Latin | Brazil 483 Items

‘A Paraiba Não É Chicago’ is a smasher from the very first beat! Golden era Brazilian boogie by Marcos Valle from 1981, with a brilliantly hooky chorus section. Originally released on his ‘Vontade De Rever Voce’ LP.
‘Não Quero Mais’ is VERY reminiscent of The Doobie Brothers ‘Long Train Running’, delivered in a Brazilian style – vintage disco-boogie vibes but with a more soulful chorus section. Originally appeared on Don Beto’s ‘Nossa Imaginação’ LP from 1978.

‘2 Minutos De Um Novo Dia’ – pacey samba-funk-MPB that originally appeared on a 7” from 1969 released on Odeon Brazil. Soaring vocals, strings and horns over alternating full and half-time funk drum breaks. Very big indeed.

‘Candomble’ has been a resident in our DJ sets for a long, long time. A retrained, deeper opening section drops into drum heavy, rich uptempo jazzy-MPB. Super catchy vocal hooks and piano lines sit over the top from start to finish. Taken from their self titled album from 1975 on RCA.

Almost two decades after the release of the original, Grammy winning album, the romance of the Buena Vista Social Club continues with ‘Lost and Found’, a collection of previously unreleased tracks, some recorded at the first legendary sessions in Havana with producer Ry Cooder and others during the extraordinarily rich outpouring of music that followed.

The original Buena Vista Social Club album was recorded for World Circuit Records by Ry Cooder and Nick Gold over seven days in Havana in 1996, bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.
The album became a surprise international best-seller and the most successful album in the history of Cuban music selling over 9 million copies.

Unas cumbias pesadadas brought to you by Discos Resaca.

The Discos Reseca Collective is a collective of songwriters and musicians whose sounds are distinctly from the Bay Area: mixing traditional cumbias with hip-hop and oldies, honoring the band members’ roots while providing a solid party soundtrack. Based in the Bay Area (Oakland, East Bay), Mariposas Del Alma are fronted by the Meza-Blanco Sisters. Jasmin, Nathaly, and Marina captivate the audience with their soulful vocals and powerful harmonies. Having grown up in a home with a musician father, and a lineage (Maternal Grandfather) that traces back to the days of the Trios all throughout Latin America—it was only natural that the sisters became the amazing vocalists they are today. "Music by the collective Discos Resaca—Spanish for hangover—leaves listeners feeling anything but zapped. The family of Bay Area musicians specializes in cumbia—the popular, accordion-forward and rhythmically percussive genre of Latin music with variations from Colombia, Peru, Mexico and beyond... Y Te Cuento (And I’ll Tell You) is full of powerful stories, a traditional feature of cumbia. Some songs tell tall tales (“Chupacabra”), others big up their communities throughout the Bay (“Cumbia de San Jose” and “San Juan”) and several tell the history of the area’s cumbia movement (“Movimiento De Cumbia”). The album’s love songs meld boleros, corridos, cumbia and cha-cha with mid-tempo soul, forming a familiar aural history."—KQED

Sangre de Chango Red Colored Vinyl.A disciple of mambo innovator Perez Prado, theCuban-born Modesto Duran was a pivotal figurein Latin dance music's transitionary mid-centuryperiod. His gentle slaps can be heard across dozensof 1950s mega-sellers, from Esquivel to Belafonte,Eartha Ktit to Lena Horne. On his 1960 solodebut, Duran gathers a who's who of conga-men,including Mongo Santamaria, Willie Bobo, andJuan Cheda, delivering a cinematic and percussivemelange of afro-cuban, cha cha, and exotic jazzstyles for the discerning listener.

The definition of the word 'fado' is technically 'fate', though the Portuguese meaning bound up with this term is more complex. The music itself can be fairly closely compared with that of Greek rebetika - also the American blues or the original working-class tango music of Argentina and Uruguay - and similarly takes it's common subject matter from the various cruel realities of the world. Though perhaps what distinguishes fado in character is it's often poised acceptance of the pains of life rather than protestation or resistance - as writer Paul Vernon says "It speaks with a quiet dignity born of the realisation that any mortal desire or plan is at risk of destruction by powers beyond individual control"
Death Is Not The End compile here a spine-tingling collection of fado recordings, taken from records issued in the mid 1910s through to the 1930s. The fado's Lisbon and Coimbra variants are presented here by some of the music's earliest recorded stars - prior to the rise of the music's all-conquering figurehead, Amália Rodrigues - and all of them "fadistas" imbued with a keen dose of saudade.

Maria do Carmo - Beijos São Como as Rosas (1929)
Jose Paradela D'Oliveira - Fado de se Velha (1927)
Edmundo de Bettencourt - Crucificado (1929)
Madalena De Melo - Cantares (1930)
Luiza Baharem - Fado Mondego (1931)
Alberto Xavier Pinto - Fado Do Paraizo (1929)
Maria Victória - Fado Maria Victória Nº 1 (1914)
Maria Silva - Fado Alice (1929)
Adelina Fernandes - Misérias (1928)
Estêvão Amarante - Fado do Cauteleiro (1929)
Alfredo Marceneiro - Olhos Fatais (1936)
Ermelinda Vitória - Fado da Minha Aldeia (1930)
Dr. Lucas Junot - Triste (Fado) (1929)
Maria Alice - Quando o Meu Filho Adormece (1929)
Laura Santos - A Magia do Fado (1929)
Joao Rocha Jor - Fado Rocha (Unknown)

The much-talked-about cover of Yoshitaka Minami's "Yakanhikou" is now available on 7inch release! From Yoshitaka Minami's 70's urban pop sound masterpiece album "south OF THE Border", for which Ryuichi Sakamoto wrote all the songs, Halfby has produced a superb cover of the famous song "Yakanhikou", which has a brilliant Brazilian essence of samba and bossa nova, with Keiichi Sokabe on guest vocals.

A mysterious release, not only for its unique expressive style but also because it isn't even known when it was initially recorded let alone its release date. According to non profit Studio Piccolo owner Vincent Bruley, it could have been recorded during the 70s and eventually released in the early 90s, sometime throughout Nilton Castro's time in Paris making music for contemporary dance classes (often led by his wife). This album was originally intended for accompanying dancers in classes with an emphasis on rhythm and coordination. Given Nilton's background and expertise in percussion, the focal point of this album is to present an array of Afro Brasilian rhythms performed by himself with additional moments of choir, flute and keys/metallophone. Effortless due to Nilton's prowess and unburdened by typical financial pressures (often behind the release of a record), the result feels like charmingly unadulterated and pure expression throughout the entire album. But what really takes the listener to places of unheard-of bliss is “Ondes (Les Vagues)” a track that has plagued the curiosity of diggers and collectors for a while now. With its harmony crescendos elegantly coming and going as per the title, overlayed on Nilton's subtle percussive patterns, an aural landscape of illusory beauty - listening is believing. Remastered and officially re-issued with its original artwork.

To hear the quintessential synthesized sounds of "El Hombre Orquesta" aka Ricardo Suntaxi is analogous to studying the detailed schematics of your favorite electronic contraption. For the initiated, it's a peek under the proverbial hood, an invitation into the engine of a sound and color that has played a part in powering and defining a treasure trove of modern Latin American sound-system music.