Early genius from the great Martin Carthy – the kind of set that had a huge influence on the acid folk generation to come, and one that also marks the start of a huge amount of contributions Carthy would make to the UK scene! The album is spare, with just Martin on vocals and guitar – and additional accompaniment from frequent partner Dave Swarbrick on fiddle and mandolin – both instruments used occasionally, but in really great ways. The production is wonderful – that eerie sound that makes so many of the UK folk sets so different than American ones of the 60s – and titles include "Springhill Mine Disaster", "Scarborough Fair", "Lovely Joan", "The Handsome Cabin Boy", "High Germany", and "The Trees They Do Grow High". LP, Vinyl record album

A legendary group who never fully got their due – and maybe one of the creepier acts on the British scene at the start of the 70s! The cover art probably gives things away – but the sound of the record is even more haunting – with some acoustic elements that echo the acid folk movement of the time, but more dynamic energy at other spots that resonate more with prog – all topped by vocals that have a completely sinister sound that really makes the group stand out! Despite the acoustic guitars, these guys are hardly the traditional-leaning style of some of their folk rock contemporaries – and, if anything, it feels like they opened up some Pandora's box from the past, and let out all this weird Wicker Man energy. Titles include "Bitten", "The Prisoner", "Diana", "The Herald", "Song To Comus", and "Drip Drip". LP, Vinyl record album

A group that's not really folk, but who definitely have a special magic of their own – a collective ensemble who played on the Italian scene of the 70s, and who bring together free improvisation with a range of other earthy and organic elements! There's definitely some global currents going on here – and at points, the record's not far from some of the Don Cherry experiments of this nature – especially on passages that are heavy on percussion elements. But the size of the ensemble really gives them a strong force once they get going – and the saxes and flutes are sometimes merged with use of voice – only conventionally singing on one more straight ahead track on the record. Most musicians are ones that we don't recognize from other jazz efforts of the time – but the group does include flute from Nicola Stilo, who later played with Chet Baker – plus soprano and alto from Giancarlo Maurino, tenor from Mario Fulci, and altos from Sandro Satta and Luciano De Bonis. Titles include "Inno Per L'Imperatore", "Grass Leaf Rag", "Alice Alice Che Piange E Che Ride", "Free Bop New Bop", and "Monkey". LP, Vinyl record album

A collection that's maybe unlike anything we've heard before – music that's acoustic, but groovy – easygoing, yet funky – served up by a really wide range of artists, but presented with a style that's a really unified whole! Just about every artist here is completely obscure, but together they represent this amazing underground that's dedicated to crafting work that goes far beyond the obvious, and way past any sort of cliches you might expect! The vibe is almost as if a bunch of folk and acoustic musicians were hipped to spiritual jazz of the post-Coltrane generation – then set out to make music from their new inspirations – on titles that include "Let Me Ride" by Peter Campbell, "The Ballad Of Ho Chi Minh" by Mike Glick, "Morning Brings The Light" by Grand Union, "Wild Canada" by Dan Donahue, "Song Of Creation" by Chris Rawlings, "Turn On Your Lovelight" by Summer Rain, "Prospect Of Wealth" by Henry Parker, and "Change Is Me Change Is You" by Harris & Crane Band. LP, Vinyl record album

An under-documented side of the British folk scene of the 70s – recordings made by producer Bill Leader for his small Trailer Records imprint – done in the spirit of Leader's better-known work for Topic and Transatlantic in the 60s, but with an overall feel that's surprisingly intimate for the time! Despite the "leave-taking" in the title, the sound here is extremely folksy – no string overdubs, psychedelic influences, or rock-based instrumentation – and instead a mostly acoustic, stripped-down style that's a real return to folk roots. Many tracks have a strong focus on the voice, with just a bit of added guitar or percussion – and we'll be honest in saying that we'd never heard most of these artists before this set! Titles include "Never The Same" and "To Make You Stay" by Lal Waterson, "Annachie Gordon" and "Annan Water" by Nic Jones, "Adieu To Judges & Juries" by Dorothy Elliott, "The Kid On The Mountain" by Alastair Anderson, "Jock O Hazeldean" by Dick Gaughan, and "Niel Gow's Lament For His Second Wife" by Aly Bain. LP, Vinyl record album

A great look at a key moment in the Japanese scene – an early 70s stretch when musicians were going for a style that was warmer and more intimate overall – which would then lead to all the big changes in music to come, but in very surprising ways! Gone are the more postured rock modes and Anglo-aping styles of the previous decade – and in their place are more confident, personal styles delivered in this mix of acoustic and electric instrumentation that maybe echoes some of the sophistication of the early 70s Cali scene, but which has a very unique approach overall. Most music here is from the first few years of the decade – and titles include "Beautiful Song" by Hiroki Tamaki, "Hitoribotchi" by Niningashi, "Gingatetsudo No Yoru" by Ken Narita, "Man In No Ki" by Takashi Nishioka, "Kawa" by Hiroki Tamaki, "Anmari Fukasugite" by Tokedashita Galasubako, and "Kaze Wo Atsumete" by Happy End. LP, Vinyl record album

A really unique record – one that follows in the Japanese tradition of mixing folk inspiration and jazz instrumentation – yet one that takes the music much father overall, with a freewheeling improvised sound that's totally great! The core energy of the set comes from the saxes of Gil Ok-Yun, who carves out these beautifully edgey lines – next to work on the daegeum from Lee Saeng-Gang, who plays the wood flute with an equally evocative vibe – earthy and folksy at times, but always with a free improv vibe – next to the percussive work on janggu from Lee Sung-Jin and bongos from Ryo Bok-Sung. The set just features two long tracks, both beautiful and both improvised – "Daegeum & Bongos" and "Samul & Saxophone". LP, Vinyl record album

There's nothing folk about the Folklords – and the group are overall maybe more in the best mode of the Sunshine Pop generation, as you'd guess from their dreamy image on the cover! The group features a trio of singers – two guys, one gal – trading leads and harmonies, and coming off with these really easygoing, sparkling sort of glow – supported with a bit of work on guitar, bass, drums, and autoharp – the last of which adds a cool an unique vibe to the record! Titles include "Jennifer Lee", "Don't Hide Your Love From Me", "Child", "Windows", "Pardon Me Judas", "Thank You For Your Kindness", "We'll Love Like Before", "Suzanne Marie", "Don't Look Back", and "The Slave" – plus bonus tracks "Unspoken Love" and "Forty Second River". LP, Vinyl record album

A wonderful little set of post-folk rock – with lots of lovely baroque touches! Ars Nova were really short-lived group – known for only two rare records – but they've got a sound that perfectly sums up a generation! There's a wonderful LA late 60s sound here – somewhere between Love and The Byrds, with the baroque touches of the former and the best country influences of the latter – all wrapped up in earnest, honest songwriting that makes even the ambitious moments come across with surprising charm. A true lost relic, and the kind of record that should be in any late 60s cannon! Titles include "Album In Your Mind", "Pavan For My Lady", "General Clover Ends A War", "And How Am I To Know", "Fields Of People", "Automatic Love", and "Song To The City". LP, Vinyl record album

The second tripped-out set from Ars Nova – an under-remembered late 60s group who had a great talent for blending together a range of different styles! At some level, Ars Nova share qualities with some of the harder-jamming groups of their time – but they've also got a sound that expands to bring in folk, blues, jazz, and more baroque elements – played by the group with a lineup that includes some nice work on trumpet by Jimmy Owens, who at this point was a core member of the combo. Brooks Arthur handled the overall music direction, with a quality that recalls some of his work on Verve – and the album features the wonderful bossa-styled groover "Walk On The Sand", a romping soul jazz take on Jimmy Owens' "You Had Better Listen", and the cuts "Rubbish", "Please Don't Go Now", "Temporary Serenade", "She Promises Everything", and "Round Once Again". LP, Vinyl record album

The second tripped-out set from Ars Nova – an under-remembered late 60s group who had a great talent for blending together a range of different styles! At some level, Ars Nova share qualities with some of the harder-jamming groups of their time – but they've also got a sound that expands to bring in folk, blues, jazz, and more baroque elements – played by the group with a lineup that includes some nice work on trumpet by Jimmy Owens, who at this point was a core member of the combo. Brooks Arthur handled the overall music direction, with a quality that recalls some of his work on Verve – and the album features the wonderful bossa-styled groover "Walk On The Sand", a romping soul jazz take on Jimmy Owens' "You Had Better Listen", and the cuts "Rubbish", "Please Don't Go Now", "Temporary Serenade", "She Promises Everything", and "Round Once Again". LP, Vinyl record album

Beautiful early work from British singer Vashti Bunyan – an important figure in the acid folk scene at the end of the 60s, heard here on some really wonderful work from a few years before! Some of the tracks have a really trippy style, and others are a bit more like conventional Brit girl pop of the time – but given a very weird twist overall, with a sound that's quite hard to describe! Vashti's vocals have these really dark qualities overall – and even when the backings are fuller (which often they are not), there's a sad, earthy feel to her singing. But equally great is her guitar work – heard with more prominence on most of the album's previously-unissued tracks from mid 60s tapes. Bunyan plays with these warm harmonics that kind of nestle and bristle underneath her vocals – pushing the tunes up with a sense of brightness in contrast to the voice – almost in a Nick Drake sort of way (and trust us, we don't throw around comparisons to his music easily!) The package is a wonderful look at these almost-lost years of Vashti's career – and it features both sides of her Decca and Columbia singles, an unreleased Immediate single, and a lot more tracks pulled from rare tapes from 1964, 1966, and 1967! Set features 25 tracks that include "Some Things Just Stick In Your Mind", "Train Song", "Love Song", "Winter Is Blue", "Leave Me", "How Do I Know", "Go Before Dawn", "Girl's Song In Winter", "Don't Believe", "17 Pink Sugar Elephants", "Someday", and "I Know". LP, Vinyl record album

An underground classic from Karen Dalton – a record that's almost out of time, given its early 70s release – as Karen sings with spare backings that are almost in a Folkway Records mode at points, but with all these headier currents that are also indicative of the Bay Area generation too! Dalton's voice is completely unique too – unlike anything you'll ever hear – phrasing that almost hearkens back both to vintage jazz and Appalachian folk, but a style that's more long hair – as are some of the backings too. The set was recorded upstate in Bearsville – and really has all the hallmarks of the freedoms of that scene at the time – summed up beautifully on material that includes "Something On Your Mind", "In A Station", "Take Me", "Same Old Man", Are You Leaving For The Country", "Katie Cruel", and "How Sweet It Is". Features a huge amount of bonus material – three alternate takes from the album sessions, and six more live tracks from 1971! LP, Vinyl record album

Soulful sounds from 70s Chile – and a record that easily rivals some of the best acoustic work from the post-Tropicalia generation in Brazil! Manduka's got a heady sound that's very much in keeping with his image on the cover – a freer sort of approach to the music than the decade before – with these long-flowing tracks that intertwine folksy elements and regional touches, but always with some slight undercurrent of jazz – almost at a level that rivals the acid folk of the UK scene of the same time, but with a definite deeper South American vibe. The vocals are sublime – extremely haunting, even beyong the boundary of language – and often recorded with some echo around them and the guitar, in a manner that recalls some of the best Geraldo Vandre material. Instrumentation includes some light backing on flute, bongos, acoustic guitar, and harmonica – often used in a gentle, watery sort of way. Completely sublime – one of those lost global gems you'll treasure for years – with titles that include "Entra Y Sale", "Naranjita", "Oiticumana", "De Un Extranjero", "Brasil 1500", and "Patria Amada Idolarada Salve Salve". LP, Vinyl record album

60s jazz meets Japanese bamboo flute – all in a session with a great mix of groovy and exotic touches! The record's a unique meeting of jazz and folkloric elements – done in a style that's a bit like some of the late 60s sessions of this nature on MPS, but a fair bit groovier overall – as the tracks are shorter and more focused, and often have a nice sort of bounce at the bottom. Flute is by Minoru Muraoka, and arrangements are by Takashi Ikeda and Kozaburo Yamaki, conducting their New Dimension and New Emotion groups respectively. Bits of sitar bring in an even groovier sound to the record – and the flute itself has some oddly off-kilter notes that further trip out the tunes. Titles include "Soul Bamboo", "Take Five", "The Positive & The Negative", "Call Me", "Do You Know The Way To San Jose", and "Scarborough Fair". LP, Vinyl record album

There's few folks more born to dub you than the great Augustus Pablo – an artist whose laidback work helped introduce dub music to a whole new generation in the 70s, then continued to remain at the top of the stack as the years went on! And although these cuts are rare material, not Pablo's classics, that only testifies even more strongly to the way that his 70s work can still blow away most of the competition – including any of the cats from the younger generation. The tracks here are all from the vaults of Gussie Clarke – and titles include "Classical Illusion (dub vendor 12")", "Origan Style", "Stardum", "No Entry (12" version)", "Born To Dub You", "Believe A Dub", and a nice two takes on the classic "Skylarking". LP, Vinyl record album

A mid-80s comeback album from Nina Simone – and a set that shows her continuing to experiment with new modes as the years move forward! Back in the 60s, Nina effortlessly folded together her jazz vocal roots with new ideas in folk, soul, and other styles – and here she expands that approach to embrace some currents of 80s soul – sometimes with a quality that really has her trying to evolve into the new generation. The set features keyboards and arrangements from Hence Powell, guitar from Arthur Adams, and backings from the Waters – on titles that include "Fodder On Her Wings", "I Sing Just To Know That I'm Alive", "For A While", "Touching & Caring", "Saratoga", and "It's Cold Out Here". LP, Vinyl record album

The most spiritual session we've ever heard from Tenderlonious – a set that we always knew he had in him, given his playing on other folk's albums – yet one that still comes as a great surprise in comparison to some of his other records too! The set features compositions by Wayne Shorter, Stanley Cowell, Charles Tolliver, and Bill Lee – all nods to the generation that Tenderlonious evokes here on alto and flutes, working in a quartet that features Hamish Balfour on piano, Pete Martin on bass, and Tim Carnegie on drums – a group who are lean and work without any other trappings or structures – coming across maybe a bit like some Clifford Jordan quartet session for Strata East. Titles include long takes on "On The Nile", "Infant Eyes", "John Coltrane", "You Know I Care", "Poor Eric", and "Maimoun". LP, Vinyl record album

A tremendous return to form for the great Brian Jackson – an artist that most folks know for his legendary 70s work with Gil Scott-Heron, but one who's kept on making great music for years after Gil departed our planet! Here, Jackson's the lead talent on Fender Rhodes, flute, and other instruments – working alongside core funky backdrops from Adrian Younge & Ali Shaheed Muhammad – in a mode that follows up the spirit of their other releases in the Jazz Is Dead series, but with a vibe that's darker and moodier overall! There's a great edge going on here – and the bassline are especially heavy at times, which seems to make Jackson push even stronger than he might – filling up all the spaces with beautiful sounds that show the musician at his jazziest. Titles include "Mars Walk", "Nancy Wilson", "Young Muhammad", "Guality", "Bain De Minuit", "Ethiopian Sunshower", and "Under The Bridge". LP, Vinyl record album

First New Orleans, then Houston, now Baton Rouge – leave it to the folks at Tuff City to make any southern city funky funky funky! The album actually only features work by 4 artists – but all of them are pretty darn great, the kind of obscure funky acts that first put us in business years back! The groove is hard and heavy – quite a different slice of LA than the New Orleans groove – with lots more hard drums and rumbling bass, and an overall sound that's very much in the east coast indie funk sound of the early 70s. And honestly, this is one of the freshest and strongest compilations that Tuff City ever put out – filled with great tracks that include "Joy & Affection", "Funky Black Man", and "Hogwash" by Earnest Jackson; "I Never Found A Girl" by Underground Express; "That's Henry", "Mississippi Mud", and "Angela" by Black Blood & The Chocolate Pickles; and "Ooh Wee Baby I Love You", "What The Deal Is", and "Groove Making" by George Perkins. LP, Vinyl record album