Latin | Brazil 187 Items

Prodigy child Marisol a.k.a. Pepa Flores was born Josefa Flores González in

Málaga, 1948. She was discovered in 1959 and started a successful solo career

that took her to win the Best Child Actress prize of the Mostra de Venezia in

1960s. She did many movies for Spanish directors, also for actor/director Mel

Ferrer in Hollywood and did also T.V. work.

Parallel to her cinema and television career Marisol produced an impressive collection

of records. This double LP set collects some of her most famous hits, spreading

through a variety of styles that go from traditional Spanish flamenco flavoured tunes to

ye-yé beat to more sophisticated pop productions, including songs written by famed

Spanish composers/conductors such as Augusto Algueró and Manuel Alejandro,

Spanish pop stars Juan y Junior and Los Brincos or jazz legend and ubiquitous

arranger / producer Juan Carlos Calderón.

Since her child star days, Marisol evolved both as an artist and as a civil rights

defender through the years until she retired from public life in the 1980s. This collection

is a small representation of her works from her earliest recordings in 1962 through

some of her more mature productions.

180 gram pressing

180 gram pressing

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.

"Eternamente“ is the perfect introduction to Hermanos Gutiérrez and their unique
"Instrumental Western Sound". This collection features 12 selections spanning four
albums, including songs; "Hijos del Sol", "El Jardin", "Esperanza" & many
more. Packaged in a stunning Gatefold and meant to be passed with love to our
next generations.

Rare Salsa/Soul gem produced by Joe Bataan, which has been out of print for 50 years. Vocals by Papo Felix. Remastered off original analog tapes. Limited to 500 units - splatter vinyl. Released on Ghetto Records in 1971, long out of print.

The best kept secret of the new album by El Dragón Criollo, the jewel in the crown, a song that, like the best of Latin music, comes with dynamite, gasoline and candela for the dance floor as well as reflective and sensitive with the reality of our countries, especially Colombia, where the oppressed are getting worse and worse and those from above always fall on their feet. But let's not forget that dance is catharsis and a good song is the key that opens our senses. "Sentencia " plays this wonderful role, not in vain has it been the last song on the album to be finished with this objective clearly in mind and verified before the release and, gentlemen, the dance floor does not lie. People get lost in this pure fantasy. "Sentencia " goes beyond the ordinary, it is the product of the countless styles that Paulo Olarte has perfected throughout his career as a producer, at a sound and musical level, it has innumerable elements that have influenced his entire personal life and that, without a doubt, comes to shake us with its extreme flavor. "La Número Uno" Dedicated to love and the dancefloor, hot as the earth, a song with the intention of transmitting the most authentic vibes of affection with movement and party. “La Número Uno” arises from El Dragón Criollo’s love for the four women in his heart. At the same time, it does not skimp on fanning the heat of the track. An arsenal of classic elements of champeta and Panamanian reggae from the 90s. The presence of the classic Casio Sk-5 and samples that you will recognize instantly if you are a connoisseur of this real sound, the kind that ignites the rumba in the neighborhood. It is a dedicated theme to fill the energy track while dedicating it to your number one.

Limited to 300 copies. West African and Venezuelan inspired dance floor 45 from Cyril Diaz the 1950's Trinidadian bandleader playing the roots music of his Afro-Venezuelan parentage. His father Gordon Diaz migrated to Trinidad sometime in the early 1900's. Throughout the 1950's Cyril Diaz and his big band calypso orchestra toured the Caribbean and South America recording culturally inspired hybrid calypsos with an African and Latin tinge. Showcased here is his fascination with West African shango on "Mme Killio" Mme Killio is a famous beauty contest in Africa, Diaz’s version being recorded by Emory Cook in November 1957.

Oakland's own Ritmos Tropicosmos follow up their excellent debut single with another pair of cumbia groovers. Since their first release, ELI Reyes and Lesli Rodriguez have joined the lineup and are featured on vocals in this latest offering of bass heavy Bay Area psychedelic cumbia!

We’d like to touch base on the launch of the vinyl of Voltaje Raizal the first album of the tropical futurist music project Rizomagic, an electronic music duo, that consists of Diego Manrique, director of the avant-garde cumbia orchestra Niño Pueblo, and Edgar Marun, director of the ethno-afrobeat ensemble Dorado Kandua; Two outstanding projects from Bogota's new thriving alternative psychedelic scene. Voltaje Raizal will be released on vinyl by the italian label Disaster by Choice on November 21 supported with a musical video for their song CumbiaAchiampong by the colombian visual artist Martin Sanchez. The sounds of the album are rooted in the Afro-Caribbean musical tradition, in the mixed ancestry that defines Colombian culture, and IDM. The melodic construction of the album takes inspiration from variouscultures, including Indigenous chants from Colombia’s Embera people, the traditional scales from Mali’s Bambara ethnic group, and the Ghanian palm wine guitar interpreted by a Caribbean millo flute. The mix and masterization carried out by Eblis Alvarez ( Meridian Brothers, Pirañas, Chupame el Dedo) and Camilo Manchego offered the final touches that make Voltaje Raizal a fresh proposal to Colombia’s futurist tropical scene. “ Rizomagic set our to recontextualize their sources. It’s no coincidence that their name comes from rhizomatic, the botanically derived term for a subterranean, horizontal network of roots”… File Under: Tropical Futurismo, Eletronic, IDM

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

For number 92 in our Brazil45 series, we delve back to another all-time favourite track, 'Embalo Diferente' by Os Devaneios. This sublime funky Samba joint has always ignited the dancefloor for us. It featured on the band's 1978 album, 'O Conjunto Que Faz Você Vibrar’, which originally saw release on EMI. No crazy hype needed for this one, just a fantastic straight-up, no messing Samba Funk made for dancing.

We only know of four albums by Os Devaneios and for the A-side of this 45, we have selected one of our more recent discoveries with a track entitled 'A Beleza É Você Menina'. Taken from their 1979 album 'Raça Suor E Suingue’ (also originally released on Emi), it was recorded only a couple of years after 'Embalo Diferente’. Whilst it remains in that Samba mold, it has also taken on some of the vibe and characteristics of Soul, Brazilian Boogie and AOR from that late 70s and early 80s period. A feel-good and uplifting record, yet one which simultaneously has a hint of melancholy and is all the more beautiful for it. It's always good to discover a new song by an old favourite, and we hope you grow to love it too.

For number 90 in the Brazil45 series, we share a couple of lesser-known discoveries that have become recent favourites here at Bongo HQ.

First up we head to the north of Brazil with funky Forró / boogie hybrid monster, 'Vendedor De Mangaios' by Josan. Originally released in 1981 on the album 'Rio De Renovações’ on Copacabana Records. This addictive dancefloor gem is still relatively under the radar, but it has become a firm favourite at Bristol's Worm Disco Club parties and amongst the DJ's and collectors of Brazil's underground dance music scene.

Taken from the illustrious singer Bartô Galeno's self-titled 1977 album on Tapecar Records, 'Vou Tirar Você Daqui' is an unusual one. Not easily pigeon-holed, the song sits somewhere between MPB / funk and rock, yet isn't really any of them. Backed with a big orchestrated sound and tripped-out synths, the track has a truly unique feel.

We hope you dig these finds. Another testament to the diversity and depth of Brazil's rich musical heritage.

Ykytu is Brasilian guitarist Fabiano do Nascimento’s fourth album for Now-Again Records. Produced by Nascimento’s longtime engineer Jason Hiller, this album is do Nascimento’s first solo guitar album and, like his previous album, Preludio, is reliant on do Nascimento’s own compositions, with a little help from like-minded musical travelers. In keeping with the trajectory of his previous albums, including Dança dos Tempos and Tempo dos Mestres, Ykytu follows folkloric Brasilian music, Brasilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, this time in a minimalist, meditative manner. “Even though this album is a bit experimental and even abstract at times, It is meant to be a calming and easy listening experience,” do Nascimento offers. “I choose to keep the songs and arrangements intentionally very bare and stripped down. Just adding few layers and colors here and there.” The album came together during the Covid-19 pandemic, but one hears anything but isolation in Ykytu’s grooves. Do Nascimento performed the album almost entirely with a Strimon Timeline pedal, with a few loops and overdubs, and the result is a full-fledged, if quiet and subtle, conversation Do Nascimento has with himself, as he ruminates about this stage in his life, in his musical journey, and his music’s place in the world. Ykytu means "wind" in the indigenous Brazilian Guarani language. In his own way, as he was quarantined in Los Angeles, Do Nascimento has succeded in journeying outwards, in heeding the call of the open world. At the same time, he has remained true to the spirit and calling of his forebears, hearing their whispers, amplifying them, augmenting them, and allowing them to flow outwards.

Record Store Day 2021 Release.

A dazzling survey of the last, bohemian flowering of the so-called Golden Era of Ecuadorian musica national, before the oil boom and incoming musical styles — especially cumbia — swept away its achingly beautiful, phantasmagorical, utopian juggling of indigenous and mestizo traditions.

Forms like the tonada, albazo, danzante, yaravi, carnaval, and sanjuanito; the yambo, with roots in pre-Incan ritual, and the pasillo, a take on the Viennese waltz, arriving through the Caribbean via Portugal and Spain.

Exhumations like the astoundingly out-there organist Lucho Munoz, from Panama, toying with the expressive and technical limits of his instrument; and our curtain-raiser Biluka, who travelled to Quito from Rio, naming his new band Los Canibales in honour of the late-twenties Cannibalist movement back home, dedicated to cannibalising other cultures in the fight against post-colonial, Eurocentric hegemony. He played the ficus leaf, hands-free, laying it on his tongue. One leaf was playable for ten hours. He spent long periods living on the street, in rags, when he wasn’t in the CAIFE studio recording his chamber jazz-from-space, with the swing, elegance and detail of Ellington’s small groups, crossed with the brassy energy of ska — try Cashari Shunguito — and an enthralling other-worldliness.
Utterly scintillating guitar-playing, prowling double bass, piercing dulzaina, wailing organ, rollicking gypsy violin, brass, accordion, harps, and flutes. Bangers to get drunk and dance to. Slow songs galore to drown your sorrows in, with wildly sentimental lyrics drawn from the Generacion Decapitada group of poets (who all killed themselves); expert heart-breakers, with the raw passion of the best rembetica, but reined in, like the best fado.

Sumptuously presented, in a gatefold sleeve and printed inners, with a full-size, full-colour booklet, with wonderful photos and excellent notes. Limpid sound, too, courtesy of original reels in Quito, and Abbey Road in London; pressed at Pallas.

Highlights:Austin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru'slegendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.This New Single Features Two Cover Versions Of Chacalon And Los Destellos Classics Recreated Here In A Faithful Yet Updated And Energetic Manner.It Anticipates Their Forthcoming New Album That Will Feature Guest Collaborations With Peruvian Legend Joseluis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.Description:Austin-Based Future-Cumbia Group Money Chicha Presents A Fascinating Exploration Of The Nexus Of Peru's Legendary Fuzzed-Out Early Chicha Sound And The Band's Unique Application Of Chicha-Influenced Sounds To Their Own Original Compositions.'Maria Teresa', A Song Written By Roberto Zavala And Brought To Fame By Chacalon, Is On The A Side Of This New Single While We Find 'Cumbia Del Desierto' On The Flipside, An Instrumental Classic By Los Destellos That Money Chicha Recreates Here In A Faithful Yet Updated And Energetic Manner.This Single Anticipates Their Forthcoming New Album That Will Include Guest Collaborations With Peruvian Legend Jose Luis Carballo (Chacalon/La Nueva Crema) And Colombian-American Vocalist Kiko Villamizar As Well As Nemegata Frontman Victor Cruz On Percussion.

Straddling the line between new and old, Meridian Brothers’ mischievous blend of Latin rhythms and psychedelic grooves is the creation of Eblis Álvarez, one of the key figures of the experimental music scene in Bogota. As with all of the Meridian Brother’s releases, every instrument on ‘Deseperanza’ was played and recorded by Eblis himself.

A true avant-garde guitar player and composer, Eblis also plays in Mario Galeano’s band Frente Cumbiero and was one of the 42 musicians involved in the recording of Ondatrópica.

Meridian Brothers are at the core of a burgeoning music scene with cumbia, salsa and currulao all being explored by a new generation of Colombian musicians. Last year’s "Meridian Brothers VII" received key recognition from New York’s Names You Can Trust, who combined two of its tracks on a highly collectible special edition 7”.

‘Desesperanza’, Meridian Brothers first fully-fledged worldwide release, is dedicated exclusively to salsa and tropical music, twisting it through a dark and theatrical psychedelic soundscape but never abandoning the traditional aesthetics.

The fourth release from Jazz Is Dead records features Azymuth, one of the bands in Brazilian history, redefining Popular Brazilian Music. Having released almost 20 albums in their career, Azymuth proves to be a consistent source for an innovative mix of jazz, pop, MPB, and electronic music.

Composed and produced by Adrian Younge & Ali Shaheed Muhammad and recorded in the Linear Labs analog studio.

This wonderful self-titled album by pianist, singer and composer, Johnny Alf, was first released on vinyl in 1966 by Rozenblit. Here the bossa nova pioneer sings beautiful songs, featuring the legendary musicians Hermeto Paschoal (flute) and Airto Moreira (drums).

The album that you now enjoy has been compiled by El Palmas & El Drágon Criollo an begins with the theme that every afternoon, starting at 6 O´clock, all the youth of Caracas waited anxiously: “Introduction Theme” by Los Supersónicos was the wake-up call to introduce the charge of surfing that that later it would explode in El Club Musical.

And from the same group, another of their greatest hits is included, such as “Rosas Rojas para una Dama Triste”.

The Dangers were in charge of entertaining many youth parties in Venezuelan society. Their great success was “Congratulations”, an obscure Ricky Nelson song, of which they made an excellent cover. And to demonstrate the great influence of the British group The Shadows - present in all the youth bands of the time - here they shine with their recreation of the song “González” The Blonders were by far the possessors of the purest and most crystalline sound among the surf groups in Venezuela. A bold and highly imaginative arrangement of the classic “Lamento Borincano” is enough to justify its inclusion in this compilation.

And although The Impala came to have the most aggressive and rock-and-roll sound, here they show another facet of their music with the songs “Triste” and “Desafinado”.

Music With Soul returns with another genre-defying instant classic, expanding the limits of the Tropical Dance music universe.
Staying true to the label's essence, founder Alex Figueira places a high bet with this new release, introducing a brand new breed of traditional “Hindoestan” (Indian diaspora in Surinam) music and Cumbia. Taking the music of underground Surinam musician and empresario A. Bechan for an explorative excursion into the depths of the Colombian caribbean coast, this explosive combination raises the bar unquestionably. Equally weird, groovy and trippy, this 45 will turn any party upside down, regardless of any factors. The only problem you will encounter is what to play after. The solution is right on the other side. Just flip the record and give them the Instrumental version, featuring electric guitar, an alternative percussion set up and the beloved classic Juno-60 synthesizer in the leading role for another 4 minutes of dancefloor catharsis.

After the trilogy of King Sporty & The Ex-tra's EPs in 2018, Emotional Rescue returns to the music of Noel Williams with this first ever single release of his 1976 reggae disco bomb, Safari, backed with a special discomix by Lexx.
Taken from William's debut album, Deep Reggae Roots, it can be considered a culmination of his career to date, from growing up on the streets of Kingston, Jamaica, to his first singles for Studio One and Trojan, his relocation to Miami and the birth of his Konduko label and moves to incorporate the local clubs growing affiliation with funk and disco.
Prescient to the coming wave, Williams enlisted some of Miami's finest in George Perry and Clay Cropper (Chocolate Clay), Ron Smith (KC & The Sunshine Band) and legendary producer Alex Sadkin (Compass Point, Bob Marley, Grace Jones, Talking Heads).
The stand out from the album, Safari, with it's hazy, low slung groove of razor sharp rimshot, guitar licks and funk bass is topped with an incessant chant 'Disco, Safari'. Criminally brief, the choice of Lexx to step in the mix was a simple one. His dubbed rework is perfect, laidback, letting the groove roll and King Sporty's mantra shine.

Originally released in 1995 and compiled by David Byrne of Talking Heads. Now the first time on vinyl.

For a very long time, we have been trying to re-issue this record; a true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre. Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form. The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly. The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others. The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

Originally released in 2012, the second album by the São Paulo-born composer Rodrigo Campos marks a turning point in both lyrical and aesthetic inspiration. “Bahia Fantástica” is the result of the absorption of a then recent influence of soul music (especially Curtis Mayfield) and is in the middle of this path marked by an unlikely geography in the lyrical part (São Mateus, Bahia, Japan) and by an expansion of sound ( from samba to the indefinable, with a passage through black American music).

The album turns ten years old in 2022 and exudes vitality. The soul reference takes on a different aroma when it passes through the filter of the composer and his band – formed by Kiko Dinucci on guitar, Marcelo Cabral on bass, Maurício Fleury on keyboards, Maurício Takara on drums and Thiago França on sax: it has Brazilian sauce, hints of afrobeat and a very particular seasoning. The lyrics bear the artist's mark: they project scenes in the listener's imagination and design the characters and environments with their own style of subjective chronicle. Bahia is both imaginary and intimate in Rodrigo Campos’s music.

Brownout’s legendary status as a “Funk Powerhouse” (Stereogum) is a reputation well deserved. The band of musicians have an impressive resume performing with Prince (RIP), GZA of the Wu-Tang Clan, Bernie Worrell (RIP), and accolades from Ozzy Osbourne for their Brownout Presents: Brown Sabbath project. The latter helped grab the attention of Fat Beats Records, who worked with the band to release the critically acclaimed Public Enemy instrumentals project Fear of A Brown Planet in 2018. The Austin 9-piece is back with their first full length album of original music in over 8 years. The album, aptly titled, Berlin Sessions (out March 6, 2020 on Fat Beats) was produced by Steve Berlin of Los Lobos and is the first with lead singer Alex Marrero, whom they originally collaborated with on their wildly successful Brown Sabbath records. Berlin Sessions finds the group merging a multitude of styles, from rock to psych and of course the Latin Funk and Breakbeat on which they have built their sixteen-year career and reputation as Austin's premier party-starters. NPR recently featured the band on their heralded “Tiny Desk Concert” series, performing songs off the new album. NPR described the diversity of the band, stating, “One of the things you need to know about this band is that they can change traditions or genres almost on a dime. The core members dip into soul, Latin funk, a form of Peruvian cumbia called chicha, and funk covers of both Black Sabbath and Public Enemy. What each configuration has in common is the almost telepathic bond the band has developed after 15 years of working stages across the country. As you can see on the video, it's so infectious that Prince once used them for a while as a back-up band.”

180g vinyl edition. Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt

Henri Guédon is an artistic legend from Martinique. Musician, painter, sculptor and one of the main architects of modern Caribbean/Antilles music. Taking the music to truly new and progressive territory from the late 1960’s onward. Karma, his 2nd album is one of the holy grails of the Caribbean cosmic Latin/Jazz scene, near impossible to find in this day and age. Released in 1975 on a small Parisian label, La Voix Du Globe, a label releasing Algerian, Moroccan and Egyptian records, the album was an anomalous release in their catalog. Karma was a convincing and unswerving statement following his stunning landmark debut LP (Cosmozouk Percussion). Incorporating African, Latin and West Indies styles (Gwoka, Mazouk, Biguine, Bel-Air, Bomba...) with cosmic synths swirling all over intense roots percussion. The songs are propelled with a spiritual Jazz vibe mixing with deep ethno-folk music from Martinique and Guadeloupe. The LP belongs to the same vein as as Marius Cultier, Louis Xavier or William Onyeabor for its totally original take on a hybrid music.

Paz en La Tierra is a result of a search by the Meridian Brothers & Conjunto Media Luna of the heart of something that can be called a 'power format' of Colombian Caribbean music; Accordion, Guacharaca, Caja, Congas, Electric bass, and vocals.

Departing from this idea, and casually working with the music of a documentary on the famous singer Diomedes Diaz, Iván Medellín (accordionist of Conjunto media luna), and Eblis Álvarez from the Meridian Brothers, embarked on a new work building a sound exclusively on the traditional format, searching for several spaces between the lines in the universe of accordion in Colombian music.

The duo departed from the basic: the line of vallenato, the most famous in the country but not the only one, the line of sabanero music more of the lands of Sucre and Córdoba inclined towards cumbia, bullerengue, son vallenato among other airs fed the group's ideas. The Barranquilla center deserves a separate mention, due to its cosmopolitan approach, using all kinds of influences, from the Caribbean islands to ancient rhythms or even modern rock and funk, also used as an inspiration for this record.

In the process, new ways of melody appeared and new ways of expression emerged. Although the rhythms used in the record are rooted in the traditional, the duo glitched those rhythms turning them into new directions in the style, using exclusively the past references to transmute the sound into something that looks inside a parallel future.

Using several theatrical situations, alterations in musical structures, and slight deformations of the traditional harmony (a tonal center and its dominant) the result of "Paz en la Tierra" is enigmatic and charming, and at the same time directed towards the dance floor keeping the past alive and flourishing the essence of the tradition.

The release comes in a gatefold cover.

‘Os Orixas’ is rich in layered percussion, horns and guitars. Singer Eloah’s lead vocals are reminiscent of the likes of Ellen McIlwaine, Elza Soares and Joyce. Samba, funk, folk, jazz and MPB over ijexa and African grooves, that combine beautifully across the moods. Os Orixas refers to one of the manifestations of the ’supreme God’ in the Yoruba faith.

The songs were written by Luis Berimbau, assisted by Ildásio Tavares. Berimbau was a very influential multi instrumentalist, poet, writer and composer from Bahia, Brazil. He produced the wonderful folk/psychedelic rock group Perfume Azul Do Sol’s ‘Nascimento’ LP amongst many others.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.
The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.
The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation.
The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

HIGHLIGHTSFirst ever reissue of "Kabwlú", a very hard-to-find album released by Discos Fuentes in 1965.The mysterious Los Picapiedra (which translates as The Flintstones, inspired by the 1960s American cartoonshow), was a short-lived studio group with one albumto their name, "Kabwlú", mixing 'folkloric' and 'modern'elements with calculated 'caveman' humor.It is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects.Several of Los Picapiedra's songs became very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa".Presented in its original artwork and pressed on 180g vinyl.Part of Vampisoul's reissue series of classic Fuentes LPs.DESCRIPTIONWhile Discos Fuentes was known for recording all sorts of interesting sounds from traditional folkloric Colombian music to the latest popular international styles, every once and a while they would put out a "novelty" record, perhaps to exploit a passing fad, and at times the label would green-light something strange or even outlandish. Many of those left-field releases have their merits and have subsequently become collectors' items over the years.One such case is the mysterious Los Picapiedra (which translates as The Flintstones, no doubt inspired by the 1960s American sitcom cartoon show), a short-lived studio group with one album to their name, "Kabwlú" (an unpronounceable, invented "caveman" term that is also untranslatable, but seems to have been the 'traditional...

In a world governed by stereotypes, Lachinos break down the boundaries between people and gender. It is impossible to clearly distinguish the origin, roots and cultures that are specific to each of its members. An association that turns out to be as unexpected as it is effective on their first EP America Lachina, out on Goutte d’Or, a sub-label of french team Cracki Records. America Lachina is also and above all an ode to Latin American music. One travels to the rhythms of merengue, cha cha cha, cumbia or even Brazilian surf, always with a musical commitment to rock accents.

Tropicantesimo is a music ritual extended over time and a celebration of sound and dance. It all started 10 years ago at the Fanfulla club in Rome. Nothing more than a party that over the years has transformed into a collective listening experience out of time and space. Meanwhile the collective animated by DJ Hugo Sanchez, Lola Kola, Rocco Bartucci, Gabor and Egeeno moved to a new club called Pescheria, and opened up to spontaneous live jams and collaborations with musicians and DJs from various backgrounds. Rhythms are incessant while the BPM is slow and hypnotic. Voices flow between songs, messages and pure sound, while music is an organism which produces energy. The fruit of all this lives through extensive production work based on recordings collected over the years. "Tropicantesimo Session 1" is the first of a series of three EPs presented as anticipations of the Tropicantesimo Gitania album release. This first EP contains three songs recorded and mixed at Pescheria, laboratory and home of Tropicantesimo. "Don’t Bla Bla Bla" is an anathema and an explicit manifesto about the need for uncompromised sounds and joy in life. When the music kick in, the usual blah blah blah becomes disturbance, as Lola Kola and Egeeno clearly sing. This is a spontaneous live session, an usual practice that generates the Tropicantesimo sound flow. "Samba e Amore" is a cover of a Chico Buarque and Ennio Morricone's song, written in the late 1960s during Buarque exile in Rome. Here the song has been processed by the Tropicantesimo sound machine with Gabor and Lola Kola claiming for freedom and self-determination in life. "Samba and Love" belongs to the Tropicalist music classic repertoire, a great inspiration for the Tropicantesimo sound and vision. "Luna Jamming" is the result of another kind of experiment. Here the DJ culture is hybridized with the improvised live performance, a meeting that can generate unpredictable encounters. Lola Kola and Egeeno bring Loredana Bertè and Bob Marley together for an unprecedented classic Reggae duet on a contemporary techno dub beat. Needless to add that such a combination of elements generates new visions and reaffirms important values such as sharing and getting together.

On the heels of her Mango Hill records debut single,”Thee Only One” ft. Joey Quiñones from East L.A.’s, Thee Sinseers, Trish Toledo, a devoted fan of soul music, has built her fan base serenading audiences with her sultry voice on soul classics, and earning herself a legion of devotees as a result. Teaming up with The Abuelitos, Trish delivers some of her smokiest vocals yet, with songs like “Coco LaLaLa” & “Do the Wrong Thing”. Understanding that Ms. Toledo is the undisputed queen of the newly coined “Souldies” movement in L.A., the songwriting team decided they wanted to take her to the east coast via Miami for some more tropical sounding vibes. Hearkening back lyrically to such songs as The Supremes, “I Hear a Symphony” or the Toys, “Lovers Concerto”, “Coco LaLaLa” makes that familiar, romantic connection between love and music with some smoldering salsa piano thrown in to spice things up. On the other hand, there’s “Do the Wrong Thing”, a slow-burner with temptation on the rocks. A married woman, a persistent man, and another round of drinks on the way. Will she “Do the Wrong Thing”? You’ll have to listen to find out.

New Wave and Afrofuturism With a unique mix of music roots and cosmopolitan sounds Jaime Roos would become one of the most successful and significant artists of Uruguayan music. Released in 1984, Mediocampo absorbs the new wave trend in a unique way, blending the sounds of synths and electric guitars with Afro drums and Latin rhythms. The songs jump from candombe to rock, from ballad to murga roots, from pop to experimental music. The album paved Roos’ path to stardom in Uruguay and is considered nowadays as one of his most substantial works. 500 copies. 140 gramms vinyl, 12 page booklet included!

Limited edition for Record Store Day 2016!

The perfect Brazilian jazz odyssey created by Roman Andren, also known as "Swedish Deodato"!His finest album "Juanita" wasreleasedin 2007which has a presence comparable to the many masterpieces produced by Azymuth and Airto Moreira!P-VINE presented this album as CD in 2008 and it's finally released as an LP with OBI-strip for the first time!

Jaguar mine the sounds of the Colombian Caribbean and global dance sub cultureson a debut album that veers between psychedelic salsa, taut cumbia-disco and zouk party jams.



Rave culture never hit Colombia in the 90s – an internal civil war and a music industry fixated on blandness and payola made sure of that – but if it had then Jaguar would have been one of its leading lights. On their debut album this Colombian duo excavate the sound of their country’s dance floors, uniting the classy, brassy sounds of cumbia, porro and salsa with the earthier DIY vibrations coming from Afro-Colombian street parties on the coast, melodies and guitar lines learnt from imported African vinyl filtered through drum machines and hand-painted picó sound systems with the bass so high it threatens to knock you over.

The twosome mark out their stall on album opener “Bailalo Tu También” (“You Dance It, Too”), urging all to come and dance on a tune that references champeta (the #1 sound of Afro-Colombian block parties), zouk and calypso, as well as doffing a cap to disco and Brit funk, uniting the underground dance cultures of Colombia, the Caribbean, New York and London in one fell swoop. The cumbia card comes out on “Contra La Corriente” (“Against The Tide”), which with its subtle influences of global bass and minimal post-disco gives this classic rhythm even more thrust. “Ten Presente” (“Keep In Mind”) represents another side step, a salsa orchestra stripped down to just vocals, percussion, killer horn section and raspy charango, with the groove never in doubt.

Yet, if 90s rave culture represented a response to the darkness of the 80s, then something similar is at play here, the image of the Caribbean as a warm, happy and danceable place coming in contrast with the poverty that is the reality for many living there, and this dark underbelly is not ignored by Jaguar. “Is it possible that the people united could become invincible?” they ask on “Guadalupe”, offering a message of hope that one day the inequality, poverty and neglect that is everyday life for many people in Colombia will be diminished by getting behind the same cause. Driven by an 80s-inspired zouk beat, they dream of there one day being a united people with the strength to fight back against the authorities. “¿Será posible, será posible?” they sing, “Could it be possible, could it be possible?” This dichotomy of emotions crops up again on “Siguele El Paso” (“Keep Up”), a pure Caribbean groove that is impossibly infectious with lyrics that speak of keeping those hips moving but can’t help but mention reality, the protagonist of the song dodging bullets and nefarious forces while still keeping their rhythm on the dance floor. It’s a perfect encapsulation of Jaguar’s modus operandi, this is music to make you dance, but it remains grounded, in Colombian and Caribbean musical idioms as well as the hard times that many Colombians are living through. It’s a rhythmic elixir, but with bite; rum straight from the bottle.

Jaguar are two Colombians based in Europe, Paulo and Raúl. Since the 90s their paths crossed, their names mentioned by mutual friends, but it would not be until 2017 that they finally got to know each other. Quickly they established a musical rapport, forming a band with some friends that fell apart just as quickly, but they knew that wasn’t the end, and they continued working on songs, finding their musical language; a path that led them to Madremonte and a sound that imbibes cumbia, salsa, bolero, rock, zouk and champeta, music from across Colombia, from the Caribbean, its Pacific Coast and high into the Andes, all the while transposing these sounds to the dance floor.

Cerrero, Llorona Records Founder's Solo Project, Joins Young "Gaita Flute" And Trumpet Wizard El "León" Pardo (Ondatrópica) For An Acid Cumbia Infused Dub Journey To The Underground Electronic Sound Of South America. Blend Of Ritualism And Futurism, Rough Ethereal Sound, Melancholic Voices And Analog Dub Mixing For A Unique Record That Presents The Work Of The Thriving Electronic Acts From Colombia. Llorona's In-House Act, Cerrero, Teaming Up With Another Colombian, Gaitero And Trompetista, El Leon Pardo. The Enigmatic And Cult Like Figure Has Featured On Many-A-Colombian Record In Recent Years, Including, Ondatropica And Velandia Y La Tigra. Though This Might Be One Of The Most Exciting Match-Ups Yet. Cerrero's Minimalistic Electronic Beats Channeled Through An Analogue Console Alongside The Abraded Howls Of Gaita And Accentuated Trumpet Work. The Deep And Bassy Four-Track Ep, Canción Para Un Amigo, Was Justly Named To Mark The Meeting Of These Two Brilliant Minds. Mixed In The Extemporaneous Ambience Of A Live Recorded Session, It Makes For A Riveting Listen. Six Standalone Tracks, Bound Through Crescendoing Loops Which Culminate In An Ethereal And Atmospheric Ritual Of Sound Which Evokes Colombian Ancestry. From The Spellbinding Opening Of Gaita-Led "Canción Para Un Amigo", The Ep Evolves Through "Todo Te Llevaste", A Track Skillfully Stitched Between Its Vocal Interludes By The Rat-A-Tat Of Accented Tambor, A Fanfare Of Trumpets And Underpinning Bass Line. Closing Out Via "Cumbia En Lejanía"'S, Gaita / Trumpet Led Interplay Into "Despedida", A Pining Jazz Melody Soaked In Reverb, It's As Complete Of A Work We've Heard Yet From Cerrero And Represents Another Glistening Gem In The Ever Increasing Bows Of The Llorona Catalogue. Inescapably Mesmeric As It Is A True Delight.

Those two über-hip expatriate Colombian ‘salsapunks’ are back. Contento’s first album, Lo Bueno Está Aquí, was an artistic and critical success: chosen, for example, by the UK’s discerning national newspaper, The Guardian, as their global album of the month in November last year. Their follow-up, En Lancha Pal Futuro, builds seamlessly on its predecessor. Yet it could not have been recorded in more different, and difficult, circumstances.

The duo’s debut was laid down between 2016 and 2019, a period when the two European-based Colombians, who met at an Eddie Palmieri concert in Berlin, were able to take some serious time off from their diverse individual projects to explore a new vision for salsa. Paulo, a member of Acid Coco, Jaguar and El Dragón Criollo; and Sano, a DJ and producer known for his minimalist Latin house releases for the Cómeme label, crystallized on their debut what Paulo describes as “a new salsa sound that may also make [listeners] want to discover some of the older sounds, too.” That sound is a kind of ‘retro-smart’ combination of Nuyorican boogaloo from the ‘60s and cumbia from the golden age of Discos Fuentes. Contento’s contemporary electronic twist suggests, if you like, a kind of post-modern variation on Dave ‘Baby’ Cortez’s “Happy Hook With an Organ”.

Created in 2006, Setenta, the Latin Soul Band spreads a unique mix over the world scene. For their fifth album Materia Negra, the Paris-based band returns to its roots: hard Latin funk with plenty of Afro-Latin percussion upfront in the mix contrasted with accents of lush vocal harmony and warm, breezy melody. But at its core, there is something essentially darker, rougher and funkier than their previous releases, especially in the guitar and synth work, bluesy minor key arrangements, and lyrical content. It’s essentially a heavier feel with this record, influenced no doubt on the negative side by the current dark times being experienced across the globe due to the pandemic, subsequent economic downturn and the lack of effective government leadership and global solidarity to deal with the crisis. On the positive tip, the inspiring Black Lives Matter movement and international protests against oppressive governments, systemic racism, corporate greed, global warming and environmental exploitation no doubt have something to do with the serious feel of Materia Negra as well. Another crucial aspect to this newfound toughness is what band member and Latin Big Note founder and director Osman Jr. states is the group’s desire to address DJs and dancers who appreciate the rawest songs from Setenta’s previous productions. The desire is to leave their mark on the decks and dance floors of the planet with a genre that “we defend by taking the torch extended by our mentors such as Joe Bataan: Latin Funk!” Setenta’s sound has always been soulful, with plenty of tropical Caribbean roots, but this time there is an even stronger Afro-centric theme and gritty psychedelic R&B angle, clothed in galactic, outer-space trappings, bringing to mind another forerunner, Mandrill, as well as the Afro-Futurist mothership vibe of Parliament-Funkadelic.

For Mancha 'E Plátano, la bomba is a transformative exercise, a way for this group of transplanted young women to teleport to the other side of the Atlantic Ocean, and step into the land of their birth, la isla de encanta, Puerto Rico. Bomba has become a way to be in two places at once for them, a tool of expression in their adopted city of Barcelona, itself a Mediterrean melting pot filled with diverse cultures and countless musical influences. Formed in 2018, the group has been studying and performing the bomba tradition alongside an adoring collective of multi-national musicians and collaborators, strengthening their reverential pride in this uniquely Caribbean cultural tradition. Their debut release was produced and recorded together with Names You Can Trust while in Barcelona at Nación Funk Studios, and contains one original composition, "No Me Da Pena," and one traditional, "Remigio Tombé." This balance of tradition and new growth represents their life and musical movements within the bustling borders of Barcelona. It is also a dedication to all those who are constantly fighting for their own representation and a thank you to those who have accompanied these talented women on their journey thus far, both on and off the island of Puerto Rico.

Krishnanda is an album in the truest sense of the word – a spiritual, psychedelic Brazilian masterpiece from start to finish – celebrated by everyone from Seu Jorge and Kassin to Floating Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars.

Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instruments that apparently included oddities such as the ‘Tamba’ (electrified bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo ‘Sorongo’ after the rhythm he invented, that features throughout ‘Krishnanda’. A highly spiritual man who was regarded as a philosopher by many.

He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastião Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on his legendary self-titled LP. In the same vein as Verocai and his self-titled LP, ‘Krishnanda’ was Pedro’s chance to shine with his own, and only, solo recording.

Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba, afro-brazilian and psychedelia plus added effects, with a lyrical depth and diversity to match; themes including morality, perception, existence and ego.

Despite the genius of the record and the influence that it had on musicians at the time of release, it disappeared into obscurity. We first discovered the record around 2003, through a friend Julio Dui. Around that time Brazilian funk and bossa was the flavour of the day, so didn’t catch our ear immediately, however it continued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin.

The Mr Bongo reissue is produced as a replica original LP / audio master by Ricardo Garcier at Magic Master (Rio de Janeiro) / artwork restored by Andrew Edwards, from the original copy borrowed from Julio Dui – thank you, sir!

Dom La Nena’s new album, Tempo, is about time. Not that it demands a lot of your time: most of the songs barely pass the three-minute mark. But the Brazilian-born, Paris-based singer, songwriter and cellist has created a series of small, crystalline moments – sometimes sunny, often dreamy, and occasionally laced with that beautiful nostalgia the Brazilians call saudade. Tempo is La Nena’s third full-length release, after 2013’s critically acclaimed Ela, and her internationally-flavored indie-folk collection called Soyo in 2015; she’s also half of the duo called Birds On A Wire with Rosemary Standley (from the popular French band Moriarty). Add to that her time spent playing with Jane Birkin and collaborating with Julieta Venegas, Jorge Drexler and Piers Faccini, and you have an artist with an eclectic, multi-lingual style that’s hard to define but easy to like.

With its blend of pop, world, and chamber music, you may hear Tempo as a response to, or a respite from, difficult times. And you wouldn’t be wrong, although La Nena says that wasn’t intentional. “We give value and attention to so many things,” she explains, “but we forget the essentials: our time and focus, being present, which is the most precious thing we have.” And so each song reflects a moment in time: birth, anticipation, aging, death.

You may also hear Tempo as a lush tapestry of synthesizers, strings, and percussion instruments. This time, you would be wrong. In a remarkable display of arranging and orchestrating ability, Dom La Nena created all the sounds on the album herself, using layers of her voice, her cello, and a few piano parts. Even the percussion sounds were made on the cello. “My intention on this album was to explore new ways to use my instrument,” she says; “so I have used lots of pedals, guitar amps, and effects, to change the original sound of the instrument and take it somewhere else.”

The album, despite its sonic surprises, doesn’t come out of nowhere: its vibrant, tropical languor could be heard on 2015’s Soyo. And the homey, intimate sound also appears on her 2016 EP of covers, called Cantando. Still, Tempo marks the return of a distinctive and unusual musician. It’s about time.

Orquesta Akokán is ready to unleash 16 Rayos on the world's dance floors, via Daptone Records. Recorded in Havana’s famed Egrem Studios, the group displays a cohesion forged by an intense performing and touring cycle. The musical conversation that began in the Areito studios three years earlier blossomed into an easy, intimate dialogue between good friends - allowing full, fearless musical expression and risk-taking outside of their comfort zones.

Building upon Perez Prado’s dissonant, near avant-garde vision of the mambo, and highlighting the Lucumí subtext of Cuban rhythms and styles, the band continues to explore, develop and expand the island’s rich rhythmic palette and repertoire - pushing the conventions of what is considered “mambo” - and drawing deeply from folkloric and religious traditions seldom heard in popular music. 16 Rayos is here to shine its musical rays on us, warm our hearts, and irresistibly move our bodies.

Berlin was live recorded at the ARK Studios Berlin in the summer of 2019 this record is Featuring: Renato Gama (Voice and Gittar) , Ronaldo Gama (Bass), Leo Carvalho (Percursion) along special guests Franck Bidin and Paulo Cedraz.

Credited to the unexisting La Sonora MAG, this mega rare late '50s album was actually recorded by Peruvian percussionist Ñiko Estrada and his Sonora, comprising hits from the repertoire of the most famous Cuban and Boriquen orchestras: guarachas, boleros and one instrumental tropical beguine.It features three great vocalists: Manolo Castro, Rafael "Chivirico" Dávila and Vicky Zamora, whose take on 'Pepito' became one of the most popular songs of the year in Peru.Reissued for the first time. 180g vinyl pressing.DESCRIPTION/DETAILS:This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name.Fascinated by the music of the Cuban orchestras broadcast on the radio and the colourful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born_"El Negro Bembón con la Sonora MAG" includes, with the only exception of the instrumental track 'Té Para Dos', mostly vocal songs -guarachas and boleros- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on 'Pepito' the biggest hit of the album.This album is currently almost impossible to find in its original edition, so we are now happy to present the first ever reissue of "El Negro Bembón con la Sonora MAG" in its original artwork and 180g vinyl pressing.