Latin | Brazil Sale 101 Items

For her first solo project, the French-Chilean singer Alsy has teamed up with producers Rose, Peter Dallas and Jimmy Whoo. Co- produced with Jimmy Whoo, this EP reflects the meeting of the two artists' worlds, between the nocturnal atmosphere of Motel Music and the sunny ambiance of the singer's South American influences.

With her project Candela, Alsy has imagined her own musical universe, intimate and deep, rich in the variety of her influences. The lyrics are passionate, the rhythms smooth and warm, and the project is a subtle mix of modernity and nostalgia, between steamy reggaeton, smooth synth pop and hypnotic electro.

The singer's smooth and bewitching voice is the hallmark of this debut EP, which takes us on a dreamy journey from Paris to Santiago, against a backdrop of rhythmic and atmospheric music.

From samba & bossa nova through to baile funk, with carioca expressions of jazz, rock & hip hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnameable quality which reflects the magic & mystique of the cityitself. Multi-instrumentalist & arranger Antonio Neves is the city’s newest trailblazer: the enfant-terrible of Rio’s music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city’s musical legacy.

The name of the band and the cover of the disc explicitly reveal the influence: Secos&Molhados. Investing in androgenia, progressive rock and samba-soul, Assim Assado tried to be a response of the small CID label to the enormous success that the Secos&Molhados did to the young public.

Led by Miguel de Deus (formerly Os Brazões), who signed most of the compositions and assumed the guitar and vocals, the group never took off, leaving only this LP, now almost forgotten. Curiosity: in 1977 Miguel de Deus falls headlong into funk, casting the rather interesting (and rare) "Black Soul Brothers" Also repressed on Groovie Records.

Band formed by Miguel de Deus in 1974, inspired by the Secos&Molhados and making clear both in the name, which is copied from a song of Secos&Molhados, both on the cover of the band's only album. Also the visual was well androgen but the music, a mixture of psychedelic, Progressive and a strong touch of Brazilian Soul music. The only album that had the same name as the band, did not get repercussion despite presenting a lot of quality.

Now the repress of this rare pearl brings to the light the huge talent of Miguel De Deus.

This is a 180g pressing.

Running tracks from Kool & The Gang, Ramsey Lewis, Arthur Verocai, Quarteto Em Cy,
Lonnie Liston Smith, Ras G, Azymuth, Yesterdays New Quintet, August Fanon, Roc Marci,
Karrim Riggins, Blu & Exile, Waldir Calmon,...

Although perhaps not a household name like Sergio Mendes, Marcos Valle or Flora Purim, Bororó is considered to be one of the most important and talented Brazilian musicians of his time. Taking his moniker from the indigenous people of his country, who live in the state of Mato Grosso, Bororó steadily built his career for well over a quarter of a century, along the way performing live and in the studio with such legends as Gal Costa, Milton Nascimento and Caetano Veloso.

Further adventures in psychedelic disco cumbia from one-man-band C.A.M.P.O.S. on the much-awaited second studio album

C.A.M.P.O.S. is a one-man tropical electronic psych band consisting of multi-instrumentalist, singer and composer Joshua Douglas Camp. Though C.A.M.P.O.S. stands for Cumbias And More Psychedelic Original Sounds, there are no limits to Camp’s musical creativity, with the project taking cues from everything from Americana and pop rock to Cuban son and German electronica. This is no surprise as Camp has been involved with many diverse groups over the years, including Latin-flavored outfits Chicha Libre, Locobeach and Los Crema Paraíso, but also his country band Westwork, the Eastern-European klezmer quintet Litvakus and literary rockers One Ring Zero.

Since releasing his debut double LP as C.A.M.P.O.S., Miracles & Criminals, on Peace & Rhythm in 2016, Camp has developed his repertoire into a live show that has garnered a devoted following, and which has also seen the live band he assembled evolving into its own distinct entity, Locobeach.

When the pandemic forced Camp into exile he used the time to once more focus on C.A.M.P.O.S. and his one-man-band skills. This initially resulted in two albums, Shake Up The World: Live In The Studio Vol. 1 and Vol. 2, both performed live and recorded in one take at his home studio (and both digitally released by Peace & Rhythm, in 2020 and 2021 respectively).

In addition, he continued to work on the long-awaited follow-up studio album to Miracles & Criminals, which had begun years prior and progressed in the fleeting moments when his other projects allowed. With time to once more concentrate on C.A.M.P.O.S., the album soon began to take shape, eventually coalescing into The Eighth Door. Though catalyzed by isolation, it is far from a solo effort, with Camp enlisting collaborators including pianist and arranger Marlysse Simmons (Bio Ritmo, Miramar), who had initially told Peace & Rhythm about Camp’s unreleased backlog of tropical tracks from back in the Chicha Libre days (which became Miracles & Criminals), to other Chicha Libre band mates Neil Ochoa and Karina Colis, as well as Gabo Tomasini (Yotoco), who was a founding member of Bio Ritmo and played in C.A.M.P.O.S.’s first live appearance in 2016.

As with all C.A.M.P.O.S. releases, The Eighth Door takes you on a cosmic trip to a multi-dimensional landscape of the mind where the body also knows the pleasures of dance and sensuality, but this time there is more focus, with fewer songs and a fuller sound. Yes there is a dark side to planet C.A.M.P.O.S., to which the album sometimes ventures, but ultimately the record is a voyage of self-discovery, making connections between sounds and sentiments that, on paper, appear unlikely companions. Yet, once bound together by the intimate circuitry of Joshua Camp’s creativity and serious songwriting skills, all elements gel in a gravity-defying way. Exotic-sounding electronic keyboards, jangly, fuzzy guitars and percolating percussion loops seamlessly carry the listener through two sides of galaxy-spanning mini epics, sometimes with vocals, sometimes instrumental, and often infused with the shuffling beat of Colombia’s cumbia rhythm with a few disco, rock or salsa accents thrown in for good measure.

Camp juxtaposes the raw and the smooth, destructive and redemptive, sweet and ominous, digital and analog, organic and synthetic, intimate and expansive, all of which combine into an apt metaphor for where we find ourselves today. On The Eighth Door C.A.M.P.O.S. pulls the great unknown to a realm just within our grasp.

Album cover art by Selina Josephs and photo of Joshua Camp by Julian Parker Burns. Released in conjunction with Calle de Campos, Hyperopia Records (Canada) and Sounds and Colours (uk). Digital album has five bonus tracks, which also come with download card for vinyl purchase.

The release comes on 180g vinyl. Brazilian singer, guitarist, teacher and composer Célia recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before.This, her first self-titled LP from 1970, feature arrangements by Rogério Duprat, Pocho Perez, Arthur Verocai & José Briamonte.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”". Eblis Alvarez (meridian Brothers) “Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”. Gladys Palmera

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”. Discodelic

But... who the hell is Cristian de Moret? Passion, groove, rehearsal, feeling, funk, loop, desire, error, lysergy, digitalism, Andalusia, stroboscopy, heat, frying, heel, atmosphere. The words will not order themselves. Neither does the music. Once the 20th century was over, we all waited for this moment. The moment in which shoots of new species different from everything emerged from the roots of flamenco. A new tradition. New textures, flavors and colors.

New ways of understanding creativity. Without equating it to contemporary phenomena because we would create a conjectural and aesthetic problem. Without the conceptual imbalance of picaresque art, also very contemporary and Spanish. Breaking the bottle of essences so that flamenco imbues the technology and skill of a virtuoso multi-instrumentalist. The new paradigm. A single human is already capable of recreating the entire scene and that triggers risk and creativity. Just listen to this album. Supernova is a step towards the future of flamenco. Our commitment to pressing it on vinyl is just the desire to preserve this legacy for future generations. A new cornerstone for a new flamenco world where orthodoxy and heterodoxy take new paths linked by synthetic currents of digital fluids. The answer to the initial question. Cristian is a discovery, he does not cause indifference. This is the first step for him when he is already on the second. The future is in his hands, keeps twisting it please.

Limited to 300 copies. West African and Venezuelan inspired dance floor 45 from Cyril Diaz the 1950's Trinidadian bandleader playing the roots music of his Afro-Venezuelan parentage. His father Gordon Diaz migrated to Trinidad sometime in the early 1900's. Throughout the 1950's Cyril Diaz and his big band calypso orchestra toured the Caribbean and South America recording culturally inspired hybrid calypsos with an African and Latin tinge. Showcased here is his fascination with West African shango on "Mme Killio" Mme Killio is a famous beauty contest in Africa, Diaz’s version being recorded by Emory Cook in November 1957.

"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed.

The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas.

While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic.

Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO.

Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette.

The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before."

Nada Escrito is Dorotheo’s third full-length album and a reflection of the band’s evolution through the years. The project’s progressive nature and their psychedelic rock foundation has blossomed to a different sonic direction, reminiscent of hauntology music, echoing the experimental spirit of bands like Broadcast, Stereo Lab or Silver Apples, yet landing ideas from latin-american and middle-eastern music among many other influences with their signature song-writing, channeled by the production hand of Hugo Quezada (Progreso Nacional, Exploded View) and the musical possibilities enabled by the new line-up.

This album is the follow-up to their celebrated Como Es (2021), which was conceived as a duo integrated by front-man, singer and guitarist Benjamín Zárate and Otto Malgesto on drums and vocals. However, the album release tour was performed as a quintet, introducing new songs with the return of co-founder bassist-singer Anton Cerda, the inclusion of Efraín Valadez on synthesizers and the extraordinary Cynthia Estévez adding a second lead vocal persona, spacey keyboards, hypnotic wind instruments and new lyrics. Together, they created Nada Escrito, expanding their music to a completely new form.

“A band with the hauntological cool of Broadcast and Stereolab." – NPR

“Dorotheo es integrado por elementos de antiguas agrupaciones que han decidido abrir un nuevo camino. Bases krautrock se pueden percibir de primera mano, planos llenos de psicodelia y tendencias al shoegaze terminan de forjar su arte, que sin duda corre haciendo transgresiones al tiempo, que nos invita a imaginar escenarios retóricos y ambiguos.” – Rolling Stone

The best kept secret of the new album by El Dragón Criollo, the jewel in the crown, a song that, like the best of Latin music, comes with dynamite, gasoline and candela for the dance floor as well as reflective and sensitive with the reality of our countries, especially Colombia, where the oppressed are getting worse and worse and those from above always fall on their feet. But let's not forget that dance is catharsis and a good song is the key that opens our senses. "Sentencia " plays this wonderful role, not in vain has it been the last song on the album to be finished with this objective clearly in mind and verified before the release and, gentlemen, the dance floor does not lie. People get lost in this pure fantasy. "Sentencia " goes beyond the ordinary, it is the product of the countless styles that Paulo Olarte has perfected throughout his career as a producer, at a sound and musical level, it has innumerable elements that have influenced his entire personal life and that, without a doubt, comes to shake us with its extreme flavor. "La Número Uno" Dedicated to love and the dancefloor, hot as the earth, a song with the intention of transmitting the most authentic vibes of affection with movement and party. “La Número Uno” arises from El Dragón Criollo’s love for the four women in his heart. At the same time, it does not skimp on fanning the heat of the track. An arsenal of classic elements of champeta and Panamanian reggae from the 90s. The presence of the classic Casio Sk-5 and samples that you will recognize instantly if you are a connoisseur of this real sound, the kind that ignites the rumba in the neighborhood. It is a dedicated theme to fill the energy track while dedicating it to your number one.

“Exposição Popular” is the new album from Rio de Janeiro based producer and composer Guerrinha, sonically orbits 80´s new wave & fusion jazz, imagine a lost ECM gem, layered in low-fi subterranean exoticism, that somehow conjures the soundtracks of Angelo Badalamenti. Here we find Guerrinha loosened up, the rhythm spilling out, playfully impossible to grasp as it floats over space-age ambient synth and organ work that takes references from Pat Metheny, John Scofield and Rita Lee. “The last LP, "Cidade Grande" was all about acceptance of the big city as a monolith, but here I wanted to focus on the exposition of the intimate as the most logical, obvious choice. Hence the name "Exposição Popular" (in english "Popular Exhibition"), which is wordplay, as all exhibitions should be inherently popular since they're all out about exhibiting yourself to everyone, but because of the nature of the art, it becomes the opposite of the "popular", it becomes niche.” - Guerrinha

The fertility of the Cuban music scene in the 1970s was rich and blooming. FA-5’s self-titled album from 1976 is a perfect example of the energy and vitality emanating from the country’s musicians and marks the next release in Mr Bongo’s Cuban Classics series. A unique musical fusion that encompasses Latin rock, funk, soul, disco and Afro-Cuban rhythms to form a diverse and alluring album.

The exquisite, funk-fuelled opener, 'Muevete Con Las Fuerzas Del Corazon', is maybe the most-known song on the album. It is a super catchy cut powered by a dynamite bassline, joy-filled horn playing and splashes of drum breaks that will ignite any dancefloor.

The record surfs through genres as it progresses. 'Di Tu Que Haras Sin Mi’ and 'Paso Sin Mas' lean back with a West Latin rock / AOR flavour to their grooves. Elsewhere, the dreamy, cosmic, Balearic-tinged 'El Blue' and fuzzy funk-rock breaks of 'Pero Lo Cierto Es Que No Quise Mas' further show the breadth of styles at play on the LP. Another big highlight on the album is the Latin, disco-funk sounds of 'Casa De Ladrillo', which morphs into a cover version of the Commodores 'Brick House'. The result is a superb alternative take on a much-loved classic.

Released on the state-owned Areito Records, the album was directed by Nestor Caballero, who arranged the songs alongside Aneiro Taño and Osvaldo Caraballoso. The prolific Tony Taño produced the album with the recording courtesy of Tony Lopez who worked with Juan Pablo Torres, Los Reyes 73, Grupo Los Yoyi, Raúl Gómez and many other Cuban greats that we have featured in the Cuban Series.

A fabulous, under-the-radar classic, that will enrich any collection.

1968, in the Brazilian dictatorship, Fábio released this psychedelic gem LSD (Lindo Sonho Delirante), writed by him and Carlos Imperial.

A soul / garage floor killer till today. Besides the alucinated rhythm, the song was an explicit provocation to the political society of the 60’s.

Debut album by the influential gaucho musician Gelson Oliveira, in partnership with the drummer Luiz Ewerling, released independently in 1983, with minimal resources. In spite of all this, they made a unique and very beautiful album, with a spectacular musicality, a mix of sounds, ranging from jazz, funk and fusion.

Japanese pressing with obi.

1st Japanese Pressing.
OBI not included.
Includes original insert and large poster.

For the third release in our Mr Bongo Cuban Classics series, we reissue the iconic 1974 debut album by the mighty Grupo Irakere. Led by Chucho Valdés, son of Cuban pianist and bandleader Bebo Valdés, the band would go on to become of the most influential and successful groups emanating from Cuba in this period. Their debut ‘Teatro Amadeo Roldan Recital’ is an in-demand and incredible Afro-Cuban, jazz-funk masterpiece originally landing on Cuba’s state-owned imprint, Areito.

One of the jewels of the album is the beast of an opener, 'Bacalao Con Pan’. A heavy dancefloor Latin-funk burner, with ripping Wah-Wah guitar, a blistering mix of Latin percussive elements and horns firing on all cylinders. It’s a song which builds and breaks with an energy and power that still lights up the dance to this very day.

The album is a varied bag of tricks, traversing moods, styles and genres whilst melding traditional rhythms with more contemporary mindsets. Take the delectable downtempo ballad ‘Danza Nañiga’ or ‘Valle Picadura’ that starts on a similar tip, before erupting into a horn heavy heater. Move through to find ‘Taka Taka Ta’ where Afro-Cuban jazz, call and response vocals and brain-busting organs marry in steamy unison.

Elsewhere, continuing this melting pot of musical influences, the prog/psychedelic rock leaning 'Quindiambo', expertly combines traditional Latin music with psych rock in a similar way to Santana. 'Misaluba' is another highlight, a cover version of a song by the British-Italian based group Cyan, written by Mario & Giosy Capuano, making it their own with this tripped-out, percussion-rich makeover.

As debuts go, Grupo Irakere’s ‘Teatro Amadeo Roldan Recital' is about as good as it gets and gives a snapshot of Cuba in the mid ‘70s, with a band that were destined for big things.

The much-talked-about cover of Yoshitaka Minami's "Yakanhikou" is now available on 7inch release! From Yoshitaka Minami's 70's urban pop sound masterpiece album "south OF THE Border", for which Ryuichi Sakamoto wrote all the songs, Halfby has produced a superb cover of the famous song "Yakanhikou", which has a brilliant Brazilian essence of samba and bossa nova, with Keiichi Sokabe on guest vocals.

It's About Time To Uncover The Most Unknown Brazilian Music Style. Unlike Other Brazilian Musical Traditions As Samba And Bossa-Nova, Never Ever Anything Of Caipira Music Has Been Released Outside Brazil. Repairing This Huge Gap, Vampisoul Presents Helena Meirelles - A Rainha Da Viola Caipira, A Stunning 25-Track Compilation Of The Revered Queen Of The Viola Caipira, Mrs Meirelles.A Stunning Compilation Of The Revered Queen Of The Viola Caipira, Helena Meirelles, Once Included In The Top 100 World's Guitar Players By Guitar Player Magazine.On This Double-Lp Anthology You Will Face Some Of The Most Expressive Helena's Creations. 'Guaxo', For Examplecontains An Ultra-Melodic Guitar Riff That Will Stick In Your Ears For Ages While 'Mercedita' Has An Evolving Rifferama. 'Saudades Do Meu Velho Pai', On The Other Hand, Is A Typical Baiao, A Very Peculiar Northeasternrhythm In Brazil, De-Constructed By Her Very Own Style. 'Flor Da Guavira' Is A Delicious Caipira-Ballad. These Are Only A Few Great Ones, Amongst So Many Other Exquisite, And Unusual Delights.A Fascinating Journey Into One Of The Lesser Covered Brazilian Genres, Caipira, Rich In Folk And Country Music Elements. Reissued On Vinyl For The First Time.Considered By The Guitar Player Magazine, One The 100 Greatest Guitar Players Of All Time, Don't Miss The Chance To Discover A Brand New Kind Of (Brazilian) Folk Music.

Limited to 200 copies, HHV Exclusive, red vinyl.
Heroes Of Limbo rework two hip-hop staples with stunning afrobeat arrangements. Eric B. & Rakim's 'Don't Sweat The Technique' and Pete Rock & C.L. Smooth's 'They Reminisce Over You (T.R.O.Y.)' are stripped to their instrumental essence with polyrhythmic drums and percussions, powered up by a massive big band brass section and going bonkers altogether. A sure shot double-sided winner for all DJs that want to leave their crowd guessing whether they're taken to the streets of New York or to the Shrine in Lagos, Nigeria.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.
The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.
The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation.
The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

Brazilian singer, poet, guitarist Joao Gilberto made his 1959 debut with the now legendary LP, 'Chega de Saudade', a new sound and acknowledge as the first bossa nova album, a genre that swept the world in popularity and taken up by such artists as Stan Getz, Charly Byrd, Astrud Gilberto, Frank Sinatra, Quincy Jones, and countless others. Presented here is essentially a themed compilation of some of his best songs, including tracks from his acclaimed debut LP, 'Chega de Saudade'.

Rio-born, Joyce Moreno, is one of the greatest Brazilian artists of all time. The voice, the playing, the writing, they all combine to make her a true allrounder. She possesses the ability to transport, captivate and transcend listeners. With a career that has spanned more than 30 albums and over 50 years, she continues to record and tour the world.

‘Aldeia de Ogum’ is one of her most well-known songs. With a joyfully jazzy arrangement, building Latin percussion, Brazilian flute and tropical atmosphere, this full-bodied samba smash became an anthem amongst London’s DJs and dancers in the Acid Jazz days. A favourite of Patrick Forge and Gilles Peterson, it was regularly spun at their legendary Dingwalls sessions.

Originally featured on her sought after Feminina LP from 1980, it also appears on our 'Essential' Joyce compilation from 1997. The original pressing of this Brazil 45 was the first time the track had been released on 7".

A fellow Rio native, Rosinha was a highly acclaimed composer, arranger and guitarist who played with legends including Baden Powell, Sérgio Mendes and Sivuca.

Here we present her stunning cover of the Gershwin classic, ‘Summertime’. Rosinha’s elegant, instrumental interpretation showcases her majestic guitar playing, and what a player she was! Backed with beautifully arranged, emotion-drenched strings, this track is guaranteed to stir your soul.

'Summertime' is taken from her 1975 RCA LP entitled Um Violão Em Primeiro Plano. The original pressing of this Brazil45 was the first time the track had been released on 7".

Remastered with refreshed artwork.

Next up in the Mr Bongo Cuban Classics series is an outing by the mighty Juan Pablo Torres from 1978. Released on Cuba’s state-owned Areito imprint, Algo Nuevo showcases trombonist, bandleader, arranger and producer Juan Pablo Torres' unique scope of sound. A melting pot of an album that weaves together jazz-funk and traditional Afro-Cuban genres with tripped-out synth touches and dancefloor grooves.

The opener 'Pan Caliente' is a fiery celebration, combining a driving groove with Latin percussion, feverish horns and infectious “la-la-la” vocals. The wild, squelching cosmic synthlines give an otherworldly touch to proceedings that sit nicely on a modern dancefloor. 'Guajira 2001' is perhaps Juan's future-focussed take on the vibrant style of Cuban dance-led music called guajira. Blistering bongos, congas and claves moving together with trumpets, trombones and twanging acoustic guitars that you can’t help but bounce to.

Other highlights include, 'Cacao', a Cuban cosmic funk strutter that places the claves upfront, with a scatting vocal line and percussive climax reminiscent of George Kranz electronic disco anthem 'Din Daa Daa' from 1983. Elsewhere, 'Elvira' further showcases the psychedelic essence of many of the album’s tracks. A deep Latin workout where tasty percussive breaks and scorching keys blend with trippy vocals and rumbling synths.

A varied album encompassing a variety of Afro-Cuban genres and rhythms entwined with flashes of mind-bending cosmic influence. Algo Nuevo is a further jewel in Cuba’s musical crown of riches, with plenty of dancefloor treats and downtempo numbers held within.

The next release in the Mr Bongo Cuban Classics series, is one of Juan Pablo Torres' most-known and loved albums, the iconic Super Son from 1977. A wonderful record of tripped-out rumbas, psych-Afro-Latin funk and quirky orchestrated tracks with a big band horn section courtesy of Torres’ band, Algo Nuevo.

As well as being the director of Algo Nuevo and Cuban all-star ensemble Estrellas De Areito, the trombonist, bandleader, arranger and producer also released a wealth of albums under his own name predominately on the state-owned imprint Areito/EGREM.

Post-revolution, there was a contrast in Cuba’s musical world. State censorship was at play, but professional musicians were on the government payroll which gave them an artistic freedom. Experimentation emanated in the ‘70s and ‘80s and Super Son is a prime example of that. ‘Y Que Bien' kicks off the album taking you down a tripped-out, cosmic rabbithole, psych guitars and skat vocals opening up into a joyful funk groove laced with jazzy Afro-Cuban horns stabs. Tracks such as 'Pastel En Descarga' seem to come out of nowhere and are completely unique. Fuzzed-up guitar lines and percussion lay the groundwork, with those jubilant horns adding to the energy of this forever building track.

Elsewhere, there’s the ‘70s TV theme-tune feeling of 'Con Aji Guaguao', a playful funk number that boils and bubbles with blistering trombone playing by Torres. Or ‘Son A Propulsión' and ‘Son Riendo’, two more brilliant examples of psychedelic funk, wrapped up in a blanket of Afro-Cuban rhythms. The former sweeping you up in rushes of wind as trumpets, trombones and distorted guitars trade off, the latter, an intergalactic fiesta of tradition and exploration.

Super Son is up there as one of the funkiest Cuban records around, a playful fusion of ideas from a producer, player and group on fine form and, for us, one of our favourite gems to come out of Cuba in this period. A sheer masterpiece.

" Brand new vinyl reissue to celebrate the 40the anniversary of zouk pioneers Kassav’ .

Who hasn’t retained at least one memory of the group Kassav’ from their youth? For whether in concert, or onthe radio or TV, the image of Kassav’ remains vivid inthe minds of listeners and spectators.

The group,founded in 1979 by Jacob Desvarieux, Georges andPierre-Edouard Décimus, has become legendary, putting Guadeloupe and Martinique on the musicalmap of the world. Touring the world with zouk, amusical movement introduced and popularized by Kassav’, their albums have repeatedly been rewarded with both gold and platinum discs .A victim of Covid in 2021, the loss of Jacob Desvarieux leaves a huge void. The mix of Jacob Des varieux and George Decimus with Jocelyne Béroard, Jean-Philippe Marthély, Patrick Saint-Éloi and Jean-Claude Naimro has played soldout concerts in 82 countries. With texts recounting reallife in the Caribbean world their lively music draws on the rhythms of Guadeloupe’s gwo-ka and Martinique’sti-bwa. Transcending the well-defined codes of Caribbean music, they have turned the 1980s and all the succeeding decades into a fabulous ballroom.

They have been welcomed in Japan and the Ussr, where they became the first group of black musicians to tour. Forty years after the group’s creation, their timeless hits continue to resonate. "

close to NM. Limited edition. Direct Disk. OBI is missing.

Viajando con Las Ratas Sicodelicas (Groovie Records/El Gato Salvaje Records 2024) Here is the debut album of this garage punk trio from Argentina released by Groovie Records (Portugal) and El Gato Salvaje Records (Argentina). There are 14 explosive songs where you can see the influences of 60s garage punk and 80s revival but with lyrics in Spanish. Their compositions sound like Music Machine, passing through Los Yorks (Peru) or The Cynics, but the rats dare to go a little further with their song “No te persigas” a la Velvet underground style or the raw cover of the classic “Keep on running” sung by Oscar Hechomierda (Bass), a true bizarre piece. Turn up the volume on your turntable and enjoy the insane sound of Las Ratas Sicodelicas!

About las Ratas Sicodelicas... Las Ratas Sicodelicas were born by the union of three friends who got together to break the great boredom that unleashed the 2020 pandemic. With a musical mutation where they use their long experience in garage punk to give place to the Latin American beat and psychedelia, all their songs are sung in Spanish. These psychedelic rodents are: Rolando Bruno, Oscar Hechomierda and Pablo Bam Bam, all with past and present in the Los Peyotes garage punk group from Buenos Aires Argentina. They have a 7” vinyl with 2 songs released by Groovie Records (Portugal) and an incoming LP.

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro’s parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England’s Southern coast. “We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there.

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau’s Brazilian sound was already beginning to blossom across Wax Machine’s releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro’s delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro’s displacement led to the creation of another Brazil. A mythic place in Lau’s soul, as they put it, “where the sunshine and joy of my childhood remained untapped.” Lau continues: “It’s music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself.”

LOS Cirros are one of the most obscure Spanish rock bands from the late 60s. Coming out of a tiny village in one of the smallest provinces of the country sure helped them being fully ignored, but how cool those guys proved to be when discovered in compilations such as “Viñedos” or “Pentecostés Vibrations”!!! They released two seven inches (1969 and 1970), both very very rare and featuring pretty cool songs in a blend of garage, light psychedelia and pop. Now, these two 45s are reissued (marketed together, not to be sold separately!), including an unreleased bonus track and with the usual attention to detail of the Madmua label, with the addition of an insert and two postcards. Limited to 500 copies.

Continuing the Mr Bongo Cuban Classics Series, we shine a light on Los Reyes 73 and their sensational debut LP from 1975. The album had multiple different pressings under various titles and artworks, but the music stayed the same and speaks for itself. The group set the bar high with this fiery Afro-Cuban-funk gem, letting loose a vibrant Latin workout combining psych rock trippiness with a heavy dose of deep funk. Elements that fuse to firmly cement this album as a ‘70s Cuban masterpiece and one of our favourites here at Mr Bongo HQ.

Releasing just two albums and a handful of 7-inch singles, the band were a popular and influential group in Cuba at the time. Since then, they have featured on several compilation albums across the 2000s that have helped raise their profile amongst new audiences worldwide.

Produced by the magical Raúl Gómez, the album featured a list of heavyweight Cuban musicians. Directed by Santiago Reyes and Ovidio Guerra, with orchestration from greats including Ricardo Eddy Martinez who also released the much-loved album 'Expreso Ritmico' in 1978 alongside Ignacio Herrera, Mario Valdes and Gilberto García. The album also features the writing prowess of Los Van Van’s Miguel Ángel Rasalps.

Blending traditional Cuban Son aesthetics with funk influences and psychedelic touches, the music housed within showcases a cosmic fusion that stands up on any modern dancefloor. The scintillating opener ‘Grandes Amigos’, the tripped out ‘Adeoey’ and the grooving ‘Un Lamento Hecho Cancion’ are just a handful of examples that exhibit the sheer musical melting pot of this album.

For this reissue, we have chosen to use the artwork from a Mexican version of the album released on Pentagrama Records that features the beautiful bird illustration cover art. The Cuban edition was released on the state-run Areito.

An outstanding and wondrous Latin record that has long been calling out for an official reissue.

Split 7” featuring the 1972 song “Hechicera” by Bolivian group LOS Signos, and on the flipside we have a wild version of the same track now performed by new Spanish act LOS Malinches.

Los Syn were born in 1966 in Chile, formed by four young lads from the US whose parents were working in Santiago at the time, and they released this sole 45 before all going back to the US next year. The record is practically nowhere to be found, and such an amazing example of teen garage folk-punk the way we all lose our head for.

Limited reissue of 500 copies, with an insert with liners by Gary Pilgram (bass player), and two postcards with unseen photos!

Limited to 1000 copies for the European market.

Music by Madlib, arranged by Kieran Hebden, better known as Four Tet. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

Majoie Hajary is an atypical musician. Born in Paramaribo (Suriname) to Indian parents and raised in Amsterdam. In 1970, in France, accompanied by the best Jazz musicians and with arrangements by Roger Guerin, she recorded “La Passion Selon Judas”.

The result was an incredible fusion of Psych, Funk, Indian and Jazz elements – deep religious Jazz in the vein of Jef Gilson.

Limited aqua marine vinyl edition including a lyrics' fanzine. 150 copies only, only at HHV Records.

After 20 eventful years as a drummer, singer, producer and composer in her hometown São Paulo, the Brazilian Mariá Portugal moved to Duisburg some time ago.
On November 12, 2021, she is now releasing her latest album, Erosão. Her debut for Fun In The Church will be released as a collaboration between selo Risco (Brazil) and Fun in The Church on vinyl and digital.

"Tattoo Woman" was originally released in 1965 and includes "Under My Skin", a favorite not only among calypso fans but also Ska and Reggae lovers! This is a calypso arrangement of Cole Porter's original song "I've Got You Under My Skin" and is truly a masterpiece! The album as a whole contains many wonderful pieces that convey the breath of calypso in its heyday! Please enjoy these two historical masterpieces by the god of calypso, Mighty Sparrow, together with "The Outcast", which will be released at the same time on analog LP!!

A 7-inch record coupling "Tour Of Jamaica", a sample cource of the Japanese hiphop classic "mess/age" by Seiko Ito and Yann Tomita, and one of the selector's must-haves, "Under My Skin", will be released from Think! Records!!

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

A mysterious release, not only for its unique expressive style but also because it isn't even known when it was initially recorded let alone its release date. According to non profit Studio Piccolo owner Vincent Bruley, it could have been recorded during the 70s and eventually released in the early 90s, sometime throughout Nilton Castro's time in Paris making music for contemporary dance classes (often led by his wife). This album was originally intended for accompanying dancers in classes with an emphasis on rhythm and coordination. Given Nilton's background and expertise in percussion, the focal point of this album is to present an array of Afro Brasilian rhythms performed by himself with additional moments of choir, flute and keys/metallophone. Effortless due to Nilton's prowess and unburdened by typical financial pressures (often behind the release of a record), the result feels like charmingly unadulterated and pure expression throughout the entire album. But what really takes the listener to places of unheard-of bliss is “Ondes (Les Vagues)” a track that has plagued the curiosity of diggers and collectors for a while now. With its harmony crescendos elegantly coming and going as per the title, overlayed on Nilton's subtle percussive patterns, an aural landscape of illusory beauty - listening is believing. Remastered and officially re-issued with its original artwork.

Japanese pressing with obi.

The rescue of the only album by the La Solvencia Orquesta symbolizes very well the full meaning of the mission of the El Palmas label, stubborn in keeping the history of salsa alive in Venezuela, recovering the intrepid and genuine music with which the pillars of the salsa genre were built.

At the time this album appeared, originally released by the Corpodisco label in 1980, “guaguancó, guaracha, son and merengue were played, but Latin rhythms were not yet definitively labeled as salsa” says Felipe Díaz, singer of La Solvencia.

There were many orchestras of this type in Venezuela. Every season they used to visit dozens and dozens of towns to celebrate the festivities of different patron saints, popular celebrations in which people gave themselves up to dancing in an atmosphere of collective trance.

The combination of the natural and contagious groove of La Solvencia's songs with lyrics that paint with strokes as simple as they are accurate the daily life of ordinary people, their joys and disappointments, their urgencies and troubles, transformed the group into one of the favorites of the Venezuelan salsa public.