RARE RECORDS CATALOGUE
W-X
Q-R Ethnic Recordings U-V S-T O-P W-X K-L M-N V.A. I-J Y-Z G=H E-F C-D Compact Disk A-B

1846. WAKABAYASHI TADAHIRO: “Japan Garana – Wakabayashi Tadahiro Meets Keshava Rao Nayak” (Pandora – JPL-1078) (Record: Mint/ Jacket: Mint/ OBI: Mint). Rare Japanese private press gem that came out in a limited run, way back in 1980. Great sitar – tabla improvisation slide that ranks amongst the best out there due to its unconventional approach. This one has been illusive for many moons but finally managed to dig up a copy of this amazing minimal music drone slide. Damned shame this was released as a private pressing as this has so much more potential. Helas, making it rare & obscure forever. Price: 150 Euro
1847. WAKHEVITCH, IGOR: “Logos” (EMI Pathe – C064-10934) (Record: Near Mint/ Gatefold Jacket: Near Mint). Top Copy, original 1970 pressing. “With such a background, and a concept based on Greek legend, Logos (Rituel Sonore) amounted to a revolutionary creation for a 1970 release. Even if you know works like Pierre Henry’s The Green Queen, which was weirdly comprised of rock and avant-garde musics fused together, you’ll still be in for a surprise. Here we have a soprano singer, strange orchestral textures and percussives (drums, cymbals, gongs, etc.) blended with effects and processing. As the ominous percussion sets off with drum-rolls and ritualistic tension, the mood is of a looming anticipation of what is to come. Here we go through phases of weird swirling effects, vivid reverb and atmosphere. The tension becomes overpowering; yet we are led on. Here we have the key to Igor Wakhévitch’s sound, in a tension that becomes awe-inspiring. The climax of the whole opus comes with “Danse Sacrale”, an extraordinary psychedelic instrumental performed by Triangle (one of the earliest French psychedelic bands) that has to be heard to be believed. A great band in their early days, this goes to prove that Triangle were not just Pink Floyd cum Traffic copyists. This all amounts to a unique fusing of psychedelia and the avant-garde, and an awesome experience!” (J. Coulthart). Another indispensable entry in the Wakhevitch saga and just as the rest as indispensable. Highest recommendation. Bloody rare in a condition like this one here. Price: 250 Euro
1848. WAKEVITCH IGOR: “Docteur Faust” (Pathe EMI – 2C 072-11.537) (Record: Near Mint/ Jacket: Near Mint - on back upper side faintest trace of minimal wear, hardly worth mentioning). TOP COPY!! Original French pressing and easily the best record out of the whole Wakevitch discography. Has been literally ages since I have encountered an original copy of this beast and this one here is in the best condition imaginable!!! Docteur Faust was created for a festival in Avignon, and was later choreographed. Though, the mind boggles as to how anyone could dance to this. “Full of fury and energy” to quote a reviewer at the Avignon festival, it certainly is! On one hand this is a more balanced blending of classical and dramatic music, yet also it is much more extreme. There’s a wealth of sonic collage, dense musique concrète, and bizarre music that collide and fragment against rock structures. There’s also moments of pure classical avant-garde moving into ensemble pieces feeling like Henze meets Ligeti or Xenakis. The use of electronics is really vivid too. There are no rules or boundaries in what makes up a Wakevitch composition! The rock elements return throughout this album and, although not credited, I would guess that again Triangle members are featured. The guitar reminds of Alain Renaud, and percussion is quite distinctive, backed-up with weirdly treated organ. Although a short album, it is so engrossing and weird that it would be too-much if it were much longer." (Alan Freeman) Docteur Faust from 1971, which again presents adept pairings of potentially disparate elements. Sounding like a strict soundtrack for a staging of the Faust story, the music is a highly theatrical, event-driven collage of electronic and tape manipulations, dramatic narration, rockist interludes, musique concrete and passages of classical orchestration and vocals. It's a fascinating work that takes the skills he cultivated during his time with Schaeffer’s GRM and expands them into a more macroscopic view. Price: 450 Euro
1849. WALDRON, MAL: “Bethlehem Left Alone – A Dedication To Billie Holiday” (Polydor – MP-2150) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Near Mint). Very rare Japan 1st original pressing that came out in April 1971. Recorded in February 24, 1959, this set records a great line-up with altoist Jackie McLean sitting in with pianist Mal Waldron’s trio (which includes bassist Julian Euell and drummer Al Dreares) on the title cut, a number co-written by Waldron and Billie Holiday. Although Waldron dedicated the album to Lady Day and talks about her a bit on the last track in a short interview with vibraphonist Teddy Charles (which was recorded a bit later), he actually only performs one song from her repertoire: "You Don't Know What Love Is." Otherwise this recording session has the title cut, two other typically brooding Waldron originals plus Sonny Rollins’ "Airegin." McLean’s emotional alto is such a strong asset on the title cut that one wishes he were on the rest of this worthwhile set. Top condition and seldom seen Japanese 1st press original. Price: 100 Euro
1850. WALDRON, MAL: “Mal 3 – Sounds” (Prestige – Victor World Group – SMJ-7448) (Record: Excellent 〜 Near Mint/ Jacket: Near Mint/ Obi: Near Mint). Rare Japan 1st original pressing all complete with rare blue colored Victor World Group obi. This is an unusual set by pianist Mal Waldron. He utilizes a sextet with trumpeter Art Farmer, flutist Eric Dixon, cellist Calo Scott, bassist Julian Euell and drummer Elvin Jones on three of his picturesque originals and his wife Elaine Waldron contributes vocals to the wordless "Portrait of a Young Mother" and Harold Arlen’s "For Every Man There's a Woman." Price: 150 Euro
1851. WALDRON, MAL & STEVE LACY: “Journey Without End” (Victor – SMJX-10134) (Record: Mint/ gatefold Jacket: Mint/ Insert: Mint). Japan only release of 1972. The whole affair was recorded in Paris in 1971 and released on the Japanese RCA Victor label. The album was the first of many recorded collaborations between the two musicians. The line-up consists out of Mal Waldron: piano; Steve Lacy: soprano; Kent Carter: bass; Noel McGhee: drums. So far, this recording remains quite rare since it was never reissued, hence this Japanese pressing is the sole version available of one of the finest Lacy – Waldron joint ventures. Just beautiful, this is a TOP copy. No defects. Price: 150 Euro
1852. WALDRON, MAL: “The Call” (Globe – SMJX-10125) (Record: Near Mint/ gatefold Jacket: Near Mint/ Insert: Excellent/ OBI: Mint). Japanese original first pressing that comes housed in Japan ONLY gatefold cover art. Complete with obi. 1971 original press. Over two long takes, averaging 20 minutes each, Waldron and an all-star team transport you to a warm and inviting sound that is in equal parts a hard bop jam, a twisted psychedelic dream, and a free jazz meditation. The title track brings an enervating sound, slick and classic as can be. Bassist Eberhard Weber, along with drummer Fred Braceful, spurs through some thickly settled spaces, courtesy of Jimmy Jackson on the organ, all led by Waldron’s interplanetary surf. It is a joyful epic that peaks in a glorious bouquet of heat distortion, smooth as it is sere. Lively solo action from Weber and Braceful pushes the band’s sound into delicate relief, throwing you into a dark groove before restoring us to light. “Thoughts” is an altogether different spoonful. A diary of aural scribblings, it unfolds private wishes with meticulous patience. After a watery intro, Waldron lays down a chalky little vamp. Subtler denouements and a twist of introspection complete the cocktail. You’ll find no miniature umbrella peeking out above this rim…only the curve of a listening ear. Waldron skips you like a stone into heavier grooves, which in return spiral into whispers. Drums curl inward, and in these quiet crawlspaces between the floorboards of the mind, we take our rest, lost among the dust bunnies whose filaments are string and wire and electric current. This is music that tastes exactly like what it’s made of. Soulful, spiritual, funked out psychedelic and a touch of free roaming madness, a total brain melting killer slide and probably Waldron’s finest moment ever. Original Japanese 1971 1st original pressing in TOP condition, complete with obi and Japan only gatefold cover art. Damned rare on these shores…. Price: 150 Euro
1853. WALES, HOWARD & JERRY GARCIA: “Hooteroll?” (Epic – EPIA-53022) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original 1st Japanese press issue on high quality vinyl. 1971 release. “Prior to releasing his first non-Grateful Dead-related solo albums, Jerry Garcia (guitar) teamed up with Howard Wales (keyboards), another Bay Area performer, for the instrumental studio outing Hooteroll? (1971). “Morning in Marin" and the funky "South Side Strut" fuse intricate and advanced jazz progressions with soulful and driving rhythms The blend of Fierro’s windswept flute, Wales’ robust piano inflections, and Garcia’s weepy pedal steel guitar licks put the selection in a category all its own. The moody "Up From the Desert" embraces a slightly ethereal air, especially within the quaint baroque introductory passages. "One A.M. Approach" is remarkable in its intimacy between the co-leads. Garcia brings a quality and pure tonality that he would rarely revisit, either on his own or in the context of the Grateful Dead.” (All Music Guide). Top copy. Price: 60 Euro
1854. WALKER, SCOTT:Scott 4/ Scott Engel” (Philips – SFX-7194) (Record: Near Mint/ Gatefold Jacket: Near Mint/ 4-Paged Insert: Excellent) Fourth Scott walker album that comes complete with inserts – original Japan first press issue. Walker dropped out of the British Top Ten with his fourth album, but the result was probably his finest '60s LP. While the tension between the bloated production and his introspective, ambitious lyrics remains, much of the over-the-top bombast of the orchestral arrangements has been reined in, leaving a relatively stripped-down approach that complements his songs rather than smothering them. This is the first Walker album to feature entirely original material, and his songwriting is more lucid and cutting. Several of the tracks stand among his finest. "The Seventh Seal," based upon the classic film by Ingmar Bergman, features remarkably ambitious (and relatively successful) lyrics set against a haunting Ennio Morricone-style arrangement. "The Old Man's Back Again" also echoes Morricone and tackles no less ambitious a lyrical palette; "dedicated to the neo-Stalinist regime," the "old man" of this song was supposedly Josef Stalin. "Hero of the War" is also one of Walker’s better vignettes, serenading his war hero with a cryptic mix of tribute and irony. Other songs show engaging folk, country, and soul influences that were largely buried on his previous solo albums.” (All Music Guide). Amazing slide and one of walker’s all-time greatest recordings. Top copy Japan 1st pressing. Price: 50 Euro
1855. WANIBUSHI HARUKO: “Ippi Girl Ippi” (MCA Records – JMC-5018) (Record: Near Mint/ Gatefold Jacket: Excellent/ Obi: Excellent). Top copy complete with always missing OBI!!! Rare white label promotional press of this erotic masterpiece that never surfaces these days Another Japanese female vocal oddity is this obscure album by Wanibushi Haruko, released in 1971. She was the child of a mixed marriage between a Japanese man and a German woman. She made her first steps in music at the age of 4 and by the age of 8 she was regarded already as a very talented violinist. Soon thereafter at the age of 7 she made her first debut on the white screen as a child actress and became quickly quite popular. However, her father was not keen of seeing his daughter sinking away in the world of movies and stopped her from acting further. Still that didn’t prevent her to reenter the business while in high school and soon she was back starring in various movies. Her first steps into recorded music she made in 1971 with the release of this image album “Ippi Girl Ippi” that came out on Victor MCA, which attained in the decades thereafter quite a cult status. She remained active on screen as on stage and by 1976 she recorded her second and final album. This album here is astonishingly fabulous, containing here and there even a whiff vaguely reminiscent of the great Jean Claude Vannier inspired orchestrations at some odd places and a vague funk vibe at other songs that brings out the seventies feel. The album is wonderfully produced bringing out in crystal clear clarity the talent of Wanibushi with her hush like vocal approach. Hardly turns up these days. Great all over. Price: 500 Euro
1856. WARTTS, ANDREW AND THE GOSPEL STORYTELLERS: “There Is A God Somewhere” (Champ Records – LP-1962) (Record: Near Mint/ Jacket: Mint, still housed in original shrink). Original US first press issue in absolutely top condition. Andrew Wartts, based in Bloomington, Illinois, recorded his landmark gospel album There Is A God Somewhere album in the early 1980s and released it on the small Champ imprint based in Nashville, Tennessee. It took funk archivists years to discover this gem, but it’s a timely resurface. Wartts sound – a mixture of soulful, funky, melancholic yet celebratory exhortations to the Lord – belies the music’s age. In a time when most contemporary-leaning Gospel acts were moving towards the “boogie” sounds of then-pop stars such as Prince and Rick James, Wartts stood firm in his commitment to James Brown style funk. As an example, check out “Peter And John,” a quirky riff on “Give It Up, Turn It Loose.” Turning around neatly in 4/4, the rhythm section chooses to skirt, rather than emphasize, “the one.” The result is a slightly off putting, but wholly original entry into the Gospel-Funk archives. Just an awesome slide. Price: 450 Euro
1857. WATAZUMIDO: “Houchiku” (Polydor – MN-4012) (Record: Near Mint/ Jacket: Near Mint/ OBI: Excellent, has some mildew spots due to age). Rarest Watazumido LP on Polydor Records. Just a stunning LP by him, complete with NEVER SEEN OBI. Only 2nd time I have a copy with obi – my last copy flew out at 350 euro, this one comes a bit cheaper as the obi is in EX shape. Extremely beautiful copy of this austere rough-textured shakuhachi woodwind disc by the grand master Watazumido. Disc by Watazumido are extremely hard to come by, especially in good condition. Watazumido has become a hot item, sought after by collector scum and DJ weirdoes alike. But the music is stunning, resembling in atmosphere and grandeur the Sacred Flute Music of New Guinea discs on the Quartz label. The music however is some of the most beautiful woodwind music ever to be put down on wax. Clive Bell said the following about Watazumido in his Oriental Winds primer: "Watazumi was the maverick wild man of the shakuhachi, establishing his own sect of Zen Buddhism and rising at 3am every morning to practice his personal discipline of stretching and self-pounding with a long hardwood pole. Barely regarding himself as a musician, Watazumi stressed that music was not the point, the goal was something far deeper. What makes his playing so compelling is the blend of wild abandon with feather-light delicacy, plus the impression that, far from interpreting an ancient piece, he has made the whole thing up this minute. In Watazumi's world you make your own flute, maybe from a laundry pole, split the bamboo through the sheer intensity of your playing and throw the thing away afterwards." Spot on description for a glimpse at Watazumi's outward-bound sonic excursions. Some of the most beautiful sounds ever to be put down on wax. Mint condition. Highest recommendation and Freakingly rare, only 2nd copy I ever see complete with obi and in near mint condition!!!!! Price: 250 Euro
1858. WATAZUMIDO: “Sokuinranchou” (Philips – PH-7503) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Obi: Mint). Bloody rare early Watazumido record as released on the Philips label all-complete with beautiful OBI and in top condition. It has been a while since I had a copy of this jaw-dropper in stock and it is a sheer pleasure to get engulfed again in the rough textured Shakuhachi sounds of the master himself. This is a real head turner and one of the woodwinds instruments defining moments, as Watazumi has a gift for unexpected impact while folding and manipulating space when blowing his bamboo flute. These enhancements give his skeletal music undercurrents of depth you won’t find anywhere else. Just amazingly beautiful and deeply intense. Absolute killer material. Price: 150 Euro
1859. WATAZUMIDO: “S/T” (Philips – PH-7510) (Record: Near Mint/ Gatefold Jacket: Near Mint: Obi Mint). The follow-up recording to the above listed brain peeler. This one also drifts in and out into similar deep sonic territory, a sheer lust for raw sounds and subsonic religious undertones through sound and space. Fog-bound and gloriously formless, Watazumi blows out a disembodied zone of minimalist intent through a primitive hands-on aspect that more than transcends the faceless minimal outings of countless minor thinkers. Massively droning and unaccompanied breath bursts to generate brain-massaging microtonal partials. Urabe like zoned tongue ascensions but w/a heady polyphonic/devotional feel that owes as much to early European religious music as it does to raga forms or even the Gyuto Monks. He emanates precarious liquid noise constructs before exploding into silence. It are epic tracks that feel fully-scored and deliberately sculpted but that capture the anything-can-happen energy and higher-minded free music spontaneity of a group at its best. This is a stunning recording, one that unites avant-garde, psychedelic and folk-primitive techniques to dazzling effect, a form of ancient holy music set to levitate the future. Another massive side from Watazumi, beautifully presented and packaged in deluxe gatefold sleeve with salacious obi. Total killer. Price: 150 Euro
1860. WATAZUMIDO: “S/T – Wow! One Breath” (CBS SONY – 25AG 406) (Record: Mint/ Jacket: Mint/ OBI: Mint/ 4 Paged Insert: Mint/ Card Insert: Mint). Top copy and all complete with obi & all inserts!!! One of his hardest to track down releases is this one that saw the light of day as a “Master Sound” recording and released back in the day in 1976 as a recording for the audiophile market. Top copy of one of Watazumido’s hardest to track down records. Watazumido is perhaps the most legendary of all modern shakuhachi players. Regarding himself as something other than a musician, Watazumido based his music in an uncompromising vigorous physical discipline. He was a practitioner of the Jo stick, a long hardwood pole with which he used to stretch, massage, pounds and invigorate his body in a daily regimen beginning at 3:30 AM each day. Now that is a sluice of hardcore for ya all. Watazumido studied Rinzai Zen and later became the unifying head of the Fuke sect of Zen Buddhism. He shunned traditional organized Zen practice for 32 years in favor of his own iconoclastic approach distinguished by breath training and vigorous exercise at its core. The lengthening of the "Out Breath" in his practice is directly descended from the wisdom of the breath as practiced in Zen. Watazumido's music is as unique as it is intense. His style of shakuhachi playing is based on a discipline combining Zen breath awareness and the martial arts. He is known for the blowing an original, personal style of Honkyoku on bamboos of enormous size and length called hochiku flutes. On this rare recording he showcases it all, filled with rough blowing, harsh bamboo flute sounds and ethereal sonic, Watazumido is bound to blow your head as no other. One of his rarest discs out there in top notch condition here for snaps. Highest possible recommendation!! Price: 150 Euro
1861. WATERS, MUDDY: “Best Of Muddy Waters” (Victor Records – SJET-8156) (Record: Near Mint/ Jacket: Near Mint/ 4-paged Insert: Near Mint/ OBI: Mint). Rare Japan only issue – Japan 1st original pressing all complete with rare green colored SJET obi. Price: 100 Euro
1862. WATERS, MUDDY: “The Best Of Muddy Waters Vol. 2” (Victor Records – SJET-8343) (Record: Near Mint/ Jacket: Excellent/ Obi: Near Mint) Rare Japan only issue – Japan 1st original pressing all complete with rare green colored SJET obi. White label PROMO issue. Price: 100 Euro
1863. WATERS, PATTY: “Patty Waters Sings” (ESP Disk - ESP-1025) (Record: Near Mint/ Jacket: Near Mint). First original US pressing of this all time classic beast. This legendary 1965 debut of Patty Waters, simply entitled Sings, is everything that it became famous for. Today, it's also clear how a recording such as this would have come to stand for the angst and anguish of a generation of musicians who were in the forefront of the avant-garde movement in jazz music. Using an organic combination of the human voice, its ability to reflect a myriad of human emotions and breathy spare lyricism, Waters is able to communicate and emote from the very depths of the soul. To that extent, she is truly an innovator whose contribution to music extends well beyond the free jazz idiom that she came to lead, by using the instrument of her voice. Sings captures with nuanced precision, the explosive nature of Waters' vocal brilliance. The record is so exquisitely crafted and sequenced it's as if she deliberately and deftly manipulated her audience by mesmerizing and dulling the senses, first with romanticism as on "Moon, Don't Come Up Tonight," but which soon lays bare the real emotion behind the song. It seems that Waters is setting her audience up, causing them to believe that all is well. Then, as the dynamic tension builds with tracks such as "Why Can't I Come To You," "You Thrill Me," and "Sad Am I, Glad Am I," Waters springs back with "Black Is The Color Of My True Love's Hair." This is when the tension is palpable, and in the darkest, most nourished fashion, Waters appears to rip the heart out of a comfortable existence. This song ought to be held as the flag of the heartless and hollow 1960s, typified by a singular lack of anything to hold on to as being hopeful.” (All About Jazz). So essential that it makes the rest of your record collection shrivel up and dry, loosing all its essentiality. Price: 100 Euro
1864. WATKINS, DOUG: “Watkins At Large” (Transition – trlp-20) (Record: Mint/ Textured Heavy Jacket: Mint/ Booklet: Mint/ Inner Sleeve: Mint/ Sticker: Mint/ Liner Notes: Mint/ Obi: Mint). The 2nd album on the tiny Transition label was “Watkins At Large”, which was bassist Doug Watkins first date as a leader and a great example of his confident soloing. Byrd is again in vividly dramatic form with the authoritative playing by Mobley and Burrell, sustained by a vigorous rhythm section nourished by the blues rooted drive of Watkins bass, the warmth and fluidity of Jordan’s piano and Taylor’s sturdy support. Intensity and skill are married to cohesive emotional purpose. Price: 150 Euro
1865. WAYNE SHORTER: “Night Dreamer” (Blue Note/ EMI Music Japan – BLP-4173) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 75 Euro
1866. WAYNE SHORTER: “Juju” (Blue Note/ EMI Music Japan – BLP-4182) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint).Fulfilling the potential promised on his Blue Note debut, Night Dreamer, Wayne Shorter’s JuJu was the first great showcase for both his performance and compositional gifts. Early in his career as a leader, Shorter was criticized as a mere acolyte of John Coltrane, and his use of Coltrane’s rhythm section on his first two Blue Note albums only bolstered that criticism. The truth is, though, that Elvin Jones, Reggie Workman and McCoy Tyner were the perfect musicians to back Shorter. Jones’ playing at the time was almost otherworldly. He seemed to channel the music through him when improvising and emit the perfect structure to hold it together. Workman too seemed to almost instinctively understand how to embellish Shorter’s compositions. McCoy Tyner’s role as one of the greatest jazz pianists of all time was played here as well, and his light touch and beautiful, joyful improvisations would make him a much better match for Shorter Than herbie Hancock would later prove to be. What really shines on Juju is the songwriting. From the African-influenced title track (with its short, hypnotic, repetitive phrases) to the mesmerizing interplay between Tyner and Shorter on "Mahjong," the album (which is all originals) blooms with ideas, pulling in a world of influences and releasing them again as a series of stunning, complete visions.” (All Music Guide) Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 95 Euro
1867. WAYNE SHORTER with Herbie Hancock; Reginald Workman & Joe Chambers: “Adam’s Apple” (Blue Note/ EMI Music Japan – BLP-4232) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint/ Insert: Near Mint/ Capsule Obi: Near Mint). Immediately Out Of Print in the flash of an eyelid when they were released 6 years ago in an edition of only 500 copies…. Japan’s uber-quality super limited deluxe high quality reissue of some of jazz finest titles. All is done with an extreme eye for details – EXACTLY sleeve reproduction up and down to the original coating, texture, label’s first address, choice of carton and paper used for printing – simulating the perfect real-time artifact etc…exact same labels and micro groove deep groove pressing, 200-gram vinyl. The jackets are all imprinted in Japan – hence the almost neurotic perfection of the whole job that makes the jackets identical in thickness and quality of the materials used as to the fist press originals & also they used the same lettering as the originals, all is just state of the art. The vinyl was pressed in the US using the original pressing machine that was used for the originals in order to create the exact same quality of vinyl and sound!!!! Flat edged press and cut from the original master tapes as well. And to close it all of, reproduction of the original inner sleeves and liner notes as well. This borders on the insane as far as near perfection is concerned. Glorious MONO to boot, sold out on the spot. Price: 75 Euro
1868. WENDELL HARRISON: “An Evening With The Devil” (Tribe – PRSD-2212) (Record: Excellent ~ Near Mint/ Jacket: Mint, still in shrink). Top copy!! Original 1975 deep groove pressing on the highly collectable Tribe records. Classic spiritual jazz/ free jazz/ black power political groove monster. "The compositions we play are reflective of the music of our times whereby we play Jazz, Funk and African music with its poly or many rhythms. I wrote all the tunes in this particular L.P. and it is written as a suite of 5 movements, which means that the music can be performed along with poetry and dancers. On our last L.P. 'Message From The Tribe', we featured the compositions of our very talented composer, arranger and trombonist Phil Ranelin. On one side of the L.P. he wrote all the compositions and on the flipside I wrote all the tunes. This album was produced by the Tribe record label. As far as the music in 'Evening With The Devil' is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theater group in Detroit called the Black Messengers." (Wendell Harrison). One of the rare early albums on the Detroit based Tribe label, now made legendary by the compilations on Soul Jazz and P-Vine. Tenor player Wendell Harrison leads a group that includes heavyweights such as Marcus Belgrave, Charles Eubanks, and Phil Ranelin, and which features occasional poetry by the "Black Messengers". The groove is laidback and spacey, spiced up with some groovy electric piano, and good mellow solos that have a nice soulful vibe to them. Other parts of the album are a little bit more free jazz intoned and have a sharp edge to them. Just a killer album. Price: 225 Euro
1869. WENDY & BONNIE: “Genesis” (Skye – SK-1006D) (SEALED) First original press, TOP COPY! SEALED ORIGINAL PRESSING. Sealed copies rarely surface anymore these days, so a chance to wheel in the final upgrade and perfect copy. “Wendy and Bonnie Flower were fortunate enough to grow up there at that time, and to have connections to Cal Tjader, the foremost non-Latino in the Latin jazz movement. Tjader helped the sisters land a record contract; in 1968, they dove into the studio with some of LA's top session musicians and recorded their Genesis album. The album went nowhere upon its 1969 release; their record label tanked, their producer died, and Wendy and Bonnie might have vanished into history with all the other garage bands. But a few copies of Genesis fell into the right hands, giving the album a lasting underground buzz. For most of the 80s and 90s, it was an album more often talked about than heard, acquiring a near-legendary status among fans of 60s psychedelic pop. Listening to Genesis is a walk backwards to the late 60s. Sonically, the album is sort of a folk/lounge/Debussy mash up whose most distinguishing characteristic is the powerful blend of Wendy and Bonnie's voices. The session players (aces like Jim Keltner, Larry Carlton, and Michael Melvoin) try their best to keep the sound out of the coffeehouse, but Wendy's songs simply reek of caffeine and study hall. There's a melodic and harmonic sophistication that one might not expect from a teenage songwriter, but it's clear that Wendy's stylistic horizons were somewhat limited. (Although the sisters' penchant for suddenly breaking into madrigal-type singing in the middle of folk-pop songs is certainly intriguing.) The lyrics are shot through with hippy-dippy sentiment, but the music more than compensates. The sisters' harmonies are simply gorgeous. So much so, in fact, that it's difficult to listen to Genesis all the way through--after about seven or eight tracks, it gets a little overwhelming, like trying to eat a giant wedge of blue cheese. It's better appreciated in small doses--in fact, this album would make killer chill-out mix-tape source material.” (Mark Hasty). And the raves go on – quite so since it is a stunner of a disc – “So here are two teenaged girls, with a recording contract, and a clutch of musicians at their disposal including Jim Keltner, Mike Melvin, and Larry Carlton. Um, not bad. What they came up with is truly a stunner ... The whole thing is executed brilliantly and sympathetically by the Extreme-Heavyweight musicians, who never let their own agendas get in the way. In fact, the whole thing is SO brilliant that when you first put it on, you immediately think "hoax.' There's no way these girls could have come up with this music. But they did, and you really need to hear it.” (Ugly Things). Highest recommendation and top copy original press!!! Price: 250 Euro
1870. WEST COAST POP ART EXPERIMENTAL BAND: “Part One” (Reprise – R-6247) (Record: Near Mint 〜 Mint/ Jacket: Near Mint 〜 Mint). Extremely rare US first original pressing – this being the rarely seen WHITE LABEL PROMO & MONO issue. Comes housed as usual in stereo sleeve but the issue holding the promo mono has significant discrepancies as opposed to the regular sleeve. First the numbering on sleeve is R-6247 as opposed to RS-6247 for the stereo issue. Next to that there is no faint white framing and no white spine, all is fully colored in orange as opposed to regular copies. That aside, this copy is as perfect as they come, impossible to ever upgrade upon. Rare first original pressing on white MONO/ PROMO label. Top original 1st press copy of this all time psych classic. Best copy and condition imaginable!!! Price: 350 Euro
1871. WEST COAST POP ART EXPERIMENTAL BAND: “Part One” (Reprise – RS-6247) (Record: Near Mint ‾ Mint/ Jacket: Mint, still housed in shrink). Top condition first press US original with sleeve still housed in shrink. Very first press issue with matrix numbers ending in A-1/ B-1 respectively. Absolutely TOP condition and next to impossible to ever find a better one. Price: 300 Euro
1872. WEST COAST POP ART EXPERIMENTAL BAND: “Vol. II” (Reprise – RS-6270) (Record: Near Mint ~ Mint/ Jacket: Near Mint ~ MINT) 1st original US pressing on the tri-color steamboat label. TOP COPY in absolutely perfect condition, record has no signs of being played a lot, the jacket has NO ring wear at all and looks like it was printed only yesterday! With their soaring psychedelia, achingly pure folk-rock and Zappa/Beefheart strangeness, these seminal underground gems from the West Coast Pop Art Experimental Band - Part One, Vol. 2 and A Child's Guide To Good & Evil - can be seen as encyclopedic primers of the late-'60s Los Angeles musical experience. Never seen a copy as clean and perfect as this one, jacket is always prone to ring wear but this one looks like new. Impossible to ever upgrade upon! Price: 250 Euro
1873. WEST COAST POP ART EXPERIMENTAL BAND: “Where’s My Daddy?” (Amos Records – AAS.7004) (Record: Excellent/ Jacket: Near Mint). Original US pressing, just a top copy, a shy away from Near Mint. “1969's Where's My Daddy?, surely must qualify as one of the creepier musical efforts of its year. Even without prior knowledge of bandleader and lyricist Bob Markley’s later descent into severe mental problems, not to mention a string of arrests involving underage girls, the lyrics of this album are disturbing; with that background, some of them are downright horrifying. A concept album of sorts, Where's My Daddy? charts the odyssey of "Poor Patty" (possibly the barefoot ten-year-old street kid pictured on the album's sleeve) through the post-Summer of Love bad trips of the Los Angeles street scene. From the Lolita-like innuendoes of "Everyone's Innocent Daughter" to the climactic "Two People," which ends up with a beaten and raped Patty pleading her case to a disinterested judge, side two of Where's My Daddy? is like one of those cautionary morality films of the '40s and '50s as reinterpreted by Dennis Hopper’s character from Blue Velvet. The music seems almost secondary, with most of the brief tracks consisting of little more than one- or two-chord vamps under Markley's increasingly fragmented and freaky story.” (From All Music Guide). To these ears a fantastic album with “Help I Am A Rock” standing out amogst a bunch of oddly normal but highly weird tunes. A classic. Price: 150 Euro
1874. WESTBROOK, MIKE: “Love Songs” (Deram – SML-1069) (Record: Near Mint/ Jacket: Near Mint/ Company Inner Sleeve: Near Mint). Original UK 1970 pressing unboxed Decca in TOP shape. Released in 1970 on Deram Records. A concept album from pianist and composer Mike Westbrook along with his "big band". There’s really a lot going on in this album; individually, collectively, scored and improvised, but in my opinion the arrangements with their themes etc. are so good that the result is a real stunner, rather than cluttered or overbearing. A jazz/soul record that embraces both the deep, funky and the jazzy. A warm feel flows throughout the whole album is present without getting cheesy as the title of the album could suggest. Its amazing how its up-tempo funky tracks still can sound so deep without suggesting some sort of dance party, but reaches into your soul and moves you. Stunning LP and a cornerstone recording in the UK jazz scene. A Must, top copy. Price: 300 Euro

1875. The MIKE WESTBROOK CONCERT BAND: “Marching Song Vol. 1” (Deram/ King Records – DL-3002) (Record: Near Mint/ Jacket: Near Mint). Original Japan 1970 pressing in outstanding condition. Originally released on Deram in 1969 and followed by a Japanese pressing the following year, at a time of escalating world conflicts, this was pianist/ bandleader Mike Westbrook’s aural depiction of man’s inhumanity to man. Assembling some two-dozen key session players, he delivered obliquely orchestrated music that represented the light and shade, peaks and troughs of conflict. Mostly brass- and reeds-led, the pieces are in turn profoundly disturbing, relaxing, jubilatory and saddening. It makes at times for a most challenging listen, though always demands reflection and raises questions. Fantastic recording. Price: 125 Euro

1876. THE MIKE WESTBROOK CONCERT BAND: “Marching Songs Vol. 2” (Deram – SML-1048) (Record: Near Mint ~ Mint/ Laminated Jacket: Near Mint/ Company Inner Sleeve: Excellent ~ Near Mint) Original UK 1st pressing on the collectible Deram label, 1969 1st issue. The second volume of Mike Westbrook’s Marching Song work was issued simultaneously with the first volume at the end of 1969. Since the first and second sides of Marching Songs Vol. 2 are labeled "side three" and "side four," it's fair to deduce that it's meant to be listened to in combination with the first volume, even if the volumes happened to have originally been issued on separate LPs. Marching Songs Vol. 2 is, like its predecessor, a mix of progressive big band and avant-garde jazz that has often been interpreted as a statement on the nature of war, and sometimes as a specifically anti-war statement. However, it's not only devoted to angrily implied protest, though it has its share of cacophonous passages. There are also lightly swinging, rather accessible pieces (like "Home") that reflect non-combat wartime scenarios, as well as subdued compositions with horn soloing that act somewhat as lulls in the fighting, like the opening "Transition" and the more dramatic "Ballad." "Prelude," meanwhile, has something of a post-modern sitting-around-the-campfire feel, and "Tension" expands its cinematic implications with dynamic interplay that would sit well on the soundtrack of a thriller. "Conflict," however, has all of the large-scale dissonance both avant-garde jazzers and anti-war protesters might be thirsting for, a bent that becomes more pronounced as the record storms toward its conclusion. There's no shortage of quite out-there sections, however, with the several-dozen-strong cast of players -- including such standout names as Kenny Wheeler on trumpet and flügelhorn, Barre Philips on bass, and John Marshall on drums -- guaranteeing depth and richness to the arrangements. If it's consciously studied as a concept work, it's not so much an antiwar protest as a reflection of war's many moods and stages, from gung-ho patriotism to between-battle ennui and post-conflict exhaustion.” (All Music Guide). Totally essential UK jazz slide. Top condition!!! Price: 175 Euro
1877. WHITE HEAVEN: “Levitation” (The Now Sound) (Record: Near Mint/ Jacket: Mint). Early times White Heaven slide that sees the band live in action way back in during their “Electric Cool Acid” period – which by many is considered their best incarnation ever. Recorded before “Out” saw the light of day, the line-up here was You Ishihara (vocals/ guitar), Michio Kurihara (guitar), Soichiro Nakamura (bass) and Ken Ishihara (drums). They rip through classics such as Cold Hour, Dull Hands, Out of My Window and Snow on the Table. Delirious acid drenched and amphetamine soaked basement psych live in Tokyo in 1988. This is the 1st original pressing and not the common bootleg that is floating around of this one. Killer with absolutely no filler. Been ages since I saw a copy of this one. Price: 150 Euro
1878. The WHO: “Sell Out” (Polydor Japan – SLPM-1394) (Record: Mint/ Flip Back Fragile Jacket: Mint). Original first issue Japanese pressing that comes housed in a Japan only jacket. Released in 1968 and in total mint condition, impossible to upgrade upon. Music needs no introduction I guess, a classic all way round. Amazing TOP condition and hardly ever surfaces on these shores so rare forever. In this condition it will be impossible to score, perfect all way round. Price: Offers!!!!!

1879. The WHO: “Tommy” (Polydor – MP-9313/14) (2 LP Record Set: Near Mint/ gatefold Jacket: Near Mint/ OBI: Near Mint/ Attached 12-paged Booklet: Near Mint). Original 1969 Japan 1st original pressing all complete with booklet and first issue obi. Hardly ever seen a copy as clean as this one here. Classic Who!!!! Price: 120 Euro

1880. WIEBEL FETZER: “Live” (Bazillus Switzerland – ZILL-111) (2 LP Set: Near Mint/ Silk Screen Jacket: Near Mint). Original Swiss private pressing that came out in an edition of 250 copies back in 1971. Recorded at the "Weisser Wind" of Zürich, on 27th April 1971. Seven Swiss, three Danes, an American and a Swede – amongst them Krokodil’s drummer & percussionist Dude Durs, John Tchicai, Peter Warren and Irene Schweizer – experimented live in a one-off concert with creating new sounds through intuitive approach and creating a new musical language that balances between free improvisation, derelict funky vibes, tribal hoedowns, asymmetric grooves and mutant variations of electric jazz and rock. The result is just astonishing, brilliant and out of time!!! That session will always remain timeless and you can call it free and experimental jazz / rock but still that will fail to nail it down properly as it embodies elements of it all and molds it into a new intoxicating musical language that will keep you begging for more and more. It is dense, subtle and refined – almost like a cocktail of Bitches Brew era Miles Davis, the tribal stomping grounds of Amon Duul II and Stravinsky’s pagan sacrifice vibes in The Rite of Spring all sprinkled over by a lethal dose of raw breakdowns of huffing brass and droning psychedelic moods and once the group is firing on all cylinders it is just impossible to resist, mainlining free jazz, electric boogie and psyched out hoedowns all in one. An addictive cocktail for sure and one killer of a rare 2 LP set. Bloody rare privately released 2 LP set in TOP condition, this is beyond awesome!!!! Price: 500 Euro
1881. WIND: “Seasons” (+Plus+ - Plus-3) (Record: Excellent ~ Near Mint/ Jacket: Near Mint). Original German 1st pressing of the band’s heavier debut out of 1971. Killer heavy guitar based prog jammer that leaves no stone unturned. “In 1971 they recorded the legendary album Seasons - one of the most sought-after German albums nowadays. This was the second of three releases on the low price Plus label. The varied album captured Wind in different moods: "Dear Little Friend" was a thundering heavy rocker and "What Do We Do Now" a vintage progressive rock anthem with fine use of organ and flute. "Romance" is a charming interlude for prepared piano and "Now It's Over" had melancholic, folky vibes like the 1969 Pink Floyd. "Springwind" had haunting vocal lines and finally came the 15 minute closing track "Red Morningbird" with its floating, moody folk whispering, interrupted by some outrageously heavy outbursts. This is one of the classics of German progressive rock that will always be remembered for its powerful Hammond organ versus electric guitar sound. It should appeal both to fans of progressive heavy rock and fans of folk-rock as performed by the artists on the Pilz label.” (Cosmic Dreams at Play). Original German pressing in top condition. Price: Offers!!!
1882. WILEN, BAREY: “Auto Jazz – Tragic Destiny of Lorenzo Bandini” (MPS Records Japan – YS-2203-MP) (Record: Mint/ Heavy Laminated Gatefold Jacket: Near Mint, has only a few mildew stains inside gatefold visible against white background). Rare white label promotional copy. French tenorist and racing enthusiast Barney Wilen's arrived at the 1967 Monaco Grand Prix with his Nagra sound recording system in hand, planning nothing more than to tape the race for private use. But when famed Italian Formula One racer Lorenzo Bandini lost control of his car and crashed, suffering horrific burns that claimed his life three days later,, Wilen et to work on integrating the tape into a new composition celebrating the driver's life and career. The resulting Auto Jazz – Tragic Destiny of Lorenzo Bandini remains one of the most adventurous and potent recordings in Wilen’s catalog, its careening, visceral music brilliantly paralleling the exhilaration of its subject matter. Bandini's Ferrari speeds in and out of the musical narrative, jockeying for position amid Wilen's soaring tenor and Eddy Gaumont’s crashing drums while uniting driver and musicians in their reckless abandon and addiction to adrenaline.” (Jason Ankeny – AllMusic) 1969 Japanese 5-track LP featuring the soundtrack of the 1967 Monaco Grand Prix incorporated into the five-movement 'Musique Concrete' suite in which the unfortunate Lorenzo Bandini lost his life after a crash on the 87th lap. Against a crashing free jazz setting with incorporated musique concrete sounds of vintage race cars speeding around, motors humming, race announcements, Wilen churns out an incendiary set fuelled with gut wrenching moves, twists and turns. The race sound s mix perfectly with the burning fire music, a match made in heavens that ended in disaster for Bandini. The whole affair comes housed in a great front laminated gatefold picture sleeve. Top copy original Japanese pressing on high quality vinyl. A feast for your ears and eyes, jacket comes in thick laminated gatefold jacket. Price: 120 Euro
1883. WILEN, BARNEY& his AMAZING FREE ROCK BAND: “Dear Dr. Leary” (MPS Records – YS-2301-MP) (Record: Near Mint ~ Mint/ Heavy Gatefold Jacket: Mint/ Insert: Mint) ORIGINAL FIRST JAPANESE PRESSING FROM 1970 with heavy foldout cover. WHITE LABEL PROMO & best copy I have seen so far, impossible to upgrade!!!! This is stellar oddball free jazz meets psychedelic pop record, the most perfect hybrid configuration between these two worlds. The result is a galvanizing mercurial mixture that rips through free hardcore jazz while touching elaborately at the lysergic colored mind drops scattered all over the 1968 music scene by the Beatles and other pioneering mind benders. Exotic, weird, out of place and totally in tune, while dropping out of fixed musical straight jackets, Barney and his free rock band artificially fertilize a new musical species and this before sheep Dolly and her test tube babies caused havoc amongst the straight people. They certainly have the ability to turn you on. Great stuff ignited by a defused atomic line-up. Personnel: Barney Wilen (tenor & soprano-saxophone), Joachim Kuhn (piano, organ), Mimi Lorenzini (guitar), Gunter Lenz (bass, electr. bass), Aldo Romano (drums) & Wolfgang Paap (drums). A rarity, first Japanese pressing on the MPS label and pressed on high quality vinyl. Price: 150 Euro
1884. WILEN, BARNEY: “Moshi” (Saravah Records – SH 10028.10029) (2 LP Record: Near mint/ gatefold Jacket: Near Mint). In 1970 Barney Wilen assembled a team of filmmakers, technicians, and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects, and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier, and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, street-legal funk. Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of indeterminate origins. A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz and funky noise, with some cuts that are spacey, and others that are nice and funky. Price: 450 Euro
1885. WILLIAM S. BURROUGHS: “Call Me Burroughs” (ESP Disk – ESP-1050) (Record: Near Mint/ Jacket: Excellent, middle lower split seam of 1 cm, apart from that top condition). Burroughs reads selections from Naked Lunch and Nova Express. Call Me Burroughs was recorded in a basement apartment in London that Paul McCartney had outfitted with some tape recorders and which Burroughs had access to. Naked Lunch had started life as a series of "routines", little spoken word scenarios that Burroughs would entertain his pals with. To hear him read "Dr. Benway" or "Bradley The Buyer", in his dry, flat, timeless voice, is like having a private performance of Burroughs doing routines right in your own home. An all time classic in awesome condition. 1st original pressing. Price: 150 Euro
1886. WILLIAM S. BURROUGHS: “Nothing Here Now but the Recordings” (Industrial – IR0016) (Record: Near Mint/ Jacket: Near Mint). Original 1981 press as released on Throbbing Gristle’s own Industrial Records imprint. Definitely the greatest Burroughs recording to have ever seen the light of day on wax. The LP collects tracks recorded from 1959 up until 1978 but the largest bulk of the material was recorded in the early 1960s. It is a magnificent collection of Burroughs tape, radio and TV cut-up experiments. His nasal clinical voice interlocks neatly with rasping blurring slur of the tape hissing away, spiced up with radio buzzing statics, street noises and cut-up juxtapositions. Reverb and echo bouncing off against the hotel walls where it all was recorded before being sliced to pieces, re-connected and dismembered, this sonic travelogue into the working mode of one of the 20th century’s greatest ever writers is a truly alchemical voyage, a chilling trip through rasping reverb drenched spoken weird executed in the clipped clinical monotones typical of speeded up and slowing down voices of an analytical mind at play. Aural experimentation through recorded sub-vocal speech and manhandling throat held microphones and inching the recorded tape manually across the recording heads of the machine, it takes you on a voyage few artists have ever undertaken. Just sheer brilliance!! Price: 150 Euro
1887. THE TONY WILLIAMS LIFETIME: “(Turn It Over)” (Polydor – 2425-019) (Record: Near Mint/ Laminated Jacket: Near Mint). First original UK pressing – comes housed in fragile laminated jacket complete with lamination perfectly intact!!!! UK pressing of this album is quite rare and superior. Top copy. Price: 150 Euro
1888. THE TONY WILLIAMS LIFETIME: “(Turn It Over)” (Polydor – MP-2109) (Record: Near Mint/ Gatefold Jacket: Near Mint/ OBI: Near Mint). First original Japanese pressing – comes housed in a JAPAN ONLY gatefold jacket complete with notes and the RARE OBI!!!! White label promo issue. “The better of the two albums the Tony Williams Lifetime recorded in 1970, Turn It Over, is a far more focused and powerful album than the loose, experimental Ego, and one of the more intense pieces of early jazz-rock fusion around. In parts, it's like Jimi Hendrix’s Band of Gypsys with much better chops. It's more rock-oriented and darker-hued than their debut, 1969's Emergency! and the temporary addition of ex-Cream member Jack Bruce on bass and vocals alongside stalwart guitarist John McLaughlin makes this something of a milestone of British progressive jazz. The album's primary flaw is that unlike the expansive double album Emergency!, these ten songs are tightly constricted into pop-song forms -- only a swinging cover of Antonio Carlos Jobim’s "Once I Loved" breaks the five-minute mark, and then only barely -- which reins in these marvelous soloists too much. This particularly frustrating since pieces like the two-part "To Whom It May Concern" feature some outstanding solos (especially from McLaughlin and organist Larry Young, the group's secret weapon) that are frustratingly, tantalizingly short. Expanded to a double album, Turn It Over, would probably surpass Emergency! as a pioneering jazz-rock fusion release; as it is, it's an exciting but mildly maddening session.” (All Music Guide) This is the rare WHITE LABEL PROMO Issue and the Japanese pressing of this album is quite rare and superior in sound compared to UK & US pressings. Top copy. Price: 150 Euro
1889. WILLIAMS, TONY: “The Tony Williams Lifetime Emergency” (Polydor – 25-3001) (2 LP Set: Excellent/ Gatefold Jacket: Excellent). Original US pressing. “Williams's group Lifetime, which looked on paper like an organ jazz-funk trio, produced in 1969 this headlong hybrid from jazz complexity and rock immediacy. Williams, fresh from edging Davis towards his jazz-rock-soul period, concocts a driving, high-volume fusion that has more conviction and flare than anyone else's would until the advent of the great Mahavishnu Orchestra a couple of years later. That band was led by Williams's collaborator here, John McLaughlin, as blistering and savvy a guitarist as any jazz-rock saw. Larry Young's organ is a skirmishing juggernaut, clearing and blasting into space above, behind, beneath, and between the drummer's crashing, jittering rhythms. A cautionary note: To be sure, Williams's singing on Emergency! is brave, at best, but it is blessedly limited.” (Peter Monaghan). Spot on, a true classic. Price: 75 Euro
1890. WILLIS, BUTCH & THE ROCKS: “Forthcomings” (Love Records – BW-1002) (Record: Near Mint/ Jacket: Near Mint – Still In shrink). To these ears one of the greatest but sadly overlooked totally wacked out outsiders LP’s to seep out of Middle slime USA. Released in 1986, “Forthcomings” is a brain numbing blast and the song “drugs” which opens up side two is one of the greatest and wasted songs ever recorded and which has kept on haunting me for over almost two decades. “In the mind of Butch Willis, he and his group The Rocks are the entry-level equivalent of Bob Seger & The Silver Bullet Band, Bruce Springsteen & The E-Street Band, or even the latter-day Rolling Stones. They play straight-arrow AOR hard rock, with a lot of sheen and just a little tiny bit of gristle. By Butch's way of seeing things, the only reason he and his band don't have a major-label record contract is due to clerical oversight. To the rest of the world, however, he and The Rocks belong much more to the realm of such outsider musical artists as The Twinkeyz, Electric Eels, Shuggie Rodelle & His Imbiblio Band or the singing flea market cowboy Buddy Max, than they do to the world of arena rock. As evidenced by the two albums he released on his own Love label in the mid-1980s, Of and Forthcomings, Willis and his revolving-door band of D.C.-area musicians are anything but pedestrian. Would Bob Seger have a full-time band member whose sole duty is to stand there and chop at his throat while warbling vocal tones? While much of Willis' material centers on banal topics given humorous slants ("Kitty Cat," "TVs From Outer Space," "Pizza On My Jeans"), he is equally capable of a sublime treatment of classical themes ("The Girl's On My Mind," "Everything's Alright," "The Garden's Outside"). At their best, his Rocks are capable of generating a surging undertow of rhythmic noise, over which Butch can pour out his heart and "throat guitarist" Al Breon can uvulate like there's no tomorrow, contributing a warp factor reminiscent of Tommy Hall's electric jug playing with the 13th Floor Elevators. Willis's songs are exciting, his lyrics entrancing, and his quavering voice and unsteady physical presence are like watching a hobbled old lady trying to cross a busy intersection against the light. Add to that a Maryland twang ready-made for a John Waters Dreamland production or the cast of Heavy Metal Parking Lot and Butch's obvious sartorial splendor, and you've got the makings of a true star.” (Phil Milstein). Spot on, Butch Willis and the Rocks are nothing but phenomenal, and Forthcomings is an absolute masterpiece in my book. Highest possible recommendation!!!! Price: 75 Euro
1891. WIRE: “Document And Eyewitness – Electric Ballroom LP” (Japan Record – RTL-3501) (2 LP Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint). Japan 1982 original first pressing, rare promo issue. Great live recording of their 1980 show at London’s The Electric Ballroom, the band’s last before a five-year hiatus. Conceived as a multimedia event that would feature absurdist “actions and interventions,” experimental performances by Wire members and their associates, and, of course, very little of the band’s then-released music, the show was meant to expand on the ideas the group had showcased in their divisive-but-accomplished residence at the Jeannetta Cochrane Theatre late in 1979. So, an audience already nonplussed by the lack of Pink Flag vehemence in the band’s recent music was treated to Colin Newman singing while wearing an oversized beekeeper’s veil, DAF joining in for a chorus sporting headdresses made out of newspaper, an inflatable jet, a huge white sheet paraded across the stage through the whole evening, Angela Conway dragging two tied-up men, and a life-sized goose lamp. Price: 50 Euro

1892. WIRE: “154” (EMI Records – EMS-81277) (Record: Near Mint/ Jacket: Near Mint/ Insert: Near Mint/ OBI: Mint). Original Japanese first original pressing from 1979 – White label PROMO issue. “Completing the transformation from abstract punks to art-rockers, 154 is Wire's most impressive album. The virulence still remains, but with more depth and style than elsewhere. Ever-changing writing partnerships create a new level of tension, pulling the release in often-disparate directions. On the surface this creates a rather disjointed album, but the sheer quality of writing and performance soon banishes such thoughts for good. Experimentation is still evident—most notably in the harrowing The Other Window that tells the story of a man traveling on a foreign train. From his window, he notices a dying horse fatally trapped in a barbed wire fence. The stressed instrumentation of the backing and out-of-time metronome drumbeat enhance the atmosphere building to the simple finale: 'He turned away/What could he do/The other window had a nicer view'. Wire's keen sense of observation also appears within the amusing On Returning, emphasizing the way British people sometimes travel overseas with a level of nonchalance and arrogance: 'You'll be sorry when the sun has roasted you to lobster red'; 'On arriving with the third language tucked into your briefcase next to your toothbrush'. The musical high-point arrives halfway through the album in the shape of A Mutual Friend. The arrangement is rather less contemporary than any of the other tracks, combining various guitars with cor anglais passage and evolving drum beats that range from delicate cymbal play to rampaging tom rolls. If you like Wire then you'll adore 154 and although this is sometimes one of the most painfully disjointed albums you're ever likely to hear it's also one of the best.” (Craig Grannell) Total mind-fucking cluster of a record. Where did my youth go? Bleak and claustrophobic. Utter greatness!!!Price: 125 Euro

1893. WISHBONE ASH: “Argus” (MCA Records/ Victor Musical Industries – MCA-6066) (Record: Near Mint/ Gatefold Jacket: Near Mint/ Insert: Near Mint). Original 1st original Japanese pressing on high quality vinyl and in exquisite condition. Classic slide that needs no introduction I guess. Personally I ride hard for the 3 first Wishbone Ash albums. Essential!!! Price: 75 Euro

1894. WITCH: “Lazy Bones” (Shadoks) (Record: Mint/ Jacket: Mint). “The Witch was a Tuff sounding lo-fi band From Zambia. Witch released just one album, Lazy Bones, in 1975. It is a work of sheer genius. Witch played a sort of wah-wah psych but with a bit more darkness. Check out the opening track, "Black Tears." It starts out rather melancholy and builds into a chugging, almost Sabbath-inspired shuffle before finishing with a doomy end. Lazy Bones!! sounds as if it was recorded live to 2-track with the vocals and some acoustic guitar added later. The spartan production only makes the album more Tuff. The drum fills and vocals at times overload the mics. You can almost hear the suffocating heat of whatever slap dash Zambian studio they were in.” (Tuff Rock). A stunning blast out of Zambia in 1975. A soul-shouting edge combines with hard driving punk/garage guitars, tons of wah-wah, mesmeric melodic constructs, heavy African rhythms and powering blues testifying that sounds like a more militant/low-down take on South American psych. Price: 75 Euro
1895. WOLFGANG DAUNER TRIO: “Dream Talk” (CBS Records - CBS 62478) (Record: Near Mint/ Triple Gatefold Sleeve: Near Mint). Original 1965 West Germany 1st original pressing in top condition. An early session from German pianist Wolfgang Dauner – one with a sound that's every bit as great as you'd expect from the title! The "dream talk" component here is one that comes from Dauner's gentle, yet modern approach to the keys – one that's clearly learning lessons from 50s modernists like George Russell or Bill Evans, but which is stretching out here in some of the bolder freedoms of the European scene at the time – a precursor to later modes on MPS and Saba, but performed here with a bit more careful restraint. The record's nicely free from some of the overindulgences of some of Dauner's 70s sides, and is an acoustic effort throughout – extremely imaginative, with a "set free" quality that's also never too "out", nor too full of itself – a bit like the best early recordings by Steve Kuhn. Wolfgang's approach to the keys is nothing less than revelatory – and he receives well-matched accompaniment from bassist Eberhard Weber and drummer Fred Braceful. Stunning clean original German pressing. Impossible to upgrade upon this one, they do not come any better than this copy here. Killer. Price: Offers!!!!!
1896. WOODEN SHJIPS: “Shrinking Moon For You b/w Death’s Not Your Friend & Space Clothes” (Self Released) (Record: Near Mint/ Paper Sleeve Jacket: Mint). “Self-released Shrinking Moon for You 10-inch: packaged in an unassuming, clear plastic sleeve with hardly any information besides song titles. Beyond sending bloggers and journalists into a tizzy over their sexy, squalling grooves, this set confirmed Wooden Shjips as essential California. While Devendra Banhart and Vetiver reel in mellow '70s album rock and Comets on Fire carry the torch of scraping psychedelia in the key of Quicksilver Messenger Service, Wooden Shjips recover the dark star lurking behind flower power in groups like Blue Cheer and yes, the Doors. The A-side is all feverish face melt, but it's on "Clouds over Earthquake" that the band really sets the agenda. A shapely guitar lead dissolves into the heat waves of a droning pulse, eventually giving way to band leader Ripley Johnson's echo-chamber vocal: "Fire / The sun is rising / Cut through the black clouds / Over earthquake.” (San Francisco Bay Guardian) Dominated by the druggy thud of the A-side’s “Shrinking Moon for You,” the three songs on their debut evidenced a band that could not only hit the Reed/Cale/Morrison/Tucker mainline straight on, but also channel vintage Texas screamers like the 13th Floor Elevators (as on the organ-laced “Death’s Not Your Friend”) as well as the far more Faust-like experimental textures that emerged with the backwards vocal snippets and drone figures of “Space Clothes.” With a three-song 10" pressed up and ready to go, the band opted not to go the expected route of sending out copies to shops and distributors in the vain hope of sales. Instead, they simply gave them away. Price: 175 Euro
1897. WOODSTOCK: “Original Master Recording Box Set” (Mobile Fidelity Sound Lab – MFSL-5-200) (5 LP Record Set: Near Mint/ 2 Individual Triple Gatefold Jackets: Near Mint/ Slip Case Outer Box Set: Excellent, some storage wear visible around the edges). This is an out of print Mobile Fidelity Sound Labs limited edition audiophile quality from the original master tapes. Pressed at the Victor Company of Japan (JVC) on Super Vinyl at half speed. Everything about these albums is top notch, from the sound to the packaging. The albums Woodstock and Woodstock Two released as a boxed set of Limited Edition Original Master Recordings. Produced by Mobile Fidelity Sound Labs. Stereo Recording. MFSL 5-200. First Japanese Pressing. Half-Speed Mastered from the original first-generation stereo master tapes recorded live at the festival. Numbered Edition. 

This is the best sounding edition of Woodstock ever released, period. It blows away any of the "digitally remastered" CDs and LPs, allowing you to hear "into" the recording, to catch every background detail. This pressing was made in Japan, using a half-speed mastering process and specially plated stampers, on heavy, thick premium virgin vinyl. 
Mobile Fidelity Sound Lab uses an album’s master tape(s) combined with a unique procedure known as "half-speed" mastering, which literally slows down the cutting system involved in mastering the vinyl so that musical information can be transferred from the source tape to the lacquer with greater precision. This advanced mastering technique adds substantial refinements in the vinyl compound itself and improves methods of plating the lacquer. The result is a significant improvement in overall performance from the vinyl medium." The vinyl records are pressed on "High Definition Super Vinyl" by the Victor Company of Japan. This edition came out over a decade ago and sold out immediately on the spot. Here is a nice copy for your aural deprivation. Price: 350 Euro
1898. WOORDEN: “S/T” (Omega – 333.023) (Record: Near Mint/ Gatefold Jacket: Near Mint). Bloody rare original 1967 Dutch private pressing. The best – rarest – most disoriented psychedelic & crackbrained weird/ disoriented avant-garde/ frenzied free jazzing and lysergically dysfunctional LP to seep out of the Low Lands. This is nothing short of being the most legendary Dutch underground piece that appeals to just anybody – whatever your musical persuasion may be – folk, free jazz blowouts, poetry, weird effects, musique concrete, tape effects, psychedelic rock, lysergic daydreams, improvisation jams, doped up freefall for all, etc it is all there because it was a time when there were no limits and no laws. There is one female vocal folk track on this disc that blows the whole of the “Wicker Man” album (which I deeply and dearly love) straight out of this solar system. Then there is the totally delusional tripped out gatefold jacket art that again ranks amongst one of the best jackets ever to have hit the streets. Totally lysergic and mentally confusion. The record was instigated by Holland’s most revered writer/ poet/ enfant terrible Simon Vinkenoog and was issued in an edition of 300 to 500 copies (depending on the source) and only been offered for sale at the time at head shops and coffee shops of Amsterdam. Never ever turned up in quantity so rare for eternity. Top copy so…hit me with your best shot and we take it from there and further, to infinity and beyond…Price: Offers!!!
1899. WOOTEN, BILLIE: “The Wooden Glass Recorded Live featuring Billie Wooten” (P-Vine – PLP-6888) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Stunning high quality Japanese press issue of classic jazz funk masterpiece. Mad funky vibes from The Wooden Glass – a group led by vibist Billy Wooten – an obscure player in the history books, but one who has had a huge influence on 21st Century groove! Billy's got a hard style on the vibes that's like Bobby Hutcherson and Roy Ayers at their soulful best – working here with a tight combo that includes guitar and organ, very much in the mode of his classic work with the slightly more famous (although equally obscure) Indianapolis combo The Nineteenth Whole! The set's a live one, but it really cooks with a sweet electric feel – echoey, funky, and soulful – as tunes spin out in a staggering approach to the vibes that's unmatched by any record of its time. Billy was a huge influence on Madlib and the sound of Yesterday's New Quintet – and hearing this set, it's virtually a blueprint for that group's current work! Includes great covers of "In The Rain", "Day Dreaming", and "Love Is Here" – plus Wooten's excellent original tracks "Monkey Hips & Rice" and "Joy Ride". Price: 80 Euro
1900. WORKSHOP: “S/T” (Finlayson – FTV-001) (Record: Mint/ Jacket: Mint). Totally obscure German outfit that recorded in the late 1980s and released two records, this one their first which was released privately in 1990. Sonicwise, the Workshop sounds totally out of tune with the decade they were active in since they could have easily have been flanking Can during the early seventies since they bring forth similar intoxicating krautrock vibes. Really an astonishing album that will set any doped up party on fire and breathing out a cloud of lysergic intensity, bringing out the voodoo craze. Just fantastic. Price: 100 Euro
1901. WRIGHT FRANK TRIO: “Frank Wright Trio” (ESP Disk – 1023) (Record: Near Mint/ Jacket: Near Mint – still in original shrink). US original pressing still housed in shrink. All of tenor saxophonist Frank Wright recordings can be considered a bit of a blowout. For his debut as a leader, Wright, who is joined by bassist Henry Grimes and drummer Tom Price, rips into three of his originals: "The Earth," "The Moon" and "Jerry." Highly recommended to open-eared listeners who enjoy hearing fiery sound explorations. Price: 75 Euro
1902. WRIGHT, FRANK QUARTET: “Center of the World” (Center of the World - CW-001) (Record: Near Mint/ Jacket: Near Mint). First original French only pressing of killer Wright action. Here you have another delirious free jazz blast straight from the past, ready to jack up and inject your life with enough thrill and joy to last a lifetime. Center of the World Records was Frank Wright's own imprint and this disc was the first to come out on the label. The quartet here reads like a dream-team of free blowing spirits- Rev. Frank Wright on tenor, Muhammad Ali on the skins, Alan Silva on contrabass and Bobby Few on the keys. Together they unleash a tsunami of vicious interplay, full frontal collision interaction and uncompromising improvisational mayhem. In other words a free jazz classic that rips through all the registers known to man. This baby burns and will leave core-melting tire-tracks all over your sorry ass. You won't regret a single second wasted while emerging yourself into this sonic whiplash of sound. Hell, you will even condemn yourself for not having obtained this baby much earlier. Get it now, great price seen the scarcity of this disc. Highest recommendation. Price: 150 Euro
1903. WRIGHT, FRANK QUARTET: “Live – Last Polka In Nancy?” (Center of the World - CW-002) (Record: Near Mint/ Jacket: Near Mint). Original 1973 pressing. Here you have another delirious free jazz blast straight from the past, ready to jack up and inject your life with enough thrill and joy to last a lifetime. Center of the World Records was Frank Wright's own imprint and this disc was the first to come out on the label. The quartet here reads like a dream-team of free blowing spirits- Rev. Frank Wright on tenor, Muhammad Ali on the skins, Alan Silva on contrabass and Bobby Few on the keys. Together they unleash a tsunami of vicious interplay, full frontal collision interaction and uncompromising improvisational mayhem. In other words a free jazz classic that rips through all the registers known to man. This baby burns and will leave core-melting tire-tracks all over your sorry ass. You won't regret a single second wasted while emerging yourself into this sonic whiplash of sound. Hell, you will even condemn yourself for not having obtained this baby much earlier. Get it now, great price seen the scarcity of this disc. Highest recommendation. Price: 150 Euro
1904. WRIGHT, FRANK & MUHAMMAD ALI DUO: “Adieu Little Man” (Center of the World – CW-004) (Record: Near Mint/ Jacket: Near Mint). First copy I see in 6 years time and one of the hardest to track down Frank Wright releases, even tougher to pull than his legendary “Church Number Nine” LP. OK I can be extremely short here; this slab of music is a brutal monster, one of the greatest free jazz hard blowing free roaming slides ever to have been put down on wax. One track spread wide open over two sides, “Adieu Little Man “ is the most difficult to track down title on Frank Wright’s own Center of the World/ Sun Records. It is brutal, violent and ear shattering, it almost sounds like Wright and Ali are engaged in a 4 year long exhausting trench warfare, ravaging in its execution yet like a maniac fury leaping over into a violent fit of madness and excreting a deep subterranean civilizing force that creates a totally arresting listening experience. This is high-tension music resulting in high voltage reactions. Here the tiniest gestures by Wright and Ali trigger apocalyptic waves of sound, the drums and sax hurtle in and out of focus and create a panoramic sound that floats somewhere in between the controlled burn of a jet engine and the boundless fury of Attila the Hun. Yet admits all of this tornado-ing dusty noise of shrieks and shronks, an aural landscape gets carved out that is brimful with poetic resonance, breathing out a shamanistic sense of beauty that nevertheless melts into a corrosive never-ending blast of white light. Wright locks his horns with Ali’s avalanche like drum rolls, waltzing around each other like sharks in a feeding frenzy. This bolsters a tidal accumulation of energy, shredding skins and lings as they go along. This is true hardcore free blowing soul music. Definitely one of the defining moments in free jazz and ranks up there with “Church Number Nine”, “Black Ark”, “Chi Conga”, “Action Direct”, “Independence” and “Amalgamation” as one of the key releases in free spiritual music. This is the stuff that creates legends. Impossible to get and this copy is as mint as can be. 1st time ever I have a spare. Go ballistic as I know you will upon spinning this one, it will ravage your grey cells, the equivalent of 20 years of snorting high quality dope, all encapsulated into one listening session. It will crack open your skull like a ripe overdue melon. Price: 200 Euro
1905. WRIGHT, FRANK QUARTET: “Church Number Nine” (Calumet – C-3674) (Record: Near Mint/ Jacket: Mint). This is the free jazz record everyone seems to be after. No wonder, hideously rare, released in a tine private run of only 300 copies back in 1971 and ominously freaking heavy. “Church Number Nine” was originally released in 1973 (though recorded on March 7th 1970) on the Calumet label, a venture that instantly evaporated into thin air after its initial release. Only 300 copies of the album made it into circulation, the rest were apparently destroyed. The two sides of the disc are entitled “Parts One” and “Two”, although that each was recorded as an individual piece in its own right. The line-up on the other hand is mouth wateringly great, similar to Wright’s BYG Actuel outing "One For John": Wright on tenor, Noah Howard on alto, Bobby Few on piano and Mohamed Ali on drums. The opening track is a monumental twenty-six minute slab of holy rolling free gospel. Heavily indebted to Ayler, Wrights take on the spiritual is spiced up by adding additional percussion. This is when not blowing their horns to smithereens since both Wright and Howard unleash an all-incinerating racket, an ominously heavy whirlwind of feverish sonic infernal blowing. Bobby few can stay impassive and exerts explosive, alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. The second piece is comprised out of tight bursts of energy, ripping notes to pieces like a there is no tomorrow. Heavy, mind bendingly great and without a single doubt one of the greatest free blowing jazz discs ever to be put down on wax. This is a top copy; I do not believe they come any better than this one. Act now and hold your peace forever. Best copy around!! Price: 500 Euro
1906. WRIGHT, FRANK: “One For John” (BYG RECORDS JAPAN - Actuel – Actuel 35) (Record: Near Mint ~ MINT/ Gatefold Jacket: Near Mint ~ MINT/ Japan ONLY Insert: Mint/ OBI: Mint) Bloody rare real time Japan Original press complete with mega rare obi – comes on super high quality Japanese virgin vinyl, sounding light-years superior to the crappy French original pressing. First time ever I can offer a copy with obi. Frank Wright's ensembles tended to tear the roof off with this recording. Recorded in Paris, Studio Saravah on May 12th, 1969,the all-star line-up consisted out of Frank Wright (ts), Noah Howard (as), Bobby Few (p) and Muhammad Ali (d). Ayler-esque melodies quickly blast off to the stratosphere. Wright's gruff tenor contrasts nicely with Howard's sweeter tone, which is not really less intense, just less ferocious. Few's playing is nothing short of elegant even when the rest of the band is whipping up a storm and Ali loud percussive crash, urgent staccato rolls across his toms and his tribal rattle and shakes locks all the players together. The music is dense and speedy, frantically chaotic, coloring the space that destroys the listener’s perception of time, catapulting him into the void of free form. A rare combination of freedom and intensity with lyrical, spiritual beauty that's found on most late 1960s and ealy’70s Wright recordings. This record is a beast and indispensable in any free jazz and fire breathing musical collection. TOP condition & rare Japanese original pressing from 1971!!!! One of the rarest BYG titles next to Gong to seep out of Japan all complete with obi. Price: 350 Euro
1907. WRIGHT, FRANK QUARTET: “Uhuru Na Umoja” (America – AM-6104) (Record: Mint/ Jacket: Mint). Top notch virginal MINT copy!! This is the free jazz record everyone seems to be after or at least should be after. No wonder, the music is brain meltingly great, the disc is quite rare and ominously freaking heavy. “Uhuru Na Umoja” was originally released in 1972~3 on the French America label. The line-up on the other hand is mouth wateringly great, similar to Wright’s BYG Actuel outing "One For John": Wright on tenor, Noah Howard on alto, Bobby Few on piano and Art Taylor filling the on drums for Ali. The opening track is a monumental nine minutes and half slab of holy rolling free gospel. Heavily indebted to Ayler, Wrights take on the spiritual is spiced up by adding additional percussion. This is when not blowing their horns to smithereens since both Wright and Howard unleash an all-incinerating racket, an ominously heavy whirlwind of feverish sonic infernal blowing. Bobby few can stay impassive and exerts explosive, alternating churchy licks and furious clusters until the whole comes crashing down like the walls of Jericho under the blasts of the horns. The following piece is comprised out of tight bursts of energy, ripping notes to pieces like a there is no tomorrow. This is what Thurston Moore had to say about this monolith recordings when he included it in his top ten of free jazz slammers: “Tenor saxist Frank Wright may be (previous to Charles Gayle's current reign) the heir apparent to both Trane and Ayler. Unfortunately he had a heart attack a few years back while rockin' the bandstand. All his recordings are more than worthwhile especially his BYG outing "One For John" (529.336/Actuel Vol. 36), his two ESP sessions (on CD from Forced Exposure) and his Center-of-the-World series of trio recordings with Alan Silva (bass) and Muhammed Ali (drums - Rashied's brother, not the pugilist) on the French label Sun. This LP "Uhuru.." is nothing short of killer with the great Noah Howard (alto), Bobby Few (pianist of Steve Lacy fame) and Art Taylor (heavy old-school drummer in free mode) going OUT and AT IT in stunning reverie.” Heavy, mind bendingly great and without a single doubt one of the greatest free blowing jazz discs ever to be put down on wax. This is a top copy; I do not believe they come any better than this one, apart from the little lower split seam. Act now and hold your peace forever. Price: 100 Euro

1908. WYATT, ROBERT: “Rock Bottom” (Nippon Columbia – YQ-7017-VR) (Record: Mint/ Jacket: Excellent ~ Near Mint -- only has a few mild dew spots on back – cleanest jacket I have seen so far/ Insert: Excellent ~ Near Mint/ Obi: Near Mint). TOP COPY!!!! Totally vanished original 1st Japanese pressing on high quality vinyl and complete with eye-popping obi of Robert Wyatt’s first ever solo release (not counting The End of an Ear) following his stint with Matching Mole and his accident that left him paralyzed from the waist down. “Rock Bottom” is simply one of the most beautiful sounding introvert discs ever made, makes me cry each time I spin it and after all these years it still sounds as fresh as the day I first discovered it. The most beautiful record ever record, final. Price: 150 Euro

1909. ROBERT WYATT: “Ruth Is Stranger Than Richard” (Nippon Columbia – YX-7050-VR) (Record: Mint/ Jacket: Excellent 〜 Near Mint/ OBI: Mint/ Insert: Near Mint). The rarest of Wyatt’s released solo albums as Japan 1st original pressing with obi. There was no way that Wyatt’s follow-up to Rock Bottom could be as personal and searching, but this album that came barely a year later instead collects some earlier material to be revamped for this release. "Soup Song," for instance, is a rewrite of "Slow Walkin' Talk," written before the forming of Soft Machine. "Team Spirit," written with Phil Manzanera and Bill MacCormick of Quiet Sun would turn up the same year as "Frontera" on Manzanera's Diamond Head. While some of the songs tend to plod along, the dirge-like "Five Black Notes and One White Notes," a lethargic cover of Offenbach's "Baccarole," Charlie Haden’s "Song for Che," and Fred Frith’s piano team-up with Wyatt on "Muddy Mouth" are magical. As usual, the assembled band, including the underrated Gary Windo on sax and Mongezi Feza on trumpet, never disappoint.” (All Music Guide) First time in all these years I actually can lay my hands on the 1st Japanese pressing. Price: 300 Euro
1910. WYATT, ROBERT: “Old Rottenhat” (Rough Trade/ Tokuma Japan – 25RTL-3011) (Record: Mint/ Jacket: Mint/ Obi: Mint/ Insert: Mint). Promo copy, 1st original Japanese pressing of subliminal solo recordings by former Soft Machine and Matching Mole kingpin. Stuff of legends, Wyatt solo material is amazing and so needed. TOP copy. Price: 40 Euro
1911. WYATT, ROBERT: “Comicopera” (Domino – WIGLP-202) (2 LP Set, SEALED Copy). Wyatt never ever delivered a mediocre album, in short all of his recorded output birders on sheer awe-inspiring brilliance. I am not even worthy to say anything about this album simply because I am not worthy enough, hence allow me to borrow the words of The Wire magazine regarding this masterpiece: “Even by Wyatt’s standards of honest, self-examining songwriting, Comicopera was a proper gut-spiller. Framed as a three-act operetta, with a floating cadre of musicians that include Brain Eno, Phil Manzanera, Paul Weller, Orphy Robinson, Gilad Atzmon, Annie Whitehead and Monica Vasconselos inhabiting the orchestra pit, the album’s strongest moments came emotionally wringing lyrical dialogues co-written by Wyatt and his wife Alfie Benge, such as “Just You Are”; “Its that Look In Your Eyes/ I know you despise me/ For not being stronger”. In typical Wyatt fashion, ethics and self-doubt roamed hand in hand through a songbook that encompassed limpid introvert rock, abstract electronica, Latin-tinged fusion, depictions of small town Britain, velvet-lined anti-war sentiment and a hymn to Che Guevara. Together with his liberation orchestra, the former Soft Machinist dragged one more block to the building site of Jerusalem in England’s grey and littered land. It embraces all the key themes of his career, ranging in mood from the amiably whimsical to the plaintively despondent, from private joy to political rage…a superb album in which Wyatt gathers all of his strengths” (The Wire – January 2008). I rest my case. Price: 50 Euro
1912. X-RAY SPEX: “Germ Free Adolescents” (EMI Records – INS-3023) (Record: VG++ ‾ Excellent – has a couple of visible hairlines/ Jacket: VG++ ‾ Excellent/ Imprinted Inner Sleeve: Excellent). Original UK 1978 pressing of classic punk slide. Price: 50 Euro
1913. XENAKIS, IANNIS: “Persephasa” (Philips – 6521.020) (Record: Excellent/ Jacket: Near Mint). Original 1st press issue. Historical and rare record by this fantastic composer, here performed by the Percussions de Strasbourg. Superb avant-garde and experimental music of the highest echelon. Needs no further introduction I guess. Extremely beautiful copy in top-notch condition. Price: 50 Euro
1914. XENAKIS, IANNIS: “Persepolis” (Philips Japan – SFX-8683) (Record: Near Mint/ Jacket: Near Mint/ Obi: Mint). Hideously rare Japanese 1st pressing – WHITE LABEL PROMOTIONAL COPY with OBI - that comes with different cover art than the French pressing of the album. What makes this copy so bloody sought after is the presence of the rarely seen obi attached to the jacket. The music needs hardly any introduction to the readers of these pages but just in cage you are wondering who this funny fellow was, a quick rundown. To punt it bluntly, Xenakis is a tank and “Persepolis” adequately proves this point. The monolithic mass of the composition has more connection to the hypothetical first bludgeoning forays into noise as practiced by an angry snot-nosed teenager than it has to anything made by those who consider it authoritative. “Persepolis” floods the pathetic streets of civility with layer after layer of undulating moans, grotesque annihilative washes of unrelenting sonic mayhem and convultional sibilating shrieks. The multitude of tape pieces emerging from this time (1971) have some amount of nimbly spliced twists and tasty dollops of academic masturbation coming out to the foreground. Xenakis’ music on the other hand is especially on this groundbreaking composition far removed from it and is as human or inhuman as our atomic makeup. Persepolis is a demanding piece and an all obliterating in its path type of listening experience; it’s not one to use for ambient mood-music! But, like many of Xenakis’ best works, it provides opportunity for intense and a transformative experience; you won’t be the same at the end of this pieces as you were when you started listening (you may even hate it). To these ears, it is one of the greatest compositions ever, life will never ever be the same after sitting through it. Massive! Price: 200 Euro
1915. XENAKIS, IANNIS: “Oresteia” (Erato/ Nippon Columbia – OS-2916-RE) (Record: Near Mint/ Jacket: Near Mint/ OBI: Mint). Rare Japan original pressing with rarely seen obi. Comes housed in Japan only silver foil jacket art. Written for an orchestra of 12 instrumentalists and a choir of children who play on a variety of instruments, Oresteia is one sonic ride that makes you beg for more and more. What gives this music its strange fascination is the combination of generally tonal, chant-like vocal elements with primitive sounding (but actually very technically sophisticated) instrumental interludes. In this respect it is not so far removed from Stravinsky’s The Rite of Spring or the vocal works of Varèse. You can hear this very clearly in the second movement, with its delirious writing for percussion and high baritone, as well as in the chanting of the chorus in Les Choephores. The stylized instrumental writing, often monophonic and permeated with strange percussion sounds and extremes of pitch (both high and low), adds to the impression of primal starkness, and how well it suits the drama! One of the most compelling works of Xenakis, it never fails to astound you. Top condition!!! Price: 85 Euro
1916. XENAKIS IANNIS 5 LP BOX SET: “Xenakis” (Erato/ Nippon Columbia – OS-2363~7-RE) (5 LP's: Near Mint ~ MINT/ Outer Box: Near Mint ~ MINT/ 12 paged Illustrated Japanese Booklet: Near Mint ~ MINT/ 36-Paged Illustrated French Booklet: Near Mint/ OBI: MINT). Totally TOP NM copy complete with never seen OBI – Japanese pressing sounds so much better than the French one – a world of difference if you would like to enjoy Xenakis to its fullest effect. Rare Japanese pressing on high quality vinyl of this legendary but rare 5 LP box documenting the many sides of the greatest composer ever, Iannis Xenakis. Ranging from orchestral works over to orchestra and magnetic tape compositions up to pure electronic works, this box sheds great clarity upon some of his works such as the highlight of the set the early electronic works that concern themselves with the human expression as poured into a cloud of pointillistic noise. With the total control that electronic and magnetic tools allowed, Xenakis could fully explore his concepts of sonic architecture. Massive stuff and hard to get in such a nice nick as this copy here. Totally indispensable!!! Original 1970 Japanese pressing!!!! Price: 300 Euro