Latin | Brazil 333 Items

The joyful and melancholy songs of the soul that have been sung on Tumaco, a small island in the Pacific Gulf of Colombia that has been exposed to violence, abandoned, and isolated, are now echoing across the world's dance floors. The world's first recording of Alba Maria Valencia and her group Cantoras DE Yerbabuena, the bearers of a little-known local tradition, who were born and raised on the small island of Tumaco, also known as "the pearl of the Pacific," and have been singing the songs they learned from their parents for over 65 years! The artwork for the sleeve is by Yukie Monnai. The semicircular arch in the background, which was a symbol of Tumaco, collapsed earlier this year and is no longer there. Alba Maria Valencia and the members of Cantoras de Yerba Buena are very happy to have this arch painted on the sleeve.

Another door opens to new possibilities for Cumbia! From the cyberspace connecting the Bay Area, London, Monterrey, and Tokyo comes Lovers Cumbia, a mellow, sweet, and heartbreaking music. The latest release from Grupo Jejeje, the unique cyber-cumbia sonidera project of Turbo Sonidero, a Chicano born in San Jose, California, and Arrabalero, a Persian immigrant living in London, is a lovers' cumbia featuring the sweet and sensual voice of Simone Michelle, a singer who is gaining attention in the Bay Area! The cover is a reversible sleeve by the genius Ryohei Kazumi of Entertainment. When placed side by side with Grupo Jejeje's previous work, "Kumbia De La Rober / Quetzalli" (okra310), a single composition appears. Two postcards with portraits and lyrics by Simone Michelle are enclosed.

Formed by Kenny Clarke and Francy Boland, the Clarke-Boland Sextett, with the participation of numerous musicians from both Europe and the United States, made significant contributions to the development of jazz in Europe. At the core of this ensemble, the powerhouse sextet consisting of Kenny Clarke, Francy Boland, Sahib Shihab, Jimmy Woode, Joe Harris, and Sadi came together to record the album "Music For The Small Hours" in 1967, and it is now set to be reissued with an obi.

This album spans a wide range of styles, from standards like Burt Bacharach's "Wives & Lovers" to Brazilian and Afro-Cuban influences such as Luiz Bonfá's "Ebony Samba" and Dizzy Gillespie's "Tin Tin Deo." Additionally, it features original compositions like Shihab's "Please, Don't Leave," where he takes on vocal duties. The entire recording exudes a sophisticated and relaxed mood, showcasing the utmost skill of this formidable sextet. "Music For The Small Hours" is a masterpiece that deserves a place in the history of European jazz, boasting the ultimate level of refinement.

The Shadow of Your Smile is a studio album by Astrud Gilberto. With arrangements by Don Sebesky, Claus Ogerman, and João Donato, it was released via Verve Records in 1965. It peaked at number 66 on the Billboard 200 chart.

“During the pandemic, I was hearing drums all the time,” says Carolina Oliveros, who leads the New York-based group Bulla en el Barrio. “Not only bullerengues, but also tamboritos panamanians, solomas – like panamanian styles – also I’ve been listening to salve, which is a rhythm from Dominican Republic. I always want to try to create a bullerengue that sounds more traditional but also sounds like me with my own influences.” Since 2015, Bulla en el Barrio has been envisioned as a collective and a study group of the traditional rueda de bullerengue – dance music originating from the Caribbean coast of Colombia that transmits ancient African rhythms and knowledge. Oliveros and Bulla co-founder Camilo Rodriguez – both in NY tropical futurism band Combo Chimbita – first experimented with writing their own bullerengue during their monthly residencies at Barbès in Brooklyn, culminating in two singles released by Names You Can Trust in 2017. Thanks to these recordings, these two Bulla en el Barrio compositions are now sung in music festivals and ruedas all over Bullerengue territory. They now present eight original songs recorded live to tape, preserving and documenting the participative and rough vibes of the ruedas and performances. “We’ve been playing together since 2015,” says Rodriguez. “The group is a space to study, connect, to learn, so this record captures a moment where we were – taking a picture of a process. This was just what was happening at that time. It was a way to document what we were doing and our process of learning, documenting bullerengue.”

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.

For the second 12” of the series Far Out has enlisted two of the most on-fire producers in Germany: Max Graef and Glenn Astro, along with one of the UK’s brightest ascendant producers.

“Exposição Popular” is the new album from Rio de Janeiro based producer and composer Guerrinha, sonically orbits 80´s new wave & fusion jazz, imagine a lost ECM gem, layered in low-fi subterranean exoticism, that somehow conjures the soundtracks of Angelo Badalamenti. Here we find Guerrinha loosened up, the rhythm spilling out, playfully impossible to grasp as it floats over space-age ambient synth and organ work that takes references from Pat Metheny, John Scofield and Rita Lee. “The last LP, "Cidade Grande" was all about acceptance of the big city as a monolith, but here I wanted to focus on the exposition of the intimate as the most logical, obvious choice. Hence the name "Exposição Popular" (in english "Popular Exhibition"), which is wordplay, as all exhibitions should be inherently popular since they're all out about exhibiting yourself to everyone, but because of the nature of the art, it becomes the opposite of the "popular", it becomes niche.” - Guerrinha

For the second instalment in our Cuban Classics series, we proudly present this sought-after slice of sublime Afro-Cuban jazz from 1976. It comes courtesy of one of Cuba’s most influential acts, Grupo Irakere. Founded in 1973 by Chucho Valdés (son of the Cuban pianist and bandleader Bebo Valdés) the group was home to many of Cuba’s finest musicians over the years. With an electrifying style and sound, they mixed traditional Cuban music with jazz, funk, and rock.

This self-titled album includes the much-loved, dancefloor heavy-hitter 'Chequeré-Son’, a Latin-jazz funk masterpiece with Cubanized bebop-flavoured horn lines, lush keys, and ‘70s hip swagger. Though 'Chequeré-Son’ is the keystone of the record, the album is laced with brilliance at every turn, from the Carlos Santana-esque channelling ‘Iya’ with its percussive Latin power, to the sultry, slick and passionate '38 1/2’. Elsewhere, the absorbing, ever-building energy of 'Juana 1600’ and steamy vocal dancer ‘Xiomara’ are also highlights of this incredible album.

Pressed on Cuba’s state led Areito Records, the album was well received internationally, garnering distribution in Finland on Love Records, in Italy on Phase 6 Super Stereo, and also in the Dominican Republic, Mexico and Venezuela.

A cherished Afro-Cuban triumph, this album has been crying out for a reissue and we’re delighted to make that happen.

`La Camita' is an incredible Latin funk nugget -recorded in Peru by Traffic Sound and later on by funk pioneers Black Sugar, comprising all the right ingredients to shake dance floors worldwide. Both takes on the song were released on records that today are extremely difficult to find in any condition. In 1971 Traffic Sound recorded 'La Camita' where their Latin influences overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on 'La Camita' was released in 1978 and adds a modern twist to the original song, becoming decades later a winner spin at the most discerning dance floors worldwide. Latin party music in all its glory!

Two years after the release of his first self-titled album, DJ producer Massimo Napoli aka Galathea presents the new 'Sacred Love', in which he once again avails himself of the collaboration of his friend producer and bass player Salvo Dub, as well as a combo of respected musicians: singer Kadi Koulibaly - originally from Burkina Faso - already featured on the first album, Giulia La Rosa, author of the lyrics and performer of the title track, pianist Mario Pappalardo, percussionist Sergio Spitaleri and drummer Luciano Cantone. 'Sacred Love' is definitely a more mature, intense and profound journey than the previous album of the same name, which enhances the magical dreamlike and spiritual atmospheres of a certain African culture. The album guides the listener along a path of multi-ethnic contaminations: "Divinité", "Ouaga" and "Koloko", well interpreted by Kadi, touch on the sacredness and mysticism of the African continent and blend well with the Spiritual Jazz sounds that have evolved in the West. "Divinité", through the spoken word of French poet Diego Hernandez, tackles the themes of faith, life and the relationship with one's 'self', with references to French chanson productions, in which Kadi's spiritual song, at times 'Saharan', intersects and expands into cosmic space. The title track, the first single from the album, also released on 7" (45rpm) in two versions, is an Afro-American gospel with a typically afrobeat rhythm, vaguely reminiscent of Nina Simone's 'See-Line Woman'. North Africa is represented by "Equator", while we climb further north into the middle of the Mediterranean Sea with "Medican Blues", to land in Stromboli with the Deep Jazz of "Ginostra", whose title recalls the village of the marvellous island in the Aeolian archipelago. Then we have the Cuban track "Caminito", a sort of Cha-Cha with a romantic piano melody (à la Chucho Valdez) well performed by maestro Mario Pappalardo; and then again "Eos", strongly Balearic with a Brazilian mood; "Impression", a dreamy journey of impact; "Sirens", already present on the first album and here reworked in a new Spiritual-Ambient version produced by Agosta. "Sacred Love" is thus an original and musically borderless album, which expands a certain African sacred culture and naturally blends Afrobeat, Jazz and Blues atmospheres with the Balearic sounds of Mediterranean culture. Enjoy listening!

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

Compiled by Sean Marquand and Greg Caz, 2 DJs well-known for their epic parties at Williamsburg’s legendary Black Betty club, that sadly closed in 2009. The duo played a deep variety of strictly vintage samba, samba-rock, Tropicalia, and Brazilian funk under the banner of ‘Brazilian Beats Brooklyn’.

Sean is known as half of Embassy Sound Productions. He took his team to Brazil to help resurrect Black Rio legends Uniao Black for a new release. Greg has DJ'd at some of the hottest Brazilian parties around the globe and presents a monthly radio show ‘Warm Wave’ on Soho Radio NYC.

Featuring Noriel Vilela’s singular “16 Toneladas,” a sublime cover of the Tennessee Ernie Ford smash “16 Tons” with a spare samba groove and unbelievable baritone vocals and hot jams from Tim Maia, Erasmo Carlos, Joao Bosco, Toni Tornado.

Included in this compilation of original 60's and 70's Brazilian gems are some of Greg and Sean's favourite tracks that have been filling dancefloors for years.

Agua Larga offre une immersion dans la culture Afro-Équatorienne de la province d'Esmeraldas. Les auteurs ont captés comment la musique s’inscrit dans la vie quotidienne des habitant.e.s et dialogue avec les autres éléments sonores qui l’entourent. La matière musicale est ainsi accompagnée de récits, de poèmes et de scènes du quotidien captés sur le vif, loin des studios aseptisés, dans l’espace public, sur la berge des fleuves ou en bord de mer.

La thématique de l’eau (“agua” en Espagnol), sous toutes ses formes, est le fil conducteur. La mer a amené les esclaves vers ce nouveau continent mais c’est elle qui fournit aujourd’hui en poissons les pêcheurs. Les fleuves et rivières, empruntés par les bateaux et pirogues, permettent de connecter les villages de cette forêt tropicale. L’eau est aussi devenue une denrée rare en ville, où son accès est encore difficile pour une partie de la population. Les scènes prises sur le vif marqueront cette omniprésence de l’eau, comme lieu de vie et ressource quotidienne nécessaire."

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.

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.

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”…

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”…

Tropical Journey is an album on the border of musical genres such as: Afrobeat, Organic House and Oriental. The album was created in collaboration with artists such as Ayoub Houmanna, Hicham Bajjou, Amadou Fola, Radzi Attia, Becky Sangalo and Ethan Smith. Tropical Journey is a tropical musical journey through ethno-cultural corners of the world, the aim of which is to introduce the listener to an idyllic state.

Album in an edition of 300 vinyls produced in Germany. The cover was painted by the famous Krakow artist Ewa Szczekan. On the author's YT channel you can see how the graphic designer enlivened the cover by giving it animation elements. Work on the album lasted 2 years and is divided into 2 parts. The first side of the album is more Brazilian and Afrobeat with a large admixture of guitar and wind instruments, while the second side is more electronic, intended for clubs (here the synthesizers are already in motion). When working on the album, the artist closed it in a musical key, which means that when playing individual songs one by one, they will match each other in tone (a bonus for the DJ). The album's tempo also speeds up from 115 to 122 bpm. Chang's song is actually the outro of the album and a preview of subsequent releases with a more powerful sound. Neither side of the record exceeds the magic 20 minutes to obtain the best possible quality of pressing the record. Mastering was done by Marcin Kwazar (BazaRec).

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.

Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side.
La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere.

Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic.
Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.
Selam enezra ahunim (let us sow peace).
Electronic

Hard salsa with rocking tropical electric guitar! Príncipe's 1967 debut album, featuring powerful Afro-Latin rhythms like guaguancó and pachanga played with youthful exuberance and originality. Truly unique sound from the dawn of salsa in Venezuela. Príncipe y Su Sexteto, from Caracas, Venezuela, were early pioneers of "salsa con guitarra eléctrica" (salsa with electric guitar), a subset of the salsa genre where the electric guitar is the main melodic rhythm instrument, often taking the spotlight in place of the piano and brass section. They were the perfect combination arriving at the rightmoment, when salsa spontaneously emerged as a new musical movement coming from working-class youth of the barrios in Caracas. All the compositions are original to the band, and hold up really well more than 50 years later. Though the arrangements and playing are deceptively simple, the effect is both mesmerizing and energizing, like early rock 'n' roll fed through a Caribbean filter. This first time reissue has been remastered directly from the original tapes and licensed from Discomoda. With in-depth liner notes it has also been augmented by three smoking bonus tracks that were never released during Príncipe y Su Sexteto's existence as a band. 180g vinyl.

This is one of the most obscure records ever released in Venezuela in the 60s and the only recording of The Pets. This 1967 album shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original "El Entierro De Un Hombre Rico Que Murio De Hambre", one of the finest garage tunes to emerge from Latinamerica. It followed the global triumph of the Beatles that made the wave of beat groups gets bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. Originally, they were not called The Pets, but The Playboys, and basically the group was formed to liven up the parties and gatherings at Casa Italia, a very important institution in Los Teques, near Caracas, where they formed. At one of these parties, they were heard by a representative of the Discomoda label who insisted on recommending the group to the company, completing the signing of their contract almost immediately. First time reissue, audios remastered from the original tapes and pressed on 180g vinyl.

Tango Argentino is not only a sensual and intoxicating dance and musical style, but also a cultural symbol that reflects the history, passion and identity of Argentina. Originating in the suburbs of Buenos Aires in the late 19th century, tango combines African rhythms, European social dances, and the influences of immigrants to Argentina to create a unique dance form. Initially considered scandalous, tango gained acceptance and popularity over time. Traditional tango music, characterized by soulful melodies and melancholy lyrics, is dominated by the bandoneón, an accordion-like instrument, and accompanied by violin, piano and guitar. Beyond the borders of Argentina, tango has become a worldwide phenomenon, with international tango festivals and dance clubs in cities worldwide. Unesco declared tango culture an Intangible Cultural Heritage of the World in 2009. Tango Argentino has produced timeless masterpieces and great musical artists that are considered important cultural symbols of Argentina and are compiled in this collection. Tango Argentino remains the universal language of passion, longing and joy that enchants dancers and listeners alike.

The new single from Los Guapos Sensibles gives a cumbia twist to the contemporary reggaeton hit “gatita”. Prominently Featuring the Meowsic cat keyboard on the melody and introducing La Alicia on vocals, this track is an instant winner on the dancefloor. The B-side brings a modern, moog-y, guitar driven version of “Bomba y Maracas” for the lovers of the classics.

El Clan Antillano was an obscure, short-lived salsa group started in 1975 by singer Jacky "El Caballo" Carazo, originally from Cartagena, and radio host / song composer Mike Char, from Barranquilla. The band was active only until 1977, with a mere two albums to its name. Carazo and Char, "los amigos costeños" (friends from the Caribbean coastal area) created El Clan Antillano, backed by astudio orchestra comprised mostly of Fruko Y Sus Tesos band members, as a fresh start after the previous group Carazo had been had become inactive. The record has been remastered from the original tapes, with an additional three bonus cuts taken from two rare 45 singles, including the sought after track 'Alma'. First time reissue. 180g Vinyl. While the ephemeral El Clan Antillano may not be as well known as the groups it's related to, namely El Afrocombo and Fruko Y Sus Tesos, it certainly deserves credit as a worthy participant in the historical evolution of salsa colombiana.

A 7-inch record coupling "Tour Of Jamaica", a sample cource of the Japanese hiphop classic "mess/age" by Seiko Ito and Yann Tomita, and one of the selector's must-haves, "Under My Skin", will be released from Think! Records!!

"Tattoo Woman" was originally released in 1965 and includes "Under My Skin", a favorite not only among calypso fans but also Ska and Reggae lovers! This is a calypso arrangement of Cole Porter's original song "I've Got You Under My Skin" and is truly a masterpiece! The album as a whole contains many wonderful pieces that convey the breath of calypso in its heyday! Please enjoy these two historical masterpieces by the god of calypso, Mighty Sparrow, together with "The Outcast", which will be released at the same time on analog LP!!

Originally released in 1963, "The Outcast" is a masterpiece that includes "Tour of Jamaica", the strongest jazzy calypso song that continues to captivate many DJs and music lovers!! No other song makes the listener dance with such happiness! The quality of the album as a whole is excellent, and this is truly one of Mighty Sparrow's masterpieces! Please enjoy these two historical masterpieces by the god of calypso, Mighty Sparrow, together with "Tattoo Woman", which will be released at the same time on analog LP!!

To launch Mr Bongo’s new Cuban Classic Series, we are thrilled to present this sought-after, psychedelic-funk masterpiece. A fusion of traditional Latin and Afro-Cuban rhythms meets disco, jazz, and funk, with hints of 70s soundtrack productions, this much-loved cult album featuring nine predominantly instrumental tracks is a real treasure that deserves a much wider appreciation. One look at the trippy artwork and you know it is going to be special.

Originally released in 1977 on Areito Records, a sub-label of the state-owned label Egrem, it has become one of the rarest (even in Cuba) and most in-demand albums to come from the label. It is the sole album from Grupo Los Yoyi and was composed, orchestrated, and produced by the mysterious, Jorge Soler Leó.

After Castro ring-fenced Cuba with an embargo on, among other things, Western music, the ‘Yoyi’ album had a sound more left of centre than what was normally allowed to be recorded there at the time. It subtly and covertly flirts with disco, jazz-funk, and electronic sounds coming from the US and Europe. It is probably best known for the space funk, bubbly club cut 'Paco La Calle’. A track that was edited in 2008 by the fantastic DJ / producer, Nick the Record, and one that is guaranteed to set a discerning dancefloor alight. However, ‘Yoyi’ is far from a one-track album. Other highlights include, 'Banana’, with its call and response trombone and horn section, squelchy keys, pulsating breaks and percussion, and a loose, floating vocal arrangement. 'Tu No Me Puedes Conquistar' is a beautiful, bouncing plodder with a variety of instruments interchanging as the track progresses. 'Ruta 30' takes things in a straighter Latin direction, which we are accustomed to from Cuba at that time, yet it is still full of personality, treats and vigour. Take our word for it, this album is strong throughout.

This is one of our favourites and most beloved albums to come out of Cuba and is the perfect flagship for our Cuban Classics Series. Look out for plenty more to come real soon.

This is the quartet's second LP, recorded in 1971, and contains mostly Peruvian songs with a strong Cuban flavor where Pancho Acosta's electric guitar reaches vertiginous heights and is combined with outstanding conga and timbales playing. Extremely rare and hard to find in its original issue, this is the first-time reissue. Remastered from the original tapes.The guitarist Francisco "Pancho" Acosta Angeles (1946) played a significant role in spreading love for Cuban rhythms across Peru, those sunshine beats breaking through the cloudiness that hangs over Lima most of the year, as the city bears a closer resemblance weather wise to London than to Havana. In 1967, after making a name for himself with his six-stringed skill, he made his vinyl debut with Compay Quinto. Shortly after Pancho left Company Quinto, he joined Los Kintos. When Los Kintos disbanded, Pancho Acosta swiftly moved on to his next project for MAG: the Cuarteto Yemayá, formed by tumba drummer and singer Miguel Montoya, bassist Máximo Pecho and timba drummer José Luis Fiallega, all under Pancho's direction and arrangements. The quartet's debut album, "Ecos del Trio Matamoros", was a tribute to the Cuban trio of the title and comprised cover versions as well as a couple of their own songs. This is the quartet's second LP, recorded between July and August 1971. "El Tic Tac" contains mostly Peruvian songs. The foreign versions on the album include the classic 'Compay Gallo', written by Miguel Matamoros; 'Toribio carambola' and 'El Tic Tac', from the repertoire of the Cuban Trio Servando Diaz; and 'Sandunguéate', best known in Celia Cruz's version. 'Oye Mi Son' and 'Oye Mi Guitarra' were composed by the album's lead vocalist, Miguel Montoya. Percussionist Jorge Mariazza (Los Pachas, Manzanita y su Conjunto) co-wrote 'Descarga Yemayá' with Pancho, which features outstanding conga and timbales playing. Pancho also composed tracks on his own: 'Me Voy a Monsefú', 'Mi Provinciana', 'Yo Me Voy de Aquí' and 'Flaca y Fea', th...