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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7"
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VAMPI 45077EP
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$12.50
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RELEASE DATE: 3/5/2021
Few melodies have been played so many times on radio, moviesm or TV commercials as these two compositions from the golden age of mainstream disco music. Top international hits and iconic milestones of an era, both songs are immediately recognizable after just a few chords by almost anyone on this planet. These two compelling tropical versions retain all the party spirit of the originals, guaranteeing some dancefloor heat each time the needle hits the surface of the vinyl. A perfect follow-up to the acclaimed previous singles in Vampisoul's "Tropical 45s series" that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. In the rendition of Rod Stewart's "Da Ya Think I'm Sexy" you find a playful mix of the old and the modern made by Pedro "Ramayá" Beltrán, signed under his project La Cumbia Moderna de Soledad; a group from Barranquilla, Colombia, that recorded a set of songs that exudes both tradition and innovation. Machuca Cumbia, a Colombian studio band under the direction of "Cachaco" Brando, add some unexpected cumbia arrangements to the Bee Gees' "Stayin' Alive", resulting a dancefloor winner full of hypnotic percussions and guitars that, at times, even recall other genres such as surf.
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7"
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VAMPI 45076EP
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$12.50
PREORDER
RELEASE DATE: 3/5/2021
Singer and pianist, Marie Knight made her name as a gospel superstar recording for Decca in duet with the legendary Sister Rosetta Tharpe. Her first solo record for Decca arrived in the mid '50s, just a couple of years before her signing to Mercury. She later toured with rhythm and blues acts like the Drifters, Clyde McPhatter and Brook Benton. Three singles followed on Diamond in 1963/64 before she was signed to Musicor Records later in '64. Her definitive non-religious song "That's No Way To Treat A Girl", crafted in this period, failed to become a hit at the time but was the recording that would make her name with the Northern Soul fans in the UK many years later, standing as one of the most celebrated spins at the Wigan Casino all-nighters. The slow-paced ballad on the flip-side, "Say It Again", is a beautiful deep soul song that echoes the gospel singing Knight had mastered over the years. After her deal with Musicor ended, she was unable to land another secular recording contract. "That's No Way To Treat A Girl" is officially reissued here with "Say It Again" on the flip for the first time, as originally released.
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LP
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VAMPI 220LP
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$26.50
PREORDER
RELEASE DATE: 2/19/2021
One of the "holy grails" of 1960s Cuban music was not recorded, produced, or released in Havana or New York; in fact it was made in Lima, Peru under interesting if somewhat unexpected circumstances. Pianist Alfredo "Alfredito" Valdés Jr. (1941, Havana - 2016, New York), one of the most important figures in Latin music, came from an illustrious musical family in Cuba. In 1956, he emigrated to New York with his family, making him one of the forerunners of Cuban-based salsa music in the US. Three years later at age 18, Alfredito joined Arsenio Rodríguez and his conjunto; then in 1961 Ray Barretto recruited him for his Charanga La Moderna. Alfredito kept himself very busy, studying music and literature during the day and playing at night with the bands of Tito Puente and Machito as well as Arsenio and Barretto. Alfredito become substitute pianist for Machito and His Afro-Cubans for a tour that would take him to Colombia and Peru for a number of engagements in the winter of 1964 and into 1965. While in Lima, several problems arose with the Argentine businessman and tour promoter Mauricio Támara who took the Machito gang to the Peruvian capital but forfeited their pay and left them stranded. Machito's brother-in-law and musical director Mario Bauzá had to travel to New York to get money for the return of the entire company. Miguel Ángel Guerrero, sound engineer and proprietor of Discos MAG, with whom he made a deal for some recording sessions, which eventually produced two albums, the first of which was Gozando. Perhaps due to the fact that it was recorded in South America, Gozando!! has more than simply Cuban and Nuyorican genres like pachanga, mambo, descarga, guaracha, and bolero; there is also a fantastic cover of the Colombian cumbia classic "Tabaquera". Overall, the swinging MAG sessions sound like a long-lost record by Cachao and Tito Puente if they led an orchestra with Charlie Palmieri on piano and Tito Rodríguez on vocals. Ultimately the Afro-Cubans were able to pay their bills and return to the United States in February, 1965. Though the Al Valdez y su Conjunto sessions for MAG may have been enjoyed by a few South American and Mexican aficionados at the time, the scarcity and obscurity of the releases insured that they would become "legendary lost records" rarely heard until recently, when the MAG vaults were opened and the reissues started to flow. facsimile edition.
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7"
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VAMPI 45074EP
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$14.50
PREORDER
RELEASE DATE: 2/12/2021
Silvano Moro was an Italian musician resettled in Germany where he'd been playing under different jazz projects since the early '70s. In 1975 he joined Brasil Tropical -- a musical show under the direction of José Prates -- where he met singer Salomé de Bahia. At some point they decided to put together a Brazilian music band and after recruiting some more members started a tour across Europe. In 1979 they were offered to play a concert at the Munich Cathedral for the opening mass of MISEREOR -- a charity organization, linked to the Catholic Church in Germany, dedicated to fight the poverty in South America. The gig was such a success that the Bishop of Munich approached them to produce a record with the concert's music to raise funds for the charity organization. Some years later that bishop -- named Joseph Ratzinger -- would become the Pope and the band's singer, Salomé de Bahia, would record with French producer Bob Sinclair one of the biggest hits and house music anthems in the late '90s: "Outro Lugar". Two of the best songs taken from that scarce 1979 release -- at the time distributed locally only by a tiny Christian music label -- are reissued here on a 7" single for the first time. "Procurando O Caminho" is a killer samba-jazz number championed by such influential DJs as Gilles Peterson or Rainer Trüby when it was first rediscovered for the clubbing jazz scene a couple of decades ago. It's been a highly sought-after record since then. On the flipside, "Chega Gente" brings in a rather epic atmosphere, combining the exotic sound of the berimbau and the chorus led by extraordinaire singer Salomé de Bahia, and then the samba jazz arrangements by guitarist Silvano Moro adding some extra depth and elegance to this great song. Impregnated with spiritual -- almost liturgical -- vibes this is a song of an outstanding beauty.
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7"
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VAMPI 45075EP
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$14.50
PREORDER
RELEASE DATE: 2/12/2021
The recording debut of Elia y Elizabeth (or Elisabeth, as it appears originally credited in the first edition of this single) took place in Spain. Family connections with the music industry made it possible for the sisters to have the opportunity to record with Juan Carlos Calderón, one of the most prestigious producers and arrangers in the country who had already worked with top-notch pop artists such as Joan Manuel Serrat or Mocedades. His characteristic style as a producer evidenced his classical music training and also his career in jazz. These first versions of "Fue Una Lágrima" and "Cae la Lluvia" appear full of rich and intricate orchestral arrangements, a very different approach to both songs from the tropical feel that producer Jimmy Salcedo added when they were later re-recorded for Codiscos in his native Colombia. After a modest promotional campaign that failed to launch Elia y Elizabeth's careers in Spain, and due to their father's professional commitments, the Fleta family decided to return to Colombia. The duo would record there 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, which remains as part of the most wonderful pop legacy of all time.
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LP
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VAMPI 210LP
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"Alfredito 'Sabor' Linares is a globetrotting pianist, composer, bandleader, and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century. Though Linares has come to recent international fame through his work with William 'Quantic' Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and '80s during the salsa boom. However, his career began in Lima, backing timbalero Ñico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary El Combo de Pepe album for IEMPSA/Odeon. Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label. These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as 'salsa' with roots in the Cuban guaguancó and guaracha genres. One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, El Pito, and yet by the second record, there are plenty of original tunes as well. More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations . . . That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes, and Carlos Muñoz on lead vocals and Melcochita on coro (vocal chorus). According to Linares, the studio band was 'open-ended, some musicians came some days, others on other days -- Nilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets. Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone. Another good musician was guitarist Carlos Hayre.' Though the recordings were cut 'live in the studio' and many were basically composed on the spot, the intrinsic strength and maturity of the performances on Yo Traigo Boogaloo stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela..." --Pablo E Yglesias DJ Bongohead of Peace & Rhythm
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LP
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VAMPI 224LP
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$27.50
PREORDER
RELEASE DATE: 1/22/2021
Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and "swing" combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Lo Que Tengo is full of rock solid dancefloor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios, this album has the advantage of being produced, recorded, and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia and the US, both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (1976) and then again with ¡Con Todo!/Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the "break" (la cierre) -- there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Presented in its original artwork and pressed on 180 gram vinyl.
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LP
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VAMPI 219LP
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$27.50
PREORDER
RELEASE DATE: 1/22/2021
Abelardo Carbonó, despite thinking "outside-the-box", recorded two brilliant albums in 1980 and '81 for Codiscos' imprint Costeño, as well as several other labels, his first being Africa llama (1978) under the band name Grupo Abharca for the Sonolux imprint Caliente in 1978. Guitarist, singer, songwriter, and one-time policeman Abelardo Carbonó (b. 1948, Ciénaga, Magdalena) hails from Baranquilla and his early work was different from his contemporaries. It was definitely not salsa, nor was it really cumbia. Rather, it was novel and genius polyglot stew of diverse musical strains with African roots but never before blended in this way. Styles like Afrobeat, soukous and highlife were effortlessly stirred together with elements of the Cuban son, touches of Latin rock and funk, with a pinch of calypso, a hint of Haitian compas and even a dash of rock and roll, not to mention a foundation of local coastal Colombian varieties like vallenato and porro. Carbonó himself has admitted that Venezuelan psychedelic Afro-rock outfit Grupo Bota was a big influence as well, and his father Abelardo Sr. was a famous porro and cumbia guitarist in Los Tigrillos. The particular blend Carbonó and his bandmates created sounded unlike anything else at the time, and is still refreshingly unique and hip today. It's as if Abelardo Carbonó Y Su Conjunto were the missing link between the 1950s pan-Caribbean acoustic guitar-led sounds of Bovea Y Sus Vallenatos and the more electronic and Africanized genres of champeta and terapia of more recent years. Joined by the crucial nucleus of his brothers Abel on lead guitar and Jafeth on bass, Carbonó's debut record Guana Tangula has a pleasingly easygoing, deceptively simple sound with a tropical, African vibe that features lilting acoustic guitars, pleasant but slightly odd vocals and snappy percussion that would change later with the addition of amplified electric guitars, drum machines, and loops. At the time it came out, it was a popular record. However, soon after he recorded his second disk for Codiscos, La Negrera Del Negrerío, things changed in Colombia due to the ascendancy of the drug cartels and "payola" was the name of the game, so Carbonó's brief chance at big label mainstream popularity lost out to huge bribes by the marijuana traffickers who wanted their preferred artists to rise to the top. Presented in its original artwork and pressed on 180 gram vinyl.
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LP
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VAMPI 218LP
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Vampisoul present a reissue of Jaime & Nair's self-titled album, originally released in 1974. Loaded with an exquisite quality, marked by all good aspects the Brazilian popular music of the '70s, and obscure as hell, the self-titled debut by the duo Jaime & Nair is a revelation of all sorts. Recorded in 1974, when the artists had just turned 22, the album was released on CID a company that -- at that same moment -- had signed other important musicians like Nana Caymmi and Emílio Santiago. Outsiders par excellence, and influenced by the Clube Da Esquina (1972) sound (a sui generis musical architecture blended by Milton Nascimento and Lô Borges in 1973), forró (a propulsive North-Eastern rhythm), samba, bossa, classical arrangements, and country-pop touches, this is an expressive album full of charm through a gesture of swing. The outstanding and largely hailed song "Sob O Mar" brings you back to a pure Brazilian soft-bossanova-beat adorned by luscious orchestral arrangements. It became a popular DJ tune for those in the know after being comped in the fantastic High Jazz series in the early 2000s, gaining this album grail status among collectors worldwide. But there is much more to it, the catchy "Névoa Seca" stars a psych-guitar, subtlety, soloing all the way through a seductive pop atmosphere while "Reino Das Pedras" has a melodic-rootsy vibe, close to a toada (a rhythmic variation of a lament), that recalls some shadows of Tom Jobim and Edu Lobo. And the delightful soft trip goes on and on, combining a dreamy lullaby vibe with subtle touches of Brazilian folk. The mind-blowing list of studio musicians present at the recording sessions includes a mix of cariocas (people from Rio de Janeiro), well know names like Wilson Das Neves, José Roberto Bertrami (from Azymuth) and Copinha, with paulistas (natives of São Paulo) from the suburbs like future luminaries as Elder Bedaque and Jorge Carvalho, making this album an even more essential addition to any serious Brazilian music collection.
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LP
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VAMPI 217LP
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"While Discos Fuentes was known for recording all sorts of interesting sounds from traditional folkloric Colombian music to the latest popular international styles, every once and a while they would put out a 'novelty' record, perhaps to exploit a passing fad, and at times the label would green-light something strange or even outlandish. Many of those left-field releases have their merits and have subsequently become collectors' items over the years. One such case is the mysterious Los Picapiedra (which translates as The Flintstones, no doubt inspired by the 1960s American sitcom cartoon show), a short-lived studio group with one album to their name, 'Kabwlú' (an unpronounceable, invented 'caveman' term that is also untranslatable, but seems to have been the 'traditional rhythm' of Los Picapiedra's 'homeland'). What is interesting about the record is that it is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist, and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects. Much like its namesake American cartoon The Flintstones, Kabwlú trades in creative anachronism, mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor that works on many different levels. For instance the title tune seems to have been inspired by the pachanga craze and recalls the vibe of Ray Barretto's massive 1962 hit, 'El Watusi', but it has a certain joyful simplicity and rock-solid underpinning that elevates it beyond mere novelty or exploitation -- and argues for its timely reissue for today's audience. The band was a studio invention that had no major significance in Medellin's live music activity. However, several of Los Picapiedra's songs were very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as 'La Hossa'." --Pablo E Yglesias (aka DJ Bongohead, Peace & Rhythm) Additional research by Luis Daniel Vega. Part of Vampisoul's reissue series of classic Fuentes LPs. Presented in its original artwork and pressed on 180 gram vinyl.
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7"
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VAMPI 45073EP
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The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth, or Pedro "Sorongo" Dos Santos. Two albums and one single would be published in the Argentine record label Trova of the recordings along with the latter. After the great acclaim of our recent reissue of their second album from those sessions, with the killer dancefloor tune "Tornei A Caminhar", Vampisoul present this perfect follow-up that includes the exclusive "Tudo É Moda", an amazing samba funk number previously only available on a rare 7" released by Trova at the time. A great club tune for discerning DJs and a delight for the dancers! On the flip, "Sorongaio" shows the connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, with some flute touches (most likely played by Danilo Caymmi). A beautiful add-on to the much-hailed Pedro Dos Santos album Krishnanda (1968) in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.
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7"
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VAMPI 45072EP
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Many music fans will remember Jimmy Salcedo due to his wonderful work as arranger and producer with the duo Elia and Elizabeth. The celebrated anthology La Onda de Elia y Elizabeth (VAMPI 160CD/LP) made half the world aware of a handful of lost pearls in Latin America's underrated pop music history. Their delicate songwriting acquired, after his treatment, a special tropical aroma that even included the funk influences received by Salcedo at that time. Jimmy Salcedo (Barranquilla, Colombia) was a talented and charismatic musician from the bohemian and jazz scene in Bogotá. After touring some time with Los Be-Bops, his first band, he founded a new group, La Onda Tres. His increasing popularity boosted after conducting a TV show of musical and comedy content: El show de Jimmy. He released with his band, La Onda Tres, a few LPs and singles on Famoso, a Codiscos sublabel, that had a limited distribution, mainly in Colombia only. Here are two songs from the mid-70s that seem to have been conceived to round off a perfect dancefloor-oriented 45. "Maraguango" is an irresistible mix of Afro-Latin percussion and catchy tropical harmonies spiced up with Moog keyboard sounds, fuzz and wah-wah guitars and even touches of Hammond, in a psychedelic funk style. On the flip, "Moogambo" is an exhilarating Moog-driven instrumental with a heavy Afro-funk rhythm that could have easily been recorded by any of the many solid Afro-American bands following the teachings of James Brown, George Clinton, or The Meters at the time. This song has never been available on a single before. Both songs are reissued here for the first time, acknowledging the undisputed genius of Jimmy Salcedo.
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LP
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VAMPI 221LP
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"At the age of 24, Juan Piña formed the eight-piece La Revelación with his brother Carlos, releasing their first album in 1975 on Discos Zeida. This self-titled debut LP of Piña with his group is something of an anomaly in his discography as subsequent albums would feature a different sound and concentrated almost exclusively on Colombian coastal Caribbean and 'sabanero' genres. Although Juan Piña's debut record never made much of a splash, it is an excellent little slice of Colombian mid-70s madness, with a very diverse sound. An interesting and joyful sounding mix of New York style salsa, Cuban son montuno, and guajira with Colombian tropical flavors, the simple, spare arrangements featured electric guitar, piano, Latin percussion, two trumpets, occasional sax, and Juan sang lead while Carlos backed him on chorus. It also sounds like Joe Arroyo may have done 'coro' chores on Juan Piña Con La Revelación (Arroyo was a very close friend of Juan and sang chorus on several Revelación albums). This album is hard to find in the original edition, but collectors in the know treasure it for its two hot salsa tunes ('Negro Con Salsa' and 'Chana', both written by famous Chocoano composer and vocalist Alfonso Córdoba 'El Brujo') as well as producer Rafael Mejia's salsa guajira 'Hogar Campesino' and the genius rendition of the Peruvian classic 'Virgines Del Sol'. A beautiful and mature sounding work for the relatively young Juan Piña and his crew, and well-worth rediscovery by today's Colombian music enthusiasts." --Pablo E Yglesias (DJ Bongohead of Peace & Rhythm) First-time reissue. Pressed on 180 gram vinyl and presented in its original artwork.
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LP
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VAMPI 216LP
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Vampisoul present the first vinyl reissue of The Silvery Boys's self-titled album, originally released in 1968. The Silvery Boys was created in 1965 in the district of Campo Grande, Rio de Janeiro, featuring a unique blend of organ, guitar, bass, drums, trumpet, and trombone. They became known as "The Famous Bandinha de Campo Grande" and released their debut album on RGE in 1967. At the end of the '60s, the sound of the garage beat and the bossa nova and samba coexisted smoothly in the repertoire of a good number of Brazilian bands. You could find playful Farfisa licks and guitar riffs combined with moving bossa rhythm drum patterns and powerful brass arrangements, groovy club tunes next to lounge mood sounds, across the track list of so many albums released at the time. That is exactly what the second album of The Silvery Boys comprises. Band members José Carlos (trombone) and Fernando Soares (guitarra) sign most of the songs on this self-titled record that also includes some versions of the Spanish famous Duo Dinámico, "Amor Amargo" and "A Recordar", as well as other international hits (Tommy James & The Shondells' "Gone, Gone, Goner"). However, "Você Balança Meu Coração" -- composed by José Messias -- is the stand-out cut here and became a much sought-after club tune after being included in the second volume of the cult compilation series High Jazz in the early '00s. A dance song so irresistible that makes the search for this elusive Brazilian album worthwhile. Original artwork and quality 180 gram pressing.
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LP
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VAMPI 215LP
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Vampisoul present a reissue of Marcos Valle's 1983 self-titled album. Valle is one of the few artists one cannot miss if one has the slightest interest in Brazilian music. Whether one's taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded an album to match. By the late '60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career did not stop there and he continued releasing amazing music over the following decades. 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 and Chicago. This LP from 1983 is the follow-up to the great Vontade De Rever Você (1981), his second album after moving back to Brazil. It shows all the music influences from his US years, especially boogie, soul and funk, and features stellar collaborators in Lincoln Olivetti, Robson Jorge, and Leon Ware. The opening track, the Brazilian boogie anthem "Estrelar," is Valle's biggest hit from the '80s and one of the most celebrated songs, making clear that what he accomplished while in LA would now make its way into Brazil. Valle pictures a beach lifestyle and summertime vibe across the entire album that describes his surfing days in Southern California. A couple of early Valle's classic songs are updated here to sit nicely next to soaring disco, killer vocal boogie numbers, and blissing instrumentals, making a well-balanced track list that satisfies both listening pleasure and dancefloor needs. This is an essential album for lovers of the work of Ware, who is the co-writer of three songs in the LP, including "Estrelar," first drafted when both artists were working together in the States and then recorded again when Valle returned to Brazil. Presented in facsimile artwork and pressed on 180g vinyl.
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2LP
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VAMPI 199LP
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Compiled by Colombian music experts Lucas Silva and Philippe Noel, Guasa, Cununo Y Marimba: Afro-Colombian Music From The Pacific Coast is a selection of Afro-Colombian music from the Pacific Coast. The Colombian Pacific coast has always been one of the most forgotten regions of Colombia: ninety percent of the population are of African descent and ten percent are indigenous peoples and mestizos. It borders Panama to the north and Ecuador to the south. It was colonized late, after several failed attempts by the Spanish who were thwarted by the impenetrable jungle and climate of the territory. Two or three centuries of slavery filled the Pacific coast with men and women who brought their musical instruments with them. In the department of Chocó in the north Pacific, African descendants reinterpreted the military drums brought in by the colonizers, creating the chirimía style. The Pacific coast is home to a wealth of musical styles: apart from the currulao and chirimía, there's a host of other genres. Meanwhile, in the city of Buenaventura, the urban center of the Pacific and the biggest port in Colombia, orchestras and bands flourished. For music from the Pacific there was a long and winding road to go down before it emerged from anonymity in a country dominated by cumbia and Caribbean beats. The music of the Colombian Pacific is one of the greatest treasures of Colombia and its African past, but not many people remember the songs recorded on anthologies, a forgotten chapter of Colombia´s musical history. This album aims to revisit these formats and recording styles so that new generations of musicians can reconnect with this heritage and these wonderful musical gems can see the light at last, as they are immortal aspects of Afro-Colombia and its culture. This compilation includes recordings by artists like: Gertrudis Bonilla, Peregoyo y su Combo Vacaná, Markitos Micolta, La Sonora del Pacífico de Cachito Vidal, Julián y Su Combo, and more in an outstanding selection of songs that covers the early '70s through the '00s. Heavy drumming combines with hypnotic vocals and the sounds of the marimba, clarinet and euphonium in this selection of Afro-Colombian music from the Pacific Coast. Also features: Gertrudis Bonilla Y Jimmy Puche, Chencho Trompeta Y Los Brujos Del Folklore, La Marucha, Los Trovadores Del Pacífico, La Contundencia, La Banda De Alexis, Conjunto Folklórico Los De La Bahía De La Cruz, Buscajá, and Bambazulú.
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VAMPI 214LP
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Vampisoul present the first vinyl reissue of Perú Negro's second album Son De Los Diablos, originally released in 1974. Peru has a rich folklore that reflects the cultural variety of its population as well as its history. Peruvian identity has been created from a mixture of traditions that includes those from the indigenous peoples of the Amazon and also those from the ancestral cultures of the Andes, the Spanish heritage and the rhythms and chants coming from its African communities. 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. Perú Negro, a dance company that also incorporated percussion combined with música criolla, celebrated and recreated black culture in Peru and they quickly became regulars at Lima's theaters in the late '60s. The lyrics and music would 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. Their international success (in 1969 they won the main award at the Festival Hispanoamericano de la Danza y la Canción in Argentina) led them to record two albums in the early '70s conducted by Ronaldo Campos, Perú Negro's founder and artistic director. Son De Los Diablos is their second LP and was released in 1974 on Virrey Records, home to the likes of Sonora Lucho Macedo, Jaime Delgado Aparicio, or Los Belking's, and a follow-up to their self-titled debut album (VAMPI 194LP). 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. Reissued on vinyl for the first time and presented in facsimile artwork.
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VAMPI 211LP
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"Hugo Macedo was a member of the first sonora in Peru, directed by his brother: the Sonora de Lucho Macedo. His brothers were the singers of the band while he performed as a timbalero. After nine years he founded the Sonora Casino of Hugo Macedo in 1964, later incorporating his wife, Lucía 'Pochita' Rivera as a vocalist. Trompeteros was released on the Peruvian record label MAG in 1972. Previously, the Sonora Casino had already recorded several albums for Philips since the mid-60s. At the time their repertoire was fed by rhythms such as cha cha cha, bolero, guaracha... Their MAG period would start in 1970 with the albumPochita y la Sonora Casino de Hugo Macedo in which Hugo Macedo's wife was granted with an important visual presence on the front cover, with a similar follow-up on Trompeteros, creating some confusion since vocalist Pachito Nalmy was the actual main singer on the record. The vocalist, who hails from Callao, demonstrates here a great vocal versatility as captured on songs like 'Guajira del amor', with a heavy rhythm that will surely delight boogaloo lovers, or the bolero number 'Pasa, pasa', being both songs own compositions of the multitalented Nalmy. Guarachas, descargas, and cumbias complete the offering of this fantastic album, one of the strongest tropical LPs in the MAG catalog. But the real banger here is the almost magical 'Astronauts to Mercury', a cosmic descarga full of electronic effects, filtered voices, and fierce guitars with wah-wah and raw distortion, closer to the sound of any psychedelic recording than the classic tropical sound of La Sonora Casino, and right next to those elements, an impressive brass section that boosts the intensity of the song to the highest levels. It is not surprising that Trompeteros has become in recent years a highly sought-after album not only by Latin music collectors but also by those after the most exotic and experimental psychedelic sounds around..." --Pablo Iglesias, aka DJ Bongohead
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VAMPI 213LP
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"The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba. and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín 'El Conde' Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo 'Sabor' Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy 'Tayrona' Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains ten bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone, and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández) and 'Matusa' (composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion-heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga, and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa..." --Pablo E Yglesias, DJ Bongohead of Peace & Rhythm Presented here in facsimile artwork and pressed on 180 gram vinyl.
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VAMPI 212LP
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Vampisoul present a reissue of Sebastião Tapajos and Pedro Dos Santos's Vol. 2, originally released in 1972 only in Argentina. The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth, or Pedro "Sorongo" Dos Santos. Two albums would be published in the Argentine record label Trova of the recordings along with the latter. In this Vol. 2, the connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, based on unusual objects such as spoons, deodorant containers, or matchboxes, creates extraordinary beauty throughout the 12 songs on the album. The sound of the flute is another of the ingredients present in several of the songs and, although his actual involvement is not confirmed on the sleeve credits of the album, everything seems to indicate that Danilo Caymmi was the musician invited to accompany the Tapajos-Dos Santos duo. Since its first release in 1972, this album has been highly sought after by all Tapajos fans, both inside and outside Brazil, becoming a title hard to get hold of due to the fact that it was initially only published in Argentina. Years later, when Brazilian rhythms were incorporated, along with jazz, to the spectrum of sounds regularly played at London clubs, by DJs such as Gilles Peterson or Paul Murphy, a renewed interest in this album arose as it includes the killer dancefloor tune "Tornei A Caminhar", an amazing samba funk number. But the general vibe of this solid album is driven by an exquisite and delicate dialogue between the guitar of Sebastião Tapajos and the rhythmic approach provided by Pedro Dos Santos that generates ambiences of unusual beauty and depth. From the personal approach to Jobim's classic "Samba Do Aviao" to the energetic and fast paced "Ganga", the album opening song, the mysterious beauty of "Rio Das Ostras" to the cinematic moods of "Ambush" (bossa meets action film music?), this Vol. 2 is absolutely wonderful from beginning to end. It is a necessary complement to the much-hailed Pedro Dos Santos album Krishnanda (1968) in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.
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VAMPI 192LP
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Welcome to the third instalment in Vampisoul's series dedicated to the original Italian library music from the vaults of Nelson Records. In this album, the label digs deeper into the most experimental recordings in the archives of Nelson Records. The label was founded in 1970 by the musicians Maurizio Majorana, Antonello Vannucchi, and Roberto Podio (who along with Carlo Pes would be known as I Marc 4), after establishing the Telecinesound studio, right where the New Italian Library Sound was created. They recorded with Armando Trovajoli, Piero Piccioni, Ennio Morricone, Piero Umiliani, Henry Mancini, and many others, and created a special sound, mixing jazz, pop, rock, and psychedelic music, to produce records aiming to be used by the programmers of the Italian RAI television. The music of Thrilling Mortale is mostly special effects, drum breaks, fast bongo rhythms, and groovy Hammond background sounds inspired by cinema noise experts who did not use any musical instruments and had only a few objects to recreate the noises of the films; from horse rides to closing gates, everything was done in the traditional way. I Marc 4, instead, would recreate those sounds with bass, guitar, drums, piano and Hammond organ. Many musicians, record producers and film directors still like, look for, rediscover and re-use for their work, and the music on these albums recorded by I Marc 4 between 1970-1976 have reached cult status among library music collectors.
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VAMPI 208CD
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Discos Fuentes, the renowned Colombian record label, home to some of the best tropical recordings ever made, turns 85 this year, becoming the longest running independent music company in the world. Their vast catalog comprises many different tropical genres, from cumbia or boogaloo to hard salsa, cumbelé or bomba, becoming an essential reference point for any Latin music aficionado. Vampisoul started the ongoing Discos Fuentes reissue series in early 2017, making some of the most solid and highly sought-after titles available again, presented in facsimile artwork and pressed on 180 gram vinyl. Many of the reissues have become instant collector items as the demand was big due to the extreme difficulties of getting hold of original clean copies and the very high prices paid for them. Vampisoul have put together a collection of 12 top dancefloor-oriented songs, as a taste of and introduction to the reissue series and as a celebration to the 85th anniversary of Discos Fuentes. It includes tracks by the likes of Fruko Y Sus Tesos, Michi Sarmiento Y Su Combo Bravo, and Lito Barrientos Y Su Orquesta, and also lesser known artists whose legendary recordings have become classic DJ spins in the tropical sound scene over the years. Also features Lisandro Meza Y Su Combo, Combo Los Yogas, Peregoyo Y Su Combo Vacaná, Adolfo Echeverría Y Su Orquesta, Pedro Laza Y Sus Pelayeros, Los Supremos, Conjunto Miramar, Tita Duval Y El Nuevo Ritmo De Bobby Rey, and Sexteto Miramar.
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VAMPI 208LP
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LP version. Discos Fuentes, the renowned Colombian record label, home to some of the best tropical recordings ever made, turns 85 this year, becoming the longest running independent music company in the world. Their vast catalog comprises many different tropical genres, from cumbia or boogaloo to hard salsa, cumbelé or bomba, becoming an essential reference point for any Latin music aficionado. Vampisoul started the ongoing Discos Fuentes reissue series in early 2017, making some of the most solid and highly sought-after titles available again, presented in facsimile artwork and pressed on 180 gram vinyl. Many of the reissues have become instant collector items as the demand was big due to the extreme difficulties of getting hold of original clean copies and the very high prices paid for them. Vampisoul have put together a collection of 12 top dancefloor-oriented songs, as a taste of and introduction to the reissue series and as a celebration to the 85th anniversary of Discos Fuentes. It includes tracks by the likes of Fruko Y Sus Tesos, Michi Sarmiento Y Su Combo Bravo, and Lito Barrientos Y Su Orquesta, and also lesser known artists whose legendary recordings have become classic DJ spins in the tropical sound scene over the years. Also features Lisandro Meza Y Su Combo, Combo Los Yogas, Peregoyo Y Su Combo Vacaná, Adolfo Echeverría Y Su Orquesta, Pedro Laza Y Sus Pelayeros, Los Supremos, Conjunto Miramar, Tita Duval Y El Nuevo Ritmo De Bobby Rey, and Sexteto Miramar.
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VAMPI 205CD
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Synth ambiences, acoustic landscapes, deep songwriting, and subtle candombe percussions combine in most of the musical output released in Uruguay during the '80s. A very unique sound was developed within the narrow boundaries of Montevideo, the country's capital city, by just a small group of very talented artists. These sounds reverberated in singer-songwriting (Eduardo Darnauchans, Fernando Cabrera, Estela Magnone), jazz fusion approximations (Hugo Fattoruso's La Escuelita), experimental music (Leo Maslíah, Hugo Jasa), and the work of musicians at the intersections of these worlds (Jaime Roos, Mariana Ingold). In América Invertida, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop. However, the overwhelming musical harvest produced by giant neighbors, Brazil and Argentina, shadowed any attempt for this scene to transcend beyond the local market. It's only now, a few decades later, when some of those records have achieved cult status among a discreet group of collectors that try hard to get hold of those titles, pressed in only tiny numbers at the time. No wonder, the timeless beauty of these songs remains in full effect while retaining the uniqueness of a sound resulting from multiple cultural encounters on the streets of Montevideo. This compilation, América Invertida, reveals part of this hidden world. It veers towards the most experimental side of Uruguayan singer-songwriting of the '80s, both from an acoustic and electronic point of view (with artists who moved between both universes) as well as towards instrumental fusion. A collaboration with Montevideo based label Little Butterfly. Compiled by Spanish DJ and collector Javi Bayo. Extensive liner notes by Uruguayan journalist and music expert Andrés Torrón. Also features Contraviento, Jaime Roos Y Estela Magnone, Eduardo Mateo, and Travesía.
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VAMPI 205LP
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LP version. Synth ambiences, acoustic landscapes, deep songwriting, and subtle candombe percussions combine in most of the musical output released in Uruguay during the '80s. A very unique sound was developed within the narrow boundaries of Montevideo, the country's capital city, by just a small group of very talented artists. These sounds reverberated in singer-songwriting (Eduardo Darnauchans, Fernando Cabrera, Estela Magnone), jazz fusion approximations (Hugo Fattoruso's La Escuelita), experimental music (Leo Maslíah, Hugo Jasa), and the work of musicians at the intersections of these worlds (Jaime Roos, Mariana Ingold). In América Invertida, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop. However, the overwhelming musical harvest produced by giant neighbors, Brazil and Argentina, shadowed any attempt for this scene to transcend beyond the local market. It's only now, a few decades later, when some of those records have achieved cult status among a discreet group of collectors that try hard to get hold of those titles, pressed in only tiny numbers at the time. No wonder, the timeless beauty of these songs remains in full effect while retaining the uniqueness of a sound resulting from multiple cultural encounters on the streets of Montevideo. This compilation, América Invertida, reveals part of this hidden world. It veers towards the most experimental side of Uruguayan singer-songwriting of the '80s, both from an acoustic and electronic point of view (with artists who moved between both universes) as well as towards instrumental fusion. A collaboration with Montevideo based label Little Butterfly. Compiled by Spanish DJ and collector Javi Bayo. Extensive liner notes by Uruguayan journalist and music expert Andrés Torrón. Also features Contraviento, Jaime Roos Y Estela Magnone, Eduardo Mateo, and Travesía.
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