The second LP of the mainstay of modern Caribbean/Antilles music, released in 1975 on a small Parisian label, La Voix Du Globe. It maintains the pressure of his debut Cosmozouk Percussion, incorporating African, Latin and West Indies styles like Gwoka, Mazouk, Biguine, Bel-Air and Bomba, together with swirling cosmic synths and intense roots percussion. Bomb.

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.

Wicked early-eighties Wackies, unsteady and moody, with a Hudson connection.

An upful, radiant, chugging version of the McFadden & Whitehead, by way of Harry J, strung out on flute and Syndrums.

Profiling producer Theppabutr Satirodchompu — the first in a series of albums celebrating the key-players of modern molam music, from Northeast Thailand. Limited vinyl from Light In The Attic.

Laid-back rocksteady soul from Noel, out of the Chosen Few — coupled with a fun Ike Bennett organ workout.

Highly entertaining, varied session for New Jazz in 1963 — the same year as Cracklin’ — with Frank Strozier (playing saxophone and flute), Larry Ridley and Ronnie Matthews. The tricky, careering opener Modette is terrific.

Casio and percussion nut-outs from Dar Es Salaam, Tanzania. Songs about the concrete jungle, infidelity and voodoo, Mchiriku-style.

Eighteenth and nineteenth century folk repertoire featuring horn, overtone flute, panpipes, vertical flute, shepherds’ trumpet — and violin or balaika.