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Brilliant work from Thievery Corporation! This duo truly seems to be getting better and better as the years go by, progressing to deeper realms in both tone and craft – and somehow doing that while pulling us in with immediate, insistent appeal. That's no small feat! Tripped out jazzy hip hop soundscapes, straighter trance-y sounds, hard hitting funk and all around sonic adventurousness. We've always appreciated these guys, but we've grown to really love 'em! Includes "Web Of Deception", "Culture Of Fear", "Take My Soul", "Light Flares", "Star Gazer", "Tower Seven", "Is It Over?", "False Flag Dub", "Fragments", "Free", "Overstand" and more.

Another astounding set of heavy vibrations from Soul Jazz in there ongoing series of collections focusing on great Jamaican music! This bouncing set takes a long, deep look at Dancehall culture, and accompanies a great book by Beth Lesser! While dance halls have existed in Jamaican music for years, the focus here is Dancehall with a capital D, from the early 80s on, when Jamaican music took a turn away from the heavier, sufferer's themes of the Roots era and became more interested in rocking good times! This set is filled with certified classics, guaranteed to ram the dance and capture the heavyweight title in any soundclash, all bouncing numbers from the pre-digital era through more stripped down Casio-driven treasures. 17 tracks in all, including "Bam Bam" by Yellowman, "Pumpkin Belly" by Tenor Saw, "Cu-Oonuh" by Reggie Stepper, "Agony" by Pinchers, "Diseases" by Michigan & Smiley, "Cool Out Son" by Junior Murvin, "Entertainment" by Triston Palma, "Arleen" by General Echo, "Here I Come" by Barrington Levy, "Chop Chop" by Cutty Ranks, "M16" by Lone Ranger, "Trash & Ready" by Super Cat, and "Soon Forward" by Gregory Isaacs.

Essential! The mighty debut album from African disciples Culture pairing up with the Mighty Two, Joe Gibbs and Errol Thompson is one of the landmark sets of roots reggae, a defining moment of the genre dropped during the year when two sevens clashed. And though the apocalypse didn't rain down from the skies in '77, this album was certainly a world-changing event, one of the finest moments in Kingston's rich musical history! Gibbs provides the trio with a set of uplifting rhythms over which to harmonize, and Culture comes correct on every track, combining a tightly harmonized approach with a rawer, rootsier sound. 10 tracks in all, including "I'm Alone In The Wilderness", "Pirate Days", "Two Sevens Clash", "Caling Rastafari", "I'm Not Ashamed", 'Get Ready To Ride The Lion To Zion", "Black Starliner Must Come", "Jah Pretty Face", 'See Them A Come" and "Natty Dread Taking Over".

Joe Gibbs and Errol Thompson more than live up to their title as the Mighty Two just as this heavy compilation more than lives up to the title of nothing but scorchers! Gibbs and ET showcase their mastery of all styles here, veering from hard and heavy roots to sweet lover's numbers and even a few bouncing tracks aimed a the dancehall! Top notch singers and dee jays are all featured over throbbing rhythms at the hands of Gibbs' Professionals crew, with 28 tracks in all, including "Two Sevens Clash" by Culture, "Babylon Too Rough" by Gregory Isaacs, "Cool Out Son" by Junior Murvin, "Boxing Around" and "No Man's Land" by Cornell Campbell, "Just Like A River" by the Mighty Diamonds, Left With A Broken Heart" by George Nooks, "Funeral" by Prince Alla,"Rockers A Nuh Crackers" by Glen Washington, "Jah Bring I Joy In The Morning" by Bobby Melody, "Burn Babylon" by Sylford Walker, "Keep On Knocking" by Jaco Miller, "Virgin Girl" by Eek-A-Mouse, "Hello Carol" by Enos McLeod, and "UptownTop Ranking" by Althea & Donna.

Timeless sounds from Lewlewal – a contemporary group from Senegal, and part of a vanishing culture in the city of Podor! The tracks were recorded recently, but have a feel that goes back decades – mostly acoustic instrumentation on percussion and guitar, played with an intimate approach that draws strongly on tradition – but which also allows for some personal inflections from the group members too. The vocals – sung by Demba Doka Barry – are especially nice – with this hauntingly soulful feel that really grabs us, even over the space of a language difference. Titles include "Ziarre", "Patrimonie", "Jaanfa", "Diaraby", "Yela", and "Almamy".

Insanely great sounds from the legendary Tim Maia – easily the most soulful singer in 70s Brazil, and an artist with a heck of a strong ear for funk, too! The music here is an incredible hybrid of American soul and Brazilian elements – especially since some lyrics are in English – and the grooves are often mixed together in a sound that's nice and fuzzy around the edges, with some slight psychedelic elements that makes the cuts a perfect fit for this Luaka Bop series! Yet Tim Maia's hardly a guy who can easily fit into any easy slot or series – because as you'll hear on this set, he's got a vibe that's all his own – a really wonderful approach that's different even from some of his hippest contemporaries in Brazil – and which has gone onto have influence on countless other generations of singers and musicians – including his nephew Ed Motta. The package is great – a real visual tribute to the sounds within – and titles include "Que Beleza", "Ela Partiu", "Do Leme Ao Pontal", "Brother Father Mother Sister", "Quer Queira Quer Nao Queira", "Let's Have A Ball Tonight", "I Don't Care", "The Dance Is Over", "Rational Culture", "You Don't Know What I Know", and "Nobody Can Live Forever".

The second proper Masta Ace album – dope stuff from the glorious early 90s that lives up to his work with the legendary Juice Crew and his classic debut! At this point Masta Ace into deep into his fairly new approach of creating excellent full length listening experiences – with tracks that show wisened MC who can rhyme about what's wrong with hip hop and the culture in a broader sense – but still done with a sharp sense of humor and excellent period beats. The tracks are just about as nice as the previous Take A Look Around LP on Cold Chillin, with a few hilarious tracks mocking the "hardcore" MC's, including "Jeep A** N*gguh)", "Slaughtahouse", "Late Model Sedan", "Style Wars" and "Saturday Nite Live". Other titles include "Jack B Nimble", "Who You Jackin'" and "Crazy Drunkin' Style".

Playful pop from Mina – a great Italian singer who made some really wonderful records from the late 50s onward! This early set is a real gem – a sprightly mix of larger arrangements with rock and pop inflections – all served up in this optimistic blend that really fits the mood of Rome after the initial postwar period! You can really feel Italian pop culture coming into its own here – and the tunes have a charm that's undeniable – and a compelling quality that comes through right away. Titles include "La Verita", "E Vero", "Whisky", "My Crazy Baby", "Nessuno", "Folle Banderuola", "Piangere Un Po", and "La Luna Ed Il Cowboy".

Dramatic funk from 70s Iran – some really compelling grooves, set to rich vocals by the lovely Ramesh! The approach here definitely borrows bits from Western culture – some rhythms and elements that echo American mainstream soul and funk of the time, with moogy touches too – but the overall execution is often a lot more exotic, and often has the same sort of appeal as Bollywood funk – with all the offbeat references that might imply! In another setting, Ramesh might sound too soppy or emotive – but here, amidst some very groovy grooves, her vocals are wonderful – and ring out as just the right topping for the creative instrumentation of the tracks. Titles include "Nago na", "Delakam", "Labe Daryaa", "Ghoroobaa Ghashangan", "Zoj", "Sharm-E Boos-E", and "Afosoos".

A compilation of Ghana music like we've never seen before – and straight up beautifully put together by Soundway – 70s sounds that fused regional traditions with boundary free soul, rhythm & blues, and rock! Ghana in the 1970s was in a transition from a more prosperous, and less militarily tenuous culture, and the music at the time is really wonderful. This collection of obscure album tracks and singles from the time feature many smaller combo groups, rather than large scale dance bands, with highlife jazz & soul, guitar and percussion based Afrobeat, and Ghana traditions fused with international styles wonderfully. Fantastic stuff that sits proudly up there with the great Nigeria Special sister series from Soundway! The vinyl box set version has 2 tracks on on the CD version or digital download, and 2 more tracks previously only available on the CD version of the Ghana Soundz compilation: 37 tracks on 5 LPs, plus a 12 page booklet with rare photos and history: "Kai Wawa" by The Mercury Dance Band, "Din Ya Sugri" by Cristy Azuma & Upper International, "Nya Asem Hwe" by City Boys Band, "Edinya Benya" by Hedzoleh Soundz, "Odo Mmera" by Pa Steele's African Brothers, "Wompe Masem" by African Brothers International Band, "Akampanye" by The Sweet Talks, "You Can Go" by Bokoor Band, "Owuo" by Sawaaba Soundz, "Sisi Mbon" by Honny & The Bees Band and more.

A much-needed look at the massive amount of music recorded in Kenya during the 70s and 80s – an incredibly fertile time for local culture in the nation – and a time when it seemed like there was a great new groove coming out nearly every day! The work here really rivals the best of the classic Soundway compilations – especially their strong surveys of Ghana and Nigeria, with an ear for grooves that go way beyond the usual mainstream sounds of world music! There's more than enough grit and funk here to please any fan of American funk and soul – but the sounds also go way way deeper, too – and echo not only a long Kenyan cultural heritage, but also reflect the unique place the nation had at the crossroads of East Africa – a site that often made the scene especially vibrant in these years. The presentation is superb – with detailed notes and wonderful imagery that includes vintage label scans – and titles include "Mu Africa" by The Rift Valley Brothers, "Wendo Ti Mbia" by Gatanga Boys Band, "Ware Wa" by The Loi Toki Tok, "Sweet Sweet Mbombo" by Orchestre Baba National, "Cha Umheja" by Afro 70, "See Serere" by Sophia Ben & The Eagles Lupopo, "Mutumia Muriu" by The Lulus Band, "Nzaumi" by Ndalani 77 Brothers, "Teresia" by Huruma Boys Band, and "Week End" by Afro 70.

The Cold War is over – and here's the reason why! These jazz funk gems were cut in the Soviet Union during the 80s – but they've got a richness that's right up there with the excellent work coming out of Eastern Europe during the 70s, particularly the jazz funk and fusion sides cut in Poland and Czechoslovakia during the time. They represent a rich culture that hasn't really ever been tapped over here – as all the sides were cut for the state-owned Melodiya label, and never issued strongly in the west – and it's almost hard to believe that these tracks weren't recorded in a culture that was more open to influences from other jazz scenes. Most of the best tracks have kind of a funk spacey quality – almost CTI-ish, but a bit more jamming – and titles include "Dervish" and "Ornament" by The Boomerang Band, "Perpetuum Mobile" by Marina Granovskaja, "Dance Of The Bees" by Dustar Band, "Ekstraversija" by E Straume Jazz Combo, and "Expectation" by Alexander Rjabov & Ensemble Synthesys.

Amazing sounds from the last Western years of Iran – really incredible music that shows what a cultural crossroads the nation had become! While some might criticize the culture as embracing the west too strongly at the time, music like this is a great illustration of the way that the cognoscenti were really onto something unusual – able to weave together the local and the global in really cool ways – crafting funk and grooves that are unlike any thing happening in neighboring scenes at the time! The mix of regional and western modes is not unlike Turkish music from a few years before – but the styles here are also much more soul-based, with a range that flows between funk and club, and includes some instrumentation you'd never hear on an American record at all – a perfect complement for the echoey style of vocal recording used on many numbers. The package may well be the most compelling so far from this mighty cool label – and titles include "Kermani" by Zia, "Koolehbaar" by Shahrokh, "Mahigir" by Maziar, "Omadi" by Shoreh, "Tasvire Yek Fal" by Soli, "Be Man Tekyeh Kon" by Shamaizadeh, and "Avazekhian Na Avaz" by Farrokhzad.

The title gets it perfectly right on this sweet little set – as the grooves are raw and stripped down – often just to the core elements of Afro Funk! The music may be the most hard-hitting we've ever heard from this legendary combo – and it's served up beautifully in this well-selected compilation, right down to the detailed notes on the group and their long journey in sound! There's a core groove here that goes way beyond the boundaries of nation or culture – and which is plenty appealing to ears that have only ever been trained on American funk – and even more so on those who dig the great African sounds of the 70s. Plenty of heavy drums and ultra-cool guitar – and titles include "Adjro Mi", "A O O Ida", "Pourquoi Pas", "Ecoute Ma Melodie", "Min We Tun So", "Ai Gabani", and "Aku We Non Houme".

The second and best album by Morphine – rightly remembered as a much needed antidote to the grunge and mainstream alternative rock that was taking over pop culture at the time – and an enduring, ageless classic that would stand out in any era! Morphine's previous album was nearly as great, but Cure For Pain is nearly perfect. Mark Sandman's 2-string slide bass sound is indeed perfectly paired with his own vocals, the sax and drums doing the rest of the work instrumentally – there was only a couple years in which they'd really surprise us sonically with this setup, but what an amazing couple of years – and albums! Includes "Dawna", "Buena", "I'm Free Now", "All Wrong", "Candy", In Spite Of Me", "Thursday", "Cure For Pain", "Sheila", "Let's Take A Trip Together".

Hip hop, street soul, and lots lots more – a really revolutionary selection of music from the legendary Celluloid Records – a label that was virtually a genre unto itself! Celluloid was a key force tying together the New York downtown scene at the start of the 80s, and the postcolonial music world of Paris – and as a result, they always operated with a culture-crossing style that few other companies of the time managed to hit – merging together sounds in really unlikely ways, and often coming up with fresh new styles in the process! The label's known for crate-diggers for its hip hop releases – and to world music fans for its electric Africa work – but they also were on the forefront of New York No Wave, avant jazz, and post-punk – and somehow found a way to integrate both young new talents, and older experimentalists who still had plenty to offer. This package finally does Celluloid justice – and goes way past the few simplistic comps of the label's work over the years – training the skilled Strut ear to the whole thing, and also serving up the full story of the label in the process. Titles include "I'm The One" by Material, "Day Tripper" by Shockabilly, "Tele Apres La Meteo" by Fredinand, "Disco Rough (long version)" by Mathematiques Modernes, "Electrique Sylvie (full length version)" by Modern Guy, "Mean Machine Chant/Mean Machine" by Last Poets, "Abele Dance ('85 rmx)" by Manu Dibango, "Change The Beat (French & English)" by Fab 5 Freddy, "The Escapades Of Futura 2000" by Futura 2000 with The Clash, and "Downing Street Rock" by Winston Edwards & Blackbeard.

Early to mid 70s Persian Funk – a nicely compiled set featuring some of the funkiest music released on Iran's Ahang Rooz label from the early-to-mid 70s! It's got instrumental stormers and vocal numbers – in Farsi and English – funk and soul steeped Persian grooves from an incredible period for modern music in the Middle East! Ahang Rooz rose up during a much different period in Iran, when government's Ministry Of Culture nurtured the label and grew to release albums by the biggest acts in the region. From the outset, the label produced music that blended regional folk styles and instrumentation with globally popular genres. Secret Stash celebrates the funky stuff for Persian Funk – be it straight forward or global pop and psych infused. Includes a few great covers, include Martik's take on Stevie Wonder's "Past Time Paradise" and Googoosh's raw and funky version of "Respect" – and other tracks include "Cheshm Be Rah" by Shohreh, "Hard Groove" by Ahamaizadeh, "Soul Raga" by Mehrpouya, "Prison Song" by Shahram Shabpareh, "Del Dare Pir Misheh" by Kourosh Yaghmaei, "Morteza" by Morteza and more. 11 in all.

Some of the wildest sounds we've ever heard from Iran – a wealth of wonderful grooves that show that there was plenty happening in that unique scene before the Ayatollah came in and clamped down on Western culture! Styles really intertwine nicely throughout – mixing funk with pop with psych, disco, and even some soundtracky styles that feel a bit Bollywood at points – all coming across with a really cool, groovy, and other-worldly sound that has us loving the whole thing all the way through! The folks at Guerssen have done a great job with the package – adding enough good notes and quality sound to ensure that this one's not just a knockoff – and instead features a great range of well-chosen tracks, put together beautifully. Titles include "Setareh" by Azita, "Aroos Khanom" by Amir Rassaie, "Zandooni" by Farzin, "Bi Vafa" by Kambiz, "Safar" by Hassan Shamaizadeh, "Ey Vatan Iran" by Emad Ram, "Ghebleh" by Nooshafarin, "Gholake Cheshat" by Simin Ghanem, and "Rahgozar" by Morteza.

Diverse beatcraft from a pioneer of beathead culture – the never predictable, still vital DJ Vadim! Spacey keys, funky bass, atmospheric synth and top notch turntable skills are, as always, the main tools of Vadim's trade – but the cross-cultural, globe-spanning styles he manages to cook up are as impressive as ever on Don't Be Scared. Glitchy funk and soul from around the world, echoey dancehall and more float in and out, with some sampled bits of vocal as well as some great guest singers on the mic. Another win for Vadim and BBE! Includes "Hide N' Seek", "Lemon Haze", "I'm Feeling U" with Gregory Blackman, "This DJ" feat J-Man, "Set Them Free" feat Sabira Jade, "Leader" with Yarah Bravo, "Vah Vaow" feat Heidi Vogel, "Take My Time" with Jazz Bailey and "Closed Eyes" feat Yarah Bravo, Pugs Atomz and Jazz Bailey.

Easy All-Stars up the ante on their reggae covers series here – taking on Thriller – and doing so with respect and real soul! We love us a good tribute album when we hear one – and all the more if it would be a mere novelty record in the wrong hands – but warmly appealing and transcendent in the right hands. Enter the Easy Star All-Stars – who deliver this timeless reggae take on MJ's monumental pop culture landmark Thriller nicely! The Jamaican and American All-Stars are joined by a great roster of guests – and they do Thriller track-for-track, with a couple extras: including "Wanna Be Startin' Somethin'" feat Jowil and Ruff Scott, "Baby Be Mine" feat The Green, The Girl Is Mine feat Mojo Morgan and Steel Pulse, "Thriller" feat Mikey General and Spragga Benz, "Beat It" feat Michael Rose, "Human Nature", feat Cas Haley, "The Lady In My Life" feat Christopher Martin, "Dub It" and "Close To Midnight".

The Kurtis Blow-produced debut album by The Fat Boys! We'll say it: respect is due to The Fat Boys – so put the pop culture novelty status, fat comedy cliches and Disorderlies debacle aside. If you're a child of the early 80s, there's a reasonable chance that The Fat Boys were the first rap group you ever heard – and that alone makes them no joke if you ask us. Another thing: the best of their cuts are pretty damn nice, holding up as well some of the best rap circa '84 – and this debut album indeed features some of their best cuts! Includes "Stick 'Em", Fat Boys", "The Place To Be""Human Beat Box", "Can You Feel It?", "Stick 'Em" & "Jailhouse Rap". Limited 2012 vinyl version is remastered – in comes in a pizza box! Limited 2012 picture disc vinyl version is remastered – in comes in a pizza box!

Great early work by Bob Marley & The Wailers – some of it produced by the legendary Lee Perry, too! Some of the tunes are early takes on later famous versions – but in a way, they're actually more definitive – in that they tie Marley back to the rich Kingston culture, instead of making him some beatific figure who emerged to greatness on his own. The rougher edge is a great contrast to Marley during the Island years – as you'll hear on tunes that include "Lively Up Yourself","Small Axe", "Duppy Conqueror", "African Herbsman", "Sun Is Shining", "Keep On Moving", "Don't Rock The Boat", and "Kaya".

A great set of music that's literally as it's title indicates – compiled from the memory cards from cell phone users in the Saharan Desert – not only a fascinating selection of modern West African music, but a bit of a time capsule of modern "connected" musical culture of the region! It's actual songs, not some collection of ring tones or phone sound errata – with songs by Group Anmataff, Yeli Fuzzo, Amanar, Mdou Moctar, Bayta Ag Bay and others – many with a sound informed by the modernity that goes along with the cell phone era – home studio recordings, synths, loops, etc. It's music that is listened to, and passed along, via modern telecommunications – possibly the primary means of distribution for some of it! Includes "Tinariwen" by Group Anmataff, "Abande" by Yeli Fuzzo, "Tahoultine" by Mdou Moctar, "Faroter" by Joskar Et Flamzy, "Aicha" by Bayta Ag Bay, "Guetna" by Negib Ould Ngainich and more.

BBombay the Melbourne way – a funk, disco and Bollywood loving collective from the Aussie scene – they're no pretenders, either! The group does a great job with Indian cinema-enamoured, though diverse tapestry of 70s funky soundtrack influences – the lead up 45 was a gem and the full length delivers in full on the promise. The vocalists – Parvyn Kaur Singh (as The Mysterious Lady) and Schourov Bhattacharya (as The Tiger) – really help get it over thematically, but the band is excellent. Horns, funk & psych keys, tabla, sitar mandolin and dilruba at the core – plus some guest violins and percussion. A win from the reliable Hope Street label! Includes "Monkey Fight Snake", "You Me Bullets Love", a funky cover of unlikely advert/pop culture-invading "Jaan Pehechan Ho", "Sote Sote Adhi Raat", "Mahindra Death Ride", "Oh Sajna", "Dacoit's Choice" and "Phone Baje Na".

The classic agit-rap-rock debut of Rage Against The Machine – with the most fiery political lyricism and imagery of any massively popular record of its time – and as great of a pairing of revolutionary rap and heavy guitars as there ever was! It's hard to imagine now, but there were very few straight up rap rock bands before Rage Against The Machine. Hard rock breaks were ample, of course, but straight up rap rock bands were pretty scarce, pre-Rage. Rage Against The Machine's pop culture revolution was as massive as the social and political revolution that their songs called for! Includes "Bombtrack", "Killing In The Name", "Take The Power Back", "Settle For Nothing", "Bullet In The Head", "Know Your Enemy", "Wake Up", "Fistful Of Steel", "Township Rebellion" and "Freedom".

A massive set from Nigeria's CS Crew – and a set that definitely lives up to its title! The bass is super-heavy on these grooves – way more so than on other Afro Funk records of the time, and in ways that easily match, if not beat, the early best by Fatback Band and Kool & The Gang – grooves that have amazing dexterity that few others could match, yet which always come through right on the money every time! The bass dips, turns, soars, and drops magically on each number – setting things up strongly for the group's riffing guitar, sweet keyboard lines (including a big of moog!), and few horn moments – which themselves often come across more like an American group than a Nigerian one. Vocals have this rough approach – often part of the rhythm more than anything else – and titles include "Love Is Peace", "Freaky Funkyfied Fix", "Bread Power", "Doin The Good Thing", "I've Found Love", "Last Day", and "Dig In With Time".

Rare grooves from Evans Pyramid – a sweet set of cosmic disco from the end of the 70s – recorded with a lean, almost spiritual vibe – quite similar to some of the great tracks reissued in the Soul Cal series! There's a definite ear for the dancefloor here – lots of upbeat rhythms, touched with sweet keyboards riffs, and layered with vocals that are almost an afterthought – yet have their own sort of message at the right moment. The group's the brainchild of Andre Evans, an artist whose huge legacy of music business work includes stints with Dyke & The Blazers, Little Anthony & The Imperials, and Tribe – as well as a host of key album sessions as well – but the sound is unlike any of those references, and has this great stripped-down late 70s club vibe throughout. The rare album is offered here with unreleased bonus tracks – and titles include "Rubber Band", "Never Gonna Leave You", "Dip Drop", "No I Won't", "Soul Petrol", and "Dance A Thon".

Amazing rare grooves from Tommy Stewart – the Atlanta studio wizard who cut some of the hippest club tracks in the south at the end of the 70s! This package digs way deeper than even Tommy's classic self-titled album – to feature some obscure and unreleased material that show the tremendous power of Stewart in the studio – the kind of energy that made him a one man powerhouse to rival some of the bigger teams turning out grooves at the major labels! As with his classics, all the tunes here have a great funky feel – not really disco, but more upbeat funk, turned towards the dancefloor – served up with lots of sharp edges on the rhythms that keep things mighty nice – and which avoid any too-familiar cliches of the time. In a way, Stewart's groove is a bit like the grittier club from P&P up north – as you'll hear on this set that features the cuts "Night Flight", "Beyond Love", "Hot Box", and "Everything's Made For Love" by Stewart – plus great collaborations with vocalist Stevo on "Pay The Price", "Universal Love", "Party Night", "Starry Eyes", "Livin For The City", "Jammin", and "Messing UP A Good Thing". Also features two Al Kent remixes, too!

It's a bit hard to imagine the words "Thai" and "country" in the same place – but one listen to this set will show that the title's definitely got the right idea! The work here is oddly rootsy, yet has a modern feel too – a blend of acoustic instrumentation and some more pop-oriented production, used to create a very weird hybrid of South Asian sounds – music that's unlike anything else we can think of! Molam is a regional folk music of Thailand, often based around the khene – a strange bamboo "mouth organ" with some very odd sonic properties. Yet there's also a sense of variation in the music that's really documented here – shifting styles of expression that reflect different regional cultures poised to enter the mainstream with the addition of guitar and keyboards too. Vocals are as wild as the instrumentation – and titles include "Chiwit Sao Molam (Life Of A Molam Woman)" by Kwanjai Kalasin Yuk Patana, "Ruk Mai Somwong (Broken Heart-So Let's Dance)" by Sabaithong Powpuri, "Pua Mao Mea Mao (Husband Drunk, Wife Drunk)" by Unknown, and "Lam Phun Eun Sai (I Call For You)" by Tome Me Malai.

Pretty amazing music from new immigrants to the US – a range of different sounds from Eastern European cultures, reworked here for recordings on American 78s! The music has echoes of Jewish styles, and bits of early polka – although polka itself as a genre wouldn't emerge until years later, as these various cultures tried to find a common ground in the mainstream. Most of the recordings are relatively rootsy – and feel more like ethnographic sounds captured in the old world – and the LP comes with a really great booklet of notes, with way more detail than usual for Mississippi! 16 tracks in all – with work by Edward Mika, Wladyslaw Polak, Stanislaw Mermel, Orkiestra Majkuta, and others.

They're not kidding about the title on this one – although they might have added "weirdest" to the name, too! The songs here are all familiar ones, especially if you dig rare grooves from the 60s and 70s – but the versions you'll hear are definitely unusual – often some pretty obscure takes on funk and soul numbers, plus a few bits from other styles too – done up in even funkier versions than before, partly because the production is even rawer, but also because the overall execution is too! Latin vibes mix up with soulful rhythms, deep funk solos, and even some freaky fuzzy psyche-inspired moments – and titles include "Purple Haze" by Johnny Jones & The King Casuals, "Jungle Fever" by Afrosound, "Bang Bang" by Fruko & Sus Tesos, "Pastime Paradise" by Ray Barretto, "Cloud Nine" by Mongo Santamaria, "I Turn My Camera On" by Williamsburg Salsa Orchestra, "Light My Fire" by Ebony Rhythm Band, and "The Next Message" by The Mighty Mo & Winchester Seven.

A mindblowing follow-up to the first Saharan Cellphone collection – and like that one, a set that's comprised of music from underground sources in contemporary Mali – pulled from the memory cards of local cellphones! Don't think that the music's tinny or amateurish, though – as the music here really represents a strong subculture expressing itself in very modern ways – recordings that rival most of the harder-edged African work we've heard in recent years, just circulated on phones instead of records! Styles range from hip hop to more familiar Mali modes – and titles include "Peguele" by DJ Mopao, "Hwa Heda" by Cheba Wassila, "Souveniram" by Kouedede, "Anar" by Mdou Moctar", "Imidiwane Friday" by Mouma Bob, and "Soul Tamashek" by Lakal Kanaye.

Sublime sounds from the legendary Stanton Davis – a rare 70s gem that's been a favorite of groovehounds for years! The set's got a really unique feel – part spiritual jazz, part soaring club – a blend that's similar to the sound you'd get on James Mason's legendary album too – a unique hybrid of American undergrounds that comes off beautifully throughout! Production is perfect – a Mizell-like blend of acoustic and electric jazz elements, layered with a bit of vocals – and Davis plays soulful trumpet lines, in a group that has some especially nice keyboards! Titles include "Space A Nova (parts 1 & 2)", "Play Sleep", "Brighter Days/Brighter Daze", "Nida", "High Jazz", and "Things Cannot Stop Forever".

An amazing collection – and one that really helped completely revise our understanding of Caribbean music! The collection features a fair bit of artists with roots in the West Indies, but who made a huge impact on London's postwar immigrant population – the new rise of non-native residents who were swelling the ranks of the city in the years after the way – bringing with them new cultures, new sounds, and new traditions – with all the requisite ideas and politics that might imply! The work here often has a subtle social agenda – working through themes important to these new Londoners, yet still echoing modes of the homeland as well – often with great musical backings that's heavy on percussion, jazzy instrumentation, and very upbeat rhythms. Titles include "London Is The Place For Me" by Lord Kitchener, "I Was There" by Young Tiger, "Some Girl Something" by The Lion, "No Carnival In Britain" by Mighty Terror, "Jamaica Hurricane" by Lord Beginner, "Birth Of Ghana" by Lord Kitchener, "Victory Test Match" by Lord Beginner, "Spanish Calypso" by The Lion, "Bulldog Don't Bite Me" by Timothy, "My Landlady" by Lord Kitchener, "If You're Not White You're Black" by Lord Kitchener, and "Aguiti" by Lord Invader.