• 01. Noches de cumbia
    02. Locura es mi cumbelé
    03. Amor zalamero
    04. Perdóname
    05. No puedo vivir sin ti
    06. Sabroso bacalao
    07. Fantasía marina
    08. Pobrecito mi corazón
    09. Mi viejo barrio
    10. Llorando por ti


    Sabroso bacalao

    [engl] Born on September 3, 1934 in the barrio of San Roque in Barranquilla, Adolfo Ernesto Echeverría Comas started singing on the radio first as a young man, forming his own conjunto and signing with various labels over the years, becoming one of Colombia’s premier band leaders, composers, interpreters and producers of tropical costeño music in the process. Among many other accolades, he is a winner of five Congo de Oro and one El Cacique de Oro awards; his holiday songs ‘Las cuatro fiestas’ and ‘La Inmaculada’ are recognized as national treasures. During his long and successful career, he has toured Venezuela, Panamá and Ecuador, and while performing in the United States was befriended by Celia Cruz and Tito Puente. Recognizing his songwriting talents, the pair asked him for a tune and he gave them ‘Salsa de tomate’, inspired by Tito’s hatred of the term, which they recorded for their “Alma con alma” release on Tico Records in 1971.By 1976, Adolfo Echeverría had signed with Discos Fuentes, where he was to remain until 1990 when he suffered a heart attack and was sadly never able to resume his career. Echeverría’s first year with the label was a great success, with his eponymous debut LP containing his biggest hit, the self-penned cumbia party anthem ‘Amaneciendo’. The following year, working again with the Fuentes hit production team of Isaac Villanueva and Hernán Colorado, Echeverría came out with “Sabroso bacalao”, sharing the vocals with Freddy Cruz and Manuel Cassiani. As with the first album, in addition to some hot, driving hardcore salsa tracks like ‘Mi viejo barrio’ and ‘Perdóname’, Echeverría made sure to include his beloved tasty indigenous cumbia and porro. In addition, the cut ‘Llorando por ti’ is in the Afro-Cuban oriza rhythm style, while ‘Locura es mi cumbelé’ is described as a ‘cumbelé’ (inspired by The New Swing Sextet’s 1970 song ‘Cum Cumbele’, which is a variant on the bomba, an Afro-Puerto Rican folkloric drum-based genre). Throughout this diverse genre-hopping album one can always hear the forcefully fiery piano of Hugo Molinares, who also composed the monster guaguancó track ‘Sabroso bacalao’. At the time, the LP yielded the domestic hit ‘Fantasía marina’ but in recent years ‘Noches de cumbia’ and the title track have become international tropical DJ dance floor standards across the globe, making this record a must-have for collectors, disk jockeys and aficionados of the classic Fuentes sound.
    EAN 8435008863494
  • 01. Sol y Sobra
    02. La Salsa
    03. Just Like A Rainbow
    04. You Keep Me Runnin’
    05. More and More
    06. Canta Esta Canción
    07. Andy’s Tune


    Sol y Sombra

    [engl] First ever vinyl reissue of this German private press from 1978. Produced and recorded by the group and only sold at local shops and venues. Excellent and perfectly executed Latin-Funk / Jazz-Fusion with heavy Brazilian vibes. Heavy latin percussion / congas / berimbao, electric guitar, sax, flute, synths, Rhodes, male/female vocals in English / Spanish... Including club classics like “Sol y Sombra” (pure Balearic sound, championed by Jazzanova), “Just Like The Rainbow” (fab bossa-scat-jazz), “You Keep Me Running” (killer disco-boogie), "La Salsa" (hot latin-funk-rock jam) and much more.
    EAN 4040824088729
  • 01. Wild Safari
    02. Try And Try
    03. Only For Men
    04. Never In This World
    05. Woman
    06. Cheer Up
    07. Rock And Roll Everybody
    08. Chicco



    [engl] Also known as "Música Caliente (Hot Music)" and "Wild Safari", this is the first album, released in 1972, by BARRABÁS, the acclaimed Spanish band created by FERNANDO ARBEX after the demise of BRINCOS and ALACRÁN. A funk–rock / latin / afro bomb, loaded with worldwide hits like "Wild Safari" or "Woman". First ever reissue with original artwork, featuring remastered sound and four–panel color insert with detailed liner notes in English / Spanish & photos. RIYL: SANTANA, OSIBISA, MALO, MANDRILL... Barrabás was created by Spanish genius drummer, songwriter and producer Fernando Arbex after the split of his post–Brincos power–trio Alacrán. Busy with his productions and as songwriter for many artists, Fernando still had in mind the desire of international success. Highly influenced by the beginnings of funk music and the Latin–rock of groups such as Santana (influences that were also already present on Alacrán), Arbex formed Barrabás along with his Brincos bandmates Miguel & Ricky Morales on guitars, ace keyboard player Joao Antonio Vidal (from Madrid based psych band Los Grimm), Cuban–born percussionist & multi–instrumentalist Ernesto "Tito" Duarte and Iñaki Egaña (Los Buenos, Alacrán...) on vocals/bass. The name of Barrabás came after Fernando watched the movie of the same name by Richard Fleischer. In 1971, the band entered RCA Studios in Madrid for the recording of their first album, sung completely in English. The result was a fabulous mix of funk, Latin music, rock and afro sounds, housed in a striking cover designed by famous Spanish singer–songwriter Luis Eduardo Aute. Songs like "Wild Safari" or "Woman" took the international dance floors by storm, even reaching the first positions in the US Black Music charts, being championed by legendary DJs like David Mancuso (The Loft). The album also contained surprises like the mid–tempo "Cheer Up" or the Canned Heat sounding boogie rock of "Rock and Roll Everybody". A groundbreaking debut album, essential to understand the roots of Spanish funk–rock, reissued for the first time on vinyl faithful to the original one.
  • 01. Mr. Money
    02. Boogie Rock
    03. Keep On Rockin
    04. The Horse
    05. Casanova
    06. You Know
    07. Children
    08. Time To Love



    [engl] "Power" was the second Barrabás album, originally released in 1973. As well as their first album, this is another great example of funk–rock, but this time with glam, hard & psych touches, including some of their most celebrated songs: "Casanova", "The Horse", "Children"... After reaching international success with their first album, the line–up of Barrabas experienced some major changes: Fernando Arbex, more and more involved as songwriter and producer for other artists, leaves the drum kit, being replaced by drummer José María Moll (from Juan & Junior’s backing band). From now on, Fernando will focus on songwriting & production duties for Barrabas. Also, due to an accident, bass player / lead singer Iñaki Egaña is forced to leave the band. A new powerful singer is found: José Luis Tejada (from Los No, a legendary beat band from Barcelona). And finally original guitar player Miguel Morales switched to bass. For the album recording, Arbex decided to use the same studio where they recorded the first Barrabas album: RCA in Madrid. J. Cobos was again the sound engineer and Fernando was the producer and main songwriter. "Power" was the result, released in 1973 housed in a glam–tastic gatefold sleeve. Highlights are "Mr. Money" (pure funk–rock which entered the US charts); the atmospheric "The Horse", the psych–funk of "Time To Love" or the catchy "Children", which was a big hit in South America, especially in Venezuela.
  • 01. Hi–Jack
    02. Mad Love
    03. Funky Baby
    04. Lady Love
    05. Susie Wong
    06. Humanity
    07. Tell Me The Things
    08. Fly Away
    09. Concert


    Soltad a Barrabas!

    [engl] Soltad a Barrabás!" (Release Barrabás!) was the third album by the famous Spanish funk–rock band. Recorded in the US and originally released in 1974, housed in a shocking gatefold cover, this time the sound was 100% funk oriented and included big hits like "Hi–Jack", covered by Herbie Mann. After reaching worldwide success with their previous two albums and a lenghty South America tour, Fernando Arbex went even further with Barrabás: he wanted to register their third album in the US. So he managed to book MGM studios in Hollywood and the band spent a month in L.A. Fernando encouraged all the other Barrabás members to write songs for the planned album. The result was a fantastic pro–sounding recording (thanks to the work of sound engineer Humberto Gatica), where the band nearly dropped their previous Latin influences to concentrate on funk and black music. "Hi–Jack" rocketed to number one in the Billboard and Black Music charts in the US and soon after Herbie Mann released his famous jazzy cover. The album also included other ace tracks like "Tell Me The Thing" – much in the vein of Chicago and Blood, Sweat & Tears, "Suzie Wong", "Lady Love"...
  • 01. Sometimes
    02. Girl
    03. Out Of The Past
    04. A New Kind of Fool
    05. Ana Santana From Copacabana
    06. Tudo Bem Tudo Bom
    07. Summer's Almost Here
    08. Lagoon
    09. Daisy
    10. What Have You Got (That I Don't Have)
    11. I'm OK You're OK


    A New Kind of Fool

    [engl] Gary took 25 years to make his debut Gods in Brasil but less than 1 year to make his follow up. Songs from the vaults newly recorded with the same great band featuring touches of Steely Dan, Marcos Valle & Leon Ware, Brazilian Boogie, 70s Samba Soul and even a hint of Scott Walker. "A joyous revival of 1970’s musical moods, under smart contemporary arrangements and sweet interpretations." Arnoldo Medeiros
  • 01. Puma 72
    02. Sorriso de Manha
    03.Juanito Caminante (Little Johnny Walker)
    04. Tutti Frutti
    05. Donateando (Happiness)
    06. Cheese Boogaloo
    07. Eu Nao Vou Mais
    08. Adao Fora do Balaço
    09. Shangri La
    10. Erasmo
    11. Goodbye To Love
    12. Tema Perdido (Lost Theme)


    Gods In Brasil

    [engl] In the mid 90s Gary lived in Rio sharing a flat with Kassin, then in an unknown local band but later to become one of Brazil’s greatest producers working with Gal Costa, Caetano Veloso and Gilles Peterson. Back then Gary used to constantly write songs but could never be persuaded to do anything with them. But the songs would stick in Kassin’s head and plague him for years. Over the following decades Kassin would regularly ask ’what about your album?’ and Gary would shrug and say, "yeah, maybe, one day". Then, in 2018 Kassin played in London with members of multi–platinum Polish supergroup Mitch & Mitch and this time when Kassin posed the question, Gary said "Yes! Let’s do it, but we have to do it in Poland with these guys." This led to recording Gods in Brasil at the Polish Radio Studios in Warsaw with the Mitch & Mitch guys and a bunch of classical sessions musicians and finishing off in Kassin’s studio in Rio with some special guests. The record turned out so well that Gods in Brasil Vol 2 is already under way. The album touches on the classic sounds of 60s and 70s Brazilian records with nods to Gary McFarland on the way. The song Juanito Caminante is already a favourite with Joao Donato who was a huge influence on the sound of the album. The arrangements were shared between Alberto Continentino and Ryszard Borowski of the Polish Radio Big Band.
    EAN 4040824089498
  • 01. El huevo
    02. Barranquilla, Sol y cumbia
    03. Mira muñeco
    04. Oye cómo va
    05. A la Fiesta del Mar
    06. Bomba pa' los cueros
    07. La bailadora
    08. Tus lindos ojos
    09. Pan con salsa


    Pan con salsa

    [engl] Although Pete Vicentini’s El Afrocombo did not have the overwhelming commercial and international success of Fruko y sus Tesos, Joe Arroyo y La Verdad or Grupo Niche during the height of Colombian salsa in the 1970s and 80s, Pedro “Pete” Luis Vicentini del Valle (born in 1946) and his combo did have a popular following among fans in the Atlantic and Caribbean coastal areas of Colombia (especially in his home town of Barranquilla) and consequently, Vicentini has won the respect and admiration of many salsa aficionados for his long career of excellent performances and recordings, plus his professionalism and artistic quality as musical director, composer, bassist, pianist and arranger. In addition to founding what would become El Afrocombo, Vicentini was associated for several decades with the popular singer Jackie Carazo and was a member of Carazo’s El Clan Antillano as well as Chico Cervantes y su Sonora Caliente.“Pan Con Salsa” is Vicentini and El Afrocombo’s first long play and was released in 1971. As the title (and humorous cover) suggest, the majority of selections on the record are in the salsa genre that was gaining steam at the time in South America. In reality, though, the album includes Vicentini’s native costeño rhythms like cumbia and porro as well (on the tunes ‘Barranquilla, sol y cumbia’ and ‘Tus lindos ojos’). The LP has its own lively ‘combo’ sound in the plucky brass section (two trumpets and two saxes), plus the always bright and happy piano stylings of Willy Newball and of course the prominent bass playing, expert direction and arrangements of Vicentini. Additionally, the record contains the band’s first hit, ‘El huevo’, which is a cover version of Peruvian vocalist Félix Martínez’s popular 1971 tune in the guajira genre with Lima’s Los Girasoles, ‘Ese huevo se pasó’. In addition, there are some super hot original salsa tunes like ‘Mira muñeco’ and ‘La fiesta del mar’, a funky boogaloo cover of Tito Puente’s ubiquitous ‘Oye cómo va’ (with a cool clavinet solo), a Puerto Rican style bomba written by Carazo, and the title track, composed by Vicentini, which is a frenetic descarga (jam session) with lots of tasty brass solos, in-the-pocket piano tumbaos (riffs) and break-neck percussion work-outs. This album is definitely a persuasive argument for including the unjustly obscure El Afrocombo in the pantheon of hot Antillean-inspired bands from Barranquilla and proof that Colombia’s Caribbean coastal region was instrumental in pioneering the popularity of domestically produced salsa there in the 1970s, helping it spread into the interior and from there internationally by the 80s and 90s.
    EAN 8435008863500
  • 01. Ruego De Amor (Indian Love Call)
    02. La Casita
    03. Madrecita Linda
    04. Dulce Y Amarga
    05. Testigo Fui
    06. Confesion
    07. El Pachuco (Low Rider)
    08. Dime La Verdad (Tell It Like It Is)
    09. La Culebra
    10. Me Patina El Coco
    11. Tomas Al Timbal
    12. Contrabando Y Traicion
    13. Movin On


    Mucha Salsa

    [engl] This very productive trumpeter and bandleader hails from El Paso, Texas. ‘Mucha Salsa’ from 1978 is essentially an obscure salsa set from Ray Camacho – an artist who always seems willing to mix up styles in his music. That's definitely the case here, as Ray mixes straighter Latin modes with a few border touches – creating a hybrid of New York and Mexican modes that's pretty unique – but which also has some occasional funk and soul currents that are probably the record's strongest suit. Ray plays trumpet off course and the rest of the group includes guitar, trombone, and plenty of percussion – plus sax and piano from Manuel Palafox, who also handles arrangements. Titles include a great cover of "Low Rider", dubbed "El Pachuco", the Latin funk number "Tomas Al Timbal" and a funky take on Brass Construction's "Movin On". Plus the o so sweet cover of Aaron Neville’s classic ballad ‘Tell It Like It Is’ here named ‘Dime La Verdad’. This carefully prepared record is the first proper reissue in 40 years of this amazingly diverse project. In all it’s original glory!
    EAN 0710473183727
  • 01. A la memoria del muerto
    02. Mi verdadero son
    03. Payaso
    04. Los Niches
    05. La fruta bomba
    06. Achilipú
    07. A bailar oriza
    08. Descarga Fruko
    09. Bomba africana
    10. Baho Kende
    11. Rumbo a la ciudad
    12. Tihuanaco


    A la memoria del muerto

    [engl] "A la memoria del muerto" is Fruko y sus Tesos' second album, released in 1972, and features exclusively the soaring and soulful vocals of Cali native Edulfamid Molina Díaz, aka "Píper Pimienta", Fruko's previous vocalist Humberto "Huango" González having left after the first album "Tesura". The record is a mix of spirited cover versions and authentically Nuyorican-sounding originals with a Colombian twist, while the cover art, enhanced by an abundance of blood-red design, is quite something, featuring Píper Pimienta and Fruko dressed as gun-toting hippies doing drugs in a cemetery while a transistor radio plays. Just as eye-opening as the music is celebratory! According to Fruko, the Woodstock generation was finally making itself felt in Colombia, and they were embodying the name of the album literally, ostensibly pointing out the dangers of said drug-thug lifestyle in no uncertain terms (the police threw them out during the shoot thinking they were authentic gangsters).Produced and engineered by Fruko's uncle Mario "Pachanga" Rincón, the album has an uncompromisingly stark, hard sound that is appealing to today's collectors of 'salsa brava' just as it was impactful on the Colombian scene when it was made at the beginning of the 1970s (very little of this type of music was produced in Colombia at the time). Unlike the first Tesos album, with a two trumpet line-up and fairly simple arrangements, this more mature recording added another trumpet and two trombones for a more robust brass attack. Additionally, instead of basic salsa, there are many different rhythms – guaguancó, bomba, plena, oriza, bolero, cha-cha-chá, descarga and Latin soul. Though Fruko's sound at this stage wore its New York, Havana and San Juan sources on its sleeve – Willie Colón, Javier Vázquez, Richie Ray to mention a few progenitors –, at the same time the album has a uniquely Colombian approach to these influences with the bounciness of coastal music like cumbia being felt throughout.The title song is a 'guaguan-plena' version of Dominica y su Conjunto's original 'acuyuye' (ie pachanga) hit of the same name from a decade earlier. Following that is Fruko's take on Cuban pianist Javier Vazquez's driving salsa dura anthem 'Mi verdadero son'. For a little variety, next up is a rendition of Puerto Rican pianist Raphy Leavitt's famous lovelorn bolero-cha 'Payaso' from 1971. Píper Pimienta brings the energy up again with Fruko's own bomba 'Los niches' – a party tune with an Afro-Colombian theme. The side finishes out with more cover versions: the double-entendre 'La fruta bomba' by Cuban trovador Maximiliano "Bimbi" Sánchez y su Trío Oriental and the fiery rumba gitana 'Achilipu' – first recorded by Barcelona's Gypsy Queen, Dolores Vargas, and subsequently made into a salsa groover by Puerto Rico's El Gran Combo in 1971. Side B kicks off with one of Fruko's favorite Afro-Cuban artists, the conguero and Santería singer Silvestre Méndez, with 'A bailar oriza' (made famous by Cortijo y su Combo in the 1950s). After a wild descarga (jam session) track, we are treated to a fun pair of cover tunes: Johnny Zamot's 'Bomba africana' (more triangle!) and the old Afro-centric chestnut by folkloric Cuban rumbero Alberto Zayas, 'Baho Kende' – a hit for Celia Cruz and La Sonora Matancera in the 1950s but done here in the early Willie Colón style. The record finishes off with another Fruko original written with his Discos Fuentes colleague Isaac Villanueva. The lyrics are from the point of view of the poor country peasant leaving the mountains and escaping the slavery of rural poverty for what he thinks will be the promise of opportunity dubiously offered by "The Big City".
    EAN 8435008863159
  • 01. Atalaia
    02. As Feras
    03. Foicera
    04. Rio Corrente
    05. Macareu
    06. Fuga
    07. Flauta De Bambu
    08. Tema Pro Alvarito



    [engl] Guilherme Coutinho started playing at the age of five and, at the age of seventeen, he was already part of "Os Mocorongos" and "Os Iguanos", both as an amateur. But he soon became a group leader, playing in several nightclubs in Belém (Pará), until he settled in the Paraense Assembly, where he lived for more than 15 years. He was a musician who played for high society, he was a businessman who had the best instruments, besides always making his own arrangement for the songs. His favorite formation was piano, bass, and drums, as well as a singer. But, for some time, he even used a recorder as playback to give greater sound texture. The first performance was at Pinheirense in Icoaraci. The 1970s were at the height of the clubs in Belém, such as the Tuna, Yacht Club and the Paraense Assembly. At the carnival, there was Guilherme at the head of his group, with rhythmists and a brass section, playing not only the greatest hits but supporting local composers. He was the musical director of Leila Pinheiro's first professional show, at Teatro da Paz. In his career, he released three albums: "Guilherme Coutinho and Curtição", "Busca-se" and "Guilherme Coutinho and Grupo Stalo". Guilherme's last two shows took place on Friday, August 19, 1983, at the Theatro da Paz, through the Pixinguinha Project, and at the old Gemini Blues nightclub. On the morning of Saturday, August 20, Guilherme Coutinho died of a heart attack. "Guilherme Coutinho e o Grupo Stalo" was released on the ''Erla', an obscure Brazilian label, which curiously pressed only 7" singles, but this Guilherme Coutinho album is an exception. An LP that became one of the most sought after in Brazilian music. It was generating a cult around you for sound innovation, a kind of Lo-Fi Tropicalism.
    EAN 4040824089481
  • 01. Mini Neila
    02. GB Em Alto Relevo
    03. Patricia
    04. Os Telhados Do Mundo
    05. Freedom
    06. Capitão de Papel
    07. Amanhã Não Sei
    08. Será Que Eu Pus Um Grillo Na Sua Cabeça?
    09. Passam Anos, Passam Anas
    10. Cabeça Feita



    [engl] Considered one of the masterpieces of seventies psychedelic, his second album, released in 1973, is the result of a partnership with Tibério Gaspar (author of: "Sá Marina", "BR–3" and "Teletema"). The album was recorded at Rádio Gazeta Studios in São Paulo, with the participation of musicians already known as: Wagner Tiso on synthesizer, Luiz Claudio Ramos on arrangements and conducting, Lanny Gordin on guitar, Oberdan Magalhães on flute and Guilherme himself playing guitar and piano. Guilherme died on August 7, 2018, at the age of 67, due to health complications. But the timelessness of his work has been revisited by the new generation of artists and audiences. RED VINYL. LIMITED TO 200 COPIES.
    LP red
    LP 180gr
  • 01. Long Way Home
    02. The Oil Age
    03. Fat Man In Paradise
    04. Pelikan’s Alley
    05. Ernie’s Weasel
    06. Marion
    07. Vacation From Romance
    08. Between The Swells


    Between The Swells

    [engl] Killer AOR Rarity. Highly recommended. Jay Days’ only album presents eight killer funky AOR sounds and blue eyed soul tracks. Rarely surfaced in the collectors’ market but now the album is finally reissue on vinyl. A band formation with mysterious session men who support JAY DAYS of slack guitar vocal, gentle electric piano with jazzy rock, blue–eyed soulful medium mellow, female chorus with mystic groove. It contains Hawaiian–style acoustics and dense performances unique to the Private Press. It is a hidden AOR masterpiece where you can feel the tropical atmosphere of the street along with the wind of the West Coast. Limited Edition on 180 gram vinyl
  • 01. Pájaro Maluco
    02. Virgenes del Sol
    03. Me dejaste
    04. Negro con salsa
    05. Hogar campesino
    06. Cumbia y porro
    07. Chana
    08. Juan Manuel
    09. Parecito Faraón
    10. De Colombia pa´Venezuela
    11. Mi plegaria



    [engl] At the age of 24, Juan Piña formed the eight-piece La Revelación with his brother Carlos, releasing their first album in 1975 on Discos Zeida. This self-titled debut LP of Piña with his group is something of an anomaly in his discography as subsequent albums would feature a different sound and concentrated almost exclusively on Colombian coastal Caribbean and ‘sabanero’ genres.Although Juan Piña’s debut record never made much of a splash, it is an excellent little slice of Colombian mid-70’s madness, with a very diverse sound. An interesting and joyful sounding mix of New York style salsa, Cuban son montuno and guajira with Colombian tropical flavors, the simple, spare arrangements featured electric guitar, piano, Latin percussion, two trumpets, occasional sax, and Juan sang lead while Carlos backed him on chorus. It also sounds like Joe Arroyo may have done ‘coro’ chores on Juan Piña Con La Revelación (Arroyo was a very close friend of Juan and sang chorus on several Revelación albums).This album is hard to find in the original edition, but collectors in the know treasure it for its two hot salsa tunes (‘Negro con salsa’ and ‘Chana’, both written by famous Chocoano composer and vocalist Alfonso Córdoba “El Brujo”) as well as producer Rafael Mejia’s salsa guajira ‘Hogar campesino’ and the genius rendition of the Peruvian classic ‘Virgines del sol’.A beautiful and mature sounding work for the relatively young Juan Piña and his crew, and well-worth rediscovery by today’s Colombian music enthusiasts.
    EAN 8435008863715
  • 01. La Hossa
    02. Cumbia Tropical
    03. El Escándalo en la Familia
    04. Una Vez Caminando
    05. El Bulevar de la Desilusión
    06. Kabwlú
    07. Cumbia de Piedra
    08. Kabwlú Cavernario
    09. Mira Mira
    10. Gaita Roca
    12. Gaita en Villa-Roca



    [engl] While 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 rhythm’ of Los Picapiedra’s ‘homeland’). What is interesting about the record is that 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.Much like its namesake American cartoon The Flintstones, “Kabwlú” trades in creative anachronism, mixing ‘folkloric’ and ‘modern’ elements with calculated ‘caveman’ humor that works on many different levels. For instance the title tune seems to have been inspired by the pachanga craze and recalls the vibe of Ray Barretto’s massive 1962 hit, ‘El Watusi’, but it has a certain joyful simplicity and rock-solid underpinning that elevates it beyond mere novelty or exploitation — and argues for its timely reissue for today’s audience.The band was a studio invention that had no major significance in Medellin’s live music activity. However, several of Los Picapiedra’s songs were 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”.
    EAN 8435008863661
  • 01. Congênito
    02. Maravilhas contemporâneas
    03. Veleiro azul
    04. Juventude trasviada
    05. Amor
    06. Baby Rose
    07. Questão de posse
    08. Memórias modestas
    09. Mary
    10. Paquistão
    11. Quando o carnaval chegou


    Maravilhas contemporâneas

    [engl] Often overlooked, “Maravilhas Contemporâneas” is one of the greatest Brazilian albums of all time and one of the finest recordings on Som Livre.Just listen to Luiz Melodia singing to understand that his music escapes any attempt to strict labelling. Obviously, the Brazilian music tradition is very present on this record but Melodia’s rhythmic sense when using his vocal skills also brings it close to funk or jazz, an idea that is reinforced through the explosive brass arrangements that embrace the whole LP.This album was released in 1976 and marked the confirmation of Luiz Melodia as one of the best artists in Brazil at a time when the local music scene was synonymous with excellence. His first album, “Pérola negra”, released three years earlier, had featured the outstanding arrangements of Arthur Verocai and the performance of top musicians such as Hyldon or Meirelles, but this second album stands as another essential milestone in his career and further proof of his formidable talent. One of the tracks included here, ‘Juventude trasviada’, was featured in the soundtrack of a popular Brazilian soap opera, Pecado Capital, boosting the artist’s increasing popularity.The creative freedom and the wide range of influences managed by Luiz Melodia reach their peak in that wonder entitled ‘Baby Rose’, a song that evolves from cosmic psychedelia, including the sounds of the sitar, to the peaceful beauty of some kind of highly tuneful samba funk. Sublime.‘Questão de posse’ features fierce proggy guitars while ‘Veleiro azul’ adds Latin rhythms into this unique recipe, but again, it is the talented voice of Luiz Melodia what grants this recording a pass to another league.“Maravilhas Contemporâneas” deserves to be filed next to the finest albums by Caetano Veloso, Jorge Ben or Gilberto Gil.
    EAN 8435008875626
  • 01. Trilhos Urbanos
    02. Undiú
    03. Na Baixa Do Sapateiro
    04. Telephone
    05. Living In More Than One Way
    06. Amanhecer
    07. Mania De Você
    08. Tapajos



    [engl] Can you imagine a Dutch band playing top- notch 60s- 70s sounding Brazilian music? Originally released as a private pressing in 1983, Palmeiras only album will please any lover of bossa, jazzy and latin- fusion sounds. Beautiful femme vocals, superb musicianship featuring the awesome lead electric guitar of Jeanette van der Pligt, self- penned songs and choice covers of Caetano Veloso, João Gilberto and Rita Lee among others. Palmeira was a Brazilian styled band formed by Angelo Noce Santoro (ex- Cosmic Dealer) along with some Dutch, North American and Brazilian musicians. The group existed from 1979 till 1985, playing lots of gigs at jazz and night clubs in Holland. In 1983 they released their only album in a private edition of 500 copies on Angelos ANS label. A cult item for fans of Bossa- Jazz, it was first reissued as a limited edition in Japan, now long out of print. Heres a new reissue featuring no less than six bonus tracks on our CD edition. These bonus (one more over the previous Japanese CD release) come from Angelos tape archive and all of them were recorded the same year as the album, including some great covers of giants like Edu Lobo and Jorge Ben among others.
    EAN 4040824085070
    EAN 4040824085087
  • 01. Faz Tanto Tempo
    02. Folhas De Outono
    03. Sou Frevo
    04. Meu Canto Minha Volta
    05. Eu Quero Ficar So
    06. Conta-Me (Cuentame)
    07. Sambaloo
    08. Manias
    09. Fim De Papo
    10. Meu Amor É Teu Amigo
    11. Sucesso Tranquilo
    12. Sorriso



    [engl] 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 1971on 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.
    LP 180gr
  • 01. El Pajarillo
    02. Maracaibo En La Noche
    03. Polo Margariteño
    04. Cantos De Mi Tierra
    05. El Cumaco de San Juan
    06. El Diablo Suelto
    07. Polo Coriano
    08. Mare-Mare / Por Comer Zopoara / El Pájaro Guarandol
    09. Sombra En Los Médanos
    10. Barlovento
    11. Río Manzanares
    12. La Bella Del Tamunangue


    Revolucion Electronica en Musica Venezolana

    [engl] Ultimate space-age exotica trip from Venezuela. In the early 70s, well-known composer and arranger Chelique Sarabia (who penned the famous “Ansiedad” when he was just a kid) decided to register an album of traditional & folkloric songs from Venezuela but giving them a modern touch, using especially developed equipment (M.R.A.A.), based off of the principles of the Moog. Chelique, helped by a team of gifted musicians, employed traditional instruments like the cuatro and the bandola llanera, filtering them through oscillators, playing with feedback, tape delay, synthesized frequencies, echoing sounds… The result was “Revolución Electrónica en Música Venezolana”, an album with a truly exotic, psychedelic, and ahead of its time sound. Originally, the album was sponsored by the Shell Company in Venezuela, given away to customers, employees and friends of the company as a Christmas gift in 1973. It was titled “4 Fases del Cuatro - Música Venezolana desarrollada Electrónicamente por Chelique Sarabia” (“4 Phases of Four – Venezuelan Music Electronically Developed by Chelique Sarabia”). Once the exclusivity period with the petrol company was over, Chelique did a commercial release, this time under the name of “Revolución Electrónica en Música Venezolana” (“Electronic Revolution in Venezuelan Music”). Thanks to this, Chelique and his team were considered electronic music pioneers in Latin America. “In the past five decades, there have been many attempts at modernizing the vast folkloric tradition of Venezuela, but nobody has reached the level of depth that CHELIQUE SARABIA did when he put his impeccable reputation as a composer and arranger at risk with this out-of-the-blue revolutionary musical manifesto in 1971. 47 years later, an album that remains ahead of its time.” - Alex Figueira (Fumaça Preta)
    EAN 4040824088897
  • 01. Mi hermana
    02. Salsa boogaloo
    03. Cuando salí de Cuba
    04. Apriétame
    05. Mambo flamenco
    06. Dónde estás Yolanda
    07. Abacoa Miramar
    08. La bola
    09. El invierno
    10. El gato
    11. Buena suerte
    12. Las villas


    !Salsa! Mi hermana

    [engl] By the time Sexteto Miramar’s groundbreaking “¡Salsa! Mi hermana” LP was released in 1968 they had been performing for over a decade and had gone through changes in both personnel and instrumentation. Formed in Medellín as a children’s “murguita” (little holiday party band) that used to annoy the neighbors, they quickly grew into a hot teen combo specializing in Cuban and Colombian music with accordion and sax arrangements in a conjunto (small group) format, eventually recording for local labels including Zeida. During this time the group had several hits that became standards (later covered by domestic and foreign artists) including ‘Carruseles’ and ‘Cumbia del sol’. By the mid-1960s the old band had dissolved and original founding member and bandleader/arranger Hernán Builes had formed a new outfit, signing with Zeida rival Discos Fuentes. Miramar then recorded an obscure album of tropical music called “Cumbias con El Miramar”, sounding much like their earlier records.However, inspired by New York’s Joe Cuba Sextet and La Playa Sextet (as well as the savvy record label head Don Antonio Fuentes), several years later Builes decided to swap the folkloric accordion for the more contemporary sounding electric guitar, piano and vibes and signed a new contract with Fuentes under the name Sexteto Miramar. During this period Miramar featured several vocalists who would later go on to greater fame, including Humberto Muriel, Johnny Moré and Rodolfo Aicardi. The newly minted Sexteto Miramar were perhaps the first Colombian group to use the term “salsa” as a musical genre when they recorded “¡Salsa! Mi hermana”. The record was also their first album as a sextet under their new name, instrumentation and membership. Humberto Muriel has said that back in the late 1960s Colombians became instant fans of the sextet and their records “because nobody here dared to [play or] record this music”, what later would become known as Nuyorican salsa. He has also said that Builes led the band with a firm hand, being responsible for the tight musicianship and interesting arrangements, unusual for such young musicians.The album features several originals as well as cover versions of New York Latin and Cuban tunes first popularized by Orquesta América del ‘55, Tito Rodríguez, Celia Cruz, Sabú Martínez, La Playa Sextet, Joe Cuba Sextet and the Peruvian group Pepe Moreno y su All-Star Band. As to how Builes came up with the album’s signature tune, ‘Salsa Boogaloo’ (which explicitly references The Bronx and Manhattan as well as Maracaibo and Lima), he had most likely been listening to Venezuelan radio broadcasts of the new Latin records by artists such as Pete Rodriguez, Ricardo Ray and Johnny Colón coming out of New York, which had been described as “salsa” since 1966 by bohemian disc-jockey Phidias Danilo Escalona. With this fresh approach and the aid of Discos Fuentes, Miramar’s fame quickly spread from Medellín to Cali, Buenaventura, Bogotá and beyond. According to Muriel, the fact that “¡Salsa! Mi hermana” did not have any overtly Colombian genres like cumbia and instead concentrated on foreign sounds such as guajira, mambo, charanga, bolero, guaguancó, guaracha, boogaloo and salsa meant that the band was consciously trying to update Colombian tastes. “We were in that story, we were living what was happening with Antillean music [at the time], for instance bringing salsa and boogaloo to Colombia,” explains Muriel. This was the first of many bands and recordings to come out of Discos Fuentes in the salsa genre, and as such it deserves special consideration, though it is certainly the incredible music contained within the record’s groves that will insure its popularity in this lovingly restored reissue.
    EAN 8435008863333
  • 01. Vou Lhe Pisar
    02. Você Balança Meu Coração
    03. Amor Amargo
    04. A Menina Que Se Foi
    05. A Recordar
    06. A Confusão
    07. Meu Coração Nâo É Algema
    08. Minha Saudade
    09. Tempestade
    10. O Trem
    11. Carrossel Da Vida
    12. O Amanhecer



    [engl] The Silvery Boys was created in 1965 in the district of Campo Grande, Rio de Janeiro, featuring a unique blend of organ, guitar, bass, drums, trumpet, and trombone. They became known as "The Famous Bandinha de Campo Grande” and released their debut album on RGE in 1967.At the end of the 60s, the sound of the garage beat and the bossa nova and samba coexisted smoothly in the repertoire of a good number of Brazilian bands. You could find playful farfisa licks and guitar riffs combined with moving bossa rhythm drum patterns and powerful brass arrangements, groovy club tunes next to lounge mood sounds, across the tracklist of so many albums released at the time. That is exactly what the second album of The Silvery Boys (1968) comprises.Band members José Carlos (trombone) and Fernando Soares (guitarra) sign most of the songs on this self-titled record that also includes some versions of the Spanish famous Duo Dinámico, ‘Amor amargo’ and ‘A Recordar’, as well as other international hits (Tommy James & The Shondells’ ‘Gone, Gone, Goner’). However, ‘Você Balança Meu Coração’ -composed by José Messias- is the stand-out cut here and became a much sought-after club tune after being included in the second volume of the cult compilation series “High Jazz” in the early 00s. A dance song so irresistible that makes the search for this elusive Brazilian album worthwhile.After years unavailable and with originals currently selling for outrageous prices, we are thrilled to offer The Silvery Boys LP, reissued on vinyl for the first time in its original artwork and quality 180g pressing.
    EAN 8435008863654
  • 01. L'arbre mort
    02. Kaliani
    03. Mektoub
    04. Le tube de l'été
    05. Rêverie
    06. Mort d'un rat
    07. 4, 5, 6
    08. Jazz from Sarcelles
    09. Submersion



  • 01. Rigibo
    02. Lambi
    03. A.B.C.D.
    03. Pasto
    04. KT 3
    05. El Gason
    06. Rete – D2. Knell



    [engl] Impressive jazz–rock–fusion with progressive, funk, afro–caribbean and Zeuhl elements courtesy of multi–cultural French band SYNCHRO, featuring an impressive cast of French, African, Afroamerican, Antillean and Martiniquens musicians: drummer Steve McCall (AIR, CECIL TAYLOR), sax player Jo Maka (INTERCOMMUNAL FREE DANCE MUSIC ORCHESTRA), violinist Jean–Yves Rigaud (ZAO), electric guitar player Gerard Curbillon (SPEED LIMIT), pianist Georges–Edouard Nouel (NOEL Mc GHIE & SPACE SPIES), bass player Louis Xavier (LADJA). Synchro was iniatilly created by legendary drummer Eddy Gaumont but after his unexpected death, Louis Xavier took the control. Soon after, they recorded a couple of albums for French label Moshé–Naïm, created by the famous patron of the arts of the same name. "Lambi" was released in 1972 housed in a beautiful gatefold cover, featuring liner notes by jazz critic Maurice Cullaz and BYG’s Pierre Lattés. Here, you’ll find Zeuhl grooves a la Magma–ZAO–Soft Machinhe ("Rigibo"), jazz–funk–breaks galore ("ABCD"), afro–latin–jazz ("Pasto", "Rete"); library jazz funk ("El Gason") and outstanding jazz–rock–prog. Here’s the first ever vinyl reissue, expanded to a double album including some essential bonus tracks taken from the recording sessions.
    EAN 4040824089146
  • 01. Conveyance
    02. Jabo
    03. Zoilo
    04. Primavera
    05. Gimme Your Love
    06. Waiting Too Long
    07. Feeling
    08. Slippery When It’s Wet
    09. Conveyance



    [engl] In Summer 1977, Syndicate band from Las Cruces, New Mexico, recorded and released this album "Conveyance". It is the only recording the band ever released. Super rare Latin Funk album from New Mexico with a killer cover of Curtis Mayfield and the Sisters Love masterpiece "Give Me Your Love".