Like a dream, but authoritatively, this remix from Jamaica magnificently crosses the Afrobeat of Fela Kuti with the grounation reggae tradition of Count Ossie.

Rough, tough, searing steppers from the Meditation, with a killer-diller Dillinger, produced by Isha Morrison — Mrs Lee Perry — and originally out on Orchid.

The Nigerian percussionist together with US soul singer OC Tolbert, in 1982.
A grippingly odd couple of sides: Happiness is slow-burning gospel; Nwanne is terrific, stampeding Afro-disco, with popping bass, echoing shout-outs and drums on fire.

Magnificent, hypnotically insurgent, boogie-down bubblers, with Sugar Minott at the mic, leading burnished horns and dapper, soulful backing vocals. Like a cross between Ain’t No Stopping Us Now and Armagideon.
Jerry Johnson heads out on the flip: a killer uptempo instrumental, with swirling brass over a pared-down, propulsive rhythm.

What a record. The studio debut of the mighty Daddy U-Roy in 1969, sparring with Val Bennett over Old Fashioned Way, both of them wigging out like a couple of beboppers, with the ghost of John Holt on the backing tape. “The studio is kinda cloudy,” reports U-Roy — and everyone sounds lit but utterly inspired. Pure vibes.
“My first tune I ever do was Dynamic Fashion Way with Keith Hudson, and then I do Earth’s Rightful Ruler for Scratch. Those tunes didn’t get very far, them sell a couple hundred.”
Cornerstone stuff. Show some respect and chuck your bootleg.

Fragile, dignified performances by two of Cajun music’s finest and most unusual artists, originally released on 78 in the late 1920s. French vocals accompanied by guitar or fiddle, or sometimes both. Impeccable ballads and breakdowns. Old school tip-on cover.

‘A deeply emotional, hypnotic fusion of gospel, psychedelic groove, folk, soulful funk, and
Afro-Latin rhythms. Recorded in Pointe-Noire, and originally released in the Republic of Congo in 1982, the album channels the raw spirit of 1980s Congo with vibrant multilingual vocals and rich, polyrhythmic textures.’
Fully remastered from the original tapes.

‘Among the most influential European ensembles of the 21st century, this chamber group’s work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music, developing a highly distinctive language built on restraint, timbral nuance and collective interplay…
‘Over time, the Ensemble has developed a language that is immediately recognizable — marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre. The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed — to early polyphonic music, Norwegian folk traditions, or more recent experimental practices — but these are absorbed into a singular musical language that resists categorization.
‘Non Sonett advances the group’s integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.’

The single LP via Rhino is in lovely mono.

The double LP is newly transferred from the master tapes, remastered, and cut at 45rpm, in an all-analogue process.
Presented in a gorgeous gatefold sleeve by Analogue Productions, as part of its Atlantic 75 audiophile series.