'Soogie' (1969) was Willie Rodríguez’s first album for Mary Lou Records. Mary Lou Records, at that time, was also one of the labels in the right place at the right time, just before Fania smashed almost all the competition.

The album is mostly comprised of guaguancós, boleros, and improvised-space-filling descargas (jam sessions). This is remarkable, as it hardly includes boogaloo, which was still prevalent during those years, yet already on the way out. According to Bobby Marín, its musical director “we didn't call it salsa at the time; it had no name. It was mambo or música movida, they used to call it on the radio.”

The first tune, ‘My Dog Soogie,’ which provides the title for the recording, is a playful guaracha about a dog. The following track is the wildly popular ‘La Puerta del Dolor.’ ‘El Chivo’ (the goat) is a spicy guaracha, which changes into a son montuno-guajira. ‘Grande’ is a guaguancó, followed by ‘Los Callos de Dolores,’ also a delightful guaguancó. Then comes the ballad ‘Porque yo te Amo,’ a monster hit of the sixties by popular Argentine singer Sandro. Next we have ‘Al Compás del Güiro,’ a guaguancó, with the delicious chorus that goes “cómo va, cómo va, cómo va, mi güiro cómo va.” ‘Paul's Thing’ is an instrumental guaguancó, with engrossing sax solos. Finally, we have the smashing, extended descarga ‘Salsa con Willie Rodríguez.’ We are now happy to reissue this rare and in-demand 1969 salsa gem after decades unavailable!

TRACK LISTING

1. My Dog Soogie
2. La Puerta Del Dolor
3. El Chivo
4. Grande
5. Los Callos De Dolores
6. Porque Yo Te Amo
7. Al Compás Del Guiro
8. Paul’s Thing
9. Salsa Con Willie Rodríguez

Perujazz was founded in 1984 by former members of Peruvian bands like Traffic Sound, Los Mad’s, Perú Negro... Inspired by jazz fusion from the 70s, they mixed cajón drums and Afro-Peruvian, Andean and jungle sounds with jazz, rock and funk in a powerful blend full of groove and psychedelia.

'En vivo 2023 Gira Europea' portraits the essence of their 2023 European tour, allowing the listeners to immerse themselves in its vibrations, its applause, its spirit. Music, sweat, and elation flowed as the band gave their all, transmitting their energy with every note.

TRACK LISTING

1. Salón De Baile
2. King Kong
3. Homenaje A Chocolate
4. Sueños Festejos
5. Funk Andino
6. Marinera Perujazz
7. Cumbiando
8. Desierto Del Alma
9. Don Amador
10. Chincha Saudita

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of 'Vibrations' by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, 'Vibrations' stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

TRACK LISTING

1. DOMELO (GIVE IT TO ME)
2. BABY I NEED YOUR LOVE
3. HIGHER
4. THE MEMORY
5. COME OUT AND PLAY
6. BETTER DAYS
7. SEARCHING
8. ONE SWEET LOVE TO REMEMBER
9. VIBRATIONS
10. MOVING, GROOVING
11. BABY YOU GIVE ME A FEELING 

Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. His legacy represents a creative pinnacle of tropical music and has influenced countless artists. In 1965, he joined the line-up of artists on Discos Fuentes’ payroll.

After some years releasing music on different labels, Landero returned to Discos Fuentes in 1979 with the album 'Bailando cumbia'. The two cumbias included on this 45 have been taken from this rare and never-reissued LP. They became popular rebajadas (slowed down cumbias) in the Mexican sonidero scene and have not been previously available on 45.

TRACK LISTING

1. Bailando Cumbia
2. El Gallo Moro

This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs. First vinyl reissue in over 50 years! Pressed on 180g vinyl.

In the early 1970s, Roy Ayers formed his own band: Roy Ayers Ubiquity. Its lineup included artists well known to funk and soul fans such as Bernard Purdie, James Mason, and Edwin Birdsong.

This 1973 album presents Roy Ayers in the midst of a creative evolution toward a sound increasingly influenced by soul and funk, moving beyond the early phase of his musical career, which was more rooted in orthodox jazz.

On “Red Black & Green”, he teams up with highly accomplished collaborators such as keyboardist Harry Whitaker, arranger and producer William S. Fischer, and Strata-East musicians Charles Tolliver and Sonny Fortune. Here, however, the latter two do not venture into the spiritual jazz sounds so characteristic of their own recordings; instead, together they embrace a sophisticated funk groove where Ayers showcases his extraordinary vibraphone talent.

The album includes outstanding versions of ‘Ain’t No Sunshine’ and ‘Day Dreaming,’ as well as original compositions such as ‘Cocoa Butter,’ ‘Rhythms of Your Mind,’ and the superb title track, ‘Red Black & Green.’

After years out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Pressed on 180g vinyl.

TRACK LISTING

1. Ain't No Sunshine
2. Henceforth
3. Day Dreaming
4. Red Black & Green
5. Cocoa Butter
6. Rhythms Of Your Mind
7. Papa Was A Rolling Stone

Jorge Ben is someone who needs no introduction. Since his first hits in the early 60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems ‘Mais Que Nada’ or ‘Pais Tropical’ are among two of the most ever listened Brazilian songs of all time.Ben’s self-titled 1969 album is a true samba-soul masterpiece from one of Brazil’s most creative voices. This isn’t your typical late-’60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. 

'Amor y libertad' (1981) is the LP recorded by an erotic disco project fronted by actress and model Susana Estrada, with Josep Llobell (Oliver’s Planet, Enterprise…) serving as the visionary producer working behind the scenes. From this album, Vampisoul has selected two of its finest tracks to be reissued for the first time on 7-inch format.

On ‘Mi chico favorito,’ Susana Estrada’s sensual voice rides over a musical backing clearly inspired by ‘Good Times’ by Chic, likely via ‘Rapper’s Delight’ by The Sugarhill Gang, making it just as irresistible. On the B-side, ‘¡Quítate el sostén!’ is a funky disco-rap anthem packed with feminist statements.

TRACK LISTING

1. Mi Chico Favorito
2. ¡Quitate El Sosten

Joe Bataan’s Ghetto Records released Joe Acosta’s 'The Power of Love' LP in 1971. Puerto Rico born Joe Acosta was committed to pursuing a career in salsa and Latin jazz, with piano as his primary instrument. In 1969, Acosta started his first real band, Joe Acosta And His Empresarios, with whom he recorded a self-titled LP.

By 1970-71, Acosta was getting more gigs, playing dances three or four nights a week at popular venues. It wasn't long before manager and booking agent Richie Bonilla signed him to his talent agency and secured a contract for Acosta to record 'The Power of Love' on Ghetto Records.

'The Power of Love' was an apt title: The album is about a range of amorous emotions, from obsession to disillusion, new romance to breakups, lust to affection. Though an English-language title and romantic ballads sung in English were a somewhat odd choice for a hard salsa LP from El Barrio, recorded during a period in which Latinos were rediscovering their sociocultural roots, these were conscious creative decisions by Acosta that have stood the test of time.. It is now beloved among both salsa dura fans for the tough uptempo numbers and with the lowrider "souldies" crowd for its sweet and slow Latin soul track ‘I Need Her.’ There are a number of funky mid-tempo son montunos, as well as three super hard guaguancos— enough variety to make for a solid dancing-and listening experience.

TRACK LISTING

1. I Need Her
2. Bendita Ilusión
3. Una Traición
4. Amor Perdido
5. Juliana
6. Phoenix
7. La Bendición
8. La Realidad

Ghetto Records was Joe Bataan’s way to get over on The Man and out of the hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. 'From Ear to Ear' (1971) by La Fantástica was one of them.

Orquesta La Fantástica was led by tenor saxophonist, vocalist, and composer Samuel "Sammy" León, who hailed from Brooklyn. His 11-piece orchestra of local musicians featured a rather unique sound, which combined piano and vibraphone with a brass section of two tenor saxophones and a pair of trumpets. They were signed to Ghetto Records by Bataan’s business partner George Febo after being blown away by both the band and the overwhelming reaction of the crowd at the Village Gate.

La Fantástica had all original tunes, with modern arrangements and a típico feel. Most importantly, they were fortunate to have vocalist Rafael "Ralphy" De Jesús, aka Chuleta and 'From Ear To Ear' greatly benefited from his contributions.

'From Ear To Ear' is composed exclusively of heavy-hitters, including the beguiling English-language psychedelic soul slow-burner ‘Latin Blues.’ ‘Con Quién Andas,’ a hot salsa banger beloved by DJs and collectors alike, features killer saxophone and trumpet riffs with an interplay worthy of Puente or Machito.

Though ‘Ya No Te Quiero’ and ‘Telegrama’ are breakup songs, they function as swinging dance floor ass-shakers with heavy percussion breaks and crazy horn riffs. The band's origins as an instrumental outfit are further displayed by a couple of vocal-free workouts that close out the album: ‘M&M,’ a guaguancó rumba jam session dedicated to the band's discoverer, Maisonave, and ‘Sassie,’ a Latin jazz suite that flies through a number of captivating sections with different rhythms, tempos, and arrangements.

One aspect of the release that has inspired discussion and conjecture is its psychedelic album art. It was designed by an employee at Sanabria's design studio, Charlie Rosario. They wanted something more colorful and hip that would grab the public's attention. Rosario’s surrealistic illustration, with its disembodied ears, rainbows and multi-colored female head floating amongst the clouds, was perfect!

Vampisoul are now reissuing 'From Ear to Ear' once again thanks to their collaboration with Now-Again Records and includes an insert with liner notes.

TRACK LISTING

1. Borinquen
2. Con Quien Andas
3. Latin Blues
4. Ya No Te Quiero
5. Negrita Mia
6. Telegrama
7. M & M
8. Sassie

‘Spacing Out’ is an instrumental funk masterpiece only ever issued in Bermuda at the turn of 1970, taken from an exceedingly rare album sought out by rock, funk, soul and hip hop sample fiends – and bootlegged – for decades. On the flip we find ‘Latin Lips’ a heavy funk cut with a jazzier vibe, also taken from the mega rare LP by The Invaders.

Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for peacock and back beat records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. “Free As You Wanna Be”, his first album with his band The Lightmen, predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East: This album is a harbinger of the collective voice of resistance to the musical and cultural status quo that emerged in the 1970s jazz underground.

Tim Maia’s self-titled 1973 album is one of those records that hits you from the very first groove and doesn’t let go. Originally released on Polydor Brazil, this was the fourth in a series of Tim’s self-titled albums—and many fans and critics still consider it the crown jewel. Packed with irresistible hooks, lush arrangements, and that unmistakable Tim Maia swagger, the album captures the singer at the peak of his creative powers.

If you’re new to Tim Maia, here’s the quick story: born in Rio de Janeiro, Tim was a larger-than-life icon whose music married American soul and funk with Brazilian samba and pop long before “fusion” was a buzzword. A true musical polymath, he absorbed everything from Curtis Mayfield to Motown and translated it into a sound entirely his own—gritty, passionate, and full of groove. He didn’t just introduce soul to Brazil; he made it Brazilian.

On this 1973 release, Tim pushes everything up a notch. The arrangements are bigger, slicker, and surprisingly majestic, without losing the raw spirit that earned him a devoted following. From the moment ‘Réu Confesso’ opens the album, you know you’re in for something special—smooth, funky, and heartfelt in all the right ways. The bittersweet ‘Gostava Tanto de Você’ remains one of his most beloved classics, while ‘O Balanço’ bursts with Brazilian flavor that practically dares you not to move. And with tracks like ‘Do Your Thing, Behave Yourself’ and ‘Over Again,’ Tim shows just how naturally the soul idiom fit him, even when he switched to English.

This record has everything: deep grooves, soaring strings, magnetic vocals, and that unmistakable sense of joy that Tim Maia carried into every session. It’s a front-to-back winner—one of those albums that deserves a spot not just in Brazilian music history, but in any collection that celebrates great soul, funk, and timeless grooves.

If you’re a longtime fan, it’s a reminder of why Tim Maia is legendary. If you’re discovering him for the first time, this is the perfect place to start. Either way: press play, turn it up, and let Tim do his thing.

TRACK LISTING

1. Réu Confesso
2. Compadre
3. Over Again
4. Até Que Enfim Encontrei Você
5. O Balanço
6. New Love
7. Do Your Thing, Behave Yourself
8. GoStava Tanto De Você
9. MúsiCa No Ar
10. A Paz Do Meu Mundo É Você
11. PrecisO Ser Amado
12. Amores

Roberto y su Nuevo Montuno recorded their first album, 'El Nuevo Montuno Llegó' (1970), when Roberto Berríos was just 22 years old. This was also the debut release on Haddock’s own Uniart label.

Berríos remembers that they did the recording in two sessions, splitting it up into four tracks per visit. The engineer was the famed Pedro “Pedrito” Henríquez, who recorded El Gran Combo, Roberto Roena and many others. The band had a mix of tasty, powerful originals, from Tony Cintrón’s title track that announced the band had arrived, ‘El Nuevo Montuno Llegó,’ to Quique Dávila’s mournful ‘Triste Arrabal.’ Then there was the hit Santería themed tune, ‘Llamé a Changó,’ which was a song that Quique Dávila brought to the band, but had been originally composed by Carlos Pinto, though Quique was given the credit. Dávila also composed ‘Me Queda Un Guaguancó,’ which is Roberto’s favorite song on the record (as well as a fan favorite), with Papo sounding like his friend Héctor Lavoe, and Quique Dávila’s proud manifesto declaring that Puerto Rico now had its own son montuno, ‘Oye Tu Son, Borinquen,’ featuring the pianist’s tasty but brief solo.

The cover versions came from the group’s earliest period when most of their repertoire consisted of renditions of beloved but lesser known tunes, and include Louie Ramírez’s ‘Balancéate’ (a favorite of Roberto’s from Ray Barretto’s songbook), Bobby Valentín’s ‘Monina y Ramón’ (recorded during his stint with Willie Rosario), and a bolero indelibly sung by Cheo Feliciano when he was with the Joe Cuba Sextet, ‘Dichoso,’ written by Joe Cuba’s talented pianist, Nick Jiménez. Some of the arranging was done by Cintrón and some by Dávila, though Quique had some help from his old friend from El Combo Moderno, Freddie Miranda, who at that time was with Roberto Roena’s Apollo Sound. Roberto says that the arrangements of the cover tunes were made specifically to be different and more contemporary sounding than the originals.

'El Nuevo Montuno Llegó' has become a legendary salsa dura classic from Puerto Rico and we are thrilled to present this first legitimately licensed and remastered vinyl reissue. It includes detailed liner notes that reveal the untold story of the band and their debut album, and rare photos.

TRACK LISTING

1. EL NUEVO MONTUNO LLEGÓ
2. LLAMÉ A CHANGÓ
3. MONINA Y RAMÓN
4. BALANCÉATE
5. TRISTE ARRABAL
6. ME QUEDA UN GUAGUANCÓ
7. DICHOSO
8. OYE TU SON, BORINQUEN 

Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with 'In a Silent Way' and 'Bitches Brew'. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

This first-time reissue brings back a vital chapter of Argentine jazz history, revealing a band that was truly ahead of the curve and still resonates powerfully today.

TRACK LISTING

1. LOBERMAN, EL HOMBRE LOBO
2. LOS EJES DE MI CARRETA
3. BLACKMAN, EL JUSTICIERO
4. EL MARQUES
5. EL PASITO DE NANO
6. ZAMBA DE MIS PAGOS
7. LA VUELTA DEL ELEFANTOR
8. ODA A BILLY JOE 

Singer and actress Fafá de Belém is one of Brazil’s most beloved and popular artists. This vinyl single from 1975 marked the very beginning of her long and successful career in Brazilian popular music and, over the years, has become a highly sought-after collector’s item among DJs worldwide.

The record features two tracks, ‘Êmoriô’ and ‘Naturalmente’, written by João Donato alongside Gilberto Gil and Caetano Veloso, originally released on his album 'Lugar Comum' that same year. Fafá de Belém’s versions, however, strip away the originals’ sophisticated arrangements in favor of a more driving groove and a raw, funky edge that makes them absolute dancefloor weapons.

After decades of eluding most collectors at a reasonable price we're excited to make this incredible single available once again. 

TRACK LISTING

1. Êmoriô
2. Naturalmente

Iquitos, one of Peru’s most remote cities and the capital of its Amazon region, was the epicenter of the psychedelic cumbia movement. Countless bands emerged from this place, each with a different fate in their musical journeys. Some rose to become international stars and flag bearers of cumbia, while others remained local legends, their fame never traveling far beyond the Amazon jungle.

Los Roger’s achieved great success in Iquitos and served as the foundation and inspiration for many local bands that emerged in the late 1960s and early 1970s. '¡Qué ardiente!' combines the best of the band’s limited discography. The recordings come from their first 45 RPM single and their two mini Long Plays for the FTA label, as well as their only elusive LP from 1971, '¡Qué ardiente!', ('How Burning!') recorded for the prestigious IEMPSA label. Their discography dives deep into Cuban-influenced sounds, where the guitar shares the spotlight with powerful percussion and—with tracks like ‘Descarga Roger’s’—with the vocals as well.

Los Roger’s came to an abrupt end just one year after the release of their LP, at the peak of their career, due to their disappointments with the music industry.

TRACK LISTING

1. GOZA CHINITA
2. CHABUCA
3. EL TELÉGRAFO
4. MAMBO EN ESPAÑA
5. LA VARITA DE CAÑA
6. PAJARO CHOHUI
7. D'CACHETITO
8. DESCARGA ROGER’S
9. COMPAY SAPO
10. LA SAIBA
11. B SON DE LOS ROGER’S 

Ángel Vásquez brought Antillean shades into the accordion tradition of a region overflowing with juglares, as the Colombian northern coast has always been. Vásquez built a monumental songbook where pachanga, charanga, son, cumbia, and even the Puerto Rican countryside, Boricua sound, played leading roles. His few recordings carried a remarkable stylistic range, making it difficult to put him into any single category—a quality that led to a style he himself called vasquesón.

In the early seventies, he released through Discos Fuentes a single that would become one of the anthems of the Barranquilla Carnival: ‘Pica pica en carnaval’, a tropical, electrifying gem with a guarachero flow so unmistakable that it’s still a staple in verbenas, neighborhood dances, and picó parties today.

'La Gustadera' comprises a muscular, rhythm-packed ride moving from pachanga to paseaito, passing through charanga, porro, son and, of course, vasquesón—a full-on celebration where the accordion leads the dance.

Here, direct lines are drawn between Colombian coastal folklore and Afro-Antillean sound. ‘Sábalo caliente’, ‘Marucha’, ‘La gustadera’, ‘Fiestas cordobesas’, ‘Los Sampayos’, ‘Chicha sabrosa’, ‘Chambacú’, ‘Pantalón caliente’, ‘El mosquito’, ‘El día que te vi’, ‘Recuerdo al viento’, ‘Se atropella el castellano’—pure joy painted with the everyday imagery of coastal life.

TRACK LISTING

1. SÁBALO CALIENTE
2. MARUCHA
3. LA GUSTADERA
4. FIESTAS CORDOBESAS
5. LOS SAMPAYOS
6. CHICHA SABROSA
7. CHAMBACÚ
8. PANTALÓN CALIENTE
9. EL MOSQUITO
10. EL DÍA QUE TE VI
11. RECUERDO AL VIENTO
12. SE ATROPELLA EL CASTELLAN 

During the sixties, especially the second half, Bobby Marín was an up-and-coming young Nuyorican who was responsible, along with his brother Richard, for producing, writing, or coordinating recordings by Louie Ramírez, Machito, The Nitty Gritty, Willie Rosario, Joe Cuba, Johnny Zamot, Kako and Azuquita, Charlie Palmieri, and others. Many of these artists were caught up in the ongoing boogaloo movement. So, it was not a surprise when Ismael Maisonave —an unsung hero of Latin music and owner of Mary Lou Records—approached Bobby with the idea of reissuing a Raphie Martínez album as a budget LP under a different name, resulting in “La Cucaracha Brass”.

The songs selected for this compilation represent a point in time when the world was getting ready for an incipient monster called salsa, which would take over for years to come. The LP includes descargas, guaguancós, guarachas, as well as the declining boogaloo.

It is a collection of recordings by different artists and was named Cucaracha Brass because at that time the group Tijuana Brass was very popular… Most of the songs were taken (six out of eight, presumably) from the LP Raphie Martínez and the National Combo 'Cool Man' (Mary Lou 1002). However, there are noticeable differences between the two albums. ‘Latin Power’ is an explosive instrumental guaracha and descarga, where the trumpet, congas, and timbales deliver powerful solos. ‘Takin’ Over’ — an instrumental boogaloo — appears as ‘We Are Taking Over’ on Raphie Martínez’s album (with a faster tempo and featuring a background voice). ‘Hey Mama,’ a boogaloo sung by Bobby Marín, is titled ‘Do It All Over’ on Martínez’s recording, featuring a different singer, different lyrics, and a different tempo.

As well as the edited versions of tracks taken from Martínez’s album, this album comprises songs taken from other Mary Lou Records releases such as Quique Rosa y La Sabrosa Orchestra (Mary Lou 1020).

TRACK LISTING

1. LATIN POWER
2. TAKIN' OVER
3. SOMETHING RIGHT
4. MUERTO DE RISA
5. PAPA NA’ MAS
6. MI GUAGUANCÓ
7. HEY, MAMA
8. LOST IN THE JUNGLE

Originally released in 1972, Toni Tornado’s self-titled debut is a landmark in Brazilian soul and funk — a gritty, groovy record that helped define the sound of the Black Rio movement. Blending deep soul, psychedelic funk, and bold orchestration, this album channels the revolutionary energy of James Brown with the tropical swagger of Rio’s streets.

From the urgent rhythms of ‘Torniente’ to the undeniable strut of ‘Mané Beleza’ and ‘Tornado,’ Toni’s music pulses with a fierce sense of pride and liberation. It's the sound of a new cultural identity taking shape — where African-American soul met Afro-Brazilian reality.

Often compared to the legendary Tim Maia, Tornado brought his own explosive edge to Brazil’s growing soul scene. By the 1970s, other Brazilian musicians, such as Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben and Gilberto Gil, began making soul records. DJs started throwing soul-only parties.

Toni Tornado’s voice carries grit and passion, his grooves hit hard, and his message is crystal clear — Black is beautiful, and the funk is real.

Back on vinyl for a new generation, this reissue is more than a collector’s gem — it’s a time capsule from an era when music moved bodies and minds. Essential listening for fans of vintage soul, global funk, and revolutionary sounds.

TRACK LISTING

1. MANÉ BELEZA
2. NÃO GRILE A MINHA CUCA
3. TORNIENTE
4. EU DUVIDO MUITO
5. SINCERIDADE
6. PODES CRER AMIZADE
7. APOSTA
8. BOCHECHUDA
9. UMA IDÉIA
10. EU TENHO UM SOM NOVO
11. TORNADO

Money Chicha, the Austin-based collective featuring members of the Grammy-winning Latin orchestras Grupo Fantasma and Brownout, unveils their third full-length album, 'Onda Esotérica'. Recorded at New Orleans’ Marigny Studios, the album deepens their signature psychedelic cumbia amazónica sound with exotic textures, vintage organ swells, and inventive reinterpretations of classics such as ‘Cumbia Arabe’.

As KUTX puts it, “Listening to Money Chicha feels a bit like taking a hit of acid, downing a couple shots of Tequila, and hopping a plane to 1960s Peru… it’s the kind of music that rewires your brain, awakens your spirit animal, and takes you places you’ve never been.” Add in some South Texas swagger and bruising Latin funk, and 'Onda Esotérica' emerges as the band’s most adventurous and transportive work to date—a kaleidoscopic journey equal parts ritual and revelation. 

TRACK LISTING

1. Ojos Rojos
2. Carnaval De Jujuy
3. Chicha Justice
4. Cherry Jubilee
5. Chingaderas Crudas
6. Toe Jam
7. Cumbia Arabe
8. Pepper 

Step into the vibrant soundscape of the 1970s with 'Change Up the Groove', a hidden gem from Roy Ayers Ubiquity’s early Polygram years. Often overlooked in favor of Ayers’ bigger hits, this soulful album is a masterclass in jazz-funk fusion, capturing the essence of Ayers’ evolving style as he bridged the gap between his jazz roots and the rhythmic snap of the '70s funk revolution.

From the very first track, Ayers’ signature vibes take center stage, shimmering with emotion and groove. The album leans heavily into instrumental richness, with standout contributions from jazz greats like the legendary Bernard Purdie on drums. Strings weave in and out subtly, enhancing Ayers’ already deep and textured arrangements.

Highlights include the undeniable funk of ‘The Boogie Back’, a breakbeat favorite for crate-diggers and DJs (sampled by the likes of NWA, 2Pac, De La Soul…), and a lush, electrified rendition of ‘Feel Like Makin’ Love’ that glows with mellow soul. The title track ‘Change Up the Groove’ delivers the kind of tightly arranged, emotionally charged funk that defined the era.

'Change Up the Groove' isn’t just an album—it’s a snapshot of Roy Ayers’ artistic evolution, full of rhythm, heart, and timeless groove. Whether you’re a longtime fan or just discovering his legacy, this record is essential listening.

TRACK LISTING

1. CHANGE UP THE GROOVE
2. SENSITIZE
3. DON’T YOU WORRY ‘BOUT A THING
4. MASH THEME
5. FIKISHA (TO HELP SOMEONE TO ARRIVE)
6. FEEL LIKE MAKIN' LOVE
7. WHEN IS REAL, REAL?
8. THE BOOGIE BACK5

Trio Mocotó is best known for being the powerhouse backing band behind Brazilian legend Jorge Ben during the height of his creative explosion in the early 1970s. But their contribution to music goes far beyond the supporting role—they were instrumental in shaping what would become known as samba funk, a vibrant fusion of traditional Brazilian rhythms with the groove and energy of American soul and funk music.

Formed in São Paulo’s iconic Jogral nightclub, Trio Mocotó—featuring Fritz Escovão, Joãozinho Parahyba, and Nereu Gargalo—began their musical journey as resident musicians, providing live accompaniment for a rotating cast of performers. It was here that Jorge Ben first encountered their raw talent and unmistakable chemistry, ultimately inviting them to join his band. The collaboration would go on to define an era.

In 1971, Trio Mocotó stepped into the spotlight with their debut solo album, 'Muita Zorra!'. The record made an immediate impact, climbing the charts with the infectious single ‘Coqueiro Verde’ and marking the start of a prolific period in the group’s career. 'Muita Zorra!' is a dazzling blend of styles—mixing the baroque funk and melodic sophistication of artists like Marcos Valle with the soulful spirit of Jorge Ben. Layered with elements of American funk, the album delivers a dynamic, rhythm-driven sound that still feels fresh today. The trio’s vocal harmonies are front and center, weaving through each track with warmth and richness, creating a captivating sonic tapestry that energizes every beat.

This album isn’t just a snapshot of a musical moment—it’s a cornerstone of Brazilian soul. A must-listen for fans of global grooves, vintage funk, and timeless Brazilian music, 'Muita Zorra!' is once again available and ready to take its well-deserved place in your collection. First time official reissue.

TRACK LISTING

1. MEU PAIS
2. XAMÊGO DE INÁ
3. O CRIOLAUTA
4. O SORRISO DE NARINHA
5. ESPERANÇA
6. MARIA DOMINGAS
7. NAGÔ
8. SÓ QUERO
9. O CANTO DA EMA
10. ALELUIA, ALELUIA (E AINDA TEM MAIS)
11. COQUEIRO VERDE

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic ‘Unwind Yourself,’ a long-time favorite for DJs and dance-floors alike.

Emerging from the dynamic world of the James Brown Revue in the late 1960s—alongside iconic names like Lyn Collins and Vicki Anderson—Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown’s King label, scoring a Top 20 R&B hit with ‘It’s My Thing.’ While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like ‘You Got to Have a Job’ and the endlessly sampled ‘Unwind Yourself’ have only grown in stature over the decades.

Her album, 'It’s My Thing', dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB’s and produced by James Brown himself—who also contributed to most of the songwriting the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront.

From the explosive opening of ‘It’s My Thing’—a bold response to the Isley Brothers’ ‘It’s Your Thing’—Marva channels sheer intensity, backed by a band that doesn’t let up. The pace briefly softens with ‘If You Love Me,’ a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like ‘Unwind Yourself.’

Decades later, 'It’s My Thing' continues to inspire, sampled by producers and treasured by collectors—a powerful snapshot of funk at its most uncompromising.

TRACK LISTING

1. It’s My Thing (pt 1)
2. It’s My Thing (pt 2)
3. Things Got To Get Better (Get Together)
4. What Kind Of Man
5. If You Love Me
6. In The MIddle
7. Unwind Yourself
8. You Got To Have A Job
9. I’ll Work It Out
10. Get Out Of My Life
11. I’m Tired, I’m Tired, I’m Tired
12. Shades Of Brown

'The Spice of Life', released in November 1969, stands as Marlena Shaw’s second—and final—studio album for Cadet Records, produced and arranged by the renowned Richard Evans and Charles Stepney.

From the opening, Shaw’s voice—both playful and powerful—cuts through the lush yet tight-knit arrangements, weaving together a vibrant tapestry of soul, proto-funk, jazz, gospel, and blues. The album features two defining classics: her deeply resonant original of ‘Woman of the Ghetto’ and a signature take on Ashford & Simpson’s ‘California Soul’, both staples in sampling culture (you'll probably find that you're more familiar with Shaw's material than you thought.)

Evans and Stepney’s arrangements are far from mere support—they’re panoramic and inventive. You’ll hear kalimba flourishes, psych-tinged guitar accents, and bongo-fueled organ textures that elevate each track, keeping the atmosphere rich but never overwhelming. Moments like the Bacharach-styled ‘Looking Through the Eyes of Love’ or the dramatic flair of ‘Stormy Monday’ showcase their widescreen sensibility and Shaw’s versatility.

Beneath its musical elegance, 'The Spice of Life' carries a weighty current of social commentary. Tracks such as ‘Woman of the Ghetto’ and the succinct, fierce ‘Liberation Conversation’ bring political and feminist themes into a soulful, expressive framework—adding unexpected depth to the sophisticated sonic palette.

This album offers an immersive journey through soul-jazz mastery, one that rewarded listeners with sampling gold for decades to come.

TRACK LISTING

1. Woman Of The Ghetto
2. Call It Stormy Monday
3. Where Can I Go
4. I'm Satisfied
5. I Wish I Knew (how It Would Feel To Be Free)
6. Liberation Conversation
7. California Soul
8. Go Away Little Boy
9. Looking Thru The Eyes Of Love
10. Anyone Can Move A Mountain

An irresistible collection of 1980s psychedelia, Afroroots and champeta by this mesmerising guitarist from Barranquilla, Colombia. Abelardo Carbonó, the godfather of champeta, is a legendary Colombian musician who reached a pioneering creative peak in the 1980s with his recordings in the city of Barranquilla. His music knows no boundaries and draws from Afrobeat, highlife, cumbia, Haitian compas, psychedelia…

The Rhythm Macine is now available again to the musical public, legitimately reissued in its original packaging. Offering up brilliant soul, haunting ballads and high-energy mid-70s funk, this tasty medley is served best in its entirety. Their self-titled and only LP, originally released in 1976, is a wild, super-groovy ride with tight band energy and a bunch of unexpected twists that keep things interesting from start to finish. At first, you might catch some Earth, Wind & Fire vibes—deep basslines, funky beats, and killer horn sections—but dig a little deeper and you’ll find something a little looser, a little cooler. Virtually impossible to find in its original edition, they are now reissuing it thanks to a collaboration with Now Again.

East of Underground was a multi-ethnic seven-piece band formed by American soldiers stationed in Germany in 1971, eager to make music and create a home away from home during their stay in Germany as the war in Vietnam was at its height. That year, the Army staged what they called "The First Annual Original Magnificent Special Forces Entertainment Showband Contest," and East of Underground were one of many groups that entered the competition. Playing a tough, enthusiastic fusion of R&B, funk and pop/rock tunes of the day (including numbers by James Brown, Curtis Mayfield, Sly & the Family Stone, and Santana), East of Underground's sound was dominated by the vocal harmonies of Bobby Blackmon, Larry Watson, and Austin Webb, accompanied by tight, concise arrangements laid down by guitarists Lewis Hitt and Gus Marquez, and the rhythm section of bassist Ronald Hall and drummer George Daniels (the latter claimed to have worked with James Brown). East of Underground won second place in the contest; one of the judges was Kurt Loder, who later became a respected rock journalist, and in a review of the show he described them as "a beautiful soul band with three exceptionally good singers." Along with the first, third, and fourth place winners, East of Underground were given studio time in the Armed Forces Radio Network's recording facility in Frankfurt, Germany as one of their prizes, and they cut an album's worth of material. East of Underground's studio session was issued as a promotional album by the Army, but it received scant distribution and quickly fell into obscurity, and after the group's members finished their military commitments, the band broke up. Many years later, the album came o the attention of the crate diggers at the magazine Wax Poetics, and in 2007 the magazine launched their affiliated record label with a reissue of East of Underground's LP. At the time, little was known about the group and its members, and Wax Poetics produced a short film (also called East of Underground) about the album and the efforts to unravel the mystery of the band. So far, guitarist Lewis Hitt is the only member of East of Underground whose whereabouts have been confirmed; he works as an ambulance pilot in Alabama and still plays guitar in his spare time.

Vampisoul are pleased to make this wonderful and highly sought-after album available again.

The recording perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by brilliant anonymous musicians. Virtually impossible to find in its original edition, Vampisoul are now reissuing it once again thanks to a collaboration with Now Again. Pressed on 180g vinyl.

Often, the most prized records by collectors hold unexpected stories. When they also feature incredibly high musical quality and only a few original copies are available, they become the holy grails of collecting. This is the case with this album.

TRACK LISTING

1. I Want To Take You Higher
2. Smiling Faces Sometimes
3. (Don’t Worry) If There’s A Hell Below, We’re All Going To Go
4. People Get Ready
5. Getting Over
6. I’ll Bet You / California Dreamin’
7. Pop Corn / Oye Como Va
8. I Love You For All Seasons
9. East Of Java
10. Walk On By

“Salsa con charanga” is really a feast for all salsa music lovers, a true jewel, which deserved much better when it originally came out in 1978. In addition to being a great salsa album, has the distinction that was released on Orfeon, a Mexican record label, due to the diligent work of the extraordinary producer Bobby Marin, and which miraculously received air play when powerhouse Fania label and few others ruled radio in the salsa music world.

It comprises eight great, solid tracks; some, new interpretations from other albums in which Mike Guagenti participated with his handsome and captivating voice - a crooner with a salsero soul -, that, at times, could remind us of the late Tito Rodríguez, and even Ray Ramos. "The Mike Guagenti album," as indicated by Marin, "is a compilation of recordings by other artists. Originally a salsa album, I brought in [Cuban] Pupi Legarreta (violin and flute) and [Panamanian] Mauricio Smith (flute) to give it a charanga sound." With the exception of the cut ‘Salsa con charanga,’ which is an instrumental, the rest feature vocals by Guagenti.

“Salsa con charanga” has developed a cult following, and finding a copy of the original could be quite expensive. Luckily, this officially licensed and restored edition will fill that void.

TRACK LISTING

Side A
1. SALSA CON CHARANGA
2. SONAREMO EL TAMBÓ
3. DELIRIO
4. LA PELUCA

Side B
1. LA PUERTA DEL DOLOR
2. A LOS MUCHACHOS DE BELÉN
3. ENSAYA CHAMACO
4. EL TIBIRI TABARA

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others.

First time reissue of one of the essential and most sought-after Venezuelan rock albums, originally released in 1970, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. This reissue includes original artwork, liner notes and exclusive photos.

Very rare Chilean album that blends folk and rock in a similar way to one of the most successful bands on IRT: Los Jaivas.

A roster of very experienced and talented musicians, including some members of Aguaturbia, was recruited for this project and this self-titled album was finally released in 1973.

Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal.

First official reissue with remastered sound from the original master tapes.