Ed Sanders founded a magazine called Fuck You (in 1962), a radical bookshop on the Lower East Side of NYC, named Peace Eye, and The Fugs.
This is a kind of incantatory left-anarchist history lesson, with interjections on a small keyboard called a pulse lyre, which he invented and built himself. It’s droll, epic, engaging, stirring; warmly recommended.
Presented in a beautiful gatefold sleeve, with lyric sheet.

‘Many mayhemic forces were set against the socialist zone…’

A survey of Nashboro Records gospel, by Mike McGonigal of the Detroit Gospel Reissue Project.

‘An extraordinarily lush, poignant collaboration… Bombscare bleeds mood, space, and texture as sounds ring out and echo into the distance. Hand So Small works like a literate lullaby as musical flourishes appear from thin air, a piano haunts the outskirts of the song, and Alan Sparhawk and Mimi Parker take turns singing about life “getting smaller.” So Easy (So Far) is perhaps the most traditional Low song, but Spring Heel Jack manages to make the band sound like they’re singing modern day Brothers Grimm tales. Way Behind is a stunning closer. It’s a truly exhilarating song that sounds like it was recorded in heaven, as Parker and Sparhawk again take turns singing angelically that they’ve left someone “way behind” over a jazzy electronic stew full of subtle found-sounds…
‘It’s too bad the collaborators didn’t compile an entire album’s worth of material, as these sixteen minutes seem magically fleeting. Bombscare couldn’t be a more superb collaboration between these innovative artists’ (AllMusic).
First reissue of the original release in 2000.

Rupie Edward’s wise and witty account of the 1973 Foreman-Frazier fight in Jamaica, over his own deadly Down Below rhythm, with tasty dashings of Errol Dunkley, and the influence of Lee Perry in full effect. Pure vibes.
Featured in its instrumental glory on the flip, the rhythm appealed so much to Coxsone Dodd that he bootlegged it.

With guests Kit Downes on hammond organ, and cellist Lucy Railton.
Jazz album of the month, in The Guardian: ‘an unusual path, combining spellbinding singing with wayward improv… Speak Low II foregrounds Cadotsch’s crystal-clear lyricism more than its predecessor without ever cramping the freedoms of her classy improvising partners. She brings a graceful accessibility to a personal and ingeniously offbeat setup.’

‘Their entire output in upgraded sound from the correct master sources, including recently discovered tapes and unissued demos, with a booklet jammed with illustrations from the group’s personal archives and a 9,000-word essay based on input from all the members, including commentary from Sly himself. Truly the last word on Sly Stone’s first phase.’

Stark, moody, percussive amapiano.