Latin | Brazil Vinyl 136 Items

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.

First ever reissue of the sixth album by Michi Sarmiento y sus Bravos, originally
released by Discos Fuentes in 1973. The LP includes several brilliant original songs
plus a number of excellent cover tunes, and a dizzyingly diverse mix of genres:
guanguancó, cumbelé, calypso, cumbión, rumba, paseo, gaita, merengue_ A tropical
Latin dance party! 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.

Nigeria’s Kingsley Bucknor’s ‘Just U and Me’ LP gets the long-awaited reissue treatment from Melbourne’s Left Ear Records. After cutting his teeth playing with Fela in the 70’s and releasing two afrobeat LP’s Kingsley travelled the globe before finding himself in London, it’s here that he laid down 6 distinctive electro-funk tunes inspired by African rhythms and music he’d heard through his travels in the States and in Europe. Originally issued on Kinglsley’s own KAB records in ’85 and according to Kingsley the release was well received at the time, but due to constraints of international marketing the record remained mostly unknown outside of his homeland. Fast-forward to 2017 and the stage is set for a new global audience to appreciate the distinct sound of KB.

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.

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!

A great 70s album by Os Novos Baianos – a wonderfully youthful group that was one of the bright spots in Brazilian music after the Tropicalia years. The band had a style that mixed folksy percussion with honest personal songwriting, plus occasional touches of elements gleaned from the larger influences in Brazilian rock at the time. The album has a sound that's a lot more intimate than later work, with some especially great work on guitar and bandolim, and great production on the band's vocals. Titles include "Sorrir E Cantar Como Bahia", "Dagmar", "Vagabundo Nao E Facil", "Cosmos E Damiao", "Com Qualquer Dois Mil Reis", and "Os Pingo Da Chuva".

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 is a classic Latin must-have.

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.

Polysom Brazil vinyl LP repress import, released in 1973. Crazy stuff! This record is incredible, with a mix of amazing songs that piece together hard percussion, spare production and some of the strangest vocals ever recorded in Brazil.

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.

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.

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.

Todos Os Olhos is one of the most important Brazilian records of all time. Tom Zé is considered the most “paulista” of all Tropicalistas. He came from Bahia, but his wry urban poetry, infused with the uncomfortable sounds of the largest metropolis of South America, is pure Sao Paulo.

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”…

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.

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.