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Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.

Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.

On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.

This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.

Remastered with refreshed artwork.

If the first album from Venezuela’s Los Calvos, despite its greatness, could be considered to have a varied sound, then this second, and lamentably final, album found them creating a signature sound with the musicians given free rein and a stronger push to the dance floor, this is música bailable personified. The drum kit was instrumental to their image and sound; it was an instrumental unusual in salsa at the time. So much so that their own drummer Frank “Pavo” Hernandez had said disparagingly that “salsa with a drum kit is like pasta with avocado”. Kudos then to “Pavo”, along with fellow drummer Alfredo Padilla, who seamlessly integrated the instrument into the line-up, allowing its heavy hits to add energy and power to the group’s sound; just listen to the drum solo in “Suenan Los Cueros” and you will be in no doubt that it was a genius move. Vocal duties throughout are split evenly, five tracks a piece in fact, between Carlos “Carlín” Asicio Rodríguez and Carlos “Calaven” Yanes. It is Calaven who surprises the most, his mischievous delivery and ability to improvise and scat placing him in the higher echelons of vocalists, and not just within salsa. “José”, which is also a showcase for bandleader Ray Perez to free wheel on the piano, is a perfect example of Calaven’s ability to enliven any descarga (jam) with unexpected vocal turns; but then, even on the album’s original single “El Moño De Maria” he shows that with a few variations on the chorus, he can elevate any song. His partner in vocals, Carlín, is no slouch either, leading the driving “Tiene La Razón” with ease and showing that he can get down and dirty on the percussion-heavy “El Tumbeleco”, guiding the song through to its pulsating conclusion. Perez was one of Venezuela’s finest bandleaders, also helming the legendary Los Dementes, Los Kenya and others, and he brings a number of famous friends and allies to the party. Professional lucha fighter turned composer Gustavo “El Chiclayano” Seclén contributes the playful “El Marciano y Yo” (“The Martian and Me”), which allows Calaven plenty of opportunity to improvise, his imitations of intergalactic beings a wonderful thing, with what sounds like the rim of a wine glass being used to create Mars-esque special effects. You can also hear Perucho Torcatt, a regular collaborator of Ray Perez’s in Los Dementes, adding his voice throughout the album. ...Y Que Calvos! is not for the idle, it’s an album which does not allow you to sit down. Powerful, inventive and abundant of rhythm, it’s everything you could want from a salsa album, and a fitting way for Los Calvos to sign off their far-too short career. Perhaps now it will finally get its dues as a lost salsa classic.

Latin funk at its finest. A kingpin player of Miami’s Cuban music scene, Ray Fernandez, brought together his ‘court’ for this sensational Afro-Cuban funk triumph. Largely a family affair, the album features his wife, two sons and a range of other talented musicians including Rickey Washington on saxophone, father of the contemporary jazz maestro Kamasi Washington. Originally released in 1973 on Manuel J. Mato’s iconic and collectible Sound Triangle Records, Ray & His Court is a dose of Miami heat fuelled by a Cuban fire, taking in salsa, soul, funk, calypso and Afro-Cuban rhythms.

A kaleidoscopic album that draws influence from a range of different genres and scenes blended together in true Ray Fernandez style. Side A, showcases an array of traditional Latin workouts including the addictive enticing opener 'La Señorita Lola' and the pulsating 'Lo Sabia' with its punchy horns and Ray’s wonderful, quirky bubbling organ groove. The tantalising ‘Venimos Acabando’ and bouncing organ stabs of ‘El Alacran’ are two further tickets to get a dancefloor vibing.

The B-side then steps things up, slipping a hit of heavy-weight Miami funk into the mix. Take the DJ favourite ‘Cookie Crumbs’ with its fiery bassline, tripped-out voiceovers and breakbeat drums. Or the amazing, memorable and truly unique funk instrumental ‘Soul Freedom’ with some mighty fine bass clarinet work courtesy of Gary Gottfried. Also featured is a seductive organ-led Cuban funk rework of Bobby Hebb's 'Sunny' (are there any bad versions of this song?), with a sumptuous female vocal that combine to serve up a seductive take us this much-loved classic.

'Ray And His Court' is a brilliant blend of Afro-Cuban gems and Miami funk heat from an influential group on Miami’s Latin music scene. A majestic and magnetic classic where every track is a surefire winner.

This instalment follows on from our acclaimed ‘Volume One’ – Lauren Laverne’s ‘Compilation Of The Week’, supported by the likes of Disclosure, Jeremy Underground, Horsemeat Disco, Hunee and Laurent Garnier. ‘Volume Two’ picks up where the last one left off — with a touch more soul and disco — records we’ve been spinning in our DJ sets and on the radio show of the same name, that inspired this series.

Compiled by David ‘Mr Bongo’ Buttle and Gareth Stephens, plus a few personal favourites from Gary Johnson, Ville Marttila and Graham Luckhurst.

TRACKLIST, VINYL 2-LP: A1. Elbernita ‘twinkie’ Clark – Awake O Zion (full length, original version) / A2. Dee Edwards – Put Your Love On The Line / A3. Anubis – Ecology / B1. Guy Cuevas – Ebony Game / B2. Kiru Stars (Julius Kang’ethe) – Family Planning / B3. Teaspoon & The Waves – Oh Yeh Soweto / C1. Leny Andrade – Não Adianta / C2. Rosa Maria – Samba Maneiro / C3. Tom & Dito – Obrigado Corcovado / C4. Inezita Barroso – Maracatu Elegante / C5. Joao Diaz – Capoeira / C6. The Equatics – Merry Go Round / D1. Elias Rahbani And His Orchestra – Liza… Liza / D2. The Beaters – Harari

Latin funk at its finest. A kingpin player of Miami’s Cuban music scene, Ray Fernandez, brought together his ‘court’ for this sensational Afro-Cuban funk triumph. Largely a family affair, the album features his wife, two sons and a range of other talented musicians including Rickey Washington on saxophone, father of the contemporary jazz maestro Kamasi Washington. Originally released in 1973 on Manuel J. Mato’s iconic and collectible Sound Triangle Records, Ray & His Court is a dose of Miami heat fuelled by a Cuban fire, taking in salsa, soul, funk, calypso and Afro-Cuban rhythms.

A kaleidoscopic album that draws influence from a range of different genres and scenes blended together in true Ray Fernandez style. Side A, showcases an array of traditional Latin workouts including the addictive enticing opener 'La Señorita Lola' and the pulsating 'Lo Sabia' with its punchy horns and Ray’s wonderful, quirky bubbling organ groove. The tantalising ‘Venimos Acabando’ and bouncing organ stabs of ‘El Alacran’ are two further tickets to get a dancefloor vibing.

The B-side then steps things up, slipping a hit of heavy-weight Miami funk into the mix. Take the DJ favourite ‘Cookie Crumbs’ with its fiery bassline, tripped-out voiceovers and breakbeat drums. Or the amazing, memorable and truly unique funk instrumental ‘Soul Freedom’ with some mighty fine bass clarinet work courtesy of Gary Gottfried. Also featured is a seductive organ-led Cuban funk rework of Bobby Hebb's 'Sunny' (are there any bad versions of this song?), with a sumptuous female vocal that combine to serve up a seductive take us this much-loved classic.

'Ray And His Court' is a brilliant blend of Afro-Cuban gems and Miami funk heat from an influential group on Miami’s Latin music scene. A majestic and magnetic classic where every track is a surefire winner.

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

El Palmas Music to reissue incredibly hard-to-find album by Venezuelan salsa bandleader and polymath.

Few artists worked as hard at their craft as Ramón Urbina. At the age of 15, and in thrall to the Latin jazz and tropical music he was hearing on the radio, he learnt to play tres guitar. Then he learnt bass. Then percussion, tumbadora, timpani drums, trumpet, trombone, piano, whatever instrument he could get his hands on. A true enthusiast and student of all the tropical music that was percolating through Venezuela and the rest of Latin America at the time, he wanted to understand the art of composition and arranging, and around 1972 he decided to put it to the test, forming his first group, Ramón y su Banda Latina. Taking inspiration from salsa ensembles like Sexteto Juventud, as well as Pastor López, a Venezuelan singer and bandleader who was having huge successes in Colombia for his mix of cumbias, guarachas and boleros, Ramón’s group toured throughout Venezuela during the 1970s. Then one day, he went to see La Dimensión Latina in his home town of Charallave, and he saw the future. The age of salsa with its multi-trombone sound was here, and he wanted to take part, recruiting new members to form Moncho y su Banda. After road testing their material, the new group was ready to record an album in 1981, but finding a record label was not easy. Ramón loved music but he was a homebody too and spent most of his time in Charallave, at a distance from the thriving music scene in Caracas. This, combined with the fact that he’d yet to record an album and create any kind of international reputation meant that he initially struggled to find a label. “God help me, even if I have to pay myself, I’m going to record my album”, he said at the time. Despite no guarantee of any album being released, Moncho y su Banda stepped into a recording studio and didn’t rest until they’d got what they wanted. Those who were there remember a feeling of being at a party, hanging out with family and friends, and dancing all night. After realising they’d forgotten to eat at a session, one of the group’s singers, Eduardo Fernandez, ordered a bottle of sambuca, and just like that they kept on recording, without pause, albeit with extra spirit. Once record label executives finally heard the album, titled Qué Bellas Son (How Beautiful They Are), they couldn’t resist its energy and a release date was set. It’s an album that captures the sound of a working band at ease, playing the kind of set that they would be knocking out at clubs around Venezuela at the time, full of life and passion. Whereas a formulaic salsa sound was forming in the early 80s, Moncho y su Banda bucked the trend, playing a mix of raw, unbridled salsa dura, as well as cumbias, merengues, boleros and chucu-chucus, all with a heady dose of Caribbean spirit that sets the group apart from the more urbane salsa ensembles of the day. Qué Bellas Son is the only album that Ramón Urbina ever recorded, though he has kept performing to this day, where you can still find him in Charallave. A true lover of music, we should be thankful that we have at least this one album of his to remind us of a band at the height of their powers.

The official soundtrack of the 2021 Rumba Rules, New genealogies documentary movie by Congolese artist Sammy Baloji and Quebec filmmaker David Nadeau-Bernatchez. A deep dive into Kinshasa’s vibrant Rumba scene, including remastered classics by Brigade Sarbati, Werrason, Papa Wemba, Franco & le Tout Puissant O.K. Jazz Rumba Rules, New genealogies is about contemporary rumba in Kinshasa, but this music has deep historical roots nevertheless. Born in the interstices of the colonial world and thriving during the three decades of the Mobutu era in Zaïre, Congolese rumba has been iconic and popular all over Africa for decades. The roots of Rumba are even deeper, and the many paths it evokes trigger the imagination. The story goes that this music came with the migration of the ‘Kumba’ drum and dance in previous centuries, African slaves having carried it all around the Americas and giving birth to Cuban ’Rumba’, Colombian ‘Kumbia’ and many others. With its varied rhythms, guitars and horns, through LPs and radio stations, Rumba came back to (re)conquer Africa throughout the 20th century, paving the way for new practices. One could say this music is a sort of palimpsest, a memory in itself of Atlantic migrations and histories. Rumba is nowadays discussed all around the world, igniting many debates among the Congolese diaspora. Being the constant talk of the town sometimes overloads public debate, and many people get tired of this broken record. Thus, over the last decade, enterprising producers have worked hard to promote Kinshasa’s musical diversity and tried to emulate new sounds to reach worldwide attention. But Kin’ locals and urban dwellers will not be fooled : new shoots cannot hide the forest. Despite some difficulties to innovate, despite the pastoralist sermons and the diaspora fighters pushing for concert cancelations, rumba is still at the core of the Congo today. Talented artists such as Fally Ipupa, Ferré Gola, Brigade Sarbati and others are leading the fifth generation, and the religious world has also proven to be a nurturing environment for the cultural and economic dynamism of this music. Focusing on the music of Brigade Sarbati and his Orchestra, this record offers a deep dive into Kinshasa’s rumba scene. Halfway between professional studios and Zoom H4 field recordings, the rumba herein is about today’s youth : dense, full of energy and breakdowns, insights and name-dropping. The cavacha rhythm, the solo and bass guitar’s playing style, the singing style and numerous dedications all resonate with the history of Rumba. In an era where digital sound is taking over, it is interesting to highlight the instrumental and live performance compositions of this music. Digital technology is indeed used during the recording and mixing phases, but Congolese rumba still relies strongly on instrumental playing. There is all that but also, many other things to hear on this record… It’s time to let it be. A big thanks to Étienne Tron for making it possible: it is on his initiative and through his patience that this album is in your hands today. (David Nadeau-Bernatchez, december 2021)

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.

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

In the 80s, Dimas “Sam Dimas” Pedroza was encouraged with two atypical projects. One in partnership with the great Larry Francia, another artist released by El Palmas Music, and titled La salsa es con Dimas y Larry. And the other with an orchestra of great artists of the time that El Palmas also proudly relaunches in 2024: Sam Dimas and La Diferente’s El Tumbao…, with songs by prestigious authors such as Joseíto Fernández and José González Giralt and arrangements by the renowned trombonist Rafael Silva.

It is worth mentioning the great musicians that Dimas Pedroza summoned for this album: Rafael Araujo, Lewis Vargas and Gustavo Aranguren (trumpets), Carlos Espinoza and Rafael Silva (trombones), José Ávila (piano), Rafael Prado (bass), Pedro Viloria (timbales, güiro), Williams (congas), Nene Pacheco (bongo, drum), Leo Pacheco, Rafael Silva and Rafael Prado (choirs). There were also some special guests: Alfredo Pollo Gil and Manuel Icazas (trumpets), Oscar Mendoza (trombone), Joe Santamaría and Chucho Chuchochi (timbal) and Edwin Infante (maracas). Sam Dimas y La Diferente’s El Tumbao… is an album that Dimas - who is 80 years old today and still lives in Caracas - never presented live. One of those hidden gems in the history of salsa that El Palmas is dedicated to rescuing to continue reconstructing the memory of Venezuelan popular music, one of its main objectives. At the time of its appearance it did not receive the attention it deserved, perhaps because at first glance you can only see the surface. “I met Dimas through Roberto Monserrat on Radio Emisora Venezuela. He was from La Pastora, San José, and worked in a hospital - says Federico Betancourt in the book La salsa de Federico Betancourt y su Combo Latino, published by the Editorial Foundation El perro y la rana -. They invited him to one of the Combo Latino rehearsals and he came. Honestly, at first I was very impressed by the timbre and the way he sang, but Monserrat and the other members of Combo Latino thought it was good and they convinced me to leave him in the group. The day of recording our first LP arrived and I listened to Dimas again and then I said to myself: “Damn, this dude really sings well! You should never get carried away by your first impression.”

Following highly praised releases by Hermeto Pascoal & Grupo, Leonardo Marques, Xenia Franca, Moons, and Gus Levy, 180g and the legendary Disk Union continue to explore the best of today's Brazilian music scene with this wonderful album by Bruna Mendez. A chill, mellow and futuristic musical masterpiece with funky and electronic flavours, Corpo Possível leads the way to the new era of Brazilian R&B.

Bruna Mendez is a female singer/songwriter from the inland city of Goiânia, Brazil. Originally a lyricist, she began her musical career in 2008 to express herself as a musician, joining several bands in Rio as well as in her hometown Goiânia. After releasing her debut EP "Pra Ela" in 2014, Bruna released her debut solo album "O Mesmo Mar Que Nega a Terra Cede à Sua Calma" in 2016, which received critical acclaim in Brazil.

After this first album, Bruna also finds interest in electronic sounds and textures, and starts incorporating these elements into her music. Her second album here, "Corpo Possivel", is the result of such an encounter between electronic beats, addictive melodies and a band and musicians playing a tight and propulsive sound. All of this makes Corpo Possivel an album standing out in today's Brazilian music scene, where many extraordinary talents are produced. 180g and Disk Union are proud to release Corpo Possivel for the first time outside of Brazil. This is an essential LP by an artist promised to a bright future on the Brazilian and international scenes.

This album comes on 180g vinyl format.

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Credits:

- Recorded in Curitiba / PR / Brazil, between April and July of 2019 by Pedro Soares (jack) at Chucreza Beats, Guigo Berger at Rec'n'Roll, Tiago Brandão at Voxdei, Vinicius Braganholo at Nico's Studio; in Goiânia / GO by Braz Neme at UpMusic, and in Lisboa / Portugal by João de Carvalho at The LX Sound.

- Produced by Gianlucca Azevedo (jan) - Co-produced by Machado (tracks A3 and B1), Pedro Soares (jack - tracks A4 and B2) and Lucas Romero (track B3)

- Voices: Bruna Mendez, Lilian Soares, Layane Soares and Machado - Guitars: Bruna Mendez and Gianlucca Azevedo - Bass: Machado, Leomaristi dos Santos, Rayssa Almeida, Nikko Novak and Gianlucca Azevedo - Saxophone: Gianlucca Azevedo - Drums: Pedro Soares, Eli Lage and Jean Ramos - Vocal Producers: Lilian Soares and Gianlucca Azevedo

- Edit: Bruna Mendez, Gianlucca Azevedo and Amadeus Marchi - Post-production by Bruna Mendez - Mixed by Guigo Berger at Rec'n'Roll Studio (Curitiba / PR) - Mastered by Anderson Guerra at Bunker Analog (Belo Horizonte / MG)

- Art direction: Junior Ribeiro and Bruna Mendez - Album cover photo by Junior Ribeiro - Graphic design: Félix B. Perini - LP additional design by Nicolas Kerembellec (nker.fr)

- Executive Producer: Cecília Brito - LP vinyl production by Greg Gouty (180g) and Yusuke Erikawa (Disk Union)

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180gdulp06 - Manufactured and distributed by 180g in collaboration with Disk Union Japan, under license from Bruna Mendez.

Som Imaginário are the stuff of MPB mythos. Integral to Brazil’s Clube Da Esquina movement in the early 1970s, a heady blend of progressive rock, folk, psychedelia, jazz and traditional Brazilian rhythm flows through the three studio albums the band recorded between ‘70 and ‘73. Flying the countercultural freak-flag amid the context of military dictatorship, the Brazilian prog lords shared much of the sense of experimentation and bountiful fuzz bequeathed by their tropicalismo forbearers. But armed with genius composers, arrangers and stupendously high-level musicianship, Som Imaginário introduced a potent harmonic complexity to Brazilian popular music, which would inspire generations of artists to come.



On 4th October 1976, having finished a spell of recording and touring with Milton Nascimento, Som Imaginário performed a concert in celebration of Nature Day in Brasília. The recordings of the show would become “Banda Da Capital”, which, for the past half century, has laid dormant, waiting for its mystical power to be untapped.



In the band that day were original members Wagner Tiso and Fredera, joined by Nivaldo Ornelas, Paulinho Braga and Jamil Joanes. Operating within such a hugely creative and free-spirited scene meant line-up fluctuations were inevitable and former Som Imaginário members also include Laudir de Oliveira (who left to join Chicago), Nana Vasconcelos (who also moved to work in the US), Zé Rodrix, Robertinho Silva, Novelli and Toninho Horta.



Titled after the Belo Horizonte radio station where they would practice during their youth, the show opens with “Rádio Guarany”, an improvisation led by Paulinho Braga and Nivaldo Ornelas. The track morphs into Nivaldo Ornelas’ composition “Xa Mate”, which also opens Milton Nascimento’s Milagre dos Peixes ao Vivo album, featuring Som Imaginário and a 32 piece orchestra.



Having grown up together in Minas Gerais, composer, arranger and keyboard player Wagner Tiso had been another close musical partner of Milton Nascimento’s. Some of their work together includes many of Bituca’s most beloved albums, including Clube Da Esquina, Milton Nascimento (1970) and Maria Maria / Ultimo Trem, as well as Native Dancer: Nascimento’s album with Wayne Shorter.



Explaining the inspiration behind two of the tracks on Banda Da Capital “Igreja Majestosa” (written with Nivaldo Ornelas) and “Os Cafezais sem fim”, Tiso remincies:



“On Sundays I used to watch the coffee plantation workers entering the church. I´d see them working all week, in their humble, dirty clothes. But I was always enchanted by their immaculate dress on Sundays. Taken from a line in a poem by my father, which became the hymn of the city of Três Pontas, the song “the majestic church and the endless coffee plantations ” became sacred for me, because it came from something joyful, from the workers.”

One of the album's most tender moments is a beautiful rendition of the post-tropicalista folk-rock classic “Sabado”, written by Fredera for Som Imaginiaro’s debut album. The lyrics are typical of the “desbunde”: those on the Brazilian left whose response to authoritarianism was a politics of pacifist, often psychedelic, non-conformity (similar to that of “dropping out” in the US)...



“Eu quero o céu e vou com guizos nos sapatos / Minha roupa em farrapos coloridos vou rasgar / E vou dançar entre os cristais azuis do tempo e esquecer”

“I want the sky and will go with bells on my shoes / I will tear my clothes into colourful rags / And I will dance among the blue crystals of time to forget”.

Jamil Joanes, best known as a member of Banda Black Rio, is another Minas Gerais native. His composition for the album is “Imaginados”, a stunning unplugged guitar and vocal performance, highlighting Som Imaginário’s south-eastern home state’s influence on their sound.

Far Out Recordings proudly presents the first and only album from the mysterious Brazilian vocal sensation Dila (pronounced “Jee-la”). With original LPs extremely hard to come by, this rare treasure of Brazilian soul, which fans of Gal Costa, Celia, Evinha and Elis Regina will love, gets a much-deserved official reissue: remastered and pressed to 180g vinyl.