Chilled, underground, DIY fusion from eighties America, rolling up together jazz, new age, and pop. Music for a burgeoning managerial middle class, says Numero; pitched rather hopefully at ‘the new commercial audiences held captive in dentist offices and waiting rooms across America’.

Her third Columbia, from 1970.
With Muscle Shoals crew on side one — Roger Hawkins, Eddie Hinton, Barry Beckett and co — and a lineup convening the Armenian oud-plyer Ashod Garabedian, Duane Allman and Alice Coltrane, on side two.
‘I love my country as it dies in war and pain before my eyes. I walk the streets where disrespect has been. The sins of politics, the politics of sin, the heartlessness that darkens my soul… on Christmas.’

Rie Nakajima and Keiko Yamamoto (co-founder of Cafe OTO in East London) are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, intimately engaging debut album.
Rie’s baby orchestra of rice bowls, toys, clock workings, balloons and motors is by turns haunted, teased, adorned and laid waste by Keiko’s chanting, rumbling, whispering and stamping on the floor. The production by David ‘Flying Lizards’ Cunningham deepens and spooks the mix, which sparks with energy and wit, grace and mystery.

‘A Squeeze-meets-XTC vibed track that will appeal to fans of the Rangers, as it sounds like a half-remembered lost classic from an ‘80s infomercial beamed onto a thrift-store VHS.’

From 1976, the first of the two albums by the Asocial Associates, led by Philippe Doray of Rotomagus.
‘Psychedelic pop, voodoo rock, wrong krautrock, woozy swing… bringing to mind as much Hendrix as Areski, Ash Ra Tempel as Berrocal. No wonder that Nurse With Wound lists Philippe Doray between the Doo-Dooettes and Jean Dubuffet. One of the best albums of experimental song ever recorded.’

Previously unissued underground rock from 1969, Rockford, Illinois.

Country punk from 1985.

Stunning solo, acoustic demos of Pale Blue Eyes, I’m Waiting For The Man, Heroin and co.

‘This third solo album is a deep, widescreen exploration in classic Brazilian song with all the subtlety and delicacy you’d expect from the pioneers of Musica Popular Brasileira, coupled with a thoroughly 21st century sensibility and sonic innovativeness. Layers of intricate instrumentation and arrangement make for spellbound, excavatory listening.
‘Recorded following Gomes’ move from Rio to Lisbon, the album is imbued with a sense of unease and cultural dislocation. A number of songs based on the Samba Ostinato explicitly celebrate Brazil’s musical heritage and culture.
‘Led by Gomes’ gentle and dreamy voice, the music is often reminiscent of mighty trailblazers like Caetano Veloso, João Bosco, or Edu Lobo, though it takes unexpected lines of flight into more experimental territory. An element of drone underpinning the whole album takes full charge on Fllux and Transição; and the finale is molten, raging hardcore.
‘A sun-drenched, balmy dream from start to finish.’

Legendary, underground French rock from 1980, ranging from lo-fi fuzz to full-blown prog. Each song is presented as the hallucination of a possessed six-year-old. Featuring the fourteen-minute Theme Guerre.