Chilled, underground, DIY fusion from eighties America, rolling up together jazz, new age, and pop. Music for a burgeoning managerial middle class, says Numero; pitched rather hopefully at ‘the new commercial audiences held captive in dentist offices and waiting rooms across America’.

Her third Columbia, from 1970.
With Muscle Shoals crew on side one — Roger Hawkins, Eddie Hinton, Barry Beckett and co — and a lineup convening the Armenian oud-plyer Ashod Garabedian, Duane Allman and Alice Coltrane, on side two.
‘I love my country as it dies in war and pain before my eyes. I walk the streets where disrespect has been. The sins of politics, the politics of sin, the heartlessness that darkens my soul… on Christmas.’

A harum-scarum bloodbath of sixties rock, seventies motorik-fusion, and eighties punk.

‘The landscape Orcutt Shelley Miller inhabits lies deep in the stoner American bedrock, fed by volcanic riffage and hypnotic phrasing with rhythmic nods to the SoCal ’60s and atonal slash piled on a mid ’80s SST punk-fusionoid substrate, ultimately blasting a ‘big rock statement’ that treads the line between good times and blown minds.’

‘A Squeeze-meets-XTC vibed track that will appeal to fans of the Rangers, as it sounds like a half-remembered lost classic from an ‘80s infomercial beamed onto a thrift-store VHS.’

Previously unissued underground rock from 1969, Rockford, Illinois.

Stunning solo, acoustic demos of Pale Blue Eyes, I’m Waiting For The Man, Heroin and co.

Legendary, underground French rock from 1980, ranging from lo-fi fuzz to full-blown prog. Each song is presented as the hallucination of a possessed six-year-old. Featuring the fourteen-minute Theme Guerre.

Late-60s psych folk — a massive underground smash in South Africa — with the calypsofried drug-sick masterpiece Sugar Man.

Recorded in 1971, up the road from us at the Lansdowne Studios, this was the Sugarman’s last shot at the big-time.