Latin | Brazil Vinyl 350 Items

180 gram pressing

Guadeloupe 1986. The football World Cup has all the Islanders' eyes riveted to their TV sets. At every half time breaks, local TV channel RFO broadcasts a music video on repeat: ‘’Tou’t Jou Pa Min’m". Max Rambhojan, the local singer responsible for this monster tune, has arrived.
In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family and what seems like the whole neighbourhood. The song will gain cult status from then on, cementing the power of the 'Zouk Chiré' sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-releases his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of les Vikings de la Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur, Meliza… In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his “Tou’t Jou Pa Min’m” anthem to great effect.
Reducing Max Rambhojan to a zouk artist would be a mistake. He’s first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: “Cecilia” and “On Jou Matin”, both featured on this release's b-side. A touch of Spiritual Jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era.
In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule are proud to present those 4 lost gems on wax and digital, carefully restored and remastered.

Straddling the line between new and old, Meridian Brothers’ mischievous blend of Latin rhythms and psychedelic grooves is the creation of Eblis Álvarez, one of the key figures of the experimental music scene in Bogota. As with all of the Meridian Brother’s releases, every instrument on ‘Deseperanza’ was played and recorded by Eblis himself.

A true avant-garde guitar player and composer, Eblis also plays in Mario Galeano’s band Frente Cumbiero and was one of the 42 musicians involved in the recording of Ondatrópica.

Meridian Brothers are at the core of a burgeoning music scene with cumbia, salsa and currulao all being explored by a new generation of Colombian musicians. Last year’s "Meridian Brothers VII" received key recognition from New York’s Names You Can Trust, who combined two of its tracks on a highly collectible special edition 7”.

‘Desesperanza’, Meridian Brothers first fully-fledged worldwide release, is dedicated exclusively to salsa and tropical music, twisting it through a dark and theatrical psychedelic soundscape but never abandoning the traditional aesthetics.

Paz en La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music; Accordion, Guacharaca, Caja, Congas, Electric bass, and vocals.

Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.

The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.

In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.

Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.

Paz en La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music; Accordion, Guacharaca, Caja, Congas, Electric bass, and vocals.

Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.

The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.

In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.

Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.

180g Double LP released on vinyl only. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil.Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak

The Minyo Crusaders' 2017 debut album “Echoes of Japan” LP will be back in stock on vinyl! Purists beware, as these ten Japanese musicians have decided to give a cumbia, reggae, salsa, ethiopian groove and afro-funk twist to min'yo, an ancestral Japanese folk song genre of which they were all fans before they met. Their debut album, the eminently exotic (even zany) Echoes Of Japan, features ten tracks from the min'yo repertoire sung in the grand tradition of the style, to the sound of Afro-Latino brass and percussion. A delightful example of successful fusion, however unlikely it may seem.

Famous catalan singer, producer and media personality Miqui Puig puts his own spin on these covers by two of the biggest spanish bands from the 80’s: ‘Cien Gaviotas’ by Duncan Dhu and ‘Resurrección’ by El Último De La Fila. This single is part of the collection of 7” celebrating the 15th anniversary of the label Buenritmo Records.

From a young age, La Perla, Callao-born guitarist Oswaldo "Mita" Barreto was a fan of Cuban artists like Celina y Reutilio and Los Compadres, whose records were a staple in the port city homes. He soon learned to distinguish the sound of the Cuban tres on these records (the chordophone from rural areas of Cuba). At the age of 18, he had already mastered the instrument, although he had never seen a Cuban musician play one live until that point.At the beginning of 1969 (according to the record company's archives), his fame led him to record his first 45 RPM singles for the MAG label, which were compiled in an LP by the end of the year entitled "Arecibo", after a song dedicated to the Puerto Rican city of the same name. For these recordings he was accompanied by a group of musician friends, all linked to the tropical music scene in Callao, Peru.The album opens with two Cuban guarachas from the 1950s: 'Mango mangüé' by El Gran Fellove, whose compositions were popularized across the Americas thanks to the voice of Celia Cruz and the Sonora Matancera; and 'El yoyo' by Antonio Sánchez Reyes, another international hit performed by Cortijo y su Combo. Both songs were recorded by Mita in May 1969.The album also includes four songs from the repertoire of Puerto Rican musician Joe Cuba: 'Arecibo', 'No coman cuento', 'Oriza Oco' and 'Con mi mambo', where Mita replaced the sound of the vibraphone with the Cuban tres, an innovation that gave the group its distinctive sound.Three songs by Oswaldo Barreto "Mita" were also included on the album: the memorable 'Mita descarga', the incredibly fast 'Descarga en botella y güiro' ("del Perú a Puerto Rico cantamos") and the intimate 'No aguanto más', all with inspired plucking by the tres player from La Perla.The release of the LP at the end of 1969, established Mita's career, and he continued to record on MAG and other labels in the following years, although he never released another album. First time reissue.

El Palmas Music to reissue incredibly hard-to-find album by Venezuelan salsa bandleader and polymath.

Few artists worked as hard at their craft as Ramón Urbina. At the age of 15, and in thrall to the Latin jazz and tropical music he was hearing on the radio, he learnt to play tres guitar. Then he learnt bass. Then percussion, tumbadora, timpani drums, trumpet, trombone, piano, whatever instrument he could get his hands on. A true enthusiast and student of all the tropical music that was percolating through Venezuela and the rest of Latin America at the time, he wanted to understand the art of composition and arranging, and around 1972 he decided to put it to the test, forming his first group, Ramón y su Banda Latina. Taking inspiration from salsa ensembles like Sexteto Juventud, as well as Pastor López, a Venezuelan singer and bandleader who was having huge successes in Colombia for his mix of cumbias, guarachas and boleros, Ramón’s group toured throughout Venezuela during the 1970s. Then one day, he went to see La Dimensión Latina in his home town of Charallave, and he saw the future. The age of salsa with its multi-trombone sound was here, and he wanted to take part, recruiting new members to form Moncho y su Banda. After road testing their material, the new group was ready to record an album in 1981, but finding a record label was not easy. Ramón loved music but he was a homebody too and spent most of his time in Charallave, at a distance from the thriving music scene in Caracas. This, combined with the fact that he’d yet to record an album and create any kind of international reputation meant that he initially struggled to find a label. “God help me, even if I have to pay myself, I’m going to record my album”, he said at the time. Despite no guarantee of any album being released, Moncho y su Banda stepped into a recording studio and didn’t rest until they’d got what they wanted. Those who were there remember a feeling of being at a party, hanging out with family and friends, and dancing all night. After realising they’d forgotten to eat at a session, one of the group’s singers, Eduardo Fernandez, ordered a bottle of sambuca, and just like that they kept on recording, without pause, albeit with extra spirit. Once record label executives finally heard the album, titled Qué Bellas Son (How Beautiful They Are), they couldn’t resist its energy and a release date was set. It’s an album that captures the sound of a working band at ease, playing the kind of set that they would be knocking out at clubs around Venezuela at the time, full of life and passion. Whereas a formulaic salsa sound was forming in the early 80s, Moncho y su Banda bucked the trend, playing a mix of raw, unbridled salsa dura, as well as cumbias, merengues, boleros and chucu-chucus, all with a heady dose of Caribbean spirit that sets the group apart from the more urbane salsa ensembles of the day. Qué Bellas Son is the only album that Ramón Urbina ever recorded, though he has kept performing to this day, where you can still find him in Charallave. A true lover of music, we should be thankful that we have at least this one album of his to remind us of a band at the height of their powers.

Highlightsaustin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru's Legendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.The Result Is A Fascinating Temporal Exploration Of Two Stunning Faces Of Tropical Psychedelia Converging.The Album Features Legendary Peruvian Guitarist/Composer Jose Luis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.Description"Chicha Summit" Is The Newest Album By Austin-Based Future-Cumbia Group Money Chicha. The Album Features Legendary Peruvian Guitarist/Composer Jose Luis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion. The Album Explores The Nexus Of Peru's Legendary Fuzzed-Out Early Chicha Sound And Money Chicha's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions. The Result Is A Fascinating Temporal Exploration Of Two Stunning Faces Of Tropical Psychedelia Converging.The Album Itself Is Divided Between Two Sessions, Each Representing A Different Side Of The "Chicha Summit" Mountain. Side A Was Recorded During A Long Weekend In Which Jose Carballo And Money Chicha Convened For A Rehearsal, Recording Session, Workshop, And Concert. The Event Was Captured Altogether In A Single Room By Money Chicha Guitarist Beto Martinez At His Lechouse Music Studio In Buda Texas And Recorded Directly To Tape Via His Vintage Tascam 388. Subsequent Sessions Were Recorded By Greg Gonzalez At His Own The Electric Basecamp Studio And Vocalist Kiko Villamizar's Wepa Estudios To Capture Additional Percussion, Vocals, And Overdubs. The Result Is A Tribute To The Highly Influential And Much-Beloved Music Of Peru Performed With Jose Carballo, One Of The Genre's Greatest Performers And Composers And The Man Responsible For Introducing His Trad...

Highlights:Austin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru'slegendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.This New Single Features Two Cover Versions Of Chacalon And Los Destellos Classics Recreated Here In A Faithful Yet Updated And Energetic Manner.It Anticipates Their Forthcoming New Album That Will Feature Guest Collaborations With Peruvian Legend Joseluis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.Description:Austin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru's Legendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.'Maria Teresa', A Song Written By Roberto Zavala And Brought To Fame By Chacalon, Is On The A Side Of This New Single While We Find 'Cumbia Del Desierto' On The Flipside, An Instrumental Classic By Los Destellos That Money Chicha Recreates Here In A Faithful Yet Updated And Energetic Manner.This Single Anticipates Their Forthcoming New Album That Will Include Guest Collaborations With Peruvian Legend Jose Luis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.

The next MOTON release comprises of three tracks carefully selected by Love Vinyl's Jake Holloway.
Jake co-owns the second hand department in the store with The Mighty Zaf. He also is a graphic designer working for one of the world's most prestigious labels Barely Breaking Even/BBE Jake DJs in around London with regular sets at Brilliant Corners, Spiritland, Servant Jazz Quarters and will be playing at The Southern Soul Festival this summer in Montenegro.
When label bosses Dave Jarvis and Diesel asked Jake to choose the tracks for the release he soon got to work and come up with these three under the radar gems...
"Morning Shunt" is a ferocious Afro/Disco/Reggae uptempo dancefloor bomb, hailing from London this fantastic genre crossing tune was ripe for an edit.
"Jaques Theme" is another off-radar Carib-Disco banger which will appeal to both the Disco and Balearic heads.
"The Bandit" with it's tuff breaks and Spanish guitar will also appeal to the Balearic fraternity as well as the B-Boys.
So three tracks, all of which fall into differing genres making this a very different and varied sounding release!

Neno Exporta Som’s super-rare compacto 'Deixa A Tristeza’ from 1971, has been high on the want-lists of Brazilian record collectors and DJs for years. This was intensified, along with a wider cult-following, following Floating Points dropping the gem on his amazing 'BBC Radio 1 Essential Mix’ back in 2015. Mr Bongo included 'Deixa A Tristeza’ on our Record Club Vol 1 compilation. Following that came many requests to release it back on its original ‘compacto’ 7” format. So finally, here it is for all to enjoy.
By sheer coincidence, also released in 1971 on Copacabana Records is Agnaldo Rayol's ‘Sumaúma’. A fairly un-known record which has the potential to become an underground classic. This epic track has a psyche break-beat drum and bass groove intro - just asking to be sampled! Along with lush string and horn arrangements and a soaring female/male vocal duet. This beauty has been a firm favourite in the Bongo office since we came across it and hopefully you dig it as much as we do.

One for the heads! A rare female vocal double header, starting with Dalila's 1968 gem 'Canto Chorando' originally released on a sort after 'compacto' 45 on Copacabana.
On the flip – a Copacabana 7” release in the form of Neyde Alexandre’s 1971 song ‘Perplexidade', with a fantastic break intro, horn stabs and lush vocals. One of our favourite Brazil 45’s.

When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic. Co-compiler and Brazilian music aficionado, Greg Caz says: “Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one’s familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.” The stunning 45s from this set will now be available for individual sale. The series wraps up with a split 45 featuring Novos Bainos haunting Jeventude Sexta E Sabado on the A Side and on the flip, the cinematic sounding Uma Vida, the 1971 cut from Dom Salvador E Abolicao.

Orquesta Akokán is ready to unleash 16 Rayos on the world's dance floors, via Daptone Records. Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends - allowing full, fearless musical expression and risk-taking outside of their comfort zones.

Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire - pushing the conventions of what is considered “mambo” - and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

Orquesta Akokán is ready to unleash 16 Rayos on the world's dance floors, via Daptone Records. Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends - allowing full, fearless musical expression and risk-taking outside of their comfort zones.

Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire - pushing the conventions of what is considered “mambo” - and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

Mi Conga es de Akokan is built on the Conga de los Hoyos rhythms from Santiago de Cuba. Saxophones and trombones alternate with vocals imploring the listener to dance over intensely syncopated percussion, leading to a melodic flight by the masterful trumpeter Reinaldo "Molote" Melian. The horns re-enter, and the Orquesta takes off to soaring heights of rhythmic intensity and sophistication. La Guajira is a slow country rhythm told by the tres guitar and percussion onto which horns and strings add slinking, narcotized harmonies. Pepito tells a sensual tale of romance with a girl from the country (la guajira), which slowly builds in intensity over soneos, coros and mambos until all parts interlock in a lugubrious climax.

HIGHLIGHTS!Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad, traveling to Peru in 1971. This extremely scarce LP was recorded for MAG in Lima and comprises mostly Cuban songs -like the outstanding Vicente Rojas' original 'Mi Son Combinado'- and also a rare cover of Jorge Ben's 'Domingas'.Quite an invisible record even for hardcore collectors, and almost impossible to find in any condition, "De Habana a Lima" is now reissued for the first time.More:In 1956, the percussionist and composer from Guantanamo, Elio Revé, founded the orchestra popularly known as La Revé, which in the space of a few years became the Cuban music group par excellence for foreign audiences.Elio, dubbed the father of changüí for his seminal work on this genre, is also considered one of the forerunners of salsa music and his orchestra included musicians of the stature of vocalist Ibrahim Ferrer; pianists Chucho Valdés, César Pedroso and Juan Carlos Alfonso; and bass guitarist Juan Formell, who left the group in 1969 to form Los Van Van.Acting as an artistic ambassador for Cuba, the Orquesta Revé made several tours abroad in the seventies, traveling to countries such as Spain, Belgium and the People's Republic of Angola, and these journeys are well documented on the internet. However, little is known about their trip to Peru in 1971_The local record label MAG quickly signed the Cuban groups that arrived in the Peruvian capital and that the head of the label, Manuel Guerrero, agreed to record. The La Revé LP was followed by a Los Compadres album the following year."De Habana a Lima..." comprises a dozen songs labeled changüis, mostly written by Cuban composers, the exception being the closing track: 'Domingas', an original song by Brazilian artist Jorge Ben. In contrast, the album opens with the distinctly Cuban song 'Guajira guantanamera'.

Number 94 in the Brazil45 series is one for the Brazilian boogie lovers out there.

The vocal and instrumental group Os Carbonos from São Paulo had a long career that straddled the 60s, 70s and 80s. 'Pássaro Selvagem' is taken from the latter years of their career. Its a bass driven, boogie-funk groove (with a bassline not too dissimilar to Queen 'Another One Bites The Dust') that is Brazilian boogie at its finest. Taken from the B-side to a 7" campacto released in 1981 on Copacabana records, its proven to be a favourite of Luke Una and we foresee it becoming a staple in your DJ box for years to come too.

The B-side comes from one of our all-time favourite artists, the mighty Sandra Sa. Sandra is a wonderful vocalist, her intense and recognisable style is one of THE voices of the Brazilian boogie golden era. Check out her classic album 'Vale Tudo' (mrblp230) on Mr Bongo for further proof of her credentials here. 'Palco Azul' is also taken off a 7" single from 1981 and is a feel-good dancefloor groover with punchy brass stabs, warm keys and uplifting chord changes. It contains all the right elements that we have come to associate with that knockout late 70s / early 80s Brazilian sound.

For number 92 in our Brazil45 series, we delve back to another all-time favourite track, 'Embalo Diferente' by Os Devaneios. This sublime funky Samba joint has always ignited the dancefloor for us. It featured on the band's 1978 album, 'O Conjunto Que Faz Você Vibrar’, which originally saw release on EMI. No crazy hype needed for this one, just a fantastic straight-up, no messing Samba Funk made for dancing.

We only know of four albums by Os Devaneios and for the A-side of this 45, we have selected one of our more recent discoveries with a track entitled 'A Beleza É Você Menina'. Taken from their 1979 album 'Raça Suor E Suingue’ (also originally released on Emi), it was recorded only a couple of years after 'Embalo Diferente’. Whilst it remains in that Samba mold, it has also taken on some of the vibe and characteristics of Soul, Brazilian Boogie and AOR from that late 70s and early 80s period. A feel-good and uplifting record, yet one which simultaneously has a hint of melancholy and is all the more beautiful for it. It's always good to discover a new song by an old favourite, and we hope you grow to love it too.

Sérgio Dias, the only remaining original member, led the band until its dissolution in 1978. During this time, they released one more studio album, a live album and an EP. Two unreleased albums were released many years later, the aforementioned O A e o Z and Tecnicolor recorded in 1970 and released in 2000. Here’s a brilliant performance of the band just before they disbanded embracing a more solid prog-rock vibe

HIGHLIGHTS Rare 1966 Brazilian album with a jazz/bossa nova take on songs by the Beatles, all served up with plenty of great keyboard work from the legendary Manfredo Fest who would later become member of the Sergio Mendes band.The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations.First time vinyl reissue.DESCRIPTIONRare 1966 Brazilian LP with a jazz/bossa nova take on songs by the Beatles performed by the very talented Manfredo Fest and his trio. It was originally released right after their classic 1965 RGE album and has a very similar jazz-based sound. Manfredo Fest was part of the gathering of Brazilian musicians of the late-'50s who were developing the bossa nova movement, and he made a number of trio recordings in that vein from 1961 to 1966. After emigrating to Minneapolis in 1967, Fest moved to Los Angeles where he served as keyboardist and arranger for Bossa Rio and toured with Sergio Mendes.This recording is all instrumental, strongly jazz-based, with piano as the main solo instrument, soaring over the top of some tight, crackling rhythms! The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations.A nice slice of how the bossa nova sound was evolving in its homeland as well as the international impact the Beatles were having on countries outside of the U.S., England, Japan, and Germany.First time vinyl reissue.

‘O Bofe’ is the title track from the soundtrack to a Brazilian soap opera of
the same name, released on Som Livre in 1972. All music on the soundtrack was
written by brothers Roberto and Erasmo Carlos.
Catchy whistles and MPB vocals over a samba rock groove. Previously unreleased
on 7”.
‘Cho Chua’ is a capoeira-samba groover by Brasil Ritmo, who we know very little
about…

Circa 2022, Ozo's new songs, stronger-thanever brotherhood and the potent emotional impetus behind Marching On further cements the legacy begun with the band's 1998 self-titled debut. With musician/producer David Garza (Fiona Apple, Sparta) producing in Bpre-pandemic 2020 at El Paso's Sonic Ranch, Ozo were honored with esteemed musical guests who contributed to the 11-song album including B-Real (Cypress Hill), Guatemalan singer-songwriter Gaby Moreno, J.J. FAD (of "Supersonic" Fame) and Lisa Lisa (Lisa Lisa & Cult Jam.)

Very rare Chilean album that blends folk and rock in a similar way to one of the most successful bands on IRT: Los Jaivas.A roster of very experienced and talented musicians, including some members of Aguaturbia, was recruited for this project and this self-titled album was finally released in 1973.Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal.First official reissue with remastered sound from the original master tapes.Panal was born following the IRT director's will to put together a group that would blend folk and rock in a similar way to one of the most successful bands in the Chilean label: Los Jaivas. A roster of very experienced and talented musicians was recruited for this project and this self-titled album was finally released in 1973.Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal. The guitar of Carlos Corales (also founder of Aguaturbia) shows resemblances of Santana's style and Franz Benko's work on the production adds a fresh twist and renewed touch to the featured repertoire.Shortly after the coup, the group disbanded, leaving behind this masterpiece.First official reissue with remastered sound from the original master tapes.

San Francisco’s number one Cumbia-peddler Discos Mas proudly presents the debut 7-inch from Pancrudo! Pancrudo's catchy, vintage-oozing tunes form a rare and lyrical tribute to working class South and Latin Americans all over the world; their dreams, hopes and realities. Using old drum machines and twangy, fuzzed-out guitars, Pancrudo's music is inspired by early Santana recordings, Surf Rock, Chicha, Cumbia and various electronic fringe-genres. This is the music that blares out of the dusty radio at the local kiosco, that you'll hear at a party or at work, when drinking out back or smoking a cigarette on the corner, cursing the dud lottery scratcher that was supposed to change everything, or at least pay back what you owe.

Rare Salsa/Soul gem produced by Joe Bataan, which has been out of print for 50 years. Vocals by Papo Felix. Remastered off original analog tapes. Limited to 500 units - splatter vinyl. Released on Ghetto Records in 1971, long out of print.

Record Store Day 2021 Release.

“Home studio experimentations in Electronic Jazz from the 80’s/90’s! All instrumentation played by one of Spain’s most cherished singer/songwriters & Dolores member”
Spanish Maestro Pedro Ruy-Blas is a cherished composer and singer in Spain, well known for his part in the seventies fusion band Dolores. Since the age of electronic music making and home studio, Pedro bought the latest equipment and started making his own music. This compilation features a varied selection from his own tapes dating 80’s and 90’s – It’s DIY Electronic Jazz music emphasizing organic textures and utilizing the latest of Midi and sequencing tools, echoing those days of Dolores. Comes with digital download limited to 500 copies.

Brazilian music at it's finest! 2x7" set with four beautiful songs from Piry Reis. Disc one is a reissue of his 1975 "Heroi Moderno" and includes the sought after 7inch version of "Cisplatina". The second holds the rare cuts "Reza Brava" & "Céu De Manágua". The project came together with the blessing of Piry Reis himself and is released on the sub-label of Rush Hour recordings, New Dawn - set up for less electronic but equally adventurous releases by artists we love. Artwork by Amsterdam's Sekan with a touch by Megin Hayden.