SEALED

'Acabou Chorare' is the second album from 'Novos Baianos', or 'New Bahians', who formed in Bahia, Brazil in the 1960's. They are considered to be one of the most important and revolutionary groups in Brazilian music.'Acabou Chorare' - translated as 'Stop Crying' - was originally released in 1972 by Som Livre after the success of their first LP 'É Ferro na Boneca’ in 1970. It is considered to be one of the most important and influential albums of all time, charting at number one in a Rolling Stone Brazil's 'Top 100 Brazilian Albums Ever' chart. 'Preta, Pretinha’ placed 20th in the same publications list of the greatest Brazilian songs of all time. Upon release, 'Acabou Chorare' stayed near the top on the album charts for more than thirty weeks, and received huge radio support across the country. It also became very popular in Europe shortly afterwards.The unique sound of this record is a result of the fusion of samba, MPB, rock 'n' roll and bossa nova, and strong influences from Joao Gilberto, who frequently played with the group, and bossa nova legend Gilberto Gil.The album was written by Moraes Moreira, Luiz Galvão, Jorginho Gomes, Assis Valente, Pepeu Gomes and Paulinho Boca de Cantor. After recording, the group moved to a communal house outside Rio, where Galvão apparently shot video footage of the group on his Super-8 video recorder, some of which is featured in this documentary https://www.youtube.com/watch?v=m6J0bg9MdMo. Baby Consuelo was a member of the group - she went on to have a very successful solo career.In 1969, Gilberto Gil and Caetano Veloso invited Pepeu to accompany them in their farewell show before their exile, the emotional 'Barra 69' concert.Gatefold single LP including replica 8-page, full size booklet.

Here's something of a treat for disco diggers: an essential collection of little-known, hard-to-find and downright essential Brazilian disco and boogie. Put together by Brazilian digger Junior Santos, Brazilian Disco Boogie Sounds is full of must-have material, from the familiar bounce and punchy horns of the Teena Marie-ish "Moral Tem Hora" from Cristina Camargo, to the sweet shuffle and carnival-friendly swing of Carlos Dafe's "Escorpiao". With quality material throughout picking highlights is tough, though we're particularly fans of the jazz guitar-laden boogie of Famks' "Labrinto" and Sandra De Sa's thrilling "Negra Flor".

This is the Dub version of the previous album of Blundetto « World of ».In the largest Jamaican tradition, Blundetto decided to revisit the songs from his latest album "World of" in dub. With his partner and producer, Blackjoy, they locked themselves in the studio with delay chambers and a multitude of effects for tweaking sounds and extract the substance of dub.The result offers a variety of sound and atmosphere for the greatest pleasure of the ears.

Fantastic all killer no filler compilation of sun-drenched gems from pop-soul legend Tina Turner. First up is the super cool mid-tempo house groove of Justin Strauss's 12" Dance Mix of 'Afterglow' from 1986 which hit big across the dancefloors of Ibiza. Also included are outstanding covers of Led Zepplin's 'Whole Lotta Love' and a great extended mix of Ann Peebles-penned 'I Can't Stand The Rain'. Rounding things off we get a brilliant dubbed out instrumental version of 'We Don't Need Another Hero' from the Mad Max soundtrack.

Betino’s Records proudly presents three revisited extracts from the 1981 “We Gonna Do It” L.P, revealing the true identity of this album by Togolese guitarist and producer “Wellborn”, aka Ayawo Attivor. From the boogie-blues “We Gonna Do It” reworked by Lord Funk, which reminds of Fatback Band and other U.S funk bands, moving to "Tetemalima", where Baptman retains the original afro-roots colour of the song yet developing a repetitive African trance dimension, or on "Aluwasio", which inspired Mitsu the Beats to create a deep-house balearic high-life rendition, every version leads the three tracks towards new dimensions, while finely preserving their essence and soul. The captivating original version of “We Gonna Do It” is also included on this 4 tracks EP. This first output from Betino’s Records’ label is the expression of a long and genuine passion for Wellborn Attivor’s music and the fruit of some inspired collaborations with these three gifted remixers/producers.

8 rare & obscure gems from the Caribbean territories, selected by Waxist !It’s now pretty obvious that Disco influence has not only been powerful in western clubs. It has also influenced musicians all around the world, from France to Brasil, as Favorite Recordings proved it with the previous volumes of the "Disco Boogie Sounds" compilations. West-Indies islands are no exception to the rule.Indeed, at that time in the Caribbean territories, local musicians and producers seized the sound of their US counterparts, and make it their own, melting-up disco, funk, and boogie (even early rap) elements with some more traditional or local styles. Besides, the important size of the Caribbean diaspora in the US, Canada, or in the UK, has certainly played a huge role in making those two musical worlds meet. At the end, West-Indies Islands have not only tried to reproduce US dance hits locally, they also bred their own version of Disco.Apart from some obvious titles which made it to the charts ("Trinidad" by John Gibbs to name one), very few was known on these productions until recently. Most of it has remained obscure, being only played by a handful of record collectors & DJs. Having grown up for most of my childhood and teenager years in a small island from the Indian Ocean, I was immersed in the “sun & sand” vibes at an early age, which helped molding my musical tastes. If the sound of the Caribbean Islands is very different from the Indian Ocean's one, it’s anyway no surprise that I have been attracted quickly by the West-Indies’ 70s music productions, as a DJ and record collector.From an initial pre-selection of 40 tracks, Favorite Recordings and I teamed up to narrow down the actual tracklist. With no pretention to be exhaustive, this selection represents a tiny sample of a broader ocean of quality Caribbean Disco/Boogie tunes. It will take you to various places like Virgin Islands, Jamaica, or Trinidad, as well as a couple of Western major cities, where West-Indies diaspora is strong (New York, London).The soundtrack of this journey goes from Disco/Rap sounds, with the obscure "Macho Man" by Eddie & The Movement, to weird Afro-Disco/Funk influenced songs, such as “My African Religion” by Jamaican singer Paul Hurlock. Also featured here are a couple of personal secret weapons such as instrumental "Bermuda Triangle" by Musicism, or "Going to the Party" by Barry Bryson.Favorite Recordings & Waxist are very happy and proud to bring back lights on some of these rare tunes.

ORIGINAL US...BEAUTIFUL COPY...THE SLEEVE IS NEARLY MINT WITH NO CUT OUTENJOY THIS GREAT RECORD!

With these ten songs, we travel across the 1960's and 1970's from Ghana to Madagascar, Mali to Benin thru Burkina Faso where African rhythms wrote history.Including the genuine Ghananian surf number Melody Acec-Assaw fofor and Sylvan Marc's funky psychedelic Graal Something about Soul pt.1&2

It's one of the lost classics of the '60s, a psychedelic masterpiece drenched in colour and inspired by life, love, poverty, rebellion.The album is Cold Fact, and what's more intriguing is that its maker - a shadowy figure known as Rodriguez - was, for many years, lost too. A decade ago, he was rediscovered working as a menial day laborer in Detroit, Michigan. He was unaware that his defining album had become not only a cult classic, but for the people of South Africa, a beacon of revolution.Rodriguez recorded Cold Fact - his debut album - in 1969, and released it in March 1970. It's crushingly good stuff, filled with tales of bad drugs, lost love, and itchy-footed songs about life in late '60s inner-city America. 'Gun sales are soaring/Housewives find life boring/Divorce the only answer/Smoking causes cancer,' says the Dylan-esque Establishment Blues.But the album sank without trace, thanks, in part, to some of Rodriguez's more idiosyncratic behavior, like performing at an industry showcase with his back to the audience throughout. When the follow-up, 1972's Coming From Reality, also sold poorly, Rodriguez called an end to his recording career. He'd never even played a proper gig. And he got on with life. Over the years, he turned his hand to local politics, gaining a degree in philosophy, factory work and eventually, hard labour.Now, Light In The Attic is set to commit Cold Fact and Coming From Reality for an entire new audience, who can finally find out why - halfway across the world - Rodriguez is spoken of in the same reverent tones as The Doors, Love and Jimi Hendrix.