Latin | Brazil 202 Items

The legendary music publisher KPM, famous for its iconic music library catalogue, commissioned a group of musicians in 2018 to write and record an authentic tribute to the early 70’s Latin Soul Boogaloo. Although not intended for commercial release, this vinyl LP is a limited pressing of just 500 copies and features 15 new grooves inspired the greats of the era such as Tito Puente, Ray Barretto and Machito. Ray Lopez and his band recorded the session in the traditional way using the same microphone direct to reel tape. Vamanos!

A download code is included. This is a 180g Vinyl LP. Updating Marcos Valle’s seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle’s late-seventies and early-eighties output.

Still untouched by human settlement barely 500 years ago, the islands of the Southwest Indian Ocean, Mauritius, Reunion Island, Rodrigues and the Seychelles were colonized by Europeans (French, English and Dutch) from the end of the 16th century on and operated as trading posts on the Indian route. Slaves were deported from Africa and Madagascar to cultivate coffee, spices and sugar cane. On the margins of the plantations, during clandestine gatherings, they exorcised their daily lives through percussion, singing and dancing. It is the tschiéga, chéga or sega, from Mozambique and Malagasy influence.

The gradual appropriation by the Creole populations of Western instruments and European melodic traditions (quadrilles, waltzes, polkas, scottish, romances, mazurkas), as well as the cultural contribution of committed workers from India laid the foundations of the modern sega.

This crossroads of influences was to continue to grow, especially from the 1950s, when the first phonographs arrived, playing all kinds of varieties but also jazz, soul, rock'n'roll, and even Cuban or Brazilian music.

For the Sega, these were the first steps towards a period of intense creativity that would cover the 1960s and 1970s. Amplified instruments arrived, and electric guitars, basses, drums and keyboards quickly replaced violins and accordions. Record production exploded and saw the advent of many micro-labels featuring genius arrangers such as Marclaine Antoine, Gérard Cimiotti, Eric Nelson, Claude Vinh San, or Narmine Ducap who explored the Sega in its many facets. Psychedelic keyboards, fuzz guitars and undulating basses invited themselves on the furious ternary polyrhythms of drums, ravannes, bongos, claves, triangles and maracas, to produce a unique style.

Here are some pearls from this golden age of the segas of Mauritius, Seychelles and Reunion Island that are compiled in this volume 2 for our greatest pleasure!

The Coastal Invasion’ highlights the golden age of big band cumbia and the maestro who is often seen as Colombia’s most influential composer, Lucho Bermudez. This compilation contains a selection of the music of Lucho Bermúdez y su Orquesta recorded during the years that they lived and worked in Medellín, probably the best work the orchestra ever recorded.

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.

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

‘Ye Mele’ is a very firm Mr Bongo favourite, and always a contender for end/start of the night track. A true classic.

Opens with a distinctive vocal harmony/chant and claps before dropping into bossa piano, organ and drums, which calms for a moment before reaching the chorus… and then building more into a horn section, that plays until the end. Immense.

Taken from Vinhas’ now relatively expensive and very excellent ‘O Som Psicodelico’ LP from 1968.

‘Berimbau’. And again - another favourite. Awe inspiring arrangement, of the highest order.

Opens with what is very reminiscent of a Brazilian Western soundtrack, before soaring into vocals, strings and horns. And then THAT end section…!

Golden Boys were a male vocal group, of brothers. ‘Berimbau’ is taken from their self-titled 1969 LP.

Infectious, hypnotic tropical grooves with a ragga kick from Australia’s premier

cumbia orchestra. If you like Ondatrópica, Frente Cumbiero, Ska Cubano and

Lucho Bermúdez, you’ll love Cumbiamuffin.

It was only a matter of time before cumbia hit Australia. After humbly coming to life on

Colombia’s Caribbean coast, this rhythm—and everything it represents: its multiethnicity,

its danceable pulse, its resilience—snaked its way up the mountains to reach

Colombia’s urban capitals, Bogotá and Medellín, who transmitted the signal to Mexico,

Peru, Argentina... Cumbia travelled, and wherever it landed it took hold; Charles Mingus

got his fill in the 70s, Mexicans brought it across the US border in the 80s, Joe

Strummer couldn’t get enough of it in the 90s; and wherever it landed, it has shown its

flexibility, its ability to adapt to new environments.

Cumbiamuffin are the perfect example of what happens when cumbia arrives in a

completely different continent. Since forming in 2010, they have become Australia’s

premier large format cumbia orchestra, offering a twist on the genre that no one saw

coming. They take their inspiration from cumbia’s brass band traditions, when the genre

was adopted by orchestras in the 1940s, the start of its golden age, but they do not stop

there. They also look further afield, to the big bands of Mexico and Peru, and even to

the Caribbean, which is how their name came about. Cumbiamuffin represents the

contraction of two musical styles that the group seamlessly bring together in one big,

vibrant, joyous experience: cumbia and raggamuffin reggae. This is a group that can

inject even more life into a bona fide Colombian classic like Lucho Bermudez’s

“Salsipuedes,” take a Greek club version of a Mexican banda track written by an

Argentine accordionist and come up with the cohesively international “Ritmo de

Sinaloa,” and then there’s that unmistakable ragga skank all over “La Promesa,” with

“La Cabezona” being an instrumental descarga that has no right to rumble so low,

designed with dance halls and sound systems in mind.

Armed with the collective energy of two authentic Colombian vocalists, a seriously

massive brass section, heavy bass, funky guitar, salsa piano and equally authentic

percussion, the 15-piece band combines elements of reggae, dancehall and roots from

the Colombian Caribbean in a deft mix that is both retro and futuristic, authentically

traditional and yet also experimental. Put together by a collective of Colombian and

Australian musicians, the project has the common vision of introducing the purest

sounds of the golden era of orchestrated cumbia to Australian audiences, but with a little

something more added to the formula to keep things fresh.

Having triumphantly conquered their home country’s competitive music scene with sold

out shows at numerous festivals and well-known venues all over Down Under,

Cumbiamuffin are poised to break out to a global audience with their debut self-titled LP.

Grupo Casabe can lay claim to being Ray Pérez’s last great group. Fresh from the successes of Los Dementes and Los Kenya, Pérez was at the forefront of salsa in the mid-70s, and still experimenting with música bailable and all the danceable hornblazing styles that were beginning to be known collectively as salsa. The finest tracks of this short-lived combo, active from 1974 until 1975, are now being celebrated by El Palmas Music on a new compilation simply titled Ray Pérez y El Grupo Casabe. Pérez was bandleader for an astonishing number of groups, which was partly due to his in-demand status, with each move to a new label meaning he needed a new band name. Such was the case with Ray Pérez y El Grupo Casabe, formed when CBS came calling. Their line-up built on his previous groups, with both a drum kit and percussion for additional power, with Pérez himself belting out those trusty piano montuños, however there was one significant change, with Pérez using saxophones for the first time, alongside his usual brass section of trumpets and trombones. With him for the ride were vocalists including Rodrigo Perdomo (brother of “El Negrito Calavén”, from Pérez’s earlier group, Los Calvos) and Rafael Morillo. The compilation begins with “María Antonia”, the first 7” Grupo Casabe released in 1974. Instantly, it’s clear why Pérez is so loved in salsa circles, for this is salsa of the highest order, the focus switching between piano, vocals and brass effortlessly, while the drums restlessly inject the song with energy; then there’s the breakdown, Rodrigo Perdomo stretching his vocals to a rasp and throwing the brass into an extended passage; suddenly, they stop and Ray, El Loco as he was affectionately known, lets loose with a piano solo that’s elegant in its efficiency, before the band return for one more trip round the salsateca. 1974 and 1975 were important years in the trajectory of salsa. It was this period when salsa became a collective name for urban orchestras playing Latin music styles like son, guaganco, mambo, cha-cha-cha and rumba. Though undoubtedly salsa – Ray was a “rey de salseros” after all – there is so much nuance in the music. “Campesino Nuestro” is a slow-building rural son, taking the Cuban countryside to the dancefloor; “Santa” and “Oye Nena” are twisting guaguancos, the former possessing one of Perdomo’s finest vocal performances, and the latter the finest showcase for the band, with percussion, brass and piano on fire. “La Reina”, a danzón, show that the band can do the slow numbers too, and then there’s “Sábado En La Tarde”, Perez’s take on surf with a melody seemingly taken from the finest Steve McQueen crime caper. There are few that come close to Ray Pérez for musical inventiveness and a sheer ability to keep dance floors moving. If Ray had been born and raised in New York then no doubt he’d be regarded as one of salsa’s pioneers. He’s had to work harder for his reputation, but there can be no doubt, he deserves to be one of the greats, and his work with Grupo Casabe is even more proof.

We invite you to take a journey through the music of the Pacific and Caribbean coasts of Colombia, where traditional rhythms blend with contemporary sounds. Mangle Rojo is a compilation album of 8 songs, released on vinyl of 12 inches, with some of the most popular rhythms of Colombian folklore, like Cumbia, Currulao, Bullerengue and, Puya, played by renowned artists like Nelda Piña, Inés Granja, Sixto Silgado Paíto, Emilsen Pacheco and Francisco Torres. Side A consists of four songs from the Pacific Coast, and side B has four songs from the Caribbean region. In this record take part bands and also collaborations between independent musicians. Six of the songs were composed for the album. Independent record label Bánfora Records produced Mangle Rojo, with support from the Ministry of Culture of Colombia

Body Beat: Soca-Dub and Electronic Calypso (1979-98) comprises 17 obscure Soca B-side versions, dubs, instrumentals and edits as well as vocal tracks influenced by disco, boogie, house-music, soul and the more conscious lyrics of roots reggae. This compilation traces the soca genre from its explosion in the late 1970s right up to the period just before contemporary soca became established around the end of the 1990s.

Dorival Caymmi was a Brazilian singer, songwriter, actor, and painter active for more than 70 years beginning in 1933. He contributed to the birth of Brazil's bossa nova movement, and several of his samba pieces, such as "Samba da Minha Terra", "Doralice" and "Saudade da Bahia", have become staples of música popular brasileira. Equally notable are his ballads celebrating the fishermen and women of Bahia, including "Promessa de Pescador", "O Que É Que a Baiana Tem?", and "Milagre". Caymmi composed about 100 songs in his lifetime, and many of his works are now considered to be Brazilian classics. Both Brazilian and non-Brazilian musicians have covered his songs. Ben Ratliff of The New York Times wrote that Caymmi was "perhaps second only to Antônio Carlos Jobim in 'establishing a songbook of [the 20th] century's Brazilian identity. This anthology is truly a majestic entry into his own influential lifetime.

Many music fans will remember Jimmy Salcedo due to his wonderful work as arranger and producer with the duo Elia and Elizabeth in the early 70s. Their delicate songwriting acquired, after his treatment, a special Tropical aroma that even included the funk influences received by Salcedo at that time. He released with his band, La Onda Tres, a few LPs and singles that had a limited distribution, mainly in Colombia only. This anthology comprises a selection of songs that celebrate Salcedo's sound signature: a base of coastal funk with vocals and melodic bubblegum-bomb arrangements and hints of light psychedelia. Many of the compiled songs became popular radio hits in Colombia that Jimmy Salcedo and La Onda Tres recorded and arranged at the Zeida studios in Medellín.These recordings include Latin-jazz tracks ('Mira') with stunning percussion solos, songs recorded under a heavy Caribbean-soul influence ('¡Qué linda es Colombia!' and 'Lo mismo de siempre') 'Maranguango', an irresistible mix of Afrolatin percussion and catchy Tropical harmonies spiced up with moog keyboard sounds, fuzz and wah wah guitars and even touches of hammond, in a psychedelic funk style, an exhilarating moog driven instrumental with a heavy Afro-funk rhythm ('Moogambo') and revisited Latin classics ('Moliendo Café').Jimmy Salcedo's big popularity in Colombia is due however to his long career as TV presenter at 'El Show de Jimmy', running for over 20 years, where he would also perform with his band and act as a comedian. His life was tragically cut short and died in 1992, when he was only 48, due to health issues. This compilation celebrates his superb musical legacy and makes most of these songs available again for the first time.

This mega-rare 1969 album pays tribute to the Bronx and Brooklyn neighborhoods where young Latinos had invented the boogaloo a few years earlier. This record highlights the quality of Peruvian boogaloo and the talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos.First time reissue.In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country.From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island.In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade.But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning.MAG was undoubtedly the best representative of these new sounds. In 1969, the LP "Acabo con Lima, huyo pa' Nueva York" was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family...

'Mantra Moderne' is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Zé, Os Mutantes, Cortex and co.

The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.

The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12-hour window, pawning contemplation for spontaneity.

Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb; meaning mixing could not be revisited!

Out of the social unrest and revolutionary times of the early 1970s a new musical art form emerged on the streets of Port of Spain, Trinidad & Tobago. A group of young guys started to combine poetry with drumming and created the musical art form that is known today as Rapso.
Poets known as much for their fiery verses as they were for leading protests were at the vanguard of the 1970s Black Power revolution. There was a new consciousness building in the Trinidad and Tobago arts scene. The two most influential characters were Cheryl Byron and Lancelot Layne.
Lutalo ‘Brother Resistance’ Masimba and others would play basketball during the day and come back out at night, ‘liming’ and playing drums. Other people from the block would join with instruments and Brother Resistance would perform his poetry on the rhythms. The prestigious boys school that Resistance attended refused to acknowledge his attempts at creating verses that reflected the rhythm of the Trinidad and Tobago creole. ''They said it wasn't poetry. They didn't want to put it in the school magazine.''
Resistance and his friends toyed with other words to describe their style. They came up with 'rapsody' but one night during a show in Santa Cruz somebody in the audience shouted out ''How you could rap so!'' And the rest is history.
They recorded their first album ‘Bustin Out’ in 1980. More albums followed and they started to work as producers. In 1986 the band performed at ‘Caribbean Focus’ festival in London and toured the U.K. which helped to lift their reputation internationally. The same year Brother Resistance decided to produce his first solo album and went to England to record ‘Rapso Take Over’. This album contains the highly acclaimed tracks Ring De Bell, Dancing Shoes Rapso and Star Wars Rapso. An unreleased take of Wars In Rapso is featured on this Cree Records 12''.
The band wasn’t too impressed with the ‘English’ production and they decided to record a new version of the song. Junior Wharwood recorded the guitar tracks. Resistance came up with the idea of Tonight Is De Night. The more or less improvised song became a big carnival hit in Trinidad and he went to perform it live with bands like Sound Revolution, Shandileer and Charlie’s Roots.
At the time, these tracks received little airplay in Trinidad and Tobago, but they're undeniable hits that continue to be in demand dancefloor bangers. For this 12'' we have selected four of Brother Resistance's most in demand tracks. Long live Kaiso – Rapso take over!

This new 7-inch by S-tone Inc., that includes two brand new tracks, confirms Stefano Tirone’s 20-year old collaboration with Brazilian songwriter Toco. “Try My Love” is a fluid, relaxed and dreamy funk song that blends soul jazz with a ‘70s downtempo drumming groove. “Odoya”, featuring Toco on vocals, is a bit more faster composition, that would perfectly fit as a soundtrack of a typical Italian police movie from the same decade! Simply fantastic!

Stefano Tirone is an eclectic artist, open to a wide range of different music genres. This new 7-inch, that includes two brand new tracks, confirms his 20-year old collaboration with Brazilian songwriter Toco. Working on these songs for Stefano was like going back to the years when he used to listen to Acid Jazz music, especially to the records produced by the Mizell brothers. Their influence here is obvious from the first notes: the funk in “Try My Love” is not as high-fueled as in James Brown’s songs but, as the legendary brothers taught us, by blending a hint of soul jazz with the ‘70s downtempo drumming groove, we get a fluid brew, relaxed and dreamy. This is exactly what “Try My Love” is about. “Odoya”, featuring Toco on vocals, is a bit more faster composition, that would perfectly fit as a soundtrack of a typical Italian police movie from the same decade! Simply fantastic! - - - Stefano Tirone è un artista eclettico e aperto a una vasta gamma di generi musicali. Questo suo nuovo 45 giri, che contiene due nuove tracce, conferma la sua ventennale collaborazione con il cantautore brasiliano Toco. Lavorare a queste canzoni è stato per Stefano come volgere lo sguardo agli anni in cui era solito ascoltare dischi della scena Acid Jazz, specialmente quelli prodotti dai fratelli Mizell. La loro influenza è evidente sin dalle prime note: il funk di “Try My Love” non è carico di energia come quello di James Brown ma, come i leggendari fratelli ci hanno insegnato, dall’unione di un pizzico di soul jazz con il groove di batteria ‘downtempo’ tipico degli anni ‘70 otteniamo una miscela fluida, rilassata e sognante. Esattamente ciò che si respira in “Try My Love”. “Odoya”, brano che vede la partecipazione di Toco alla voce, è una composizione dal ritmo leggermente più sostenuto, perfetta come colonna sonora di un tipico ‘poliziottesco’ italiano! Eccezionale!

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

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

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

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

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

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

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

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

Limited to 1000 copies.

Careful, “Let’s not get angry” suggests Spartaco Sax, the famed song accompanying French daily paper FRANCE-SOIR’s campaign against road violence: music isn’t that serious, often times really not. In any case, it is with this not so serious ear that one should listen to this selection of chachacha, mambo and other genres to twist and madison to, as music-lovers pinch their noses and block their ears. And yet, these breezy and light songs under their false airs of effortlessness draw out an astonishing analysis of late 1950s France with its partying baby boomers. Put on your dancing shoes, everyone on the dancefloor, let’s go baby.
The record starts out with an esoteric organ, a guitar straight out of a western, a vibey rhythm section, a speeding saxophone, a glamorous voice, a curious keyboard, a slightly panicky tempo… “Please Mr Hitchock!” calls out a voice from the unknown, on an arrangement that’s about to lose control.
The tone is set. Eins Zwei Drei, cries out Spartaco Andreoli, creator of the Chachacha for tunas, lyrics that are absurd accompanying music that isn’t so much so. And this is just the beginning. I can already see those making fun of it, and yes, I admit it does sound a bit comically-tragic, but more often than not, a persistent riff or melody will get stuck in your head, a chorus that you’ll start unintentionally humming, your foot that starts beating unbeknownst to you. “C’est bon ça dis donc !” (This is pretty good), suggest the Los Goragueros, at the start of their Mambo Miam Miam (Yum Yum). A smooth sax, a double bass that sways and shattering percussions, this song anonymously written by Alain Goraguer (there is often an “os” (bone), added to the band name for a little authenticity, i.e Los Chiquitos and Los Albinos) is actually quite tasty. This arranger and pianist who went on to write the indispensable Planète Sauvage (Wild Planet) is not the only one to have advanced half-masked in these tropical times. Just as Michel Legrand devoted himself to rock music, for better or worst.
Tropical music and France go way back. Indeed, this tropism for exotic music, not without the mannerisms that go with it, has been around. Just think of the period between both world wars, when the Paris of the roaring twenties fluttered to the sound of Latin-American orchestras. The influential Brazilian musician Pixinguinha came through in 1922, the charismatic Cuban singer Rita Montaner triumphed a few years later at the famed Palace and the brilliant clarinettist Stellio from Martinique had everyone dancing through the night to the beguine (a dance style from Martinique)… Seedy cabarets and fishy clubs mixing up different peoples and music until the early hours. From Montparnasse to Montmartre, dancing clubs bloomed throughout the capital while the World Exhibition sold a rather uncertain idea of the other tropics: a discounted and fantasized exotic dream of island life. It’s in bars like Jimmy’s, by La Coupole, or the Melody’s nestled in the heights of Pigalle, where Don Marino Barreto’s (Cuban pianist and singer who emigrated to Paris in the 1920s) orchestra made the heyday of a surreal and carefree Paris. Parisian Ray Ventura and his band Les Collégiens, quite the breeding ground for funny songs, at times almost delirious, were always a big part of the party.
And after the Second World War, it started all over again. Rico’s Creole Band was one of the great Creole orchestras to sway all of Paris, the Blomet Ball brought together the Afro-Caribbean communities, L’Escale became an essential dancing ground for lovers of Latin music, the pianist Eddie Warner was one of these pillars, accompanied by his “rhythms”, a “witty orchestra with 85% of French musicians, only the percussionists were South American”. Another jazzman, Henri Rossotti, also navigated in the warm waters of these gentle tropical shores. They covered sambas and mambos, adapting Benny Moré and Pérez Prado. Hot, like the hard-hitting Benny Bennett and his orchestra of Latin American music, which ended up being the training grounds of many apprentice improvisers. On the menu: calypso, merengue… and of course chachacha. Shortly after, the Los Machucambos, a South American band created in the Latin Quarter performed music between guajira and flamenco and its song Pepito marked the start of the trio’s success.
At the time, Latin-style combos were all the rage in France such as the chachacha which was officially invented in the early 1950s by Enrique Jorrin, soon followed by the pachanga, becoming a staple of black-and-white films. In the long run, this music has become a sort of French standard, adapted by many: Boris Vian oftentimes, Bourvil, Bob Azzam, Gainsbourg, Carlos (jokingly), Louis Chedid, Vanessa Paradis… Taking it a little far, you could even detect the beginnings of the french touch. This Chachacha affair is emblematic of the atypical history of popular music, that of back-alleys, far from the paths and furrows of glory. Music, raised from the grave and dusted off by the Born Bad record label. In terms of latin music, these records that were patiently found in flea markets are becoming a rarity, even if most are worth three euros and six cents: this low cost hobby is underestimated by licensed collectors, who run like lunatics towards triple-zero rarities.
Chachacha Transistor, predicted the unlikely Jacky Ary, known for his less digestible Mange des tomates (Eat tomatoes). With the approach of the 1960s, typical music styles were found all over the country, from the northern plains to the southern sea. Never failing to cheer up dances, nor to whet the appetite of a burgeoning industry, which often seized it by opportunism, not without a tinge of cynicism. After all, one must sell records to the desolate youth, at all costs and any price. These 7-inch vinyl records were therefore recorded at Barclay, Vogue and co. Low-consumption products intended to supply the shelves of budding suburban supermarkets. The idea was to convert a North-American trend in the studio, by summoning old geezers (Paul Mauriat under the pseudonym of Eduardo Ruo, at the top of the list…) who would play young and interpret these rhythms with a distorted vision. All for just one season and all this before summer hits were a thing. It was already the same idea though, but in more of a D.I.Y fashion. A quick fix, just enough time for the producers to get some juicy revenue, the same ones who recruited teams to perform these “inferior” works. Most were flops, but a few made it big such as Jean Yanne answering to Henri Salvador for Allo Brigitte, a classic of the “comic-musical” genre. It’s author Norma Maine went on to write quite a few of these quirky songs.
Most had improbable dialogue, as well as senseless adaptations such as the Marchand de melons (The Melon Merchant) distorting Herbie Hancock’s Watermelon Man, a result of automatic writing in order to come up with ridiculous lyrics. What can be said about Tarte à la nana (Girl Pie), and how about Ça c’est du poulet ? (This is Chicken?) Or the terrible Soukou Soukou, on the limit of bad taste, words of a colonist… When it comes to reappropriating foreign know-how, the results can turn out strange like a surreal shock of cultures. Improbable mixes, like chacha bebop, latino tempo and scat jazz… It all definitely swings and is sometimes even quite impressive. Because magical loose moments are to be found in these records made to order, records that were just trying to recreate a successful pre-existing North American formula. They recorded them on the line, in the original spirit, or inconspicuously modified them, not only for fun, but also for the pleasure of adding on a chorus which would take the song a little further, or a well adjusted rhyme that would denote a touch of derision, a French tradition that was to be repeated in rock as in punk, and even bossa nova. The key often being explosive arrangements, occasionally beautiful choruses, radiant mishaps, confusing mistakes, not necessarily off-topic, all in all some sweet musical trips that always have an effect on the dancefloor when it’s time to boogie. Try it out, you’ll see, it works every time, if you don’t abuse of it. Moderation is recommended for this music that should be served either at cocktail hour or after midnight…

Deluxe Gatefold Vinyl 2LP, 12 page booklet with liner notes, lyrics in Spanish / English, and rare photographs from that era). This compilation brings together 24 iconic songs from that era, with a focus on the theme of love songs (A + B side) as well as social political songs (C + D side), highlighting the emotions that this music brought to the popular working classes of Lima, nationwide and the diaspora. More than 30 years later, these songs continue to resonate like the mirror of a country that was reborn but this time is looking at itself and its own identity.

From the mid-1960s onwards, there was a unique moment of fusions in Peruvian culture brought about by Andean migration from the countryside to the city which gave rise to adaptations and intercultural mixing. The culture and music they brought created the powerful genre of Andean tropical cumbia, via electric instruments and arrangements along with modern, popular pop sounds, creating a legacy that is alive to this day. Musical revolutions are often born from the people. Peruvian “chicha” cumbia is the music born in the "barrios bajos” (slums), alleys, hills and the peripheries of Lima on the coast and cities on the edge of the Andes mountains in the late 70’s and 80’s. The true new Peruvian sound was not played with folk instruments but with guitars and timbales. In the 60’s and 70’s Peruvian tropical music was characterized by psychedelic hybridity and instrumentals for mass delight, by the mid-70s the appearance of a "class consciousness" and therefore a subaltern narrative. “Chicha” is perhaps the genre that has most emphasized its pride in being proletariat, itinerant, provincial and hardworking.

Founded in Lima by Juan Campos Muñoz, a businessman, dreamer, and also a lover of music, Discos Horóscopo was a label company on the margins of the official Peruvian music industry. Learning the ins and outs of capitalism in the 80’s was hard because it was the decade where the wildest neoliberal policies and the most extreme Maoist sendero luminosa revolt began simultaneously. On Juan Campos’s end, it was the moment to initiate this new venture of Chicha music, which would allow Chicha to emerge symbolically (and then economically) to a new social class composed mostly of migrants, landless peasants, and proletarians without a factory.

Between 1977 and 1987, the Discos Horóscopo label produced the largest wave of Andean tropical cumbia in the world; Chicha, a reference to the fermented alcoholic drink from the Andes. The label was filled with contemporary icons such as Chacalón y La Nueva Crema, Los Shapis, Pintura Roja, Los Ovnis, Grupo Alegría and other groups which today still have a cult status in Peru and beyond. Together they created a unique style with the capacity to talk about both love and uprooting, unemployment, struggle of classes, internal violence and impossible loves.

High Quality pressing in vintage silk screen sleeve. Fiestas is an ultra catchy foxtrot by the Colombian clarinet player and ar-ranger Ricaurte Arias.This American-style swing spiced up with a layer of Colombian sauce is an irresistible ear worm that takes the concept of smoothness to another level. Definitely the foxiest of all foxes.

100-year-old Walter Gavitt Ferguson from Costa Rica is a living legend, a Calypsonian of mythical proportions. Rooted like an old tree on the caribbean shore, he has never left his home town to look for fame, instead fame came looking for him. Throughout eight decades his musical gifts have attracted people from near and far, contesting Calypsonians, travellers, musicologists, musicians, pilgrims and the president of the Republic. They once even moved a recording studio to his house, as he refused to go to the city. But many years before that, Ferguson used to sell his legendary self recorded cassettes to travellers and music lovers from all around the globe. He never kept a copy and with age startet to forget many of old compositions. A recently started, international "Tape Hunt" was able to locate more than 25 such tapes in Canada, Costa Rica and the United States and rescued 60 of his forgotten songs. Vol. 2 of this tropical treasure is now available, resurrected directly from original cassettes of the Calypso King.

Formed in 1980 by guitar prodigy Leonardo Vela Rodriguez, Sonido Verde de Moyobamba created some of the hardest, craziest Cumbia to emerge from the Peruvian jungle. With distorted, surf-addled guitar facing off against lysergic organ and hyperactive tropical rhythms, Sonido Verde conjured the organic sound of the dense forests surrounding their hometown while riding their dance-party grooves to dizzying psychedelic peaks.

Compiled by Analog Africa, Sonido Verde de Moyobamba presents eight ultra-rare tracks of guitar and organ madness drawn from the band’s five albums recorded for Discos Universal between 1981 and 1987. Pressed on Sun Yellow colored vinyl, housed in a screen-printed jacket and strictly limited to 2000 copies, Sonido Verde is a definitive trip into the heart of the jungle.

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.

"Created by Marc Brown and Chris Franck, this track marks the first release from their forthcoming album. You may know them from their Smoke City days or from Marc's KV5 releases and Chris as Da Lata.
This limited release seven inch represents a rebirth of the Humble label, an imprint Marc began in the 90's through the broken beat specialists Goya distribution.

The track is a mid tempo electronic Afro-Brazilian song which features the vocals of Sérgio Pererê, an artist hailing from Belo Horizonte, Brasil. The vocals were recorded in Brasil and the link was forged through Chris's Brasilian music connections.

The B side sees London based Reggae supremo Gil Cang dub out the rhythm in a heavy manner, Gil is in house producer at Tuff Scout and long time Mannaseh collaborator."

Fabiano do Nascimento, one of the most popular and talented guitarists/composers in the Brazilian scene today, and Itibere Zwarg, the backbone of the Hermeto Pascoal Group, will be releasing a new album as a collective!! The new album will be released worldwide from rings!! ---- "Fabiano do Nascimento, the guitar virtuoso who shared Brazilian music with Sam Gendel, has completed a beautiful recording with a collective by bassist/composer Itibere Zwarg, who also received praise by Pino Palladino. It is a truly creative and inspiring album that beautifully captures the empathy that exists between Los Angeles and Rio de Janeiro." - Masaaki Hara (rings) Artist : Fabiano DO Nascimento & Itibere Zwarg Collective

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.

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.

“We are inspired by our own experiences, as well as those of others. The last year was the beginning of a new era for all of us and it has left us with much to analyze and the need to rethink our priorities. There’s been so many changes on this planet: the confinement, the constant looking back at the past, the struggle of many against endless injustices, love, all this leads to the fact that our new songs have very current themes but that also transcend time. They continue the characteristic sound of Acid Coco, with the undeniable influence of the Caribbean.” Acid Coco If we can define folklore as the passing on of traditions from a particular group of people, then there can be no denying that Acid Coco, whether consciously or not, are playing an important role in disseminating the folk culture of Colombia’s Caribbean coast. Throughout their music there are links to tradition: the gaita flute typical of rural cumbia, the effervescent guitar licks that are such a big part of the coast’s Afro-diasporic sounds, the teeth-rattling bass indicative of communities brought up on picó sound systems since the 70s, the unmistakable sound of the marimba wooden xylophone (each note like a rain drop on the jungle canopy), and then there are the lyrics. Tradition should not stand still, and in Andrea’s words we find the oral traditions of the last 30 years: on “Hoy Como Siempre” she sings of the need for women to stick up for themselves, to not fall in love too easily; on “Cara Dura” the sentiment is even stronger, its lyrics picking out a male predator on the dance floor who will not be tolerated; and then there’s “Mundo de Mentira” where vulnerability peaks through, the story of a woman whose life has become a “world of lies” since their lover has left – who can she believe now the one she trusted the most has gone? They are stories that could have spilled out of Cali’s salsatecas, Cartagena’s picós or any club the world over, yet through Paulo’s canny production there is no doubt where we are. Dembow, cumbia, reggaeton, even on the spiky Caribbean folk of final track “Por Las Venas” or chiptune melody of “Aquí y Allá”, there is nowhere we can be other than on Colombia’s Caribbean coast. It’s music that comes from lived experiences, from growing up in Colombia’s clubs and through its violence and daily realities. Culture is being passed forward.

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!

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.

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

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.

The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives. Mamarron, Vol. 1 consists of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual.The tracks were laid down on their debut record that saw the light in 2020 in the middle of the pandemic and are now re-released in 2022 by ZZK Records imprint AYA records and being pressed on vinyl. The vinyl album also will include the bonus track "El Peruanito" remixed by Colombian producer Santiago Navas. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Herm...

A download code is included. Satanique Samba Trio is an instrumental Brazilian quintet that deconstructs Brazilian folklore & with free jazz and punk aesthetics, a soundtrack that reflects the country's current political feeling.

"When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic. Co-compiler and Brazilian music aficionado, Greg Caz says: “Without necessarily having a central theme
other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular
sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one’s familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many
DJ boxes and playlists.”

The stunning 45s from this set will now be available for individual sale. The series kicks off with Toni Tornado’s 1972 single Bochechuda b/w Aposta as well as a split 45 with the out and out rocker from Antônio Carlos & Jocafi (Quem Vem Lá) on the A-Side and the groove laden “Paz E Amor” from Os Incriveis on the B-Side."

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.

Highlighted here, the joyous family flavours of Trio Ternura and a samba-funk masterclass from Eliana Pittman, cut loud and proud on either side of a seven inch.

First, we have the uptempo funk-soul sounds of ‘Vou Morar No Teu Sorriso’ courtesy of sibling group, Trio Ternura - taken from their self-titled 1971 LP. Comprised of sisters Jussara, Jurema and their brother Robson, this track is a real favourite of ours and a regular spin in our DJ sets. Tight drums, breaks and percussion lay the foundation for those jubilant vocals, funk-powered organs, punchy horns and grooving bass to transport you to sandier shores.

On the B side, a slice of dancefloor samba-funk-MPB radiance from Eliana Pittman with ‘Quem Vai Querer’. Originally released in 1977 on RCA, the rolling samba groove, layered percussion and lovely lead vocal from Eliana build into a carnival-flavoured chorus to lift even the lowest of moods.

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. The late composer, arranger, musician and record producer Nonato Buzar is a lesser-known great outside of Brazil. His legacy leaves behind a rich body of recordings, working with some of the cream of the Brazilian ‘60s and ‘70s music scene, including Evinha, Elis Regina, Wilson Das Neves as well as reggae legend Jimmy Cliff. The awesome organ driven dancer ‘Cafuá’, with its zesty horns and sun-soaked vocal tones, is taken from Nonato & Seu Conjunto’s 1975 'O Som E O Balanço De Nonato’ album on Som records.

Most famed for his ultra rare 1973 track 'Lotus 72 D’, which Mr Bongo reissued in 2019, José Roberto aka Zé Roberto’s other 7 inch from the following year, also held a gem within its B side grooves. 'Crioula Multicolorida’, though not as scarce as ‘Lotus 72 D', is still a super hard record to track down and is equally as great. This anthemic ‘samba rock’ pearler, with its amazing breakdown and strutting groove, has long been a favourite amongst Brazilian DJs and collectors. The track also featured on the influential ‘Via Brazil’ compilation series and 'Brazilian Beats Brooklyn' collection on Mr Bongo.

HIGHLIGHTS Rare 1966 Brazilian album with a jazz/bossa nova take on songs by the Beatles, all served up with plenty of great keyboard work from the legendary Manfredo Fest who would later become member of the Sergio Mendes band.The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations.First time vinyl reissue.DESCRIPTIONRare 1966 Brazilian LP with a jazz/bossa nova take on songs by the Beatles performed by the very talented Manfredo Fest and his trio. It was originally released right after their classic 1965 RGE album and has a very similar jazz-based sound. Manfredo Fest was part of the gathering of Brazilian musicians of the late-'50s who were developing the bossa nova movement, and he made a number of trio recordings in that vein from 1961 to 1966. After emigrating to Minneapolis in 1967, Fest moved to Los Angeles where he served as keyboardist and arranger for Bossa Rio and toured with Sergio Mendes.This recording is all instrumental, strongly jazz-based, with piano as the main solo instrument, soaring over the top of some tight, crackling rhythms! The songs are all played with imaginative scents that really take them from their roots as pop songs and open them up as groovers filled with keyboard improvisations.A nice slice of how the bossa nova sound was evolving in its homeland as well as the international impact the Beatles were having on countries outside of the U.S., England, Japan, and Germany.First time vinyl reissue.

Previously unreleased 1981 live recording.

Over forty years since this historic happening, Far Out Recordings is overjoyed to release this magical recording of Hermeto Pascoal e Grupo Live at Planetário Da Gávea, on double vinyl LP, CD and digitally for a February 4th 2022 release.