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

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

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 

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 

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

The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together.

After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in their previous volumes, this fourth instalment in the series 'Cumbia Cumbia Cumbia!!!' comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Discos Tropical, all of them originally released between 1960 and 1984.

Discos Tropical was a Barranquilla-based label founded in the mid-1940s by Luis Emilio Fortou Pereira, a visionary who helped define Colombian dancing habits and tastes from the previous century. Until the late '50s, most cumbias were orchestral-based. However, even though formats and styles diversified from the following decade onward, these highly popular big bands spectacularly defined the sound of Discos Tropical and livened up the most cosmopolitan dances in the major coastal cities. After the mid-'60s, the big bands gradually fell into decline, but the popular demand for tropical music did not. Facing this situation, the major record companies created smaller-format groups with one particular feature: they mixed accordion music with brass bands.

This new volume of 'Cumbia Cumbia Cumbia!!!' combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns.

TRACK LISTING

1. CUMBIA MÍA – CARLOS HAAYEN Y SU COMBO
2. CUMBIAMBERA – BOVEA Y SUS VALLENATOS
3. MI SENDERO – ÁLVARO CÁRDENAS Y SU CONJUNTO
4. AMORES CONMIGO – CARLOS ROMÁN Y SUS ESTRELLAS
5. CUMBIA DE VALLEDUPAR – LUIS ENRIQUE MARTÍNEZ Y SU CONJUNTO
6. DAME UN BESITO MANUELA – PELLO TORRES Y SUS DIABLOS DEL RITMO
7. YOLANDA – BANDA 20 DE JULIO DE REPELÓN
8.. EL CLARÍN DE LA MONTAÑA – ANDRÉS LANDERO Y SU CONJUNTO
9. CUMBIA PACHANGA – CUMBIA MOCHILA
10. TIBURÓN CON PELO – COMBO MARAVILLA
11. CUMBIA PANORÁMICA – A.M. CAMACHO Y CANO
12. LA TORMENTA – ELICEO GARCÍA Y EL CONJUNTO PALMA AFRICANA
13. SATANÁS – WASAMAYE AFRICAN ROCK
14. LEOBIGILDA – CONJUNTO MARAVILLA DE PALO ALTO
15. SUÉLTALE LA TRENZA – MANUEL VILLANUEVA Y SU ORQUESTA
16. CUMBIA BOGOTANA – MANUEL CARABALLO Y SU CONJUNTO
17. LA AMANECEDORA – PEDRO SALCEDO Y SU COMBO
18. EL INDIO FIESTERO – LOS TIBURONES
19. LA SERRANÍA – CUMBIA BOLIVARIANA
20. CUMBIA QUE ME ALEGRAS – LOS CURRAMBEROS DE GUAYABAL
21. LA DEMOCRACIA – JUAN POLO VALENCIA
22. CUMBIA MARINA – LUCHO BETTER Y SU ORQUESTA
23. CUANDO TE VAYAS – FLORENTINO MONTERO Y SU CONJUNTO
24. SAL CON LIMÓN – JOE MONTES Y SU ORQUESTA
25. LA PALMA – TERE GARCÍA CON RAMÓN ROPAÍN Y EL TRÍO FANTASÍA
26. CUMBIA CONTINENTAL – LOS INDIOS SELECTOS CON ALBERTO PACHECO Y SU ACORDEÓN
27. EL MUNDO SE VA A ACABA – RUFO GARRIDO Y SU ORQUESTA
28. CUMBIA CASINO – MINCHO ANAYA Y SU COMBO MODERNO

Discover a Hidden Gem of Brazilian Music. Recorded in the same whirlwind year as the legendary 'Clube da Esquina' this self-titled solo debut finds Lô Borges in full creative flight.

From the shimmering guitars of ‘Você Fica Melhor Assim’ to the dreamy melodies of ‘Canção Postal’ and the jazz infused groove of ‘Calibre,’ the album blends Brazilian popular music with rock, soul, and subtle psychedelic touches.

TRACK LISTING

1. VOCÊ FICA MELHOR ASSIM
2. CANÇÃO POSTAL
3. O CAÇADOR
4. HOMEM DA RUA
5. NÃO FOI NADA
6. PENSA VOCÊ
7. FIO DA NAVALHA
8. PRA ONDE VAI VOCÊ?
9. CALIBRE
10. FAÇA SEU JOGO
11. NÃO SE APAGUE ESTA NOITE
12. AOS BARÕES
13. COMO O MACHADO
14. EU SOU COMO VOCÊ É
15. TODA ESSA ÁGUA

Two almost-impossible-to-find Amazonian rarities, finally reissued together for the first time on a single. On one side, Los Playboys’ instrumental ‘Play Boy’, packed with all the hallmarks of psychedelic cumbia—playful surf-tinged guitars and a hypnotic, dancefloor-ready groove. On the flip side, a fiery Cuban-influenced Descarga jam from Iquitos’ obscure band Los Roger’s.

Originally released in 1972 on the Odeon label, 'Quarteto Em Cy' stands as a high-water mark in the group’s prolific discography—and a hidden gem for collectors of Brazilian vinyl. Known for their intricate vocal harmonies and deep roots in the bossa nova movement, the quartet ventures into post-bossa territory here, where sophistication meets groove in all the right ways. Arrangements by Edu Lobo and Luiz Eça (of Tamba Trio) lend the album a richly layered sound—elegant, jazzy, and emotionally resonant—while the group's harmonies remain as mesmerizing as ever. It’s a masterclass in vocal interplay and tasteful orchestration, with an unmistakable Brazilian soul running through every track.

Highlights include their stunning interpretation of Milton Nascimento’s ‘Tudo Que Você Podia Ser,’ along with deep cuts like ‘Quando o Carnaval Chegar,’ ‘Canto de Obá,’ and ‘Cantoria.’ These recordings capture a moment when the group, already respected collaborators of Vinícius de Moraes, Jobim, and Chico Buarque, hit a new creative stride.

Long out of print and often cited as their finest work, this self-titled LP has become a sought-after piece among collectors of MPB, bossa, and 70s harmony pop. For those drawn to groups like The Free Design or The Mamas & The Papas—but with a distinctly Brazilian elegance—this album offers a rare and rewarding listen. 

TRACK LISTING

1. Quando O Carnaval Chegar
2. Talvez
3. Cavalo-Ferro
4. Tudo Que Voçê Podia Ser
5. Incelensa
6. Sapato Mole
7. Undergroun
8. Antes Da Primeira Hora
9. Zanga, Zangada
10. Cantoria
11. Canto Do Obá

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

This compilation brings together for the first time the best songs by Los Zheros, one of the most renowned cumbia bands to emerge in the early 1970s in Iquitos-alongside groups like Los Rogers and Los Wemblers-in the heart of Peru's Amazon capital. The unique Amazonian sound blended fast, percussive cumbia rhythms with electric guitars in a surf style-a distinctive fusion that came to define Peruvian-recorded cumbia, markedly different from the traditional cumbia styles that developed in other cumbia-producing countries like Colombia.

The album includes their psychedelic rock hit 'Cuarto Oscuro,' a highly sought-after track not only by cumbia collectors but also by garage and psychedelic DJs. This song also marked the beginning of their recording career in 1973. This compilation is a joint release with the Peruvian label Rey Record and comes with an insert featuring never-before-seen photos of the band, as well as liner notes by genre expert Víctor Zela (the mind behind the prestigious project "La Cumbia de mis Viejos")

TRACK LISTING

Side A
1. Para Chachita
2. Caminando
3. La Rosa
4. Mi Lamento
5. Ritmo Oriental
6. Marita

Side B
1. Cuarto Oscuro
2. Nadando
3. Toro En Órbita
4. Descarga De Los Zheros
5. Marilú
6. El Pusanguero

'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

“Hasabe” is a thoughtfully curated collection of Ethio-groove recordings from one of the overlooked pioneers of 1970s Addis Ababa’s vibrant music scene—Ayalew Mesfin and his Black Lion Band.

Expect trap drum kits, jazz big-band styled horn sections, funky guitars played through wah wah and fuzz pedals— all seasoned with a unique Ethiopian touch…

For many, the music created in 1970s Ethiopia will sound both familiar and alien: while the trappings of ’70s Ethiopian music carry some aspects that those in the West will easily identify with—trap drum kits, jazz big-band styled horn sections, guitars played through wah wah and fuzz pedals—the Ethiopian style of singing, and the modes in which the musicians move, may confound. Perhaps some who have delved into the instrumental Ethio-Jazz of Mulatu Astatke—a well-known Ethiopian musical export, relatively unknown in his homeland—will have a context in which to engage this great compilation of ’70s Ethiopian music by Ayalew Mesfin.

The music Mesfin created with his Black Lion Band is amongst the funkiest to arise from Addis Ababa; his recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of the unconquerable East African nation. Ayalew was forced underground by the Derg regime that took control of the country in 1974.

Until recently, only four of Ayalew Mesfin’s tracks had been reissued, appearing in the well-known “Éthiopiques” series. “Hasabe”, a carefully curated collection of his singles, marks the first comprehensive release of this powerful and long-overlooked body of work by an artist whose originality and resistance defined a genre: Ethio-groove.

More than four decades later, this album offers the rare opportunity to rediscover a vital and beautiful chapter in global music history. We are now reissuing “Hasabe” once again thanks to a collaboration with Now Again. 

TRACK LISTING

Side A
1. HASABE (MY WORRIES)
2. GEDAWO (THE HERO)
3. REHAB (MY HUNGER)
4. EWEDISH NEBERE (I USED TO LOVE YOU)
5. YESEW NEGER (AMAZED BY HUMANITY)
6. LIBE MENTA HONE (MY DIVIDED HEART)

Side B
1. ENDET LIYESH (HOW CAN I SEE YOU)
2. AMBASEL (AMBASEL)
3. ZEBEDER (MESMERIZING)
4. YETEMBELAL LOGA (TALL AND GRACEFUL)
5. GUD ADEREGECHIGN (BLINDSIDED BY LOVE)

During the golden age of vinyl—from the 1960s through the 1980s—Colombia produced an astonishing number of 45 rpm records—many of them not tied to full albums, that continue to surprise collectors and music lovers today.

This abundance can be attributed to many factors: affordability, jukebox demand, radio promotion, or simply the joy of sharing a small musical token with a loved one. Whatever the reason, these little records traveled far and wide, sometimes ending up in distant countries —especially Mexico—, carried by DJs, collectors, or pirate radio waves. They became cultural passports, spreading salsa, cumbia, son montuno, and more.

This curated collection highlights hard-to-find salsa 45s from the Discos Fuentes vaults—deep cuts that have long flown under the radar but still light up dance floors today. These tracks, once pressed in small numbers, feature top tier musicianship, fiery brass, unforgettable grooves, and lyrical gems that reflect the rich diversity of Colombia’s musical landscape.

Among the featured artists are: Super Combo “Los Famosos” with their irresistible barrio anthem ‘El Bailador de la esquina’, capturing the spirit of Cali’s street life, Sexteto Manaure, delivering a poignant son that blends regional pride with poetic nostalgia, La Protesta de Colombia, a revolutionary Barranquilla outfit that gave a young Joe Arroyo his early spotlight and channeled the rebellious pulse of the times.

This compilation also includes a range of studio experiments and covers—where artists like Piper Pimienta, Galileo y Su Banda, and La Integración reimagined beloved hits, from boleros to vallenatos, through a distinctly Colombian salsa lens.

Every track tells a story—of artistic ambition, social change, regional identity, or simple joy. Some were attempts at hits, others personal expressions or studio curiosities. What they share is an authenticity that continues to resonate.

These obscure gems, long scattered across dusty crates and forgotten jukeboxes, now find new life. They speak not just to the past, but to a timeless rhythm that still moves dancers and dreamers alike.

TRACK LISTING

Side A
1. SUPER COMBO LOS FAMOSOS - EL BAILADOR DE LA ESQUINA
2. SEXTETO MANAURE - BAJO EL TRUPILLO GUAJIRO
3. LA PROTESTA DE COLOMBIA - EL CAMPESINO
4. SONORA GUANTANAMERA - SAL Y AGUA
5. ORQUESTA SALSA PANAMERICANA - EL FANTASMA SALSERO

Side B
1. LA INTEGRACIÓN - HECHO Y DERECHO
2. GALILEO Y SU BANDA - NO ME CONVIENE TU AMOR
3. THE LATIN BROTHERS - LLORARÁS
4. PIPER PIMIENTA Y SU ORQUESTA - EL SUFRIDO
5. FRUKO Y SUS TESOS - SOY TU DUEÑO

A longtime favorite among Brazilian music collectors, Trio Ternura’s ‘A Gira’ blends mid-tempo grooves with percussive funk and soul in a way that feels effortlessly timeless. Originally released in 1973, the track was written by the group’s father and uncle as a heartfelt homage to the Candomblé deity - celebrating nature and spirituality.

Trio Ternura was a true family project, made up of three siblings with deep musical roots. According to them ‘A Gira’ captures “the dancing, the expression, the lyrics and musical relaxation – something very Brazilian.”
The B-side features the trio’s soulful interpretation of Gato Barbieri’s Last Tango in Paris, adding a mellow cinematic touch to this sought-after release.

After decades of eluding most collectors at a reasonable price - even the reissue from a few years ago has been fetching high prices - we're excited to make this incredible single available once again, cut at 45 RPM and remastered from the original tapes.

TRACK LISTING

1. A Gira
2. Last Tango In Paris

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.

In 'Everybody Loves the Sunshine' (1976), Roy Ayers seamlessly blends genres, creating a timeless sound that continues to influence musicians and DJs around the world. He makes the vibraphone the central instrument, a jazz-funk approach hat defines his unique style.

Over time, the album has remained an essential reference in Roy Ayers' discography and in the history of 70s Black music.

Summertime soul classic!

TRACK LISTING

1. Hey, Uh-What You Say Come On
2. The Golden Rod
3. Keep On Walking
4. You And Me My Love
5. The Third Eye
6. It Ain't Your Sign (It's Your Mind)
7. People And The World
8. Everybody Loves The Sunshine
9. Tongue Power
10. Lonesome Cowboy

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

'Garra' was originally released in 1971 and brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’

Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon. 'Garra' maintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences.

TRACK LISTING

1. Jesus Meu Rei
2. Com Mais De 30
3. Garra
4. Black Is Beautiful
5. Ao Amigo Tom
6. Paz E Futebol
7. Que Bandeira
8. Wanda Vidal
9. Minha Voz Virá Do Sol Da América
10. Vinte E Seis Anos De Vida Normal
11. O Cafona

His much sought-after and stunning self-titled album from 1970 includes ‘Ele E Ela’, as sampled on Jay-Z’s ‘Thank You’, as well as some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove.

Remastered from the original tapes and pressed on 180g vinyl, this release is part of a new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon.

TRACK LISTING

1. Quarentão Simpático (Renatão)
2. Ele E Ela
3. Dez Leis
4. Pigmalião 70
5. Que Eu Canse E Descanse
6. Esperando O Messias
7. Freio Aerodinâmico
8. Os Grilos (Crickets Sing For Ana Maria)
9. Suíte Imaginária

“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.