The harpist from Christian Wallumrod’s ensemble, with the Magical Orchestra singer, plus viola and nyckelharpa — performing Purcell, Nick Drake, Leonard Cohen, and a couple of Susanna’s.

Tremendous, transformative interpretation of the Bassies at Studio One — mournful, trenchant, rocking, heavy, dubwise… bad.

Killer, full-steam-ahead, Channel One rub a dub, with startling effects, produced by Bebo Phillips and Clive Jarrett.

Celebrated dubplate version of DEB’s Promised Land; and Earl 16 on Trial And Crosses.

Landmark South African jazz from 1974 — spiritual and political, shimmering and surging. Reverbed trad and trap drums, mesmeric bass, soaring flute, rocking sax. Warmly recommended.

E-flat, b-flat and bass clarinets, soprano and alto saxophones, birdcalls, viola, banjo, cymbals, wood, trees, sand, land, water, air.
Recorded outdoors in 1977, in the Black Forest, near Aufen.

Rapturous, turbulent, frank settings of the poet Gunvor Hofmo, and themes of human longing, loss and wonderment before evil and beauty. With pals from Supersilent, Motorpsycho, Madrugada, Deathprod.

Irresistible reggaeficatory bazookaings of Manu Dibango’s Soul Makossa, upping the old-school funk, and garbling extra mamas.

Trunk’s new soundtrack label kicks off with Adrian Corker’s reflective music for Tim Plester’s doc: an evocative mixture of subtle ambience with inventive modern composition, and spoken word and field recordings.

Music by Michaels Cole and Jessett for the beloved seventies finger-puppet show, with Fingermouse, Gulliver the seagull, Scampi, and Flash the tortoise.

With the inspirational Elevate Our Minds.
A Richard Evans production from 1979, between Chicago and LA, crowning Linda’s years masterminding Natalie Cole’s success.

Top soulful swamp pop via Huey P Meaux’ in Texas, including a bunch of demos for Fats and Cookie And The Cupcakes alongside JD’s complete Tear Drop sevens.

‘In these recordings without amplification I could hear the natural resonance of the instruments and the subtleties in the vocals. They also played songs not heard in the dance halls: haunting, sad songs.’

A songwriting mainstay of FAME from 1968 to 1972 — monsters like Candi’s Evidence — George was also a very fine singer, unmannered, hurt, open. The first of several volumes.