Pop & Rock News

An icon of Brazilian popular music, Tim Maia was a musical polymath and prolific recording artist best known for introducing American soul to the Brazilian music scene, pioneering the sambalanço style by blending elements of soul, funk, rock, and samba. Maia recorded four self-titled albums for Polydor Brazil, this fourth release from 1973 arguably the best, with its outstanding hits ‘Réu Confesso’ and ‘Gostava Tanto de Você’; ‘Do Your Thing, Behave Yourself’ shows how the soul form fitted him perfectly and ‘O Balanço’ full to bursting with Brazilian flavour. A superb set from start to finish, it’s a must for all Tim Maia fans.

Afro-Cuban Jazz of the highest orderl! And even better, these two songs have remained UNRELEASED for the past 51 years! Vibraphonist, flutist, and band leader Ulysses Crockett was a big name on the Bay Area latin-jazz scene of the 1960s. He started out with his own group Afro Blue Persuasion which included a very young Paul Jackson on bass who later became famous as a member of Herbie Hankock's fusion-jazz masters The Headhunters.

"Philadelphia Mambo" and "Girl From Ipanema" were both recorded live in 1967 but remained unreleased until now. Both songs are taken from the soon to be released 33rpm record titled "Live at Haight Levels" which includes more unreleased material as well as the full length version of both of these two edited tunes.

Confunktion Records own Mr. Confuse returns with his fifth studio album 'Only A Man'.

This album is about the depths of Mr. Confuse and therefore a very personal album in a way. From well-known soul topics of love and hate to social issues of modern life - this album is all about an odyssey through time, rhythm and music.

Times of big studio personals are long gone so a big part of creating this album was the imagination what kind of instruments, musicians and sound design is wanted. With up to 16 international musicians, Mr. Confuse created incredible sounding big arrangements.

The way Mr. Confuse produces his music is inspired by growing up with the 90s hip hop producer technique of creating something new by referring unheard funk and soul. This from of appreciating 60s and 70s music in order to bring it on a new level of musical expression is a clear trademark of Mr. Confuse.

The process of sampling and resampling recorded musicians creates an organic, powerful, authentic and danceable funk sound, which can be heard in each and every second on this record.

Twisting electro funk from the 80s into heavy 60s and 70s funk that could have been the blue print for the original version became a true Mr. Confuse feature already years ago. This time he re-funked the well-known freestyle electro classic 'Let The Music Play' by Shannon.

Also one of the reasons it's entitled 'Only A Man' is because it means composing, producing, arranging, mixing, recording, organising, promoting and going abroad preforming by just one 'man'.

Often referred to as 'Brazil s unofficial poet laureate' and the 'Bob Dylan of Brazil', this heavy-weight of Brazilian music was also a young revolutionary who used his music to protest against Brazil's oppressive military regime. This protest music, which became known as Tropicalia, first earned Veloso a stint in jail, but by the time this dour album was released in 1971, it had placed him in exile in the UK. Veloso's extreme bitterness and melancholy can be heard on every groove of this album, but don't let the album s gloomy atmosphere stop you from buying it; it is dripping with some of the best moments of saudade in the history of Brazilian music. Color vinyl version.

Although Veloso had already been thrown in jail once for his criticism of Brazil's military regime, he continued to speak out against it on his second album (1969), with tracks like 'Irene', (about a machine gun-toting outlaw celebrated by the left). No wonder he would soon find himself in political exile in the UK. The general tone of the album is in keeping with its dire message and actually, Veloso felt it was important for his voice of protest to be heard around the world. If he was a high profile public figure, he felt that he would be safer. All this (or perhaps because of all this) and the man still managed to make excellent records! Color vinyl version.

Claremont 56 Continues To Champion New, Previously Unheard Talent With 'ready To Die', The Stunningly Beautiful And Catchy Debut From Bel Aka Charlie Bell - A Young, Liverpool Based Singer-songwriter, Musician And Producer Who Has A Huge Future Ahead Of Him. 'ready To Die' Is An Emotion-rich Chunk Of Catchy, Loved-up Balearic Pop With Heart-aching, Gut-wrenching Lyrics About Unrequited Love, Bell's Debut Is As Catchy, Infectious And Heartfelt As Anything The Label
Has Released To Date - As Proved By Lauren Laverne's Decision To Champion The Record On Her Bbc 6 Music Show.
Such Was His Love For The Song, Murphy Decided To Remix It For Release, Completing Extended Vocal And Instrumental Versions That Enhance The Track's Sun-kissed, Glassy-eyed Appeal. Both Mixes Are Magical, With The Vocal Version In Particular Capable Of Making The Hairs On The Back
Of Your Neck Stand To Attention.
Bell's Impassioned Vocal And Breezy Acoustic Guitar Playing Naturally
Takes Centre Stage, With The Track's Sweeping Synth-strings, Toasty
Bass And A Few Trademark Murphy ourishes - Think Well Placed Delays
And uid Electronics - On Hand To Amplify The Song's Bittersweet Mood.

Four talented chefs join forces and presents the first volume of Amouse-Bouche.

Take notice, this is not a one-man show, together all four erase the distinction between sweet and savoury.

First recording of Chico Buarque!

It Was 1968 When Fania Records President, Jerry Masucci, Received A Phone Call From Conguero George Guzman, Inviting Jerry To Listen To His Band. Jerry Turned The Project Over To Harvey Averne, Who Later Reported To Jerry That The Band Was 'out Of Sight' And Suggested That Masucci Sign Them Up. A Short Time Later, Things Became Complicated For George And His Band. First Of All, The Lead Singer Was Drafted Into The Military, Leaving George High And Dry. By The Time A Replacement Was Found, George Learned That His Trumpet Player Was Leaving To Join Another Orchestra, So The Search Was On For His Replacement. One Problem Led To Another And Before You Knew It Several Months Had Gone By Before George Was Finally Ready To Enter The Studio And Begin Recording. Thanks To George And Harvey's Perseverance, 'introducing George Guzman' Was Released In Time For George To Join The Fray Of Boogaloo Bands That Had Brightened Up The Night Scene In New York City In 1968.

Rafael "Lito" Barrientos was one of the most famous 60's musicians out El Salvador. After taking part in various South American orchestras (he lived in Costa Rica, Panama, and Venezuela) Don Lito arrived in Colombia in 1965 and gave birth to one of the biggest selling releases of the iconic Discos Fuentes label, Very Very Well. Led by the 'Cumbia en do menor', probably the most famous Cumbia hit ever, the album had enormous success in Colombia, Peru, Ecuador, Venezuela, Mexico, and even in the USA, thanks to the beautiful combination of the sounds of cumbia, porro and charanga with classic rock and roll.

Originally out in 1967 on Disco Fuentes, De Fiesta! is the complete singles collection by Peruvian percussionist Mario Allison. South American standards such as "Le Rompieron El Pito", Cuban traditional hits like "Bamba Cure", or "Cuando Sali De Cuba', along with '60s rock classics like "Louie Louie", all revisited in a twisted boogaloo fashion. All killers, no fillers.

An absolute milestone in South American music, Navidad Negra is a kaleidoscopic masterpiece where Cumbia, Cha-Cha, Porro, Fandango and Mambo merge all together, skillfully assembled with class by the one and only Pedro Laza Gutiérrez and his legendary orchestra. String bass player, music director, composer and arranger, Pedro was active starting in the '30s and not unlike many of his contemporaries he grew under the strong influence of the early jazz music coming off Colombian big city radio stations in those years. Pedro mixed that tradition with the Caraibic sounds coming from his native city of Cartagena, creating a special blend that made him one of the most popular Caribbean and South American artists during the 60's, along with Sonora Matancera, Benny Moré and Pérez Prado.

Limited edition of 500 copies.

'Exotic Other' is the debut album from London-based four-piece Animanz and Argentinian and Congolese vocalist Juanita Euka. Featuring nine infectious funk-infused tracks, the album is a dynamic

journey through rocking exotica. Available on 1xLP inc. Pantone coloured sleeve.

Flavours from rhumba, cumbia and merengue to the punk attitude and electro energy of the club-funk sound of title track 'Exotic Other' represent the fastpaced and diverse nature of their home of London.

Started as a collaborative project between childhood friends Max Rodriguez (guitar), Joshua Brandler (bass), Marc Goymour (keys) and Andrea Gucel (drums), Animanz was formed in 2013 when they threw themselves out

into London's multi-layered music scene. Since then the band have grown to encompass a genre smashing collective which welcomes guest performers from all over the world, and the musicians they've met along this varied path

have provided the band with a vehicle to help them develop their multitextured approach to rhythm. Animanz explain: 'We write party tunes, so the groove and energy are the

most important things. Everything else just fits around that.' The album is also very conscientious, and finds itself rooted deeply within our times, like London it is music to both get lost in and inspired by what the band call 'a melting pot;

an all-inclusive party for everyone'. Inspired by the relationship between afrobeat and protest which Fela Kuti epitomised, Animanz use emblems of modern technology to theorise a

systemised digital world. Tracks like 'TV' and 'Disconnect' deal with television screens and Wi-Fi as their subject matter, while 'Speak Out' is a ballad to those who complain about politics but do nothing to implement change.

This is a band project from the late 1960s with a very young Bobby Marin, a leading figure in the invention of BOOGALOO music, a cocktail of Latin music, Rhythm & Blues, Soul and Rock'n'Roll oft he day clearly geared towards the western pop music that made the top of the charts. As he grew up on 107th Street in Harlem / NYC he and his mates played a game called Stickball during the day which is a street variation of baseball originating from the New York area while at night he rehearsed with a doo wop ensemble named THE LATIN CHORDS and others from his team got together in a percussion group in buildings on the opposite site of the street. It was no miracle that both groups soon merged into one act that became the 107TH STREET STICKBALL TEAM producing this sole LP in 1969 with a 7' decoupled probably upfront that featured the two album tracks - On old Broadway' and - Mojo shingaling'. Well shaped originals of the full length vinyl go for 200,00 € now as a mono pressing, while even those which fetch lower prices never fall beyond 100,00 €. Therefore this reissue on Everland Records suits us fans of outstanding 1960s music fairly well with even four bonus tracks added that band leader Marin unearthed from his personal vaults. This is clearly a typical album in the field of BOOGALOO music of the later 1960s. Western popular music such as beat with British roots, American soul music with lush arrangements and orchestration and the well known elements of bossa nova, salsa, cha cha cha and merengue team up in an exciting sound that gave us some very intense albums during the short span of it's real popularity in between 1966 and 1969 around NYC but also far out in the latin world. The anthems of one's life in the Bronx or in Harlem given by the likes of Tito Puente could be felt pouring out of the relaxed, yet intensely pulsating rhythms from drums and percussion on this record while the melodic constructions on top of this groundwork were either soul inspired such as with the hauntingly dreamy opener - On old broadway' with a great pop appeal and beautiful horn section and vocal arrangements, had a bluesy approach such as the ballad - Look to me' in three - quarter time at first but adopting a latin melody and cha cha cha beat towards the end of the song or showed a 1960s pop beat affinity with the vocal melodies on top of a bed of ever grooving mid paced salsa rhythms with powerful horns accompanying the basic structures as you can hear it in the two minute shorty you put a hurt in my heart. But this was only one side oft he coin. There were even more traditional latin songs to be found here which were even sung in Spanish. - Toma Guajira' could easily be an evergreen on the dancefloor in every bar in Havanna. The mixture was breathtaking for you did not get away from dancing and twirling to the enthralling rhythms upon which sometimes the instruments could take a frantic path such as the organs or the saxophone in the soul inspired instrumental - Barbara with the kooky eyes', which has this typical late 60s atmosphere. Wherever you put the needle in the groove the music will grab you by the heart and legs. The four bonus tracks fit well with the original album and if you would not know they were added only for this reissue you would never realize they would have stayed unreleased for about 50 years. - Come live with me' is a hot blooded latin groover with a late 50s soul and doo wop feel merged with cumbia and salsa elements. The melodies drag you straight into the clubs of Cuba's capital. - Rosemary with the funny knees' is rather modern soul pop and Northern soul of the day in which more of these Cuban aspects appear for a moment but with the late 60s sound prevailing. It feels like the band drifts from one one world into the other and back without losing a beat. - Hey mama' is a cross of 60s doo wop vocal music and Latin sounds that makes up a prototypical boogaloo style dance floor sweeper. - Lost in the jungle' adds some 1950s exotica elements to the haunting 60s pop with latin rhythm groundwork and once more frantic performances from the horns and the singers make it an instant classic. I could go on raving about this album but instead I recommend to buy a copy of the reissue and get the full boogaloo experience. If I should limit myself to only one record from this style it would certainly be this.

An intense fusion of Son Cubano, Rhythm & Blues and Western Pop and Rock'n'Roll that recalls the greatest artists of the Afro Cuban dance music and Latin Rock respectively such as Santana, Tito Puente oder Compay Segundo. A collection of catchy songs that invite everybody to dance. A must have for each fan of Latin pop and Boogaloo music.

1967 was a year where musical development went faster than lightspeed with so many new styles emerging from the basements of the musical hotspots in the USA and Europe such as London, San Francisco, Los Angeles, New York City and many more. A year where pop music was colorful and went without boundaries. And in between were Manny Corchado, his orchestra and a guy named Tito Jimenez, who might be a prominent figure in the later 60s - Boogaloo' movement but I am not certain for nothing could be found on the internet, neither about Manny nor about Tito. Mystical figures who released only one beautiful record and collectors item among fans of latin dance music of the 1960s which fetches prices over 200 € for a copy in good shape. So why is this such a legendary piece of music If you ever experienced the Boogaloo sound of the days when San Francisco was the ultimate capital of popular music and the place where more hippies and kids gathered than anywhere else on this planet, you will certainly understand. Boogaloo came from the streets of Harlem where Afro American and Afro Cuban musicians lived and partied together and therefore Rhythm & Blues, Rock'n'Roll and Latin dance music like Son Cubano merged into another until a new exciting sound emerged from the backstreet halls to hit the clubs. Jazzy elements like saxophone solos in the Bebop style, shaking and whirling percussions that were taken straight from the Cuban music of the times when the Son Cubano orchestras were huge and the whole city of Havanna was a simmering dance floor, straight elements of current rock and pop music, everything that was cool from both worlds became one big sound for a moment. And Manny Corchado, his orchestra and the mysterious Ramon - Tito Jay' Jimenez were at the pulse oft he movement. One of the greatest pieces on this album is - Pow wow', a hot blooded latin pop song with vocals singing one single but very memorable line in Spanish language with a few spoken words added in both, English and Spanish. The hypnotic and nearly manic drumbeat at the beginning, the howling of the - Indian' warriors, the words spoken by the chieftain before the straight pop rhythms set in, everything is just in the right place to create an atmosphere that will grab one's mind and move him. The tune is powerful and energetic despite being more mid paced. The brass section gives a latin big band flair, the - Indian' sounds' add an exotic touch. Amazing song and as catchy as such a song has to be. While - Pow wow' made up the middle of this record we jump over to - Chicken and booze', a three minute instrumental with a furious saxophone as howling lead instrument and the brass section laying down great melodies on the rhythmical substructure that obviously finds its roots in the Afro Cuban dance music, just in a more straightened up way. This is in fact a fusion sound that will leave nobody sitting on his chair but twirling around on the floor. Or let us check - Up and down', third position on this album. The whole song is jumping and swinging, the brass melodies are catchy and soulful with a direct link to Latin American traditions, the middle section is made of percussions only which hypnotize the listener and there are saxophone and trumpets going into solo duels with each other. This is a frantic dancer, a hot groover, a steamy dancefloor sweeper. Whatever you call this piece of music, it haunts you, it comes as close to primal music in some parts as it can and goes back to the sweaty dance halls of the 1950s in Havanna or in US cities. All in all the band is a tight unit that knows to lay down a thrilling groove by ejecting a complex network of percussion and drum figures upon which the melodies grow straight into the listeners' soul. The vivid production gives you the impression to be right in the middle of the dancing crowd while the band plays there live and in colour upon the stage. It still provides everything the listener needs. A crystal clear sound that shows every instrument, every single percussion beat and the power that makes this record so intense. Just in case you are a fan of Latin music such as Salsa or Son Cubano, grab a copy. Just in case you wonder what was going on in 1967 aside from the obvious psychedelic and heavy rock sounds, well, grab a copy. Or if you love what two years later Carlos Santana and his band have created by adding wild rock elements, then go for Manny Corchado, his orchestra and Tito Jimenez who might not have any of Carlos' smoking lead guitars or Gregg Rollie's infatuting organs but will enchant you with their spirit. This current reissue on Everland Records will hopefully activate a whole new generation of Boogaloo / 60s Latin Pop fans to discover an album that was made to become a classic.

A brilliant mix of Latin rock and funky garage rock in the late 60s vein of SANTANA or Peruvians LAGHONIA with captivating songs and a high class musicianship presented by a bunch of young Puerto Ricans living on the steamy, loud and dirty streets of the SOUTH BRONX / NYC. A must have for all fans of the above mentioned acts with a sound as fresh and vivid as back in the day this gem was released. Produced by Bobby Marin.

When you see some dude having listed an album for sale somewhere for the utterly crazy price of 7500 US$ saying in the item description that he actually does not even want to sell it due to being his favorite piece of music ever, it really must be something special. When you check for other auctions and sales and find this goodie being sold regularily for 650 to 1200 US$, you get your first impression confirmed. This is indeed a really special album. THE GHETTO BROTHERS were not initially a rock band when they formed in the Bronx / NYC back in the late 60s. They were a street gang with mainly Puerto Rican members with a rather political attitude. For example they tried to uplift young black and hispanic people or even stood in between rival gangs to make a truce work. They were certainly not only good guys concerning their actions as they used to plunder a local music store, Mary Lou Records, from time to time where then young Bobby Marin, a leading figure in the field of 1960s Boogaloo music and later on famous record producer up to the present day, used to work in. As the store owner thought about using a shotgun to solve that problem, Bobby Marin convinced him not to do so to avoid that anybody gets hurt and took the chance to speak personally with the gang leader Benji Mendelez who turned out to be the lead singer of a band formed by members of the GHETTO BROTHERS. Meanwhile Benji Mendelez found out about Bobby's engagement in the music industry and both made an agreement. Bobby would produce an album by THE GHETTO BROTHERS and this is what we now will talk about. In what way is this an outstanding gem of Latin American funky rock music from the steamy, loud and dirty streets of the South Bronx / NYC Well, it is of course rare as golddust in its original pressing. This is an aspect that makes it interesting for collectors of 70s Music and the seed from which the legendary reputation grows. But does the music really match with the status the album enjoys among music lovers It does. My first impression was that THE GHETTO BROTHERS were a very talented band mixing earthy garage rock with the one or another occasional fuzz guitar and Latin American sounds and atmospheres to create an exciting, simmering version of current rock music. The garage rock stamp still fits perfectly with this album as the sound is quite basic and vivid, just as if you were standing with the band in a dusty basement room where they either rehearse or play a show to a crowd of frantic youngsters. The music itself is quite relaxed in most parts, with the one or another exception. - Got this happy feeling' sticks out with flashing rhythms and a cheerful lead vocal line upon a bed of likewise flashing guitars with a funky touch. So these funky elements also make you realize that there is more behind than meets the ear. And when the band goes into sheer groove passages with the percussions and drums taking over the lead role, I am certain nobody will be left on his seat. This song reminds me of a more primitive version, if I can say this, of what SANTANA did a couple of years prior during the time they released their debut album and played Woodstock. And indeed these Puerto Ricans have the talent even to be on par with good old Carlos and his mates, who already were super heroes by the time THE GHETTO BROTHERS released their sole album. No idea who even might be the greater in terms of musicianship and composition values but with a major production this album would probably have given SANTANA a run for their money. But gang life is tough and casualties appeared leading the band to the land of myths and fables. But with many folks who love this music the band stayed for nearly 50 years and this reissue on EVERLAND RECORDS happens as always at the right time to keep the flame burning brightly and maybe even brighter than ever. A few old members, including leader Benji Mendelez, are no longer with us to enjoy the late success of this masterpiece but those who remain will. If you like Latin garage rock such as LAGHONIA from Peru, this is the real deal for you. Grab your copy and celebrate life as this is what THE GHETTO BROTHERS always had in mind.

Heavenly Sweetness presents us with Anthony Joseph's sixth studio album recorded on his native island of Trinidad.

Guapapasea! is the first album by Gecko Turner, a unique creator from southern Spain. Born and bred in Extremadura, near Portugal, Gecko has an original and tasteful Latin personality, and during the 90s he was responsible for some locally quite successful bands like Perroflauta, and The Reverendoes.

Acclaimed by Spanish critics as the best debut album upon its original release in 2003, Guapapasea! is a musical journey blurring the boundaries in Latin music. It's a nice blend of different styles - from soul and Brazilian-flavoured songs like the free and easy (and all-time underground hit) "Un Limón en La Cabeza"; Afrobeat-driven tracks like "45.000$ (Guapa Pasea)"; and the flamenco-reggae of his rendition of Bob Marley's "Rainbow Country", to the infectious Latin rhythms of "Did You Black Up Today"; Monk tribute "Monka Mongas"; the original adaptation of Bob Dylan's "Subterranean Homesick Blues"; and the radio-friendly, straightforward reggae track "Te Estás Equivocando".

Guapapasea! features contributions by some of the greatest musicians active at the time on the Spanish Afro-Cuban jazz scene, such as Rubem Dantas (Paco de Lucía's percussionist and regular member of Chick Corea's band), Rodney Dássiff, and Brazilian trumpeter Irapoam Freire. The album was licensed to Quango in the US.

It's been 15 years since its original release, and to celebrate this, Lovemonk's reissuing the album on double 12" vinyl for the first time, alongside Gecko's second album, Chandalismo Ilustrado, and the CD compilation Soniquete: The Sensational Sound Of Gecko Turner. The CD version features bonus remixes by Quantic, Mexican Institute Of Sound and Watch TV.

With "Rhythmic Conversations" Frisina shifts the coordinates of his music to a more 'raw' soundscape, in which the rhythmic element stands in the foreground. Not just Latin-jazz dancefloor material then, but music with strong percussive and tribal elements. Music is perhaps the only truly effective language that allows people who speak different idioms to communicate with each other, and this is precisely what Gerardo Frisina's "Rhythmic Conversations" are about. Closing the record we have an alternative version of "Camagüey", a very different mix from the original one, in a particular Afro-Cuban music style called "Tumbao".

Die Vereinigung von Perez Prados zwei orchestralen Tondichtungen ist eine Gelegenheit diese besonders zu würdigen. 'The Exotic Suite of the Americas' und 'Voodoo Suite' sind bedeutende Momente in Prados langer Karriere als der 'King Of The Mambo'. Die 'Voodoo Suite', mit seinem
größere-als-das-Leben Orchester, 6 Saxophone, 3 Posaunen, 7 Schlagzeuger, 6 Trompeten und mehr, das gleichermaßen auf einer Latin Dance Band und einem Jazzorchester basierte, wird in erster Linie von den treibenden Schlägen von Shorty Rogers getragen. Denn diese erst machen es zu einem
dramatischen Ringkampf mit der Bestie und zu einem überragenden Hörvergnügen. Auf 'The Exotic
Suite of the Americas' nahm Prado einen etwas zurückgelehnteren Ansatz an und gestaltete sein Werk
cinematischer in Umfang und Ton.

Since 2010, Buyepongo has led a steadily growing Los Angeles underground movement that combines the vast influence of traditional tropical sounds with the streetwise edges of the Latin American diaspora. Much like their name implies (translation: to cause a ruckus), their hybrid style is focused on the celebration, an infectious, energetic vibe that is universally and rhythmically connected. It'll get your feet moving, and much like many of the records from the golden age of cumbia, these two offerings demonstrate an updated and adapted reverence for the roots that is truly distinct to their own unique place and time.

For the group's latest single, that place, the sprawling Latinx scene east of Los Angeles, met head on with the east coast hot pot of Brooklyn. Recorded and produced in collaboration with Names You Can Trust during the band's serendipitous 2017 trip to NYC, this new release takes two of Buyepongo's most fan-favored and party-tested original songs, two that had yet to be recorded, and combines them with the NYCT forty-five ethos: a stripped-down, warm analog recording that perfectly captures Buye's live, bring-the-ruckus style in the room as it happened. "Por La Vida" romps over the A-side, a modern-day classic in the making whose lyrics (how beautiful is life, always full of surprises...) compliment a sunny, easy-going house party vibe, while "Miri" on the flip evolves from a loping, almost reggae groove into a transcendent journey through Caribbean feel-good sounds.

Recorded in 1981 in France.. Great compositions here, Jazz with West Indies soul!

First ever official reissue of Zamba Zamba by Peruvian band Sangre Joven! Originally released in 1975 by MAG (Lima / Peru) the 7inch vinyl is hardly available and a rare latin gem. Any information about Sangre Joven is just as rare as the vinyl: there is in fact nothing about the band to be found on the internet.

Nevertheless, with a little help by a peruvian friend we got some details: "Zamba Zamba" is a peruvian version of the track "Samba Samba" by Colombian brothers Elkin & Nelson, who moved to Spain in the 70s. The band Sangre Joven consists of musicians from the famous Peruvian group Nil's Jazz Ensemble of jazz musician, composer and arranger Nilo Espinosa. When their musical direction changed, they switched their name to Sangre Joven and released a funky & discoid album and one single on the Peruvian label MAG in 1975. Both original pressings are very difficult to find nowadays, so we're more than happy to release this on Matasuna Records! The track was restored from the reel to reel master tapes and also got a new mastering by Carvery (London).

In addition to the original Zamba Zamba version, the DJ & producer Voodoocuts contributed a superb edit to this 7inch and both tracks spread a sunny Afro-Latin vibe that catches you immediately. While the original is perfect for a relaxed set on the beach, the Voodoocuts' Edit is a real killer tune for the dancefloor. The funky acoustic guitar perfectly harmonized with the electric piano and the super sweet vocals on the percussive breaks will really heat you up! As always: a seven inch not to be missed!

What have we here At first glance it seems like the missing volume from our Groove Club series, which it so easily could have been! This is stunning collection—which took more than fifteen years to put together—of hot, rare tracks that combine cumbia with psychedelic rock. Starting in the late 1960's, there was a boom of tropical music in Peru, both in Lima and the provinces. Cumbia Peruana merged this tropical sound with that of psychedelic rock. Aspects of cumbia were mixed with electric (often fuzz) guitar, played over Andean and jungle rhythms—this combination provoked an explosion of original music. An instrument to lead the way, usually from the introduction of the song; over this, hypnotic layers of keyboards and guitar with fuzz and wah wah; add simple bass-lines; and to top it off, syncopated rhythms from bongos, congas, huiros, cymbals, timbales, often played at breakneck speed. In the end, it's like a sonic cousin to Nigerian music: these musicians liked guitar, they had a fondness for echo, and they loved a murky high-octane jam. Fierce, funky and full of flavor!

Lowrider soul heads for a south-of-the-border surf date on these two sizzling originals from Alba & the Mighty Lions. A perfect soundtrack for cruising with the bad girls in a drop-top or soothing a late night heartbreak, "La Verdad" and "Esperando" are your tough, no-nonsense friend with a heart of gold who always has your back. Soulful vocals paint a mood while the band's nimble arrangements follow every move. Alba Ponce de León is a multi-talented artist who cut her teeth in the swirling scene of Brooklyn's indie underground, backing up Daptone acts Charles Bradley & Naomi Shelton as well as playing a major role in the fearsome feminist freedom fighters, The Resistance Revival Chorus.

It is with great pride and excitement that we bring you "Latin Underground Revolution: Swinging Boogaloo, Guaguanco, Salsa & Latin Funk from New York City 1967-1978" triple 7" box set. We have compiled an exciting mix of hard to find dance floor delights showcasing three different eras of latin music in NYC throughout the late 1960s & 1970s.

Including extended liner notes by DJ Timber.

Complete with stunning, new look artwork, DP number 24 rolls into town with a latin swagger, a way with words and a Brasilian beat or two in its back pocket as Sao Paulo based deejay, producer and

renowned crate digger, DJ Tahira, steps up to the plate for the very first time.

Gil's Revolution is the source of that verbosity and cunningly combines the legendary wordsmith's prophecy with some sparkling horn driven Afrobeats. Jackson's Capoeira is the first of two Brasilian re-works on this

12-inch which mixes masterful percussion and vocals with some serious dance floor breaks and a little berimbau for good measure too. And finally, Tahira brings us another excursion from his home country in

the shape of Son'z Toque - a rolling, hypnotic dancer that builds into a frenzy of drums, horns, vocals and FX. An essential slab of tropical heat courtesy of your favourite Dubplate provider!

Carioca DJ and producer JOUTRO MUNDO digs deep and delivers a stunning collection of reworks on this first release on his own label, Outra.
Influenced by the melodic sounds of the Amazonian jungle and the explosive Carnival rhythms of his hometown Rio, you can feel his devotion to the diverse music of Brazil, which he now shares with you on the dance floor.
VALEU!

Infusing tropical vibes and electronic grooves to reflect the vivid ever evolving Latin American soundscape is the fresh musical excursion 'Electropical' as synthesised by London based producers, Juantils a melting pot of authentic Latin anthems, jazzy grooves, disco infused songs and Balearic sounds all processed in HD for an immersive experience which explores the colourful influences of the Caribbean, vast Amazonian dimensions and beyond. Its heart-warming journey is a highly seductive experience that further enhances the mood with repeated play.

'Electropical' sees Juan Laya & Jorge Montiel (best known for their Los Charlys Orchestra albums and tracks) re-imagine some of the most emblematic tracks from the Latin music world including ''Manduco' and 'Fruta Fresca' as well unveiling new material including an awesome jazzy Latin Disco version of the millennial summer anthem 'Pasilda'. Playful sounds and organic grooves are carefully balanced with a subtle 'Electropical' touch to forge a natural expression of fusion - a perspective that has characterised the work of Juan & Jorge for more than a decade now.

From the impressive folk-inspired Todd Terje favourite, 'Cumbanchero' (included on his Radio 1 Essential Mix) to the raw percussive style of 'Tambor Urbano' 'Electropical' elegantly weaves into its textures the primal drums, rippling jazz guitar, undulating bass and unique sounds such as vibraphone, Peruvian pan flute and congas conjuring the roots of Latin music in 'Electropical' style. This unique sonic landscape forges an intimate connection.

Flag-bearers for contemporary Latin-infused sounds London/Venezuelan production duo, Juan Laya and Jorge Montiel, celebrated their 10th anniversary in 2017 by joining forces with the soul legend, Omar on 'It's So/History' alongside classic cuts such as 'All Around The World', 'Everlasting Love' & 'Sunshine'

Credits

Angelica Rincon - Vox, Alejandro Martinez - Congas, Andre Espeut - Vox, Carlos Saldana "Kentiqena" - Perubian Flute, Eikel Venegas - Trumpet, Grahan Mushnik - Accordion, George Malamas - Bass, Jon Desbrulais - Drums, Kiris Houston - Keys, Maria Rivas - Vox, Matheus Nova - Bass, Marcelo Andrade - Flute & Sax, Raphael Delfino - Guitar & Percussion, Zeu Azevedo - Accordion, Xantone Blacq - Vibraphone.

Produced by Juan Laya & Jorge Montiel.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- CRITICALLY ACCLAIMED DEBUT-ALBUM AVAILABLE ON
VINYL FOR THE FIRST TIME
- BEST MALE TROPICAL/SALSA ALBUM OF THE YEAR 1998 (BILLBOARD)
- FEAT. THE HIT SINGLES SUAVEMENTE' AND TU SONRISA'
- 20TH ANNIVERSARY EDITION OF 1.000 INDIVIDUALLY
NUMBERED COPIES ON COLOURED (BLUE & WHITE MIXED) VINYL

The award winning Merengue singer Elvis Crespo is known for his gigantic hit single Suavemente'. He released his debut album by the same name in 1998. Besides this hit the album is a collection of Romantic ballads and uptempo tracks. The energetic songs earned him recognition and different awards. Another hit single from the album is the sensual Tu Sonrisa'. The way Crespo revolutionized the merengue music can be heard all over Suavemente. It can be seen as one of the essential Latin albums of the past decades.

Elvis Crespo is a famous artist in the Latin music scene. He won different awards for his merengue music and recorded a bunch of albums which has been sold millions of times.

Continuing Ostinato's Series Of Cape Verde 45s Showcasing Diasporan Bands That Are Staples In Europe's Cape Verdean Communities, Ostinato Records Presents Timeless Dance Music For The Summer By Conjunto Jovens Africanos, Founded By Ze Orlando, A Respected Producer Originally From São Tomé. Formed And Originally Based In Lisbon, The Band Fused Raw Funaná Rhythms From The Cape Verdean Island Of Santiago With Syncopated Electric Guitars, Raucous Synthesizers, Relentless Percussion, And Addictive Vocals That Kept Their Compatriots On Their Feet Across Little Known Krioulu Nightclubs In Europe's Major Cities. First Released In 1984, Conjuntos Jovens Africanos' "nhu Jhon" And "volta Pa Terra" Are Stellar Representations Of Modernized Funaná's Endless Energy.

The Ep You Have In Your Hands Belongs To The Time That The Catalan Composer Joan Lluís Moraleda Spent In Estudios Carbonell In The Mid 70s, With Amazing Songs Made Of Magic String Arrangements, Pedal Fuzz And Awesome Synthesizers And Moog. You Can Feel The Influence Of Disco Music And Even The Spaghetti Western Soundtracks.

Joan Lluís Moraleda Was Born In Santa Maria De Palautordera (barcelona) In 1943. At 12, He Decided To Focus Only On Music And He'd Never Leave This Path. He Learned To Play Piano And Oboe, And Won The Maximum Prize In The Conservatory. His Hobby Was To Spend Hours Listening To The Radio Classical Songs, But Also The Hits Of Frank Sinatra And Barbra Streisand. He Checked Every Musical Arrangement In Those Songs.

In The Mid 60s He Worked For The Spanish Label Belter As Temporary Substitute Of Adolfo Ventas And Joan Barcons, The Principal Arrangers.

He Also Occasionally Contributed To Odeon, Vergara And Edigsa.

In 1975 He Was Hired By Estudios Carbonell As Musical Director Replacing Francesc Burrull. This Firm Was Specialized In Jingles And Library Music For Advertising. It Was The Golden Era Of The Advertising, With Healthy Budgets. Moraleda Composed The Music For Some Of The Spanish Most Famous And Remembered Commercials In The 70s And 80s, Such As Turrón Suchard, Avecrem, La Masía, Barbie, Seat Or Kas. From 1980 To 1995 He Worked In His Own Studio.

"More Brazilian Byrd" - Charlie Byrd (g) & orchestra conducted by Tom Newsom
Immortal samba, and its rhythmic relatives, is on the one hand so undemanding that it manages to take off with the simplest of instruments, yet on the other hand it is so concentrated that it can conjure up all manner of fantastic sound colouring.

With regard to these sessions that were recorded in the Sixties, when bossa nova found its way to the USA, the record bosses gathered together a superb array of musicians. Influenced by a classical training on the guitar, Byrd's guitar playing weaves its way through the complicated but always lightweight arrangements. The "One Note Samba", with its intentional monotony, is performed nonchalantly yet does not lack verve; the "Weekend In Guaruja" is filled with sunshine and high spirits. The ensemble plays with great variance and well-measured phrases on the winds while cracking shots from the drum set mark the unwavering rhythm to which Byrd lets his guitar strings dance.

This blissfully harmonious interplay works equally as well in the small ensemble around the solo guitar ("Little Boat") as in the rich sequence of chords which ascend airily and delightfully aimlessly ("Pretty Butterfly"). And as a perfect ending we have once again a lush, full sound on the drums and trumpets ("Foi A Saudade"). It's well nigh impossible not to be carried away by this thrilling roller-coaster ride.



This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.