Madrigal’s self-titled album, reissued via Subliminal Sounds in 2017. A slice of early 70s lo-fi, basement DIY, experimenting with oscillating drones, drum machines, vox, electric guitar and bass. Or: haunted, subterranean folk music as heard through a slab of dilapidated drywall.

“We want to make pop music, inspired by the AM radio psych pop [and] folk of yore,” Donaldson said of the Skygreen Leopards in 2005, “but we can’t help but make it a bit strange, because we are a bit strange.”

Loosely affiliated with the Träd, Gräs Och Stenar crew, Sten Bergman only released one LP — 1974’s Lyckohjulet — but it is an extremely sweet slice of vintage Swedish folk rock. He’s joined here by Träd, Gräs drummer Thomas Mera Gartz for a set of 10 excellent tunes that run the gamut from Basement Tapes-y rambles to moody, “Down By The River”-esque excursions.

A laid back twenty minute ride harnessing the spirit of peak-era 70s coast and canyon. Bootcut tall tales dripping with pedal steel, lilting harmonies and an aching sense of wonder. Something they use to call ‘cosmic American music’.

Pharaonic is almost a fusion record, redolent as much of Lost Quintet-era Miles and the moody explorations of early Weather Report as the liquid energy of the ‘74 Grateful Dead and the swirling jazz-rock of the Soft Machine.

The Oakland, CA based Black Jazz Records existed between 1971 and 1975 releasing twenty albums, from the guitar odyssey of Calvin Keys’ Shawn-Neeq to Doug Carn’s appropriately titled Revelation. And now it’s all back in print, thanks to Real Gone Music’s ongoing reissue campaign.

For their third release, Mouth Painter mold their high-lonesome exotica into a different kind Americana altogether, something more Kosimiche than cosmic. It’s the kind of music that might be playing on the jukebox in some Venusian honky-tonk.

Lowell George wrote about what he knew best: speedballs and hamburgers, dive bar denizens and cranked-out truckers looking for salvation. Released in 1971, Little Feat is a far cry from the studio slick boogie that eventually became the band’s trademark, but it’s also one of the best records Lowell George & co. ever made.