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1436. KAK: “S/T” (Epic – BN-26429) (Record: Near Mint/ Jacket: Excellent – great shape, lower right corner crease and faintest trace of faint ring wear on top). Original 1st US pressing. Top condition copy! “At its best this is as good as West Coast psychedelia ever got, with exceptional musicianship and a wide, spacey mix in which each instrument has plenty of room to breathe. Key cuts include the short, sharp opener ‘HCO 97658’, the wah-wah heavy ‘Everything’s Changing’, the stinging blues ‘Disbelievin’’, the mellow, spaced-out ‘Lemonaide Kid’ and the mighty ‘Electric Sailor’. The latter is one of the era’s lost masterpieces, with a thrash-metal riff, ace lyrics and a scorching double-tracked guitar break adding up to make one of the most exciting acid rock songs imaginable. Elsewhere there’s a couple of decent country-tinged ballads, a couple more rockers and an effective mini-epic entitled ‘Trieulogy’. The performances are a little ragged, but that adds to the LP’s charm, and guitarist Dehner Patten is a mighty fine exponent of the wah-wah.” (RMJ – Endless Trip). A totally classic guitar driven West Coast psych gem. Great condition copy, hard to upgrade upon. So, because the condition of this one is so outstanding with a NM record and an EX sleeve so it needs your best shot. Price: Offers!!! |
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1437. KAKO TAKASHI: “Scrawl” (CBS Sony – 28AH-2220) (Record: Near Mint ~ Mint/ Textured Jacket: Near Mint/ Gatefold Insert: Near Mint ~ Mint). Top condition of largely overlooked Japanese freeform jazz masterpiece from 1987. First and sole pressing in top condition. This is one of those secret listening pleasure records that are so damned overlooked that it hurts. Just from when the needles drops into the first groove, you know this is the shit! This quintet led by Takashi on piano and flanked by Murakami Shuichi (drums), Yoshino Hiroshi (bass), Inoue Toshihiko (sax) and Yoshida Tetsuji (trumpet) bring forth some of the finest sounding spiritual jazz sounds to seep out of Japan. Forget the date of its release, this could easily be 1972 and if it was, this beauty would be a 4-figure ballbuster. It is that good, hypnotic J-Jazz spiritual jazzy vibes from start to finish, believe me this one does not disappoint and easily rubs shoulders with high ticket items such as Tachibana and Electrum music-wise…. monetary-wise, this baby is so undervalued it hurts. Killer!!! Price: 50 Euro |
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1438. KALAPARUSHA: “Kwanza” (Baystate – RVJ-6015) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Japan only 1978 release in top condition and all complete with obi and insert. This is one of the more elusive Maurice McIntyre recordings out there, making this one a real hard one to track down. Deep and beautiful spiritual jazz slide from Kalaparusha Maurice McIntyre that was recorded in 1977 and released only in Japan for the Baystate label. Kalaparusha’s style on Kwanza is a perfect summation of the AACM approach of that time. The record rubs shoulders with other key spiritual jazz slides as Kwanza exhibits a visionary craftmanship and a deep spiritual approach that's completely out, without ever being too free. Opening up with the title track “Kwanza”, the band flies aloft, and with impetuous roar pursues the foaming surges of sonic free-floating waves breaking on rocks. Steered by Kalaparusha’s unique musical vision, and flanked by a carefully selected core group of players that includes Malachi Thompson on trumpet, Hakim Jami on bass, John Betsch on drums, and Juma Sultan on percussion, the group floats on dive-bombing bee-sting sax lines, roller coaster tempos and crashing drums. Heaven! The whole LP is absolutely awesome and has some intense tracks, which will most likely remain in your mind a few hours after listening to them. There is an ethnic groove bubbling underneath it all, making it slightly hypnotizing, especially because of Kalaparusha’s dramatic soloing and the combo’s improvised tribal interactions. Still, underneath it all there's a sadness and depth in Kalaparusha’s sound that's extremely compelling with an off-beat sense of timing that creates a sudden surprise and equally beguiling charms as the set rolls on. Just massive. Top condition original pressing!! Price: 450 Euro |
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1439. KALAPARUSHA: “S/T” (Trio Records – PA-7167) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) 1977 Japan only release in top condition and all complete with obi and insert. For this live recording, Kalaparusha Maurice McIntyre gets flanked by Karl Berger (vb,p), Ingrid Berger (vo), Tom Schmidt (b) and Jack DeJohnette (ds). The whole set was recorded at the Creative Music Studio Auditorium in New York in 1975. The opening track “Mulberry Bush” immediately dive-bombs into loose polyrhythmic grooves and sets the tone for the gospel apocalypse feel unto which the album will enfold. Driven by Kalaparusha’s understated molecular shifting saxophone lines that are blessed with a bewitching and bruised beyond repair tone, carried by DeJohnette’s shatter-shot drumming and injected with Ingrid Berger’s tortured scatt vocals that at times come over as a larynx-stretching gravel growl. Continuing to lay down a nervous free-for-all spiritual whirlwind, “Ismac” is the culmination of it all, sounding more like a spaceship slowly descending into sweet astral fuzziness after a smooth intergalactic voyage but without ever losing its ethnic feel and organic atmospheric sound that floats on Berger’s vibes, Schmidt’s hypnotic bass runs and DeJohnette’s ethnic percussion, allowing Kalaparusha to stretch out. The intuitive approach of the closing track “Celestial” is a jaw dropper, with Berger's aggressive vibes interlocking with DeJohnette’s disjointed drum rolls, Ingrid's screechy scatting over which Kalaparusha blows out an exploratory sound, sealing it all off. A masterpiece! Price: 200 Euro |
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1440. KALEIDOSCOPE: “Faintly Blowing” (Fontana – STL-5491) (Record: Side a Is Excellent ~ Near Mint with always omnipresent heat mark on beginning track one that causes a few faint hissing sounds for a couple of rotations & Side B is Near Mint/ Gatefold Jacket: Near Mint/ Company Inner Sleeve: Near Mint) 1969 original UK pressing in top shape. This copy came from the dead stock find of a few copies that turned up at the end of 1999 ~ beginning 2000. Top shape but has the watermark on side one beginning track one that causes a few faint disruptions for the first 3 to 4 rotations, so it plays without any problem maybe 5 to 7 seconds of minimal woosh, otherwise just NM. Original UK copy of Holy Grail of Brit Pop-sike masterpiece. "Faintly Blowing features music that clearly demonstrates influences from prominent artists of the era, including the Beatles, the Bee Gees, and Pink Floyd. However, Kaleidoscope distinguishes themselves by transforming these familiar sounds into a style uniquely their own. The album contains several notable tracks, such as "Faintly Blowing", "A Love Song for Annie", "If You So Wish", "Snapdragon", and "Bless the Executioner". The high quality of Peter Daltrey’s songwriting is evident, with his melodic sensibilities complemented by refined arrangements and performances. Eddie Pumer’s guitar contributions are particularly impressive, resulting in few, if any, weaker tracks. Of particular note is the extended piece "Music", which stands out for its ambitious scope, employing numerous psychedelic production techniques such as pronounced phasing, panning, and extensive tape loop usage. Price: Offers!!!! |
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1441. KAMIGAMI NO ONGAKU: “Music Of Shinto” (Toshiba Records – TW-80004~7) (4 LP Set: Near Mint/ Outer Cloth Box Set: Near Mint/ Book: Near Mint/ Individual LP Record Sleeves: Near Mint). Bloody awesome religious head twister that is simply mind bogglingly great!! Balancing between field recording snippets of wooden geta walking on gravel and chirping birds and trance-inducing chanting by monks accompanied by esoteric washes of sound created by cithers and primitive percussion rattles, this is a bewitching aural document. Minimal, yet very rich in tonal texture although that silence is a centre part of it, Music of Shinto holds a perfect balance of barely shifting dissonant clusters around a drone tone, the other somehow sequenced to generate a maniacally repetitive music drone/overtone stuff, masterfully executed. In a way it could be described as “Slow Motion Sound”, haunting and doomy. Fragile gestures of sublime simplicity, creating a fascinating hybrid of deconstructed melody and drone wave. The monks succeed in stretching a simple passage of notes to nearly infinity with drones generated by flutes, percussive rattles, cithers, and voice – slowly shifting from one to the next, forcing the listener outside of the comfort zone, making him to lose track of relationships and proximity. This is the true first wave of Minimalism – often sounding – if one has to make Western comparisons - like a balanced hybrid of Steve Reich, Terry Riley, and Philip Glass, all in one but then not at all. The recordings are constructed through a fascinating discourse between stripped to the bare minimum primitive musical instruments with vocal accompaniment, dominated by passages constrained of defunct tonalities and repetitive rhythms. It makes it all feel like it was created on the spot in slow motion. It’s a creation of astounding beauty – structures around incredible sparse instrumentation and vocal drones which shift toward striking passages of strings, percussion and woodwind. The box set is filled with pregnant silence and the overwhelming sense that every note falls exactly where it should. It’s close to perfect, slowly revealing itself, and offering mysteries, which are clearly intended to be pondered and returned to again and again. Price: 350 Euro |
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1442. KAMIKAZE: “The No More Series” (Private – a-8104) (8-Inch LP Record: Near Mint/ Jacket: Near Mint). Fucking rare and largely unknown Japanese private press demented punk slide released in 1980 in a small run of only 100 copies. This is one rare bird and not surprisingly largely unknown. Copies just do not surface but the music is pure heat! Kamikaze (best name for a punk band – as these guys were for fucking REAL!!!) were a degenerate trio that left behind the acid-soaked late seventies psych and early punk scene and traded it in to seek sanctuary in the gritty basement of amphetamine-soaked freedom culminating bruised dungeon ankle-chopping riffs of the most primitive kind. The band comes over like a Pitbull running around on crack, creating a blissful degrading experience that is hard to keep a focus on what is really going on! It all culminates on their cover of the Stooges’ “I Feel Alright” but unlike the original version, Kamikaze soaked the bastard with gasoline and tossed a match on it! Primitive, stripped down to the bare minimum, gritty, unhinged, nasty and jaw-breaking! Kamikaze’s sole 8-Inch (the devil’s format!) 4-track record is teeth-grinding slab of prehistoric hellish intensity that makes you foam at the mouth, like the rising edge of a speed trip. Top condition, impossibly rare and all killer no filler private press punk slide! Price: Offers!!! |
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1443. KAMIKUBO JUN: “Nothingness – San Francisco No Kiseki” (Express Records – ETP-8210) (Record: Near Mint/ Jacket: Excellent – has two small indentation nibbles on the opening side, apart from that just perfect/ Insert: Near Mint/ Obi: Near Mint). Impossibly rare Japan 1st original pressing – WHITE label PROMO issue all complete with insert and insanely rare OBI. Just never surfaces killer Japanese underground psychedelia! Kamikubo Jun is a totally overlooked artists that was active during the hey-days of the New Rock boom at the beginning of the seventies. He cut this one and sole recording all by himself and failing to attract any sales (maybe the oblique sleeve art did not enhance its sales potential) of this now hideously rare album for Express records, an effort filled with burning fuzz licks, howling vocals, psychedelic interplay, screaming fuzz guitar and great vocals – an amazing and utterly obscure Japanese underground album similar to some extent to Apryl Fool. This is the 1st original pressing and once you behold this LP in your hands, you will notice that although the album’s artwork is very stark and minimal, it is quite different from the other reissues or the Shadoks boot version being that Shadoks cleaned the original design up, making that the smeared black texture on the corners disappeared. Maybe it was an attempt to clean up the jacket without knowing and seeing that it formed an integral part of the initial sleeve’s design. So here is the real thing, amazing condition, an album that surfaces on these shores only once in a decade. The music is just stellar and if you ride for the greatness of Apryl Fool, than this beast will have you gasping for air. Highest recommendation but sadly enough rare as hell freezing over on a hot summer’s day. Released in bleak cardboard sleeve design and comes with insert and OBI. The sleeve has on the right-hand opening side two small indentations resembling a mouse bite but apart from that all is just pristine as can be. Impossible to lay your hands upon original, let alone with Obi present. Price: Offers!!!! |
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1444. KAN MIKAMI: “Mikami Kan no Sekai” (Columbia – YS-10093-J) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Excellent). Copies with Obi never turn up and this is a white label promo to boot. Bloody rare white label PROMO COPY!!! First ever Mikami Kan record to hit the streets, released in 1971 on Columbia, selling poorly and shortly after its release the disc was withdrawn and sales became prohibited due to some of the offending lyrics Mikami sprouted out. So seen in that light it comes as no surprise that this record hardly surfaces these days. Graced with the stunning cover art of Saeki Toshio, the 19 year old Mikami delivered with his 1st album already a piece de resistance whose importance keeps on resonating throughout the Japanese folk scene. Music wise, Mikami's first record is a real stunning piece balancing the razor’s edge between deep enka and rural folk dwellings. Like his 2nd album that also came out on Columbia, Mikami breaths out a similar mystique drawing blood from melancholic vibes and rural influences, going back directly to his childhood musical influences such as loner enka blues, the barren land and wind swept plains of Aomori, Tsugaru minyo and so much more. His songs and voice are emotionally gut wrenched, boiling over with presence and dark, harrowing, ‘real' lyrical subject matter. Some of the songs you might even recognize since they appear is reworked versions on his later output. But here is where it all began and hard to believe that a 19 year old could have such a wintered through, tormented voice that has enough emotional power, well-directed venom filled anger and bleakness to strip the paint of your walls. And bleak it is, singing about murder, rape, yakuza gangsters, life like living it on desolation row and other light-hearted subjects that were poignant enough to scare any possible big success straight out of the window. A classic and rarely surfaces here in Japan due to the limited number of copies that got into circulation. Highest all time possible recommendation!! Price: Offers!!!! |
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1445. KAN MIKAMI: “Odo - Mikami Kan no Hitorigoto” (Columbia – YS-10114-J) (Record:
Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Mint).
Ultimate top copy, completely near mint condition. All complete with rare first
issue obi present, it has been ages since I have seen a clean copy of Mikami’s
2nd LP. Wow, here you have a disc that hardly surfaces at all, the
second album by Mikami Kan, released in a tiny run in 1972 on the major
Columbia. Tiny run since the disc failed to sell well, resulting in the company
withdrawing the remaining copies left lingering around in shops and destroying
them. Hereafter, Mikami would shift change labels and move towards the URC folk
camp where he recorded the “Hiraku Yume” disc. Still, his Columbia days were quite a different affair than the style he
got renowned for at URC and later even PSF. Although that his unmistakable
trademark style is already omnipresent, Mikami sounds more melancholic and high
on his rural roots, drawing blood directly from his childhood musical influences
like deprived enka blues, the barren land and wind swept plains of Aomori,
Tsugaru minyo and so much more. The A-side of the album depicts Mikami out on a
limp, wailing away alone with as solo accompaniment his rudimentary guitar
strumming and sounding more fragile and vulnerable than his later outings. He
sings into being chilling versions of songs, of which some would resurface on
his later albums but reshaped into total different versions. Here they still
sound utterly fragile and lonely. So great. The B-side sees Mikami backed up by
some stripped to the bare minimum accompanying musicians, attributing to his
compositions a total different mindset and feel. Here, his rooting become more
overtly clear and he sounds even lyrical at some points. Creeping and chilling
to the bone stellar stuff. It is here that it all began and unlike any other
recording of Mikami you have ever heard. You will get goose bumps just from
spinning this disc, 100% pure beauty embodied by this rough edged howler while
he was barely 20 years old. The A and B-sides are totally different moods and
mindsets of music, making this a highly diverted album that does not contain
one bad note. A classic and one of my all time favorite Mikami discs.
Historical and almost insanely rare. Comes in a nice foldout jacket.
Melancholic and depraved acid folk to the max. Killer material all round. Getting
so scarce these days, top copy all around with salacious first issue obi
attached. Fucking KILLER!!! Price: 400 Euro |
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1446. KAN MIKAMI: “Mikami Kan Enka no Sekai - Sentoukouta” (Columbia – CD-7106) (Record: Near Mint/ Jacket: Near Mint/ Insert: VG++/ OBI: Near Mint). Top copy!!! Hideously rare Mikami Kan record, possibly one of the rarest together with the first two and his privately released one. Comes complete with OBI. And for some reason, this one is to my humble ears one of his best discs ever due to the fact that instead of expressing himself in his always distinct style, he here goes head on first straight into deep enka infested waters. Here Mikami proves that he is a real gifted and talented singer and not just a blues folk singer who howls against the moon. He delivers classic enka tunes in an astonishing way and is in my opinion on of the few male enka singers – together with Funamura Toru – that is worth listening to. You can tell that he has “lived” and “experienced” the enka way of life, unlike the larger bulk of plastic enka singers that plaster the airwaves with their well-polished crap. Mikami breathes out desolation; loneliness, desperation, and an unbearable sadness that is needed to convincingly give live to real deep enka. And by listening to his renditions, one can understand why enka is sometimes referred to as the Japanese equivalent of the blues because it is all heartbreak, tears and sorrow. It is like he sings, being born and brought up in the nightly darkness, breathing out an abandonment of hope, hard liquor, melancholy and distress. In short the real stuff you have to experience in order to understand the value of life. Also it is interesting other versions of classic like “ Yokohama Tasogare” and seeing it in a totally different light than for example Ike Reiko's sultry version of the song. They are worlds apart, although that still the backing and strings remain omnipresent. In short, bone-chillingly great and one of the best “real” deep enka discs around. It would be his 3rd and final recording for Columbia before the label sacked him. Again he failed to attract an audience, I guess he was just too bleak and real for people to handle, confronting them with their deepest intimate feelings they always try to ignore. Mikami rules, he is the king and this disc again proves it. Genuinely rare. Price: 350 Euro |
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1447. KAN MIKAMI: “Yuyake no Kioku Kara – Mikami Kan Aomori Live” (Victor – SF-10065) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Released in 1976 on the legendary Victor SF series documenting outsider folk activities in Japan, this is one of the hardest Mikami LP’s to track down, apart from his first two albums. This record sees Mikami returning to his home base, the northern prefecture of the bone-chillingly cold and weather-beaten Aomori, delivering an intimate performance where he accompanies himself just on guitar with no back-up. A stunning and blood curdling live performance that proves once again that he is the ultimate acid folk/ rural beatnik guttural hero. He wails out elegiac songs with enough conviction to strip the paint of the walls. But at the same time it is possibly – partly due to his return to the motherland after having spent so much time in the concrete jungle of the capital – his most private statement to date, loaded with cries of sorrow and grief, introspective mind trips and venomous laments that suggests he cries his heart out for dead souls and lost memories. In other words, his performance squeezes the last whiff of air out of your longs, leaving you exhausted and emotionally distressed. Great, only superlatives do him justice, all time possible highest recommendation. By the way, the audience response in the small theatre is great and provides at times the ideal backup for his songs. You have to hear it in order to believe it….Price: 75 Euro |
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1448. KAN MIKAMI: “Jûkyû Sai Nikka Getsu Jûroku Nichi Yoru” (Mikami Komuten 1~2) (2 LP SET: Mint/ Gatefold Jacket: Mint/ Booklet: Mint) One word, monster private press rarity out of Japan, which came out as a numbered edition of only 100 copies. Second time ever I actually have & see a copy of this loner acid folk beast. Totally mint copy of this private press acid folk monster, one of the rarest discs of lately. Without a single doubt one of the rarest and most sought after Japanese acid folk artifacts is this fan club only subscription record by Mikami Kan, released as a numbered edition of only 100 copies, housed in hand drawn jackets. I have only seen this disc 2 times. Rare as hell and I doubt that you will see this one popping up on e-gay or on any list any time soon, probably never since no copies were never shipped abroad. The recording itself dates from 1970, recorded at the legendary Shibuya hangout Station’70. Here, merely 19 years old, avant-folk gut howler Mikami hurls out songs of lust, anger, blood and rage, sounding at one moment fierce, violent and sensual at the other. Killer stuff and rare as hell. Totally mint copy. Bleak, gripping and angst-ridden folk songs, cross-mutating with Mikami’s rural background, his love for twisted and sake drenched Enka songs and counter-cultural antics. Highest recommendation. One of the rarest acid folk/ psych folk/ and loner folk gems to seep out of Japan. Hardly no one has a copy of this beast, this copy is top shelf, mint as a virgin’s ass, so need some wrist slashing and gut wrenching offers in order to let this beast go, one off chance I reckon. Price: Offers!!!! |
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1449. KAN MIKAMI, YOSHIZAWA MOTOHARU,
HAINO KEIJI: “Jou” (PSF Records - PSF-5) (Record: Near Mint/
Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). The fist album in a
series of two, released in 1990 in an edition of 500 copies only. Getting
scarcer with every breath you take. Defining slab of underground activity that
instigated the late eighties and early 1990’s boom of independent sub-cultural
activities in Tokyo’s mud hole. Highly essential album, part one and part two
make a nice pair that will liberate your dusted mind. Limited press of only 500
copies way back….Price: 75 Euro |
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1450. KAN MIKAMI, YOSHIZAWA MOTOHARU,
KEIJI HAINO: “Live in the First Year of Heisei – Ge” (PSF
Records – PSF-6) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/
Insert: Near Mint). Released in an edition of 500 copies 27 years ago and long
gone & dried up. One of the key released to define the late 1980s and early
1990s Japanese underground, delivered to you by three historical figures to be around
for more than 3 decades. Fronted by Tsugaru folk howler Mikami Kan who batters down on a semi-acoustic
guitar, he spews out detached and fragmented songs, spiked up with the roaring
mumblings and vicious outcries exhorted in his native Tsugaru dialect. Flanking
him are veteran players Motoharu Yoshiwaza on the double bass and Keiji Haino
adding blistering lead guitar backdrops. Deprived of any catchy melodic twist
and turns the trio meanders with brilliant unpredictability, improvising aloof
like there is no tomorrow while all the time emanating psychedelic rays of
black sunlight. Mikami definitely acts as the front man, declaiming and
spitting out his lyrics rather than merely singing them, wrestling out many
choppy licks and near-bluesy chord figures from his guitar. His moves get accentuated
by Haino, toning down his familiar all-out guitar attack in favor of adding the
appropriate and interpretative effects to each song. Still his playing is all
over this disc and his effects blaze like a forest fire on the Mediterranean
coast. For the rest burst of astonishing and piquant harmonica playing pierces
throughout and Haino reinvents the instrument on the spot and avoids any
pitfalls of familiarity. In all this is one of the defining underground discs
that heralded the new Tsunami of Japanese psych and improve to hit Western
shores. The disc dried up in a second, here is a change to grab a totally mint
copy, it will significantly alter your sorry ass existence. Price:
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1451. KANG TAE HWAN: “Solo, Duo, Trio” (Chap Chap Records – POJE-9002/3) (2 LP Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint/ Sticker: Mint). Limited to only 250 copies pressing that is so stunning, it makes your stomach convulse in weird contortions. This is one killer 2 LP set. Recorded live at the Café Amores in Hofu on August 30, and September 1st, 1994 – it depicts Kang Tae Hwan in a trio formation with Ned Rothenberg (as, B-cl) and Otomo Yoshihide (turntables); Kang Tae Hwan solo and in a duo formation with Otomo Yoshihide. The end result of all three formations is nothing short of totally mind-blowingly great. WOW - this music is a free-fall of acoustic wonder. Crystallized to the trio of Hwan, Rothenberg and Otomo this trio singlehandedly jelled itself down as the most exciting live experience to take place at the tail end of the last century. Their sound take elements of wall-destroying free jazz and welds it to a black backbone that mixes tar-thick electronics, enormous bottom end drones and heavenly stripped down waves of minimal pressure bombs to conjure the kind of ritualistic wipe-out of some sort of ethnic tribe on Quaaludes in Papua New Guinea. Elsewhere the vertical take-offs of shredded reed and minimal voice action circuitry mirrors the arc of Steve Lacy’s collaborations with MEV while minting a form of improvisation that is as dense as it is fleet and ferocious. Pretty fantastic. This is an amazing set, Hwan’s sax provides a heady counter-point to Rothenberg’s bass clarinet, melting perfectly with Otomo’s full-scale turntable gimmickry drones, heavenly choral circuitry and thudding electro undercurrents while Hwan responds with some beautifully considered statements, with a lucid tone. But it’s the low-level, more intimate settings that most impress, with the duo of Hwan and Otomo coming over like a post-NWW take on the night time atmospherics of ‘Freedom’ Frank Lowe and Philip Wilson’s “Out Of Nowhere” side. While playing solo, Hwan’s style is oddly lyrical, ripping through staggered scales and sounding single note fanfares in a way that is utterly compulsive. The rigor is still there, the deconstructive vision, but this one feels somehow more affirmative, a classic solo record in the mode of Braxton’s For Alto and Kaoru Abe’s Live At Gaya series. In all, this is a massive set and one of the best free jazz slides of late. 250 copies only, this one is destined for utter greatness. Price: 150 Euro |
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1452. KARUNA KHYAL: “Alomoni 1985” (Voice Records) (Record: Near Mint/ gatefold Jacket: Mint/ Poster: Mint). BLOODY RARE AND TOTALLY EVAPORATED PRIVATE PRESS BEAST COMPLETE WITH ALWAYS MISSING POSTER!!! Top copy!!!! Monolith riffing and a very ascetic practice of infinite sustain that resemble surfing the percussive waves like a maestro amalgam of airport ramp agents. These are the core elements that concoct a sound hovering somewhere between perpetually peaking lysergic avant-garde, spiked up minimalism, doped-up & psyched-out Beefheartian desert throbbing and trancey, thunderous mantras to make up this deliriously hyper psychedelic and ultra rare album. Released in 1974 in an edition of 500 copies, Karuna Khyal and Brast Burn can be considered as one of the first privately released records in Japan. Some years ago the UK Paradigm label put out a shameless unauthorized bootleg version on CD, followed by the Radioactive suckers turned into Phoenix Records to do it again (Takahashi still remains uncompensated!!), but this here is the real thing. A slab of shiny black vinyl housed in a nice foldout jacket completed with degradations of violent pink to soft pink poster. The music is just jaw droppingly great, especially if you consider how it was conceived. The man behind this all was Takahashi Yoshihiro, hermitting away in his small one room flat, buried in between various instruments, multiple tape recorders and assorted out-of-tune shakers, tapes, sound sources and ad-hoc assembled material in order to blaze away with his solo multi-track project. He told me it took him 4 months to complete this sonic masterpiece by slowly shape shifting it through simultaneously recording stuff onto four tape decks, cutting and pasting the results, re-recording it and inserting found sounds snippets. The end result is a totally wacko excursion into a sun-blazed no-mans land while walking on the gilded splinters dispersed by Faust, Beefheart, Koiwa Indian peyote meeting ceremonies and other visionary madcaps. One of the greatest psychedelic artifacts ever to be unleashed unto the Japanese underground vastly underrated and so bloody rare it makes your eyes bleed upon seeing an original copy. This one is just in stunning condition. Rare as your great grandmother’s pearly white teeth…. Price: 550 Euro |
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1453. KAZUTOKI - KAPPO - UMEZU: “Bamboo Village” (Next Wave – 25PJ-1003) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Original 1980 first pressing in top shape. Deep meditative bliss jazz slide that will elevate you to the higher cosmic regions of your deserted mind. Mystifying droned out sounds fade out and interlock with a frantic free jazz aesthetic, taking you on a ride ranging from a spiritual high towards a trench warfare. Free running saxophone blowouts, bubbling soap-land bass runs, technocratic minimal percussion rattling’s, Kazutoki creates one hell of a sonic ride. It is all over the place, but he manages to create one solid run for your money that will leave you breathless and begging for more, just one more fix of the same medicine. If you do not know this one, then do yourself a favor, get this one, it is damned cheap, but the music embedded within the record’s grooves is beyond priceless. Until the bigger hipster crowd gets a sniff of this one, then you will be fucked and must run as a dog with its tail between its legs for your money. Don’t say you haven’t been warned. Highest recommendation. Price: 50 Euro |
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1454. KELLEE PATTERSON: “Maiden Voyage” (Black Jazz/ Toei Geion – YX-6070) (record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Hopelessly rare 1974 Japan 1st original pressing all complete with insert and never seen before OBI. Despite an offer from Motown Records Patterson chose to go with the less well-known but arguably much hipper Black Jazz Records, which resulted in this fantastic album, originally released in 1974 and featuring a great vocal version of Herbie Hancock's "Maiden Voyage". It was the most righteous album ever from Kellee Patterson – her first record, and a set that's way different from her more soul-based sides of later years! The album's got Patterson working in a wonderfully soulful approach to jazz – a style that's not unlike the earliest work by Dee Dee Bridgewater, especially her seminal Afro Blue album – and which mixes Kellee's unique vocals with some very hip backings that are right in the best Black Jazz mode! Instrumentation is from a loose jazz combo, and the tunes are a mix of jazzy numbers and a few tighter tracks – a really rich array of sounds that comes together beautifully in the hands of producer Gene Russell and accompanied by George Harper's sprightly flute and a subdued rhythm section, Patterson's lovely, sure-pitched voice fits the love song ‘Magic Wand of Love’ and the boogaloo ‘Soul Daddy’ well, as does her interpretation of lyrics specially fashioned for the Herbie Hancock instrumental ‘Maiden Voyage’. These babies sold next-to-nothing when they were released here domestically and copies complete with obi are bloody rare, bordering on the hopelessly insane. Top condition original. Price: 550 Euro |
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1455. KEYS, CALVIN: “Shawn-Neeq” (Black Jazz Records – BJ/5) (Record: Near Mint/ Jacket: Excellent). US 1971 first original pressing in very nice shape – top copy. A stone classic on the Black Jazz label – and one of the most unique guitar albums ever! We're not sure what the title meant originally – but over the past few decades, it's come to stand for some heavy heavy guitar work from the legendary Calvin Keys – a record that's really stood the test of the time, continually rediscovered by new generations of diggers! Keys has a unique touch here – a mix of open chords and tighter lines – beautifully wrapping up a history of soul jazz guitar that stretches back to the early 60s – then propelling things forward with loads of righteous 70s spiritual jazz energy. The set also features loads of sweet keyboards – played by Larry Nash and mixed with flute and "hose-a-phone" from Owen Marshall – set to grooves from Lawrence Evans on bass and Bob Braye on drums. A stone classic from the Black Jazz label! Price: 500 Euro |
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1456. KEYS, CALVIN: “Shawn-Neeq” (Black Jazz/ Toei Geion – OPL-2005) (Record: Near Mint/ Textured Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). WHITE label PROMO issue, Japan 1972 first original pressing. A stone classic on the Black Jazz label – and one of the most unique guitar albums ever! We're not sure what the title meant originally – but over the past few decades, it's come to stand for some heavy heavy guitar work from the legendary Calvin Keys – a record that's really stood the test of the time, continually rediscovered by new generations of diggers! Keys has a very unique touch here – a mix of open chords and tighter lines – beautifully wrapping up a history of soul jazz guitar that stretches back to the early 60s – then propelling things forward with loads of righteous 70s spiritual jazz energy. The set also features loads of sweet keyboards – played by Larry Nash, and mixed with flute and "hose-a-phone" from Owen Marshall – set to grooves from Lawrence Evans on bass and Bob Braye on drums. A stone classic from the Black Jazz label! Price: 450 Euro |
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14757 KEYS, CALVIN: “Proceed With Caution!” (Black Jazz/ Toei Records – YX-7017) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Damned rare Japan original pressing with obi. “This date followed Keys’ first, Shawn Neeq, by about two years. Hazy, psychedelic, post-bop is the order of the day here as well, but as most soul-jazz collectors will tell you, there's always a chance for some monster funk on a Black Jazz record so, as predictable as these releases may be on the surface, you never really know until you hear them. In this case, the bomb drops at the beginning of Side Two with "Aunt Lovely." While probably a little too 'out there' for most dance floors, "Aunt Lovely" begins like some of the best funky Grant Green of the era. As the track progresses, though, it gets more than a little hectic -- especially during Charles Owens’ Pharoah Sanders-esque soprano solo. Kirk Lightsey’s overdriven and distorted electric piano only serves to add to this tension later. Otherwise, Proceed With Caution moves along rather like most good Black Jazz and Strata-East dates: a touch of straight bop here, some sustained and swirling Rhodes organ there. Keys may not blow you away with his licks, but he certainly never disappoints. This is a fine record very much in tune with the idiom of the day.” (All Music Guide). Price: 400 Euro |
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1458. KIKEIJI: “Pressure” (ADK records – ADK-10S) (Red Wax 2 Sided 4-track 33 RPM Flexi Disc Single: Mint/ Gatefold Picture Sleeve: Mint/ 2 Inserts: Mint) Pressure was Kikeiji’s third and rarest 7-inch record- a 4 track 33 rpm slab of psychedelic punk, released in 1984 on Tam’s ADK Records. Just like their previous releases from the eighties, this record is a mix of dissonant post-punk and (mostly) slow, but aggressive and dark punk rock. If it turns up, this is always in bad shape and missing the inserts but this copy is a dead stock unplayed original and as Kikeiji is slowly attracting some attention from the outside world of punk collectors, prices are on the rise as the pressing numbers were low. Perfect condition for this masterpiece. Price: 250 Euro |
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1459. KIKUCHI MASABUMI: “Poo-Sun” (Philips – FX-8506) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Japan first original press issue from 1970 all complete with rare obi. Much revered and acclaimed killer slide by Masabumi Kikuchi who puts down some awesome electric piano here, often deploying loud, bold tones that lie somewhere between Joe Zawinul's work with Cannonball Adderley and Miles Davis! The album's an extremely sweet electric side and features great work on reeds from Kosuke Mine, who plays both alto and soprano sax, the latter with a wonderfully soulful, lyrical tone. Other players include Motohiko Hino on drums and Hideo Ichikawa on additional electric piano and organ. The killer track "Dancing Mist" gets showcased here and is totally bewitching!!! One of the all-time great Japanese groovy jazz slides that is a jaw-dropper from start to finish. First original pressing in top shape and complete with rare obi. Price: 400 Euro |
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1460. KIKUGUCHI MASABUMI with TOGASHI MASAHIKO & PEACOCK GARY: “Poesy – The Man Who Keeps Washing His Hands” (Philips – FX-8518) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). Rare original 1971 first original pressing that comes housed in 1st press only gatefold jacket art + all complete with fookin’ rare OBI. A set that definitely lives up to the poetry promised in its title – with none of the too-clean sounds you might guess from its hand-washing reference either! The album's one of the freest, most organic sessions we've heard from pianist Masabumi Kikuchi – almost improvised at points, but with a poetic cohesion in the piano lines that's really great – kind of an offbeat sense of lyricism that points in the same directions that Steve Kuhn or Keith Jarrett were heading in the late 60s. Drummer Masahiko Togashi plays lots of cool percussion and even a bit of gong – and Gary Peacock's bass here is as great as on any of his other excellent Japanese recordings. Hardly ever surfaces this clean and with OBI present. Price: 450 Euro |
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1461. KIKUCHI MASABUMI: “Dancing Mist - In Concert” (Philips Records – FX-8515) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Damned rare Japan very first press issue from 1971 all complete with rare first issue obi. Classic Japanese jazz slide, floating heavily on electric piano by the hand of Masabumi Kikuchi -- played here on two side-long tracks that really stretch out! The album's a live one, and features Kikuchi working with a sextet -- a great lineup that features soprano sax, bass, and drums plus some added organ and keyboards next to Masabumi's own keyboards, especially nice on one track that also features piano! There's a sensitivity to these tunes that's wonderful -- a hint at the straighter Japanese trio mode that would dominate later in the 70s, but played with some of the best boldness that scene was bringing to its work at the start of the decade. Killer. Pristine condition copy and impossible to find complete with first issue obi. Price: 300 Euro |
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1462. MASABUMI KIKUCHI SEXTET: “Matrix” (Victor – SMJX-10078) (Record: Near Mint ~ Mint/ Textured Gatefold Jacket: Near Mint ~ Mint). First original pressing in top condition and one of the greatest Japanese spiritual jazz slides ever put down on wax. Hideously rare WHITE label PROMO issue!!!! For this session some of the heaviest improvisers in Japan interlocked and created this behemoth of a disc. Centered around the groovy and exploding sax lines of Kikuchi Hideyuki and assisted on ivory keys by Kikuchi Masabumi pounding out cascading molten chunks of lava, butt-shaking and vitriolic bass licks of Takitani Hironori and the percussive tribal freak outs by master drummer Moriyama Takeo. Original 1969 pressing in pristine condition – probably the best copy around. This is truly a wonderful album, balancing in between AACM inspired spiritual mellow free jazz interplay and intoxicating groovy interplay. “Matrix” line-up consisted out of the crème of the crème of the Japanese spiritual jazz scene at that day – Futami Tetsuo (tp), Kikuchi Hideyuki (as), Nishimura Akio (ts), Kikuchi Masabumi (p), Takitani Hironori (b), Suzuki Takahiro (dms) – “Matrix” became one of the few Japanese spiritual jazz slides to come out so early that brimmed over with originality. With this line-up, Kikuchi Masabumi strived for recreating or injecting his own compositions with some fire-breathing interplay that drove on a lyrical economy and meticulous musical detail that is deceptively intense. The sextet explores more spread open improvisational territories, less heavy loaded but nevertheless burdened with the same intensity and urge to spontaneously combust on the spot. More space is created for challenging interplay, demonstrating the greatness of each individual participant in this blood-curdlingly amazing slab of panoramic sound clusters. Everything I expect a fantastic spiritual jazz disc to have is embedded within this LP’s grooves, semi-heavy fixes everywhere you look, communal stripped-down interplay, individuality and bliss-like cut in interventions, warm sound clusters of groovy interplay. But it isn’t before long they divert again into percussive shakers and intuitive atmospheres of swing-vibe interplay that is not bound to be categorized easily. Hideously rare but sadly undetected piece of Japanese Jazz History. Highest possible recommendation. Top copy original pressing and essential to anyone trying to get firm grasp on Japanese late 1960s spiritual jazz. Price: Offers!!!! |
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1463. KIKUCHI MASABUMI: “All About Dancing Mist” (FS-5072~3) (2 LP Record Set: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint ~ Mint). Insanely rare Japan 1st original pressing in NM~M condition and all complete with insanely rare OBI!!! Never surfaces with obi, let alone in a condition like this one here. Absurdly under-heard. Kiler set, all recorded between 1970 and 1971, it offers 4 different versions in different lineups of Kikuchi’s “Dancing Mist” composition. Admittedly for most of its existence it's been basically impossible to hear, but that's less true now than it's ever been, so... here's a goad. The track list is: A. Dancing Mist With Joe Henderson/ B. Dancing Mist At The Yamaha Hall/ C1. Dancing Mist With Masabumi Kikuchi Sextet/ C2. Dancing Mist With Poll Winners/ D. Dancing Mist At The Sankei Hall. These versions feature the following line-up with musicians: Joe Henderson, tenor saxophone (A); Takeru Muraoka, tenor saxophone (C2); Sadao Watanabe, alto saxophone (C2); Terumasa Hino, trumpet (A, C2); Kosuke Mine, soprano saxophone (A, B, C1, C2, D); Masabumi Kikuchi, electric piano (A, B, C1, C2, D); Yoshio Suzuki, bass (A, B); Yoshio Ikeda, bass (C1, D); Kunimitsu Inaba, bass (C2); Hiroshi Murakami, drums (A, B, C1, D); Motohiko Hino, drums (C1, C2); Yoshiyuki Nakamura, drums (A, B); Hideo Ichikawa, organ (C1); Mashiro Kikuchi, organ (D); Keiji Kishida, percussion (C1), drums (D); Yoshiaki Masuo, electric guitar (C2). Absolutely worth hearing but unfortunately it is the rarest of Kikuchi’s LP’s especially with obi which hardly ever surfaces, making this beast here a monster rarity. These five different versions with different lineups of Kikuchi's composition "Dancing Mist" from Poo-Sun, all of them incendiary awesome. A thing worth getting oneself absorbed in for ninety minutes – if only you can find yourself a copy complete with obi so this here is your one-off chance to wheel in an all-complete Near Mint copy with obi. Highest recommendation! Price: Offers!!!!! |
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1464. KIKUCHI MASABUMI with ELVIN JONES: “Hollow Out” (Philips/ Nippon Grammophon – FX-8526) (Record: Near Mint/ Gatefold Jacket: Near Mint/Capsule Obi: Near Mint). Rare Japan very first press issue from 1973 all complete with damned scarce capsule obi. Pianist Masabumi Kikuchi joins drummer Elvin Jones in a really great trio date, one that draws extra power from the mighty bass of Gene Perla, whose soulful tones help push the music along strongly! The Jones/Perla combination is always great, but it seems to take on a whole new level of sensitivity in the presence of Kikuchi, showing more sense of space to allow Masabumi's piano some great placement in the date, yet without any of the "hollowed out" modes you might guess from the title. Perla can be bold one minute, very subtle the next – and his presence is always appreciated on the record, making you wish in vain he'd recorded more with Kikuchi over the years. Stellar all the way from start to finish. Rare very first pressing with always elusive obi. Top shape!!! Price: 400 Euro |
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1465. KIKUCHI MASABUMI: “Hollow Out” (Philips – FS-6508) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Japan 2nd press issue from 1977 all complete with obi – WHITE label PROMO issue. Pianist Masabumi Kikuchi joins drummer Elvin Jones in a really great trio date, one that draws extra power from the mighty bass of Gene Perla, whose soulful tones help push the music along strongly! The Jones/Perla combination is always great, but it seems to take on a whole new level of sensitivity in the presence of Kikuchi, showing more sense of space to allow Masabumi's piano some great placement in the date, yet without any of the "hollowed out" modes you might guess from the title. Perla can be bold one minute, very subtle the next – and his presence is always appreciated on the record, making you wish in vain he'd recorded more with Kikuchi over the years. Stellar all the way from start to finish. Price: 75 Euro |
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1466. MASABUMI KIKUCHI QUINTET: “End For The Beginning” (Philips – FX-8527) (Record: Near Mint: Jacket: Near Mint & Fully Signed By all band members/ Insert: Excellent). Damned rare 1973 original first pressing in outstanding shape and all complete with insert and mega rare OBI. Comes fully signed by all the quintet’s members. A modal – spiritual jazz cornerstone! End from the Beginning is a soulful masterpiece by the quintet comprised out of Kosuke Mine, Hideo Miyata, Yoshio Suzuki and Hiroshi Murakami who together with leader Kikuchi Masabumi created this chef d’oeuvre of spiritual jazz, recorded live in the studio and brimming over with a vibrating tension and exploratory emotions. Right from the start with its dynamic intro up to the massive “Admire, But Detest” and the cool-as-fuck modal jazz groover “Green Dance”, wherever you drop the needle, you will be hit with intoxicatingly deep & groovy sounds. Exquisite modal jazz, post-Coltrane inspired improvisations and spiritual vibes with Kosuke Mine excelling on soprano sax and his sidekick Miyata filling the gaps on tenor and flute while Kikuchi again brings delight and pure pleasure on the ivory keys. The composition Gin-Kai feels like a breath of fresh air with its Japanized touch drifting on percussive rattles and cymbal effects, infused with dissonant soprano/ flute tones interlocking with a poetic and delicate but free roaming piano riffage. “Bell” on the other hand has a strong spiritual vibe drifting on a suggestive theme with a strategic improvisational touch, without losing its subtility, bringing out an elegance not unlike the one found in Scandinavian jazz. In all, End of the Beginning brings together themes that are close to Kikuchi, with its at times bolstering flights but also its moments of grand accuracy that will please any seasoned ear looking for the pleasures of deep spiritual jazz. Price: Offers!!! |
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1467. KIKUCHI MASABUMI: “Hairpin Circus Original Soundtrack” (Philips – FX-8521) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Now this baby is rare – 1972 Japan first original press issue all complete with freakingly rare obi. Hairpin Circus is sparse on plot and dialogue, but heavy on car action. Lengthy car races and chases make up the bulk of the film's 84-minute running time, while the Kikuchi Masabumi’s jazz score vies for aural dominance with an unrelenting chorus of revving engines. The end result is quite hypnotic, an almost abstract, purely kinetic form of action cinema with a finale that verges on oneiric with the main characters chasing each other through the nighttime city streets, while literally get high on speed, while all the time Kikuchi’s score is the real torcher, fusing neatly with the adrenaline fumed car action. The line-up is finger-licking awesome and reads as a who-is-who of J-Jazz with Kikuchi Masabumi getting flanked on Bass & Electric Bass by Yoshio Suzuki; Motohiko Hino on drums and Nakamura Yoshiyuki on Electric Piano Fender, organ by Masahiro Kikuchi and Kohsuke Mine on Soprano Saxophone. Ripe for rediscovery, Hairpin Circus is quite a ride indeed. Price: Offers!!!!! |
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1468. KILLING FLOOR: “Call For The Politicians b/w Acid Bean” (Penny Farthing Records/ Canyon Records – Y-6-P) (7 Inch Single Record: Near Mint/ Picture Sleeve: Excellent ~ Near Mint/ Company Inner Sleeve: Near Mint). Stupidly rare Japan ONLY picture sleeve single issue – WHITE label PROMO issue. Loud, finger-blistering guitar charged heavy bluesy psych monster. A raw, immediate, overdriven, psychedelic blues group as Killing Floor hits you with a heavy and reverent update of the Yardbirds rave-up sound. This s debut burns across two tracks and it is graced with that white-boys-blues trashy sound not unlike Burning Plague. Singer and harp player Bill Thorndycraft had a gruff deep down-from-the-belly vocal style, sounding utterly wasted and he had the gift to blow the harp and give the music that earthy blues feeling that could be found in all the Mississippi Delta acoustic blues. Michael Clark was an exceptional six-string slinger igniting a fire burning he let loose on his strings, molten lava emanating out of it and hitting you right in the face; you could just hear it in his playing, and the rhythm section of Bas Smith (drums) and Stuart MacDonald (bass) was steadfast and true in support of his fire branded flourishes. Lou Martin added the additional elements of keyboards to give their music more texture and a modern updated sound. Damned rare Japan only picture sleeve issue, top shape and PROMO to boot! Price: 350 Euro |
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1469. KILLING FLOOR: “S/T” (Spark – SRLP-102) (Record: Near Mint/ Flip Back Jacket: Near Mint) Top UK copy of this loud, finger-blistering guitar charged heavy bluesy psych monster. The sheer toughness -- and overall derivative nature of Killing Floor's debut album, issued six months after Led Zeppelin's debut in 1969 on the Spark label, is a wondrous contrast to the overly slick treatment American blues were given by British artists. All of these tunes, with the exception of one are revamped versions of songs from the blues canon with different words. The lone "cover" in the set was written by Willie Dixon titled "Woman You Need Love”. This is a raw, immediate, overdriven, psychedelic blues record as Killing Floor hits you with a heavy and reverent update of the Yardbirds rave-up sound This self-titled debut burns from start to finish and it is graced with that white-boys-blues trashy sound not unlike Burning Plague. Singer and harp player Bill Thorndycraft had a gruff deep down-from-the-belly vocal style, sounding utterly wasted and he had the gift to blow the harp and give the music that earthy blues feeling that could be found in all the Mississippi Delta acoustic blues. Michael Clark was an exceptional six-string slinger igniting a fire burning he let loose on his strings, molten lava emanating out of it and hitting you right in the face; you could just hear it in his playing, and the rhythm section of Bas Smith (drums) and Stuart MacDonald (bass) was steadfast and true in support of his fire branded flourishes. Lou Martin added the additional elements of keyboards to give their music more texture and a modern updated sound. Original copies in nice condition are completely vanished these days, so… Fucking wasted and dirty white trash psychedelic blues album that till this day hasn’t met his rival yet, so Jon Spencer go suck some more on your mother’s tit, Killing Floor blaze you away any day of the week. Price: Offers!!!! |
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1470. KIM FOWLEY JR: “Son of Frankenstein” (Moxie – MLP06B-Fdisk9B) (Record: Excellent/ Jacket: Mint). Totally obscure and off-the-radar killer slide that will make your jaw drop and hit the floor in disbelief. Kim Fowley, or as this album claims, Kim Fowley Jr. somehow existing as both an outsider musician and as one of pop's top producers, Kim is possibly one of the weirdest of the rock and roll mutants: he started out as a kid in Hollywood with actor parents, started his first band with Phil Spector and Sandy Nelson, recorded countless 60s novelty singles and sat underneath the piano during Zappa's "Freak Out" sessions before moving to England and working with every up and coming star in the mid 60s then coming back to the states to record hundreds of gold records,started the Runaways in the late 70s, pioneered synth-punk in the 80s, and still had time in between all the gold records to make a couple thousand solo albums with absolutely no commercial potential. “Son of Frankenstein”is one of his better albums – if not his best LP ever – and is divided into an “Alcoholic Side” and a “Psychedelic Side” so you can already guess in what kind of sick realms this baby steers into. The “Psychedelic Side” featuring the notorious spoken-word freak-out “Invasion of the Polaroid People” which starts of with the all time classic line “I am Goatman/ Gorgo the Dog Boy talking about everything he saw/ When he was stoned in High School/ Shooting up in the boys room/ Of Dog High School, Dorkville, USA”. And so it goes on, with numerous nonsense and totally demented bizarro sicko tracks all delivered in a typical Fowley stream-of-consciousness style. This is totally wicked and demented stuff that should appeal to all of those Prozac heads out there cause Fowley sounds like junked-up Iggy Pop on downers backed by early Suicide. Now THAT'S entertainment for ya all. Sheer brilliance!! Price: 75 Euro |
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1471. KINGFISH: “S/T” (Liberty Records – LLS-80536) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition 1976 Japan 1st original pressing all complete with always elusive obi. A hot little bar band that stayed close to rock's roots, Kingfish benefitted from the presence of Grateful Dead guitarist Bob Weir. There's a very strong song selection, featuring "Jump for Joy," "Lazy Lightning," "Wild Northland," "Big Iron," "Goodby Yer Honor," "Asia Minor," and more. Besides Weir, players on this release include Dave Torbert, Matthew Kelly, Robby Hoddinott, and Chris Herold. This album featured jams to challenge The Dead’s but also knew when to come back to earth. Has been more than a decade since I last saw a copy with obi. Essential ear candy for Dead lovers. Price: 150 Euro |
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1472. KING TUBBY: “Prophets – King Tubby’s Prophesy of Dub” (Private – VJ8125) (Record: Excellent/ Generic Paste On Sleeve: Near Mint). Freakingly rare UK private press original that was issued in a limited run of 300 copies only back in 1976. Hardly ever surfaces, especially in such a nice condition as this baby here with only a few of superficial sleeve line visible under bright light. “King Tubby's Prophecy of Dub represented the first in a series of collaborations between singer/producer Yabby U and the great dub mixe King Tubby. The vocal tracks of the former are stripped entirely from the music taking Yabby’s Biblically informed verses along with them. Tubby’s re-creations however, are extremely tasteful, producing the best of both worlds: Yabby’s excellent rhythms stripped down to their essential elements, with each touch of dub superbly integrated into the instrumental landscape. Tubby highlights not only the horn players, but guitarists Earl “Chinna” Smith, Albert Griffiths and Ranchie McCLean as well, for wonderful results. Their lines spring from the receding background on "Robber Rock" and rise, sublimely to the surface on "Love and Peace." "Creations and Versions," the track that brought King Tubby's Prophecy, in its original 1976 incarnation, to a close, is filled with supple six-string flourishes. Hardly anything, save the sparse bass/drum foundation, avoids the trap of Tubby’s echo. The dub organizer slows down the rhythm (its opening drum strokes hardly get off the ground) and offers a distinctly different, even improved excursion with a gritty, bordering on lo-fi, quality. Those looking for some of Tubby’s more extravagant productions might want to look elsewhere, but King Tubby's Prophecy remains a rugged, consistent and tasteful roots set. Another host of collaborations by the duo can be found on the two-disc Blood and Fire compilation, Jesus Dread.” (All Music Guide) This unfolds like a dub classic, with hissing hi-hats and rippling top lines all underpinned by impossibly buoyant bass. Along the way, there are up tempo rumblers next to sink into your sofa stoner sessions that all make it a perfectly warm and escapist trip. For 1976 and even for King Tubby it is not super single noted or overly repetitive. Each track blossoms in a really enjoyable way which is a huge surprise for a release that is this early in the dub genre. Absolutely killer and super scarce first original pressing in great shape. Price: Offers!!! |
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1473. The KINKS: “S/T” (Sound Marketing System Inc. – SP20-5023) (Record: Near Mint/ Jacket: Near Mint/ Insert: Excellent/ Obi: Near Mint). Japanese press issue from 1983 of the 1st Kinks LP – PROMO issue. Top shape and essential. First cheap for a Nm condition copy… Price: 50 Euro |
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1474. The KINKS: “Percy” (Pye/ Nippon Columbia – YS-2542-Y) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ Obi: Near Mint). Damned scare Japan 1st original pressing all complete with rarely seen or offered first issue obi. “Percy was the story of the world's first penis transplant. Although virtually unseen in the United States, it was still popular enough to yield a sequel (Percy's Progress), but its real impact came from its soundtrack. Ray Davis wrote some hauntingly beautiful ballads and some solid blues and country as well -- "God's Children" and "Animals in the Zoo" have turned up on some career anthologies, but there's a lot more to Percy than those two tracks. "Completely" is as fine a slow blues as the band ever recorded, with a sizzling performance by Dave Davies and "Dreams" is a pretty solid rocker, even up alongside "Animals in the Zoo." To this day the album has never appeared in the U.S. catalog -- recorded at the tail end of their contract with Pye Records in England and Warner/Reprise in America, and connected with a movie that was never going to see much exposure in the U.S.A., Reprise passed on it at the time.” (All Music) rare Japanese original, hardly ever surfaces with OBI present. Top shape. Price: Offers!!! |
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1475. The KINKS: “Collector’s” (Pye Records/ Teichiku – UPS-593-Y) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Near Mint). Japan only issue with very first issue obi. Throws together some essential Kinks tracks consisting out of: Come On Now – I Need You – Don’t Ever Change – Wait Till The Summer Comes Along – Wonder Where My baby Is – Look For Me Baby – So Long – It’s All Right – I Gotta Move – You Shouldn’t Be Sad – Ev’rybody’s Gonna Be Happy – Got My Feet On The Ground – Naggin’ – Nothin’ In The World Can Stop Me – Worrying’ About That Girl”. Comes with insert and cool Pye Records Obi. Rarely surfaces and this is a top notch copy. The Kinks ruled!!! Price: 300 Euro
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1476. The KINKS: “The Best of The Kinks” (Pye Records/ Teichiku – GH-59-Y) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Scarce Japan only compilation in top condition – this being the rarest variation with the purple obi designs. Price: 100 Euro |
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1477. The KINKS: “The Best Of The Kinks” (Columbia – YS-2236) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ OBI: excellent). Japan only 1969 release, throwing together the Kinks best loved jammers. This is the rarely seen WHITE label PROMO/ TEST pressing. Comes all complete with scarce Columbia OBI!!! Top shape, they do not come better than this one here. Price: 175 Euro |
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1478. The KINKS: “Shangri La b/w This Man He Weeps Tonight” (Pye/ King Records – LL-2313-Y) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near Mint – has stain inside gatefold due to age/ Company Inner Sleeve: Near Mint). Damned rare WHITE label TEST PRESSING with hand-stamped labels. In the novel Lost Horizon, Shangri-La is the mystical, hidden paradise of legend. But in the The Kinks’ song, it’s the name given to the humble home of Arthur, the main character in Ray Davies’ concept album/rock opera Arthur (Or The Decline and Fall of The British Empire). Written as the accompaniment for a TV movie that was never produced, Arthur still stands as one of The Kinks’ best works, and “Shangri-La” was the stand-out track for the aforementioned LP. Hardly ever offered Japan test pressing…..Price: 250 Euro |
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1479. The KINKS: “All Day And All Of The Night b/w I Gotta Move” (Pye/ Nippon Columbia – LL718-Y) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Scare 1964 Japan 1st original pressing in absolutely pristine condition. Not an easy feat finding these babies in top shape so… Price: 100 Euro |
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1480. The KINKS: “A Well-Respected Man B/w Such a Shame” (Pye/ Nippon Columbia – LL-869-Y) (7 Inch Single: Near Mint/ Gatefold Picture Sleeve: Near mint/ Company Inner Sleeve: Near Mint). Top condition Japan 1st original press issue from 1966 of rarely popping up Kinks single. Top shape. Price: 150 Euro |
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1481. The KINKS: “Kinks Mini Hits Deluxe with: You Really Got Me – Tired of waiting for You b/w Sunny Afternoon – All Day and All of the Night” (Pye/ Teichiku Records – YSS-134-Y) (4 Track 7 Inch EP Single: Near Mint/ Heavy Cardboard Picture Sleeve: Excellent ~ Near Mint/ Two Sided Lyrics Insert: Excellent – some foxing). Top shape Kinks Japan only issue. 4 killer tracks housed in great hard-card picture sleeve. Price: 75 Euro |
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1482. The KINKS: “Sitting In The Midday Sun b/w Sweet Lady Genevieve” (RCA/ Victor Records – SS-2346) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Top shape 1974 Japan only single issue of classic Kinks. Rarely offered WHITE label PROMO in virginal condition. Two classic tracks, eye-popping picture sleeve, a slice of Brit psych history as released in the Far East. Brilliant from start to finish. Picture sleeve is an eye-gorger, both tracks are classics. Condition is top shelf. Impossible to improve upon. Price: 150 Euro |
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1483. KIRIKYOGEN: “S/T” (King/ London – SKK(L)-3003) (Record: Near Mint/ Jacket: Near Mint). Incredible bloody rare first press original. Top condition - Near Mint. Kirikyogen was one of those one-time-off Japanese super groups erected by mastermind and Happenings Four leader Kawauchi Kuni who assembled around himself some key players out of the Flower Travellin’ Band such as vocalist Joe Yamanaka and guitar gunslinger Ishima Hideki. Kirikyôgen was a short-lived session quartet, composed out of the Happenings Four members Kuni Kawauchi and Chito Kawauchi and two Flower Traveling Band participants, Joe Yamanaka and Ishima Hideki. Their sole recorded output “Kuni Kawauchi To Kare No Tomodachi” consisted out of several compositions, written by all the four members and completed with Kuni Kawauchi’s lyrics. Music and text-wise the album bears some structural resemblance to the Happenings Four album “The Long Trip” (1971), although that Kirikyôgen’s effort appeared one year earlier than the former and one month after the release of the Flower Traveling Band’s debut “Anywhere”. It is said that Ishima Hideki wasn’t at all satisfied with “Anywhere” since his individuality as a guitarist was restricted to merely copying foreign songs, how well executed they may be. With the Kirikyôgen project he could surmount these formal restrictions and concentrate more on his own individual playing, an element that afterwards would fully translate itself with the Flower Traveling Band’s second release “Satori”, which possessed a more adulterated and original sound as compared to “Anywhere”. So seen against that background it is certain that Kirikyôgen influenced and left its imprint upon the Flower Traveling Band, although that Kirikyôgen failed to attain the big public success of its affiliated brotherly outfit. The lyrics, displaying the dissolute worldview of Kawauchi, were hurled out and given shape by the powerful vocals of Joe Yamanaka and underscored Ishima’s idiosyncratic guitar play. But in the midst of the Japanese rock movement lead by the Happy End, almost nobody paid any attention to their sonic endeavors, causing their sole recorded output to be engulfed by the cracks of time. In retrospect, “Kuni Kawauchi to Kare no Tomodachi” cannot but be regarded as an excellent session album depicting some of the New Rock’s key participants on a collision course in search for musical originality. The album still stands as one of the prime examples of that era that succeeded in merging musical vision with audacious skillfulness and lyrical originality. Bloody rare and mind blowingly great. TOP COPY & 1ST ORIGINAL PRESS. Price: Offers!!!! |
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1484. KIRISA GO: “Chin-Jara b/w Dogan Tengoku” (Harvest Records – YA-16) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint). Bloody rare 1969 Japan original underground cum weird Bossa Kayo Jazz groover. Bizarre and strange oddball cross-pollinated sonic real people one-off release that defies clear categorization and resulting in a highly unique hybrid sound that could only have been birthed on these shores during that brief but fertile pocket in time. Balancing the razors edge between primitive bossa, spastic kayo/ enka, caveman jazz vibes and sleazy hotel lounge act, all complete with witchy echoe-y female vocals pulled through walls of reverb and backed up by a male cocktail backing vocals, the songs bounces along like a drunken mermaid on shore-leave. The B-side is also a queer one, but not as outlandish as the title track, Still, kooky and high-flown interludes are never far behind. Long time underground favorite but extremely hard one to find as copies are beyond scarce. Easy to understand when immersing yourself in this oddity as sales at the time of its release must have been next-to-near non-existent. A genre defying oddball groover that could have attained mass-appeal if people were attuned to it and listening. Took me over a decade to locate a copy so happy to offer this largely unknown and undetected rarity. Highest recommendation for sure. Price: 400 Euro |
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1485. KIRK, ROLAND: “We Free Kings” (Philips/ Nippon Victor – SM-7086) (Record: Near Mint/ Flip Back Jacket: Near Mint/ Obi: Near Mint) Bloody scarce Japan very first press issue all-complete with rarely seen OBI present. A hell of a record from the young Roland Kirk on which he is simply mind-blowing, playing tenor, flute, manzello, and stritch – often at the same time, and in a mode that's no gimmick at all, but which instead shows his wonderfully sophisticated understanding of sound and resonances between the reed instruments! And as always with Kirk, there's a strong current of soul in the music too, which gets emphasized here by backing work from players who include Richard Wyands or Hank Jones on piano, Art Davis or Wendell Marshall on bass, and the great Charlie Persip on drums. Essential and damned rare 1st press Japan original with hardly ever seen obi! Price: 200 Euro |
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1486. KIRK, ROLAND: “Kirk In Copenhagen” (Mercury Records/ Nippon Victor – SM-7155) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint & with languette still attached inside the cover/ Obi: Mint). Viciously rare Japan 1964 first press issue with rare first issue obi. A rare slice of work by Roland Kirk from his early years – a great live set recorded in Europe in the mid 60's – done in a looser mode than his studio sessions from the time! Kirk's playing his usual array of incredible horns – tenor, stritch, flute, nose flute, and manzello – with an international group that features Tete Montoliu on piano, Niels Henning Orsted Pederson on bass, and J.C. Moses on drums. In the setting, there's more of a hard bop feel to the material than on some of Kirk's studio sets – but given Roland's penchant for unusual phrasing, twin-reed blowing, and general free-thinking overall, the sound is pretty unique overall! Top condition and this earliest pressing just never surfaces this pristine. Price: 150 Euro |
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1487. KIRK, ROLAND: “Rip, Rig & Panic” (Mercury/ Nippon Phonogram – SFX-7288) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint) Damned rare Japan very first original press issue in top shape and all complete with rare 1st issue gold colored obi. “Despite its brevity, Rip, Rig, and Panic may be pre-Rashaan Roland Kirk’s greatest outing. Recorded in 1965 at Rudy Van Gelder's studio in New Jersey, Kirk is teamed with the most awesome rhythm section he ever recorded with: drummer Elvin Jones, pianist Jaki Byard and bassist Richard Davis. Clocking in at a mere 36 minutes, Kirk and his quartet moved through a series of musicological changes that defined him as an artist at the time. Five of the seven compositions are his, and reach through each of the phases that Kirk was interested in integrating into his compositional and improvisational voice. First there is the elegant modal music of "No Tonic Press," with its non-linear mathematic groove maintained with verve by Jones in all the knotty spots. Then there is the ethereal Middle-Eastern harmony juxtaposed against the changes in "Once in a While" by Bennie Green. But the whole thing comes together by the third tune, when Kirk sifts his hearing of New Orleans music into gear with "From Bechet, Byas, and Fats." Using his loopy manzello to approximate the soprano saxophone, Kirk and Byard trade fours on some odd open-D modal theme before shifting into the music of Bechet's time and coming out on tenor with direct quotes from the Don Byas book, with Byard and Davis turning around on a blues motif as Jones double times with a sheet of rim shots. Through the rest, the set moves consistently more outside, with Kirk flipping instruments and Jones and Davis turning the rhythmic patterns around on Byard, who takes it all in stride and shifts the harmonic levels to Kirk’s intensity on the title track and "Mystical Dream." The set ends with the bluesy, somnambulant groove of "Slippery, Hippery, and Flippery." There's a paranoid opening with Jones running all over the kit, Byard slipping up and down the board, and Kirk making siren sounds before entering his bluesy post-bop nightmare of a jam that winds itself out over studio distortion, Kirk’s noises, and a killer tenor solo that caps everything on the album. Positively smashing.” (All Music) Hardly ever offered for sale 1st original Japan press issue with OBI. Price: 150 Euro |
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1488. KIYOSHI SUGIMOTO TRIO: “Country Dream” (Nippon Columbia/ Takt Jazz Series – XMS-10024-CT) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). TOP condition WHITE label PROMO/ TEST Press issue – super rare!!!! Killer Japanese jazz slide that is getting next-to-impossible to dig up these days all complete with obi. Debut album by Sugimoto Kiyoshi who pops up on a multitude of Japanese jazz albums as a leader of sideman but here finally fronting his own trio. Nothing "country" about this record as Sugimoto keeps things very hip and contemporary working in a dense groovy and melodious lyrical way that exhibits his utterly freely fluid style injected with a few funky touches as well! The group on the set is a quartet with Kiyoshi's guitar amidst piano, bass, and drums, the last of which are played by Motohiko Hino with a nice little snap that brings that delirious groovy touch to the record, even when the tunes are long and open-ended. Sugimoto's got a richly chromatic way of playing the guitar that's infectious, emanating a signature sound that would not have been misplaced on a Gary Burton album from the late 60s, but which comes across even better here in the wonderfully creative style of the session. All tracks are just wonderful, making this a highly sought after but sadly difficult to obtain 1st original pressing. Awesome!!!! Price: Offers!!!! |
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1489. KIYOSHI SUGIMOTO TRIO: “Country Dream” (Nippon Columbia/ Takt Jazz Series – XMS-10024-CT) (Record: Near Mint/ Gatefold Jacket: Near Mint). Killer Japanese jazz slide that is getting next-to-impossible to dig up these days all complete with obi. Debut album by Sugimoto Kiyoshi who pops up on a multitude of Japanese jazz albums as a leader of sideman but here finally fronting his own trio. Nothing "country" about this record – as Japanese guitarist Kiyoshi Sugimoto keeps things very hip and contemporary – working in a freely fluid style that also has a few funky touches as well! The group on the set is a quartet – with Kiyoshi's guitar amidst piano, bass, and drums – the last of which are played by Motohiko Hino with a nice little snap that brings a groove to the record, even when the tunes are long and open-ended. Sugimoto's got a richly chromatic way of playing the guitar that's really great – a sound that would have been very much at home on a Gary Burton album from the late 60s, but which comes across even better here in the wonderfully creative style of the session. Tracks are all longish, No obi for this one so comes so damned cheap it hurts. Top condition of all time killer spiritual jazz slide par excellence. Price: 500 Euro |
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1490. KIYOSHI SUGIMOTO QUINTET: “Babylonia Wind” (Columbia – XMS-10037-J) (Record: Near Mint/ Gatefold Jacket: Near Mint) Pristine condition 1971 Japan original 1st press issue – PROMO copy of all time monster rare spiritual jazz slide. One of the rarest and best from down here but sadly next to impossible to get your hands on. This copy here is the best condition imaginable. A groove so deep and mysterious that you hesitate to surrender yourself to it. This is the pinnacle of guitarist Kiyoshi Sugimoto's career, a guitarist who has consistently struck at the heart of his era. Kiyoshi Sugimoto, the guitarist whom Terumasa Hino longed for and Akira Ishikawa was captivated by. His cutting-edge and diverse sound has always been at the forefront of both modern jazz and jazz-rock, sharply striking at the heart of his time. There is no doubt that this album, "Babylonia Wind," captures one of the pinnacles of his musical expression. Hideo Ichikawa's electric piano spreads like ripples, Yoshio Ikeda's bass is rich yet restrained, Motohiko Hino's drums are crisp and powerful, Takao Uematsu's saxophone possesses both wildness and allure, and Sugimoto's sharp, angular guitar flashes forth. From "Babylonia Wind," which evokes the feeling of drifting through the deep sea, to "Hieroglyph," which leaves a delicate and ephemeral afterglow, listening to the entire album will leave you astonished by the diversity of expression and awe-inspiring by the depth of the groove. Impossibly rare original first press issue in astonishing condition…. Just never ever surfaces this clean…. All killer no filler from start to finish!!! Price: Offers!!!! |
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1491. KIYOSHI SUGIMOTO with Mizutani Kimio, Kawahara Masami, Muraoka Takeru, etc: “Rock Joy In Guitar” (MCA Records – JMC-5036) (Record: VG++ ~ Excellent – has a few faint hairlines that do not affect the play/ Gatefold Jacket: VG++~Excellent) Original WHITE label PROMO 1st press of hardly ever offered XXX rarity. This slide took me completely by surprise, jumped on me from behind, wacked me down and sunk its teeth into my spinal cord, slowly gnawing its way onto my brain. Again, I expected a turd when I wheeled this in but instead got an uncut and raw diamond brimming over with demonic coked up potential. Upon investigating the hired gunman responsible for this onslaught, it is easy to see why. Sugimoto Kiyoshi on guitar gets flanked and assisted by Japan’s greatest acid guitar gunslinger Mizutani Kimio, organ wailing riffage is accredited to Shikawa Hideo and Suzuki Hiromasa, Takebe Hideaki joins on bass, Tanaka Kiyoshi on drums while being flanked on percussion by Kawahara Masami (of Ike Reiko fame) and sax the courtesy of Muraoka Takeru (Uganda and such). Just like the other LP in the series it is a kind of a psychedelic exploitation album executed by heavy scenesters by ripping through – in complete instrumental mode – through some hit songs that reigned the airwaves in 1971. Here the groups of musical delinquents waltz through tracks such as “Samba Pa Ti” (Santana), “Déjà vu” (CSN&Y), “You’ve Got A Friend” (Carole King), “Heart of the Matter” (Paul McCartney), “The Wizard” (Black Sabbath) and a “Beatles Suit – Norwegian Wood – And I Love Her – Eleanor Rigby – Let It be – Hey Jude”. Again, don’t let the choice of producer arranged songs fool you. Like for example the “Eleanor Rigby” track makes the Beatles sound like a kindergarten combo as these psych heads rip it apart like a pile of cheap hay, spiking it up with deranged fuzz licks and although the start out like a psyched out jam that rapes the song sideways, it quickly meanders in an almost free jazz guitar fest that again splinters off in a free form fuzz drenched face melting onslaught. All the time the organ is hovering underneath all of this action like a time bomb ready to trigger even more apocalyptic waves. Anyway, this must be the best Beatles’ cover ever…These guys were on the top of their game, quite an astonishing exploito recording that shows another side of these psych mongrels. Also, their deconstruction of Black Sabbath’s “The Wizard” is completely wicked. “Déjà vu” goes in overdrive, before slumbering in a narcoleptic state while all the time a heavily simmering with molten organ key action vibrates throughout. Massive damage is done here. In short, an amazing guitar-oriented exploitation psych album that in between heavy riffage sees also more lyrical sides of these guys but always quality produced and recorded. Still a totally undiscovered album that rarely surfaces. Sales were poor on these LP’s, making them now ripe to be rediscovered by a whole generation. So, you better jump on them before they skyrocket through the roof and into the stratosphere. Highly recommended for any 1971 Mizutani Kimio obsessed Japanese psychedelic music freak. Price: 400 Euro |
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1492. KIYOSHI SUGIMOTO: “Our Time” (Columbia – KZ-7505) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent). Damned rare 1975 Japan 1st original press issue of killer Sugimoto-lead slide. This album features works by guitarist Kiyoshi Sugimoto, who has left behind numerous works as both a leader and sideman. It includes groovy and sensual tracks like "Our Time" and "Marmalade Sky," as well as the mysteriously keyboard-driven "Jones Street" and the melancholic and beautiful "Quiet Pulse," showcasing a captivating blend of jazz-rock and fusion. Takao Uematsu, Hiromasa Suzuki, Hideo Ichikawa, Akira Ishikawa, and Motohiko Hino participate in this album. Price: 300 Euro |
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1493. KIYOSHI SUGIMOTO: “One More” (Better Days – YF-7007-ND) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Original Japan 1981 pressing all complete with obi. A masterpiece from guitarist Kiyoshi Sugimoto's crossover/fusion era. Featuring appearances by Marcus Miller, Warren Bernhardt, Omar Hakim, and Shunzo Ohno. The entire album is fantastic, from the tight groove of "The Island Skyline" to the exotic "Mujer Espanola," the mellow "Dream 'Bout Butterfly," and the cool "Night Train." Price: 75 Euro |
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1494. KLEMMER, JOHN: “Blowin’ Gold” (Victor Records – SMJ-7538) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rare one. Japan 1st original press issue – WHITE label PROMO – all complete with obi. This session features John Klemmer, an accomplished tenor saxophonist whose distinctive sound is noteworthy. Klemmer performs on tenor saxophone both acoustically and with electronic enhancements, accompanied by a talented Chicago soul jazz ensemble including Phil Upchurch on bass, Morris Jennings on drums, Pete Cosey on guitar, and Richard Thompson on piano and organ. The tracks maintain Klemmer's signature approach and blend various genres, reflecting the Cadet studios' late 1960s tradition of incorporating elements of rock, soul, and funk. Price: 250 Euro |
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1495. KOHNO YASUHIRO TRIO: “Roma In The Rain” (Aketa’s Disk – AD-19) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ 2 Inserts: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Japan very 1st original pressing in flawless time-machine like top condition and all complete with rare obi and both inserts. As a bonus, all three members signed the back of the album sleeve when the disc was released. Yasuhiro Kono’s second album is regarded by both collectors and listeners as a standout for its distinctive content and impact. Recorded live, this record showcases a more focused and intense self-expression. The combination of piano trio and vibraphone fits beautifully, and the performances—such as “Dancing Dolls,” which Shoyuki Akutagawa called “the most passionate performance since Train”—are genuinely soulful, blending energy with a sense of freshness. One of the cornerstone recordings of the so-called J-Jazz scene, a monster both musically as rarity wise and next-to-impossible to dig up in its original format, all complete with obi and inserts. Demand far outweighs supply, and this will only get worse in time… best condition imaginable up for grabs so, Massive!!! Price: Offers!!!! |
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1496. KONITZ, LEE with LENNIE TRISTANO: “Subconscious-Lee” (Victor Records/ Prestige – MJ-7089) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent – lower seam split). Rare Japan original pressing with scarce obi. “A debut for both Lee Konitz and the Prestige label, Subconscious-Lee brings together many of the students who came through Tristano’s idiosyncratic "school" of jazz during the immediate postwar years. Forging a heady approach to Charlie Parker’s innovations, full of lithe and at times super fast solo lines, Tristano and his favorite pupil Konitz in particular nurtured an introverted, wan, yet still swinging alternative to the frenetic muscle of bebop. Other students like tenor saxophonist Warne Marsh, pianist Sal Mosca and bassist Arnold Fishkin staked claims as well and show up prominently here. And while Tristano’s "Judy" and "Retrospection" get mired in somewhat tired contemplation, Konitz' "Subconscious-Lee" and Marsh’s "Marshmallow" stand out with brisk tempos, cascading horn lines, and fetching head statements. Avoiding the meandering course of his originals, Tristano shines at the piano with a bevy of exciting and substantial solos; Mosca and guitarist Billy Bauer keep up the good work with fine contributions of their own. Good for both mind and feet and chock-full of groundbreaking work by Konitz and Marshespecially, this 1949-1950 recording makes for essential jazz listening.” (All Music) Price: 75 Euro |
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1497. KONITZ, LEE: “Am Blues” (RCA Records – SHP-6111) (Record: Near Mint/ Jacket: Near
Mint/ OBI: Mint). Rare Lee Konitz release, Japan first original press issue
that comes housed in Japan ONLY jacket art. Released in Europe under the title
“Stereo Konitz” and housed in totally different jacket art, this one here is
the rare Japan only issue, all-complete with first issue obi. “Lee Konitz has had many opportunities to record with European artists
over the decades, but this session is a bit unusual, in that all the
compositions are by bassist Giovanni Tommaso and Konitz doesn't stick strictly
to alto saxophone. Joining them are pianist Franco D’Andrea, trumpeter Enrico
Rava and drummer Gege Munari.
Tommaso’s charts delve into bop
and cool, with Konitz primarily
playing the Varitone (a form of electronic saxophone that was experimented with
briefly and abandoned by reed players in the late '60s), though he does play
some alto sax and also makes a rare appearance on flute (doubling on it in
"Take Seven"). While the music from this 1968 session is enjoyable,
even though the sound quality of the Varitone pales when compared to a regular
saxophone, this remains one of Lee Konitz’s more
obscure recordings from the '60s” (All Music Guide). Top
condition copy of rarely seen high quality Japan original first pressing. Never
turns up…. Price: 100 Euro |
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1498. KONITZ – SOLAL: “European Episode” (Fontana
– FO X-7012) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Gold Obi:
Mint/ Insert: Mint). Rare original Japan 1st original press issue,
housed in great heavy gatefold jacket art and comes with first issue gold obi. Pretty modern work from Konitz – recorded in Rome in 1968, with a French
rhythm section of Martial Solal on piano, Henry Texier on bass, and Daniel
Humair on drums. The presence of Solal especially gives the session an edge
– as Kontiz drifts into Solal's moody, introspective mode of the time
– playing long, angular, sparely-hung solos that rank with some of his
most challenging work of the 60s. Top condition and stunning
sounding high quality Japanese press issue. Totally essential stuff!!! Price:
100 Euro |
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1499. KOOBAS:“The First Cut Is The Deepest b/w Walking Out” (Odeon – OR-1963) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Excellent ~ Near mint/ Company Inner Sleeve: Excellent) Damned rare Japan only single issue by UK pop psych the Koobas…..sadly this was their only Japan release without an LP following because sales were just too depressingly low, making this single rare as a hen’s teeth. Price: Offers!!!! |
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1500. KOSUGI TAKEHISA: “Catch Wave” (CBS Sony – SOCM-88) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint/ Card Insert: Near Mint/ Photo Insert 12 ~ 8,5 cm: Mint) Mega rare Holy grail of Japanese top copy for dead cheap. All complete with rare OBI, card insert and additional original vintage 1975 photo still depicting Kosugi and fellow Taj Mahal traveler on board of the Shinkansen train! Here you have a top-notch original first press copy of the ultra-rare Kosugi solo album. Virtually impossible to get (even here in Japan), Catch Wave is the ultimate example of Kosugi creating an organic drone sequence fusing into another mind- elevating document of violin induced tone-float Kosugi was the founding father for cult outfits and improvising collectives such as Group Ongaku and the Taj Mahal Travelers. "Catch Wave's" elegance lies in its economy of means. He uses his violin by engaging simple electronics (ring modulator and delay unit) to multiply a single sound source into an undulating, ever expanding sound field. The quote on the back cover of the LP reads: "SOUNDS SPEEDING ON LIGHT, LIGHT SPEEDING ON SOUNDS -- BETWEEN RIDDLES & SOULTIONS." This is the real deal and a rarely offered nugget in virginal condition. Bloody rare these days, even here in Japan, mint copies seem to have vanished from the face of the earth. This one is all complete with insert card, OBI and a never published before bonus vintage picture of 1975! A beast of a record and in stunning shape. Price: 450 Euro |
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1501. KOSUGI TAKEHISA + AKIO SUZUKI DUO: “New Sense of Hearing” (ALM-URANOIA –
UR-3) (Record: Near Mint ~ Mint/ Jacket: Mint/ OBI: Mint). TOP COPY complete
with always-missing OBI. This do not get any better, here you have another one
of these rarely offered for sale but much rumored about records. Here, two
titans meet, a clash of tow of the all time greatest improvisers, both
massively under-documented, strap in for a confrontational head on improvisational
collision that will take you to the outward bounds of the time – space
continuum. Long time Fluxus activist, electronic music wizard and long time
Merce Cunningham collaborator Takehisa Kosugi joins forces with the illusive
legendary Japanese musician / inventor / instrument builder / visionary modern
sound art and sound art explorationist Akio Suzuki. Home made echo
machines-like soundings create throbbing, hypnotic voice-scapes, warm and soft
and naturally unique. Sounds are shuffled, creating insect symphonies of
high-end whir and distant chirps. Long glass tubes are struck and rubbed and
bowed mimicking the sound of birdcalls. Slow, complex, irregular throbbing
waves of sound, broadcast through distant loudspeakers and recaptured and
reincorporated. Feedback, time-space lag, horns, echo machines, and primitive
handmade electronic devices all contribute to the ever-shifting clouds of
sound. So unbearably awesome. Eventually the echoing rattle and clatter of
percussion enters the sound field, but emptiness and hum are still the main
attraction. This track builds in drone-full intensity, with long notes drawn
out into abstract mystery. Abstraction that continues with additional density.
Getting almost impossible to score these days. Killer album. Price: 400 Euro |
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1502. KOSUGI TAKEHISA & SHINOZAKI AYAKO: “Harp no Koten” (Columbia – OP-7064-N)
(Record: Near Mint ~ Mint/ Jacket: Mint). Freakingly rare 1st original
pressing from 1974!!!! Never surfaces. First original pressing housed in a
totally different jacket as opposed to the more common 2nd pressing
which came out on Denon and came housed in a tasteless jacket art. The 1st press does not surface at all, first time ever I have a copy to spare of this
rarity. Comes with totally different cover artwork. All was recorded on 25 and
26 of June, 1973 at the Columbia studios. Side A consists of the tracks “Stanza II”, a composition by Toru Takemitsu out of 1971 and Katsuhiro
Tsubono's “Poem for Lin” of 1972. On these tracks, young harpist Ayako
Shinozaki steals the show on her own by delicately birthing out electronically
treated harp sounds that take the timbral range of to previously unattained
heights of sonic extravaganza. On “Stanza”, Shinozaki creates a drone on
her harp she enriched by tape manipulated sounds that bounce of straight into
the heights of a deep-throbbing ionosphere reaching far beyond the known
Copernican universe. By the time she steers into “Poem for Lin”,
Shinozaki allows some improvisational playing to interact with the original
score and enriches her harp sounds by adding rattles, bell sounds resembling
diminutive esoteric Buddhist percussive accents and austere meandering vocal
sounds that fuse neatly in and out of focus. By doing so she is able to touch
down on some cold metagalaxy composed out of primitive celestial bodies. By the
time one gets to side B for things really begin to take of into another
dimension. Here one gets treated to the sidelong composition “Heterodyne” by Kosugi Takehisa (1973) and on this one Kosugi executes it himself while
being flanked by Shinozaki on harp. Here it is that the sonic extravaganza gets
adrift in a pulsating, ever revolving universe of coalescing asteroids. Like “Catch
Wave”, it really sounds like the final frontier or the homogenetic mass
that preceded the big bang. In short, this composition is really the piece de
resistance with Kosugi in full swing, surfing the sound and radio waves with
his heavily-processed violin sounds, a sonic Walhalla where alternating
currents of different frequencies are combined to produce new frequencies, the
sum and difference of the original frequencies. This was something he had
worked with on earlier recordings and continued to be important through later
works. The interaction with Shinozaki takes on an almost extra-terrestrial
shape and floats off in between electronic pulses and complex slowly evolving
sound waves. Utterly breathtaking. Never offered for sale before 1st pressing and never seen before edition that will leave you baffled and stunned
with disbelief. Highest recommendation. Price: Offers!!!! |
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1503. KOSUGI TAKEHISA & KAZAMAKI TAKASHI: “Live at the Strange Fruit” (Fool – FOOL-2) (Record: Near Mint/ Jacket: Excellent ~ Near Mint – no defects but some mild foxing spots visible against white background). Wow, another way below the radar rarity for you. Released in 1983, in an edition of around 200 copies only, this is one of the rarest LP’s to document Takehisa Kosugi of the Taj Mahal Travelers fame. It came out on a private label only, a label that only did two releases, the first one the Kazamaki – Chie Mukai duo (see elsewhere in the list) and this one. Here however, he is in totally different company and setting but not less stellar as you might expect. Kazamaki teams up here with Kosugi Takehisa and unlike the Mukai duo venture, this one dwells into a totally different solar galaxy of improvised sounds. Here Kosugi certainly lives up to his reputation of being one of the foremost sound artists to be working in Japan. One of the first proponents of Fluxus in Japan, Kosugi eventually ended up in New York at the epicentre of that scene. He also can be spotted at almost all the crucial moments that defined minimal and improvised music’s history: performing conceptual text scores in La Monte Young’s loft, assisting Cage and Tudor in performances of their live electronic music, and composing music for Merce Cunningham's dance company (of which he would later become the music director). If Kosugi hasn't been recognized for his own brilliant work as a composer/improviser, it’s not largely due to a lack of recorded material but the availability of it. His discography fills at least a couple of pages but one fails on most occasions to dig anything up because it tends to be locked up by fans and Fluxus collectors. I am sure the ultra-limited nature of the editions is also a culprit. Besides a couple of Taj Mahal Travelers records, appearances performing other people's work (Tudor, Behrman, etc), and a handful of solo disks solo recordings, there hasn't been much evidence to use in measuring Kosugi's contributions to experimental music. This makes digging up a copy of this album even more a reason to rejoice and drop the admission fee into Kosugi's gossamer-lined brain box. A Stunning and ultra rare piece that sheds a glimpse unto Kosugi’s sonic brainpan. Highest possible recommendation. Price: 200 Euro |
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1504. KOUSOKUYA: “S/T” (Ray Night Music – RNM0001) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). TOP copy – has been ages since I last saw a copy of this beast. Released in a miniscule edition of merely 200 copies way back in 1990, Kosokuya’s self-entitled first album almost instantly reached the status of much heard about but never seen records, places inhabited by albums like the 1st High Rise, White Heaven’s “Out”, Maher Shahal Hash Baz’s “Maher Goes to Gothic Country”, Holy Angels and a couple of other tiny runs of psychedelic dementia of the late eighties and early nineties. This is the classic original line-up of this dark-clad psychedelic combo from the netherworld, spearheaded by guitarist Kaneko, female bassist/vocalist Mick and sparse but nevertheless incinerating drummer Ikuro Takahashi (of Fushitsusha, Che-Shizu, LSD March et all). Ominously heavy, darkly textured and kerosene driven psychedelic mayhem that instantly blows all competition straight out of the water. I guess that most of you are fully aware of the stature and reputation of this disc, so needles to dwell into pointless explanations. Extremely rare LP (200 copies only) and this one is the most perfect copy you will ever encounter. No doubt about that. Already becoming one of the most sought after Japanese psychedelic artifacts so grab your chance now or hold your peace forever. Price: Offers!!!! |
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1505. KRAFTWERK: “Kraftwerk 2” (Philips – 6305.17) (record: Near Mint/ Gatefold Jacket: near Mint). German 1972 1st original pressing in outstanding condition, next to impossible to ever upgrade upon. Kraftwerk’s early recordings—produced by the duo of Rolf & Florian—showcase a spare, ethereal sound that makes use of a wide array of instruments such as organ, electric piano, harmonica, guitar, glockenspiel, and "rhythmusmaschine," all expertly shaped by producer Connie Plank. Unlike the tight, electronic grooves that later made the band popular among hip-hop artists, these tracks find the group experimenting with unconventional sounds and pushing boundaries, leaving a lasting mark on modern music. Reduced to just Hütter and Schneider for this release and again partnering with Conrad Plank as coproducer and engineer, Kraftwerk deeply explores the potential of keyboards and electronic percussion. With no drummers in the band, this transition was inevitable, but the group’s enthusiastic experimentation with drum machines is what truly sets *Kraftwerk 2* apart. Killer and getting almost impossible to dig up in perfect condition. Price: 500 Euro |
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1506. KRAFTWERK: “Ralf & Florian” (Philips – 6305.197) (Record: Excellent ~ Near Mint – pristine condition apart from two faint and inaudible hairlines on side one/ Jacket: Near Mint/ Poster: Mint) German 1973 original first press issue in outstanding condition and all complete with the poster without signs of use or pinholes). First original German pressing complete with poster. Only a very few copies around 500 came with the poster. Continuing their collaboration with producer Conny Plank, Kraftwerk named their new album after its two remaining members, just prior to establishing their most well-known lineup and releasing Autobahn. Ralf and Florian serves as an indicator of the band’s future direction, exploring electronic music in a more open-ended and less structured manner compared to subsequent works. The track "Kristallo" demonstrates Kraftwerk’s transitional phase, featuring sequencer-driven rhythms and pulses that create a foundation for a free-flowing harpsichord-like solo. "Tanzmusik" highlights the aesthetic qualities often associated with the band's later periods, incorporating elements such as handclaps and bells for a celebratory effect. "Tongebirge" continues to showcase this pivotal phase, with Schneider’s flute enhanced by reverb and flange and Hütter providing recognizable synthesizer tones; however, the absence of a core rhythm or melody distinguishes this period from later developments. The closing track also anticipates future stylistic directions through electronically modified opening vocals in "Ananas Symphonie," along with the distinctive inclusion of steel guitar and banjo sounds. Disc and jacket are in superb shape. Comes with mega rare giant poster!!!! Getting damned hard to find these in such exquisite condition. Price: Offers!!!! |
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1507. KRAFTWERK: “Autobahn b/w Morgenspaziergang” (Vertigo – SFL-2023) (Two Track Single Record: Excellent ~ Near Mint with only a non-sounding hairline on side a/ Picture Sleeve: Excellent ~ Near Mint – faintest trace of foxing on back/ Company Inner Sleeve: Near Mint). Rare Japan picture sleeve issue. Rarest Kraftwerk slide out there and in great nick. Price: 300 Euro |
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1508. KRAFTWERK: "Autobahn” Vertigo/ Nippon Phonogram – RJ-7010) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: VG++~Excellent – lower hand side wrinkles) Bloody scarce Japan 1st press original all complete with obi – this being the rarely offered WHITE label PROMO issue. “Although Kraftwerk's first three albums were groundbreaking in their own right, Autobahn is where the group's hypnotic electronic pulse genuinely came into its own. The main difference between Autobahn and its predecessors is how it develops an insistent, propulsive pulse that makes the repeated rhythms and riffs of the shimmering electronic keyboards and trance-like guitars all the more hypnotizing. The 22-minute title track, in a severely edited form, became an international hit single and remains the peak of the band's achievements -- it encapsulates the band and why they are important within one track -- but the rest of the album provides soundscapes equally as intriguing. Within Autobahn, the roots of electro-funk, ambient, and synth pop are all evident -- it's a pioneering album, even if its electronic trances might not capture the attention of all listeners.” (All Music) Price: 300 Euro |
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1509. KRALINGEN: “S/T” (Wild Thing Records) (3 LP Set: Mint/ Flimsy Gatefold Jacket: Mint). Infamous Dutch 3 LP live recording of the same festival in 1970. UNPLAYED COPY!!!! Very rare Holland only 3 LP set release that documented the amazing Kralingen Pop Festival that was held for 3 days in a row in Rotterdam in 1970. Spread over 3 LP’s you are treated to live recordings from that festival including amazing performances by Hot Tuna; Santana; Jefferson Airplane; Exception; Pentangle; Tyrannosaurus Rex; The Byrds; Dr. John The Nighttripper; It’s A Beautiful Day (with a thunderstorm exploding over their heads); Soft Machine and Pink Floyd – performing at 5 o’clock at dawn. Truly mind blowing selection of historical live acts, all showcasing their intoxicating sounds at the same festival. Never seen this 1st press edition of this LP in such a perfect condition. 2nd presses are common, this is the true 1st press issue. Mint as a virgin’s ass. Price: 250 Euro |
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1510. KROG, KARIN: “Joy” (Sonet – SLPS-1405) (Record: Near Mint ~ Mint/ Fragile Textured Jacket: Mint) Perfect top condition 1969 Norway 1st original pressing. Virginal on all fronts. This session marks a pivotal moment in European jazz and showcases singer Karin Krog's early genius. The tracks are lengthy and adventurous but never lose their accessibility—Karin's cool voice beautifully glides over captivating melodies that rank among the most remarkable jazz vocals ever captured. She is joined by a talented group of young Scandinavian musicians, including Jan Garbarek on saxophones, Arild Andersen on bass, and Terje Bjorklund on piano. Together, they explore extended, minimal, and modal grooves that redefine the singer's role in jazz. The album is an impressive blend: psychedelic yet soulful, rhythmic, and swinging. Perfect condition impossible to ever upgrade upon which is rare for this album. Best and most perfect condition imaginable!!! Price: 450 Euro |
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1511. KROG, KARIN: “We Could Be Flying” (Philips – SFX-6040) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent with lower crease and small upper corner seam crack) Japan 1st original press issue from 1975 – WHITE label PROMO all complete with Obi. A standout album from European jazz vocalist Karin Krog—an essential 1974 session that shows just how singular her voice is. Here, she moves well beyond straight‑ahead jazz into a spacious, cosmic sound shaped by the underground currents of 1970s European music. Backed by Steve Kuhn (keyboards), Steve Swallow (bass), and Jon Christensen (drums), she glides over elegant modal grooves that perfectly frame her cool, crystalline delivery. The track list is equally strong: vocal takes on Kuhn originals such as "Meaning of Love," "Sometime to Go," and "Raindrops Raindrops," plus a striking reading of Joni Mitchell’s "All I Want," Jon Hendricks’ lyric to J.J. Johnson’s "Lament," and a light, airy version of Michel Colombier’s "We Could Be Flying." Amazing!!!! Price: 275 Euro |
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1512. KROG, KARIN
& FRIENDS: “Joy” (Sonet/ Teichiku – UPS-2018-N) (Record: Near Mint/ Jacket:
Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top condition Japan very first original
press issue that sounds awesome. A groundbreaking session of European jazz –
one of the first true moments of genius from singer Karin Krog! Tracks are long
and experimental without getting too far out – and Karin's icy voice flows out
magically over compelling tunes that still remain some of the most striking
jazz vocals ever recorded! The set has Karin singing with a group of young, hip
Scandinavian players that include Jan Garbarek on sax, Arild Andersen on bass,
and Terje Bjorklund on piano – all of whom stretch out in long, spare,
modally-influenced grooves – of the sort that completely transform the role of
the singer in jazz. The whole thing's great – trippy, yet still soulful,
rhythmic, and swinging! Japan first original press issue that sounds absolutely
gorgeous! Complete with insert and OBI!!! Price: 250 Euro
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1513. KUHN, JOACHIM: “Sounds of Feelings” (BYG Records – BYG-18) (Record: Near Mint/ gatefold Jacket: Near Mint/ Attached Insert: Near Mint/ Obi: Near Mint). Top condition Japan very first original press issue all complete with OBI – WHITE label PROMO issue. Kuhn demonstrates his versatility by performing on piano, alto saxophone, shenai, flute, tambourine, and bells, accompanied by J.F. Jenny Clark on bass, flute, and bells, and Aldo Romano on drums, flute, tambourine, and bells. All tracks are original compositions by Kuhn, with the exception of an interpretation of Coltrane's "Welcome." Kuhn's works featured include "Shadows, Wherever We Turn," "Scandal," "Wester Meaning," "Gaby Love," "El Dorado," and "In the Middle Of The Way." The album was produced by Jean Georgakarakos and Jean Luc Young. Rare obi. Price: 100 Euro |
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1514. KUHN, JOACHIM: “Paris Is Wonderful” (BYG Actuel Records/ Toho Geion – YX-6057) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Scarce Japanese original pressing – WHITE label PROMO issue. One of the last records to come out on the BYG label, classic thunderous recording where Kuhn gets flanked with Jean-François Jenny-Clark, Aldo Romano and Jacques Thollot. Original French pressing on BYG label. Classic free floating jazz beast that unfortunately sits in the shadow of all the other slides released on the label, which is a shame as it deserves is places in the blazing sun! Highly recommended. Price: 50 Euro
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1515. ROLF & JOACHIM KUHN QUARTET: “Re-Union” (CBS – S-62407) (Record: Near Mint - Mint/ Jacket: Near Mint - Mint). One of the rarest free inspired German jazz albums out there, this copy here is an original 1965 1st pressing in TOP condition, never seen a better copy anywhere. Tremendous work from the brothers Rolf and Joachim Kuhn – and exactly the kind of record that will have you completely rethinking your opinion about the clarinet in jazz! Rolf's a player with roots in more traditional modes, but by the time of this mid 60s session he was a very committed modernist – and uses the instrument here in modes that feel a lot more like the soprano sax spirit of John Coltrane or Steve Lacy at the time – open, free, unbridled – and often set to a modal groove that bubbles up perfectly from Joachim's work on piano! Sometimes Joachim's totally out there, let loose on a rampage, but he still manages to hang nicely onto his brother’s clarinet playing – not entirely straight, but always working with a sense of rhythmic progression, which gets support from Klaus Koch on bass and Reinhard Schwartz on drums. Yet Rolf's the real star of the show – as he blows with a fantastic range of sounds and phrasing – searing at some points, soulful at others – and blowing us away on titles. Utterly fantastic and bewilderingly beautiful lyrical, yet well balanced free jazz slide. One of the rarest German jazz records out there and this copy is just perfect on all fronts, strictly graded at NM〜M all the way. Awesome!!! Price: Offers!!!!! |
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1516. THE ROLF KUHN JAZZ GROUP: "Going To The Rainbow" (BASF/ Teichiku Records - UPS-548-B) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Mint). First original 1971 high quality Japanese pressing complete with always-missing obi. Great free Improvisation with spiritual undertones influenced by Miles davis "Bitches Brew". One of Kuhn's best recordings for which he got assisted by heavy weights like John Surman, Alan Skidmore and Chick Corea. Absolutely stunning free improv with an addictive rolling groove that really puts the funky cat out there. Highest recommendation - rare Japanese original in mint condition. To lick your decalls off baby!!!. Price: 75 Euro |
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1517. KUHN, ROLF + JOACHIM QUINTET: “Transfiguration” (MPS Records/ Nippon Columbia – YS-2703-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near mint/ Obi: Near Mint) Pristine condition Japan 1st press original all complete with obi – PROMO issue. This recording by Rolf and Joachim Kuhn is a noteworthy example of the strong modernist tradition in European jazz during the 1960s. The album features modally influenced compositions that reflect a distinctive approach characteristic of MPS releases from that period. Karl Berger's vibraphone complements Rolf Kuhn's clarinet and Joachim Kuhn's piano, with rhythmic support from Beb Guerin on bass and Aldo Romano on drums. Both Guerin and Romano contribute a sense of freedom to the ensemble, enhancing the improvisational quality of the soloists. Berger’s chromatic vibraphone lines add depth to the overall sound, and the group’s interplay results in a relatively free structure—beginning with modal elements but featuring minimal adherence to traditional rhythm, as drums and bass move independently alongside the other instruments. Price: 75 Euro |
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1518. JOACHIM KUHN Featuring Alphonse Mouzon: “Hip Elegy” (MPS Records/ Teichiku – KUX-9-P) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Excellent/ Obi: Excellent). Japan original pressing – promo issue. Joachim Kühn, often awarded Europe's best jazz pianist, considers "Hip Elegy" a favorite among his own albums. It is a volatile mix of electric fusion, Latin and jazz rock, played by a funky all-star band and it hasn't lost any of its appeal. A great album of funky fusion for MPS! Keyboardist Joachim Kuhn heads up the group, but he's got some great rhythm backing from Alphonse Mouzon on drums and John Lee on bass, which makes the record groove way way more than some of his other titles! The keys are nice and spacey, and Philip Catherine plays trippy/jazzy electric guitar on most of the cuts. The lineup also includes Terumasa Hino on trumpet, and Nana Vasconcelos on an array of percussive touches. Spacey 70s MPS at its freshest and funkiest! Price: 75 Euro |
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1519. KUHN, STEVE: “S/T” (Cobblestone/ Nippon Columbia – YS-2762-CO) (Record: Near Mint/ Jacket: VG++ - has spine crack/ Insert: Near Mint/ Obi: Excellent – folding crease). Rare 1972 Japanese press issue with obi, promo copy. Steve Kuhn will be mainly remembered as a jazz pianist and composer who releases a couple of run-of-the-mill jazz records in the late sixties. But then suddenly in 1971, creative lightning struck his skull and in a state of temporary clarity he put out this self-titled record on the Buddah Records catalogue, which was released in Japan the following year on the Cobblestone imprint. Steve really hit it here and delivered some spaced out stuff. His dreamy Rhodes washes over a gentle bed of drums (none other than Billy Cobham), bass (Ron Carter), percussion (Airto Moreira), and strings (arranged by Gary McFarland). The music is sublime but what really elevates these recordings is Kuhn’s melancholy, introspective vocals. Singing with a sad, reflective tone and his presumable lack of vocal training lends a sense of honesty to the lyricism. It renders the whole affair a special and addictive aura, making it an oddity in his output and a unique, original piece of music full stop. The following decades the record sunk to the deepest depths of oblivion but started to get rediscovered for the sonic gem it really is and people began to take notice, making it a hard one to come by now – especially the Japanese pressing with obi is a damned scarce one as Japanese domestic sales of this one were virtually inexistent. But damned it is some fine record. Comes complete with liners and rare obi as well. Highest recommendation!!! Price: 450 Euro |
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1520. KUWABARA YUKIKO: “Kuwabara Yukiko to Anata” (Victor – SJV-529) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Pin-Up Poster: Near Mint/ Obi: Near Mint). Top-notch complete copy with pin-up poster included and obi intact. Hideously rare erotic artifact in this condition with obi and poster included. Here is a brief review from the guys at Boomkat on the reissue of this disc on Tiliqua Records: “I think it must be obvious to the casual observer by now that we've developed something of a taste for Tiliqua's utterly essential series of ‘Erotic Oriental Sunshine' releases, which basically comprises of odd pop music made by 1970s Japanese porn stars. What's not to like? We've got breasts, attitude, exotic musical accompaniment and often some orgasmic moaning – now that sounds like a pretty decent night in to me and well worth the asking price. This particular chunk of erotic action from Kuwabara Yukiko, an actress who became best known for starring in erotic action series ‘Play Girl' which became a huge success, lasting 287 episodes and leaving her not a great deal of time to record music. Indeed ‘Kuwabara Yukiko to Anata' is Yukiko's only existing recorded output and what a strange beast it is. For some reason the actress (or her production team maybe) decided it might be best to layer her erotic ramblings over some over-sentimental French orchestral soundtrack fodder and the result is as mesmerizing as it is odd. We all know the sound, it's so familiar, but hearing a heated, oversexed Japanese twenty something breathily babbling over the top is unmissably unique. What we end up with is something, which could easily be placed between the more inventive work of James Last, if it were not for the overt sexual content and unashamed Japanese-ness of the whole thing. Another devastatingly good curiosity and fabulous Christmas present for the more discerning music fan, you'd better snap this one up quickly as (like the others) it's going to be gone very quickly indeed. Huge recommendation.” (Boomkat) Monster rarity & Top-Notch Copy!!! Price: 400 Euro |
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1521. L. BENT: “Black Heat Dub” (Black Heat – No number) (Record: Excellent/ Jacket: generic). Impossibly rare 1979 Jamaica first press original of test press only issue (never came with a sleeve to begin with) of killer dub slide. Only a few copies known to exist as this was never released and the condition of this copy here is just exceptional. Killer Jamaican dub slide that was never released and is shrouded in mystery as to whom is on it but the whole affair was produced by L. Bent and some claim that it is Tommy McCook’s "Lovers Rock" in a difference sequence than that album. Whatever the case, mega rare dub slide that just never surfaces and which absolutely blows you away when blasting it full throttle. Top condition. Price: Offers!!!! |
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1522. LA MONTE YOUNG: “Sunday AM Blues/ Bb Dorian/ The
Well Tuned Piano/ Map of 49’s Dream” (No Label) (2 LP Set: Near Mint/ Jacket:
Near Mint, still in shrink). Superb high quality recording 2 LP set, released
in a miniscule run back in 1992. Only the 2nd time in 10 years I see
a copy of this magnificent & crystal clear La Monte Young recording that
features LEE KONITZ!!!! The
records (one white label, one black label) come in a single die cut white
sleeve with a Xerox pasted to the shrink-wrap, indicating just the track
titles. No further info given on the release. One of the best La Monte Young
recordings out there, crystal clear sound recording that surpasses even his
official releases. Damned rare and kick ass minimal droned out sounds. The
addition of Lee Konitz to the line-up is pure magic! Price: Offers!!!! |
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1523. LA MONTE YOUNG: “The Theatre of Eternal Music – Dream House 78’17”” (Shandar – 83510) (Record: Near Mint/ Gatefold Jacket: Near Mint). Hardly any introduction is needed here I guess. Well know and sought after minimal music masterpiece. Original French pressing in top condition. "Dream House 78' 17" is one of the very few recordings ever made by minimalist composer La Monte Young in this case together with his long-time companion Marian Zazeela and the Theatre of Eternal Music. The 78' 17" in the title consists of the duration of the record and its duration was almost double what was the norm. Young in the sleeve notes says that "Time is so important to the experiencing and understanding of the music in the record that every effort was made to make the record last as much as the original master tapes. The first composition, "Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC" is a part of "Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Light-years Tracery", itself a section of an even longer work called "The Tortoise, His Dreams and Journeys". In it, three sine waves interlocking with the players. According to Young, the lack of harmonic content of the sine waves makes accompanying them with regular instruments and human players extremely difficult. The second composition, "Drift Study 14 VII 73 9:27:27-10:06:41 PM NYC (39" 14")", is played entirely by sine wave generators. Frequencies and voltages of the sine waves generators were determined and tuned by La Monte Young using oscillators custom-designed by sound technician Robert Adler to generate specific frequencies and voltages of great stability. The sine waves produced are such that they interfere with each other, creating changes of volume both in time and space that can be experienced either walking within the room or staying put. In any case, a groundbreaking classic and till this day still not reissued in any other format, so the original LP is the sole medium out there to enjoy this slab of greatness. Price: 300 Euro |
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1524. The LA’S: “S/T” (Go! Discs – 828.209-1) (Record: Near Mint/ Jacket: Near Mint/ Imprinted Insert: Near Mint). Scarce 1990 UK very first original press issue in top shape with A-1U-1 and B-1U1 as matrix numbers and with Townhouse machine-stamped into the dead wax. “Some albums exist outside of time or place, gently floating on their own style and sensibility. Of those, the La's lone album may be the most beguiling, a record that consciously calls upon the hooks and harmonies of 1964 without seeming fussily retro, a trick that anticipated the cheerful classicism of the Brit-pop '90s. But where their sons Oasis and Blur were all too eager to carry the torch of the past, Lee Mavers and the La's exist outside of time, suggesting the '60s in their simple, tuneful, acoustic-driven arrangements but seeming modern in their open, spacy approach, sometimes as ethereal as anything coming out of the 4AD stable but brought down to earth by their lean, no-nonsense attack, almost as sinewy as any unaffected British Invasion band. But where so many guitar pop bands seem inhibited by tradition, the La's were liberated by it, using basic elements to construct their own identity, one that's propulsive and tuneful, or sweetly seductive, as it is on the band's best-known song, "There She Goes." That song is indicative of the La's material in its melodic pull; the rest of the album has a bit more muscle, whether the group is bashing out a modern-day Merseybeat on "Liberty Ship" and bouncing two-step "Doledrum," or alluding to Morrissey’s elliptical phrasing on "Timeless Melody." This force gives the La's some distinction, separating them from nostalgic revivalists even as their dedication to unadorned acoustic arrangements separates them from their contemporaries, but it's this wildly willful sensibility -- so respectful of the past it can't imagine not following its own path -- that turns The La's into its own unique entity, indebted to the past and pointing toward the future, yet not belonging to either” (All Music) Price: 200 Euro |
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1525. LACEWING: “Paradox b/w Our World (It Can Happen)” (Mainstream/ Nippon Columbia – LL-2460-MS) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Seriously rare 1971 Japan only issue that comes housed in great picture sleeve. PROMO issue. Very strange this got released in Japan with picture sleeve, before it dropped to the deepest depths of obscurity and vanishing with only a few having seen an actual copy. Classic Westcoast Airplane/Mamas & Papas/Big Brother influenced femme-vox folk rock and psych with fuzz leads and minor prog ambitions. Stupidly rare Japan only picture sleeve single that sold zilch and never made it beyond the promo stages, depressing sales prevented the LP from being granted a domestic release, making this sole artifact rare for all eternity!!! Price: Offers!!!! |
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1526. LACY, STEVE with DON CHERRY: “Evidence” (Prestige New Jazz) (Record: Excellent ~ Near Mint/ Textured Jacket: Excellent ~ Near Mint with “RW” Review stamp on back). Original US first pressing – MONO issue & Deep Groove label as issued on the legendary Prestige label for their New Jazz series. This album stands as one of Steve Lacy's earliest Monk's music explorations. A reflective journey through the visionary world of the high priest of bop featuring the great Don Cherry on trumpet, the solid Carl Brown on bass and the marvellous Billy Higgins on drums. A historical studio session based on a Monk/Ellington split track list including four Monk's compositions and two lesser-known Ellington pieces. Clean US first original pressing in great shape, rarely turns up this neat! Price: Offers!!!! |
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1527. LACY, STEVE with DON CHERRY: “Evidence” (Prestige Records/ Nippon Victor – MJ-7051) (Record: Near Mint ~ Mint/ Flip Back Jacket: Near Mint ~ Mint/ Obi: Mint). Freakingly rare Japan 1st original MONO press issue all complete with seldom offered very firs issue obi present. This album represents one of Steve Lacy's earliest explorations of Monk's music. It offers an insightful interpretation of the work of Thelonious Monk, featuring Don Cherry on trumpet, Carl Brown on bass, and Billy Higgins on drums. The session comprises a split track list with four compositions by Monk and two lesser-known pieces by Ellington, resulting in a notable studio recording within jazz history. Top condition and all complete with freakingly rare 1st issue OBI. First time ever I can offer a NM original with obi. Price: 500 Euro |
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1528. LACY, STEVE with DON CHERRY: “Evidence” (Prestige/ Victor Records – SMJ-7567) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Excellent). WHITE label PROMO of rare 2nd press issue in top shape. This album stands as one of Steve Lacy's earliest Monk's music explorations. A reflective journey through the visionary world of the high priest of bop featuring the great Don Cherry on trumpet, the solid Carl Brown on bass and the marvelous Billy Higgins on drums. A historical studio session based on a Monk/Ellington split track list including four Monk's compositions and two lesser-known Ellington pieces. Rare Japanese pressing with obi – PROMO! Price: 125 Euro |
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1529. LACY, STEVE with DON CHERRY: “Evidence” (Victor Records – SMJ-6271) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ Insert: Near Mint/ Obi: Near Mint). Top shape Japanese pressing – same as the one listed above but 2nd press issue complete with obi. Price: 50 Euro |
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1530. LACY, STEVE: “The Straight Horn of Steve Lacy” (Candid/ Victor Records – SMJ-7132) (Record: Near Mint/ Flip Back Jacket: Excellent/ Obi: Near Mint). Japan very first original press issue all complete with never offered before very first issue obi. “Some of soprano saxophonist Steve Lacy’s most interesting recordings are his earliest ones. After spending periods of time playing with Dixieland groups and then with Cecil Taylor (which was quite a jump), Lacy made several recordings that displayed his love of Thelonious Monk’s music plus his varied experiences. On this particular set, Lacy’s soprano contrasts well with Charles Davis’ baritone (they are backed by bassist John Ore and drummer Roy Haynes) on three of the most difficult Monk tunes ("Introspection," "Played Twice," and "Criss Cross") plus two Cecil Taylor compositions and Charlie Parker’s "Donna Lee.” (All Music Guide). Freakingly rare very first Japan press issue with obi, never saw a copy before until now…Price: 300 Euro |
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1531. LACY, STEVE: “The Straight Horn of Steve Lacy” (Candid/ CBS SONY – SOPC-57006) (Record: Near Mint/ Jacket: Excellent/ Cap Obi: Near Mint). Same as the above but this one here is the 2nd press issue out of 1971. This version is also one that hardly never shows up but of course is not as rare as the flip back version that came first. Still the obi is a rare feat. Great condition and great sounding Japanese pressing. Price: 50 Euro |
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1532. LACY, STEVE: “The Forrest And The Zoo” (ESP Disk – ESP-1060) (Record: Near Mint/ Jacket: Near Mint). Original US first pressing from 1967 with the first press issue address - 156 Fifth Ave – stated on jacket. This is the earliest press issue with the purple labels, following the B&W labels. Virginal original pressing and best condition possible. So essential and so good, it hurts just thinking about this one! Price: 200 Euro |
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1533. LACY, STEVE: “The Forrest And The Zoo” (ESP Records/ Victor Records – SMJ-7490)
(Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Damned rare Japan 1st original pressing with first issue Victor obi. “Lacy’s band was
truly an international one: Lacy and Italian trumpeter Enrico Rava made up the
front line, and the rhythm section included South African expats Johnny Dyani
on bass and drummer Louis Moholo. The musical interaction that takes place over
40 minutes here is compelling, fraught with openness and the willingness to
explore the margins. Unlike a lot of the other "new thing" recordings
made at the time, the focus here is unusually rich, expressive, colorful, and
easy on the ears -- though it may not have been at the time. Lacy, had been
increasingly influenced by the music of Ornette Coleman, John Coltrane and
Albert Ayler. His own exploration of his chosen instrument, the soprano
saxophone, is all evident here in the manner in which
he is considering new tonal, textural, and color possibilities as a soloist and
as a functioning member of an ensemble. This is white-hot musical invention --
it meanders, swoops, soars, digs in its heels, and above all offers a
staggering kind of communication between four players who took nothing for
granted and knew that everything was up for grabs. Even at this early stage of
Lacy and company's investigation of free and improvised music, there is a
healthy melodicism, rich counterpoint exchanges between Lacy and Rava and a
wildly expansive rhythmic palette employed by Dyani and Moholo. This is not
normally considered an essential part of Lacy’s very large catalog, but in the
21st century it does deserve to be heartily and critically reexamined. The
cover painting by the late artist Bob Thompson makes the set worth owning
simply for its beauty.” (All Music Guide) Bloody rare Japan 1st press issue with rare 1st obi in top condition, first time ever I have a copy of this one in all these years! Price:
250 Euro |
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1534. LACY, STEVE: “Epistrophy” (BYG Records/ Toei Records – YX-2015) (Record: Near Mint/ Jacket:
Near Mint/ Obi: Near Mint). Scarce Japan original press issue complete with
obi. “1969 French date released on the BYG label as Epistrophy. Plays Monk is
also the first record Lacy made after taking up residence in Paris. His band
for the outing features the legendary Italian drummer Aldo Romano, the pianist
Michel Graillier and bassist Jean-Francois Jenny Clark. There are five
unusually complex Monk tunes here -- "Thelonious," "Ruby My
Dear," "Light Blue," "Mysterioso," and "Friday
the Thirteenth" -- and two versions of "Epistrophy." This is
easily Lacy’s "straightest" album from the period, and he stays
melodically and harmonically close to Monk’s original compositions in the heads
before taking off somewhere else in the solos. But Lacy keeps to the notion of
repetition, syncopation, and melodic invention that Monk did and the band
is nearly symbiotic in its communication around and with him. The music here is
a delight and a revelation all at the same time.” (All Music Guide). Top shape
and not seen so often Japanese original. Price: 50 Euro
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1535. LACY, STEVE: “Moon” (BYG Actuel/ Toei Geion – YX-6056/ actuel-52) (Record: Near Mint/ Gatefold Jacket: Near Mint/
Insert: Near Mint/ Obi: Excellent). Bloody scare Japan first press issue of
classic BYG/ Actuel title complete with rare OBI. Soprano
saxophonist Steve Lacy’s first recording as a leader since moving to
Europe was originally cut for the Byg label. Lacy was
in Rome after being "stranded" in South America for quite some time.
He had embraced many of the aspects of free jazz, and his interplay with the
Italian musicians (trombonist Italo Toni, clarinetist Claudio Volonte, bassist Marcello Melis and drummer Jacques Thollot), as well as cellist Irene Aebi (who would
soon become a permanent member of his groups), is intriguing, often dense, and
quite passionate. Lacy had not yet
fully developed his more relaxed, scalar approach to improvising, but his
playing is certainly quite distinctive and generally pretty lyrical during
performances of his five originals. Price: 150 Euro |
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1536. LACY, STEVE: “Sortie” (GTA Records – GT LP-1002) (Record: Near Mint/ Jacket: Near Mint). Italian only 1966 Italy only issue that later down the line was reissued in other country with alternated sleeve art. This is the genuine first original pressing in awesome condition!! First copy I see WITHOUT any lamination creases, perfect condition + signed on the back by Steve Lacy! Sortie is quite a rare Italian album from Steve Lacy – featuring a quartet with Enrico Rava on trumpet, Kent Carter on bass, and Aldo Romano on drums – the same group on Lacy's Disposability album, but with the excellent addition of trumpet – which gives the music an even more powerful sound! The mixture of Lacy's soprano and Rava's trumpet is wonderful – and Carter and Romano are on fire in terms of their rhythms – post-Monk, post-Ornette, but also maybe still with more structure than some of the free jazz generation to come – a great balance that really draws some soulful currents from Lacy's horn. Titles include "Black Elk", "Helmy", "Fork New York", "Living T Blues", and "Sortie". Damned rare original pressing of stellar free improvisation LP by Lacy and cohorts, indispensable! Top condition!!!! Price: Offers!!! |
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1537. LACY, STEVE: “Sortie” (Globe Records/ Victor Records – SMJ-7429) (Record: Near Mint/ Flip Back Jacket: Near Mint). Original Japan 1966 very first press issue and impossibly rare! Pristine condition and the first time ever I could encounter a Japanese press original. Same as the one listed above but must confess this pressing sounds much better than the Italian original one. Comes housed in a thicker than life flip back sleeve. Essential Lacy!!! Price: 400 Euro |
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1538. LACY, STEVE: “Wordless” (Futura Records/ Epic – ECPL-23-FU) (SEALED COPY with OBI). Damned rare Japanese press original of Futura title all complete with insert and seriously scarce obi. “The 1971 session Wordless is an interesting and often overlooked entry in the long discography of saxophonist Steve Lacy. Relatively new to Paris at the time (he and his wife Irene Aebi had relocated there just two years earlier), Lacy was by all appearances inspired by the momentum among visiting and relocated African Americans (Anthony Braxton, Archie Shepp, and the Art Ensemble of Chicago among them) that was being documented by the BYG/Actuel label. Whatever the inspiration, Wordless is the rare free-improv record from a Lacy band, especially from his early days. The title may well come from Aebi's role on cello (prior to her switch to violin) as she passes on the vocals that make her a controversial presence among some Lacy aficionados. The rest of the band is an interesting amalgam, with Chicagoan Jerome Cooper on drums and Kent Carter, who permanently left the States for Europe in 1969 and would work with Lacy of choice for years to come, on bass. Rounding out the group is the little heard South African trumpeter Ambrose Jackson, who appeared on several Lacy and BYG sessions, but seems to have disappeared shortly thereafter. As a Lacy record, it's not the most satisfying. Musical themes are worked here that would be revisited in years to come, but it doesn't have the feeling of cohesiveness Lacy usually generates (nor does it have any Monk songs!). In hindsight, it feels more like a product of those anything-goes Parisian days, which in itself makes it an interesting document. The compositions are all credited to Lacy, but it is infused with the inventive flurry of '60s free improvisation.” (Squid’s Ear) Hard to track down Japan original with always missing obi. SEALED COPY!!! Price: 200 Euro |
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1539. LACY, STEVE with FRANZ KOGLMANN; TONI MICHLMAYR, MUHAMMAD MALLI and GERD GEIER: “Flaps” (Pipe Records – PR-151) (Record: Near Mint/ Jacket: Near Mint). Original 1973 Austrian private press slide that saw the light of day on the small Pipe Records imprint that only released 3 LP’s in a small pressing run. One of Lacy’s finest hard boiling slides. Price: 300 Euro |
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1540. LACY, STEVE: “Steve Lacy Solo at Mandara” (ALM Records – AL-5) (Record: Near Mint ~ Mint/ Jacket: Mint/ Insert: Mint/ OBI: MINT). Top copy that comes with always missing insert and with never offered for sale OBI, first all complete copy I have in 13 years time. The rarest of Lacy’s recordings. Recorded live from a solo concert at the famed Mandara live house in Tokyo’s Kichijoji district on June 8, 1975, it depicts Lacy at his finest hour ever. It was Lacy’s first even gig in Tokyo and the material on display here was taken from the second set of that evening. Enfant terrible, music critic and writer Aquirax Aida, who invited Lacy over to Japan and staged some concerts for him, organized the whole affair. It was here at this gig that Lacy debuted Snips and Stabs. His first adventure in Japan was without a doubt the most daring and astonishing of all his trips over there. He was then tapping into still virginal territory, mapping out the boundaries of his own still developing playing and touching reputedly on magic and greatness that only a very few can even dream off of possibly attaining, but Lacy did it. Of the five splendid albums produced during his first trip over there, only Distant Voices made it as a CD reissue. Other much desired ones like this one here, possibly his rarest one (esp. in mint condition) is craved for by many but only actually seen by a very few select avid music fans. “Steve Lacy Solo at Mandara” is in a way a bit like Van Gogh’s stunningly colorful paintings or like a surreal Dali coming to life through sound. He blows out a gently myriad sound by playing an instrument – the soprano saxophone -, which has had few real icons. But Lacy truly was an icon for the instrument and singlehandedly rescued it from obscurity, giving it a potent voice in the avant-garde. Simply stuff of legends. Hideously rare LP, released in an edition of 300 copies according to Mr. Kojima and copies complete with obi in such nice nick as this baby here simply do not turn up. First copy in a long time I can clutch my fingers around. An obscured dead cold classic. Massive and certainly one of those Holy Records in my Free Jazz top ten. TOP condition!!! Comes with MEGA RARE OBI!!! Price: Offers!!!! |
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1541. LACY, STEVE: “Torments
– Solo In Kyoto” (Morgue – Morgue-01) (Record: Near Mint/ Jacket: Near Mint
with NO discoloration). TOP copy of therarest of Lacy’s recordings. Recorded live from a
solo concert at the Silk Hall Kyoto in Kyoto on July 6, 1975, it depicts Lacy
at his finest hour ever. It was Lacy’s first ever gig in Kyoto and the material
on display here was taken from the first set of that evening. Enfant terrible,
music critic and writer Aquirax Aida, who invited Lacy over to Japan and
staged some concerts for him, organized the whole affair and eventually
released this in 1979 on his own Morgue label, in a very tiny edition of about
200 copies only. His first adventure in Japan was without a doubt the most
daring and astonishing of all his trips over there. He was then tapping into
still virginal territory, mapping out the boundaries of his own still
developing playing and touching reputedly on magic and greatness that only a
very few can even dream off of possibly attaining, but Lacy did it. “Steve Lacy
– Torments – Solo in Kyoto” is in a way a bit like Van Gogh’s stunningly
colourful paintings or like a surreal Dali coming to life through sound. He
blows out a gently myriad sound by playing an instrument – the soprano
saxophone – which has
had few real icons. But Lacy truly was an icon for the instrument and
singlehandedly rescued it from obscurity, giving it a potent voice in the
avant-garde. Simply stuff of legends. Hideously rare LP, released in an edition
of 200 copies according to Mr. Kojima and copies in such nice nick as this baby
here simply do not turn up. First copy I can clutch my fingers around. An
obscured dead cold classic. Massive and certainly one of those Holy Records in
my Free Jazz top ten. Price: Offers!!!! |
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1542. LACY, STEVE – The STEVE LACY SEXTET: “The Wire” (Columbia Records – YX-7553-ND) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint - minimal folding crease/ Insert: Near Mint). Bloody rare all complete Japan only issue with OBI and insert. Recorded in 1975 but not released until 1977, The Wire ranks amongst one of Lacy’s finest recordings and his rarest to seep out of Japan, all complete with obi. So far an all-complete copy with obi has not been offered before ever so…. Improvising and playing his own compositions with the cream of the cream of the creative Japanese scene. The Wire was recorded in 1975 recording by a Japanese sextet that included Steve Lacy on soprano saxophone, Masahiko Satoh on piano, Masahiko Togashi on percussion, Keiki Midorikawa on cello and bass, Yoshio Ikeda on bass, and Motoharu Yoshizawa on bass. If you note a preponderance of low-frequency strings, you are correct! Although clearly identifiable as ‘free jazz’, there are strong compositions and structures to accompany the wild improvisation. The way the Togashi, Midorikawa, Satoh, Yoshisawa and Ikeda are dealing with the material and the music is astonishing. The interacting seems to really fit the way that the compositional material is constructed. The string dominated sound of he group works extremely well with the sole sax playing by maestro Lacy. Top condition original pressing all complete with insert and hardly ever seen OBI, so make your best move ‘cause this one hardly ever surfaces all pristine & complete with obi in all its glory…. Price: Offers!!!! |
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1543. LACY, STEVE; KOSUGI TAKEHISA & TAKAHASHI YUJI: “Distant Voices” (Columbia – YX-7085) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Mint/ OBI: Mint). One of the rarest from down here – virginally unplayed dead stock copy all complete with insanely rare OBI!!!! Only have seen a copy with obi once, so here is a unique chance to wheel in one of the key free music recordings out there. “Distant Voices” is one of the rarest items in Kosugi's lengthy discography. Originally recorded in 1974 and released in 1975, “Distant Voices” sees Kosugi joining forces with Steve Lacy and Yuji Takahashi. The disc is considered to be one of Lacy's most radical pieces ever recorded, materialized when he came to Japan for the first time and the interaction between these three key avant-garde players sounds like a more defractured and demented version of the Taj Mahal Travelers on a trip down to Transylvania. This first adventure in Japan by Lacy was without a doubt the most daring and astonishing of all his trips over there. Of the five splendid albums produced when in Japan, this is the most ethereal one. Kosugi’s echo-drenched violin manipulations and its clutch of haunting reverberations fog up Takahashi’s skeleton undercurrent piano playing, only to get flanked by Lacy’s aspirational soprano sax noodlings that surge up out the concealed depths of space. The three of them engage by doing so in a very subtle form of downers/laxatives induced trench warfare, where the tiniest gestures trigger apocalyptic ever-evolving waves of exploratory sound. The panoramic undulation of ever floating sounds glide in return without much effort and through a carefully ignited impulse on the surface of a fluid whisper that is busy folding and manipulating space. The whole affair is fuelled by an intuitive approach, existing on its own plane, both impervious to and not responsible for trends of any kind. The trio’s sonics are just brim-full of poetic resonance coupled to a shamanistic sense of poetry. Much desired by collectors and music geeks, this LP is a bit like Van Gogh's stunningly colourful paintings; many have heard of it but very few have actually seen the real thing: Steve Lacy, Takehisa Kosugi and Yuji Takahashi did not sell many, but… it does not make the music any less angelic. The disc is needless to say rare beyond belief and does not turn up, it just does not…until now! It's amazing music. One of those Holy Grails many are after but very few seem to encounter. First time ever I can offer a spare of this record. Massive and out of this world. Top Copy! – mint condition and all complete with never offered before OBI present!! Price: Offers!!! |
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1544. LACY, STEVE with ROSWELL RUDD & SHELLA JORDAN: “Blown Bone” (Philips – RJ-7490) (Record: Near Mint/ Jacket: Near Mint/ OBI: Near Mint). Rare Japan ONLY Steve Lacy issue that rarely surfaces. All complete copy with stupidly rare OBI present. Japanese-only Philips platter, carries the colorful signifier “Jazz (Free/Blues/Latin),” a definite first in the commonly free improv-focused catalog and one that speaks directly to trombonist Roswell Rudd’s career-spanning eclecticism. The cast of characters is just as colorful with Steve Lacy, Enrico Rava, Paul Motian, Sheila Jordan and seven others convening for a small handful of ensembles. Rudd has always been about placing his slippery slide-calibrated brass in unexpected contexts. This consistently entertaining hodgepodge doesn’t disappoint a whit on that score. First time I can offer a copy with obi present. Price: 500 Euro |
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1545. LACY, STEVE: “Stalks” (Columbia – YQ-7507-N) (Record: Near Mint/ Jacket: Near Mint / Insert: Near Mint/ Promotional Obi: Near Mint). RARE PROMO issue all complete with insert and mega rare OBI. The obi has a rare promotional tag added to the lower part, highlighting the contents of the music in brief. Getting rarer with every breath you take as complete mint copies just do not surface at all!! Extremely rare Japan only Steve Lacy release that just almost never pops up here anymore. Recorded and released in 1975, “Stalks” sees Lacy working with renowned Japanese free jazz heavyweights Yoshizawa Motoharu (bass) and Togashi Masahiko (drums). Again an indispensable entry in Lacy's discography or – for who cares – in Yoshizawa Motoharu's discography. Contrary to “Lapis”, on “Stalks” Lacy does sound more mature and lyrical. Still that does not mean he has lost his cutting-edge sound he displayed on Lapis. No not at all. Hearing him interacting with these seasoned Japanese improvisers brings out the best of him, which can also be said for Yoshizawa and Togashi, gelling together as a flexible seasoned trio – although that they only have been playing together for a couple of concerts after Lacy's arrival in Japan before heading down to the Tokyo Studios of Columbia. In all a stunning artifact documenting a sort of a clash of the titans, east meets west kind of free improvisation interaction on which all of the three players shine brightly. Rare Japan only Lacy release that only sporadically surfaces. Original press in top condition with the always-missing obi present and accounted for. Price: 550 Euro |
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1546. LACY, STEVE:“Steve Lacy Solo Place Space Who” (Egg Farm- EF-001) (Record: Near Mint/ Hand Painted White on White Embossed Jacket: Near Mint – with faintest trace of foxing/ Insert: Near Mint). Rarest of the rare Steve Lacy recordings is this Japan ONLY private press issue that was released as a numbered edition of ONLY 99 copies. Promo copy with 73 numbering out of 99 stated both on record label and back of the sleeve. This copy comes all complete with “Steve Lacy Solo” white on white embossed sleeve art (over 60 copies came without the embossed sleeve) + comes with the live performance insert. Only records purchased directly at the Space Who live venue (this one here) came with the sleeve art jacket, all the others where just sent out in plain white sleeves. Promo issue, this one just never surfaces. I had a copy last year but it came without the embossed sleeve so this come here is THE all complete real deal. Just a super rare original pressing that documents Lacy’s Sejour in Japan!!! This LP was only available at the Space Who concert hall for a brief time but needless to say that all 99 copies (with and without embossed sleeve) are all long gone and have dried up. Without a single doubt, this is the rarest Lacy release out there and one of the rarest free jazz private pressings to seep out of Japan. Top condition, impossible to ever upgrade upon and a one-off chance to wheel in this piece of jazz history. Killer and rare forever!!! Price: Offers!!!! |
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1547. LAGAGNAMO: “Saspeupu” (Private – MS-11750) (Record: Excellent/ Jacket: Excellent). Totally obscure and rare 1975 privately pressed in extremely limited quantities (100 to 250 maybe?) Quebec - Canadian Lo-Fi underground/ basement free improvisation/ cum-blues/ free jazz slide that rarely surfaces and hardly ever makes it out into the sunlight. Although the record is obscure beyond belief, it has its minor claim to fame as local famous blues guitarist Bob Walsh plays on it as well as members of the progressive rock band Ungava. This loosely thrown together line-up of players is responsible for the deep subterranean vibe that oozes out of it all, resulting in a weird hellbroth of high-tension sounds that leaps into a melting pot of styles, quelling the darker sides of trench warfare blues, basement free jazz, malicious primitive psych vibes and plain weird sounds. It culminates in a panoramic sound floating somewhere between early Soft Machine and the boundless fury of the Mothers. The album is very rare but still largely undetected, breathing out a tornado of dusty low-fi sounds floating on an intuitive approach that is both impervious to and not responsible for trends of any kind. It was recorded live in a bar and it feels like you just stand next to humming amplifiers, making that the whole affair is blessed with the aspirational surges out of the concealed depths of improvisational interplay intertwined with the V.U.’s urbanized take on basement rock. What a ride!!! Price: 375 Euro |
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1548. LANCASTER, BYARD with STEVE MAC CALL & SYLVAIN MARC: “Us” (Palm Records – PALM-8) (Record: Near Mint/ Jacket: Near Mint/ 7 Inch Single Record: Near Mint). French 1st original pressing in TOP condition and all complete with the always-missing 7-inch single present. This is the real deal and not a fake bootleg that is circulating with on the single and on the record the “sacem” sticker present. Original 1973 French original pressing with the 7-inch single. Wow! Rare free jazz on the French Palm label and all complete. Recorded on November 24th, 1973, with Sylvain Marc on electric bass and the evergreen Steve McCall on drums, who add a wonderful dimension to the trio’s line-up. Here, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which brings forth his unique tone, with a very free blowing approach, much more adventurous than his US recordings at the time. Killer slide, virginal condition and mucho in demand with the rare 7 inch present so… Price: Offers!!!! |
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1549. HAROLD LAND QUINTET: “The Peace-Maker” (Cadet Records/ Baybridge – UXP-122-BC) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Very first Japan original pressing in top shape. Difficult to dig up original with obi and without cut outs and ring-wear. Best copy imaginable. Vibes maestro Bobby Hutcherson linked up here for the first time in the studio with Harold Land on the hard-bop tenor saxophonist’s 1968 album The Peace-Maker, released on the Cadet label. Recorded in two sessions (December 11, 1967 and February 26, 1968), the Harold Land Quintet disc unfortunately didn’t make many waves and remained a largely woefully under-appreciated album issued in Land's name. That album featured next to Land and Hutcherson a rhythm section consisting of Joe Sample (p); Buster Williams (b); and Donald Bailey (d), since it was recorded on the West Coast. Top shape!!! Price: 150 Euro |
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1550. LAND, HAROLD: “Take Aim” (Blue Note/ King Records – GXK-8174) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Excellent) Top condition Japan only issue of unreleased Harold Land Blue Note recording! A little-known and seldom seen Blue Note session by tenor saxophonist Harold Land went unreleased until this 1980 LP. Land and an obscure supporting cast (trumpeter Martin Banks, pianist Amos Trice, bassist Clarence Jones and drummer Leon Petits) perform five hard bop originals and a lyrical "You're My Thrill." The performances, which are now hard to find, should interest Land collectors and fans of the era's modern mainstream jazz. Top condition! Price: 75 Euro |
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1551. LARD FREE: “Gilbert Artman’s Lard Free” (Vamp – VP59500) (Record: VG++ ~ Excellent, record has a few paper scuffs that do not affect the playing or sound/ gatefold Jacket: Excellent). First original French pressing of 1973. Lard Free’s first Lard Free record, originally released in 1973. Relaxed drum and bass grooves collide with sonorous sax lines popping out of the electric fog, colliding head on with noisy Quaalude-infected electric guitar screams while all the time the rhythm section maintains a downer relaxed groove. Ambient electro-rhythms, beeping electronics, funky bass riffs, feedback humming and acidic guitar licks make this slide an excellent example of psychedelic avant-rock. Lard Free was just brilliant. Record has only a few paper scuffs but plays EX‾NM all way through. Great keeper copy. Price: 100 Euro |
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1552. The LEAVES: “Hey Joe” (Mira Records – LPS-3005) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Original flawless and TOP copy of their 1st and best LP, psychedelic folk rock by the fathers of “Hey Joe”. This debut album demonstrates remarkable musical range for a group with a brief tenure following its release. The Leaves deliver accomplished folk-rock reminiscent of the Byrds and Beatles ("Just a Memory," "Girl From the East"), insightful garage punk ("Words," "Tobacco Road"), and robust hard rock ("Hey Joe," "Too Many People"). The band also engages stylistically with the Rolling Stones ("Back On the Avenue"). Although the overall sound varies due to diverse influences—from Bo Diddley ("Dr. Stone") to early psychedelia ("War of Distortion")—the album maintains consistent quality throughout. Notably, their interpretation of "He Was a Friend of Mine" integrates aspects of the Searchers' "When You Walk In the Room" and the Byrds' "I'll Feel a Whole Lot Better," featuring distinctive guitar work. This LP is highly recommended for enthusiasts of the first two Byrds albums. Record is clean as can be, jacket is pristine, hard to upgrade upon this one. Price: 200 Euro |
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1553. LED ZEPPELIN: “S/T” (Atlantic – SMT-1067) (Record: Near Mint/ Gatefold Jacket: Excellent/ FIRST ISSUE OBI: Excellent ~ Near Mint – on back of obi coupon is missing and cut out). Hopelessly rare Japan FIRST original press with 1st press with SMT-1067 number/ OBI and comes with immediately withdrawn gatefold jacket that had a serious misprint upon the back – credit switching the names under the members pictures (Robert Plant is credited as John Paul Jones/ John Bonham is credited as Robert Plant and John Paul Jones is credited as John Bonham. Only Jimmy Page was credited rightly). This was a massive mistake and record was withdrawn and released with different catalogue number and altered jacket and different obi. This is the complete copy issue with the VERY RARE turquoise design VERY FIRST OBI!!!! Just amazing …… Price: Offers!!!! |
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1554. LED ZEPPELIN: “S/T” (Atlantic – MT-1067) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Obi: Mint). Virginal condition – no foxing spots, untouched original obi …. The debut album – this one released in Japan in October 1969, there were the blue stripe issue came out in May of that year. So original 2nd issue obi that comes housed in cool heavy duty gatefold sleeve. Just impossible to ever upgrade upon Japan original press – 2nd issue with orange stripe obi. Time machine archival condition copy!!! Never seen a copy this perfect and clean so….Price: Offers!!!! |
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1555. LED ZEPPELIN: “II” (Atlantic Japan – P-8042A) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Rock Age Flower Obi: Excellent ~ Near Mint/ Insert: Near Mint/ Company Inner Sleeve: Near Mint/ Big Poster: Near Mint) Rarest Japanese pressing of the 2nd Zeppelin record and all complete with insanely rare Rock Age Obi and with the always-missing big poster also accounted for. Hideously rare with obi intact, especially in such a stunning condition as this copy offered here. These babies – in such a nice nick – just never surface on this side of the globe anymore, especially with obi, poster, company inner and insert intact. Bound to skyrocket even more in the future. Classic disc and at least everyone needs a copy of this baby. Extremely rare Japanese press issue. Top notch condition; do not believe they come any better than this one here. Price: Offers!!!! |
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1556. LED ZEPPELIN: “III” (Atlantic Japan – MT-2043) (Record: Near Mint/ gatefold Jacket with Movable Parts Wheel: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Rarely seen WHITE label PROMO issue, original first press issue. Much of the album was written at a remote cottage in Snowdonia while Page and Plant recuperated following an extensive US tour. The cottage had no electricity which encouraged the pair to explore the band’s mellower, pastoral side and resulting in many acoustic introductions to many of the songs. The album’s generally laid-back feel, features one of the band’s most blatantly overt big-trouser moments such as opener Immigrant Song, with its addictive riff and macho subject matter, it is proto-heavy metal at its best. The bulk of the material doesn’t favor rock so much, with even Celebration Day and Out on the Tiles lacking the sledgehammer weight of the previous two albums, but this is no lightweight fluff. Elsewhere, the wistful folk rock of Tangerine and Gallows Pole – another Zep arrangement of a traditional folk song – bolster what is by any reckoning an underrated work. Price: Offers!!!! |
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1557. LED ZEPPELIN: “Houses of the Holy” (Atlantic Japan – P-8288) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint/ Insert: Mint/ Imprinted Inner Sleeve: Mint/ Red Colored Atlantic Obi: Near Mint/ Double Decker Houses of the Holy Obi: Near Mint). First original Japanese pressing out of 1973 in top condition. This version here for grabs is the mega rare WHITE LABEL PROMO issue that is blessed with a fuller sound/ mix as opposed to the regular version. Just about never surfaces on these shores and only a handful of copies have popped up and are in circulation. Top condition – complete with 3 (Three!!!) obi’s and insert and imprinted inner sleeve. First Japanese promo I encounter after all these years. Price: Offers!!!! |
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1558. LEE HAZELWOOD & NANCY SINATRA: “Nancy & Lee” (Reprise/ Victor Records Japan – SJET-8053) (Record: Near Mint/ Jacket: Near Mint/ SJET Obi: Near Mint/ Insert: Near Mint). Insanely rare Japan 1st press issue on tri-color label and complete w/ obi and Japan ONLY jacket and the always-missing insert. This is a really scarce Japanese copy (released in late 1960’s) of Nancy & Lee album, complete with OBI & insert. The front-cover art is totally different from the common US edition. Next to that, another discrepancy is the track-listing which is also completely different from that of US issue. Extremely hard to find Japanese copy of this album especially with obi and inert present. Last copy on E-bay went for 600 plus and that was the 2nd press tan version, this one here is the 1st pressing on the tri-color reprise imprint. Stunning condition. Price: 250 Euro |
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1559. JEANNE LEE: “Conspiracy” (Earthforms Records) (Record: Near Mint/ Jacket: Excellent). 1974 US original pressing in top condition. Female vocals free Jazz monster by former Art Ensemble of Chicago vocalist Jeanne Lee. Like some reviewer somewhere pointed out, Jeanne Lee combines acrobatic vocal maneuvers with a deeply moving sound and quality that allows her to alternate between soaring, upper register flights and piercing, emotive interpretations. She's extremely precise and flexible, and moves from a song or solo's top end to its middle and bottom accompanying an instrument with a stunning ease. Though many critics have cited Lee as creating free jazz's most innovative vocal approach, she's done very little recording, almost none of it as a leader, and even less on American labels. So this one, “Conspiracy” is her greatest and maybe rarest ever effort to make it down to wax with her credited as a leader. She gets backed up though by some heavyweight champions such as Gunter Hampel, Steve McCall, Sam Rivers, Jack Gregg, Perry Robinson, Allan Praskin, Mark Whitecage and Marty Cook. Original 1974 pressing in near mint condition that will make the earwax in your ears melt and dribble out, just that delicious this ear candy here is. Price: 400 Euro |
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1560. LEE PERRY: “Disco Prisoner – Free The Prisoners” (Conquering Lion Of Judah) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Bloody rare 1978 Jamaica original pressing that also comes housed in Jamaica made & imprinted jacket, which makes this baby damned scarce!!! If it turns up it is always housed in a UK imprinted sleeve but this one here is all the way and completely a Jamaica original issue in top shape!!! “Even by Perry’s own standards, "Free Up the Prisoners" was a peculiar single, a 12" that spun at 33 rpm, released in two different versions on the one-off imprint Disco Prisoner during 1978. The riddim began life as Clancy Eccles’ "Feel the Rhythm," a 1967 single that the Upsetter had helped out on, but which bears little resemblance to this later incarnation, which has a slowly coursing and thumping rhythm that brings an entirely new feeling to the riddim. Perry created an abridged version for Mickey Dread’s "Home Guard" single, which Dread later recut as "Neighbourhood Watch." But in its full glory, Perry’s "Prisoners" was a 13-minute epic, with the more interesting of the two versions adding vivacious and prominent piano to the mix. However, the backing isn't the main draw; what's fascinating about this number is Perry’s protracted pleas to liberate the jailed, although at times his mumbled and indistinct vocals somewhat weaken his case, and in places he even drowns himself out with percussion and effects. Some may feel the song is in need of serious editing, as some sections do become overly repetitive. However, Perry’s heartfelt prayers and petition for the prisoners' liberty still packs a punch. One of the Upsetter’s most courageous releases.” (All Music Guide). Record has a small non-sounding scuff on opening side A so graded at EX~NM. Sleeve has no defects, faintest sign of storage wear so also EX~NM. Top copy, 100% Jamaica original for sleeve and disc. Price: 500 Euro |
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1561. LEE WONHUI (Aka TAKAGI MOTOTERU) with KIKUCHI KOJI: “Grow” (Johnny’s Disk – JD-13) (Record: Near Mint/ Jacket: Near Mint/ Booklet: Near Mint). Without a grain of doubt on my mind, Takagi Mototeru was the all-time greatest sax howler to roan the Japanese Isles and every record he put out showcases this. Grow is no difference and again ascertains the majesty of Takagi’s talent. It also is one of the rarest of all Takagi Mototeru releases that came out. One difference is that this one here was released under his real (Korean) name of Lee Wonhui and released on the legendary private press label Johnny’s Disk. One of the hardest to track down releases on the label and also one of the best hands down. Has been ages since I last saw a copy of this menacing slide, this is a seriously rare and unusual album with hard blower Mototeru Takagi blowing things differently. Drum & sax duo that goes deep. High energy poetry! Spotless copy. Impossible to find! Complete with 4-paged insert. Price: Offers!!!! |
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1562. The LEMON DIPS: “Who’s Gonna Buy?” (Music-De Wolfe – DW/LP-3114) (Record: Excellent ~ Near Mint/ Jacket: Excellent – lower side slight humidity discoloration). Recorded by an anonymous studio band, musically 1969’s “Who’s Gonna Buy?” was a major curiosity. The album is divided into a side featuring six vocal performances and a side with seven gritty instrumentals. Assuming J. Hawksworth and P. Reno are the main members (as they were given writing credits for all 14 selections), the album offers up a wonderful selection of greasy garage tracks and psychedelic groovers. Tracks such as ‘I Am the Man’, ‘Who’s Gonna Buy?’ and ‘Unpack Your Bags’ are amazing tunes, blessed with excellent snarling vocals, all punched up with tons of feedback guitar and walls of keyboards. This psychedelic garage/pop selection is a bit like the Electric Banana albums, but with hints of The Kinks, The Move or even The Troggs and spiked with snearing fuzz guitar and a slightly stoned flower-power feeling. The album was used as the soundtrack to at least two movies of the time, a Tigon and an Amicus film apparently, including one scene where the band in the film are obviously miming to a song from this record. Not at all well-known but what a great slide of uncut UK psyched out dementia. Price: 400 Euro |
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1563. LEON THOMAS: “Leon Thomas in Berlin” (Flying Dutchman – FD-10142) (Record: Mint/ Gatefold Jacket: Mint still housed in shrink/ Insert: Mint/ Direct Import Obi: Mint) Totally virginal condition copy, housed still in shrink and complete with direct import obi. A wonderful live performance by vocalist Leon Thomas – and a set that seems to link together both his own excellent solo material of the time, and his key Impulse recordings with Pharoah Sanders! The group here is a small one – with the wonderful Oliver Nelson on alto sax, showing off his more spiritual side here in ways that didn't always happen on other records of the period – in a quintet lineup that also features piano, bass, drums, and some nice extra conga work! Some material has Thomas really stretching out and getting spiritual – as on the remakes of the Sanders numbers "The Creator Has a Master Plan" and "Pharaoh's Tune (The Journey)" – and then he even gets a bit more avant and outside on the track "Umbo Weti", then moves to straighter bebop vocalese on a sweet take on "Straight No Chaser". A great record – and one that really sums up his genius! Impossible to ever upgrade upon. Price: 100 Euro |
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1564. LES BAXTER AND HIS ORCHESTRA: “The Primitive and the Passionate” (Reprise Records/ Victor Records – SJET-7151) (Record: Excellent ~ Near Mint/ Flip Back Jacket: Near Mint/ Company Inner Sleeve: Excellent/ Obi: Near Mint). First original Japanese pressing on the tri-color Reprise label, all complete with bloody rare 1stissue OBI. With song titles like "Peking Tiger" and "A Night with Cleopatra," 1962's The Primitive and the Passionate is a pretty typical -- and entertaining -- mix of Baxter's instrumental exotica and standards. And, while the relatively straightforward renditions of "Laura," "Little Girl Blue," and "A Taste of Honey" might be a little too tasteful to pique the interest of modern exotica/lounge fans, their supreme smoothness is almost as much of an accomplishment as the album's more whimsical moments. These include the spooky, mariachi-lounge of "Fiesta Brava"; the Latin rhythms and smoky flutes on "Congalé"; and "Bird of Paradise," a sunny, string-driven track that builds on Baxter's quintessential hit, "Quiet Village." An Exotica classic. Price: 100 Euro |
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1565. LES BAXTER AND HIS ORCHESTRA: “The Soul Of Drums” (Reprise Records
– SJET-7349) (Record: Excellent/ Flip Back Sleeve: Near Mint/ Obi: Near
Mint). First original Japanese pressing on the tri-color Reprise label, all
complete with bloody rare 1st issue OBI. Released in 1963 on Reprise Records and
sporting 12 tracks and a multiplexing of two Latin styles with superb symphonic
Space-Age strings, bucolic big band brass bursts and cavalcades of drums par
excellence, this LP is a culmination point of some sort, a superimposition of
the composer’s utterly drum-focused “Skins” from 1957. Soul of the Drums is another Baxter album from the early 60's that largely adheres to that marvelous
"Les Baxter Sound," with fabulous results. Where Primitive and
Passionate might subtly highlight horns, however, Soul of the Drums obviously favors an ever-present drum sound. From its opening moments, this is absolutely classic Exotica.
The first track, "Girl Behind the
Bamboo Curtain", is just one of those quintessential upbeat flute
safaris, a light, bouncy composition of the sort favored by Martin Denny. "Coffee Bean and Calabash Annie" once again finds Baxter cannibalizing bits of his earlier melodies-- in some
circles this could be seen as a negative but such repetitions are right at home
in Exotica, a genre that lives and dies on derivations on familiar themes. "Sunrise at Kowloon" is a
perfectly archetypal string-led piece of orchestral Exotica. "River of Dreams" is at least
as lovely as it sounds, and "Shadow
of Love and the Enchanted Reef" is a romantic canoe-trip masterpiece
with just enough mystery to make it titillating. The closing track, "Ceremony" is a drum workout. The Soul
Of The Drums is no more remarkable than any other of Baxter’s albums of one’s
choice, but does thankfully emit a strictly uplifting, mirthful aura which is
only fugaciously interrupted by mystical heterodynes, otherworldly phantasms
and ritualistic drum patterns. It is not as cineastic as his first forerunner
and pre-Exotica blueprint Ritual Of The
Savage (1951), but this works to its advantage, as the flow or fluxion is
uninterrupted. While there are a few pinpointable real-world locations such as
Kowloon and Rio on it, this is no dedicated travelog LP rather than a
concoction of delight. Price:
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1566. LIEBMAN, DAVID: “First Visit” (Philips – RJ-5101) (Record: Near Mint/ Gatefold Jacket: Near Mint). 1973 Japan only issue of largely overlooked and discarded spiritual jazz brain freezer, a true masterpiece. Recorded in Japan with Dave Liebman (Soprano Saxophone, Tenor Saxophone, Flute Alto) gets flanked by heavy scenesters Richard Beirach (Piano), Dave Holland (Double Bass) and Jack DeJohnette (Drums). Right from when the needle hits the opening groove, the tone is set and one gets sucked into Liebman’s sonic vortex of hypnotic spiritual jazz flow. The interval is fast paced, the execution is flawless and the sonic tidal range moves in fast pacing cycles. Every combatant is on fire, shatter shots of relentless soloing interlock with each other, creating an addictive sonic blanket one just cannot but love and adore! How this record gets so little praise is beyond my comprehension. Exquisitely executed, intoxicating spiritual vibes throughout, this one ticks all the right boxes. And based on that, it should be a 4-figure record but it is not. Nevertheless, Liebman’s First Visit is so killer it makes your ears sprout out blood!!! Ectoplasmic goo of pure sonic pleasure! And cheap beyond reasonable comprehension. Do yourself a favor and get your mittens on this baby, it will elevate your sorry-ass existence to a higher place as it blows most big ticket private press jazz slides straight outa gene pool. Price: 50 Euro |
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1567. LIGHTHOUSE: “Peacing It All Together” (RCA – SHP-6127) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Obi: Mint). Japanese press original all complete with rarely seen or offered obi. Maybe the most complex album so far from Lighthouse – a set that begins with some great heavy drums, then rolls into the group's trademark blend of jazzy riffing, rocking rhythms, and soaring arrangements! There's a bit more Sunshine Pop in Lighthouse compared to some of their contemporaries in the jazz rock world at the start of the 70s – no attempts to be unnaturally soulful in the lyrics, nor too posturing either – and instead, there's almost a vocal gentleness that makes for a nice counterpoint to the full instrumental modes of the large horn-heavy ensemble. Price: 75 Euro |
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1568. SAM LIGHTNIN’ HOPKINS: “S/T” (Arhoolie – F-1011) (Record: Near Mint/ Jacket: Near Mint/ 4 Paged Booklet Insert: Near Mint) 1962 original 1st pressing in impeccable condition that comes with the always missing booklet present. Next to impossible to ever upgrade upon. This recording by Lightnin’ Hopkins showcases the artist's signature style and includes additional instrumentation, such as drums by Spider Kilpatrick on select tracks, along with extra bass and drums on others. The enhanced arrangements add subtle energy to Hopkins' distinctive groove, while preserving the authenticity of the sound without rendering it overly polished or commercial. By the early 1960s, Hopkins had already established himself as an accomplished vocalist and guitarist, demonstrating a remarkable ability to convey narratives with both his voice and instrument. So essential it HURTS!!!! Price: 400 Euro |
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1569. SAM LIGHTNIN’ HOPKINS: “Lightnin’ In New York” (Candid – CJM-8010) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). 1961 US first MONO original pressing in great shape. This is the right pressing with the L9OP numbering printed under the catalogue number. The other pressing of this album has the TM numbering under the catalogue number, indicating a different pressing plant with much inferior sound quality. So, rest assured this copy here is the one and only right pressing you need!!! This set is one of the more obscure Lightning Hopkins albums of the 60s as it was issued on the short-lived label Candid, an imprint that was mostly known for modern jazz. His approach here is wonderfully faithful to the music that Hopkins does best, a well-recorded solo date that's handled in ways that are similar to some of the Prestige Records blues albums of the time. This is maybe in part because as things went mainstream and more commercial, it was up to some of the jazz labels to preserve a more stripped-down sound! This Candid release is one of his better sets from the period. Essential!!! Price: 200 Euro |
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1570. LIGHTNING HOPKINS: “Early Recordings” (Stateside/ Toshiba – ISR-8145) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Spotless Japan original first press issue all complete with obi. “This is one of several collections put together from 78s recorded by Houston's Lightnin' Hopkins during the second half of the '40s. During this time he was a regular visitor at several studios with a regular jukebox market for his creations, and these are a really fine example of blues songs that are more like instant poetry that were concocted at the spur of the moment rather than slick, formalized, individualized song "hits." Much of the body of this blues artist's song catalog kind of runs together into a long odyssey, delivered in a rubato medium feel, sometimes locking into a steady beat but often hovering somewhere behind and ahead. As if performing an endless series of card tricks with only three cards, he comes up with variation after variation on the basic 12-bar form and a series of blues riffs that he has ready to fit any and all occasions. Listeners may not be able to tell one track from the next, but Hopkins' feel on guitar and charismatic, lilting voice has proven to be a winner with blues fans decade after decade. The ever-adventuresome Hopkins cut some tracks on organ during this period, and these are parceled out among the collections. Although the resulting "Organ Boogie" certainly provides some variety, the songs with the guitar are of much more lasting music value, the organ numbers mostly of interest as an oddity.” (All Music) Price: 75 Euro |
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1571. LIGHTYEARS AWAY/ THUNDERMOTHER: “Astral Navigations” (Holyground – HG-114) (Record: Near Mint/ Flimsy Poster Like Wrap Around Paper Sleeve Jacket: Excellent ~ Near Mint/ Both Sides Paste On Inner Jacket: Excellent ~ Near Mint). Original 1971 UK private press issue on the legendary Holy Ground label, all-complete with the always missing paste on inner jacket but the booklet is not included. Original UK pressing that came out in an edition of only 250 copies, this one being 110. The matrix number is stamped into the run-off vinyl. Matrix/ Runout (Runout side A): NSR-172-1A & Matrix/ Runout (Runout side B): NSR-173-1A. Astral Navigations was really a recording of two different bands, Lightyears Away and Thundermother. Light-years Away is folk/psych (more toward the folk end) and features Bill Nelson who was later to join with Be-Bop Deluxe. Great compositions with alternating male and female vocals set against a background of piano with some short, very fuzzed-out guitar breaks that frazzle the mind in a nice way. Thundermother is more dirty heavy rock that dwells in similar sonic regions as Leafhound and cohorts. Together they make up Astral Navigations and their sole recording is relatively obscure UK psychedelia/acid folk from 1971. This was a micro-pressing at the time and copies only surface seldom. Top copy of tremendous UK psych classic, one side is Leafhound-styled hard rock with seering leads, the other side is acid folk of the upper level. One of my all-time faves from the Isles. Has the original wrap-around sleeve + inner paste on jacket that comes housed inside the wrap around poster cover. Price: Offers!!!!! |
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1572. LILBURN, DOUGLAS: “Soundscape – Electronic Works By Douglas Lilburn” (Kiwi Pacific Records – SLD-59) (Record: Near Mint/ Jacket: Excellent). Top copy of damned scarce New Zealand electronic music slide. Original New Zealand pressing of 1980. Finally, here is one of the greatest but sadly largely overlooked electronic music mavericks of all time, the ultimate masterpiece of Douglas Lilburn. During the 1930s, after winning a composition prize offered by Percy Grainger, Lilburn attended the Royal College of Music in London and became a student of Ralph Vaughan Williams. In the 1960s he visited Darmstadt and also worked in the electronic music studios at the University of Toronto. By 1966 he established the Electronic Music Studio at Victoria University in Wellington, the first in New Zealand or Australia. It was in 1975 that he turned his attention exclusively toward the composition of electronic music. Lilburn had often sought to realize the sound of the NZ landscape in his compositions. The possibilities of electronic music, which let him replicate birdsong, waves, wind, rivers, and rain, and incorporate taped sounds from the natural world, turned out to be a revelation, a head twister. Slow electronic sounds merge with modified field recordings in a dreamlike sequence. The art of mastering simplicity is what could best define Lilburn's electronic compositions. His economy of means and use of clear and defined electronic material and sound objects is what made his signature sounds so unique. Spare identifiable drops and the exploration of the calm territories with a nearly Buddhist touch towards sound by using what electronically transformed gongs and metal plates resonations, injected with electronic birds and joyous concrete sounds and electronic blips. Through listening to this, I am now more than ever convinced that Douglas Lilburn was the real deal. Because he was willing, as an established composer, to leap into the unknown realm of electronic sound, to learn a new language, a new way of working, he produced a body of music capable of inspiring listeners as diverse as his academic contemporaries and self-taught, anti-compositional philistines such as me. Essential! Price: 200 Euro |
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1573. LINCOLN ST. EXIT: “Drive It!” (Mainstream Records – S-6126) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). US first original pressing in virginal condition and one of the hardest to track down titles on the Mainstream label imprint. That said, Lincoln Street Exit is one fierce jam of drenched bluesy psych by group with a definite ear for Native American issues! The work here is very heavy on bottom sounds – rumbling bass and heavy drums that underscore the fuzzy guitar nicely – and vocals from singer Michael Martin are almost shouted with an intensity, underscoring the edgey lyrics perfectly! With a sound that leaves behind the amphetamine-fueled blues basement to seek sanctuary in the penthouse of acid-soaked freedom that culminates in a fuzzed-out cauldron of demonic bass, talking drums, manic cackles and liquid wah-wah! One of the rarest slides on the Mainstream label and this copy here looks like it was plucked out of a time machine. Impossible to upgrade so… Price: Offers!!! |
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1574. The LINES: “Ultramarine” (Red – ROUGE-3) (Record: Near Mint/ Jacket: Excellent). Totally underrated and largely overlooked post punk killer slide, original UK pressing from 1983. English post-punk band the Lines formed in 1977 and released their last record in 1983, quietly leaving a couple of impressive albums - Therapy (1981) and Ultramarine (1983) - and a handful of singles and EPs in their wake. Fairly indifferent to the press, affiliated with a very small label, and, despite connections to Alternative TV and Fad Gadget, not part of any scene, the Lines gained a small and fervent following, and their releases remained obscure. Which is a shame because their “Ultramarine” LP is nothing but a pure uncut gemstone of a recording. Price: 100 Euro |
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1575. LITTLE FEAT: “S/T” (Mobile Fidelity Sound Lab – MFSL-1-299) (Record: Excellent/ Gatefold Jacket: Near Mint/ Gatefold Insert: Near Mint) Rare 2007 audiophile release, numbered edition, this being 1650. Comes housed in thick gatefold sleeve. Price: 100 Euro |
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1576. The LITTER: “$100 Fine” (Hexagon – 681) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint). Top copy and impossible to upgrade upon. 1968 US first original pressing that comes on the Hexagon maroon coloured label. Worthy follow-up to their debut LP, “$100 Fine” keeps on breathing out the garage-punk spirit the Litter was renowned for but by this time the bad added a more psychedelic/ lysergic mind warp to their overall sound. The is made up out of 50% original and 50% covers, executed in a wrist slashing style that keeps you going back to the PCP bong. "Mindbreaker" moves in the same direction as their debut LP Distortions, there where "Morning Sun" surfs into a lysergic psychedelic whirlpool filled with meltdown sustained guitar riffs. Terrific album and their last good one before degrading and breaking down on their 3rd and last LP. “$100 Fine” is killer and impossible to get in such pristine condition as this copy here. Probably one of the nicest copies around. I kid you not … Price: Offers!!! |
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1577. LIZZY MERCIER DESCLOUX: “Mission Impossible b/w Fire” (Ze Records/ Toshiba – ILS-17004) (7 Inch Single Record: Near Mint/ Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint) Japan original single issue of this post punk no wave classic. A two-sider with tense, terse tunes owing more to disco, funk, and film scores than punk rock. The lead single, a cover of Arthur Brown s "Fire," couldn't have ripped out Descloux's no wave roots any more violently, all the while changing the original's fire-and-brimstone theatrics into a zippy roller-rink wink. Covers of Lalo Schifrin composition -- "Mission: Impossible" is relatively faithful, though Descloux adds something of her own. Spirited, fun, and full of luscious basslines, just awesome! Price: 50 Euro |
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1578. .LIZZY MERCIER DESCLOUX:“Mambo Nassau” (Philips – 6313.122) (Record: Near Mint/ Jacket: Near Mint) French original first pressing from 1982. Ze Records diva Lizzy Mercier Descloux works here with influential post-disco, post-punk producer Steve Stanely on a set of tunes cut in Nassau, with some great backing by a combo that includes Wally Badarou on keyboards. The resulting groove takes the skittish pan-club sound of the early 80s Ze Records scene and infuses it with the hippest take on Jamaican rhythms of the time -- resulting in a groundbreaking batch of tunes that were years ahead of their time! “Mambo Nassau, Lizzy Mercier Descloux's second solo album. Descloux had become inspired by the traditional world music released on France's Ocora label, and in 1980 she took drummer Bill Perry down to Nassau to record at Compass Point, where she was aided by a number of people, including keyboard wiz, arranger and future Talking Heads associate Wally Badarou. The intent was to incorporate African elements into Descloux's existing vibrant mix of arty funk, disco, and film music, and the result was an album that nearly rivals just about any other rhythmically inventive release that came from the rock world at the time. Naturally, Mambo Nassau is even more adventurous than Press Color. The instrumental setup -- with the exception of some of the percussion -- is completely Western and rock-oriented, with Badarou’s excitable synthesizer often figuring prominently, whether churning out squiggled melodies or affecting the mood of the song with sensitive accents. The interplay between all of the instruments is positively acrobatic, including off-kilter time-keeping, wriggling guitars, and plump basslines that seem to twist in place. And, of course, there's Descloux's voice at the centre of it all, adding even more life to the material with infectious wide-eyed exuberance. Eight of the album's ten songs are originals. Once you hear the cover of Kool & the Gang’s "Funky Stuff," you'll realize that no one has ever had as much fun as Descloux had playing that song.” (All Music) Top condition. Price: 200 Euro |
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1579. LIZARD:“Save Momoyo b/w Requiem Robot Love” (Japan Musicolor – PD-2001) (33rpm 7 Inch Record Single: Near Mint/ Green Outer Sleeve: Near Mint/ Wrap Around Insert Cover: Near Mint). Rare Japan private press issue from 1980 of classic No Wave/ Punk slide by Lizard, released in a. limited run of only 500 copies. Great original tracks with wyld vocals, eerie organ and beating pulsating rhythm section. Soaring in demand as of late and copies are getting scarce. Top condition with wrap around insert present and original green outer sleeve. Price: 100 Euro |
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1580. The LOFT: “Once Round the
Fair” (Creation – CRELP-047) (Record: Near Mint/ Jacket: Near Mint). UK
original press issue from 1989 on the legendary and stellar Creation Records
imprint! “An excellent compilation that gathers this short-lived group's
output. The Loft never quite got the attention they deserved as a guitar pop
band. The fact that they were on Creation Records and later turned into the
Weather Prophets seemed to often overshadow the band's music. The complete,
stumbling, perfect imperfections of "Why Did the Rain" highlight the
group's strong points, with distinct, melodic guitar leads over a jangling
rhythm section. Tracks like this one helped set the stage for the direction of
indie pop over the next 20 years. The warm production emphasizes a classic
structure that draws from the Velvet Underground, Television and the Byrds. A
crisper production follows on the rest of the tracks, but this short collection
never falters in song quality. "Skeleton Staircase" lightly drones
and jangles as Pete Astor croons is his faltering, song-speak way. Andy
Strickland’s clean guitar work balances out the uneven moments. "Winter"
is another fine track, with the vocals and guitar raised to the very front of
the track as the muffled drums carry the back. It could easily be mistaken for
something off of the Flying Nun roster. "Up the Hill and Down the
Slope" is the group's swan song -- endemic of their entire output -- a
seemingly tangled mess of guitars and crooked melodies, but structured to
perfection.” (All Music) Price: 50 Euro
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1581. LOLLIPOP SHOPPE: “Just Colour” (Uni – 73019) (Record: Near Mint/ Jacket: Near Mint ~ Mint – still housed in SHRINK with Sample Promo sticker on back) Pristine US first original issue of all-time psych classic – best condition imaginable with NO cuts. “Garage fans latched on to the killer 45 track ‘You Must Be a Witch’ at an early stage, while the rest of this album used to be a bit overlooked. In recent years, it’s come into vogue and is now UNI’s major rarity along Druids Of Stonehenge. It’s really one of the craziest major label LPs from the era (released in April 1968) with an idiosyncratic, uncommercial sound that is like proto- ‘70s punk avant refraction of the first Love album. Fred Cole’s vocals are so far out you wonder how they ever got a contract, and the 7-minute downer trip of “Underground Railroad” blows much private press stuff away. The album is perhaps more eccentric than truly good but should be checked out – the kind of record that will become a personal talisman to some, while others will scratch their heads. Their manager Lord Tim Hudson tried a Seeds-style hype with them but it never really clicked. The band, originally known as The Weeds, had a couple of non-LP releases” (PL – Acid Archives). Never scratched my head while blasting this gem, instead for me it became much of a personal talisman…one of the most essential records ever – pristine condition US first press original. Price: Offers!!! |
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1582. LOLLIPOP SHOPPE: “Just Colour” (Uni – 73019) (Record: Near Mint/ Jacket: Near Mint) Pristine US first original issue of all-time psych classic. “Garage fans latched on to the killer 45 track ‘You Must Be a Witch’ at an early stage, while the rest of this album used to be a bit overlooked. In recent years, it’s come into vogue and is now UNI’s major rarity along Druids Of Stonehenge. It’s really one of the craziest major label LPs from the era (released in April 1968) with an idiosyncratic, uncommercial sound that is like proto- ‘70s punk avant refraction of the first Love album. Fred Cole’s vocals are so far out you wonder how they ever got a contract, and the 7-minute downer trip of “Underground Railroad” blows much private press stuff away. The album is perhaps more eccentric than truly good but should be checked out – the kind of record that will become a personal talisman to some, while others will scratch their heads. Their manager Lord Tim Hudson tried a Seeds-style hype with them but it never really clicked. The band, originally known as The Weeds, had a couple of non-LP releases” (PL – Acid Archives). Never scratched my head while blasting this gem, instead for me it became much of a personal talisman…one of the most essential records ever – pristine condition US first press original. Price: Offers!!! |
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1583. LONDON EXPERIMENTAL JAZZ QUARTET: “Invisible Roots” (Scratch Records – SR-10) (Record: Near Mint/ Jacket: Near Mint). Original Canadian first press issue from 1974. Top condition!!! The London Experimental Jazz Quartet were an obviously talented combo of jazz-cats hailing from London, Ontario and centred around soprano and alto sax virtuoso Eric Stach. As an experimental unit, they recorded this sole and very scarce LP t to some extent is largely overlooked and a tad obscure. ‘Invisible Roots’ is a scandalously overlooked, brilliant little gem from the Canadian jazz scene of the mid-seventies and should deservedly stand and rub shoulders with other keystone recordings of that era and is a stone-cold-classic of experimental jazz. The music is totally mind-blowing, played by a cast eight experimental heads who were stunning at creating a massive groove while not forgetting to add some spice by messing it all up a little by steering the sonic palette into the outward regions, combining modes that were at times highly rhythmic and tight, only to ascend into looser and more freewheeling territory just when things are about to get a bit too structured and regulated. With a thrilling mix of soprano and alto sax, wood flute, cello, piano, bass, funky drums, vibes and even some tape manipulation, this little Canadian obscurity is a real treat if you are into free jazz, improvisational music and experimental sounds. An astounding piece of music. Top shape 1st Canadian private press original for your pleasure. Price: Offers!!!! |
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1584. LONNIE SMITH:“Move Your Hand” (Blue Note – BST-84326) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Direct Import Obi: Excellent ~ Near Mint) Damned rare 1970 US first original pressing with “Van Gelder” machine-stamped on both sides that comes complete with never offered before Japan Blue Note Direct Import Obi!!!! This obi is so damned rare, it just about never ever surfaces. This is pure jazz-funk! Lonnie performs live with a dynamic group featuring tenor sax, guitar, and intense drumming that goes beyond what was typical for organists of the era, paving the way for the next generation. The musicians are mostly lesser-known compared to those on standard Blue Note recordings, except for Ronnie Cuber—famed for his baritone work with Mongo Santamaria and often considered one of the most underrated funky players of the 1960s. The recording took place live at Club Harlem in Atlantic City, delivering an unpolished, powerful sound that surely electrified the venue. Killer slide and oh so bloody rare with obi – one off chance to wheel this one in. Price: 250 Euro |
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1585. LONNIE LISTON SMITH & THE COSMIC ECHOES: “Reflections of a Golden Dream” (Flying Dutchman/ RCV Corporation – RVP-6076) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Top condition Japan first original press issue all complete with obi. Lonnie Liston Smith grooves it hard here with his Cosmic Echoes group – mixing in a stronger dose of soul than ever before, yet still giving tracks a righteous feel overall! The approach here is a bit like that of Roy Ayers work from the 70s – still jazzy at its core and conception, but often featuring vocals to deliver a wider message for the tunes – plus some nicely snapping rhythms that are enough to get a few cuts good play on the dancefloor! The record's still got plenty of great mellow tracks too, though – the kind of floating spacey numbers that Smith virtually invented during the 70s, and which stand here as a more strongly jazz-voiced contrast to some of the soul tunes in the set. Donald Smith and Dave Hubbard are still working here with Lonnie to give the work a really solid sound. Top condition Japanese press original…. Archive and time machine condition copy here. Price: 150 Euro |
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1586. LONNIE LISTON SMITH & THE COSMIC ECHOES: “Visions of a New World” (Flying Dutchman/ RCV Corporation – RVP-6010) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint) Top condition Japan first original press issue all complete with obi. Lonnie Liston Smith is really tightening up his groove on this one – bringing a bit more funk into the mix, and creating that amazingly sweet glide in his keyboard sound! The record's still steeped in the righteous influences of years past, but it brings the message out to a bigger audience – letting soul flow into the jazz-based tunes in the same way that Norman Connors was doing at the time – and creating the same sort of warm glow through a mix of earthy percussion and electric keys. Vocals on most numbers are by Donald Smith, who has a great approach that has the depth of Leon Thomas but the warm focus of Michael Henderson – and he's a perfect fit for Lonnie's well-crafted tunes on the set! Highlights are the nicely breaking "Devika", plus "A Chance For Peace", "Colors of The Rainbow", "Visions Of A New World", and the killer mellow track "Summer Nights", a very warm electric piano cut, with a nice sort of "Summer Madness" feel! Top shape Japanese original with obi, impossible to ever upgrade upon. Price: 150 Euro |
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1587. LOS ANGELES FREE MUSIC SOCIETY/ LAFMS – V/A: “Blorp Esette Volume One” (LAFMS – LAFMS-5) (Record: Near Mint/ Jacket: Mint, still in shrink/ 3 inserts: Mint). Top copy. The first of the series adorned with a Don Van Vliet/ Captain Beefheart painting. Original 1977 pressing. Two sides crammed full with weirdness and Dadaist inspired rock by the hands of Dr. Odd, Electric Willy, Daniel Stewart, Cheezit Ritz, Smegma, The Residents, The Patients, the professor, Reet Meat, Le Forte Four, Gods of the pits, Ace, Ju Suk Reet Meate, Mr. Foon’s Bandaloon and Frank bedal. Just awesome collection of DIY scum weirdness. Awesome. Price: 350 Euro |
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1588. LOS ANGELES FREE MUSIC SOCIETY/ LAFMS – V/A: “Blorp Esette Volume Two” (LAFMS) (Record: Excellent ‾ Near Mint/ Jacket: Near Mint). Top copy. The second and last of the series adorned with a Don Van Vliet/ Captain Beefheart painting. Original 1979 pressing. Two sides crammed full with weirdness and Dadaist inspired rock by the hands of Dennis Duck, Joe Potts, Smegma, Electric Willy trio, the reverend Toad-Eater, Joe Hall’s Dead/ The New Los Grifos Band, Ju Suk Reet Meate, Patients, Chip Chapman, Sucmeof the Spud, The Child Molesters & Charles Wasserburg. Just deliriously insane. Price: 350 Euro |
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1589. LOS ANGELES FREE MUSIC SOCIETY/ LAFMS – V.A.: “Blub Krad” (LAFMS-7 – 1978) (Record: Near Mint/ Paste On Jacket: Excellent). Original 1st issue. I guess the LAFMS collective does hardly need any introduction. This disc is a superb collection containing tracks by Half Japanese, Vetza, The Pablums, Fredrik Nilsen, Tom Recchion, The Yvonnes, Paul is Dead, The Square Haircutts, The Fine Art Dumpsters, Rick Potts, Yoel and El Trio Primo. All the tracks on display on this disc depict demented geniuses at work, bringing forth primitive avant-rock, prehistoric styled psych and splendid outsider music. This is the real stuff. Every track is a killer; especially The Pablums take on a Rolling Stones song and remodeling it into “Under My Gums”, a sheer hysteric, de-contextualized and hilarious parody. Highly recommended. Especially in this condition. For adventurous music geeks. Price: 200 Euro |
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1590. LOS VIDRIOS QUEBRADOS: “Fictions” (UES Producciones – CML-2534-X) (Record: Excellent ~ Near Mint – has only 2 faint inaudible hairlines on side 1 so play-grade is NM~M/ Jacket: Near Mint/ 4 Paged Booklet: Near Mint). Impossibly clean top condition 1st original press issue of this 1967 Chilean psychedelic garage & beat monster. Comes complete with the always-missing booklet and comes housed in ultra-fragile and pristine sleeve. “Some came to make records. Others did not leave any recorded evidence—they have been reduced (at best) to the testimony of a blurred photograph in an old magazine. But it was a generation of bands from Chile which gave shape to a stream of permeating rock, beat, folk and psychedelia music influences radiating from the "first world." And on that list of pioneers of Chilean rock, Los Vidrios Quebrados (the Broken Glass) are unanimously considered as the greatest. They had a certain intellectual arrogance. They considered that rock 'n' roll could only be sung in English and refused to sing in their native language, arguing that a cueca (the Chilean national dance) could not be sung in English. They also made their own instruments—creating their own guitars and amplifiers from furniture and loudspeakers. On one guitar, they replaced a pick-up with a record player needle. It gave an extraordinary sound. That sort of creativity flows freely throughout the music on their only album, the now-legendary "Fictions". The LP is an excellent collection of songs, recorded in just nine hours), with intimations of psychedelic rock amidst the influence of bands like The Byrds, The Beatles and The Kinks (with nods to Bach and the classics), all while maintaining a fresh beat sound; "Fictions" is an album that can compare with the best works of psychedelic pop bands from England and America. Los Vidrios Quebrados is one of a handful of Chilean groups to receive attention around the world; and their songs ‘Oscar Wilde’ and ‘Fictions’ are considered among the all-time best tracks in South American rock history.” (Lion). Clean top shape original press with booklet insert. Price: Offers!!!! |
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1591. LOST AND FOUND: “S/T” (International Artists – IA-LP#3) (SEALED ORIGINAL). 1967 original
pressing in the best condition imaginable – sealed with absolutely no
defects. Emerging
from the same mid-60s Houston, Texas scene as label mates Thursday’s Children
and The Red Crayola, Lost And Found were formed in 1965 and originally called
themselves The Misfits, changing their name just prior to undertaking a
six-month residency at Houston's Living Eye Club – one of the centers of
the area’s thriving psychedelic scene. The Lost And Found were one of the
several obscure Texas psychedelic groups recorded by the International Artists
label, most famous as the home of the 13th Floor Elevators. Like
their label mates the Golden Dawn they also sounded very similar to the
Elevators. The Lost And Found’s psychedelic sound was assuredly drug-inspired;
one of the reasons they signed with International Artists. Lost And Found recorded
their one and only album, ‘Everybody's Here’, in the summer of 1967, working
with producer Lelan Rogers and engineer Frank Davis. Made up of mostly original
material written by group members Harrell and Frost, except for a cover of the
Elevators’ ‘Don’t Fall Down’ it was certainly a strong debut, melding the
influences picked up on their LA jaunt with more esoteric elements picked up
from the Elevators, and their mystical quest for pure sanity. The group broke up
after only one album, Forever Lasting Plastic Words, which became a highly
valued collectible years later and sealed copies are genuinely hard to come by. Price: 350 Euro |
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1592. LOU REED: “Transformer” (RCA Records – RCA-6079) (Record: Near Mint/ Jacket: Excellent ~ Near Mint/ 4 Page Illustrated Insert: Near Mint/ Obi: Near Mint). Rarest issue of Lou Reed’s transformer – Japan original press issue from 1976 all complete with damned rare White colored Glam Rock obi. This is the rarely seen WHITE label PROMO issue to boot. Price: 575 Euro |
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1593. LOU REED: “Berlin” (RCA – RCA-6181) (Record: Near Mint/ Jacket: Near Mint/ 4 page Insert: Near Mint/ Booklet: Mint/ Obi: Mint) Very first Japan original pressing with first issue obi and booklet in virginal condition. “Transformer and "Walk on the Wild Side" were both major hits in 1972, to the surprise of both Lou Reed and the music industry, and with Reed suddenly a hot commodity, he used his newly won clout to make the most ambitious album of his career, Berlin. Berlin was the musical equivalent of a drug-addled kid set loose in a candy store; the album's songs, which form a loose story line about a doomed romance between two chemically fueled bohemians, were fleshed out with a huge, boomy production and arrangements overloaded with guitars, keyboards, horns, strings, and any other kitchen sink that was handy (the session band included Jack Bruce, Steve Winwood, Aynsley Dunbar and Tony Levin). And while Reed had often been accused of focusing on the dark side of life, Reed approached Berlin as their opportunity to make The Most Depressing Album of All Time, and they hardly missed a trick. This all seemed a bit much for an artist who made such superb use of the two-guitars/bass/drums lineup with the Velvet Underground, especially since Reed doesn't even play electric guitar on the album; the sheer size of Berlin ultimately overpowers both Reed and his material. But if Berlin is largely a failure of ambition, that sets it apart from the vast majority of Reed's lesser works; Lou's vocals are both precise and impassioned, and though a few of the songs are little more than sketches, the best -- "How Do You Think It Feels," "Oh, Jim," "The Kids," and "Sad Song" -- are powerful, bitter stuff. It's hard not to be impressed by Berlin, given the sheer scope of the project, but while it earns an A for effort, the actual execution merits more of a B-.” (All Music) Pristine condition!!! Price: 85 Euro |
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1594. LOVE: “7 And 7 Is b/w My Little Red Book” (Elektra – JET-1715) (7 Inch Single Record: Near Mint/ Picture Sleeve: Mint/ Company Inner Sleeve: Near Mint) Japan only EP release housed in killer picture sleeve. Comes complete with company inner sleeve and centre piece attached. Rarely surfaces with all intact and this copy is just perfect, impossible to ever upgrade upon. Price: Offers!!! |
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1595. LOVE: “Stand Out b/w You Are Something” (Blue Thumb/ King Records – HIT-1814) (EP Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Rare 1970 original & Japan ONLY EP & picture sleeve issue of Arthur Lee’s Love. Rarely seen PROMO issue with promo stamp on label. No white label version of this one exists. The A-side is a live cut from a gig in London performing the amazing “Stand Out” version and the B-side is an unreleased track that apparently only turned up on this release. This makes this issue quite a unique Love release and one of the band’s rarest out there. Stunning condition. First copy I have in many, many years. Comes in beautiful eye-popping sleeve art. Price: Offers!!!! |
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1596. LOVE: “S/T” (Elektra – EKS-4001) (Record & Jacket: MINT & SEALED
with Hype Sticker). 1st Love album, 1966 US first pressing SEALED STEREO issue with “My Little Red Book”
& “Hey Joe” hype sticker on sealed shrink. Time
machine like condition – the ultimate grail upgrade! After gigging around the
Los Angeles scene for three years, Arthur Lee was ready for something
different. Inspired by seeing The Byrds live, he decided to merge their
folk-rock sound with the driving r&b he had been playing to create a new
group, dubbed Love. Recruiting guitarists Johnny Echols and ex-Byrds roadie
Bryan Maclean, bassist Ken Forssi and drummer Alban "Snoopy"
Pfisterer, Love began recording their eponymous debut LP in January 1966. Their
first single, Bacharach/David composition "My Little Red Book,"
spotlights an insistent, menacing riff that sounds nothing like what their
contemporaries were committing to vinyl. Other cuts highlight the writing
talents of Lee and the band members, notably on Lee's anti-drug essay
"Signed, D.C." and Maclean's "Softly to Me." Also included
is their version of the rock standard "Hey Joe," rivalling The
Leaves' hit version for power and sporting some lyric alterations. The group,
which lived communally at the time in a house formerly owned by Boris Karloff
(they are pictured in the house's garden on the LP cover), quickly coalesced
into one of the West Coast's most influential and exciting groups; here is
where it all began. Top condition original pressing, gold label sealed
stereo issue with mega rare hype sticker present. Price: Offers!!! |
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1597. LOVE:“Forever Changes” (Elektra – EKS-74013) (Record: Near Mint ~ Mint/ Jacket: Near Mint and firmly housed in original shrink/ Company Inner Sleeve: Near Mint ~ Mint). 1967 US original Stereo 1st press issue – Gold Coloured Stereo label in absolutely exquisite condition. folk album, Forever Changes is one of the oddest, most sinister products of the mid 60s West Coast that you’re ever likely to hear. The band, formed around the twin talents of Hollywood brat, Bryan MacLean and folk beat rebel Arthur Lee, were seen as moody outsiders to the LA peace 'n' love community, known for their insularity and rather edgy image. By 1967, after two albums, the band was holed up in Bela Lugosi’s mansion in the grip of acid-fried egotism and early heroin addiction. Always drawn to outsiders, it was Neil Young who originally agreed to produce, but dropped out at the last minute, leaving it to Elektra’s house producer, Bruce Botnick (aided by Lee). Dismayed by the band's sorry state he drafted in session players like Hal Blaine and Carol Kaye. Luckily this had the correct galvanizing effect and the band pulled themselves together just enough to complete the sessions themselves. The result was the aforementioned weird mix of gossamer psych folk and itchy LSD musing. MacLean's Alone Again Or with its Southern Californian mariachi frills is a disarmingly pretty opener. But Lee’s lyrics are exactly on the cusp between blessed out surreality and bad trip paranoia. Live And Live has one of the strangest opening lines of all time in: ''Oh, the snot has caked against my pants/It has turned into crystal…'' but within one line the protagonist is wielding a gun to repel all trespassers. Meanwhile on A House Is Not A Motel, after sarcastically singing that, ''the streets are paved with gold'' he says: '' …the water's turned to blood, and if you don't think so go turn on your tub and it's mixed with mud''. Such reminders of the beast lurking underneath the hippy dream were probably too blunt for an audience desperate to escape the reality of Vietnam and civil unrest. And that's why it took years for first the cognoscenti and now, seemingly, the rest of the world to catch up with this startling album. It didn't avert the demons banging at the door of Love's mansion, but it serves as an eternal reminder of the other side of idealism's coin.” (Chris Jones BBC Music).One of the best and most perfect copies to have crossed my eyes so far. Comes with original shop price sticker still on shrink. Seen against this archival condition, must go for a reasonable…. Price: Offers!!! |
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1598. LOVE:“Forever Changes” (Elektra – EKL-4013) (Record: Near Mint ~ Mint/ Jacket: Excellent – a dash away from NM/ Company Inner Sleeve: Near Mint) Top condition of freakingly rare US very first 1967 gold colored label MONO pressing – PROMOTION COPY with “Promotion Copy Not For Sale” sticker on sleeve. Much coveted MONO Allentown pressing. Never had a promo mono copy in such exquisite condition – record is solid NM and the sleeve is EX~EX+ - and you know how rare they are so…. Price: Offers!!!!! |
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1599. LOVE: “Four Sail” (Elektra – EKS-74049) (Record and Jacket are Mint – SEALED). US original stereo sealed copy. “From a retrospective point of view, this might be the first album in the career of singer and songwriter Arthur Lee that might have been received with more enthusiasm had it been released under his name, and not under the band name. Obviously, it must have been in his commercial best interests to retain the Love identity, but here Lee is the only member of the original band left. He is trying to recreate a Love-able identity with fewer players than he had before and a completely different sound. The old Love delivered material in a solidly folk-rock vein, meaning among other things an emphasis on combinations of acoustic and electric guitars. When the original group wanted something a little heavier, it would really put the hammer down. Records such as "My Little Red Book" and "Seven & Seven Is" were tough enough to be rightly considered precursors of punk rock, which is a lot of mileage to get out of a Burt Bacharach tune. Lee’s new lineup here does not have this kind of versatility. Guitarist Jay Donnellan plays a heavy lead guitar minus the impressive chops and gets lots of solo space in the arrangements. The rhythm section favors a more leaden sound as well, particularly drummer George Suranovich, who soaks the barbecue with Keith Moon and Mitch Mitchell licks. Lee fills in on several different instruments, but his real strength is the set of ten original songs he has provided. The tracks are deep in feeling and performed with an emotional fervor that sometimes approaches anguish. It is like going into a dark coffeehouse late at night and finding an electrically charged performer delivering messages about things familiar to one and all: love, memories, friendship, "Good Times," and even "Nothing." Lee’s lyrics and performances have been compared to Jimi Hendrix, certainly a compliment. This album is such a good example of these strengths that it rises above the garage band sound to communicate a sense of time and place as well as some truly sincere feelings.” (Eugene Chadbourne/ All Music). Top condition sealed US stereo original. Price: 250 Euro |
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1600. LOVE: “False Start” (Blue Thumb Records – BTS-8822) (Record & Gatefold Jacket: MINT – still SEALED and Hype Sticker on the back. Perforated upper right corner). Flawless, virginal and SEALED condition US first original pressing of stellar Love slide, making this copy here is virginal. Largely overlooked Love effort but which brims over with amazing tracks, Lee is on fire and like all other Love records this is as indispensable as all their other releases. Top condition, just flawless and sealed once are damned scare out there, so… Price: 300 Euro |
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1601. LOVE: “False Start” (Blue Thumb/ King Records – SR-487) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ Mint/ Insert: Near Mint/ Obi: Mint) Insanely rare Japan real time first original pressing all complete with insert and never ever seen or offered before 1st issue OBI. PROMO issue! This was the very first Love record that came out in Japan and advertised as “Love Debut” & “A special appearance of Jimi Hendrix with Love” on the obi. I heard rumors of this issue but never ever saw an actual copy in over 20 years’ time. So finally, here is one, in archival condition but you better aim high for this beauty…one of the rarest Japanese pressings out there so…. sell a kidney or two, mortgage your house, auction your wife and kids off into slavery and hit me up with your best offer. Price: Offers!!!! |
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1602. LOVE LIVE LIFE + ONE: “Love Will Make a Better You” (King Records – SKK-3009) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint/ Insert: Mint/ Obi: Excellent – a couple of wrinkles on lower side). Fantastic copy of this all-time psychedelic free improvisation masterpiece, one of the rarest psych artifacts to roll out of Japan. This one here comes with the hardly ever seen obi attached, making it a monster rarity!! 1971 original release in exquisite gatefold jacket. Like so many other groups, the formation of this outfit happened rather coincidental and took place in 1971 at the premises of newly found record label King (°1970), that profiled itself as mainly being preoccupied with jazz related activities. One of the central figures circulating at the fringes that scene was the saxophone player Kôsuke Ichihara and flutist Toshiaki Yokota. The sessions took place under the banner of “New Emotional Series” and succeeded in attracting a wide range of illustrious musicians such as Kimio Mizutani, Yanagida Hiro and Chito Kawauchi. Other interested musicians like Takao Naoi and rock star singer Akira Fuse drifted in for the “New Emotional Series” sessions, grouping themselves in the one-time off outfit Love Live Life + One. King released the unit's album “Love Will Make A Better You” in April 1971, which displayed a consistent, advanced jazz-rock sound in the vein of King Crimson's “Islands” and Keith Tippet, infused with improvisational interplay, vicious organ riffage and frantic chord changing. To top it all off there is Akira Fuse's frantic soulful vocal attacks, the free jazzing meets psychedelic blizz interplay and the fuzzed-out organ napalm bomb like attacks that spiced it all up. In short, a whirlwind of lysergic dementia and one of the hottest psyched out monster disc to come out of Japan. KILLER all way through, highest ever-possible recommendation and blood rare. Record is in fantastic shape all way through with no visible defects. Gatefold sleeve is crisp and clean with no damages or splits. One of the nicest copies I’ve had in a long time and getting next to impossible to get in decent shape. Copies do not surface anymore here so…getting hard to dig up. These babies will break the bank in years to come as Japanese psych artifacts are getting closer to extinction with every breath you take. And this one ain’t no different. Price: Offers!!!! |
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1603. LOVE LIVE LIFE: “Satsujin Juushou – 10 Chapters of Murder” (CBS Sony – SOLL-74002) (Record: Near Mint ~ Mint/ Gatefold Jacket: Near Mint ~ Mint/ Two Inserts: Near Mint ~ Mint/ Obi: Near Mint ~ Mint). Top copy & all complete with the 2 inserts and with always missing obi. Has been almost a decade since I have seen a copy of this beast. Their follow-up to the highly acclaimed “Love Will Make A Better You”. Unlike its predecessor, “10 Chapters of Murder” is more progressive heavy rock tinted. Released in 1972, “Satsujin Juushou” is a fucking killer LP, taking off where “Love Will Make a Better You” left off and taking towards the next level of delirious madness, mixing outward bound jazzy moves with heavy progressive rock freak-outs and psychedelic incantations and private ecstasies. Kimio Mizutani’s wrist-slashing fuzzy guitar licks wah’s through it all like a surgeon operating on some defractored brain, Hammond organ lines slice through it all and heavy horn sections give it a LSD soaked mid-seventies Miles Davis kind of vibe you won’t be able to recover from without leaving behind a piece of your sanity. Demented howling female laughing vocals pop on through at unexpected times, rendering the whole into an even more disjointed teeth-grinding frenzy, all fused in a cloud of smoke, making it a stranger fusion of fucked up eclectic jazz moves, with unhinged psychedelic rock jamming and transporting it into driven jams of explosive jazzed out cosmic rock. The whole disc is booming over with the proper ingredients for a musical outrage, fucking up with and fusing musical traditions and stranding in a hazy but potent universal horizon obscured by mind bending lysergic mutations and sweating out heavy psychedelics. In short this is a fucking MONSTER. One of the best and still undetected Japanese heavy psychedelic & transcendental jaw-dropping jazzy explorations, all embalmed into one cinematic epiphany meshed into intoxicating boosted crescendos of crystalline hallucinogenic quivering sonic attacks. Head-spinning, mind-altering freeform psyched out jazz rock, a vicious musical beast from the east, still undetected, bloody rare and unreissued. Highest possible recommendation and best condition imaginable copy around for lightyears. Price: Offers!! |
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1604. LOWE, FRANK & RASHIED ALI: “Duo Exchange” (Survival Records – SR-101) (Record: Near Mint/ Jacket: Near Mint). Top copy! It has been a long time since I ran across this free-blowing masterpiece, an item that gets more and more difficult to dig up. Top copy, all the way mint. All time stellar free jazz heavy weights team up for a frontal head on collision that birthed out one of hardcore jazz’s cornerstone sonic artifacts. This disc is like an epiphany, deliriously great, membrane opening and spiritual in its cosmic interplay between former Alice Coltrane sideman Lowe and John Coltrane heavy rolling and riffing skin mangler Ali. Clash of two giants creating a merger to entwine cluster of soundzz, high-octane tenor shrieks, combustional improvisational interplay, inter-galactic head spinning and so much more. This disc is a must for anyone who is even vaguely and remotely interested in the early seventies free jazzing counter culture. A classic that was released on Ali’s own private Survival Records imprint. It was the label’s first and finest release. KILLER STUFF.. Price: 350 Euro |
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1605. LOWE, FRANK: “Black Beings” (ESP DISC – ESP-3013) (Record: Near Mint/ Jacket: Near Mint - Still housed in SHRINK). Original ESP disc. Essential free jazz disc. Much harder to track down that Duo Exchange for some perverse reason. This historical session, recorded in 1973 for ESP-Disk', was tenor saxophonist Frank Lowe's debut as leader and is one of his most electrifying earlier efforts. Black Beings features all original Lowe material, with Joseph Jarman on alto and soprano sax and Leroy Jenkins on violin. Lowe participated in the New York free jazz revolution, first gaining notoriety in the mid-sixties playing with Sun Ra, and later, Alice Coltrane, Rashied Ali, Don Cherry and violinist Billy Bang. This disc is also the first one that features bass virtuoso William Parker but he is nearly invisible behind the two screeching saxophones, with Lowe's tenor dominating the long intro thrash, and Joseph Jarman’s alto evening things out on the closer: two taut horn lines in continuous opposition, strident, almost comically so. Nasty all the way through, hardcore free blowing jazz and indispensable. Clean original 1st pressing. Price: 200 Euro
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1606. LOWE, FRANK: “Fresh” (Freedom/ Trio Records – PA-6072) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ Obi: Near Mint). Clean and mean 1977 Japan original press issue all complete with obi. Unlike many recordings licensed from Alan Bates' Black Lion sessions, this entry in the Arista/Freedom series stands out as an original production. It's a lively collection of loft jazz featuring Lowe alongside Lester and Joseph Bowie, Abdul Wadud, Steve Reid, and Charles Bobo Shaw. The ensemble delivers two Thelonious Monk pieces—"Epistrophy" and "Mysterioso"—as well as two Lowe compositions, "Play Some Blues" and "Fresh," blending classic swing and blues influences with modern jazz concepts. The album closes with "Chu's Blues," a distinctively vibrant track recorded by Lowe in Memphis with the Memphis Four, offering a compelling groove that sets it apart from the rest of the LP. Price: 65 Euro |
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1607. LSD: “S/T” (Capitol Records – TAO-2574) (Record: Near Mint/ Gatefold Jacket: Near Mint ~ Mint/ Press Kit: Mint). Original Capitol MONO first pressing on rainbow label. This is the seriously rare promo issue that came out with totally cool PRESS KIT that is housed in a LSD designed gatefold folder that holds 3 bog B&W drug altered pictures complete with 3 explanation inserts to accompany each picture + 5 pages press release at typed up by Capitol Records. Never seen before all complete set!!! One of the most famous, and arguably the most entertaining, spoken word drug LPs of the 1960s. An unaccredited Dick Clark narrates with superbly silver-tongued and subtle sarcasm as various aspects of the expanding LSD scene are examined. The bad trip of poor 'Brian' is particularly memorable, along with unique to this album acid raps from Leary, Ginsberg, Kesey. Superb gatefold cover. “Extraordinary documentary on the new drug craze sweeping the nation, one of the best and most entertaining spoken word LP’s of the era. The narration is superbly eloquent and manages to portray the whole acid wave for con-men and loonies, without ever saying so openly. Alan Ginsberg, Laura Huxley, Ken Kesey get only to see their most bizarre sides exposed, while Tim Leary fares better doing his usual ritual spiel. There are interviews with dozen of teenage heads, and an unforgettable peak is reached with an actual trip recording of “brain”, a hipster acidhead who unfortunately happens to have his first bad LSD experience while being recorded. The Brain recording is authentic-sounding and either funny or pretty scary depending on how hardcore you are. A highly sophisticated anti-drug Lp and the artwork and photos are equally outstanding. All material is unique to this album, which was released as early as August 1966” (PL – Acid Archives). Top LP, to these ears, when spinning it I look back with much pleasure on my own dives into the lysergic pool….so listening to it does not come over as “anti” per se but either creates a crave for some additional drops towards wonderland avenue. Price: Offers!!!!! |
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1608. LUCIER, ALVIN: “Bird and Person Dying” (Cramps RecordsCRSLP6111/1) (Record: Mint/ Gatefold Jacket: Mint/ Imprinted Inner Sleeve: Mint). Original 1976 Italian pressing. “When experiencing this piece performed live it was like nothing I could have ever imagined. 15 minutes of bird calls feedbacking. Tone, Pitch, Volume and Phantoms controlled by Mr. Alvin Lucier walking from the back of the room to the front. With the most slight movements of his body he created swoops of sound. Deafening high frequencies and ghostly lows, sculpted by his slow motion creep across the room. The tools he used to create this audio beauty: A small speaker mounted on a microphone stand (on stage), a small box of electrical wizardry (in his left hand), a coil of wire leading back to the stage (in his right hand), two minature Sennheiser binaural microphones (one in each ear) and a very talented Sound Engineer at the desk. There was something else amazing about this piece. Alvin creates Phantoms, these are ghost frequencies which sound like they are eminating from the centre of your head, you feel confused and anxious as you hear these sounds and frantically look around the room to see if anyone else is experiencing them, only to hear/feel them leave your head and go off on a journey around the room. You search frantically for the source of this sound but to no avail. This record is quite simply amazing! Nothing can ever re-create the ambience of the live performance, but you have to experience this to believe it, soo BUY IT!!!”(A. Hobden). Right on. Price: 175 Euro |
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1609. LUCKY THOMPSON with EMMET BERRY: “Thompson Plays For Thompson” (Ducretet-Thomson/ Ni Hon Disk Kabushikikaisha – DEP-1001) (7 Inch Single Record: Near Mint/ Flip Back Picture Sleeve: Near Mint) Damned rare Japan 1st original press issue that came out in 1957. Top condition of this historical slide. During his 1956 trip to France, Lucky Thompson made numerous recordings—many of which have since been reissued. On this 1985 EP, the renowned tenor saxophonist appears on side one with a quintet featuring trumpeter Emmet Berry, pianist Henri Renaud, bassist Benoit Quersin, and drummer Dave Pochonet; Berry takes centre stage on "Blues For Frank." The second side showcases Thompson alongside an outstanding rhythm section. The album highlights Thompson’s lively and inventive originals throughout, making it a worthwhile find. Essential!!!! Price: 75 Euro |
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1610. LULA CORTES
& LAILSON: “Satwa” (Rozenblit –
LLP-005) (Record: Excellent – has a couple of visible faint
hairline scuff on each side that does not sound/Brazilian Style Gatefold Jacket: Near Mint). Brazilian
original first pressing of 1973 in outstanding condition. Written,
recorded and released just as Brazil’s military dictatorship reached the climax
of its long black arc, the one and only album by Satwa is a divinely subtle
protest, often cited as Brazil’s first independent record. Recorded
and released in 1973 by the duo of Lula Cortes & Lailson, it is a real lost
masterpiece from any angel, and the first release of the fertile Recife psych
scene of the early 70's… mesmerizingly beautiful sitar & 12 string psych
ragas beaming strait for your third eye, and lifted ever higher by occasional
angelic vocals or a burst of fuzz guitar… truly amazing stuff sure to turn the
ears of any folk/psych fan, past or present. The
whole affair is a stoned improvisational jam that doesn’t really sound Brazilian, it doesn’t even
sound remotely earthly for that amtter. It’s so effortlessly celestial, it’s less an improvisation and more a transmission from the heavens. Lailson was from the verdant former Dutch colony of
Pernambuco, while Côrtes hailed from the wild badlands of Paraiba. But
for 11 days in January 1973 the pair jammed cross-legged and produced the folk
trance gems that adorn this self-titled debut. The whole recording is largely
void of any voice and words, the songs – Côrtes plucking steely
leads from his sitar while Lailson’s 12-string thrums crystalline chords
– are loose and lovely. The sole interference in these glistening
arabesques is the hoary electric fretwork of one Robertinho Do Recife,
injecting some cranium-fried licks. With a limited edition and distribution
mainly regional, the disc disappeared almost as soon emerged, making it another
Holy Grail record alongside Paebiru. Copies if they surface at all, are mostly
trashed and in bad shape as can be expected of a 1973 uber obscure Brazilian
psych release. However this copy is possibly the cleanest you can hope for,
sleeve is perfect with no defects, the record – which was cheaply pressed
– is in eye-blinding EX ~ NM condition with only one non-sounding hairline
scuff on each side. Top condition of an ever elusive and almost impossible to
attain private press psychedelic acid folk head trip.
Act now and hold your peace forever!!! Price: Offers!!!! |
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1611. LYMAN,
ARTHUR & His Group: “Paradise” (London –
SLC-114) (Record: Mint/ Fragile Flip Back Jacket: Mint/ Obi: Mint). First
original Japanese high quality pressing from 1964 complete with obi. Released on the heels of Lyman At The
Crescendo and followed up with Cast Your Fate
To The Wind. These two albums are pure Lyman exotica. This album features
covers of many exotica favorites including Poincianna, Shangri-La, Pearly
Shells, Baubles Bangles and Beads and Song Of India. Lyman charted with his
single Love For Sale in 1963, so he was surfing a crest of success
during this period with his brand of exotica. This one here is the 1st Japanese pressing, with rare obi. Top condition, virginal
all the way. Japanese original from 1964 is pretty rare, 1st time I
see one all complete. Impossible to upgrade upon. Price: 75 Euro |
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1612. LYMAN,
ARTHUR & His Group: “Mystery In South Pacific”
(London – SLC-118) (Record: Mint/ Fragile Flip Back Jacket: Mint/ Obi:
Mint). First original Japanese high quality pressing from 1964 complete with
obi. From Hawaiian sounds to
Polynesian melodies, with side trips into jazz and Broadway, Lyman was one of
three reigning kings of exotica. Having learned his lessons in exotica while
playing the vibraphone for Martin Denny, Arthur Lyman went on to become one of
the Big Three (along with Denny and Les Baxter) in exotic lounge music during
the '50s and '60s. He deftly grafted unusual tropically inspired
instrumentation and jazzy arrangements onto tunes ranging from Polynesian
melodies to Broadway standards. Killer and classic Exotica slide, this one here is the 1st Japanese pressing from 1964, with rare obi. Top condition, virginal all the way. Japanese original
from 1964 is pretty rare, 1st time I see one all complete.
Impossible to upgrade upon. Price: 75 Euro |
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1613. LYRICS: “Mr. Man b/w Wait” (London Records/ King Records – TOP-1213) (7 Inch Single Record: Near Mint/ Gatefold Picture Sleeve: Near Mint/ Company Inner Sleeve: Near Mint). Stupidly and insanely rare 1967 Japan only picture sleeve issue of US garage holy grail. These sold next to nothing, sank to the bottom of obscurity since the day it came out in Japan and copies just do not exist. This baby here is a virginal condition original, impossible to ever upgrade upon, and unobtainable beyond your wildest dreams until now. If you knew about this one, you will know this is serious shit so…. Comes with killer picture sleeve. Price: Offers!!!!! |
