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Vainica Doble

Vainica Doble

    It can be argued that Serge Gainsbourg was a typically French artist, although his music was so personal that it would be difficult to find another similar artist in France at the time. The same could be said about Vainica Doble. They were a duo with a distinctly Spanish edge, although it is almost impossible to establish parallels between them and any other Spanish music released during the years they were active. Gloria van Aerssen and Carmen Santonja were truly unique and their mix of folk, traditional genres and psych rock is a landmark in Spanish pop.

    This self-titled LP is their impossible-to-find first album, which despite extremely low sales (it is said that the majority of the copies were destroyed by one of the investors in the Ópalo label after shipping them to Argentina) has been highly influential for generations of pop musicians in Spain and a holy grail item for many music fans. There are plenty of reasons for this.

    The opening track, ‘Caramelo de limón’, already shows how effective their personal musical recipe can be. Fantastic vocal harmonies, unexpected arrangements, original elements brought into the song and even fierce guitars where needed (their backing band, Los Tickets, would later become Asfalto, one of the biggest hard rock bands in Spain). As the album progresses, every track is a wonderfully idiosyncratic marvel: ‘Dime, Félix’, ‘Roberto Querido’, ‘Fulgencio Pimentel’... You will even find drum breaks on ‘Quién le pone el cascabel al gato’!

    The package is completed with the amazing psychedelic artwork designed by Ivan Zulueta, a cult Spanish artist whose work spanned different fields and some will remember for his film posters for Pedro Almodóvar.

    Vinyl reissue of the last studio album by Os Mutantes before their break up in the late 70s. A brilliant progressive rock record by the legendary Brazilian band, "Tudo foi feito pelo sol" was released in 1974, when Rita Lee was already focused on her solo career and Arnaldo Baptista had also left the group due to internal and personal problems. The only original member remaining, Sergio Dias, along with bassist Liminha were responsible for composing most of these songs - a varied selection that traverses through the band's own interpretations of west coast, rock n roll, prog rock and psychedelic styles - the fiery broth that would be known as the 'tropicalia' sound.


    Ltd LP Info: Gatefold, 180g vinyl.

    Hector Costita Sexteto

    Hector Costita Sexteto

    Born in Argentina, saxophonist and flutist Hector "Costita" Bisignani arrived to Brazil in the late 1950s and in the following years played with some of the biggest names of the era such as Joao Donato, Manfredo Fest and Sergio Mendes. In 1964 he recorded "Impacto" with his sextet, an explosive mix of tough jazz and Brazilian samba widely considered his best work. The album's ten tracks include three Costita compositions, songs by Tom Jobim and Vincius de Moraes and a superb version of Horace Silver's 'Tokyo Blues'. A killer samba-jazz LP!

    Presented in facsimile artwork and pressed on 180g vinyl.

    Pan & Regaliz

    Pan & Regaliz

      Often compared to early Jethro Tull due to its distinctive flute work and experimental blues rock sound, the only album by Pan y Regaliz (1971) reached way beyond that to become one of the true psych/prog masterpieces recorded in Spain. Amazing guitars, trippy vocals and hypnotic rhythms are some of the elements of this outstanding and much sought-after LP. 


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

      Hareton Salvanini

      A Virgem De Saint Tropez

      Brazilian arranger and writer Hareton Salvanini was commissioned the soundtrack for the 1973 film "A Virgem de Saint Tropez" and what a fantastic job he did! This record could rival the best of KPM or Chappell library LPs. 'Copacabana Rock' starts with some psychedelic vibes and then evolves into a dancefloor bomb. 'Saint Tropez' is a rhythmic flute & electric piano-laden track with wah-wah guitars a plenty. There is room for some heavy tropical drumming on 'Perseguio' and 'Seios'. In need of some soft bossa with dabadaba vocals? Just check 'Espairecendo', an exquisite cut that sounds as if Sergio Mendes & Brasil '66 had been produced by Arthur Verocai. While the jazzier and most experimental passages of the soundtrack belong to the wonderful 'Sao Paulo'.

      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.

        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.


          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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