Latin | Brazil Vinyl 516 Items

The release comes in a gatefold cover.

Back in 2014 when we first released the self-titled Chupame El Dedo we weren’t sure if people could hold their mojitos while banging to their music. In 2019 we seriously advise to keep your hands free while listening to their second album. Formed by psych cumbia master Eblis Alvarez (Meridian Brothers) and Pedro Ojeda (Romperayo), the man that found the perfect cocktail mix for acid + folk + tropical beats, Chupame El Dedo are ready to mess around with Satan.

1979. The suburbs of Paris. Five friends, whose origins stem from the West Indies and North Africa, came together to form Trenchtown Meditation, a “creole-speaking” French reggae band.
Heavily inspired by the seminal sound of Bob Marley, Trenchtown Meditation was one of the pioneering bands of the burgeoning French reggae scene. It was also at this time that France saw the explosion of pirate radio stations; like many other bands of the era, Trenchtown Meditation would play live sets on-air in these small radio shacks in between gigs on the various scenes of Paris and its vicinity.
The band also got their 15 seconds of fame in 1983 when they appeared on the French TV show “Aujourd’hui La Vie- ‘Spécial Exotisme’”.
It was during this busy period that the band recorded an 8 track reggae album (which to this day remains unreleased).
But in spite of their record and strong desire to make a living from music, the daily grind caught up with the band; in 1984 the guitar player quit the band.
Subsequently, the four members decided to rename the band ‘Cap’tain Créole’ with the aim – while remaining true to its reggae roots – of exploring new musical horizons, driven by the will to go beyond all that they’d done up to that moment.
The group had access to a professional recording studio and quickly decided to cut a new project. With the help of 3 new members – among them a sax player and a trumpet player, both coming from the jazz scene, who helped define the new sound of Cap’tain Créole – they recorded their unique outing called Ni Bel Jounin. It’s a single composed of 2 titles Fré Moin / Ni Bel Jounin, both sung in créole, which was clearly unusual for the time.
Both tracks are at the crossroads of many universes: Afro, Rock, Funk, Reggae and the result is quite unique! The band also used with great impact some subtle electronic elements.
Fré Moin catches you instantly while Ni Bel Jounin strikes the listener with its beauty. The spiritual vibe that oozes from the record is an obvious marker of their reggae roots.
Privately pressed and self-distributed in small quantities at the time, BeauMonde is proud to make the one and only record of Cap’tain Créole available again.

291out ensemble return on Fly By Night with another well orchestrated project by Riccio.
The latest release on FBNM, 291out - Habbanera is thematically inspired by the 1982 Italian film score, "No Grazie il Caffè Mi Rende Nervoso" "No Thanks, Coffee Makes Me Nervous".
It was originally composed by James Senese and directed by Lodovico Gasparini, "Habbanera" has only previously been released on Senese's self titled LP in 1983.
This four tracker includes two new versions of the main title theme "Habbanera" and two remixes by the two Italian pioneers of house music and the balearic sound; Leo Mas and Fabrice.
291out "Original Version" is a cover of the main score theme, which also features on Senese's 1983 LP; the "Alternate Version" is also taken from the movie, but from a different scene, which has the same melody of the opening theme but with a different rhythm, never having been released before and completely reassembled by 291out.
Leo Mas & Fabrice provide two different cuts, one pitched-down boogie slow jam and one 4/4 dance-floor banger.

Fémina channels blissed out, harmony-soaked soul music with a purpose. Lyrically poignant with hip hop and Latin influences, 'Perlas & Conchas' is the group's third album proper and unlike previous long players, is primarily an electronic statement, recorded and produced by British producer and musician Quantic - the first ever creation at his Selva Studios in New York – and features Iggy Pop.
Made up of Clara Miglioli and the two Trucco sisters, Sofia and Clara, the group’s roots are in San Martín de los Andes in the Patagonian mountains, where they grew up together sharing a love of ‘90s hip-hop imported from the US – as well as the occasional Spanish-speaking rapper from Mexico or Spain. They took a musical side-step when Clara Trucco joined, and began drawing more from vocal harmonies and playing live instruments - a process that led them toward their unique style: a combination of soul, hip-hop and traditional Latin American music.
The title “Perlas & Conchas” translates to 'Pearls and Shells', a reference to the process through which a pearl is created: a speck of dirt, encased in a shell, turned into an object of wonder. They want to do the same thing with their music: to take dark, difficult situations and turn them into positivity.

Mar & Sol presents the new album of the legendary band África Negra,"Alia cu Omali". New songs and some popular classics recorded between Lisbon and S.Tomé.
This album Its a reflection of the old rumba and soukous music that this epic band of São Tomé e Príncipe got us used to. They are an icon and one of the main bands of this island, representing in their music the authenticity and culture of the former Portuguese colony on the equatorial meridian.
It is our mission to expand this culture and here it is the testimony in our series of Luso Afro music which could best represent São Tomé.

The Tropicália art movement of the late 1960s, with flourishes in visual art, poetry, theatre and music, is one of Brazil’s most adored cultural concoctions. It was a movement which began out of necessity, shortly after a repressive military dictatorship seized power after 20 years of peaceful democracy. The term Tropicália first came from the mind of Brazilian visual artist Hélio Oiticica, whose eponymous piece consisted of a sandy maze bordered by tropical Brazilian flora and, at the end, a television set.

Through satirizing symbols of their homeland and rejecting a pre-established national culture, the Tropicalists constructed a new form of “aggressive nationalism” outside of an innately anti-imperialist Left and an unthinkingly patriotic Right. By refusing to accept underdevelopment as their identity and excitedly “devouring” disparate culture (low and high brow, domestic and foreign, etc.), the Tropicalists carved out a unifying creative space, a universal sound, different from the older, bourgeois bossa nova movement and the newer, undiscerning rock movement.

Caetano Veloso’s self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of Tropicália.

The songs on this album immediately connected with people. Alegria, Algeria was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album’s first song Tropicália was an anthem for the whole movement; it’s a fragmented allegory, a structure borrowed from friends

in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

Superbacana (translated as “Supergroovy”) follows a hyperbolic superhero’s use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fire structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity.

Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries’ bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

This is the first authorized North American vinyl issue of Caetano Veloso. Whether you’re a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.

Since the release of his 2 first albums on Favorite Recordings, Lucas Arruda has quickly established himself as one of the most talented young artist and composer from Brazil. His music is filled with fusion style, mixing influences and elements from his Latin musical background, with his genuine admiration for Jazz, Soul, Pop and Funk music.
In spring 2015, it was also not surprising to find Lucas Arruda back with a new LP called Solar, receiving great supports and feedbacks from international media and tastemakers. One of the highlight of the album was the song “Melt the Night”, on which Lucas teamed up with legendary producer Leon Ware, reminding his collaborations in the 80s with Marcos Valle, when they perfectly merged together the sophisticated Boogie and AOR touch from California, with the blazing sense of rhythm from Brazil.
Today Favorite Recordings proudly present Onda Nova, new and third album by Lucas Arruda. Mostly written, composed and arranged by himself, Lucas however teams up on a few tracks with his old mate Fabio di Monaco (Modo Solar), his brother and musical partner Thiago Arruda, who recently joined Ed Motta’s live band, or Gaël Benyamin, also known as Geyster, who brings his longtime “savoir-faire” and skills for writing and composing AOR and WestCoast music genre, and who share this deep passion with Lucas.
Onda Nova is therefore pursuing the music direction set with Solar, mixing touch of Blue-Eyed-Soul, Pop, Soul and Brazilian styles together, and influenced by the path of legendary Brazilian producer Lincoln Olivetti, who recorded some of the biggest stars of Brazilian music (Marcos Valle, Jorge Ben, Tim Maia…).
In Lucas words: “In this record I really wanted to honor Robson Jorge & Lincoln Olivetti. They are the main influence on this record. We recorded the basic tracks for the album in the same studio that Lincoln Olivetti did his last works. So, this was very important to capture the true essence of Brazilian Funk/AOR tradition. Hope you guys enjoy it!”

We thought turning five this year would be a good reason to ask some friendly DJs and producers to go through our catalogue and select their favorite track to do an edit or remix on.
The first selection by DJ Nomad from Berlin is Barbara Hernandez' 'All Nite Tonight', written and produced by Leston Paul from Trinidad. Nomad's edit drives the song's dance floor ambition even further beyond the top. As a DJ Nomad does not necessarily put a label on his style, but always expresses love for Polyrythms, Soulful harmonies and the African drums and Percussion. He's notorious for finding fresh world music dance tracks all around the globe, before they become hits, and a massive collector of Tropical Soul, Funk and Disco.
His energetic and surprising , always fresh DJ set's earned him a residency in Paris's infamous ‚Tropical Discoteq’ Parties among the best Dj's of the genre. He is the founder of ‚Vulkandance’ Parties, Blog and Label in Berlin .. He's together with Edna Martinez cofounder of ’El Volcan’ - The first continental European Colombian Pico Soundsystem. As a Producer he's breaking ground and travelling the world together with Dirk Leyers and the transcultural Project Africaine 808, besides working as a master Editor for other artists around the globe. Keshav Singh who is part of Trinidadian/British production duo Jus Now put his hands on Trinidad's Mansa Musa's ’Beat The Drum’.
Being a percussionist in his own right he transformed the song into a housy Soca track and pure dance floor fiah! With his partner Sam Interface, he has produced soca music with EDM influence for Bunji Garlin, Machel Montano and 3Canal. Keshav commutes between Trinidad and the U.K.
The next two tracks are taken from our upcoming compilation ’Gotta Nice Buzz - The Funky Sound of Semp Studios Trinidad, W.I.’. French DJ & record collector Waxist gives Zodiac's ’I Believe’ a proper treatment. ’I Believe’, written by Francis Escayg, is an uptempo Caribbean Disco tune with a strong Giorgio Moroder influence with Denise Plummer on vocals.
Waxist, based in Lyon, France, started his love story with records as a teenager when he bought his first reggae 7 inches. If his love for Jamaican music has survived through the years, the DJ has progressively extended his interests to different, more dancefloororiented music genres like Disco, Modern Soul, Boogie or even a touch of House when needed... Being careful with the technique, as well as with the coherency of his selection, his sets are an invite to a dancing musical journey taking the audience from Disco to Modern Soul, through more Caribbean or Brazilian sounds.