Since Charly Records began working with the catalog of the fabled Texas label International Artists Records, they've released a steady stream of material by Lone Star psychedelic pioneers the 13th Floor Elevators, beginning with the definitive 2009 box set Sign of the 3 Eyed Men. But while Charly's releases have been beautifully assembled and annotated, they've also been created with serious fans in mind, rather than someone looking for the band's basic oeuvre. While a four-disc box set might seem a bit much for someone who just wants the basics, The Albums Collection is a thorough but elegant collection that delivers the Elevators' essential repertoire in one package…

Completists will be happy to own many of the rarities on this four-disc set, including Stevens's first demo session, an unreleased 1970 duet with Elton John, a cover of Fats Domino's "Blue Monday," and several choice live cuts from the late '70s. And it's nice to have an overview of the artist's entire career–from late '60s pop-star wannabe to '70s folk-rock superstar–in one place. But the difference between early Cat Stevens (despite composing hits for others) and post-Tea for the Tillerman Stevens is substantial. The two follow-up LPs were part of a trilogy of brilliance–both musically and lyrically–and any Stevens collection must start there. Nevertheless, surprises and some gems are to be found throughout all four discs–even his most recent recording (as Yusuf Islam) isn't bad. This box set also offers a choice opportunity to reassess a deserving career. (All royalties go to New York City relief victims and orphans and homeless families in underdeveloped countries.)

This obscure folk-rock artist from the late '60s left a track record of a few albums and a handful of obscure single releases, including the languid "Lyanna" and the demanding "Don't Leave Me Now." Campbell first came to prominence as a singer/songwriter on the folk club scene. He signed a contract with the interesting Fontana label, which released much cutting edge folk-rock and psychedelic music. He recorded one album and three singles for them before switching dizzily to the Vertigo label. The resulting album took a proud place in this label's catalog, right between the largely forgotten Dr. Strangely Strange and the grandly remembered Paranoid by Black Sabbath. It was definitely Campbell's most famous album, entitled Half Baked with just a note of derision. The album's title track is in turn the most well-known cut by this artist.

Dreaming Out Loud finds Michael Chapman in fine form, turning a record that isn't drastically dissimilar from his early work. While it doesn't have the spark of his early albums for Harvest, it has a professional journeyman quality that is appealing in its own way. Chapman plays most of the instruments on the album himself, which can occasionally give the music a stilted feel, but on the whole, it's an ambitious, successful effort that fits nicely into his body of work.

Five-piece hybrid jazz outfit Black Flower are set to release new album ‘Magma’ on the 28th January via the groove-obsessed Belgian label, Sdban Ultra. Piloted by Brussels-based saxophonist/flutist/composer Nathan Daems (Echoes of Zoo, Dijf Sanders), the quintet is a vibrant, hypnotic mix of Ethio jazz, afrobeat, psychedelia and oriental influences, inspired by Mulatu Astatke, Fela Kuti and varied western musical traditions. Black Flower is a band at the peak of their creative powers. Having received glowing praise for the 2019 album ‘Future Flora’ from Mojo, Songlines, BBC Radio 6 Music’s Gilles Peterson, BBC Radio 3’s Music Planet, Worldwide FM and Jazz FM among others, forthcoming album ‘Magma’ sees Black Flower embrace new synth and organ sounds from the band’s most recent recruit, Karel Cuelenaere.