{"title":"Latin","description":"","products":[{"product_id":"local-spirits-lp","title":"La Chooma","description":"\u003cp\u003e\u003cspan\u003ePsychedelic dub, Afro-Latin rhythms and cosmic grooves come together on \u003c\/span\u003e\u003cb\u003eLa Chooma\u003c\/b\u003e\u003cspan\u003e's self-titled debut for Batov Records. Drawing on Moroccan Gnawa, Colombian cumbia, Afrobeat, Jamaica dub and roots, and cosmic jazz, the six-piece ensemble create deep, hypnotic music rooted in global traditions and shaped for contemporary. Having already captivated local audiences with their hypnotic, organic live performances, La Chooma -- now a six-piece ensemble -- have been steadily building an international following. Initial singles \"Magic Plant\" and \"Huachuma\" earned support from tastemakers including BBC Radio 6 Music's \u003c\/span\u003e\u003cb\u003eDeb Grant\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eTom Ravenscroft\u003c\/b\u003e\u003cspan\u003e. \"Magic Plant\" distills the band's signature blend of hypnotic grooves, lush percussion and woozy synths, like \u003c\/span\u003e\u003cb\u003eJimi Tenor\u003c\/b\u003e\u003cspan\u003e lost in the Colombian Amazon. A dreamlike, dub-infused trip driven by organic rhythm and cosmic textures. \"Huachuma\" picks up the thread, fusing Afrobeat percussion, swirling basslines and psychedelic flourishes into a hallucinogenic jam made for a tropical dancefloor. \"High Grow\" conjures images of \u003c\/span\u003e\u003ci\u003eThe X-Files\u003c\/i\u003e\u003cspan\u003e set in Addis Ababa, with Ethiojazz-style synths dancing and tripping across a relentless Mulatu-inspired bassline and Afrobeat drums, all drenched in foreboding dub delay. Perfect for dark, smoke-filled rooms in the small hours. Like the lost child of \u003c\/span\u003e\u003cb\u003eIdris Ackamoor\u003c\/b\u003e\u003cspan\u003e \u0026amp; \u003c\/span\u003e\u003cb\u003eThe Pyramids\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eThe Comet Is Coming\u003c\/b\u003e\u003cspan\u003e, \"Lonely\" hits like a sledgehammer of cosmic synth funk and intense Afrorock drums, riding an acoustic bassline that breaks into a frenetic solo after a minute. The drums constantly threaten to overwhelm, but open up for the spiraling synths to peak half way through the track. \"Cozumel\" follows seamlessly, moving to a slightly slower groove built on a deep electric bassline and irresistible four-to-the-floor Afro-Latin rhythms. Synths rise in harmony with the haunting call of the hand-carved Egyptian kawala flute as the energy builds in the third minute before the tension finally releases. There's something in the music's spiritual core and soulful presence that recalls the groundbreaking work of Jamaican legends \u003c\/span\u003e\u003cb\u003eCount Ossie\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eCedric Brooks\u003c\/b\u003e\u003cspan\u003e, who fused jazz with Rastafari drumming. La Chooma draw dotted lines across time and space, finding hidden connections and shared frequencies, pulling threads together into a sound that hypnotizes the mind and moves the body.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697652887831,"sku":"BTR 125LP","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/LaChooma.jpg?v=1776748329"},{"product_id":"afrosound-colombia-v1-3lp","title":"The Afrosound Of Colombia Vol. 1","description":"\u003cp\u003e\u003cspan\u003e2022 repress. Over 2 ½ hours of funky, hot Afro-influenced tracks from the '60s and '70s golden-period of the seminal Discos Fuentes label in Colombia. Forty-three dancefloor hits provide an irresistible mix of genres: salsa, cumbia, boogaloo, tropical funk, and chicha. The story of the Afrosound is a tale of transformation. It tells of the enslaved African peoples who were taken to Colombia, who mixed with Europeans and indigenous inhabitants (by force or choice), and were eventually set free, as well as the escaped cimarrones (maroons) that lived in palenques (fortified settlements) and continued their own traditions. The Afrosound sings of a double diaspora, first the trek in chains during the infamous Middle Passage from the Motherland of Africa to the so-called New World, then much later, the migration from the plantations to the cities. This release deals with the unique sounds produced as a result of the inventive mixing of pop and roots that took place in the urban confines of the Discos Fuentes studios, far from Colombia's coastal regions. The invented term \"Afrosound\" serves as the title of a thrilling and sometimes odd soundtrack that chronicles the diffusion and evolution of the musical culture from those coastal regions as it was brought inland, where it was translated, simplified, mass marketed, manufactured, modernized, \"whitened,\" globalized, recycled, and then sent back to the world at large, disseminated from the cities of Medellín and Bogotá, where the major bulk of the music production industry resided in the '50s through to the '70s. To tell the story of Afrosound, you not only have to know about the influence of Afro-Antillean music and indigenous Colombian tropical coastal genres, you also have to know something about the history of Discos Fuentes and musician\/producer \u003c\/span\u003e\u003cb\u003eJulio Ernesto \"Fruko\" Estrada\u003c\/b\u003e\u003cspan\u003e. Suffice it to say that the coastal area of Colombia shares in common with other areas in the Caribbean Antilles a certain tropical mix of sensuality and syncopation that somehow manages to combine joy and pain in a transporting wave of rhythm and melody that is food for the soul. The tracks on this compilation were chosen from the vast archives of Discos Fuentes because they are fun, funky, and unexpected. The title of this compilation comes from one of the Fuentes bands, Afrosound, but here it's taken more as a general term to denote the funkier side of the label's prolific output in the '60s and '70s. The unifying factor for the collection is that the tracks all have something to do with African roots or influences in one way or another, and they mark a period of sonic experimentation, self expression, upheaval, rebellion and rebirth in the industry, nurtured by Discos Fuentes and its stable of musicians, producers, and engineers. Full-color printed inner sleeves include in-depth liner notes with rare photos and original LP artwork.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653281047,"sku":"VAMPI 108LP","price":59.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/TheAfrosoundOfColombiaVol.1.jpg?v=1776746441"},{"product_id":"afro-col-2lp","title":"Afro-Colombian Sound Modernizers","description":"\u003cp\u003e\u003cspan\u003e2025 repress; double LP version. In the history of Afro-Colombian culture, \u003c\/span\u003e\u003cb\u003eSon Palenque\u003c\/b\u003e\u003cspan\u003e is without a doubt an exceptional band, and its history has a place at the very heart of ancestral palenquera music as well as at the musical intersection between Africa and Colombia, which took place on Colombia's Caribbean coast in the '70s and '80s and which continues today through champeta, a musical genre and dance that also bears a strong African influence. The members of Son Palenque band grew up in rural communities fixed in time, with deep musical roots, duels between tambora players and a legendary musical profusion of traditional musicians that built the foundations of today's Afro-Colombian music. Later they all migrated to the city and bit by bit made a place for themselves. In 1980 they recorded their first single for the Fonobosa record label. Two years later they recorded an LP, again with Fonobosa, along with \u003c\/span\u003e\u003cb\u003eEstefanía Caicedo\u003c\/b\u003e\u003cspan\u003e. Later on the band signed with the label Felito Records, in Barranquilla, which during the '80s produced some of the finest gems of psychedelic and Afro-roots music of the time. With Felito Records a new era began for the group. They recorded the LPs \u003c\/span\u003e\u003cu\u003eAne Jue\u003c\/u\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cu\u003eAfrican Erotic\u003c\/u\u003e\u003cspan\u003e -- milestones in the history of Afro-Colombian music: for the first time they showed us traditional palenquera music, chalupa, bullerengue, lumlalú and other traditional rhythms mixed with modern arrangements of bass, guitar and saxophone. They then recorded three LPs for the CBS music label, and in the mid-'90s Son Palenque lost its recording contract, The group was resurrected in 1999 for a song with guitarist \u003c\/span\u003e\u003cb\u003eSekou Diabate\u003c\/b\u003e\u003cspan\u003e, legendary leader of the band \u003c\/span\u003e\u003cb\u003eBebeya Jazz\u003c\/b\u003e\u003cspan\u003e. Subsequently they recorded for the same label, under the production of \u003c\/span\u003e\u003cb\u003eLucas Silva\u003c\/b\u003e\u003cspan\u003e, the record \u003c\/span\u003e\u003cu\u003eMa Kamajan Ri Musika Ri Palengue\u003c\/u\u003e\u003cspan\u003e, released in 2012, which marked the folkloric group's resurrection. And so Son Palenque continues to play, 30 years after its foundation. This compilation of their music from the '70s and '80s makes clear their inimitable, groundbreaking legacy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653313815,"sku":"VAMPI 158LP","price":37.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Afro-ColombianSoundModernizers.jpg?v=1776746544"},{"product_id":"afrosound-colombia-v3-2lp","title":"The Afrosound Of Colombia Vol. 3","description":"\u003cp\u003e\u003cspan\u003e2024 restock. It's been a few years, but Vampisoul is back with the next installment of Colombian tropical bangers from the deep vaults of Discos Fuentes. The term Afrosound denotes an always exciting, sometimes surprising soundtrack chronicling the embrace, development, dissemination, and commercialization of the country's rich Afro-Coastal musical heritage over more than four decades. It is the proud sound of African-rooted culture translated, transformed, and transmitted through the commercial enterprise of Discos Fuentes, and this third collection offers an even more diverse and chronologically wide-ranging array of tracks than the previous two volumes, with an even stronger focus on the music's folkloric origins. The unifying factor this time is the same: African roots or influences and the period of experimentation, self-expression, upheaval, rebellion, and rebirth in the industry, nurtured by the label and its stable of musicians, song-writers, producers, and engineers. Although this volume does not list \u003c\/span\u003e\u003cb\u003eFruko Y Sus Tesos\u003c\/b\u003e\u003cspan\u003e in the track-by-track credits, the presence of \u003c\/span\u003e\u003cb\u003eJulio Ernesto Estrada Rincón\u003c\/b\u003e\u003cspan\u003e can be felt throughout, with the first half setting the stage for his artistic birth, schooling and eventual emergence at the label, and the second half featuring bands that he was an integral part of or had a hand in creating, producing, and composing for. And with that said, Vampisoul dedicate this collection to Fruko: long may he reign as \"The King of Afrosound\". This incredible stream of black gold adorned and enriched the public airways of Cali, Buenaventura, Cartagena, Baranquilla, to become a symbol of pride and part of Colombia's collective identity. \u003c\/span\u003e\u003ci\u003eAfrosound Vol. 3\u003c\/i\u003e\u003cspan\u003e comprises an outstanding selection of 26 hard-to find-tracks, many reissued for the first time, covering a wide array of Afro-rooted genres, with a stronger focus on the music's folkloric origins than in previous volumes, featuring recordings by the likes of \u003c\/span\u003e\u003cb\u003eMichi Sarmiento\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eWganda Kenya\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eThe Latin Brothers\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Corraleros De Majagual\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePeregoyo\u003c\/b\u003e\u003cspan\u003e... Includes an extended booklet with notes by compiler \u003c\/span\u003e\u003cb\u003ePablo Yglesias\u003c\/b\u003e\u003cspan\u003e aka \u003c\/span\u003e\u003cb\u003eDJ Bongohead\u003c\/b\u003e\u003cspan\u003e. Also features \u003c\/span\u003e\u003cb\u003ePepe Velásquez y Su Arpa Paraguaya\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePedro Salcedo Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePedro Laza Y Sus Pelayeros\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Alegres Diablos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJuan Piña Y Sus Muchachos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePello Torres Y Sus Diablos Del Ritmo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Satélites\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJulio Erazo Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAriza y Su Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePedro Jairo Garcés Y Su Guitarra Estereofonica\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Claves\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Super Star De Colombia\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePeregoyo Y Su Combo Vacaná\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLa Carnaval Swing\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEl Sexteto Miramar\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eToño Y Su Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJuancho Vargas Al Órgano\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEl Super Combo Los Diamantes\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCésar Pompeyo Y Su Sonora\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLa Integración\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDimensión Caribe De Pedro Conde\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMichi Y Sus Bravos\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eAfrosound\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653346583,"sku":"VAMPI 183LP","price":53.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/TheAfrosoundOfColombiaVol.3.jpg?v=1776746365"},{"product_id":"a-gozar-lp","title":"A Gozar Salsomanos","description":"\u003cp\u003e\u003cspan\u003e2021 repress. \"By 1974, salsa was taking Colombia by storm and so the directors of the INS label (Industria Nacional Del Sonido Ltda), based in Medellín, Colombia, decided to create a band that would appeal to 'salsómanos' (salsa fanatics) and be able to compete with the area's two larger labels, Discos Fuentes and Codiscos. Thus was born the oddly named \u003c\/span\u003e\u003cb\u003eLos Afroins\u003c\/b\u003e\u003cspan\u003e (a contraction of Afro, indicating the roots of the music, and '--ins', for the label name), an obscure, short-lived combo that would release two albums and six 45s. The repertoire focused on cover versions of hit Afro-Antillean tunes both classic and contemporary. Pianist \u003c\/span\u003e\u003cb\u003eAgustín Martínez 'El Conde'\u003c\/b\u003e\u003cspan\u003e, who would later work with \u003c\/span\u003e\u003cb\u003eJoe Arroyo\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eJuan Piña\u003c\/b\u003e\u003cspan\u003e, led the group and did some arranging. INS artistic director \u003c\/span\u003e\u003cb\u003eAlfredo Linares 'El Inca'\u003c\/b\u003e\u003cspan\u003e, the famed Peruvian keyboardist and composer, oversaw the project and guested on piano for several tracks, doing some arranging as well. The vocals were handled by a pair of young as yet unknown singers, \u003c\/span\u003e\u003cb\u003eLucho Puerto Rico\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eRay Betancourt\u003c\/b\u003e\u003cspan\u003e, who would later go on to more fame in the 1980s, the former with his own \u003c\/span\u003e\u003cb\u003eLucho Puerto Rico y su Conjunto Sonero\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eConjunto Son del Barrio\u003c\/b\u003e\u003cspan\u003e, and the latter with \u003c\/span\u003e\u003cb\u003eWillie Salcedo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eReales Brass de Colombia\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLos Caribes\u003c\/b\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cb\u003eÓscar Toscano \"El Márquez Argentino\"\u003c\/b\u003e\u003cspan\u003e (whose orchestra backed \u003c\/span\u003e\u003cb\u003ePalito Ortega\u003c\/b\u003e\u003cspan\u003e in the 1960s) and \u003c\/span\u003e\u003cb\u003eLuis E Mosquera\u003c\/b\u003e\u003cspan\u003e arranged as well, while the rest of the band was made up of INS-related studio musicians. Their first album, \u003c\/span\u003e\u003ci\u003eA Gozar Salsomanos Con Los Afroins\u003c\/i\u003e\u003cspan\u003e, is a sought-after collector's item and contains ten brassy, heavy-duty salsa gems that don't let up for the duration of the record. There are covers of salsa hits by \u003c\/span\u003e\u003cb\u003eIsmael Rivera\u003c\/b\u003e\u003cspan\u003e ('El Nazareno', 'Orgullosa'), \u003c\/span\u003e\u003cb\u003eLos Ahijados\u003c\/b\u003e\u003cspan\u003e ('Virgen De La Cueva', 'Guayo, Pellizco Y Pata'), \u003c\/span\u003e\u003cb\u003eRoberto De La Barrera\u003c\/b\u003e\u003cspan\u003e ('Sabrosón'), \u003c\/span\u003e\u003cb\u003eCheo Marquetti\u003c\/b\u003e\u003cspan\u003e ('Apriétala'), and even the smash pop hit by the French modern classical and electronic music composer \u003c\/span\u003e\u003cb\u003eSaint-Preux\u003c\/b\u003e\u003cspan\u003e (a great instrumental descarga version of 'Concierto Para Una Sola Voz'). In addition, there are two originals ('Afroinspiración' and 'Cuídate') that are equally hot. The whole package makes for a very satisfying party record that deserves to be more accessible and better known by today's salsómanos who may have heard of Fruko y sus Tesos or Grupo Niche but have yet to discover Los Afroins.\" --\u003c\/span\u003e\u003cb\u003ePablo Iglesias\u003c\/b\u003e\u003cspan\u003e, aka \u003c\/span\u003e\u003cb\u003eDJ Bongohead\u003c\/b\u003e\u003cspan\u003e Presented in facsimile artwork and pressed on 180 gram vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653379351,"sku":"VAMPI 201LP","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/AGozarSalsomanos.jpg?v=1776746239"},{"product_id":"mi-nuevo-lp","title":"Mi Nuevo Ritmo","description":"\u003cp\u003e\u003cspan\u003eVampisoul present a reissue of \u003c\/span\u003e\u003cb\u003eAlfredo Linares Y Su Salsa Star\u003c\/b\u003e\u003cspan\u003e' \u003c\/span\u003e\u003ci\u003eMi Nuevo Ritmo\u003c\/i\u003e\u003cspan\u003e, originally released in 1974. A nonstop salsa dura party album from start to finish, comparable with any of New York's finest like \u003c\/span\u003e\u003cb\u003eRay Barretto\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eWillie Colón\u003c\/b\u003e\u003cspan\u003e from the same era, but with its own unique swinging sound and bright, crisp, joyful vibe. There are plenty of straight up Cuban-roots based salsa tunes, plus some Latin jazz and Latin soul and a bolero. Trumpets, hand claps, loud cowbell, and vigorous vocals all make for a great listen and an even better dance experience. As the track \"La Música Brava\" proclaims: \"Yo no quiero que pare la música brava!\" (I don't want the badass music to stop!). The record is actually a patchwork of different recording sessions made in Peru and Colombia, featuring differing studio sound and musician lineups. Linares had just returned to his adopted home of Medellín from a period spent in Peru and was looking for a record deal. He had brought master tapes with four songs recorded in Lima and was shopping them around in the hopes of securing an album contract. Linares also cut some Colombian sessions which feature \u003c\/span\u003e\u003cb\u003eRoy \"Tayrona\" Betancourt\u003c\/b\u003e\u003cspan\u003e as well as \u003c\/span\u003e\u003cb\u003eHenry Castro\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eEnrique Fabián\u003c\/b\u003e\u003cspan\u003e. Unfortunately, neither Discos Fuentes nor Sonolux or Codiscos were interested. At that time, vinyl for making records was scarce and over-priced due to the petroleum crisis and hence the labels were reluctant to try out a new artist. \"There was nothing to be done. The only company that had vinyl stock was INS. So, I did the business with them even though they didn't have a known name in Colombia. The strength of that album made them rather famous.\" The song \"Mambo Rock\" (with \"Estricto Guaguancó\" on the B side) came out on a 45rpm record in 1974, and, as Linares recounts it, \"two months later the sale was at a very high level. So, partly out of gratitude, I started producing for them. It is from there that my other records and the AfroINS albums came.\" Unfortunately, the master tapes to the LP were lost or destroyed, as with all INS releases, so the best possible vinyl sources and audio restoration has been used for this deluxe reissue. Recommended by \u003c\/span\u003e\u003cb\u003eDJ Bongohead\u003c\/b\u003e\u003cspan\u003e of Peace \u0026amp; Rhythm. Presented in its original artwork and pressed on 180 gram vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653412119,"sku":"VAMPI 223LP","price":27.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/MiNuevoRitmo.jpg?v=1776746167"},{"product_id":"14-magnificos-lp","title":"14 MAGnificos Bailables","description":"\u003cp\u003e\u003cspan\u003eMAG has been, since its foundation in 1953, an essential label in the music scene of Peru, allowing the development of the careers of both tropical artists and musicians of other genres. At the head was \u003c\/span\u003e\u003cb\u003eDon Manuel Antonio Guerrero\u003c\/b\u003e\u003cspan\u003e, its founder, whose name comes from the acronym of the label itself (M.A.G.). In 2021 MAG was acquired by the Spanish company Distrolux SL, owner of the Munster and Vampisoul record labels, after years of previous collaborations in which some of the most emblematic titles in the catalog were already reissued for the international market: \u003c\/span\u003e\u003cb\u003eNils Jazz Ensemble\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSonora Casino\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eTraffic Sound\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAl Valdez\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePax\u003c\/b\u003e\u003cspan\u003e... \u003c\/span\u003e\u003cu\u003e14 MAGníficos Bailables\u003c\/u\u003e\u003cspan\u003e is a 14-track compilation that celebrates a new era in the history of the label, now under the Vampisoul umbrella, with a selection of astonishing dance floor-oriented gems. This is also a perfect introduction to MAG, showcasing the amazing musical variety sported by the Peruvian label throughout the years. The comp includes juicy Cuban songs like \"Mi Son Combinado\", an outstanding original taken from the extremely scarce LP recorded by Cuba's finest \u003c\/span\u003e\u003cb\u003eOrquesta Revé\u003c\/b\u003e\u003cspan\u003e for MAG in Lima, and the explosive guaracha \"Tin Marin\" by \u003c\/span\u003e\u003cb\u003eLos Kintos\u003c\/b\u003e\u003cspan\u003e, a group led by guitarist \u003c\/span\u003e\u003cb\u003ePancho Acosta\u003c\/b\u003e\u003cspan\u003e. Also, classic songs such as \"Arroz Con Coco\" or \"Aprieta (Oye Como Va),\" and obscure recordings like the stunning \"Ritmo Veregua\" by \u003c\/span\u003e\u003cb\u003eTito Chicoma\u003c\/b\u003e\u003cspan\u003e. MAG will turn 70 in 2023 and is a pivotal label in Peruvian music, mainly focused on tropical rhythms although its extensive catalogue also includes rock, pop and jazz recordings. Also features \u003c\/span\u003e\u003cb\u003eLos Avileños\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFreddy Roland Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSilvestre Montez\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMita Y Su Monte Adentro\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePoppy Y Sus Pirañas\u003c\/b\u003e\u003cspan\u003e, Al Valdez, Sonora Casino, \u003c\/span\u003e\u003cb\u003eGermán Neciosup Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLa Sonora MAG\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eÑico Estrada y Su Sonora\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMelcochita y Karamanduka\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653641495,"sku":"VAMPI 260LP","price":24.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/14MAGnificos.jpg?v=1776746018"},{"product_id":"los-kintos-lp","title":"Los Kintos","description":"\u003cp\u003e\u003cspan\u003e2023 repress. Vampisoul present a first time reissue of \u003c\/span\u003e\u003cb\u003eLos Kintos\u003c\/b\u003e\u003cspan\u003e' self-titled album, originally released in 1970. In the late sixties, a generation of young Peruvian musicians, who were fans of tropical sounds, chose Cuban rhythms over the onslaught of boogaloo and Colombian cumbia. This musical movement attracted a legion of young followers, mostly from popular districts of Lima. In 1969, percussionist \u003c\/span\u003e\u003cb\u003eDomingo Guzmán Villanueva\u003c\/b\u003e\u003cspan\u003e was commissioned by the MAG record label to get together a group to revive Cuban musical tradition. To lead the project he recruited, \u003c\/span\u003e\u003cb\u003eFrancisco \"Pancho\" Acosta\u003c\/b\u003e\u003cspan\u003e, founder and guitarist of the \u003c\/span\u003e\u003cb\u003eCompay Quinto\u003c\/b\u003e\u003cspan\u003e. The new group was baptized Los Kintos, in a nod to their desire to carry on playing in the Compay Quinto style. The link between the two groups appears on this first album, as the group's name is written in two different ways: Los Kintos, on the front cover; and \u003c\/span\u003e\u003cb\u003eLos Quintos\u003c\/b\u003e\u003cspan\u003e, on the back. Recordings began in 1969 and included the stunning \"Descarga Kinto\", \u003c\/span\u003e\u003cb\u003eRichie Ray\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eBobby Cruz\u003c\/b\u003e\u003cspan\u003e's original \"Pancho Cristal\" -- renamed here \"Pancho Guzmán\" -- and Cuban classics from the repertoire of the historic \u003c\/span\u003e\u003cb\u003eTrio Matamoros\u003c\/b\u003e\u003cspan\u003e like \"Lágrimas Negras\" or \"Mentiras\", all with lead vocals by \u003c\/span\u003e\u003cb\u003eKiko Fuentes\u003c\/b\u003e\u003cspan\u003e. The success of their concerts would take them on tours across the country, always recognized as outstanding figures of Cuban music in Peru. This reissue brings back an album that marked a milestone in the history of Peruvian tropical music and revives the fame of the group's legendary live performances.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653674263,"sku":"VAMPI 261LP","price":28.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/LosKintos.jpg?v=1776745947"},{"product_id":"pan-lp","title":"Pan","description":"\u003cp\u003e\u003cspan\u003eFirst time reissue, originally released in 1970. The only album by Venezuela's most prolific percussionist, \u003c\/span\u003e\u003cb\u003eNené Quintero\u003c\/b\u003e\u003cspan\u003e, and his first band sounds like a somewhat artisanal classic rock album from the end of the '60s but made by \"salseros\" (as involved in Salsa music). \u003c\/span\u003e\u003cb\u003eGrupo Pan\u003c\/b\u003e\u003cspan\u003e was formed in 1970 in the popular Caracas neighborhood of Marín at the initiative of \u003c\/span\u003e\u003cb\u003eCarlos \"Nené\" Quintero\u003c\/b\u003e\u003cspan\u003e together with his brother \u003c\/span\u003e\u003cb\u003eJesús \"Chú\" Quintero\u003c\/b\u003e\u003cspan\u003e. His experience as a professional musician as part of \u003c\/span\u003e\u003cb\u003eLos Dementes\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRay Pérez\u003c\/b\u003e\u003cspan\u003e's group, would allow him to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. The band would be completed with \u003c\/span\u003e\u003cb\u003eAlfredo Padilla\u003c\/b\u003e\u003cspan\u003e (percussion), \u003c\/span\u003e\u003cb\u003eDavid Azuaje\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eCarlos Guerra\u003c\/b\u003e\u003cspan\u003e (trombones), \u003c\/span\u003e\u003cb\u003eHenry Camba\u003c\/b\u003e\u003cspan\u003e (trumpet), and \u003c\/span\u003e\u003cb\u003eRubén \"Micho\" Correa\u003c\/b\u003e\u003cspan\u003e (electric guitar), already with a solid reputation as a guitarist after years playing in rock bands. Nené Quintero would resume contact with his acquaintance \u003c\/span\u003e\u003cb\u003eMario Tepedino\u003c\/b\u003e\u003cspan\u003e, at that time artistic director of 2001 Juvenil, a Venezuelan TV show focused on the promotion of young musical values, who would offer them to appear on said program. Through the popularity provided by, their frequent television appearances, they were offered the opportunity to record an album. In December 1970, their first and only LP would be released, recorded at the Fidelis studios in Caracas and produced by Mario Tepedino. It was published by Souvenir, a label responsible for the release of many other essential Venezuelan rock albums, such as the highly sought-after records by \u003c\/span\u003e\u003cb\u003eThe Love Depression\u003c\/b\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cb\u003eLadies W.C\u003c\/b\u003e\u003cspan\u003e. \u003c\/span\u003e\u003ci\u003ePan\u003c\/i\u003e\u003cspan\u003e's successes in overcoming through its grooves the eternal rivalry between the followers of the hard rock sounds and those who, on the contrary, were devotees of salsa. All the songs on the album are written by \"Nené\" Quintero himself and remain as fundamental milestones in the history of Venezuelan rock. The album would contribute to the birth of a new paradigm of Latin rock, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. After this Souvenir release, the band would also record two singles on another label called Promus. Grupo Pan would remain active until 1973 when the band members would follow different paths. \u003c\/span\u003e\u003ci\u003ePan\u003c\/i\u003e\u003cspan\u003e, their only LP, has become one of the essential and most sought-after Venezuelan albums. Remastered sound; includes two bonus tracks, liner notes, and exclusive photos; 180 gram vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653707031,"sku":"VAMPI 263LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Pan_45ecd66f-724e-4a21-b9c1-953ddc08bdee.jpg?v=1776745853"},{"product_id":"cumbias-lp","title":"Cumbias y Boogaloos","description":"\u003cp\u003e\u003cspan\u003e2024 repress. First time reissue, originally released in 1968. The musician \u003c\/span\u003e\u003cb\u003eRoberto Enrique \"Tito\" Chicoma\u003c\/b\u003e\u003cspan\u003e forged one of the most solid and constant career paths in Peruvian music. In 1959, at the age of 23, Tito moved to Lima, where he soon joined ensembles such as the \u003c\/span\u003e\u003cb\u003eKoki Palacios\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eArmando Boza\u003c\/b\u003e\u003cspan\u003e orchestras, which took him abroad for the first time on tour. A recognized musician in his own right, Tito would later decide to form his own orchestra, which was soon hired by América Televisión, starring on programs such as \u003c\/span\u003e\u003cu\u003eEl Show de Juan Silva\u003c\/u\u003e\u003cspan\u003e, where he accompanied international artists that visited Lima. In 1966, Tito made his first record under his own name on the MAG label, performing two cumbias by the Colombian group \u003c\/span\u003e\u003cb\u003eLos Teen Agers\u003c\/b\u003e\u003cspan\u003e. The praise the single received led to the recording of his first LP, \u003c\/span\u003e\u003cu\u003eEl Ritmo de Moda\u003c\/u\u003e\u003cspan\u003e, where he continued to compile Colombian songs. At the end of 1967, he dedicated his new LP project to recording two fashionable rhythms at the time: \u003c\/span\u003e\u003cu\u003eCumbias y Boogaloos\u003c\/u\u003e\u003cspan\u003e. The Colombian cumbia became popular in Peru from 1964 onwards, when local orchestras like those of \u003c\/span\u003e\u003cb\u003eAndrés de Colbert\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMario Cavagnaro\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEulogio Molina\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLucho Macedo\u003c\/b\u003e\u003cspan\u003e recorded cumbia hits, then the genre soared when groups like \u003c\/span\u003e\u003cb\u003eLos Pacharacos\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eLos Demonios del Mantaro\u003c\/b\u003e\u003cspan\u003e mixed it with Andean music. Boogaloo in Peru was popularized chiefly by the record label MAG, which kept its listeners up to date with developments in tropical music in New York, releasing and distributing records by Alegre Records and recording versions of hit songs such as \"El Pito\" and \"Mamblues\" with local musicians. The recording sessions for \u003c\/span\u003e\u003cu\u003eCumbias y Boogaloos\u003c\/u\u003e\u003cspan\u003e began in December 1967, when Tito released one of his first compositions: \"Dale U\". He also recorded the instrumental track \"La Cigüeña\" and \"Plaza de Toros\", two compositions by the Venezuelan artist \u003c\/span\u003e\u003cb\u003eHugo Blanco\u003c\/b\u003e\u003cspan\u003e. After a trip to Buenos Aires in 1968, he recorded two more songs, both from the Alegre Records single: \"Mr. Trumpet Man\" and \"El Diri-Bop\" by Puerto Rican musicians \u003c\/span\u003e\u003cb\u003eRichie Ray\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eBobby Cruz\u003c\/b\u003e\u003cspan\u003e. Then, during May, Tito recorded a couple of songs by the Venezuelan guitarist \u003c\/span\u003e\u003cb\u003eOrlando Peñaranda Moros\u003c\/b\u003e\u003cspan\u003e and his group \u003c\/span\u003e\u003cb\u003eOrlando y su Combo\u003c\/b\u003e\u003cspan\u003e: \"Pata Pata Pelada\" and \"A Que Tú No Sabes\". The former was inspired by \u003c\/span\u003e\u003cb\u003eMiriam Makeba\u003c\/b\u003e\u003cspan\u003e's 1967 global hit \"Pata Pata\". The sessions were complemented by recording \"La Cebolla\", a composition by the Colombian songwriter \u003c\/span\u003e\u003cb\u003eGraciela Arango de Tobón\u003c\/b\u003e\u003cspan\u003e, and the Amazonian waltz \"La Contamanina\" recorded with a cumbia beat. By September 1968, the LP was released and received extensive airplay on the radio, especially the cumbias. An obscure tropical gem loaded with dancefloor tunes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653739799,"sku":"VAMPI 268LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/CumbiasyBoogaloos.jpg?v=1776745735"},{"product_id":"baile-ud-lp","title":"Baile Ud. Con Betico Salas","description":"\u003cp\u003e\u003cspan\u003eFirst time reissue. Originally released in 1966. First solo LP by the talented Peruvian artist \u003c\/span\u003e\u003cb\u003eBetico Salas\u003c\/b\u003e\u003cspan\u003e, lead trumpet player of the great \u003c\/span\u003e\u003cb\u003eSonora de Lucho Macedo\u003c\/b\u003e\u003cspan\u003e, one of the best ensembles playing Cuban repertoires in the early '60s. \u003c\/span\u003e\u003cb\u003eAlfredo Linares\u003c\/b\u003e\u003cspan\u003e on piano and sonero vocals by \u003c\/span\u003e\u003cb\u003eBenny del Solar\u003c\/b\u003e\u003cspan\u003e stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin \"Nos Vamos A Casar\"; the Colombian \"Lo Que Pasa Es Que La Banda Está Borracha\", a continental hit since the early sixties; the guaracha \"A Los Muchachos De Belén\", by Puerto Rican musician \u003c\/span\u003e\u003cb\u003eTito Rodríguez\u003c\/b\u003e\u003cspan\u003e; the guaracha \"Ritmo Del Amor\"; the elegant Cuban guaguancó \"Así Namá\", also well known for Tito Rodríguez's rendition; and the cumbia \"Qué Le Digo A Mi Mujer\". Singer, \u003c\/span\u003e\u003cb\u003eCésar Gonzales\u003c\/b\u003e\u003cspan\u003e, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the \u003c\/span\u003e\u003cb\u003eSonora Matancera\u003c\/b\u003e\u003cspan\u003e \"Lindo Omelenko\" and the bolero \"El Árbol\", a hit for the singer \u003c\/span\u003e\u003cb\u003eRoberto Ledesma\u003c\/b\u003e\u003cspan\u003e, also recorded that same year by Peruvians \u003c\/span\u003e\u003cb\u003eCarmita Jiménez\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAnamelba\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRaul del Mar\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLucho Macedo\u003c\/b\u003e\u003cspan\u003e himself, who decided to sing for his new record label. The mythical singer \u003c\/span\u003e\u003cb\u003eJohnny Arce\u003c\/b\u003e\u003cspan\u003e, years later known as Mr. Macondo, also appears on the album on the two guarachas: \"La Renga\", a composition by \u003c\/span\u003e\u003cb\u003eEsther Forero\u003c\/b\u003e\u003cspan\u003e, known as \"La novia de Barranquilla\"; and \"Yo Soy Candela\", a composition by the Colombian \u003c\/span\u003e\u003cb\u003eRay Rodríguez\u003c\/b\u003e\u003cspan\u003e. Finally, \"La Chola\" is a cumbia by Peruvian composer \u003c\/span\u003e\u003cb\u003eTomás Benítez\u003c\/b\u003e\u003cspan\u003e; and \"Mambo Jazz\" is a version of the descarga \"Yayi's Instant Mambo\", an innovative instrumental track performed by Puerto Rican \u003c\/span\u003e\u003cb\u003eWillie Rosario\u003c\/b\u003e\u003cspan\u003e, who recorded it in the United States at the start of 1966 with his own orchestra. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653805335,"sku":"VAMPI 272LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/BaileUd.ConBeticoSalas.jpg?v=1776745575"},{"product_id":"la-retreta-mayor-lp","title":"La Retreta Mayor","description":"\u003cp\u003e\u003cspan\u003eFirst time reissue of the awesome Latin jazz-funk self-titled LP from Venezuelan band \u003c\/span\u003e\u003cb\u003eLa Retreta Mayor\u003c\/b\u003e\u003cspan\u003e, founded and led by guitarist \u003c\/span\u003e\u003cb\u003eAlex Rodríguez\u003c\/b\u003e\u003cspan\u003e, originally released in 1976 on Discomoda. Rodríguez is a classical and jazz trained guitarist who in the early days of his career would join some of the best orchestras in Venezuela, including \u003c\/span\u003e\u003cb\u003eAldemaro Romero\u003c\/b\u003e\u003cspan\u003e's \u003c\/span\u003e\u003cb\u003eOnda Nueva\u003c\/b\u003e\u003cspan\u003e. He put together this brief project: \u003c\/span\u003e\u003cb\u003eLa Retreta Mayor\u003c\/b\u003e\u003cspan\u003e, which only released this one album. La Retreta Mayor was a short-lived ten-piece band with the addition of numerous guest musicians, totaling 29 members, that created a jazz-funk and fusion gem considered a reference in Venezuelan music history. The group unfortunately disbanded right after the recording and did not play live or record any more music together. The album contains quite a few heaters for the dance floor like \"Zambo\" and \"Líquido Elemento\", blazing with the rich brass section and percussion, not to mention the opener \"Torta de Pan\", reminiscent of recordings of classic US funk bands such as the \u003c\/span\u003e\u003cb\u003eJBs\u003c\/b\u003e\u003cspan\u003e. Rodríguez would follow this album two years later with the now much sought-after LP \u003c\/span\u003e\u003ci\u003eBúsqueda\u003c\/i\u003e\u003cspan\u003e recorded and produced between the States and Venezuela. 180 gram vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653838103,"sku":"VAMPI 276LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/LaRetretaMayor.jpg?v=1776745494"},{"product_id":"cumbia-cumbia-v1-2lp","title":"Cumbia Cumbia Cumbia!!! Vol. 1","description":"\u003cp\u003e\u003cspan\u003e2025 repress. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara, and Curro were created between Barranquilla, Medellín, Cartagena, and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. This first volume in the series \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e comprises 24 Colombian cumbia bangers for the dancefloor from the deep vaults of Discos Fuentes, the most emblematic and best remembered label in the golden age of the genre. This is complemented by a selection of cumbias recorded by the label Discos Tropical, which sold most of its catalog to Discos Fuentes in 1990. Discos Fuentes concentrated on recording cumbias played on the accordion and by orchestras and ensembles. The label produced a prodigious number of albums devoted to cumbias between 1962 and 1979, which served to define ambiguous stereotypes, rooted as much in authenticity and modernity as in demure sensuality and joyful nostalgia. \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e 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. Features \u003c\/span\u003e\u003cb\u003eJuan Piña Y Sus Muchachos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Corraleros De Majagual\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAníbal Velásquez Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCumbia Cipote Vaina\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCalixto Ochoa Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLucho Campillo Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLa Sonora Del Caribe\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEl Sexteto Miramar\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePello Torres Y Sus Diablos Del Ritmo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCombo Los Galleros\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Guacharacos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCombo Sampuesano\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eConjunto Típico Vallenato\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePedro Laza Y Sus Pelayeros\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAndrés Landero Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Golden Boys\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eOrquesta Nuñez\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Candelosos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMorgan Blanco Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePacho Galán Y Sus Sabaneros\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Gavilanes De La Costa\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLas Estrellas De Tolú\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Warahuaco\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRodolfo Aicardi Y Su Tipica Ra7\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697653870871,"sku":"VAMPI 284LP","price":37.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Cumbiavol1.jpg?v=1776743343"},{"product_id":"el-clan-antillano-lp","title":"El Clan Antillano","description":"\u003cp\u003e\u003cb\u003eEl Clan Antillano\u003c\/b\u003e\u003cspan\u003e was an obscure, short-lived salsa group started in 1975 by singer \u003c\/span\u003e\u003cb\u003eJacky \"El Caballo\" Carazo\u003c\/b\u003e\u003cspan\u003e, originally from Cartagena, and radio host\/song composer \u003c\/span\u003e\u003cb\u003eMike Char\u003c\/b\u003e\u003cspan\u003e, from Barranquilla. This is their first album and was recorded with local studio musicians. It's been said that most on the first album were from \u003c\/span\u003e\u003cb\u003eFruko Y Sus Tesos\u003c\/b\u003e\u003cspan\u003e (the voice of \u003c\/span\u003e\u003cb\u003eJoe Arroyo\u003c\/b\u003e\u003cspan\u003e can be heard on coro) as well as others involved with various groups like \u003c\/span\u003e\u003cb\u003eLa Protesta (de Colombia)\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eJuan Piña\u003c\/b\u003e\u003cspan\u003e's \u003c\/span\u003e\u003cb\u003eLa Revelación\u003c\/b\u003e\u003cspan\u003e. Three bonus tracks have been added to the album as it was originally very short. Interestingly, there were four songs from two 45 singles cut by the band that were never included on either long play. While the ephemeral El Clan Antillano may not be as well-known as the groups it's related to, namely \u003c\/span\u003e\u003cb\u003eEl Afrocombo\u003c\/b\u003e\u003cspan\u003e and Fruko Y Sus Tesos, it certainly deserves credit as a worthy participant in the historical evolution of salsa colombiana. First time reissue. 180g vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654034711,"sku":"VAMPI 288LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/ElClanAntillano.jpg?v=1776745402"},{"product_id":"brooklyn-sounds-lp","title":"Brooklyn Sounds!","description":"\u003cp\u003e\u003cspan\u003e2025 repress. \u003c\/span\u003e\u003cb\u003eBrooklyn Sounds\u003c\/b\u003e\u003cspan\u003e legendary 1971 debut album, full of heavy Nuyorican underground salsa dura propelled by raw trombones and in-your-face percussion, born of the barrio streets and the band's Caribbean heritage. Fully authorized by producer \u003c\/span\u003e\u003cb\u003eBobby Marin\u003c\/b\u003e\u003cspan\u003e, with liner notes detailing the Brooklyn Sounds story, featuring never-before seen photos and pressed on 180g vinyl. In the bustling rhythm-filled streets of 1970s New York, where the Latin music scene pulsated with energy, one clandestine project emerged from the shadows to become a hidden gem of raw, unfiltered musical brilliance -- the legendary \u003c\/span\u003e\u003ci\u003eBrooklyn Sounds!\u003c\/i\u003e\u003cspan\u003e album. Crafted by the audacious Bobby Marin, a maestro with an appetite for risk, this masterpiece is not just an album; it's a sonic rebellion that echoes the untamed spirit of the city. The iconic album cover, a creation of the visionary \u003c\/span\u003e\u003cb\u003eCharlie Rosario\u003c\/b\u003e\u003cspan\u003e, is a testament to the band's urban roots. A stark, black-and-white photograph of a snow-clad fire escape, rendered with high contrast, encapsulates the hard realities of the city that birthed Brooklyn Sounds' unmistakable sound. It's not just an album cover; it's a visual manifesto, a slice of New York's gritty soul frozen in time. As the reels rolled in the studio, capturing the essence of guaguancó, son montuno, bomba, and Latin soul, the band's music spoke to the streets, telling tales of broken romance, Santería, Puerto Rican roots, and the unbridled revelry of the city that never sleeps. The recording exuded a savage, smoggy vibe, full of heavy Nuyorican underground salsa dura propelled by raw trombones and in-your-face percussion. Released under the audacious Salsa Records -- a name that turned heads and raised eyebrows -- \u003c\/span\u003e\u003ci\u003eBrooklyn Sounds!\u003c\/i\u003e\u003cspan\u003e broke free from the mold, refusing to be confined by mainstream expectations. The LP became a sought-after treasure, transcending its low-budget origins. This hidden jewel, with its relentless rhythms and untamed spirit, never succumbed to the airwaves controlled by the big labels. It's a rebellion against the establishment, a testament to the band's refusal to conform. While Brooklyn Sounds may not have soared to mainstream heights, its impact echoes through collector circles worldwide, from Toronto to Tokyo, where enthusiasts crave the rare, the raw, and the rebellious. So, dive into the infectious beats, feel the authenticity pulsating through every track, and let \u003c\/span\u003e\u003ci\u003eBrooklyn Sounds!\u003c\/i\u003e\u003cspan\u003e take you on a journey back to the untamed streets of 1970s New York.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654231319,"sku":"VAMPI 297LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/BrooklynSounds.jpg?v=1776745116"},{"product_id":"cumbia-cumbia-v2-2lp","title":"Cumbia Cumbia Cumbia!!! Vol.2","description":"\u003cp\u003e\u003cspan\u003e2025 repress. A selection of 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e 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. The historical origins of cumbia in Colombia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. The main record companies in Colombia such as Discos Fuentes, Discos Tropical, Sonolux, Zeida-Codiscos, Silver, Ondina, Discos Atlantic, Vergara and Curro were created between Barranquilla, Medellín, Cartagena and Bogotá from 1936 to 1954. All of them, without exception, recorded Colombian tropical music that over the years was given different names such as porro, gaita, fandango, paseaito, merecumbé, mapalé, bullerengue or, of course, cumbia. After digging deep into the overwhelming archive of Discos Fuentes in the previous volume, this second instalment in the series \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e comprises 28 Colombian cumbia bangers for the dance floor from the deep vaults of Codiscos and associated labels Costeño, Zeida and Famoso, all of them originally released between 1962 and 1983. Legally established on July 1, 1950, Zeida (later Codiscos) was one of the companies that consolidated Medellín as the epicenter of the Colombian recording industry in the central decade of the last century. \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e 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. 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Already supported by \u003c\/span\u003e\u003cb\u003eGilles Peterson\u003c\/b\u003e\u003cspan\u003e on his radio show, this mind-blowing album combines ethno-free jazz passages and deep progressive compositions led by saxophonist \u003c\/span\u003e\u003cb\u003eMarcelo Peralta\u003c\/b\u003e\u003cspan\u003e resulting a very impressive ode to the legacy of \u003c\/span\u003e\u003cb\u003eColtrane\u003c\/b\u003e\u003cspan\u003e. This is the first and only album ever released by this band, \u003c\/span\u003e\u003cb\u003eGrupo de Improvisación Tercer Mundo\u003c\/b\u003e\u003cspan\u003e (\"Third World Improvisation Group\"), formed by a quartet of young musicians based in Buenos Aires accompanied by drummer \u003c\/span\u003e\u003cb\u003eNorberto Minchillo\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eLópez Fürst\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFernando Gelbard\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJorge Navarro\u003c\/b\u003e\u003cspan\u003e) and Litto Nebbia himself during the recording sessions. They would also organize weekly jam sessions in public spaces in Buenos Aires, getting visual artists, poets and even passersby involved in these communal actions that aimed to promote self-expression in an environment of total freedom. After the gigs they'd gather again for intense listening sessions of deep jazz for hours. \"Almas Liberadas\" and \"Un Hilo de Luz\" sound as a clear tribute to Pharoah Sanders, as the subtitle of the latter openly states. First time reissue. Includes extensive notes and many previously unpublished photos.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654362391,"sku":"VAMPI 300LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/UnHiloDeLuz.jpg?v=1776745023"},{"product_id":"magnifico-boogaloo-2lp","title":"Magnifico Boogaloo","description":"\u003cp\u003e\u003cspan\u003eThese 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 \u003c\/span\u003e\u003cb\u003eTito Chicoma\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMelcochita\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Kintos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eOtto Rojas\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eCoco Lagos\u003c\/b\u003e\u003cspan\u003e among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre's place of origin, New York, where iconic songs like \"Bang Bang\" and \"El Pito\" fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. Although \u003c\/span\u003e\u003cb\u003eJoe Bataan\u003c\/b\u003e\u003cspan\u003e claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), \u003c\/span\u003e\u003cb\u003ePete Rodriguez\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRichie Ray\u003c\/b\u003e\u003cspan\u003e, and the \u003c\/span\u003e\u003cb\u003eLebrón Brothers\u003c\/b\u003e\u003cspan\u003e continued to release boogaloo records in Peru, but salsa music soon took over. These two vinyl records showcase the legacy left by this movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded more than five decades ago and now invite today's new generations to dance body and soul to these re-releases. Featuring \u003c\/span\u003e\u003cb\u003eSantiago Silva\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eÑico Estrada\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBeto Villena\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eNilo Espinosa Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePancho Acosta Y Sus Guaracheros\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eKaramanduka, Mag Peruvian All Stars\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJoe Di Roma\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSonora Casino\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLuciano Luciani Y Sus Mulatos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMario Allison Y Su Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCoco Lagos Y Sus Orates\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLaghonia\/New Juggler Sound\u003c\/b\u003e\u003cspan\u003e, , \u003c\/span\u003e\u003cb\u003eSangre Joven\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eConjunto Los Rayos Del Ande\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654395159,"sku":"VAMPI 303LP","price":37.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/MagnificoBoogaloo.jpg?v=1776744931"},{"product_id":"concinado-lp","title":"Cocinando","description":"\u003cp\u003e\u003ci\u003eCocinando\u003c\/i\u003e\u003cspan\u003e is an epic historical treasure that captures the explosive impact of the tropical music movement on Peruvian culture. It includes salsa, guarachas, rumbas, chichas and boleros, all masterfully performed by MAG's session stars under the direction of \u003c\/span\u003e\u003cb\u003eMartín López\u003c\/b\u003e\u003cspan\u003e. Originally released in 1971, this Latin music gem comprises many outstanding dance floor tunes like \"El Botecito,\" \"Pa' Bailar\" or \"No Me Dejes.\" Get ready to be blown away! In 1969, singer and police lieutenant \u003c\/span\u003e\u003cb\u003ePedro Gregorio López\u003c\/b\u003e\u003cspan\u003e started recording a series of instrumental tracks and songs on the MAG record label in Peru, ranging from guaracha to cumbia, all cooked with musical eclecticism and simmered to appeal to a wide audience. Many of these musical ingredients combined on the 1971 album entitled \u003c\/span\u003e\u003ci\u003eCocinando\u003c\/i\u003e\u003cspan\u003e, in reference to the similarities between Peruvian cooking and tropical music. López began his career as a singer and orchestra conductor many years earlier, when he joined the backing singers for \u003c\/span\u003e\u003cb\u003eLucho Macedo's Sonora\u003c\/b\u003e\u003cspan\u003e. After completing his police training, he adopted the stage name Martín López, in order to preserve the anonymity his job required. Between 1969 and 1971 \u003c\/span\u003e\u003cb\u003eMartín López y sus Estrellas\u003c\/b\u003e\u003cspan\u003e recorded all the tracks comprised on this album, including salsa, guarachas, rumbas, chichas and boleros, proving their knowledge and mastery of the tropical music lexicon. It is not surprising since the orchestra was made up of the most talented label's session stars: including the double bassist \u003c\/span\u003e\u003cb\u003eJoe di Roma\u003c\/b\u003e\u003cspan\u003e, singer \u003c\/span\u003e\u003cb\u003ePablo Villanueva \"Melcochita\"\u003c\/b\u003e\u003cspan\u003e, percussionists \u003c\/span\u003e\u003cb\u003eÑiko Estrada\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eCoco Lagos\u003c\/b\u003e\u003cspan\u003e, and trumpeter \u003c\/span\u003e\u003cb\u003eTito Chicoma\u003c\/b\u003e\u003cspan\u003e. \u003c\/span\u003e\u003ci\u003eCocinando\u003c\/i\u003e\u003cspan\u003e is an epic historical treasure that captures the explosive impact of the tropical music movement on Peruvian culture.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654427927,"sku":"VAMPI 305LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Cocinando.jpg?v=1776744812"},{"product_id":"cartao-lp","title":"Cartao Postal","description":"\u003cp\u003e\u003cspan\u003eNew 2025 restock. Reissued here for the first time, \u003c\/span\u003e\u003cu\u003eCartão Postal\u003c\/u\u003e\u003cspan\u003e is one of the best and most sought-after Brazilian funk-soul albums from the early '70s. It includes some outstanding up-tempo gems like \u003c\/span\u003e\u003cb\u003eMarcos\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003ePaulo Sergio Valle\u003c\/b\u003e\u003cspan\u003e's \"Que bandeira,\" and the stellar \"Esperar Prá Ver,\" co-written by \u003c\/span\u003e\u003cb\u003eEvinha\u003c\/b\u003e\u003cspan\u003e's brother \u003c\/span\u003e\u003cb\u003eRenato Corrêa\u003c\/b\u003e\u003cspan\u003e who also happened to be a member of the \u003c\/span\u003e\u003cb\u003eGolden Boys\u003c\/b\u003e\u003cspan\u003e. This is a classic Brazilian soul-funk title, right up there with all the greatest albums of the genre. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics. \u003c\/span\u003e\u003cu\u003eCartão Postal\u003c\/u\u003e\u003cspan\u003e was originally released on Odeon Brazil in 1971, a few years after Evinha started her solo career. From 1961 to 1968 she was a member of \u003c\/span\u003e\u003cb\u003eTrio Esperança\u003c\/b\u003e\u003cspan\u003e, alongside her brothers Mário and Regina. In 1969 Evinha won first prize at the Festival Internacional da Cançao Popular and her discography for Odeon took off. \u003c\/span\u003e\u003cu\u003eCartão Postal\u003c\/u\u003e\u003cspan\u003e, her third solo album, comprises some outstanding gems. \"Só Quero\" emanates samba soul sounds while songs like \"Por Mera Coincidência\" or \"Rico Sem Dinheiro\" resemble what Trio Esperança was doing at the time: vocal-driven groovy jams spiced with celestial strings arrangements and heavy-duty drums and basslines, which is not surprising since they both worked with the same producers and arrangers, as they were all Odeon artists. Ridiculously rare and expensive now, and at the top of many collectors' wants lists for decades, it's finally reissued here after years unavailable.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654460695,"sku":"VAMPI 308LP","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/CartaoPostal.jpg?v=1776744684"},{"product_id":"cumbia-cumbia-v3-2lp","title":"Cumbia Cumbia Cumbia!!! Vol.3","description":"\u003cp\u003e\u003cspan\u003eAfter digging deep into the overwhelming archives of Discos Fuentes and Codiscos in the previous volumes, this third instalment in the series \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e comprises a selection of 28 Peruvian cumbia bangers for the dance floor from the deep vaults of Discos MAG, all of them originally released between 1964 and 1987. \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e 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. 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. MAG had released porros since the label was set up, and by 1957 it was already selling records by the Colombian \u003c\/span\u003e\u003cb\u003eLucho Bermúdez\u003c\/b\u003e\u003cspan\u003e, a leading figure in porro and cumbia in orchestra format, from Buenos Aires. Colombian cumbia has come a long way in Peru since those years and put down its own roots, just as it has in other Latin American countries. This third volume of the series \u003c\/span\u003e\u003ci\u003eCumbia, cumbia, cumbia\u003c\/i\u003e\u003cspan\u003e demonstrates how the rhythm has persisted over three decades of Peruvian recordings, ranging from versions by orchestras and ensembles to original cumbias with electric guitars, with lingering echoes of Caracas-born \u003c\/span\u003e\u003cb\u003eHugo Blanco\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eTulio Enrique León\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Teen Agers\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eAmparito Jiménez\u003c\/b\u003e\u003cspan\u003e. Featuring \u003c\/span\u003e\u003cb\u003eCarlos Pickling Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Chicoques\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Demonios De Corocochay\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Felcas\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSonora Casino De Hugo Macedo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSam Brasil\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eVolada 5\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eOtto De Rojas Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSilvestre Montez Y Sus Guantanameros\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eÑico Estrada\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFreddy Roland Y Su Orquesta De Moda\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Avileños\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJoe Di Roma Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Rumberos Del Solar\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Pavos Reales\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eNilo Espinosa Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eTito Chicoma Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eNelson Ferreyra Y Su Sonora\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Kintos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eManzanita Con Los Cañeros\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLos Belking's\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654558999,"sku":"VAMPI 312LP","price":37.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Cumbiavol3.jpg?v=1776742839"},{"product_id":"salsa-con-char-lp","title":"Salsa Con Charanga","description":"\u003cp\u003e\u003cu\u003eSalsa con charanga\u003c\/u\u003e\u003cspan\u003e is really a feast for all salsa music lovers, a true jewel, which deserved much better when it originally came out in 1978. It comprises eight great, solid tracks; some, new interpretations from other albums in which \u003c\/span\u003e\u003cb\u003eMike Guagenti\u003c\/b\u003e\u003cspan\u003e participated with his handsome and captivating voice -- a crooner with a salsero soul -- that, at times, could remind listeners of the late \u003c\/span\u003e\u003cb\u003eTito Rodríguez\u003c\/b\u003e\u003cspan\u003e, and even \u003c\/span\u003e\u003cb\u003eRay Ramos\u003c\/b\u003e\u003cspan\u003e. It 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. 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 \u003c\/span\u003e\u003cb\u003eBobby Marin\u003c\/b\u003e\u003cspan\u003e, and which miraculously received air play when powerhouse Fania label and few others ruled radio in the salsa music world. \"The Mike Guagenti album,\" as indicated by Marin, \"is a compilation of recordings by other artists. Originally a salsa album, I brought in [Cuban] \u003c\/span\u003e\u003cb\u003ePupi Legarreta\u003c\/b\u003e\u003cspan\u003e (violin and flute) and [Panamanian] \u003c\/span\u003e\u003cb\u003eMauricio Smith\u003c\/b\u003e\u003cspan\u003e (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. \u003c\/span\u003e\u003cu\u003eSalsa con charanga\u003c\/u\u003e\u003cspan\u003e 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.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654591767,"sku":"VAMPI 313LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/SalsaConCharanga.jpg?v=1776744581"},{"product_id":"garra-lp","title":"Garra","description":"\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan id=\"ctl00_ContentPlaceHolder1_lblDescription\"\u003eRepressed.\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eMarcos Valle\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eis one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you.\u003cspan\u003e \u003c\/span\u003e\u003cu\u003eGarra\u003c\/u\u003e\u003cspan\u003e \u003c\/span\u003ewas originally released in 1971 and brought listeners 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 Vampisoul's new reissue series that comprises many other outstanding Brazilian classics by the likes of\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eEvinha\u003c\/b\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eCassiano\u003c\/b\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eGerson King Combo\u003c\/b\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eHyldon\u003c\/b\u003e, and more. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d'état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock.\u003cspan\u003e \u003c\/span\u003e\u003cu\u003eGarra\u003c\/u\u003e\u003cspan\u003e \u003c\/span\u003emaintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences.\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654722839,"sku":"VAMPI 317LP","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Garra.jpg?v=1776744378"},{"product_id":"sonido-amaz-lp","title":"Sonido Amazonico","description":"\u003cp\u003e\u003cspan\u003e2026 repress. \u003c\/span\u003e\u003cb\u003eRanil\u003c\/b\u003e\u003cspan\u003e is undoubtedly the most unconventional figure among the greats of Amazonian cumbia, earning a well-deserved place alongside all the better-known iconic bands. He worked as a teacher, criollo guitarist, radio host, TV entrepreneur, and politician, but gained lasting fame as the founder of \u003c\/span\u003e\u003cb\u003eRanil y Su Conjunto Tropical\u003c\/b\u003e\u003cspan\u003e in the 1970s. By 1968, around the same time \u003c\/span\u003e\u003cb\u003eLos Destellos\u003c\/b\u003e\u003cspan\u003e were making waves in Lima, groups like \u003c\/span\u003e\u003cb\u003eLos Wembler's de Iquitos\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eJuaneco y su Combo\u003c\/b\u003e\u003cspan\u003e began electrifying cumbia in Iquitos. This new genre, dubbed Amazonian cumbia, exploded nationwide in 1973, thanks to hits by Juaneco y su Combo, \u003c\/span\u003e\u003cb\u003eLos Mirlos\u003c\/b\u003e\u003cspan\u003e, and Los Wembler's. The success these bands achieved spawned dozens of other groups from the Amazon. Ranil, always a visionary, recognized the movement's potential and joined forces through his first single recorded on the Dinsa label in 1974. Unhappy with the contractual terms, he went on to found Producciones Llerena, the label on which he would release the rest of his discography. Over the years, Ranil y su Conjunto Tropical featured guitarists like \u003c\/span\u003e\u003cb\u003eLímber Zumba\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eLuis Nigro\u003c\/b\u003e\u003cspan\u003e, while Ranil remained the lead vocalist and bassist for group. Zumba and Nigro had already played with other regional bands and written songs for groups like Los Destellos and Los Mirlos. This compilation offers a glimpse into the vast musical output Ranil created in the late 1970s and early 1980s, bringing together 14 tracks from the band's ten LPs. These records have always been hard to come by as, despite being recorded in Lima, they were distributed by Ranil from Iquitos. Psychedelia, rock fusion, cumbia, salsa, mambo, Amazonian folk -- you'll find all these flavors blended into the vibrant, jungle-rich sound Ranil crafted.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654886679,"sku":"VAMPI 328LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/SonidoAmaz.jpg?v=1776744111"},{"product_id":"el-bailador-de-la-lp","title":"El Bailador De La Esquina","description":"\u003cp\u003e\u003cspan\u003eThis curated collection comprises 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. This compilation also includes a range of studio experiments and covers -- where artists like \u003c\/span\u003e\u003cb\u003ePiper Pimienta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGalileo y Su Banda\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eLa Integración\u003c\/b\u003e\u003cspan\u003e reimagined beloved hits, from boleros to vallenatos, through a distinctly Colombian salsa lens. 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. 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. 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. Featuring \u003c\/span\u003e\u003cb\u003eSuper Combo Los Famosos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSexteto Manaure\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLa Protesta De Colombia\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSonora Guantanamera\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eOrquesta Salsa Panamericana\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLa Integración\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGalileo Y Su Banda\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eThe Latin Brothers\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePiper Pimienta Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eFruko Y Sus Tesos\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697654952215,"sku":"VAMPI 332LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/ElBailadorDeLa.jpg?v=1776743912"},{"product_id":"onda-esoterica-lp","title":"Onda Esoterica","description":"\u003cp\u003e\u003cb\u003eMoney Chicha\u003c\/b\u003e\u003cspan\u003e, the Austin-based collective featuring members of the Grammy-winning Latin orchestras \u003c\/span\u003e\u003cb\u003eGrupo Fantasma\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eBrownout\u003c\/b\u003e\u003cspan\u003e, unveils their third full-length album, \u003c\/span\u003e\u003ci\u003eOnda Esotérica\u003c\/i\u003e\u003cspan\u003e. 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 \u003c\/span\u003e\u003cb\u003eKUTX\u003c\/b\u003e\u003cspan\u003e 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 \u003c\/span\u003e\u003ci\u003eOnda Esotérica\u003c\/i\u003e\u003cspan\u003e emerges as the band's most adventurous and transportive work to date -- a kaleidoscopic journey equal parts ritual and revelation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656164631,"sku":"VAMPI 336LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/OndaEsoterica.jpg?v=1776743618"},{"product_id":"tornado-t-lp","title":"Toni Tornado","description":"\u003cp\u003e\u003cspan\u003eOriginally released in 1972, \u003c\/span\u003e\u003cb\u003eToni Tornado\u003c\/b\u003e\u003cspan\u003e'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 \u003c\/span\u003e\u003cb\u003eJames Brown\u003c\/b\u003e\u003cspan\u003e 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 \u003c\/span\u003e\u003cb\u003eTim Maia\u003c\/b\u003e\u003cspan\u003e, Tornado brought his own explosive edge to Brazil's growing soul scene. By the 1970s, other Brazilian musicians, such as \u003c\/span\u003e\u003cb\u003eBanda Black Rio\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCassiano\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eGerson King Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJorge Ben\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eGilberto Gil\u003c\/b\u003e\u003cspan\u003e, 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. Reissue on 180g vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656197399,"sku":"VAMPI 339LP","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/ToniTornado.jpg?v=1776743531"},{"product_id":"cucaracha-brass-lp","title":"La Cucaracha Brass","description":"\u003cp\u003e\u003cspan\u003eDuring the sixties, especially the second half, \u003c\/span\u003e\u003cb\u003eBobby Marín\u003c\/b\u003e\u003cspan\u003e was an up-and-coming young Nuyorican who was responsible, along with his brother \u003c\/span\u003e\u003cb\u003eRichard\u003c\/b\u003e\u003cspan\u003e, for producing, writing, or coordinating recordings by \u003c\/span\u003e\u003cb\u003eLouie Ramírez\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMachito\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eThe Nitty Gritty\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eWillie Rosario\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJoe Cuba\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJohnny Zamot\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eKako\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eAzuquita\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCharlie Palmieri\u003c\/b\u003e\u003cspan\u003e, and others. Many of these artists were caught up in the ongoing boogaloo movement. So, it was not a surprise when \u003c\/span\u003e\u003cb\u003eIsmael Maisonave\u003c\/b\u003e\u003cspan\u003e -- an unsung hero of Latin music and owner of Mary Lou Records -- approached Bobby with the idea of reissuing a \u003c\/span\u003e\u003cb\u003eRaphie Martínez\u003c\/b\u003e\u003cspan\u003e album as a budget LP under a different name, resulting in \u003c\/span\u003e\u003ci\u003eLa Cucaracha Brass\u003c\/i\u003e\u003cspan\u003e. 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 \u003c\/span\u003e\u003ci\u003eCucaracha Brass\u003c\/i\u003e\u003cspan\u003e because at that time the group \u003c\/span\u003e\u003cb\u003eTijuana Brass\u003c\/b\u003e\u003cspan\u003e was very popular. Most of the songs were taken (six out of eight, presumably) from the \u003c\/span\u003e\u003cb\u003eRaphie Martínez and the National Combo\u003c\/b\u003e\u003cspan\u003e LP \u003c\/span\u003e\u003ci\u003eCool Man\u003c\/i\u003e\u003cspan\u003e (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. 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After digging deep into the overwhelming archives of Discos Fuentes, Codiscos and Discos MAG in previous volumes, this fourth instalment in the series \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e 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 \u003c\/span\u003e\u003cb\u003eLuis Emilio Fortou Pereira\u003c\/b\u003e\u003cspan\u003e, 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 \u003c\/span\u003e\u003ci\u003eCumbia Cumbia Cumbia!!!\u003c\/i\u003e\u003cspan\u003e 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. Featuring \u003c\/span\u003e\u003cb\u003eCarlos Haayen Y Su Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBovea Y Sus Vallenatos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eÁlvaro Cárdenas Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCarlos Román Y Sus Estrellas\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLuis Enrique Martínez Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePello Torres Y Sus Diablos Del Ritmo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBanda 20 De Julio De Repelón\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAndrés Landero Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCumbia Mochila\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCombo Maravilla\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eA.M. Camacho Y Cano\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eEliceo García Y El Conjunto Palma Africana\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eWasamaye African Rock\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eConjunto Maravilla De Palo Alto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eManuel Villanueva Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eManuel Caraballo Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003ePedro Salcedo Y Su Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Tiburones\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCumbia Bolivariana\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Curramberos De Guayabal\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJuan Polo Valencia\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLucho Better Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFlorentino Montero Y Su Conjunto\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJoe Montes Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eTere García Con Ramón Ropaín Y El Trío Fantasía\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Indios Selectos Con Alberto Pacheco Y Su Acordeón\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRufo Garrido Y Su Orquesta\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eMincho Anaya Y Su Combo Moderno\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656295703,"sku":"VAMPI 341LP","price":37.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Cumbiavol4.jpg?v=1776742747"},{"product_id":"maia-t-lp","title":"Tim Maia","description":"\u003cp\u003e\u003cb\u003eTim Maia\u003c\/b\u003e\u003cspan\u003e'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 \u003c\/span\u003e\u003cb\u003eCurtis Mayfield\u003c\/b\u003e\u003cspan\u003e 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. Reissue on 180g vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656328471,"sku":"VAMPI 342LP","price":30.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/TimMaia.jpg?v=1776742623"},{"product_id":"que-ardiente-lp","title":"Que Ardiente!","description":"\u003cp\u003e\u003cspan\u003eIquitos, 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. \u003c\/span\u003e\u003cb\u003eLos Roger's\u003c\/b\u003e\u003cspan\u003e 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. \u003c\/span\u003e\u003ci\u003e¡Qué ardiente!\u003c\/i\u003e\u003cspan\u003e combines the best of the band's limited discography. The recordings come from their first 45 RPM single and their two mini-LPs for the FTA label, as well as their only elusive LP from 1971, \u003c\/span\u003e\u003ci\u003e¡Qué ardiente!\u003c\/i\u003e\u003cspan\u003e, (\"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.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656361239,"sku":"VAMPI 345LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/QueArdiente.jpg?v=1776742509"},{"product_id":"el-nuevo-lp","title":"El Nuevo Montuno Llego","description":"\u003cp\u003e\u003cb\u003eRoberto y su Nuevo Montuno\u003c\/b\u003e\u003cspan\u003e recorded their first album, \u003c\/span\u003e\u003cu\u003eEl Nuevo Montuno Llegó\u003c\/u\u003e\u003cspan\u003e (1970), when \u003c\/span\u003e\u003cb\u003eRoberto Berríos\u003c\/b\u003e\u003cspan\u003e 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 \u003c\/span\u003e\u003cb\u003ePedro \"Pedrito\" Henríquez\u003c\/b\u003e\u003cspan\u003e, who recorded \u003c\/span\u003e\u003cb\u003eEl Gran Combo\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRoberto Roena\u003c\/b\u003e\u003cspan\u003e and many others. The band had a mix of tasty, powerful originals, from \u003c\/span\u003e\u003cb\u003eTony Cintrón\u003c\/b\u003e\u003cspan\u003e's title track that announced the band had arrived, \"El Nuevo Montuno Llegó,\" to \u003c\/span\u003e\u003cb\u003eQuique Dávila\u003c\/b\u003e\u003cspan\u003e'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 \u003c\/span\u003e\u003cb\u003eCarlos Pinto\u003c\/b\u003e\u003cspan\u003e, 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 \u003c\/span\u003e\u003cb\u003eHéctor Lavoe\u003c\/b\u003e\u003cspan\u003e, 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 \u003c\/span\u003e\u003cb\u003eLouie Ramírez\u003c\/b\u003e\u003cspan\u003e's \"Balancéate\" (a favorite of Roberto's from \u003c\/span\u003e\u003cb\u003eRay Barretto\u003c\/b\u003e\u003cspan\u003e's songbook), \u003c\/span\u003e\u003cb\u003eBobby Valentín\u003c\/b\u003e\u003cspan\u003e's \"Monina y Ramón\" (recorded during his stint with \u003c\/span\u003e\u003cb\u003eWillie Rosario\u003c\/b\u003e\u003cspan\u003e), and a bolero indelibly sung by \u003c\/span\u003e\u003cb\u003eCheo Feliciano\u003c\/b\u003e\u003cspan\u003e when he was with the \u003c\/span\u003e\u003cb\u003eJoe Cuba Sextet\u003c\/b\u003e\u003cspan\u003e, \"Dichoso,\" written by \u003c\/span\u003e\u003cb\u003eJoe Cuba\u003c\/b\u003e\u003cspan\u003e's talented pianist, \u003c\/span\u003e\u003cb\u003eNick Jiménez\u003c\/b\u003e\u003cspan\u003e. Some of the arranging was done by Cintrón and some by Dávila, though Quique had some help from his old friend from \u003c\/span\u003e\u003cb\u003eEl Combo Moderno\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eFreddie Miranda\u003c\/b\u003e\u003cspan\u003e, who at that time was with Roberto Roena's \u003c\/span\u003e\u003cb\u003eApollo Sound\u003c\/b\u003e\u003cspan\u003e. Roberto says that the arrangements of the cover tunes were made specifically to be different and more contemporary sounding than the originals. \u003c\/span\u003e\u003cu\u003eEl Nuevo Montuno Llegó\u003c\/u\u003e\u003cspan\u003e has become a legendary salsa dura classic from Puerto Rico and Vampisoul 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.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":52697656426775,"sku":"VAMPI 347LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/ElNuevoMontunoLlego.jpg?v=1776742353"},{"product_id":"90-degrees-of-shade-vol-2","title":"90 Degrees of Shade - Vol 2","description":"\u003cp\u003e\u003cspan\u003eSoul Jazz Records’ new album 90 Degrees of Shade features the music of the Caribbean – Mambo, Calypso, Mento, Merengue, Latin Jazz and much more. The music of Cuba, Jamaica, Haiti, Puerto Rico, Dominican Republic and more all feature in this lightning journey through the many island sounds. This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – it’s all here! This album coincides with the release of Soul Jazz Records’ massive new deluxe large format hardback book 90 Degrees of Shade: 100 Years of Photography In The Caribbean (with foreword by Paul Gilroy) featuring hundreds of fascinating and unique photographs spanning one hundred years of Caribbean history. The new album comes as a deluxe two-CD pack complete with large outsize booklet, packed full of info and original artwork. There are also two limited edition separate heavyweight double LP vinyl editions, each one housed in gatefold sleeves complete with insert, full text and free download code. 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Miles Davis invited Airto Moreira to join his new ‘electric’ band, Dom Um Romao (part of Sérgio Mendes’ legendary Brazil ‘66 in the 1960s) joined the fusion group Weather Report, Flora Purim and Airto both became a part of Chick Corea’s new project Light As A Feather, Wayne Shorter collaborated with Milton Nascimento, George Duke recorded Brazilian Love Affair, and so on.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWith all the attention placed on them from these important jazz artists, North America became the new musical playground for a large number of these Brazilian artists – Airto Moreira, Flora Purim, Sérgio Mendes, Luiz Bonfá, Eumir Deodato, João Donato and many others.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMost of these musicians had already experienced success through the earlier popularity of bossa nova in the 1960s, either at home in Brazil or in the USA. But by the end of the 1960s many Brazilian artists had left their own country, as the military dictatorship became progressively more authoritarian and repressive. In the USA, through their critically acclaimed work for Miles Davis, Weather Report, Light As A Feather etc., all of these artists were now given reign to explore new musical terrains away from the restrictions of both a musical genre and a state censor back in Brazil.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis collection brings together some of these finest works and comes complete with extensive notes that explains the path these musicians took from Brazil to the USA and shows the political and musical links between Brazil and the USA that created the conditions for this unique fusion of these two distinct cultures, North American Jazz and Brazilian music, that occurred in the 1970s.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe album comes as a deluxe gatefold double vinyl LP, complete with download code, full sleeve notes, exclusive photography, double inner slee\u003c\/span\u003e\u003c\/p\u003e","brand":"Redeye","offers":[{"title":"Default Title","offer_id":52697748799767,"sku":"SOJR-428","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/BrazilUSA70.jpg?v=1776734024"},{"product_id":"latin-fire-cumbia-salsa-afro-cuba-guitar-soul-1968-1972","title":"LATIN FIRE! Cumbia–Salsa–Afro–Cuba \u0026 Guitar Soul 1968-1972","description":"\u003cp\u003e\u003cspan\u003eSoul Jazz Records delve into the vast vaults of Discos Fuentes, one of the oldest and largest record companies in Latin America, known as ‘the Motown of Colombia’. Discos Fuentes played a major role in spreading Afro-Latin sounds both to Colombia and around the world and this album explores that legacy. Latin Fire! features legendary Colombian artists such as Fruko, The Latin Brothers, Michi Sarmiento, Afrosound, Pedro Laza, Wganda Kenya and more and showcases the wide-ranging variety of styles that Discos Fuentes made unique to their sound. The album features music from the golden era of Fuentes; from late 50s and 1960s Cumbia through to the emergence of heavyweight and hardcore salsa and Afro-funk in the 1970s and up to the early 1980s. Discos Fuentes pioneered the sound of ‘Tropical’ music – Afro-Colombian dance music that originated in the north coast of Colombia bringing it to a new worldwide audience. This album shows how Colombian music was also influenced by New York barrio-style hard Latin and salsa and Caribbean styles such as soka and zouk to create a truly unique dance music sound.\u003c\/span\u003e\u003c\/p\u003e","brand":"Redeye","offers":[{"title":"Default Title","offer_id":53443306914071,"sku":"SOJR-577","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/LatinFire_1.jpg?v=1776726589"},{"product_id":"gustadera","title":"Gustadera","description":"\u003cp\u003e\u003cb\u003eÁngel Vásquez\u003c\/b\u003e\u003cspan\u003e 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. \u003c\/span\u003e\u003ci\u003eLa gustadera\u003c\/i\u003e\u003cspan\u003e 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 -- pure joy painted with the everyday imagery of coastal life. First time reissue of this mega rare Ángel Vásquez album.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":53443205431575,"sku":null,"price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Gustadera.jpg?v=1778532512"},{"product_id":"sabor-a-felcas","title":"Sabor A Felcas","description":"\u003cp\u003e\u003cb\u003eLos Felcas\u003c\/b\u003e\u003cspan\u003e were one of the best bands to come out of Peru during the golden years of the cumbia and tropical sounds explosion. In Lima, founding member, guitarist \u003c\/span\u003e\u003cb\u003eFlorentino \"Tino\" León\u003c\/b\u003e\u003cspan\u003e, quickly joined the Peruvian cumbia tropical movement led by electric guitarists \u003c\/span\u003e\u003cb\u003eEnrique Delgado\u003c\/b\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cb\u003eLos Destellos\u003c\/b\u003e\u003cspan\u003e) and \u003c\/span\u003e\u003cb\u003eBerardo Hernández \"Manzanita.\"\u003c\/b\u003e\u003cspan\u003e. This new style was soon practiced by other groups from Lima, such as \u003c\/span\u003e\u003cb\u003eLos Ecos\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Beta 5\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eLos Diablos Rojos\u003c\/b\u003e\u003cspan\u003e, and, a bit later, by bands from the rest of the country. This movement became a massive phenomenon. \u003c\/span\u003e\u003cb\u003eNelson Ferreyra\u003c\/b\u003e\u003cspan\u003e and the multifaceted singer \u003c\/span\u003e\u003cb\u003ePablo Villanueva Branda \"Melcochita\"\u003c\/b\u003e\u003cspan\u003e, who had become fans, introduced them to the MAG record label. In mid-1973, they recorded their first 45 RPM singles, with \"Sabor a Felcas\" being their most popular release. They recorded several albums during the late '70s and '80s, mostly on MAG: \"La Blanquiñosa,\" \"Tu bello cuerpo,\" \"La cusqueñita\" and \"Manzanita coloradita.\" In the early 1990s, chicha music became popular in Argentina, especially in the north, where \"Boquita perfumada\" by Los Felcas was a hit. This compilation brings together their finest recordings, taking from albums and obscure 45s, blending a wide range of influences -- from psychedelic vibes to rhythms closer to guaracha and chicha -- and now being reissued for the first time.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":53443201270039,"sku":null,"price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/SaborAFelcas.jpg?v=1778533083"},{"product_id":"galaxia-tropical","title":"Galaxia Tropical","description":"\u003cp\u003e\u003cspan\u003eOn April 18, 2019, fresh off the plane in Iquitos, I jumped into the taxi of an elderly gentleman and explained that I had come to the Peruvian Amazon to find Ranil. I know where he lives,” he replied, as if it were the most natural thing in the world. And before I knew it, I was no longer searching for the man — I was standing right in front of him. Ranil and I hit it off immediately and ended up spending a month working together on this project.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBorn in 1935 as Jorge Raúl Llerena Vásquez, Ranil’s story begins in the Peruvian Amazon, in a corner where the sounds of the forest mix with stray radio waves from Colombia, Brazil, and Ecuador. After winning various local singing contests as a young man, he quickly understood that breaking into Peru’s music industry — especially as an artist from “the end of the world” — would be no easy path. Years later, two albums recorded in the early 1970s with Los Silver's became cult treasures.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhen the band dissolved, the lead guitarist Limber Zumba and Ranil teamed up and recorded a demo that they took to Lima in search of a recording company. Returning disappointed from the capital — where unacceptable conditions had been proposed — Ranil decided to start his own label, Producciones Llerena, something unheard of in this part of the Peruvian Amazon.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith a rotating cast of brilliant musicians by his side, Ranil crafted a sound that locals lovingly called \"llullampeo\" — imaginative, unpredictable, and fabulously unrestrained. His percussionists wove grooves that have not resurfaced in the region since, and the 14 songs presented here remain some of the most vivid document of that fearless, free-spirited, often psychedelic ensemble.\u003c\/span\u003e\u003c\/p\u003e","brand":"Redeye","offers":[{"title":"Default Title","offer_id":53442474541335,"sku":"LP-ANAF-103","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/GalaxiaTropical.jpg?v=1779915406"},{"product_id":"super-disco-pirata-de-tepito-para-el-mundo-1965-1980","title":"Super Disco Pirata - De Tepito Para El Mundo 1965-1980","description":"\u003cp\u003e\u003cspan\u003eHow does the founder of an independent music label – whose very survival depends on album sales – justify creating a project highlighting, even praising piracy ?\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDuring the 1980s, a group of music dealers and record collectors from Mexico City joined forces to create a series of illegally manufactured vinyl records containing rare and highly-sought hits from Perú, Ecuador, Colombia and beyond. These bootleg compilations – known as “pirata” – were pressed during graveyard shift on recycled vinyl in editions of no more than 500. The anonymous manufacturers may not have realised it at the time but they were helping to consolidate and expand a love for tropical music and dance among the population of Mexico City and beyond. The records became a key element of the sonidero culture that was recently declared as part of the Intangible Cultural Heritage of Mexico City.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe double-LP Super Disco Pirata compilation contains 23 tropical floor-fillers sourced from the finest and strangest pirata LPs and includes a large booklet containing extensive notes and photos.\u003c\/span\u003e\u003c\/p\u003e","brand":"Redeye","offers":[{"title":"Default Title","offer_id":53442474606871,"sku":"LP-ANAF-099","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/SuperDisco.jpg?v=1779915242"},{"product_id":"ecuatoriana-el-universo-paralelo-de-polibio-mayorga-1969-1981","title":"Ecuatoriana - El Universo Paralelo de Polibio Mayorga 1969-1981","description":"\u003cp\u003e\u003cspan\u003eEcuatoriana - El Universo Paralelo de Polibio Mayorga 1969-1981“ is highlighting one of the Andean Cumbia pioneers. Daring and visionary, with an intrepid vigorous style almost impossible to imitate, Polibio Mayorga established a unique place for himself at the vanguard of tropical music by flirting with avant-garde sounds, a hybrid of cumbia rhythms and traditional tunes, bringing music into the space age in an elaborated sonic flourish with electronic instruments.\u003c\/span\u003e\u003c\/p\u003e","brand":"Redeye","offers":[{"title":"Default Title","offer_id":53442474705175,"sku":"LP-ANAF-097","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/Ecuatoriana.jpg?v=1779915037"},{"product_id":"from-ear-to-ear","title":"From Ear To Ear","description":"\u003cp\u003e\u003cspan\u003eGhetto Records was \u003c\/span\u003e\u003cb\u003eJoe Bataan\u003c\/b\u003e\u003cspan\u003e's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. \u003c\/span\u003e\u003ci\u003eFrom Ear to Ear\u003c\/i\u003e\u003cspan\u003e (1971) by \u003c\/span\u003e\u003cb\u003eLa Fantástica\u003c\/b\u003e\u003cspan\u003e was one of them. \u003c\/span\u003e\u003cb\u003eOrquesta La Fantástica\u003c\/b\u003e\u003cspan\u003e was led by tenor saxophonist, vocalist, and composer \u003c\/span\u003e\u003cb\u003eSamuel \"Sammy\" León\u003c\/b\u003e\u003cspan\u003e, who hailed from Brooklyn. His 11-piece orchestra of local musicians featured a rather unique sound, which combined piano and vibraphone with a brass section of two tenor saxophones and a pair of trumpets. They were signed to Ghetto Records by Bataan's business partner \u003c\/span\u003e\u003cb\u003eGeorge Febo\u003c\/b\u003e\u003cspan\u003e after being blown away by both the band and the overwhelming reaction of the crowd at the Village Gate. La Fantástica had all original tunes, with modern arrangements and a típico feel. Most importantly, they were fortunate to have vocalist \u003c\/span\u003e\u003cb\u003eRafael \"Ralphy\" De Jesús\u003c\/b\u003e\u003cspan\u003e, aka \u003c\/span\u003e\u003cb\u003eChuleta\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003ci\u003eFrom Ear To Ear\u003c\/i\u003e\u003cspan\u003e greatly benefited from his contributions. \u003c\/span\u003e\u003ci\u003eFrom Ear To Ear\u003c\/i\u003e\u003cspan\u003e is composed exclusively of heavy-hitters, including the beguiling English-language psychedelic soul slow-burner \"Latin Blues.\" \"Con Quién Andas,\" a hot salsa banger beloved by DJs and collectors alike, features killer saxophone and trumpet riffs with an interplay worthy of \u003c\/span\u003e\u003cb\u003ePuente\u003c\/b\u003e\u003cspan\u003e or \u003c\/span\u003e\u003cb\u003eMachito\u003c\/b\u003e\u003cspan\u003e. Though \"Ya No Te Quiero\" and \"Telegrama\" are breakup songs, they function as swinging dance floor ass-shakers with heavy percussion breaks and crazy horn riffs. The band's origins as an instrumental outfit are further displayed by a couple of vocal-free workouts that close out the album: \"M\u0026amp;M,\" a guaguancó rumba jam session dedicated to the band's discoverer, Maisonave, and \"Sassie,\" a Latin jazz suite that flies through a number of captivating sections with different rhythms, tempos, and arrangements. One aspect of the release that has inspired discussion and conjecture is its psychedelic album art. It was designed by an employee at Sanabria's design studio, \u003c\/span\u003e\u003cb\u003eCharlie Rosario\u003c\/b\u003e\u003cspan\u003e. They wanted something more-colorful and hip that would grab the public's attention. Rosario's surrealistic illustration, with its disembodied ears, rainbows and multi-colored female head floating amongst the clouds, was perfect. Vampisoul is now reissuing \u003c\/span\u003e\u003ci\u003eFrom Ear to Ear\u003c\/i\u003e\u003cspan\u003e thanks to a collaboration with Now-Again Records. The release includes an insert with liner notes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":53442475983127,"sku":"VAMPI 355LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/EartoEar.jpg?v=1779912601"},{"product_id":"the-power-of-love","title":"The Power Of Love","description":"\u003cp\u003e\u003cspan\u003eGhetto Records was \u003c\/span\u003e\u003cb\u003eJoe Bataan\u003c\/b\u003e\u003cspan\u003e's way to get over on The Man and out of the 'hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. Hatched from desperation yet full of hope, Ghetto Records came crashing down shortly after its inception. The seven albums in the Ghetto discography languished out of print. \u003c\/span\u003e\u003ci\u003eThe Power of Love\u003c\/i\u003e\u003cspan\u003e (1971) by \u003c\/span\u003e\u003cb\u003eJoe Acosta\u003c\/b\u003e\u003cspan\u003e was one of them. Puerto Rico born Joe Acosta was committed to pursuing a career in salsa and Latin jazz, with piano as his primary instrument. In 1969, Acosta started his first real band, \u003c\/span\u003e\u003cb\u003eJoe Acosta And His Empresarios\u003c\/b\u003e\u003cspan\u003e, with whom he recorded a self-titled LP. By 1970-71, Acosta was getting more gigs, playing dances three or four nights a week at popular venues. It wasn't long before manager and booking agent \u003c\/span\u003e\u003cb\u003eRichie Bonilla\u003c\/b\u003e\u003cspan\u003e signed him to his talent agency and secured a contract for Acosta to record \u003c\/span\u003e\u003ci\u003eThe Power of Love\u003c\/i\u003e\u003cspan\u003e on Ghetto Records. The album is about a range of amorous emotions, from obsession to disillusion, new romance to breakups, lust to affection. Though an English-language title and romantic ballads sung in English were a somewhat odd choice for a hard salsa LP from El Barrio, recorded during a period in which Latinos were rediscovering their sociocultural roots, these were conscious creative decisions by Acosta that have stood the test of time. The record is now beloved among both salsa dura fans for the tough up-tempo numbers and with the West Coast lowrider \"souldies\" crowd for its sweet and slow Latin soul track \"I Need Her.\" Back in the day, the song spent 21 weeks on the Billboard Latin Top 10. While the bulk of the selections allow dancers to get their groove on to tasty piano and guitar solos, percussion workouts, and tough trombone moña mambo sections, one track stands out for being exceptionally short and fast: \"Bendita Ilusión,\" that remains a favorite of salsa dancers today. According to Acosta, the success of \"I Need Her\" encouraged Fania Records' \u003c\/span\u003e\u003cb\u003eJerry Masucci\u003c\/b\u003e\u003cspan\u003e to come knocking but, since the bandleader was already under contract to Ghetto, and Febo didn't agree to a buyout, nothing happened. Vampisoul is now reissuing \u003c\/span\u003e\u003ci\u003eThe Power of Love\u003c\/i\u003e\u003cspan\u003e once again thanks to a collaboration with Now-Again Records. This release includes an insert with liner notes.\u003c\/span\u003e\u003c\/p\u003e","brand":"Forced Exposure","offers":[{"title":"Default Title","offer_id":53442476081431,"sku":"VAMPI 354LP","price":28.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0996\/6983\/6055\/files\/PowerofLove.jpg?v=1779912253"}],"url":"https:\/\/sisyphusrecordworks.com\/collections\/latin.oembed?page=2","provider":"Sisyphus Record Works","version":"1.0","type":"link"}