Corporate Rock Does Still Suck, Right Stevie?

Last weekend, producer engineer, musician and self-appointed conscience for the spirit of rock Steve Albini spoke at the the annual Face the Music conference in Melbourne, where he argued that digital distribution has given musicians the power to control and market their own music. Ever a champion of the DIY aesthetic, his viewpoint is limited but isn't wrong. Musicians who were making money are making less thanks to online streaming and lagging record sales. But more musicians can record their music at home and make it possible for people around the world to hear it. Whether or not that's better for the industry, that much is true, And it's at least a better lot than that of centuries of musicians (right up until the last one) whose music is lost forever. When people say musicians are making less money from their music, they time and time again don't figure in the musicians that used to make nothing and now might make enough for a case of beer - or build enough support to venture a regional tour. 

Those are the artists Albini is speaking for, and he's right. For struggling musicians (who aren't guaranteed a record contract to begin with) things certainly aren't worse anyway than they were in teh heyday of the record industry. Albini likes to talk about the industry and in general he's pretty good at it. But speaking at Melbourne he chose a strange target to represent the dying dinosaur of the big record label. 

“If your little daughter does a kooky dance to a Prince song don’t bother putting it on YouTube for her grandparents to see or a purple dwarf in assless chaps will put an injunction on you," he said. "Did I offend the little guy? Fuck it. His music is poison.”

Prince has notoriously fought against his music being posted on YouTube. I'm not sure why that resulted in so much derision being cast his way because posting songs or albums to YouTube is essentially bootlegging and with crap sound quality to boot, but there you go. He became the source of a lot of jokes for not wanting his work distributed for free and without his permission. I don't know that he ever went after someone for posting a video of their child dancing to one of his songs, however. The Recording Industry Association of America threatened to as a general principle, but I don't know that Prince did.

[EDIT: A reader reminded me of the 2007 case Lenz v Universal Music Corp., in which the US District Court for the Northern District of California ruled that copyright holders must consider fair use when issuing take-down notices for videos posted on the Internet. The case concerned a video of a young girl dancing to Prince's "Let's Go Crazy" and was filed by the Universal Music Corporation at a time when Prince wasn't under contract with the label, although he did issue a statement at the time saying he intended to "reclaim his art on the internet." This is no doubt what Albini was referring to, but doesn't affect my larger argument here.]

The RIAA, according to its website, "supports and promotes the creative and financial vitality of the major music companies." Not individual artists but companies. Now this is going to get a bit cloudy (as things often do with Prince) but let's think about what a company is. Most people who aren't Mitt Romney don't think that corporations and people are the same thing. The RIAA represents the industry - corporations - and, by extension, artists who are a part of that industry. 

In 1994, Prince declared himself dead, taking a symbol as his name because his record label, Warner Brothers, wouldn't let him release what he wanted. In essence, he said, he didn't own his name. The two parties went through five years of hostile (and sometimes hilarious) negotiations before Prince was finally freed from his contract and took back his given name. 

From 1999 until 2014, Prince acted as the biggest DIY artist on the planet. He recorded and produced his own albums. He paid for the compact discs to be manufactured and he hired record labels (EMI and then Universal) to distribute them. The labels didn't get a share of profits, they were paid for a service. 

And what was Steve Albini doing in 1994? He was producing a record by Bush for Interscope Records that debuted at #1 on the Billboard album charts. At the time 53% of the Interscope's stock was owned by Atlantic Records. The following year it was bought out by MCA Inc. Today it is a part of the Universal Music Group. So who's industry here?

OK, so I'm stacking the deck a bit. Albini has by and large not only championed independent artists but worked in his own studio with punk/indie artists and labels. But what's his beef with Prince? The assless chaps were decades ago and "purple dwarf"? Potentially offensive but more than that, Prince had a better line anyway with "from the heart of Minnesota, here comes the purple Yoda."

"Did I offend the little guy?" Albini carried on. "Fuck it. His music is poison." What, Mr. Albini, does that have to do with anything. Prince should be a champion to DIY artists. He spent 15 years exploring how huge artists might survive without record labels. Sure, being a millionaire doesn't sound very punk, but faulting someone for their success is pretty petty. And unless all the contestants on American Idol have given up fantasies of dizzying wealth and popularity, living at the top of the heap without relying on record labels is a relevant part of the equation - and something I don't see Paul McCartney, Madonna or Taylor Swift risking to venture. I'm sure Albini doesn't like them either, but perhaps he should think again about what Prince has accomplished. Whether or not he likes the music, Prince is hardly corporate rock. And corporate rock still sucks. 

SST gif stolen from WFMU Station Manager Ken.



Considering Prince in the Middle of the Here (Ever Mindful of the Past)

Putting out two albums on the same day is a bold move. Guns N' Roses, Bruce Springsteen, Henry Threadgill and Tom Waits have all flexed that particular muscle. In 1981, Frank Zappa issued three volumes of the aptly titled Shut Up 'n Play Yer Guitar at the same time. And at the end of September, Prince joined the pack with s solo record and an album by his new band, 3rdEyeGirl.

It's on odd pair of records. Prince has done plenty of multiple releases in the past but never have they been as unbalanced as are Art Official Age and Plectrum Electrum. He has plotted multiple-disc sets that never came to pass (notably Crystal Ball, which ended up scattered across several releases). His sets too big for a single CD date back to 1982 and the double LP 1999, the initial digital issues of which had one song cut so it would fit on a single disc. Much of Crystal Ball ended up on the double LP and double CD Sign 'O' the Times. The 2002 live collection One Nite Alone came in three- and four-CD editions. 2009's Lotusflow3r and MPLSound came packaged with a third CD, Elixer, by protoge Bria Valente. Emancipation (1996) was a triple-CD set. An outtakes collection from 1998, which revived the name and title track "Crystal Ball" (one of his greatest songs) included as a fourth CD the largely acoustic album The Truth, which might well have been remembered as one of his best records had it been put out on its own. A fan club version of Crystal Ball also included a fifth disc of instrumental tracks called Kamasutra. Prince is no stranger to grand gestures.

He's also no stranger to complicating things for himself. From changing his name to a symbol to refusing interviews while waging a battle with his record label, the man has a way of always giving people something other than his music to talk about. And the thing to talk about now seems to be his stripped down rock band: no keys, no horns and he the only male. 3rdEyeGirl has been playing hell out of his old songs for a little while now and it makes sense that he wants them to have some currency. Unfortunately the set of songs he wrote for Plectrum Electrum, the 3rdEyeGirl album, doesn't stand up to the arrangements of old tumes he did for them when he was making them into his own cover band. There's a few solid cuts ("Wow," "Fixurlifeup," "Boy Trouble") but most of the first half sounds like he was writing for Led Zeppelin and most of the second half like TLC, which makes for an inconsistent listen to say the least.

To say there's a few good songs on Plectrum Electrum is almost a given. Every Prince record has at least a few good songs. But Art Official Age, the new album he recorded largely by his lonesome, made me remember what made great Prince records great. The man deals in concept in (public) life and in art. He seems at times to become so enamored with symbolism (right down to his symbol pseudonym) that the reasons – what actually is being symbolized – become less important than the artifice. That might not help his reputation but it doesn't exactly hurt his music. His best records have been comprised of fantastically inventive songs hung on a vaguely constructed storyline, generally an us-versus-them or good-versus-evil setting: the New Power Generation against the forces that want to keep them (that being us) down; the positivity of Lovesexy up against the dark force of the Spookyelectric; the Rainbow Children fighting whoever they (we) were fighting. The stories never quite make sense, but you can't criticize him for that unless you're also going to call Janelle Monae, George Clinton and Pete Townshend to task. If you're going to make a rock opera make sense, you're going to have to write as many words as Neil Peart does.

The skeletal story of Art Official Age concerns Prince waking up after 45 years in suspended animation to find himself in a utopian society. That hardly matters because the story barely figures in to the record (it's primarily delivered in a pair of spoken interludes) but there's something about it being there that gives the man some muscle. He may not be up to much where high concept albums are concerned, but feeling like he's up to something seems to make him dig in and work. Prince can lay down a groove in his sleep. When he's at his best, however (which, at the risk of damning him to past successes, would be the five years after Purple Rain), he's creating complex, multi-layered music. Today, on the heels of a half dozen solid r'n'b albums (each with a few great tracks), he's back to thinking big. Art Official Age is contemporary, complex, intelligent and excellent.

Which raises the question, why did he decide to outshine himself? It's doubtful, of course, that he sees it that way. Plectrum Electrum is a band album; Art Official Age is a solitary effort. Two sides of his coin. But another question arises as well. Why are there versions of the song "Funknroll" on both albums? Is it meant to demonstrate the two approaches? If so, Prince pretty clearly beats out his own band. But maybe he just likes the song. Back in the '80s he released the same version of "When 2 R in Love" (a sappy and masterfully produced ballad) at least three times. It's probably best not to ask questions that won't get answered. Four years after his last record and eight after his last great one, we get one good and another great. As he sings in his latest call-to-arms, "Finally again we meet at last / middle of the here, nevermind the past."

Prince's appearance on Saturday Night Live last weekend led me to finally putting down some thoughts about the records but I included clips from the Arsenio appearance in March primarily because it was a better performance but also because it appears as if Arsenio retained rights to post it. Between P and NBC it's unlikely any links to the SNL spot will stay live long, but at the moment it can be heard via the player above and seen here and here. The full episode can be watched legit here

UPDATE: I just saw that Rolling Stone posted the SNL performance which may be more likely to be permanent. 



George Clinton reading George Clinton.

Neve Campbell Reading Celine.

Italo Calvino reading Italo Calvino.

Gertrude Stein being a painting.

José Saramago being a statue.


I Want To Be a Meme

A couple of months ago, I disabled the Facebook Messenger app on my cell phone. I had heard, from people I trust and don't consider to be alarmist, that the app could turn itself on, activate your phone or camera and record conversations or phone calls. Messenger, it was explained to me, transformed your phone into a surveillance device, and even if it was only interested in consumer behavior, it meant you were being watched.

We all have our lines and this was mine. Although the Messenger plot turned out to be grossly exaggerated, the thought that my pocket computer (this thing that only by an accident of history is called a "phone") could be used against me struck an emotional chord. My phone is my friend and I didn't want my friend turned against me.

I have other friends – flesh and blood friends, not pieces of hardware – who draw the technology/privacy line much closer to home than do I. Some of them won't use Facebook at all, won't do Google searches or carry a cell phone, out of concerns of their privacy being invaded. I understand that. Most of them are a little older (and likely a little wiser) than me. If they hadn't passed puberty by the Summer of Love, they at least remember it. They grew up with a mindset of personal freedom and beating the system.

But I graduated from high school in the auspicious year of 1984. George Orwell's novel of the same name didn't strike me as cautionary when I read it for English class, it just seemed like a foretelling of the inevitable. I grew up under punk and under the mindset not of beating the system but simply surviving it. So while the Messenger rumors unnerved me, I had never really expected much different. At some point in my life, I'd always thought, I would more than likely be required to carry some sort of monitoring device. We all would.

A lot of the punk I was listening to in high school was revolutionary, of course, in the literal sense of preaching political rebellion. But the post-Orewellian songs rang truest to me, the songs that told us that in the scheme of things we were nothing but consumers. We were numbers. If Joe Strummer disparaged the suited class that was "turning rebellion into money," Thomas Franck informed us that we'd been suckered into buying it nevertheless. So explicit has our duty as consumer citizens been made since then that one of the most common things our elected leaders tell us in the face of a crisis is to go shopping. For the love of freedom, keep spending money.

Consumerism as patriotism was engrained in our cultural consciousness after Sept. 11, 2001. In the immediate aftermath of the terrorist attacks 13 years ago, then President George W. Bush addressed the nation in what Time magazine called the "finest, strongest, clearest, several-times-chill-giving speech of his life." And it was a great speech, defining the enemy and promising swift action. It was probably what the country needed to hear. In the conclusion, he turned the tables to say what the country needed to do. "I ask you to live your lives and hug your children," he said. "I ask your continued participation and confidence in the American economy. And finally, please continue praying for the victims of terror and their families, for those in uniform and for our great country." Bush defined the three tines of a better future: God, children and shopping. Buildings can be rebuilt but the economy can't be allowed to collapse. Then New York Mayor Rudy Giuliani, looking understandably exhausted, actually put shopping before children on the day after the attacks.

So shopping is our civic responisbility but we're not yet electronically checked to make sure we're meeting the obligation. The Messenger monitoring scare was just a bit of mass paranoia. It will be a relief when that day comes, though, when we don't have to worry about whether it's happened yet or not. In the meantime, however, I still haven't reinstalled Messenger. I'm not sure why. Maybe it's just one final throw against fictional fears.

In truth, I never expected privacy. I never expected individuality. I just want to be a meme. Message me.



Like stone clapper made of clay, 
long, once again occurs, they say.
Creeping ivy grows, 
the blinds drawn – the room got so yellow!
Ignored the fact that Here it
was Fred! the singer
from the East! The second he began to
play, working down again,
as it sometimes
more is forever at last.
Those things seem – it
lasts all day one day and then they
say: bells until tomorrow. 



"For the moment, the jazz is playing; there is no melody, just notes, a myriad of tiny tremors. The notes know no rest, an inflexible order gives birth to them then destroys them, without ever leaving them the chance to recuperate and exist for themselves.... I would like to hold them back, but I know that, if I succeeded in stopping one, there would only remain in my hand a corrupt and languishing sound. I must accept their death; I must even want that death: I know of few more bitter or intense impressions." 

- Jean-Paul Sartre, Nausea (1938)

"Today, you're gonna be sick, so sick. You'll prop your forehead on the sink, say, 'Oh Christ, oh Jesus Christ, my head's gonna crack like a bank.' Tonight, you'll fall asleep in clothes so late. Like a candy bar wrapped up for lunch, that's all you'll get to taste. Poverty and spit, poverty and spit."

- X, "Nausea" (1980)


Idealist Dylan in Town

I'm pretty sure that's the headline for this piece on Bob Dylan I wrote for the Czech newspaper Lidovkyanyway.

Here is the pre-edited text. It was shortened slightly for publication. Much thanks to Pavel Klusák for the opportunity.


What do you say about an iconic songwriter who over a career spanning six decades has been as adored and hated about as much as he's given reason to revere or question him? And what do you say when you don't speak the native tongue of the people for whom you're writing, a people who have their own definitions of the political freedoms that said songwriter – whether or not he wants it – is often seen to represent?

Despite being a Bob Dylan fan since discovering his music as an idealistic college student during the American neo-conservatism of the 1980s, I had never seen him in concert before attending his 2 July performance while visiting Prague. I had had plenty of opportunities but never seized them, dissuaded no doubt by how roundly his live shows are disparaged: He's lost his voice (or never had one to begin with), he's lost his mind, he's lost his passion, caring, charisma. Whatever he had that made him rock's first poet and the unwitting spokesman of a generation, according to consensus, he's lost it.

At least in America that's the consensus. I can't speak to his reputation in the Czech Republic, although I can say that the rebel spirit, the outspoken poet, the vagabond intellectual, the ethos of the 1960s, seems more alive here than in my home country. I saw Lou Reed memorial graffiti stenciled on buildings last month in Ostrava; I have not seen that in Reed's and my hometown of New York City. Last summer I missed seeing John Mayall and the Plastic People at the Trutnov Open Air Festival by just a couple of days. I have been impressed watching the films of Jan Němec and his footage of the 1968 Soviet invasion, seeing the brave acts of peaceful resistance of nearly 50 years ago. Maybe it's the romance of travel but the romance of idealism seems alive in the City of a Hundred Spires.

But whether in Prague or Peoria, the inevitable question isn't of politics or pedigree but “how did he sound?” Or more likely, “how did his voice sound?” The fact that he either is or at least once was a genius is never disputed. The question that wants asking is, “How has age ravaged him?”

I went to the O2 Arena to enjoy the show. I was excited. My mind was open but my eyes not too wide. And I will go on the record as saying that he sounded great: Animated and confident, smooth despite the gravel. Dylan is one in a line of American singers (including Reed, Billie Holiday and Tom Waits) for whom expressiveness is finesse, singers who will certainly elicit reactions, who might not sound pretty but who stir the heart.

The concert opened with a sole acoustic guitar in near darkness that led into a full-band shuffle and that unmistakable voice. “I'm a worried man, I got a worried mind” Dylan intoned, singing his Academy Award winning “Things Have Changed” from the film Wonder Boys in a rasp that has only deepened in the 14 years since the movie's release. He followed that up with one of the few “classic” songs of the night. The familiar lines of “She Belongs to Me” – “She never stumbles, she's got no place to fall / She's nobody's child, the law can't touch her at all” (from 1965's Bringing It All Back Home) – flowed easily from the the singer's mouth.

The sound in the arena was impressively clear and the quintet of musicians behind Dylan (guitarists Stu Kimball and Charlie Sexton, bassist Tony Barnier, drummer George Recile and Donnie Herron playing banjo, mandolin, violin, viola and pedal and lap steel guitars) sounded great; slippery but not sloppy, they were there to deliver. It wasn't about ego, and how could it be when you're looking at Bob freakin' Dylan's backside the whole time you're playing? But Dylan, too, was in service of the song, smooth sailing on a well-weathered vessel. Together they floated through the 17-song set with a remarkably steady flow of energy: tempi and volume didn't seem to change and yet the songs never sounded the same. Dylan started “Forgetful Heart,” (from the 2009 album Together Through Life) at the piano – he didn't play guitar the entire night – taking one harmonica interlude while seated and a second standing at the front of the stage. They weren't solos, they were added accompaniment, a part of the flow. The-full-if-not-quite-capacity audience was there with them, affording the same appreciation for “Tangled Up in Blue” and “Simple Twist of Fate” as they did more recent and less heralded songs. Not jumping-out-of-their-seats excitement but certainly an appreciative enthusiasm.

I have been stunned on more than a few occasions to see the way Czech audiences stay in their seats – applauding enthusiastically but rarely yelling and almost never standing, in stark contract to the excitable crowds back home. This held true, with only a handful of people wandering to the floor for a better look, until the opening chords of “Long and Wasted Years” (from 2012's Tempest, it was the last song before the encore) when the floodgates were opened and a rushed if civilized procession filled the aisles in front of the stage. There was an energy, almost an urgency, in the ensuing encore calls – someone even taking it upon himself to sing “Blowing in the Wind” – and the pursuant rush of exhilaration which (as we Americans know) comes from the bum rush, the thrill of the throng.

Dylan and band answered the encore call with the two biggest hits of the night – although to single them out as such would unfairly separate them from the unified flow of the whole of the program. With Dylan at the piano they delivered an arrangement of “All Along the Watchtower” with a gleam that called Dire Straits to mind. And then indeed they launched into “Blowing in the Wind,” or what might more properly be called a new song with the same lyrics, an arrangement underscored by Dylan's quick piano trills and featuring a harp solo – this time it was a solo – which drew the original melody out, teasing it just a little bit more, leaving behind the words that declared so many years ago (though no one seemed to notice) that it wasn't he who held the answers. He was, and is, here just to observe and entertain.


Ongoing Liquidation Sale (Updated 11/25/14)

Because the shelves are falling down.

All items are in very good / like new condition unless marked otherwise. These are things I used, from my private collection. Discs may have slight scuffing. Books may have notes written on the blank / index pages at the end (not in the text though). Some may have punched UPC codes.

All items are $5 each unless marked otherwise.

All items are in good, gently used condition unless marked otherwise.

If you live in NYC we can try to meet in person (maybe spend the money on coffee instead of postage). Otherwise, contact me to put items on hold and to get shipping costs.

I will continue to add to this list. Write me at kcgottschalk @ gmail if you'd like to be notified of updates.



Carlo Actis Dato - Ankara Twist (Splas(c)h, 1990)

Cannonball Adderly - Ballads (Blue Note) 9 track compilation

Sara Ayers - A Million Stories (Dark Wood Recordings)

Joe Colley - desperate attempts at beauty: conceptual and research exercises (ground fault, 2003) with pretty, embossed outer sleeve

Robin Baillie / Colin Gately - infra-mince (Cash & Carry, 2003)

Barana - Elektro Shaman (Lop Lop, 2012)

Bonnie Barnett - Live at Roulette (9 Winds)

Sean Bergin and M.O.B. - Kids Mysteries (Nimbus) w/ ICP folk

Bowing (Martha Mooke / Randloph Hudson) - Cafe Mars (Spy) UPC punched on back

Geof Bradfield / Noel Kupersmith / Ted Sirota - Rule of Three (Liberated Zone)

Brooklyn Sax Quartet - The Way of the Saxophone (Innova, 2001) David Bindman, Sam Furnace, Fred Ho, Chris Jonas

Ed Chang / Blindfold - Picture Show (Jiffy Boy, 1994)

Decomposure - At Work and Unaffected (Unschooled, 2005)

Djarma - Djarma (self-released)

Dave Douglas / Chet Doxas / Steve Swallow / Jim Doxas - Riverside (Greenleaf, 2014)

Duofel - 20 (Trama, 2000) Brazillian guitar duo

Electric Company and Vas Deferens Organization - More Pelvis Wick for the Baloney Boners (Tekito)

Harris Eisenstadt - Canada Day Octet (482 Music, 2012) upc blacked out on back

Donat Fisch / Christian Wolfarth - Circles & Lines (Leo, 2009)

Garmarna - Guds Speleman (Omnium)

Itchy Fingers - Teranga (Virgin, 1988) British sax quartet, punch in booklet

Itsylf - Hepcaolin (Pao, 1995) promo stamp

Justice on a Budget - s/t (NCM East, 2004)

Koan - Prana and Drum (DOR, 1999)

Steve Lindeman with Byu Synthesis - The Day After Yesterday (Jazz Hang, 2013) upc punched on back

Mass Culture Control Bureau - Things From the Past (Ad Hoc)

Andrew Neumann - No Fly Zone: Live Electronic Music (Sublingual)

Steve Raefele with Thom Gossage & Miles Perkin - Last Century (Songlines, 2010) upc punched

Rob Reddy's Sleeping Dogs - Seeing by the Light of My Own Candle (Knitting Factory Works) 

George Schuller - JigSaw (482 Music, 2004)

Sao Paulo Underground - Tres Cabacas Loucuras (Cuneiform, 2011)

Sonny Sharrock - Into Another Light (Enemy, 1996) in opaque black jewel case

Skyline - Private Sectors (noiseotica vol. 3) (free103point9) sealed

Squeaky Burger - Sweet Obscurity (Wooden Eye, 2005)

Terminal - 4 (Truckstop, 2001) Fred Lonberg-Holm, Josh Abrams, Ben Vida, Jeb Bishop, Terria Gartelos

Lizzie Thomas - Easy to Love (self-released, 2013)

Trance - Augury (Charnel House)

Steve Treseler Group feat Ingrid Jensen - Center Song (CMA, 2013)

Pietro Tonolo / Gil Goldstein / Steve Swallow / Paul Motian - Your Songs: The Music of Elton John (ObliqSound, 2007) 

Vromb - Emission Plot (Ant-Zen

Chris Welcome - Wasteland, Untitled, Colors (Empty Room Music) cd-r

The Westerlies - Wish the Children Would Come on Home: The Music of Wayne Horvitz (Songlines, 2014) UPC blacked out

Young & Hungry - Push the Limits (House Boy Records, 1999) CDr, number 1 of 100!

VA - Blue Piano, Vol. 2 (BMG) tracks by Duke Ellington, Herbie Nichols, Cecil Taylor, Bill Evans, Herbie Hancock, Chick Corea, McCoy Turner, Don Pullen, Andrew Hill & more

VA - The Verve Story 3 (Verve) 14 tracks including Stan Getz, Blossom Dearie, Duke Ellington, Sonny Stitt, Gerry Mulligan, Ella Fitzgerald, Mel Torme, Jimmy Giuffre, Lee Konitz, Oscar Peterson, Jimmy Smith

99Hooker - Generica (Pax, 2004)


Joel Chadabe - Many Times... (EMF, 2004)

Dave Eggar / Deoro - Xtreme Xaver (self-released, 2011) CDr, tray card warped from condensation

Now Ensemble - Awake (New Amsterdam, 2011)


Acid Mothers Temple & The Cosmic Inferno - Pink Lady Lemonade From Outer Space (Riot Dragon)

Air Traffic Controllers - Women & Other Minority Groups, Vol. 1 (Parallelism, 1998)

Airplane Lady - s/t (self-released, 1997)

The Aqua-Velvets - Nomad (Milan)

Big Ass Truck - Who Let You In Here? (Peabody Records)

The Book of Knots - Traineater (Anti-, 2007) promo in printed cardboard sleeve, with Carla Kihlstedt

Converge - No Heroes (Epitaph, 2006) promo in printed carboard sleeve

Wilma Lee Cooper - Classic Country Favorites (Rebel Records, 1996)

Cradle of Filth - Thornography (Roadrunner)

Cryptopsy - None So Live (2002-2004) (Century Media, 2003)

The Discombobulators - Liana Flu Winks (ZZZZZZ Records) cdr

Dogbowl - Project Success (Shimmy-Disc)

Slim Cessna's Auto Club - Always Say Please and Thank You (Alternative Tentacles, 2002) upc x'd out

The Jon Spencer Blues Explosion - s/t (Caroline, 1992)

Waylon Jennings - A Man Called Hoss (MCA, 1987) audio auto bio

Dave Lindley & El Rayo-X - Very Greasy (Electra, 1998)

Liquor Store - Yeah Buddy (Almost Ready Records)

Meat Puppets - Golden Lies (Atlantic, 2000) promo stamp on front

Mentat - Inerte (Parade, 2003)

Mike "Sport" Murphy - Willoughby (Kill Rock Stars) UPC punched

Roger Miller - King of the Road: The Best of Roger Miller (Laserlight) 11 super hits

Oasis - Be Here Now (Epic, 1997)

Pipes & Pints - Until We Die (Unrepentant, 2009)

Joey Ramone - Don't Worry About Me (Sanctuary, 2002) promo, no cover art

REM - Murmur (IRS)

Jonathan Richman - Surrender to Jonathan! (Vapor) promo in printed carboard sleeve

Mark Ronson - Version (RCA, 2007)

Royal Trux - Speed to Roam (Drag City, 2003) promo in printed cardboard sleeve

Fred Schneider - Just ... Fred (Reprise, 1996) B-52s frontman

Shakuhuachi Surprise - Space Streakings Sighted Over Mount Shasta (Skin Graft, 1996) with obi card 

Michelle Shocked - Mercury Poise: 1988-1995 (Mercury) promo stamp, before she went bats nutso

Spiritualized - The Abbey Road EP (Deconstruction, 1998)

Spleen - T.S. Eliot reads the Waste Land and the Hollow Men (Skoda, 1993)

Takota - Takota (self-released) 2006

TOG - An Unacceptable Color (Solponticello)

The Wedding's Off - s/t (Ebola Music, 2003)

White Suns - Waking in the Reservoir (ugEXPLODE)

Dwight Yokum & Buck Owens - Streets of Bakersfield (Reprise) CD single

VA - 100 Proof Hits (K-Tel) 10 drinkin' songs, includin' Roger Miller, Rupert Holmes, Jerry Lee Lewis, Peppermint Harris and David Frizzell

VA - Black is the Color (Waxidermy, 2010) CDr #35 of 81, tracks by sandy denny, shirley collins, etc. 21 in all. 

VA - Tame Yourself - (Rhino, 1991) PETA benefit comp w/ Howard Jones, Indigo Girls, k.d. lang, B-52s, the Pretenders, Nina Hagen & Lene Lovich, Erasure, Exene Cervenka, more. 14 tracks. Stuff not released elsewhere, I'm pretty sure. 


Aphex Twin - Drukqs (Warp, 2001) promo in printed cardboard sleeve

Arkkon - Rotunda (Soleilmoon)

Blue Dog - Blood of a Poet (self-released) CRr, imaginary soundtrack to a Cocteau film

Chicks on Speed / Kriedler - The Chicks on Speed / Kriedler Sessions (Chicks on Speed Records)

Mathieuchamagne Frankcellet - Live Atome (Pink) CDr with braille insert

Mariopaint - The Electric Family (Irdial, 1995)

Missy 'Misdemeanor' Elliott - Supa Dupa Fly (Gold Mind/East West) Where the whole 'eh eh' thing came from

Hifana - Fresh Push Breakin' (W+K Tokyo Lab, 2003) cd+dvd in fancy packaging with cardboard gatefold, cardboard outer sleeve, booklet and trading cards (unseparated) $10

Kelis - Tasty (Star Trak, 2003)

Q-Burns Abstract Message - Oeuvre (Eighth Dimension, 1998)

Spring Heel Jack - Busy Curious Thirsty (Island, 1997) UPC punched

Various - Substancia 2 (Sub Rosa)


Michael Kamen w/ Buckethead - Last Action Hero (Columbia, 1993)

John Travolta / Olivia Newton John - Grease OST (Polygram) possibly unplayed




Moe Bandy – It's a Cheating Situation (CBS, 1979)

Patsy Cline with the Jordanaires (Decca) vinyl in pretty bad shape but the cover is beautiful for decorating (spine slightly split)

Jessi Colter – Mirriam (Capitol, 1977) remainder punch in corner, original inner sleeve

Lester Flatt – Lester Raymond Flatt (Flying Fish, 1976)

Merle Haggard and George Jones – A Taste of Yesterday's Wine (Epic, 1982) cover wear and mark from price tag on front

Alex Harvey – True Love (Capitol, 1973)

Waylon Jennings – Dreaming My Dreams (RCA, 1975)

Waylon Jennings – The Rambling Man (RCA, 1974)

Waylon Jennings – It's Only Rock + Roll (RCA, 1983) sadly he doesn't do the Stones song

Waylon and Jessi – Leather and Lace (RCA, 1981) cover and vinyl almost like new

Waylon Jennings – Will the Wolf Survive (MCA, 1986) like new, includes Los Lobos titular cover+

Waylon Jennings – Turn the Page (RCA, 1985) cover and vinyl like new

Waylon Jennings – Never Could Toe the Mark (RCA, 1984) cover and vinyl like new

Waylon Jennings – Black on Black (RCA, 1982) cover and vinyl like new

George Jones – We' Found Heaven Right Here on Earth at “4033” (Musicor, 1966) paper torn (not all the way through) on front cover

Willie Nelson with Waylon Jennings – Take it to the Limit (Columbia, 1983)

Waylon and Willie – WWII (RCA, 1982) like new

Wilie Nelson – Stardust (Columbia, 1978) cover unglued but intact at top

Willie Nelson – Always On My Mind (Columbia, 1982) original inner sleeve

Dolly Parton – Collector's Series (RCA, 1985) compilation

Johnny Paycheck – Take This Job and Shove It. (Epic, 1977)

B.J. Thomas – Everybody's Out of Town (Scepter, gatefold cover, in “stereo-monic” sound)

Ernest Tubb – The Living Legend (Pete Drake Productions, 1977)

Various – Country & Western Bulls-Eyes (Premiere) compilation with Tex Ritter, Vov Wills, Tex Williams and others, plus a full side of the Renfro Valley Pioneers

Various – Bringin' Tennessee Country Home (Challenge, 1978) compilation with Wynn Steware, Jerry Fuller, Bonnie Guitar, Bobby Austin, more

The Wagonmasters – Folk Favorites (Omega) autographed! cover in good shape and still partially in cellophane, vinyl pretty scuffed up

Slim Whitman – Christmas With Slim Whitman (Epic, 1980) promo stamp on back and “Sounds” price sticker on front, white label vinyl looks like new

Tammy Wynette – Let's Get Together (Columbia, 1977) promo stamp on back


Luther Allison – South Side Safari (MIL, 1999) recorded in 1979

Bobby Bland – The Best of Bobby Bland (MCA)

Johnny Cash – God (Columbia / Legacy, 2000) compilation

The Dixie Bee-Liners – s/t (self-released, 2005)

Jerry Douglas – Lookout for Hope (Sugar Hill, 2002)

The Lost Pines – Sweet Honey (self-released, 2011)

Lyle Lovett – The Road to Ensenada (Curb Music, 1996) paper torn on booklet

Jay McShann – Goin' to Kansas City (Stony Plain, 2003)

Pickin' on Aerosmith: A Bluegrass Tribute (CMH, 2000)

Various – Bluegrass Spirit: Twelve Songs of Faith (Rounder, 1996)



Sam Amidon and Aaron Siegel - “Fiddle and Drum” (Peacock)

Laurie Anderson – The Interview from the Film Soundtrack to Home of the Brave (Warner Bros. 1986) 2 LP promo only, $10

Shirley Bassey – Belts the Best! (United Artists)

Bill Connors – Swimming With a Holea in My Body (ECM, 1980) Vinyl in excellent condition, cover shows wear

Dislocation – Coyote's Call (Fusetron, 1986)

Ella Fitzgerald – The Duke Ellington Songbook, Vol. 2: The Small Group Sessions (Verve, 1982) recordings from 1956, 2 LPs, $10

Friendly Bears / Infidel?/Castro! (Rice Control / Epicene) like new

Fred Hersch with Charlie Haden and Joey Baron – Sarabande (Sunnyside, 1987) vinyl is mint, cover has a price tag tear on front

Stan Kenton – Artistry in Bossa Nova (Capitol) Kinda worn, surface noise but should play fine.

Elliott Sharp – Virtual Stance (Dossier, 1986) vinyl is mint, cover has minor scuffs and dings

Stanley Turrentine – Common Touch (Blue Note, 1997, recorded in 1968) very good condition

Various – The Jazz Scene (Verve) Neil Hefti, Lester Young, Duke Ellington, Coleman Hawkins, Bud Powell, Willie Smith, Charlie Parker, more. Vinyl scuffed, shows wear. Library stamp on back cover.

Yuganaut – Sharks (Engine, 2010) Stephan Rush, Tom Abbs, Geoff Mann, like new


Air Traffic Controllers – The Art of Looking (Parallelism)

Christopher Alper Quartet – The Jazz Expression (Alps Media, 2012)

Barbez – s/t (Important, 2004)

Tigger Benford & Party – Vessel of Gratitude (self-released, 2014) sealed

Randy Brecker – The Brecker Brothers Band Reunion (Piloo, 2013) 2 cds, sealed, $10

John Wolf Brennan – solopiano: The Speed of Dark (Leo, 2009)

Ernie Brookings – Duplex Planet Presents: Songs of Ernie Brookings (Gadfly, 2002)

Brussels Jazz Orchestra featuring Joe Lovano – Wild Beauty (Half-Note, 2013)

Zanana: Monique Buzzarte / Kristin Nordeval – Holding Patterns

Chameleon Trio Group – In Between (Mindoors, 2006) cdr

Chapter One – I Know You Well Miss Clara (Moon June, 2013) sealed

John Chin – Undercover (BJU, 2014) sealed

Chrome Hill – Country of Lost Borders (Bolsge)

Barry Cleveland – Hologramatron (ElevenEleven, 2010)

Confusion Bleue – East Side Banquet (Ictus)

Controlled Bleeding – Songs From the Drain (Dossier, 1994)

Jeff Covell with Ed Forenza – Thin Air Tango (Original Copy) sealed

The Jay D'Amico Quintet – Tango Caliente: Jazz Under Glass (Consolidated Artists, 2012) sealed

Isaac Darche – Boom-Baptism (BJU, 2012) sealed

Barry Danielian – Metaphorically Speaking (Tariquah

Eli Degibri – Twelve (BJU, 2013) sealed

Ernesto Diaz-Infante – s/t (Pax, 2003)

Jesse Dulman Quartet – Peace Psalm (self-released, 1999) cdr

Dietrich Eichman / Jeff Arnal – the temperature dropped again (Leo, 2004) sealed

John Ellis & Andy Bragen – Mobro (Parade Light, 2014) sealed

L. S. Ellis – Children in Peril (Music & Arts, 1997)

Flex Bent Braam – Luce Bert (BBB, 2013)

Geisser / Hayashi / Karo / Saga – On Bashamichi Avenue (Leo, 2010)

Eli Good – Bride of the Bull (Feast or Famine)

Griffith / Stevens Quartet – Only Love (Artists Recording Collective, 2010)

Andrew Hadro – For Us, the Living (Tone Rogue, 2014) sealed

Fareed Haque – Trance Hypothesis (Delmark, 2013)

Nancy Harms – Dreams in Apartments (Gazelle, 2013) sealed

Thomas Helton – Doublebass (self-released)

Erdem Helvacioglu / Ulrich Mertin – Planet X (Innova, 2012) sealed

HET – Let's Het (Ad Hoc) from 1984

Anne Mette Iversen's Double Life – So Many Roads (BJU, 2014) sealed

James Johnson – Enter Twilight (Hypnos)

Lee Konitz / Chris Cheek / Stephane Furic Leibovici – Jugendstil II (ESP, 2010) sealed

Chad Lefkowitz-Brown – Imagery Manifesto (self-released) sealed

The Living Earth Show – High Art (Innova, 2013)

Mark Alban Lotz – Instanbul Improv Sessions May 5th (Loplop, 2011)

Love Trio (Ersahin / Wollesen / Murphy: – Love Trio (Nublu, 2002)

Marquis Hill – The Poet (Skiptone, 2013) sealed

Robert M – s/t (Accretions, 2004)

Machine Hill feat. Dave Liebman – Inti (Moon June, 2014) sealed

Evgeny Masloboev / Anastasio Masloboev – Russian Folksongs in the Key of Winter (Leo, 2011)

Buerino Mazzola / Joomi Park – Passionate Message (Silkheart, 2011)

Earl McIntyre – Brass Carnival & Tribute (self-released. 2013) sealed

Lisa Mezzacappa's Bait & Switch – Comeuppance (Not Two, 2013) sealed

Gerry Mitchell & Little Sparta – Scalpel Slice (Fire, 2006)

Amanda Monaco 4 – Intention (Innova, 2007)

Nick Moran Trio – No Time Like Now (Manor Sound, 2012)

Multiphonic Ensemble – Cirque (SubRosa, 2000)

Multiphonic Ensemble – King of May SubRosa, 1997)

Murmure – they were dreaming they were stones (Ground Fault, 2003)

Not Missing Drums Project – Offline Adventures (Leo, 1999)

K K Null – Prime Radical (Blossoming Noise) sealed

Makoto Oshiro – Phenomenal World (Hitorri, 2014) 2 cds, sealed, $10

Out Hud – It's For You (Kranky) 3 track CD single

Out Like Lambs – Not So Winter Waltz (Music of the Spheres, 2010)

Anto Pett / Christoph Baumann – Duo (Leo, 2013)

Pillowdiver – Sleeping Pills (12k, 2009)

Marcelo Radulovich – s/t (Accretions, 1994)

Pete Robbins Transatlantic Quartet – Live in Basel (Hate Laugh Music, 2011)

Herb Robertson & Jean-Luc Cappozzo – Passing the Torch (Ruby Flower, 2007) limited edition

Jason Roebke Octet – High/Red/Center (Delmark, 2014) upc punched

Barry Romberg's Random Access – Crab People (Romhog Records) 2 cds, sealed, $8

Rubber Band Banjo – The Circlemaker (Weirdo Recordings, 2007)

Salaam – Train to Basra and Other Stories (self-released) sealed

Idan Santhaus – There You Are (Posi-Tone, 2013)

Savage Aural Hotbed – The Unified Pounding Theory (Innova, 2006)

Boris Savoldelli – Insanology (Mousemen)

Scorn (Mick Harris) – zAndEr (Invinceable)

Justin Shatin – Time to Burn (Innova, 2014) sealed

simakDialog – The 6th Story (Moon June, 2012) sealed

Jeremy Siskind – Finger-Songwriter (BJU, 2012) sealed

Perry Smith Quartet – Street Sense (BJU, 2013) sealed

Sound on Survival – Live (Henceforth, 2004)

Spinifex – Hipsters Gone Ballistic (Trytone, 2014)

Joseph Stein – Solo: In Exchange for a Process (Leo, 2009)

Saul Stokes – Outfolding (Hypnos)

Steve Swell's Nation of We – The Business of Here: Live at Roulette (Cadence, 2012)

Surface to Air – s/t (NCM East)

Yosvany Terry – New Throned King (5Passion, 2014) sealed

Sciubba Tortuga – Flamenco-Jazz (self-released)

Charles Tyler Ensemble – s/t (ESP, 2009)

Manuel Valera – Self Portrait (Mavo, 2014)

Various – Crossed Circutis: Sound works by the free103point9 Transmission Artists from the exhibition at Holgar Collection 04.23.05-06.06.05 (free103point9) sealed

Various – selected performances from the live event (free103point9 audio dispatch 26)

Various – Substantia (SubRosa,0

Andrea Veneziani Trio featuring Kenny Werner – Oltreoceano (self-released, 2011) cdr

Volcan – s/t (5Passion, 2013) sealed

Ellen Weller – Spirits Little Dreams and Improvisations (Circumvention, 2004)

Woof – 7 inches (Ad Hoc)

Andrew Young – Inkplaces (Spectropol, 2013)

James Zitro – Zitro (ESP, 2008) recorded in 1967, sealed, one corner smashed a bit



Kurt Weill – The Threepenny Opera (MGM) recorded in NYC with Lotte Lenya and Mrs. Garrett from “Different Strokes”



Theo Angell + Hamish Kilgour – Cloudcraft (Social Music Record Club, 2010) like new

Badfinger – No Dice (Apple, 1970) vinyl in great condition, gatefold cover split a bit at seams

The Beach Boys – Dance Dance Dance (Capitol green label reissue) great condition

Alice Cooper – Billion Dollar Babies (Warner Bros., 1973) Cover shows wear but original gatefold and inner sleeve included. Vinyl is clean.

John Cougar – American Fool (Riva, 1982) Excellent condition, picture sleeve included, small deletion cut in cover

Ian Dury & the Blockheads - “Hit My With Your Rhythm Stick (Disco Version)” / “Reasons to be Cheerful, Pt. 3” (Stiff/Epic, 1978) in Stiff “Today's Sound Today” sleeve

Sheena Easton - “101” (MCA, 1989) two versions, excellent condition

Daryl Hall / John Oates – Private Eyes (RCA, 1981) All in great shape except picture inner sleeve is separated at seams. Picture label.

George Harrison – Living in the Material World (Apple, 1973) picture label, vinyl and cover a bit scuffed

Hot Tuna – Burgers (Grunt, 1972) cover shows a lot of wear, vinyl in reasonably good condition.

Hunters & Collectors - “Carry Me” (Epic, 1984) 3 track EP in picture sleeve, some scuffing

The Illinois Speed Press – s/t (Columbia, 1968) cover shows slight wear, vinyl is clean

Joe Jackson – Will Power (A&M, 1987) cover and vinyl very clean

The Jazz Butcher v Max Eider - “Conspiracy” (Glass, 1986) Three tracks, vinyl in very good shape, cover has price tag and marks on it

Elton John – s/t (MCA, 1970) gatefold cover shows a bit of wear on spine, vinyl pristine

Elton John – Caribou (MCA, 1974) bit of wear on spine, otherwise almost like new, picture inner sleeve

Elton John – Don't Shoot Me, I'm Only the Piano Player (MCA, 1972) cover shows a bit of wear, vinyl very good, gatefold cover with booklet

Janis Joplin – Pearl (Columbia, 1971) vinyl is very good, cover is split and shows wear.

Andrew King & Brown Sierra – The Kraken (Dais, 2009) like new, with insert, promo sticker on back

Malcolm McLaren – Fans (Island, 1984) all in very good condition

Graham Nash – Songs for Beginners (Atlantic, 1971) Shows its age but no scratches, record club sticker on back

Tommy Navarro and the Sundialers – Twist Around the Town (Urania, 1961) great condition, stereo, $45

Gary Numan – The Pleasure Principle (Atco, 1979) cover peeling a bit around the edges, vinyl in nice shape, picture sleeve included

Graham Parker and the Rumour – Stick to Me (Mercury, 1977) nice condition but someone (not me!) wrote a price on the cover in what looks like wax pencil. Stamps not included.

Rolling Stones, the – It's Only Rock'n'Roll (Rolling Stone, 1974) I dunno, I'm guessing Keef snorted up all the glue so they had to use Mick's saliva to put the covers together. Cover and picture sleeve are partially unglued but in good shape. Vinyl is clean.

Stones, the Rolling – Undercover (Rolling Stone, 1983) promo copy with stickers peeled off (not by me!), picture sleeve included, vinyl clean

Carlos Santana & Buddy Miles – Live! (Columbia, 1972) vinyl like new, gatefold cover shows wear

Spit – You Would If You Loved Me (NTS, 1989) in cellophane with “John Peel hit” sticker, like new

Stephen Stills – s/t (Atlantic, 1970) in good shape, vinyl slightly scuffed, with Jimi Hendrix!

Talking Heads - “Making Flippy Floppy” / “Slippery People” (Sire, 1983) remixes by David Byrne and Jellybean Benitez

The Three Suns – Swingin' on a Star (RCA Victor, 1959) vinyl in good shape but shows age, cover partially split on upper seam

Van Halen – Diver Down (Warner Bros., 1982) includes picture sleeve

Various – Blitz (Thirsty Ear, 1981) New wave compilation with Bow Wow Wow, Slow Children, Sparks, etc. White label promo with original press materials enclosed.

Wall of Voodoo – s/t (Index, 1980) Their best record! Five tracks (includes their cover of “Ring of Fire”) with original lyric sheet. Clean vinyl. Cover shows a bit of wear.

Time Zone featuring John Lydon and Afrika Bambaataa – “World Destruction (Meltdown Remix” (Celluloid, 1984) like new $8


10cc – Deceptive Bends (Mercury) from 1977

Airheads OST (Fox)

Agoraphobic Nosebleed – PCP Torpedo/ANBRX (Hydra Head) promo in printed cardboard sleeve

Lily Allen – Sampler (Capitol, 2009) “Fuck You” / “Everyone's At It” / “The Fear”

Anthrax – Worship Music (Megaforce, 2011)

At the Drive-In – Vaya (Fearless, 1999)

Banished From Inferno – s/t (Ibex Moon, 2008) upc x'd out on back

Bay City Rollers – Rollerworld (Bodyguard 2001) compilation

The Beacons – Brooklyn Towne (Made in Brooklyn)

Big Star – A Little Big Star (Ryko, 1992) promo only 16 song sampler $10

Black 47 – Green Suede Shoes (Tim/Kerr, 1996)

The Box Tops – Soul Deep: The Best of the Box Tops (Arista)

Billy Bragg – William Bloke (Cooking Vinyl, 1996)

Butthole Surfers – Electric Larryland (Capitol, 1996)

Cibo Matto – Super Relax (Warner Bros., 1997)

Susan Clynes – Life Is … (Moon June, 2014) sealed

Converge – Petitioning the Empty Sky (Equal Vision, 2005)

Jeff Covell with Jerry Bergonzi – Cry Me a River (Original Copy) sealed

John Doe – Meet John Doe (DGC, 1990)

Mike Doughty - “Strike the Motion” cdr single

Driver X – Super 12 (Reel to Reel, 2002)

The Eagles – s/t (Asylum)

The Fall – I Can Hear the Grass Grow (Narnack, 2005) 3 song EP

Final Fantasy – He Poos Clouds (Recording Club)

Arthur H – baba love (Mystic Rumba, 2011)

Handsome – s/t (Epic)

Mick Harvey – Sketches From the Book of the Dead (Mute, 2011) promo in color cardboard sleeve

Head East - 20th Century Masters (A&M)

Sergey Latincov – I Got You (Siberian Falcon, 1995) sealed

Litany for the Whale – Dolores (Molsook / Perpetual Motion Machine, 2009)

Lloyd United – Lord Byron (Ming, 2008) 4 song EP

Los Lobos – Good Morning, Aztlan (Mammoth)

The Mars Volta – The Bedlam in Goliath (Universal Motown, Gold Standard Laboratories, 2008)

Willy Mason – s/t (self-released) weird home recordings

Susan McKeown & The Chanting House – Bones (Prime, 1996)

Men in White Coats – s/t (OKS Recordings, 1996)

National Heroes – Once Around the Sun (Freek, 1996)

Toshi Reagon – I Be Your Water (self-released)

Serpent Cult – Weight of Light (Rise Above, 2008)

Sightings – Through the Panama (Load, 2007)

Sightings – Michigan Haters (Psycho-Path)

Pete Townshend – Another Scoop (Hip-O, 2006) 2 CDs, $10

Pete Townshend – The Iron Man (Hip-O, 2006)

Pete Townshend – Deep End Live (Hip-O, 2006)

The Unireverse – Plays the Music (No Type, 2005)

Various – A Mighty Wind OST (Warner Bros., 2002)

Various – Born to Choose (Ryko, 1992)

Various – We're a Happy Family: A Tribute to the Ramones (DVB/Columbia, 2003)

Tom Verlaine – Around (Thrill Jockey, 2006) water damage to tray card

Brian Wilson – s/t (Sire, 1988)

Witchcraft – s/t (Candlelight, 2008)



Mandrill – IS (Polydor, 1972) cover seams split, gatefold sleeve, vinyl in good shape

Mobb Deep – “Win or Lose” 12” (Jive, 2004) clean, explicit, a cappella and instrumental versions, two copies for your mixmaster pleasuer

Fat Boys – “The Twist” 12” (Tin Pan Apple, 1988) four mixes

Pete Rock & C.L. Smooth - “One in a Million” / “Death Becomes You” / “What's on the Menu” / “Searching (Remix)” white label, plain sleeve

Various – The Power of Funk and Soul (2002) DJ tool, remixes of Average White Band, George McCrae, Aretha Franklin, JB's

Special Disco Mixer - “Hollywood” two versions. Buy anything above and I'll give you this.


Atari Teenage Riot – 60 Second Wipeout (DHR, 1999)

Foxy Brown – Ill Na Na (Def Jam / Violator, 1996)

D'Angelo – Brown Sugar (EMI, 1995)

Wyclef Jean Presents The Carnival featuring Refugee Allstars (Ruffhouse / Columbia, 1997)

Nasir Jones / Olu Dara - “Bridging the Gap” (Sony Urban, 2004)

Trey Lewd – Drop the Line (Reprise, 1992)

Musiq Soulchild – Musiqinthemagiq (Atlantic, 2011)

Spring-Heel Jack – Bank of America (Trade 2 / Island, 1997) 2 track single

X-Ecutioners – Revolutions (Sony, 2001)



Afternoon in Amsterdam: Barrel Organ Music of the Kalverstraat (Capitol) cover split, vinyl in nice condition

CBS Laboratories – Seven Steps to Better listening (CBS Laboratories, 1964) Hi-fi instructions and test tones.

Sadie Mae of St. Louis – Trumpet Fair Organ (Audio Fidelity Records) Vinyl in great shape, cover good but unglued across top.

Persuasive Percussion – 1966 (Command) record and cover in great condition

Henri Rose – The Fastest Piano Alive (Warner Bros) cover seams split, vinyl in good condition

Lolita Volkstumich – Alpine Folksongs, Yodels & Dances (Peters International, 1976)

Various – Music and Rhythm (Warner, 1982) Double LP of otherwise unavailable live recordings by Peter Gabriel, XTC, The English Beat, Mighty Sparrow, Rico, Pete Townsend, Jon Hassell, Nurat Fateh Ali Khan, Peter Hammill, David Byrne, Shankar, Holger Czukay and others. Benefit for WOMAD.

Original Player Piano Roll Gems Vol. 4 (The Crackerbarrel)


Americamanta – Instrumental Music of the Andes (self-released, 1998)

Arte Flamenco Vol. 14 – After the War (Harmonia Mundi)

Susana Baca – s/t (Luaka Bop, 1997)

Raquy Danziger – Dust: Acoustic and Electronic Arrangements of Middle Eastern Songs (Raquy, 2002)

Gustavo Santaolalla – Ronroco (Nonesuch, 1998)

From the Banks of the Ganges: Sacred Chants of Shiva (Heaven on Earth, 1997)

Robin Jones and King Salsa – Ache (Royal Palm, 2007)

Todi Neesh Zhee Singers – Dancers of Mother Earth (Canyon, 2006)

Various - Cafe Bulgaria promotional sampler (Authentic)



Count Basie & his Orchestra featuring Eddie “Lockjaw” Davis – Live in Berlin & Stockholm 1968 (18 tracks, 68 minutes)

Bleeding Through – Wolves Among Sheep (live and studio footage from 2005, in one of those stupid hinged cases so the inserts won't fit into regular snapcases)

David Borgo – Chance, Discovery and Design (a/v design with 16 piece band, released as DVD-R)

Cannibal Corpse – Centuries of Torment (triple DVD (live, studio, etc.) in shiny cardboard case, one corner has peeled apart a bit)

The Clash – Westway to the World: Director's Cut (Great doc by Don Letts)

Continuum 2 – (Steve Wilson and Dirk Serries from 2007)

Cthonic – A Decade on the Throne (Japanese metal, 2 CDs + concert DVD in attractive black and red book design, $10)

Evelina Domnitch / Dmitry Gelfand – Camera Lucida (Music by Taylor Dupree & Richard Chartier, Alva Noto, Assmus Tietchens, Matmos, Coh, Carter Tutti, others, in slim cardboard case)

Envy – Transfovista (two hour DVD of live footage)

Grails – Acid Rain (Videos from different years and 2007 live set in digipack with outer sleeve

Inside Roxy Music 1972-74 (documentary about the good years with the killer Beat Club footage)

Isis – Clearing the Eye (live clips and videos from 2006)

KGB – Noise Forest (Brendan Dougherty, Guido Hennebohl, Kim Cascone with pretty images)

Mikrokolektyw – Dew Point (Artur Majewski and Kuba Suchar 2010 concert)

Mono – Holy Ground: NYC Live with the Wordless Music Orchestra (CD + DVD from 2010)

Mono – The Sky Remains the Same as Ever (110 minute documentary, live and studio footage in nice cardboard case with cardboard outer sleeve that I splattered coffee on)

Oliver Mtukudzi – Shanda (documentary + CD, $8)

Opeth – Lamentations: Live at Shepherd's Bush Empire 2003 (14 tracks plus two making-of-album shorts)

Dolly Parton – Blue Valley Songbird (1999 movie starring Dolly and Billy Dean)

TV Sheriff and the Trailbuddies – Not 4 $ale (Wacked out “video band” from LA – sampling, collage, karaoke and mind control)

Sounds and Silence: Travels With Manfred Eicher (2011 documentary about ECM Records)

Turisas: A Finnish Summer With Turisas (metal band camping under the midnight sun, really enjoyable doc even if you're not a fan of the band)

Vader: And Blood Was Shed in Warsaw (2007 concert)

Various – A History Lesson: Part 1 – Punk Rock in Los Angeles in 1984 (Directed by Dave Travis. With the Meat Puttpets, Red Kross, the Minutemen, Twisted Roots)

Various – Down From the Mountain (Concert film supporting “O Brother Where Art Thou” with the Fairfield Four, John Hartford, Emmylou Harris, Allison Krauss, Ralph Stanley, Gillian Welch and others)

Various – Flashbacks: Pop Parade (9 tracks of TV appearances, with Sonny and Cher, Jim Croce, the Fifth Dimension, Kenny Rogers & the First Edition, Raquel Welch & Tom Jones, Lou Rawls, Dionne Warwick. It's like YouTube unpixelated!)

Various – Flashbacks: Soul Sensations (9 tracks of TV appearances, Ike and Tina Turner, Gladys Knight and the Pips, Bo Diddley, Lou Rawls and Freda Payne, Dionne Warwick. Like YouTube without the commercials!)

Various – Funk You Very Much (13 tracks of live / TV clips, with Johnny “Guitar” Watson, Tower of Power, Curtis Mayfield, Albert Collins, Larry Carlton, Clarence “Gatemouth” Brown and others)

Various – Fuzz: The Sound That Revolutionized the World (Great doc about distortion with Billy Givvons, Jon Spencer, Wolfmother, more)

Various – Live at the Smell (No Age, Abe Vigoda, Foot Village, Ponytail, Captain Ahab, more)

Various – Metal = Live Vol. 2 (2 CDs, 1 DVD, includes Bleeding Through, As I Lay Dying, In Flames, Converge, way more, $10)

Various – Metallimania (Directed by Marc Paschke. With Tom Araya, Rob Halford and Madonna)

Various – Play Your Own Thing: A Story of Jazz in Europe (90 minute documentary with Louis Armstron, Miles Davis, Duke Ellington, Jan Garbarek, Dizzy Gillespie, Dexter Gordon, Bud Powell, Enrico Rava, Louis Sclavis, Ben Webster and more)

Various – Rock 'n Roll's Greatest Teen Idols (30+ tracks including Bobby Vee, Paul Anka, Tommy Sands, Troy Shondell, Frankie Lymon, 120 minutes)

Various – The Very Best of Country Music Goes to Europe, Vol. 1 (14 songs incl. Lynn Anderson, Lacey J. Dalton, Hoyt Axton, Bill Anderson, Billie Jo Spears, Nitty Gritty Dirt Band, Billy Walker, Kris Kristofferson, Johnny Cash)

The Who – Who's Better, Who's Best (20 tracks of live / TV footage and promo clips, from “My Generation” to “Eminence Front” in nice, slim cardboard case.

Neil Young Under Review 1976-2006 (with Robert Christgau, Barney Hoskins, Clinton Heylin, etc.)


Barkley's Barnyard Critters – funny cartoon about an animal rock band, 80 minutes

The Big Lebowski (uh, The Big Lebowski)

Drive-In Cult Classics – B-Movie Classics [8 trashy movies on 2 double-sided discs in extra-large snap case: Pick Up (1980); The Sister-in-Law (1974); The Stepmother (1972); The Teacher (1974); Trip With Teacher (1975); Best Friends (1975); Cindy & Donna (1970) $10]

Gorehouse Greats [12 movies on three double-sided discs in extra-large snap case: Blood of Dracula's Castle (1969); Blood Mania (1970); Brain Twisters (1981); The Devil's Hand (1962); The Madmen of Mandoras (1963); Nightmare in Wax (1969); Prime Evil (1988); Satan's Slave (1976); Stanley (1972); Terrified (1963); Terror (1968); Trip With the Teacher (1975) $12]

Hulk (Ang Lee director, 2 disc version)

Invasion of the Body Snatchers (1978 version with Leonard Nimoy, Donald Sutherland, Jeff Goldblum)

Kids in the Hall – Complete Season 1 (four DVDs in slim cases and box, $15)

The League of Gentlemen – The Complete Series 1 (six episodes of great British weirdo comedy)

South Park – Imaginationland (Director's cut, 68 minutes)

Suburban Shootout – Season One (great British dark comedy about a housewife crime syndicate, eight episodes)

Tenacious D in The Pick of Destiny – Worth it for the Dio intro alone.

Wah Do Dem – Actually very enjoyable movie about a recently dumped Brooklyn musician stranded in Jamaica. With Norah Jones. Music and appearances by MGMT, Santigold, etc.)


Satchmo: My Life in New Orleans by Louis Armstrong (trade paperback, super fun to read)

To the Limit: The Untold Story of the Eagles by Marc Eliot (hardcover)

Ozzy Knows Best: An Unauthorized Biography by Chris Nickson (2002 bio of Ozzy Osbourne, trade paperback)

Possessed: The Rise and Fall of Prince by Alex Hahn (2003, hardcover)

Kings of Jazz by Bessie Smith by Paul Oliver (72 page bio, trade paperback)


William S. Burroughs – The Place of Dead Roads (trade paperback)

William S. Burroughs – The Soft Machine (trade paperback)

William S. Burroughs – The Final Journals (hardcover)

William S. Burroughs – Naked Lunch: 50th Anniversary Edition (hardcover in heavy cardboard case, case shows minor wear)

Kurt Vonnegut, Jr. - Breakfast of Champions (Delacorte Press, 1973, first edition) Hardcover with dust jacket both in very good condition. Very minor scuffing to dust jacket (no tears), slight yellowing to pages. $300

Kurt Vonnegut, Jr. - God Bless You, Mr. Rosewater (Delacorte Press, 1965, first edition) Hardcover with dust jacket. Jacket is frayed at edges and shows some discoloration. Book is in very good condition, pages very clean. $100

Kurt Vonnegut, Jr. - Slaughterhouse-Five or the Children's Crusade (Delecorte Press, 1969, first edition, seventh printing) Hardcover with dustjacket both in very good condition. Book plate from previous owner on inside first page. $40

Kurt Vonnegut, Jr. - Slapstick (Delacorte Press, 1976, first edition, fourth printing) Hardcover with dust jacket. Small tears to dust jacket, price corner cut inside, small inscription on first page, book in excellent condition. $10


Photo Poche: Peter Beard (small and collectable collection of prints, $25)

The Joy of Pi by David Slatner (little square math geek book)