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Originally relelased on the Moondog label in 1955.

Originally released by Epic in 1953.

‘*****’, The Independent; ‘a vibrancy and energy that make it impossible to sit still’, Metro; ‘shines from Shina to Shina’, The Beat; ‘CD Of The Week… astonishing’, Daily Telegraph; ‘incendiary’, The Observer.

‘*****’, The Independent; ‘captivating… Q Recommends’; ‘there is no end of exhilarating music on this beguiling album’, The Sunday Times; ‘full of heartstopping musical twists and turns’, The Beat.

‘superlative’, Mojo; ‘sensational’, The Observer; ‘hugely evocative and poignant’, Daily Telegraph; ‘*****’ The Times, Metro; ‘sheer joy from start to finish’, Sunday Telegraph.

The album debut of Charlotte Marionneau, with contributions from Kevin Shields and Hope Sandoval, amongst others: a dark comedy, intimate and uncanny, playful and compelling.

‘This was directed at the way they were arresting and sentencing Rasta to mandatory 18 months for possession of a spliff while politicians’ gunmen were walking the streets unmolested.’

‘I recorded for Randy’s, then Joe Gibbs, Lee Perry, Channel One… at Rockers with Augustus Pablo, Burning Spear at the time of Hail HIM… These are some of my own records — deep roots reggae from the 1970s.’

With the Loose Lips MC in full flow, and complete with a Spinna house version. On percussion, Miguel Fuentes brings classic Philly vibes courtesy of the MFSB family.

‘Tunde Williams blows from menthol-cool to incinerating on these wonderful vintage tracks’ (Daily Telegraph).
Afrika 70, recorded in 1975, produced by Fela Kuti.

Full, bone-heavy horns, swirling organ and rocking nyabinghi drumming; and with a storming dub.

Magnificent roots reggae LP originally issued on the Clappers label: Clayton Downie’s productions showcase four vocal groups from Burning Spear’s home parish in Jamaica.  Fans of ‘Marcus Garvey’ will be in heaven.

West London broken beat meets JA dancehall. A Co-op classic by this Bugz mainstay.

‘the most primal blues LP to have come out of Africa in a while’, Mojo; ‘a terrific set of garage blues party music… far from the soporific tastefulness of the African World Music coffee table scene’, The Wire.

Courtesy of Freaks — Luke Solomon and Justin Harris — of the Classic and Music For Freaks labels: the first mix is bumping tech-house, the B more of a Neptunes homage.

Roughs from the hotel rooms of Blur’s last US tour, lost in all kinds of music. ‘Fragile things, primitive vignettes and lo-fi larvae… A rare peep at the methods of a great songwriter’, Q. All gone!

Tearaway soca from the studio of Darryl Braxton, mixing it up with ragga and rave vibes.

Thirteen and twenty-two minute slices of carnival thunder and lightning from the hill above Port Of Spain in Trinidad. Lengths of steel, assorted bits of metal, African drums. An Honest Jon’s recording.

‘a terrific soca compilation… a vital contemporary follow-up to London Is the Place for Me’, Village Voice; ‘*****, Compilation Of The Month’, Touch; ‘chaotic and compelling… an ace selection’, Time Out.

‘10/10 Pop music as it should be: beautiful, heartbreaking, but ultimately uplifting’, NME; ‘*****’, Mojo; ‘***** A welcome alternative to the over-hyped women singers clogging up today’s charts’, Daily Sport.

Classic soul sides rewound as state-of-the-art dance music: brilliant, epic house, and hard-funk breakbeat.

‘10/10’, NME, Vice; ‘*****’ The Guardian, OK, Mojo, The Independent On Sunday, Blender. ‘Every single track here says more in its 2-minutes-40 than most artists manage in a lifetime’ (Time Out).

The second son of King Jammy, Trevor James aka Baby G is at the cutting edge of the new wave of dancehall producers. Jammy’s stalwarts Ward 21 and newcomers Rasta Youth on the mic.

‘Terry Hall has returned with his best work in decades… a daring, thoughtful set’, The Guardian; ‘***** the real message lies in the boldness of its musical vision… world music album of the year’, The Times.