His debut LP, a little over-produced by Jack Clement for Poppy in 1965; including precious first goes at songs like Tecumseh Valley and Waiting ‘Round to Die.
‘It seems a lot of people in Nashville write by phrase, or by the line. As opposed to writing by the word. A lot of my best songs are where every single word is where it’s supposed to be… For the Sake of the Song was written by the word. I once sat down and wrote out the rhyme scheme for that song, and it was amazing. Pretty complex. But it didn’t seem that complex when I was writing it.’

Previously unreleased, elemental drafts of some his greatest songs (plus a couple which never saw the light of day). Startlingly intimate and beautiful. Hotly recommended.

The fine multi-instrumentalist on clarinets, saxophones and flute, with klezmer specialist Hankus Netsky, in limber interminglings of jazz with Jewish musical traditions. The bass clarinet with accordion is lovely.

Ravishing, melodic and lyrical, but also poised and alert piano-playing.

Sublimely convulsive Shangaan electro-gospel by a pastor from Giyani, Limpopo, recorded in 2008, brimming with aching, plaintive, mournful spirituality. However fractured, multi-faceted and fresh the music comes across — that signature whistle and sampled marimba, a little wonky high-life, rough, skittering drum patterns, no bass — the surging vocal lines and harmonies are unmistakably rooted in traditional South African music.

Singing and playing carillon, in 2017.
One of the songs is dedicated to Mika Vainio.

Knockout eco-roots. Shaka liked it so much he put it out himself.

Harry Smith’s monument.