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.
|
|
|
viewing 1 To 25 of 239 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
VAMPI 211LP
|
$25.00
PREORDER
RELEASE DATE: 2/7/2020
"Hugo Macedo was a member of the first sonora in Peru, directed by his brother: the Sonora de Lucho Macedo. His brothers were the singers of the band while he performed as a timbalero. After nine years he founded the Sonora Casino of Hugo Macedo in 1964, later incorporating his wife, Lucía 'Pochita' Rivera as a vocalist. Trompeteros was released on the Peruvian record label MAG in 1972. Previously, the Sonora Casino had already recorded several albums for Philips since the mid-60s. At the time their repertoire was fed by rhythms such as cha cha cha, bolero, guaracha... Their MAG period would start in 1970 with the albumPochita y la Sonora Casino de Hugo Macedo in which Hugo Macedo's wife was granted with an important visual presence on the front cover, with a similar follow-up on Trompeteros, creating some confusion since vocalist Pachito Nalmy was the actual main singer on the record. The vocalist, who hails from Callao, demonstrates here a great vocal versatility as captured on songs like 'Guajira del amor', with a heavy rhythm that will surely delight boogaloo lovers, or the bolero number 'Pasa, pasa', being both songs own compositions of the multitalented Nalmy. Guarachas, descargas, and cumbias complete the offering of this fantastic album, one of the strongest tropical LPs in the MAG catalog. But the real banger here is the almost magical 'Astronauts to Mercury', a cosmic descarga full of electronic effects, filtered voices, and fierce guitars with wah-wah and raw distortion, closer to the sound of any psychedelic recording than the classic tropical sound of La Sonora Casino, and right next to those elements, an impressive brass section that boosts the intensity of the song to the highest levels. It is not surprising that Trompeteros has become in recent years a highly sought-after album not only by Latin music collectors but also by those after the most exotic and experimental psychedelic sounds around..." --Pablo Iglesias, aka DJ Bongohead
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
VAMPI 208CD
|
$12.00
PREORDER
RELEASE DATE: 1/17/2020
Discos Fuentes, the renowned Colombian record label, home to some of the best tropical recordings ever made, turns 85 this year, becoming the longest running independent music company in the world. Their vast catalog comprises many different tropical genres, from cumbia or boogaloo to hard salsa, cumbelé or bomba, becoming an essential reference point for any Latin music aficionado. Vampisoul started the ongoing Discos Fuentes reissue series in early 2017, making some of the most solid and highly sought-after titles available again, presented in facsimile artwork and pressed on 180 gram vinyl. Many of the reissues have become instant collector items as the demand was big due to the extreme difficulties of getting hold of original clean copies and the very high prices paid for them. Vampisoul have put together a collection of 12 top dancefloor-oriented songs, as a taste of and introduction to the reissue series and as a celebration to the 85th anniversary of Discos Fuentes. It includes tracks by the likes of Fruko Y Sus Tesos, Michi Sarmiento Y Su Combo Bravo, and Lito Barrientos Y Su Orquesta, and also lesser known artists whose legendary recordings have become classic DJ spins in the tropical sound scene over the years. Also features Lisandro Meza Y Su Combo, Combo Los Yogas, Peregoyo Y Su Combo Vacaná, Adolfo Echeverría Y Su Orquesta, Pedro Laza Y Sus Pelayeros, Los Supremos, Conjunto Miramar, Tita Duval Y El Nuevo Ritmo De Bobby Rey, and Sexteto Miramar.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 192LP
|
$27.50
PREORDER
RELEASE DATE: 1/17/2020
Welcome to the third instalment in Vampisoul's series dedicated to the original Italian library music from the vaults of Nelson Records. In this album, the label digs deeper into the most experimental recordings in the archives of Nelson Records. The label was founded in 1970 by the musicians Maurizio Majorana, Antonello Vannucchi, and Roberto Podio (who along with Carlo Pes would be known as I Marc 4), after establishing the Telecinesound studio, right where the New Italian Library Sound was created. They recorded with Armando Trovajoli, Piero Piccioni, Ennio Morricone, Piero Umiliani, Henry Mancini, and many others, and created a special sound, mixing jazz, pop, rock, and psychedelic music, to produce records aiming to be used by the programmers of the Italian RAI television. The music of Thrilling Mortale is mostly special effects, drum breaks, fast bongo rhythms, and groovy Hammond background sounds inspired by cinema noise experts who did not use any musical instruments and had only a few objects to recreate the noises of the films; from horse rides to closing gates, everything was done in the traditional way. I Marc 4, instead, would recreate those sounds with bass, guitar, drums, piano and Hammond organ. Many musicians, record producers and film directors still like, look for, rediscover and re-use for their work, and the music on these albums recorded by I Marc 4 between 1970-1976 have reached cult status among library music collectors.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 208LP
|
$17.50
PREORDER
RELEASE DATE: 1/17/2020
LP version. Discos Fuentes, the renowned Colombian record label, home to some of the best tropical recordings ever made, turns 85 this year, becoming the longest running independent music company in the world. Their vast catalog comprises many different tropical genres, from cumbia or boogaloo to hard salsa, cumbelé or bomba, becoming an essential reference point for any Latin music aficionado. Vampisoul started the ongoing Discos Fuentes reissue series in early 2017, making some of the most solid and highly sought-after titles available again, presented in facsimile artwork and pressed on 180 gram vinyl. Many of the reissues have become instant collector items as the demand was big due to the extreme difficulties of getting hold of original clean copies and the very high prices paid for them. Vampisoul have put together a collection of 12 top dancefloor-oriented songs, as a taste of and introduction to the reissue series and as a celebration to the 85th anniversary of Discos Fuentes. It includes tracks by the likes of Fruko Y Sus Tesos, Michi Sarmiento Y Su Combo Bravo, and Lito Barrientos Y Su Orquesta, and also lesser known artists whose legendary recordings have become classic DJ spins in the tropical sound scene over the years. Also features Lisandro Meza Y Su Combo, Combo Los Yogas, Peregoyo Y Su Combo Vacaná, Adolfo Echeverría Y Su Orquesta, Pedro Laza Y Sus Pelayeros, Los Supremos, Conjunto Miramar, Tita Duval Y El Nuevo Ritmo De Bobby Rey, and Sexteto Miramar.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
VAMPI 205CD
|
$17.50
PREORDER
RELEASE DATE: 1/17/2020
Synth ambiences, acoustic landscapes, deep songwriting, and subtle candombe percussions combine in most of the musical output released in Uruguay during the '80s. 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. These sounds reverberated in singer-songwriting (Eduardo Darnauchans, Fernando Cabrera, Estela Magnone), jazz fusion approximations (Hugo Fattoruso's La Escuelita), experimental music (Leo Maslíah, Hugo Jasa), and the work of musicians at the intersections of these worlds (Jaime Roos, Mariana Ingold). In América Invertida, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop. However, the overwhelming musical harvest produced by giant neighbors, Brazil and Argentina, shadowed any attempt for this scene to transcend beyond the local market. It's only now, a few decades later, when some of those records have achieved cult status among a discreet group of collectors that try hard to get hold of those titles, pressed in only tiny numbers at the time. No wonder, the timeless beauty of these songs remains in full effect while retaining the uniqueness of a sound resulting from multiple cultural encounters on the streets of Montevideo. This compilation, América Invertida, reveals part of this hidden world. It veers towards the most experimental side of Uruguayan singer-songwriting of the '80s, both from an acoustic and electronic point of view (with artists who moved between both universes) as well as towards instrumental fusion. A collaboration with Montevideo based label Little Butterfly. Compiled by Spanish DJ and collector Javi Bayo. Extensive liner notes by Uruguayan journalist and music expert Andrés Torrón. Also features Contraviento, Jaime Roos Y Estela Magnone, Eduardo Mateo, and Travesía.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 205LP
|
$25.00
PREORDER
RELEASE DATE: 1/17/2020
LP version. Synth ambiences, acoustic landscapes, deep songwriting, and subtle candombe percussions combine in most of the musical output released in Uruguay during the '80s. 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. These sounds reverberated in singer-songwriting (Eduardo Darnauchans, Fernando Cabrera, Estela Magnone), jazz fusion approximations (Hugo Fattoruso's La Escuelita), experimental music (Leo Maslíah, Hugo Jasa), and the work of musicians at the intersections of these worlds (Jaime Roos, Mariana Ingold). In América Invertida, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop. However, the overwhelming musical harvest produced by giant neighbors, Brazil and Argentina, shadowed any attempt for this scene to transcend beyond the local market. It's only now, a few decades later, when some of those records have achieved cult status among a discreet group of collectors that try hard to get hold of those titles, pressed in only tiny numbers at the time. No wonder, the timeless beauty of these songs remains in full effect while retaining the uniqueness of a sound resulting from multiple cultural encounters on the streets of Montevideo. This compilation, América Invertida, reveals part of this hidden world. It veers towards the most experimental side of Uruguayan singer-songwriting of the '80s, both from an acoustic and electronic point of view (with artists who moved between both universes) as well as towards instrumental fusion. A collaboration with Montevideo based label Little Butterfly. Compiled by Spanish DJ and collector Javi Bayo. Extensive liner notes by Uruguayan journalist and music expert Andrés Torrón. Also features Contraviento, Jaime Roos Y Estela Magnone, Eduardo Mateo, and Travesía.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 203LP
|
"Although Pete Vicentini's El Afrocombo did not have the overwhelming commercial and international success of Fruko y sus Tesos, Joe Arroyo y La Verdad, or Grupo Niche during the height of Colombian salsa in the 1970s and '80s, Pedro 'Pete' Luis Vicentini del Valle (born in 1946) and his combo did have a popular following among fans in the Atlantic and Caribbean coastal areas of Colombia . . . In addition to founding what would become El Afrocombo, Vicentini was associated for several decades with the popular singer Jackie Carazo and was a member of Carazo's El Clan Antillano as well as Chico Cervantes y su Sonora Caliente. Pan Con Salsa is Vicentini and El Afrocombo's first long play and was released in 1971. As the title (and humorous cover) suggest, the majority of selections on the record are in the salsa genre that was gaining steam at the time in South America. In reality, though, the album includes Vicentini's native costeño rhythms like cumbia and porro as well (on the tunes 'Barranquilla, Sol Y Cumbia' and 'Tus Lindos Ojos'). The LP has its own lively 'combo' sound in the plucky brass section (two trumpets and two saxes), plus the always bright and happy piano stylings of Willy Newball and of course the prominent bass playing, expert direction and arrangements of Vicentini. Additionally, the record contains the band's first hit, 'El Huevo', which is a cover version of Peruvian vocalist Félix Martínez's popular 1971 tune in the guajira genre with Lima's Los Girasoles, 'Ese Huevo Se Pasó'. In addition, there are some super hot original salsa tunes like 'Mira Muñeco' and 'La Fiesta Del Mar', a funky boogaloo cover of Tito Puente's ubiquitous 'Oye Cómo Va' (with a cool clavinet solo), a Puerto Rican style bomba written by Carazo, and the title track, composed by Vicentini, which is a frenetic descarga (jam session) with lots of tasty brass solos, in-the-pocket piano tumbaos (riffs) and break-neck percussion work-outs. This album is definitely a persuasive argument for including the unjustly obscure El Afrocombo in the pantheon of hot Antillean-inspired bands from Barranquilla and proof that Colombia's Caribbean coastal region was instrumental in pioneering the popularity of domestically produced salsa there in the 1970s, helping it spread into the interior and from there internationally by the '80s and '90s." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 204LP
|
"... Octogenarian musician, composer, vocalist and teacher Pedro Beltrán aka 'Ramayá' hails from Patico, a small town in Colombia's Bolívar province, not far from the Caribbean coast. He has been crowned Rei Momo of the carnival in Barranquilla, and recorded many albums as a leader and sideman, working with various domestic and international pop artists as well, from Quantic and Thornado to Systema Solar. While his main instrument is the 'caña de millo' flute, he is also proficient in the various percussion instruments of his region as well as the reed instrument known as 'gaita'. His group La Cumbia Moderna de Soledad (named for the large city within the municipality of Barranquilla) was founded in the early 1970s when Ramayá had already retired from a career in the army and was living in Soledad. With this group he set out to 'modernize' the folkloric music of his people, adding the electric bass and a brass section to fresh arrangements of cumbias, porros, fandangos, puyas, and other costeño genres. What's more, the band often did left-field cover versions of international dance hits that were popular in the region's sound systems (picós) and discotheques, from Fela Ransome-Kuti And The Africa '70's 'Shakara Oloje' to Rod Stewart's 'Da Ya Think I'm Sexy'. If you think this sounds like a case of post-colonial cargo-cult worship or a record label marketing gimmick, think again, because there is something fantastically otherworldly yet 'right' about this cross-cultural mash-up, especially since La Cumbia Moderna de Soledad proudly maintained its authentic Afro-Colombian and indigenous roots throughout, making for an infectious mix that was very popular at the time (especially in the Carnaval de Barranquilla) and is still danced to today by Colombians and other fans all over the world. In a way it's as if these musicians, brought up in the ancient rural traditions of their culture, were trying to make musical sense of the rapidly changing and mechanizing urban environment around them. La Clavada (1979) was La Cumbia Moderna de Soledad's sixth record and first for Codiscos' Costeño imprint. The LP has many excellent examples of Pedro 'Ramayá' Beltrán's innovative, catchy and downright playful mix of the ancient and the modern, making for a collection of tunes brimming with tradition and yet fearlessly bristling with innovation..." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
VAMPI 45060EP
|
The career of Atlanta's singer and guitarist Lee Moses only left behind eight 45s and an album between the mid-60s and 1973. Heard today, it's difficult to understand why success evaded those recordings, as they possess a quality and emotional intensity to match any soul track from that classic era. Particularly his 1967 Musicor single, produced by Johnny Brantley, featuring the two parts of his own composition "Bad Girl". After its slow build-up comes a torrent of passionate, raw emotion delivered with throat-shredding vocals that is incredibly powerful and moving. Pure soul gold.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 206LP
|
"... Roberto de la Barrera was arguably the first cartagenero to record music that would later be labeled 'tropical' and 'salsa' with his group Roberto de la Barrera y su Sonora, starting off with cumbia, porro, charanga, and pachanga in the early to mid-1960s, and ending the decade with guaguancó, guaracha, descarga and son montuno, leaving a handful of gems for posterity, such as 'El Baile De Los Cocacolos', 'Vamos A Guarachar' and 'Se Formó' from the earlier period and 'Se Formó La Salsa', 'Mi Sonora' and 'Oye Mi Ritmo' as the 1970s began. After taking the piano seat in the Discos Fuentes house orchestra and being hired in 1964 by label boss Antonio Fuentes as the regional musical director in the Caribbean area (based in Cartagena), where he subsequently discovered, signed and produced a lot of local talent, the following year Roberto de la Barrera y su Sonora recorded Pa' Los Cocacolos, his first long play under his own name for the label, succeeded by ¡Pa' cumbanchar! and finally Se Formó La Salsa in 1970. All of his arrangements feature an interesting mix of Colombian and Cuban flavors, sometimes within the same tune, and often with that wonderful raw, loose, improvisational quality associated with the 'descarga' jam sessions of Cachao and others a decade before. Perhaps the best example of this is 'Mi Sonora' from Se Formó La Salsa, where the vocalist Felipe Sembergman actually name-checks New York's famous Village Gate, home of many Latin jazz and salsa concerts at the time, thus making the connection explicit between what was beginning to catch on in Colombia as "salsa" and its New York Latin roots. Whatever the case, immediately in Roberto de la Barrera's wake, a whole slew of groups from the coastal regions started performing in this style . . . Sometimes the Colombian 'salsa' sound was mixed, at other times the genres were kept separate, but a certain Caribbean aesthetic carried its way through everything these artists did, and Roberto de la Barrera was a pioneer in introducing modern Latin sounds from Havana, New York and San Juan..." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 202LP
|
"Born on September 3, 1934 in the barrio of San Roque in Barranquilla, Adolfo Ernesto Echeverría Comas started singing on the radio first as a young man, forming his own conjunto and signing with various labels over the years, becoming one of Colombia's premier band leaders, composers, interpreters, and producers of tropical costeño music in the process. Among many other accolades, he is a winner of five Congo de Oro and one El Cacique de Oro awards; his holiday songs 'Las Cuatro Fiestas' and 'La Inmaculada' are recognized as national treasures. During his long and successful career, he has toured Venezuela, Panamá, and Ecuador, and while performing in the United States was befriended by Celia Cruz and Tito Puente. Recognizing his songwriting talents, the pair asked him for a tune and he gave them "Salsa De Tomate", inspired by Tito's hatred of the term, which they recorded for their 'Alma Con Alma' release on Tico Records in 1971. By 1976, Adolfo Echeverría had signed with Discos Fuentes, where he was to remain until 1990 when he suffered a heart attack and was sadly never able to resume his career. Echeverría's first year with the label was a great success, with his eponymous debut LP containing his biggest hit, the self-penned cumbia party anthem 'Amaneciendo'. The following year, working again with the Fuentes hit production team of Isaac Villanueva and Hernán Colorado, Echeverría came out with 'Sabroso Bacalao', sharing the vocals with Freddy Cruz and Manuel Cassiani. As with the first album, in addition to some hot, driving hardcore salsa tracks like 'Mi Viejo Barrio' and 'Perdóname', Echeverría made sure to include his beloved tasty indigenous cumbia and porro. In addition, the cut 'Llorando Por Ti' is in the Afro-Cuban oriza rhythm style, while 'Locura Es Mi Cumbelé' is described as a 'cumbelé' (inspired by The New Swing Sextet's 1970 song 'Cum Cumbele', which is a variant on the bomba, an Afro-Puerto Rican folkloric drum-based genre). Throughout this diverse genre-hopping album one can always hear the forcefully fiery piano of Hugo Molinares, who also composed the monster guaguancó track 'Sabroso Bacalao'. At the time, the LP yielded the domestic hit 'Fantasía Marina' but in recent years 'Noches De Cumbia' and the title track have become international tropical DJ dancefloor standards across the globe, making this record a must-have for collectors, disk jockeys and aficionados of the classic Fuentes sound." --Pablo Iglesias, aka DJ Bongohead
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 201LP
|
"By 1974, salsa was taking Colombia by storm and so the directors of the INS label (Industria Nacional Del Sonido Ltda), based in Medellín, Colombia, decided to create a band that would appeal to 'salsómanos' (salsa fanatics) and be able to compete with the area's two larger labels, Discos Fuentes and Codiscos. Thus was born the oddly named Los Afroins (a contraction of Afro, indicating the roots of the music, and '--ins', for the label name), an obscure, short-lived combo that would release two albums and six 45s. The repertoire focused on cover versions of hit Afro-Antillean tunes both classic and contemporary. Pianist Agustín Martínez 'El Conde', who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging. INS artistic director Alfredo Linares 'El Inca', the famed Peruvian keyboardist and composer, oversaw the project and guested on piano for several tracks, doing some arranging as well. The vocals were handled by a pair of young as yet unknown singers, Lucho Puerto Rico and Ray Betancourt, who would later go on to more fame in the 1980s, the former with his own Lucho Puerto Rico y su Conjunto Sonero and Conjunto Son del Barrio, and the latter with Willie Salcedo, Reales Brass de Colombia, and Los Caribes. Óscar Toscano "El Márquez Argentino" (whose orchestra backed Palito Ortega in the 1960s) and Luis E Mosquera arranged as well, while the rest of the band was made up of INS-related studio musicians. Their first album, A Gozar Salsomanos Con Los Afroins, is a sought-after collector's item and contains ten brassy, heavy-duty salsa gems that don't let up for the duration of the record. There are covers of salsa hits by Ismael Rivera ('El Nazareno', 'Orgullosa'), Los Ahijados ('Virgen De La Cueva', 'Guayo, Pellizco Y Pata'), Roberto De La Barrera ('Sabrosón'), Cheo Marquetti ('Apriétala'), and even the smash pop hit by the French modern classical and electronic music composer Saint-Preux (a great instrumental descarga version of 'Concierto Para Una Sola Voz'). In addition, there are two originals ('Afroinspiración' and 'Cuídate') that are equally hot. The whole package makes for a very satisfying party record that deserves to be more accessible and better known by today's salsómanos who may have heard of Fruko y sus Tesos or Grupo Niche but have yet to discover Los Afroins." --Pablo Iglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
VAMPI 45070EP
|
The Village Callers were born out of a band called Marcy & The Imperials in the mid-1960s and soon became very popular in East Los Angeles, playing all the top venues. Their first 45 featured two original compositions: "Hector" on the A-side, an original composition which became a hit in Los Angeles, backed by the wonderful ballad "I'm Leaving". The infectious Latin groove of "Hector" was later sampled by hip-hop artists such as De La Soul, Beastie Boys, Cypress Hill, and Ice Cube. "Hector" was also featured in Quentin Tarantino's Once Upon A Time In Hollywood (2019).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 193LP
|
Voyage Of Exploration (2012) and Synaptic Beat (2013) established Akron as one of the best sonic and mood explorers out there, achieving an engaging personal sound while carrying on the legacy of greats such as Les Baxter, Delia Derbyshire, Mort Garson, Sun Ra... Free from any scene or genre constraints, Akron managed to combine a myriad of sounds in a completely unique way. Soon after the release of Synaptic Beat, Akron became a quartet in order to perform their music on stage. After a few gigs they recorded an album with the aim to capture the essence of their live set-up. The result, Ritualul Sferei (The Ritual of the Spheres), resembles a pseudo-tribal ceremony that takes place in an inhospitable corner of the universe. It could be a rite from an unknown civilization living in a different planet or an enigmatic earthly celebration from another time (past or future). For five years that recording was put aside and the band's live performances stopped. At last, Ritualul Sferei has been finished and sees the light of day.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 200LP
|
"Julián y su Combo was founded in 1962 by left-handed guitarist Julián Angulo Ponce, who was originally from Guapi, Cauca, Colombia and made his name in Cali and Buenaventura, signing initially with Bogotá's Sello Vergara in 1966. During a 20-year period Julián y su Combo released eight records (with several band name variations). Angulo was part of the first generation of artists from the Colombian Pacific who migrated to Bogotá in the 1970s, and his combo enjoyed popularity in his adopted city as well as in Medellín and Mexico. The band also travelled to Venezuela and the US. Angulo described his sound as 'Afroantillano', combining Cuban, New York Latin, and Puerto Rican elements with Colombia's own tropical traditions. The combo's arrangements were distinguished by the bandleader's funky, jazzy electric guitar work (Angulo played without changing the order of the strings), a hot rhythm section and the potent brass line-up of two saxophones and a trumpet (much like Cortijo y su Combo). Noche De Fiesta (1975) was the first of two albums Angulo cut for the Medellín-based INS label (Industria Nacional del Sonido Ltda), and the record was distinguished by having the great Peruvian bandleader and composer Alfredo Linares guesting on piano. Linares also shared the arranging duties with the combo's trumpet player Carlos Rivas. At that time Alfredo Linares was musical director at INS and this album bears his influence in the funky 'mambo rock' sections (breaks and handclaps galore!) and hot Cuban and Latin jazz piano styles that also graced his own records. The lead vocals were equally split by Julian's long-time singer José Arboleda and the band's drummer 'Guapachá' (guest artist Clelia Ramírez joined the band on coro). Noche De Fiesta is sought after by collectors and DJs the world over not only for its hard salsa and instrumental 'descarga' (jam) tracks but also because of the funky dancefloor cuts 'Enyere Kumbara' (covered by Quantic), 'INS-Rock' and 'Estoy Soda' as well as the excellent original version of 'Las Caleñas Son Como Las Flores' (made famous later the same year by The Latin Brothers)." --Pablo Iglesias, aka DJ Bongohead Part of a new Vampisoul reissue series of classic LPs from Colombia's INS label. Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 197LP
|
"Cumbias con el Miramar is a very hard-to-find, sought-after album released by Discos Fuentes in 1965. Full of excellent cumbias and gaitas for dancing, the record actually is a lot more diverse than the title leads one to believe, as there are lots of other hot rhythms and arrangements on it, taken from Cuban genres like guajira, guaracha, guaguancó, charanga and son montuno . . . Throughout the album the very simple, spare elemental sound is consistent. The band members at this time included Darío Restrepo (aka 'Guayabita') on piano, Rubén Darío Restrepo ('El Mago') on guitar, Héctor Quintero on saxophone, clarinet, flute, xylophone and vocals, Hugo Gil ('Chamizo') behind the drum set as well as on tumbadora (conga) and vocals, with Hernán Builes being the band's director and bassist (and occasional accordionist) . . . Soon afterCumbias con el Miramar was released, Builes reformatted the line-up and instrumentation, updating the sound to reflect recent developments in Caracas, San Juan and New York, adding vibraphone in the fashion of The Joe Cuba Sextet , renaming the group Sexteto Miramar and debuting the groundbreaking album ¡Salsa! Mi Hermana . . . Interestingly, Cumbias con el Miramar contains superior versions of 'Cumbia del sol' -- arguably one of the band's most famous and internationally influential songs -- and 'Lelogua', both of which had also been recorded earlier for their Zeida LP. In addition, several other tunes from the record -- 'Cumbia loca', 'Cumbia de estrellas', and 'Noche y cumbia' -- have been popular among DJs, 'sonideros' and dancers for 50 years. But while these cumbias form the backbone of the album and situate it firmly in the folklore of the band's native Colombia, the LP's Cuban-styled songs like 'Mensaje guajiro' and 'Lelogua' point to the other obsession of Colombian audiences, namely that of Afro-Antillean music (that would be marketed as 'salsa' in the following decade). The album offers us a fascinating snapshot of a pivotal period in Colombian music when outside influences (such as salsa from New York) and the wildly popular phenomenon of so-called 'raspa' or 'chucu-chucu' cumbia groups from the interior (described as 'paisa', i.e. not from the Afro-Colombian coastal regions where cumbia began) were initiating a transition from the old sound (and generation) to the new..." Pablo Iglesias, aka DJ Bongohead First ever reissue. Part of Vampisoul's reissue series of classic Fuentes LPs. Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 198LP
|
"Colombia spawned several big band tropical orchestras in the 1930s and 40s, perhaps the most famous being those of Lucho Bermúdez, Pacho Galán, Edmundo Arias, Pedro Laza, and Crescencio Camacho. Their wall of sound combining a battery of brass, woodwinds and reeds, multiple vocalists and prominent percussion was overwhelming and eventually became all the rage with middle- and upper-class audiences from the dance hall to the hotel ballroom, from the Victrola to the radio. This formula was a match made in heaven, combining elements of the big urban swing jazz bands of the USA with the typical rhythms of Colombia's tropical coastal regions and other Caribbean locales like Cuba and Puerto Rico. Into this scene came Rafael 'Lito' Barrientos (1915-2008), an orchestra leader and trombonist originally from Armenia, El Salvador who began by playing the marimba salvadoreña in a 'costumbrista' folkloric band in his home country, but who soon took up the trombone and the conductor's baton and eventually found international success by adopting, and adapting, the previously mentioned big band tropical format. Having founded his orchestra in 1945. Barrientos traveled throughout North, Central and South America, picking up influences and musicians along the way, staying for a fruitful period in Colombia, where he recorded the extremely popular LP Very Very Well for Medellín's Discos Fuentes in 1965, following that up with Ritmos Costeños (released by Fuentes as well), but debuted in Colombia some time earlier with Pimienta on the Barranquilla-based Tropical label. Significantly, Barrientos was the composer of that perennially popular classic of tropical music, 'Cumbia en do menor' (Very Very Well contains the definitive version) and if he had achieved nothing else, this accomplishment might perhaps have been enough to enshrine him in the annals of cumbia history forever. But the award-winning Barrientos also composed hits such as 'Son guanaco' and 'Pájaro picón' and frequently experimented with new sounds, never dedicating himself solely to the cumbia . . . While in Colombia in the mid-1960s, he found great success with his assimilation of styles like cumbia and porro, but also included Cuban charanga, Puerto Rican bomba and Mexican corrido in his repertoire, making for a very diverse selection of moods and flavors, a recipe that was sure to satisfy the eclectic tastes of his international audiences..." --Pablo Yglesias, aka DJ Bongohead Part of Vampisoul's reissue series of classic Fuentes LPs. Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 196LP
|
Vampisoul present a reissue of Os Seis Em Ponto's self-titled album, originally released in 1964. Francis Hime has been a fundamental artist of Brazilian music since the mid-1960s. He began to play the piano when he was only six years old and in 1963 he started working with Vinicius de Moraes, with whom he would compose many songs. For example, "Sem Mais Adeus", included in Os Seis Em Ponto, his first album as part of the band of the same name, released in 1964 on the prestigious RGE label. Hime's rhythmic piano swings between bossa and jazz along the entire record, with the typical groove of the then emerging Brazilian sound and the characteristic arrangements and solos of the American jazz genre. The complexity of the instrumentation present on the album already anticipates what would be the pianist's later career as arranger and director of orchestras. But the instrumental depth does not diminish the infectious groove of many of the tracks on the album, a wonderful repertoire by such solid composers as Carlos Lyra, Roberto Menescal, or Castro Neves, as well as absolute legends like Vinicius, Jobim, or Edu Lobo. Os Seis Em Ponto is a representative record from the time of its making: the golden age of bossa jazz, full of sweet and luminous melodies, but also of energetic moments in which Francis Hime's piano receives the brilliant backing of the flute and the trombone, or the effective guitar of Nelson Motta. Despite the young age of the whole band, their instrumental skills are beyond any doubt and this is proven by the masterful performances not only of the many classics contained in the album but also of Hime's original compositions. Among the most notable cuts on the LP are "Mar Azul", "Se Você Pensar", "Sem Mais Adeus", "A Paz De Um Homem So", "Amor A Êsmo", and 'Borandá'. Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 194LP
|
Vampisoul present a reissue of Perú Negro's self-titled album, sub-titled Gran Premio Del Festival Hispanoamericano De La Danza Y La Cancion, originally released in 1973. Afro-Peruvian music, also known as "música criolla", finds its roots in West African music, Spanish, and European genres and native musical traditions from Peru. Flamenco-influenced sounds sit next to African tribal elements and a simple yet effective percussion instrument called cajón. After a long struggle to preserve música criolla through oral tradition over generations, actually resulting in much of the original music being lost, a renewed interest in those rhythms and melodies arose in the 1950s. Some years later the legendary Peruvian singer Chabuca Granda provided help to promote Perú Negro, a dance company that also incorporated percussion combined with música criolla. Ronaldo Campos, "Lalo" Izquierdo, Víctor Padilla, Rodolfo Arteaga, and Caitro Soto, among others, played a key role in the foundation and early days of the company. Their shows celebrated and recreated black culture in Peru and they quickly became regulars at Lima's theaters. In 1969 they won the main award at the Festival Hispanoamericano de la Danza y la Canción in Argentina. The repertoire performed at the festival was later included in this album, originally released in 1973 in Peru and Spain only. The lyrics and music of these songs reflect the country's multicultural diversity, blending elements from the African tradition and echoes of Spanish-influenced melodies around stories of slavery days, rural labor, and folklore. Although lesser known than music from other nearby countries, Peru Negro's recordings are reminiscent of Afro-Colombian or Afro-Cuban rhythms. If you have an interest in Cuban son or Colombian bambuco, this record will be an essential addition to your collection and the perfect introduction to the fascinating música criolla. Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 195LP
|
Vampisoul present a reissue of Maxayn's self-titled album, originally released in 1972. Tulsa vocalist Paulette Parker joined the renowned vocal group The Ikettes in 1967, before meeting Andre Lewis, whom she would marry some time later, changing her name to Maxayn Lewis. Both of them, along with former colleagues of Andre in the group Buddy Miles Express, formed in 1970 a new band that would be baptized after the singer's own name: Maxayn. Their first recording was self-funded and easily achieved a contract with the company Capricorn Records to release it. It was in 1972 when that first album, self-titled, saw the light. The result is a superb record of soul and funk spiced up with a gospel vibe and also a distinctive rock sound. As a curiosity, two of the most soulful and deep songs by The Rolling Stones, "Gimme Shelter" and "You Can't Always Get What You Want", were chosen to be part of the album's repertoire and in both cases Maxayn's vocal performance manages to appropriate these two famous songs to the point that it seems that they were originally written for the singer herself. Facing two classics of such high caliber and successfully passing the test is a challenge that few would dare to try. Not in vain, Maxayn deserves to be placed in the same league as other better-known funk artists such as Betty Davis or Yvonne Fair. Along with the successful versions of the Stones, their own compositions include "Trying For Days", "Jam For Jack", "Song", and "Doing Nothing, Nothing Doing", in which the energetic tandem formed by Maxayn's voice and the solid support of the band's musicians achieves an electric and timeless result. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 190LP
|
"Released in 1978, Soy La Ley by Robert Y Su Banda is an obscure but sought-after slab of Colombian salsa dura with the special distinction of having the 'original' version of Álvaro José 'Joe' Arroyo's monster hit 'Rebelión' hidden in plain sight on the second side of the record. The band's leader, Roberto Antonio Urquijo Fonseca, is still active today and, hailing from Barranquilla, Colombia, is as steeped in the costeño sound of cumbia as he is in salsa. Roberto certainly has a perfect voice for salsa, bringing to mind that of the Boricua super star sonero Héctor Lavoe . . . On this album the previously mentioned 'Rebelión' of Joe Arroyo kicks off side two but bears the completely different title 'El Mulato' and is credited to Adela Martelo de Arroyo, Joe Arroyo's wife at the time (Arroyo was signed exclusively to Discos Fuentes). The arrangement, by Enrique Aguilar, is also quite different from 'Rebelión' with an introduction that sounds inspired by Tite Curet Alonso's composition 'Plantación Adentro' (from Willie Colon Presents Rubén Blades Metiendo Mano!, 1977) but it contains all the elements of Joe's later global smash with the exception of being rhythmically more of a cumbia than a salsa . . . With Michi Sarmiento's brilliant arrangement plus La Verdad's modern reinterpretation of the nearly decade old tune, 'Rebelión' became a mega-hit even in Asia and Africa and Arroyo's fame shot around the world and made him the international legend he remains to this day, eight years after his untimely demise. Besides the aforementioned 'El Mulato', the title track 'Soy La Ley' is a dance floor burner and comes from the pen of Joe Arroyo as well, as does 'Mi Cariño No Espera', which is another cumbia/salsa hybrid . . . Aside from the Arroyo originals, there is the super-hot guaguancó 'Son Candela' by the venerable Cuban singer/composer Joseíto Fernández, the guajira son 'En La Inmensa Soledad', made famous by Los Compadres, the upbeat sounding lament 'Preso Sin Sentencia', originally by Puerto Rican plenero and percussionist Rafael Ortiz Escuté (aka Joe Pappy), plus an absolutely burning version of Mexican crooner Armando Manzanero's 1967 hit 'Aquel Señor'. The record is rounded out by the salsa tune 'Si Ella Pregunta Por Mí', which was covered in 1980 by Orquesta Borinquen." --Pablo Yglesias aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VAMPI 191LP
|
"A revolutionary album full of experimentation and cross-fertilization with a sound unlike that of any other tropical record before or after, which could only have come from the Caribbean region of Colombia and the fertile mind of the band's leader, Alfredo Gutiérrez El Rebelde del Acordeón. What makes this record unique and a highly sought-after collector's piece among DJs and aficionados of Colombian music are the innovative arrangements (by Gutiérrez and his saxophone-playing friends Nacor Barón Garcés and Demetrio 'Pipe' Guarín) that mix a sax section with electric organ, piano and accordion, and the fact that it contains a killer version of Javier Vázquez's hard salsa tune 'Esa Mulata' as well as salsa versions of Gutiérrez's earlier vallenato hits 'Los Carasucias' and 'Bajo El Palo 'E Mango'. In addition, there is an interesting hybrid between the boogaloo and the joropo ('La Mezcla' by pianist Edel Manrique) and a fun cover of Dominican accordionist Angel Viloria's 1950 gem 'Yo Bailé Con Josefina' plus another hardcore salsa burner ('Salsa De Monte Adentro') and a flamenco/salsa hybrid ('Caribe'), both written by Poli Martínez, who used to sing with Climaco Sarmiento. The record kicks off with some local costeño flavor with the paseo 'Perdóname Leandro' and on side two the porro 'Toro Barcino'. The album cover, though tongue in cheek, must have also caused a stir, as it calls to mind Cuban revolutionaries and combines images of violence and music in a provocatively satirical way." --Pablo Yglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
VAMPI 187CD
|
"Fifty years after the release of one of the founding records of the genre known as Peruvian cumbia (by guitar players Enrique Delgado Montes and Berardo Hernández 'Manzanita'), Vampisoul presents this third volume in the series Cumbia Beat, which brings together 45 rpm rarities from acclaimed groups, short-lived bands and outstanding huaycumbias. Like the previous volumes in this series, listening to this record takes you on a journey across the geography of Peru, as the majority of the groups on this collection were from different regions of the country, or had close links to them, although all of the artists recorded in Lima. Most of the bands emerged during the period 1968-1980, a time of deep political and social change implemented by the nationalist military dictatorship. Los Demonios Del Mantaro, Los Demonios De Corocochay, and Los 5 Palomillas are the exceptions to this, as they recorded between 1965 and 1967 and produced a hybrid of cumbia and huayno called huaycumbia, a genre which achieved high sales figures during those years. Despite the characteristics of huaycumbia, the early composers of Peruvian cumbia didn't consider it a direct source of inspiration. They admit to being more influenced by Colombian cumbia, Cuban guaracha, beat, and psychedelic music from the UK and US that they had played since the end of the '60s, in their 'own style', as a part of a musical appropriation process that quickly led them to forge a singular sound. Peruvian cumbia developed, spurred by the music school erudition of the guitarist Enrique Delgado Montes on the one hand and, on the other, by the self-taught creativity of Berardo Hernández 'Manzanita'. Largely ignored by the elites, it steadily won over audiences and created its own market, establishing its own broadcast channels and distribution channels. As Enrique Delgado stated in 1973: 'We've defined a typically Peruvian cumbia which, strange as it might appear, people also like in Colombia and several other countries.' Finally, setting up their own labels, competing hard against one another and enriching their music with sounds they brought from their specific regions, these bands that gradually sprung up all over the country managed to consolidate a tradition that is still alive today." --Hugo Lévano G
Also features Silvestre Montez Y Sus Guantanameros, Los Cóndores Del Cusco, Los Gitanos, Los Orientales De Paramonga, Los Casmeños, Los Beta 5, Los Girasoles, Paco Zambrano Y Sus Ratones, Los Ecos, Los Tantos, Los Scorpios, Los Blue Kings De Ñaña, Grupo Siglo XX, Los Sander's De Ñaña, Los Quantos, Los Diablos Rojos, Marco Merry Y Sus Golfos, and Sonido Verde De Moyobamba.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
VAMPI 189LP
|
RSD 2019 release. In 1968 Enrique Delgado, leader of Los Destellos, launched an original musical proposition that combined tropical music, rock and touches from other genres, which he arranged by drawing on his extensive experience accompanying stars of Andean and coastal music from Peru. He was determined to find his own style and created an earthy vibe that people still love dancing to today. Delgado was a precocious musician from Lima, passionate about waltzes, polkas and marineras from Creole music from an early age, founding Los Destellos in 1966 for purely commercial reasons, aiming to liven up exclusive social gatherings with a wide repertoire of danceable music. In mid-1967 he revamped the band to embark on the task of creating a new style that would be a hit with dance fans and guarantee economic success, influenced by the visit of Hugo Blanco to different cities across Peru, playing cumbias and other tropical rhythms using the harp as a solo instrument. Rock was another ingredient that this Beatles fan added to the mix; his goal was to find a formula through which he could integrate the different musical genres from Peru, ranging from Creole music from the Pacific coast to the exotic dances from the Amazon, thereby acknowledging Peruvian cultural diversity. He put all the ingredients together and mixed them well before going into the recording studio. Halfway through 1968, Fernando Quiroz joined the line-up. Delgado was looking for a guitarist who played rock and was recommended Fernando, who had played Los Zany's. This line-up also included Carlos Ramírez, Eduardo Rivera, and Rodolfo Casaretto. Sicodelicos selects the Los Destellos tracks closest to the genres of psychedelia, beat and boogaloo, released between 1968 and 1978, with Enrique playing lead guitar on the bulk of them. In the 21st century, several compilations such as Vampisoul's own Cumbia Beat (VAMPI 116CD/LP, VAMPI 143CD/LP) series have helped globalize Peruvian cumbia, winning fans from all over the world. Led by Delgado, Los Destellos truly defined the sound of Peruvian cumbia with the incorporation of diverse influences and the use of electric guitars. These 20 irresistible songs are essential elements of Peruvian cumbia, the rhythm that changed the face of Lima, shook the Andes and spread like a forest fire across the Amazon basin. For fans of Los Mirlos, Link Wray, Davie Allan, and surf instrumentals.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
VAMPI 116LP
|
2019 repress. Subtitled: Experimental Guitar-Driven Tropical Sounds from Peru 1966-1976. In mid-50s Peru, mambo was progressively replaced by preferences for other rhythms like merengue, guaguancó, cha cha cha, joropo, guaracha, rumba and cumbia, which timidly begins to sound during these years. In Lima it's the golden age of great orchestras and music ensembles which are capable of playing swing and jazz, but especially the diverse tropical variants inundating the market. The most successful of all, La Sonora De Lucho Macedo, released in 1965 an LP consisting exclusively of cumbia. Around this time, the successful folklore group Los Pacharacos released the album Los Ídolos Del Pueblo, which included a cumbia number in the middle of the potpourri of huaynos, waltzes, and polkas. The groups preserved the fusion of fox trot and mambo rhythms along with huayno and cumbia in the execution of their music. That feeling would be the basis for the success of such unorthodox and unclassifiable songs as "La Chichera" or "Peti Pan". The recording in 1965 of these two songs by Los Demonios Del Mantaro on a seminal 45 with the Sono Radio label was the jumping off point for the birth of cumbia andina, also called "chichi" precisely for this song, which is dedicated to a vendor of the well-known Incan liquor. The electric shock of rock guitars enters the world of cumbia in 1968. The cause of such copulation was Enrique Delgado Montes, regarded as the genre's godfather. He did it, as part of his band Los Destellos, on a 45 and an eponymous 1968 LP (CAL 001LP/CALC 001LP). His songs constitute the most surprising musical fusions and amalgams of the time, whether they merge Cuban music and psychedelia, explore the sounds of Andean or Amazonian music, combine the digitalization of the Creole guitar with huayno melodies or abuse fuzz tones and distortion pedals. There wasn't an innovation that tropical guitarists didn't add to their sound: delay, fuzz tone, overdrive, wah-wah, reverb, modulating effects typical of rock bands are assimilated into a stunning sonic cocktail. In this context, cumbia reached the top of the charts in popularity. It replaced rock as the urban sound. Includes extensive liner notes in English and Spanish, photos, and memorabilia.
Also features Silvestre Montez Y Sus Guantanameros, Los Orientales De Paramonga, Grupo Celeste, Los Mirlos, Manzanita Y Su Conjunto, Los Wembler's De Iquitos, Los Beltons, Los Beta 5, Los Galax, Aniceto Y Sus Fabulosos, Juaneco Y Su Combo, Los Sanders De Ñaña, Los Diablos Rojos, Los Ecos, and Los Demonios De Corocochay.
|
viewing 1 To 25 of 239 items
Next >>
|
|