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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2LP
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VAMPI 302LP
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$37.50
PREORDER
RELEASE DATE: 9/27/2024
Those in the know are well aware of Bobby Marin's work, and the fact that he was behind the scenes for some of the best boogaloo and salsa of the '60s and '70s. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This compilation comprises 24 essential boogaloo, Latin funk, rock and afro disco gems, each one bearing the mark of quality: "A Bobby Marin Production," including songs by Ricardo Marrero, the Ghetto Brothers, Ocho, Louie Ramírez, and more. A freshly curated overview of his fascinatingly complex back catalog in these genres. Generally, when discussing the "first wave" of Latin soul and boogaloo, it's the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers behind the music? Over the years, one of the best old-school New York Latin music producers, Bobby Marin, has occasionally been given some well-deserved credit and popped up sporadically in articles or liner notes (Wax Poetics, Fania, Gladys Palmera). However, to the casual public, he is not a household name, even among some fans of boogaloo and salsa. Thankfully, those rare few who are in the know are well aware of his work, and the fact that he was behind the scenes for some of the best boogaloo and salsa of the '60s and '70s. There are even some contemporary Latin soul compilations that contain mostly material licensed, produced and/or written by Bobby, and a tip of the hat must go to Bobby's friend Dean Rudland for all his work in this area, as well as to Rocafort Records for digging up the long-lost Nitty Gritty Sextet album. This collection aims to change that and give the man his Latin soul "props" for the first time on a freshly curated overview of his fascinatingly complex back catalog in this genre. Also featuring Richie & The Ps 54 School Yard, 107th Street Stickball Team, Louie Ramírez & His Orchestra, Johnny Rodriguez & Angel René Orchestra, La Cucaracha Brass, Herbie Olivieri & The Latin Blues Band, Los Africanos, and La Crema.
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7"
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VAMPI 45106EP
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$16.00
PREORDER
RELEASE DATE: 9/27/2024
This is a thrilling double-sider, a delight for DJs because of the funky dancefloor cuts that have never been available on a 45 before. Two outstanding funky gems from Piper Pimienta and Columna de Fuego, among the most innovative Colombian artists of the '70s. Early Fruko collaborator and member of Discos Fuentes' supergroup The Latin Brothers, Piper Pimienta was a renowned salsa singer and composer (and talented dancer!). Following his Fuentes period, he released several records on Venezuela's Discomoda label. "Pensamiento" is a killer Latin funk cut that was included on the 1979 album La Fuente by Piper Pimienta y su Orquesta and has never been available on a 45 before. The flipside features one of the most innovative groups on the Colombian musical circuit in 1973: Columna de Fuego. They forged its sound by creatively and organically mixing elements of heavy rock with rhythms rooted in the music of the Pacific and Caribbean coasts and also funk and soul, keeping a fast pace from start to finish. "Iñot" is an outstanding funky gem for the dancefloor taken from their only LP.
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2LP
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VAMPI 304LP
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$37.50
PREORDER
RELEASE DATE: 8/30/2024
Amazing compilation of Litto Nebbia's recordings from 1971-1988, a magical and prolific time in the career of the Argentine artist and in the history of his record label, Discos Melopea, including different sounds, from jazz to Brazilian rhythms or experimental textures. Hip-hop artists and producers such as The Alchemist, Jay Electronica, and DJs such as Gilles Peterson have openly declared their admiration for Nebbia, generating great interest in his records among collectors around the world. This double-LP compilation comprises twenty-one recordings taken from some of his best-known albums and also rarities, tracks previously unavailable on vinyl and songs taken from his most obscure albums, the vast majority never reissued on vinyl before.
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VAMPI 300LP
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Unknown spiritual jazz gem recorded in Argentina in the '80s, under the influence of Pharoah Sanders, Don Cherry, Archie Shepp, and originally released on Litto Nebbia´s label Melopea. Already supported by Gilles Peterson on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist Marcelo Peralta resulting a very impressive ode to the legacy of Coltrane. This is the first and only album ever released by this band, Grupo de Improvisación Tercer Mundo ("Third World Improvisation Group"), formed by a quartet of young musicians based in Buenos Aires accompanied by drummer Norberto Minchillo (López Fürst, Fernando Gelbard, Jorge Navarro) and Litto Nebbia himself during the recording sessions. They would also organize weekly jam sessions in public spaces in Buenos Aires, getting visual artists, poets and even passersby involved in these communal actions that aimed to promote self-expression in an environment of total freedom. After the gigs they'd gather again for intense listening sessions of deep jazz for hours. "Almas Liberadas" and "Un Hilo de Luz" sound as a clear tribute to Pharoah Sanders, as the subtitle of the latter openly states. First time reissue. Includes extensive notes and many previously unpublished photos.
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7"
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VAMPI 45104EP
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The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy Melendez, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds), one of the best Latin funk albums ever recorded. This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The two tracks on this single, stand out songs from the LP, are a perfect representation of the Ghetto Brothers sound. "Got This Happy Feeling" is an upbeat number with heavy Latin funk grooves, while "Girl From the Mountain" is a highly addictive mid-tempo soulful ballad. These tracks are a vibrant tapestry, weaving together the raw energy of the South Bronx streets and the soulful melodies born from the band's Puerto Rican heritage.
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VAMPI 301LP
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The self-titled Orquesta Olivieri appeared in 1972, just when the Fania Records revolution, powerfully controlling the salsa business, was reaching its peak. It disappeared for good, sadly representing the last production by this band. This 1972 album reflects the years when salsa was exploding In New York City, and, for that matter, Latin America altogether. Produced by Bobby Marin, an experienced go-to man in Latin Music, especially Afro-Caribbean sounds, was released by Pavilion Records, a NYC restaurant related label. This was actually the only album ever released by this, very short-lived label. Side A opens with the slow-paced Latin soul song "There is No Other Girl," that style-wise connects to their previous LP, released when the boogaloo trend was still around. In fact, this song had been previously released two years earlier on a 45 and was then overdubbed (adding an organ on top) for this LP version. The song is very much in demand these days in the lowrider soul scene due to the breath-taking vocal harmonies and appealing production. The album also comprises spicy guaguancós on "Cuando llegué a Borinquen," the classic "Los Muchachos de Belén" and "Tabaritiando." There is also room for a cha-cha-chá, "María Isabel," and a guaracha "Perrito sabueso," and the album closes with the Latin soul ballad "Preferí perderte," interpreted in Spanish. First time official reissue.
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VAMPI 299LP
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Guaracheros was released on MAG, in Peru, at the end of 1961 and includes six versions, four of them are of Cuban origin, and also original compositions masterfully performed by Nelson Ferreyra's Sonora. Nelson Ferreyra's career went from strength to strength, and was publicly recognized as an international figure of tropical music. This album is a brilliant reflection of MAG's tagline: "Si su fiesta le fracasa, discos MAG faltan en casa" ("If your party flops, you're missing MAG records at home"). First time reissue. The records Nelson Ferreya recorded at the MAG studios display his passion for Cuban music and particularly for guaracha, accompanied by the pianist Cano Romero, a personal friend who had played with him from the early days of his career, and would go on to find his own orchestra some years later. Kiko Hernández, the lead singer, joined Ferreyra in almost all his future projects, until his early death in the seventies. Few countries outside Cuba embraced Guaracha as enthusiastically as Peru. Pancho Acosta, Króffer Jiménez, Oswaldo Barreto, and Nelson Ferreyra himself kept the genre alive with their compositions in the sixties and, in the following decade, several of the classics of the Peruvian cumbia movement are really guarachas composed in different parts of the country. "Guaracheros" (Kiko Hernández and Pablo Villanueva) opens the LP, a highly crafted composition by Cano Romero. Maintaining the dance level, two songs by Nelson Ferreyra follow: "Con cencerro y timbal" and "Fiesta en el aire." The references to Venezuela in the lyrics are not accidental, as the LP was also distributed there, where it sold very well. Nelson Ferreyra's career went from strength to strength, and he went on to tour Panama, Chile and Ecuador. In the latter, he was publicly recognized as an international figure of tropical music.
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2LP
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VAMPI 298LP
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A selection of 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. After digging deep into the overwhelming archive of Discos Fuentes in the previous volume, this second instalment in the series Cumbia Cumbia Cumbia!!! comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Legally established on July 1, 1950, Zeida (later Codiscos) was one of the companies that consolidated Medellín as the epicenter of the Colombian recording industry in the central decade of the last century. Cumbia Cumbia Cumbia!!! combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. Featuring Los Hermanos Martelo, Los Trotamundos, Antonio León Y Su Conjunto, Antolín Y Su Combo Orense, Francisco Zapata, Crescencio Salcedo, Sonidos De Gamero, Los Teen Agers, Miguel Villalba Y Su Conjunto, Calixto Ochoa, Alfredo Gutiérrez Y Los Caporales Del Magdalena, El Michi Y Su Combo Bravo, Los Graduados, Gabriel Mesa, Adolfo Pacheco Y Su Conjunto, El Conjunto Miramar, El Combo Cienaguero, La Sonora Universitaria, Orquesta De Marcial Marchena, Rita Fernández, Jaime Llano González, Los Arko, Aniceto Molina Y Su Conjunto, Los Bobby Soxers, Catalino Y Su Combo Negro, La Cumbia Moderna De Soledad, Alejandro Bernal, and Grupo La Droga.
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LP
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VAMPI 297LP
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Brooklyn Sounds legendary 1971 debut album, full of heavy Nuyorican underground salsa dura propelled by raw trombones and in-your-face percussion, born of the barrio streets and the band's Caribbean heritage. Fully authorized by producer Bobby Marin, with liner notes detailing the Brooklyn Sounds story, featuring never-before seen photos and pressed on 180g vinyl. In the bustling rhythm-filled streets of 1970s New York, where the Latin music scene pulsated with energy, one clandestine project emerged from the shadows to become a hidden gem of raw, unfiltered musical brilliance -- the legendary Brooklyn Sounds! album. Crafted by the audacious Bobby Marin, a maestro with an appetite for risk, this masterpiece is not just an album; it's a sonic rebellion that echoes the untamed spirit of the city. The iconic album cover, a creation of the visionary Charlie Rosario, is a testament to the band's urban roots. A stark, black-and-white photograph of a snow-clad fire escape, rendered with high contrast, encapsulates the hard realities of the city that birthed Brooklyn Sounds' unmistakable sound. It's not just an album cover; it's a visual manifesto, a slice of New York's gritty soul frozen in time. As the reels rolled in the studio, capturing the essence of guaguancó, son montuno, bomba, and Latin soul, the band's music spoke to the streets, telling tales of broken romance, Santería, Puerto Rican roots, and the unbridled revelry of the city that never sleeps. The recording exuded a savage, smoggy vibe, full of heavy Nuyorican underground salsa dura propelled by raw trombones and in-your-face percussion. Released under the audacious Salsa Records -- a name that turned heads and raised eyebrows -- Brooklyn Sounds! broke free from the mold, refusing to be confined by mainstream expectations. The LP became a sought-after treasure, transcending its low-budget origins. This hidden jewel, with its relentless rhythms and untamed spirit, never succumbed to the airwaves controlled by the big labels. It's a rebellion against the establishment, a testament to the band's refusal to conform. While Brooklyn Sounds may not have soared to mainstream heights, its impact echoes through collector circles worldwide, from Toronto to Tokyo, where enthusiasts crave the rare, the raw, and the rebellious. So, dive into the infectious beats, feel the authenticity pulsating through every track, and let Brooklyn Sounds! take you on a journey back to the untamed streets of 1970s New York.
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7"
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VAMPI 45103EP
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This 7" single features two outstanding cumbias published on MAG in the '60s that have never been available on a 45 release before. Dance floor oriented tropical music at its best! MAG has been, since its foundation in 1953, a pivotal label in Peruvian music, allowing the development of the careers of both tropical artists and musicians of other genres such as rock, pop and jazz. At the head was Don Manuel Antonio Guerrero, its founder, and the name of the record company is nothing more than an acronym formed from its own name. (M.A.G.). Carlos Pickling was a legendary MAG artist who led the orchestra that accompanied Benny del Solar, Lita Branda, and Melcochitain the tropicalized version of Spanish rumba, when the beats of Iberian rumba were still exotic in South America, and he also played countless cumbias, mambos and guarachas. The distinctive sound of his Hammond organ can be heard on this recording, "Cumbia Morena," as it became his signature sound. Los Demonios de Corocochay were one of the first Andean cumbia bands in Peru and sported a unique sound spiced up with the textures of a playful organ, as can be heard on this superb "Cumbia en Dominante."
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LP
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VAMPI 296LP
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In the few years that the Disperú record label was operative, it managed to open its doors to emerging artists, who were often ignored by the major labels but would go on to leave their mark on Peruvian popular music. In 1967, Disperú commissioned trumpeter Toño Reyes to form a band he called Toño y sus Sicodélicos. During the recording sessions for this album, they performed a series of songs that reflected the latest tropical music trends, in his inimitable style. Instrumentals such as "Mr. Boogaloo", "El Guayacol", "La Anticuchera", "La Peinadora", and "La Fiesta es Mañana" are versions that follow the lines traced by the Mexican composer and drummer Leo Acosta. In the early sixties, based in Los Angeles, Acosta played with the orchestras of Harry James, Sammy Davis Jr, Tony Bennett, Herb Alpert, and Dámaso Pérez Prado. Mid-decade, Acosta turned to the novel sounds of boogaloo, which immediately caught the attention of young South Americans. The song "Borinque Bella" is another cover version, originally recorded by The TNT Band, based in New York. Another noteworthy influence on the album is the blind Venezuelan organist Tulio Enrique León, who performed cumbias and guarachas enhanced by his Hammond organ, as is the case of "Chin Chin". Songs in vogue at the time complete the album. The best known is perhaps "Es la lluvia que cae", popularized in Spanish in 1967 by Los Iracundos. "Tequila" and "No te bote", by The Champs and Sonora Matancera, respectively, were also classics on Lima's radio stations. "Las hojas secas", by the Mexicans Los Zignos, was so popular that it was even covered by Peruvian rock groups such as Los Steivos and Los 007. The success reaped by Toño y sus Sicodélicos took them straight to another record company, and the group's records were also re-released in neighboring countries, always with striking psychedelic cover illustrations. First time reissue. Includes original striking psychedelic artwork and remastered sound.
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7"
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VAMPIC 45003EP
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Back in 2004, Vampisoul played a role in the return to recording of the legendary Joe Bataan, which fully materialized in the lauded 2005 album Call My Name, written and produced by Daniel Collás. But first came out the preview 45 Chick-A-Boom/Cycles of You, which quickly became a DJ favorite and guaranteed dancefloor filler, long out of print until now. Hear Collás explain how it all happened: "This whole project grew out of a song called 'Cycles of You', which I had written around 2000-2001 with the guitarist and bassist of my band at the time, Easy. The chord progression and vocal melody really reminded me of Bataan, and it occurred to me that it wouldn't be impossible to get him into the studio to do a guest vocal if we ever recorded it. I had met Bataan a few years before at a small, family-reunion style show at the Nuyorican Poets Cafe in my neighborhood, where he not only still sounded great, but was also gracious and easy to talk to. By the time we got around to recording with Easy, the band was about to break up but we still had the studio booked. We all agreed that we didn't want to continue as a band, but at the same time, it would be a shame to never record what we had been working on. Around this time Bataan was playing out again, so I went to the show to see him and find out if he'd be interested in doing some vocals with us. He was agreeable, so we decided to turn it into a Joe Bataan session and do 'Cycles of You'. The funny thing is, 'Chick A Boom', a live favorite with Easy, was hastily added so we could have a B-side, but it ended up chosen to be the A-side of the single." Red vinyl.
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7"
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VAMPI 45082C-EP
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Traffic Sound's "Meshkalina" is a song with references to Incan culture which was heard all over Peru when released in 1969. It combined psychedelia, a hint of progressive hard rock and a Latin tinge. It became an anthem of its time and was covered by Paco Zambrano y Su Combo shortly after, resulting an explosive Latin dancefloor hit! Currently in high demand in the psych/garage collectors' scene and played out in all major events by top psych DJs, this 7" comprises both versions for the first time. A perfect DJ tool! It's hard to choose between the two recordings of the huge psych-Latin anthem "Meshkalina" that were released in Peru in 1969.
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VAMPIC 45077-2
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Splatter color vinyl version. Few melodies have been played so many times on radio, movies, 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 and Sebastiao Tapajos/Pedro Dos Santos. In the rendition of Rod Stewart's "Da Ya Think I'm Sexy" there is 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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LP
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VAMPI 295LP
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2024 restock. The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighborhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community. Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds). This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music. Power-Fuerza is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage. Embrace the timeless resonance of the Ghetto Brothers' Power-Fuerza, one of the best Latin funk albums ever recorded.
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VAMPI 290LP
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Mega rare soundtrack to the obscure Venezuelan sexploitation film Sobre la Hierba... Virgen originally released in 1976 and almost impossible to find in any condition. The album includes a wide variety of music to enjoy, from thrilling psychedelic jazz-funk to spacey experimental tracks, killer drum-breaks or romantic instrumental tunes. Composer and keyboard player Pablo Schneider had an outstanding body of work for the TV/film industry and recorded with the likes of Baby Bell, Grupo Syma, Vytas Brenner as well as huge mainstream artists like José Luis Rodríguez and Pecos Kanvas. He was also producer to Phirpo Y Sus Caribes's highly collectable only LP, a brilliant Afro-Latin funk masterpiece. His much sought-after 1975 solo album on Polydor anticipated the sounds comprised on Sobre la Hierba... Virgen, featuring a variety of exotic arrangements ranging from Latin mood to jazz funk to electronic psychedelic. Sobre la Hierba... Virgen is one of the best recordings of Pablo Schneider at the peak of his career.
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VAMPI 45101EP
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Peru enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain's, and Los York's, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music genres, as Peruvian bands kept an eye on the groundbreaking British and US artists. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career. In 1971 Traffic Sound recorded La Camita where their Latin influences overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabás, they started to show a growing interest in disco music, resulting in some line-up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on "La Camita" was released in 1978 and adds a modern twist to the original song, becoming decades later a winner spin at the most discerning dance floors worldwide. Latin party music in all its glory!
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VAMPI 294LP
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The guitarist Francisco "Pancho" Acosta Angeles (1946) played a significant role in spreading love for Cuban rhythms across Peru, those sunshine beats breaking through the cloudiness that hangs over Lima most of the year, as the city bears a closer resemblance weather wise to London than to Havana. In 1967, after making a name for himself with his six-stringed skill, he made his vinyl debut with Compay Quinto. Shortly after Pancho left Company Quinto, he joined Los Kintos. When Los Kintos disbanded, Pancho Acosta swiftly moved on to his next project for MAG: the Cuarteto Yemayá, formed by tumba drummer and singer Miguel Montoya, bassist Máximo Pecho and timba drummer José Luis Fiallega, all under Pancho's direction and arrangements. The quartet's debut album, Ecos del Trio Matamoros, was a tribute to the Cuban trio of the title and comprised cover versions as well as a couple of their own songs. This is the quartet's second LP, recorded between July and August 1971. El Tic Tac contains mostly Peruvian songs. The foreign versions on the album include the classic "Compay Gallo," written by Miguel Matamoros; "Toribio carambola" and "El Tic Tac," from the repertoire of the Cuban Trio Servando Diaz; and "Sandunguéate," best known in Celia Cruz's version. "Oye Mi Son" and "Oye Mi Guitarra" were composed by the album's lead vocalist, Miguel Montoya. Percussionist Jorge Mariazza (Los Pachas, Manzanita y su Conjunto) co-wrote "Descarga Yemayá" with Pancho, which features outstanding conga and timbales playing. Pancho also composed tracks on his own: "Me Voy a Monsefú," "Mi Provinciana," "Yo Me Voy de Aquí" and "Flaca y Fea," the latter with a Beatle-like intro where his Japanese electric guitar reaches vertiginous heights (he never used sound effects in his recordings). Cuarteto Yemayá released one more album for MAG. In 1973 Los Kintos reformed, with the addition of the bass, percussionist and guitarist from Cuarteto Yemayá. Pancho Acosta has continued his career as a composer and arranger to this day.
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VAMPI 291LP
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It is perhaps apropos that Queenie Marie Lyons's best known song is titled "See And Don't See." For all the acclaim that song has accrued, and all the times it has been compiled, reissued and bootlegged, Queenie herself has somehow remained unseen. How did a singer from Ashtabula, Ohio record one of the great female-led soul albums and then simply fall off the map, never to record or perform again? While on tour with James Brown for only a month or so, when the group reached Cincinnati in mid-'68 she entered the King Records studio there to record what would become Soul Fever. The songs were a combination of covers, some of which she'd been doing in her live shows, like "Fever" and "Try Me," and originals written by producer Henry Glover and pianist Don Pullen, who was the bandleader on the session. The album opener, "See And Don't See," was also recorded by the veteran R&B singer Maxine Brown, but Queenie's version blows hers away. Soul Fever is a supremely funky and soulful affair, with Queenie's powerful and captivating voice magnetically attractive, with an urgency that is impossible to ignore. "Your Thing Ain't No Good Without My Thing," "Your Key Don't Fit It Anymore," and "I Don't Want Nobody To Have It But You" are as funky and soulful as the best of Tina Turner and Aretha -- a statement not to be made lightly! The album was critically acclaimed -- the October 10, 1970, issue of Billboard listed it as their sole "four star" pick in the soul category -- but perhaps due to the tumult at Starday-King, whose stewardship had turned over several times in only a few years, it never seemed to be able to break through to a larger audience.
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LP
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VAMPI 292LP
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Hard salsa with rocking tropical electric guitar. Príncipe y Su Sexteto, from Caracas, Venezuela, were early pioneers of "salsa con guitarra eléctrica" (salsa with electric guitar), a subset of the salsa genre where the electric guitar is the main melodic rhythm instrument, often taking the spotlight in place of the piano and brass section. They were the perfect combination arriving at the right moment, when salsa spontaneously emerged as a new musical movement coming from working-class youth of the barrios in Caracas. Príncipe's 1967 debut album, featuring powerful Afro-Latin rhythms like guaguancó and pachanga played with youthful exuberance and originality. Truly unique sound from the dawn of salsa in Venezuela. All the compositions are original to the band, and hold up really well more than 50 years later. Though the arrangements and playing are deceptively simple, the effect is both mesmerizing and energizing, like early rock and roll fed through a Caribbean filter. This first-time reissue has been remastered directly from the original tapes and licensed from Discomoda; it has also been augmented by three smoking bonus tracks that were never released during Príncipe y Su Sexteto's existence as a band. Features in-depth liner notes and augmented by three smoking bonus tracks. 180g vinyl.
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LP
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VAMPI 288LP
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El Clan Antillano was an obscure, short-lived salsa group started in 1975 by singer Jacky "El Caballo" Carazo, originally from Cartagena, and radio host/song composer Mike Char, from Barranquilla. This is their first album and was recorded with local studio musicians. It's been said that most on the first album were from Fruko Y Sus Tesos (the voice of Joe Arroyo can be heard on coro) as well as others involved with various groups like La Protesta (de Colombia) and Juan Piña's La Revelación. Three bonus tracks have been added to the album as it was originally very short. Interestingly, there were four songs from two 45 singles cut by the band that were never included on either long play. While the ephemeral El Clan Antillano may not be as well-known as the groups it's related to, namely El Afrocombo and Fruko Y Sus Tesos, it certainly deserves credit as a worthy participant in the historical evolution of salsa colombiana. First time reissue. 180g vinyl.
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7"
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VAMPI 45100EP
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Our series of tropical 45s aimed to shake up the dance floors presents two incredible versions of one of the best songs ever composed by maestro Tito Puente: Guayaba. In the late 1950s, rock'n roll shook the foundations of music in Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo followed this trend, even many years later. In 1972 his version of "Guayaba" was published, combining elements of the emerging Chicano rock sound, popularized internationally by bands like Santana or Malo, blended with a Latin flavor loaded with elements of mambo, son montuno, boogaloo. Timbales and distorted guitars shaking hands in this very dance floor friendly version. La Logia Sarabanda would arrive all the way from Rio de la Plata but -- despite their origin -- they'd release their records exclusively in Peru and Mexico. Their only single opened with another very interesting version of "Guayaba" that highlights the sounds of fierce and psychedelic guitars while keeping the Latin essence of the original song. First time single reissue!
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2LP
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VAMPI 293LP
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The Vampisoul Chicas! are back. And for the third time. And, although collectors and connoisseurs have never stopped playing the songs by these Spanish female singers, here they are again, sounding as vibrant as they did half a century ago. Because these children of their times, the musical decades of the '60s and '70s covered by this compilation, boldly ventured into the limited spaces of freedom open to female artists back then. And they did so with attitude, in search of the right repertoire, proudly presenting new, daring personal projects often breaking away from the demure tone adopted by mainstream local female singers. And they were canny about it too. Realizing that the censors working back would just listen to the song that the record company flagged up as the listening target on the A side and not bother to flip the single over, they recorded many of their racier songs on the B side. That exciting dark side of singles, which have long tempted collectors. Lacking the freedom and visibility enjoyed today, these daring records by these female singers went as far as they could and a few managed to go beyond. The songs on this compilation tell everyday stories, narrating small socio-musical conquests revolving round the enduring theme of young love. Sass, sex, boy-girl rivalry, the defense of liberating women's fashion and, saying what women think loud and clear, all characterize these grooves. Performed in a variety of musical styles ranging from ye-yé, twist, disco, beat, popcorn, flamenco pop to Northern Soul, and, even more surprisingly, sung in an everyday, natural and self-assured tone that must have ruffled some feathers. As in previous volumes of Chicas!, this third compilation includes female singers from outside Spain but whose career, their decision to sing in Spanish or their long tours and local stays, and occasionally permanent residence, meant their albums were created, recorded or produced here in Spain. It's a winning proposition for everyone. Many of the 24 tracks are reissued for the first time, including very hard-to-find records. It includes extensive notes by Vicente Fabuel featuring all the original record sleeves and artist photos. Featuring Enterprise, Gelu, Mary Gema, Sonia, Marion, Los Antifaces, Chocolate Menta Mastik, Cecilia, Sylvia Nelson, Hermanas Ros, Suzie, María José Cantudo, Soledad Miranda, Teresa María, Los Zarmatyseis, Franciska, Marian Conde, Elvira, Dolly, Eros, Rosa Morena, Albertina Cortés, Nena Catherine, and Doris Y Rossie.
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LP
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VAMPI 287LP
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The 1973 album El Violento was the fifth full-length salsa LP led by Julio Ernesto Estrada Rincón, aka Fruko, and the second credited to Fruko Y Sus Tesos. It features Fruko's two main vocalists that took over from the first pair of Humberto "Huango" Muriel and "Píper Pimienta" Díaz, namely the beloved duo of Álvaro "Joe" Arroyo and Wilson "Saoko" Manyoma. Los Tesos were a talented "wild bunch," with Fruko holding down the bottom end on electric bass, Hernán Gutiérrez in the piano chair, the Villegas brothers on hand percussion (Jesús tickling the bongos and Fernando slapping the congas), augmented by Rafael Benítez on timbales and an ace horn section of Freddy Ferrer and Gonzálo Gómez (trombones) and Jorge Gaviria and Salvador Pasos (trumpets). The super aggressive sound comes directly from the South Bronx playbook of Willie Colón. Sonically lightening the mood somewhat, "Nadando" ("Swimming") is a bouncy tune in the "Mercy" genre (basically a hybrid of pop, funky soul, cumbia and salsa, in the style of Nelson y Sus Estrellas), gleefully sung by Joe Arroyo. The beats are complex and ever changing, with a little bit of mozambique, conga, bomba, jala jala and of course salsa thrown in for good measure. The side closes out with a brilliant, up-tempo salsa reworking of the venerable ranchera chestnut, "Tú, sólo tú." Side two explodes with the frenetic descarga jam session "Salsa na' ma," which is exactly that: nothing more than the hottest "sauce" to make the dancers go crazy. Fruko's tune is dedicated to the Latin community in New York that listens to salsa from everywhere and dances to it so fervently on the weekend. The relentless percussion propels the listener along at breakneck speed as if hurtling down the Bronx Expressway, demonstrating that Fruko y Sus Tesos have mastered the "violent" form of urban salsa that was having its transnational moment in the early 1970s. While El Violento may not be as well-known as some Fruko records, it certainly deserves a new look and should be assessed on its own merits as a very powerful, confident entry in the historical evolution of Colombian salsa dura.
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LP
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VAMPI 289LP
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Considered one of the most innovative groups on the Colombian musical circuit in 1973, Columna de Fuego forged its sound by creatively and organically mixing elements of heavy rock with rhythms rooted in the music of the Pacific and Caribbean coasts of the country. Columna de Fuego, the first Colombian rock band to tour outside South America, was the supporting act for Leonor González (La Negra Grande de Colombia) for months and featured members of Los Young Beats, Los Speakers, and Siglo Cero. Their only LP, recorded in Spain and released in Colombia only in 1974, was a turning point in the history of Colombian rock, an album full of funk, soul, cumbia and currulao that maintains a fast pace from start to finish. After unsuccessful attempts to establish themselves in Europe, the group parted ways; some members returned to Colombia and others stayed in Europe as part of La Banda Salsa, a vibrant and little mentioned chapter in the history of Latin rock. Roberto Fiorilli, the stand-out drummer of Colombian rock, returned to his native Italy. Over the following five decades, the myth of Columna de Fuego, that wonderful Bogota rock band that dared to experiment with the music of the Colombian coastline, grew. The curiosity of musicians interested in the traditional music and folklore of the coasts since the late '80s, the consequent mixture of different musical genres (modern and roots) at the end of the 20th century and the almost impossible desire of collectors to find a copy of the album or one of the band's singles, gave it the status it should always have had as a pioneer, milestone and beacon. After remaining unavailable for five decades, we are proud to now present the first-time reissue of this obscure gem with its original artwork, including an insert with notes and rare photos.
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