Magnificent, mystical roots. Killer horns, fat bass. Devon sounds afflicted with visionary responsibility, like he’s seen a ghost.
Crucial.

‘Egypt’s ‘official’ popular music throughout much of the twentieth century was a complex form of art song steeped in tradition, well-loved by the middle and upper classes. The music business was highly structured and professional; centred in Cairo. However, far from the metropolis, to the north and northwest, in towns like Tanta and Alexandria and extending across the Saharan Desert to the Libyan border, a raw, hybrid shaabi/al-musiqa al-shabiya style of music was springing up, supported by small, upstart labels.
‘This compilation covers the full range of styles presented by the short-lived but fecund Bourini Records, launched in the late 1960s in Benghazi, Libya. Gobsmacking moments include Basis Rahouma’s transformation into a growling, barking man-lion, and Reem Kamal’s onwards-and-upwards hand-clapping party banger, with a grooving nihilistic dissonance reminiscent of the Velvet Underground. The thorough-going contrast with mainstream Egyptian popular music is stark in Ana Mish Hafwatak, its vocal woven deftly through a constant accordion drone, and the sparse, slow-burning lament Al Bint al Libya. Whereas the mainstream was aspirational, projecting Egyptian culture at its most refined, the performances captured by Bourini were authentic expressions of ordinary, everyday life. More than half a century old, this music has lost none of its urgency, presence, or relevance.’

The South Londoners’ amazing 1972 LP debut, including Caribbean-funk classics Bra and The Message, the deep Santana vibes of Dove, the playful grounation of Folk Song…

Unmissable, cornerstone Wackies, back in.
Horace Andy’s greatest artistic achievement, surpassing even his Skylarking set for Studio One. With definitive reworks of songs he first recorded for Bunny Lee and Derrick Harriott (Money Money and Lonely Woman); a deadly version of Lloyd Robinson’s Cuss Cuss; and a first outing for Spying Glass, later versioned by Massive Attack. Musicians include Wackies regulars like Owen Stewart and Oral Cooke from Itopia, and Ras Menilik and Jah T; also Sleepy’s multi-instrumentalist spar Myrie Dread from the In The Light sessions for Hungry Town. At the desk, Lloyd Barnes, Junior Delahaye and Douglas Levy coax unequalled vocal performances from the singer, bejewelling ineffable extended mixes.
Crucial.