A next-level three-tracker, intense and roiling, featuring a mesmeric six-minute instrumental, with Thierno Sarr grooving out on the top string of his bass, adding an elusive Manding flavour to the deep Mbalax mix.

A traditional Jola rhythm, with tuned, talking and kit drums swarming across scraps of guitar and the Mboups singing; then a more deeply dug-in, spaced-out funk, spun from a Serer rhythm. With full instrumentals.

Rock-steady, slow-burning, hard funk, a kind of fatback Mbalax, in no mood to be messed with, with full vocal and instrumental versions; plus two vivid sketches, talking drums to the fore.

A rolling, resplendent tribute to griot life — ‘gawlo’, Fula for ‘griot’ — spear-headed by none other than Baaba Maal. Expressive interjections by a trio of talking drums are especially lucid on the instrumental.

The dramatic, rough-hewn, brilliant debut recordings of the Quintet from 1961. Two original LPs — the first mostly AP arrangements, the second mostly his compositions, including Adios Nonino, on his dad’s death.

All his records, from his 1958 debut through to 1964, when he withdrew from performing to concentrate on writing songs for the Supremes, the Vandellas, the Four Tops etc, with his bro Brian and Lamont Dozier.

Impeccable, lovely, gal-trio soul, from mid-sixties New York City, including early sides as the Lovejoys — take it easy, Wackies fans — solo recordings by lead singer Leola Jiles, and several fine unissued sides.

Regal rhythm and blues, rock and roll, big-band funk and the rest from this amazing man, with his son Shuggie just coming into view.

Superb, sombre, tautly grooving sufferers, produced by George Woodhouse.
Same singer as Reward, on Channel One. Twin, dread killers.

The fourth Snakeoil; the second (following on from 2015’s You’ve Been Watching Me) to feature a quintet line-up adding guitarist Ryan Ferreira to the core lineup of clarinettist Oscar Noriega, pianist Matt Mitchell and drummer/vibraphonist Ches Smith.
Reviews seem unanimous that it’s the best yet.
‘Characteristically action-packed in the Berne tradition (following on from AACM and his muse Julius Hemphill): powerful, dynamic, often fast-moving — yet also very clear in all its teeming detail. “We somehow achieved more sonic space by adding another player,” says Berne. It’s an impression maintained even when producer David Torn takes up his own guitar in a cameo at the climax of the modestly-titled Sideshow (in reality a 26-minute epic journey), soloing amid thunderous timpani, over a serpentine melody outlined by sax and clarinet.’

Uproarious mix-up of Molam pop, Thai acid-rock, Javanese dangdut, default TwoTone and Cambodian instro-drama from the Oakland CA seven-piece including Sublime Frequencies’ Mark Gerghis (with Alan Bishop guesting).

Demdike Stare and Andy Votel.

Terrific roots plodder from 1982, with Bertram Brown and King Tubby at the controls.