Latin | Brazil Vinyl 143 Items

Polysom official reissue and 180 gram pressing.

1970’s best-kept Bossa Nova secret. Surrounded by mystery for nearly 50 years due to its obscurity, this is one of the most honest, personal and unpretentious albums of its genre. A selection of 12 exquisitely crafted songs supported by measured, subtle arrangements.
The list of musicians born or raised in the Tijuca district of Rio de Janeiro is long and illustrious and includes names that have shaped Brazilian music: Tom Jobim, Roberto Carlos, Tim Maia, Milton Nascimento, Jorge Ben or Erasmo Carlos – to mention but a few. We can now add to that list another name: Werther. In 1970, a man by that name recorded an album unique in its personality, its honesty, and its lack of pretense. In a time when Bossa Nova had become a global phenomenon and its main characters were already household names in Brazil, Werther assembled a collection of songs that uncannily – almost naively – remind us of the time when Bossa Nova was just a group of youngsters making music. His songs are about simple things: bohemian life, the sea, love.
Despite Werther and his friends being only in their teens, without any previous experience recording music, those working behind the scenes were not equally amateur. Producer Peter Keller had already worked with Aloysio De Oliveira in the quintessential Bossa Nova label Elenco, and was also an initial partner in Roberto Quartin’s cult label Forma. Studio owner Bill Horne was a very loved character in the Rio jazz scene who had regularly taken part in the legendary meetings in Nara Leão’s apartment and befriended some of Brazil’s most respected musicians. Some of these musicians were, for example, Naná Vasconcelos and Edison Machado, who provided small contributions to Werther’s album.
It was only in the 1990’s that Werther’s album was rediscovered by a handful of collectors and Brazilian music enthusiasts, who recognised in it a purity that had already vanished from the mainstream Bossa Nova recordings. But due to the haziness around the original release and the relative anonymity of its instigators, many questions surrounding these recordings were left unanswered. Today we are finally able to disclose the full story behind Werther’s short-lived contribution to Brazilian music.

Soundway Records re-issue the massively in-demand Soca cover-version of Sade’s classic cut “Sweetest Taboo” by Caribbean band Rebles from 1986.
In the late 80s, as electronic music permeated popular culture, Rebles helped define the soca genre outside of the Caribbean. Also known as D’ Rebel’s Band and led by St Vincentian band-leader and trombonist Denniston Young, the group were the 1980s house band for probably the largest Caribbean label, Strakers Records, based in Brooklyn, New York. Strakers released hundreds of Calypso and Soca releases over a thirty year period from 1970 to 2000.
Finally available again after becoming a big record with a number of open-minded contemporary DJs who play Soca, Zouk, Highlife and Soukous alongside Disco and House, the 12” has been officially licensed and re-mastered ready to hit the summer party season head-on.
This 12” paves the way for a big compilation album of Soca crossover sounds coming later this year on Soundway.

Soundway Records presents the official vinyl release of George & Glen Miller’s 1979 hit “Easing” - encapsulating late 70s New York in its blend of disco, soul and Caribbean soca.
Restored, remastered and cut loud for the dancefloor, the 12” single features the original vocal on the A-side and the essential instrumental on the flip.
The Miller brothers’ musical journey began in Trinidad and Tobago in the early 70s. During their teenage years they formed The Groovy Millers - a five piece band made up of George, Glen and their three siblings. After a chance meeting with Lord Shorty, they went on to collaborate with one of the Soca stars of the time and firmly plant their feet in the Soca scene of the musically rich Caribbean island.
Of the five siblings it was George and Glen that pursued a career in music, and in the late 70s the two brothers made the move to North America to develop their music style. Disco dominated the airwaves at the time and a studio session with the prolific Frankie McIntosh resulted in the masterpiece that is Easing. Drawing influence from the blossoming disco and soul scene, George and Glen added Caribbean flavour to the New York sound to startling effect. Soft, subtle keys and guitars are punctuated with layered trumpet and violin riffs, complimenting George’s silken, restrained vocal. Frankie McIntosh’s arrangement shines through with what might be his finest work, placing this track on the mantle with other New York classics of the time.

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.

Apparently when this album was originally released in 1972, confused and bewildered fans, expecting more of the same found on Transa, released earlier that year, returned the album to the shop, demanding a refund. Meanwhile, critics raved, and many now consider Araçá Azul known as CAETANO VELOSO’s “experimental album” to be one of his great creative moments. To be fair to his many fans, it was a stark departure from his previous releases, which were decidedly more pop, but Veloso had been through a lot recently, having just returned from political exile in the UK, so it is no wonder that the artist was feeling a bit like he needed to fly in the face of conformity. In Veloso‚s own words, “I made this album without thinking, without taking the time to stop to think.” He refers to the album’s “insolent experimentalism” and calls it a kind of “last stand.” Color vinyl version.

The second release for Discos Fuentes by Peregoyo y su Combo Vacaná, recorded
circa 1967, is rich with diverse sounds and festive rhythms, from the exotic tranceinducing
coastal Afro-Colombian polyrhythmic syncopations of the currulao, abozao
chocoano, porro, cumbia and aguabajo to the more well-known genres of Cuban and
Puerto Rican origin like descarga, bomba, guaracha and son montuno. The ninemember
combo was formed by composer and tenor saxophonist Enrique "Peregoyo"
Urbano Tenorio in the Pacific coastal city of Buenaventura. His stated mission was to
modernize the folkloric music traditions of his region, proudly displaying AfroIndigenous
origins and spotlighting previously marginalized musical roots yet playing in
a contemporary way with Cuban-inspired instrumentation and arrangements, uniting
disparate genres into a commercially viable whole, thus contributing to the foundation
of future developments in transnational tropical Latin music. Presented in facsimile
artwork and pressed on 180g vinyl.

Following the recent reissues of Jose Mauro's Obnoxius, Piri's Voces Querem Mate? and Victor Assis Brasil's Toca Antonio Carlos Jobim, Far Out Recordings presents a second album from Victor Assis Brasil from the treasure trove of the Quartin Records catalogue, Esperanto.

The reissue comes on 180g. A wild solo project from Rita Lee – done after the breakup of Os Mutantes, and offered up almost as some sort of commentary on mainstream rock in the 70s.

One of the funkiest albums ever from Gilberto Gil – a set that beautifully mixes rootsy elements with tighter funk arrangements, in a style that's not unlike some of the 70s samba soul experiments from Jorge Ben.

The sole LP by Brazilian quartet Assim Assado, originally released in 1974 by the CID-label, gets reissued on vinyl. Both the artwork and the contents make clear that the band was massively influenced by the psychedelic/progressive art-rock of the popular act Secos & Molhados. Even the androgynous element is present! Assim Assado was led by Miguel de Deus, formerly of Os Brazoes. This wonderful album is recommended to fans of Brazil's late '60s/early '70s rock scene in general, and of Secos & Molhados in particular.

After Sweet Sweet Dreams album, Jamwax is very proud to finally release D'Hardest on its original maxi 12'' format.
“D'Hardest” was recorded at K.H. studios in Trinidad in 1980 and another version/mix was released on the Wake Up album. This song is everything, thanks to Winston Bailey aka Shadow and all his team.

This late '60s Colombian cult-LP (originally on Discos Fuentes) with a really raw and hard sound sees a welcome reissue on 180-gram vinyl. 'Canabrava' is a collection of cover tunes in the guaguanco, son, guajira, descarga and cha-cha-cha rhythms.

Limited edition for Record Store Day 2017!

180g vinyl. Incredible stuff – the kind of obscure Brazilian 70s album that first got us into the music in the first place, and which keeps us digging through the racks for more and more over the years!

This release comes on 180g vinyl and is a totally great album from Novos Baianos; the earliest one we've ever seen by the group, and a session that has them sounding a fair bit like Os Mutantes.

Reissued on 180-gram black vinyl. A legendary set of Latin music.

For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that supplied the amazing collection of photos for the 4 pages inner, inside the LP. This limited edition is a highly collectable for fans of brazilian soul, groove and psychedelia. It's our contribution to pay respect to one of the most important brazilian musicians of the late 60's and early 70's. Main brain of bands like OS Brazões and Assim Assado, he let us an amazing legacy for new generations. This is a small, but more than deserved homage to him, finally. Miguel de Deus was the protagonist of this amazing Afro-Funk movement, together with a group of “heavy” musicians, as they were called in those days of consolidation of a strong Black Power scene, mainly composed of black youth from the outskirts of the suburbs of São Paulo and Rio de Janeiro, where the movement took the name of Black Rio. Its raw Rock-Funk-Psychedelic-Tropicalia.

" 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. "

Imagine for a moment that Arthur Russel had learned to speak Brazilian and then moved to Italy to produce an Italo-Disco single back in 1984. There's a good chance it would sound like the Dub version of the B side on this record (Remixed by Bob One). A percussive foundation channeling Latin Freestyle beats sets the groundwork for the chill sunset vibed melody to pleasantly unfold intertwined with the alluring Brazilian lyrics. The recording engineering on this production is clearly at a higher standard (than the usual neighborhood italo disco studio from back in the day) with some of the techniques at play giving it a very balanced and sophisticated sound for its time. The meticulous remastering this re-issue underwent allow for a generous low end with crystal clear mid range – game changing on any well calibrated dance floor sound system.

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.

In the 80s, Dimas “Sam Dimas” Pedroza was encouraged with two atypical projects. One in partnership with the great Larry Francia, another artist released by El Palmas Music, and titled La salsa es con Dimas y Larry. And the other with an orchestra of great artists of the time that El Palmas also proudly relaunches in 2024: Sam Dimas and La Diferente’s El Tumbao…, with songs by prestigious authors such as Joseíto Fernández and José González Giralt and arrangements by the renowned trombonist Rafael Silva.

It is worth mentioning the great musicians that Dimas Pedroza summoned for this album: Rafael Araujo, Lewis Vargas and Gustavo Aranguren (trumpets), Carlos Espinoza and Rafael Silva (trombones), José Ávila (piano), Rafael Prado (bass), Pedro Viloria (timbales, güiro), Williams (congas), Nene Pacheco (bongo, drum), Leo Pacheco, Rafael Silva and Rafael Prado (choirs). There were also some special guests: Alfredo Pollo Gil and Manuel Icazas (trumpets), Oscar Mendoza (trombone), Joe Santamaría and Chucho Chuchochi (timbal) and Edwin Infante (maracas). Sam Dimas y La Diferente’s El Tumbao… is an album that Dimas - who is 80 years old today and still lives in Caracas - never presented live. One of those hidden gems in the history of salsa that El Palmas is dedicated to rescuing to continue reconstructing the memory of Venezuelan popular music, one of its main objectives. At the time of its appearance it did not receive the attention it deserved, perhaps because at first glance you can only see the surface. “I met Dimas through Roberto Monserrat on Radio Emisora Venezuela. He was from La Pastora, San José, and worked in a hospital - says Federico Betancourt in the book La salsa de Federico Betancourt y su Combo Latino, published by the Editorial Foundation El perro y la rana -. They invited him to one of the Combo Latino rehearsals and he came. Honestly, at first I was very impressed by the timbre and the way he sang, but Monserrat and the other members of Combo Latino thought it was good and they convinced me to leave him in the group. The day of recording our first LP arrived and I listened to Dimas again and then I said to myself: “Damn, this dude really sings well! You should never get carried away by your first impression.”

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.

For the first time reissued, with the great contribution of Miguel de Deus's family in São Paulo, that supplied the amazing collection of photos for the 4 pages inner, inside the LP. This limited edition is a highly collectable for fans of brazilian soul, groove and psychedelia. It's our contribution to pay respect to one of the most important brazilian musicians of the late 60's and early 70's. Main brain of bands like OS Brazões and Assim Assado, he let us an amazing legacy for new generations. This is a small, but more than deserved homage to him, finally. Miguel de Deus was the protagonist of this amazing Afro-Funk movement, together with a group of “heavy” musicians, as they were called in those days of consolidation of a strong Black Power scene, mainly composed of black youth from the outskirts of the suburbs of São Paulo and Rio de Janeiro, where the movement took the name of Black Rio. Its raw Rock-Funk-Psychedelic-Tropicalia.

Following Far Out’s reissue of Agustin Pereyra Lucena Quartet’s La Rana, the label continues its memorialisation of the late, great Argentinian guitarist’s music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena’s self-titled debut album from 1970.

One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell and Vinicius De Moraes, the nature of Agustin’s Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own.

After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc. Before he knew it, aged 22, he was in the studio recording his first album.

Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez who played bass and drummer Enrique "Zurdo" Roizner. He had first heard the duo backing Vinicius de Moraes, Toquinho and Maria Creuza on their legendary La Fusa live album, also recorded in Buenos Aires. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before.

The atypical bossas and spiritual swinging sambas, composed by many of Agustin’s aforementioned heroes, were elevated to new heights by Agustin’s dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music.

Moments of calm serenity include Agustin’s own composition “Nina No Divagues”, Durval Ferreira and Pedro Camargo’s “Chuva” and the Brazilian bossa classic “Tristeza Nos Dois”, which feels like it draws equally upon exotica and early library records. Accompanied by Roizner’s shuffling samba jazz drums, opener “O Astronauta” is Agustin’s cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, “Consolacao” is an extended full-band set, which features Agustin’s crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctively early-seventies magic.

Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America’s greats. On the liner notes of the album Vinicius De Moraes writes: “I think I never saw, with the exception of Baden Powell and Toquinho, anyone more linked to his instrument than Agustín Pereyra Lucena. It would give the impression that if the guitar were taken away from him, he would fade into music as one dies from the amputation of an arm.”

Agustin Pereyra Lucena will be released on audiophile vinyl LP, CD and digitally on the 26th January 2024 via Far Out Recordings.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - Joseph “Candido” RodrÌguez - Candido was mentored by Tito Punete, and his debut features a fantastic mix of fiery Salsa, Latin Jazz and Sweet Latin Soul. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Out of print for ages, here’s a very welcome reissue of this Brazilian classic from 1974, licensed from Warner Brazil.

First ever reissue!! Psychedelic Latin-funk holy grail from Nicaragua, 1974!! Poder del Alma (“Soul Power”) was a supergroup formed by some of the best musicians from the Nica scene. This all-star band of nine members was assembled to play at the famous free concert of Santana in Managua in benefit for the 1972 earthquake. After that successful gig supporting the Latin-Rock superstar, what was to be a one-night stand became the seed of the most loved Nicaraguan act from the 70s. All the members had already played an important role in the history of the Nica music / hippie scene in the 1960s. Among them, we can find Román Cerpas (previously on Bwana), René “Chapo Domínguez (Los Rockets), Edgar “El Gato” Aguilar… A few months after the Managua concert with Santana, Poder del Alma traveled to Guatemala to record their first long play for Dideca (Discos De Centroamérica, S.A.) in just one week of recording sessions. Despite the low budget and precarious recording equipment, the band managed to obtain a powerful psychedelic / afro / funk-rock sound full of electric guitar, heavy drums, hot, percussion, horns, Spanish male/female vocals…featuring titles like “El Valle del Ayatimbo”, “Ia-Taa Yo”, “Zúmbale”…

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - one of the label’s most lauded recordings containing epic examples of Big Band Salsa, Horace Silver-flavored Modal Jazz and Soulful Grooves - masterminded by a young Bobby RodrÌguez with vocals by Papo Felix. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 16 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Hypnotic organ-fueled psych-pop from Argentina 1970, now having a new life thanks to Madmua Records. As usual, 500 copies that are instantly sold out at source (we have 50 copies available only now). Nice new cover artwork (original came in plain generic cover), with insert and two postcards.

Discos Quilombo is back with its second release, and what a killer one!!!

Bolivian group “Los Laser”!!! Took ages to finally locate the Laser guys in La Paz but can’t be more worth than this and you can read their story in the 4-page full-colour insert.

They were part of the so-called “Bolivian New Wave” where local teens were emulating the British groups of the mid-60s, but their music turned as furious as their minds (they were deeply involved in political activities, even joining an armed organization fighting against Bolivian dictatorships).

With biting lyrics and outstanding fuzz guitar riffs, they recorded the awesome social anthem “Los desposeídos” which was part of their only EP released in 1971. Now you can get the two best tracks of that EP in the new Discos Quilombo single.

Released in 1989, Marisa Monte's first album was a critical and public success.Produced by Nelson Motta and recorded live, the 11 tracks featured a singer with a sweet and powerful voice, interpreting a repertoire of varied styles and eras, who conquered the country.

We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album. Blending lo-fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.

It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7” singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector’s item.

The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho’s (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian’s songs. ‘Guilherme Coutinho E O Grupo Stalo’ is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience.