Bumptious sauce recorded for Paramount in 1929 by different lineups including Leroy Carr, Scrapper Blackwell, Tampa Red and Blind Blake, and Bob Robinson on banjo and clarinet. Archetypal Crumb; 180g.

Lost album of reggae-soul by the young Kilburn-resident, recorded at the Black Ark in 1977. It fell through the gaps in Perry’s crumbling deal with Island Records — but here it is as originally planned.

Moving, skilfully epistolary song-writing from inside the belly of Apartheid.
Killer rhythm, to boot.

Xavier Charles (clarinet, harmonica), Ivar Grydeland (electric guitar, banjo, sruti), Christian Wallumrod (prepared piano, harmonium), Ingar Zach (gran cassa, percussion).

An upful, radiant, chugging version of the McFadden & Whitehead, by way of Harry J, strung out on flute and Syndrums.

Dawn Le Faun with Billy Le Bon, co-singers of The Letting Go and Wai Notes, digging up a modern(ish) parable from deep in their Everlys sack, afore getting down and sliding around on the flip.

The forgotten music of the Austro-Hungarian diaspora in the mid-west of the United States. An Ian Nagoski compilation to inaugurate the label, with a cover by Eric from Mississippi Records.

Beautifully direct Wassoulou songs by the twenty-year-old accompanied only by N’Gou Bagayoko on acoustic guitar.

Kikuyu ‘liquid soul’, Luo benga with its rat-tat-tat beat and layered guitars, Swahili afrobeat, Congolese rumba, plus influences from SA and Zambia, disco and funk, coastal rhythms like chakacha. Mostly from 45s.

A master of the sato (a bowed tambur or long-necked lute held vertically) joined by Tajik singer Ozoda Ashurova in this beautiful, haunting, little-known court music. Plus doyra drum and dotar lute.