Back catalogue: All genres

Review: Amongst highlife enthusiasts, Nkem Njoku & Ozzobia Sound's sole album is regarded as something of a classic, not least because of its party-friendly take on "Igbo highlife", a sub-genre of the Ghanaian style that utilises traditional Ogene 6/8 bell rhythms. The album's six tracks are infectious and wholeheartedly positive, with the assembled band - which included John Kante on guitar, a full horn section of boogie-era highlife keyboard maestro Jake Sollo - delivering instrumental backing tracks that ripple with colourful motifs, killer grooves and more than a hint of gospel righteousness. The title is certainly fitting, because it's a very special album indeed.

Review: BBE, known for its groundbreaking J-Jazz and J-Jazz Masterclass series, now shines a light on an inerasable gem in Japan's national discography: the debut LP Rainbow Love by Orquesta Del Sol, the country's first authentic salsa band. Salsa's roots in Japan trace back to the post-WWII era, with groups like Tokyo Cuban Boys, but it was the 1977 Fania All-Stars tour that initiated wider interest. Percussionist Masahito "Pecker" Hashida, influenced by New York's salsa scene, formed Orquesta Del Sol on his return. Their debut, put out in 1981, blends compositions in Japanese, Spanish, and English, while working in a cover of Noro Morales' 'Rumbambola'. Produced by Shuichi "Ponta" Murakami, the album's bold sound was a product of Japan's studio scene and the band's connection to the Nuyorican salsa style. This reissue includes seven bonus tracks from the band's later years, remastered for a new generation.

Review: When Osunlade first conceived and released Pyrography in 2011, it was meant to be the closing chapter of his house music journey. Of course, his attitude has changed since, but the album remains a fine statement from one of house music's most singular producers. This reissue from BBE puts the original set on vinyl for the first time, packaging it inside a brilliantly presented book featuring images, prayers, and information on the Yoruba culture that has long inspired the producer. Musically, the set expands on his usual spiritual house blueprint, fusing elements of jazz, broken beat and soul with influences as diverse as 80s talk box funk, hazy disco and 90s NY house. It remains one of Osunlade's finest works, so it's great to see it on wax at last.