|
|
|
|
viewing 1 To 11 of 11 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
ADC 013LP
|
A dream team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston, or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado, and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco's Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster! Featuring Rosa Morena, Marifé De Triana, Mariän Conde, Perlita De Huelva, La Polaca, La Marelu, Pastora De Algeciras, Encarnita Polo, and Sara Montiel.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 011LP
|
Flamenco Pop. Just like any other label, it is born out of the need to define in two words a series of songs that share a same stimulus. The term was coined in the late sixties on the eponymous record released by Alfonso Santisteban (Madrid, 1943-Málaga, 2013) and Rafael Ferro (1969), an easy listening wonder with a bossa nova edge that takes flamenco elements and melodies to recreate sophisticated instrumental atmospheres. Santisteban had previously produced recordings for Bambino, Lola Flores, La Polaca, or Chacho, and was a renowned soundtracks composer. His pop flamenco shows were more an environmental sound that a pop one, but the label "pop" used as a diminutive for "popular" sets a pace for imagination. Santisteban, Adolfo Waitzman and Augusto Algueró were the triumvirate of arrangers/conductors/producers who defined the genre and took it to the charts of the era. Waitzman, who married stylish singer Encarnita Polo in 1969, took his wife to the top of the charts with the single "Paco, Paco" (1969) first, and with the LP Encarnita Polo y Olé (1971) two years later -- an LP on which he mixed his love for The Beatles' Sgt. Pepper's Lonely Hearts Club Band with popular couplets ("coplas") written by Quintero-León-Quiroga, Sevilla's very own answer to Holland-Dozier-Holland at that time. He had previously produced some beat and prog-rock outfits like Canarios, Pop-Tops, or the legendary UK ex-pat band, The End. Last but not least, Algueró, who married the explosive Carmen Sevilla in 1961, who had already attempted to mold his wife's flamenco talent on the "Flamenca Ye-Yé" 45 (1965), was also a key character in the era thanks to his many soundtracks, among them the iconic Tuset Street (1968). The selection of this compilation has a bit of everything. A pack of exuberant "copla" singers presented as a folkloric mod squad: Carmen Sevilla, Encarnita Polo, Rosa Morena, Dolores Abril, Carmen Flores (Lola Flores' sister), Dolores Vargas "La Terremoto", and La Polaca. To name this line-up back in the seventies in front of a Spanish "macho" was an instant activation of his lust. Pointing out this idea today is possibly a crime of female objectification. On prosecution there will be Manolo Escobar, Juanito Valderrama, El Príncipe Gitano, El Noy, Moncho, Richart, and Los Nevada. Drop the needle, close your eyes, hear their stories -- no matter if you know the artist or not -- and try to fit it in its time (the 1970s, Franco's Spain, grey colors, austerity).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 012LP
|
Flamenco rumba fusion which in the hands of intrepid producers becomes Catalan rumba under the influence of sounds coming from Cuba and Puerto Rico in the early 1960s, rumba pop under the umbrella of the British Invasion and American pop of the late 1960s, and disco rumba with the arrival funk and disco from the USA in the mid-1970s. Everything happens thanks to a flourishing record industry located mainly in Barcelona with labels such as Belter, Discophon, or Vergara. After the death of the fascist, sanguinary dictator Paquito Franco in November 1975, the international record industry establishes in Madrid through major labels CBS, RCA, and a new fusion led by producer Jose Luis de Carlos and labeled as gipsy rock, caño roto or, in the flamenco field, especially in couplets, flamenco pop. As Oriol Farràs pointed in the previous volume (ADC 003LP, 2108), rumba moved from tablaos to discotheques, understanding the concept of discotheque at that time with a slightly different meaning and less conditioned style-wise. The selection on offer here complements volume one. Starting with an A side packed with floor fillers, with Peret's "Chavi" as the top example of gypsy funk fusion under production of Josep María Bardagí and Josep "Rabbit Rumba" Cunill, and four examples of the answer to that sound as produced by Jose Luis de Carlos, showing the four cardinal points of this fusion success: Las Grecas, Los Chorbos, El Luis, and Chango. De Carlos transforms the sound of Madrid's flamenco artists spicing it with soul, rock, glam, dub, funk, disco, and gospel. These five opening tunes alone could feed a whole scholar course on the possibilities of rumba fusion and its incredible dance potential. Back to the record. There are not only examples of Afro-American flavored fusions. Progressive rock and Anglo-American psychedelia of the seventies are also influences represented here. They started a path that would later be known as "rock progresivo andalúz" (Andalusian progressive rock) with a crowded band scene and a hardcore hash impregnated following. But before reaching that point, here are some early efforts on side B. Synth-fueled rumba with Canterbury sound inspired electric guitars. A sound that, as it happened with rumba funk and flamenco pop, also had its moment of glory with the arrival of bands and solo artists such as Triana, Gualberto, Smash, Storm, or Medina Azahara, or even the more blues-rock oriented Pata Negra. Also features Dolores Vargas "La Terremoto", Bambino, Tony El Gitano, Mundo Gitano, Tonino Y Sus Rumberos, Los Troncos, Los De La Trocha, Morucha, Paco Paco.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 009LP
|
The third installment of Adarce Records Instrumental Gems compilations is out, focused on discovering treasures of instrumental music recorded in Spain during the '60s and '70s. Those were years when a significant number of orchestras and dance ensembles proliferated in Spain, most of which barely managed to press their songs on vinyl, but if you look deeper into the catalog of small labels of the time or self-released singles, you find pieces of undoubted quality. Many did not have a commercial course since the orchestras used them basically on a promotional level to get concerts or generate copyright, and it is for this reason that they are so hard to find for collectors of the genre. Most authors opted for pasodoble, swing, groove and Spanish soul, being bossa nova a genre less used in their compositions. The purpose of this compilation is to highlight a hidden treasure among those wonderful EPs, instrumental jewels that drink from the simplicity of bossa, to flirt with hotter rhythms close to Latin jazz, an explosive mix hidden in the 14 cuts of the LP. Features Ramón Gil, Orquesta Mario Sellés, Dany Roy And His Band, Nick Wilson, Conjunto Nueva Onda, Rafael Martínez, Lorca-Saboya, Orquesta Tamba 8, Red-Key, Unidades, Conjunto: Olivino, Elipse, Play Boys, and Antonio Barco.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 010LP
|
Adarce Records presents the reissue of Clásicos Con Ritmo by Paco Ros. Originally released in 1978 on Discos Maller, still sounds as special and out of time as when it was released; a strange album that has become one of the most sought-after jewels -- and most hard to find -- for lovers of Spanish groove. Clásicos Con Ritmo offers a mix of sounds that range from a kind of analog pre-Balearic to something similar to library music, passing through a slow cadence groove based on sinuous layers of Hammond organ, Fender pianos, vibraphones and xylophones. During the 11 songs on the album, Paco Ros revisits his life trajectory through memories: his Valencian childhood in Godella, his professional beginnings in Madrid and his musical adventures as a backing band, his return to Valencia -- where he would form Los 4 Ros, then simply the Ros -- to finally take refuge in his Mallorcan retreat, cradled between party rooms, hotel discotheques and endless sunrises, moved as always by his infinite love for music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 006LP
|
This compilation features the rarest and unknown instrumental tracks of that funky groove early sound. Light music along with wind section and keyboard ready to hit the dancefloor, that might be called Spanish-grooves. Composers, musicians, and arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc. During the '70s, an important number of orchestras and dance bands popped up in Spain but not many of them released their own songs or covers on vinyl, so it can't be said that the country's music library has bulky volumes, rather it's just the opposite. You have to dig deep in the catalog of obscure record labels to find some quality pieces, which Adarce Records will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge, and easy listening, and a usual mix of light music with wind section and keyboards, something like "Spanish-soul" or "rhythm'n'blues-pasodoble". It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits. Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music. This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by DJs and disco music collectors, eager for soul, groove, and hot sounds. Vol. 1 features Gregorio García Segura, Los Brandis Con María Nevada, Lin Barto, Blas And His Friends, Jorge Enrique, Roberto Serrano, Rafael Martínez, Orquesta A. Latorre, Orquesta Miramar, Conjunto Nueva Onda, Ramón Gil, Mesie Bató, Red-Key, and Unidades. Edition of 500 (numbered).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 007LP
|
This compilation features the rarest and unknown instrumental tracks of that funky groove early sound. Light music along with wind section and keyboard ready to hit the dancefloor, that might be called Spanish-grooves. Composers, musicians, and arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc. During the '70s, an important number of orchestras and dance bands popped up in Spain but not many of them released their own songs or covers on vinyl, so it can't be said that the country's music library has bulky volumes, rather it's just the opposite. You have to dig deep in the catalog of obscure record labels to find some quality pieces, which Adarce Records will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge, and easy listening, and a usual mix of light music with wind section and keyboards, something like "Spanish-soul" or "rhythm'n'blues-pasodoble". It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits. Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that's why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music. This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by DJs and disco music collectors, eager for soul, groove, and hot sounds. Vol. 2 features Red-Key, Ray Martin, J. Tenafly, Nick Wilson, Blas And His Friends, Conjunto Olivino, El Conjunto De Rafael Martínez, Conjunto Nueva Onda, Greg. Segura Y Su Orquesta, Jorge Enrique, Orquesta Miramar, Dany Roy And His Band, Sarr Incony, and Mesie Bató.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 004LP
|
Mid last century: Commercial music is a machine that generates dances that run each other over in the urge to reach the audiences and mark their place in time and history. A never-ending list of choreographies co-habit: hully gully, madison, rock, limbo, twist, and a long etcetera, until a new dance, bossa nova takes over the dancefloors. Joao Gilberto, Tom Jobim, or Vinicius de Moraes reach stardom in Brazil with this mix of samba and jazz, but the genre doesn't explode internationally until a few American jazzmen decide to import it. From there it reaches Europe, via France, thanks to Sacha Distel, the first on the continent to record an EP completely dedicated to this phenomenon. It is 1962: Shortly after in Spain, the number of artists including original or adapted tracks in their albums, escalate: Tony Vilaplana, Mina, Duo Dinámico, Latin Combo, Los 4 Brujos, Gina Baró, Grau Carol, Salomé, or Marisol, who popularizes the new trend by recording Marisol rumbo a Río (1963), a blockbuster film partially filmed in Brazil. The maestro Augusto Algueró writes the film's soundtrack. For this compilation, Adarce Records have consciously dug into the archives of three Barcelona based labels like Belter, Discophon, and Olympo to serve Spanish-sung bossa nova songs that have never, inexplicably, been released on vinyl, all songs are recorded during those two (musically speaking) prodigious decades: the twentieth century's '60s and '70s. Features Paula, Salomé, Cocky Mazzetti, Elsa Baeza, La Nueva Generación, Bruno Lomas, Seison Show, Antonio González, Antonio Prieto, Los 3 Sudamericanos, Los Aguacates, Hermanas Benítez, Los Millonarios, and Richard Y Sus Bambucos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 003LP
|
Naino! Spanish Gipsy Soul Funk Disco, 1974-1984 is a compilation dedicated to the fusion of black music and gipsy music created during the last century in Spain. Adarce Records mainly focus on a breakthrough movement that was started by "rumberos" and "flamencos" by mixing soul, funk, and disco, reaching its maximum splendor in the late seventies. By mixing these genres, all unashamedly executed, musicians were able to explore new sounds and discover links between these two well-known musical traditions, so distant and yet so close. For this compilation, Adarce Records have chosen fourteen of the best songs, all recorded during those times and released between 1974 and 1984. The Spanish interest in soul goes back to the sixties and, fundamentally began with the arrival of Motown and Atlantic records. Stevie Wonder, James Brown, Bee Gees, Barry White, Isaac Hayes, Boney M., Earth Wind & Fire, and many more were released in the 1970s. Enlightened by this music, a group of "flamencos" and "rumberos" started to perform soul, funk and disco in their own way, creating a genuine and unrepeatable musical phenomenon. The aim with this compilation is to illustrate this journey from "calé" music to black music. To do so, Adarce Records have selected tracks released by Belter, DB Belter, Discophon, and Olympo, showing the different stems of this amazing phenomenon. With this fusion, you get danceable music that culminates the passage from tablao to the club. This is evidenced by the fact that several of the songs in this compilation were previously selected for albums like Flamenco Discoteque Vol.2 (Olympo, 1975) or Rumba Pop Discoteca (Belter, 1977). 13 of the 14 tracks on this compilation were released between 1974 and 1980. Features Marian Conde, Juan Bautista, Los Maravilla, Dolores Vargas, Paca Y Manuela, Chele, Lola Flores, Perlita De Huelva, Morena Y Clara, Trigal, Las Deblas, Rumba Tres, Tobago, and Chipén. Remastered from the original tapes (Revox). Liner notes by Oriol Farràs.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 001LP
|
Adarce Records present a reissue of Enterprise's first self-titled album, originally released in 1977. Behind the Enterprise band is the artist Josep Llobell Oliver. Musician, sound engineer, mixer, producer, and fan of a fantastic musical world, found in his own albums and in an extensive gallery of contributions with various national artists. For years, singers and groups, most from the renowned label Belter, have been successful -- due in part to this master's arrangements. In 1975, he was commissioned by the label's artistic director to produce a studio album with a hefty budget. It was his first company and he named it after the intergalactic ship Enterprise. He assigned the bands logo (inspired by the musical group Chicago) to a friend-musician and selected the tracks: Barry White, Chick Corea, the everlasting Beatles, sonidos calientes, and other well-known hits. All the songs were played by Llobell along with the labels other musicians, all on payroll thanks to Belter: Javier Cubedo, Enrique Tudela, Gabriel Martinez, Kitflus, Ricard Roda, and many others gave their best on a magnificent first album that would be followed by three more -- one per year -- all including original compositions by the group, along with international hits by Garcia Segura, Santisteban, Calderón, Pepe Nieto, José Solà, Manolo Gas, Adolfo Waitzman, Algueró, Ramón Farrán, Miguel Ramos, Albert Peter, Jaume Cristau, Josep Llobell, and many others with published albums in the '70s. Remastered reissue includes pictures and liner notes by Dr. Vinilo (Madmua Records).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ADC 002LP
|
Adarce Records present a reissue of Enterprise's second self-titled album, originally released in 1978. Behind the Enterprise band is the Spanish artist Josep Llobell Oliver. In 1975, he was commissioned by the label's artistic director to produce a studio album with a hefty budget. It was his first company and he named it after the intergalactic ship Enterprise. He assigned the bands logo (inspired by the musical group Chicago) to a friend-musician and selected the tracks: Barry White, Chick Corea, the everlasting Beatles, sonidos calientes, and other well-known hits. All the songs were played by Llobell along with the labels other musicians, all on payroll thanks to Belter: Javier Cubedo, Enrique Tudela, Gabriel Martinez, Kitflus, Ricard Roda, and many others gave their best on a magnificent first album that would be followed by three more -- one per year -- all including original compositions by the group, along with international hits by Garcia Segura, Santisteban, Calderón, Pepe Nieto, José Solà, Manolo Gas, Adolfo Waitzman, Algueró, Ramón Farrán, Miguel Ramos, Albert Peter, Jaume Cristau, Josep Llobell, and many others with published albums in the '70s. Josep has been inexhaustible, for many years he has influenced the career of soloists and bands, modernizing their sound: Manolo Escobar, Peret, Junco, arrangements and productions for Marfil, Bachelli, Ana Reverte, even great artists from "La Movida" and rock music like Burning or El Último de la Fila. Remastered reissue includes pictures and liner notes by Dr. Vinilo (Madmua Records).
|
|
|
|