Latin | Brazil Vinyl 182 Items

Polysom Brazil vinyl LP repress import, released in 1971. Erasmo Carlos sounds even cooler here than usual – still working with tunes penned with his brother Roberto – but also taking on music by Caetano Veloso, Jorge Ben, and Marcos Valle too!

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

Often referred to as “Brazil s unofficial poet laureate” and the “Bob Dylan of Brazil”, this heavy-weight of Brazilian music was also a young revolutionary who used his music to protest against Brazil’s oppressive military regime. This protest music, which became known as Tropicalia, first earned Veloso a stint in jail, but by the time this dour album was released in 1971, it had placed him in exile in the UK. Veloso’s extreme bitterness and melancholy can be heard on every groove of this album, but don’t let the album s gloomy atmosphere stop you from buying it; it is dripping with some of the best moments of saudade in the history of Brazilian music. Color vinyl version.

Released in 1971 while Gil was living in London, this is the third self-titled release from the bossa nova and tropicalia legend. Gil recorded this album while in political exile from his native Brazil and its somber, straightforward tone is a welcome change from the experimental, psychedelic assault of his 1969 long player. Featuring 8 originals and a brilliant cover Steve Winwood's 'Can't Find My Way Home,' this Water release also contains 3 bonus tracks including covers of Jimi Hendrix and The Beatles. A tropicalia classic.

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk. The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul. The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record. Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys.

Gerardo Manuel left behind his deepest beat days with The Dolton’s and the Shain’s, plus his garage psych stage with St Thomas Pepper Smelter. At the beginning of the seventies he was joined by a new band formed by other illustrious Peruvian musicians, called El Humo because, according to Ernesto Samamé (We All Together) they met to play unpretentiously, to test the new sound equipment of the Virrey label. The first of the albums was "Apocallipsis" (1970). A wild and acid work, with its own songs and fabulous covers. An explosion of crazy psychedelia , overflowing solo moments, and the vocals delivered by a very inspired Gerardo Manuel. Songs of lysergic melodies, with Latin touches, give life to this album that looks for peace in the world. Unique and memorable albums, essential for any discography with the best of South American music from the sixties.

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

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.

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.

Now-Again Records presents catalog-wide reissues of Latin music propellant Joe Bataan’s legendary Ghetto Records. Next up in the series - Puerto Rico-born pianist Joe Acosta had a long, if unsung career in Latin music, but his Ghetto Records LP is his best and most sought-after album. It’s easy to see why - deep trombones, fantastic piano solos, great Salsa alongside a couple of Latin Soul gems make for a heady mix that embodies the Salsoul - Salsa meets Soul - movement kickstarted by Joe Bataan. 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.

This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown.

Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.

The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

Gatefold single LP including replica 8-page, full size booklet.

'Acabou Chorare' is the second album from 'Novos Baianos', or 'New Bahians', who formed in Bahia, Brazil in the 1960's. They are considered to be one of the most important and revolutionary groups in Brazilian music.

'Acabou Chorare' - translated as 'Stop Crying' - was originally released in 1972 by Som Livre after the success of their first LP 'É Ferro na Boneca’ in 1970. It is considered to be one of the most important and influential albums of all time, charting at number one in a Rolling Stone Brazil's 'Top 100 Brazilian Albums Ever' chart. 'Preta, Pretinha’ placed 20th in the same publications list of the greatest Brazilian songs of all time. Upon release, 'Acabou Chorare' stayed near the top on the album charts for more than thirty weeks, and received huge radio support across the country. It also became very popular in Europe shortly afterwards.

The unique sound of this record is a result of the fusion of samba, MPB, rock 'n' roll and bossa nova, and strong influences from Joao Gilberto, who frequently played with the group, and bossa nova legend Gilberto Gil.

The album was written by Moraes Moreira, Luiz Galvão, Jorginho Gomes, Assis Valente, Pepeu Gomes and Paulinho Boca de Cantor. After recording, the group moved to a communal house outside Rio, where Galvão apparently shot video footage of the group on his Super-8 video recorder, some of which is featured in this documentary https://www.youtube.com/watch?v=m6J0bg9MdMo. Baby Consuelo was a member of the group - she went on to have a very successful solo career.

Limited edition for Record Store Day 2017!

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career.
This, her second self-titled LP from 1972, features an all-star line up including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes amongst others. Célia’s version of ‘Na Boca do Sol’ – taken from this album – is arguably her most well-known and well-loved song. An incredible take on Verocai’s original, featuring waling fuzz guitars, strings, piano, horns and drums. Needless to say clean, original versions of this record now change hands for silly money! We are very proud to be able to reissue it officially, at long last. Official Mr Bongo reissue. Replica original gatefold artwork. Licensed from Warner Music.

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 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.

Classic Brazilian album from master drummer, Ronald Mesquita, originally released in 1972. Featuring songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others.
Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his ‘Bossa Tres’ outfit, along with his own group, ‘Ronie E A Central Do Brasil’, that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.’s ‘Embalo’ album that Mr Bongo recently reissued.
The killer track ‘Balanca Pema’ was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation ‘Dancefloor Jazz Volume Four’.
Madlib sampled ‘Balanca Pema’ on his Medicine Show Number 2 ‘Flight to Brazil’.
Official Mr Bongo reissue. Licensed courtesy of Universal Music Group Limited.

Rubinho E Mauro Assumpção's 'Perfeitamente, Justamente Quando Cheguei' has to be up there as one of the finest Brazilian-psych-folk-MPB records we know. Unfortunately, it's very hard to find in the wild; even on digging trips to Brazil, an original copy rarely shows up, and when it does, it comes with a hefty price tag.

This highly sought-after rarity was released on the Brazilian label Tapecar Records in 1972 and is the one and only album by the sensational pairing of Rubinho and Mauro Assumpção. Effortlessly blending folk, MPB, funky-psych, rock, and relaxed, swaggering samba, this record ought to be heralded as a true Brazilian classic. However, maybe due to its scarcity and the previous reissue predominantly being only available to the Brazilian market, it has not had a chance to fully shine and find the wider audience it deserves. Through our reissue we hope to put things right. Fans of records by Milton Nascimento and Lô Borges are sure to enjoy the same magic and allure in 'Perfeitamente, Justamente Quando Cheguei'.

In addition to being the album’s songwriters, Mauro Assumpção took on the role of producer and Rubinho was co-producer as well as playing piano, organ, acoustic guitar and performing vocals. The record features the drummer Gegê who worked with Milton Nascimento, Edu Lobo, Nana Caymmi, Dom Um Romão and more. It also features guitarist Rick Ferreira, who played with Erasmo Carlos, Gal Costa and other greats. Rounding off the players on the album are Darcy Da Cruz and Formiga who have graced many a fine recording on horns.

'Perfeitamente, Justamente Quando Cheguei' is a truly stunning work that washes over you with beauty. Delve in and savour.

One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album in 1972. A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients -such as the use of sitar sounds- recorded by the collective of artists "Una Luz", and "El Zigui" who was once described as the local Bob Dylan. Latin, Psych, Folk - First time reissue, 180g LP, RSD exclusive release, 500 copies ww.

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.

THE RECORD IS SHRINK-WRAPPED BUT WAS OPENED DUE TO A SUBSEQUENT STICKER ON THE INSERT!

Jards Macalé’s biography is a testament to the electrifying energy of music and the unwavering spirit of artistic rebellion. Macalé has remained true to his vision, unapologetically embracing the unconventional and challenging the status quo. His music, a conduit of emotion and a mirror to society, continues to weave a sonic tapestry that resonates with the souls of listeners.

In 2022, Macalé celebrated the momentous 50th anniversary of his debut solo album, a groundbreaking masterpiece released by Philips in 1972. This iconic record gifted us timeless tracks such as “Vapor Barato”, “Mal Secreto”, “Farinha do Desprezo”, “Revendo Amigos”, and “Hotel das Estrelas”. Its sheer brilliance united the realms of Brazilian music, infusing samba and bossa nova with the fiery essence of rock, classical harmonies, and the improvisational spirit of jazz. As the years passed, a new generation of musicians and fans discovered this gem, fueling its resurgent popularity and inspiring fresh collaborations.

Last year, Jards Macalé assembled a formidable new band, igniting stages across Brazil with a tour that now sets its sights on Europe. Together with Gui Held on guitar, the Paulo Emmery on bass, and Thomas Harres on drums, Macalé conjures an exhilarating homage to his illustrious body of work. This live performance embodies the untamed spirit and boundless musical freedom that define this visionary artist, transporting audiences to a realm where the past intertwines with the present in a breathtaking display of artistic prowess.

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.

Polysom Brazil vinyl LP repress import, released in 1973. Definitive Brazil 70s album, featuring the charasmatic and high pitched vocalist Ney Matogrosso. 180gram vinyl

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.

This is 180g vinyl. A great step forward for the legendary Tim Maia – working here in a style that's even tighter and more sophisticated than before – yet still equally filled with funk and soul.

A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
‘India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

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.

Ultimate space-age exotica trip from Venezuela.
In the early 70s, well-known composer and arranger Chelique Sarabia (who penned the famous “Ansiedad” when he was just a kid) decided to register an album of traditional & folkloric songs from Venezuela but giving them a modern touch, using especially developed equipment (M.R.A.A.), based off of the principles of the Moog.
Chelique, helped by a team of gifted musicians, employed traditional instruments like the cuatro and the bandola llanera, filtering them through oscillators, playing with feedback, tape delay, synthesized frequencies, echoing sounds… The result was “Revolución Electrónica en Música Venezolana”, an album with a truly exotic, psychedelic, and ahead of its time sound.
Originally, the album was sponsored by the Shell Company in Venezuela, given away to customers, employees and friends of the company as a Christmas gift in 1973. It was titled “4 Fases del Cuatro - Música Venezolana desarrollada Electrónicamente por Chelique Sarabia” (“4 Phases of Four – Venezuelan Music Electronically Developed by Chelique Sarabia”). Once the exclusivity period with the petrol company was over, Chelique did a commercial release, this time under the name of “Revolución Electrónica en Música Venezolana” (“Electronic Revolution in Venezuelan Music”). Thanks to this, Chelique and his team were considered electronic music pioneers in Latin America.
“In the past five decades, there have been many attempts at modernizing the vast folkloric tradition of Venezuela, but nobody has reached the level of depth that CHELIQUE SARABIA did when he put his impeccable reputation as a composer and arranger at risk with this out-of-the-blue revolutionary musical manifesto in 1971. 47 years later, an album that remains ahead of its time.” - Alex Figueira (Fumaça Preta)

We have the great honour of presenting to you the first official reissue of the last project of Gerardo Manuel´s trilogy with Humo . Recorded in 1973 in the style of his previous two albums, although this is the most progressive. As the lyrics leant toward social protest, the military in power didn´t want this music to be popular and as a result of this most of the copies were destroyed. This has made the album extremely rare and an authentic lost jewel of South America Rock.

Considered one of the masterpieces of seventies psychedelic, his second album, released in 1973, is the result of a partnership with Tibério Gaspar (author of: "Sá Marina", "br-3" and "Teletema"). The album was recorded at Rádio Gazeta Studios in São Paulo, with the participation of musicians already known as: Wagner Tiso on synthesizer, Luiz Claudio Ramos on arrangements and conducting, Lanny Gordin on guitar, Oberdan Magalhães on flute and Guilherme himself playing guitar and piano. Guilherme died on August 7, 2018, at the age of 67, due to health complications. But the timelessness of his work has been revisited by the new generation of artists and audiences.

History has proven that the recording industry allows more than one artist or band with the same name, and the least successful isn’t always the less talented. Take the case of British Nirvana and American Psychedelic band Genesis, or even the Jazz projects like the Americans Air and Marc Moulin’s Placebo from Belgium.

The coincidence in the name Hazel Scott with the popular Trinidadian pianist from the New York jazz clubs scene did not bring any disadvantages to this English singer who traveled the world spreading her love for the music of Brazil.

It cames with 8 pages booklet, photos and postcard

Killer tracks for the dance floor!

History has proven that the recording industry allows more than one artist or band with the same name, and the least successful isn’t always the less talented. Take the case of British Nirvana and American Psychedelic band Genesis, or even the Jazz projects like the Americans Air and Marc Moulin’s Placebo from Belgium.

The coincidence in the name Hazel Scott with the popular Trinidadian pianist from the New York jazz clubs scene did not bring any disadvantages to this English singer who traveled the world spreading her love for the music of Brazil.

It cames with 8 pages booklet, photos and postcard

Killer tracks for the dance floor!

An icon of Brazilian popular music, Tim Maia was a musical polymath and prolific recording artist best known for introducing American soul to the Brazilian music scene, pioneering the sambalanço style by blending elements of soul, funk, rock, and samba. Maia recorded four self-titled albums for Polydor Brazil, this fourth release from 1973 arguably the best, with its outstanding hits ‘Réu Confesso’ and ‘Gostava Tanto de Você’; ‘Do Your Thing, Behave Yourself’ shows how the soul form fitted him perfectly and ‘O Balanço’ full to bursting with Brazilian flavour. A superb set from start to finish, it’s a must for all Tim Maia fans.

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.

The King of Miami's Cuban music scene, the late Ray Fernandez, is featured here fronting his enormously talented family band on an album that first brought him into the spotlight.

Heavily influenced by deep funk and Latin music, their psych-tinged creations also incorporated many other kaleidoscopic sound infusions, including soul, calypso, Afro-Cuban and salsa. Fronted by Ray Fernandez, his band included his very talented wife and two sons and proved to be a highly influential group on Miami's Latin music scene in the late 70's. What also made them stand out was their versatility; this group could easily shift from Cuban funk to Reggae in a blink. Their instrumentation was also different to the 'norm', and where a lot of similar sounds were saxophone-led, this band used a bass clarinet. Instead of bongos, Ray and His Court played with the unique Osi drums from Africa.

Sampled heavily by DJs worldwide (including DJ Shadow) On High presents a must have piece of music for any serious Latin, funk, or rare groove collector. Remastered and pressed on audiophile virgin vinyl for your listening pleasure.

180g Vinyl Edition

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!

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.

Sought-after Brazilian LP from 1974 that touches on MPB, soul, jazz, disco and boogie. Official Mr Bongo reissue. Replica original artwork. Extremely expensive theses days, this one has been on our list for a while. As
sampled by Andres on his ‘Sing About It’ collaboration with Kenny Dixon Junior aka Moodymann and on Kaytranada’s Janet Jackson flip, ‘Alright’. Championed by the likes of Jazzanova, Floating Points, Hunnee and co.
The record features Arthur Verocai and Luis Bonfa (composer Octavio Burnier’s uncle) on production/arrangement.

This 180g LP is a Vinyl only release. Baiano & Os Novos Caetanos was a band formed by prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues. Azymuth’s free and funky psych sounds combine with accordion, harmonica, brass and plenty of rural Brazilian rhythms, for a hugely varied album drawing on MPB, funk and soulful samba rock. The album also features Orlandivo who co-wrote many of the songs, and renowned multi-instrumentalist and producer Durval Ferreira.

Sonor Music Editions proudly announces the first ever reissue of another Italian Library holy grail, fruit of the union between two of the most brilliant composers of Italian panorama: Alessandro Alessandroni and Rino De Filippi. "vacanze" album (in English 'holidays'), was originally released in early/mid 70s on Sermi output, and is one of the most elusive records from the label out there. From refined Lounge music to stunning Jazz-Funk and groovy vibes, this album features an unbelievable set of the coolest themed music from the whole Library scene, with maestro Rino De Filippi's harpsichord on evidence in many tracks and soaring, loungy and dreamy moods throughout the entire album. A superlative recording, with an incredible sleeve design that has obssessed Library collectors for years, and for sure among the best releases from the gold Sermi label along with "Nel Mondo Del Lavoro" release just announced. Edition of 800 copies

Released in 1974 with a "quadraphonic" sound. Brilliant songs by a cohesive band that knew how to materialize a memorable and original fusion project at an international level.

If Latin funk exists, it's thanks to pioneering bands like Black Sugar, a Peruvian group created in the early seventies that recorded two fundamental albums for the Afro-American and Latin genre. A pair of albums that are now re-released by the Valencian label Discos Monterey with the usual sound and visual quality to which we are accustomed. The roots of this band come from the Far-Fen (syllables for Farfisa and Fender), formed in the late sixties by guitarist Víctor "Coco" Salazar and Miguel "Chino" Figueroa on keyboards. One night they were spontaneously joined by the sensational voice of Carlos "Pacho" Mejía. In the seventies, in the Peruvian capital there was a shortage of "white" sugar and the darker cane sugar was consumed. Hence the group's name. Peru was in the midst of a dictatorship and the military were against music that did not come from Peruvian folklore.

Rock and roll with foreign roots languished due to the imposition of the established power, and Black Sugar emerged, whose main skill was to mix, with enormous passion and fascinating ability, Latin sounds and the funk that came from the United States.

The result is two memorable albums, with a large part of their own songs and most of them composed by Pacho. The first, with an eponymous title, was released in 1971 by Sono Radio, whose musical director Jaime Delgado Aparicio was in charge of the fiery arrangements with generous brass and energetic percussion. Released with the credits in English, they managed to break into the Top Ten of the Miami charts with the song "Too Late". They even received an offer to record their next album in the United States, but decided to stay in their country. That second album was released in 1974 with a "quadraphonic" sound, taking advantage of the label's magnificent studios. From the mid-seventies onwards the desertions began and it would not be until 2010 that the project would be recovered with some historical and younger musicians.

To listen to Black Sugar is to go back to the Peruvian night of the seventies with fiery music, full of sensuality and rhythm. Brilliant songs by a cohesive band that knew how to materialize a memorable fusion project, very original and at an international level. Two unique albums reissued by Monterey that will delight all lovers of Afro-Latin sounds and good music in general. Alex Magic Pop

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”…

HHV Exclusive edition on clear blue wax, limited to 100 copies worldwide.

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”…

Impossible to find second album by this band from Nicaragua, 1975. A cool mix of Latin funk, jazz, salsa and psychedelic grooves. Including some of their most sought after tracks like ”Bacanal’ 76”, “Mimo” or the antiracist statement “La Conga de las Dos Razas”. After recording their first LP in Guatemala, Nica supergroup Poder del Alma travelled to Costa Rica to register their second album. This time the recording studio and equipment (including Mini-Moog) were better and the band featured a new line-up. The result was a powerful album which is now one of the holy grails of Latin funk worldwide.

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

For the third release in our Mr Bongo Cuban Classics series, we reissue the iconic 1974 debut album by the mighty Grupo Irakere. Led by Chucho Valdés, son of Cuban pianist and bandleader Bebo Valdés, the band would go on to become of the most influential and successful groups emanating from Cuba in this period. Their debut ‘Teatro Amadeo Roldan Recital’ is an in-demand and incredible Afro-Cuban, jazz-funk masterpiece originally landing on Cuba’s state-owned imprint, Areito.

One of the jewels of the album is the beast of an opener, 'Bacalao Con Pan’. A heavy dancefloor Latin-funk burner, with ripping Wah-Wah guitar, a blistering mix of Latin percussive elements and horns firing on all cylinders. It’s a song which builds and breaks with an energy and power that still lights up the dance to this very day.

The album is a varied bag of tricks, traversing moods, styles and genres whilst melding traditional rhythms with more contemporary mindsets. Take the delectable downtempo ballad ‘Danza Nañiga’ or ‘Valle Picadura’ that starts on a similar tip, before erupting into a horn heavy heater. Move through to find ‘Taka Taka Ta’ where Afro-Cuban jazz, call and response vocals and brain-busting organs marry in steamy unison.

Elsewhere, continuing this melting pot of musical influences, the prog/psychedelic rock leaning 'Quindiambo', expertly combines traditional Latin music with psych rock in a similar way to Santana. 'Misaluba' is another highlight, a cover version of a song by the British-Italian based group Cyan, written by Mario & Giosy Capuano, making it their own with this tripped-out, percussion-rich makeover.

As debuts go, Grupo Irakere’s ‘Teatro Amadeo Roldan Recital' is about as good as it gets and gives a snapshot of Cuba in the mid ‘70s, with a band that were destined for big things.

The name of the band and the cover of the disc explicitly reveal the influence: Secos&Molhados. Investing in androgenia, progressive rock and samba-soul, Assim Assado tried to be a response of the small CID label to the enormous success that the Secos&Molhados did to the young public.

Led by Miguel de Deus (formerly Os Brazões), who signed most of the compositions and assumed the guitar and vocals, the group never took off, leaving only this LP, now almost forgotten. Curiosity: in 1977 Miguel de Deus falls headlong into funk, casting the rather interesting (and rare) "Black Soul Brothers" Also repressed on Groovie Records.

Band formed by Miguel de Deus in 1974, inspired by the Secos&Molhados and making clear both in the name, which is copied from a song of Secos&Molhados, both on the cover of the band's only album. Also the visual was well androgen but the music, a mixture of psychedelic, Progressive and a strong touch of Brazilian Soul music. The only album that had the same name as the band, did not get repercussion despite presenting a lot of quality.

Now the repress of this rare pearl brings to the light the huge talent of Miguel De Deus.

Reissued on 180 gram vinyl in gatefold sleeve!

Only one copy per customer!

Check out this reissue of Tim Maia’s “Racional Volume 2”!

Tim Maia (September 28, 1942 – March 15, 1998), born Sebastião Rodrigues Maia in Rio de Janeiro city, was a Brazilian musician, songwriter and businessman known for his iconoclastic, ironic, outspoken, and humorous musical style.

Maia contributed to Brazilian music within a wide variety of musical genres, including soul, funk, bossa nova, disco, romantic ballads, pop, rock, jazz, baião and MPB.

He introduced the soul style on the Brazilian musical scene. Tim Maia is internationally recognised as one of the biggest icons of the Brazilian music.

Tim Maia recorded numerous albums and toured extensively in a long career. After his early death in 1998, his recorded oeuvre has shown enduring popularity. A theatrical retrospective of his career, the popular musical “Vale Tudo”, was first staged in Rio de Janeiro in 2012.

This 180g LP is a Vinyl only release. In 1975, the prolific and multi-talented Brazilian comedians Chico Anysio and Arnaud Rodrigues recorded an album based on the protagonist of one of their most celebrated TV series. This soundtrack/musical re-imagining of the series combines jazz-funk with samba soul and MPB, with the help of cult Brazilian trio Azymuth.

Sweet Soul Funk from 70s Brazil. Ronie aka Ronaldo Mesquita, the drummer of Bossa Três Combo! This album's got a smoother groove and luxurious use of Fender Rhodes, gliding alongside sweet samba soul arrangements in a mode that's a bit like some of the funkier 70s work by João Donato. Reissue on vinyl for the first time in a 180 gram heavyweight vinyl.

AN HISTORIC NIGHT FOR LATIN MUSIC AS 40,000 FANS POURED INTO THE YANKEE STADIUM IN NEW YORK. TWO SETS WERE PLANNED, THE FIRST BEING A TRADITIONAL ONE, THE SECOND WAS NEVER COMPLETED AS A FRENZIED CROWD RUSHED THE PLAYING FIELD AND THE STAGE, ENDING THE NIGHT. LEGENDARY!

Limited to 500 copies. Latin Funk Psych Fuzz Blaster basically covers all the realms of rare record collecting in one shot!!
There's the Funk Fuzz Blaster "Maranatha" or the Ray Barretto Latin Jazz Groove cut "El Que Se Fue" with freaky synth blasts.
The Texas Easy Funk moves of "Squeeze" which remind of Steam Heat, or the lounged out soul rendition of Stevie Wonder's classic "Bird Of Beauty”. Something for everyone and impossibly rare!!