Pop & Rock News

Two New York latin soul bangers from legendary band leader Hector Rivera and Vocalist David Coleman.. Hector wrote and arranged for many famous latin Ray Barretto, Machito, and Tito Puente as well as releasing several Lps himself , these cuts come from his successful LP "At the party". Both sides have been spun by myself for years so happy to finally license them for the AOTN stable.

Part of the next wave in the thriving Afro-Latin alternative scene of greater Los Angeles & The Inland Empire, El Santo Golpe's debut release on Names You Can Trust leaves its mark with a very personal fusion of Central American & Caribbean folkloric traditions. This influence of different styles & cultures across the divergent regions is on full display, from the time honored rhythms and percussion of Garifuna music, to those lovingly reconizable lead elements such as the acordeón in cumbia (as heard in La Cosecha) or the jarana in son jorocho (as heard in El Camotal). It is through this uniquely American, and more specifically, Californian experience, that this group of peers has been able to come together to form a new set of multi-cultural roots and attitudes. The result of this two-sided debut is a fusion of raw percussion, unbridled energy & live performance. Two heavy sides to be celebrated within the dance.

New 7" from the mysterious Gitkin, who crisscrossed the US in the late 70s selling knockoff Gibson guitars to the diverse & disparate groups of immigrants from all four corners of the globe who were coming to the US during the 2nd great migration. Recycling and filtering the sounds he encountered through his own psychdelic lens, he created a sound rooted in other, but deeply his own. This single is taken from his forthcoming album, "5 Star Motel" and features two tracks from the album 'Grand Street Feast' which charts a sand-dusted, melodic funk misadventure, while "Cancion Del Rey' has the sound of the Peruvian chicha - steady-moving, alluring, and lyrical - winding its way through Gitkin's fuzz-filtered licks, and the rhythm underpinning.

"Moon In Libra" is the fifth album by Stefano Tirone aka S-Tone Inc, it follows the same artistic path of the previous ones with a renewed passion for the Brazilian sonorities from the sixties, and is influenced by the soul jazz atmospheres connected to noir movies. Many are the special guests here: the singers Laura Fedele, Angie Brown and Manuela Ravaglioli on one side, the Brazilian Toco and Adi Souza on another, plus the well-known Rosalia De Souza and Kal dos Santos (from the band Mitoka Samba)!

'SPECIAL LATIN SOUL BOOGALOO & MORE' - Another great volume in one of the best compilation series ever! Again, this is an amazing selection of very rare and groovy cuts, this time focused on Latin soul, boogaloo and beyond!

'100% DOLCE VITA: SPACE AGE * COCKTAIL * MOD JAZZ * POP CORN * TIKI' - First volume in this cool lounge/exotica series. All tracks transferred from the original vinyl.

When HAVANA MEETS KINGSTON - when Cuba meets Jamaica. This idea was born thanks to Australian globetrotter producer Mista Savona. In 2015 he decided to bring together all the best from
Kingston and Havana. So, Sly & Robbie,Bongo Herman, 'Bopee' Anderson, Ernest Ranglin, Rolando Luna and Barbarito Torres from BUENA VISTA SOCIAL CLUB, Los Van Van, Havana Cultura and many more met together and experimented with young musicians from the two islands. An histrorical intergenerational and intercultural exchange!

Drawing from the styles the islands are best known for - roots reggae, dub and dancehall on one hand and son, salsa, rumba and Afro-Cuban on the other - 'Havana Meets Kingston' sees an incredible team of musicians come together to bend and twist genres effortlessly, and the results are exceptional.

Subtitled 'Classic Latin Tunes Became Salsa Hits' LP 12" Black 140 gram vinyl (+CD)

"This is the second volume in our series on the roots of salsa...The main criterion was to pick tracks that sounded adequate for today's DJs to play at a gig, or were sufficiently interesting (or enough of a surprise to fans of the later version) to merit inclusion. The other measuring stick was that they needed to come from the old-school, before the more modern era (from 1962 on) and all of its recording innovations and marketing strategies...for now, listen to these dozen gems and then go back to their more familiar cousins from recent times and compare and contrast, and we're sure you'll be enlightened and entertained." Pablo E. Yglesias, aka DJ Bongohead

A1. Sujétate La Lengua - La Sonora Matancera (1954) Covered by: Eddie Palmieri Y La Perfecta (Ismael Quintana), Willie Rodríguez And His Orchestra (Adalberto Santiago), Agustin Arce Y Su Nuevo Sonido , Papo Y Su Combo (Pachito Nalmy), Alfredito Linares (Panchito Nalmy, Koky Palacios, Rolo Bernal), Eddie Palmieri (Hermán Olivera)
A2. El Paso Del Mulo - Conjunto Colonial de Nelo Sosa (1950) Covered by: Orquesta Riverside, Celia Cruz And Johnny Pacheco
A3. Micaela Me Botó - Chappotín y Sus Estrellas (1958) Covered by: Pete Rodríguez, La Lupe (with Tito Puente)
A4. Nadie Se Salva De La Rumba - Trío Matamoros (1960) Later covered by: Los Guaracheros De Oriente, Los Armónicos, Ray Barretto And His Orchestra (Celia Cruz, Adalberto Santiago)
A5. La Familia - José Curbelo and His Orchestra (1953) Covered by: La Sonora Matancera (Carlos Argentino), Ray Barretto And His Orchestra (Tito Allen)
A6. Salsa - Flores Valdéz y Su Conjunto Musical (195) Covered by: La Sonora Del Caribe (Daniel Santos), La Sonora Habanera, La Playa Sextet, Conjunto Sensación (Pete "El Conde" Rodríguez), Johnny Pacheco (Pete "El Conde" Rodríguez), Johnny Pacheco and Monguito
B1. Hay Cráneo - Tito Rodríguez y Los Lobos Del Mambo (1951) Covered by: Fallo Cabrera Sus Voces Y Su Conjunto Ritmico, Bobby Valentín Y Su Orquesta (Marvin Santiago), Los Soneros Del Barrio (Frankie Vásquez)
B2. Fania - Estrellas de Chocolate (1960) Covered by: Johnny Pacheco Y Su Nuevo Tumbao (Pete "Conde" Rodriguez), Chamaco Ramírez, Negros Star De Dakar, Poncho Sánchez, Pancho Amat
B3. Yo No Quiero Piedra En Mi Camino - Pacho Alonso con Bebo Valdés y Su Orquesta (1960) Covered by: Cortijo Y Su Combo (Ismael Rivera), Orquesta Estrellas Cubanas, Ismael Rivera y Sus Cachimbos, Celia Cruz, Orquesta Ritmo Oriental, Willy Chirino
B4. Corta El Bonche - Conjunto Kuvabana de Alberto Ruíz (1947) Covered by: Tito Puente And His Orchestra (Chivirico Dávila, Santos Colón), Los Blanco, Grupo Folklorico Y Experimental Nuevayorquino
B5. Tumba Mabó - Conjunto Niágara (1945) Covered by: La Sonora Ponceña (Luigi Texidor), Los Soneros Del Barrio (Frankie Vásquez)
B6. Llora Timbero - La Orquesta Siboney de Pepito Torres (1944) Covered by: Arsenio Rodríguez Y Su Conjunto (Miguelito Cuní), Mariano Mercerón Y Sus Muchachos Pimienta , Machito And His Afro-Cubans (Machito), Senén Suarez Y Su Conjunto, Tito Puente Y Su Orquesta (Santos Colón), Chico O'Farrill (Miguelito Valdés), Tito Rodríguez And His Orchestra, Manny Oquendo Y Su Conjunto Libre , Estrellas De Areito, Rubén Blades, Virgilio Martí, Sierra Maestra, Willie Rosario Y Su Orquesta , La Sonora Gloria Matancera

We can think of fewer things more Spanish than the works of Alfonso Carlos Santisteban.

He was an anarchic genius, he was scorned on, or worst, ignored. Talent and necessity as well as geniality and the most prosaic worldliness collided in his persona.

If we can blame Santisteban for anything it would be for the way he lived and breathed music. A tireless Spanish music workaholic, he made no differences between copla, rumba, pop or soul and didn't mind if it was for Bambino, La Polaca, Mara Lasso, Calibre 38, Ellas or Mila. A sincere devotee of jazz and immediately seduced by bossa and by cinematographic music, his full works, full of inevitable flaunts as well as moments of geniality, can be critiqued for negligence and an unfinished sense of accomplishment but at the same time his panoramic view and daring musical vision, sometimes just as reckless as accurate, was evident and has made his work endurable several decades later.

Spanish Moog, an album Adarce Records has the pleasure to present, is one of those strange and almost invisible musical milestones that our man portrayed in Italy.

Just as he wrote in his autobiography, in 1973 and thanks to the help of José Antonio de La Loma, he met two of the capos of the most important film music publishing empire in Italy, Giuseppe Campi and Giuseppe Giachi. They were about to open a C.A.M. (Creazione Artistiche Musicale) delegation in Madrid so they could start building their business in the most exciting times for Spanish film industry. The company started by signing two Spanish composers: our man, and Waldo de Los Ríos.

Deception and frustration would come soon. Apart from a large number of small (or more like embarrassing) film scores, Santisteban published five library albums - catalogues of fragments and music pieces offered on a menu and sold afterwards to both co-producers as well as film producers - up until 1975 for C.A.M.: Ambiente e Folklore, Rinascimenti, Night Club, Situazione per Orchestra and this one, Spanish Moog.

Five of the songs included (Jugando al toro, Nuestro Ayer, Gitanos, Torremolinos Soul and Todo ha sido un sueño) were originally recorded by Santisteban and Rafael Ferro for the album Flamenco Pop (Sintonía, 1969), and three more (Zorongo, Nuestro ayer and Tierra mojada) were originally meant for Sabor a fresa' (Belter, 1971) by La Nueva Banda de Santisteban.

Beyond the supposed editorial filibusterism what is left is a wonderful festival of grooves and beats, an omnipresent Moog, Wah Wah and 'cañi' soul blend in Torremolinos soul'.
Dreamy melancholy, fuzz and southern tocuh in Tierra mojada', impeccable arabesque beats in the steadfast Zorongo', funk and folklore sown tight in Noche en Marbella' and pure space Blaxploitation in Tute de Reyes'...

As like other pioneers and talented adventurers in our country, Alfonso Carlos Santisteban would collide inevitably with a time already lost in the annals of history. We cannot think of a better way to resume his works and his person than the sentence he used to open his autobiography:

...I speak with the authority given to me by failure...'

Camarão - The Imaginary Soundtrack to a Brazilian Western Movie 1964 - 1974
In 1960 we received an invitation to play in Recife, a wonderful, exciting and dangerous place, often described as a social jungle'.

The Forró party took place at Caxangá´s neighbourhood theatre, on the first floor, with its high ceilings, wooden floors and balconies, the place was perfect for these kinds of events. When all the windows were wide open, there would be a wonderful breeze during the hot tropical evenings.

Since everyone was looking for amusement, the place was packed on weekends. People from all corners of society would arrive nicely dressed, animated and chatting loudly over the sound of clinking glasses.

Pernambuco´s Cachaça, considered by many, especially by the locals, to be the best in the country, had started flowing generously and the popular sugar cane based alcohol lives up to its reputation.

We always had a few shots to warm up before performing and by the time the place was packed we were already in a very good mood.

Our local cachaça had loosened the bodies and minds of everyone in the room, people started to pair off and twirl around to the sound of forró music, smiling and sliding their feet off the floor - a reflex picked up from dancing in rural villages to avoid kicking up the dust'.

Strut present the debut compilation from SOFRITO, one of the UK's leading tropical music collectives.

Comprising DJs Hugo Mendez and Frankie Francis alongside The Mighty Crime Minister, Sofrito has consistently combined the serious vinyl hunter's ear for amazing records with the know-how to throw a great party, rocking dancefloors worldwide since their inception in 2005 with a mixture of vintage tropical grooves and exclusive dubplate edits.

From their legendary Tropical Warehouse events in East London to the clubs and bars of Brooklyn, from beach parties in Greece to festivals and clubs across Europe including WOMAD and the Worldwide Festival, Sofrito has now become an international proposition. Over the years the club has also attracted a string of A-list guests for live performances including Manu Dibango, Poets Of Rhythm, Souljazz Orchestra and Quantic.

The club's graphics by artist Lewis Heriz have become a vital part of its identity, with each event accompanied by unique hand-drawn poster art, each now a classic in its own right. Running alongside their events, their Sofrito Specials 12' imprint has made available exclusive edits of impossible-to-find rarities aimed strictly at the dancefloor.

For their debut compilation, Sofrito bring together 15 dynamite tropical grooves old and new ranging from raw cumbia, heavy Congolese soukous, bassline calypso and cosmic highlife. Highlights include an exclusive cumbia by Quantic, 'Cumbia Mochilla', a new edit of a rare Victor Uwaifo disco cut and firing Carnival jams from old-timers Roaring Lion and Mighty Shadow. This isn't about 'world music', this is some of the best dance music ever made.

'Afro Rock Vol. 1' is one of the most important compilations of heavy original '70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker's indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and 'diggers' to rediscover lost music from Africa made during the '60s and '70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the first to reach a far different audience to the traditional 'world music' market and spawned many further projects and labels in its wake. A year later, the 'Nigeria 70' compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland.The album is testament to the determined work of Brooker following several research trips, especially to East Africa - Kenya and Zaire. It brought to light East Africa's finest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, 'The Nigerian James Brown' Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam 'Yuda' by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained influential since its release with tracks appearing on other Afro compilations and on TV and the big screen - Jingo's 'Fever' featured in Kevin McDonald's 2006 hit film, 'Last King Of Scotland'.Out of print since 2015, the album is being reissued on Strut in its original form with the extra dynamite unreleased psychedelic cut by Kenya's Ishmael Jingo, 'Keep On Holding On' taken from the original master tape. The package features the original sleeve notes by Duncan Brooker along with new additional notes providing further background to the album and tracks.

* 180g double vinyl with digital download insert.
* Serge Gainsbourg, the French synonym for cool, brought the French tradition of chanson and rock music together in a unique and hip amalgam.
* Chant du Monde have brought together a specially curated collection of songs from the zenith of Gainsbourg's career, 1958 - 62, released on vinyl with original artwork.

Black Friday LP now available as catalogue. When it comes to living legends in the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than vocalist, songwriter and bandleader Sunny Ozuna. Born and raised in San Antonio, where he still resides, Sunny became a star right out of high school in the late '50s and hasn't looked back in the six decades since. After releasing dozens of albums since the mid-1960s (in Spanish and English), Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His classic 45s regularly change hands for hundreds of dollars among collectors around the world, affirming his timeless appeal. As a logical next step after Big Crown's excellent (and Sunny-approved) Mr. Brown Eyed Soul compilation from September, the label has started digging into the vaults of Sunny's Key-Loc Records label to unearth some legit soul classics - which are hard to find even in San Antonio, and clean originals will cost you a pretty penny if you ever luck into one - and have not been on vinyl since the late '60s. Each has been remastered and includes original album art. First up is Smile Now, Cry Later, a 12-song platter which first hit in 1966. As with most Sunny LPs, this is a mix of soulful originals - most notably, Smile Now, Cry Later' and Put Me In Jail' - and provocative, wide-ranging covers. Cases in point on the tributes side of this great album include the Sam & Dave shouter Hold On I'm Comin'', Forever,' made famous by both the Marvelettes and Marvin Gaye, and a song that Sunny performs to this day, and the '60s Louis Prima crooner special Just A Gigolo.' The band is tight, the sound is honest, the vocals are dusky and deep, and the album is an undeniable soul and Texas music classic, ready to be discovered by a whole new generation of music fans. Dive in and be ready for a permasmile, thanks to that patented Sunny sound.

- 180 GRAM AUDIOPHILE VINYL

The Chakachas were a Belgian based group of Latin soul studio musicians. Also known as Les Chakachas or Los Chakachas. They started out in the late 50s, recording a playful mixture of Latin music, jazz, and European-style exotica. This same titled album is a much sought after album amongst the connoisseurs.

The song Stories' on this album was featured on the soundtrack of the very popular game Grand Theft Auto V. This song was also covered by the band CAKE.

The Disco music fever was also present in the Rumba and Flamenco scene of Spain in the late '70s / early '80s. Producers, sound engineers and studio musicians, collaborated closely with flamenco / rumba singers and bands, highlighting the productions that genius Josep Llobell did for the Belter label in Barcelona. Here you got 12 disco-rumba-flamenco bombs, a time machine to the boites and discotheques of the late 70s and the perfect soundtrack to an imaginary Kinki' cinema soundtrack.

Featuring Sangre Gitana, Rumba 3, Tobago, Los Gachós, La Marelu, El Turronero...

Insert with liner notes by Txarly Brown and photos.

'Afro Rock Vol. 1' is one of the most important compilations of heavy original '70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker's indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and 'diggers' to rediscover lost music from Africa made during the '60s and '70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the frst to reach a far different audience to the traditional 'world music' market and spawned many further projects and labels in its wake. A year later, the 'Nigeria 70' compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland. The album is testament to the determined work of Brooker following several research trips, especially to East Africa - Kenya and Zaire. It brought to light East Africa's fnest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, 'The Nigerian James Brown' Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam 'Yuda' by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained infuential since its release with tracks appearing on other Afro compilations and on TV and the big screen - Jingo's 'Fever' featured in Kevin McDonald's 2006 hit flm, 'Last King Of Scotland'.Out of print since 2015, the album is being reissued on Strut in its original form with the extra dynamite unreleased psychedelic cut by Kenya's Ishmael Jingo, 'Keep On Holding On' taken from the original master tape. The package features the original sleeve notes by Duncan Brooker along with new additional notes providing further background to the album and tracks.

By the time this album was released, Antonio Carlos Jobim was already an international superstar. Having recently won a Grammy (1965) for "The Girl From Ipanema", by 1967 all the big name stars from up north were breaking down his door to work with the new "Gershwin of Brazil." In fact, Jobim had just finished working on an album with Frank Sinatra when he went into the studio to record this album. Recorded in 1967, Wave is actually one of the lesser known masterpieces of Brazilian music, and undoubtedly one of Jobim's greatest. Here Jobimand the great Claus Ogerman lead a top-flight cast on hidden classics like Batidinha, Triste and Wave. Includes bonus CD of entire album.

From the archives of the legendary BELTER and DISCOPHON labels, essential to understand the birth of the Catalan Rumba and Flamenco-Pop genre in Spain, we've selected 14 dance-friendly tracks taken from overlooked LPs and 45s.

This is the real gipsy-funk sound, full of screaming flamenco vocals, funk drums, electric guitars, wah-wah, organ, electric bass, exotic percussions, soulish horns, latin and even oriental touches...

Featuring folkloric ye-yé singers, gipsy princes, teen rumba stars and groovy rumba-pop bands: DOLORES VARGAS La Terremoto', CHANGO, ROSA MORENA, RUMBA 3, EL PRÍNCIPE GITANO, EL NOI...

*Master tape sound

*Insert with photos and liner notes by Txarly Brown (Achilifunk)

Beautiful gems extracted from 78s records released during the 1930s and 1940s by Cuban artists.
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A collection of nine extremely beautiful gems from the 1930s, the best era of Cuban music, and one more explosive danceable track from 1947. Cuban son, pregón, rumba and conga played by the most exquisite orchestras of this period, Cuban artists who recorded their eternal masterpieces in Cuba, The United States, France and Spain.
Most of the tracks now on vinyl for the first time.

Ultra-rare gems extracted from 45s and 78s records released in the 1950s and early 1960s by obscure record labels !
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A collection of fast, hot and intense Latin songs played by Cuban, Puerto Rican, Venezuelan, Mexican and North American wild dance orchestras. Recorded in the 1950s / 1960s and originally released on vinyl and 78rpm shellac records. Savage bongos, volcanic trumpets, atomic rumbas, mambo inferno and wild conga for a successful party of exotic ecstasy!

Over the course of his career, Ray Barretto had worked alongside Dizzy Gillespie, Tito Puente, Celia Cruz, Wes Montgomery, and even the Bee Gees among others, earned a legendary reputation among the jazz music scene, and the title of Godfather of Latin Jazz. When one listens to his 1968 album Acid it's not hard to understand why. The album features eight selections of Barretto's finest, which formed a unique hybrid of jazz and Latin sounds, from the frantic salsa of "El Nuevo Barretto", to soul-crossover tracks like "A Deeper Shade Of Soul" or "Teacher Of Love." The song "Mercy, Mercy, Baby" would also be notably sampled on Group Home's remix of "Good Life" by Pete Rock & C.L. Smooth in 1991. A high reccomendation for fans and collectors of the classic Latin sounds of the 60s.

Dolores Vargas was our wildest performer, our Spanish Tina Turner, Ikettes-era. In my opinion, she was a better dancer and singer than Lola Flores but she never received the same media attention than the famous Lola. Maybe it's better this way. Dolores Vargas is wine for sommeliers and since now, music for connoisseurs.'- Txarly Brown

Here's an anthology dedicated to the '70s period of Dolores Vargas, known as The Earthquake' due to her wild and frenzied dancing style. In these songs, released 1970-1975 for the Belter label from Barcelona, you'll hear a killer sound and production mixing Funk, Rock and Pop with the powerful vocal style of The Earthquake'.

Including real gipsy-funk bombs like A la pelota' Anana Hip' or La Hawaiana' along with her bizarre cover version of Chirpy Chirpy Cheep Cheep' and much more.

If you're looking from Flamenco Funk and groovy Rumba Pop, look no further.


* Master tape sound.

* Insert with liner notes by Txarly Brown (Achilifunk) and photos.y

The apparition of Spanish female duo Las Grecas with their Gipsy-Rock sound in the 70s created quite a boom in the Spanish market at the time and paved the way for other similar gipsy-rock duos.

Morena y Clara were one of them. Launched by bizarre flamenco producer Lauren Postigo, they released a string of 45s and three LPs (highly sought after now) for the Discophon label. They mixed Rumba, Flamenco, Psychedelic Rock, Funk and Disco Music featuring an amazing production (heavy drums, fuzz-wah-phaser electric guitars, Moog, Hammond) over the wild flamenco female vocals of the duo.

Here's a compilation spanning 1974-1978, featuring their psychotronic hits like No llores más', Dejé de quererte', Buscando alegría' and more.

Insert with liner notes by Txarly Brown (Achilifunk) and photos.

I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena' - Vinicius de Moraes

The words by Bossa Nova's seminal poet Vinicius seem fit as a good introduction to Agustín Pereyra Lucena, the undisputed ambassador of Brazilian music in Argentina, and a revered guitarist since his early years. Pereyra Lucena became fascinated by Brazilian music during the years of Bossa Nova, a sound that would define his career despite his later incursions in Jazz and French Impressionism. This passion led him to drop his architecture studies and become a full time musician, forging his own sound, befriending Vinicius and Toquinho and sharing stage with many of Brazil's greatest musicians.

Released in Argentina as Ese Día Va A Llegar' in 1975, and the following year in Europe as Brasiliana', this was Pereyra Lucena's fourth album. A tasteful blend of covers and original compositions, the result is a thrilling Bossa Jazz album with a character of its own, and which also served as the starting point of Guillermo Reuter's career, who would shortly after start his project Candeias, with Agustín Pereyra Lucena on guitar.

Includes info insert with notes by Agustín Pereyra Lucena himself and free Digital Download Card.

Released in 1974, Téo Azevedo's first album Grito Selvagem ( Wild Shout') is an irresistible blend of soul and rock with an unmistakable Brazilian character. As many other lost gems of time past, the album found little commercial success, and still during the 70s Téo turned forever to the true Brazilian popular music - the forró, the roots of sertanejo and the rhythms and traditions of Brazil's often forgotten countryside - becoming, from then on, a genuine cultural reference in Brazil not only as musician and composer, but also as a poet and researcher of popular folklore, being awarded the Grammy Latino prize in 2013.

This career turn also contributed to push Grito Selvagem' onto the dusty and forgetful shelves of time, until its rediscovery in recent years by DJs and record collectors. With lyrics reminiscent of the life in the city and the countryside, the album is one of Brazil's forgotten treasures, with arrangements and production by Téo in partnership with maestro Daniel Salinas - producer / arranger very active in the Jovem Guarda movement, and known to collectors for his 1973 album Atlantis-, ten tracks which deliver the unmistakable groove you'll only find in Brazilian records from the 70s. If you like Luiz Gonzaga, Tim Maia, Jackson do Pandeiro or Gilberto Gil, get ready to hear Téo Azevedo and his Grito Selvagem!

Comes with full-size Poster / info insert in English and Portuguese revealing the full, undisclosed story of the album. Includes free Digital Download Card.

Psychedelic Cumbia tropical Bass compilation ! MASTERPIECE §

An incredible album from Brazilian rock legend Raul Seixas - easily one of the most important artists to emerge after the Tropicalia generation - and a singer with a sound that's as striking as his image on the cover! The album's got an explosive blend of styles - everything from psychedelic samba to country rock to easy rock tunes - all bound together by the strong sense of presence that helped Seixas elevate to become one of Brazili's most controversial rock stars of the time, all with the kind of legacy you might expect from the cover image! The sound is great - very different than what American and Anglo groups were doing at the time, although with sly nods to their modes from time to time - and titles include the English track "How Could I Know", plus "As Minas Do Rei Salomao", "Mosca Na Sopa", "Cachorro", "Al Capone", and the strange electronic "Introducao".