THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE SEPTEMBER 26TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

"Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again. Alfredo Linares is a globetrotting pianist, composer, bandleader and producer from Peru with a long, prolific career in latin music.His long sought after by DJs and collectors of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again.Exclusive RSD 2020 release. DESCRIPTION : Alfredito ""Sabor"" Linares is a globetrotting pianist, composer, bandleader and producer from Lima, Peru with a long, prolific career in hot Latin music spanning more than half a century.Though Linares has come to recent international fame through his work with William ""Quantic"" Holland, he was already quite popular and famous in his adopted countries of Colombia and Venezuela in the 1970s and 80s during the salsa boom.However, his career began in Lima, backing timbalero —ico Estrada at age 17 in 1961, and Alfredito's first notable recording as a sideman was a few years later on the now legendary 'El Combo de Pepe' album for IEMPSA/Odeon.Subsequently Linares would advance his career by recording two fabulous records under his own capable leadership as Alfredo Linares Y Su Sonora at the end of the decade for the MAG label.These releases capitalized on recent developments in New York Latin music, namely Latin jazz, boogaloo, descarga (jam session) and what would later be marketed as ""salsa"" with roots in the Cuban guaguancÛ and guaracha genres.One can hear direct inspiration coming from Joe Cuba, Ricardo Ray, and Eddie Palmieri, especially on the first album, 'El Pito', and yet by the second record, there are plenty of original tunes as well.More importantly there is a 'swing' and assertiveness to the playing (and arrangements) that prove every bit as authentic, tough and danceable as their New York inspirations.As Linares himself recounts, ""In that era, we fought against a generation that was half-blind, because the people who understood what we were doing were few.We had to fight hard for our space in Per˙, that's where the swing comes from."" That special 'swing' also emanated from Linares' ace backing band, which happened to be a talented stable of MAG studio musicians who all understood Cuban and jazz music: percussionists Mario Allison and Coco Lagos, bassist Joey di Roma, Kiko Fuentes and Carlos MuÒoz on lead vocals and Melcochita on coro (vocal chorus).According to Linares, the studio band was ""open-ended, some musicians came some days, others on other daysÖNilo Espinoza on saxophone, Betico Salas and Tito Chicoma on trumpets.Otto de Rojas played piano, and so did Charlie Palomares, who played vibraphone.Another good musician was guitarist Carlos Hayre."" Though the recordings were cut ""live in the studio"" and many were basically composed on the spot, the intrinsic strength and maturity of the performances on 'Yo Traigo Boogaloo' stand the test of time as one of Peru's most important contributions to tropical music across the decades, establishing Alfredito Linares as a master of the idiom and serving as a harbinger for great things to come for him in Colombia and Venezuela.Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG studio sound for today's aficionados to enjoy like it was 1969 all over again."

Juan Piña Con La Revelación is the debut album of this Colombian artist and his eight-piece band, originally released in 1975 on Discos Zeida.

An excellent little slice of Colombian mid-70's madness, with an interesting and joyful sounding mix of New York style salsa, Cuban son montuno and guajira with Colombian tropical flavors.

Includes the two hot salsa tunes 'Negro con salsa' and 'Chana' as well as the salsa guajira 'Hogar campesino'.

This hard to find album is now reissued for the first time, pressed on 180g vinyl and presented in its original artwork.

DESCRIPTION
At the age of 24, Juan Piña formed the eight-piece La Revelación with his brother Carlos, releasing their first album in 1975 on Discos Zeida. This self-titled debut LP of Piña with his group is something of an anomaly in his discography as subsequent albums would feature a different sound and concentrated almost exclusively on Colombian coastal Caribbean and 'sabanero' genres.

Although Juan Piña's debut record never made much of a splash, it is an excellent little slice of Colombian mid-70's madness, with a very diverse sound. An interesting and joyful sounding mix of New York style salsa, Cuban son montuno and guajira with Colombian tropical flavors, the simple, spare arrangements featured electric guitar, piano, Latin percussion, two trumpets, occasional sax, and Juan sang lead while Carlos backed him on chorus. It also sounds like Joe Arroyo may have done 'coro' chores on Juan Piña Con La Revelación (Arroyo was a very close friend of Juan and sang chorus on several Revelación albums).

This album is hard to find in the original edition, but collectors in the know treasure it for its two hot salsa tunes ('Negro con salsa' and 'Chana', both written by famous Chocoano composer and vocalist Alfonso Córdoba "El Brujo") as well as producer Rafael Mejia's salsa guajira 'Hogar campesino' and the genius rendition of the Peruvian classic 'Virgines del sol'.

A beautiful and mature sounding work for the relatively young Juan Piña and his crew, and well-worth rediscovery by today's Colombian music enthusiasts.

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.

Many music fans will remember Jimmy Salcedo due to his wonderful work as arranger and producer with the duo Elia and Elizabeth in the early 70s. Their delicate songwriting acquired, after his treatment, a special Tropical aroma that even included the funk influences received by Salcedo at that time.

He released with his band, La Onda Tres, a few LPs and singles on a Codiscos sublabel that had a limited distribution, mainly in Colombia only. We have selected here two songs from the mid 70s that seem to have been conceived to round off a perfect dancefloor-oriented 45.

"Maraguango" is an irresistible mix of Afrolatin percussion and catchy Tropical harmonies spiced up with moog keyboard sounds, fuzz and wah wah guitars and even touches of hammond, in a psychedelic funk style. On the flip, "Moogambo" is an exhilarating moog driven instrumental with a heavy Afro-funk rhythm that rounds-off this single.

Both songs are reissued here for the first time, acknowledging the undisputed genius of Jimmy Salcedo.

First ever reissue of one of the most sought after titles in the catalogue of Peruvian's label MAG, in high demand not only among Latin music collectors but also among those interested in the most exotic and experimental psychedelic sounds around. It includes 'Astronautas a Mercurio', a cosmic descarga full of electronic effects, filtered voices and fierce guitars with wah wah and raw distortion, as well as guarachas, cumbias and descargas.

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.

12 Bombazos Bailables budget sampler album compiling 12 take-no-prisoners dancefloor tracks from the Discos Fuentes vast catalogue that turns 85 this year. Cumbia, hard salsa, descarga and more. A perfect introduction to the Discos Fuentes reissue series and a very convenient DJ tool, every track is a winner! Featuring names such as Los Supremos, Conjunto Miramar, Michi Sarmiento Y Su Combo Bravo, Fruko Y Sus Tesos, Peregoyo Y Su Combo Vacana, Adolfo Echeverria Y Su Orquesta.

Pianist Roberto de la Barrera was arguably the first musician from Cartagena, Colombia to record music that would later be labeled "tropical" and "salsa" with his own group in the early to mid-1960s. He took the piano seat in the Discos Fuentes house orchestra and was also an arranger on several releases.

In 1970 he recorded his third album for the label, "Se formó la salsa", featuring an irresistible mix of Colombian and Cuban flavors, sometimes within the same tune, and often with that wonderful raw, loose, improvisational quality associated with the "descarga" jam sessions of Cachao and others a decade before.

Roberto de la Barrera was a pioneer in introducing modern Latin sounds from Havana, New York and San Juan. Sadly, his contributions in bringing salsa to the Caribbean region of Colombia and hence the rest of the country have gone largely unheralded, but hopefully this reissue will help set things straight.

Presented in facsimile artwork and pressed on 180g vinyl.

Part of Vampisoul's reissue series of classic Fuentes LPs.

Pedro "Ramayá" Beltrán, born in Patico, a small town in Colombia's Bolívar province, is a maestro of Colombian folkloric music known as the King of the 'caña de millo' flute, although he is also proficient in various percussion instruments as well as the reed instrument known as 'gaita'.

He founded La Cumbia Moderna de Soledad in the early 1970s. With this group he set out to "modernize" the folkloric music of his people, adding electric bass and a brass section to fresh arrangements of cumbias, porros, fandangos, puyas and other costeño genres.

"La Clavada" (1979) was La Cumbia Moderna de Soledad's sixth record and first for Codiscos' Costeño imprint. The LP has many excellent examples of Beltrán's inventive mix of the ancient and the modern, making for a collection of tunes brimming with tradition and yet fearlessly bristling with innovation, not the least of which is 'Crees que soy sexy', with its gaita refrain mimicking the main melody of Rod Stewart's international disco smash 'Da Ya Think I'm Sexy'. The album's title song was a massive hit in Colombia and has become a standard of the genre.

Restored to its original glorious sound, this LP is poised to be rediscovered as an innovative yet rootsy gem.

"Pan Con Salsa" (1971) was their excellent debut LP. Most of its cuts are in the salsa genre, but the album also includes Vicentini's native costeno rhythms like cumbia and porro, a funky boogaloo cover of Tito Puente's 'Oye como va', Puerto Rican style bomba, and the title track, composed by Vicentini, which is a frenetic descarga (jam session) with lots of tasty brass solos, in-the-pocket piano tumbaos (riffs) and break-neck percussion work-outs. Presented in facsimile artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic LPs from Colombia's Codiscos and its sublabels such as Zeida, Costeno and Famoso. 

By 1974, salsa was taking Colombia by storm and so the directors of the INS label decided to create a band that would appeal to salsa fanatics and be able to compete with labels such as Discos Fuentes and Codiscos. Thus was born Los Afroins, an obscure, short-lived combo that would release two LPs and six 45s. Their first album, "A gozar salsomanos", is a sought-after collector's item and contains ten brassy, heavy-duty salsa gems: covers of salsa hits by Ismael Rivera, Los Ahijados, Roberto De La Barrera, Cheo Marquetti and even the smash pop hit by the French modern classical and electronic music composer Saint-Preux (a great instrumental descarga version of 'Concierto para una sola voz'). In addition, there are two originals that are equally hot. Presented in facsimile artwork and pressed on 180g vinyl. Part of a new Vampisoul reissue series of classic LPs from Colombia's INS label.

First ever reissue of "Cumbias con El Miramar", a very hard-to-find album released by Discos Fuentes in 1965. Full of excellent cumbias and gaitas for dancing, the record actually is a lot more diverse than the title leads one to believe, as there are lots of other hot rhythms and arrangements on it, taken from Cuban genres like guajira, guaracha, guaguanca, charanga and son montuno. 

FORMAT INFORMATION

Ltd LP Info: Presented in facsimile artwork and pressed on 180g vinyl.

Afro-Peruvian music, also known as 'música criolla', finds its roots in West African music, Spanish and European genres and native musical traditions from Peru. Flamenco-influenced sounds sit next to African tribal elements and a simple yet effective percussion instrument called cajón.

After a long struggle to preserve música criolla through oral tradition over generations, actually resulting in much of the original music being lost, a renewed interest in those rhythms and melodies arose in the 1950s. Some years later the legendary Peruvian singer Chabuca Granda provided help to promote Perú Negro, a dance company that also incorporated percussion combined with música criolla. Ronaldo Campos, "Lalo" Izquierdo, Víctor Padilla, Rodolfo Arteaga and Caitro Soto, among others, played a key role in the foundation and early days of the company. Their shows celebrated and recreated black culture in Peru and they quickly became regulars at Lima's theatres.

In 1969 they won the main award at the Festival Hispanoamericano de la Danza y la Canción in Argentina. The repertoire performed at the festival was later included in this album, originally released in 1973 in Peru and Spain only. The lyrics and music of these songs reflect the country's multicultural diversity, blending elements from the African tradition and echoes of Spanish-influenced melodies around stories of slavery days, rural labour and folklore.

Although lesser known than music from other nearby countries, Peru Negro's recordings are reminiscent of Afro-Colombian or Afro-Cuban rhythms. If you have an interest in Cuban son or Colombian bambuco, this record will be an essential addition to your collection and the perfect introduction to the fascinating música criolla.

Tulsa vocalist Paulette Parker joined the renowned vocal group The Ikettes in 1967, before meeting Andre Lewis, whom she would marry some time later, changing her name to Maxayn Lewis. Both of them, along with former colleagues of Andre in the group Buddy Miles Express, formed in 1970 a new band that would be baptized after the singer's own name: Maxayn.

Their first recording was self-funded and easily achieved a contract with the company Capricorn Records to release it. It was in 1972 when that first album, self-titled, saw the light. The result is a superb record of soul and funk spiced up with a gospel vibe and also a distinctive rock sound. As a curiosity, two of the most soulful and deep songs by The Rolling Stones, 'Gimme Shelter' and 'You Can't Always Get What You Want', were chosen to be part of the album's repertoire and in both cases Maxayn's vocal performance manages to appropriate these two famous songs to the point that it seems that they were originally written for the singer herself. Facing two classics of such high caliber and successfully passing the test is a challenge that few would dare to try. Not in vain, Maxayn deserves to be placed in the same league as other better-known funk artists such as Betty Davis or Yvonne Fair.

Along with the successful versions of the Stones, their own compositions include 'Trying For Days', 'Jam For Jack', 'Song' and 'Doing Nothing, Nothing Doing', in which the energetic tandem formed by Maxayn's voice and the solid support of the band's musicians achieves an electric and timeless result.

FORMAT INFORMATION

LP Info: 180g vinyl, gatefold sleeve.

Second volume of Vampisoul's "Czech Up!" series, which compiles 60s and 70s gems from the vaults of Supraphon and Panton labels from the former Czechoslovakia. Freakbeat, soul, baroque pop, prog-funk, garage rock, psych-jazz... all that and more is contained within these 22 tracks, wonderfully produced and now carefully remastered, many of them never reissued before.