The 1972 LP coupled with an equally rare film from 1970, The Secret Of Sleep.

Zinging folk-blues session discovered in the tape cupboard of a Milwaukee radio station. Originals, Lomax stuff, blues covers. Rated a key influence by David Bowie, Lucinda Williams, John Lennon and co.

The three albums for John Peel’s Dandelion label, plus live material, and recordings made for the BBC between 1968 and 1972. Clickety-click, sixty-six tracks.
‘Bridget St John proved to be the closest Dandelion got to acid folk and psychedelia; her two later albums for the label contain flashes of avant- garde adventurousness, but are closer in spirit to Nick Drake or a post- Fotheringay Sandy Denny’ (Seasons They Change).
The discs are presented in mini LP sleeves; the booklet includes memorabilia and comprehensive notes.

‘Who would attempt to combine cunning ethnological forgery, Scottish folk songs, claw-hammer guitar, untutored horn-tootling, elastically relaxed drumming and garage electronic fuckery? Only Greg and Stefan, high on sea, sunshine and mis-judged micro-dosing — that’s who.
‘Don’t Drown was offered as practical advice during the self-described Yellow Submarine phase of making this record. And while they managed to avoid literally doing so (phew), they sound here like they got pretty ‘deep in’ to an Octopus’s sound world all their own. This surprisingly clear analogue recording has just enough Bikini Bottom grit to ensure traction. The tunes are inviting, and the sonic disruptions are too good-natured and goofy to upset even the most delicate digestion.
‘The sessions have had a couple of years to marinate, courtesy of some pandemic, and are here offered in that most Archducal of vinyl formats, the double ten inch. What are you waiting for, a side of Crabby Patties? Get your water-wings and dive in (unless you’re tripping)!’ (Bruce Russell, The Dead C)

A collection of EPs recorded at home, most Decembers since 2001, and given to friends as Christmas cards. Traditional carols and many originals, with stickers, stories, a songbook, and a bunch of stocking fillers.

Following on from UFO, in 1972, but ‘a different beast. Out go The Wrecking Crew, in comes arranger Jim Hughart [who worked with everyone from Joni Mitchell to Tom Waits to David Axelrod]. The result blends Sullivan’s folk-pickings with bold-ass brass (You Show Me), funky lounge (Sonny Jim), swampy blues (Biblical Boogie) and even honky tonk — see Sandman, ‘rescued’ from UFO along with Plain To See, its already fearsome breakbeat funked up to 11 and beyond’ (Mojo).

Lavish, first-time release of a previously unheard 1969 studio session.
Ten acoustic solo recordings: brand new songs mixed with stripped-back versions of the likes of Jerome, So Natural and Whistle Stop, from UFO.

Terrific analogue recordings of inimitable covers of Thin Lizzy, Nico, Black Sabbath, Abba, Sandy Denny etc, with support from Will Oldham and labelmates Supersilent.

A singing trio from Charente-Maritime, reviving folk songs from the neighbouring department of Vendée, on France’s western seaboard. Mostly recorded at home, with guests playing accordion, violin, piccolo and contrabassoon, and cigar-box guitar.

In his liner notes, old admirer and collaborator Alasdair Roberts registers ‘a deepened richness’ in these new recordings, ‘unfolding with a patient confidence… considered and poised.’
‘There’s a greater complexity and subtlety to their unique three-part harmonising, too. Their voices mesh in even stronger — almost telepathic — ‘fraternité’ than ever before: now commanding and mighty as a full-rigged counter-vessel, now gentle and lulling as a mother’s cradle-croon, or a whisper in a lover’s ear.’

Deliciously ethereal and dark folk from the duo of Oxford’s Sharron Kraus and Philly’s Tara Burke (aka Fursaxa).

The first in forty-seven years from this veteran American Primitive. Witty, stark, smouldering guitarism, as ever.

Fabulous, rough and rare early blues and country, including two unearthed Son House treasures, with an ace Crumb cover and nice booklet.