Ace, fired-up, new version of Pablo Gad’s classic, anti-colonial, UK-JA sufferers. Tippa from the legendary Saxon sound; the Lovers Rock maestro. Lovely to see these two Londoners sparring together again thirty-plus years after The New Decade session.
Get-loose, gimme-the-mic, basement-session vibes. Nick Manasseh expertly runs the desk.

All together now… ‘When I was a yout I used to bun collie weed in a rizzla, I use to bun it in a rizzla. Now I am a man I jus a burn collie weed in a chalwah, I just a rub it in a chalwah’... Can’t hear you… ‘Do you really wanna know about the half that never been told? Do you really wanna know what appen to our silver an gold ? We buck up on a hard time, we buck up on a hard time.’

A scorcher.
Rawly emotional, politically charged drums-saxophone duets, with a rough-and-ready, carnivalesque, spirited energy. McLean is in full flight.
The closer Deicomahleeah has been reissued by both Floating Points and Jazzman, in the last few years.
Carvin is the percussionist on Expansions; the drummer on Pharoah’s Elevation and Doug Carn’s Infant Eyes.

The legendary jazz-funk album recorded in Auckland, New Zealand, in 1971, mapping ‘the same territory as such acolytes of Miles Davis’s late- 60s explorations as Return To Forever, Weather Report, and Tony Williams Lifetime. Experimental studio techniques combine with blazing artistry, juxtapositioning trippy electronic textures and improvised jazz, creating a hypnotic kaleidoscope of sound.’
Lovely job as usual by Wallenbink: heavyweight tip-on gatefold sleeve featuring archival photographs; sound restoration and remastering at Abbey Road (including previously unreleased recordings and outtakes); 180g vinyl. A limited edition of six hundred: half for NZ; just three hundred copies for the rest of the world.

‘The Romanian trombonist and composer Peter Herbolzheimer led one of the most hard-swinging, innovative, successful European big bands in history. Lineups included Art Farmer, Herb Geller, Dieter Reith, Sabu Martinez… This 45 presents two brassy, funky highlights from his 1973 album Wide Open.’
AAA transfers from the mastertapes; handsomely sleeved.

A stirring, percussive four-tracker. Wintry and submersible; smudged with mist, then silvered and clear as a bell, by turns. Bitten Dream is dark, atmospheric, hypnotic; Via Tekh summons vintage Objekt; Shrine despatches twisted 8-bit granularity into early Livity Sound and Carrier territory; lulling, ambient Catharsis lets go.

Bangers drawn from the bootleg compilation LPs — ‘pirata’ — which were all the rage in 1980s Mexico City, The hottest, rarest hits from Peru, Ecuador, Colombia, and beyond — edited, tweaked, EQ-manipulated and pitched-down, to suit the sonideros running the city’s mobile soundsystems.

‘Their first collaborative recording: four beautifully recorded excursions, threading crystalline drum-work through a sparkling haze of guitars and electronics.
‘The opener Dessus begins with Reidy’s distinctive just-intonation guitar figures, shimmering over a delicate substratum of Befli’s brushwork and bass drum accents. As in all of Reidy’s recent work, the guitarism evades cliché via unfamiliar tuning and electronic processing. Hanging almost inaudibly in the background for much of the piece, a rush of synthetic tones surges into the foreground to end it. Oben is built from kinetic patterns of picked guitar arpeggios, locking into irregular grooves with Belfi’s drums, which move from elegant rolls and cymbal patter to driving closed hi-hats and explosive rock interjections. Around the traditional instruments and across the stereo field, electronic sounds swarm and swirl, fizzing and popping in a sun-drenched soundscape that at points suggests both vintage analogue synth destruction and glitching harmonies. Alto begins in similar territory but turns proceedings up a notch, eventually settling into a propulsive 6/8 groove of shifting drum accents, manically strummed 12 string acoustic, and burbling synth chords.
‘The B side is dedicated to the fifteen-minute Up, where the strategies adopted on the other pieces are put in the service of a more relaxed, slowly unfolding epic. Anchored by a steady pulse throughout, the piece combines chiming guitars, dubbed-out bass lines and constantly adjusted percussive details into a complex flux of sound. Change is at once so subtle and so ever-present that, at any given moment, the listener can never be entirely sure quite how they got there.’

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary label Checker.
Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.
Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…
Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’
Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.
A shoo-in for soul compilation of the year.

With the Honest Jons logo in red & blue on the back. Click through for snaps and alternative colours.

These are AS Classic tees: ‘relaxed fit; heavyweight, 220 GSM, 100% combed cotton. Built to last with neck ribbing, side seams, shoulder-to-shoulder tape, and double needle hems, plus preshrunk fabric for minimal shrinkage.’

With the HJ logo in red & blue on the back.

With the HJ logo in red & blue on the back.

With the HJ logo in red & blue on the back.

Swaying, haunting tangos from Turkey, from the twenties to the fifties, drenched in tears and booze, regret and recrimination.

‘A never-before-issued live recording of McCoy Tyner and Joe Henderson leading a stellar quartet with bassist Henry Grimes and drummer Jack DeJohnette at the hallowed lost jazz shrine Slugs’ Saloon in New York City in 1966. Recorded by the legendary engineer Orville O’Brien — behind classic 1960s jazz albums such as Freddie Hubbard’s The Night of the Cookers and Alice Coltrane’s Journey to Satchidananda — the tape has been in DeJohnette’s personal archives for nearly 60 years.’

‘Over 200 full-colour pages documenting Dodd’s vinyl output during the first six years of Jamaica’s new urban music — from Boogie Shuffle to Ska. Presented imprint by imprint and illustrated with over 900 label scans. With sections on Dodd’s Sound Systems and businesses as well as the musicians he used and the live scene in Jamaica.’