A knockout, proto-Pablo, rocksteady organ instrumental. Dandy Livingstone, surprisingly enough, riding east of the River Nile. Originally out on Trojan in 1968.

Tasty, brilliantly-arranged, minor-chord instrumental of the Tonight rhythm, led by the saxophone of Cannonball ‘Money Generator’ Bryan; with a secret-weapon piano-lick on the flip.

A sultry version of the Gershwin / Heyward aria, more body-rocking than spiritual, led by an identified singer. and swinging horns; and a rollicking Take The A Train, with solos by Roland Alphonso, Lester Sterling and Don Drummond.
Class.

Groovy version of the Deodato-CTI Gershwin interpretation; with a Willie Lindo. The dub does the trick.

A rollicking organ-and-drums grounation workout.
Plus Ken Boothe taking liberties with Nat King Cole’s Hazy Lazy Crazy Days Of Summer.

Breathtaking US roots. A super-heavyweight, high-drama Zap Pow rhythm, with luminous singing by Horace Campbell, on his own label. Second of just two Black Spades. You’d be mad to pass.

Chinafrica was Wayne Chin’s next project, after his group Creole disbanded in the early-eighties.
Two shark-attack do-overs of foundational tunes, startlingly different: a deadly, sick, atmospheric Declaration Of Rights, with shades of Wackies; and a sprightly, in-your-face, digi Baba Boom Time, originally stepping out on Thunderbolt in 1987.

Dark, hypnotic, tripping nyabinghi from 1974.
Led by Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation-drums and bass heavy (with no rhythm guitar, rather Willie Lindo brilliantly improvising a kind of dazed, harmolodic blues).
Lloyd Charmers and Federal engineer George Raymond stayed up all night after the session, to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards.
At no cost to its deep spirituality, this is the closest reggae comes to psychedelia.

A fine trombone instrumental — fruity, old-school, wistful — backed with a lovely detournement of Rosemary Clooney’s massive country smash, Beautiful Brown Eyes. Lloyd Charmers business.

Two terrific, previously unreleased excursions on the Amos Milburn.
The trombone holds it down like Giant Haystacks, but that’s a tenor saxophone solo.
Lovely stuff.