RARE RECORDS CATALOGUE

610. RAAIJMAKERS, DICK: “Ballad Erlkonig/ 5 Canons” (Composer's Voice – 8103) (Record: Mint/ Jacket: Mint). Brilliant old skool Dutch musique concrete. “Dick Raaijmakers, whose early experiments got underway at the Philips Laboratory in Eindhoven in the late 1950s, has been a formative influence in the development of electronic music in The Netherlands . Raaijmakers not only filled a key position in the early years of the Dutch electronic music, he is still influential as a pedagogue, thinker and composer: a ‘pioneer' in the development of electro-instrumental and theatre music in the Netherlands . Throughout his career he has focused on the relationship between image and sound, in particular between concept and sound; a theme which has lost nothing of its topicality in the current electronification of music. He was able to address the results of this research through a variety of means of expression and at different disciplinary levels. The compositions compiled this LP, which only represent productions for tape, also bear witness to this. They vary from sound animations for films to extremely abstract ‘impulse structures', from action-music to very soft never-ending voice textures, from electro-acoustical tableaux-vivants to extracts from music theatre.” (Donemus). Totally essential. Price: 60 Dollars

612. RAUHAN ORCHESTRI/ LAUHKEAT LAMPAAT: “Sylissain oot” (QBICO – Qbico-28) (jacket and Record are mint). Comes on pink vinyl. "Rauhan Orkesteri's recent single on the Finnish POK label may be the greatest seven inches of gut-wrenching avant jazz intensity since Borbetomagus's brain-erasig Coelacanth back in 1993. This album - their second vinyl LP to date - continues in the loose, high-energy vein of the single with a clutch of instantly composed high-register hymnals and frayed bottom end blues. The first track here matches the legendary Center of the World group led by Frank Wright in terms of visceral tone-bending assault, with detonating Sunny Murray-style percussion working folk tattoos into muddy whorls of sophisticated grunt. Also scattered throughout the LP are duo tracks by Rauhan offshoot Lauhkeat Lampaat that map a goofier arc than the mothership by combining hand percussion and assorted small instruments in miniature freakouts that sound somewhere between The Mothers of Invention, Han Bennink's solo work and The Godz. Comes on sick pink vinyl too." (David Keenan). Finnish huffing and puffing, bells and shambles disc that sounds ok but slightly pails in comparison to the heavy names to which they got compared. Quite nice but Frank Wright and the Godz remain unrivalled in my book. Nice pink wax… Price: 40 Dollars

613. RED NOISE: “ Sarcelles – Locheres” (Futura – Red-01) (Record: Excellent/ Gatefold Jacket: Excellent). Hideously rare masterpiece on the highly collectible Futura label and one of the hardest to track down titles thereon. Masterminded by Michel Bulteau, the Red Noise LP is a massive bomb. “Red Noise' one and only album was originally released near the end of 1970 on the legendary Futura label. Red Noise was a radical, inventive avant-rock band with some improvised jazz elements, as well as a heavy dose of Zappa-esque humor. The first side is a bunch of interconnected tracks, some of them much shorter than a minute, like the opening piece, "Cosmic Toilet Ditty," which consists of footsteps and a toilet flush. Quirky songs, often with scatological content, compete with free-for-all instrumental bits, often with raging saxophone blasts. There is even time for some wild guitar solos on "The Galactic Sewer-Song" and "20 Mirror Mozarts." The lengthy closing track, " Sarcelles C'Est l'Avenir," is a wild and noisy avant rock free jam with an energetic rhythm section, blasts of electric guitar and sax, flute bleats, and organ squalls. The piece has a freaked-out intensity that belies the silliness of the earlier tracks, and really ties the album together quite nicely.” (Rolf Semprebon, All Music Guide). Hideously rare and musically totally out of this world, disjointed, defractured, doped up and utterly psychedelic. One of the best and greatest discs to seep out of camembert infested France . All time highest recommendation!! Price: 600 Dollars

614. RED TRANSISTOR: “Not Bite b/w We're Not Crazy” (Ecstatic Peace) (Record: Excellent/ Picture Sleeve: Near Mint). Only 25 copies of this fabulous single exist, this being numbered as 20/25. Hand-made paste on labels, truly as home made private press as you can possibly get. The assaultive New York trio Red Transistor was comprised of guitarist Rudolph Grey, drummer Mark Edmands and VON LMO on guitar, vocals, shortwave and organ. As a trio of hopeless Brooklyn delinquents, they unleashed bloodcurdling and gruesome repetitive mantras of secretive nihilism. Both tracks exhibit a screamingly amphetamine junked up tracks. The music is just agonizingly repetitive in an almost pre-metal kind of way. This makes them even to today's standards light years ahead of their time and no one with a normal mindset will ever catch up with these guys. They just rage and thrust with qualities of true relinquish all claim to sanity and instead opt out for total defractured mindsets. In short, stuff of genius like Van Gogh shopping of his left ear and amplifying it for all to hear. Gloriously beautiful. The single has been reissued since it was originally released but this copy here was the 1^st pressing, with hand made jackets and pasted on labels, as issued in an edition of only 25 hand-numbered copies. Price: 300 Dollars

616. REID, STEVE: “Odyssey of the Oblong Square” (Mustevic Sound Records – MS-4001) (Record: Excellent/ Jacket: Mint, still in shrink). Rare spiritual free jazz private press released on Steve Reid's own Mustevic Sound Records imprint back in 1977. The line-up for starters is already enough to get you salivating and wetting your pants. Steve Reid (drums), Ahmed Abdullah (trumpet, percussion), Mohammad Abdullah (congas, ballaphone, African percussion), Arthur Blythe (alto saxophone, percussion), demi-god Charles Tyler (alto saxophone, maracas) and David Wertman (acoustic bass) make up this free-loathing sand dust blowing collective of disparate souls. Right from the first note on you get sucked in and banged sideways by swirling rhythms that encapsulate complete transitions ranging from Armstrong to bop over to post-Coltrane articulations and urban inspirations that dominate the mood of this urbanite music throb that some simply dismiss as just free-jazz. But it is definitely more than just that. This record is close to experiencing an odyssey. Since it was recorded as a live session in New York way back in 1975, it puts on display a sextet harboring some excellent talents such as Arthur Blythe and Charles Tyler who get flanked by lesser-known deities such as Ahmed Abdullah whose plays the sax in an Eastern/ Arabic kind of way. They get guided into intergalactic lanes by Reid's energetic funky-laden patterns. Reid's drums get in turn spiced up by the percussive salvo rattling of Mohammed Abdullah who adds some tonal spacious colors by rubbing his congas which he plays in a sparse and but with decisive rhythmical approach. He enables Reid to increase his intensity and together they soar through high spiritual blue skies and in turn this music allows for complete individual expression and advancement. It is electrifying and jaw droppingly great filled with swirling rhythms and volcanic interplay. Fabulous stuff! Price: 300 Dollars

617. RHYTHM DEVILS: “The Apocalypse Now Sessions – Rhythm Devils Play River Music” (Passport Records – PB-9844) (Record: Mint/ Jacket: Mint) Chilling to the bone and creepy percussion album by the Rhythm Devils, a combo spearheaded by the Grateful Dead’s Mickey Hart and Bill Kreutzmann. While being in the process of conceptualizing the musical underpinnings of “Apocalypse Now”, director Francis Ford Coppola attended a Grateful Dead concert at the invitation of the late impresario Bill Graham. In the “Drums” improvisation segment of the evening, when Hart and Kreutzmann let loose with their percussive underworld of innovative instruments, he found the perfect accompaniment for his cinematic vision of the Apocalypse. Hart and Kreutzmann were recruited to bring together the myriad sounds and colors for this retelling of the primal myth. To the subsequent 1979-80 sessions at the Grateful Dead's Marin County studios, each musician contributed a personal selection of instruments and objects, resulting in a massive assemblage of possible sonic palettes. Instruments were arranged in sound groups, and the musicians moved among them as they watched the film being screened before them. This album is a collection of the resulting jungle of sound and passion. Sadly enough only a tiny fragment made it into the final movie version. Still the music is hair rising great, psychedelic tribal music that embodies all the best aspects of your Ocora, Musicaphone and obscure field recording-tribal records. Simply a must, but be sure to put the cat out upon spinning this beast. Price: 50 Dollars

619. ROBERTO DONNINI: “Tunedless 2” (Lynx Records – Z-00188) (Record: Excellent/ Gatefold Jacket: Excellent) private pressing of 300 numbered copies, this one is 231/300. Each disc is also individually colored and painted, on the front in the lower right corner and on the back in the middle, making each disc unique. Architect, visual artist and musician, Roberto Donnini has realized some great avantgarde LPs back in the 80s and 90s, pure droning soundscapes with a complex blending of a rich instrumentations played by an enviable cast of guest musicians. Tunedless 2 is contemporary music for computer and electric and acoustic instruments, composed by Roberto Donnini. In short this is an Italian minimal avant-garde cult disc and the second Donnini LP to see the light of day. It is quite an experimental recording where each performer improvises listening only to the computer track without hearing the other musicians who were previously recorded in different tracks. So it was an impressive experiment. The musicians were confined into an hypnotic solitude of an identical presence (computer track) and are forced to play with for and against the whole cast of the other performers, who only impose their presence through their one's absence. Massive! Price: 200 Dollars

621. ROLLING STONES: “Golden Album” (London – King Records Japan – SLC-184) (Record: Mint/ Gatefold Jacket: Mint/ Obi: Mint/ attached 8 paged Picture Booklet: Mint). Original 1967 Japan only pressing housed in Japan only cover art in top-notch condition. Music needs no explanation, everyone knows what it is about. Japan only edition in top condition with all attached and obi included. Price: 90 Dollars

623. ROSCOE MITCHELL SEXTET: “Sound” (Delmark – PA-7020) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Hideously scarce first Japanese press of this free burning epic of a disc, complete with insert and obi. “Sound, mainly taken up by the 46-minute Sound, truly set the standard for the rest of Chicago 's creative music. The sextet (with trumpeter Lester Bowie, tenor saxophonist Kalaparusha Maurice McIntyre, trombonist Lester Lashley, bassist Malachi Favors, drummer Alvin Fiedler) challenged the dogmas of jazz improvisation and composition, venturing into dissonance and unusual timbres (even toy instruments). The instruments just did not sound like themselves: they were mere vehicles to produce abstract sounds. These sounds derived from the extended (and mostly dissonant) ranges of the instruments were made to interact and overlap. But the real breakthrough was the very notion of how to play: this was highly intellectual music, meant to be used by a brain, not by a heart, unlike New York 's free jazz that was meant to be emphatic and frantic. These musicians were European scientists, not African shamans. They were scientists of the subtle. Thus the effect was that they were more interested in "silence" than in "music". Silence was indeed the "space" in which music happened: silence was a key ingredient in the musical event.” (Piero Scaruffi). One word: totally essential. Price: 40 Dollars

624. ROSINA DE PEIRA E MARTINA: “Ie” (Revolum – REV-039) (Record: Excellent ~ Near Mint/ Jacket: Near Mint/ Imprinted Inner Sleeve: Near Mint). Rare Occitanian female vocal folk out of 1981. Acid Mothers temple got their “La Novia” record and song out of this album which contains the original version. Totally overlooked gem but spell bindingly great. Definitely a keeper and a disc that I revisit ever so often….mesmerizing female vocals against music that has its inspiration and roots going back to 13^th century. Troubadour music out of the 13^th and 14^th century can be regarded as the acid folk of that day. Probably the most cheerful and picturesque figures of the age of chivalry were these troubadours who operated mainly in southern France and northern Italy . There have been minstrels and strolling poets before and since them, from the time of Homer to something very like the present, but the troubadours are in many ways distinct. They were among the first indications of a return to culture and they bloomed like flowers in the midst of the darkness and ignorance of the Middle Ages, appearing first among the vine-clad hills and vales of lovely Provence in southern France . A hint of their charm lies in the very music of their name, which comes from the Provencal verb trobaire, to find or to invent, and refers to the finding of rhyme. They sang in the Provencal tongue, an ephemeral one founded on the decadent Latin, out of which grew the Italian, Spanish, French and Portuguese languages, not to mention the influence it exerted in the formation of English, Chaucer using the minstrel-songs as his first models. And it is exactly this rich source of musical heritage that Rosina drains her inspiration off, making her a rare breed of musician. Her discs are not that easy to come by since they were released on the locally active Revolum label. All are definitely worth checking out and this one especially might appeal to a modern day audience since you will recognize the AMT anthem “la Novia” in its original form. Fantastic music. Price: 100 Dollars

627. RUSSELL, RAY QUARTET: “Dragon Hill” (CBS – M-52663) (Record: VG++ ~ Excellent; has a few faint scuffs/ Jacket: VG++, has some signs of age, no splits or anything). Original UK mono pressing of this torcher. Ray Russel is not an unknown borderline gunslinger to most readers of these mumbo jumbo pages. Apart from appearing on some earth shattering recordings by Bill Fay, he also carved out a ear-shattering recording career as a free jazz sonic terrorist. “Dragon Hill” was released by CBS in 1969 and sees Russell teaming up with Roy Fry (piano), Ron Mathewson (bass), Alan Rushton (drums), Harry Beckett (trumpet & Fluegel Horn), Bud Parkes (trumpet), Lyn Dobson (Tenor Sax) and Donald Beichtol (Trombone). One of cornerstones of British free jazz extravaganza with Russell at helm, ripping through chords and bending the strings in mercurial ways while bolstering out tidal accumulations of high energy. The other members provide a spontaneous rhythmic framework that gets exploited in return by Russell who deals in approaching direct free rock as well as in acidic free jazzing moves. In short relentless jackhammer stuff of extended blowout jams that have enough lyrical economy and unrepentant force to take you through corrosive blasts of sound and alchemical magic to keep you puzzled for weeks in a row. Stuff of legends. Highest possible recommendation and dead cheap. Price: 160 Dollars

628. RUSSELL, RAY: “Secret Asylum” (Black Lion – 2460-207) (Record: Excellent ~ Near Mint/ Gatefold Jacket: Excellent ~ Near Mint). Top copy! Finally a spare in stock, took me a couple of years to dig one up. Original 1973 UK Black Lion pressing! This is one of the UK 's best ever roaring hardcore free jazz gems with top guitarist Ray Russell at helm as a leader. Russell has been blessed with an idiosyncratic guitar sound marked by emotional depth (just check his incendiary play on Bill Fay's “Time of the Last Persecution”) and unbridled free-roaming wildness. Often compared to Takayanagi Masayuki and the late Sonny Sharrock, Russell himself claims to be influenced by Hendrix' legacy. That and the unbridled testosterone impregnated moves that make up most of rock's appeal, jazz' fluxility and improvisation's momentaneousness and promptitude became key elements that crossbred and mutated into a new strand of playing that in turn birthed out his signature sound. He became a much in demand session player but in stark contrast with the recordings on which he appears as a “hired gun” Russell's shake off the shackles and chain that confine most artists to easy categorization and instead veered off into a stratosphere of sonic waves he could call his own where he explored the far edges of guitar extravaganza and “transplanted rock's bold sound into the fluid and often spacious frameworks of jazz”. CBS released Russells 1^st solo LP, Turn Circle, in 1968. Dragon Hill, his 2^nd outing as a leader was credited to the Ray Russell Quartet and saw the light of day in 1969. By the time CBS released his 3^rd LP, Rites & Rituals (1971), Russell had come fully into his own as one of free jazz/ fusion's most original voices. But it wouldn't be until “Secret Asylum” that he went totally overboard and entered previously uncharted hardcore jazz and avant-garde waters. Here he was by the crème of that day's UK top players being drummer (and poet) Alan Rushton, bassist Daryl Runswick, trumpeter Harry Beckett and reedman Gary Windo. The latter opens “Spinetree” with an ear-shattering shriek, a burnished split-tone growl that splits open the earth and parted the heavens. Windo was beyond any doubt at the top of his game then, fully capable of unleashing a whole litany of squawks, blats and shouts, bristling and sparkling over with pure free expression. Rushton fits in nicely and his playing acts like a counterweight to all the heavy maelstrom action floating around. One of the highlights of the LP – actually the whole LP is one continuous highlight according to my ears – is “These That I Am,” which treats you to a totally over-the-top duel off Russell and Rushton who let's his freak flag out and flying high and wide on this one. The two of them engage in some heavy trench warfare like action by firing off rounds of sickening midrange noise, heavy feedbacking waves, tremolo dementia, piercing monstrous fretting and mercurial string action by Russell unleashing the demons of the apocalypse while colliding head first with erratic skin action and pillaging drum pounding. Heavy, hardcore free playing with an apocalyptic undertone. To these ears, “Secret Asylum” is an important album in terms of what a cross-fertilization of free form jazz and rock can encompass without losing its identity as a musical form. It is that it introduces and puts on display an artist of greater vision than there has been for many moons. It never sold many copies – hence the rarity status it enjoys these days – it never infiltrated the lives of many people but its existence means that that there is some record of the most arrestingly bizarre set of perceptions of a disenfranchised musical genius. Once exposed and open to it you may find an album of extrovert, ferocious ingenuity that is somewhat unnerving. Just plain massive!!!! One of the best records ever!!! Price: 300 Dollars

629. SAI YOSHIKO: “Mikkô” (Black~Teichiku Records – BAL-1018 - 1976) (Record: Mint/ Jacket: Mint/ 4-Paged Insert: Mint). Japanese psychedelic female acid folk. Record comes in beautiful dra w n sleeve, w ith obi and booklet. Released on July 25^th, 1976, Mikkô w as Sai Yoshiko's second album, a w onderful acid folk album on w hich she gets assisted by a string of big name musicians such as Kuni Ka w auchi, w ho took the arrangements of the songs to his hand. The disc is based upon Sai's self composed songs, making it her first real total album. At times the disc dra w s in Middle Eastern influences (sitar and tabla) but once she gets into singing, the listener gets subdued into her o w n private, mysterious sonic w orld, through w hich one gets sucked in by her w ide-ranged vocalizations. At the time of this recording, Sai Yoshiko w as merely 23 years old. This is a real stunning female acid folk masterpiece w ith w ell balanced psychy touches. Totally obscure, much in demand by Japanese psych heads and rather hard to track do w n. One of Sai Yoshiko's biggest fans is Jojo Hiroshige from Hij oka idan and Alchemy records, w ho eventually, 25 years after she recorded this stunning album, dove in the studio w ith her for the “Crimson Voyage” CD (Alchemy Rec) on w hich she merely attributed some sighs and moans. This album is really a stunner and a must for people into some more advanced Japanese Underground historical recordings. Highest recommendation and utterly beautiful. Price: 60 Dollars

630. SAI YOSHIKO: “Taiji no Yume” (Blow Up – LX-7021-A) (Record: Excellent/ Jacket: Excellent). Comes with 4-paged Booklet. Obi is missing. Released on September 25^th, 1977, “Taiji no Yume” of “Dream of a Fetus” was Sai Yoshiko's third recorded album, following Mikko. As was the case with her first album, “Taiji no Yume” was also arranged by Ono Yuji who attributes a more supportive aspect to the Sai Yoshiko outer worldly realms. This record was heavily inspired by the pre-war odd ball and ghostly neuro-surgeon-doctor-writer Yume No Kyusaku, hence the strange atmosphere this disc abides in. Nevertheless the voyage into the mental state of being this disc ventures into fits perfectly with Sai's acid folky approach and dreamy female vocalizations. Quite dark in overall texture. At the time of this recording, she was merely 24 years old. A real stunning female acid folk masterpiece with well balanced psychy touches. Totally obscure, much in demand by Japanese psych heads and rather hard to track down. One of Sai Yoshiko's biggest fans is Jojo Hiroshige from Hijokaidan and Alchemy records, who eventually, 25 years after she recorded this stunning album, dove in the studio with her for the “Crimson Voyage” CD (Alchemy Rec) on which she merely attributed some sighs and moans. This album is really a stunner and a must for people into some more advanced Japanese Underground historical recordings. Highest recommendation and utterly beautiful. The disc is excellent and sadly enough the missing obi. But apart from that a beautiful stunning copy. Price: 60 Dollars

631. SAIJO KEIKO: “Ai no Sasayaki” (Polydor – SMR-1022) (Record: Excellent/ Gatefold Jacket: Excellent). This one is a late night strange one, soft scat female vocals meandering into a dream-like almost David Lynch like Twin peaks kind of mood set and we are speaking 1968 here. Totally intoxicatingly great female vocal record that only surfaces on these shore every 4 years or so it seems. Highly recommended. Price: 160 Dollars

632. SAIRAIJI HIROMI: “Hatoba b/w Futari no” ( Columbia – SAS-1552) (Record: Near Mint/ Picture Sleeve: Near Mint). Rare Sairaiji single released at the time of her 1^st album. “Underground Female Enka Howling”. Although Sairaiji was only 19 years old at the time of recording this in 1972, she sounds like a weather beaten down old nag, a witch out of a Kobayashi flick, nasal deranged vocals, wailing away like an old wolf in heat, disturbing but mesmerizing at the same time. Psychedelic but oddly Norman with a demented twist. I never heard a girl howl like this, not even Lisa Suckdog come close…..hardcore stuff. SOLD

634. SALLY MAY: “Kinpatsu Enka” (Victor – SJX – 35) (Record: VG++/ Gatefold Jacket: Excellent). Here is a freak oddity for you. 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. In 1963 she was scouted out by the lead singer of the Five Suns band and stated out singing occasionally with the band The Sharp Hawks. Soon hereafter she debuted as a singer for commercial ads and a model, followed with an occasional role in a major movie. This attracted the attention of the Victor label who approached her and by September 1969, the album “Kinpatsu no Enka – Sally May” was released, which translates literally as “Blond Haired Enka”, a title and accompanying jacket that must have driven the fantasies of Japanese men for blond women even to higher realms at that time. The record was neither pop nor rock but 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. Due to the eye-popping red background supporting a fully kimono clothed blond nymphet that suggested lust and erotic induced contents (which were far from present on this album) normal punters and young youths stayed away from it, making it till this day an extremely unknown and hard to come by cultural oddity. 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 realy hard to come by shit. Awesome jacket!! Price: 130 Dollars

635. SAMURAI: “Ai no Tenorsax” (ML-3007) (Picture Disc: Near Mint/ Gatefold Jacket* Near Mint). Miki Curtis is mainly known as the front man for the heavy psych prog unit Samurai. However, Miki Curtis' career dates back to 1967 with Vangas, a lounge band that operated mainly in Hilton hotels of every city of South-East Asia. Upon their return to Japan the name of the band became altered into Miki Curtis & Samurai, after which they embarked again on a seemingly never ending hotel tour. The line-up of Samurai consisted up to that point out of Miki Curtis, saxophone player Fuyuume Kunimitsu, guitarist Izumi Hiro, bassist Yamamoto Gorô, drummer Toyozumi Yoshisaburô and pianist Kikuchi Kiba. In the long run, their experience as a lounge band paid off and by October of 1967 the band was presented the opportunity to make their television debut on the TBS program “Young 720” follo wing the success of their first single “Fûsen”. Until then, Samurai was basically still a struggling G.S. band. Their debut album “Bacci Da Roma” soon appeared after the release of “Fûsen” on the Musicolor label. This album here even pre-dates that first album, since no band name is given to whom the release is accredited to. But rest assured it is Vangas or Samurai if you like and gives you a clear glimpse into what the group played during their never-ending Southeast tour of hotel lounges, cocktail bars and other hangouts. Do not expect any psych blowouts but be prepared to be submerged into a cocktail lounge setting, instrumental mood music, exotic twists and other easy listening ear caressing tunes. The LP comes as a fabulously designed picture disc, depiction full nudity on both sides and is housed in a thick gatefold sleeve, quite a sight for sore eyes and amazing to be mesmerized by. Surfaces rarely here in Japan and this one is in top condition. Must be released around 1966……fabulous……for exotica and easy listening buffs with a taste and eye for female beauty. SOLD

636. SAMURAI: “S/T” (Philips – FX-8517) (Record: Excellent ~ Near Mint/ Jacket: Excellent/ Insert: Excellent). Second pressing, white label promotional copy. 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 kno w the drill and the status of this disc. The record has some minor paper scuff marks that do not affect the playing. Overall great and stunning copy in excellent condition. I think that this monster does not come any better than this. So please bid accordingly. Fair reserve price….All time Japanese psych masterpiece and hyper rare does not even come close to describe the rarity of this sucker. Truly amazing copy in excellent condition. 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 better copy will cross your path…Price: 250 Dollars

637. SAMURAI: “Kappa” (Philips – S-5505) (Record: Near Mint/ Insert: Near Mint/ Jacket: Near Mint). Second press white label promotional copy out of 1975 in top condition. The fist record to see the light under Miki Curtis new born Samurai banner, originally released on April 1971. Ok tyme to strap yourself in because it is going to be a wyld ride. After having played all over the hotel lounge scene during the mid and late sixties, Mickey Curtis and his samurai band returned home, disbanded and disintegrated only to rise as a phoenix out of their ashes, be it in a slightly altered form, both music wise and member wise. So although two lounge albums appeared under the Samurai banner previously, one can safely state that this was their debut as a group merging hard rock, jazzy moves, organ driven swirling psych and prog rocking dementia into one coherent and addictive sonic wash. To put it very bluntly, side one can be considered the “song side” although that is in a way an overstatement ‘cause the band mainly exploits the word “song” to embark on freefalling spun out excursions into the darkest corners of your perverted mind. The second side is totally instrumental and swings in between freak-out acidic jams towards tribal percussive driven ethereal freeform evocative music. Juggernaut brooding organ riffage fuses with heavy amplified rock moves that at times even approaches Sabbath levels of intensity. Just massive and one of the cornerstones within the early seventies Japanese psych pantheon. Totally essential. Price: 250 Dollars

638. SAN AUGUSTIN: “Triangulation – Hoof and Mouth Blues” (Table of the Elements – Ce-58) (Clear Vinyl Record: Near Mint/ jacket: Near Mint). o mark its 10th anniversary (1993-2003), Table of the Elements released the Lanthanides, a series of fourteen limited-edition LPs. Each disk is pressed on clear or transparent vinyl, then silk-screened across the entire area of the B-side in luminous or metallic ink. Long gone. Fabulous stuff. Price: 40 Dollars

642. SATO MASAHIKO & TAKAHASHI YUJI: “S/T” (Denon – OS-7111-ND) (Record: Excellent ~ Near Mint/ Jacket: Excellent, faint ring wear on front) Rare original pressing. Released in November 1974, this free-jazzing electronic music gem is largely overlooked, which is quite a shame. Sato Masahiko needs no introduction if you are acquainted with Japan’s free-jazzing key figures. Takahashi Yuji is also a well-known name, be it in the circles of contemporary and electronic music. He got his fame as a tremendous interpreter of Xenakis work on piano. Here however, we are faced with a whole different ballgame. Side one sees the two of them pounding away on piano, creating a vicious, but still austere and well balanced, but therefore no less adventurous interaction. Sparks certainly fly off in all possible directions. However, as far as my personal tastes go, the second side is where the real treat resides. While Sato Masahiko keeps on spinning out almost impenetrable structures on the piano, Takahashi interacts with live electronics, creating a perfect and otherworldly highly counterbalance. Free jazz meets electronic music improvisation. Killer material and so bloody rare these days. Top copy. SOLD

643. SATO MASAHIKO TRIO: “Live at the Palladium” (Express – EP-8004) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Classic Japanese free jazz monster. First original pressing of 1969!! The year of 1969 was the year that Japanese free jazz began to lift off (see We Now Create LP of Togashi Masahiko with Takayanagi, Motoharu and other heavyweights releasing the 1^st free jazz LP in Japan ) and blossom into a fierce musical power to be reckoned with. Legendary combos such as Togashi Masahiko/ Sato Masahiko's ESSG, Yamashita Yosuke Trio, Takayanagi Masayuki New Directions and Motoharu Yoshizawa Trio were soon responsible to be the originators of this new scene of sonic terrorists. Each of them released that year groundbreaking albums, colored by their own approach to jazz methodology and Sato Masahiko's fully made a mark for himself with this first album centered around him as a leader. The record eventually ended up receiving a jazz magazine's award and is since then regarded as a classic disc in Japan 's free jazz pantheon. This album is quite remarkable and its take on free jazz is light years removed from the European and American scenes since it opened up sonic gateways to new unexplored territories. First of all it is quite avant-garde tinted in its execution of the material and juxtaposing it fusing it with a fresh influx of careful and delicately crafted improvisational interplay. Sato Masahiko plays prepared piano, Arakawa Yasuo caresses his bass with a bow and Togashi Masahiko enriches his percussive interplay with chimes and bells. The record opens up with a ethereal soundscape that suddenly merges into the Beatles' “Michelle”, sounding tenderly tense and pregnant with delicate thunders that remain concealed behind velvet curtains, making it one of the most sensitive and vulnerable song ever to be played by a free jazz combo. “Michelle” unfolds its hidden beauties over a span of 14 minutes before rolling into a collaboration of sonic molecules shifting in and out of focus and flowing as liquid and free as a mountain stream and meandering into the main theme again, al entwined around Sato's quicksilver.-like mercurial bivalent playing. And this was so far only side one and the air is already getting thinner. Side two picks up where side one left off and takes you further along on a ride that showcases the virtuosic playing of the trio. In short, this disc is breathtakingly beautiful, brimming over with delicate improvisational interplay that will haunt you and keeps you begging again and again for more. Far removed from any other free jazz disc I know, this one gives you a peek at the other side of the spectrum, earbleedingly beautiful. A classic and monster in its own right. All time highest recommendation. Price: 200 Dollars

644. SATO MASAHIKO TRIO: “Deformation” (Express – EP-8005) (Blood Red Wax Record: Mint/ Gatefold Jacket: Near Mint). Rare red wax Express label copy. OK, if obscure and hard to track down Japanese avant-garde and free jazz is your thing then look no further. This disc, released in 1969 is a hard nut to come by since due to extremely poor sales only a handful of copies and some promo copies are known to have hit the streets, making it now one of the hardest free jazz documents to track down. This one comes on bloody red wax. But all this idle talk aside, it's the music that really counts. And it burns hard……hardcore trio line-up consisting out of Sato Masahiko on piano, Arakawa Yasuo on bass and Togashi Masahiko on drums. Together they are responsible for unleashing a jaw-droppingly great amalgam sounding explosion of disruptive energy. They trash out an entirely new Japanese free jazz methodology by incorporating enka and minyo tapes into the performance, rendering it into an otherworldly, if not almost eerie listening experience. Loud percussive crashes collide with rattling piano rolls that get underscored by blood-thumbing bass riffage. When all interaction gets mineralized into a minimalist excursion the minyo tape insertions dwarf into the foreground, making it all sound like rural traditions going bananas through a intravenous fix of avant-garde that gets nuked right into the bloodstream of the national subconscious. Chilling, lysergic, stupefying and outward bound, this is some of the best freeform junk that came out of the archipelago. Comes on BLOOD RED WAX!! Highest recommendation. Price: 350 Dollars

646. S.B.O.T.H.I.: “And” (Selektion - SLP-017) (Picture disc Record: Mint/ jacket and Inner Sleeve: Mint) Achim Wollsheid's “Swimming Behaviour of the Human Infant” brainchild's first release. Released in an edition of 500 copies way back in 1987 as a picture disc housed in a conceptual inner and outer sleeve. The music, partly conceived in collaboration with P16D14 dwells in the realms of electro acoustic and musique concrete, without really stepping into the clichés of the genre. Much of his work deals with making the resonant frequencies of objects like chairs and teacups audible. Many of his works use a single sound source such as dripping water, voices, piano, etc. His main instrument is the studio, in which he treats the sounds beyond recognition. Hauntingly beautiful and rich textures produced by simple means. Achim is very involved with working directly in relation to context--looking at the specifics of a space, etc. and responding to this, either through permanent installations or performative gestures. A space is never neutral, it is contaminated by interferences, and one of the major interfering elements is people. Achim has a great way of working with the presence of an audience, or passers-by, by incorporating their presence into the work, either by using sensing devices that trigger sounds and lights in relation to the movements of individuals, or incorporating an audience into creating the performance piece itself--reactions and responses become part of the very mechanism of the work. So, as an audience member one becomes aware of oneself in an interesting way, how one is caught up in the processes and compositional tools at work. Highly recommended. Price: 55 Dollars

649. SEISHOKI: (Siwa). Archive recordings from almost 30 years ago by Seishokki (roughly translates as “Organs Of Blue Eclipse”) a band formed in Asahikawa in northern Japan while it's members were still in high school. The story goes that the band's musical influences were as likely to be only heard of as actually heard but original member Ikuro Takahashi (who has since gone on to perform with a veritable who's who list of outfits that includes Fushitsusha, High Rise, Che-Shizu and Maher Shalal Hash Baz) recalls that along the way various members of the band had been moved by the extended thump and drone of Faust with Tony Conrad, the deep synthesizer explorations of Klaus Schulze and the passionate avant-folk of Kazuki Tomokawa. Some members of the band had also been drawn to the writings of critic/promoter Aquirax Aida who was responsible for the introduction of a lot of western free music to Japan . The onset of punk may have contributed a little to the freedom a bunch of non-musicians felt to start a band but Takahashi has suggested that a lot of their inspiration came from what was probably a misunderstanding of minimalism. What comes out in these recordings is a wonderfully primitive approach to the repetition of minimalism with exuberant forays into wild synth/percussion driven noise. The result falls somewhere between the original Amon Duul LPs and "Outside the Dream Syndicate" with a nod to the soon to come explosion of NOISE in the Japanese underground. These are believed to be the only surviving recordings of this band with the exception of a vocal track with lyrics concerning an eternal teenage concern deemed too mortifying for release (label description). Price: 60 Dollars

652. The SENSATIONAL ALEX HARVEY BAND: “Tomorrow Belongs To Me – Ashita Wa Sensationaru” (Vertigo Japan – RJ-7014) (Record: Near Mint/ Jacket: Near Mint/ Obi: Excellent/ Insert: Near Mint) Original Japanese pressing, this being the even more elusive white label promo edition on vertigo Japan, complete with obi!!! I guess this record hardly needs any introducing since they were Scotland 's pride and joy. Alex Harvey rules in my book and this one is a classic! Stunning copy and hideously rare white promotional label copy of this original Japanese Vertigo pressing. Comes with always missing obi. Stuff of legends!! Price: 150 Dollars

653. SEX PISTOLS: “Never Mind The Bollocks Here's The Sex Pistols” (Virgin/ Victor – VIP-6986) (Record: Near Mint/ Jacket: Near Mint/ Obi: Near Mint/ Insert: Near Mint). Original 1982 Japanese pressing of the Sex Pistols debut album complete with obi. Music needs no explanation of course. Fabulous slab of first wave UK punk, this being the Japanese pressing (2^nd I believe) in top notch condition, complete with obi. Truly hardly turns up here, let alone in such a nice, almost virginal condition as this copy here. Highly collectible. Price: 75 Dollars

655. SHELAGH Mc DONALD: “Shelagh McDonald Album” (B&C Records – CAS-1019) (Record: Near Mint/ Jacket: Near Mint). Original UK 1970 press of this fantastic female vocal psych folk album. Top notch copy, seems almost virginal. I guess that most of you are familiar with the Shelagh Mc Donald story, of how she recorded two amazing beautiful albums before she had a bad acid trip experience and vanished from the face of the earth until she was discovered again in 2005 living in a trailer, cut off from the world for all that time. So I guess that everyone loves a good mystery and Shelagh's one is cemented-in-time, almost a Nick Drake-ish combination of bathing beauty, unique musical talent and untarnished youthful promise that was cut short all of the sudden. It all began in the 1960s when McDonald managed to make her way down to London where she dove head first into the burgeoning British folk scene and simultaneously shifted also back and forth to Bristol, where the live folk club scene was also thriving. She started writing and performing her own music under the inspiration of Californian singer/songwriters like Joni Mitchell. Soon thereafter, she got noticed and picked up by Roberton who booked time for her in 1970 at Sound Techniques in London (studio run by legends Joe Boyd and engineer John Wood) to record songs for her first album, The Shelagh McDonald Album. She even got whilst recording it assistance from Nick Drake's arranger, Robert Kirby. Once canned, the album got great reviews. Melody Maker even wrote “We've been a long time waiting for a successor to Sandy Denny since she abandoned solo singing to join a band (Fotheringay), but at last, in the lovely form of Shelagh McDonald, someone has come forward to fill the solo singer's place.” So high expectations and idle hopes, the album was bound to do well but instead it failed to live up to the public's insatiable appetite, at the time, for all things “folk.” And failed to catch on, selling very few copies. The album was largely ignored upon its release. The music on the other hand is some of the most eye-popping UK female folk you will ever hear. This copy here is the very rare original 1970 UK 11-track LP with arrangements by Robert Kirby, the man responsible for the arrangements on Five Leaves Left & Bryter Layter. The overall affair is housed in a textured picture sleeve. Both sleeve & vinyl are in fantastic condition! As this album, although now having reached cult status sold very few at the time, to find one in this superb condition is a real treat! Price: 375 Dollars

656. SHELAGH McDONALD: “Stargazer” (B&C Records – CAS-1043) (Record: Excellent/ Jacket: Excellent – small corrected mark from a price tag tear/ Org. printed Inner sleeve: Excellent). Original 1971 release on B&C Records. Piece de resistance as far as UK female folk discs are concerned. Shelagh McDonald seemed to be blessed with all the gifts. She was a dark-haired Scottish femme fatale with the honey-slicked voice of an angel that mastered with great skill the acoustic guitar and piano. Like fellow contemporaries Duncan Browne and Nick Drake, Shelagh's songs are simultaneously innocent and brimming over with wisdom; they enchant the listener and disarm the cynic. The story of her brief, sad sojourn in music does not bear repeating here. It is true that upon listening to her angelic voice, a debt to Joni Mitchell looms up from behind her whisperings but then again that is no disgrace since Mitchell influenced numerous artists of the time. A large contingent of the British folk brigade can be heard backing her up, but their contributions enhance rather than overwhelm. There are some seriously heavy players, yet McDonald is equal to the challenge. Her piano playing locks in perfectly with Richard Thompson's resonating guitar caressing at the end of Odyssey and on The Dowie Dens Of Yarrow, Fotheringay bassist Pat Donaldson, Mighty Baby's Ian Whiteman on organ and Fairport drummer Dave Mattacks lay down a mesmerizing groove, but it is Shelagh's voice in the end that leaves no one unmoved. She created an awesome piece of music that will floor you upon lending your ears to it. And all I can think of at a time like this is Thank God for bestowing our miserable existence with the grace of Shelagh McDonald, because she lifts you up and let you see a glimpse of the pearly gates. And by doing so she asserts her place in the pantheon of great British female folk singers. Brilliant!! Price: 200 Dollars

657. SHEPP, ARCHIE: “Live At Donaueschingen Music Festival” (MPS Records – YS-2101-MP) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Original 1969 Japanese pressing. Top copy. One can argue that 1967 was Archie Shepp's peak year. In a way I adhere to this (although that his career was filled with peaks, just see his output on the Actuel/BYG label a couple of years later) with recording of one of his most out there albums "The Magic of Juju". Still, "Live at the Donaueschingen Festival" can be seen as some sort of an extent to which the Juju magic sound translates live. Split over two sides, the album gives some insight into one spun out piece. Archie Shepp's solos are frequent and extreme and are about to adhere a new meaning to the term Fire Music. Still not all is heavy breathing free shronk, there are also quieter moments with Grachan Moncur III, Roswell Rudd and Jimmy Garrison interlocking in some mesmerizing interplay. Also interesting is he audience's reaction which at best can be described as emphatic. Some of them are awestruck, some are obviously put off. I guess it was just the impact of this new unheralded tsunami of free interplay that took them by surprise after having being subdued by middle of the road modal jazz for the last two decades. Again a classic in the free jazz canon, this is the original Japanese pressing of that day, complete with heavy gatefold cover and obi. Simply a must in my book Price: 60 Dollars

659. SHIRE, DAVID: “OST The Conversation” (Victor – JET-2273) (Record: Excellent ~ Near Mint/ Picture Sleeve: Excellent). Rare Japan only single of the likely named movie. White label promotional copy. This film is so personal and intense. So completely thrilling and perfect. And it features what has to be Gene Hackman's best performance ever. David Shire's score is mostly just solo piano. Dark and minor key. Simple, but so goddamn creepy. It's absolutely chilling and almost too perfectly captures the paranoid unhappiness of Hackman's Harry Caul character. This soundtrack has never been released in any form so this Japan only 7-ich was the sole release it ever saw before the Intrada label released the whole score on CD some years back. Still as far as vinyl is concerned, this is all there is. Comes in a beautiful picture sleeve to boot. Rarely surfaces. Top condition and so damned good. Price: 90 Dollars

663. SHIRLEY COLLINS: “A Favourite Garland” (Deram – SML-R-1117) (Record: Excellent ~ Near Mint/ Jacket: Excellent ~ Near Mint). Original 1974 Deram pressing. Rare to say the least. Stunning collection of Shirley Collins songs and tunes that range from 1964 to 1971. Every single track on this record is a winner and some of the highlights include “Staines Morris” where she gets assisted by Fairport Convention players such as Richard Thompson, Ashley Hutchings, Dave Mattacks, John Kirkpatrick and Barry Drainsfield, totally electrifying (literally as well as musically) the already hauntingly beautiful folk songs of Shirley. On “Lady Margaret and t Sweet William”, Shirley accompanies herself solely on Dulcimer banjo, there were sister Dolly steps in on flute organ on the track “One Night As I Lay On My Bed”., making it almost medieval Spartan in its execution but not less jawdroppingly great as all the rest on this album On each individual track, Shirley's voice is endowed with that heart petrifyingly pure quality that is most supernaturally in its beauty. Other tracks such as “ Nottamun Town” sets Shirley's voice ablaze against the raga-infested finger pickings of legendary Davy Graham. In all Shirley just never lets down on and on each occasion she transports you to those higher musical planes. So to these ears only superlatives apply when speaking of her and words like angelic, ethereal, elevatingly beautiful, hypnotic and bestowed with a lysergic quality are some of the words that apply to her but then again they fall short each time when trying to convey Shirley Collins' mesmerizing music. This is stuff of legends and no Shirley in your collection equals having no life. And that is a fact. Top copy!! And Damned rare. Price: 170 Dollars

664. SHORTER, AL: “Tes Esat” ( America – AM-6118) (Record: Excellent/ Jacket: Excellent – lower split seam in middle). Another all scorching free jazz wonder of a record. Al Shorter made two stellar albums as a leader and this is one of them (next to the Orgasm record on Verve), the hardest one to track down and one of the crown jewels of the America label imprint. And although both of his releases may be clouded in obscurity, there is not one of them that has not flattened me. Assisting Shorter on his sonic crusade are Gary Windo (tenor), Rene Augustus (drums, bells) and Johnny Mbizo Dyani (bass, piano, flute, bells) and together they unleash an all flattening force that brings to mind hurricane Andrew ripping through the Florida Keys. With Shorter at helm, the group spreads open their dynamic rhythmic ingenuity and almost extra-terrestrial improvising skills that reveal an almost psychotic high energy rush. In all the freedom on display here is very beautiful, abstract, powerful and certainly more than capable to transport you pretty far away from reality if you let it. Tes Estat is musically profound and profoundly musical, although it might be fogged up in a veil of hardcore free-jazzing abstract thought patterns. Killer disc all way round. Price: 90 Dollars