum kit and incorporated ingredients from Africa, Asia, India, and the Caribbean, Dialogue of Drums was and is still a difficult and noisy listen, however, it’s display of virtuosity and sense freedom is without equal. A must!! Price: 75 Euro

453. GRIM: “Noble Folk b/w Amaterasu” (YonPakuGan - LM-0619) (Record: Mint/ Jacket: Mint/ 12-Paged Booklet: Mint) Top-notch original copy!! Once White Hospital disintegrated, the unit split up into Vasilik – being Tomosada Kawahara and Grim being Jun Konagaya. This EP here was Grim’s first ever release, a sick slice of industrial noise fumes and released in a numbered edition of 1000. Treated percussive rattles, drum pounding, throbbing bass lines, pulses, detuned organ slashes and voices from beyond the grave make up the sonic palette of this aural assault. In way the sounds resembles to the first SPK releases but be it even more detuned and obsessed with a sick morbidity drifting towards the bowels of human suffering and things best left untouched. In short the perfect soundtrack to play at your personal little holocaust. Disturbing industrial sound files that make up one of the best-kept secrets to seep out the early 1980’s Japanese sewer infested with all that the bubble economy casted away. So sick it is bordering on the brilliant. In my book, ranks up there next to the sole White Hospital LP (a monster), 2^nd Hanatarashi and the Leichenshrei LP by SPK. All indispensable. Rarely surfaces with booklet present!! Dead mint original copy … a cornerstone release!!! Price: 40 Euro

454. GROUP 1850: “Agemo’s Trip to Mother Earth” (Philips – 844083PY) (Record: Excellent/ Gatefold Jacket: Excellent and comes with the 3-D Glasses present). Amazing Dutch trough-the-roof psychedelic masterpiece, original 1968 Dutch pressing. The band first gained notoriety when they opened up for the Mothers of Invention when they hit Amsterdam in 1967 and by the following year, the band had their first album out, being this wicked psychedelic slab of lysergic madness. Although being obviously influenced by the likes of Pink Floyd circa their “Saucerful of Secrets” period, Group 1850 added some hallucinogenic twists and turns to the already volatile mix of sonic retardation, spiked up with any mind-bending drugs they could lay their hands on and “Agemo’s Trip to Mother Earth” was born. It turned out to be one of the most ambitious psychedelic albums to emerge from Holland and the Low Countries in the late '60s. The LP's nominal concept was, like many early such endeavors, obscure, involving something like the journey of Agemo from a paradise-like planet to the more chaotic imperfection of Earth. The whole affair is filled with melodic shifts, celestial organ swirls, distorted guitar freak outs, harmony vocals and general freakiness entertainingly convey the exploration of new psychic territories where space trekkers and acid heads hadn’t been travelled to before. With this sonic beast let loose, the band simply preceded and surpassed lot of the Krautrock bands that would emerge out of Germany. A Dutch brainblowing beast beefed up with doped up vocal harmonies, nasty guitars splattering throughout, sonic effects and tape insertions, Gregorian chanting as if the monks spiked up their homebrew beers with Belladonna seeds, frenzied stoned acid fried elements and multi-language nonsense to wrap your dazzled and trypsichord mind around. Simply one of the best acid spiked albums to seep out of the Lowlands. Original Dutch copy, vinyl has some superficial sleeve marks and plays EX all the way. Comes with the 3-D glasses included. Solid top class keeper copy! SOLD

455. GROUP DOUEH: “Guitar Music From The Western Sahara” (Sublime Frequencies – SF030) (Record: Near Mint/ gatefold Jacket: Mint). Long out of print and much in demand guitar freakiness from the desert. “If you think you've heard all the great electric guitar styles in the world, think again. This Saharan sand-blizzard of fine-crushed glass will grind your face to a bloody pulp. Group Doueh play raw and unfiltered Saharawi music from the former colonial Spanish outpost of the Western Sahara. Doueh (pronounced "Doo-way") is their leader and a master of the electric guitar. He's been performing since he was a child playing in many groups before finally creating his own in the 1980s. Doueh says he's influenced by Western pop and rock music especially Jimi Hendrix and James Brown. His sound is distorted, loud and unhinged with an impressive display of virtuosity and style only known in this part of the world. His wife Halima and friend Bashiri are the two vocalists in the group. Sahrawi songs are from the sung poetry of the Hassania language. The music is based on the same modal structure as Mauritanian music, however, Doueh's style is a looser appropriation infused with a Western guitar scope, one that relies, in his words, as much on Hendrix as it does traditional Sahrawi music. It also adds a playful pop element that rarely filters through in this region. Doueh has turned down countless offers from Morocco and Europe to release his music but he decided to offer Sublime Frequencies access to his homemade recordings and photo archive for this amazing debutt.” (Label description). Price: 90 Euro

456. GRUNTZ, GEORGE; SAHIB SHIHAB; JEN LUC PONTY; SALAH EL MAHDI & THE BEDUINS: “Noon In Tunisia – Jazz Meets Arabs” (MPS – CRM-640) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). 2nd press on MPS, following the Saba release. George Gruntz organized this studio recording as an opportunity for blending the worlds of jazz and Arabian music, though utilizing original music of his own. With Sahib Shihab (soprano sax, flute, and tambourine), violinist Jean-Luc Ponty, bassist Eberhard Weber and drummer Daniel Humair plus four Bedouin musicians playing traditional Arabian reed, string, and percussion instruments, Gruntz conceived the nearly 31-minute six-part "Maghreb Cantata" as the centerpiece of this amazing earbleedingly beautiful disc. The composer's themes are essentially brief modal statements utilized as jumping-off points for the musicians' improvisations. Bracketing the suite are two vocal numbers that incorporate the chanting of centuries-old Arab poems. This unusual session quite an infectious listening experience that is addictive to say the least. It hasn’t left my turntable for days when first discovering it some years ago and still till this day it is one of my favorite genre crossing recordings. Issued by Saba and long out of print, this disc is a must for anyone vaguely interested in either free jazz, ethnographic recordings or the cross-pollination adventures of those two styles. Price: 50 Euro

457. GRUPPO D’IPROVVISAZIONE “NUOVA CONSONANZA”: “The Private Sea of Dreams” (RCA Victor – LSP-3846) (Record: Excellent ~ Near Mint/ Jacket: Mint). Original Canada pressing. Top copy. Much closer to free jazz than to progressive music, this ensemble from Rome is notable for the presence of well-known film music composer Ennio Morricone (along with Roland Kayn, Franco Evangelisti, Egisto Macchi, Giancarlo Schiaffini and others). Their 1967 album was also issued in USA and Canada under the name Il Gruppo, Great improvisation/ avant-garde cum recording with – at least for this combo – some overt rockier moves drifting to the foreground, a vibe clearly not detectable on their other output, making this effort a highly curious one and amazingly detuned great. Price: 120 Euro

458. The GTO’s: “Girls Together Outrageously – Permanent Damage” (Straight – STS-1059) (Record: VG++ ~ Excellent, some minor paper scuffs/ Gatefold Jacket: VG++, edge and ring wear). Everyone knows the deal, Zappa cut this record for the groupies surrounding him at a daily basis, the Girls Together Outrageously, including some of the notorious Plastercaster members. Full scale female lunacies ahead, killer record. Original US pressing. Comes dead cheap, booklet is missing. Price: 65 Euro

459. GULDA, FRIEDRICH: “Gegenwart” (ERP – E.R.P. 1) (Record: Near Mint/ Jacket: Excellent). First original pressing on ERP, 1^st time ever I encounter this 1^st pressing. The 2^nd pressing on CBS is more common, but this first edition just never shows up. One often hears that a piece of music is "ahead of its time"; however, the claim is difficult to prove until a certain amount of time has passed. In January of 1976, the great Austrian pianist Friedrich Gulda recorded the album Gegenwart (meaning presence or present time), which can now truly claim, with its 1993 reissue, to have been ahead of its time. The album was a collaboration with percussionist Ursula Anders and producer Eckart Rahn; it was and still is a challenging, dramatic collection of improvisations. Actually, past, present, and future, all come together in Gegenwart. Gulda's worldwide reputation as an interpreter of classic Mozart and Beethoven pieces certainly did nothing to prepare listeners for the music on this recording. From its recognizably pianistic sounds to the guitar like strumming produced on (or more accurately, in) the electric clavichord, Gegenwart is a musical snapshot of a musician looking toward the future. It contains no solo piano works and the conventional sounds of the piano are simply one of a number of textures that Gulda uses. At times, dramatic and abstract, sometimes spare and lyrical, Gegenwart is full of surprises. For instance, the strings inside the piano imitate an electric-bass and the high swoop of a synthesizer at the end of Duo 1 and Duos 2 and 3 include an assortment of percussion instruments, recorders, and even some whistling. Although all of the pieces are completely improvised, this is not an album of conventional jazz. Gegenwart is about sound, not form; as its German title indicates, it's about playing in the moment - about the act of making music. Even now, the album contains some of the most unusual sounds ever coaxed out of a piano or clavichord. More important, the pieces sound like they could have been recorded last month; the music is as daring and imaginative now as it was in 1976. (Amazon review). Bloody awesome experimental avant-garde LP, without a doubt one of the best ever to be put down on wax. Gulda was at one point a member of the ANIMA collective. These anarchic recordings present on this LP were radical, atonal improvisations using unconventional use of his instrumentation and an intuitive unstructured performance approach turned it into the high landmark in Germanic freeform creativity. Gulda’s musical excursions as documented here existed on their own plane, both impervious to and not responsible for trends of any kind. Next to impossible to score in such a pristine nick as this copy here. Never seen 1^st original pressing, not the CBS one….first time ever I have seen a copy of this one as a 1^st issue. Price: 350 Euro

461. HAINO KEIJI & MIURA MAKI: “Ogreish Organism – Hikari-Shi” (H:G Fact – HG-009) (Record: Near Mint/ Gatefold Picture Sleeve: Excellent). Released way back in 1994 on the hardcore label HG fact, now home of Corrupted and cohorts. Fabulous collaboration between the man in black and Fushitsusha guitar gunslinger of the first hour Maki Miura. The mentioning of the latter’s name alone must make your hairs rise because you can be sure you will be in for a wild ride. Side A opens up in a speedcore vein with hardcore drummer PIL pounding away at the drums while Haino and Miura shred the air to pieces of molten lava, churning out chunks of maniacal psyched out speedcore riffage sounding unlike anything Haino has ever done to this day. Miura however steals the show here, feedbacking and slashing away through the dead air while hoping to get a next fix of heavenly distilled guitar amped noise. Side B is more speedcore trash metal psych jamming with now lunatic vocals way up front. In all an interesting Haino and Miura related project that sheds a totally different light upon these players. Beats sniffing glue at the gas station that is for sure. Price: 30 Euro

462. THE HAIR: “The Hair Sings Maximum R&B” (Radiate Records – Go-Go-003) (Record: Near Mint/ Jacket: Near Mint). Their first and all time rarest album, released way back in 1990. Much in demand and incredible rare and sought after psychedelic butt-shaking R&B fuzz burner of a disc. Late eighties and early nineties group that roamed through Tokyo’s underbelly whilst rejuvenating the long lost butt shaking and ass whipping splendors of the mid-sixties R&B and GS sounds. They did a wonderful job at it and the record swings like a bat out of hell on a feeding frenzy. The disc was released in an ultra limited run and was soon hyped by downtown DJ’S for its hip-shaking psychedelic qualities and lysergic sonic colorations. The result was that the disc completely vanished and began changing hands for ludicrous sums, while the outside world was left ignorant of its existence. Until now, with this copy way below the current Japanese market value. So after all how does this disc sound like? Well the best description I could come up with is it simulates an aural sensation similar to snorting an electric line of coke off the pulsating ass of a porn star equipped with headlights like laser guns. Excellent for your decadent night-clubbing retro trips down to Wonderland Avenue. SOLD

463. HALF JAPANESE: “1/2 Gentlemen-Not Beasts” (3LP Box/ Armageddon Records – 1980) (Records: Excellent ~ Near Mint / Box Set: Excellent ~ Near Mint/ Has all the inserts). Half Japanese was started in the mid-70's by brothers Jad and David Fair, in a Michigan bedroom replete with instruments, electronic devices, and other noisemakers. Neither Fair knew how to play their instruments (at least not in the conventional sense) but nevertheless had the creative vision to manufacture musical sounds from the gadgets at their disposal. With no interest in chords or melody, the duo recorded several homemade cassettes and a couple seven-inches in classic DIY style. These early recordings were spread around the underground, eventually reaching the small British label (Armageddon) that signed Jad and David. The first Half Japanese album followed in1979 which compiled many of the home recordings and a couple live sets. It is said to be, not surprisingly, the only three-record debut album in the history of rock. The Fair brothers alternate between atonal, cacophonous songs and inventive, minimalistic instrumental experiments. The more orthodox songs feature unfixed, primitive rhythms with guitars and percussion (drums, aluminum pots) as the primary noisemakers. The grating vocals of Jad and David fit perfectly with the clatter. Jad's reedy vocals are a particular treat; perhaps no other singer in pop history has been able to combine passionate yearning with detached, cynical irony in the same syllable the way Jad does here. There are also a number of covers included in the box set; songs by the Temptations, Velvet Underground, Buddy Holly and others get turned inside out and rendered alluringly unrecognizable. This box comes with all the inserts complete being poster, insert and booklet. Great historic importance beyond believe, all time classic masterpiece of a disc. Indispensable and quite much in demand these days. Price: 180 Euro

464. HANADENSHA: “Heavy Blood” (Alchemy Records – ARLP) (Disc: Mint/ Insert: Mint/ Jacket: Mint). Released in 1989, this record is such a vicious slab of unrelenting heavy psychedelic power that it will incinerate you and all your loved ones when you attempt to sit through this brain-peeling mind-fuck of uncompromising acidic power. Heralding out of the deep bowels of the Kansai scene, Hanadensha was fronted by Boredoms bass player Hira, who acts here as a demonic howling werewolf high on rabies induced hallucinations and burning up with ergot fever. The rest of the outlaws to back him up on his derailed transonic whirl-winding fear and loathing escapade rip through all the heavy rock modes known to man, beefed up with enough lysergic qualities to make even Abbie Hoffmann blush. Especially the guitar slashing wailing style of Noma-chan is extremely incendiary and will leave you floored, gasping for air while the living daylights are being sucked out of your eye sockets. Hard to believe that such a hard-rocking combo even existed. (and you though Boris was heavy? Boy, you are in for a head spinning surprise, these guys were the real “Raw Power on speed meets Black Sabbath crossbreeding with ephedrine beefed up Damo Suzuki of Can skull fucking Beefheart” surprise). Hanadensha made two excellent albums, their debut (this one) and their follow-up, the 2CD “God Bless Hanaden”. After that, the band shifted labels, dropped of some core members and lost their identity, brain melting sound and turned to pulp. Shame though since foreign nitwits suddenly detected their mediocre second lease on life and started to hype the band. Believe me kiddies, after their Alchemy Records period, Hanadensha shape-shifted into mindless pseudo-psych crappy outfit that bore no resembles to their initial “take no prisoners and leave no survivors” heavy psychedelic meltdown sound. This disc is a KILLER – do not doubt it. Released in 1989 in an edition of 500 copies, this baby is rare and getting rarer every minute. I saw it once listed in a foreign list for 160 dollars; here you have the opportunity to walk away with a copy for half the price. It will floor you. Only superlatives apply to this disc. Price: 80 Euro

465. HANATARASH: “S/T – 1^st album” (Alchemy Records – ARLP-007) (Record: Near Mint/ Jacket: Excellent – Near Mint) rare early Alchemy records release from 1985. Without a single doubt, Hanatarash were the quintessential noise outfit that no one could surpass, not even these days but then again that will come as no surprise to no one. Pimple-faced noise escapism reigns again amongst the kiddies but it has never sounded as lame and pale as it does now. Conclusion – boredom is hip. Churning out one micro release after another, one starts to wonder what’s the point of such a carefully crafted commercial strategy. Apart from creating one’s self sustained and lubricated cult status to show off with at numerous blog sites, it also helps to conceal the mediocre nature of the releases in question and the music it acclaims to contain. This last aspect comes especially to the foreground when comparing it to the vary-colored sound palette, inventiveness and originality that only a very few noise practitioners were blessed with and Yamatsuka Eye’s Hanatarash is certainly one of truly gifted outfits. A true gem in unadulterated brutality and witty humor fusing neatly with an untamed kamikaze spirit. An assault on the senses and good taste as their hilarious song titles hint such as “Ultra Cocker, Power Cock, Domination in Spunked Cock, Megaton Cock, Cock Rising and Hunging Cunt” etc, the list goes on, the next even more hilarious than the previous one. Just one word to describe this band – utter greatness, many were called for this kind of music but only Hanatarash got up and delivered the good, leaving all the other poser enough room to jerk off on meaningless blog sites. This is the one and only real thing and please do not go with cheap substitutes. Killer disc & almost impossible to track down these days, at least here in Japan. Price: 175 Euro

466. HANATARASH: “Hanatarash 2” (Alchemy Records – ARLP-018) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). The rarest Hanatarash LP to have been released, at least the most difficult one to track down and one of the best noise albums ever to have hit human ears. This one documents again vicious blast from the past and upon spinning it again, just one thing popped to mind – HANATARASH RULED! Quintessential noise outfit par excellence, fronted by soon to be become Boredoms front man Yamatsuka Eye, Hanatarash unleashed lethal and omni-pulverizing sonic frostbites with an unadulterated brutality and witty humor that fused neatly with an untamed kamikaze spirit. An assault on the senses and good taste. Just one word to describe this band – utter greatness, many were called for this kind of music but only Hanatarash got up and delivered the goods. This is the one and only real thing and please do not go with cheap substitutes. Highly historical recording and extremely hard to get by these days. Killer disc. Except no noise substitutes you het get with these days, this is the archetypical and quintessential noise outfit that makes all other shrivel up and evaporate in comparison. Massive and indispensable. Price 195 Euro

467. HANATARASHI: “Total Retardation” (Vinyl Communications – VC-63) (7-Inch: Mint/ Jacket: Mint). Slab of unadulterated sonic noise and mayhem by the greatest noise act ever to seep out Japan. A true gem in unadulterated brutality and witty humor fusing neatly with an untamed kamikaze spirit. Comes housed in a hard cardboard sleeve. Mega! Price: 20 Euro

468. HANCOCK, HERBIE: “Takin’ Off” (Blue Note Japan – LNJ-80091) (Record: Mint/ Jacket: Excellent/ Inert: Mint). “Herbie Hancock's debut as a leader, Takin' Off, revealed a composer and pianist able to balance sophistication and accessibility, somewhat in the vein of Blue Note's prototype hard bopper Horace Silver. Yet while Hancock could be just as funky and blues-rooted as Silver, their overall styles diverged in several ways: Hancock was lighter and more cerebral, a bit more adventurous in his harmonies, and more apt to break his solos out of a groove (instead of using them to create one). So even if, in retrospect, Takin' Off is among Hancock's most conventional albums, it shows a young stylist already strikingly mature for his age, and one who can interpret established forms with spirit and imagination. Case in point: the simple, catchy "Watermelon Man," which became a Hancock signature tune and a jazz standard. Hancock's original version is classic Blue Note hard bop: spare, funky piano riffing and tight, focused solo statements. The other compositions are memorable and well-constructed too; all have their moments, but particular highlights include the ruminative ballad "Alone and I," the minor-key "The Maze" (which features a little bit of free improvisation in the rhythm section), and the bluesy "Empty Pockets." The backing group includes then up-and-coming trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. All in all, Takin' Off is an exceptional first effort, laying the groundwork for Hancock to begin pushing the boundaries of hard bop on his next several records.” (All Music Guide – Steve Huey). Price: 30 Euro

469. HANS DULFER: “Jazz in Paradiso” (Heavy Soul Music – H.S.M.1501) (Record: Mint/ Jacket: Mint). Hideously rare privately released free jazz blast of a record that was pressed in an ultra limited run, way back in 1969 of only 250 copies. Spearheaded by the ever-enigmatic Dulfer on sax, Heavy Soul Music was a group he had erected with around him other improv heavy weights Han Bennink, trombonist Willem van Manen (later of Breuker’s Kollektif), and bassist Maarten Altena. The quartet made regular appearances at the Paradiso, and two of them made it onto Dulfer’s first LP as a leader, Jazz in Paradiso, released in a batch of 250 on his own Heavy Soul Music imprint. The album’s jacket hints vaguely at some of Dulfer’s influences and heroes and features a photograph of Heavy Soul Music playing in front of a giant poster of Ike Quebec, the same photograph of the saxophonist that graces Quebec’s Heavy Soul. The quartet was one of a kind and sure ripped out some eardrums and cracked some skulls with Bennink rattling the drums and skins like a young Milford Graves falling down a spiral staircase, while the rest of the group launch into a distracted, kerosene injected avant-Dixieland sense of timekeeping that knows no peer. Dulfer also rips open all the registers and on occasions halts his saxophone fire-breathing escapades in order to yell with a spastic urgency into plastic tubing or pick up a bird-whistle. Bennink's remains of the recording omnipresent, popping up all over the place with his frantic babi rhythms and ride-cymbal frenzies, creating a thick as fog fumes to which Dulfer and van Manen’s skronk can turn loose on. The free-blues and Dixieland-funk are unmistakingly fire music but impregnated with a European hardcore aesthetic that rivals on all fronts their US counterparts. But I guess you have to sit through this one yourself in order to be able to grasp the insane power and beauty these Heavy Soul Music mates unleash. Sheer brilliance. Extremely rare 1969 private pressing, only 250 copies made. Bloody heavy soul music indeed. Price: 350 Euro

470. HANS OTTE: “Hans Otte On Earth” (Edition 2 Des Kolnischer Kunstverein) (Record: Mint/ Jacket: Mint). Gallery edition of only 200 copies. This one here is signed by the artists and numbered as 94/200. Hans Otte was mainly knows as the leading figure of the Radio Bremen Music Department from 1959 till 1984. Sadly enough Otte died last year in December 25^th, at the age of 81, a great loss. And a shock to read so little about the man and his work in cyberspace. But a little digging in publicized articles revealed the following (thanks to Sarah Canice Funke’s article on the composer which provided most of the following quotes): Otte believed that music's emotion should be distant, sought for beneath the surface layers of sound. His compositions resemble starkly empty rooms: each note reverberating into nothingness before the next comes to take its place. In contrast to German romanticism's "heart-on-sleeve" emotional transparency, Otte's music requires a rather intense form of "deep listening." He described his compositional technique as "the search for the character and individuality of sound as such, which must be rediscovered and re-experienced independent of superimposed structures. The composer understands the dialogue with sounds as the discovery of their nature." (Ute Schalz-LaurenzeStill). His recorded work is awe-inspiring and his aesthetic is demonstrated most powerfully with this LP here “On Earth”. This disc here was released in 1979 (recorded in 1978) as a signed 200 copies gallery edition. The music and installation Otte recorded here rivals avant-garde and trance inducing minimal music of the greatest. Even la Monte Young does in my opinion not come close to rival Otte’s meditative soundscapes. Still Otte is far removed form that scene of people. His music is comprised out of a never ending pulsating drone that fades in and out of focus, gaining and reducing in strength, galvanizing with soft noisy elements that shift in and out of the sonic frame. The sound waves vibrate for a moment and swiftly fade. On top of all that ebbing and flowing activity a text is recited by Elisabeth Weber, making it even more eerie and deep spaceward bound than it already was. Otte’s writings that get recited over the music are simple lines that manifest that words are just something added on. For a composer like Otte, the sparsity of sound fits exactly with his love of sonic simplicity: sounds are experienced as individual, atomic units rather than as pieces of a greater whole. Otte also used sounds from the environment, repetitive texts, and atonal melodic patterns, arranged in barely overlapping layers that also echo across emptiness. Like many of his fellow avant-garde composers, Otte drew inspiration for his aesthetics from the East. Otte's fascination with bare space and elegant simplicity developed from his interest in Eastern calligraphy. It only assesses further that his music shows that he was perhaps the first visionary of "deep listening" music, music whose emotional core is as distant from the surface as it can be, basically the exact opposite of German romantic/symphonic music. This recording by him at the peak of his minimal art where sounds, noise, words and galvanizing silences merge together into one pulsating undulating wave of sound. Highest possible recommendation!!! Price: 400 Euro

471. HAPPENINGS FOUR: “Magical Happening Tour” (Capitol – CP-8416) (Record: VG++ ~ Excellent, has some scuffs/ Gatefold Jacket: Near Mint). Original 1968 pressing on blood red wax. Comes in a gorgeous fold out jacket, depicting the members of an old 10.000-yen note. Happenings Four were a group centered around Kawauchi Kuni (Kirikyogen fame). This was the band's first released artifact that came out in July 1^st, 1968. Great GS psych combo that build up their sound around great vocal harmonies, ripping organ leads, fuzz guitar breaks and has some Sgt Peppers feel attached to some of its compositions such as the track “Happenings Theme” and “Magical Mystery Tour”. Like every self-respectable GS outfit, they sucked in the necessary Beatles influences but managed to transform them and reshape them into their own sonic conquest. European exotism blends neatly with oriental concepts of early psychedelic music, attributing the music with even more mind-bending qualities. Ear candy of the upper echelon that fuses soft rock with garage, psych and swirling sonic excursions. Just so bloody great and an old time favorite of mine. Highest recommendation. Rare original pressing on blood red wax!!! Price: 350 Euro

473. HAPPENINGS FOUR + ONE: “Hikishio-Michishio” (Capitol Records – CTP-9037) (Record: Near Mint/ Gatefold Jacket: Near Mint). Bloody rare original pressing top copy!!!! For some strange reason also known under the name “The Long Trip”. Hideously rare and much sought after psychedelic progressive album by Kawauchi Kuni’s Happenings Four group, here augmented with one extra member. Although not mentioned in the album’s credits, Mizutani Kimio said he guested on this album and hence the “+ One” tag, referring to his presence during the sessions of this masterpiece. Released on August 5^th, 1971, this was the last album by Kuni Kawauchi’s Happenings Four outfit and after having dabbled with various styles such as Latin induced sounds, Bugaloo and classic themes, Soft Rock and Underground styled settings, this album would be their finest and see them steering into psyched out progressive rock infested waters spiced up with Mizutani’s guitar leads taking the band to that next level of planetarian existence. Although they debuted as GS outfit, this last album by them is surely far removed from their humble origins. This entire disc is a fantastic Japanese progressive rock album stuffed to bursting with heavy organ riffage and superb electric guitar leads. It would be the band’s final and their rarest release, venturing into more prog spiked soundings far removed from their early days You may also recognize Kuni Kawauchi from the fantastic album “Kirikyogen” which he made with some Flower Travellin' Band members way back in 1970. This disc is as good and is almost next to impossible to score on these shores. Comes in great gatefold sleeve. Excellent copy containing vicious music for the adventurous mind, lifting up another tip of the veil that enshrouds the hazy world of Japanese early seventies psychedelic and progressive rock. The Happenings Four were the one of the most interesting bands to have survived from the first petal-kissing heydaze of the GS days and mutate into the schizoid 1971 present and setting in at a level of pioneeringly outrageous exercise in vocal harmonics cross breeding with psyched out progressive touches. A masterpiece and one of the best discs to seep out of Japan. Hideously rare and still largely undetected by most psych buffs. Awesome and all time possible highest recommendation. Price: 525 Euro

476. HARMONIA: “Music Von Harmonia” (Brain – 0001.044) (Record: Near Mint/ Gatefold Jacket: Excellent, some lamination peel on front) Orange Brain label pressing. Recorded in 1974 as collaboration between Cluster and Neu members. Michael Rother of Neu! brings a sense of structure to Clusters sometimes aimless soundscapes, while Cluster add a warmth of feeling to Rother’s palette. The slightly ramshackle feel to the whole affair is extremely charming and intoxicatingly disarming - the rhythm is exerted by prehistoric drum machines that display still some bodily warmth as opposed to today’s pro-tools soft. Recorded in a home made studio sheltered in an old farmhouse, the trio mainly operated with home made equipment, so despite the exclusively electronic instrumentation there's an almost animalistic and home-grown feel to much of the album. Because of that, the whole affair breathes out for what many is the Krautrock ideal, or more accurately, the motorik ideal. It's not Kraftwerk's all-synth, driven and clinically clean, rotating pulsating stomp, nor is it Neu!'s seemingly effortless glide or Can's stomping lysergic art world funk. Instead it's at once playful and murky, steady and mechanical, a super group of sorts who embody a variety of approaches that work wonders. About half of the album displays an obvious Neu! influence in the form of rhythmic, repetitive pieces with Rother's guitar upfront, whilst the remainder is the more atmospheric proto ambient style of music that was Cluster's trademark. Harmonia were about 15 years ahead of their time. An all time classic and killer cool album that must be present in any serious music collection. A must. SOLD

477. HARVEY MATUSOW’S JEWS HARP BAND: “War Between Fars and Thins” (Head – XCSV-142533) (Record: Excellent/ Jacket: Excellent). “In the world of music Harvey Matusow may best be known as the man who testified that 3 of the 4 Weavers (the 1940s-50s folk group) were members of the Communist Party, resulting in their being blacklisted and slowing an otherwise soaring career. He later apologized to Pete Seeger for it. The apology was accepted. Matusow also recorded this twisted piece of vinyl in 1969 while in exile in England. Supposedly the group was on LSD at the time and I can believe it. This record certainly fits my definition of psychedelic music but does not have a lot in common with your typical psych band. For one thing there are no electric guitars or drums or keyboards--instead you have a variety of Jew’s Harps (referred to sometimes today as Jaw Harps to be more PC), a few odd percussion instruments (but NO DRUMS!), and vocals (typically spoken). Matusow plays the alto tenor Jew's harp. The group also features Leslie Kenton, the daughter of jazz legend Stan Kenton, on vocals and metronome; Claude Lintot, who was 79 at the time of the recording, on auto Jew's harp [?]; Anna Lockwood on acoustic guitar and bells; Rod Parsons on a variety of Jew's harps and bass; and Chris Yak on a variety of Jew's harps but not bass. The vocals consist of stream-of-consciousness storytelling, some nice chanting (check out Afghan Red), and a couple personal anecdotes (such as one about the day Matusow was released from prison). The album was recorded in England. The band's single (Afghan Red b/w Wet Socks) was the fourth and final one released on John Curd's Head label.” (Pay It Again Max). Oddball great album I keep on returning to when the skies turn grey. Price: 50 Euro

479. HARRIOTT JOE & Mayer, John Double Quintet: “Indo-Jazz Fusions” ( Columbia Records – SCX-6122) (Record: Excellent/ Jacket: Excellent ~ Near Mint). Original 1967

pressing – top copy. Legendary LP canned by Brit avant altoist Joe Harriott and Indian musician John Mayer. The album is just totally great, and is certainly one of the rarest Joe Harriott related albums he cut with the famous double quintet, which was led by Mayer and Harriott himself. Like the other LP on the list, the second one also mixes swinging hard-edged jazz with Indian rhythms and melodies, uniting intimately a whole combustible mixture into an incredible trans-world blend of styles that still stands as one of the most successful world/jazz crossover efforts ever! Tracks such as “Partita” and “Gana” are feverish in their execution, hot and boiling. This all resulted out of Harriott teaming up in 1966 with Indian musician/composer John Mayer and together they collaborated on these unique infusions of modern jazz and traditional Indian music. Harriott's group (alto, trumpet, piano, bass and drums) was juxtaposed with Mayer's (violin, sitar, tamboura, tabla and flute) in several traditionally structured ragas, as well as scored pieces. The results were dazzling with the two ‘sound worlds' mingling remarkable well. Whereas many pop musicians of the day were using Indian music in a decorative sense (i.e adding sitars, tabla or tamboura to accent their music), Harriott and Mayer managed to produce a true concoction in which the jazz players and the traditional Indian players worked in a complementary fashion. As a result the sounds have a distinctly organic feel as if the music was not in fact a fusion but a cohesive, natural ‘whole'. In all it is just jaw-dropping beautiful music that should appeal to free improve headz as well as to swinging butt-shaking chicks. Truly astonishing and fantastic. Original 1967

press!! SOLD

480. HARVESTER: “Hemat” (Decibel – DRS-3701) (Record: VG++ has some minor paper scuffs all over the place but plays damned awesome/ Jacket: Excellent). Original Swedish pressing. This band is the second incarnation of the Swedish late 60’s psychedelic musical collective, following Parson Sound and Trad Gras Och Stenar. Bu the time they morphed into simply Harvester, the band had shifted into the second phase of their career, which was inspired by the American minimalist composer Terry Riley after he had been turning heads when he visited Sweden with a music internship. The name change was innovated by Bo Ander Persson, and it was taken from a name of American company producing agricultural machines. Harvester (originally International Harvester) carried forward  from the Swedish tribal geniuses of the aforementioned previous incarnations the outfit had been going through. "Hemat" ("Homeward") was released in 1969 and was their 2^nd album, stuffed to bursting with wicked fried trance-rock jacked up with traditional  Swedish folk flourishes here and there. As essential as any Amon Duul I or  Taj Mahal Travelers’ record I can think of offhand -- and that is  very high praise indeed. Totally essential. Due to the visual minor condition this baby comes dead cheap and plays damned great. SOLD

483. HAWKWIND: “Doremi Fasol Latido” (Liberty Japan – LLP-80700) (Record: Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ 8-Paged Illustrated Booklet: Near Mint/ Obi: Excellent). Original Japanese pressing but this one here comes with the always-missing obi in its full glory. First issue gold obi, 2^nd issue obi was red. First issue obi is damned rare these days. Copies with obi attached are scarce and seldom turn up. The first of the classic line-up with Lemmy as bassist and Simon King as the drummer. The name Lemmy would from then on be stuck in history. Originally recruited as a guitarist, Lemmy was thrown a bass when Dave Brock decided he could play lead and Dave Anderson failed turn up. Having no idea how to play the instrument, he just played it like lead guitar and with it he instantly was co-responsible to generate that classic Hawkwind sound. Lemmy’s bass added far more interest to those drawn-out extraterrestrial heavy space-trucking jams on the earlier albums and raised the level of the band as a whole. Maybe the best album by the band? Certainly has my vote, although I swear by all their early output. Comes with always missing first issue obi…and getting impossible to dig up. Price: 400 Euro

485. HAWKWIND: “Space Ritual” (Liberty Japan – LLP-93091B) (2 LP Set: Near Mint/ Fold Out Poster Jacket: Mint/ 12-Paged Booklet: Mint) Rare superior Japanese pressing out of the seventies of this whirling space rock monster. Comes with a booklet that is not present in the UK edition a. The music is as you might know a lysergic throb of seemingly never ending space-deranged pulsations, acid flashbacks, Michael Moore styled SF lunacies set to sound and other intoxicating mindbenders. Dave Brock wailing resembles a jellyfish on an STP binge, while Lemmy’s bass lines and Nik Turner’s sax vibrations provide a perfect ergot induced balance to prevent the amphetamine roller coaster from derailing. How your brain cells will cope with this sonic assault remains an open question, I for all will not be held responsible for any eventual “permanent damage” after sitting through this 2 LP set. Price: 60 Euro

486. HAWKWIND: “Space Ritual” (Liberty Japan – LLP-93091B) (2 LP Set: Near Mint/ Fold Out Poster Jacket: Near Mint/ Additional Poster: Mint/ 12-Paged Booklet: Mint/ Obi: Mint) Rare white label promotional copy complete with OBI!!!! Rare superior Japanese pressing out of the seventies of this whirling space rock monster. Comes with a booklet that is not present in the UK edition and an extra poster, which is also not present with the UK edition. The music is as you might know a lysergic throb of seemingly never ending space-deranged pulsations, acid flashbacks, Michael Moore styled SF lunacies set to sound and other intoxicating mindbenders. Dave Brock wailing resembles a jellyfish on an STP binge, while Lemmy’s bass lines and Nik Turner’s sax vibrations provide a perfect ergot induced balance to prevent the amphetamine roller coaster from derailing. How your brain cells will cope with this sonic assault remains an open question, I for all will not be held responsible for any eventual “permanent damage” after sitting through this 2 LP set. Price: 450 Euro

487. HAYAKAWA YOSHIO: “Kakkoii Koto Wa Nante Kakkowaruindarou” (URC Records – URL-1011) (Record: Excellent, has one hairline on side one/ Handmade Sleeve: Excellent/ Lyric Insert: Excellent). Definitely one of the bleakest disc ever to have been recorded. The 1^st Hayakawa Yoshio solo album after the disbanding of the Jacks. Comes in brown textured hand-made cover complete with paste on cut-out doll. First press in hand made jacket. Extremely rare in this condition. Possibly one of the bleakest and emotionally dark records ever to be put down on wax. But at the same time it is one of the greatest records to come out Japan. Hayakawa Yoshio is mainly known as the front man of the Jacks. After the group disbanded, Hayakawa released his first solo disc which was and probably still is a extremely hardcore effort in terms of isolation, depressive sentiments and overall deprivation of optimism is concerned. One could not be possibly further removed from the peace and flower trip as this disc. Bone-chilling nihilistic attempt of looking what was happening around him. He only accompanies his songs here with the barest instrumentation, mainly stripped to the bare minimum piano accompaniment or the occasional dissonant organ tones. Listening to this disc gives you chicken bones, the chills and claustrophobic anxiety attacks. Without a single doubt one of the greatest LP's ever to have emerged out of Japan. Hardcore honesty and deprivation rule on this one, no pyrotechnical show-offs and in vain image building. A killer and the ideal companionship when shooting that silver bullet through your brains. Nice deal on this one here since copies in Japan are usually sold for 150~200 dollars a piece. And you thought you were lonely, well listen to this record and you will realize that you can get still even more depressed. AS bleak as Bob Desper, so when spinning this one, be careful not to slash your wrists outside of the bathtub. Killer material and all time highest recommendation. Price: 75 Euro

488. HEIDSIECK, BERNARD: D2 + D3Z Poeme Partitions” (Private) (7-Inch and Flexi disc: Near Mint/ Book: Near Mint). Original 1961 release. “Bernard Heidsieck, a multimedia poet, finds his origins in action poetry and is one of the cofounders of sound poetry with Henri Chopin, when, in 1959 they started to use recorders and microphones not simply as reproductive tools but as transformative mixing devices. He published his first book of poems in 1955 and started shortly after his first recording experiences. He participated in the different avant-gardes festivals of the 60’s in Paris, particularly the rare Fluxus evenings before starting to organize his own events at home or elsewhere, evenings of lecture, performances, and sound poetry in the 70’s at the Soleil Noir in Paris. He refers to Poem-partitions as 'action' poems. 'Action' since the pieces incorporate the actuality of quotidian soundscapes: subways, streetcars, taxis. Texts utilized are often found and superimposed and involve complex variations in tape speed, volume and editorial juxtaposition. In addition to their value as social comment, Heidsieck sees his sound texts existing within the domain of 'a ritual, ceremonial or event' that assumes an interrogative stance vis a vis our daily wordscapes. The day to day is appropriated and animated to make meaningful 'our mechanical and technocratic age by recapturing mystery and breath'. Heidsieck incorporates the taped-text within the context of live performance and plays off his own live voice against his own voice recorded. It is a positive solipsism that frequently results in a rich textural fabric.” (Erratum). Rooted in the tradition of oral poetry and a number of avantgarde movements of the last century (Futurism, Dadaism and Lettrism), sound poetry entered the European literary and cultural scene in the 1950s. Bernard Heidsieck began his poetic sequence called Poemes-partitions in 1955 and continued to expand it in the following decades. The Poemes-partitions inaugurated one strand of this type of poetry, subsequently labelled semantic. The articles focuses, firstly, on the modalities of sound poetry, composed no doubt with an eye to its public presentation by the author himself (cf. the conventions and pronouncements made by theoreticians of the genre, among them Henri Chopin, Bernard Heidsieck, Jean-Paul Bobillot and Jean-Yves Bossuer) and, secondly, on the poetics of Bernard Heidsieck's poetry and his individual artistic style. Original issue complete with book, flexi-disc and 7-inch. Genuinely rare artifact. Price: 500 Euro

490. HELDON: “Soutien A La RAF” (Disjuncta – 101) (7 Inch: Excellent/ Picture Sleeve: Excellent). Original 1975 7 inch that was never officially available for sale, making it the white elephant in the Heldon discography. Price: 75 Euro

491. HELDON: “Heldon 4 aka Agneta Nilsson” (King Records/ Seven Seas – K22P-187) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). First 1978 Japanese pressing of this classic Heldon album. Complete copy with obi and insert in immaculate almost virginal condition. Originally released in 1976, this was the first Heldon recording to actually fully capture the band's unique style. It all opens up with "Perspective I", that suspended at over 10 minutes is deliriously moving at a glacial pace. It represents one of the finest tracks that Pinhas created. Cobbling low snarl of analog rumble invades an alien landscape; slowly shifting gears and investing the territory further with estrange sonics. It is one of those rare tracks that manages to sound so steely cold, yet so utterly warm at the same time. "Perspective II" reaches back to the earliest Heldon days. Sparse synthesizer, manipulated notes blurring and bouncing off each other like sub-atomic particles while delicate and well punctured percussion rings invigorate the background. A classic and amazing disc. Rare original Japanese pressing with obi!!!! Price: 50 Euro

492. HELDON: “Stand By” (King/ Egg Records – GP-706) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint/ 4-Paged Insert: Near Mint). Original 1^st press Japanese edition, complete with obi and in total mint condition. “This was Heldon's last studio release. Stand By features the classic trio lineup of the brilliant Francois Auger on percussion, Patrick Gauthier on keyboards and Pinhas on guitars, keyboards and electronics, with some additional assistance from Didier Batard on bass, Didier Badez on sequencers and Klaus Blasquiz doing voices. The two long pieces are an interesting contrast. The title piece starts with some nasty distorted fuzz guitar from Pinhas over ponderous, menacing bass and drums. King Crimson at its most aggressive could be considered a model, but this track is also very close to the so-called zheul sound of Magma, which shared Pinhas' interest in science fiction motifs, among other things. Later in the piece, the band switches gears somewhat with a slightly quicker tempo, but then after a couple of minutes settles back into a grinding, heavy metal sound. After a short and much jauntier electronic interlude comes the second long piece, Bolero, which uses the well-known Spanish rhythm in an opening section, but then moves into a long space jam which is anchored by a strong sequencer pulse. The result is some very effective kosmische space music, much in the vein of early Klaus Schulze. From a later vantage point, the musical style here is quite familiar, but what makes Heldon's piece a superior thing of its kind is Auger's imaginative percussion, Pinhas' loose, soaring guitar improvisation on top of the precise electronics, and the general interplay among musicians and between acoustic, electric and electronic instruments. Not cookie-cutter stuff by any means, this piece gives the German audionauts such as Schulze and Tangerine Dream some worthy competition.” (William Tilland, All Music Guide). A classic disc, still rules my everyday life. Bloody cheap 1^st original Japanese press…. Price: 40 Euro

493. HELPFUL SOUL: The Helpful Soul First Album” (Victor – SJET-8118) (Record: VG++ ~ Excellent/ Gatefold Jacket: Excellent). One of the rarest Japanese psych records. First original 1968 pressing in excellent condition that just about never surfaces on these shores. Take my word for it, this copy won’t last long on these pages so don’t think twice it will be all right. In 1965 three students from the American School of Kyoto, being Junio Nakahara, guitarist and singer, Charles Chei, bass and Tsukasa Eiichi drums, formed the high school combo The Youngbeats. The trio’s song repertoire at that point consisted mainly out of covering hit songs from that period such as songs by the Shadows, the Rolling Stones and the Beatles. Around March 1968 the trio evolved into a quartet with to the addition of fellow student-musician Gene Shoji, who filled the gap of lead guitarist. Simultaneously with the opening up of the band’s ranks was the name of The Youngbeats also being altered in The Helpful Soul. Apart from having appeared already one time on the popular youth television program “Young 720”, the band’s action radius covered was mainly restricted to gogo clubs in the Kansai area (mainly Osaka and Kyoto). While roaming the night club and Go-go scene around Osaka, the band’s most eye-catching achievement was taking the stage at an event that took place in Osaka’s Date Line Club on November 24, 1968 when they acted as backing band for the famous singer Shoumeike Arima Hirotoshi. This combined performance was repeated once more for a concert-taking place in the Kansai region, at which the show was opened with a light spectacle consisting of psychedelic liquid and fluid light projections, just like their American equivalents had done before them at such illustrious places like the Avalon Ballroom and the Fillmore Auditoriums. All their efforts of gigging paid off eventually and The Helpful Soul was finally noticed by Victor, who enabled them to release their first album in April 1969, entitled plain and simple “The Helpful Soul First Album”. The album clearly depicted the band as a knowledgeable psychedelic combo deeply rooted and familiar with the reigning American fuzzed-out rock trends. They clearly surpassed most of their contemporary G.S. fellow practitioners by bringing forth an album brimming over with skillful craftsmanship, originality and deeply rooted psychedelic undertones. As a worthy successor, the Helpful Soul’s second album “Senya Ichiya Monogatari”), that was also the soundtrack for the likely named animation movie, appeared three months later in July 1969. Apart from some orchestral insertions in between tracks, the band ventured into some heavy fuzz mayhem infested territory, drippimng over with greasy heavy fretting, acidic riffage and distorted slow burning tracks. Sadly enough the band disbanded during the summer of 1969, but still their 1^st ever record is seen as a demented and fuzz deranged masterpiece of early Japanese vintage psychedelia. Impossible to score these days, this is a rare original copy in nice condition. Filthy fuzz licks, wasted vocals, delirious playing. A masterpiece. Price: 550 Euro

494. HELPFUL SOUL: “Senya Ichiya Monogatari – A Thousand and One Nights” (Victor Records – SJET-8150) (Record: Near Mint/ Fold Out jacket: Near Mint/ Attached Illustrated insert: Near Mint/ Obi: Mint). Top copy, complete with the always-missing OBI, maybe best copy around!! Well, here you have it, one of the unsung Holy Grails of the Japanese psych pantheon, the second LP (and last) by the Helpful Soul. This wailing fuzz-drenched and acid soaked mind bender was used as the soundtrack for the animated film of “A Thousand and One Nights”, designed by and Tetsuka studios released (as a soundtrack LP) in July 1969. After the album's release, the band broke up and Juni Rush went on to form Too Much. But this psychedelic monster was without a doubt the highlight of Juni's short-lived career as spearheading a bluesy hard psych combo with lethal doses of raw guitar assaults, wah-wah lashings, fuzz drenched bass, insane caveman rhythm blasts, you know the real Owsley thing. On this slide, these guys nearly went for the throat. First and only original pressing on the green Victor SJET label. Wilder and lysergically spiked up as their debut album, hallucination induced cover art and blindingly beautiful fold out jacket. Housed in splendid nightmarish acid-leaking cover art in great nick. Copies are virtually impossible to find these days and when they pop up, they are beaten up in most cases. This copy here is near mint, just beautiful and ooh so bloody rare. Hyper collectable screaming fuzz wah-wah blaster that in the years to come will skyrocket through the roof. Copies do not surface anymore and they are getting rarer with each breath you take. If monster oriental psych blasters are your thing, then look not further, this is lysergic madness encapsulated in a time capsule. One of my fave Japanese psych artifacts, this one will frazzle your brain and jacks open your skull, deliriously insane and great greased up fuzz guitar riffage. Hard to believe this was the soundtrack to an animation movie, which in its own right was visually a mind trip. Top copy complete with obi. Highest ever-possible recommendation. Price: 500 Euro

495. HELPFUL SOUL: “Senya Ichiya Monogatari – A Thousand and One Nights” (Victor Records – SJET-8150) (Record: Excellent ~ Near Mint/ Fold Out jacket: Excellent / Attached Illustrated insert: Excellent ~ Near Mint). Well, here you have it, one of the unsung Holy Grails of the Japanese psych pantheon, the second LP (and last) by the Helpful Soul. This wailing fuzz-drenched and acid soaked mind bender was used as the soundtrack for the animated film of “A Thousand and One Nights”, designed by and Tetsuka studios released (as a soundtrack LP) in July 1969. After the album's release, the band broke up and Juni Rush went on to form Too Much. But this psychedelic monster was without a doubt the highlight of Juni's short-lived career as spearheading a bluesy hard psych combo with lethal doses of raw guitar assaults, wah-wah lashings, fuzz drenched bass, insane caveman rhythm blasts, you know the real Owsley thing. On this slide, these guys nearly went for the throat. First and only original pressing on the green Victor SJET label. Wilder and lysergically spiked up as their debut album, hallucination induced cover art and blindingly beautiful fold out jacket. Housed in splendid nightmarish acid-leaking cover art in great nick. Copies are virtually impossible to find these days and when they pop up, they are beaten up in most cases. This copy here is near mint, just beautiful and ooh so bloody rare. Hyper collectable screaming fuzz wah-wah blaster that in the years to come will skyrocket through the roof. Copies do not surface anymore and they are getting rarer with each breath you take. If monster oriental psych blasters are your thing, then look not further, this is lysergic madness encapsulated in a time capsule. One of my fave Japanese psych artifacts, this one will frazzle your brain and jacks open your skull, deliriously insane and great greased up fuzz guitar riffage. Hard to believe this was the soundtrack to an animation movie, which in its own right was visually a mind trip. Highest ever-possible recommendation. Price: 275 Euro

496. HENDRICKSON ROAD HOUSE: “S/T” (Two Dot – HRH-81670) (Record: Excellent/ Jacket: Excellent, signed with dedication on the back by Norm Lowe + has some faint ring wear which is quite common). One of the most desired and hunted down US private presses and one that lives up a 100% to its whispered fame and glory since the music is just ear-peeling beautiful. Centered around the sweet-silked female vocals of Sue Akins, Hendrickson Road House was a 4-piece band out of California and their origins definitely gave them a late night West Coast psychedelic jazzy feel that is quite enthralling and intoxicating at times. Simmering with 1960s Bay Area vibes, the music is carried at all times by Sue Atkins whose vocals are simply superb soaring like an eagle over and through over the delicate backing that is always well balanced and never upfront or overtly too much. Almost subconscious like drifting electric/ acoustic guitar lines flutter to the surface while adequately underscoring the sparse backing, enhancing Sue’s bewitching downy milkweed seed-like vocals and transporting them to even to higher plains. Overall, it is a quite intimate affair, breathing out soft-psychedelic folk-rock with a vespertine feeling, sounding – if one has to try and compare it to something - like the Jefferson Airplane crossbreeding with Circus 2000 on a warm late night summer’s evening. To these ears the music of Hendrickson Road House is just endowed with almost too much beauty for me to take it at once. Plain and simple, I rank it high, stuff of legends. SOLD

499. HENDRIX, JIMI: “Electric Ladyland” (Polydor Japan – MP-9301/2) (2LP Set: Mint/ Gatefold Jacket: Mint/ Attached 4-Paged Full Color Booklet: Mint/ Obi: Mint). Top Copy! Comes complete with rare obi and housed in Japan only gatefold jacket art. Total mint copy!! Price: 200 Euro

500. HENNING CHRISTIANSEN: “Abschiedssymphonie” (Edition Block) (Record: Mint/ Gatefold Sleeve: Mint). Henning Christiansen is a sadly neglected and overlooked key figure of the European Fluxus group. This Danish multimedia artist and composer worked in the shadow of the towering Joseph Beuys. This piece de resistance recorded in 1985 is a successful example of Christiansen’s unique combination of mournful melancholy and Fluxus antics. Flanked and performed by Beuys and Nam June Paik, Christiansen combines carefully crafted romantic piano interludes with recordings of nature sounds, birds chirping, primitive but utterly lysergic electronic manipulations, demented telephone call insertions and desolately howling all engulfing feedback noises. The album was issued in extremely limited numbers on the Edition Block gallery label imprint and instead of being sold of as commercial albums; these discs were seen and still have the aura of a artistic artifact shrouded in an air of mystery and high end art. Astonishing recording and an absolute killer disc. Highest possible recommendation. Price: 175 Euro

501. HENRY, PIERRE: “La Reine Verte – Musique Originale du Spectacle de Maurice Bejart” (Philips) (Record: Excellent/ Jacket: VG++ ~ Excellent). Original French Pressing. a 30 minute electronic/ orchestral work also from 1963. Henry’s intent lay in combining the artificial sonorities of musique concrete with the timbres of orchestral instruments, and was like he stated "not only in search of unwonted conceits, but also after a lyrical or even a poetic counterpoint to the different forms of this spectacle." A dead stone classic to wrap your head around. Price: 100 Euro

503. HENRY, PIERRE: “Voile D’Orphee I et II” (Philips Prospective 21 Siècle – 836.887) (Record: Excellent/ Jacket: Excellent, small price tag tear on back). Pierre Henry's 1953 “Veil of Orpheus” is the first example of symphonic “musique concrète”, (the use of non-traditional sources and “real” sounds--like trains, dogs barking, footsteps, etc.-- in place of actual instruments and then electronically manipulating these sounds in new ways.), originally composed for an opera (“Orpheus 53”, written with movement founder Pierre Schaeffer for the Donauescliingen Festival). Despite the quantum leaps made in the field of electronics over the past 50 years, this initial experiment still manages to convey its original importance. The piece uses “concrete sounds” much in the same way a traditional orchestra would use individual instruments. Besides two versions of “Veil of Orpheus” (the original 27 min. version and the second 15 min. version used in the Maurice Bejart-Pierre Henry ballet “Orpheus” in 1958), there are two shorter pieces (“Entity” and “Spiral”), which evoke an unsettling search for meaning that is so often associated with Henry's work. Original pressing as released on the legendary “Silver Philips” series. Price: 60 Euro

504. HENRY, PIERRE: “Machine Danse” (Philips – 6510.013) (Record: VG++ ~ Excellent, some faint paper scuffs/ Jacket: Excellent). Original 1973 French pressing. Machine Danse simply contains some of the finest music ever composed by Pierre Henry, even by his very own high standards. Here, Henry displays a yet unmatched sense for rhythmic sound/language, e.g. on Exorcism or on the second half of Erotica. I can't think of any music, which so excitingly blends introspection & extroversion. Pierre Henry's music is complex and never boring. Price: 70 Euro

508. HE 6: “Vol.3” (Beatball – GEBL-1) (Record: Near Mint/ jacket: Near Mint/ Obi: Near Mint/ Insert/ Near Mint/ Poster: Near Mint). Instantly sold out 2003 release, limited numbered edition to 1000 copies, this one being 695/1000. 1972 Korean psych fuzz and Seoul A Go-Go Bomb. The centerpiece of this disc is the immensely spun out version of Rare Earth’s “Get Ready”, a heavy keyboard deranged and fuzz-a-delic infested brain ripper of a version. 16 minutes that ventures in a slowed down vocal styled version that gets underscored by an immensely doom-heavy pedal infested organ lines and stoned-as-hell guitar riffage. Just dead cool! This disc comes in a deluxe laminated hard cover jacket complete with insert and poster. Sold out instantly upon its release, so here is a top notch copy for a change, so Get Ready…perfect for your doped out New Year’s eve parties filled with cheap strippers, crystalline nose powder and silicon enhanced Go-Go pole dancers. Yeah!!!! Price: 75 Euro

509. HIGGINS, GARY: “Red Hash” (Rufusmoon – WMI-3673) (Record: Near Mint/ Jacket: Near Mint). Top-notch original copy! “Red Hash by Gary Higgins was one of the great, lost albums of the 1970s. This is mainly due to Higgins' inability to promote the album or tour due to his incarceration on drug charges. Upon his release, Higgins decided to let go of his dream of being a musician, entered mainstream society, and settled down with a family. All the while, his album only grew in stature, eventually becoming a cult classic, influencing everyone from the mostly-lame freak-folks to the more dark and interesting neo-folk acts. While certainly a very vanilla album, Red Hash is still a phenomenal effort. Recorded on a four-track, the production is very lo-fi, but this actually creates a certain fragility to the piece; Higgins and his friends have created an extremely intimate and vulnerable musical experience. Higgins' lyrics tend to revolve around themes of solitude, life on the lam, and gettin' lifted, helping lend to the druggy, yet highly-emotional, psych-folk sound of the album. This release remains one of my favorite folk albums, rivaled only by Nick Drake's Pink Moon, so do yourself a favor and snatch this up.” (I Could Die Tomorrow) SOLD

510. HIGH RISE: “S/T” (PSF Records – PSF-1) (Record: Near Mint/ Jacket: Mint). TOP COPY!! The band’s untitled debut album, released in 1982 in a tiny edition of only 300 copies. The disc is a historic one, a recorded testimony junked up with a vicious hardcore, amphetamine drenched, roaring fuzz driven and jest engine boasted blast of unrelenting psyched-out extremities set loose out of the bowels of Tokyo’s underground scene. The disc here in question is a blurred over the top distorted affair, all stirred up and inflamed by Narita Munehiro’s seemingly indestructible and unstoppable greased up motor-psycho guitar pyrotechnics, unleashing enough mayhem and havoc to keep your ears sizzling for days to come. They never sounded any better than on this disc, unleashing a vicious hardcore, amphetamine drenched, roaring fuzz driven and jet engine boasted blast of unrelenting psyched-out extremities. Narita’s psychedelic mayhem guitar pyrotechnics are all over the place, stirring up and single handedly inflaming an indestructible, greased-up and mayhem filled blitzkrieg of distorted madness. Riding the turmoil boiled up crest is vocalist and bass hopper Asahito Nanjo, who’s bleak and buried in the mix-vocals sound as a nuclear fall-out spiked up with drizzling acid rain. In other words a fix of Tokyo psych heaviness right into your bloodstream. Vicious, loud, abrasive, unstoppable and of great historical importance. This disc is as rare as hell freezing over on a summer’s day. A must and one of the finest Japanese underground artifact ever to put down on wax. Virginal copy, I doubt this one has been played more than once. Rarest and first release on PSF records, copies just NEVER surface, at least not as clean as this one. One of the best Japanese psych records of all time, heck probably one of the best heavy junked up psych artifacts ever to be put down on wax. KILLER SHIT!!! Price: 300 Euro

511. HIGH RISE: “II” (PSF – PSF-02) (Disc: Mint/ Jacket: Mint). Another rarely if never offered psychedelic monster of an album that is getting way harder to track down than the whole AMT catalogue thrown together on a bonfire. The second album by the band and also the second release on Tokyo’s finest underground label PSF Records. Without a single doubt, this line-up of the band was their greatest ever, Narita on motor psycho guitar and Nanjo on power throbbing earthquake bass were for this one backed up by faster than light skin mangler Ujie who became to replace Takahashi. Ujie was the greatest drummer ever to drift in the group’s current and it certainly shows. They never sounded any better than on this disc, unleashing a vicious hardcore, amphetamine drenched, roaring fuzz driven and jet engine boasted blast of unrelenting psyched-out extremities set loose out of the bowels of Tokyo’s underground scene. Narita’s psychedelic mayhem guitar pyrotechnics are all over the place, stirring up and single handedly inflaming an indestructible, greased-up and mayhem filled blitzkrieg that will keep your ears sizzling for days to come. Riding the turmoil boiled up crest is vocalist and bass hopper Asahito Nanjo, whose bleak and buried in the mix-vocals sound as a nuclear fall-out spiked up with drizzling acid rain. In other words a fix of Tokyo psych heaviness right into your bloodstream. Vicious, loud, abrasive, unstoppable and of great historical importance. This disc is as rare as hell freezing over on a summer’s day. A must and one of the finest Japanese underground artifacts ever to put down on wax. Price: 160 Euro

515. HIRANO GO: “Reflection of Dreams” (PSF Records, PSFD-71) (Record: Mint/ Jacket: Mint/ Insert: Mint) Second and rarest LP by Hirano Go (amongst others White Heaven, Stars and Aso Ai Collaborator, as well as expert on avant-garde and Canadian vintage psych) for PSF Records, pressed in a minuscule edition of only 300 copies. A virtually flawless late night psychedelic gem of an album that fuses breath, piano and small percussive instruments with each other, making it simultaneously an avant-garde outing as well as a melted down soft psychedelic wonder of a disc. According to these humble ears, it is one of PSF Record’s most delicate and stunning aural artifacts that urgently need more appreciation. People tend to stargaze at heavy psyched-out fuzz metal pyrotechnics and overlook the true pearls lurking in between the label’s so far almost flawless roster. The disc unfolds an absolutely exquisite instrumental palette that will guide you along a dreamy path of insubstantial, lysergic and all-too breakable sounds. Comes in a stunning handcrafted textured paper heavy carton sleeve. Stunning to behold and getting rare, oh so rare. Only 300 copies pressed ion vinyl and long gone. These days, next to impossible to dig up, copies seem to have evaporated into thin air. Price: 100 Euro

516. HIROSE JUNJI: “Solo Saxophone” (Cacoon – Cacoon-001) (Record: Mint/ Jacket: Excellent ~ Near Mint, has some faintly visible ageing stains). Private press free jazz ball crusher of a disc released in a tiny edition of only 300 copies and the first time I can offer a spare in all these years. Extremely rare private press disc out of the early eighties, released in tiny numbers. Junji Hirose may not immediately ring any bells but if you dive for a minute in your Otomo Yoshihide section of your record collection you will see that he flanked Otomo for his first appearance on wax being the infamous but nevertheless incendiary record “Silanganan Ingay”. So you might have an idea at which stormy waters this baby sails through. With the sax mouthpiece inserted between his quivering lips Hirose sounds like a testosterone-charged prophet of doom, blowing against the empire. Like a streetwalking cheetah with a heart full of napalm, he keeps on goofing out incinerating vortex-like sounds. Sonic attacks to rhythmic scales, he sounds far removed from other hardcore gut-blowers like Urabe Masayoshi, Abe Kaoru, Takagi Mototeru or even Harutaka Mochizuki to name but just a few of the names that at random pop up out of my deadpan skull. Hirose exists on his one plane, riding his own foam-crested wave of improvisation madness. Totally vanished, completely obliterated and balancing on the brink of being consigned to oblivion, Hirose Junji’s “Saxophone Solo” disc is just brilliant and needs an urgent reappraisal. Earth-scorning stuff. Rare private press in extremely limited run to say the least. Price: 175 Euro

517. HIROTA MIEKO: “Miko In Concert” (Columbia – COJA-9247) (Record: Mint/ Heavy-duty Gatefold Jacket: Mint/ Obi: Mint). Long out of print deluxe limited edition reissue of this magnificent Japanese female jazz vocalist capable of singing the stars out of the heavenly skies. Recorded live in concert in March 1966 and set against a sharp and swinging backing band, Hirota Mieko brings forth a string of jazz standards and ragtime floor shakers that take you back into time. Her voice is a real treat, gifted with angelic qualities and swirling like a dervish, entrancing anyone subdued to it. In short killer female Japanese vocal jazz that keeps ringing in your ears. Awesome deluxe version. Price: 60 Euro

518. HOLDEN, RANDY: “Population II” (Hobbit Records – HB-5002) (Record: Excellent, only a few faint scuffs/ Jacket: Excellent). Rare original pressing that comes with the always-dreaded drill hole present. “First solo album (he would not release any more music for about 25 years) was a strange bridge between psychedelia and heavy metal. But at the same time they sound genuinely more sinister and feverish than the by-numbers heavy metal soloing that would become so popular starting in the early 1970s. The slow, sometimes dirge-like tempos were a result of an adventurous two-man band situation in which Holden’s only accompanist was Chris Lockheed, who played drums and keyboards simultaneously and couldn't be expected to effectively keep rapid rhythms. Holden is much more of a guitar player than a singer/songwriter, but these does have some smoking sustain passages, sometimes with a stratosphere-like wobbly bite, as on "Fruits and Icebergs." (Richie Unterberger, All Music Guide). Together with an ominous array of amp-stacks and wielding a vicious six stringed axe, Randy Holden inflamed some of the heaviest acid drenched rock sounds ever. And as far as ominously heavy lysergic guitar slides are concerned, this album deserves all the credit it can get, hell even mass appreciation and devotion if possible. It breathes out a doomy and trippy vibe not many slides can come close to. Holden makes his guitar wail in a demented and totally wasted tripped out kind of manner, turning it into a sort of sludged deep fried sonic brain blowing fried acid beast. This is a wild beast and a classic for sure. Price: 400 Euro.

519. HOLY ANGELS: “Metaphysics Meditation” (Prescription/ La Musica Records – 1998) (Record: Mint/ Jacket: Mint/ Insert: Mint). Limited one-time only artifact released in an edition of 99 numbered copies, this one being 05/99. A complete female psychedelic freak out drone group centered around bass player Mineko Itakura of Angel’In Heavy Syrup and Nanjo Asahito of High Rise. Nanjo describes this outfit in the liner notes of the album as follows: “Japanese underground psychedelic group centering around female members. This album curiously fuses delicate trip-psychedelic vibes with heavy progressive sounds. Cult female group who base their activities around ideas of the micro cosmos as a holy space.” This album is one of the rarest albums that feature Nanjo of High Rise fame since it was released in an extremely limited edition of 99 copies. The album was recorded in 1994. Track listing is as follows: Side a – Holy Trip, Side b – Metaphysics Meditation.SOLD