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MRSSS 564LP
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Vinilisssimo present a reissue of Luiz Eça Y La Familia's La Nueva Onda del Brasil, originally released in 1970.Tamba Trio (Helcio Milito, Bebeto Castilho, and Luiz Eça) released their first LP in 1962 and quickly became one of the most popular bossa jazz combos out of Brazil. By the mid-60s the band would expand becoming Tamba 4 and Luiz Eça would record his first albums as a leader. Trained as a classical pianist, Eça's style was a mix of jazz and pop then blended into bossa resulting in a fresh and unique sound that evolved over the years towards an even more eclectic blend. La Nueva Onda del Brasil was recorded in 1970 by Luiz Eça accompanied here by La Familia Sagrada, a large group of top-notch Brazilian musicians including Joyce, Nana Vasdoncelos, Zeca do Trombone, Mauricio Maestro, Claudio Roditi... even Wilson Simonal joins the group on Jorge Ben's "Pais Tropical". The album was released years later on the tiny Mexican label RVV, run by Rogelio Villareal, also home to the very rare LPs by Primo Quinteto or Rozana in a similar vein. Villareal was the owner of the Camino Real hotels group and the RVV records were exclusively available for sale at the hotels premises, as souvenirs for visitors. The band spent some periods of time touring Mexico, performing at different Camino Real locations. The album distribution was very limited and never got a local release in their native Brazil (or anywhere else) making this LP a very sought-after record that has reached cult status among Brazilian music collectors Worldwide. La Nueva Onda del Brasil includes both standards and originals, all performed in a very free style, an outstanding mix of energetic arrangements and delicate vocal harmonies, a sort of very late and evolved bossa mixed with jazz, emphasizing the rhythmic elements with an Afrosamba twist. A samba jazz masterpiece. Facsimile artwork and remastered sound. 180 gram vinyl.
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MRSSS 563LP
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RSD 2019 release. Edy Star's debut LP, Sweet Edy (1974), is one of the key cult albums from 1970s Brazil, never reissued on vinyl until now. Still remembered by many for being one of the members of the Sociedade de Gra-ordem Kavernista, the psychedelic and vaudeville project created by Raul Seixas in 1971, Edy Star is an artist whose work has broadly covered very diverse fields: visual artist, actor, singer. In 1974, and with only two recorded singles, producer João Araújo invited him to record a full-length album, possibly excited by his participation in the Seixas project some years earlier. Edy then called upon his friendship with a large number of local talented composers and asked for songs by Gilberto Gil, Caetano Veloso, and Erasmo Carlos. When he received the song that would open the album, "Claustrofobia", a composition by Roberto and Erasmo Carlos, it was accompanied by a copy of an LP by Kool & The Gang to show what kind of rhythm should accompany it. So, despite the clearly "glam" feel that the cover of the album might suggest, the LP starts off with some astonishing funky brass arrangements that evoke very different musical parameters. The album progressively takes one through the swinging vibes of "Briguei Com Ela", the contagious rhythmic guitars of "Edyth Cooper'", the samba jazz with the signature of Caetano in "O Conteúdo", the irresistibly danceable "Super Estrela", to the fuzzy bursts in "Pro Que Der Na Telha", revealing here a piece of a festive work, sounding almost cabaret-like, as well as standing out as work of vindication at the same time, being a pioneer album in expressing gay militancy in Brazil. Despite not being one of the best-known or most sought-after titles in the record label's back catalog, Sweet Edy rivals in quality the best albums released by Som Livre during those years, including songs written by the best Brazilian composers of the time. Regrettably, Edy Star would take decades to return to the studio and release new music after many years living abroad. Featuring glam rock, funk, samba jazz and songs written by the best composers of the time, anyone looking for a Brazilian take on Marc Bolan, David Bowie, or Roxy Music will love this stunning record. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 562LP
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Vinilisssimo presents a first vinyl reissue of Luiz Melodia's Maravilhas Contemporâneas, originally released in 1976. Often overlooked, Maravilhas Contemporâneas is one of the greatest Brazilian albums of all time and one of the finest recordings released on Som Livre. To listen to Luiz Melodia singing is to understand that his music escapes any attempt at labeling. Obviously, the Brazilian music tradition is very present on this record but Melodia's rhythmic sense when using his vocal skills also brings it close to funk or jazz, an idea that is reinforced through the explosive brass arrangements that pervade the whole album. Melodia's first album, Pérola Negra (1973) had featured the outstanding arrangements of Arthur Verocai and the performance of top musicians Hyldon and Meirelles, but Maravilhas Contemporâneas stands as another essential milestone in his career and further proof of his formidable talent. One of the tracks included here, "Juventude Trasviada", was featured in the soundtrack of a popular Brazilian soap opera, Pecado Capital, boosting the artist's increasing popularity. The creative freedom and the wide range of influences managed by Melodia reach their peak in "Baby Rose", a song that evolves from cosmic psychedelia, including the sounds of the sitar, to the peaceful beauty of some kind of highly tuneful samba funk. "Questão De Posse" features fierce proggy guitars while "Veleiro Azul" adds Latin rhythms into this unique recipe, but again, it is the talented voice of Melodia what grants this recording a pass to another league. Maravilhas Contemporâneas deserves to be filed next to the finest albums by Caetano Veloso, Jorge Ben, or Gilberto Gil. This superb album combines the best of Brazil's musical tradition with jazz, funk and gentle psychedelia and is fronted by Melodia's outstanding vocal skills. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 040C-LP
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Vinilisssimo present a reissue of Vainica Doble's self-titled debut album, originally released in 1971. It can be argued that Serge Gainsbourg was a typically French artist, although his music was so personal that it would be difficult to find another similar artist in France at the time. The same could be said about Vainica Doble. They were a duo with a distinctly Spanish edge, although it is almost impossible to establish parallels between them and any other Spanish music released during the years they were active. Gloria Van Aerssen and Carmen Santonja were truly unique and their mix of folk, traditional genres and psych rock is a landmark in Spanish pop. Vainica Doble is their impossible-to-find first album, which despite extremely low sales -- it is said that the majority of the copies were destroyed by one of the investors in the Ópalo label after shipping them to Argentina -- has been highly influential for generations of pop musicians in Spain and a holy grail item for many music fans. There are plenty of reasons for this. The opening track, "Caramelo De Limón", already shows how effective their personal musical recipe can be. Fantastic vocal harmonies, unexpected arrangements, original elements brought into the song and even fierce guitars where needed (their backing band, Los Tickets, would later become Asfalto, one of the biggest hard rock bands in Spain). As the album progresses, every track is a wonderfully idiosyncratic marvel: "Dime Félix", "Roberto Querido", "Fulgencio Pimentel"? One can even find drum breaks on "Quién Le Pone El Cascabel Al Gato". The package is completed with the amazing psychedelic artwork designed by Ivan Zulueta, a cult Spanish artist whose work spanned different fields and some will remember for his film posters for Pedro Almodóvar. Includes booklet with notes by Vicente Fabuel. Presented in facsimile artwork and pressed on 180 gram vinyl. Ultra-clear vinyl; edition of 100.
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MRSSS 560LP
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Vinilisssimo present a reissue of Giampiero Boneschi's Cybernetic Circus, originally released in 1973. Giampiero Boneschi is a complete musician: he composes, arranges, directs, acts as a producer, and also plays the piano. But he is also an adventurous artist who has managed to combine his work with vocalists, jazz or even easy listening music with other highly experimental projects. His name is familiar to library music fans, and his recordings for Music Scene, CAM, or Fonit are some of the most desired pieces among collectors of pioneering electronics. In fact, Boneschi was one of the first Italian artists to use synthesizers in the early '70s. This fabulous Cybernetic Circus LP was released in 1973 on the unconventional British label Chapter 1, founded by the composer Les Reed. The album retains part of its original easy listening aspiration but fortunately it also serves to show the sound experiments of master Boneschi. This is an album for lovers of the avant-garde that will also fascinate followers of bands such as Stereolab or Broadcast, who undoubtedly fed on the work of innovators such as Boneschi. "Flea's Dance" is a dynamic song of childish vibes but simultaneously plays about with the frequencies extracted from the synthesizer, achieving surprising results. "Modulation On Theme" and "Psyco-Analysis Lesson" contain aquatic echoes generated with the Moog and filtered voices that become mere noises at the service of the composer. But Boneschi does not always take his recordings to the sonic extreme, so you also find glimpses in which his experiments coexist with friendly melodies, perfect soundtracks for a sequence of a film set on the French Riviera, "Moderato Cantabile", or even approaches to classical music, as in "Synthesizer In A Classic Quartet". Lovers of library music will find in Cybernetic Circus one of the best and most enjoyable examples of early electronic music. Presented in facsimile artwork; 180 gram vinyl.
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MRSSS 561LP
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2021 restock. Vinilisssimo present a reissue of Os Mutantes' Tudo Foi Feito Pelo Sol, originally released in 1974. Os Mutantes showed an interest in following international music trends from the very beginning of their career, when they moved away from the traditional sounds of their native Brazil in favor of psychedelia. Even its own name gives us some clues about the ever-transforming will of the band. The continuous changes characterized the group's history until its dissolution in 1978 and, as part of that evolution, they embraced progressive rock in their final albums. Tudo Foi Feito Pelo Sol was released in 1974, when Rita Lee was already focused on her solo career and Arnaldo Baptista had also left the group due to internal and personal problems. The only original member remaining, Sérgio Dias, along with bassist Liminha, who had joined the band a few years earlier but left before recording this album, were responsible for composing most of these songs. Despite the obvious differences from the original sound of Os Mutantes, this record will not disappoint the fans of the band. "Deixe Entrar Um Pouco D'água No Quintal", "Cidadão Da Terra", or "Tudo Foi Feito Pelo Sol" clearly leave aside any reference to Tropicalismo to embrace instead the hardest sounds and progressive style of groups like Deep Purple or even Iron Butterfly. The keyboardist Túlio Mourão stars in some of the most intense moments of the album, along with the energetic and fierce guitar of Sérgio Dias, who was the band's leader at the time. An example of their virtuosity is "Pitágoras", written by Mourão, where piano and guitar take you into a progressive and almost psychedelic journey with music references as diverse as jazz and flamenco. Without any doubt, this is one of the strongest songs of the entire LP. Presented in facsimile gatefold sleeve; 180 gram vinyl.
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MRSSS 040LP
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Vinilisssimo present a reissue of Vainica Doble's self-titled debut album, originally released in 1971. It can be argued that Serge Gainsbourg was a typically French artist, although his music was so personal that it would be difficult to find another similar artist in France at the time. The same could be said about Vainica Doble. They were a duo with a distinctly Spanish edge, although it is almost impossible to establish parallels between them and any other Spanish music released during the years they were active. Gloria Van Aerssen and Carmen Santonja were truly unique and their mix of folk, traditional genres and psych rock is a landmark in Spanish pop. This self-titled LP is their impossible-to-find first album, which despite extremely low sales -- it is said that the majority of the copies were destroyed by one of the investors in the Ópalo label after shipping them to Argentina -- has been highly influential for generations of pop musicians in Spain and a holy grail item for many music fans. There are plenty of reasons for this. The opening track, "Caramelo De Limón", already shows how effective their personal musical recipe can be. Fantastic vocal harmonies, unexpected arrangements, original elements brought into the song and even fierce guitars where needed (their backing band, Los Tickets, would later become Asfalto, one of the biggest hard rock bands in Spain). As the album progresses, every track is a wonderfully idiosyncratic marvel: "Dime Félix", "Roberto Querido", "Fulgencio Pimentel"... You will even find drum breaks on "Quién Le Pone El Cascabel Al Gato"! The package is completed with the amazing psychedelic artwork designed by Ivan Zulueta, a cult Spanish artist whose work spanned different fields and some will remember for his film posters for Pedro Almodóvar. Includes booklet with notes by Vicente Fabuel. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 559LP
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Vinilisssimo present a reissue of Hareton Salvanini's A Virgem De Saint Tropez, originally released in 1974. Polish film maker Zygmunt Sulistrowski pioneered the format of shooting low-budget soft porn on exotic locations. After a long list of previous works, in 1973 he directed the French-Brazilian production A Virgem de Saint Tropez, also known as "Magia Erotica"... Although the movie actually lacked magic, it did include every possible archetypical scene of the genre, and this combination of hot action in tropical surroundings, pleasant sights of Saint Tropez and frantic chases needed some proper background music. Brazilian arranger and writer Hareton Salvanini was commissioned to deliver this soundtrack and what a wonderful job he did -- no wonder he is considered by many a lesser known Arthur Verocai. But instead of multiple layers of refined strings and delicate orchestral sounds, Salvanini creates a record full of groovy guitars and percussions that could rival with the best of KPM or Chappell library LPs. "Copacabana Rock" starts with with some psychedelic vibes and then evolves into a dancefloor bomb. "Saint Tropez" is a rhythmic flute and electric piano-laden track with wah-wah guitars a plenty. There is room for some heavy tropical drumming on "Perseguiçao" and "Seios". In need of some soft bossa with dabadaba vocals -- Just check "Espairecendo", one of the most exquisite cuts on the album that sounds as if Sérgio Mendes & Brasil '66 had been produced by Verocai. While the jazzier and most experimental passages of the soundtrack belong to the wonderful "Sao Paulo". As well as its original Brazilian version (Fermata, 1974), the soundtrack was also released in Italy in small quantities shortly after. Both pressings have become collector's items over the years, just like every other Salvanini recording: his only own album called S.P. 73 (1973), the mega rare EP he made for one of his brother's theater productions or the obscure soundtrack to the film Xavana, Uma Ilha do Amor (1981). Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 558LP
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Vinilisssimo present a reissue of Hector Costita Sexteto's Impacto, originally released in 1964. By the mid-1960s, samba and bossa nova were the exotic hip sounds of the time. João Gilberto had gained international popularity by blending American jazz and samba, and Sérgio Mendes was about to reach the Billboard Top 5 a few times. Hector "Costita" Bisignani had arrived to Brazil a few years earlier from his native Argentina, where he started to play saxophone influenced by local legend Lalo Schifrin. During his first years in Brazil he would play with artists such as João Donato, Manfredo Fest, and Sérgio Mendes (as part of Sexteto Bossa Rio), and also released a solo album: O Fabuloso Hector (1962). In 1964, Costita and his sextet recorded Impacto (Fermata) in São Paulo, an explosive mix of tough jazz and Brazilian samba in equal measure, widely considered his best work. The opening track "Le Roi" alone should be enough reason for any music lover to own this beautiful record, but the entire album is absolutely amazing. The work of Tom Jobin and Vinícius de Moraes has a prominent presence on the tracklist, which also features three compositions by Hector Costita: "Impacto", "Tanganica", and "Gabriela". Horace Silver's "The Tokyo Blues" is here simply listed as "Tokio", but the performance of Costita and his sextet does not shorten any of the original brilliance of the tune, showing the strength of jazz peppered with samba and the undoubtful skills of the musicians... This album is killer. Hector Costita would later stop recording music for quite a few years, working as a sideman for many artists such as Elis Regina and Wilson Simonal and as a music teacher at CLAM, a Brazilian music school founded by Zimbo Trio. Thankfully he would return to the studio in 1981 to continue his brilliant solo career. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 042LP
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Vinilisssimo present a reissue of Pan & Regaliz's self-titled album, originally released in 1971. This is the album any record collector would have at the top of his wants list when visiting Spain. No matter if you are into prog rock, psychedelia, leftfield jazz, kraut or just looking for interesting breaks and beats, this is the record you will need. But let's face it, there are little chances of coming across an original copy of Pan & Regaliz's only album; groundbreaking quality music did not sell well in early '70s Spain. Despite the late release date (1971), the album is often compared with the early Jethro Tull recordings and their distinctive flute work and experimental blues rock sound, but there is much more to it. One of the opening tracks, "Waiting In The Monsters Garden", shows a strong psychedelic edge spiced with Eastern percussions and trippy vocals that anticipate the hazy wandering atmosphere of the entire LP (the superb "I Can Fly" could easily be confused with a West Coast acid jam and would definitely appeal to fans of The Doors). "Today It Is Raining", the longest cut on the record, is one of the most unique passages on the album and features an amazing hypnotic rhythm background that is almost crying for someone to rap on top, no wonder it was sampled by hip hop producer Madlib after hyping it as one of his favorite psych records. Unfortunately the story of Pan & Regaliz did not last long and shortly after the release of their only album on Ekipo/Dimension the band broke up, merely one year after their very first single (signed as Agua de Regaliz) saw the light. Some of the members would join other bands from Barcelona like Evolution or Jarka while the remaining ones would struggle keeping the band active for one more year. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.
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MRSSS 041LP
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Vinilisssimo present a reissue of Polonio's Bload Stations * Syntax Error, originally released in 1987. Eduardo Polonio has been one of the key names of Spanish music since the late 1960s, especially as a pioneer in the field of electroacoustic music. He was a member, with Luis de Pablo and Horacio Vaggione, of Grupo Alea Electrónica Libre (1970-1972), the first Spanish group of live electronic music; and he was one of the main figures of Barcelona's Laboratorio Phonos since 1976. He was also a founding member and president, between 1988 and 1994, of Spain's Electroacoustic Music Association. In 1994 he received the Magisterium award at the Grand Prix International de Musique Électroacoustique in Bourges, France. He is responsible for an absolutely personal body of work, without any kind of stylistic debts, which has often gone beyond the recording tape in order to establish a dialogue with physical space and other artistic creations, as testified by his numerous collaborations with sculptors, video artists, painters, experimental cinema directors, stage designers, and his own work in the field of installation art. Following Vinilissimo's reissue of Polonio's 1984 LP Acaricia la Manana (MRSSS 037LP), the label present (with Geometrik Records) Bload Stations * Syntax Error, his second solo album. It includes ten tracks composed between 1977 and 1985 and recorded at Laboratorio Phonos, Estudiomar, and Laboratorio Alea using the Minimoog, Polymoog, EMS Synthi AKS synthesizers, and the Yamaha CX5MII computer. The tracks were later mixed at the legendary Gabinete de Música Electroacústica de Cuenca. The album was conceived as a sort of suite made up of mainly short music pieces from imaginary places. It begins with a hypnotic drone number, the longest track on the entire album, just over eight minutes of wonderful guitar arpeggios played by Jose Manuel Berenguer. As the album progresses, the dreamy atmospheres and surrounding environments point out the stops of the sound trip crafted by Polonio. Occasionally, the looped passages need no more than two minutes to draw an instant as hypnotic as attractive, and the sensations that the sounds generate wander between restlessness and pleasure. Syntax Error is an astounding work that will give the listener a new perspective of the Spanish musical avant-garde in those years. An essential pieces of Spanish electronic music. Presented in facsimile artwork; 180 gram vinyl.
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MRSSS 557LP
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Vinilisssimo present the first vinyl reissue of Osmar Milito's debut album, ...E Deixa O Relógio Andar!, originally released on Som Livre in 1971. During the 90s, a walk around London's Camden Market inevitably meant listening to the music with groove that the most popular DJs had made fashionable at the time: soul jazz instrumentals and Brazilian music targeting the club dancefloors. Among all those songs that ended up becoming classics of the scene was the amazing cover version of Herbie Hancock's "Cantaloupe Island" that Osmar Milito had recorded in 1971. This song was probably the main reason that made his LP for Som Livre one of the most sought after Brazilian records by collectors from all over the world. Along with the aforementioned version of Herbie Hancock's song, this first album by piano player and arranger Osmar Milito is full of versions of Brazilian classics, from Marcos Valle to Jorge Ben or Ivan Lins. Fierce samba jazz and bossa all the way through! Note that Milito spent the first years of his career as a member of the backing band of big artists such as Elis Regina, Jorge Ben, Nara Leão... and after two years working with Sergio Mendes in the United States, he returned to Brazil and recorded his first LP. The line-up of performing artists on this album could hardly be more impressive: Quarteto Forma on the vocals, Luis Eça, Marcos Valle, Pascoal Meirelles (an amazing drummer)... and both sides of the record hide a seamless sequence of solid tune after solid tune with similar doses of instrumental and vocal tracks. Just listen to the magnificent "Garra", "Que Bandeira", or "Rita Jeep", or the sweet samba that gives its name to the record, and you will see why this LP should be up there, next to the best works of Arthur Verocai and Marcos Valle. Presented in facsimile artwork; 180 gram vinyl.
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MRSSS 556LP
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Limited restock, new lower pricing. Reissue of Djavan's debut LP, A Voz, O Violão, A Música De Djavan, one of the milestones in Brazilian music from the post-bossa nova years, originally released in 1976. MPB (Música Popular Brasileira) has often been a no-go zone among those inclined to approach Brazilian music only from a crossover perspective. That would explain why this outstanding Djavan's first album is usually overlooked by those who aim to find a pinch of acid guitars, bars of jazz improvisations or funk beats in every Brazilian record they own. A Voz, O Violão, A Música De Djavan should be a mandatory purchase for anyone with the slightest interest in Brazilian music. The beauty of the undoubted classic "Flor De Lis" alone should be encouraging enough to add this gem to any record collection, but the entire album is magnificent. Although some of the arrangements of the album may fall into the jazzier side of things and, yes, there are funky moments here and there, on this LP Djavan showcases acoustic samba music in full effect. Who has yet to hear "Maria Das Mercedes", "Para-Raio", "Muito Obrigado" for the first time will be gladly surprised by the happy and endearing melodies written by the artist and the musical sonority of his lyrics. Djavan is backed here by the magnificent flute of Altamiro Carrilho, one of the most representative "choro" musicians in Brazil, and the subtle keyboard licks played by Edson Frederico, who at the time was often performing with artists such as Maria Creuza, Sonia Santos or Jorge Ben, and had just recorded a solo album one year earlier. Decades after its original release date in 1976, "A voz, o violão, a música de Djavan" remains one of the milestones in Brazilian music from the post-bossa nova years, encompassing a wide range of traditional local sounds next to Djavan's own personal style. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 555LP
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Vinilisssimo present the first reissue of Los Yetis' self-titled album, originally released in 1966. Although many people would only think of tropical genres when discussing Colombian music or Discos Fuentes, there is much more to it than that. In the mid-60s, following the massive success of Los Teen Tops, Los Apson, or Los Rockin' Devils in the Latin world, Los Yetis were signed to Discos Fuentes as part of the bunch of new bands included on their 14 Impactos Juveniles compilation (1966), as an attempt to reach a new audience very much interested in the rock n' roll sounds imported from the States. A great promotional effort resulted in a huge success for the release and Los Yetis were soon invited to record their own debut album, this self-titled LP. As the opening track of the album starts to play, you can imagine the Colombian youth dancing with excitement to this new rock n' roll music as hard as they would dance to local rhythms. No wonder that Los Yetis' take on the Little Anthony & The Imperials hit "Shimmy Shimmy Ko Ko Bop" is at least as effective on the dancefloor as the original. Most of the album is devoted to thrilling cover versions (Beatles, Wayne Fontana & The Mindbenders, Los Brincos...), but as you approach the last grooves of the record, the wild guitars and raw vocals of "Ya No Te Aguanto Más" set the party on fire. That irresistible garage beat track is not only the standout song but also the only original by Los Yetis on the entire album. However, another local band, Los Ampex, has to be credited for playing the instruments on these recordings, as brothers Juancho and Iván Darío López and Juan Nicolás Estela, the original members, were rather a vocal trio than a skilled band. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 548LP
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Vinilisssimo present a reissue of Kannibal Komix's self-titled release. Changing the original artwork of an album in certain territories was common practice back in the day, but using different band names in different countries is definitely something else. Die Anderen may or may not ring the bell, what about Kannibal Komix or Apocalypse? Well, they are exactly the same artists. They got together in the north of Germany after meeting in a talent show called Beat-Band-Ball in 1966. Jürgen Drews met the members of Chimes Of Freedom, the winning band, and simply asked to join them as lead guitarist. Not long after, the manager renamed the group as Die Anderen and sent them to the recording studio with the great Giorgio Moroder, Ariola's in-house producer at the time, and a whole album was made. This was obviously much earlier than Moroder's Munich Sound days, so there are no traces of Italo disco gimmicks here but good portions of fuzzy guitars instead... In fact, the anthemic Kannibal Komix song "Neurotic Reaction", produced by Moroder in these sessions, deserves to be included on a garage compilation next to classics like "Try It" by The Standells... Maybe this explains why they were spotted at Hamburg's Star Club and picked by some American managers to sign a deal with Colossus Records. Their almost perfect vocal harmonies and soft psych tunes spiced with a pinch of fierce guitars made the band sound very interesting for the US market but the group needed a new name: Kannibal Komix (or Apocalypse in other territories). A second album followed but nothing really happened despite rising high expectations, and the band split by the end of 1969, almost at the same time that their second album hit the shops worldwide. While "Neurotic Reaction" would be a perfect choice for a European "nuggets" compilation, there is much more to this album than just that standout track. "Cosy Rosy" leans towards prog sounds while keeping some solid pop elements that recall the best of the British Invasion, "Elenor" is an almost perfect match between orchestral arrangements and the dramatic voice of band leader Jürgen Drews, resulting in a three minute psych-pop delight... The remaining nine tracks are further top quality examples of classic late '60s sounds, from tender moments to raw energy, always imaginatively arranged and performed. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.
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MRSSS 553LP
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Vinilisssimo present a reissue of Day Of Phoenix's debut Wide Open N-Way, originally released in 1970. Forming a rock band in Denmark in 1968 meant that albums such as Jefferson Airplane's Surrealistic Pillow (1967) or Love's Forever Changes (1967), along with the work of other US west coast bands, would most likely be a strong inspiration. Not just due to the many boundaries questioned by all these amazing records at that time, but also because of the dreams of golden sunsets in acid California that were evoked through most of this great music, which looked understandably attractive to the eyes of any young Scandinavian. Ole Prehn on guitars, Erik Stedt on piano and bass, Henrik Friis on drums, Karsten Lyng on lead guitar, and Hans Lauridsen on vocals formed Day Of Phoenix that year under the influence of the "Endless Summer", but they were also very skilled musicians looking forward to challenging the traditional three-minute song length. Wide Open N-Way is their 1970 debut album, produced by Tony Reeves (bassist in Colosseum). The band delivers an epic collection of melancholic songs (three of the five tracks on the LP clock in at past ten minutes) with extended instrumental sections that at some point seem to explore the paths of free-jazz. Nevertheless, this is not a chaotic piece of music, but a very well balanced, structured, and harmonious recording of loose psychedelic and progressive rock at its best. Day Of Phoenix fell apart after Erik Stedt died unexpectedly and an uninspired follow-up album brought about the band's dismantling. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 554LP
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Vinilisssimo present a reissue of Jean Paul "El Troglodita"'s Vudú, originally released in 1973. Enrique Tellería (aka Jean Paul) was nicknamed "El Troglodita" (The Caveman) due to his wild performances in his native Peru. Screams, extreme body shaking and, quite often, stage destruction were part of his energetic show. During the mid-to-late '60s, as his reputation as a singer increased, he took part in a few local recordings and recorded a full LP of moderate success. This would soon lead him to further opportunities in other countries such as Guatemala, Ecuador, Panama, or Mexico. Vudú was his second LP, recorded in 1972 and released on Discos MAG. The first guitar chords of the opening track, with plenty of wah wah and fuzz effects, anticipate the vibe of the entire album: hard psych meets Latin funk. However, throughout the whole record Jean Paul's singing masterfully gravitates between mellow soul moments and extremely energetic doses of wildness... In fact, the seamless brass arrangements on this album bring memories of sophisticated US soul records. The members of the amazing band Laghonia play on this album as backing musicians, resulting in a masterpiece of unorthodox Latin psych at its best. There are no fillers here, almost every track could be a serious contender for making its way onto a 45, but the standout song "Everything Is Gonna Change" alone would justify the need of having this album in any record collection. The very accomplished take on the Pop Tops original "Any Time" is also worth a mention, and so is the amazing Latin soul number "Te Amo Más", but the whole album is very solid from start to finish, and one of Peru's finest ever. Jean Paul's career would last a few more years until the mid-1970s, when his popularity started to slowly vanish. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 551LP
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Vinilisssimo present a reissue of The Walflower Complextion's self-titled debut album, originally released in 1966. Garage and beat music fans are always fond of digging deep in the vaults of Latin American '60s labels in search for obscure bands to feed their appetite for rare recordings. While most of the unearthed stuff usually consists of cover versions of hits sung in their native Spanish/Portuguese language, The Walflower Complextion is a totally different case. The members of The Walflower Complextion were actually American teenagers, children of US Government staff, attending high school in Bogotá, Colombia. Somehow they got a deal with local label Daro and released their first LP in 1966. The album shows an evident influence of the British Invasion bands, featuring four Stones covers and other classics such as "Long Tall Shorty" via The Kinks, but it is in their own originals and instrumentals where the band showcases the best of their talent. "Blue Bells", a druggy garage delight, or "Chris's B's", leaning towards early surf music, display the raw sound of this bunch of teens: beautiful vocals, psych guitars, wild drums and tambourines shaken in the background. Although they recorded two albums (only distributed locally) and even appeared on Colombian TV, the band did not last long... They broke up in June 1967 after some of the members finished high school, and little else is known about the next steps in music of Fred and Rick Sampson, Chris Kryzs, Pat Sinex, and Mark Lusk. Despite their short career, The Walflower Complextion has gained a cult status among those into Colombian bands such as Los Speakers or Los Young Beats. A must for garage collectors! Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 552LP
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Vinilisssimo present a reissue of Philwit & Pegasus's self-titled album, originally released in 1970. It may look kind of weird but the one person's name that has to be brought up here, neither played nor sung on this album. Mark Wirtz is the mastermind behind this long-forgotten concept LP released in 1970 by Chapter One Records, a one-off studio project he put together with his girlfriend at the time, Maria Feltham, who wrote most of the songs. Although the album is supposed to be driven by a common concept, its sound gravitates towards broad influences: there are fierce guitars and also soft psych passages, it gets as close to easy listening as to rock. During the '60s, Mark Wirtz was an in-house producer for EMI, working on the Studio 2 series. The next milestones in his career were "A Teenage Opera", a musical project that was never released as an entire work, and producing Tomorrow's self-titled debut LP, a psychedelic masterpiece. In 1969, Mark resigned from his post at EMI Records to return to independent production and approached Les Reed's Chapter One label for the release of his new Philwit & Pegasus project, recorded by a group of musicians that includes John Carter (The Flower Pot Men), Roger Greenaway, or Peter Lee Stirling on vocals, and Chris Spedding on guitar, among other talented artists. The album starts with "Happiness", featuring incredible vocal harmonies, followed by the outstanding "Yoyo Thoughts", a folk-pop delight, but half way through it we reach some of the strongest songs on the LP: the energetic "My What a Lovely Day It's Been", "Lonely Flower", and "Spinning Carousel", which echo The Beach Boys and Love and create an intimate yet vaporous vibe. Fans of sunshine and chamber pop coupled with memorable songwriting will be enthralled by this album. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 550LP
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Vinilisssimo present a reissue of The Village Callers' Live, originally released in 1968. Most people believe hip-hop was born in the late '70s, but after listening to what this band from East Los Angeles was recording in 1968, you will find out that the original beats and breaks were already there a decade earlier. It is not surprising that "Hector", one of the standout cuts on this LP, has been sampled by artists such as Beastie Boys, Cypress Hill, or De La Soul, and The Village Callers' take on the classic "I Don't Need No Doctor" could easily be described as an early drum & bass tune. The Village Callers were born out of a band called Marcy & The Imperials and became very popular in East Los Angeles, playing all the top venues. They brought many different sounds into the mix: jazz, soul, R&B and, of course, lots of Latin percussion. Their manager, Hector Rivera, got a record deal with Rampart's owner, Eddie Davis, that led the band to the studio for their only ever LP. The album was made up of cover tunes such as "I Heard It Through the Grapevine", João Donato's "The Frog", and several Aretha Franklin hits. "Hector", dedicated to their manager and the only original song on the album, was a very cool Latin groove that quickly gained airplay, becoming quite a hit in Los Angeles. They also recorded the first Latin rock version of "Evil Ways", ahead of Santana's, that didn't make it into the album but was released as a separate 45. Unfortunately, the recording career of The Village Callers didn't last too long after they decided to change label management and left Eddie Davis. Also, their powerful Latin sound progressively faded out as the original members were replaced by new musicians, transforming The Village Callers into a rock band. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 549LP
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Vinilisssimo present a reissue of Euphoria's self-titled debut album, originally released in 1969. Music genres are labeled for a good reason. They can be of great help when it comes to putting sounds into a few words. This terrific album is usually filed with the "sunshine" tag on it and it is hard to think of a better way to describe the dazzlingly bright songs recorded in 1969 by this American band. The core of the group was formed by Roger and Wendy, an acoustic duo that was a regular performer at New York City's Greenwich Village scene of folk clubs. Two more members, Tom Pacheco and Sharon Alexander, joined them in Euphoria during their brief existence. The band signed to Heritage Records and recorded this fantastic self-titled debut, featuring songs mostly written by Tom Pacheco and led vocally by Roger and Wendy. Their music was built around radiant vocal harmonies and solid arrangements, echoing artists such as The Mamas & The Papas, Free Design, and The 5th Dimension, but with a distinctive lysergic edge. "There Is Now", the opening track, is a beautiful example of the psych twist that eventually spiced up the strongest songs of the album, as is "Ride The Magic Carpet". On the other hand, "Tucson" or "You Must Forget" are dreamy folk numbers that show the band's smoother side. The catchy "Calm Down" makes you wonder about Euphoria's commercial appeal if they had been strongly backed by promotional efforts. However, by the time the LP came out in 1969, this kind of folk-pop sound had become out of fashion, and with live performances of top-selling artists such as Van Morrison, Iron Butterfly, or Sly & The Family Stone, it did not reach decent sales figures. Euphoria disbanded shortly after their only album was released and two new different projects followed, Bermuda Triangle and Pacheco & Alexander, pursuing more contemporary sounds. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.
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MRSSS 544LP
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Reduced price, last copies. Vinilisssimo present a reissue of Mutantes' Ao Vivo, originally released in 1976. Those who fell in love with Os Mutantes after listening to their Tropicália work in the late '60s, embracing both psychedelia and Brazilian music influences, should be aware that only one of the original band members, Sérgio Dias, is responsible for this late album, and when it came out the band's sound had changed enormously after almost ten years since their debut LP was released in 1968. The good news is that Ao Vivo is actually a great progressive rock record and also the first time we can see the name of Os Mutantes printed on the sleeve of a live album. The quality trademark of the band was still there despite the personnel changes over the years and the fade out of the Tropicália movement, which in many cases evolved towards the progressive genre. Ao Vivo was recorded in 1976 during a show at the Museum of Modern Art in Rio de Janeiro. Rita Lee and Arnaldo Baptista were not there, but the very talented Paulo de Castro, Rui Motta, and Luciano Alves had joined Dias and delivered a brilliant shot of live rock music with lots of quality keyboard solos and guitar licks. Paulo was at the time a very skillful multi-instrumentalist, so it is not surprising that he was hired as arranger and studio musician for artists such as Gerson Conrad and Zezé Motta on their 1975 LP on Som Livre. This album features 13 new songs and appears to be the last recording of Os Mutantes until the 2006 reunion show in London. An essential addition to any '70s Brazilian music collection. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 547LP
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Vinilisssimo present a first time vinyl reissue of Silverhead's self-titled debut album, originally released in 1972. You can tell a band has reached cult status when they are asked for reunion shows several decades after being dismantled. And this is exactly what happened to Silverhead, despite not gaining much commercial success during their short two-year career. They were part of the UK glam scene in the early '70s, as clearly stated through the picture on the LPs front sleeve (platform-soled boots, massive flares, and make-up), and released just two albums. The self-titled Silverhead saw the light in 1972 and is the band's first studio effort, sporting a sound that lays somewhere in between late The Who and the original heavy rock. "Ace Supreme", one of the strongest tracks on the LP, perfectly shows their devotion for furious guitars, stories of bikers and energetic vocals, while the opening track, "Long Legged Lisa", reveals some solid foundations in blues music, obviously mixed with the expected glam sounds. There is also room for very inspired melodic songs like "Johnny" or the very Rolling Stones-esque "In Your Eyes", one of the highlights of this brilliant album. Although Silverhead was a confessed source of inspiration for many UK bands in the 80s, they only managed to release two full studio albums before the group disbanded in 1974 and its members took different paths in the following years... Michael Des Barres was the front-man but most people will remember him for his work on several films and TV series, mainly as an actor for playing Murdoc on the television show MacGyver. The other group members would later join bands such as Blondie or play for artists like Robert Plant. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.
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MRSSS 542LP
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Vinilisssimo present Maypole's self-titled debut, originally released in 1971. You have probably heard this story before: a great album gets released by the time the label folds and the few copies distributed end up in the dollar bins. Then, a few decades later, some connoisseurs realize what a great record that album was and it becomes collectable and sought after overnight. This is exactly what happened in 1971 when Demian Bell and Paul Welsh saw their debut album as Maypole released on Colossus at the worst possible time... The band was formed in Baltimore, Maryland in late 1969 and they named it Maypole, as in the Nathaniel Hawthorne story, as a symbol of freethinking they also aimed to represent. Their sound has been compared to bands like Cream, Iron Butterfly, or Led Zeppelin, and the similarities between Demian Bell's guitar skills and Hendrix playing have also been remarked upon. The bluesy hard psych vibes on their only US single Show Me That Way/Johnny (1971) certainly back those comparisons. Strong melodies and some nice group harmonies are the other magical ingredients that help making this album an amazing piece of hard rock music. Maypole soon gained media attention and a promo tour followed, including live appearances on national TV shows, the problem was they had no company behind their album. The band relocated to Holland and continued playing gigs with moderate success. Lifestyle excesses resulted in numerous personnel changes until the band finally dismantled in 1972, though several members briefly continued performing as The Flying Circus. Presented in facsimile artwork and pressed on 180 gram vinyl.
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MRSSS 546LP
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2021 restock, originally released for RSD 2017 release. Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. 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 luckily 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 or Chicago. Vontade De Rever Você, released in 1981, is his first album after moving back to Brazil and shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborators: Sivuca, Chicago's Peter Cetera, Robson Jorge, and even Azymuth's José Roberto Bertrami on the Rhodes. The opening track, "A Paraíba Não É Chicago", is Marcos Valle's own take on Leon Ware's "Baby Don't Stop Me", making clear that what he accomplished while in LA would now make its way into Brazil. This is an essential album for lovers of boogie. Listen to the irresistible groove of "Pecados De Amor" (Valle's own composition although previously recorded by Cristina Camargo) or "Velhos Surfistas Querendo Voar" and you will soon realize that this album is one of the most solid efforts in his entire discography. Even when the pace is kept mid-tempo, as on the closing tune "Não Pode Ser Qualquer Mulher", Valle's songs manage to shake the dancefloor with his very well achieved mix of Brazilian sounds and funky rhythms. This first ever vinyl reissue is presented in facsimile artwork and pressed on 180 gram vinyl.
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