Since 2003, Madrid's Vampisoul Records has been a label to treasure for all those in search of the cool. The vibrant Spanish label has developed a colorful roster of eclectic music, unearthing once-lost Peruvian psych, Brazilian rock, Harlem boogaloo, Detroit soul, Afrobeat, lounge, salsa and much, much more. Releases are enhanced by deluxe, stylish packaging -- on both CD and vinyl formats -- offering extensive liner notes and rare photos. Vampisoul remains absolutely essential for soul, funk and rare groove fans in search of more of the old gold.
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LP
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VAMPI 222LP
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$25.00
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RELEASE DATE: 1/14/2022
First time reissue. This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name. Fascinated by the music of the Cuban orchestras broadcast on the radio and the colorful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born, El Negro Bembón con la Sonora MAG includes, with the only exception of the instrumental track "Té Para Dos", mostly vocal songs -- guarachas and boleros -- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on "Pepito" the biggest hit of the album. This album is currently almost impossible to find in its original edition, so Vampisoul present the first ever reissue of El Negro Bembón con la Sonora MAG in its original artwork. 180 gram vinyl.
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7"
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VAMPI 45085EP
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$12.50
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RELEASE DATE: 12/17/2021
"Dedos" became a true classic from the right moment of its publication, in 1971, as part of Totem's first album, the Uruguayan band where Rubén Rada and Eduardo Useta, authors of the song, would be part of. It was later popularized all over the world thanks to its inclusion in Airto Moreira's renown album Fingers. Vampisoul present here two monumental and mega rare versions with loads of head-nodding funky beats, drum breaks, jazzy arrangements... Dancefloor action guaranteed! Side A is taken from Chilean band Fusión's mega rare only LP (1975), an irresistible funk-jazz that screams to be used by a hip-hop producer, while side B features Argentine Carlos Franzetti, of the "Cocoa Funk" fame, creating a jazz-funk delight packed with delicate Rhodes solos, fuzzy guitars and drum breaks that were released only in Argentina at the time. A preview of what he would shortly after record on his classic album Graffiti (1977).
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LP
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VAMPI 249LP
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$25.00
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RELEASE DATE: 12/10/2021
First time reissue, originally released in 1974. Those into world jazz will be aware of the amazing modal, big band and post-bop jazz recordings released in Argentina in the '60s. The body of work produced by the likes of Chivo Borraro, Jorge López Ruiz or Enrique Villegas would be able to rival the recordings of their American counterparts. The following decade would see a great openness to the exploration, with a jazz language, of other musical genres, with a certain preponderance of rhythm. The members of El Trio are part of a jazz generation with a greater propensity to experiment with electricity and with what could be considered an avant la page exercise of what soon afterwards would be called jazz rock -- it is music composed and played, in the faraway Buenos Aires, at the same time Miles Davis adventured into new fields, with such records as In a Silent Way or Bitches Brew. Todo En Su Medida Y Armoniosamente reflects that same spirit of experimentation and fusion of diverse influences with an eye on both rock and local folklore. It's not surprising that the protagonists of this recording -- Pocho Lapouble (drums), Ricardo Lew (guitar) and Adalberto Cevasco (bass) -- had accompanied Gato Barbieri himself in his project Latinoamérica shortly before the release of this album where the presence of rhythms from the southern hemisphere infused the avant-garde jazz of the Argentine saxophonist. Drummer Pocho Lapouble had also created Quinteplus, which in 1972 released a single studio LP inspired by those same premises of fusion jazz. This album was originally released on the eclectic local label Music Hall in 1974 and probably distributed in tiny quantities, hence the rarity of this record and the current crazy prices in the collectors' market. Includes the irresistible track "Se Acabó El Recreo", a fast-paced funk rock number, and the ethereal "Todo En Su Medida Y Armoniosamente" and "Haceme Shaft", featuring Patricia Clark on vocals and unexpected Moog arrangements. Remastered sound and original artwork.
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LP
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VAMPI 244LP
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$25.00
PREORDER
RELEASE DATE: 12/10/2021
First time reissue, originally released in 1968. Cuban and Colombian rhythms form Tropical Guitars (MAG, 1968), the first LP of the Silvestre Montez y sus Guantanameros orchestra, a group whose conductor and members, despite their name, have no direct relationship with any Caribbean country, and whose conception illustrates the particular way in which the Peruvian record company MAG was managed. Manuel Antonio Guerrero (founder and owner of MAG) made significant profits with the first albums published, mostly focused on música criolla. He soon encouraged his friend Lucho Macedo, director of Lima's favorite sonora, to record the main hits of Sonora Matancera, reinterpretations with innovative arrangements that exceeded market demands. Thus, they continued to repeat the formula of releasing songs "in the style of", and soon they published hits of tango, cuplé, pasodobles, Ecuadorian, Argentine and Paraguayan music, reinterpreted by local musicians. Tropical music records were always the label's favorites, especially because Guerrero knew Cuban music well due to his visits to the island when he was young. In addition, the record company had an in-house orchestra, called MAG All Stars, always ready to experiment and improvise on new recordings. Stars such as Joe di Roma, Coco Lagos, Mario Allison, and Pablo Villanueva "Melcochita", among others, were at some point part of this orchestra, which had different line-ups, who accompanied, with the same skills, singers of new wave, huayno, rock, boleros or international music, covering songs that, on many occasions, Mr. Guerrero himself suggested, arranged, composed or directly participated joining the choirs or playing the maracas. This album was released, without crediting the participant musicians, consisting mostly of songs that had already known fame with other groups such as Los Destellos, Pedro Miguel y Sus Maracaibos or Melcochita y Su Conjunto. The Guantanameros were truly an ephemeral formation off the MAG All Stars, and nobody knows who Silvestre Montez was. There is only one clue: he shared the same name as that of Manuel Antonio Guerrero Silvestre. This LP by Silvestre Montez y sus Guantanameros comprises seven guarachas and five cumbias, whose recording sessions took place between June and October 1968. Although the identity of all its musicians remains unconfirmed, the tapes indicate that the multiskilled artist Pablo Villanueva "Melcochita" performs as vocalist, Coco Lagos on percussion and Rafael Ríos, from the Los Guajiros group, on guitar.
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LP
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VAMPI 241LP
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$25.00
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RELEASE DATE: 11/12/2021
Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. These elements blended graciously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in their simplest forms. The highlights of their work were masterfully compiled by Latin music expert and top collector and DJ Carlos Icaza aka Tropicaza on Vampisoul's past release La Onda de Elia y Elizabeth (VAMPI 160LP), while their original albums still fetch insane sale figures. Vampisoul present the two albums recorded by the Fleta sisters in the early '70s as they were originally released on Colombia's Codiscos-Zeida label (see also ¡Alegria!, VAMPI 242LP). Audio has been remastered and Vampisoul has preserved the original artwork of the albums. This self-titled album shows the uplifting tropical touch of Jimmy Salcedo and also a certain garage influence soften by the sweet voices of Elia and Elizabeth. So, it is not surprising that the record includes "Pesadilla", an uncredited version of Paul Revere and the Raiders' "Kicks", as well as the outstanding originals "Ponte Bajo el Sol" or "Todo En La Vida" that include fuzz guitar riffs and Farfisa organ sounds mixed with the usual pop melodies and delightful vocals of the Fleta sisters. Every song on this album seems to be a winner: "Soy Una Nube", "Fue Una Lágrima", "En Dónde Estás"... remain as part of the most wonderful pop legacy of all time. Audio has been remastered and the original artwork of the album has been preserved.
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VAMPI 240LP
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$25.00
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RELEASE DATE: 11/12/2021
Chicha Summit is the newest album by Austin-based future-Cumbia group Money Chicha. The album features legendary Peruvian guitarist/composer Jose Luis Carballo (Chacalon, La Nueva Crema) and Colombian-American vocalist Kiko Villamizar as well as Nemegata frontman Victor Cruz on percussion. The album explores the nexus of Peru's legendary fuzzed-out early Chicha sound and Money Chicha's unique application of Chicha-influenced sounds to their own original compositions. The result is a fascinating temporal exploration of two stunning faces of tropical psychedelia converging. The album itself is divided between two sessions, each representing a different side of the "Chicha Summit" mountain. Side A was recorded during a long weekend in which Jose Carballo and Money Chicha convened for a rehearsal, recording session, workshop, and concert. The event was captured altogether in a single room by Money Chicha guitarist Beto Martinez at his Lechouse Music studio in Buda Texas and recorded directly to tape via his vintage Tascam 388. Subsequent sessions were recorded by Greg Gonzalez at his own The Electric Basecamp studio and vocalist Kiko Villamizar's Wepa Estudios to capture additional percussion, vocals, and overdubs. The result is a tribute to the highly influential and much-beloved music of Peru performed with Jose Carballo, one of the genre's greatest performers and composers and the man responsible for introducing his trademark Shaeler fuzztone distorted guitar sound that would forever change the idea of what a Cumbia could be. Side B was recorded over another long weekend at the famous Sonic Ranch studio in Tornillo Texas, a sprawling complex of vintage studios located in a Pecan orchard on the Texas-Mexico border a half-hour outside of El Paso. This side of the record represents the current, original face of the Chicha-inspired, tropical-futurist sound of Money Chicha. Here in the high West Texas desert, isolated from all distractions, the band set out to record the sonic version of a Cumbia vision-quest fueled by Mezcal, espresso, vintage synthesizers, a legendary recording console, the ghosts of our musical ancestors, and psilocybin.
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LP
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VAMPI 242LP
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$25.00
PREORDER
RELEASE DATE: 11/12/2021
Colombian sisters Elia and Elizabeth Fleta recorded a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia. These elements blended graciously, brimming with freshness, in a perfect partnership of sharp melodies with lyrics inspired by a genuine juvenile curiosity about life's mysteries, love and nature in their simplest forms. The highlights of their work were masterfully compiled by Latin music expert and top collector and DJ Carlos Icaza aka Tropicaza on Vampisoul's past release La Onda de Elia y Elizabeth (VAMPI 160LP), while their original albums still fetch insane sale figures. Vampisoul present the two albums recorded by the Fleta sisters in the early '70s as they were originally released on Colombia's Codiscos-Zeida label (see also Elia y Elizabeth, VAMPI 241LP). Audio has been remastered and Vampisoul has preserved the original artwork of the albums. ¡Alegría! is a joyful celebration of life that includes the duo's best-known song under the same title. But there is much more to this work than just "Alegría", every song on this album is a winner. From the up-tempo tropical vibe of the opening song "Mis 32 Dientes" to the pastoral folk of "En La Gran Ciudad" or the rich arrangements and complex musical structure of the anthemic "Buscándonos", the songs of Elia y Elizabeth remain among us as part of the most wonderful pop legacy of all time.
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CD
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VAMPI 235CD
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$14.50
PREORDER
RELEASE DATE: 10/29/2021
It's about time to uncover the most unknown Brazilian music style. Unlike other Brazilian musical traditions as samba and bossa-nova, never ever anything of Caipira music has been released outside Brazil. Repairing this huge gap, Vampisoul presents A Rainha da Viola Caipira, a stunning 25-track compilation of the revered "Queen Of The Viola Caipira", Helena Meirelles. To start with, what is a viola? It looks like an acoustic guitar but is not. It has nearly the same shape but it is slightly smaller. Instead of the six or twelve strings, it has ten strings, paired in duplets of five strings. It has a very distinctive sound, having an enhanced treble, and a sharper reverb. The sound must be played with a hard pick because its original steel strings are thicker than the ordinary ones. The viola is the main symbol of música caipira or, may we call it, caipira sound. Caipira music cannot easily be portrayed as country music or, directly, encapsulated in folk patterns, even though it contains ingredients from both of them. On top of that, it also bears an influence of guarânia (a Paraguayan slow polka played in minor scales) and corrido and ranchera (specific variations of the Mexican folklore). There's also a shadow of Mexican mariachi-style. Everything on Helena's life or art was exquisite and unique to say the least. Mother of 11 sons, estranged from all of them for 30 years, mid-wife by trade and a very late musician to debut in public (she was 68 years old when she started to record her debut album), she was born on the August 13th, 1924, and passed away in 2004. Considered by the Guitar Player Magazine, one the 100 greatest guitar players of all time, don't miss the chance to discover a brand-new kind of (Brazilian) folk music. Jewel case in slipcase; includes eight-page booklet.
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LP
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VAMPI 237LP
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$25.00
PREORDER
RELEASE DATE: 10/22/2021
Long-awaited second album by the rising stars of neo cumbia and psychedelic chicha in Peru, Arequipa's very own Los Chapillacs. Lo Bueno, Lo Malo, Lo Feo Y Los Alaracosos Chapillacs comprises many different music genres and styles from Peru and beyond. From the expected cumbia and chicha (with and without the psych element) to Chacalon influences, popular Afro-Peruvian rhythms and a touch of rock with a certain sense of humor that even welcomes '80s hair metal guitars and a touch of deep ballad vocals... A number of guest top artists are featured in this new album: Daniel F from punk band Leusemia; harp virtuoso Laurita Pacheco on "Cada Noche Me Pierdo"; the late Lucho Carrillo (Cumbia All Star, Los Diablos Rojos) on "Fiesta de Mostros"; and also, Rony Carbajal (Xdinero) and Arequipa's folk artist Filiberto Barrios. Jungle-tinged electric guitars firing up the party!
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LP
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VAMPI 243LP
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$27.00
PREORDER
RELEASE DATE: 10/22/2021
Vampisoul present the first vinyl reissue of Litto Nebbia's Bazar De Los Milagros, originally released in 1976. A space jazz-folk masterpiece infused with prog scents from one of the true legends of Argentinian music, Latin rock pioneer Litto Nebbia. Floating electric piano, acoustic guitar, female choirs and Moog sounds combine with Litto's own voice and create a unique blend of delicate beauty. The use of analog synthesizers in this conceptual album was a turn in Nebbia's work at the time. A long seven-minute suite opens the album, mixing acoustic textures with synth sounds, setting the grounds for the entire LP. Songs of introspective darkness alternate with other tracks influenced by sunny bossa nova, musical passages fueled with epic energy where the voice of Mirtha Defilpo accompanies Nebbia along with the intricate and enveloping instrumental work driven by Daniel Homer's guitars and Litto Nebbia's keyboards. The album draws a complex soundscape made up of an almost infinite number of musical pieces, rich in layers and textures, that -- decades after its original release -- still stands out for their modernity. Bazar De Los Milagros is undoubtedly one of the most advanced recordings of those that appeared in Latin America at the end of the '70s. Includes the song "La Caída", as recently sampled on Jay Electronica/Jay Z's hip-hop hit "The Neverending Story". Bazar De Los Milagros has also been listed on Japanese DJ and music expert Chee Shimizu's Obscure Sound guidebook, a must for record collectors. Includes facsimile version of the 32-page booklet that accompanied the original 1976 release; remastered sound.
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LP
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VAMPI 45082EP
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$13.50
PREORDER
RELEASE DATE: 10/22/2021
It's hard to choose between the two recordings of the huge psych-Latin anthem "Meshkalina" that were released in Peru in 1969. The Traffic Sound original was a big hit all over the country. The fierce guitars of the Peruvian band and Latin percussion sounds would be spiced with references to Incan culture. Then Paco Zambrano y Su Combo would record it again adding some extra Latin flavor resulting an explosive Latin dancefloor hit! Currently in high demand in the psych/garage collectors' scene and played out in all major events by top psych DJs, this 7" comprises both versions for the first time. A perfect DJ tool!
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7"
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VAMPI 45081EP
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$13.50
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RELEASE DATE: 10/22/2021
Austin-based future-cumbia group Money Chicha presents a fascinating exploration of the nexus of Peru's legendary fuzzed-out early chicha sound and the band's unique application of chicha-influenced sounds to their own original compositions. "Maria Teresa", a song written by Roberto Zavala and brought to fame by Chacalon, is on the A side of this new single while we find "Cumbia del Desierto" on the flipside, an instrumental classic by Los Destellos that Money Chicha recreates here in a faithful yet updated and energetic manner. This single anticipates their forthcoming new album that will include guest collaborations with Peruvian legend Jose Luis Carballo (Chacalon, La Nueva Crema) and Colombian-American vocalist Kiko Villamizar as well as Nemegata frontman Victor Cruz on percussion.
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LP
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VAMPI 230LP
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$26.00
PREORDER
RELEASE DATE: 9/24/2021
Vampisoul present the first ever reissue of Zulu's self-titled album, originally released in 1974. The first record by Zulu was also his last. Shortly after releasing it in 1974, the artist withdrew from the music scene and never returned. 46 years later, his music still sounds out of time. His musical eclecticism heralded a different era and linked rock with Afro-Latin American beats and pop. His debut and only LP is one of the last great albums of the first wave of Peruvian rock. No other original records of this type were released in Peru until the early '80s. In the '70s, in Peru, most rock groups sang in English. For his LP, Zulu chose to sing in his own language and focus on his own emotions and experiences. In the early days of his career, he became member of Los Shain's, for less than a year. Then he was invited to join Traffic Sound playing bass guitar and keyboards and record the band's third album Lux. An offer to start a solo career would follow and "Como una escalera", "Alegría", and "Cariño grande" 45s were released. The expectations that his first solo singles generated were met by the release of the LP Zulu in 1974, boasting an eclectic and innovative sound. Andean folk, Afro-Latin beats, psych-tinged prog rock scents, Moog glides, choir arrangements spread across the entire album creating a truly unique piece of music. A few demos were also recorded for the next album but this never saw the light. In December 1974, a few months after the LP was released, the artist decided to disappear. At this point of his life, he started to become aware of the need to define spirituality. After exploring and comparing countless religious, philosophical, psychological texts and trying transcendental meditation and yoga, he concluded that the Bible was the most profound and clearest text. While this was going on, his public figure grew thanks to the success of his album. At the end of 1974, Zulu surprised the manager of IEMPSA, Augusto Sarria, by communicating his decision to leave show business. The artist vanished into the religious path, making sure his music got as unnoticed as possible... The reissue has been supervised by the artist himself and includes extensive notes and the extra track "Haces mal, pobre chico", B side to his first single that never made it into the album.
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LP
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VAMPI 236LP
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$26.00
PREORDER
RELEASE DATE: 9/24/2021
Vampisoul present a reissue Nil's Jazz Ensemble's self-titled album, originally released in 1976. Once resettled in Lima, Peru, in 1974 after spending some time playing in a jazz quintet in Berlin, sax player Nilo Espinosa would put together the Nil's Jazz Ensemble, a top-notch array of local talent consisting of Pancho Sáenz (trumpet), Miguel 'Chino' Figueroa (keyboards), Oscar Stagnaro (bass), Andrés Silva (drums and percussion), Jorge Montero, Richie Zellon, and Ramón Stagnaro (guitars). They recorded one single album that remains not only as one of the truly grails for collectors of Latin-American jazz but also as an outstanding piece of music on its own. The opening song "Reflexiones" is a mind-blowing jazz-funk number right up there with the very best of the genre, written by Black Sugar's former member Miguel 'Chino' Figueroa, featuring a fantastic work on trumpet and Rhodes. The album also includes a cover of the rare groove classic "Hard Work" that could have easily sneaked into the funkiest side of the Prestige catalog. Following the success of this album, Espinosa would expand his band to a big band format and tour local theatres and clubs in Lima, where jazz music was a popular genre at the time. Vampisoul's reissue presents this 1976 album in its full glory, pressed on 180 gram vinyl with remastered sound and original artwork, including the rare promo poster.
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VAMPI 225LP
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Vampisoul present a first-time vinyl reissue of Mujer de Sal Junto a Un Hombre Vuelto Carbón, originally released in 1985. This LP is the first in a series of full-album reissues that Vampisoul (co-produced in collaboration with Little Butterfly Records) is releasing as a valuable add-on to the label's recent and largely acclaimed compilation América Invertida (VAMPI 205CD/LP, 2020) a work that focused on the obscure leftfield pop and experimental folk scene from '80s Uruguay, making some of these elusive and essential albums available again. Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions combine in most of the musical output released in Uruguay during those years. A very unique sound was developed within the narrow boundaries of Montevideo, the country's capital city, by just a small group of very talented artists. Mujer de Sal Junto a Un Hombre Vuelto Carbón was largely overlooked in Uruguay at the time of its release, despite the fact that Jaime Roos was one of the most popular musicians in the country back in 1985. The album was very different from anything else and even today still sounds out of time. The intricate melodies and Estela Magnone's exquisite voice invite comparisons with Elizabeth Fraser's vocals and the ethereal pop of the Cocteau Twins. The strange textures of the Juno synthesizer and drum machines bring to mind bands that appeared after this album such as Broadcast or Stereolab. The use of highly organic sounds, combined with electronic instruments applying timbres and programming that heighten the "artificial" sound quality, are part of this concept. Nonetheless, within the framework of paring down the songs, you find extremely sophisticated harmonic arrangements or songs where a mere sprinkling of elements creates a dreamlike and almost mantric ambience such as "Tras Tus Ojos". This couple album is really like no other and its timeless charm remains intact 35 years later. Original artwork with an extra OBI; includes four-page insert with liner notes by Uruguayan music writer Andrés Torrón.
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LP
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VAMPI 234LP
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Reissue of the first album by Brazilian musician, poet and plastic artist Manduka. Originally released in 1972 on IRT, the album is a sought-after collectors' item, especially among those who seek in its cultural richness, fundamental episodes of Chilean popular musical history. An essential record almost entirely written by Manduka during his exile years in Chile, away from his home in Brazil. It includes improvised jams and songs about Brazilian history, his own exile and the new cultures he got exposed to. A sublime combination of acoustic guitar sounds, percussions and delicate songwriting that may remind you of some other Brazilian artists like Os Novos Baianos or even Caetano. It includes a special cover version of Violeta Parra's "Qué dirá el Santo Padre" and features guest artists like Soledad Bravo, Patricio Castillo, Baltasar Villaseca from Congregación, brothers Gabriel and Eduardo Parra, members of Los Jaivas, and Numhauser himself.
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2LP +7"
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VAMPI 207LP
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"... As I put the finishing touches on this fifth and final volume of the R&B Hipshakers series, I think of all the killer sides I've wholeheartedly intended to include but somehow not got around to, and they rip at my heart. Let's not even talk about the pile of unused DeLuxe sides, somehow postponed for a future that now will never be. And how about the concrete factual information about the King family of labels that I've never bothered to communicate -- because I decided to leave the detail work to others better suited to it? Facts, too few and too late: Did you know that most King and Federal singles went from conception to recording to mixing to mastering to pressing to storage to distribution -- the whole shebang -- under the roof of the company HQ at 1540 Brewster Avenue in Cincinnati, Ohio? That hillbilly music constituted an equal share of the King output, and that there are country versions of many of the R&B records featured on 'Hipshakers'? . . . You may be aware of the loss of a pantheon of beloved recording artists' master tapes in a fire at Universal Studios in Los Angeles in 2008, a staggering blow to our cultural heritage that remained widely unknown until recently. Well, the fact is that even the masters that do survive are often in a sorry, baffling state. Compilers mining 'masters' often find that what's been saved are alternate mixes, alternate takes, edits. Throughout this series I've attempted to present the recordings as they appeared on released 45s. This has sometimes meant remastering from my own copies of the original records -- although in one instance on this new volume, I've opted for a previously unreleased (as far as I can tell) version of a song, Lulu Reed's 'Your Love Keeps A-Working on Me', because I like the bare-bones, no-backing-vocals recording . . . So here it is, the last batch of your 100 montaditos from the King catalog, 20 final tasty morsels to savor. These hundred 'Hipshakers' tracks barely scratch the surface (not a great expression to use in the context of records, I know!) of King and Federal's incredible output, insane as it may sound..." --Mr Fine Wine, New York City (from WFMU's Downtown Soulville)
Features: Johnnie Pate, Cora Woods, Little Esther, Roy Brown & His Mighty Mighty Men, Sonny Thompson, The Tenderfoots, Roy Estrada & The Rocketeers, Albert King, The 5 Royales, Otis Williams & His Charms, Little Willie John, The Zircons, Tonni Kalash, Rosemary, The Fabulous Denos, Dolph Prince, Billy Soul, Hank Ballard & The Midnighters, Kenny Martin, Lulu Reed with Sonny Thompson & His Orchestra.
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2LP
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VAMPI 235LP
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It's about time to uncover the most unknown Brazilian music style. Unlike other Brazilian musical traditions as samba and bossa-nova, never ever anything of Caipira music has been released outside Brazil. Repairing this huge gap, Vampisoul presents A Rainha da Viola Caipira, a stunning 25-track compilation of the revered "Queen Of The Viola Caipira", Helena Meirelles. To start with, what is a viola? It looks like an acoustic guitar but is not. It has nearly the same shape but it is slightly smaller. Instead of the six or twelve strings, it has ten strings, paired in duplets of five strings. It has a very distinctive sound, having an enhanced treble, and a sharper reverb. The sound must be played with a hard pick because its original steel strings are thicker than the ordinary ones. The viola is the main symbol of música caipira or, may we call it, caipira sound. Caipira music cannot easily be portrayed as country music or, directly, encapsulated in folk patterns, even though it contains ingredients from both of them. On top of that, it also bears an influence of guarânia (a Paraguayan slow polka played in minor scales) and corrido and ranchera (specific variations of the Mexican folklore). There's also a shadow of Mexican mariachi-style. Everything on Helena's life or art was exquisite and unique to say the least. Mother of 11 sons, estranged from all of them for 30 years, mid-wife by trade and a very late musician to debut in public (she was 68 years old when she started to record her debut album), she was born on the August 13th, 1924, and passed away in 2004. Considered by the Guitar Player Magazine, one the 100 greatest guitar players of all time, don't miss the chance to discover a brand-new kind of (Brazilian) folk music.
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LP
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VAMPI 231LP
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Vampisoul present a reissue of Afrosound's La Danza De Los Mirlos, originally released in 1973. Afrosound was born from the desire of Discos Fuentes vice-president José María Fuentes to come up with a domestic version of the emerging African and Latin rock sounds coming from outside the country, inspired by groups like Osibisa and Santana. The mission was to emulate the guitar-heavy tropical sounds emanating from Perú and Ecuador at the time. According to various sources, the 1972 tune "La Danza De Los Mirlos" (by Peru's Los Mirlos) emerged as a great success in Colombia and with it a new way of interpreting the country's most famous musical export, namely cumbia, through a Peruvian perspective. Afrosound would cover not only "La Danza De Los Mirlos" and name their debut LP after the song in 1973, but they would also faithfully reproduce the unique sound of their guitar hero Enrique Delgado. The first Afrosound recordings were made with a fantastic rhythm section consisting of talented musicians that had played with Fruko y sus Tesos. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called "inspiraciones"), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were sprinkled in to spice up the proceedings, providing a competitive edge that made the Fuentes sound so unique. La Danza De Los Mirlos kicks off with most famous Afrosound hit of all, 'Caliventura', a genius blend of funk and cumbia. Aside from the cumbia amazónica title tune, there are several other covers including three popular songs by Nelson y Sus Estrellas, plus radically reimagined versions of various Colombian costeño classics published by Fuentes. Mario "Pachanga" provides a sad but still groove-oriented Christmas son montuno/cumbia hybrid while Fruko brings us the bomba-funk ditty "El Chorrillo" and the rocking cumbia Andina gem "Cabeza De Chorlito" where Sepúlveda channels Enrique Delgado. Fruko collaborator Hernán "Hercovalle" Colorado Vallejo rounds things out with the melancholic psychedelic cumbia "Esperando Por Ti", proving that every tropical party has to have its down side as well. All in all, the dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. The original Fuentes artwork, with a far more outrageous "cheesecake" image, can be seen on the back cover.
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7"
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VAMPI 45078EP
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Music travels and transforms itself. Sometimes along the way similarities arise in sonic paths that are distant to each other. The African roots of popular genres in different parts of the World are out of question as so is the big influence of modern Afro-American styles such as rhythm n' blues or jazz in the development of diverse local scenes. While in the case of Honduras' mighty band Los Robbins their syncopated and bass-enriched style was a declared (and successful!) attempt to play the hip rhythm of the time, rock steady, most probably arriving via the neighboring Belize into this Central American country, you can only wonder why Lito Barriento's greatest hit "Cumbia En Do Menor" (1965) recalls Jamaican sounds almost as much as big-band jazz while keeping all the right ingredients of its Latin essence. You can think of a dream meeting between Glenn Miller and The Skatalites at the Discos Fuentes studios in Colombia and you will get the picture... Two stunning party tunes that will please the Latin music collectors as much as those into the Jamaican genres. A new nice addition to Vampisoul's Tropical 45s series.
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LP
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VAMPI 233LP
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Vampisoul present a first-time reissue of La Pesada's Tomate Y Alandette, issued in 1978. Tomate Y Alandette by La Pesada is one of the best tropical records released by Codiscos. The album was a "one off" by an all-star ensemble of musicians and singers, many of whom had played with Fruko y sus Tesos, Los Hermanos Martelo, and other Colombian orchestras. The album showcases a diverse and eclectic range of stylistic modes and genres. There is cumbia, salsa, bolero, son montuno, descarga, and even calypso. The arrangements and instrumentation range from flute and violin charanga in a "típico" Cuban mode (augmented by a trombone section) to Colombian percussion-heavy cumbia, and from the Willie Colón style of brash Nuyorican trombone salsa to the more Cuban conjunto trumpet sound like La Sonora Matancera. Through it all, the jazzy arrangements keep things fresh and swinging. Colombian artists were absorbing all sorts of influences, both old and new, from Cuba, the US and Puerto Rico, but putting their stamp on the music with a different perspective coming from their own background, and La Pesada is a prime example of this intriguing tendency. The vocals were handled by the excellent Afro-Colombian sonero Hugo "Sabor" Alandette who had been in Los Seven Del Swing, and would go on to join Los Chicos Malos and then form Grupo Melao in the 1980s. In addition, Mike Char, who was a good friend of many people at Discos Fuentes and wrote quite a few hits for Fruko, joined as an invited guest, contributing the groove-heavy yet bittersweet "La Sigo Queriendo" and singing lead on "Ángel Sonando". A number of the songs sound like classic '70s Fruko y sus Tesos, but filtered through a charanga lens with a heavy Conjunto Libre influence. "Cumbia Y Tambó (En La Lluvia)" has been an international dance floor staple for many years. However, the real salsa bomb is "Hojas Secas". The upbeat calypso is a fun version of Alan O'Day's funky 1977 hit "Undercover Angel" retitled "Ángel Soñando". Another cover is "El Paso De Encarnación", first made famous by Orquesta Aragon and then Larry Harlow, done here in a faithful charanga típica rendition. La Pesada also took Mexican heart throb crooner Juan Gabriel's 1974 mariachi hit, "Lágrimas Y Lluvia" and turned it into a super hot "salsa con charanga". The album closes with a fantastic guaguancó dedicated to Cali, the city that loves to salsa, where La Pesada channels Willie Colón and Héctor Lavoe to great effect. Remastered sound.
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LP
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VAMPI 226LP
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Vampisoul present a first-time reissue of Hugo Jasa's Estados De Ánimo, originally released in 1990. After over a decade of dictatorship, a process of democratic openness began in Uruguay in the early '80s. It was a time of social and cultural effervescence, Uruguayan music lived a particularly brilliant moment, marked by the emergence of a generation of artists who open-mindedly mixed the new global sounds that started to resonate across the country with their local and regional musical roots. Hugo Jasa was at the center of this new music scene. Some of the most interesting Uruguayan records released in the '80s were recorded in La Batuta studio, co-owned by Henry Jasa, Hugo's father. In the brief intervals the studio was available, Jasa started to experiment with musical ideas that he imagined for a dance piece. He also sought to merge the glamor of the '80s with Uruguayan Afro-candombe sound in his songs. A deep bench of national talent, as Eduardo Mateo (with whom Jasa went on the make the wonderful album La Mosca), Hugo Fattoruso, Jorge Galemire, or Mariana Ingold, took part in these sessions. Drum machines and Yamaha DX7 and Roland D50 synthesizers command the timbre of the album that was released at the end of 1990. The same year that the dance piece with choreography by Graciela Martínez was premiered by a group of dancers from the National Ballet. The album was released on vinyl with a single pressing of 300 copies. There were two dance performances and then the show was never put on again. Estados De Ánimo was the only album released under his name. The conjunction of machines and acoustic instruments, the harmonic sophistication, mix of candombe, electronic music, jazz and tango, its international sound with strong Uruguayan roots, made Estados De Ánimo a milestone for much of the music that followed in its wake. 31 years after it was first put out, Estados De Ánimo still sounds fresh and surprising, as creative and glowing as the time where it was conceived. OBI; includes insert with liner notes by Uruguayan music writer Andrés Torrón. A new title in the series of full-album reissues that Vampisoul (co-produced in collaboration with Little Butterfly Records) is releasing as a valuable addition to our largely acclaimed compilation América Invertida, focusing on the obscure leftfield pop and experimental folk scene from '80s Uruguay, making some of these elusive and essential albums available again.
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7"
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VAMPI 45003X-EP
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Yellow vinyl; edition of 300. Back in 2004, Vampisoul played a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album Call My Name (VAMPI 065CD/168LP), written and produced by Daniel Collás. But first came out the preview 45 Chick-A-Boom/Cycles Of You, which quickly became a DJ favourite and guaranteed dancefloor filler, long out-of-print until now. Collás explains how it all happened: "This whole project grew out of a song called "Cycles Of You", which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to. By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles Of You'. The funny thing is, 'Chick-A-Boom', a live favorite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single."
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LP
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VAMPI 232LP
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Vampisoul present a reissue of Sebastião Tapajos and Pedro Dos Santos's Vol. 1, originally released only in Argentina in 1972. The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth, or Pedro "Sorongo" Dos Santos. Two albums would be published in the Argentine record label Trova of the recordings along with the latter. Following the success of our recent reissue of several recordings from these sessions -- Vol. 2 (VAMPI 212LP) Tudo É Moda (VAMPI 45073EP) -- Vampisoul present this Vol. 1. The connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, based on unusual objects such as spoons, deodorant containers or matchboxes, creates extraordinary beauty throughout the 12 songs on the album. The sound of the flute is another of the ingredients present in several of the songs and, although his actual involvement is not confirmed on the sleeve credits of the album, everything seems to indicate that Danilo Caymmi was the musician invited to accompany the Tapajos-Dos Santos duo. Since its first release in 1972, this album has been highly sought after by all Tapajos fans, both inside and outside Brazil, becoming a title hard to get hold of due to the fact that it was initially only published in Argentina. Years later, when Brazilian rhythms were incorporated, along with jazz, to the spectrum of sounds regularly played at London clubs and a renewed interest in this album arose. The general vibe of this solid album is driven by an exquisite and delicate dialogue between the guitar of Sebastião Tapajos and the rhythmic approach provided by Pedro Dos Santos that generates ambiences of unusual beauty and depth, like the outstanding "Himalaya". Also includes the killer Afro-samba "Mungangá", the experimental percussion numbers "Cantico del Agua" and "Solo De Bambu" and the hypnotic groover "Sorongaio". It is a necessary addition to the much-hailed Pedro Dos Santos album Krishnanda in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.
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LP
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VAMPI 223LP
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Vampisoul present a reissue of Alfredo Linares Y Su Salsa Star' Mi Nuevo Ritmo, originally released in 1974. A nonstop salsa dura party album from start to finish, comparable with any of New York's finest like Ray Barretto and Willie Colón from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track "La Música Brava" proclaims: "Yo no quiero que pare la música brava!" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature Roy "Tayrona" Betancourt as well as Henry Castro and Enrique Fabián. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. "There was nothing to be done. The only company that had vinyl stock was INS. So, I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous." The song "Mambo Rock" (with "Estricto Guaguancó" on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, "two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came." Unfortunately, the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue. Recommended by DJ Bongohead of Peace & Rhythm. Presented in its original artwork and pressed on 180 gram vinyl.
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