‘Primarily the work of Southern born bluesmen who immigrated to Chicago before the Second World War, but whose careers endured into the postwar era,’ this was the first Nighthawk release, with the label taking its name from a Robert McCoy recording featuring Big Joe Williams and Sonny Boy Williamson, included here. (‘I have prowled so long / Till it made my knee bones sore.’) With Big Bill Bronzy, Tampa Red, Washboard Sam, Johnny Shines and co.

Still a blast of fresh air. Profoundly influential late-50s, early-60s recordings of rare southern English harmony singing from the Copper Family, which can trace its roots in traditional song back at least two hundred years. Gems about labour, nature, sex, beer, the weather, wandering… Hard Times Of Old England is here.

The 1973 soundtrack for René Laloux’s philosophical tale of anticipation, where men are used as domestic toys by blue giants, the Draags.
The orchestral expansiveness recalls Goraguer’s sixties projects with Serge Gainsbourg, but teleported to a psychedelic spaceway of its own, mapped out in a series of vignettes — moody, baroque, wasted, hypnotic, out-there — with funky wah-wah guitars, flutes, Fender Rhodes, breaks-n-beats drumming, and haunting effects.
Demonstrably beloved by Dilla, Madlib, Air, and co.

A new deluxe edition, mixed from the recently discovered multi-track tapes, including seven previously unreleased tracks and three alternate mixes.

Triumphantly reviving all-time-classic Jammy’s. Proper dub, too.

Johnnie ‘Who’s Making Love’ Taylor, Jimmie Outler, Paul Foster, S.R. Crain and James ‘Love Is a Five-Letter Word’ Phelps; the albums Jesus Be A Fence Around Me and Encore!!, plus seven tracks recovered from singles and a label compilation, and four previously unissued — all recorded between September 1959 and July 1964. With an excellent essay, which traces the Stirrers’ story to their formation in 1926.
Stealin in the name of the Lord… this is a terrific bargain.

Bobby Womack, with brothers Curtis, Harry, Friendly Jr and Cecil; produced by Sam Cooke between June 1961 and September 1964, for his own SAR label. Gospel as the Womack Brothers; R&B as the Valentinos, including the original version of It’s All Over Now. With seven previously unreleased tracks, and excellent notes, drawing on interviews with several members of the group.

The classic digital destroyer, recorded at Aquarius in 1987.
Cyaan be no loefah.

Ndikho Xaba was born in 1934 in Pietermaritzburg, KZN, South Africa: for thirty-four years —  1964 –1998 — he lived in exile in the US, Canada and Tanzania. Originally issued by Trilyte Records out of Oakland, California, this 1970 recording is bracing, freewheeling Now Thing, suffused with SA idioms, and focussed by a political urgency wiring together US Black Power, Black Aesthetics and the anti-apartheid front-line like nothing else. You can hear Trane from the off — ‘a spiritual offering to my ancestors’  — and plenty of Sun Ra, with whom The Natives several times shared double-bills. Freedom is a gutbucket-soul rendition of the people’s anthem; that’s Plunky from the Oneness Of Juju playing saxophone on Nomusa; the thunderous finale features drummer Keita from the West Indies, and Baba Duru, who studied percussion in India, before winding up with Xaba blowing eerily through a horn made from a giant piece of tubular seaweed.

Guaranteed to put a beam on your bean and a glide in your stride, the DVD here compiles moments from a local 1982 TV show, broadcast live from a club called The CopHerBox. It’s pleasurable enough just watching people get down so naturally, in a real-life club… but you also get ventriloquists, contortionists, body-builders, impersonators, ‘the full-figured ladies fashion show’, comedy sketches, android group-dancing to techno, rubber chickens… and bands like Universal Togetherness miming to their latest records. There’s also a mini-documentary, complete with Phil Cohran section; and twenty-three full musical performances. (Finally the Dingwalls posse gets a glimpse of Luba Raushiek in action.)
The CD and vinyls are culled from a trove of self-released 45s and small-time twelves; a die-cut cathode-ray jacket and six in-package stills are your tickets and souvenirs.
Great fun.

His soundtrack to Claude Sautet’s 1972 film, featuring Romy Schneider’s haunting voice-over of La Lettre De Rosalie. ‘Like a magical bridge between baroque and electronic music, mixing Moog synthesizer sequences with acoustic instruments.’

The GRM don letting his hair down, in this 1982 soundtrack to the film Rock, performed on a TR-808 drum-machine, Synthi AKS, and Farfisa organ and clavinet. Nineteen shots mixing together electro, Radiophonics and John Carpenter. Bracing, brilliant, highly accessible; warmly recommended.

New minings of his mountains of work for the screen — dozens of documentaries, shorts, features, animations — and for dance, stage and television.

Classic mood-lifting party stomper, with RC rabbiting on about how he likes to party, over a looped sample from Blue Magic’s Welcome To The Club. With a dub, besides two mixes and an accapella.
‘Doctor Love was my song, and I would only take deep breaths, and fill my lungs with the rhythm, with the bass… I get deep.’

Ska And Jump Up For Your Happy Dancing And Listening.
Ebullient Sonia Pottinger showcase out on Doctor Bird in 1966. Oswald ‘Baba’ Brooks and his group backing The Saints, The Techniques and co.

Wicked, stinging sister-funk self-penned by the mighty soul singer, before more celebrated sojourns at Atlantic and Columbia. The flip is previously unreleased; also terrific.

Stylishly reined-in, Southern-flavoured, churchy soul — same neck of the woods as Aretha — half recorded in Memphis by Jackie’s cousin Dave Crawford, including her smash hit Precious, Precious, with the Memphis Horns in full effect (and Dr. John, on Time); and half at Sigma, with Earl Young, Bobby Eli and co.
(Jackie Moore is well-known but under-rated. Try to track down the CD set The Complete Atlantic Recordings for a bunch of killer previously-unreleased sides.)