There's no shortage of Brazilian comps focusing on the bossa jazz sound of the 60s, but far too few cover the funky soul and psych hybrids that came out of Rio de Janeiro and São Paulo during the 70s. So full props to Black Betty DJs Sean Marquand and Greg Caz for topping their killer Baile Funk mix disc with Baile Funk 2: Agora É Moda . Avoiding the obvious hits, they still come up with choice uncomped cookers lifted from soap opera soundtracks and single B-sides like Jorge Ben 's nutty Jazz Potatoes, Trio Esperança 's spacy Visitante KOZE, Azymuth 's tweaked-out Zombie, and Rita Lee 's thumping title track, her finest post-Mutantes moment. www.turntablelab.com.
Anyone who takes a handle like "the King of Diggin'" has got to have more in his home vinyl stash than some 70s jazz fusion LPs, some old-school hiphop singles and a few disco jams. Japan's mix-tape maestro DJ Muro demonstrates some breadth on his Super Reggae Breaks (Bbp International) double disc mix by seamlessly mixing hiphop head-nodders from the likes of J-Live and Ghostface with their vintage Jamaican reggae, dub and rock steady source material. Thankfully, he doesn' t try to use the mix to showcase his turntable skills and lets the tracks run for your full listening and Hummer-bumping pleasure.
San Francisco had a lively late-70s punk scene, and it didn't get much more confrontational than Crime, as can be heard on the excellent new collection San Francisco's STILL Doomed (Swami). Personally, I rank Crime alongside Germany's Pack as my all-time fave 70s snarlers, and this 22-track selection - essentially a straight re-release of the awesome out-of-print San Francisco's Doomed comp from 1990, drawn from two studio sessions recorded in 78 and 79 after their first two untouchable 7-inch scorchers - is a great introduction to "San Francisco's first and only rock 'n' roll band." As a bonus, you get two non-throwaway alternate takes of their classics Hot Wire My Heart and Baby, You're So Repulsive. www.swamirecords.com
Bluegrass time capsule
Mandolin marvel Vern Williams might disagree, but reforming his bluegrass band in Stockton, California, was a very fortuitous move. Isolated from evolutionary developments that were reshaping the music in the southern States during the 60s, 70s and 80s, Williams and his pickin' pals way out on the West Coast kept their sound true to the early template set by Bill Monroe and His Bluegrass Boys . So although the music you hear on the Vern Williams Band 's Traditional Bluegrass (Arhoolie) disc was recorded live by Berkeley's KPFA-FM between 82 and 88, you'd swear their eerie high lonesome sound comes straight off the Grand Ole Opry stage from the 50s. An incredible bluegrass anomaly. www. arhoolie.com.