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Los Yetis

Los Yetis

    The brilliant debut LP by Los Yetis, the most popular rock & roll/beat/garage band in 1960s Colombia.

    Unavailable on vinyl since its 1966 release, the album is packed with thrilling covers (Beatles, Wayne Fontana & The Mindbenders, Los Brincos, Little Anthony & The Imperials…) sung in Spanish and the band's own garage beat nugget 'Ya no te aguanto más'.

    Although many people would only think of tropical genres when discussing Colombian music or Discos Fuentes, there is much more to it than that. In the mid-60s, following the massive success of Los Teen Tops, Los Apson or Los Rockin' Devils in the Latin world, Los Yetis were signed to Discos Fuentes as part of the bunch of new bands included on their "14 impactos juveniles" compilation, as an attempt to reach a new audience very much interested in the rock & roll sounds imported from the States. A great promotional effort resulted in a huge success for the release and Los Yetis were soon invited to record their own debut album, this self-titled LP reissued here for the first time.

    As the opening track of the album starts to play, we can only imagine the Colombian youth dancing with excitement to this new rock & roll music as hard as they would dance to their local rhythms. No wonder that Los Yetis' take on the Little Anthony & The Imperials hit 'Shimmy Shimmy Ko Ko Bop' is at least as effective on the dancefloor as the original.

    Most of the album is devoted to thrilling cover versions (Beatles, Wayne Fontana & The Mindbenders, Los Brincos…), but as we approach the last grooves of the record, the wild guitars and raw vocals of 'Ya no te aguanto más' set the party on fire! That irresistible garage beat track is not only the standout song but also the only original by Los Yetis on the entire album. However, another local band, Los Ampex, has to be credited for playing the instruments on these recordings, as brothers Juancho and Iván Darío López and Juan Nicolás Estela, the original members, were rather a vocal trio than a skilled band.

    Released in Germany in 1968 under the band name Die Anderen and two years later in the US as Kannibal Komix, this Giorgio Moroder-produced LP is a fantastic display of the sort of sounds that made the late 60s such an exciting time.

    From the outstanding grage-soul nugget 'Neurotic Reaction' to wonderfully arranged torch songs and psych pop delights, the album's top quality recalls the work of The Bee Gees during the same period.

    Changing the original artwork of an album in certain territories was common practice back in the day, but using different band names in different countries is definitely something else. Die Anderen may or may not ring the bell, what about Kannibal Komix or Apocalypse? Well, they are exactly the same artists.

    They got together in the north of Germany after meeting in a talent show called Beat-Band-Ball in 1966. Jürgen Drews met the members of Chimes of Freedom, the winning band, and simply asked to join them as lead guitarist. Not long after, the manager renamed the group as Die Anderen and sent them to the recording studio with the great Giorgio Moroder, Ariola´s in-house producer at the time, and a whole album was made. This was obviously much earlier than Moroder's Munich Sound days, so there are no traces of Italo disco gimmicks here but good portions of fuzzy guitars instead… In fact, the anthemic Kannibal Komix song 'Neurotic Reaction', produced by Moroder in these sessions, deserves to be included on a garage compilation next to classics like 'Try It' by The Standells… Maybe this explains why they were spotted at Hamburg's Star Club and picked by some American managers to sign a deal with Colossus Records. Their almost perfect vocal harmonies and soft psych tunes spiced with a pinch of fierce guitars made the band sound very interesting for the US market but the group needed a new name: Kannibal Komix (or Apocalypse in other territories). A second album followed but nothing really happened despite rising high expectations, and the band split by the end of 1969, almost at the same time that their second album hit the shops worldwide.

    While 'Neurotic Reaction' would be a perfect choice for an European "nuggets" comp, there is much more to this album than just that standout track. 'Cosy Rosy' leans towards prog sounds while keeping some solid pop elements that recall the best of the British Invasion, 'Elenor' is an almost perfect match between orchestral arrangements and the dramatic voice of band leader Jürgen Drews, resulting in a three minute psych-pop delight… And the remaining nine tracks are further top quality examples of the sort of sounds that made the late 60s such an exciting time, from tender moments to raw energy, always imaginatively arranged and performed.

    FORMAT INFORMATION

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

    Nicknamed "El Troglodita" (The Caveman) due to his wild antics, Enrique Telleria aka Jean Paul was one of the most popular Peruvian singers during the late 60s and early 70s. "Vudu", recorded in 1972 for Discos MAG, is his second album and features the amazing band Laghonia as backing musicians. Their performance, the seamless brass arrangements and Jean Paul's impressive delivery make this LP a spectacular combination of hard psych and Latin soul/funk. Presented in facsimile artwork and pressed on 180g vinyl.

    Here we have an essential release for any of the deep diggers out there as the 1970 debut by Denmark's "Day Of Phoenix" gets the 180g reissue treatment from Vinilisssimo. A surehot winner for fans of Spinning Motion, the Doors, King Crimson Trapdoor mix that came out a few years ago, this six track LP delivers an epic collection of melancholic songs boasting extended instrumental sections which explore free-jazz, prog rock and fusion. Warmly psychedelic, occasionally folky, but often wigged out, this is a unique record, as beautiful as it is challenging. Open your ears, check the clips and expand your mind...

    Philwit & Pegasus

    Philwit & Pegasus

      Fantastic concept LP released in 1970 and masterminded by producer Mark Wirtz together with Maria Feltham, who wrote most of the songs. Its wonderfully arranged sound gravitates towards varied influences: folk-pop, soft psych, chamber pop, late 60s rock…

      The featured vocalists and musicians include John Carter (The Flower Pot Men), Roger Greenaway, Peter Lee Stirling and Chris Spedding, among other talented artists.

      It may look kind of weird but the one person's name that has to be brought up here neither played or sung on this album. Mark Wirtz is the mastermind behind this long-forgotten concept LP released in 1970 by Chapter One Records, a one-off studio project he put together with his girlfriend at the time, Maria Feltham, who wrote most of the songs. Although the album is supposed to be driven by a common concept, its sound gravitates towards broad influences: there are fierce guitars and also soft psych passages, it gets as close to easy listening as to rock.

      During the 60s Mark Wirtz was an in-house producer for EMI, working on the Studio 2 series. The next milestones in his career were "A Teenage Opera", a musical project that was never released as an entire work, and producing Tomorrow's self-titled debut LP, a psychedelic masterpiece. In 1969 Mark resigned from his post at EMI Records to return to independent production and approached Les Reed's Chapter One label for the release of his new Philwit & Pegasus project, recorded by a group of musicians that includes John Carter (The Flower Pot Men), Roger Greenaway or Peter Lee Stirling on vocals, and Chris Spedding on guitar, among other talented artists.

      The album starts with 'Happiness', featuring incredible vocal harmonies, followed by the outstanding 'Yoyo Thoughts', a folk-pop delight, but half way through it we reach some of the strongest songs on the LP: the energetic 'My What a Lovely Day It's Been', 'Lonely Flower' and 'Spinning Carousel', which echo The Beach Boys and Love and create an intimate yet vaporous vibe. Fans of sunshine and chamber pop coupled with memorable songwriting will be enthralled by this album.

      First vinyl reissue of this fantastic 1981 album by Marcos Valle, one of the essential artists of Brazilian music.
      Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Among a selection of top musicians, the line-up features Sivuca, Chicago's Peter Cetera, Robson Jorge and Azymuth's Jose Roberto Bertrami. Presented in facsimile artwork and pressed on 180g vinyl. A Record Store Day release.

      First vinyl reissue of this 1977 LP by one of the great figures of Brazilian music. Brilliant tracks like 'É Necessário', 'Verão Carioca', 'Venha Dormir Em Casa' or 'Musica para Betinha' make it one of the strongest albums to come out of Brazil in the 1970s. Presented in facsimile artwork and pressed on 180g vinyl.

      Tim Maia was born in 1942 in the suburbs of Rio de Janeiro and started his musical career at an early age, along with close friends such as Roberto Carlos or Jorge Ben. Carlos would eventually help him to get a deal for his first single at CBS. During the 70s Maia started to incorporate soul and funk elements into his style. After a two-year period involvement in the Racional cult in Brazil, Maia's funky style was still at its best when he released this album in 1977. It was his first and only recording for Som Livre, the legendary label that became extremely popular due to the many soap operas soundtracks in its extensive catalogue.

      This self titled LP deserves to be shortlisted among Maia's top records. It features killer tunes like the anthemic 'É Necessário', undoubtedly one of the best songs in his career, and also boogie gems such as 'Verão Carioca' or 'Venha dormir em casa' that show obvious influences by some of the biggest American soul artists of the time. It also contains intimate vocal delights as in the lovely smooth tune 'Musica para Betinha' or even straight funky instrumentals like 'Flores belas'. The string arrangements, wah wah guitars, horns, deep vocals make this recording a milestone in the so-called "Black Movement" in Rio, where artists like Toni Tornado, Banda Black Rio and Maia himself were bringing in the funky sounds of America and mixing them with local rhythms like samba. 

      Polonio

      Acaricia La Manana - LP+7" Edition

      Eduardo Polonio's "Acaricia La Manana" is one of the classic records of Spanish electronic music, made by one of its key artists. This facsimile reissue of the original 1984 LP includes a bonus 7" featuring four previously unreleased tracks recorded during the same period of 1976-1984.

      Eduardo Polonio has been one of the key names of Spanish music since the late 1960s, especially as a pioneer in the field of electroacoustic music. He was a member, with Luis de Pablo and Horacio Vaggione, of Grupo Alea Electronica Libre (1970- 1972), the first Spanish group to play electronic music live; and he was one of the main figures of Barcelona's Laboratorio Phonos since 1976.

      In 1976 Polonio moved to Barcelona and got involved with the city's Phonos Electroacoustic Laboratory, meeting composers Andres Lewin-Richter and Josep Maroa Mestres-Quadreny. It was the start of a new creative period of studio work and concerts reflected on "Acaricia La Manana", which contains 11 pieces recorded between 1976 and 1984 at Phonos and remastered at Cuenca's Gabinete de Musica Electroacustica. On the record, Polonio employs synthesizers such as Polymoog, Minimoog, EMS and a Farfisa organ. The tracks are integrated into a sort of suite that comprises the whole LP. This suite concept has a poetic origin for the author: a collection of short pieces of music from imaginary countries.

      The electronic voices (the different tracks of the mix on tape) that make up each piece develop short melodic sequences of clearly modal and even tonal aspect. The cyclical repetition of these sequences, which generally spans each full short piece, places this music under the so-called repetitive label. The three or four voices with which these pieces are built are usually recognisable, but the texture is more heterophonic than polyphonic, as the composer plays with the imbalance in the superposition of the repetitions. Each voice's evidence is also underlined by noticeable timbric differences. The timbres are obviously electronic, in pursuit of these instruments' specific qualities. The result is a very suggestive heterophonic texture, which captivates with its fragile and pleasant appearance, and which reveals a great refinement in the rhythmic and melodic treatment.

      It's not an exaggeration to say that "Acaricia la manana" is a classic and essential record in the history of Spanish electronic music. This facsimile reissue of the 1984 LP released by Unio Music includes a bonus 7" featuring four previously unissued tracks recorded by Polonio during the same period of 1976-1984. 


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