Latin | Brazil 193 Items

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

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

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

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

Remastered with refreshed artwork.

More samba-jazz and brazilian flavors on part 24 of Mr Bongos 45 series focusing on Brazil!

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.

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”.

Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second installment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II the avant garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music. Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma. The CD version also includes the 2 tracks 'Bruhahá' & 'Eyes' which were released as a separate single on vinyl and were not included in the 2xLP version.

The latest release in the much loved Mr Bongo Record Club Series, Available on CD, 2LP Standard Vinyl & Special Edition 2LP Pink Translucent Vinyl. Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression "Music is My Sanctuary" has an even greater cathartic impact for many people, we set out to make this volume an extra special one - like an old favourite mixtape or playlist. For Volume 4 in this series we continue in the same mould as with previous editions, selecting current favorites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of Badbadnotgood fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation. Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory.

The third installment of our "Instrumental Gems" compilations is finally out, focused on discovering treasures of instrumental music recorded in Spain during the 60s and 70s. Those were years when a significant number of orchestras and dance ensembles proliferated in Spain, most of which barely managed to press their songs on vinyl, but if we look deeper into the catalog of small labels of the time or self-released singles, we find pieces of undoubted quality. Many did not have a commercial course since the orchestras used them basically on a promotional level to get concerts or generate copyright, and it is for this reason that they are so hard to find for collectors of the genre. Most authors opted for pasodoble, swing, groove and Spanish soul, being bossa nova a genre less used in their compositions. The purpose of this compilation is to highlight a hidden treasure among those wonderful EPs, instrumental jewels that drink from the simplicity of bossa, to flirt with hotter rhythms close to Latin jazz, an explosive mix hidden in the 14 cuts of the LP.

Following the huge success of the first volume (three pressings!) in 2009, the long-awaited 'Cajun/Zydeco Vol. 2' is finally here! The long wait was not due to a lack of inspiration, but rather to the creator's diligent research, and as such this awesome second volume has taken five years to come together. The result is a rich compilation of rare gems, some of which had never been pressed onto vinyl since their original release! The LP represents a trip into the South of Louisiana, where this music -a blend of worlds and traditions- took shape at the beginning of the 20th century. It's a selection of tracks from the past, featuring local legends (Nathan Abshire) and unknown craftsmen (Jimmy Peters), who all, in their own way, have left their indelible mark. Waltz, two-step, one-step, blues, the record pays tribute to the unique blend of European dances with African rhythms. Each track has been weighed up for its historical as well as for its musical interest. A combination of melodeon and, for the Zydeco side, button accordion, triangle, rub board and fiddles. This LP comes with sleeve notes and a magnificent poster from one of the masters of Cajun fiddle, Dennis McGhee. Presented in a silk screened cover and limited to 1.000 copies.

El Salvador, the last frontier... the psychedelic revolution also reached this small country from Central America in the 60s, resulting in the formation of many teen garage bands. Until now, little was known about this amazing local music scene that took place in the late 60s and early 70s... a true musical revolution. Due to the lack of resources, musicians often had to build their own fuzz and effects pedals and in studio recordings, primitive tape experimentation and echo were often used... the result was a very unique sound, 100% raw & wild. Hear tremendous fuzzed-out covers of Doors, Blue Cheer, Country Joe & The Fish or Alan Bown along with cool self-penned songs. All tracks taken from very hard to find 45s, most of them unknown outside of El Salvador until now. Feat: Kiriaps, Los Saltos, San Miguel, Los Vikings, Los Rebeldes, Los Junior’s, Los Intocables… Includes color insert with detailed liner notes in English/Spanish and cool photos.

Color de Trópico is a carefully-compiled work of healing and reconstruction, documenting a special moment in the history of Venezuelan music, when the country’s democracy was just a few years old and the profound impact of the oil industry on society had only just begun. DJ El Palmas and El Dragón Criollo have chosen eight impossibly hard-to-find jewels, originally released between 1966 and 1978, reissued here for the first time on vinyl. In this period, Venezuelan musicians assimilated a wide range of influences and styles, both local and global, to generate something new, a “modern” identity for Venezuelan music; artists who set their eyes on the future without giving up the search for their own sabor (flavour). This is how jazz, rock, salsa, funk, psych, prog and disco, sat next to guajira, cumbia, cha-cha-cha and even the hugely-popular Venezuelan style of joropo. It started a long tradition of Venezuelan musical pioneers, many of whom are still to get the recognition they deserve. Seconds after the needle drops on the vinyl, “El Despertar” (“The Awakening”) kicks off things with a goodbye for it was the last single Los Darts released before their dissolution in 1974. In the 60s they became the youthful face of pop, however, “El Despertar” settles into a later maturity, having digested the tumult of the times. A cha-cha-cha rhythm with bossa nova piano, bluesy stylings and a Caribbean context – a blueprint for tasty miscegenation – with the use of electric guitar, arriving in waves of chords, signalling the onset of modernity. “Guajira con Arpa” by the pioneering Hugo Blanco, who lists the creation of countless rhythms and his early adoption of rhythms like ska amongst his claims to fame, is a fusion that arrives without complexities. It approaches indigenous forms from a multitude of different angles, yet in the middle of its Caribbean approach it creates a melody so close to the pajarillo that the song seems to flip on its head. With “Zambo” the party is on. Here we have an all-star line-up comparable to master Cortijo’s brief project with his Time Machine in Puerto Rico. Alex Rodríguez, one of the most important jazz guitarists in Venezuela and his Retreta Mayor give a twist to the fusion by daring to venture into Latin jazz, funk and salsa. “Gaita Universal” by El Combo Los Capri, gives us a moment of solace, recalling the cultural, rhythmic and even spiritual brotherhood of Venezuela not only with the Caribbean but with the continent, South America and neighbouring Colombia. This cumbia is special, it interweaves musical phrases in the style of a popular party wanting to propose the permanence of culture. Rhythm is the point of union between all human beings and, as its name indicates, its proposal goes beyond the physical and particular. It’s pure tropical hedonism. Nelson y sus Estrellas reminds us once again of the Caribbean wave but here under his “urban” outfit. Nelson plays guaguancó in the style of original salsa, specifically in this version (the theme evolves over time) with a disco-soul twist on “Fantasía Latina”. It takes the sound of early masters like Eddie Palmieri but is developed with eclectic elements, a climatic structure in which a trumpet with vibrato, salsa-rock riffs with acoustic guitars and a flute that, unlike the charangas in those that Johnny Pacheco partook at the same time, rather have a cinematic character. The cosmic “Tu y Yo” from Almendra plots a journey between soul-jazz and psychedelia that sails over a Moog until ending as a P-Funk descarga. Despite the fact that the principal instruments are an organ and a synthesizer, the acoustic guitar provides a unique colour. A tropical psychedelic journey from beginning to end seasoned with congas. The album closes with Tulio Enrique León y Su Organ playing “Bimbom”, a European pop-styled track from 1975. It’s a version of Bimbo Jet’s Eurodisco “El Bimbo” that immediately became famous among popular easy listening orchestras throughout summer in Europe. Tulio Enrique shines by turning it into an enigmatic and spectral cumbia. Tulio was an organist whose blindness did not prevent him from becoming one of the most popular artists in the world, as cited by Billboard in 1965. We have left the politically-incorrect “Socorro, Auxilio” by Germán Fernando for the end. According to music journalist Alfredo Churión “those who saw him attested to having witnessed something indescribable”, a mysterious man who doubted even his sanity and of whom today practically nothing is known. He was someone who dared to show a completely foreign effrontery, signing unintelligibly, moving frantically and throwing himself to the ground before the stunned gaze of his audiences. Venezuelan writer Luis Armando Ugueto states: “his art could go from the sublime to bad taste – and it was craved by the press – when he subjected viewers to strange songs where he pleaded for socorro and auxilio [help].” Germán Fernando had a histrionic proposal that was a thousand times misunderstood and that even popular presenters of the time like Renny Ottolina dubbed “his follies”. A theme close to the jazz orchestra soundtracks of James Bond and Batman accompanies the showman here who comes across like a creole Screaming Jay Hawkins. He creates a whirlwind of sound that, while as agile as a featherweight, is also capable of knocking out all the old ideas we had about Venezuelan music.

Surprise!! This is number 7 of this 6 x 45s collection !!

With this new releases you will be able to complete your complete series, but be careful that you will not be able to fit it into the mosaic!

Do not hesitate as this new release in a limited edition of 500 copies will make you enjoy the sounds to the fullest.

TT Syndicate steps forward big time into the direction of early '60s rhythm'n'blues, with the addition of a solid stash of early soul.

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.

If you order additional products from our site they will be sent out with 'Toni Tornado - 'Sou Negro' / Zeca Do Trombone 'Coluna Do Meio'', so please place a separate order for those. For volume 86 in the Brazil45 series, we return with a pair of stellar 1970s Brazilian-Funk / Black Rio nuggets by two of the greats of the genre, Toni Tornado & Zeca Do Trombone. 'Sou Negro' (I'm Black) is taken from Toni Tornado's (aka Antônio Viana Gomes) sought after 1970 four-track compacto EP on Odeon Records. Already having had some experience in show business as a dancer in the 1960s, Toni started his musical career in 1970 and adopted the stage name 'Toni Tornado'. The influence of James Brown flowed through his music, with Toni becoming one of the first Brazilian artists (alongside Tim Maia) to introduce the soul and funk sound into Brazilian music. Together with other contemporary musicians and bands such as Banda Black Rio, Gerson King Combo and Cassiano, this new sound led to DJ's throwing soul parties. This unique Brazilian take on soul and funk (and later on disco) became coined as 'Black Rio'. A movement that celebrated pride in its Black identity and consciousness. Zeca Do Trombone has an impressive repertoire which has seen him releasing a handful of solo albums and working with some of the greats of Brazilian music, such as Tim Maia, Ivan Lins, Joyce, and Luis Vagner. The track 'Coluna Do Meio' is taken from his 1976 collaboration project 'Zé Do Trombone E Roberto Sax' with saxophonist Roberto Sax, which additionally features the heavyweight Wilson das Neves on percussion. This catchy Wah-Wah guitar-led dancer has become a favourite with DJ's over the years and will continue to be championed for years to come.

"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.”

A Espetacular Charanga do França is Sao Paulo's most hyped carnival collective and brass band led by Thiago França - best known as a founding member of Afro-punk explorers Metá Metá. The collective combines retro horns with cumbia, baile funk, jazz and features Brazilian vocal legends such as Lucas Santtana, Tulipa + Jucara Marcal.

The record was produced by the twenty years old Alex Tony Okoroji at the legendary ARC Studios in Lagos, a facility set-up by Ginger Baker. This is the third production for the Alex Tony Okoroji’s fledgling independent label Love Records, the previous record was the pioneering release by Udu - Sound of the People (Love Records, Nigeria 1976) also reissued by Dig This Way in 2020. Musically these two records are poles apart but similar in as much as both the band and producer present a personal musical vision that sounds nothing like their piers’ at the time… The Springs Band formed in Ibadan (Oyo State) which is roughly 130km northeast of Lagos. The seven members met while training to be Reverend Fathers for the Catholic Church and come from both Nigeria and Sierra Leone… in retrospect as unlikely as this sounds (particularly when you hear the record) the band were the Seminaries event house band at the time… Musically, the record consists of five prime time dancefloor gems with two very subtle afterhours numbers to close - not a bad track on here - which at times in itself is unique for records from the region in the late 70s. The first five tracks are complex hypnotic afro funk with an almost mesmerizing organ groove, that is deep and raw at the same time which well represent the time, the place and the people involved in the recording... As odd as it may sound the spiritually of the bands chosen profession is reflected in the fluid deep funk of the groove ... not being there we can only guess how the live performances of this "band in full flight" must have been ... as luck would have it the recording captures all of those elements and that’s what the end result sounds like near unbeatable! Judge for yourself via this enlightening release!!! Reading the original hand written press release for the record it would be fair to say, at the time, the members of the band were potentially not entirely focused on their chosen vocation and, reading between the lines, were mildly concerned what their educators might think… years later it’s pleasing to discover that all of the survivors became as good as it gets in their original career choice… better still… for the Afro-Centric music collector… the very same set of individuals (in their wilder days) recorded one of the most forward thinking and dance floor friendly records of the period… little known until now… “This is our dream world cristalised in vibes. In a world of uniform hate where people experience death in a trance , it is through love's cry that we see through the eyes of wisdom that he needs somebody. Music is the message transmitted in this super disko funk for funky people, to tell the brandifield dad the truth or ask a music-minded-lass, introduce me to your loving. So, if you have anything to say, why not join us and say it...after all it's a happy world... We have a right to the good things of life.”

Rocafort Records celebrates its 10th anniversary with an alternate cover repress of one of the labels most celebrated releases.
Recorded in 1967 and lost for almost 50 years until its discovery and release in 2015, The Nitty Gritty Sextet album features the best musicians from the 60's NY Latin scene: Jimmy Sabater, Louie Ramirez, Tito Puente, Charlie Palmieri, Willie Torres…. and has often been described as one of the best boogaloo era albums.
Limited edition vinyl release!

Tampo is a mystic sextet from somewhere out of the hustle and bustle of the busy Helsinki scene. They operate on a level of their own, performing latin jazz inspired by cumbia and mambo. This 7" single release by We Jazz Records features two high calibre cuts, "Keumgang" and "Tampomambo", making this one a solid choice for all lovers of psychedelic music with character.

Vocals: Jeimy Osorio (Netflix "Celia Cruz" series), Latin Grammy Award winner Mireya Ramos, Grammy Award nominee Danny Rivera, Ismael Cruz Cordova (Lord of the Rings), Bomba singer Chamir Bonano, and newcomer Sabrina Cintrón. Cameos: Olympic medalist Laurie Hernandez, actors Rosario Dawson (Disney+ “The Mandalorian”) , Lauren Luna Velez (Into the Spider-Verse), Oscar nomineeRosie Perez, Ramon Rodriguez (hbo "The Wire,"Transformers II),Freddy Rodriguez(CBS "Bullet"), Justina Machado (CBS"One Day At A Time"), Modesto Lacen (Netflix "Celia Cruz" series), artist José Parlá, hip hop legends Crazy Legs and Tony Touch, former And1 Mixtape star Tim “Headache”Gittens, and DJ Janzism de Puerto Rico. 100% of the net profits will be given to Afro-Boricua grassroots programs based in PR via the non-profit La Borinqueña grants program.

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 1 is a new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state. The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba - and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states. The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s - who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba. Cuba: Music and Revolution is the third book that Gilles Peterson and Stuart Baker have collaborated on together and follows on from their two earlier critically acclaimed books, Freedom, Rhythm and Sound (Revolutionary Jazz Music in the 1960s and 1970s) and Bossa Nova and the Rise of Brazilian Music in the 1960s, both of which also had related album releases on Soul Jazz Records.

London based band Son Yambu are back with their second album full of original son Cubano, continuing the Buena Vista legacy that put Cuban music back on the world map in 1997. Featuring a new line up of the very best of Cuba's musical diaspora, 'Tremendo Ambiente'reflectsthe evolving nature of the music whilst at the same time paying homage to its roots. Recorded in London, 'Tremendo Ambiente' features Son Yambu's traditional 'sonora' sound of two trumpets.Made up entirely of original songs, the album features a varied collection of Cuban and Caribbean rhythms.

Impossible Rare 1968 Album By An Enigmatic And Uncredited Studio Group That Brought Together Some Of The Best Artists Of Mag (Melcochita, Coco Lagos, Rafael Rios Of Los Guajiros_) Under The Direction Of Manuel Antonio Guerrero, Owner Of The Peruvian Label.The Record Comprises Cumbias And Guarachas Across 9 Songs And 3 Instrumental Tracks, Most Of Them Previously Recorded By Other Peruvian Artists Such As Los Destellos, Pedro Miguel Y Sus Maracaibos Or Melcochita Y Su Conjunto. Reissued For The First Time. -Details:Cuban And Colombian Rhythms Form "Tropical Guitars" (Mag, 1968), The First Lp Of The Silvestre Montez Y Sus Guantanameros Orchestra, A Group Whose Conductor And Members, Despite Their Name, Have No Direct Relationship With Any Caribbean Country, And Whose Conception Illustrates Us About The Particular Way In Which The Peruvian Record Company Mag Was Managed.Manuel Antonio Guerrero (Founder And Owner Of Mag) Made Significant Profits With The First Albums Published, Mostly Focused On Música Criolla. He Soon Encouraged His Friend Lucho Macedo, Director Of Lima's Favorite Sonora, To Record The Main Hits Of Sonora Matancera, Reinterpretations With Innovative Arrangements That Exceeded Market Demands. Thus, They Continued To Repeat The Formula Of Releasing Songs "In The Style Of", And Soon They Published Hits Of Tango, Cuplé, Pasodobles, Ecuadorian, Argentine And Paraguayan Music, Reinterpreted By Local Musicians.Tropical Music Records Were Always The Label's Favourites, Especially Because Guerrero Knew Cuban Music Well Due To His Visits To The Island When He Was Young. In Addition, The Record Company Had An In-House Orchestra, Called Mag All Stars, Always Ready To Experiment And Improvise On New Recordings. Stars Such As Joe Di Roma, Coco Lagos, Mario Allison And Pablo Villanueva "Melcochita", Among Others, Were At Some Point Part Of This Orchestra, Which Had Different Line-Ups, Who Accompanied, With The Same Skills, Singers Of New Wave, Huayno, Rock, Boleros Or International...

Clear Vinyl.

Clear vinyl.
Records are slightly warped but still enjoyable.
Dogeared cover.

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.

Recorded And Originally Released Only In Argentina In 1972, The Album Shows An Exquisite And Delicatedialogue Between The Guitar Of Sebastiao Tapajos And The Percussion Provided By Pedro Dos Santos That Generates Ambiences Of Unusual Beauty And Depth.It Is A Necessary Addition To The Much-Hailed Pedro Dos Santos Album "Krishnanda" In The Collection Of Anyone With An Interest In The Most Adventurous Sounds Of Brazil And Also An Essential Work In The Discography Of Sebastiao Tapajos.Includes The Killer Afro-Samba 'Mungangá' And The Hypnotic Groover 'Sorongaio'.Info:The Ion Studios, Located In The Buenos Aires Neighborhood Of Balvanera, Have Been The Usual Setting For Recordings By Argentine Artists As Popular As Les Luthiers Or Charly García. In The Early 1970s They Also Hosted Brazilian Guitarist Sebastiao Tapajos For Several Sessions Accompanied By Other Musicians Such As Arnaldo Henriques, Marianazareth Or Pedro "Sorongo" Dos Santos. Two Albums Would Be Published In The Argentine Record Label Trova Of The Recordings Along With The Latter.Following The Success Of Our Recent Reissue Of Several Recordings From These Sessions ("Vol. 2" Vampi 212 And "Tudo É Moda" Vampi 45073) We Are Now Happy To Present This "Vol. 1". The Connection Between The Delicate Guitar Of Tapajos And The Surprising Experimental Percussion Of Pedro Dos Santos, Based On Unusual Objects Such As Spoons, Deodorant Containers Or Matchboxes, Creates Extraordinary Beauty Throughout The 12 Songs On The Album. The Sound Of The Flute Is Another Of The Ingredients Present In Several Of The Songs And, Although His Actual Involvement Is Not Confirmed On The Sleeve Credits Of The Album, Everything Seems To Indicate That Danilo Caymmi Was The Musician Invited To Accompany The Tapajos-Dos Santos Duo.Since Its First Release In 1972, This Album Has Been Highly Sought After By All Tapajos Fans, Both Inside And Outside Brazil, Becoming A Title Hard To Get Hold Of Due To The Fact That It Was Initially Only Published In Argent...

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!

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.

Roberto Laneri's works always convey a clear artistic certainty: a total composer with an eclectic cultural background. In this latest adventure it seems to propose a kind of weird and curious Exotica music; his Mediterranean ragas release glows and shadows, but the music plays more the plateaus of the Maghreb than the Indus Valley. Like a sorcerer piper, the sax shapes alchemy and hypnotic phrasing become: vague dances of camels, ecstatic progressions of an aboriginal vortex or a mystic arabesque tropicalisms. He doesn't neglect his training as a jazz clarinetist, with gentle and smooth orchestral veins that are decidedly retrò and old-style; remembering the dreamlike compositions of Nino Rota for Fellini's movies. There is no lack of esoteric voices from distant islands, Amazonian soundscapes, or rocking Brazilian moods. Laneri filters hidden traces of different traditions, creating unknown geographical syntheses without borders, furious extrapolations of compositional elements and famous themes misrepresentations. A visionary gaze, but also a good dose of ironic plaesure and fairytale humor. Not surprisingly, the original cover-art of Noura Tafeche does nothing but suggest the idea of a tasty psychedelic fruit-salad.

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

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!

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

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

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

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

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

Remastered with refreshed artwork.

180g LP. On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock.He also takes inspiration from the many Brazilian greats - Caetano Veloso, Arthur Verocai, Hermeto Pascoal, and Azymuth (to name a few) - who he has worked with as an engineer, assistant and producer, in Rio's former RCA studio, Cia dos Tecnicos.

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.

Reissue from 2021 without OBI.

Renata Lu is a bit of a mystery figure... She only made a few albums in the 1970s and sang backup on many more such Tim Maia and Nonato Buzar but for whatever reasons never seemed to make it into the MPB upper echelons. Debuted solo in 1971 on her self-titled album for Copacabana Records with a heavyweight fusion of US style soul and funk with added Latin percussion. This features Renata Lu singing over a hybrid samba/boogaloo backing track rich in jaunty bass, rasping horns and jazzy electric piano riffs. Rare LP finally reissued on a deluxe edition. One of the landmarks of Funk Carioca.

Quero Ver Você Dançar is a collaboration between Rome-based DJ/producer The Rebel, Portuguese DJ/producer Dedy Dread, and Brazilian jazz singer Keila Abeid. Other musicians playing on the track – including Neney Santos (percussions), Marco Ravallese (keys), and Fab Samperi (flute) – masterly contribute to its soulful favela vibes. Housed in a single jacket with beautiful artwork by Roman illustrator Federica Fruhwirth, the 12- inch single also features a super groovy remix by Mo’Horizons whi ch, wi t h i t s powe r ful combination of bossa and drum’n’bass rhythms, makes this release a must for tropical-music aficionados. Also available on all major digital outlets, with two additional remixes by young Brazilian producers Afterclapp and Brasila Strut.

We are excited to welcome Orestes Gomez to the Olindo ranks with his sublime remix for Raúl Monsalve y los Forajidos "Bocón", featuring the distinctive vocals of Luzmira Zerpa, fusing neo soul, jazz and Venezuelan drums.

180g pressing

Brazilian music at it's finest! 2x7" set with four beautiful songs from Piry Reis. Disc one is a reissue of his 1975 "Heroi Moderno" and includes the sought after 7inch version of "Cisplatina". The second holds the rare cuts "Reza Brava" & "Céu De Manágua". The project came together with the blessing of Piry Reis himself and is released on the sub-label of Rush Hour recordings, New Dawn - set up for less electronic but equally adventurous releases by artists we love. Artwork by Amsterdam's Sekan with a touch by Megin Hayden.

Sealed copy!

Record Store Day 2021 Release.

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.