A September 1989 performance at the World Financial Center Winter Garden in New York City, with Brian Eno mixing live.
‘During this period Hassell was inspired by the increasingly innovative production techniques being used in hip-hop, in particular the hyper-collaged sampledelic barrage of the Bomb Squad’s work with Public Enemy, hearing it as a kind of extension of the tape splicing that Teo Macero brought to his work with Miles Davis. He began to incorporate more of this aesthetic into his own music, playing over loops of his own performances and riffing on angular juxtapositions of noise, rhythm and melody.’
First time on vinyl.

Billie Jean UK-dubwise. A police-shoot-out scenario, with gunshots, sirens and a daft vocal interjection — Book im, Danno — plus burning horns. Original copies.

The US singer dropping a little sass at Treasure Isle in 1968. Same session as Angel Of The Morning, but previously unreleased.
Also Tommy McCook & The Supersonics doing over Ode To Billy Joe in fine style.

Evergreen rocksteady reading of Chip Taylor’s pop-country paean to illicit sex.

The former Flair and Leiber and Stoller go-to is a rock ‘n’ roll hero. A charged, witty, extrovert guide to its glory days — from doo wop through blues, rhythm and blues, rock and roll… into soul. Terrific stuff.

Blaxploitation from the Staples and Curtis Mayfield. The title track is all-time knockout soul music: Mavis is startlingly randy, over a masterful, sinuous rhythm. Goddess. New Orleans winningly sublimates I Heard It On The Grapevine; I Want To Thank You is decent, too; Curtis throws in a few Shaft-style instrumentals.
That title track, though.

Their classic, fourth LP, with the mighty I’ll Take You There.
Respect Yourself is here, too; and We The People, co-opted recently by Joe Biden.
With the Muscle Shoals Rhythm Section and the Memphis Horns.

A new work for cello, hammer dulcimer, tape and moog; and astral remixes of two tracks from last year’s Raise LP. Intriguing dialogues between new music and techno, well worth a butcher’s.

Riding in resplendently on the cassock tails of The Gospel According To Budgie mixtapes and The Good Books (with Alchemist): still deeper, giddier blends of nineties gospel and nu bounce. Back in.

Digging yet deeper and more devastatingly in the gospel bins of the Black Atlantic, HGZII has its genesis in work undertaken for Kanye West and the Sunday Service in Wyoming, before enfleshment and fine-tuning back at home in the City of Angels.

Hard bop from 1961: a quintet including Marcus ‘Gemini’ Belgrave, Ronnie ‘Doin The Thang’ Mathews, and Gene Hunt, from Horace Silver’s band.