More than a hundred recordings — including fourteen previously unreleased tracks, and two radio shows from 1941 — housed in a hardbound 12-inch album, with a 140-page book of essays and rare photos.

Wonderful, previously-unheard recordings by the legendary Bahamian guitarist, at his peak in 1965, made at his only New York concert, at home in Nassau, and in a Manhattan apartment. Gripping, one-off playing, continuously stepping out of line, or surprising you with accents, like Monk; rough, enraptured singing in the age-old tradition of local sponge fishermen, with startling irruptions of humming, babble and scat.

A landmark field recording, exquisitely done, ambient and intimate, with beautiful music, and documentation by Colin Turnbull. A hit with Peter Brook, anyway.

His earliest recordings, for Emory Cook — unflinching social commentary, spun with invincible exuberance and literary panache.

Dangdut is a raucous Javanese mix of Indian film music, transatlantic rock, scraps of Middle-Eastern pop. Kroncong songs with ukelele-style accompaniment (and brass band settings here) run way back to Portugal.

Gorgeous currulao from the Pacific coast of Colombia.

A quartet with Evan Parker, Alan Silva, and Paul Lovens.

Songs and ceremonies of the Yoruba, Dahomean, and Kongo-Angolan religions, performed by Marcus Portillo Dominguez, Candido Martinez and others, recorded in Cuba in the late 1950s by Lydia Cabrera.

The title track is a pinnacle of funky soul jazz. No-nonsense chitlin manners, hard and tight, with none of the airs and graces of fusion. Sonny Phillips on electric piano, Ron Carter on bass. Jones nails it evilously. Ace drumming by Bud Kelly.

With Ekoplekz and Andres mixes.

Start-to-finish killer combination of heavier-than-lead Roots Radics rhythms, wild Scientist mixing, and the Flick’s unique singing, often falsetto. Kicks off with an Ain’t Too Proud To Beg.

Moody, heavy lovers, detourned by FW’s full-throated falsetto. Ace.

Heartically hymning male companionship over the same tough digi rhythm as Nathan Skyers’ Tribute To The Heroes… plus the dub. Previously unreleased.

‘The Voice of the People’.

Pipa master Wu Man and her Uyghur, Tajik, and Hui collaborators explore connections between the musical worlds of China and Central Asia.

Telling ninety one-minute stories (sped up or slowed down according to length), whilst pianist David Tudor plays bits from a couple of Cage’s compositions, in a different studio. A 1959 Folkways.

Anthony Maher’s 1988 dub album, an Australian commingling of JA science and UK post-punk and Industrial.

Three albums recorded on his brother’s farm in Accokeek, Maryland, in the early 70s. Quite different to his previous releases, the music remains raw and basic, but with vocals and acoustic guitars, mandolins, dobros and piano. ‘An organic blend of downhome music… imbued with a primitive spirituality. There is an unpolished, spontaneous feel to the music which sparks it greedily into life, and the Accokeek earth seems to be ground deep into every groove. You can even hear the frogs croaking outside the shack.’