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Her fourth LP, from 1979, on the eve of the coup d’etat in Turkey. (The military government hauled her into court three times.) Charged songs with reverbed guitars and baglamas about mountains, families, desolation…

Terrific, angrily socialist Turkish folk music crossed with synths, fuzz and stoner flute. Her second LP.

His second, 1974 LP, reviewing his own musical back pages through to Dervisan. Pop theatricality meets broiling, cultured, poetic righteousness in dope shades, stoked by molten electric bass and baglama.

Singles from 1971-75, the dental Istanbulite well over his teething phase of Beatles and Dylan knock-offs, by now electrifying pastoral visions of modern Turkish folk with metropolitan jolts of proggy flash.

A compilation of the early-seventies singles of this Turkish footballer turned lawyer turned singer: doleful folk and classical Anatolian melodies shot through and through with heavy wah-wah.

Further delvings into the ecstatic kitsch of 70s Tehran pop.

The magic moments of Sharam Shabpareh, front-man of Iranian garage legends The Rebels. ‘Blurting horns, evil bass grooves, cheesy organs, a thick strata of percussion going off like microwave popcorn.’

A ton of drunk people stomping about in a circle to the frenetic, overdubbed, distorted sound of electric saz, synthesized drums, cimbalom, and sheep sound effects: yep, Bengi Folk, Derdiyoklar-style.

‘In 1970s Tehran, the classically-trained Ramesh played the serious, quiet marquesa against Googoosh’s languorous pop princess.’ Vintage Iranian pop from rare singles: lutes, goblet drums, brass, strings, synths.

A third helping — rockers like the Rebels, but more winningly the Googoosh girls, sweet-tough, tough-sweet. Gypsy fiddles and shimmering disco strings, crime-jazz piano and Abba knock-offs…

His first album proper (following a collection of singles), and his best, from 1974. Bunalim and Baris Manco bassist Ahmet Guvenc rocking steady beneath EK’s moody baritone and electric-baglama riff-outs.

Selected from several singles and one LP issued between 1968-76. The lachrymose flute and organ dirges of his early work, shading into his signature, sophisticated, sumptuous, in-thing Iranian sitar-funk.

Boogaloo, Bollywood and Blaxploitation, prog and psych, funk, bossa and jazz — in amongst the santur, tar, and tonbak, Middle Eastern pop and folk. Smart, swinging, fun, unlikely and compelling.

Means ‘Depression’. A compilation of the early-seventies singles of the bad boys of Anatolian rock, managed and produced by Cem Karaca. Peter Piper says ‘Turkish-folk-flavoured psychedelic-fuzz-rock’.