Previously unissued underground rock from 1969, Rockford, Illinois.

With Eno more the guiding hand for this second collaboration with Cluster. Open, airy, ambient, unhurried. Originally released in 1978, but still fresh (except for Eno’s singing).

Half-speed mastering.

‘Eleven pieces recorded over the past year, moving between the small town of Alfred in upstate New York, and Beirut; stepping out, as if onto ice, into a new life on a new continent during a time of tragedy, turmoil, and upheaval.
‘Unfamiliar instruments, new materials and new sounds delicately build on Yara’s intimate style, with its backbone of homemade mechanical music boxes and personal archive of family recordings. She explores the peculiar resonance of the metallophone, and delves into her collection of deconstructed toy pianos, guiding her music into ever more surreal territories… dreamlike, fragile, fragmentary, and strangely timeless.’

A terrific example of gospel in the form of soul music, so prevalent in the mid-seventies.
A family group, the Browns were from Aberdeen, Mississippi. Annie was 11, A.R.C was 12, and Edward was 13 when they got their start, building a reputation by playing school talent shows and front yards.
“We were so strange and we were so young,” says Edward, “and a lot of people didn’t understand that.”

Addo-Nettey was a conga player and singer for Fela’s Africa 70 when he cut this heavy afro-funk album in 1973, with the Martin Brothers Band from Portharcort, for the Tabansi label.

‘Classic Vinyl Series.’

Powerful, fierce free improvisation, crossed with avant-rock, bringing together Steve Noble, John Edwards and Alex Ward. A numbered edition of three hundred, on heavy vinyl, with thick, hand-assembled covers.

Gale-force masterpiece.

With different lineups in 1966, including pianists Ran Blake, Burton Greene and Dave Burrell; and Giuseppi Logan.

Settings of the poetry of Emily Dickinson.

Classic sixties soul and dance from Detroit. The Cool Jerk still does the business. Half arranged by Dale Warren, from 24-Carat Black, soul fans; half by Riley Hampton, who did prime Impressions and Curtis.

Drawn from the hundreds of reel-to-reels and cassettes that Jones — aka The Hurricane, The Fireball — has made of his Southern preaching, raving between speech and song, since 1960. From Dust To Digital.