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 228LP
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$27.00
PREORDER
RELEASE DATE: 3/25/2022
Vampisoul present first time vinyl reissue of Travesía's Ni Un Minuto Más de Dolor, originally released in 1983. A new title in the series of full-album reissues that Vampisoul is releasing (co-produced in collaboration with Little Butterfly Records) as a valuable addition to the largely acclaimed compilation América Invertida (VAMPI 205CD/LP), focusing on the obscure leftfield pop and experimental folk scene from '80s Uruguay, making some of these elusive and essential albums available again. In 1981, Estela Magnone, Mariana Ingold, and Mayra Hugo embarked on an unprecedented project at that time for Uruguayan music: a female trio where all the voices, instruments and arrangements were performed by its members. Ni Un Minuto Más de Dolor, the only album recorded by this all-female trio, an essential asset of the effervescent scene of experimental Uruguayan artists who at the time mixed folklore, the avant-garde and pop, was released in 1983. Following a short studio time with Travesía, Uruguayan music star Jaime Roos had convinced the heads of the Ayuí label of the group's quality and potential and offered himself to act as artistic producer of their debut album. The minimalist instrumentation highlighted the trio's complex and ethereal vocal arrangements resulting in a beautiful album recorded under the influence of bossa nova and Tropicália, released almost forty years ago but that could have been made yesterday. Perfect listening for fans of the ethereal pop by artists like Antena or Les Disques Du Crépuscule's sound and lovers of vocal harmonies in the tradition of bands like Free Design. Original artwork with obi; including an insert with liner notes by the Uruguayan music journalist Andrés Torrón.
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LP
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VAMPI 251LP
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$27.00
PREORDER
RELEASE DATE: 3/25/2022
Vampisoul present a first time reissue of Wganda Kenya's self-titled album, originally released in 1976. According to Fruko, Wganda Kenya was formed at the request of José María Fuentes in 1974. Fuentes came to Fruko with the proposal to assemble a group with an African and Caribbean sound in order to appeal to the Costeño Colombian market and also inject a little international exoticism into the label. Fuentes wanted to create their own domestic version of the rare (and often unidentified) African and Antillean records played on the Colombian coast in the outdoor picó sound systems in cities like Barranquilla and Cartagena, as well as opening up their markets to international tastes. Fruko was happy to comply, becoming the bandleader and bassist while his pianist from Los Tesos, Luis "Tomate" Mesa, was recruited to play various electronic keyboards. Venezuelan singer Joe Rodríguez was tapped to play drums, Mariano Sepúlveda of Afrosound played guitar, José "Cholo" Gallardo of Los Diplomáticos played saxophone and several Tesos manned the percussion section. Various Fuentes regulars became the vocalists including Jaime Galé, Luis Carlos, and Joe Arroyo. In keeping with the exoticism and façade of foreignness, the vocalists often sang in made-up languages that approximated Indigenous Colombian, Haitian Creole, Papiamento from the Dutch Caribbean or Nigerian Yoruba; at other times they invented Spanish lyrics that mimicked the original foreign language ones, often in a humorous way. Wganda Kenya, like almost all Fuentes acts, cut plenty of non-album singles and cover versions that ended up on Bailables compilations but it was the runaway success of a 45 with their interpretation of the Haitian song "Homenaje a los embajadores" released in 1975 that motivated the Fuentes studio team to continue with the project and begin releasing complete albums under the band's name. In 1976, Discos Fuentes released the self-titled Wganda Kenya album and it is thought by many to be their first full-length record, in Colombia at least; if you take into account the Miami Records release of Wganda Kenya / Africa 5.000 the year before, it actually isn't the band's debut solo album. All the tunes on this record, including the bonus tracks, are covers, and they include interpretations of songs by Haiti's Original Shleu Shleu ("El Evangelio"), Guadeloupe's Combo Moderno ("An Nous Dansé Tumbelé"), and the Paris-based Le Trio Africain Los Makueson's ("Yoro"), among many others. Like its sibling band Afrosound, Wganda Kenya was ahead of its time, anticipating current contemporary global Afro-Latin-funk in a prescient way that is finding more and more fans across the globe. Contains two non-album bonus tracks from the same period. Includes insert with liner notes; 180 gram vinyl.
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LP
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VAMPI 250LP
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$27.00
PREORDER
RELEASE DATE: 3/25/2022
Vampisoul present a reissue of Jorge Ben's Bem-Vinda Amizade, originally released in 1981. Jorge Ben is someone who needs no introduction. Since his first hits in the '60s, this artist has become one of the greatest icons of Brazilian pop music. His anthems "Mais Que Nada" or "Pais Tropical" are probably two of the most ever-listened Brazilian songs of all time. After being involved in the Tropicalia movement and incorporating the influences of Afro-American funk into his repertoire, with the support of his backing band -- Trio Mocotó --, his very personal samba sound also opened up to the new musical trends coming from the States at the edge of the '70s. Boogie and disco music were making headway and soon became popular in the Brazilian market. Jorge Ben's albums recorded at the beginning of the '80s reflect this trend and deliver a good number of outstanding tunes. Bem-Vinda Amizade is one of those albums. Recorded in 1981, it is a solid album, start to finish. It comprises the usual samba funk numbers, so characteristic of Jorge Ben, with killer boogie and disco tracks ("Oé Oé (Faz O Carro De Boi Na Estrada)", "Ela Mora Em..."). And it also contains downtempo soulful slow burners like "Lorraine" or "Katarina, Katarina", funky as hell! An essential addition to any Brazilian music collection.
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LP + 7"
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VAMPI 239LP
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$31.50
PREORDER
RELEASE DATE: 2/25/2022
Vampisoul present the first official reissue of Congregación's Congregación Viene..., originally released in 1972. Psych-folk prog album by one of the most legendary bands of the early 1970s Chilean music scene, that was released at the worst possible time. In spite of not having been a popular band like Los Jaivas, Los Blops and Congreso, they deserve a position of privilege in the history of Chilean rock. Congregación, led by musician and poet Antonio Smith, was from Valparaiso. They wrote lyrics with a significant political, philosophical and religious content, they were a real "celebration of life". Musically, they crafted songs in an Andean style with ethnic atmosphere, we could say they made a kind of psychedelic folk with progressive leanings. They recorded just one LP and a single in 1972. The group was disbanded in 1973 following Pinochet's coup. Their multi-layered music is rich in unexpected nature textures and sounds, emphasizing the deep spiritual and mystic vibe of the album. It features the collaboration of members of Los Jaivas and Amerindios. The music of Congregación has conquered new folk lovers around the world and the original LP is yet a very rare collector's piece. Remastered sound from the original master tapes. Includes a bonus 7" single with non-album tracks from 1972.
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LP
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VAMPI 238LP
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$27.00
PREORDER
RELEASE DATE: 2/25/2022
Vampisoul present the first official reissue of Panal's self-titled album, originally released in 1973. Panal was born following the IRT director's will to put together a group that would blend folk and rock in a similar way to one of the most successful bands in the Chilean label: Los Jaivas. A roster of very experienced and talented musicians was recruited for this project and this self-titled album was finally released in 1973. Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal. The guitar of Carlos Corales (also founder of Aguaturbia) shows resemblances of Santana's style and Franz Benko's work on the production adds a fresh twist and renewed touch to the featured repertoire. Shortly after the coup, the group disbanded, leaving behind this masterpiece. Remastered sound from the original master tapes.
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4x7" BOX
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VAMPI 45080EP
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$58.00
PREORDER
RELEASE DATE: 2/25/2022
The music of Grupo La Droga is an unabashedly oddball concoction, a potent witches' brew featuring leftfield South American flavored tropical instrumentals with funky cumbia beats, slinky and distorted acid-funk guitars drenched in wah-wah, crazy synth bass lines and bizarre squelchy Moog riffs. The tunes are played in a deliciously sinister minor register that lends a dark, mournful, spooky vibe to the melodies. The music is cinematic as well, leading the listener on a journey from the depths of the Amazon jungle to the heights of the Andean mountains. On first listen, you may be reminded of the 1970s Colombian band Afrosound, but there is a more simple, raw quality to their records that makes the music feel somehow twice as primitive and elemental. Yet at the same time the grooves and instrumentation are refreshingly modern and underground. The initial experience of listening to the band's first single, "El Maromero" ("The Acrobat") and "La Chicharra" ("The Cicada") is like taking some sort of jungle medicine with a shaman and getting up from the campfire to dance your way across the universe and back. All it takes is one listen and you're hooked... This release comprises four replica 45s of the obscure, amazing '70s studio band Grupo La Droga, Codiscos' answer to Discos Fuentes' Afrosound, which in turn was inspired by the exotic, psychedelic cumbias coming from Peru at the time. First time reissue.
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7"
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VAMPI 45084EP
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$14.50
PREORDER
RELEASE DATE: 2/25/2022
Following the great success of "Estrelar", Marcos Valle released another boogie single, comprising two non-album tracks, in 1984. He settled in Los Angeles in the mid-70s, tired of living under Brazil's military dictatorship, and started to collaborate with such talented artists as Leon Ware or Chicago. "Bicicleta" shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborator: Lincoln Olivetti. "Bicicleta" is reissued for the first time, in replica original artwork and remastered sound.
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LP
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VAMPI 222LP
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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 45079EP
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Some will still remember Italian American singer Dean Parrish after his brief appearance in an episode of The Sopranos but for most soul music true aficionados, Parrish gained a legend status when his "I'm On My Way" was the last record played at the last Northern Soul all-nighter at the Wigan Casino. His "Bricks, Broken Bottles and Sticks" was his first soul side though and it was released on Musicor in 1965 achieving some success and also becoming a classic spin on the UK soul scene years later. Eternally in demand, this party record now exchanges hands for a few hundred USD, so we thought it would be a good idea to make it widely available again. "My Heart Cries For You" by Porgy and The Monarchs became a much cherished dancefloor anthem in the UK and has all the defining ingredients of most northern soul favorites: Motown sound-alike arrangements, epic vocals that are almost inviting to sing along and lyrics spiced with a bit of drama. In short, this record is a must-have northern soul double sider and there's nothing like it to get the party started.
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7"
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VAMPI 45085EP
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"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 244LP
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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 249LP
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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 241LP
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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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LP
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VAMPI 242LP
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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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LP
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VAMPI 240LP
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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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VAMPI 45081EP
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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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VAMPI 243LP
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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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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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VAMPI 237LP
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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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CD
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VAMPI 235CD
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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. Jewel case in slipcase; includes eight-page booklet.
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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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LP
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VAMPI 234LP
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Repressed. 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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LP
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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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