Pop & Rock Novedades

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.

"ASFALTO SELVAGEM" LP is one of the rarest soundtracks ever made in Brazil, arranged by João Negrão. Truly a hard to find item!

Asfalto Selvagem is a 1964 Brazilian film directed by J.B. Tanko, a drama based on the first part of the novel "Asfalto Selvagem: Engraçadinha, Seus Pecados e Seus Amores", by writer Nélson Rodrigues.

original style !! superb LP !

"Body & Soul" marks S-Tone Inc.'s return after three years, diving deep into the soul / disco / funk sound from the late '70s. Along with the presence of longtime collaborators Toco and Laura Fedele on vocals and their own distinctive signature, we have two new international collaborations: Afra Kane, a Nigerian singer who gives a black shade to the album songs, and legendary João Donato's son Donatinho on Rhodes and Moog. "Midnight Sun", a cinematic-flavoured instrumental track that pays homage to The Maestro Ennio Morricone, closes a beautiful record captivating and precious in every note.

It's back-to-backhits with the new Names You Can Trust split single series, the first of which features two up-and-coming acts in the blossoming Latin music scene of the Pacific Northwest. From Seattle via Argentina and Miami is Terror/Cactus, a futuristic electronic cumbia project from musician Martín Selasco. Selasco's machine-forward audio/visual performances combine a mixture of bugged out digital folklore, live percussion and the omnipresent sounds inspired by the canon of South American chicha concoctions. That balance is on display in the group's debut vinyl release "Churro vs Crow." A field recording of a Mexico City street scene playfully intermingles with the track's heavy production, an innocuous battle between a crow and a churro vendor breathes a little outdoor analog into an avant digital landscape.

On the other side of the spectrum, down south in neighboring Oregon, lies Portland's Orquestra Pacifico Tropical, an 11-piece ensemble formed by a crew of talented musicians from the lush local offerings of the Willamette Valley. The band's big sound is an explosive expression of their own roots, representing the heyday of tropical music that graced stages for decades in Central and South America. Clarinet, brass, electric guitars and that familiar percussive pulse are all alive on their NYCT debut "Regreso." Imagine a return to the cross-pollinated sounds of the psychedelic '70s, an echo from the Andes, the Amazon, through the central isthmus and back to the present, only this time landing in the City of Roses.

Sotomayor is the electronic music project with afro latin influence by siblings Raul (music production) and Paulina (vocals). It is a dance music project that fuses rhythms like cumbia, afro beat, dancehall, Peruvian "chicha" and merengue with futuristic electronic beats.

The band debuted in 2015 with "Salvaje," an album that allowed them to perform in several festivals around the globe in countries like England, US, Mexico and Colombia.

The album received excellent reviews from foreign media in countries like Japan, Australia, United Kingdom, Chile, United States and Colombia. They also appeared in more than 25 lists of the best of the year from medias from all around the world. 2020 will see the release of "Orígenes" their 3rd studio album trough the NY based label Wonderwheel Recordings.

This album was recorded between Mexico and Puerto Rico, and was produced by the 28 times Grammy Winner Eduardo Cabra aka "Visitante" from the legendary band "Calle 13." In this production Sotomayor explores a new Afro Caribbean vision in the music, much more dance floor focused, and highly influenced by percussion

Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album Lucumi, Macumba, Voodoo get the official, remastered reissue treatment - with original copies of the 7' trading hands for upwards of £60.

Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri's brother Charlie.

In an era dominated by disco, 'Spirit Of Love' took to the dancefloor, drawing on the glamour and magnetism of the late '70s. Palmieri's distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. 'Spirit Of Love' is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!

On the flip 'Lucumi, Macumba, Voodoo' is a masterpiece of Latin fusion, with Palmieri's unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it's a recipe of Caribbean spice that'll liven up any record collection.

New Wave and Afrofuturism

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

500 copies. 140 gramms vinyl, 12 page booklet included!

Limited 2019 edition of « Clandestino », remastered for the first time on triple Vinyl + CD.
2 x 180 Black Vinyl and a Blue 10’’ (+ dedicated printed inner sleeve) with 3 new songs : « Bloody Bloody Border », « Roadies Rules » & « Clandestino » featuring Calypso Rose (2019 version).
Includes the remastered CD. Gatefold packaging. Vinyl Mastering and lacquers cut by Chris Bellman at Bernie Grundman Mastering Studio.

"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.

"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.

"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.

"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.

"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.

"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.

"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.

"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.

"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.

A Series Of Rare And Sought After 'Golden Era' 1960s/70s Brazilian Dancefloor Essentials For DJs And Collectors Previously Unreleased As Singles Or Only Available On Quieter LP Pressings Mastered Cut At High Quality & Packaged In Lovingly Produced Brazil45 Sleeves

A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
'India' includes the incredible 'Pontos De Luz' as sampled by Kaytranada on 'Lite Spots' - one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

Pianist Roberto de la Barrera was arguably the first musician from Cartagena, Colombia to record music that would later be labeled "tropical" and "salsa" with his own group in the early to mid-1960s. He took the piano seat in the Discos Fuentes house orchestra and was also an arranger on several releases.

In 1970 he recorded his third album for the label, "Se formó la salsa", featuring an irresistible mix of Colombian and Cuban flavors, sometimes within the same tune, and often with that wonderful raw, loose, improvisational quality associated with the "descarga" jam sessions of Cachao and others a decade before.

Roberto de la Barrera was a pioneer in introducing modern Latin sounds from Havana, New York and San Juan. Sadly, his contributions in bringing salsa to the Caribbean region of Colombia and hence the rest of the country have gone largely unheralded, but hopefully this reissue will help set things straight.

Presented in facsimile artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs.

Released in 1971 while Gil was living in London, this is the third self-titled release from the bossa nova and tropicalia legend. Gil recorded this album while in political exile from his native Brazil and its somber, straightforward tone is a welcome change from the experimental, psychedelic assault of his 1969 long player. Featuring 8 originals and a brilliant cover Steve Winwood's 'Can't Find My Way Home,' this Water release also contains 3 bonus tracks including covers of Jimi Hendrix and The Beatles. A tropicalia classic.

HIGHLIGHTS Juan Piña Con La Revelación is the debut album of this Colombian artist and his eight-piece band, originally released in 1975 on Discos Zeida. An excellent little slice of Colombian mid-70's madness, with an interesting and joyful sounding mix of New York style salsa, Cuban son montuno and guajira with Colombian tropical flavors. Includes the two hot salsa tunes 'Negro con salsa' and 'Chana' as well as the salsa guajira 'Hogar campesino'. This hard to find album is now reissued for the first time, pressed on 180g vinyl and presented in its original artwork. DESCRIPTION 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. Pablo E Yglesias DJ Bongohead of Peace & Rhythm

HIGHLIGHTS First ever reissue of "Kabwlú", a very hard-to-find album released by Discos Fuentes in 1965. The mysterious Los Picapiedra (which translates as The Flintstones, inspired by the 1960s American cartoon show), was a short-lived studio group with one albumto their name, "Kabwlú", mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor. It is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Several of Los Picapiedra's songs became very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa". Presented in its original artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs. DESCRIPTION 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". Pablo E Yglesias (aka DJ Bongohead, Peace & Rhythm) Additional research by Luis Daniel Vega

More than two years ago "Matasuna Records" already reissued two songs of the gifted Peruvian piano master "Otto de Rojas" on a 7inch single. "El tema de Coco" is another great track on his 1976 album "Superéxitos Bailables", on which he mixed Latin with Funk, Jazz and Disco. The song was reworked by "Retro Roland Riso", known for his Bossa 70 edits and by label founder "Alex SoulBrigada", who now deliver two different versions of this tune for the dancefloor.

"Otto Raúl de Rojas Guedes" (1941-2008) was a Peruvian musician, composer, arranger, musical director of radio and television broadcasts. He's considered one of the most influential figures in Peruvian music of the 70s.

The musical landscape of Peru, especially in the musical epicentre Lima, was influenced in the 1960s by US Funk, Soul or even psychedelic Rock and merged it with Peruvian Cumbia and traditional Criolla music. The young & unknown "Otto de Rojas" started his musical career in this environment and played in various bands like "Bossa 70" and "Los Hilton's". A commercial breakthrough in his career came in the early 70s when he took over the musical direction of the TV show "Trampolín a la fama" and made a name for himself with his talent as an arranger.

He was also active as an arranger and musician for the Peruvian record company "MAG", and as a versatile and talented pianist he has participated in various recordings of different popular rock groups like "Los York's", "Traffic Sound" and others.

Otto released his first successful solo project at the age of 25 in 1976. His songs "Al Ritmo Del Bump-Bump", a cover version of the US hit "Soulful Strut" by "Young-Holt Unlimited", and the song "Choca Las Caderas" are considered one of his greatest successes and represent for many the best songs of Otto de Rojas. In the following years he recorded more albums and was often to be found on the stages of Lima.

In 2008 Otto de Rojas died tragically and much too early. With him, the Peruvian music world lost an unsung icon. However, his music will live on and keep the memory of this exceptional talent alive.

"Roland Retro Riso's" Al-Ritmo Rework on the A-side puts an impressive percussive rhythm layer over the original and makes it to an inimitable funky groover for the dance floor.

The "SoulBigada" Edit on the B-side transforms the song into a deep disco-funk banger, focusing on the deep rolling bassline, funky wah-wah guitars, brass and the virtuoso piano playing of Otto de Rojas, giving the song the necessary pressure.

For years, Frente Cumbiero has served as the torchbearer of a new wave of experimental exploration in the diverse modern-day cumbia canvas. Led by Mario Galeano Toro, a Colombian native and accomplished veteran of Bogotá's rich music scene, the group first connected with listeners outside of South America via their head-exploding 2010 debut on Names You Can Trust. "Pitchito" would become a cult favourite, a catalyst for the Brooklyn-based label, and soon after a bonafide rarity. Those beginnings of Frente Cumbiero focused on an honorary recognition of the massive musical impact that the many formations of cumbia have had over the decades within Colombia. Subgenres such as gaita, porro, vallenato, and caracolito, to name just a handful, have all played their part within the evolution of the country's tropical music lineage. That deep-digging determination coupled with a truly unique and talented musicianship has informed Frente's music, some of the most forward-thinking and reverential examples of the current tropical scene. It has led to some incredible opportunities and collaborations in Europe, Asia and the States, including genre-defying recordings with London's Mad Professor and Japan's Minyo Crusaders.

Still, Galeano Toro's assemblies with Frente Cumbiero have been scarce amongst his other exploits, splitting time as player and producer in other ground breaking projects like Ondatropica and Los Pirañas over the recent years. After three 45 single releases together with NYCT, the time away has left everybody wanting for more. Now, reassembled and seasoned with years of touring and gigging in a multitude of projects, the group's current quartet of Galeano Toro (keys and synths), Pedro Ojeda (timbales and percussion), Marco Fajardo (tenor sax) and Sebastián Rozo (bombardino) is a stripped down powerhouse of unadulterated psico-tropi swing, a beautiful Colombian musical stew, incorporating a host of flavors from the melting pots of the Pacific, Caribbean and Atlantic pathways. The final result is of course quite unclassifiable, simply a new breed of good music and a dancefloor delight.

In September 2019 Matasuna opened the treasure box and reissued two rare original versions from the Peruvian band Bossa 70 for the first time on 7inch. With the new release, two more songs from their popular self-titled album will be officially reissued on a 45.
The songs were transferred from the original master tapes and got a new mastering.

Matasuna invited the US-American DJ & Producer Retro Roland Riso to put his hands on the original versions to create two reworks, which are suitable for today's dancefloors. Roland is almost a veteran of Philadelphia's nightlife and can look back on a 20 year career as a radio host, promoter, DJ and producer.

Nilo Espinoza Vascones or better known under his artist name Nilo Espinosa is without doubt a Peruvian saxophone and flute legend. After a classical musical education he entered the music scene in the early 1960s. In 1966 he founded the band Los Hilton's with some of the best Peruvian musicians including the gifted piano player Otto de Rojas. In 1967 they recorded the first and only LP of the group, which was released in a small edition in Peru.

Their concerts were more and more influenced by Jazz and Bossa Nova, so in 1968 they changed the band's name to Bossa 70.
In the record label's office Nilo met the Afro-Peruvian Carmen Rosa Basurco, who also loved Bossa Nova and could sing in Portuguese and English. From then on she was the main singer of the band.

Bossa 70 recorded four songs for a 7-inch EP in an edition of only 100 copies, which was given away for promotional purposes at concerts and to friends & family. In 1970 they recorded their self-titled LP which reflected a mixture of Bossa Nova, Latin Jazz and Funk. The label pressed only 300 copies, which were sold out very quickly. This LP was the band's only album and is a rare piece of Peruvian music history.

Think on the A-side is a great cover version of the same named song by Souldiva Aretha Franklin from 1968. Bossa 70 gave the song it's own touch and in their instrumental version they put the focus on the brass parts, bassline, wild guitar solos and an upbeat rhythm.
Retro Roland Riso's rework puts even more pressure on the song, creating a bomb for the dancefloor!

Get Out Of My Way on the flipside is another fantastic cover version of a fabulous Latin/Boogaloo song of Joe Torres from 1967.
The Retro Roland treatment remains true to the original arrangement, but he spices up the song in his Regroove with a big dash of breaks and percussions. Another weapon for every DJ bag!

Rocafort Records is back with a second volume of sabrosura from New York City! Another triple 7" box set of hard to find dance floor delights.

Including liner notes by DJ Timber on the back cover.

Mambo! is the fifth studio album by Peruvian soprano Yma Sumac.
It was released in 1954 by Capitol Records. Most of the tracks were composed by her husband Moisés Vivanco

Mambo! is the fifth studio album by Peruvian soprano Yma Sumac.
It was released in 1954 by Capitol Records. Most of the tracks were composed by her husband Moisés Vivanco

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.

Names You Can Trust is proud to present a special collaboration with Barbès Records and the legendary godfathers of cumbia amazónica, Los Wembler's de Iquitos. Featuring two songs mixed expressly for 7-inch directly from the reels of their 2019 album, VISIÓN DEL AYAHUASCA, it's the latest entry in the group's historic canon of a particular brand of bonafide psychedelia, a worthy addition to a catalog of recordings that have made their way around the world to fans, DJs and sound systems since the group's beginnings in the late '60s.

The band's 50 year-old origin story begins when electric instruments started showing up at the port city of Iquitos, Peru. This seminal moment of international trade at the gateway to the Amazon inspired a shoemaker named Solomon Sanchez to start a band with his five sons. Los Wembler's were the first band in the capital of the Peruvian Amazon to play popular local rhythms with electric guitars. Their revolutionary sound, fuzzy lysergic guitar helixes wrapped around melancholic melodies, would go on to have an enormous impact on the whole of South American popular music, echoing throughout the continent and further, into the States and eventually across the world.

The past few years have seen a new wave of interest in the band's music. Los Wembler's, the sons, now fathers and grandfathers themselves, have brought their trademark sound on recent tours to Mexico, Europe and North America, where it has been embraced by a new generation of musicians and listeners.

As Los Wembler's prepared for a lengthy tour in 2020 to coincide with this new 7-inch issue, the world abruptly changed course. The COVID-19 outbreak has had particularly devastating consequences in the Peruvian Amazon. With an urban density of around a million people, Iquitos is the largest isolated city in the world, reachable only by boat or plane and surrounded by the vastness of the rainforest. A buzzing multicultural city, Iquitos was catapulted into modernity during the late 19th century's rubber fever. It is home to not only the members of Los Wembler's, but several legendary and influential musicians who helped lay the groundwork for the roots of chicha, the distinctively Peruvian brand of cumbia.

Volume 2 showcases more of the unique tropical music created in Panama in the fertle decades of the 1960s and '70s. The thin, tropical bridge that connects North and South America,
Panama is home to three million culturally diverse people, and its' music is a soulful blend of Latn American, Caribbean, European and Indigenous forms. From Calypso Funk to Ti pico Soul, from hard Descargas to rustc Cumbia-related styles, Panamanian musicians fearlessly combined and brilliantly executed styles that refected their mult-cultural environment during a turbulent tme in the young country's history. This collecton presents more of the golden age of Panamanian music and the music of the Combos Nacionales on rare recordings that have never been released outside the Isthmus untl now.

Volume 2 showcases more of the unique tropical music created in Panama in the fertle decades of the 1960s and '70s. The thin, tropical bridge that connects North and South America,
Panama is home to three million culturally diverse people, and its' music is a soulful blend of Latn American, Caribbean, European and Indigenous forms. From Calypso Funk to Ti pico Soul, from hard Descargas to rustc Cumbia-related styles, Panamanian musicians fearlessly combined and brilliantly executed styles that refected their mult-cultural environment during a turbulent tme in the young country's history. This collecton presents more of the golden age of Panamanian music and the music of the Combos Nacionales on rare recordings that have never been released outside the Isthmus untl now.

Music is pervasive in gypsy community. It is closely tied to celebrations all along people’s lives (baptisms, engagements, weddings). Young talents who will become artists of tomorrow are identified while they perform during these events. Guitarist, singer, writer and composer, Antoine « Tato3 Garcia learned the guitar at the age of 7 with his brother and gypsy musicians of Perpignan. As involved in « juergas » as he is on stage, Tato has created a style of his own and become a fervent ambassadorof Gypsy Rumba.
With the rich and varied experience he has gleaned, he now records a new album under his name. This new opus introduces different styles, from guitar solos to classics rumbas or south american influences. Eliene Castillo

Creole Soul!" Two words are enough for David Walters to qualify his music. The exclamation point to support radicalism and faith in its purpose.
A lapidary definition behind the doors of which hides the maze of a culture that crosses the oceans, connects continents and islands by an invisible but powerful thread. A deeply ingrained bond that allows Africa, America, Europe, and the Caribbean to converse with each other with a language as universal as music, dance, carnivals, or ceremonies.

Spread on the globe; the different creole cultures find a point of convergence where they are all represented: New York.
In this city, where motivated by his friend photographer JR, he once gave a concert in the street, David Walters decided to set the scene for his new album.

After five years of traveling the world, meeting musicians for the TV show “The New Explorers” (Canal +), it is around this hyperactive city that he chose to shine his Créole Sun. To imbue his music with the state of mind and aesthetics that reigned in the 70s and 80s.
While in 2018, he soloes produced Nola Is Calling (an album recorded in New Orleans with the Creole community of Black Indians, selected by Gilles Peterson in the best of 2019 on BBC 6). That’s with the essential contribution of the musical mastermind Bruno “Patchworks” Hovart (Mr. President, Voilààà Sound System, Da Break ...) that David produced Soleil Kreyol.

More than a musical partner, Patchworks turned out to be the sound engineer David was looking for. The second part of an ideal pair, the one with whom, set on the same frequencies, he wrote, composed, recorded, played all the instruments. Thought all the arrangements, tweaked the details as carried by a continuous breath. Or rather a light. The “Soleil Kréyol” (Creole Sun).

The impact and influence of music of (Afro) Cuban origin has spread from Cuba to the far corners of the world. Its fingerprint can be found through salsa, jazz, funk, soul, hip hop and everything in between. Cuba has an incredibly rich culture of music and dance which is ingrained in its people from birth. With this release we celebrate two compositions by one of Cuba's finest songwriters: Silvestre Méndez.

Here at Rocafort Records we are delighted to serve up two of Méndez's biggest compositions at their finest. "Mi Bomba Sonó" featuring the emblematic Celia Cruz and her explosive vocals over La Sonora Matancera's inimitable pulsating rhythms! On the flip side we have Joey Pastrana's thundering rendition of 'A Bailar Oriza', a funky reinterpretation of one of Méndez's most covered compositions.

Disclaimer: We will not be held responsible for any turntables, dance floors or pants catching on fire! We hope you enjoy this little tribute to Silvestre Méndez as much as we have delighted in putting it together!

Tropical psych outfit, Lola’s Dice, return with an exhilarating double AA side 45 on “Cacri 'e Playa” b/w “Señor Cartujo” . Venezuelan strains of Caribbean rhythms blend with South American grit and humour; aided and abetted by studio maverick and renown bandleader Alex Figueira ( Fumaça Preta, Conjunto Papa Upa).

Lola’s Dice, an ensemble born and battle-tested by years of punk and hard rock before fusing into its current form, a consolidated tropical-psych quartet. The band’s evolution has resulted in music that is a pure body-moving delight — a fuzzy blend of guitars, synths and musical sabor that is very much rooted in the percussive sounds of Latin America, where all band members hail from, yet still comfortable in its punk-ethos.

One such fusion of sounds took place at the Barracão Sound studio in Amsterdam where they first asked rhythm sensei Alex Figueira (who currently joins them on stage whenever his agenda allows him) to help them twist their sound and bring it into the incendiary tropical realm his production work was known for.

Together they vandalized all sorts of rhythmic traditions. The resulting 4-track EP, “Viaje al Centro de Ritmo”, was a perfect match of genre-defying psychedelic madness and Caribbean cool and was duly signed and released by on-the-pulse NY based Names You Can Trust label.

After two years and a plethora of stages Lola’s Dice returned to Figueira's Barracão Sound for another dose of experimentation, diving deeper into their Caribbean roots and twisting them even further. The first fruits are now offered for release jointly by Names You Can Trust (later this year) and Figueira’s own Music With Soul.

The African Caribbean vibrations of “Cacri 'e Playa” tell a story of a stray dog whose sole habitat consists of the beach. A common phenomenon all across the Caribbean coastline shared by Venezuela and Colombia. Wonky synths and surf guitars interplay over a stomping extra syncopated drum beat. All things collide towards the end into a 1970’s style Salsa street party, the relentless cowbell driving everyone forward.

On the flip, “Señor Cartujo” contains a humorous tale about the most popular brand of anise liquor in Venezuela ("Cartujo") and a shameless ode to the glory days of "Techno Merengue", when Latino rappers in the US started making Dominican Merengue with hip hop influenced vocals and house production techniques and equipment. Lola’s Dice, however, take a more psychedelic approach to this merengue, oozing with funky guitars and percussion.

The Afro-Latin connections of Venezuela's coastal region meet London based producers Juan Laya & Jorge Montiel, for the 3rd edition of their latest musical venture: Electropical.

Jorge travels to Bolivar Film Studios - Caracas / Venezuela for a 2 days musical experimentation & recordings, accompanied by some of the heaviest players in town, including no other than Mr Spiteri himself, J Pulia Liendo (Ex Pianist of Dimension Latina), and the emblematic Afro-Latin Drum ensemble: Grupo Madera, (between others) for the making of the tunes: "San Juan & Electropical".

As a perfect complement for the A side of this record, the studio work gets continued back in London at Imagenes Recordings batcave, for the making of the Afro-Funky-Jazz conveyor of: "Spacial Paradise" plus an updated mix of their classic rework of "Sexmachina".

Musicians & collaborators of this project (without specific order):

Jorge Spiteri (Bass B1),
Grupo Madera (Drum Ensemble): Noel Marquez, Jose Urbina, Arnaldo Garcia, Remigio Piñate (B1, B2)
Matheus Nova (Bass & Chorus A1, A2)
Juan Pulia Liendo (Keys B1)
Marcelo Andrade (Sax A1)
Raphael Defilno (Drums & Chorus A1),
Paul Batik (Trumpet A2),
Emeris Solis (Percussion A1)
James Rod (Guitar A1)
Juan Laya (Drums & Percussion A2)
Jorge Montiel (Chorus & Programming)
Jose Urbina (Lead Vox B1)
James Stuart (Strings B1)
Elio Torres (Double Bass B1)
Sean Douglas (Clav A1)
JP Sancho (Synth B2).
Recording assistant (Venezuela): Leonardo Giron.
Artwork: "Cacao" by Pedro Centeno Vallenilla (Aragua / Venezuela -1961)

Produced, arranged & directed by Juan Laya & Jorge Montiel.

A Series Of Rare And Sought After 'Golden Era' 1960s/70s Brazilian Dancefloor Essentials For Djs And Collectors Previously Unreleased As Singles Or Only Available On Quieter Lp Pressings Mastered Cut At High Quality & Packaged In Lovingly Produced Brazil

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Repressed on red vinyl!

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Matasuna Records is delighted to reissue one of their absolute highlights and favourite songs of Nico Gomez And His Afro Percussion Inc. As well as the original version, which was released on a 7inch by Mr. Bongo a few years ago and is completely sold out, they've included a rework by the restless and well-known US producer & Dj Bosq. His version, which became a DJ weapon as a digital promo, is now officially licensed on vinyl for the first time. For this release his version was revised once again for the best possible sound quality on an essential 7inch with the newly mastered original song.

Joseph Van Het Groenewoud, who would later become known as Nico Gomez, was a musician & composer from the Netherlands. He spent his youth in the Antilles, Cuba and other islands of the Caribbean, which had an unmistakable influence on his music. As a passionate musician and skilled guitarist he was familiar with the typical rhythms and melodies of this region. Later he returned to the Netherlands, before fleeing from there to Belgium in 1946 to escape from serving in the Dutch army in Indonesia. From then on he called himself Nico Ooms. It's said that he was so obsessed with Cuban music that he changed his name to Nico Gomez - in any case, the name fit better with the Latin American music he brought to the stage. He had made a name for himself as a composer and arranger for various artists and orchestras – e.g. he wrote for Los Chakachas, a well-known Belgian Latinsoul combo. But he also conducted the Nico Gomez Orchestra.

One of the most sought-after recordings was the 1971 album Ritual by his band Nico Gomez And His Afro Percussion Inc. It is considered one of the best Afrolatin albums of the 1970s - especially once this masterpiece was (re)discovered by Djs and its popularity soared. The album is a tasty mixture of Latinfunk grooves, deep Afrosoul and Chicano rock influences like fuzzy guitar and heavy organ.

Lupita on the A-side is a cover version of the song by Perez Prado, the Cuban-born King of Mambo, who has legendary status in his adopted country of Mexico. In contrast to Prado's elated original, Nico Gomez's version is an absolute funk monster, driven by heavy percussions, psychedelic organ grooves, fuzz guitar, exciting brass and a deep bass line. A truly extraordinary song!

Bosq's version on the B-side takes the original even further, adding more percussive elements and killer beats and breaks. His DJ-friendly rework has proven itself on dance floors around the world, always turning the mood into a hot melting pot.

(CLÁSSICOS EM VINIL) Som Imaginário was a famous Brazilian group responsible for support the singer Milton Nascimento. The group released 3 albums between 1970 and 1973.'Armina' and 'Matança Do Porco' are the keytracks, Progressive pearls lost in the haze of time. This is one of the true Brazilian classics.