Sam hosts a show with Dave Lt. Meat and as Dave has, he’s totally ignored the questions and just gone for a round up.

Honkeyfinger – Invocation of the Demon Other. Despite being packaged in a truly dreadful sleeves, Honkeyfinger, created a fantastic Beefheart stomp.

‘Introducing Los Peyotes’ offered a brilliant retrospective from a bunch of 60s obsessed South American’s. They have bowl cuts and where Zebra prints and tight pants, which is always the benchmark of real musical quality for me. An unhealthy desire to ape the snotty teenage Garage Rock that sprang up across the states in the 1960s means that Los Peyotes could be the ultimate party band and their album is packed with dumb, Farfisa led, stomping numbers that will please the most anal psych fan or those who only own Nuggets.

I like fake Americana much more than the real deal, which is why I liked The Boggs so much a few years ago, they were like the New York hipster Pogues with Strokes hair and nicely shabby designer threads. The Agnostic Mountain Gospel Choir’s Ten Thousand album is a similar deal, retro fitted bluegrass and moutain music, reconfigured for a music press reading fan base willing to take Seasick Steve’s tales of hobo adventures without a pinch of salt.

Retrospective of the year comes from Soul Jazz records, who continue to repackage old reggae in beautifully presented collection that seem purpose built for nerdish hoarders of shiny things. Their new compilation of Reggae Dancehall is an essential purchase for lovers of Jamaican music. Dancehall emerged in the late 70s and a reaction against the militant spiritual stance and more complex musicianship of the Roots era.

Dismissed by some as dumbed down dance fodder, Dancehall become the dominant strain of Reggae during the 80s, embracing digital production techniques and pushing the DJ/Vocalist to the fore, replacing the producer as kingpins on the music scene. Soul Jazz present a double cd tracing the evolution of the music from the productions from Price Jammy and the Roots Radics band in the 70s to the emergence of the hard Ragga sound in the early 90s. Dancehall doesn’t get the same respect from the mainstream press that the more liberal friendly dub and roots music garners, so Soul Jazz have done the music a great service by treating it with the respect it deserves.