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 200LP
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$25.00
PREORDER
RELEASE DATE: 10/25/2019
"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.
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LP
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VAMPI 201LP
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$25.00
PREORDER
RELEASE DATE: 10/25/2019
"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.
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7"
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VAMPI 45070EP
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$10.00
PREORDER
RELEASE DATE: 10/11/2019
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).
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VAMPI 198LP
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"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.
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LP
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VAMPI 197LP
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"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.
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LP
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VAMPI 193LP
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$21.00
PREORDER
RELEASE DATE: 8/30/2019
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.
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LP
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VAMPI 196LP
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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.
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LP
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VAMPI 194LP
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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.
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LP
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VAMPI 195LP
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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.
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LP
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VAMPI 190LP
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"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.
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LP
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VAMPI 191LP
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"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.
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CD
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VAMPI 187CD
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"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.
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2LP
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VAMPI 189LP
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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.
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2LP
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VAMPI 116LP
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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.
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2LP
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VAMPI 143LP
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2019 repress. "The 'resurrection' of Peruvian tropical music, of psychedelic cumbia or, as others like to call it, 'chicha,' is perhaps one of the most surprising musical phenomena in recent years . . . Elements of rock, folklore, música criolla, Andean music, Amazonian music, Colombian cumbia, salsa and even psychedelia intermingle in this 'cannibal' genre capable of devouring and assimilating every possible influence. Both Enrique Delgado and Manzanita, the two great founding guitarists of the genre, made music that absorbed all possible manner of styles. Vampisoul features not only tunes from Delgado with his group Los Destellos and from Manzanita, but also from their side projects: Delgado's Los Casmeños and Manzanita's El Monje Loco. Los Girasoles, Los Yungas, Los Beta 5 and Los Ecos continued those sonic explorations . . . Although this compilation consists mostly of instrumentals, a classic of Peruvian tropical music, 'Colegiala' by Los Ilusionistas, is included with vocals from Carlos Ramírez 'Centeno'. Los Beta 5 would never turn to the sung format . . . Another group that has in their origins instrumental beat spirit and sound are Los Ecos. The sparkling-clean guitar sound of their leader Beto Cuestas always shines in songs filled with a delicate pop sensibility and melodies that oscillate between melancholy and danceable experimentation. Los Yungas had recorded songs in which música criolla and huayno are 'cumbianized,' but the more significant point of departure happened when Los Demonios Del Mantaro released a historic single . . . [Carlos] Baquerizo was also the first to introduce an electric guitar in Peruvian cumbia in Los 5 Palomillas, a side project of Los Demonios. The influence of the 'provincial sound' would be felt by many other guitarists . . . One of the most original and surprising guitar sounds in Peruvian tropical music would be that of Maximiliano Chávez from Los Orientales De Paramonga, who created a very peculiar style of tropical music with deep basses, galloping percussion, and wah-wah guitar . . .Los Mirlos, with their guitars and hypnotic grooves, achieved the most popular and transnational of the Amazonian sounds. The other Amazonian miracle was Juaneco Y Su Combo, led by Juan Wong. Their music, full of references to Amazonian mythology and to ayahuasca (a psychoactive drink), featured the guitar of Noé Fachín." --Alfredo Villar
Also features Los Orientales, Compay Quinto, Los Pecos, Los Titanes, Los Yungas, Grupo Celeste, Los Santos, Aniceto Y Sus Fabulosos, and José Y Sus Antillanos.
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2LP
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VAMPI 187LP
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Double LP version. "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.
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7"
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VAMPI 45069EP
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La Redada is a sextet of tropical psychedelic musicians from the capital of Mexico consisting of Carlos Icaza, Julian Huerta, Daniel Llermaly, Óscar Ojeda, Feike de Jong, and Fernando Caridi. They reference Latin American music from the '30s to the '70s, reinventing sounds hidden in crates of second-hand vinyl. La Redada takes these songs with the goal of revisiting an imaginary past of Mexico City. The sound of La Redada is determined by its instrumentation: drums, organ, bass, percussions, woodwinds, and theremin. The composition of the band is cosmopolitan, numbering two Chileans, a Dutchman, and three Mexicans.
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LP
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VAMPI 188LP
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"By the time Sexteto Miramar's groundbreaking ¡Salsa! Mi Hermana LP was released in 1968 they had been performing for over a decade and had gone through changes in both personnel and instrumentation. Formed in Medellín as a children's 'murguita' (little holiday party band) that used to annoy the neighbors, they quickly grew into a hot teen combo specializing in Cuban and Colombian music with accordion and sax arrangements in a conjunto (small group) format, eventually recording for local labels including Zeida. During this time the group had several hits that became standards including 'Carruseles' and 'Cumbia Del Sol'. By the mid-1960s the old band had dissolved and original founding member and bandleader/arranger Hernán Builes had formed a new outfit, signing with Zeida rival Discos Fuentes. Miramar then recorded an obscure album of tropical music called Cumbias Con El Miramar, sounding much like their earlier records. However, inspired by New York's Joe Cuba Sextet and La Playa Sextet, several years later Builes decided to swap the folkloric accordion for the more contemporary sounding electric guitar, piano and vibes and signed a new contract with Fuentes under the name Sexteto Miramar. During this period Miramar featured several vocalists who would later go on to greater fame, including Humberto Muriel, Johnny Moré and Rodolfo Aicardi. The newly minted Sexteto Miramar were perhaps the first Colombian group to use the term 'salsa' as a musical genre when they recorded ¡Salsa! Mi Hermana. The record was also their first album as a sextet under their new name, instrumentation and membership... The album features several originals as well as cover versions of New York Latin and Cuban tunes first popularized by Orquesta América Del '55, Tito Rodríguez, Celia Cruz, Sabú Martínez, La Playa Sextet, Joe Cuba Sextet, and the Peruvian group Pepe Moreno Y Su All-Star Band. As to how Builes came up with the album's signature tune, 'Salsa Boogaloo', he had most likely been listening to Venezuelan radio broadcasts of the new Latin records by artists such as Pete Rodriguez, Ricardo Ray, and Johnny Colón coming out of New York, which had been described as 'salsa' since 1966 by bohemian disc-jockey Phidias Danilo Escalona . . . According to Muriel, the fact that ¡Salsa! Mi Hermana did not have any overtly Colombian genres like cumbia and instead concentrated on foreign sounds such as guajira, mambo, charanga, bolero, guaguancó, guaracha, boogaloo, and salsa meant that the band was consciously trying to update Colombian tastes." --Pablo Yglesias, aka DJ Bongohead Presented in facsimile artwork and pressed on 180 gram vinyl.
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LP
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VAMPI 186LP
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"Arguably the strangest (yet coolest) concept record in the Discos Fuentes catalog, this compendium of trippy tropical madness masquerading as "international" cumbias features the venerable Argentinian showbiz couple Tita Duval and Roberto Rey. Dominga Salazar Azula (1924-2008), aka Tita Duval, was an Argentinian-born accordionist, saxophonist, and singer based in Medellín, Colombia. She was also enamored of the tropical genres from Colombia's coastal regions; she was equally lauded for her abilities interpreting both her native tango as well as the cumbia of her immigrant home, a skill perhaps as unprecedented and unique as it was improbable. Recorded with her husband Rey (Adán Azula), the well-known Argentinian music impresario who had also emigrated to Colombia, Cumbias Internacionales was an attempt to fuse hippie pop sensibilities with the tropical music for which Duval was famous. The album combines a mix of Afro rhythms, social commentary, and psychedelic instrumentation such as the electric Varitone sax, echo-drenched flute, Mellotron, and spacey organ, which transport the proceedings to another level. The record starts out innocently enough with the thoroughly Colombian "Oye Mi Cumbia", albeit with a processed electronic reed section, but the tunes get weirder from there with "Safari, Safari", pseudo-psychedelic disco-Afrobeat cumbia with heavily-accented English lyrics. The amazingness continues with "The Poor man" ('El Hombre Pobre') fighting for justice, over a loping reggae/porro hybrid, with drum breaks bringing to mind American funk! This is followed by a boogaloo, "Zombie Rock". The side finishes out with a jam of epic proportions that has to be heard to be believed; it morphs into another mix of cumbia and soul, complete with Stax horns stabs. Side B kicks off with, the thumping Afro-funk burner "Batukacuto"? with a floating pied-piper flute. Tita Duval herself brings us back to Earth with "Cumbia mujer", which she sings in a sweet voice. Then comes surely the weirdest version of "My Way" featuring Tita's echo-drenched warbling. We end on an up note with the most traditional-sounding tune, "Claudia." Which combines cumbia lyrics and costeño-style clarinet with merengue beats and Varitone; indescribably delicious. A satisfying trip to be sure, but still a head-scratcher. In retrospect, the album is a hip, exotic, experimental Afro-psychedelic brew that's even more mind-blowing when you consider Duval was 50 and her husband 60 at the time it was recorded." --Pablo Yglesias aka DJ Bongohead. Presented in facsimile artwork and pressed on 180 gram vinyl.
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LP
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VAMPI 185LP
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"While all four Peregoyo y su Combo Vacaná albums are classics deserving their rightful place in the national musical heritage of Colombia, Mi Buenaventura (recorded circa 1967) is perhaps their most iconic. Their second release for Discos Fuentes is rich with diverse sounds and festive rhythms, from the exotic trance-inducing coastal Afro-Colombian polyrhythmic syncopations of the currulao, abozao chocoano, porro, cumbia and aguabajo to the more well-known genres of Cuban and Puerto Rican origin like descarga, bomba, guaracha and son montuno -- Peregoyo and his crew were equally adept at playing all these and more. The nine-member combo was formed by composer and tenor saxophonist Enrique "Peregoyo" Urbano Tenorio in the Pacific coastal city of Buenaventura and is said to be the first to make their local "Pacífico" music traditions an integral part of a commercially presented repertoire. His stated mission was to modernize the folkloric genres of his region as well as play the popular tropical dance music from Cuba, New York and Puerto Rico. First recording as Peregoyo y su Combo Vacaná for Discos Fuentes in 1966, the band broke up over a financial dispute a few years later at the Feria de Cali while performing with Ricardo Ray. They had a brief "comeback" decades later, and are acknowledged today as a seminal influence on Colombian music. The combo's output stands the test of time, and this reissue presents one of their finest efforts in its original form." --Pablo Yglesias aka DJ Bongohead
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LP
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VAMPI 184LP
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"Vampisoul present the latest volume in their Discos Fuentes reissue series, Salsa Con Monte, an instant tropical Latin dance party from Blas 'Michi' Sarmiento. Honestly, all Michi Y Sus Bravos albums are all so good. However, a poll with fans and DJs, selected his sixth album Salsa Con Monte, from 1973, issued here for the first time. 'El Michi', as his grandmother nicknamed him, is the son of the famous reedman Clímaco Sarmiento, a bandleader who recorded with Fuentes for decades. Proficient in percussion and singing from an early age, Michi is most known for following in his father's footsteps with clarinet, saxophone, composition and musical arranging as his signature skills. By 17 Michi had his own band and by 1967 his Bravos were competing with local sound systems and radio stations that were playing salsa, descarga, charanga, and boogaloo. While Sarmiento has consistently maintained his love of traditional Afro-Colombian-rooted 'música costeña' to this day (porro, cumbia, cumbelé, gaita, paseo and merecumbé), Los Bravos always played it hard, loose and fast, because they had to compete with the DJs. Michi preferred recording "live" in the studio with the result being an accurate document of what a powerful outfit they must have been to experience in person. This album contains a number of excellent cover tunes, including the rather surprising choice of Gilberto Gil's "Viramundo". This opening cut is followed in quick succession by a dizzyingly diverse gaggle of genres, namely cumbelé, calypso, pasebol, cumbión and rumba. One could truly say Michi and his band of 'braves' bring us quite a heavy load of salsa 'mounted' on this record (Salsa Con Monte, referring to Michi's motorbike 'mount' on the cover), which is exactly what's happening by the look of the front and back jackets of this classic Discos Fuentes LP." --Pablo Yglesias, aka DJ Bongohead Issued with facsimile artwork and pressed on 180 gram vinyl.
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CD
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VAMPI 178CD
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Welcome to the second Vampisoul set of trouvailles from the Supraphon vaults, a series of compilations that the label launched in 2016 under the title Czech Up! (VAMPI 167CD/LP). It's a concept that the label had in mind ever since they began their collaboration with Supraphon over ten years ago, but that wasn't initially possible to accomplish due to -- luckily temporary -- licensing restrictions. In the meantime, just as Supraphon is steadily progressing with revalidating their immense back catalog, the label is now able to move along with them, picking up their cherries as they keep popping up on the notional surface. The Supraphon label was established in the early 1950s in former Czechoslovakia and has been continuously active ever since. While it's always been highly esteemed by music connoisseurs for its excellent classical music releases, Supraphon's pop, rock, and jazz music catalog, although comprising around 60,000 unique tracks, remains for the most part a big unknown to the international audience. Today it also incorporates the complete back catalog of Panton, another Czechoslovak label launched in 1967 that operated independently until the late 1990s. On Czech Up! Vol. 2, Vampisoul again present an array of astounding songs from the otherwise inglorious decade of political and social gloom in Czechoslovakia, a decade that actually started shortly after the invasion of the Warsaw Pact armies in 1968. Here's your chance to meet up with some eccentric fools, wry sarcasm, fountains of cognition, lovers approaching, lovers leaving, faunal fables, bizarre beings, wizardly seasons, ordinary oddities, unearthly gardens, morbid dreams, pretense obedience, melancholy windscapes, wishful thinking, exotic jungles, and eerie ravines. So whether you're hanging loose, shaking a leg, sampling some of this'n'that, or just opening your mind and ears widely, here's 22 more tracks that won't let you down while you're czeching up. Includes detailed liner notes by Lukás Machata. Features Olympic, Hana Ulrychová, Mahagon, Framus Five, Apollobeat, Beatings, Valerie Cizmárová, Gustav Brom Orchestra, The Blue Effect, SHQ, Metronom, Synkopy 61, Jazz Q, Vulkán, George & Beatovens, Flamengo, Eva Pilarová, Flamingo, The Soulmen, Barnodaj, Hana Zagorová, and Karel Cernoch.
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10x7" BOX
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VAMPI 45068EP
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East LA is much more than an area located east of the Los Angeles River. Inhabited almost exclusively by Chicanos with their own way of life, there is not enough space allotted here to explain the East LA culture. Local groups like Thee Midniters, Cannibal & the Headhunters, The Blendells, The Premiers, The Ambertones, and dozens others, provided a soundtrack. In the '60s, East LA garages, where the bands rehearsed, were mined by record companies searching for the new sounds. One of the movers and shakers of this scene was Eddie Davis, who started his Faro label around 1958. Faro issued mostly pop-oriented records, but also Richie Valens-influenced rockers like "So You Want To Rock" by Chick Carlton & The Majestics. Davis formed other labels as well, like Linda and Rampart. Davis's music enterprises really took off in 1964 with three songs that were licensed to larger companies. Takin' Care Of Business consists of tracks from Eddie Davis's family of labels and it is evidence of the wonderful music made with a solid emphasis on the groove. R&B was always very important on the East Side. The included recordings by Sarah James & The Soul Babies, Thee Enchantments, The Majestics, and Sammy Lee are among the finest soul records ever recorded. One of the best R&B records cut for Faro was "Tracy (All I Have Is You)", a Ray Charles-influenced stormer by a young Barry White (his first record) backed by The Atlantics. Also featured herein are some fine party records: Little Ray's "Come Swim With Me", The Atlantics' "Beaver Shot", and The Blendells' "Huggies Bunnies" are among them. They liked to rock on the East Side, and three of the tracks included here -- those by The Romancers, The Premiers, and Sunday Funnies -- have plenty of beat, snarl, and fuzz-toned guitars. No serious East LA compilation of music would be complete without a romantic soul ballad. Dig "One Like Mine" by The Salas Brothers with The Jaguars. Davis continued his operations into the early '70s with Gordo. Many of the songs recorded for this label exuded new-found Chicano pride, such as "Via Tirado" by El Chicano and especially the two included here by Willie G with Six Pak and Two Tons Of Love. Also features: Ron Holden, The Mixtures, The Pagents, The Four Tempos, The Invincibles, and Thee Royal Checkmates. Includes a 16-page illustrated booklet.
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LP
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VAMPI 181LP
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On their third album, Futuro Do Pretérito, Garotas Suecas begin a new phase as a four-piece where the four musicians also share the lead vocals: Irina Bertolucci (vocals, keyboards), Tomaz Paoliello (vocals, guitar), Fernando Perdido (vocals, bass), and Nico Paoliello (vocals, drums). The album deals with a wide range of issues, from thorny political matters to sentimental troubles and even tropical fruits. "The songs were developed during 2016 in our new horizontal line-up: four singers, four musicians, four songwriters. We started recording in early 2017, at Freak studio. It's the first time that both the production and the mixing has been done by the band. The records comes completely from within ourselves, it's less referential and more organic. We chose our own formula rather than any established formulas," states Tomaz Paoliello. Futuro De Pretérito features guest musicians such as long-time collaborator percussionist Matheus Prado (Projeto Coisa Fina), saxophonist Filipe Nader (Música de Selvagem, Trupe Chá de Boldo), guitar players Marcelo Vogelaar (Holger), and Marcelo Lemos (Vruumm, Projeto Coisa Fina), and keyboardist Andre Bruni (Mel Azul, Cupin). The artwork is by illustrator and designer Walter Rego.
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2LP
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VAMPI 178LP
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Double LP version. Welcome to the second Vampisoul set of trouvailles from the Supraphon vaults, a series of compilations that the label launched in 2016 under the title Czech Up! (VAMPI 167CD/LP). It's a concept that the label had in mind ever since they began their collaboration with Supraphon over ten years ago, but that wasn't initially possible to accomplish due to -- luckily temporary -- licensing restrictions. In the meantime, just as Supraphon is steadily progressing with revalidating their immense back catalog, the label is now able to move along with them, picking up their cherries as they keep popping up on the notional surface. The Supraphon label was established in the early 1950s in former Czechoslovakia and has been continuously active ever since. While it's always been highly esteemed by music connoisseurs for its excellent classical music releases, Supraphon's pop, rock, and jazz music catalog, although comprising around 60,000 unique tracks, remains for the most part a big unknown to the international audience. Today it also incorporates the complete back catalog of Panton, another Czechoslovak label launched in 1967 that operated independently until the late 1990s. On Czech Up! Vol. 2, Vampisoul again present an array of astounding songs from the otherwise inglorious decade of political and social gloom in Czechoslovakia, a decade that actually started shortly after the invasion of the Warsaw Pact armies in 1968. Here's your chance to meet up with some eccentric fools, wry sarcasm, fountains of cognition, lovers approaching, lovers leaving, faunal fables, bizarre beings, wizardly seasons, ordinary oddities, unearthly gardens, morbid dreams, pretense obedience, melancholy windscapes, wishful thinking, exotic jungles, and eerie ravines. So whether you're hanging loose, shaking a leg, sampling some of this'n'that, or just opening your mind and ears widely, here's 22 more tracks that won't let you down while you're czeching up. Includes detailed liner notes by Lukás Machata. Features Olympic, Hana Ulrychová, Mahagon, Framus Five, Apollobeat, Beatings, Valerie Cizmárová, Gustav Brom Orchestra, The Blue Effect, SHQ, Metronom, Synkopy 61, Jazz Q, Vulkán, George & Beatovens, Flamengo, Eva Pilarová, Flamingo, The Soulmen, Barnodaj, Hana Zagorová, and Karel Cernoch.
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