Agony aunts Clifford Morrison and Dada Smith from The Bassies, with George Blake replacing Leroy Fischer, in 1969. Cornerstone moonstompers, both sides.

A follower of the celebrated Cheikh El Afrite, young Raoul taught himself oud, and sang solo for his local synagogue choir — also drawing inspiration from the munchid singing of Sulamia, the largest Sufi brotherhood in Tunisia. In 1934, aged twenty-three, his first album was a smash. Maghreb audiences revered him for his fidelity to his own national traditions, undistracted by more fashionable Lebanese and Egyptian styles.
Ya Samra hymns a prettily-tattooed, blushing, date-flavoured brunette; in Aala Khadek the dirty rascal fancies himself to be a bee, closing in on the delicious nectar secreted in the beauty spot of his beloved.

Two sides of rare, body-rocking rocksteady lit up by Linval Martin’s personable singing, and the sweet, warm close harmonies of Hyacinth McKenzie and co, behind him.

Upsetters magic from the Black Ark, circa 1976. The story goes that only thirty copies were pressed, back in the day.

Haunting, ravishing blends of western art song, blues and jazz with traditional and classical Japanese music. Wonderful.

The illustrious clarinettist alongside John Surman, Barre Phillips, Stu Martin, and Jean-Pierre Drouet, in 1970. Iconic Futura cover-art by Avoine.