Latin | Brazil Vinyl 268 Items

Two brothers, two guitars, two distinct identities, who become one soul when they compose music. Stephan and Alejandro, are the Hermanos Gutierrez, an instrumental music band with an unmistakable genre that is rooted in Western and Latin American sound. Born from an Ecuadorian mother and a Swiss father they grew up being forged by both cultures, bridging between two worlds, both of which are home.

Their mix of identities, that constant search across different countries clearly emerges in their songs. Their music takes the audience on an intimate journey through time evoking remote spaces. A magical sound that touches the heart, that sparks passion and nostalgia. An open invitation to a constant dialogue of melodies and instruments.

Playing together since their early childhood, a profound musical and interpersonal symbiosis ties the two brothers. If one of them has a melody, the other one completes it with harmony. There is a deep understanding between the two of them, without any need for words.

Active as a band since 2015, they have recorded four albums: “8 Años” (2017), “El Camino De Mi Alma” (2018), “Hoy Como Ayer” (2019), and the newly released LP “Hijos Del Sol” (Children Of The Sun). A body of work that has been inspired by their journey through the vast natural landscapes of Mexico, the silence of the desert, the sun, and their love for this country that made them feel “like going home”, as they affirm. Out came a soundtrack of the sceneries they’ve been exploring.

Brazilian funk-soul at it’s finest. Both tracks taken from the increasing more expensive and sought after ‘Cartão Postal’ LP, originally released on Odeon Brazil from 1971.

Both tracks are heavy on the drums, bass and horns, with Evinha’s lead to top them off. ‘Esperar Pra Ver’ is a mid tempo funk soul jam, and ‘Que Bandeira’ moves between funk/soul and bossa/MPB grooves.

‘Que Bandeira’ was released on a 7” EP, featuring tracks from ’Cartão Postal’ LP, on Odeon under the artist name ‘Eva’, in 1972… Ridiculously expensive now, as you have no doubt come to expect – so, released here for your affordable pleasure!

Two brothers, two guitars, two distinct identities, who become one soul when they compose music. Stephan and Alejandro, are the Hermanos Gutierrez, an instrumental music band with an unmistakable genre that is rooted in Western and Latin American sound. Born from an Ecuadorian mother and a Swiss father they grew up being forged by both cultures, bridging between two worlds, both of which are home.

Their mix of identities, that constant search across different countries clearly emerges in their songs. Their music takes the audience on an intimate journey through time evoking remote spaces. A magical sound that touches the heart, that sparks passion and nostalgia. An open invitation to a constant dialogue of melodies and instruments.

Playing together since their early childhood, a profound musical and interpersonal symbiosis ties the two brothers. If one of them has a melody, the other one completes it with harmony. There is a deep understanding between the two of them, without any need for words.

Active as a band since 2015, they have recorded four albums: “8 Años” (2017), “El Camino De Mi Alma” (2018), “Hoy Como Ayer” (2019), and the newly released LP “Hijos Del Sol” (Children Of The Sun). A body of work that has been inspired by their journey through the vast natural landscapes of Mexico, the silence of the desert, the sun, and their love for this country that made them feel “like going home”, as they affirm. Out came a soundtrack of the sceneries they’ve been exploring.

Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.

Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.

On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.

This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.

Remastered with refreshed artwork.

Limited to 200 copies, HHV Exclusive, red vinyl.
Heroes Of Limbo rework two hip-hop staples with stunning afrobeat arrangements. Eric B. & Rakim's 'Don't Sweat The Technique' and Pete Rock & C.L. Smooth's 'They Reminisce Over You (T.R.O.Y.)' are stripped to their instrumental essence with polyrhythmic drums and percussions, powered up by a massive big band brass section and going bonkers altogether. A sure shot double-sided winner for all DJs that want to leave their crowd guessing whether they're taken to the streets of New York or to the Shrine in Lagos, Nigeria.

One per customer only!

The fourth release of Selva Discos is one that has been bursting audiences into flames for a good while. Barbatuques, a well-known Brazilian group of body percussionists, adapted "Baianá" back in 2005 (first released on the "O Seguinte É Esse" album) and since then it became a staple of their concerts, getting crazy reactions from the children to the elder, being featured on soundtracks and sampled by trap duo Tropkillaz.

We’ve taken a selection of the most in-demand and asked-for titles in our Brazil 45’s catalogue and given them a loving remaster and repress.

This edition takes two hugely sought-after tracks from Quinteto Ternura, and their original outfit Trio Ternura, and cuts them loud and proud on either side of a seven inch.

First up, a hit of pure sunshine from Quinteto Ternura. Trio Ternura, who were made up of two sisters, Jussara, Jurema and their brother Robson, also formed Quinteto Ternura by joining forces with Léo and Zé Roberto. ‘Baby’ is an absolutely killer, blissful Brazilian modern soul jam written by Caetano Veloso, arranged by Arthur Verocai, covering Gal Costa. Once a real rarity in Brazil, this beauty is now accessible for all to enjoy and is one that rarely leaves our record bags. Taken from the Quinteto Ternura self-titled LP from 1974.

On the flip side, ‘Filhos De Zambi’ is an exquisite, uptempo samba-funk cut from the same year, but released as the siblings original Trio Ternura lineup. Infectious, feel-good fire from the trio, co-written by their father Umberto Silva and José Ribamar. Contains a brilliant, harmonised chorus and wondrous key change that is sure to light up any dancefloor.

Wilson Simonal and Trio Mocotó provide a double dose of Brazilian classics for this Brazil 45’s 7 inch.

First up, an infectious, samba-MPB hit from one of Brazil’s most popular artists of the ‘60s and early ’70s, Wilson Simonal. Originally released on 7 inch by Odeon in 1967 and landing on Simonal’s Alegria, Alegria !!! album in the same year, ‘Nem Vem Que Nao Tem’s fame had a new lease of life in 2002 when it was used as part of the soundtrack to the critically acclaimed film, ‘City Of God’.

On the B side, one of Jorge Ben’s main backing bands and a group that was highly influential to his sound, Trio Mocotó. Alongside recording with Ben on the seminal Força Bruta, Negro É Lindo and Tábua de Esmeralda LPs, they were also key figures in the development of the samba rock sound – a fusion of samba, soul and rock influenced by music from the USA.

First appearing on Trio Mocotó’s self-titled 1977 Arlequim LP, ‘Nao Adianta’ is a dynamic orchestral-infused gem, laced with that sun-kissed, samba flavour.

Remastered with refreshed artwork.

New single by legendary Brazilian singer DI MELO, 40 years after his classic self-titled Samba-Soul LP. Performed and produced by French brilliant combo COTONETE, this single and collaboration will be followed by a full album early 2019.
Florian Pelissier speaks about the project: “On tour in Brazil with Cotonete, we had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but Rafaela Prestes our Brazilian "sound ingineer/genious" told me: "I worked for the return of Di Melo in Rio 2 years ago. He rocks, he’s adorable and he lives in Sao Paulo, here’s his number, he would be perfect for Cotonete."
No sooner said than done. I'm a huge fan of Di Melo and had already tried to contact him for Cotonete 6 years ago. The next day, on a Sunday, he arrives at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in front of us in the kitchen, and gives us a private show of 3 hours… we cried the tears of joy.
He had 400 original songs never recorded, a gold mine. On the same night, we started working the arrangements for 2 days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the magical Epsilon B studio. All with the participation of Gabi, his 10-year-old daughter, and future star.
This album is the summary of this moment, of these 5 days of madness spent together between “the best band in the world” and the legend Roberto Di Melo… Simple, beautiful, Brazilian-French, human music…”

Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.

’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.

On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through.

Remastered with refreshed artwork.

As the album title suggests, this work represents a big step forward for Gerardo Frisina, an artist that has always been open to any influence and whose unstoppable creativity has given birth to a 2-LP’s worth of new material! Nu-latin, Afro and electronic beats merge with Afro-Cuban rhythm into a massive dancefloor groove!

The first instalment in our new ‘Mr Bongo Record Club’ compilation series – a
selection of favourites, recent discoveries and sought after obscurities, which
form the basis of our DJ sets and our radio show of the same name. Including
cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie
Laverne, Barbosa and more.
The original concept for ‘Mr Bongo Record Club’ was a radio show that allowed
us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions,
not constrained by the need to beat-mix every record, a space where we could
play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl.
We have always DJ’d across-the-board, but playing in an eclectic way hasn’t
always been easy. Recently DJ’s such as MCDE, Floating Points, Nick The Record,
Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and
Young Marco – to name a few – have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco,
boogie, jazz, house, techno and beyond.
We’re seeing a rare groove like sensibility. A shift towards the attitude of
legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson,
where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people
have a progressive attitude and a thirst for new-old music. It is a vibrant and
exciting time – we are proud to be a part of it.

Edizioni Ishtar and Schema Records proudly celebrate the 15th anniversary of one of their most successful releases and artists (more than 30 million streams and 300 thousand monthly listeners on Spotify) with the first ever vinyl edition of Toco’s Outro Lugar. Produced by S-Tone Inc., this record includes fanfavourite tracks “Outro Lugar”, “Samba Noir" and most of all “Guarapiranga”, which was chosen for the soundtrack of “Silver Linings Playbook”, a film that awarded Jennifer Lawrence an Academy Award prize as best actress in a leading role in 2013. The strings at the beginning of the title-track have also been sampled by PinkPantheress for her song “Nineteen”, out of her latest album “To Hell With It”. Outro Lugar hasn’t aged a bit during all these years, for various reasons; first of all it benefits from the outstanding contribution of bossa nova pioneer and inspiration source Roberto Menescal, who played guitar in every track. Most of the album was recorded in Rio De Janeiro at Menescal’s studio, with the participation of some of the best ‘carioca’ musicians, especially double-bass player Adriano Giffoni and pianist Adriano Souza. All these elements gave the album exactly the taste requested by the artist and the producer: inspired from the past yet, through thorough attention, aimed at a sound at the same time fresh and modern, slightly electronic, filled with grooves perfectly blending into acoustic instruments. The second part of the recording was carried out in Milan, with some of the best musicians in the Milanese jazz scene. The album also sees the contribution of Rosalia De Souza, singing in several tracks and standing out in “Bom Motivo” especially. French chanteuse Coralie Clément appears in “Contradição”, her own piece here re-interpreted by Toco. Outro Lugar is an album for any kinds of Brazilian music lovers that showed the world what Toco was capable of: a refined and cultured musician, a gifted performer of a warm and smooth voice able to awaken the emotions of the most sensitive listeners.

Détends-Toi is the debut EP of the parisian-born, berlin-based singer & DJ Stella Zekri. Produced and co-written by Ed Longo, Détends-Toi is a sunny collection of four original songs, one dub version and one special cover, heavily influenced by zouk, boogie and the sound of the mid-80s French underground. Coming to you in advance of summer ‘22 the record marks also the first release of Berlin label Cosmic Romance.

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.

Mr Bongo’s Brazil 45’s series serves up another pair of Brazilian classics in the form of Rita Lee & Tutti Frutti ‘Agora É Moda’ and Pete Dunaway ‘Supermarket’.

'Agora É Moda' is a psychedelic, disco-boogie-groove monster brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on Rita Lee’s 1978 album Babilônia LP on Som Livre, this sublime track is drenched in squelching guitar licks, funk drums and sensuous cosmic vocal flavours.

Lee was the lead singer of Brazilian psychedelic rock band Os Mutantes and a hugely important figure in the Tropicalia movement. She sadly passed away in 2023 but her legacy well and truly lives on, loved both in and out of the music world.

On the flip side, Pete Dunaway’s ‘Supermarket’ is a rare groove/AOR masterpiece with a killer bassline, swaggering guitar and luscious string section layered with a perfectly delivered English vocal.

Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi-instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals.

Remastered with refreshed artwork.

Romperayo is back, with a brand new tropical 9 track album full of tropical riddims and humid Caribbean jams.

After two long sold out albums, Romperayo (Discrepant, 2015) and Que Jué? (Souk, 2019), Pedro Ojeda’s unique update on classic Colombian music returns for a full long player of future tropical instrumental tunes, heavy on the drum grooves mixed with slow, languid experimental interludes.

This is 21st century Colombian popular music taken to the next level by one of the most singular figures currently active on the Colombian scene. Romperayo’s, aka Pedro Ojeda (Los Pirañas, Chupame el Dedo) solo project uses his irreverent drumming techniques and filters them through a lens of new school psychedelia, historical sampling and acid synth solos.

With his sound obsessions clearly present over all of his work (and this record), Pedro effortless mixes the old school with the new with an avant-garde collage approach to composition, never forgetting his academic studies on Latin American drumming styles. The result expands the frontiers of Colombian tropical music and provides a new, multicultural dialogue whilst using many of the rhythms and melodies of the Colombian historical repertoire to a new generation. The Colombian Caribbean coast sonido never sounded so fresh!

It's hard to believe we are now up to Volume 5 of our renowned Record Club series. Curating these compilations, where we share our latest musical discoveries and old favourites from the global stage, is always a labour of love. This selection is less dancefloor-driven than our previous volumes, as fewer opportunities for live events drove us to explore other paths and styles in the musical spectrum. But, whether you're DJing for a kitchen or a club, there is still a generous serving of spicy dancefloor magic. For Volume 5, we looked to a broad church - from Brazil to Cuba, Ghana, Jamaica, Japan, Mauritania, South Africa, Sweden, Trinidad and Tobago, the UK, and the US. We pulled songs from the 70s up to the present day and feature a stellar cast of artists. There’s an exclusive track from Sven Wunder which was recorded solely for this compilation. We also have a track from Admin which was released as a private press 7" at the start of 2021 and one we felt was far too good to only be available for the lucky few. You’ll also discover one of our most treasured Gyedu Blay Ambolley productions, a full-force African disco colossus! We hope you will enjoy this selection of seventeen eclectic songs as much as we do.

In 2010, I had asked Eamon Ore-Giron - aka DJ Lengua - if he would be interested in compiling a Latin project for Analog Africa, and if so, if he had a theme in mind. He replied, “Have you ever heard of rebajada?“ The question mark above my head, together with the wall of China, must have been the only other object visible from out of space because Eamon, probably noticing I got paralysed, continued, “Rebajada in Spanish means “to reduce, to lower”. It’s basically Mexican sonideros (sound-system operators) slowing down the beat of a Cumbia to create a much more tangible music to dance to. I’ll send you a mix I made last year and let me know what you think.“ And so he did.

That mix was called Rebajada Mota Mix and I began listening to it on a loop. Although I was not immediately hooked it was intriguing from the get-go, and so I kept listening until magic began unfolding. Slowed down music allows you enough time to hear right through it, revealing itself in ways I had rarely experienced before. Everything became more transparent and I was noticing sounds normally only perceptible by bats. A near psychedelic experience. That mysterious mix included a few Ecuadorian songs by Junior y su Equipo - aka Polibio Mayorga (a cult figure in the sonidero scene), a couple of Mexican tunes, one Colombian, and various Peruvian songs, undoubtedly the driving force behind this project.

The sonidero who brought Peruvian and Ecuadorian music to Mexico was the legendary Pablo Perea from Sonido Arco-Iris, and although his fingerprints are all over the compilation Saturno 2000, this selection of songs in rebajada is exclusive to DJ Lengua. With the exception of a few classics from Polibio Mayorga and La Sampuesana – the queen of all rebajadas – most of these songs were probably never performed as such before, let alone released.

So how did rebajada come to be? In a nutshell; Rebajada started with two families of brothers – the Pereas and the Ortegas – who travelled all over Latin America and returned to Mexico with heavy loads of records which they would sell to the various sonideros always on the lookout for new tunes. Colombian beats especially seemed to fit almost perfectly with the Mexican dance steps – but they were just a bit too fast. As a result some sonideros began experimenting with equipment, and Marco Antonio Cedillo of Sonido Imperial created a revolutionary pitching system that could slow records down to an extent other players could only dream about. And so rebajada was born . . . or so we thought.

At the same time in north of the country, in Monterrey, sonidero Gabriel Dueñez almost got electrocuted by a short circuit that nearly set his record player on fire. As a result the platter started spinning in slow motion for the rest of the party, turning Cumbia into a different affair altogether. The youngsters went crazy for it and started harassing the sonidero with requests to record cassettes for them. Reluctant at first, Dueñez finally began recording a series of pirated cassettes called “Rebajada” which included mainly Colombian cumbia and porro in slow-mo exclusively. Those tapes took the city by storm and turned rebajada into a celebrated and defiant movement of the youth.

Of course it would not be a Mexican urban legend if it didn’t include dramaturgical elements, and so for nearly 30 years, until this day and probably for ever, both cities have been arguing and claiming ownership the creation of rebajada for themselves. But sonidera Joyce Musicolor, who never has time for such trivial arguments, got straight to the point: “Rebajada, and the equipment to perform it, is from here [Mexico City] but it was Monterrey that popularised it.“

Some crate-digging compilations are often the result of someone hand-picking their choice favourites from another country’s musical history, perhaps unaware or uninvolved with its cultural lineage in the process. On Soundway’s latest release - a treasure trove of synth jams, pop, samba boogie, balearic and electro from 1980 & ‘90s Brazil - the tracks are picked by Millos Kaiser, one half of the Brazilian duo Selvagem, who are at the helm of throwing some of the country’s best dance parties. It’s a rare compilation that offers Brazilian music actually picked by a Brazilian.
Whilst names such as Ricardo Bomba, Villa Box, Fogo Baiano, Electric Boogies and Batista Junior may not be household names, they tell an untold, yet rich and important part of musical history in Brazil. The release also covers a decade that has been intentionally forgotten and brushed aside by many in the country.
Onda De Amor is a release that is loaded with smooth grooves, bubbling bass, glistening synthesisers, funk strutting guitar lines and sheen of production that undeniably marks it of its time. For Kaiser this compilation is about reintroducing music during a period of reappraisal, catching a new wave and hoping contemporary listeners will ride it with him. “The idea is to do justice to these songs. Songs that combine all the right ingredients that should have put them on radio playlists when I was growing up or at least in the cases of more adventurous DJs”.
Millos Kaiser is a DJ, digger, vinyl junkie/dealer born in Rio de Janeiro and living in São Paulo for the past 8 years. He launched the dance party/club night Selvagem with partner Trepanado in 2010, bringing thousands of dancers one Sunday a month to a public square in the heart of São Paulo.

Limited Clear Vinyl edition, 500 copies! "Bossa Nova Soul Samba" came as Ike Quebec's best contribution to the fruitful marriage between Jazz and Brazilian music. Recorded in 1962 and released on Blue Note in the same year. this was Quebec's final recording before his death in January 1963. A beautiful studio session dominated by Quebec's tenor sax warm tone and the light and gentle groove provided by Kenny Burrell - guitar, Wendell Marshall - bass, Willie Bobo - drums and Garvin Masseaux - chekere.

Sought-after Brazilian classic originally released in 1974, "Molhado De Suor" is the first solo effort by Alceu Valença, mixing traditional northeastern Brazilian music and rhythms with folk rock and psychedelia. Aided by Lula Cortes and Geraldo Azevedo, Valença's rich vocals combine with driving guitar work, moody arrangements and unusual trips.Reissued again after years unavailable.DESCRIPTIONIn the early '70s tropicalia was going strong, a challenge to both the music establishment and the state. Música Popular Brasileira (or MPB) was firmly established. Up in the northeastern corner of Brazil, centered in Recife, was another exciting strain of Brazilian culture called Udigrudi."Molhado De Suor" is the first solo effort by Alceu Valença, mixing traditional northeastern Brazilian music and rhythms with folk rock and psychedelia. Aided by Lula Cortes and Geraldo Azevedo, Valença's rich vocals combine with driving guitar work, moody arrangements and unusual trips, successfully integrating the sounds of his native region, Pernambuco.Valença followed its release with many albums, the latest from this year, each one establishing him more.

It's hard to believe we are now up to Volume 5 of our renowned Record Club series. Curating these compilations, where we share our latest musical discoveries and old favourites from the global stage, is always a labour of love. This selection is less dancefloor-driven than our previous volumes, as fewer opportunities for live events drove us to explore other paths and styles in the musical spectrum. But, whether you're DJing for a kitchen or a club, there is still a generous serving of spicy dancefloor magic. For Volume 5, we looked to a broad church - from Brazil to Cuba, Ghana, Jamaica, Japan, Mauritania, South Africa, Sweden, Trinidad and Tobago, the UK, and the US. We pulled songs from the 70s up to the present day and feature a stellar cast of artists. There’s an exclusive track from Sven Wunder which was recorded solely for this compilation. We also have a track from Admin which was released as a private press 7" at the start of 2021 and one we felt was far too good to only be available for the lucky few. You’ll also discover one of our most treasured Gyedu Blay Ambolley productions, a full-force African disco colossus! We hope you will enjoy this selection of seventeen eclectic songs as much as we do.

This special Record Store Day 5 x 45s collection comes packaged in a limited-edition Brazil 45 clamshell collector’s box.

The long-running relationship between Masters At Work and Mr Bongo has been a fruitful affair. Beginning in the 90s, it has included releases such as their seminal 'Brazilian Beat' 12" featuring Liliana, their magnificent rework of Atmosphere’s ‘Dancing In Outer Space’, and their recent hit Surprise Chef remixes 12". The influences of Brazilian music is evident in their DJ sets and productions, take the poly-rhythms of the 'Nervous Track’ as a prime example. We couldn't think of anyone more fitting to curate the third volume in our "Brazil 45 Boxset Curated by" series than one half of the MAW duo, the mighty Kenny Dope.

For his volume of the series, Kenny selected 10 knockout tracks from the golden era of Brazilian music. As you would expect from such a legend, he surpassed the brief of simply compiling the tracks, as he re-edited and remixed a number of his favourites especially for this boxset. Amongst these exclusives is a blazing, heavy psych-funk remix of Antonio Carlos & Jocafi's 'Quem Vem Lá’, and a hip-hop breakbeat bounce woven into Luli Lucinha E O Bando's folky-MPB beauty 'Flor Lilás’. Di Melo and Miguel De Deus are also given the Dopeman remix and edit treatment.

Kenny's selections pull out some forgotten classics and recently overlooked gems, many of which were once top of the want-lists for collectors in the 90s. These include Milton Banana Trio and the irresistible version of 'Berimbao' by Jayme Marques. Along with the Brazilian funk and jazzy-bossa dancefloor-oriented tracks, Kenny has also chosen the leftfield, deeper, trippy psychedelic folk sounds of Papete.

As with previous volumes, the selections are very personal and represent the individual sound and taste of the selector digging from the rich tapestry of Brazilian music. Its unique palate and stamp are exactly what you would expect from a Master At Work.

The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme s...

Following the success of the Retro-Zouk mixtapes series (4 volumes / 15k plays on Soundcloud), Secousse Radio proudly presents its first official vinyl reissue of a long lost Zouk banger.
Originally released in 1993-1994, those two tracks have been road-tested in various clubs and parties for months and the feedback is clear: it’s dancefloor devastation business.
Their author is Jules Henri Malaki, an established and self-produced artist from Guadeloupe, a French overseas island in the Southern Caribbean Sea.
As the popularity of Zouk music keeps growing every day in Europe, America and Asia, just whisper the name “Makiyaj” to any of the best DJs from the current tropical diggers scene and watch their eyes scintillate… This secret weapon shall not remain secret very long.

The b-side wins again! Sampled to fame by Madlib for the mighty Madvillain album!

Folkloric Brasilian/Afro-Brasilian music taken into the future. Featuring Airto Moreira. Dança dos Tempos is the debut album from thrilling, young Brazilian guitarist Fabiano do
Nascimento, and it features legendary percussionist Airto Moreira in his first album project in
over ten years. Dança dos Tempos follows folkloric Brazilian music as experienced through the
mind and able fingers of an expansive musician, not yet thirty years old, and combines the
heady ‘60s and ‘70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike
elegance of music played and passed down by native Brazilians for generations. It is the
second Brazilian album released on Now-Again, following Seu Jorge and Almaz.
Moreira, the bandleader, songwriter and producer who recorded a bevy of titles under his own
name, with his wife Flora Purim, and whose resume contains the names of - seriously - every
musician worth mentioning from America or Brazil from the past 50 years - plays percussion on
the album and is joined by do Nascimento's long time drummer, Ricardo "Tiki" Pasillas on trap
drums. Do Nascimento and Kana Shimanuki handle vocals on what is otherwise an airy instrumental
album that allows the guitarist's virtuosity to shine through originals, folkloric Brazilian
songs, and select covers by the likes of Pascoal and Powell, both formative influences on the
guitarist.
These duets show the camaraderie that two master Brazilian musicians - of two different
generations, but of the same spirit - share with comrades of ages past as they imagine music
for the years to come. These tracks were recorded live in the studio with no overdubs, straight
to 2” analog-tape, and only sparingly mastered to focus on the subtleties of the performances.

As the 1950s drew to a close a group of students at Caracas’ Universidad Central de Venezuela caught the tropical music bug and decided to form an orchestra. With the majority of the students coming from the engineering faculty, they were duly christened Conjunto Ingeniería (The Engineering Group) and from the offset, they were ahead of the game. Tropical music, or música bailable (danceable music), was slowly making its way to Venezuela, but Conjunto Ingeniería had a secret weapon as one of their fellow students was studying in New York and every July he’d return with the latest Latin big band sounds: Tito Puente, Machito, they heard it first. And they wasted no time in making a name for themselves: nine young male musicians playing the hippest sounds around, they were the obvious band to play high-society quinceañeras (15th birthday celebrations to mark a “girl’s journey into womanhood”), which their original bass player, Juan Marquez, says they did at least 80 times in their heyday, as well as playing countless times at the university, on TV, at weddings, and at carnival, where on one occasion they accompanied Celia Cruz. “We played on all the TV channels”, says Marquez, “we were the first group to play at the launch party for ‘salsa’, a term that was established by the [Venezuelan] announcer Phidias Danilo Escalona… in Barquisimeto we were considered the best orchestra”, he remembers. On record their eclecticism and musical chops belied their age. In 1961 they released their self-titled debut album, which tackled mambo, guaracha, cha-cha-cha and charanga, veering from the Les Baxter-esque exotica of “Mambo Silbando” with its kitsch whistling, through the horn-and-percussion heavy stomp of “La Bola” (complete with bolero bridge) and on to “Amorcito”, their cover of The Diamond’s “Little Darlin’”, which was arguably the first rock ‘n’ roll song recorded in Venezuela. They followed it up with Aqui Esta El Conjunto Ingenieria, their second album in 1962, in which they showed once more that rock could easily sit next to Latin on tracks like “Mambo Rock”. Their last album, Boogaloo Con Ingenieria, arrived in 1967, and made clear the influence of New York in their sound, with the group adopting the boogaloo of Pete Rodriguez, Tito Puente and Ricardo Ray. Tracks like “Dame Boogaloo” and “La Boa” were the epitome of this, but they also took that sound into new places, as on the staccato groove of “Intermission Riff” which left plenty of space for the musicians to flex their muscles, or on the ominous “Aefo” with its unsettling vocals and dramatic Henry Mancini-esque melody. Conjunto Ingeniería came to an end at the beginning of the 70s, by which time many of their original members had left after graduating, but there can be no doubt they had made their mark. Though their recording output was nowhere near as prolific as their contemporaries Billo’s Caracas Boys or Los Melódicos, if you were turning on the TV, going to carnival or, especially, attending a quinceañera, in Caracas in the 1960s, then you would no doubt of come across Conjunto Ingeniería and their rock ‘n’roll-embellished New York-meets-Venezuela big band sound. On this compilation, simply titled Conjunto Ingeniería, El Palmas Music have cherrypicked a glorious selection of tracks from across the group’s career, capturing all the creativity and youthful excitement that made them one of the first titans of Venezuela’s tropical music history.

Reissue of one of the lesser known titles of the legendary catalog of the New York label SMC (Spanish Music Center). Highly sought after among Latin music collectors, ideal for DJs specializing in Latin soul, boogaloo, salsa, Latin music, psychedelic sounds and exotic music.

It includes on the A side the theme Let’s dance The Bugalu (actually Boogaloo), featured in the New York dances of the late 60s, which demonstrates its validity; and Aprende mi Tumbao, a boogaloo-rock that begins as a guajira, Cuban rhythm perfect for intensity changes in discos and clubs. *These tracks are the ones included in our previous release of Guantanamo Boys which was instantly sold out*

And on the side B two remixes of Aprende mi Tumbao in charge of the best DJs today. The first is made by Andy Grey (resident DJ of Gladys Palmera) & Desi Calatayud (producer and sound designer); and the second, by Tiraya (selector, producer and percussionist).

Since launching in early 2020, Claremont 56’s Claremont Editions series has served up two impeccably curated and lovingly curated compilations of label rarities, unheard archive cuts and brand-new music. Two years on from the release of the second volume, C56 boss Paul Murphy has finally got round to compiling a third instalment, and as you’d expect it’s full of attractive, sun-soaked treats.

The set introduces us to a handful of label debutants. German collective Neumayer Station, a group who emerged from the same musical and social circle as existing Claremont 56 artists Fürstattl, contribute two cuts: ‘Unterführung’, an evocative, low-slung, reverb-laden fusion of krautrock and horizontal psychedelic dream-pop featuring Fürstattl’s Frank Mollena and Patrick Göbel, and the subtly jazz-flecked krautrock hypnotism of ‘Crossings’, a cut whose atmospheric intent and well-placed dub delays make it undeniably Balearic.

Speaking of Balearic, experienced musical daydreamer Mike Salta finally makes his Claremont 56 bow, joining forces with regular collaborator Marty Mortale on the deliciously tactile, warming, electric piano-sporting sunset shuffle of ‘Seashore Redemption’. The final new addition to the C56 family is Taichi Arakawa, the DJ/producer behind Japan’s Café Goofy. His track, ‘Ocean Sunrise’, is a gorgeously dreamy and kaleidoscopic shuffle through drifting synth-sax, slow-motion beats, immersive pads and layered synthesizer melodies.

As with its predecessors, Claremont Editions Volume Three also boasts fresh, unreleased material from label stalwarts. Jpye, whose Samba With You album was one of the label’s highlights of 2021, once again joins forces with regular collaborator Renato – and newcomer Michael T – to deliver a dose of club-ready Balearic samba smothered in glistening jazz guitar licks, lazy synth solos and languid electric piano licks (‘Va Là-Bas).

Ferdi Schuster, who released his sole album to date on the label back in 2019, offers up the pastoral, folksy and hand percussion-heavy brilliance of ‘The Fuzz Version’, while C56’s own in-house trio, Hillside (aka Paul Murphy, Alex Searle and Patrick Dawes) deliver the utterly gorgeous and cinematic ‘Pole Vault’ – a delightful hat-tip to classic library music featuring brilliant brass and string arrangements from Michele Chiavarini.

Rounding off another excellent package are two remixes from the vaults: Bosq’s pitched-up, Latin-tinged Balearic jazz-funk interpretation of Hillside’s deeply personal and emotive ‘For Daniel’ (a revision previously only available digitally) and a previously unheard revision of Paqua’s ‘The Visitor’ from Idjut Boys’ Conrad McDonnell, a long-time friend of the label. His take is predictably magical and dubbed-out to the max, with Quinn Luke’s evocative vocals seemingly drifting above sparse, stripped-back beats, echoing guitars, hissing cymbals and hazy bass.

To complete the package, Claremont Editions Three features a specially commissioned cover painting from Andy Kehoe, an illustrator whose distinctively colourful, detailed and fantastical images are a perfect match for the vividly evocative music contained on the LP.

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. Soyuz's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release. Soyuz (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. Soyuz's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in. ‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'. On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends Soyuz have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more. ‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. Soyuz's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release. Soyuz (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. Soyuz's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in. ‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'. On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends Soyuz have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more. ‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

Feat. fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra. “This album was going to be Joyce's international breakthrough release… but it never came out…” - Wax Poetics

Lucas Arruda’s born in 1983, in a Brazilian state called Espírito Santo, near Rio de Janeiro. Coming from a musical family (his dad and older brother are musicians) he started playing and listening to music very young. At the age of 13, he was also playing professionally already. After studying electric guitar and playing in various bands, Lucas passion quickly turned into Rhodes and keyboards, expanding his musical range of skills. At the same time he started a project called Du Black, with his older brother Thiago, quickly receiving various local support from people like Ed Motta, William Magalhães (Banda Black Rio), Robert Lamm (Chicago) or Hyldon (Brazilian soul legend). From the growing notoriety obtained, the band began to work with various other artists and singers such as Tamy Macedo, or Bossa Nova’s legend, Leila Pinheiro, leading Lucas to build a recording studio with Thiago in 2011. Now 2 years after he launched this home-studio, here comes “Sambadi”, first solo album by Lucas Arruda! On this recording he also started to team up with Fabricio di Monaco (Modo Solar), who clearly became a fundamental piece, as Lucas relates: “Fabricio introduced me to Pascal Rioux at Favorite Recordings, as they released his EP few years ago. He’s a brilliant musician and a great human being.” In Lucas’ words, Sambadi is highly inspired by Rio de Janeiro. As for the musical side, the album almost sounds like a tribute to his longtime heroes like Stevie Wonder, Curtis Mayfield, Marcos Valle, Azymuth, or Robson Jorge & Lincoln Olivetti. And Lucas also humbly concludes: “I really hope to honor all the guys who influenced me.”

Los Guapos Sensibles are back with their first release in over 3 years! The new record delivers a Cuban Son turned sonidero banger on the A-side and a unique cumbia version of Santo and Johnny’s “Sleepwalk” on the flip. This release is destined to find a place in the crates of DJs and the homes of collectors before long.

Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (nts).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon. As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

Without a pandemic, you’d now be listening to an album wholly recorded in Cuba with local musicians. Back in 2020, everything was organised, so that in May 2021 we could get started. Yet, the sanitary measures proved to be a fierce adversary, so rather than giving up entirely we decamped to Dakar in October the same year – a compromise that ended up being a positive event in itself.
Cuba has a long African history. Under mass enslavement and the Transatlantic trade, Africans were forced from their homelands, against their will, taking their music along with them. Merging throughout the centuries, taking on European influences, led to the birth of a distinctive Afro-Cuban musical tradition. Highly percussive, brass-based, simmering, full of danceable rhythms. The spirit etched into thousands of recordings, forever turning towards Africa. The departure point here is not to keep things the same. Rather, a return to the source enacts a loop – much the same as those providing the foundations for hip-hop beats.
The flame when it’s re-lit illuminates everything. Thanks to the Senegalese musicians in Dakar, the Cubans who crossed the Atlantic to join us and my usual family of musicians, this music – a cross-section of covers and original compositions - exists as a homage to Afro-Cuban music. Made in Africa, in Senegal. Three worlds, three languages, three colours. Recorded over 17 days, non-stop, germinating the seed born in Cuba at the end of 2020 so that the most beautiful fruits might be cultivated in Dakar, 2022.
When the world doesn’t seem big enough, we look up to the sky where even the blackness is lit up, where those I loved who are now gone shine as stars, shining as brightly as all the others. Each time I think I’m not going to make it; I recall the star of my mother. Then the path becomes clear.
Pandemic, visa problems, cultural clashes, bank transfers that didn’t go through, a fractured foot – this project sometimes felt like a series of accumulated challenges. The only thing linking us, a shared love for the music, each of us invoking our personal star and all that we have overcome.
In this way, the music is born as a call to our stars.

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.

Regular Edition WITHOUT the 7".

Rainbow Disco Club and Rush Hour, a long-standing friendship that transcends continents! House, disco, new wave, Caribbean, rare groove, leftfield.. Antal compiles the second release on "Beyond Space And Time", loaded with personal choice cuts.

Internationally recognised and much-loved festival from Japan, Rainbow Disco Club’s offshoot project "Beyond Space And Time" record label presents their sophomore release! Following the work by DJ Nobu, their second compilation has been compiled by none other than Antal. Also known as the festival's headliner and the man behind Amsterdam record shop/label Rush Hour, all 11 tracks are selected by Antal in a 2 x 12-inch + bonus 7-inch format. From local Dutch newcomers to '80s Japanese cult music, rare grooves to danceable house music, and rare Caribbean soul, this compilation is a portrait of music enthusiast Antal Heitlager’s enormous collection and 30-year DJ career, a work of art that can be enjoyed by all music fans!

An afro electronics track recommended by South African collector DJ Okapi, who co-produced the masterpiece compilation "Pantsula!: Rise Of Electronic Dance Music In South Africa: 1988-90" released in 2017, which brought Kwaito back onto the map. A-1

Improvisation Organic Deep House track by New Zealand’s newcomer. A-2

A rare breezin' boogie by Larry Heard’s alias Trio Zero from 1989. Highly sought after by all collectors as a cult Balearic track. Previously unreleased version. B-1

From the 2015 album by L.A. funk maker DAM-FUNK on the prestigious Stones Throw label. LO-FI beats and synthetic breakdowns that are reminiscent of early Rush Hour works and ‘90s house. B-2

The debut single of Japanese idol unit, Shohjo-Tai. Haruomi Hosono also produced some of their tracks later on in their career. Japanese new wave disco from 1984. C-1

The soundtrack from the Japanese manga "Touring Express". RDC fans will recognize this track from the final hours of the festival. A nostalgic oriental disco from 1985. C-2

80s Silky Mellow Soul by Connecticut jazz vocalist Dianne Mower who also contributed to the re-press of the prestigious Numero Group. D-1

The original version is a masterpiece from 1983 by Zouk singer Jocelyn Mocka of French Guadeloupe. This edit still very much emphasizes an emotional mid-tempo Caribbean soul, nicely reconstructed by Rush Hour's Bonnefooi. D-2

The first 500 copies will include a limited 7-inch bonus disc featuring a Dutch artist.
Modal jazz track from the Han Litz Group led by Han Litz, a jazz flute player representing the local Amsterdam scene. A-1

A freestyle percussion jam track inspired by Brazilian and Klaus Weiss music. Los Calxunxos Tuyos, derived from the band Zuco 103 formed by students of the Rotterdam Conservatory. B-1

A mysterious electronic pop floating, between the dance floor and easy listening by Rush Hour's Kamma. B-2

A total of 11 tracks from all types of genres and generations, a true masterpiece and representation of Rainbow Disco Club’s vision “Beyond Space And Time”. Bringing you the love from Amsterdam to the world!

"South American Jazz & Bossanova flavours from 60s & 70s in Liguria, north west Italy. As you might notice after the first listening, surprisingly, the melody sounds very similar to Brazilian Portuguese and the instrumental tracks have a distinctive touch of South American Jazz. Nonetheless, the sound landscape clearly reflects the Italian libraries of the time. This mingling was possible because at the time of the discoveries of the New World, due to commercial and cultural interconnections, the local Ligurian language was influenced by new stimuli from the new territories and vice-versa. Moreover, since the end of the Nineteenth Century, there has been a strong migration of Italians to South America, similar in numbers to the migration of Italians to North America, but less known because less represented in films or narrative."

HIGHLIGHTS:1965 samba jazz gem recorded by Humberto Clayber, Hermeto Pascoal and Airto Moreira in the early days of their careers.Includes the killer 'Joao Sem Braço' featuring Hermeto's howling flute and Airto's overwhelming percussion work.This is the only album ever released by this Brazilian all-star group and has remained unavailable for decades. First time vinyl reissue.More:1965 samba jazz gem recorded by Airto Moreira on drums, Humberto Clayber on double bass and Hermeto Pascoal on piano in the early days of their careers. As the original notes state it, the recording session of the album was such a stunning experience for those involved in the studio work: "After going through 'Aleluia' and 'Samba Novo', as a prelude to a sound cataclysm that was transmitted in the tense atmosphere of the studio, they gave us a composition by José Neto Costa (Hermeto's brother), which left everyone amazed.The arrangement created for 'Duas Contas', soft, whispery, subtle, broke the local tension as if on impact. But behold, when they no longer seemed to see the possibility of new surprises, they then performed 'Nem O Mar Sabia' and 'Arrastao', the first revealing totally unknown concepts regarding the trinomial piano-bass-drums. Clayber plays a harmonica and Hermeto unfolds into a flute! On the following tracks, the bassist and pianist would return on the same instruments. The final point of that unsurpassed recital was also a great surprise: 'A Jardineira', a carnival march from 1938! It was the "end"!Let everyone who hears this LP know what a new phase of modern Brazilian popular music is being established in this country! This is the flag, which we will leave planted in the rich and incomparable soil of our art! Its heralds... the boys from Sambrasa!" The album also includes the killer 'Joao Sem Braço' featuring Hermeto's howling flute and Airto's overwhelming percussion work.This is the only album ever released by this Brazilian all-star group and has remained unavailable for...

Classic Brazilian soul funk from 1976 in the same vein as Tim Maia, Jorge Ben or Carlos Dafé's recordings from that period. All four tracks are stunning and feature dramatic vocals, fat drum beats and sophisticated arrangements, following the tradition of the best funk music coming from the States in the '70s. First time reissue.

Tony Bizarro was a Brazilian songwriter, producer and singer who worked with most of the greatest soul and funk artists in Brazil. Boogie and disco music were making headway and soon became popular in the Brazilian market. His own discography comprises just one solo album, released at the peak of his career, a bunch of compactos and some later LPs that did not get any bigger than his best-known hit 'Estou Livre'. This 1976 EP has been a long-time dancefloor weapon for DJs in the same vein as Tim Maia, Jorge Ben or Carlos Dafé's recordings from the same period. All four tracks are stunning! The opening song 'Que Se Faz Da Vida' is a downtempo funk joint with some dramatic vocals by Tony Bizarro, fat drum beats and Isaac-Hayesque wah-wah sounds that could have easily been included in the soundtrack of a blaxploitation movie_ The strings and sophisticated arrangements featured on the flipside elevate this record to the top of the best Brazilian funk ever recorded in the '70s. Very hard to find, especially in good condition, this record now gets a proper reissue for the first time.

Limited Edition for Record Store Day 2022.

We are true to the principles of the first "¡Naino!". Flamenco rumba fusion which in the hands of intrepid producers becomes Catalan Rumba under the influence of sounds coming from Cuba and Puerto Rico in the early 1960s, Rumba Pop under the umbrella of the British Invasion and American pop of the late 1960s, and Disco Rumba with the arrival funk and disco from the USA in the mid-1970s. Everything happens thanks to a flourishing record industry located mainly in Barcelona with labels such as Belter, Discophon or Vergara. After the death of the fascist, sanguinary dictator Paquito Franco in November 1975, the international record industry establishes in Madrid through major labels CBS, RCA, and a new fusion led by producer Jose Luis de Carlos and labeled as Gipsy Rock, Caño Roto or, in the Flamenco field, especially in couplets, Flamenco Pop. As Oriol Farràs pointed in the previous volume, rumba moved from tablaos to discotheques, understanding the concept of discotheque at that time with a slightly different meaning and less conditioned style-wise. The selection on offer here complements volume one. Starting with an A side packed with floor fillers, with Peret's "Chavi" as the top example of gypsy funk fusion under production of Josep María Bardagí and Josep "Rabbit Rumba" Cunill, and four examples of the answer to that sound as produced by Jose Luis de Carlos, showing the four cardinal points of this fusion success: Las Grecas, Los Chorbos, El Luis and Chango. De Carlos transforms the sound of Madrid's flamenco artists spicing it with soul, rock, glam, dub, funk, disco and gospel. These five opening tunes alone could feed a whole scholar course on the possibilities of rumba fusion and its incredible dance potential. Back to the record. There are not only examples of Afro-American flavored fusions. Progressive rock and Anglo-American psychedelia of the seventies are also influences represented here. They started a path that would later be known as "rock progresivo andalúz" (Andalusian progressive rock) with a crowded band scene and a hardcore hash impregnated following. But before reaching that point, here are some early efforts on side B. Synth-fueled rumba with Canterbury sound inspired electric guitars. A sound that, as it happened with rumba funk and flamenco pop, also had its moment of glory with the arrival of bands and solo artists such as Triana, Gualberto, Smash, Storm or Medina Azahara, or even the more blues-rock oriented Pata Negra.

If the first album from Venezuela’s Los Calvos, despite its greatness, could be considered to have a varied sound, then this second, and lamentably final, album found them creating a signature sound with the musicians given free rein and a stronger push to the dance floor, this is música bailable personified. The drum kit was instrumental to their image and sound; it was an instrumental unusual in salsa at the time. So much so that their own drummer Frank “Pavo” Hernandez had said disparagingly that “salsa with a drum kit is like pasta with avocado”. Kudos then to “Pavo”, along with fellow drummer Alfredo Padilla, who seamlessly integrated the instrument into the line-up, allowing its heavy hits to add energy and power to the group’s sound; just listen to the drum solo in “Suenan Los Cueros” and you will be in no doubt that it was a genius move. Vocal duties throughout are split evenly, five tracks a piece in fact, between Carlos “Carlín” Asicio Rodríguez and Carlos “Calaven” Yanes. It is Calaven who surprises the most, his mischievous delivery and ability to improvise and scat placing him in the higher echelons of vocalists, and not just within salsa. “José”, which is also a showcase for bandleader Ray Perez to free wheel on the piano, is a perfect example of Calaven’s ability to enliven any descarga (jam) with unexpected vocal turns; but then, even on the album’s original single “El Moño De Maria” he shows that with a few variations on the chorus, he can elevate any song. His partner in vocals, Carlín, is no slouch either, leading the driving “Tiene La Razón” with ease and showing that he can get down and dirty on the percussion-heavy “El Tumbeleco”, guiding the song through to its pulsating conclusion. Perez was one of Venezuela’s finest bandleaders, also helming the legendary Los Dementes, Los Kenya and others, and he brings a number of famous friends and allies to the party. Professional lucha fighter turned composer Gustavo “El Chiclayano” Seclén contributes the playful “El Marciano y Yo” (“The Martian and Me”), which allows Calaven plenty of opportunity to improvise, his imitations of intergalactic beings a wonderful thing, with what sounds like the rim of a wine glass being used to create Mars-esque special effects. You can also hear Perucho Torcatt, a regular collaborator of Ray Perez’s in Los Dementes, adding his voice throughout the album. ...Y Que Calvos! is not for the idle, it’s an album which does not allow you to sit down. Powerful, inventive and abundant of rhythm, it’s everything you could want from a salsa album, and a fitting way for Los Calvos to sign off their far-too short career. Perhaps now it will finally get its dues as a lost salsa classic.