Lovely. Classical songs by such exemplars as Schubert and Schumann, re-imagined with heart and soul as bare, doleful folk. Just voice and electric guitar.

Always hard-sought-after for the jazz dance gem Tabu, and the overall blend of Cal Tjader, Les Baxter and Luiz Bonfa. “In a way it’s world music,” says Don. “Polynesian, samba, Brazil, jazz, West Indian. It has the energy of Latin and funk records.”

Already his own man in this 1958 recording debut, on plastic alto, with Don Cherry and Billy Higgins in the line-up from the get-go. Great OC tunes, bluesy and wonky; not really something else quite yet. DC’s ace.
Craft LP.

With the classic, studio version of the title track. The drummer John Stevens used to rave about Steve Davis, seldom recorded but here on bass.

Lovely record. An intimate, unshowy, reaching blend of British folk and minimalism in the tradition of Robert Wyatt solo; quietly co-mingling Henry Flynt and Ivor Cutler, Eastern outernationalism and Radio art. Beautifully presented, too; in a die-cut, inside-out sleeve, with a poster. Check it out!

His startling 1970 comeback for Reprise, recorded at Fame Studios in Muscle Shoals, Alabama. A blend of blues, Sly Stone and country rock loaded with the Richard scream, rollicking piano and booting saxophone. ‘He was just singing his booty off,” recalled Travis Wammack (who wrote Greenwood, Mississippi for the session).
The title track kicks off side two with a staggering dollop of super-heavy funk: ten increasingly frazzled minutes of breaks-and-beats heaven pilfered by everyone from Big L and Lord Finesse to Prodigy.

The Clarks’ fourth, pivotal album for Westbound’s Sound Of Gospel label, from 1979, hustling them firmly towards the dancefloor. Traditional soul-based gospel like My Cup Runneth Over alongside disco-influenced gems like My Life Is Complete With Jesus and ‘Everything Is Gonna Be Alright.

The second half of the CD.