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Mississippi is pleased as Punch: ‘unbelievably great psychedelic garage rock up there with the 13th Floor Elevators, Love and The Seeds but with an outsider edge. Easily one of the best Mississippi releases ever.’

Precious 1964 recordings, top-notch though never previously released, part of the First Songs sessions for Folkways.

‘Our tribute to the music made in the U.S. between 1927 and 1948. Not only traditional genres (blues, old-time, Cajun), but also the music that was brought by the boatloads of immigrants coming to these shores.’

One of the greatest Indian classical vocalists of all time, from the bottom rung of the caste system. Exquisite ragas from 1947-1953.

Guitar music from the Western Sahel — stripped-down regional styles to Western pop covers. Street musicians and professionals on the wing, with the occasional car horn or motorcycle rumble to boot.

The first Mississippi compilation, back in print after seven years! Lovely and moving collection of vintage country blues, full of dread.

As featured on the terrific Ishilan n-Tenere compilation — Pulaar guitar music from northern Senegal, ranging from acoustic bliss to edgier head-nodders. A co-production with the excellent Sahelsounds.

A radiant Nagoski selection from the 30s and 40s. Christian and Jewish US immigrants from Anatolia, Istanbul and Roumelia, flirty and rocking; more aching, artful performances from Turkish Muslim women.

Vintage regional highlife — traditional instruments, swinging brass, funky flute, wah wah guitars — the more precious for the national toll since of dictatorship, religious psychosis, and racism to the bone.

Two fervid supplements to the Arhoolie set, originally self-released on Overstreet Records.

Greek Folk Music In New York City 1919-1928.

From 1927-9, haunting sacred blues, angelically sung, with accompaniment on the Dolceola miniature piano. One of our favourite Mississippis.

Heavy, impassioned gospel scorchers, one side electric, the other acoustic. All previously unreleased, except Fire In My Bones, from the killer Tompkins Square compilation (and Last Time Around).

Rock and roll (or something like it) from all over the shop — swinging Bollywood, cumbia, south African jazz, sounds from Egypt and Japan, even a polka.

Master-works by the likes of Meunier, Gratchenfleiss, Addleston, Sudbury and Duibuisson, running back to George Babcotte’s monumental Dirge for the funeral of Sir Philip Sydney.

‘Calypso classics from 1928-1947 by legends like The Growler and The Lion as well as by some lesser known but great artists. Heavy topical songs, minor chord meditations on death, beautiful instrumentals and more… All true masterpieces.’

Their third LP, from 1963 — with I’ve Been Scorned, This May Be The Last Time, The Day Is Passed And Gone, Two Wings…

Their first LP, from 1959. Austerely beautiful, led by Pops’ unmistakable tremolo guitar. The title track is knockout. All three in old-school sleeves, with ‘frameable’ press shot, and extensive liner notes.

From 1961, with highlights including a definitive version of the title song, the intense Too Close — recorded live in church — and the stunning Downward Road.

Raw, rocking, haunting, exquisite George Mitchell recordings of Georgia bluesmen, 1979-1981… the real, rooted thing.

Classic Malian dance-orchestra music from the 1970s, fronted by the Guinean-style guitar of Keletigui Diabate, and even better than Mississippi’s previous raid on this series, originally issued in Germany.

Twelve of the Texan’s classics, drawn from twice that number of recordings between 1927-29. A travelling musician with a throw-back style — often accompanying himself on the quills, like a pan flute.

From 1970. Dozy funk like the bad-trip portion of Sly’s There’s A Riot Goin’ On — with local kids blowing into sawed off bed posts as if they were trumpets — and an upful ballad. Back in at last.