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Fifth (and last!) volume of the "R&B Hipshakers" series, featuring rockin' R&B and early soul from the King and Federal catalogues. A compilation of tracks from 1953 to 1964 by essential artists such as Hank Ballard, The 5 Royales, Little Esther, Little Willie John, Lula Reed, Albert King, that, after five juicy volumes (do you have them all?), reach the magic number of 100 delights from King and Federal's incredible output. 20 terrific dance cuts selected by genre expert Mr Fine Wine, from WFMU's Downtown Soulville. Most of the tracks have never been reissued before.


Side 1
1. Johnnie Pate - Muskeeta (2:19)
2. Cora Woods - Rock's In Your Head (2:16)
3. Little Esther - Hound Dog (2:31)
4. Roy Brown & His Mighty Mighty Men - Mr Hound Dog's In Town (2:35)
5. Sonny Thompson - Lost In This Great Big City (2:41)
Side 2
1. The Tenderfoots - Save Me Some Kisses (2:51)
2. Roy Estrada & The Rocketeers - Jungle Dreams (part 2) (2:31)
3. Albert King - Had You Told It Like It Was (It Wouldn't Be Like It Is) (3:05)
4. The 5 Royales - I Need Your Lovin' Baby (2:50)
Side 3
1. Otis Williams & His Charms - Little Turtle Dove (2:17)
2. Little Willie John - It Only Hurts A Little While (2:16)
3. The Zircons - Mama Wants To Drive (2:47)
4. Tonni Kalash - The Boss (1:50)
5. Rosemary - Not Much (Do You Baby) (2:18)
Side 4
1. The Fabulous Denos - I've Enjoyed Being Loved By You (3:25)
2. Dolph Prince - You're Gonna Drive Me Crazy (2:14)
3. Billy Soul - Big Balls Of Fire (2:35)
4. Hank Ballard & The Midnighters - It's Love Baby (24 Hours A Day) (2:57)

Bonus 7"

A. Kenny Martin - My Love Is Coming Down (7") (2:30)
B. Lulu Reed With Sonny Thompson & His Orchestra - Your Love Keeps A Working On Me (previously Unreleased Version) (2:58)

Reissue of the mega rare 1972 Chilean release and debut album recorded by this Brazilian artist. Progressive psych folk at its best featuring members of Los Jaivas, Amerindios and Congregación. A sublime combination of acoustic guitar sounds, percussions and delicate songwriting that may remind you of some other Brazilian artists like Os Novos Baianos or even Caetano Veloso.

First album by Brazilian musician, poet and plastic artist Manduka. Originally released in 1972 on IRT, the album is a sought-after collectors item, especially among those who seek in its cultural richness, fundamental episodes of Chilean popular musical history. An essential record almost entirely written by Manduka during his exile years in Chile, away from his home in Brazil. It includes improvised jams and songs about Brazilian history, his own exile and the new cultures he got exposed to. A sublime combination of acoustic guitar sounds, percussions and delicate songwriting that may remind you of some other Brazilian artists like Os Novos Baianos or even Caetano. It includes a special cover version of Violeta Parra's 'Qué dirá el Santo Padre' and features guest artists like Soledad Bravo, Patricio Castillo, Baltasar Villaseca -from Congregación-, brothers Gabriel and Eduardo Parra, members of Los Jaivas, and Numhauser himself.


A1. Brasil 1500 (10:36)
A2. Entra Y Sale (5:48)
A3. Naranjita (5:08)
B1. De La Tierra (4:23)
B2. Patria Amada Idolatrada Salve Salve (4:58)
B3. Oiticumana (2:05)
B4. De Un Extranjero (4:51)
B5. Que Dira El Santo Padre (4:43)

Hugo Jasa

Estados De Animo

    A new title in the series of full-album reissues that Vampisoul (co-produced in collaboration with Little Butterfly Records) is releasing as a valuable addition to their largely acclaimed compilation "America Invertida", focusing on the obscure leftfield pop and experimental folk scene from '80s Uruguay, making some of these elusive and essential albums available again. The album was originally released in 1990 with a single pressing of 300 copies, and then recently rediscovered by new generation of DJs, musicians and hardcore record collectors around the world thanks to the internet, reaching a cult status and becoming a top want. 


    La Danza De Los Mirlos

      Afrosound's mission was to emulate the guitar-heavy tropical sounds emanating from Peru and Ecuador at the time. To add to the hippie vibe, there were plenty of whacky improvised vocal asides (called 'inspiraciones'), plus custom fuzz, wah-wah, flange and echo effects boxes for the guitar and keyboards. A barrage of odd sounding synths, drum machines and other electronic flourishes were also sprinkled in to spice up the proceedings.

      The dozen tracks on Afrosound's debut long play make for a surprisingly diverse palette from which these Colombian musicians painted their daring portrait of Peruvian cumbia, returning the favor in bold colors that still resonate almost 50 years later. This lovingly restored reissue features the artwork for the Peruvian edition, which was licensed and issued by Lima's El Virrey label in 1974. 

      Al Valdez


        One of the 'holy grails' of 1960s Cuban music was not recorded, produced or released in Havana or New York; in fact it was made in Lima, Peru. Pianist Alfredo "Alfredito" Valdes Jr. (May 31, 1941, Havana - January 23, 2016, New York), one of the most important figures in Latin music, came from an illustrious musical family in Cuba. In 1956, he emigrated to New York with his family, making him one of the forerunners of Cuban-based salsa music in the US. Overall, the swinging MAG sessions sound like a long lost record by Cachao and Tito Puente if they led an orchestra with Charlie Palmieri on piano and Tito Rodriguez on vocals (and played pachangas like Machito's Afro-Cubans 'with flute to boot'). Always an extremely rare collector's item, Gozando!! will now be able to reach a wider vinyl-loving audience with this first-time ever faithfully reproduced facsimile edition. 

        First ever reissue of "Kabwlú", a very hard-to-find album released by Discos Fuentes in 1965.

        The mysterious Los Picapiedra (which translates as The Flintstones, inspired by the 1960s American cartoon show), was a short-lived studio group with one albumto their name, "Kabwlú", mixing 'folkloric' and 'modern' elements with calculated 'caveman' humor.

        It is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups' records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented 'cave' language, prominent twanging electric guitar and many zany sound effects.

        Several of Los Picapiedra's songs became very popular in Colombia as well as Venezuela and especially in the 'rebajada' (slowed down) version as played by the 'sonidero' sound system DJs in Mexico, such as "La Hossa".

        Presented in its original artwork and pressed on 180g vinyl.


        Side 1
        1. La Hossa
        2. Cumbia Tropical
        3. El Escándalo En La Familia
        4. Una Vez Caminando
        5. El Bulevar De La Desilusión
        6. Kabwlu

        Side 2
        1. Cumbia De Piedra
        2. Kabwlu Cavernario
        3. Mira Mira
        4. Gaita Roca
        5. Kabwliando
        6. Gaita En Villa-Roca

        This album digs deeper into the most experimental recordings in the archives of Nelson Records. The label was founded in 1970 by the musicians Maurizio Majorana, Antonello Vannucchi and Roberto Podio (who along with Carlo Pes would be known as I MARC 4), after establishing the Telecinesound studio, right where the New Italian Library Sound was created. They recorded with Armando Trovajoli, Piero Piccioni, Ennio Morricone, Piero Umiliani, Henry Mancini and many others, and created a special sound, mixing jazz, pop, rock and psychedelic music, to produce records aiming to be used by the programmers of the Italian RAI television.

        The music of "Thrilling Mortale" is mostly special effects, drum breaks, fast bongo rhythms and groovy Hammond background sounds inspired by cinema noise experts who did not use any musical instruments and had only a few objects to recreate the noises of the films; from horse rides to closing gates, everything was done in the traditional way. I MARC 4, instead, would recreate those sounds with bass, guitar, drums, piano and Hammond organ.

        Many musicians, record producers and film directors still like, look for, rediscover and re-use for their work, and the music on these albums recorded by I MARC 4 between 1970-1976 have reached cult status among library music collectors.


        Side A
        1. INTRO
        3. SMOOKIE
        9. IMMAGINI

        Side B
        2. TEMPORALE
        3. BOXES
        4. DRUMMING FREE
        6. TEMA DI RAVEN I Vers
        9. GIALLO

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