RARE RECORDS CATALOGUE

962. QUICKSILVER MESSENGER SERVICE: “Maiden of the Cancer Moon” (Psycho Records) (2LP: Excellent – Near Mint/ Fold Out Jacket: Excellent). Extremely hard to come by Quicksilver semi-legit boot that came out in 1983 with the collaboration of the late John Cipollina. This is the definite Quicksilver document, stellar sound quality and filled with rare live appearances from the late 1960”s. The performances all date from 1967-1968, a period during which Quicksilver consisted of lead guitarist John Cipollina, rhythm guitarist and singer Gary Duncan, bassist David Freiberg, and drummer Greg Elmore. Quicksilver as a unit were not so much singer-songwriters as they were virtuoso players and creative interpreters and stylists. They were not the greatest of vocalists or composers. True, but in Cipollina, with his tremolo-laden leads, they had one of the great San Francisco guitarists of the '60s. Here, the band is playing some of there greatest compositions in concert. By their second album, Happy Trails (March 1969), they had given up trying to get across in the studio and just recorded live, where they were far more comfortable. They were also more comfortable using blues and rock standards like "Back Door Man," "Smokestack Lightning," and "Who Do You Love" as jumping-off points for extended jams, or extrapolating the jazz standard "Take Five" into "Gold and Silver." Some performances age better than others -- many will find the long drum solo in the concert version of "Gold and Silver" uninspired -- but by and large, Quicksilver's live reputation stands up well. This 2 LP set is just a killer. Cipollina rules throughout and again proves he is one of the all-time greatest to have caressed the six strings. Ultimate highest recommendation. Every track is a winner. One of the top 100 albums of all time without a single doubt. Price: 75 Euro

965. QUICKSILVER MESSENGER SERVICE: “Just For Love – Tada Ai No Tame Ni” (Toshiba Capitol Records – CP-80082) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint but only front side present/ 4-Paged Insert: Mint). First rare Japanese press on Green Capitol label complete with psyched out obi to complete the jacket. Turns up almost never these days. Top notch nick and fantastic acid brain blower. Rare does not even come close to describe this disc's scarcity. Price: 50 Euro

966. Q 65: “Revolution” (Decca – QL-625-363) (Record: Excellent, only very minor paper scuffs/ Jacket: Excellent). Original 1966 mono Dutch copy. Hard to get copies in such a decent nick as this baby here. Sleazy, greasy and down-right-dirty nederbeat trash from these Dutch moguls that still haven’t met their equals (apart from the Outsiders maybe). The Q 65 were Frank Nuyens (guitar, vocals, sax, flute, harmonica), Wim Bieler (vocals, harmonica), Peter Vink (bass), Joop Roelofs (guitar), and Jay Baar drums, who first got together in 1965, in the Hague. The city was known as "the Liverpool of the Netherlands," with a music scene that had been thriving since the end of the 1950s. Revolution – their best album - was a powerful blues-rock slide that included a snarling rendition of Willie Dixon's “Down in the Bottom”, a take on Dixon's "Spoonful" that boasted gloriously crunchy acoustic guitars behind a raspy vocal worthy of Howlin' Wolf himself, and a funky version of Allen Toussaint's "Get Out of My Life, Woman," plus a handful of originals that were fully competitive with the covers. The highlight, however, was a riveting 14-minute version of Sonny Boy Williamson’s "Bring It On Home." The band played acoustic as well as boiled-downward psych numbers along with some standards, and wasn’t afraid to experiment with harmonium and other instruments to make Revolution so bloodcurdlingly more interesting than the average grease-ball garage release. Despite the eclecticism, their blues interpretations work best, from the nice take of "Spoonful" to the groundbreaking 13-minute psyched out pre-punk trash of "Bring It on Home," the real missing link between the rave-ups of the Yardbirds and the post-Cream jam bands of the late-'60s. Just massive. Price: 175 Euro

970. RANTA, MICHAEL: “MU V – MU VI” (ASR – ASR-1001) (Record: Mint/ Jacket: Mint). TOP copy!! Private press out of 1984 by this one time Kosugi Takehisa, Toshi Ichiyanagi and Wired collaborator. Extremely beautiful minimal music drone infested excursions. Getting a tough one to score these days, especially in such an immaculate condition as this one here. Otherworldly percussion. Bowed cymbals, full frequency range exploited, very well crafted. If Taj Mahal Travelers, La Monte Young, Wired and other illuminated souls and space ways travelers are names you live by then you can not pass up on Michael Ranta because he surfs the high foam created waves of deep listening. Highest recommendation. Price: 150 Euro

976. RELATIVELY CLEAN RIVERS: “S/T” (Pacific Is – PC-17601) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original press of this post Beat of The Earth melodic West Coast rural psych jammer spearheaded by Phil Freeman. In all a tremendous mid-1970's rural psych album filled with snake-like acidic leads and dreamy vocals, making it that the whole affair sounds like it was recorded in late 1968. Absolutely brilliant West Coast canyon vibes, fueled up with a slick mid 70's Neil Young like production that foames out a addictive and equally wasted Topanga Canyon breeze, carrying out laidback lyrics. The production is actually very good seen the fact that this was a privately released album. The musicianship is simply stellar, brimming over with a spiked up 'rural' feel. And like someone stated “There really is nothing else quite like this, and the smashed lysergic hippie trip present here is anything but a novelty. You can totally feel the Canyon here, and these folks never did wind up leaving”, wcich actually sums it up perfectly. The perfect summer disc. Awesome. Top copy. Price: 600 Euro

978. REV. DWIGHT FRIZELL: “Beyond the Black Crack” (Cavern Custom Records – 6104-12) (Record: Near Mint/ Jacket: Excellent). 1976 Ultra Rare Original, one of only 200 pressed back in the day. I have never seen an original of this jawbreaker until this copy here. “Blowing outsider is REV DWIGHT FRIZZELL who - with his band ANAL MAGIC - recorded one of the '70s forgotten underground masterworks. 'Beyond The Black Crack' was originally released in '76 in an edition of 200 mono copies, the bulk of which scarcely saw the light of day before they were either junked or hoovered up into the cavernous collections of various weird record connoisseurs. Miraculously, Frizzell's strange mix of electronics, free jazz and turtle worship has now been sucked into the butt end of the '90s for a whole new audience to discover for the first time ever. If the idea of Sun Ra's Arkestra jamming with electric-era Miles Davies and Frank Zappa on some distant burnt-out asteroid appeals, then this could be for you. That said, however, Frizzell's mysterious and alluring tenor sax drone on Oh What It Is To Know You Have A Turtle Heart shows that he wasn't playing it all for laughs. More than just an oddity, 'Beyond The Black Crack' burns with a genuine passion to create something special.” (Edwin Pouncey) Absolutely unique dark experimental sounds ranging from radical electronics, field recordings, junked-out noises, Free Jazz blow-out to menacing tape splicing, all melting down into one foreboding, fierce and alien soundscape. These shivering mental soundscapes represent a meeting of deranged musique concrete experiments, free improvisation meltdowns, twisted environment recordings, mad scientist-like tape editing, tremendous vocal howlings and amplified inscet chitterings, making it an explosive din of totally knocked out juggernaut that is Beyond the Black Crack. It still remains a little known classic, and one of the most unique listening experiences in modern experimental music. Recorded between 1974 and 1976 in locations as diverse as factories, the pyramid opposite Harry Truman's gravesite as well as more 'conventional' concert settings, Beyond the Black Crack is a dark, dizzying and exhilarating journey through free jazz, electronics and environmental sound, all shattered by Frizzell's radical tape editing. Truly a vicious beast of a disc and as rare as golddust. Very fragile top loader silkscreen cover is in excellent condition all the way and was signed by Rev. Dwight Frizzell on back. Record looks like it might only have been played once or twice. I don’t expect this disc to turn up again any time soon, so better do not sleep too long on this beast. Highest recommendation. Price: Offers!!

982. RIVERSON: “S/T” (Columbia – ES-90136) (Record: Excellent, only defect is a mark on side one, on the last track that is harmless/ Gatefold Jacket: Excellent). Rare and much in demand 1973 Canadian folk rock album, filled with female and male vocals locking into each other, killer acid guitar leads and excellent song writing. Coming from Freedom North, vocalist Franki Hart teamed up with Riverson, a west coast styled psychedelic folk rock combo. The production on this LP is just fantastic, bringing out the full quality and talents of these Canadian freaks. And talented they certainly were, the song writing is top notch without ever being too commercially blatant or superficial, just solid writing like it should be without any wanna-be ornamentation to disguise any imperfections. At times a CSN&Y “Déjà-Vu” vibe might settle in but never too overtly present since they wisely got rid of any of the suck ass qualities that Nash dragged in with him. That aside the band is also blessed with exquisite musicianship qualities, sounding simultaneously tight, relaxed, lysergically rocking and solid all the way through which makes the impact of the album even stronger. Freedom North’s female vocalist lays down some tracks and her male vocal partners take care of the rest of the album without even sounding less strong. No, even these guys have voices like angles and come over like you always wanted your male vocalists to sound like, self assured, sweet voiced, honest and rocking. Then there is the soaring acidic guitar riffage that is splattered all over the album to keep all glued in place, causing the prime effect of a vast intense rush to soar through your spinal fluids. In all a killer disc that sits proudly next to my other Canadian monsters such as Roger Rodier, Plastic Cloud and the Nihilist Spasm Band. And although they all sound light years away from each other, they all behold that rare Canadian quality that keeps me reinvestigating them time after time again, never failing to freak me out into oblivion. And Riverson is not different, just a brilliant album filled with all the right intensity and conviction that stands out in the vast Saragossa sea of absolute garbage. Getting damned hard to get these days and due to the little defect of this otherwise perfect copy, this one here comes dead cheap….Price: 200 Euro

984. ROCK AGE CONCERT: “S/T – Various Artists with FAR OUT, BLIND BIRD, TOO MUCH, JUNI RUSH, FLOWER TRAVELLING BAND, CRINKUM CRANKUM, ROCK PILOT & SPEED GLUE & SHINKI” (Atlantic – L-6007A) (Record: Mint/ Gatefold Jacket: Mint). One of my most treasured Japanese heavy psychedelic rock artifacts is this thunderous compilation LP. Still, it ain’t really a compilation LP since it harbors some unreleased tracks by Far Out, Blind Bird (ouch, smashing and this is the sole thing they ever released), Too Much’s Juni Rush, Flower Travelling Band, Crinkum Crankum (another under recorded band who only left behind this track here), Rock Pilot, Too Much and Speed Glue & Shinki. Well, the whole affair gets kick started by Far Out and their long track alone will suck you right into the fast lane. Their contribution is just fucking heavy and so far removed from their sole LP. They rip through some real heavy moves here, combining a sense of loss of power due to splitting down the atom of the mind and steering right into the turbulent waters of the perpetual, post-acid heavy psych scene. It is a monster and one of the best Japanese heavy psych tracks to have been committed to wax EVER!! Blind Bird and Crinkum Crankum steer into similar shark infested waters and will certainly crack open your already caved in skull. The rest of the psychedelic renegades to fill up this hopelessly rare and obscure LP are better known and only cement even further the reputation it has gained over the years. For some perverse reason, this LP is always trashed. But this copy here is the best one ever to cross my eyes. Jacket is Mint, like it was printed only yesterday and record is also mint, seems like it hardly had any plays. Fabulous copy, stunning gatefold and ear-splitting heavy psych moves, what can a deranged acidhead ask possibly more for. Highest ever recommendation!! Possibly the best copy out there. Price: 600 Euro

985. The ROCK INVADERS with Kuni Kawauchi, Ishima Hideki, Ishikawa Akira, Sugimoto Kiyoshi, Kawasaki Ryo, Terakawa Masaoki, etc: “Rock Guitar Battle ‘71” (Pioneer – L-5003P) (Record: Excellent, has a scuff on side one/ Jacket: Excellent, only middle upper seam split). Another glorious album that Julian Cope’s work of fiction won’t be able to help you out with. Apart from that, it is the first time I have a copy to spare of this heavy jammer. Original 1971 pressing that sunk so quickly to the depths of oblivion it barely made the shops’ racks back in the day. Instant evaporation into thin air. 　The personal on this one-of album reads like a who is who of the early 1970s Japanese psych underground. Focused on the heavy guitar antics of Ishima Hideki (Flower Travelling Band & Beavers & Kirikyogen), Sugimoto Kiyoshi (Asakawa Maki, Ishikawa Akira & Count Buffalo, Lupin Jazz, Goto Yoshiko, Yamashita Yosuke Group, Rock Joy in Guitar LP, Sai Yoshiko, etc) and Kawasaki Ryo (Muraoka Minoru & New Dimension Group) who get flanked for this occasion by Kuni Kawauchi (Happenings Four, Kirikyogen), bass throbbing wonder Terakawa Masaoki (Love, Live, Life + One, Ishikawa Akira & Count Buffalo, Sato Masahiko & Soundbreakers, Kimio Mizutani’s “A Path Through Haze”), drummer Ishikawa Akira (Uganda) and on piano Bill Ono. So quite some heavy credentials on display for a one-off studio exploitation album. The whole affair is of course heavily centered on these guitar antics, for which the studio producer asked them to rework famous rock and roll jams such as “Lucille”, “Jailhouse Rock”, “Hound Dog”, “Don’t Let Me Be Misunderstood”, “Unchain My Heart”, “Blue Suede Shoes” and such. But hey, be attentive here, I also vaguely dozed off upon glazing at these titles at first but it sure is a wicked affair. Like you may have guessed, the Japanese at that time were on top of their game and excelled in creating distorted hybrid and mutated versions of Westernized rock forms. This disc fits that glove perfectly. The whole affair is an insomniac wet dream of slowed down and fuzz drenched affair, heavily distorted and backed up buy a throbbing rhythm section, vicious, greasy and razor sharp guitar axe work, raping side and back ways all those rock’n’roll and blues standards, an unbridled orgy fest for deranged slo-mo heavy psyched out guitar maniacs. Hardly ever offered before, it is a great disc that demands massive re-appreciation. For fans of Flower Travelling band and sort like wicked lysergic guitar action. Price: 500 Euro

986. ROGER RODIER: “Upon Velveatur” ( Columbia – ES-90095) (Record: VG++ ~ Near Excellent/ Jacket: VG++ ~ Near Excellent). Booklet is missing. Roger Rodier's 1972 album Upon Velveatur is an exemplary psychedelic folk rarity. Conceived in Montreal, Canada in February of 1972 had all it takes to become a classic. Barely distributed, depressing sales, but graced with ear-shattering beautiful melodies, laid back vibe, Xian touches, lush orchestration and earth scorching sneering electric guitar implosions. I see some of you already curdle up in a protective shell by the word “orchestration” but let me set your mind at ease, they never overwhelms the music and only bring out fully its silky-sweet and scrumptious dreaminess. As a result the album balances perfectly on the tightrope between gentle acid folk and dreamy soft-psych. Although that to some ears one or two tracks might sound a bit more standard with a country/folk flavor ringing through, they still stand firm on their own ground and for whatever reason they also succeed in resonating out that similar vibe that makes this album so damn amazing. And to to top it all off, the album is also vaguely religious, in the best possible way, just be sure to check out the composition “The Key”! ‘Upon Velveatur' is a dense and mysterious, hushed and whispery, tough and anxious (“Am I Supposed to Let It By Again?” for example), heavy guitars and anguished, giddy shrieks (like on “While My Castle's Burning”) before slipping back into seductive intimacy in adoration of Jesus Christ. A true gem, much in demand and galvanic, overwhelming and heart-stirring upon immersing yourself into it. Just one word……this is MASSIVE. Booklet is missing though.. Price: 200 Euro

987. ROLLING STONES: “Their Satanic Majesties Request” (King Records/ London – SLC-192) (Record: Mint/ Gatefold Jacket: Mint/ Circular Obi: Mint/ 2 Inserts: Mint). First original Japanese pressing of 1968. Complete with circular obi in mint condition. Hardly ever surfaces in such immaculate state as this copy here.SOLD

988. ROLLING STONES: “Exile On Main St” (Warner Pioneer Japan – P-5051~2S) (2 LP Set: Mint/ gatefold Jacket: Mint/ Obi: Mint/ 2 sets of Postcards: Mint/ 4-Paged Insert: Mint/ Imprinted Inner Sleeves: Mint). All is here, the complete 1^st issue package that came with the Japanese press of this LP being the "Original OBI", "gatefold jacket", " two imprinted Inner-Bags", "Insert" & "2 Set of Perforated Postcards" (Complete Set). This is the scarce Japanese original pressing as released in 1972 of their double album, comin' with complete appendices (including rare original obi). It's hard to find this item in complete shape (especially original obi). Top copy. Price: 150 Euro

994. ROWE, KEITH: “City Music For Electric Guitar” (Table of the Elements) (EP: Mint/ Gatefold Sleeve: Mint). “Right, so here begins the first volume of the Guitar Series. Keith Rowe from AMM gets the first one. Apparently his first track was a locked groove on the original 7", but as the track is clearly not one locked groove, and there isn't any repetition at the end, who knows where the locked groove/grooves was/were? Presumably those with the original, but no matter. Anyway, "guitar series" doesn't mean Fahey-esque pluckings, but mad-ass noises via the electrics. There's some here! They're kind of scratchy, up and down the fretboard like a little mouse on a skateboard, and combined with some recordings of city voices and other sounds. The second track, Scratch Music, isn't very scratchy. At all. Maybe someone got the track names mixed up. This is more of a rumble-drone, maybe how a city street would sound if you were encased in a huge block of foam. This is really nice, and has the added plus-point of no danger of suffocation.” (Table of the Elements Blurb). Price: 30 Euro

998. RUSSELL, RAY: “Rites & Rituals” (CBS – S-64271) (Record: Near Mint/ Jacket: Near Mint). Original UK pressing out of 1971, promotional copy! “Two years after the release of Dragon Hill, Ray Rusell had completely rethought his approach to jazz and free improvisation. The only remaining member of his quartet was drummer Alan Rushton, and added were the horn section of Harry Beckett, Nick Evans, and Tony Roberts from the four-piece choir that were featured sporadically on that album. Rites and Rituals focuses solely on exploration and power. The only player holding the floor in this new band was bassist Daryl Runswick. Russell was into playing the hell out of his guitar, employing effects combining scales in angular, edgy ways and trying to undo the notion of time. Rushton never played slower than double-time on anything, and often threw all notions of tempo and meter into the dustbin to make room for a "pure rhythm," one that danced alongside a soloist rather that provided his pulse. Inside the line was the deep funk groove that the horns created and Russell painted with fat, stabbing chords. Evans used his trombone like Maceo Parker played a saxophone. As the groove reached a fever pitch, as it did on "Sarana," the tune broke apart and evolved into a series of spacious yet frantic solos complete with studio distortion. On the title track, Roberts' whispering flutes and shifting timbres from Russell's heavily reverbed guitar create a spacious tension that is tread upon, lightly at first, by Rushton and Runswick, and answered harmonically by Beckett and Evans. They build chord structure and harmonic sequence in order to open a tonal space for improvisation by everyone simultaneously. Once it's open, it is explored tenuously at first, and then with the anger that only that era could produce. Each tune here -- there are four -- is a journey into that anger and into the question of how improvisation could engage jazz but be free of its historical entanglements, and was there a way to extend the boundaries of rock music, whose visceral power was enviable but presented a limited palette of expression. Rites and Rituals is an awesome exercise in the joy of freedom and a wonderful example of the changing face of electric jazz as it more fully embraced rock and funk's vocabularies.” (Thom Jurek, All Music Guide). A classic, riding high on my personal all incinerating free jazz list. Top original UK copy. Price: 250 Euro

1006. SAIMINJUTSU: “S/T” (Asahi Shinorama) (4 Flexi discs: Mint/ Jacket: Mint/ Attached 16-paged fully Illustrated Booklet: Mint). Top-notch copy of this beyond belief rarity out of the bowels of the early seventies scum psych hypnotism weirdness. On the look out for totally obscure and below the radar early seventies Japanese weirdness to impress your few friends and records buffs with? Well then look no further, this will certainly do the trick. First of all Yoshikazu Kawano is not exactly a name that will catapult your ass out of that lazy chair, unless you are acquainted with either the Japanese early seventies hypnotism community or with much sought after underground labels such as Teng Records out of Osaka that released a similar cultural oddity by like Hikita Tenko or this obscure-beyond-belief quadruple flexiset that could be obtained through your local Asahi Newspaper subscription on July 10^th, 1962. It is in a similar aesthetic that this Yoshikazu Kawano disc falls into place. Kawano was an illusionist/ hypnotist and medical practitioner who got quite some minor fame in Japan in the years to follow. But at the time of this recording, Kawano – as one of the first generation hypnotism practitioners - was just a struggling and largely unknown doctor and hypnotist who recorded this one oddity for the Asahi Newspaper who aimed at impressing their readers with this subcultural oddity. As might be expected, he tries on this recording to convince you of his powers, drowsing you off into a deep slumber as well as demonstrating his ability. Still that is not all that goes on and while Kawano is doing his thing, there is quite some submerged but utterly minimal background musical activity going on. Advertised as just “hypnotism” Kawano is boarding on some weird endeavor, balancing on a loungey cocktail act that is trying to catch you off guard and let you seep into a deep slumber. The comforting voice of Kawano that seems to be coming at you from beyond the grave is combined with the soft musical vibes, sounding disturbing and creating a weird atmosphere. – especially through the interaction with his subjects when they douse off and seem to loose all touch with reality, past and present, creating a canny listening experience The vibe is distinctly primitive, spiced up with a slightly drugged out vibe. This one will appeal to all of you insomniacs out there. Needles to say, this beauty is hideously rare and just never turns up here due to totally bummed sales at the time and the marginal public it was catering to, making that maybe only a handful are still in circulation today (while the remainder of the initial pressing was sadly enough but probably hoarded of to a near dumpster to get incinerated). Last copy I saw up for sale sold within 5 minutes for 700 euro a couple of years back. This copy is near mint so a better copy does not exist I believe and seen in that light, combined with the scarcity of this artifact I think we have a fair price. Recommended for all of you hyper rare vinyl enthusiasts, borderline music and just plain weirdness lovers. Comes housed in a cool booklet and designed in an almost art nouveau kind of way. Psychedelics avant la latter. Price: 250 Euro

1008. SALLY MAY: “Ginchou Nagarehana b/w Yakusoku” (Victor – SV-890 (Record: VG++ ~ Excellent/ Picture Sleeve: Excellent). Here is a freak oddity for you, be it a bloody obscure and rare one. Although being a Caucasian chick, Sally May was born in Tokyo on February 13^th, 1947 as a mixed race child out of a Japanese mother and an American father. From an early age on she had the longing to become a singer and she started out singing at the family's restaurant. First single release for the Victor label in 1969 in order to promote her 1^st and only LP “Kinpatsu no Enka – Sally May”. The consisted out of solid enka tunes sung by a blond nymph who later down the road would star in various films and some roman porno flicks. The music was especially well received by Pachinko Parlor attendants, Snacks, taxi drivers and other venues who had the radio on, gushing out her blond toned voice. Recommended for those into the weirder aspect of Japanese popular 1960s culture and for all of you Enka lovers out there who are starving for some really hard to come by shit. Price: 40 Euro

1012. SAMURAI: “S/T” (Philips – FX-8517) (Record: side is is Excellent – side B is VG++ due to a couple of hairlines but plays EX to NM all the way through/ Gatefold Jacket: VG++, has a bumped upper right corner and slight edge wear/ Insert: Mint). First original Japanese pressing. Zillion times rarer then the German pressing of this album. Most beautiful and most perfect copy to have ever crossed my eyes. Comes with insert. Miki Curtis & Samurai second self-entitled album. Hyper rare progressive and psychedelic masterpiece with vicious organ leads and guitar ripping insertions. I guess you know the drill and the status of this disc. The record has some minor paper scuffmarks and two clearly visible hairlines that do not affect the playing, plays between EX and NM all the way. Overall great copy in excellent condition. I think that this monster does not come any better than this. All time Japanese psych masterpiece and hyper rare does not even come close to describe the rarity of this sucker. Almost impossible to score these days, especially in such a top notch condition as this copy here, act now and hold your peace for ever, doubt a copy will cross your path any time sooooon…comes half the price of a mint copy. Price: 320 Euro

1016. SANDY DENNY: “An Old Fashioned Waltz” (Island Japan – ICL-61) (Record: Near Mint/ Jacket: Excellent, little split seam at bottom/ Obi: Mint). Rare Japanese Pink Rim Island pressing complete with obi! For every 40 UK original pressings you see one Japanese pressing with obi, making them almost as rare as a hen’s teeth. This was Sandy Denny's third solo-album. Following her much acclaimed "Sandy" album, she had begun a slow departure from her folk-music roots. On this album you probably would not have thought of there being any folk-roots at all, if it had not been for her backing band consisting of people with strong roots in British folk-rock - people like Richard Thompson, Dave Pegg, Dave Mattacks, Jerry Donahue, Gerry Conway, Pat Donaldson and several more. Sublime folk album, a true classic. This is the scarce Japanese press complete with obi. Dead cheap. Price: 70 Euro

1018. SANTO, DAVID: “Silver Currents” (Phoenix – PHS-101) (Record: Excellent/ Jacket: Excellent). Original 1^st US pressing. “Santo’s best known for “Rising Of Scorpio,” a cool tune that appeared on many psychedelic compilations, despite musically being pretty straight folk rock. The rest of his album is pretty similar, though no other song is quite as memorable. Santo has a warm, guy-next-door voice that’s more likeable than good. His songwriting is good but not great and the album is a fun but minor entry into the 60s singer/songwriter sweepstakes. This LP came out twice, once on a small label with a colorful cover photo with Santo’s face in a bunch of clouds, and a second time on Sire with a black and white photo of Santo in a cold-weather parka. Both versions are scarce, though the original generally goes for twice as much as the second issue.” [AM – Acid Archives]. The song “Rising of Scorpio” is definitely one of the best tunes ever to have been put down on wax, a true killer. The rest of the album pales in comparison to this tune but then again the awesomeness of “Rising of Scorpio” is worth a thousand records. Few songs were as good as this one. First original US issue. Price: 180 Euro

1019. SARA & MELODY: “Sound of the Pacific” (King – SKK-635) (Marble Wax Record: Mint/ Outer hard case plastic jacket: Excellent, one small tear on left side of the plastic outer box/ Inserted four paged jacket: Mint). My last stock copy of this still undetected psychedelic pop masterpiece. OK, let’s cut to the chase. Here you have a bloody rare Japanese psychedelic oddity I have never ever seen offered for sale before since hardly anyone knows about this gem – apart from some heavy Japanese collectors only. And it is quite an oddity that defies categorization. Nope, no point in checking the dreadful Japrocksampler or any of the Pokora books, I doubt you will find any info in there. So what is it all about? Sara and Melody were two young Japanese nymphets that heralded out of the Hawaiian islands – at least that is the story and they cut this one album while crossing the seas towards the motherland around 1968~9. There they were recruited by no one else than the legendary Ishikawa Akira (of Count Buffaloos and Uganda fame) in order to cut this one-off album. Stylistically the album is hard to categorize but in order to try and describe this gem the closest I can come up with is “groovy psychedelic Japanese Minyo cross-breeding with Sergio Mendez kind off Latin vibes and Bossa rock styled moves”. And to top it all off, it was sung in perfect English, making it all the more exotic and off-the hook. In short it is late sixties Japanese psychedelic mondo rock that in decades to come would inspire contemporary groups like the Hair and ilk, plundering the sonics of this disc to death. “Sound of the Pacific” is a real gem of an album that comes housed in a fold out soft paper jacket complete with totally psyched out jacket art which on its turn is housed in a hard case plastic cover. The disc is then pressed on colorful marbled wax, making it visually even more lysergic. It fits the music like a velvet glove. Hideously rare, especially with outer plastic cover intact. Just never surfaces on these shores and comes with the highest possible recommendation if weird but oddly normal genre defying Japanese weird pop psych is your thing. No fuzz or so on this one, but mind bendingly great nevertheless. Bound to never surface again, just mark my words. AWESOME!!! And blooooody rare. Totally mint copy but the outer plastic box case, which holds the record and the jacket, has a minuscule tear near the left hand side, hence this copy comes dead cheap. Price: 450 Euro

1025. SCORCES: “Vivre Avec La Bête” (Eclipse Records) (Record: Excellent/ Jacket: Near Mint). Long out of print limited edition. Numbered to 525 copies, this one is 420/525. “Scorces is the improvising duo of Heather and Christina (both of Charalambides) utilizing (among other things) whirling guitar and vocal threads in their construction of charged electrical masses for total immersion. This LP departs from the layered pulse of their self-titled debut into realms of repeated cyclical gestures, finely drawn with Heather's voice & cuatro (a Peruvian string instrument) and Christina's densely spiked guitar. All is then spun slightly off axis with gentle fluency for maximum perceptual elevation.” (Tom Carter). Numbered edition of 525 copies with beautifully screened jackets by Heather Murray, this is a beautiful LP. Price: 40 Euro

1027. SEA ENSEMBLE: “We Move Together” (ESP Records – ESP-3018) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Top copy!! Original 1974 pressing and one of the last albums to be birthed out by this influential label. This album was one of the great final numbers in the ESP-Disk' catalogue... eclectic, world music-influenced free jazz group, the Sea Ensemble was a husband and wife team of bassist-clarinetist Donald Rafael Garrett and pianist-cellist-flutist Zusaan Kali Fasteau... Price: 50 Euro

1031. SEIKATSU KÔJYÔ IINKAI: “S/T” (Private press – Ski No.1) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare original pressing, totally pristine copy. This is ultra rare stuff. This disc is a Japanese free jazz beast that does NOT surface at all, let alone in such top shape as this one here. Hyper rare Japanese free jazz monster that was privately released but pressed and prepared by the illustrious Kojima – ALM Label. The disc was pulled out the cloud of obscurity and granted with a re-appraisal by no-one else but SY’s own Thurston Moore, connoisseur par excellence who brought the existence of this gem back into view by listing it in his illustrious free jazz top 10 list of records you have to lend your ears to. “FREE JAZZ of course made a strong impression on the more existential-sensitive populace of Japan. Some real masters came out of the Japanese scene and were influential to some of the more renowned noise artists of today (Boredoms, Haino Keiji). One such Jap-cat is alt-saxist Dr. Umezu who has mixed it up with NYC loft-dwellers on more than one occasion. On this completely obscure, underground release he unleashed some pretty free shit with the likes of William Parker (bass), Ahmed Abdullah (trumpet), and Rashid Shinan (drums). Parker is possibly one of the most important FREE musicians working in NYC. He's got his own constant writing/performing schedule as well as gigs with anyone from Cecil Taylor to Charles Gayle.”(Thurston Moore) In short a killer disc, hopelessly obscure and almost impossible to obtain, until now, almost a virginal copy. Highest recommendation. SOLD

1033. SEKIRI: “Push Push Baby” (Alchemy Records – ARLP-015) (Record: Excellent/ Jacket: Excellent) Comes with insert. Much sought after and completely vanished debut LP by these all female Kansai punk outfit. This is one of the early Alchemy Records released, which came out in 1987 in an edition of 500 copies. Charming, disarming, erotic, chaotic, wild, cute, demented, sexy and assaultive all girl po wer quartet. Great songs, high energized speedy play and utterly cute. This album has still not been reissued on CD. Copies tend to be quite scarce these days since a rene wed interest in the early times of the band has collectors roaming through bins in order to unearth their debut releases. This was the first Sekiri LP. Great all the way and highly recommended. Drummer Aya-chan went on to marry one of the Nihilist Spasm Band members and lives in Canada now.. Price: 40 Euro

1034. SELTEN GEHORTE MUSIK: “Muncher Konzert Mai 1974 – Brus – Nitsch – Roth – Ruhm – Wiener” (Edition Hansjorg Mayer – f 66.5508) (3 LP Set: Mint/ Box Set: Excellent ~ Near Mint). Ultra rare box set by Gunter Brus, Hermann Nitsch, Oswald Wiener, Dieter Roth & Gerhard Ruhm. Released in 1975. Original 1^st issue. In the 1970s, Hermann Nitsch used to make music with the free improvisation group Selten Gehörte Musik, a collective of Berlin artists including Günter Brus, Oswald Wiener or Dieter Roth. This group included some Austrian expats (with Arnulf Rainer sometimes joining in) who had fled from the oppressive, ultra-conservative Austrian atmosphere and found a haven for their creativity in the cosmopolitan German capital. Nitsch didn’t actually immigrate to Berlin, yet he was sentenced several times in his home country for his offensive 1960s Aktions. Awesome sound art relic that borders on free improvisation, sheer shards of noise and avant-garde twists and turns, defying all attempts at categorization and makes you feel – when exposed to it – like a man who had started a bloody gang fight by accident. Awesome!!! SOLD

1035. SEMPRUN, FRANCISCO & CHRISTODOULIDES, MICHEL: “Metamorphoses” (Unidisc – 30-1244) (Record: Excellent/ Jacket: Excellent). “Fantastic spooky electronic atmospherically charged LP that deploys creepy toy box twinkles and atmospheric baroque drones, complete with some harpsichord and flute, but none of it is necessarily easy listening, or even pleasant for that matter. It's dark and a bit challenging, but those with an adventurous ear might appreciate it. On the unique and rather obscure French Unidisc label.” (Mutant sounds). This is quite a amazing and crazy spaced sounding record that floats over with electronically charged cosmic rhythms designed for improvisation jazz dance. If you dig early French electronic music escapades than this one will be right up your alley. Obligatory mind food. Price: 75 Euro

1036. SEMOOL: “Essais” (Futura Records). (Record: Near Mint/ Jacket: VG++ ~ Excellent, has a bend corner, nothing serious but as it goes with those flimsy jackets they do show signs or storage and age) One of the rarest entries in the always-elusive Futura Records catalogue. Futura LP (Musique-Contemporaire series #02) as seen on The Nurse With Wound List, recorded in Paris between January 1969 to March 1971. 11 'essays' by the trio of Philippe Martineau (G/P), Olivier Cauquil (G/P), and Remy Dede Dreano (D) employing all sorts of ill-advised studio trickery under the incapable sonic direction of Gerard Terrones (makes the Mahogany Brain Smooth Slick Lights LP seem positively 24/96). Damaged beyond repair (effectively totaled), it's a wild ride of questionably doltish (alternatively outsider-brilliant) ramblings and found-sound experiments, So much tape delay and outboard muck, treated piano solos, accidental feedback generation, borrowed/stolen motifs (Essai 1 briefly dips into a misinterpreted take of Interstellar Overdrive, Essai 3 ganks the riff from Black Sabbath). Ultimately patience-trying but so lovely and earnest (the purity of their hallucinogen of choice never once comes into question). Anyone with a remote tolerance for say... the No Neck Blues Band might want to investigate into an instance of their aesthetic beaten to (a pulp) by a window of about 25 years, without all that pesky baseless spiritualism getting in the way (just a thought). If the Fille Qui Mousse Trixie Stapleton ... LP rates in your universe, here it's Basket Case-lineage mutant half brother and glow. Consummately inept and essential!!! Amazing where the musical soul will travel with a few well-placed microdots. Or as John Gibson of Other Music used to rave about this masterpiece: “One of the greatest avant-jazz/psych albums ever made! I saw an original vinyl copy at a record fair in Belgium three years ago, very nearly wet myself and quite happily parted with an outrageous amount of cash. Semool was comprised of three obscure freaks from Paris (Philippe Martineau, Olivier Cauquil & Remy "Dede" Dreano) and this monster was recorded between 1969 and 1971, eventually to be released on the impossible-to-find Futura label. An exhilarating roller coaster ride of musical styles and semiotics that continually defy any listener expectations, "Essais" has long held a place of honor on Steven Stapleton's (Nurse With Wound) list of crucial influences. For further frame of reference, we might consider the likes of MEV, Scratch Orchestra, Red Noise, Mahogany Brain, Anima, Fille Qui Mousse, Gruppo Di Improvvisatione Nuova Consonanza, etc. but, really, "Essais" is a truly unique and wonderful experience. Complete with backward masked "sampling" and a rather cheeky reference to "Interstellar Overdrive", this is what might've happened if an absinthe-laden Pink Floyd had cut a session for Actuel/BYG! Dare I say essential? [JG]” Price: 600 Euro

1039. SHADRACK CHAMELEON: “S/T” (IGL Records – STLP-132) (Record: Near Mint/ Jacket: Near Mint). Top copy on all fronts, probably best copy around of this beast. Apart from that, just awesome copy. Out of the Midwest rolled in Shadrack Chameleon, rural in feel but yet bringing forth a warm basement and honest sound reminiscent of Neil Young circa “Everybody Knows this is Nowhere” era injected with the open sound of something like relatively Clean Rivers cruising through Iowa. Awesome teenage organ and guitar dominated primitive production sound that comes over as extremely cohesive and convincing, breathing out dreamy garage feel with folky touches quivering through it and bordering on that loner vibe we all came to love. The whole affair was recorded to a reel-to-reel tape machine in a studio they had built from an old storage shed. Only 300 LPs were supposedly pressed. Just an awesome album, a personal favorite over here that gets better and better with each subsequent listening section, sucking you deeper and deeper into its disarming soft psychedelic teenage laidback basement feel. Price: Offers

1040.SHARP HAWKS: “Go! Go! Sharp Hawks” (King Records – SKK-408) (Record: Excellent/ Jacket: Near Mint). Another illusive gem that will plug a huge hole in your Japanese psychedelic garage collection. Original pressing as released on January 20^th, 1968. The band, erected in March 15^th, 1963 was actually one of the first garage outfits to turn pro but still their recorded output is extremely meager to say the least. After a number of personel changes and stylistic strubblings, the Sharp Hawks rerouted into a confident garage combo and got signed to King Records in September 1966. Their first single came out in that same month, followed by only a handful of 7-inches and this one full LP, which was comprised out of one side crammed with superb originals and one side showcasing them ripping to cover versions of Western Ray Charles and other late-night floor shakers. Although the LP brims over with some great quivering Japanese garage trash, it failed to catch on and sank into oblivion. The band disbanded shortly thereafter in February 1969. As you might know, Japanese garage records hard very hard to come by in any condition and lifting them out of the clutches of obscurity in great condition is almost impossible. Most are trashed; they were party records after all. This copy here however is pristine, just a top copy. Seldomly offered for sale but if you got the taste for vintage Japanese psychedelic garage soaring high skies and bringing teenage angst to its zenith, then this is just as indispensable. Price: 350 Euro

1041. SHARP FIVE: “Haru no Umi” (Columbia Japan – JDX-18 - 1968) (Record: Excellent/ Gatefold gimmick Jacket: Excellent/ Obi: Mint). Record comes in a beautiful gimmick cover, fold out with inner 6 paged attached booklet, all with loads of pictures, poster etc. Well this is one stunning album that was released in November 1968. Sharp Five were an instrumental GS psychedelic garage Combo. This is their best recorded album, you can ask any Japanese psych collector about it, he will agree. Vicious guitar licks, surf induced wah- wah and fuzz distorted interceptions, all pored over with an oriental sonic garage back base. This really rocks and stings like a bat out of hell. A vicious party slammer, psyched up, fuzzed-out and fuelled up ready to leave burning tire tracks all over your sorry ass. This disc is not yet been detected by the larger psychedelic collecting cro wd, so it comes quite cheap. It will soar up in the years to come. We speak of 1968 here, real stunning album and quite rare these days. Will fetch higher prices in the years to come. One minor defect on this disc is the split upper seam of the cover. Highest recommendation. For psych heads. SOLD

1044. SHEPP, ARCHIE: “The Magic of Juju” (Impulse – AS-9154) (Record: Excellent/ Fold Out jacket: Excellent ~ Near Mint) Together with Shepp’s excursions on the BYG-Actuel imprint, “The Magic of Ju-Ju” is, at least to these humble ears, his best and wildest recording he ever did. Apart from that the disc is graced with possibly the best ever designed jacket art to grace a free jazz disc. Recorded on April 26, 1967 and flanked by Martin Banks (Trumpet, flugelhorn), Michael Zwerin (trumpet, trombone), Reggie Workman (bass), Beaver Harris (drums), Norman Connor (drums), Eddie Blackwell (rhythm logs), Frank Charles (talking drums) and Dennis Charles (percussion), Shepp launches into a voodoo inspired hoedown that tries to evoke the spirits of the living dead and summon them back up to join the limbo crazed freak-out. Here he unleashed his 18-minute tour de force “The Magic of Ju-Ju” title track that combines free jazz tenor frenziness with steady frenetic African drumming. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently grinding the piece to a halt. Without question, this disc is one of Shepp's most chaotic yet rhythmically hypnotic pieces. Highly essential, your life will be incomplete without it. Take my word for it. SOLD

1045. SHIN JOONG HYUN & THE MEN: “Featuring Yoon Yong Gyun” (Merry-Go-Round Records – BMRL-K5) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ 4-Paged Insert: Near Mint/ Poster: Near Mint). Long gone and deleted heavy duty Korean psych reissue, ltd numbered edition, this one being 858/ 1000. Some background info: “Shin Jung Hyun was the undisputed master of Korean rock for a 20-year stretch that began in the late-'50s and lasted until the mid-'70s. He began performing professionally as early as 1955, and in 1962 he founded the group Add 4, who would be the very first Korean rock and roll band. Hyun was a tireless performer with a fascinating artistic evolution. As an enormously gifted and innovative guitar player with the capacity to be boldly experimental, he was able to easily master and mix together garage rock, surf rock, folk, pop, Korean traditional song and even psychedelia as the decade progressed into the '70s. He released scads of albums under varying configurations and was the backing band and musical director for countless Korean female pop sensations. The record at hand was recorded with his group The Men and probably dates from around 1973. It's comprised of four wonderfully long psychedelic rock jams and one sidelong brainruipper, and on every single song his rhythm section provides a chugging forward beat (imagine a Korean Neu! perhaps) over which Hyun and his cohorts play astonishingly inventive solos. The band will periodically drop out and Hyun will then chime in with his lovely sing/whispering and somehow turn a 20-minute extended jam into a pop tune. In 1975 Park Jung-Hee, the president of South Korea's then military regime, demanded that Shin Jung Hyun record a song in praise of the South Korean residential palace; he refused and recorded a song lauding the beauty of Korea's rivers and mountains instead. He was promptly arrested on trumped up charges of marijuana use and was banned from playing or recording until the mid-'80s at which point he only had a few more years left to live.” (Other Music). The sidelong track is simply amazing, starting of as a seemingly another Korean pop song, it quickly unfolds into a swirling organ driven and wah-wah demented fest. Best comparison I can come up with that they sound like the Korean equivalent of Iron Butterfly, with heavy doses of demented organ play, filthy bass licks and fragmented acidic/ mercurochromical guitar action completed with phased out and fuzzed in dervish kind of licks that will turns your head around in a 360 degree fashion. Just massive. Rare and completely vanished high quality reissue that begins to fetch high sums, this one comes still very reasonable. Complete copy with poster and liner. Massive. SOLD

1048. SHIRAISHI KAZUKO: “Dedicated to the late John Coltrane and Other jazz Poems – Featuring Sam Rivers” (Musicworks - 3001) (Record: Near Mint/ Jacket: Excellent) Extremely rare top quality copy of this LP by underground poetess Kazuko Shiraishi. In the last 10 years I have only seen 2 copies of this album and both of them are currently in my possession so you can guess how rare these babies are. Shiraishi puts forth on the disc haunting lyrical creations set against a thumbling down free jazz like interplay. Her poetry reading interacts with the music and creates a fascinating listening experience; at times spell bounding at other times both ghostly and entrancing. Great and rare underground artifact of days long gone. Excellent condition. Price: 175 Euro

1050. SHIRLEY COLLINS: “Adieu To Old England ” (Topic – 12TS238) (Record: Near Mint/ Sleeve: Near Mint). Rare original 1974 copy of this completely vanished album. Another classic Shirley Collins recording, this time from 1974 and long out of print. Beautiful interpretations of Southern English songs and toasts with some fine arrangements by Dolly. In addition to cuts accompanied by the spine chilling sound of sister Dolly's flute organ there are other accompaniments featuring members of the Etchingham Steam Band and The Albion Band in varying combinations - Terry Potter/ mouth organ, John Watcham/ concertina, Bill Molan/ melodeon, vocals & percussion, Ian Holder/ accordion, Geoff Singleton/ fiddle & vocal, Simon Nicol/ guitar and others. The songs are all English traditional and often uncommon ones. Price: 150 Euro

1055.SILOAH: “S/T” (Amber Soundroom – ASLP-014) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Long out of print and deleted reissue of the band’s first and rarest LP. “Siloah were a German progressive psych / folk band in the vein of Kalacakra, Langsyne and others “curiosities”. A collective hippie musical tribe largely inspired by mysticism, LSD and sexadelism. Their music features a heavy use of stoned vocals (in English), mantric like guitar parts, flute, “ethnic” percussions. Their first drugged item released in 1970 offers a dangerous and imaginative ocean of trippy, perpetual jammings. A bombastic psychedelic explosion in the mood of the best German acid folk releases. The atmospheres are beautifully “acoustic”, sometimes dreamy and ethereal but never away from krautrock “primitive” sound. One year later they release an other highly psychedelic item with now more emphasis on keyboards parts.” (Prog Archives) Price: 40 Euro

1057.SIMLA BEAT 71: “Various Artists” (Simla) (Record: VG++, the record has some visual scuffs and lots of lines but no scratches or groove damage, this copy plays extremely awesome so strictly graded at strong VG++ without a doubt/ Jacket: VG++, some shelf wear and and 2 spots of tape removal white on white but no split seams or any other damage). Monster of monsters and one of the rarest Eastern psychedelic brain rippers on LP in its original state to come by. Real nice solid keeper copy of this impossible to dig up Indian psych monster out of 1971. This is a one of chance to score an original and an amazingly good copy. You know that there are only a handful of copies of this beast surviving, only popping up once every blue moon. As far as Asian LPs go – especially the ones coming out of remote places such as India way back in 1971 - Simla Beat 71 is one that is hard to top as far as scarcity and quality of the music is concerned. The sleeve shows traces of scotch tape removal on two spots at the opening, which are discretely colored in, and two corresponding tears on the back cover - white-on-white tears that don't look bad. Some all around minor shelf wear, but no seam splits and no writing. The disc has a lot of lines, probably from being stored without an inner sleeve, but almost no real marks and no groove damage. As can be expected for an obscure LP to seep out of India in 1971 the pressing is not audiophile but the disc plays extremely well with the music coming through loud and clear. In all I think you'll be surprised at how good this copy sounds. Side 1 plays near EX, the first half of Side 2 ihas in the beginning some surface hissle in the background but then cleans up during the second half. In all a strong VG++ to EX playing grade for sure. To find these in mint condition is just next to impossible as can be imagined. The music is loud, bring forth a collection of obscure Indian garage trashy psych combos with names like Nomands, Black Beats, Velvette Fogg, Brood of Vipors (sick!!), the Eruptions, Hipnotic Eye and other sonic delinquents. All are killer tracks and most of them are originals filled fuzz heavy psychedelic mind torchers. Price: make me an offer, I am reasonable on this one, just find it hard to stick a price to it so hit me with your best shot.

1067. SOFT MACHINE: “S/T” (Probe – King Records Japan – SR-303) (Record: Near Mint/Jacket: Near Mint/ Insert: Mint/ Obi: copy). First Soft Machine disc but here you have the 1^st Japanese press of this baby, with totally different jacket artwork that came out only in Japan. Mega rare, especially in this condition as here, first time I saw a copy on these shores or anywhere else for that matter. First original 1^st Japanese pressing of that day, totally different artwork but nevertheless the music is even better. Next to impossible to dig up on these shores, especially in such a near immaculate condition as this baby here. Price: 550 Euro

1073. SONNY MURRAY: “Sonny’s Time Now” (Jihad - 663) (Record: Mint / Jacket: Mint/ Inserts: Mint). RARE ORIGINAL 1ST PRESSING ON JIHAD RECORDS!! Top copy. In short, this one is a beast, a vicious sledgehammer free jazz monster that will cave in your skull. Here is what the Reverend Thurston Moore had to say about this monster classic of a disc: “Sonny was the drummer considered to be the first to realize and recognize and perform, on drums, pure FREE jazz. He played behind and along with Ayler early on and Cecil Taylor. He constructed groups, which always flew and raged with spiritual abandon. He took time as an abstract and turned it into free motion. This recording is super-lo-fi and is awesome. On it play Ayler (tenor) and Don Cherry (trumpet) as well as Leroi Jones (now known as Amiri Baraka) reading a killer poem called "Black Art". This music is very Ayler but more fractured and odd. Like a lot of these records there is only a front cover with the back of the jacket blank. Whether this was done for economic or artistic reasons is unclear. Jihad was a concern of Leroi Jones and anything released on this label is utterly obscure. The only other title I've seen is one just called "BLACK AND BEAUTIFUL" from the mid-60's which is Leroi and friends sitting on the stoops of Harlem chanting, beating drums and celebrating Leroi's "poems" ("The white man/at best/is..corny!") There was an ad for Jihad in an old issue of Jazz & Pop magazine which announced a Don Ayler (Albert's amazing trumpet-playing bro) LP but I've yet to meet anyone who's actually seen this. "Sonny's Time Now" was reissued a few years ago in Japan (DIW-25002) on CD and LP (with an enclosed 7" of two extra scratchy tracks!) but even that is near impossible to locate. Recorded in 1965.” Top-notch original pressing…a dead stone classic!!! SOLD

1076. SONORHC: “Purf” (Disques du Cavalier – hmg-650) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Totally obscure and below the radar French psychedelic improvisation ethnic disc that defies all attempts to categorize it. Released and recorded in 1972, Sonorhc was the brainchild of guitarist Jean-Francois Gael who had erected the outfit as an vehicle for – as he called it – exorcism music, a euphemism for subversive sounds that dwelled into an ethno-tinted Agitation Free styled acid free-form rock injected with enough lysergic shifts and moves to stun a whole aboriginal village with a head full of Ibogaine. Pagan free jazz merges with psychedelic free improvisation and mutates into a wide range of varicolored sonic strands. This disc stands proud and tall as one of the greatest undiscovered treasures out of the French underground Sonorhc had some ultra heavy rotation here and hasn’t left my turntable for many moons. Obligatory mind food. Price: 275 Euro

1079. SPEED GLUE & SHINKI: “Eve” (Atlantic – P-8081) (Record: Mint/ Jacket: Mint/ All the inserts: Mint/ Company Inner Sleeve: Excellent). Best copy around and to make it even a more rare item, this is the seldom seen blue label promotional copy. The band's sound – as illustrated on this hideously rare LP – was an amphetamine infused heavy psychedelic blues-rock trip quelling the darker side of the New Rock (a term that hereafter became referred to by Japanese rock critics as the Yokohama sound). But unlike the Golden Cups, Speed, Glue & Shinki were obviously heavenly influenced by and more speeded up with kerosene infused greasy acidic raw garage aesthetic than their British blues rock role models. Unlike the high tensioned rock of the Flower Traveling Band, the straight forward seriousness of Blues Creation or the conflagrated artisan touch that Flied Egg beheld, Speed, Glue & Shinki succeeded in surmounting the self-parody of artistic pretension by embodying a sound of eastern dopes high on the raw and ostensible energy of an urban guerilla's sonic warfare. And this is where it all began. An historical piece of demented psychedelia. Top copy and rare beyond belief BLUE LABEL PROMO ISSUE, now up for grabs….Top condition!!!! Seems to be UNPLAYED copy. Blue label promo issue. SOLD

1082. SPENCE, ALEXANDER: “Oar” (Columbia – CS-9831) (Record: Mint/ Jacket: Excellent). Original 1^st US pressing. It has been a while since I have come across such a clean copy of this masterpiece. Spence was a former Jefferson Airplane and Moby Grape, now turned into a cult hero who cut this one-off album. The original “Oar” album still stands alone as a dense and beguiling statement. Legend has it that, when Alexander 'Skip' Spence released Oar, in 1969, it was the worst selling album in the history of Columbia Records. The whole affair is unpolished, strange, heavy on cheap echo, and finding Spence playing every instrument himself. Falling almost immediately into oblivion upon its release, Oar's off-the-deep-end take on blurred Americana became eventually the stuff of legend. Legend has it that in 1968, Spence fried his brain from doses of LSD so heavy they triggered a bout schizophrenia. At one point he tried to break down the door to Moby Grape band mate Jerry Miller's hotel room with a fire ax as he was convinced Satan possessed Miller. Hereafter, Spence spent six months in New York's Bellevue hospital, being treated for schizophrenia. Story has it that it was there, while being loaded up on drugs and crawling through a mental hell, that he wrote the songs that ended up eventually on Oar. After being released, Spence got a small advance from Columbia -- no more than $1,000, which he spent on a motorcycle and drove straight to Nashville. There, with the rest of the money, he recorded Oar between December 3 and December 12, 1968, at the Columbia Recording Studios. What emerged is the often-harrowing Oar, a revolutionary lo-fi imitation of Harry Smith and Lomax collection-type vintage 78s, full of demented pop songs. The album was released and disappeared. Spence essentially disappeared with it. Oscillating between biblical apocalypse, looney tunes humor, therapeutic release, and ‘sincere belief’, Oar became nothing less than a spiritual and psychic journey. An album so strange that no one dared buy it on its release; a massively unpopular record that, somehow, went on to influence a whole generation. This is easy to understand in retrospect as the mood is blissed out, with the occasional apocalyptic dread and dissociated narratives. And while unpredictable in its calm erratic-ness, Spence’s vocals whisper and continually descend into the lowest of registers. Oar can be seen in a way as a soundtrack to schizophrenia as well as a visionary solo effort, guided by Spence’s voice, coming from somewhere far away and deep inside. If there were a pop station on Desolation Row, this would be the hit. Original US pressing. SOLD

1083. SPERM: “SHH! Heinasirkat” (O Records – ORLP-O) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ Insert: Near Mint). Freakingly rare Finnish psyched out avant-garde demented piece."The band's only LP SHH!! which also includes the excellent 'Heinäsirkat' ('Locusts'). Sperm was the biggest name of Helsinki underground, having in its line-up among all Mattijuhani Koponen, P.Y. Hiltunen, Antero Helander, J.O. Mallander, Markus Keikkero and the musical primus motor Pekka Airaksinen. The group arranged happenings, performances and concerts (with appropriate psychedelic light shows); and managed to cause some debate and public outrage at the time in Finland. Sperm created their experimental compositions using only various guitar effects and tape manipulations; the results of which could these days be called "ambient noise". This track combines some "samples" to the experimentation with guitar feedback, effects, etc., where an operator of a taxi cab centre recites in a monotonous voice addresses to the cars where to pick up their customers.” (From Psychedelic Phinland). Simply the best disc to seep out of the deepest bowels of the early 1970s Finnish underground, this is quite a claustrophobic listening experience, like being trapped in a submarine 20.000 miles below the sea and hearing nothing but the pounding of your heart in your ears, fading in and out of focus, bouncing of distorted and in slow-motion against the damped steel inner belly of the sub. In short, minimalist inspired psyched out noise masterpiece without being overtly noisy or anything else for that matter. This music transgresses styles, moods and genres, existing solely in a void of its own. The sound of a one-man genocide pregnant with occasional haunting echoes and aspirational surges out of the concealed depths of space and time. It is this enhancement that originates out of it that gives these skeletal music undercurrents its immeasurable depth. It is deceptively intense – casual in feel yet meticulously in its musical detail and slowed down air raid like lyrical economy. And this makes that the Sperm’s music beholds a certain shamanistic sense of poetry, busy all the time with folding and manipulating space. Just massive and impossibly rare. SOLD

1087. SPIROGYRA: “Old Boot Wine” (Brain – brain-1012) (Record: Excellent, would be dead mint if it wasn’t for one slight hairline on side 2/ Gatefold Jacket: Excellent ~ Near Mint). Just a top copy. Spirogyra were one of the bands of the late English folk revival that embraced progressive-rock and psychedelia. Their debut album, St Radigunds (B&C, 1971), was an innovative work, with Barbara Gaskin on vocals, Julian Cusack on violin, Martin Cockerham on guitar and Tony Cox on electronic keyboards. This sequel, Old Boot Wine was slightly less innovative and disruptive although the textures got thicker (cello, flute) and jazzier. It is, all the same, a precious items to collect on vinyl. Price: 250 Euro

1088. SPIROGYRA: “Bells, Boots and Shambles” (Brain – brain-1024) (Record: Near Mint/ Jacket: Near Mint). Original German green label copy, has drill hole. Their last and best LP. Formally reduced to Martin Cockerham and the always eye-blinding and delightful Barbara Gaskin, but still counting with Borrell, Cusack and Mattacks on bass, violin/keyboards and drums respectively, Spirogyra recorded the last album of their amazing trilogy. What they lost in spontaneity of their 1st album, they compensated with the possibilities of the studio environment and of the instrumental colors they flung into the mix to bolster up their already buoyant sound. But here they went just a tad further as compared to their previous two outings and next to meandering their already fully explored paths of folk and acidic folk rock, they enriched their sonic palette even further by spicing it up with trumpets, flutes and cellos players,. The result is that the magisterial “Bells, Boots & Shambles” is still much a lysergic folk album but this time injected with a lethal dose of progressive and at times even slightly symphonic elements, taking their sound to the next level. Widely regarded today as one of the great classics of British 'acid folk'. And rightly so. To file next to your Caedmon’s, Trees’, Fairports, Comus’, Fresh Maggots and Mellow Candle records stash. It will fit in perfectly. Price: 250 Euro

1089. ST. Mikael: “Visions of a Trespasser” (Exotic Mind) (Record* Excellent ~ Near Mint/ Jacket: Mint/ Inserts: Mint). Over the top wild psychedelic private press Swedish masterpiece. This is the 2^nd pressing number 285/500, completely deleted and long gone, vanished. First pressing was issued in an edition of 150 and is quite pricey. So unique chance to get a cheaper 2^nd pressing. “Recorded in his bedroom and it´s so beautiful! Best psych album since the early 70´s!” - Stefan Dimle, Mellotronen, Sweden “This basement acid tripper exists briefly in the real world of vinyl! Folk rocky melodic elements flow with waves of heavy fuzzphase leads. A weird detached haunted vocal echoes over the band and the whole thing seems to teeter on the brink of psychedelic oblivion’s. Not revival either. One of the big unearthings in resent memory. Joyride thru an altered state! – Monster time!” - Paul Mayor, X-tabay/Parallel World, USA. Some heavy statements concerning this disc and all true to the point. Rare these days and a musty for anyone into Swedish psych and assorted mind bending listening experiences. SOLD

1092. STANLEY BROTHERS and the Clinch Mountain Boys: “Country Pickin’ And Singin’” (Mercury Japan – BT-8006) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Obi: Near Mint). The Stanley Brothers and the Clinch Mountain Boys is the first of many albums the Stanley Brothers recorded for the King Record Company based in Cincinnati, Ohio. Of course by this time the Stanleys were already popular recording artists, having recorded for Rich-R-Tone, Columbia, Mercury, and Starday prior to their tenure with King. While this material is available on numerous compilations of the Stanleys’ King and Starday years, I think it warrants a discussion on its own terms. The Stanley's clawhammer and three-finger banjo picking, his unique a cappella gospel singing, a bunch of songs originally recorded by the Stanley Brothers, and great instrumentals. The Clinch Mountain Boys of this era included Roy Lee Centers, whose vocals were as close to Carter Stanley's singing as anyone will ever get. The last of these LPs was cut shortly before Centers' senseless murder. I had never heard a banjo played with that kind of speed and intensity before and I was equally taken by the “lonesome” harmonies of Carter and Ralph Stanley. To this day, it is hard in bluegrass to top the Stanley Brothers in their prime and this album with its honky-tonk numbers, the straight-up bluegrass and the blistering instrumentals are some of the finest recordings in bluegrass history. The fact that almost every song on this record became a bluegrass standard makes it a worthy successor to the Stanleys’ seminal Columbia and Mercury recordings of the late 1940s and early 1950s. In short…..a must and a rarely seen Japanese pressing with obi…go for it. Price: 30 Euro

1097. STOCKHAUSEN KARL-HEINZ: “Spiral/Wach/Spiral/ Japan/ Pole” (2 LP set: near Mint/ Box Set: VG++/ Booklet: Excellent). Top copy of this brain meltingly great Stockhausen box set and one of his finest electronic works. Just massive and indispensable. Same as the above, only the boxset itself has some blemish hence the reduced price. Price: 80 Euro

1101. SUBWAY: “S/T” (Epic – EPC-64541) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original copy of this stellar French acid folk disc par excellence. Original yellow Epic label, and supposedly only 200 copies remain in circulation. “When American Born singer/songwriter Irvin Mowrey came in London in the early 70’s “to check the scene out”, he ended up playing in the subway to raise his rent, and soon met a classically-trained local violinist named Malcolm Watson, fresh from concerts in Abidjan (Ivory Coast) with a trio. They jammed in the subway and started adapting Mowrey’s songs to a duo format. The duo’s sound was rather unusual, mixing an acoustic eerie violin with a 12-string guitar, mixed with a great voice and intriguing lyrics. They returned to the subway to play out the three songs and a radio-producer walked by and proposed them a live appearance on the radio. After that, the duo went to the Borders (next to Scotland) for a week and turned up with over 90 minutes worth of material, worked from existing songs from Mowrey. Visa problems made that Mowrey had to leave England for Franc and headed for Paris, finding an open stage show and clinching a gig two weeks later. Calling Watson to the rescue, the duo practiced in the Paris subway (Watson making more cash by playing classical music interludes between the duo’s repertoire), and wouldn’t you know it, a record producer walked by and immediately offered to record them in one of Paris’s best studios. The duo then naturally called themselves Subway and after recording toured with Supertramp and Bahendel and a few radio shows before disappearing, later briefly resurging as Busker. Released in 72 on the Epic label with only 200 copies pressed, it seems that most were destroyed once the unsold copies were returned to the label. This made Subway’s only record one of acid-folk’s most sought-after rarity.” (Progarchives). Top psychedelic folk by UK / US duo. Ethereal atmosphere stoned vocals, delicate guitar, violin and mellotron. Musically one can say that it has some similarities to Mark Fry and the disc was only released in France. Price: 800 Euro

1105. SUN CITY GIRLS: “Borungku Si Derita/ Abydos/ Carousel Tapsel” (Majora) (7 Inch: Near Mint/ jacket: Near Mint). 1993 release. Classic Sun City Girls in full flight getting their rocks off. Indespensable. Price: 30 Euro

1107. SUN CITY GIRLS: “Valentines From Matahari” (Majora) (Record: Near Mint/ Jacket: Near Mint). This slab of sonic madness is pure rock ‘n roll improv. At the same time it's avant-garde jamming. The Girls’ are here totally pushing the boundaries, contaminating the musical horizon with skewed guitar lines and faux made-up languages that converge over tribal and jazzy drum beats, creating a hell of a racket that stands totally on its own. Compared to some of their other albums, the production is way rawer and lo-fi, and therefore it might be less accessible for those faint at heart youngsters and inspire the more adventurous minds out there needing their daily fix of more rocking jams/instrumental pieces. One of the tunes even sounds like surf music. The whole affair sounds like it was recorded on a boombox, yet the production values totally fit the music. Price: 45 Euro

1108. SUN RA: “Atlantis” (Impulse – AS-9239) (Record: Near Mint/ Gatefold jacket: near Mint). As you know there are always condition issues with the “Atlantis” LP, so I am happy to be able to offer this top-notch copy. No ring wear, no cut corners, not one single scuffmark, just clean like a still unborn virgin. “One of the key but underappreciated episodes in avant-garde jazz, Sun Ra's Atlantis sounds far out even today. Rather than a full-on assault on the senses, Atlantis is an exercise in build-up, with long, almost forlorn passages of Ra on electric keyboards setting a vast echo chamber for his Arkestra to spring forth within. Captured during one of the most adventurous periods for Sun Ra, *Atlantis* features the orchestral perfection of the best big bands of the century-and then proceeds towards mutirhythmic explosions of intensity, all of it couched in Sun Ra's mixture of intergalactic mysticism and heaping doses of experiments in tone, tempo, and texture.” (Andrew Bartlett) A classic and indispensable in any collection. Top copy!! SOLD

1111. SUN RA and his SOLAR-MYTH ARKESTRA: The Solar-Myth Approach (vol.2)” (BYG Actuel – BYG-529341) (Record: Near Mint/ gatefold Jacket: Near Mint). Original French pressing. “A wild and passionate interstellar mix of free jazz, solo synthesizer and hard rocking cosmic philosophy specifically commissioned by the BYG/Actuel label (and apparently recorded in New York between 1970 and 1971)... this material "would prove to be one of the cornerstones of the entire Sun Ra/Arkestra career"... with Kwame Hadi, Akh Tal Ebah, Ali Hassan, Charles Stephens, Marshall Allen, Danny Davis, John Gilmore, Danny Ray Thompson, Pat Patrick, James Jacson, Ronnie Boykins, Clifford Jarvis, Lex Humphries, Nimrod Hunt, June Tyson and Art Jenkins... ". The 2 volumes that form the Solar-Myth Approach encapsulate the creative mood and the impassioned message that was going down as the '60s violently burned themselves out... in the cold dawn of the early '70s Sun Ra and his Solar-Myth Arkestra sent out their musical ray of hope to all who chose to hear it... over 20 years later and its effect remains both blinding and illuminating” (Edwin Pouncey) Price: 45 Euro

1112. SUN RA: “Heliocentric Worlds of Sun Ra – San Ra no Taiyou Chuushin Sekai”. (Victor Records – SMJ-7455) (Record: Excellent – small visible single mark on side 2 that causes a few clicks for a couple of rotations/ Jacket: Excellent/ Obi: VG++, has wrinkled upper end). Original first time early Japanese press of this essential ESP title, released in Japan in 1968 by Victor with first time Japanese obi included, which makes this version bloody rare. The music needs no introduction I guess, but just in case here is snippet of a review by All Abut Jazz writer Rex Butters: “With its tympanis, bass marimba, bass trombone, bass clarinet, and the bass of the great Ronnie Boykins, Vol 1 cruises the subharmonic. “Heliocentric” opens with Boykins walking Robert Cummings' bass clarinet. Ra's bass marimba, Boykins, and tympani thunder form a trio. Marshall Allen plays the extreme antagonist on piccolo amidst bass trombone blats from Bernard Pettaway. Tuned tympani, Pettaway, and the bass marimba prepare “Outer Nothingness” for Allen's alto, followed by Cummings and Ra. Ra's resonant bass marimba solo leads to a horn flurry and duet with Boykins. Shuffling keys on acoustic piano, Ra surprises with simultaneous runs on an electric keyboard on “Other Worlds.” The blistering pace he powers gives John Gilmore a good blow, before Ra returns for more two keyboard fun. Boykins plays counterpoint then joined in a round with Gilmore and Ra's electric celeste on “The Cosmos.” Johnson's　cymbal work keeps the stars shining. A dreamy solo by Ra leads to worried blues by Boykins, back to Ra rocking on piano. Danny Davis' flute briefly flies out of the bass bias on “Of Heavenly things,” although Boykins and the bass marimba clock most of the track. A wonderful solo by Ra, “Nebulae” features the electric celeste. The short “Dancing in the Sun” lets Gilmore and Allen lead the band in some sideways bebop” Top copy of this quintessential album, first 1968 Japanese press, white label promo copy with obi. Never ever seen this version before, mid-seventies issues turn up regularly but late sixties first time pressings on high quality Japanese vinyl just about never. Essential. Price: 125 Euro

1116. SUN RA & HIS INTERGALACTIC ARKESTRA: “Space is the Place” (Blue Thumb – QUAD BTS-41) (Record: Near Mint/ Gatefold Jacket: Near Mint). Original US quadraphonic version. Another unheralded highlight in Sun Ra’s oeuvre. “Space Is the Place provides an excellent introduction to Sun Ra’s vast and free-form jazz catalog. Typical of many Sun Ra recordings, the program is varied; earthbound songs, like the swing number "Images" and Egyptian exotica piece "Discipline," fit right in with more space-age cuts, like the tumultuous "Sea of Sounds" and the humorous "Rocket Number Nine." Sun Ra fuses many of these styles on the sprawling title cut, as interlocking harmonies, African percussion, manic synthesizer lines, and joyous ensemble blowing all jell into some sort of church revival of the cosmos. Throughout the recording, Run Ra displays his typically wide-ranging talents on space organ and piano, reed players John Gilmore and Marshall Allen contribute incisive and intense solos, and June Tyson masterfully leads the Space Ethnic Voices on dreamy vocal flights. This is a fine recording and a must for Sun Ra fans.” (Stephen Cook, All Music Guide).SOLD

1117. SUNBURNED HAND OF THE MAN: “Jaybird” (Qbico – Qbico-08) (Record: Mint/ Jacket: Mint/ Insert: Mint). 2002 release, limited edition that came out in a run of 250 copies only following the CDR release done by the band themselves. With Jaybird, Sunburned reached a new pinnacle, forging their disparate elements into a distinct sounding collection. “This is SHotM at their most straight ahead and their most 'rock'. Stoned, psychedelic, spaced out and downright groovy. Simple static beats, wah guitars and spirited yelps and hollers. This is still a slice of heavenly seventies krautrock, but HEAVY on the hippy vibe. Imagine a weird supergroup jam with a super-damaged Grateful Dead, the Dead C, Phish, Jandek, Santana, Reynols, John Spencer (on horse tranquilizers at 16rpm) and the No Neck Blues Band. Bluesy psychedelic rock, rambling and meandering and filtered through the aethetic of modern noiseniks. Toward the end of the disc things start to stretch out, more echo, more delay, upping the freakout quotient considerably as the record blisses out and winds down. Nice. And gone again before you know it.” (AQ). Spot on. Price: 80 Euro

1118. SUNN O))): “Flight of the Behemoth” (Southern Lord/ Bisect Bleep Industries) (2 LP Set: Mint/ Heavy Gatefold Jacket: Mint). Long gone and out of print slab of detuned heaviness, 1^st original pressing. “'Flight of the Behemoth' was released before the duo's world-beating double punch of White One and Two, and doesn't quite have the refined, bass heavy drone insanity that made those albums so darn popular, but as you probably already know, Sunn O))) material is pretty much all indispensable, even the band's demos. The most interesting thing on offer here though is two collaborations with Japanese noise God Merzbow, who teams up with the boys to create quite menacing noisedrone. This is comparable with his crucial Boris collaborations on Hydrahead, and makes me wonder why the acts have never followed up this collaborative urge. Maybe they weren't satisfied with the results? Who knows, but we've got this to be going on with for now. The record ends on a high (or loooow.) too with a ten-minute slice of prime low-end badness, destined to churn your bowels and cause plenty of upset to your long-suffering neighbors. Recommended.” (Boomkat) Price: 150 Euro

1122. SUPERSISTER: “To The Highest Bidder” (Polydor – 2925.002) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Near Mint). Original Dutch 1971 pressing. “Following in the same path as their debut album, Supersister achieved their definite masterpiece in the shape of 'To the Highest Bidder': in fact, Supersister proves to be one of the most prominent Dutch prog acts of the 70s, equaling to Focus and Finch in prowess, fire and excellence. In many ways, Supersister incarnates the Netherlands' response to Soft Machine, since their music is overtly inspired by Canterbury's jazziest self; they also have clear hints to Zappa's sophisticated absurdity and the distinctive dynamics of avant-garde free jazz (track 3 being the best example). Supersister's approach to humor in the context of jazz-oriented prog is a crucial component of their music, since it allows all four musicians to keep a light-hearted feel in their performances, while exhibiting their own individual skills and challenging interplay. The flautist's role is certainly special, since van Geest's style has a remarkable tendency towards the pastoral, yet in a strange way, it works effectively in the middle of the combined jazzy leaning of his other partners. The fact that two tracks are 10+ minute long allows the foursome to explore into their musical ideas and explore its potential variations: 'A Girl Named you' (a Supersister classic) is full of Latin-jazz colors, while 'Energy (Out of Future)' adds some exotic African-like beatings in the middle of the band's exhaustive musical and rhythmic travels. Both tracks portray obvious bombastic aspirations, but at the end of the day, the band manages not to take this impetus too far by keeping a sense of fun. As a result, there is a constant, unhidden touch of fun and freshness displaying all through these pieces; in this way, the friendly listener can rest assured that his senses won't get fed up at any point, since the pleasant flavor stays unpolluted. The remaining tracks are apparently more serene, but not less funny: 'No Tree Will Grow (On Too High a Mountain)' ends its reflective portrait with the sound of a crowd cynically laughing, while 'Higher', in contrast to the previous track's tour-de-force, is a bossanova theme, serving basically as a sweet frivolous closure. Together with Focus and Finch, Supersister is part of the Netherlands' Prog Holy Trinity, and they surely deserve to be as acknowledged as the others... at least.” (progarchives). Simply a killer album. Price: 100 Euro

1124. SWOONERS: “Portrait of D'Swooners” (Philips – FS-8027) (Record: Excellent/ Gatefold Jacket: Excellent/ Attached liners: Excellent). Rare FIRST ORIGINAL PRESS!! Really fantastic copy of an album that for some reason only appears to be offered for sale in a totally trashed condition. This copy is a real clean one, a true rare find for a very rare disc such as this one. Second, final and rarest album by this Philippine sensation that swept through the underbelly of Tokyo in 1968. Of all the GS bands, the Swooners were possibly – according to some trustworthy sources – the best live act to catch in those days. Their recorded output however does not really capture the greased down and filthy psych trash they excreted on stage but still it hints sufficiently at the band's appeal, ability and craftsmanship. Like so many outfits then, the Swooners repertoire was erected out of mainly cover tunes but they beefed them up with some weird pan-Asiatic feel that transcends words as especially comes to the foreground on such killer renditions like “Sunshine of Your Love”, “Hey Joe”, “You Keep Me Hanging On” and “Can't Take My Eyes Of You”. The tracks are all beefed up with greasy guitar licks and cheap swirling organ lines, making this sucker a classic in the genre. Truly great album and copies in good condition are just impossible to find. This one comes in nice shape, is the first original 1968 pressing and is just fantastic. Take no substitutes since there is only one real procurator of the hip GS, being the Swooners, fuzzy-wussy haired Philippine dope heads armed with cheap instruments. Awesome!! Price: 100 Euro

1128. TAJ MAHAL TRAVELLERS “August 1974” (Columbia – OP-7147~8-N) (Records: Near Mint/ Gatefold Jacket: Excellent/ Insert: Near Mint). One copy back in stock. ORIGINAL TOP NOTCH HYPER RARE COPY! Here is the real deal, one of the rarest albums out of Japan. It is estimated that there are no more than 300 copies in circulation of which only 100 are adorned with the obi, making this gem rare as hell. Taj Mahal Travelers first album is quite easily to track down but their 2 LP successor, this one, is just impossible to get. Another spare copy fell into my hands that I am able to offer to you in these pages. The record is a fragile masterpiece, sound wise as well as art wise since the gatefold is made out of flimsy carton. So the sole default of this copy is a vague sign of some very light ring wear. Vinyl is shiny with no signs of scuffs or scratches. Great copy, hideously rare and bloody collectible. Once in a lifetime opportunity maybe. Act now and hold your peace forever. Price: Offers!

1133. TAKAGI MOTOTERU& TOSHIYUKI TSUCHITORI: “Origination” (ALM Records – ALM-04) (Record: Mint/ Jacket: Mint). Well, here you have one of the Holy Grails of the Japanese free jazz underground, a disc that just never surfaces anymore. Impossible to track down these days, never turns up anymore especially such dead mint copies as this baby here. Pressing quantities upon its release were 300 copies, so rare as a hen’s teeth. Sadly enough, the outside world has their myopic gaze only locked unto the much-hyped (they are stellar of course and need to be hyped) two key players of that period, being Takayanagi and Abe, but fail to look beyond the yonder at the other hardcore players that often even surpass all the others. This is mainly due to music critics’ inability to scrap beyond the surface layer in order to dig out some of the nuggets that remain hidden underneath. And since people tend to put their faith and trust in such critics who hype middle-of-the-road mediocrity instead of stellar lunacies, gems like this one remain hidden from hardcore music enthusiasts. This disc is such a nugget and well conserved pearl of musical greatness. Mototeru Takagi may and should ring a bell if you ever took the time to check out PSF’s early releases. If so, you are certainly aware of his brain peeling recording “Deep Sea” (PSFD-47) of the early seventies with Yoshizawa Motoharu, another totally underrated player of that scene. Mototeru was a totally wicked sax howler, spewing out ashes of volcanic deep subterranean fury and eager malice, creating a tornado of dusty sax noise that will engulf the aural landscape of your listening quarters. Skin mangler Toshiyuki Tsuchitori who unleashes a boundless fury of pounding pulses and crashing sticks flanks him and provides a perfect counter-balance force to Mototeru’s all engulfing apocalyptic waves of sound. In all both of them are responsible for creating high-tension music that resemble at times as if they were engaged in trench warfare, although that both move through it on an intuitive approach. In short, this disc stands shoulder to shoulder with the best records of that golden free jazz age and is without a single doubt one of the Japanese underground scene’s defining moments of free interplay. It is a shame that this disc rarely if never turns up any more. It was released in an edition of 300~500 copies on the ALM records label in 1975. Slowly attaining super rarity status. Highest recommendation. Price: 450 Euro

1136. TAKAHASHI YUJI & ZUKOFSKY PAUL: “A Prospect of Contemporary Violin Music” (Victor – SJX-7535) (Record: Mint/ Jacket: Excellent/ Insert: Mint). Fantastic Japanese avant-garde disc that dives into the depths of atonal violin and piano improvisations. This LP was released and came out in the great Victor avant-garde and contemporary music series that brought you the tantalizing “Japanese Electronic Music” LP and countless others. Takahashi and Zokofsky bring forth twisted renditions of compositions by Takemitsu Toru, Takahashi Yuji, Hayashi Hikaru and John Cage. Original 1975 pressing and so far the only copy I have encountered in a period of 6 years. If Kosugi Takehisa solo excursions, Tony Conrad, Takemitsu Toru and Ichiyanagi are your thing, than this one will be as indispensable. Just stunning!! Price: 50 Euro

1138. TAKAYANAGI MASAYUKI: “Independence” (Union Records – UPS – 2010-J) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ Insert: Mint). Bloody rare top copy, complete with NEVER seen OBI and insert. So far only 4 copies known to existent with obi. First original pressing. Top copy: Unbelievable, Independence on vinyl. Original 1971 press. This one just never turns up and I bet not many of you have seen this Holy Grail of a disc, well – it is much rumored about but has not been seen by too many eyes. This is the Loch Ness Monster of Japanese free jazz records – rumored to be out there but elusive to say the least. Until now… The first original pressing of 1971, probably one of the rarest free jazz documents ever to be put up for sale. It was an edition of only 500 copies so go figure it out. Still it is unclear how many copies are in circulation, it is estimated that no more than 300 remain in existence due to terrible sales at the time. This was Takayanagi’s first recording as a leader after his involvement with Togashi Masahiko’s “We Now Create” brain ripper. Here, Takayanagi gets flanked by the best free blowing heads on the scene being bass monster virtuoso Yoshizawa Motoharu and skin mangler Toyozumi Yoshisaburo. Hardcore kerosene driven free jazz blats from 1969. This is vicious music that until this day remains unequalled by any players on the scene. The defining free jazz document. All time highest recommendation. Not for pussies. Freakingly rare original pressing. Definitely the rarest record in the list, jacket in fantastic condition, obi is gorgeous and LP is clean as can be. The whole package is like near perfect…this one goes out only for serious financial suffering from your part. SOLD

1140. TAKAYANAGI MASAYUKI: “Independence” (Union Records – JUP-3) (Record: Near Mint/ Jacket: Near Mint). Unbelievable, Independence on vinyl and with obi attached. Although this is the 2^nd pressing of the early eighties, they are almost as hard to come by as the original, only with this difference that the original 1^st press comes with a 4 digit price tag and never surfaces, there where this one is way cheaper and surfaces about once every two or three years. It was an edition of only 500 copies so go figure it out. This was Takayanagi’s first recording as a leader after his involvement with Togashi Masahiko’s “We Now Create” brain ripper. Here, Takayanagi gets flanked by the best free blowing heads on the scene being bass monster virtuoso Yoshizawa Motoharu and skin mangler Toyozumi Yoshisaburo. Hardcore kerosene driven free jazz blats from 1969. Quintessential album by Takayanagi Masayuki. It was his debut recording as a leader with his newly erected unit The New Directions, a trio consisting out of bassist Yoshizawa and drummer Toyozumi ‘Sabu' Yoshisaburô. Recorded at the Teichiku Kaikan studios on 18 September 1969 (released in 1970), Independence – Tread on Sure Ground, is largely regarded as the first true classic of Japanese free jazz. The group thrashes out an entirely new Japanese methodology for improvisation based on Takayanagi's theories about progressive art. As Alan Cummings explains in his liner notes to the CD reissue, the group's sonic outburst is pregnant with an urgent intensity similar to a violent rotating windstorm.“An electric guitar string is pinged with a sour and markedly unlovely resonance. It is left to fade away naturally, its dying whisper replaced with a wavering feedback tone that grows steadily in volume and thickness. Against the slow feedback wave, a sudden loud percussive crash, urgent staccato rolls across the toms, and the dry rasp of a rattle. A choppy, non-sequential series of chords from the guitar, still mouth-puckeringly bitter is set against the warmer resonance of an alternately bowed and plucked double bass. Each instrument sounds self-contained, like lunar bodies spinning on their own axes at different tempos, but locked together by unfathomably complex rules of motion. Additional percussive rattles and scrapes have been overdubbed to fill in the blank space. Tendrils of feedback snake in and out, like cosmic dust from some cataclysmic celestial event. The playing is exploratory and deliberate, technically adept and keenly judged, easily sustaining interest and motion across the track's eleven minutes. Its sense of focused concentration is more akin to the European free improvisation of AMM or The Spontaneous Music Ensemble than the violent ecstasies of American fire music.” (Alan Cummings). Price: 100 Euro

1141. TAKAYANAGI MASAYUKI: “Free Form Suite” (Three Blind Mice TBM-10) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ Obi: Excellent/ Booklet: Near Mint). Here you have like new copy of a stunning and all time great Takayanagi disc. First original pressing, complete with booklet and always missing obi! “Recorded in 1972 and originally released on the Three Blind Mice label, Free Form Suite is the only record released under the Takayanagi/ Ne w Direction For The Arts moniker and features the fine lineup of future Ne w Direction Unit regulars Kenji Mori on reeds and Hiroshi Yamazaki on drums, with Joe Mizuki - who would, with the formation of the Ne w Direction Unit in 1975, be replaced on drums by Hiroshi Yamazaki. Great tracks are 'Sun In The East', on which Mori fanning Coltrane-esque soprano over a quasi-exotic late '60s P Sanders-y flight of fancy, all tropical melody and rollicking momentum. Leaving only the three movements of the title track; Takayanagi is picking up his guitar, plugging it into an amplifier, and actually playing it; the third is, finally, the quartet noise-blast the whole record's been leading up to, with the t wo percussionists kicking in to impressively intense effect. Overall another piece in the Takayanagi riddle for sure”- Nick Cain. Stunningly great disc and a must for anyone into free blo wing hard core jazz. Getting quite scarce, especially in an immaculate condition as this one. Takayanagi was definitely the greatest guitar wrecker of all times. Comes with rare obi and booklet, impossible these days. Price: 230 Euro

1143.TAKAYANAGI MASAYUKI NEW DIRECTION UNIT: “Axis Another Revolable Thing Pt.1” (Offbeat Records – ORLP-1005) (Record: Mint/ Jacket: Mint/ Obi: Mint). Impossible these days to dig up anymore in top condition with obi and one of the strongest risers in price these last years. Comes with the always missing obi – the whole package is utterly mint. Just never surfaces in such condition. Top Copy!! Again Takayanagi vinyl rarity that is getting tough to unearth these days. Regarding the music, this is what the music critic Teruto Soejima had to say about the music on display on this disc: “Fragment II - Takayanagi's gut string guitar answers Kenji Mori's bass clarinet. Although Takayanagi apparently hadn't touched the gut string guitar for two years, his tone is incredibly sharp and clear. Midway through, Nobuyoshi Ino's cello comes to the fore, subtly changing the music's density. The effective use of fortissimo and pianissimo produces an invisible atmospheric undulation. Fragment III - a percussion solo by Hiroshi Yamazaki. This tune demonstrates how powerful a player yamazaki is and how very carefully he considers the organization of the whole. He's more than just a percussionist; he makes us aware of everything from body/space interaction to the origins of sound construction. Yamazaki was born in Tokyo on march 28, 1940. He began to make his mark in the Gin Paris period and had his own group for a time. In 1970 he joined New Direction. His experimental, ambitious approach has been widely praised. Fragment VI - in this mass projection piece, sound clusters issuing from the limits of physicality collide, pile up, and hurtle headlong in all directions. It's the energy of thick magma. In accordance with instructions given through Takayanagi's feedback technique, the flow of clumped sounds is gradually accelerated and taken all the way to the void of outer space. Sound makes consciousness float. Supreme ecstasy comes about only in this extreme place. Drifting through all of New Direction unit's music is the scent of blood. Not old, clotted blood, but fresh blood. This isn't a mere semblance of music; it's sound through which the blood of living human beings has passed. Which is why, in the group's performances, blood seethes, flows against the current, burns, oozes, rises, congeals, is spewed out, gushes forth. Vivid red blood. Takayanagi's ultimate artistic aim may well be the color of this blood. Blood calls forth blood. For these four musicians, playing music together essentially means drinking one another's blood. This could be regarded as a secret signing-in-blood ritual that, in turn, calls for solidarity from the audience. Truly, circumstances and art are instantaneously united in this place and time. To borrow the title of a Koji Wakamatsu movie, "blood is redder than the sun."” (Soejima Teruto) A monster blaster of a disc, vicious and unrelenting in its approach and execution. Totally mint top copy!!! Price: 350 Euro

1147.TAKAYANAGI MASAYUKI: “Lonely Woman”. (Three Blind Mice - 1982) (Records: Mint/ Jacket: Mint/ Obi: Mint). Well, here you have a completely vanished Takayanagi vinyl record and without a single doubt one of his finest releases ever. Named after the Ornette Coleman composition, “Lonely Women” sees Takayanagi on a single- solo guitar improvisational road trip, elaborating on tunes from Tristano to Coleman, Charlie Haden and Lee Konitz, only to end up at a staggering and arresting rendition of “Love is the Color of my True Love’s Hair”. Takayanagi embarks here on an austere and sparsely note-clothed free jazz trip, where the sound clusters evaporate into thin air only seconds after they were unleashed. Although that the disc is utterly free, the tonal ranges are built up in an extreme but well balanced manner, fragile and eruptive at the same time. In other words, this disc is just heartbreakingly beautiful and certainly one of the most interesting improvisation discs around, at least to these humble ears. Needles to say that almost all Takayanagi vinyl is extremely collectible and hard to come by, even on these shores. Lonely Woman is not different and is getting bloody rare the last couple of years, if not balancing at the brink of total extinction. Especially in such an immaculate condition like this one, with obi intact. Of course, this baby has our highest recommendation. Price: 150 Euro

1148. TAKAYANAGI MASAYUKI: “Action Direct” (Kojima Recordings – ALM-Uranoia/ UR-6) (Record: Near Mint/ Jacket: Near Mint/ Insert: Mint). Top copy of one of the rarest Takayanagi titles. Original press of this almost impossible to score Takayanagi disc. Here is some back info that came with Tiliqua’s reissue of this essential Takayanagi slide: “Action Direct” was first released by Kojima ALM Records in 1985 in a tiny run and has been elusive ever since. “Action Direct is his final extension of his Mass Projection/cool mode - the spaces in his playing now filled in with tapes and effects instead of reeds, bass, cello and drums, the sustain now applied to a wall of sound rather than simple guitar feedback, the spare gestures now appearing against a self-created backdrop of noise.” And “…show a progression similar to Miles Davis’ pre-fusion mid-60’s albums, whose increasing use of pulse suggested rock without directly referencing it; Action Direct could be seen as Takayanagi’s Bitches Brew” (AL) “Action Direct embodies a certain duality, a dichotomy between musician and instrument, machine and man and between science and art. While bestowing his concept with the character of music (or musical collage), Takayanagi set out to transcend and empower the physical identity, reality and significance of the individual sound atoms that lay at the core of this conceptual piece. By unleashing a vast array of demonic sonic clusters and fragmentation bombs, he created a new sonic language that vibrates through our present-day existence”. One of the greatest discs – together with his “Independence – Tread on Sure Ground” debut and “Profile of Jojo” of Takayanagi and also – together with the aforementioned ones, the hardest one to get in its original splendor. Great copy that contains even greater music. One of those “Holy Grails” if avant-garde, free jazz and experimental music is your thing and again a personal favorite of mine. Price: 250 Euro

1149. TAKEMITSU TORU: “ Tokyo Senso b/w Sengo Hiwa” ( Columbia – C-3108) (Record: Excellent ~ Near Mint/ Picture Sleeve: Excellent). Hideously rare and obscure single release only Takemitsu Toru disc, released way back in August 1970 as soundtrack to the likely named move. The single came out in the Cine Roman Music series, the series that also birthed out the OST single release of Eros + Gyakusatsu (Apryl Fool with Ichiyanagi). This is as obscure and great, first time I ever lay my eyes on a copy after having heard many rumors of its greatness. Surprisingly for Takemitsu, both tracks on this disc are very guitar and hand percussion oriented. The A-side opens up during it first seconds as a modal easy listening song but soon some acoustic mesmerizing guitar lines drift in from beyond the cloudless sky set against a distorted defunked organ and softly swirling hand percussive rattles. Things get slowly into overdrive and the electrified acoustic guitar picks up pace and gradually builds up a frenzy, gets ignited with a touch of detuned fuzz licks that drift into the picture while the backing section slowly swells on and gains momentum as the guitar goes totally berserk without being right in yer face. So massively Bossa tinted fuzzed out acid folk psych. Just unbelievably great, a lost gem. And before you regain your sanity again all comes back full circle and meanders in the softly exotic modes of the beginning…..aaagh finished you think but no, off you again the frenzied but controlled guitar licks make their entry anew be it a tad lysergically spiked up this time …..again building up tension without being radically upfront. The whole venture breaths out a controlled and sustained swirl of deep undercurrent kaleidoscopic fingerpicking that ignites fuzz burned exploratory sound that floats there somewhere between the controlled burn of a jet engine and the boundless fury soft rock combo spiked with LSD…..mega killer material. The B-side is of equal grandeur, staring off on Prozac and slow but picks up pace along the way as the hand percussive rattles and electric piano provide the backbone for the guitar to slowly unfold its mesmeric beauty and hypnotic riffing, again without being overtly upfront. All is utterly controlled but free roaming at the same time, making it an utterly psychedelic acid induced session. Best single I have ever heard in my life, a thing of perfect beauty. In all an arresting listening experience and hyper rare. Wanna impress your buddies with a slice of music they have never heard of and probably will never get a hold of? Well look no further, this fits the bill perfectly, just one of the best discs ever made. Price: 350 Euro

1151. TAKEMITSU TORU: “Takemitsu Toru no Ongaku <3>” (Victor – VX-22) (Record: Excellent/ Gatefold Jacket: Excellent/ Obi: Excellent). In the fantastic but hideously rare late sixties series Contemporary Music of Japan. For some perverse reason beyond my understanding, most records released in this stunning series fail to surface. This edition here is the first ever-original vinyl press, an edition that surfaces once in a blue moon. Recorded and released in 1966, this is the 1st recorded version of the piece. “ARC for piano and orchestra part 1 and part 2” has seen a couple editions and versions but this one here is the very first. So for me, it is the 1st time I have ever seen this disc, much sought after by Takemistsu aficionados. Toru Takemitsu was one of the most important of those Japanese composers who have written music in the Western tradition, while preserving a fundamental Japanese identity, bringing his awareness of Japanese music and its traditions into a remarkable and very original synthesis. He makes use of Western or Japanese instruments, either separately or together, creating his own very individual sound. And this aspect becomes crystal clear in Takemitsu's ambitious two-part work for large ensemble and piano, “Arc”. The version here, as released in Victor’s “Contemporary Music of Japan” series of 1966, was the 1st ever recorded version of this groundbreaking piece and remains till this day quite elusive, which is a shame because Toshi Ichiyanagi on piano is just ravishing and without a doubt the pest performer of Takemitsu’s compositions (although later 1991 versions saw the light of day, his 1960s version is oblique to say the least). Stunning example of high-end Japanese avant-garde by one of the greatest composers of the 20th century. Highest recommendation. Price: 100 Euro

1153. TAKEMITSU TORU: “Takemitsu Toru no Ongaku <4>” (Victor – VX-23) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent). In the fantastic but hideously rare late sixties series Contemporary Music of Japan. Follow-up volume to the above-mentioned LP and equally astonishing. Upon immersing myself once again in the sonic realms of Takemitsu, it became apparent that he had a gift for choosing the musicians needed to execute his highly sensitive compositions. This LP here – once again a 1966 release – brings to light the very first versions of “Piano Distance”, “Pause Uninterrupted”; “Le Son-Calligraphie No.1 for 8 Strings” (all executed with as main musician Takahashi Yuji) and “Eclipse for Shakuhachi and Biwa” (with Katsuya Yokoyama on shakuhachi and Tsuruta Kinshi on biwa – also renowned from a vicious Ocora Records slide). “Eclipse” shows Takemitsu's search and experiments in order to map out a viable notational system for these traditional instruments. He was of the opinion that the sound of a single stroke of the biwa or single pitch breathed through the shakuhachi, could "so transport our reason because they are of extreme complexity [...] already complete in themselves". This fascination with the sounds produced in traditional Japanese music brought Takemitsu to his idea of ma (usually translated as the space between two objects), which ultimately informed his understanding of the intense quality of traditional Japanese music as a whole. And it is in these waters that this recording here steers into, making it for my humble ears one of the key moments in Takemitsu’s whole oeuvre. That said, Tsuruta Kinshi’s performance on the biwa is just out of this world, rough, almost demonic playing style brimming over with aurally conspicuous melodic and rhythmic profiles that resonate through heavily bachi-slashed isolated tones whose components temporarily overlap with the hash shakuhachi tones of Yokoyama. Out of this world!! And without a doubt best record on this list!! Highest all-time recommendation. Price: 70 Euro

1155. TAKEMITSU TORU – Performed by STOMU YAMASHITA; MICHAEL RANTA; HIDEHIKO SATO & YASUNORI YAMAGUCHI: “Seasons/ Toward – Art of Toru Takemitsu” (Deutsche Grammophon Manufactured by Polydor Japan – MG-2331) (Record: Mint/ Gimmick Gatefold Jacket: Mint/ Imprinted 4 Plastic Inserts: Mint/ Obi: Near Mint). Japan only release. Same record as mentioned here above with one difference being the hardly ever seen obi present that adorns the already mouth wateringly great cover art. Rare, so don’t think twice about this one if Taj Mahal Travelers, Kosugi Takehisa’s “Catch Wave”, East Bionic Symphonia, psychedelic minimalism, Kosugi/Ranta/ Ichiyanagi LP on Iskra, GAP, Seiji Onishi and other sonic galactic high flyers are your kind of music. Awesome!!! SOLD

1156. TAKEMITSU TORU/ XENAKIS/ NONO/ DEL TREDICI: “The Dorian Horizon/ Akrata/ Canciones A Guiomar/ Syzygy” (CBS Sony – SONC-10163) (Record: Mint/ Gatefold Jacket: Mint). Rare yellow label promotional copy/ Japanese press. First time ever I can lay my eyes on a yellow label promo copy. Again a peek into 4 of the greatest avant-garde minds of the 20th century. Stunning copy and rare Japanese pressing, yellow label promotional copy. Once again, the Takemitsu track is out of this world and Xenakis once again proved to be a force to be reckoned with. Awesome. Price: 40 Euro

1157. TAKESHI NISHIOKA: “Maninnoki” (URC Records – URG-4018) (Record: Excellent/ Fold Out Jacket: Excellent/ Inserts: Excellent) After the stunningly “Tokedashita Garasu Hako aka Melting Glass Box” LP, Nishioka departed from his one time only collaborators and embarked on a solo side career, next to his ongoing involvement with Itsutsu no Akai Fusen. “Maninnoki” starts off on a similar path that was left open after “Melting Glass Box” recording came to an end and sees Nishioka broidering on some of the same themes, taking them to hysterical acid folk heights. He even ventures into Dadaist lyrical excursions and phonetic word game dementia that brings ode to the delights of Ramen and other assorted downtown pleasures. The music is fragile, mind-shatteringly great and filled with well-balanced interludes, some found sounds snippets, psychedelic vapors and pastoral recollections gushed out of a concrete cemented jungle of Osaka. The B-side of the disc sees Takashi embarking on a more down to earth folk escapade, which still has some brightly shining moments. The artwork to grace the jacket, courtesy of Keiichi Tanaami, fuses neatly with the sounds embedded within the disc’s grooves and the whole package oozes out a deliriously intoxicating vapor that will succumb unto your senses. Great stuff and one of his best. Rare these days and still fairly undetected by a larger collecting crowd, although that the disc is quite hard to get a hold of. If early seventies acid folk and psych is your thang, this might be the fix you longed for all this time. Great stuff. Dead cheap amazing copy as well. Price: 40 Euro

1159. TAKESHI TERAUCHI: “Wan Li Zhang Zheng” (King Records – SKA-44) (Record: Excellent ~ Near Mint/ Foldout Jacket: Excellent/ Obi: Mint) Rare Terauchi Takeshi album that sold so poorly most copies were withdrawn and destroyed. He was way over his popularity peak and seemed heading straight for the bottom. Still, the downfall of his career saw him churning out his most interesting work to date. Comes in fold out thick carton jacket and always missing pink obi with cool guitar design. Great Japanese GS, Surf and garage record that has soaring guitars, distorted w ah- w ah licks all over the place. The group takes on Japanese popular Chinese balladry tunes and mutilates them into soaring garage trash psych gems, spiced up by vibrato and fuzz-out guitar licks. A gorgeous item that should appeal to all psych heads, mondo music lovers and acid freaks. Great example of early Japanese garage and psychedelic revamped classics. Comes with the always missing pink obi. Price: 30 Euro

1160. TAKO: “2^nd – Umai – Okashii” (Chaos Records – CHAOS-00002) (Record: Excellent ~ Mint/ Jacket: Excellent/ Insert: Mint). The famous follo w-up album to their ecstatic debut album, although that at the time of the recording Tako had already disbanded. Unlike their debut, this album sees Tako as a quartet that slo wly unfolds No-Wave textured dementia that seems to be birthed out by insomniacs on a Quaalude deluded downer trip with still enough Technicolor madness flashing behind their eyelids to whip out some splendid lysergic and devastating tracks. Without a single doubt, Tako were one of the best, if not the ultimate band (although extremely short-lived) to emerge out of the late seventies dead zone to invigorate the even more germ free plastic world that the eighties turned out to be. I wish that every band sounded like them, the world would be, sonically speaking, a better place to live in and we would have been spared from all the crap that had been gushed out in the mean time. Tako are definitely it and both of their albums are indispensable if you are even remotely interested in Japanese outsider music. Stellar and lunar surface like high recommendation for this one. Of course needles to say that these gems are getting xxx rare so forget to score another copy for many moons to come. A killer all way round. Price: 75 Euro

1163. TANGLE EDGE: “Entangled Scorpio Entrance” (Colours – COTLP-011 – 1992) (3 LP Set: Near Mint/ Triple Gatefold Jacket: Excellent). Killer ass 3-LP Set, comes in a triple fold out jacket. (Records: All mint/ Booklet: Mint/ Jacket: Excellent, has a bumped corner and minor shelf wear). Here you have a totally vanished and hyper rare psychedelic rarity that seemed to have fallen of the face of the earth. “Entangled Scorpio Entrance” was Tangle Edge’s 2^nd album, following their excellent debut “In Search of a New Dawn”. And what a follow-up it was. These Norwegian acid heads delivered a stunning 3 LP, with every side long track a winner, long spun out tribal jams, fuzz drenched wah-wah, ritual and tribal drumming (conga’s, Turkish drums, log drums etc), etc. All tracks were recorded live and the sound quality is stunning. Ultimate psychedelic music. These babies sold out in no time in 1992 and I haven’t encountered a single copy ever since. Until now. The LP’s were released in a gorgeous triple fold out jacket and this copy is numbered 365/753. Definitely to become a mega sought after disc in the years to come. Should appeal to fans of old time psych music (Michael Yonkers, Dead, Red Crayola, Aguaturbia, Tarkus, Laghonia, Erkin Koray, Bent Wind, etc) as well as to contemporary psych heads (Japanese psych, Dead C, LSD March, Up-Tight, FTB, etc) Highest recommendation. XXX rarity. Price: 200 Euro