Latin | Brazil Vinyl 533 Items

There are a million stories in a naked city. Fachada tells 16 of these stories instrumentally on their second full-length album, Cidade Da Selva. After departing the secret world of Mundos Secretos. Fachada sets new tones on Cidade Da Selva, delving deeper into the Afro-Noir diaspora, re-interpreting soul, funk, Afrobeat, Brazilian (mpb), and deep jazz. Each tune is a vignette—all together examining and submerging into a journey of retrospection through multicultural and site-specific sounds, evoking visions and the spirit of a time and place in a mysterious jungle city on the margins of imagination and magic.

Campo's debut album, released in 2012, was a milestone in the new South American music scene. The brainchild of Juan Campodónico - one of the creators of Bajofondo - combines sophisticated pop, electronica, and South American roots, uniting past and present in a unique way. Neo-cumbia, tango, and candombe shake hands with Britpop, soul, and trip-hop in a timeless album. A place where indie rock intersected with the great Latin bands of the 1950s, fringe genres like cumbia villera were transformed into sophisticated music, tango joined alternative pop, and track music became contemplative and landscaped. Juan Campodónico has a long artistic career (Peyote Asesino, Bajofondo) and extensive experience as an artistic producer on some fundamental records of Uruguayan and South American music (Jorge Drexler, Cuarteto de Nos, No te Va Gustar among others). In 'Campo' is a very heterogeneous group of composers, performers and instrumentalists from different genres and geographical locations (Jorge Drexler, Martín Rivero, Ellen Arkbro, Pablo Bonilla and Verónica Loza, among others). 'Campo' was based on the song format, jumping the limits of the Río de la Plata, immersing himself in rhythms, genres and forms of South American songs from the past and present, seeking the link with pop, rock and electronic music. The album -which received nominations for the American Grammys, the European MTV Awards and the Latin Grammys- broke schemes and prejudices. He brought together opposite worlds such as cumbia and britpop, songwriters and dance music, or bolero and electropop, finding beauty and sophistication in unexpected places.

By 1973, Lucha Reyes had already reached the peak of her career, and that summer she gets invited to perform in Chicago and at the renowned Waldorf-Astoria in Manhattan. She still does not know that she will have to quit the stages forever that year, at the request of her doctors, who see her body deteriorating due to diabetes. But she now feels like an Ella Fitzgerald or a Nina Simone whose voice has acquired an unquestionable weight. Now she is listened to with respect and attention both in working-class alleys and in renowned theaters of the world. Her triumph in music comes at a time of Afro-Peruvian culture visibility in Peru and in the world, prompted, in part, and from the arts by the siblings Nicomedes and Victoria Santa Cruz.Lucila Justina Sarcines Reyes was born on July 19, 1936, in the Rímac district. Lima, which had just mourned the death of the emblematic composer Felipe Pinglo two months earlier, was a city on the verge of modernization that clung to its colonial and racist ways. Having been born black marked a difficult path in her life: after the father's premature death and a fire that left her and her 15 siblings homeless, she takes the streets to financially support her mother, and at 5 years old learns to sing in bars while begging for money in the port of Callao. After being admitted to a Franciscan convent and studying only until the third grade of primary school, now a teenager, she returns home, but suffers an attempt of rape by her new stepfather; she is forced to move to the central neighborhood of Barrios Altos, to live with her uncle, a guitarist from the legendary Guardia Vieja, also known as the founders of the Peruvian criollo waltz. This group of non-professional musicians, made up of bricklayers, merchants, artisans, marble workers and other employees, prolonged the oral traditions of their African slave ancestors in working-class neighborhoods of the capital. While the wealthy reject the music of their peons, which they associate with alcohol and disorder,...

"Sensual", Estelita Del Llano's debut album, is one of the greatest gems of Venezuelan bolero. The backing of the Porfi Jiménez Orchestra and his arrangements made "Sensual" one of the most successful albums of its time. The selection of the twelve songs on the album was also a success. Although the years of the bolero's greatest splendor seemed to have passed, the bolero continued to spread throughout Latin America. Rediscovering "Sensual" almost 60 years after its release and listening to it on the same magnificent vinyl format that Estelita Del Llano used to launch her solo career - which continues to this day - is a pleasure for the original audience and a revelation for new ones all over the world. By 1963, great Latin American artists such as Lucho Gatica, Felipe Pirela, Bienvenido Granda, Leo Marini, Benny Moré, Tito Rodríguez, Toña La Negra, Blanca Rosa Gil and the so-called queen of boleros, Olga Guillot, had enriched the musical landscape, giving personality to the bolero. That year, in the midst of a new panorama, a bolero star was born from the depths of Venezuelan radio: Estelita Del Llano. "Sensual", her debut album, is one of the greatest gems of the genre, with arrangements and orchestration by Porfi Jiménez. The backing of the Porfi Jiménez Orchestra and his arrangements made "Sensual" one of the most successful albums of its time. The selection of the twelve songs on the album was also a success. Although the years of the bolero's greatest splendor seemed to have passed, the bolero continued to spread throughout Latin America. The great success of "Sensual" lay in the arrangements and the choice of boleros with elements of the cha-cha-cha, another genre that was enjoying great popularity.

The Joy Of Flying (German title ?Silvia im Reich der Wollust?) is a porn soundtrack from 1977 which doesn?t have a parachute. It going directly into heaven without return. Similar situation as with the prices on the Discogs of the 1978 Hongkong compilation soundtrack featuring some songs of this movie, the prices are astronomical? Finest Comic, Disco, Bossa, Ambient album by legendary Gerhard Heinz from 1977. Reminding over long passages of classics like Richard Schneider ? Dreamlike Land or Wolfgang Maus ? Children Of The Universe, both produced also in 1977. Official first time ever full LP album soundtrack release.First pressing with 2 foldout bonus posters

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.

Los Diablos Rojos are known around the world for a unique tropical sound that has transcended passing fashions and managed to hold its own in an era marked by transience and oblivion. Today we present Ritmo Satánico pressed on black vinyl.

Repress. At the album "Mimis Plessas plays Philicorda" from 1965, the composer Mimis Plessas experimented with Philicorda, a Philips electric instrument attempting a launch in mid-60’s alongside the Hammond organ. The potential of this instrument was pioneering and quite ‘revolutionary’ for that time, which Mimis Plessas saw from the very start. He essentially transcribed seven of his own compositions -plus one by Manos Hadjidakis, Mikis Theodorakis, Kostas Klavvas, Kostas Giannidis and Kostas Kapnisis- adapting them all after Philicorda’s needs and span of capabilities. The result album was a fresh air of originality: a jazz album blended with music elements of surf, bolero, shake, cha cha, hully gully, bossa nova etc, creating a unique sound, resulting in it being considered the sonic precursor to "Greece goes modern" and remaining rare to this day having not been released on vinyl since then.

The musicians who collaborated at this recording are : Yannis Kanellidis and Yannis Ioannou mandolin, Vassilis Panagiotopoulos trumpet, Yiannis Schizas trombone, Andrea Ortega saxophone, Rigas Saritziotis baritone and tenor saxophone, Nikos Ginos alto saxophone, Titos Kalliris guitar, Vassilis Teknetzoglou drums and Mimi Plessas philicorda.

The recording procedures were hosted at the Finos Film studio, made by the recording engineer Mikes Damalas and the sleeve's photo was taken from Anna Maria Antippa. The reissue has been made on 700 heavy audiophile copies of 200gr vinyl in black color and is accompanied by a two-page insert that includes a text by the authoritative music critic Fontas Troussas and credits, with an English translation by Antonis Xagas and Fotini Zarogikas.

The sound remastered was edited by Yiannis Kyris and the sleeve adaptions were made by Thanassis Xanthakos (Plan 59).