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'Creation One' is a stunning eight track, jam packed album, so elusive but full of pure joy! Invigorating, stimulating, delightful, a treasure of rhythms grooves and breaks! 'Sombre Guitar' is the favourite to many, especially DJs! In the 1970's, composer and multi-instrumentalist John Danser formed Danser's Inferno, a funky Jazz-Rock-Fusion band, an ensemble of 14 very talented musicians. At age 14 John Danser emigrated from London and established himself in New York City where he earned a master's degree in music at the Manhattan school of music. In his early years, Danser played in classical as well as jazz gigs, simultaneously arranging and composing. He later went on to have an extensive musical career and at one point served as a bandleader at Concord hotel, during the Borscht Belt era, where he played for Sammy Davis jr., Milton Berle, Bob Hope and Judy Garland. - Rachel Kinoti

Chega de Saudade' (1959) was the debut album from João Gilberto and is often credited as the first bossa nova album. In 2001, the album was inducted into the Grammy Hall of Fame. In the same year, it was made an inaugural member of the Latin Grammy Hall of Fame. João Gilberto' (1961) is filled with genius staples in the 'bossa nova canon' - O Barquinho', Você e Eu,' and Insensatez' for example. Gilberto is one of the most musical of our popular singers, predicated which widely compensates his small voice volume. He reveals an unorthodox good taste for the choice of the melodies.

The name of the band and the cover of the disc explicitly reveal the influence: Secos&Molhados. Investing in androgenia, progressive rock and samba-soul, Assim Assado tried to be a response of the smallCID label to the enormous success that the Secos&Molhados did to the young public. Led by Miguel de Deus (formerly Os Brazões), who signed most of the compositions and assumed the guitar and vocals, the group never took off, leaving only this LP, now almost forgotten. Curiosity: in 1977 Miguel de Deus falls headlong into funk, casting the rather interesting (and rare) "Black Soul Brothers" Also repressed on Groovie Records.

Band formed by Miguel de Deus in 1974, inspired by the Secos&Molhados and making clear both in the name, which is copied from a song of Secos&Molhados, both on the cover of the band's only album. Also the visual was well androgen but the Music, a mixture of psychedelic, Progressive and a strong touch of Brazilian Soul music. The only album that had the same name as the band, did not get repercussion despite presenting a lot of quality. Now the repress of this rare pearl brings to the light the huge talent of Miguel De Deus.

Free-Son was composed 8 musicians researchers of Brazilian musical origins, released in 1971 its only and rare LP for Solar Fidelity.
The album Banguelê (name given to a rhythm and dance of African slaves) consists of 12 short tracks that, as written in the backsleeve seek a new musical message essentially ours, with common language to all people and that was "hotter' that the rhythms of the time. Many styles are present, mixing Latin, African rhythms, samba rock and others as funk, psychedelic rock and jazz. It is almost all instrumental, well arranged with killer wah wah guitar, organ and percussion (cuíca, tumbadora) work. The vocal part is limited only to some screams. No highlighting songs, because it is a solid record. Highly recommended to Brazilian music fans, funk and rock / Latin jazz....by Perolas do Rock....

Héctor Lavoe's third solo release benefited from Willie Colón's production, Rubén Blades agreeing to give his new composition "El Cantante" to him (Lavoe promptly made it his own), and the varied arrangements of Colón and Luis "Perico" Ortíz. But setting all that firepower aside, it's still true that nobody could make a song sing quite like Héctor Lavoe (there was a reason they called him "La Voz"), and his commanding air over this record made it his third straight classic. As on the previous two, Lavoe and company strive for stylistic range more than anything else, adding a heavy syrup of strings to "El Cantante" for an elegant touch, getting streetwise for "Bandolera," and finishing the album with a surging montuno titled "Songoro Cosongo."

Héctor Lavoe's third solo release benefited from Willie Colón's production, Rubén Blades agreeing to give his new composition "El Cantante" to him (Lavoe promptly made it his own), and the varied arrangements of Colón and Luis "Perico" Ortíz. But setting all that firepower aside, it's still true that nobody could make a song sing quite like Héctor Lavoe (there was a reason they called him "La Voz"), and his commanding air over this record made it his third straight classic. As on the previous two, Lavoe and company strive for stylistic range more than anything else, adding a heavy syrup of strings to "El Cantante" for an elegant touch, getting streetwise for "Bandolera," and finishing the album with a surging montuno titled "Songoro Cosongo."

As much a classic of Héctor Lavoe's career -- and salsa music in total -- as La Voz, his solo debut from one year earlier, 1976's De Ti Depende (It's Up to You) includes everything that made La Voz a classic. Produced and with three of its spotlight tracks arranged by Willie Colón, it features much the same group (with Rubén Blades in the chorus) and hits the same heights with its material -- but that's not to say it's the same album. This one has more ballads, and more of a reflective, often downcast feel to the material, even the hit, "Periodico de Ayer," has a dark theme, comparing love to yesterday's news, and the slick, string-filled "Tanto Como Ayer" is even more fatalistic. "Hacha y Machete" is a beacon of up-tempo salsa goodness in the vast melancholy wasteland.

As much a classic of Héctor Lavoe's career -- and salsa music in total -- as La Voz, his solo debut from one year earlier, 1976's De Ti Depende (It's Up to You) includes everything that made La Voz a classic. Produced and with three of its spotlight tracks arranged by Willie Colón, it features much the same group (with Rubén Blades in the chorus) and hits the same heights with its material -- but that's not to say it's the same album. This one has more ballads, and more of a reflective, often downcast feel to the material, even the hit, "Periodico de Ayer," has a dark theme, comparing love to yesterday's news, and the slick, string-filled "Tanto Como Ayer" is even more fatalistic. "Hacha y Machete" is a beacon of up-tempo salsa goodness in the vast melancholy wasteland.

"Superbacana" marks the return of S-tone Inc., an EP that anticipates a new album due to release in autumn 2017. Produced by Stefano Tirone, who co-wrote all the tracks with Tomaz Di Cunto - alias Toco - it contains four tracks (one in two different versions) with a funky Brazilian flavour, inspired by the Black Rio sound that represents the encounter between samba and the American soul funk music since the '70s. An outstanding groovy effort that raises the expectations on what S-Tone Inc. will produce in the nearby future...

Here with a special collaboration with Glasgow's infamous At War With False Noise, Giallo Disco and AWWFN are unbelievably proud to present, for the first time on vinyl ever, the elusive soundtrack to one of the most notorious, twisted and downright wrongest video nasties of all time: Island Of Death by director Nico Mastorakis. These ultra rare recordings of one Manson-meets-The-Wicker-Man babylonian folk and a 'let's cry a river' ballad were the perfect counterpoint for this sleaze masterwork regarding a sex and murder obsessed couple causing havoc on a Greek island. Do not sleep on this. You'd be a fool... in a lye pit.

Lorenzo Palacios Quispe "Chacalón" is a myth. More than a musical star, he is both a religious and secular phenomenon for the masses. Every year on his birthday, his tomb becomes a place of fevered pilgrimage where devotees pray, make wishes and ask for miracles, all done over songs, cases of beer, dancing and toasting. In Peru, his figure and music erases the distance between the holy and the profane, the hero and the lumpen. Chacalón is, for many Peruvians, the people's angel, the messiah of the poor, the marginalized 'Inkarri'.

"When Chacalón sings, the hills come down', was one of his favorite phrases and with it he referred to the migrant masses that invaded the hills and beaches that surround Lima like a "ring of fire" (José María Arguedas dixit). It was the early 80s and while bombs and a dirty war exploded in the Andes, in Lima, the new and ever-growing population of migrants climbed down" from their precarious homes and filled venues to dance "chicha" music and to celebrate who they saw as their redeemer.

Despite being a model messianic figure, Lorenzo Palacios had very humble origins. The son of a music dancer from Huancayo and a singer of huayno music (Andean folk) from Ayacucho, Chacalon was born in Lima in 1950. As a teen, he had his debut on stage as the singer of huayno band "The Indios Quechuas". The main requirement to sing that genre of music was to have a powerful ribcage and young Lorenzo seemed to have the needed lung capacity for guapeos', thunderous voice blows that the genre required.


Chicha music is neither a replica or a copy, despite using Western instruments, such as the electric guitar, bass, drums and organs, and mixing them with cymbals, congas and tropical Guiros. Chicha music has indomestizo elements (like Huayno music) tucked deep in his blood. Listen to the powerful cries of Chacalon and you will hear the heartfelt music of Huancayo, listen to his delicate voice breaks and you will hear the sweet music of Ayacucho. The mix of delicacy and strength and rural and cosmopolitan elements, is part of the secret of seduction that chicha music has had over the masses.

Aside from use of electric instruments, rock music has influenced chicha music in other ways. Chacalón's band was called New Cream as a tribute to the British band Cream. Their use of powerful fuzz tones and wah wah pedals for acid riffs and catchy solos, are the echoes of a rebellious music that wanted to silence the noises of a marginalized and exploitative city atmosphere debased by the most savage capitalism. "I seek a new life in this city / where everything is money and there is evil," reads Provinciano', Chacalon's most famous songs.

It's because lyrics like these that people saw Chacalón as a messianic figure who sang about the promise of a new life. He sang about pain, alcohol and betrayal, but also about solidarity, love and hope. Chacalon sang to the most marginalized part of society, the lumpenproletariat, and not the middle class or the wealthy. Lorenzo Palacios did not see differences between those who complied with the law or those who transgressed it, because in marginality, survival is the only rule and the boundaries between good and evil become very subtle. "Eat first, then morals,' said Chacalon.

RIYL: Los Destellos / Los Mirlos / Roots Of Chicha / Los Shapis / Juaneco y Su Combo

* Remastered from Master Tapes
* 8 Pages Booklet
* Gatefold Deluxe
* PVC Plastic Bag
* Rare Photos

First ever reissue of Salsita mami' by Lisandro Meza y su Combo Gigante, a highy sought-after Discos Fuentes salsa dura' classic LP originally released in 1970. Lisandro Meza is one of Colombia's most talented all around musical giants. Equally adept at playing musical instruments as he is at composition and singing, Meza has recorded just about every type of Colombian genre as well as his own decidedly Colombian versions of salsa, Afrobeat, funk and disco.
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After traveling to Venezuela, Panamá, México and the US as a member of Los Corraleros de Majagual in the mid to late 60s on several tours, Meza decided to change his own group's sound by creating a big band in order to play some of the non-Colombian genres he encountered along the way, especially the Cuban-based dance music being played by the young generation of New York Latin musicians referred to (in Venezuela and later New York) at the time as salsa'.

Ray Barretto's Latin/soul crossover record of 1968, Acid includes a few tracks of his ebullient, instrumental salsa, but also plays off the boogaloo craze of the past few years with a few Latin soul numbers. The crossovers "A Deeper Shade of Soul," "Soul Drummers," and "Teacher of Love" (all written by Barretto himself) are a lot of fun, but the (relatively) straight-ahead salsa of "El Nuevo Barretto" and the title track easily edge out the competition. It's nowhere near as psychedelic as the title would indicate, but Acid holds up nevertheless as a great document of the late-'60s confluence of Latin, funk, and soul.

Paulino Vieira, Bana, and their legendary troupe, Voz de Cabo Verde, made Lisbon the headquarters spearheading the musical revolution taking place within Cape Verdean emigre communities across Europe in the 1980s. Musicians from across the diaspora would eagerly travel to the Portuguese capital to record. But in smaller pockets, second-generation Krioulu musicians were independently contributing to one of the most lush periods of cultural innovation by immigrants in Europe. In 1986, a group of nine teenagers — Antonio Monteiro, Ambrosio Gomes, Emilio Borges, Fefa Cabral, To Pereira, Pedro Varela, Celeste Monteiro, Clarisse, Germano Shares — formed the largely unknown, often overlooked, but consistently brilliant band, Pilon. Combining traditional Funana rhythms and the hybrid ColaZouk style with psychedelic synth work and rugged guitar ostinatos, Pilon refined their sound for years until releasing these recordings as part of their debut album, Tradicao, in 1993, with a tight-knit unit of just five remaining members. The band is still a popular mainstay for parties in the Cape Verdean circles of Frankfurt, Paris, Lyon, Marseille, Rotterdam, and Geneva.

A magical mixture of traditional min'yo songs and Latin jazz elements, this is an original compilation of the work of Japanese singer Chiemi Eri, drawing upon 10-inches released by the Japanese King label between 1958 and 1962. Included are exclusive liner notes and a rich calligraphed booklet with romanized lyrics.

Razor-sharp production of the highest order from two of the masters of the early 80's Rio de Janeiro boogie sound, Robson Jorge and Lincoln Olivetti. Both were highly acclaimed music producers of the time, starting around the mid-70's. Over the course of his career Olivetti worked with artists including Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more. The album takes in mid-tempo, AOR, boogie and even latin all way through the tempo's to ultra-quick Prince style disco-funk workouts. Includes several standout tracks - 'Aleluia' and 'Ginga' being our two favourites. Synths, horns, claps, drum machines, guitars, keys and vocal harmonies combine effortlessly.
Originally released in 1982 on Som Livre, Brazil. Replica original
reproduction.

Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos (Between Worlds). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound.

Nomade Orquestra are some the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener 'Jardim de Zaira' - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab's funkiest late '90s output. 'Felag Mengu' lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert Rock, and 'Olho do Tempo' is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride 'Rinoceronte Blues' with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra's endless span of influences.

With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra's self-titled debut album launched them from humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. This summer the band are set to return to the UK, bringing their new album and raucous live show to festivals including WOMAD, Boomtown and Kendal Calling, plus a headline night at London's Jazz Café.

Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos (Between Worlds). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound.

Nomade Orquestra are some the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener 'Jardim de Zaira' - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab's funkiest late '90s output. 'Felag Mengu' lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert Rock, and 'Olho do Tempo' is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride 'Rinoceronte Blues' with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra's endless span of influences.

With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra's self-titled debut album launched them from humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. This summer the band are set to return to the UK, bringing their new album and raucous live show to festivals including WOMAD, Boomtown and Kendal Calling, plus a headline night at London's Jazz Café.

This anthology extra-terrestrial funk focuses on vocal delights in Portuguese Brazilian
(No English singing Songs)

Smoky, sweaty rhythm & blues heavily on American soul and funk jazz-funk, samba rich grooves, disco, luscious orchestration, boogie gems Killer tunes

Tim Maia father of Brazilian soul music have released over 30 albums during his career.
Iconoclastic, ironic, outspoken, polemical (but always humorous), and openly addicted to cocaine and marijuana, he was known for lightheartedly missing appointments and even big-time gigs, and also for being boycotted by recording companies, TV networks , and other media that didn't swallow his disturbing presence.
Maia spent a couple of years involved with a religious group called Cultura Racional that held the belief that humans are really aliens that need to reconnect with an elemental form of energy through the teachings of a book called Universo Em Desencanto).
Tim Maia was never satisfied. Brazil's number one soul brother had a voracious appetite for both carnal and philosophical indulgences. Died at age 55 in 1998
With the help of cream-of-the-crop session musicians and songwriters, Tim blazed the way for a unique fusion of Brazilian styles and American soul music, something timeless and wholly original.

Originally released in 1970 by little-known Chicago imprint Futuro,
'Vamonos / Let's Go!' is the first and only album recorded by Brooklyn neighbourhood salsa band 'The Orchestra Soledad'. Led by trombonist and singer Hector Ramos, the music of Orchestra Soledad is characterised by brash and energetic salsa arrangements created by Ramos himself, who also composed (or cocomposed) all of the music featured on the LP. This ultra-rare record came to our attention courtesy of DJ Amir who discovered it (along with a 'battle of the bands' trophy that the band had won) in a shop locatenly blocks away from the Bushwick home of Hector Ramos. Immediately captivated by the striking artwork and incredible music, Amir went on to include the track "El Ritmo Soledad" on his 2016 BBE compilation 'Buena Música Y Cultura', an album celebrating latin music from across the Americas. The Orchestra Soledad was made up of talented local kids (maybe local heroes), all dreaming of Fania All-Stars fame when they stepped in the studio, sadly destined never to 'make it'. Yet this one shining album remains, a lasting testament to their brilliance. Raw, authentic 70s street salsa, all the recordings featured on 'Vamonos/ Let's Go!' have a distinctly live M unpolished feel, evoking all the sweat and drama of a hoT summer's night in the barrios of Sunset Park, Bushwick or Williamsburg back in the day.

Head an hour east of Los Angeles and you'll find yourself in the Inland Empire of San Bernardino / Riverside, where a thriving Latinx DIY music and art scene is on display to a melting pot community and audience. It is out of this grassroots local scene that QUITAPENAS developed their unique rhythm and following. At the heart of the group is a tropical Afro-Latin combo, brewed under the warm California sun with a certain liberation in their sound as summed up in the meaning of their name: QUITA (remove) PENAS (worries). With this carefree openness the crew has honed a distinct and hypnotic take on the influential guitarra / tambora roots of golden-age soukous, chicha, compa and champeta.Following up their well received, self-released debut, QUITAPENAS has teamed up with Brooklyn-based label Names You Can Trust to release a pair of original songs. These tracks not only explore and capture the musical roots of their expansive Afro-Latin history, but offer a lyrical view of a decidedly present-day landscape from the perspective of America's vast multi-cultural immigrant experience. YA VERAN (You'll See) is an inclusive call to see the inherent beauty of our various shapes, sizes and colors, while LA BESTIA (The Beast), warns of the perilous form of travel in which people board on top of a series of trains through Central America and Mexico in order to reach the United States.

Legendary album among Italian Library junkies and euro groove hunters by the great maestro and orchestra conductor Puccio Roelens, responsible of some for the Funkiest productions made in Italy. Music swings from Jazz to Funk and Psichedelia, with loads of terrific beats, laden grooves and top breakbeats simply to die for. Breathtaking Psychedelic Jazz arrangements / Lounge Funk tunes / catching Bossa / terrific drums groove. One of the most desired items of the genre is finally available for the Record Store Day 2017. HOLY GRAIL ALERT!

Limited edition of 500 copies exclusive for RSD 2017.

A1 VOCALS PERFORMED BY VELI MTHIMKULU (AKA SOULSTAR) AND NKOSINATHI MAPHUMULO (AKA BLACK COFFEE).
MUSIC COMPOSED BY NKOSINATHI MAPHUMULO AND LYRICS WRITTEN BY VELI MTHIMKULU.
ALL MUSIC PRODUCED BY NKOSINATHI MAPHUMULO (AKA BLACK COFFEE). PUBLISHED BY VUYA PRODUCTIONS CC AND
SOULISTIC MUSIC.
COURTESY OF SOULISTIC MUSIC (PTY) LTD. UNDER EXCLUSIVE LICENSE FROM SOULISTIC MUSIC TO
FOLIAGE RECORDS FOR THE WORLD OUTSIDE AFRICA.
A2 REMIX AND ADDITIONAL PRODUCTION BY ZEPHERIN SAINT. ALL INSTRUMENTS AND PROGRAMMING BY ZEPHERIN SAINT.
MIXED BY TONI ECONOMIDES AT GARDEN STUDIOS, LONDON.
AA1 REMIX AND ADDITIONAL PRODUCTION BY BODDHI SATVA FOR OFFERING RECORDINGS.
RECORDED AT NGOMBI STUDIOS, BELGIUM.
AA2 REMIX AND ADDITIONAL PRODUCTION BY ENAWADAN. RECORDED AT OPAKU STUDIOS, SOUTH AFRICA.

This EP was originally released in 1977 by Audio y Vídeo through the label Iris. These bossa instrumental songs were composed by Juan Muro (Loeme is one of his pseudonims) and were recorded by great musicians like Rafael Martínez (guitar). The first (and only) release was very limited and the copies were sent exclusively to radio stations, discotheques and clubs. Because of that have surfaced so few records.
There are only 400 copies available of this reissue. All the songs have been remastered by Ángel Álvarez and each record includes a postcard signed by Juan Muro.

"I could listen to the album everyday for the rest of my life" - Madlib.

For a very long time, we have been trying to re-issue this record, a true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.

Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, this album gave him the chance to do his thing in it's
most pure form.

The 29 minute masterpiece, perfect in it's arrangement and fusion of sonics, epitomises the sound of Brazil at the time, strings, guitars, pianos, break beats, basslines, synthesizers, vocals from the wonderful Célia and percussion from Pedro Santos. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it, MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat, Dibiase and Action Bronson amongst others.

The original Continental versions of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur's supervision.

Combo Los Yogas was a short-lived early Colombian salsa band from Medellín directed and arranged by Aníbal José Ángel Echeverri, the famous antioqueño keyboardist known as Aníbal Ángel or simply Anán. Employing Barranquilla native Johnny Moré as his lead vocalist and a full combo with trumpet, trombone, congas and timbales, Los Yogas recorded a fantastic collection of cover tunes in the guaguancó, son, guajira, descarga, and cha-cha-chá rhythms. The sound is very raw and hard, something that makes this obscure 1968 Discos Fuentes record a sought-after collector's item. Thanks to the inherent quality and execution of its repertoire, "Cañabrava" provides a wonderful snapshot of the influences and early development of the genre of salsa in 1960s Colombia.
Over the past few years we have been fortunate to work with Discos Fuentes on several projects compiled from their rich catalogue, and we are continuing our collaboration with the legendary Colombian label with a series of facsimile reissues of classic Fuentes LPs. Starting with "Cañabrava" by Combo Los Yogas, the upcoming months will bring new pressings of albums by Fruko y sus Tesos, Lisandro Meza y su Conjunto, Peregoyo y su Combo Vacaná, Pedro Laza y sus Pelayeros and many more... Presented in facsimile artwork and pressed on 180g vinyl.

Deep, storming Salegy sounds from Madagascar.

Salegy is the electrified updating of the traditional Antsa style from the north-west of the island — 6/8 rhythms, layered with percussion and call-and-response vocals — and the Vetson' Androy group one of its most popular proponents.
From 1978, Mavandeza has the heady urgency of killer Fela — with two women singers out front, psychedelic organ and prowling-lion bass.

The flip is from a decade later, by Malagasy superstar Eusebe Jaojaby — rough and tough dancefloor worries, with a mazy string-line, mash-it-down percussion and lilting flute.

Another sizzler from Sofrito.

LIMITED TO 500 COPIES!

The acoustic debut album Udopeia created by the band Pilots On Dope was issued by the Verve label in June 2014. The sound has its roots in Brazil's broad-ranging musical traditions, including bossa, samba and Afro Brazil, and evoking the golden age of the sixties. Consequently, the album went on to serve as the starting point for well-known mixers from the Pilots On Dope milieu.

Taking this development to a second stage, Udopeia - The Remixes is aimed at an audience accustomed to electronic beats but also with an interest in musical reflexes and retro influences. The new remix album cleverly covers this musical spectrum, from exotic Latin sounds through to contemporary electronic remix culture.

The Vienna Electronic movement, popular in the nineties, was a counterpart to the Nu Jazz movement which was emerging in Germany at the same time, and itself strongly influenced by offshoots of Acid Jazz. During the epoch-making close of the long-lasting Acid Jazz trend, a series of producers became established in Germany and England, drawing on elements of Latin, Brazil, easy listening, jazz and soul, and creating a veritable boom which went on to influence and inspire producers in Italy and France. Their Austrian equivalent was certainly the Vienna Electronic movement which triggered a literal downbeat cult, creating a distinctive genre with its striking funk riffs. Sampling, a by-product of Hip Hop, was certainly a key element in the resounding success of Kruder & Dorfmeister, the pioneers of Vienna Electronic.
Despite the reduced tempo, this trend would conquer the dancefloor, generating its own identity and a musical code - light and raunchy, underpinned with an atmospheric soundscape, and overlaid with a pulsing rhythm in the heartbeat of flickering sound densities. The remix project brings together a wide range of producers who made history with Vienna Electronic, in particular past master Richard Dorfmeister and artists from his G-Stone label including Stereotyp, Makossa & Megablast and Gümix. They are joined by fellow remixers such as Shanti Roots and the Pilots Gerald Tomez (Vienna Scientists) and Gerhard Gigler (DJ Bunani). The newcomers Shantisan, Ksawa and Corrado Bucci from Brescia bring with them promising credentials and refreshing contributions.

Faithful to his ever-frenzied rhythm, el Vidocq never ceases to delve into his treasure trove of 45 rpm vinyls. And the nuggets, they keep a-comin'! For this 4th volume, Exotic-o-rama', the tropical heat warms your ears and sends you travelling without you ever having to leave the fireplace.

A groovy journey through Africa, Latin America and the Middle East of the 1950s, whose singular exoticism seduced listeners. As you'll see, this period was already open to mixings of all sorts: RnB is easily blended with African flavors by Guitar Gablé, Doo-Wop is cooked up Cuban-style by the Sultans, a Big Band is given a Voodoo makeover by Les Elgart, a Mexican twist is belted out by Chuck Rio... (Much) less expensive than a budget flight and a hell of a lot faster. Climb aboard for a mini world tour in 40 melodious minutes!!!

Originally released in 1959, Chega de Saudade is the debut album from João Gilberto and is often credited as the first bossa nova album
180g vinyl

With Cuba poised to become more connected to the rest of the world, the Cuban people's pride in a unique musical heritage has never felt more vital. Arising from that lineage, Daymé Arocena has returned to deliver an ambitious second long player, rooting her compositions in Cuba's classic rhythms, Daymé encompasses the rich, diverse musical make-up of her home whilst looking outward too - to the world she has spent the last two years traveling. It's her most polished, fully realised project since meeting her mentor (and record label head), Gilles Peterson, in 2012. Benefiting from Gilles' expansive vision as a DJ, broadcaster and promoter, Daymé has been nurtured to this point by the Havana Cultura project - a platform for contemporary Cuban creativity driven by Havana Club rum.
LP - Heavyweight Vinyl With Download