Off-the-wall James Brown runnings, coming apart at the seams in Antananarivo, Madagascar, in 1967.

More from the archives of Tom Mkhize, re-imagining traditional South African music as Library Music in 1980s Johannesburg. Plenty of mbaqanga on this volume, running back to kwela, marabi and early South African jazz. The opener’s a knockout — thumb piano (heavy with delay), makhoyane gourd-resonated musical bow, sikhelekehle fiddle, steel drum and synthesizer.

Open-hearted, fresh, lovely, bumptious recordings of women’s singing, from Rang’ala village in southwest Kenya. ‘Dodo’ is a type of traditional Luo music mostly used for entertainment at weddings, drinking parties and wrestling festivals. Songs in praise of the happy couple, the hardest drinkers and the best wrestlers.
Try the magical fourth song, Arum — about barking like a hornbill.

No-shame housey Tsonga-disco and hands-in-the-air rave banged out on Korgs and Ataris in 1994 South Africa. It sold tons, rocking stadiums from Liberia and Sierra Leone to Namibia and Mozambique.

Judith Juma’s wonderful mbira playing — shona ritual music, with singing, drum and rattle.

Stefan Schneider and Sven Kacirek’s scintillating recordings of the Mijikenda tribes, made in different spots in and around Mukunguni village, coastal Kenya: spiritual and healing music, and love-songs.

Precious, late-eighties dance music from Mogadishu. Big group —  three horns, four singers plus three backing, two guitars, keys, drummer, two percussionists, bassist — choca with funk swagger and highlife shimmy.

Casio and percussion nut-outs from Dar Es Salaam, Tanzania. Songs about the concrete jungle, infidelity and voodoo, Mchiriku-style.

A form of Sufi music with its roots in the ancient Arab world, surviving only in Zanzibar: slowly building in intensity, with songs and poetry, and passages for dancing, featuring a wide range of percussion.

Two EPs of storming, squinty Shangaan Electro to herald the European tour of Tiyiselani, the Tshetshas and producer Dog, in the summer of 2011.

Elmore Judd in Nairobi with Joseph Nyamungo and Charles Okoko.

Saboso from mid-seventies Dar Es Salaam. Complex, fluid guitars and congas; pithy songs.

The Sulayiti Kalungi Ensemble Of Kampala presenting dances, religious invocations and profane songs, to a barrage of percussion and fervent choral singing.

Thirty-five stingers from an HMV run of more than four hundred 78s, recordings made in Uganda and Kenya from the mid-1930s till the mid-1950s.

The second half of the CD.

An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto, recorded between 2006 and 2009.

Instrumental music from the north: like the hunting bow, made from wild vine and the tendon of an antelope, struck with a stick or a porcupine spine. One end goes in the performer’s mouth, which makes a resonator.

Various songs — and valiha zither, made from a bamboo trunk, the sodina flute, the angorodao accordion, the kabosy lute, and the amponga tany, a ground zither made of plant rope, wood, and shit.