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‘Run for cover now / I’m takin’ over / So please step aside / Because I ain’t gonna sympathise / Boy I’m gonna lay it on / From dusk till dawn / With a right to the head and a left to the cheek / (Musically)…’ From 1967 with Lynn Taitt, straight to the head of Coxsone Dodd.

Their second EP, released in 1999, one year after Tplay. More deliciously attenuated garage, with house and techno scrawled into the mix, besides a fresh transgressiveness in places (like the closer). The original half-dozen, plus another six previously unheard recordings from the same sessions.

Her second studio LP — one of several self-titled releases, known in the UK as ‘In Vogue’ — in a numbered edition of 500, pressed on audiophile clear vinyl.

Two men emerge from the sea, carrying a large wardrobe. They tour the town, catching hell, before disappearing back into the waves, still with the wardrobe. Jazz by the Komeda Sextet for Polanski’s 1958 short — and the celebrated Knife In The Water, from 1962.

The wonderful Nommos and Visiting albums (again).

Sparkling sixties New York Latin Jazz — a collectors’ legend — led by Osvaldo Martinez on guiro and timbale, and featuring the great trumpeter Alfredo Chocolate Armentero. Tremendous stuff.

Bluesily poetic baritone singing in the great post-war tradition of Assèfa Abatè, Fréw Haylou, Asnaqètch Wèrqu, Kètèma Mèkonnen and co. Lovely.

Skulking in behind Cousin Cockroach… a millennial Benny Ill — his seminal hybrid of breakbeat and UK garage, rampin’ junglist vibes to the max, swimming with lickshot, bass terror and ragga swagger… Dark funk from PAN’s Beneath, mixing up soca and grime… And a poster by Max D!

On the rebound from Trilogy and LIES, the San Franciscan trades up the the sci-fi in Jeff Mills for bonus energy and grit: Flesh And Blood is the bare essentials, squared. On the flip, Low Jack chips into the Industrial madness, putting some Muslimgauze to the funk; BJ is dirty stinking noise.

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