IN STOCK
1LP - KENT
1971 => 2025

TRACKLIST
Side 1
01 You Got The Love I Need
02 Save My Love For A Rainy Day
03 California Soul
04 Aquarius
05 Ball Of Confusion (That's What The World Is Today)
Side 2
01 Smiling Faces Sometimes
02 We've Got A Way Out Love
03 Since I've Lost You
04 Ain't No Sun Since You've Been Gone
05 I Heard It Through The Grapevine
06 Like A Rolling Stone

DESCRIPTION
Motown producer and songwriter Norman Whitfield assembled The Undisputed Truth to further explore the psychedelic soul he had been developing with the Temptations on songs like ‘Cloud Nine’ and ‘Psychedelic Shack’.
Joe Harris, Billie Calvin and Brenda Evans were assembled as the vocal front line and their first single was ‘Save My Love For A Rainy Day’/’Since I’ve Lost You’ that was released on Gordy in February 1971 and got to #43 on the R&B Chart.
It was followed by ‘Smiling Faces Sometimes’/’You Got The Love I Need’ that was a massive hit single getting to #2 R&B and #3 on the Billboard Hot 100. Their debut album “The Undisputed Truth” followed and not only contained all four tracks issued on 7” but an almost interstellar version of ‘Ball Of Confusion (That’s What The World Is Today)’, ‘I Heard It Through The Grapevine’ as well as very soulful prowl through Bob Dylan’s ‘Like a Rolling Stone’. Tracks like ‘California Soul’ and ‘Aquarius’ also ticked the psychedelic soul box. All told it was a fantastic debut and sold strongly.
Amazingly this fantastic album has not been repressed since 1972. Thus Ace are delighted to put it back into the record racks pressed on 180gm black vinyl.
With the planet still a ‘Ball Of Confusion (That’s What The World Is Today)’ records like speak to both an old and new generation. Good music never goes out of fashion.

IN STOCK
1LP - BGP
1970 => 2025

TRACKLIST
Side 1
01 Rainbow Ride
02 I'm Leaving Home (She's Leaving Home)
03 Candle Waxing
04 Baby James
05 The Love Flow
Side 2
01 New York Good Sugar/Love Lyric #7
02 For You, Child
03 Jennipher
04 Take Away This Pain
05 Velvet Smile

DESCRIPTION
When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, “Kathy McCord” was released in 1970.
Although the label would go on to establish a fine reputation in jazz, Kathy McCord was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusing of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as I’m Leaving Home.
Upon release the album sold poorly. Creed’s expertise and contacts were in the jazz field and he had no idea how to market an album of folk jazz songs sung with fragile beauty by a good looking girl still in her late teenage years. Also, when Billy Vera did not sign to CTI McCord was dropped.
Over time “Kathy McCord” attracted a dedicated following amongst folk-rock collectors in America and the UK. In many respects it was an echo of something like Deena Webster’s 1968 folk rock LP, “Tuesday’s Child” that also came, went and is now sought after.
Ace are delighted to give the world the first vinyl reissue of “Kathy McCord” since 1970. Pressed on black 180gm vinyl it also includes liner notes from Billy Vera who, in conclusion, has this to say about his later beloved sister, “My sister had the goods. She could sing, she could write and she looked great. Like so many other talented people, she just failed to get lucky. Listen and enjoy her. I love her stuff”. You will too...

IN STOCK
1LP - BGP
1978 => 2025

TRACKLIST

SIDE ONE
1. DISCO TO GO
2. WARSHIP TOUCHANTE
3. NAPPY
4. BIRDIE

SIDE TWO
1. JUST LIKE YOU
2. WHEN YOU'RE GONE
3. AMOROUS

DESCRIPTION

George Clinton’s imagination knew no bounds and, defying normal music industry convention, by 1978 had five bands signed to three different record labels. One of these comprised of three other Parliament/ Funkadelic female backing singers working under the name of Parlet, whose debut single, ‘Pleasure Principle’ was released on Casablanca Records in March 1978.

It was Clinton’s idea that two other backing singers, Lynn Mabry and Dawn Silva, become the Brides Of Funkenstein, a character he invented for the 1976 Parliament LP, “The Clones Of Dr Funkenstein”. “I have to be honest – at first, I hated the name and I thought George was kidding,” Mabry told Blues & Soul, “But I have gotten to like it – especially just the Brides.”

Clinton got the Brides signed to Atlantic Records and their first single was ‘Disco To Go’ / ‘ When You’re Gone’. The A-side was written and produced by Clinton and Bootsy Collins and had originally featured in live shows by Collins’ live band. Clinton was asked by Black Echoes why the song was recorded by the Brides rather than Bootsy. “He could, and it would have been a smash too,” he replied. “But we thought it sounded too much like James Brown, so we gave it to the girls. Now it don’t sound like James Brown.” It certainly did not and this electronic bass and horn-powered banger – complete with an Old MacDonald nursery rhyme refrain – debuted on the Billboard Hot Soul Singles chart at #80 on 30th September 1978. By the time the P-Funk crew were flying across the Atlantic in early November it had peaked at #7. Sadly for UK fans, ‘Disco To Go’ was only available on import although a Black Echoes review stated it was a “Slow chunky handclapper. It sounds not unlike Funkadelic’s own ‘Coming Round The Mountain’”.

‘Disco To Go’, went gold in America selling over 500,000 copies. It was the perfect springboard for the Brides debut LP, “Funk Or Walk” which quickly climbed into the upper reaches of the R&B chart and even saw the duo embark upon a signing tour of record stores. All of the songs on “Funk Or Walk” were written by legends of P-Funk, such as Bootsy Collins, Rodney Curtis, Bernie Worrell, Gary Shider and Clinton. “George has got thousands of tracks,” Mabry told Black Echoes. “When we go into the studio he says, ‘Like this track?” And we go‘Aaaaaahh naa.’ ‘Like this one?’ ‘Well, yeah.’ He’s got thousands of tracks. He’s got a whole cupboard full of them. He’s got enough tracks to keep him in albums for two years.” Clinton himself told Blues & Soul how his busy production line worked, “How do we do it? Real simple: we lay down rhythm tracks all the time and just decide who should have what.”

“Funk Or Walk” kicked off with the dancefloor filler Disco To Go’ while elsewhere the nine-minute ballad ‘Just Like You’ showed another musical side of the group. ‘Birdie’ was a prime slice of word-playful danceable horn-powered funk arranged by Fred Wesley. ‘Amorous’ and the ethereal intergalactic ‘War Ship Touchante’ splattered with electronic and vocal effects – a close encounter of the P-Funk kind – were released as the Brides’ second single and peaked at #76 on the Hot Soul Singles chart in February 1979. “I especially like ‘Amorous’ and ‘War Ship Touchante’”, Silva told Blues & Soul, “because they convey a real message and I like that. And that message is happy and it is important to us that people get happiness from us. We really get upset when we don’t win over an audience.”

“Funk Or Walk” peaked at #17 on the Billboard R&B album chart and #70 on the Hot 100. It was also released in the UK and Germany to tie in with UK and European dates at the end of 1978 and early in 1979. Blues & Soul gave it a positive review, “If you like Parliament/Funkadelic, then it’s easy – you’ll lap this up.”

The album has not been reissued on vinyl since 1976 and Ace are delighted to put it out again. It comes with an inner sleeve with notes written by Ace’s Ian Shirley.

IN STOCK
1LP - KENT / FAME
1972 => 2024

IN STOCK
1LP - BGP
1975 => 2023

IN STOCK
1LP - SOUTHBOUND
1973 => 1989

IN STOCK
1LP - BGP
1969 => 2022

IN STOCK
1LP - SOUTHBOUND
1975 => 2018

IN STOCK
1LP - BGP
1973 => 2011

BIS => 2025 07 25
1LP - BGP
1971 => 2014

IN STOCK
1LP - BGP
1971 => 1993

IN STOCK
1LP - SOUTHBOUND
1974 => 2018

IN STOCK
2LP - STAX
1974 => 1999

IN STOCK
1LP - BGP
1971 => 1994

IN STOCK
1LP - BGP
1972 => 1996

IN STOCK
1LP - BGP
1971 => 1992

IN STOCK
1LP - WESTBOUND
1972 => 2020

IN STOCK
1LP - STAX
1973 => 2017

IN STOCK
1LP - BGP
1975 => 2020

BIS => 2025 06 27
1LP - DISCOS NADA
1973 => 2022

TRACKLIST
A1 Cau– Coisa E Tal
A2 Liliana – Prá Quem Sabe Das Coisas
A3 Renato Mendes– Aldeia
A4 Marcão – Mutação
A5 Cau– San Fernando
A6 Eulalia – Fim De Noite
B1 Cau– Último Canto
B2 Cau– De Você No. 2
B3 Vera – Rosas E Garrafas
B4 Liliana (– De Você No. 1
B5 Renato Mendes– Milagre Azul

DESCRIPTION
According to Disk Union / Think Records that just made a CD reissue of this record:
"Mysterious Acid Bossa Psychedelic Folk masterpiece recorded in 1971 and released in 1973 on a small Brazilian label. Recorded by students of the law school in São Paulo, under the influence of "Sgt. Pepper's" mixed with Bossa Nova. It's a chaotic yet delicate and sophisticated.
I can't imagine it being composed or recorded by amateur musicians that they were, except by Renato Mendes, who has been active as a first-class musician since the Jazz Bossa period and was a brazilian pioneer recording an album using a Moog synthesizer in 1974. It can be said that it greatly contributes to the miraculous perfection of this work.
Known among record collectors as a record that attracts not only Brazilian music fans but also Psychedelic and Acid Folk fans, the original version is a gem and sells for over USD1000."
One of the rarest and most enigmatic LPs in the Brazilian discography from the 1970s, Pra Quem Sabe das Coisas, released in 1973 by the label EBRAU (Editora Brasileira Artistas Unidos), finally has a refined reissue and its mysteries revealed, exactly half a century later, considering that it was recorded in 1971, but put in the market as a 12-inch record only two years later.
During a telephone chat packed with affectionate memories, Cau Pimentel (Cláudio Gama Pimentel), singer, songwriter and occasional guitarist with great sensibility and talent whose main professional activity involves criminal law, brought to the surface a story of passion for music that allowed great friendships to flourish, in the bubbling environment at the University of São Paulo’s Largo do São Francisco Law School, where he graduated as a lawyer. It was at the famous Coral da USP choir that the group gathered. The shared talent for music, by the way, explains the title “pra quem sabe das coisas” – for those who know the stuff. When the subject was popular music, Cau, Marcão, Benê, Bi, Vera, Eulália e Liliana were unquestionable amongst their peers.
Over two years, between 1969 and 1971, the group of instrumentalists and singers develop the repertoire recorded on the LP. They also have a crucial support: the polished assistance of Renato Mendes (1939 – 2013), Cau Pimentel’s cousin and one of the most celebrated organ players in the country, established in samba-jazz albums such as Renato Mendes & Seu Orgão (Mocambo, 1963) and Orgão de Vanguarda (Chantecler, 1965).
Gathered by Cau, the tracklist of Pra Quem Sabe Das Coisas remains, 50 years later, impactful and hard to label. The vocal harmonies, the sophistication of the arrangements and the existential density of the lyrics produce an atmosphere of rare beauty and unusual perception of aesthetic unity, as this is a collective record. A curiosity that might explain the difficulty in finding original copies of the LP: a significant share of the batch of 500 unities, which was paid by the XI de Agosto Students Union, was distributed amongst relatives of the artists and students at São Francisco law school.
Below, Cau Pimentel reveals other mysteries of this small treasure of Brazil’s best popular music.
---The complete interview with Can is part of the record insert.---

BIS => 2025 06 27
1LP - DISCOS NADA
2021

TRACKLIST
1. Onirico 07:27
2. O Contar de Uma Raga 14:29
3. Raga na Amazônia 11:39
4. Solaris 10:34

DESCRIPTION
It is rather fascinating Jocy de Oliveira's journey as a creative and sensitive inhabitant of our planet. She is a masterful composer, interpreter, multimedia artist, and storyteller. Her pieces are influenced by the avant-garde of the 20th century and all cultures and languages on Earth, emphasizing the importance of feminism, science, and the environment.
Jocy started composing at the age of six and was introduced to piano studies at a very young age by her mother who was a poet and pianist.
Her talent and dedication brought her to work alongside eminent 20th-century music masters such as Igor Stravinsky, Oliver Messaien, Luciano Berio, Claudio Santoro, John Cage, Xenaxis and Karlheinz Stockhausen.
This became a vital experience in her artistic life and she performed world premieres of works by many of these great composers.
Jocy witnessed and experienced the rupture of several paradigms of Western music. She incorporated serialism and electroacoustics, dialogued with ritualistic music and indeterminacy that boomed in the revolutionary 1960s. Along this path, joining her fascination with theatricality and the desire to tell stories, she immersed herself and subverted the language of traditional opera, following her heart and her instincts over nine operatic pieces.
This album is dedicated to a production that goes from the mid-1980s to the early 1990s. That was a very troubled period in the artist's life in the face of the significant loss of her father, followed by health problems, accidents, and staying away from her main instrument, the piano. She chose to give up her pianist career and intensify her authorial production. She explored the multiple possibilities of multimedia and multidisciplinary language, composing and presenting, among other pieces, two "magical operas" of great relevance, from which we selected pieces and extracts to be part of this album.
Fata Morgana (1987) is an electroacoustic opera that elaborates the imaginary and mythologies linked to the feminine sacred, associated with the cosmology of contemporary physics. The show features a collection of dream memories and images, giving emphasis to ritualistic gestures.
“Inori – to the sacred prostitute” (1993) also rescues matriarchal values based on the diversity of languages, cultures, races, beliefs, and religions. The lunar set celebrates the mysteries of the unconscious through a language open to fate and experimentation.
On side A, “Oniric” from the opera Fata Morgana (1987) presents electronic music performed in real-time along with voice. It’s interesting to note the presence of electronics in real-time unifying the album’s concept.
Jocy uses a Yamaha TX and DX7 synthesizer, instruments that permeate all selected parts.
The following pieces are two ragas : “Telling of a raga” from the same opera, and on side B “Raga in the Amazon ” plus “Solaris”, segments from the opera “Inori – to the sacred prostitute”.
All tracks are unreleased on vinyl. During a conversation , Jocy told me: “Raga is used by me in the sense of emotion, color, not exactly as musical modes in Indian music, although there is a search for the universe energy and human being integration. This was very much what I felt when I heard Carnatic music in India. There is dignity and respect there which make us feel an integration with the cosmos.”
As a curator, another of my focuses for this album is experimentation that confronts the limits between composition and indeterminacy. Speaking about Stockhausen in her book “Dialogue with letters” (SESI-SP, 2014) she says: “Mantra for two pianos by Stockhausen is one of his works that most fascinates me for certain qualities that sounds like improvisation and, are strictly determined. A challenge for pianists.” Jocy brings much of that focus to her Ragas.
The first title for this release was “Extratos Oníricos”, but during production, the composer sent us the following message: “I was thinking about the project of LP from the ‘80s and I believe the best title could be “Raga na Amazônia.”
I think the title would be more up-to-date, although I presented many concerts and events in the 70s and 80s focusing environmental questions, we still need to continue fighting for Amazon.”
About experimental music, in her same book, Jocy clarifies that "John Cage said that the word experimental should not describe an act in terms of future judgment, as to its success or failure, but should be applied to an act whose result is unknown"
During an interview at “Dialogue with composers” project, organized by the Brazilian Symphony Orchestra (OSB) in December 2020, Jocy spoke about the importance of music in her life: "I don't think of music as a career, but as a destiny. I express myself through music because this is my way of manifesting myself. It is my voice, my cry, my groan. ”
Paulo Beto

BIS => 2025 06 27
1LP - DISCOS NADA
1986 => 2021

TRACKLIST
1. Fragmentos 08:31
2. Sol da Manhã 04:53
3. Dia Claro 05:08
4. Tua Casa, Minha Casa 03:40
5. Quarto 05:49
6. Sala 04:38
7. Cozinha 02:08
8. Pela Janela 02:23

DESCRIPTION
Brazilian percussion is a universe apart. The fusion of African and Brazilian cultures and rhythms has generated many talented musicians who have gone deep into Brazilian roots to search for its essence and thoroughly research all of our diversity. Many of the percussionists have been transformed into an "export products” worshiped worldwide: Airto Moreira, Naná Vasconcelos, Djalma Corrêa, Fernando Falcão, Pedro “Sorongo” Santos and Marco Bosco, among many others.

Marco Bosco started his personal journey in the 70s, but the biggest impact happened when he released his first solo work, Metalmadeira (1983), a journey made up of acoustic and electronic textures, sons of nature, vocoders, synthesizers and sequencers.
Fragmentos da Casa, his second solo album, had a striking concept, explained by the artist himself, from the original press release : “Antagonizing the synthesized universe of digital equipment and instruments to an acoustic aesthetics; plus emphasizing the timbristic characteristics of percussion: Fragmentos da Casa is a musical interpretation of a journey - one night and one day - through the rooms of an imaginary house”
Reissued for the first time, Fragmentos da Casa was originally released in 1986, by Carmo, owned by Egberto Gismonti. Carmo also released albums by Gismonti, Piry Reis, Fernando Falcão, Nando Carneiro and André Geraissati, among others.

In 1986, or Marco Bosco's percussive arsenal was unique and extremely peculiar, containing chizanzhi, caxixis, purrinhola, requo-requo, shequeres, berimbaus and lingo drum, among other instruments.

This fusion of acoustic and synthetic, promoted by some Brazilian artists in the 80's and celebrated worldwide, still brings memories to the percussionist. For him, the arrival of those electronic gadgets "was the best thing that happened on the planet".

This reissue includes a reproduction of the original artwork, new testimonies by Marco Bosco and a a long article signed by Bento Araujo, author of the series of books Lindo Sonho Delirante, which investigates audacious and fearless music produced in the Brazilian underground.


BIS => 2025 06 27
1LP - DISCOS NADA
1985 => 2020

TRACKLIST
1. Falando Alto 03:36
2. No Dia Em Que Partiram 01:48
3. A Lua, As Estrelas 03:48
4. Não Imagino 02:10
5. Lá Dentro 02:39
6. Peixe Pedra 02:16
7. Amor Platônico 03:03
8. Conversa (Bonus Track) 02:49
9. Intervalo 02:44
10. Ciência 05:29
11. Ar de Amor 03:26
12. Sem Teto 03:03
13. O Poeta 00:58
14. SP5 4R (Base) 04:06
15. Pallazo Uno (Bonus Track) 02:26

DESCRIPTION
1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that.
One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song “O Gigante” - perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's “square” habits.

Cinema was an experimental and avant-garde piece released in early 1985. In many ways it’s an example of the new Brazil that was reborning after 21 years of darkness under Military Dictatorship. Musically, it was a pioneer album for Brazilian music, mixing acoustic and synthetic sounds.
This rare adventure in Brazilian music was released independently in 1985, financed by the artists themselves. The original small press sold-out, belonging now to record collectors around the planet. For the first time Cinema is re-released on vinyl, with two extra and unreleased tracks found after decades.
Remastered from the original tapes, this reissue includes reproduction of the original graphic art, new testimonials from the four members of the project and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
According to Cinema’s LP press release: “in the era of visual music, Cinema is sound”. In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the 80's around the world.
This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop.

BIS => 2025 06 27
1LP - DISCOS NADA
1989 => 2020

TRACKLIST
1. Instante de Gelo 01:53
2. Dona Roxa 03:22
3. Das Matas 04:53
4. Pantano 09:08
5. Here We Go Again 03:58
6. Carabecht 03:02
7. Terra Batida 03:04
8. Caracol 07:19
9. Pequena Dança (Bonus Track) 01:35
10. Butterflies (Bonus Track) 02:54

DESCRIPTION
Brazilian underground music in the 1980s produced fascinating and mysterious records, where organic and regional percussion finally gained electronic and synthetic nuances. Songs were processed electronically and acted in harmony with drumming and dissonant guitar interventions. This was a too bold recipe to be understood in Brazil at that time, dominated by pop music and the first signs of lambada fever and country music.
Despite being an ideal time for independent production, the music contained in Caracol was so anti-commercial that things seemed to happen in a parallel universe for the duo João de Bruçó and R.H. Jackson.
Caracol is one of the first examples of fusion between Brazilian percussive music and electronics. Synthesizers, samplers and sequencers were still a novelty in Brazil in the 1980s, but João de Bruçó and R.H. Jackson created an avant-garde masterpiece.
Using popular references and an eagerness to escape any retro / stylistic cliché that came to haunt Brazilian youth music at that time, they plunged into an audacious, intuitive and improbable sound journey in Caracol.
João de Bruçó started out as a drummer, playing from jazz to forró. Then he studied Brazilian folklore, worked in circuses and wrote tracks for theater, dance performances and TV. Studying percussion and the relationship between dance and music, he discovered new instruments and possibilities. R.H. Jackson also started out as a drummer and percussionist. He studied cinema, video and electronic composition. He also created soundtracks and researched Brazilian folk dances and candomblé. Jack was already an avid user of several technological innovations and was one of the few in Brazil in the 1980s who dominated computer programming, samplers and sequencers.
Caracol was recorded between 1988 and 1989. João was responsible for the percussion, accordion and a series of objects, such as a copper vase with water, seeds, animal hooves, snorers, springs, bells, marbles and a metal mug, plus piano and a toy clarinet. Jack took care of electronic programming, samplers, sound treatments, synthesizers, subtractions and guitars. Both were in charge of vocals.
This rare adventure of Brazilian music was released independently in 1989, financed by the artists themselves.
The original small pressing sold-out, belonging now to record collectors around the planet. For the first time Caracol is re-released on vinyl, with two extra tracks found after decades!
Remastered from the original tapes, this reissue includes a reproduction of the original graphic art, new testimonies from Alex Antunes (from Akira S. & as Garotas que Erraram), João de Bruçó and RH Jackson and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
“What draws most attention in Caracol is the choice of intuition as a creative and compositional process. Despite the sound and timbristic result being marked by a lot of simplicity, at the same time it oozes multiplicity. The voices, processed electronically, merge with a drumming of surdos, repiniques and the dissonant interventions of a guitar. The vocals are onomatopoeic and modal, like a kind of indigenous tribal ritual. Whoever wants to classify the album will have difficulties. In many moments, the choices and sounds are so primitive, that one could hardly think of it as avant-garde. But those who put pre-concepts aside - and use only their ears and musical sensitivity - will be delighted ”

BIS => 2025 06 27
1LP - BGP
2025

TRACKLIST
SIDE ONE
1. SIX MILLION DOLLAR MAN THEME – Richard "Groove" Holmes
2. SUPER STRUT - Cookin' Bag
3. WORK SONG - The Pazant Brothers
4. PEACE & LOVE - Lonnie Liston Smith & The Cosmic Echoes
5. SKULL SESSION - Oliver Nelson
SIDE TWO
1. MAMA SOUL - Harold Alexander
2. HEAD START - Bob Thiele Emergency
3. THEME FROM THE MEN - Joe Bataan
4. PUT IT WHERE YOU WANT IT - Pretty Purdie
5. DRIFTING - Chucky Thurmon & Pharris Wheel

DESCRIPTION
What it is, is funky! When the acid jazz scene ruled the world it looked for its inspiration in places that other jazz fans tended to overlook. The soul jazz of the late 60s and early 70s. The music of lounge bars and small clubs that fuelled the night life of black America. This compilation brings together ten examples of the sound and is a high quality listen from start to finish.
In the post-bebop world jazz was often condemned as an intellectual music aimed at the head not the feet, but a strain of the music was always for dancing, coming straight from the legacy of the big bands, and always tipping its head to what was going on in the R&B charts. The tracks included here all stay true to that legacy.
So whether we have Lonnie Liston Smith’s plea for 'Peace & Love' with its Bob Marley echoing horn lines, or Joe Bataan as band leader covering Isaac Hayes' 'Theme From the Men', this is music allied with the contemporary sounds of the day. Oliver Nelson's synth heavy 'Skull Session' or his TV hit 'Theme From The Six Million Dollar Man' covered by Richard ‘Groove’ Holmes show this. At the heart of these recordings are the rhythms − and as such Bernard Purdie is the star either as a solo artist or simply as the man behind the kit with Harold Alexander.
This is Funky Jazz is an entry ticket to a party that everyone should want to be invited to.

BIS => 2025 07 25
2LP - BIG BEAT / GNP CRESCENDO
1966 => 2024

BIS => 2025 07 25
BLUE COLORED
1LP - WESTBOUND
1970 => 2020

BIS => 2025 07 25
2LP - ACE / STAX
2025

TRACKLIST
SIDE ONE
1. THEME FROM THE MEN (Instrumental)
2. TYPE THANG
3. ROLLING DOWN A MOUNTAINSIDE
4. (IF LOVING YOU IS WRONG) I DON'T WANT TO BE RIGHT
5. JOY PT 1
SIDE TWO
1. JOY PT 2
2. WONDERFUL
3. SOMEONE MADE YOU FOR ME
4. TITLE THEME
5. HUNG UP ON MY BABY (Instrumental)
SIDE THREE
1. CHOCOLATE CHIP
2. CHOCOLATE CHIP (Instrumental)
3. COME LIVE WITH ME
4. BODY LANGUAGE
5. DISCO CONNECTION
SIDE FOUR
1. ST. THOMAS SQUARE
2. ROCK ME EASY BABY PT 1
3. ROCK ME EASY BABY PT 2
4. JUICY FRUIT (DISCO FREAK) PT 1
5. JUICY FRUIT (DISCO FREAK) PT 2

DESCRIPTION
The wonderfully favourable response to our first CD and double vinyl volume of the original A and B sides of the singles of the late great Isaac Hayes – as originally released on Stax’ Enterprise subsidiary between 1969 and 1972 – has forced us to bring forward, this month, the release of “Hot Buttered Singles 2” to cater for what Ace is sure will be just as great a level of popular demand.
This volume picks up where “Hot Buttered Singles Vol 1” left off with Hayes’ final 45 of 1972, and carries his seven inch story through to 1976 – by which time Stax was defunct, and Hayes’ was on his own Hot Buttered Soul label via ABC Records. It features eight US R&B chart hits including the much sampled ‘Hung Up On My Baby’ and ‘Chocolate Chip’, Hayes’ biggest hit of this period ‘Joy’ and the ever-popular 1976 instrumental ‘Disco Connection’, which finally gave Hayes’ his second UK Top 20 hit after ‘Shaft’.
All tracks match the original single edits, and wherever possible are taken from digital transfers of the original Enterprise singles masters. Where the original 45s came in two parts, they also do so here. And where original singles masters no longer exist, as was the case for two tracks, Ace’s engineers have re-created them beat for beat from the longer album versions. (Have fun guessing which two they were…)
As with “Hot Buttered Singles Vol 1”, the LP inners and CD booklet are packed with label shots, copious other images and an extensive sleeve note that gives deep detail about the featured songs. It also makes the package look as good as it sounds.

BIS => 2025 06 27
1LP - BGP
2025

TRACKLIST
SIDE ONE
1. MY LITTLE GIRL - Bobby Garrett
2. BABY, WITHOUT YOU - Danny Monday
3. LIGHTEN UP BABY - Ty Karim
4. YOU HIT ME (RIGHT WHERE IT HURT ME) – Alice Clark
5. CIGARETTE ASHES - Jimmy Conwell
6. (JUST A LITTLE) FAITH AND UNDERSTANDING -The Magicians
7. I CAN FEEL YOUR LOVE - Felice Taylor
SIDE TWO
1. GONE WITH THE WIND IS MY LOVE – Rita & The Tiaras
2. YOU TURNED MY BITTER INTO SWEET - Mary Love
3. WOULD YOU BELIEVE - Jackie Lee
4. TRY MY LOVE - Toni & The Showmen
5. THE SAME OLD THING - The Olympics
6. WHAT GOOD AM I WITHOUT YOU - Darrow Fletcher
7. WHAT SHOULD I DO - Little Ann

DESCRIPTION
Northern soul is in the news again, as once more this most resilient of dance floor cults is discovered by a new generation. For four decades now Ace Records has been a natural home for the music and using that experience we are bringing you our first ever all classics collection of some of the scene's greatest hits. All on one LP.
The recordings featured on this release are tried and tested, often in the hot forge of the scene's earliest day, when new discoveries were coming thick and fast, and only the strong survived. These did.
So we have 14 tracks which filled floors in Wigan, Blackpool, Cleethorpes, London's 100 Club and many other legendary venues. From West Coast Mirwood and Kent/ Modern label classics by Jackie Lee, Bobby Garrett, Mary Love and Danny Monday, to the big City Chicago soul of Darrow Fletcher via the super rare recordings by Rita & The Tiaras and Little Ann, which are now accepted standards of the scene.

BIS => 2025 06 27
1LP - VAMPISOUL
1966 => 2025

“Dame café”, originally released on Discos Fuentes in 1965 to meet the tropical music demand of the time, features a mix of traditional rhythms like vallenato and cumbia, alongside more experimental beats.
Los Gavilanes de la Costa, the band behind this album, had a brief existence but left a lasting impact, especially in Mexico's sonidero scene.
Over the years, pirate editions and elusive original copies have made it a highly sought-after collector’s item. The album’s lively sound, combining accordion melodies, deep bass, and vibrant guacharaca rhythms, continues to resonate in the tropical music scene.

TRACKLIST
Side A
1. DAME CAFÉ
2. NEGRA QUERIDA
3. PUES NO DA PA’ MÁS
4. PITIMBÁN
5. CUMBIA MILAGROSA
6. GALERAZAMBA
Side B
1. JOSÉ DOLORES
2. LOS GAVILANES
3. LA PREGUNTADERA
4. EDITH
5. CHARANGUERA
6. SE TE VE

DESCRIPTION
The vibrant musical scene of the 1960s in Colombia owes much to a group of versatile accordionists who blended genres such as cumbia, charanga, guaracha, vallenato, and Cuban-influenced rhythms. This group included notable figures like Andrés Landero, Aníbal Velásquez, Lisandro Meza, and Alfredo Gutiérrez, among others.
A prime example of their diverse musical styles is the album “Dame café”, released in November 1965, which features a mix of traditional rhythms like vallenato and cumbia, alongside more experimental beats such as paseaíto and pasaje. The album includes six previously released singles composed by José Castro, Policarpo Calle, and others. The album highlights the commercial strategy of Discos Fuentes, which often created short-lived studio bands to meet the tropical music demand of the time.
Los Gavilanes de la Costa, the band behind “Dame café”, had a brief existence but left a lasting impact, especially in Mexico's sonidero scene. The group’s creation was driven by the high demand for tropical music in the 1960s, with many musicians adjusting to market trends. Most of the members, including composers Campillo and Castro, vanished from the scene, while others, like Calle and Zambrano, went on to have notable careers in music. Calle, in particular, became a cumbia legend, later settling in Mexico City.
The album “Dame café” has gained cult status due to its rarity and the intrigue surrounding its origins. The album features a remarkable contribution from Colombian jazz legend Justo Almario, who, at just 16 years old, played tenor sax on the track ‘Pues no da pa’ más’. Over the years, pirate editions and elusive original copies have made it a highly sought-after collector’s item. The album’s lively sound, combining accordion melodies, deep bass, and vibrant guacharaca rhythms, continues to resonate in the tropical music scene.

BIS => 2025 06 27
7 INCH - VAMPISOUL
2025

Two awesome Latin jazz-funk gems for the dance floor, blazing with the rich brass section and percussion.
Both songs are taken from mega-rare Venezuelan LPs released in 1976.
Reissued on a 45 for the first time.

TRACKLIST
Side A
LA RETRETA MAYOR -TORTA DE PAN
Side B
PABLO SCHNEIDER -LA VENGANZA

DESCRIPTION
First time 45 reissue of these two awesome Latin jazz-funk gems from Venezuela.
La Retreta Mayor was founded and led by guitarist Alex Rodríguez. ‘Torta de pan’, reminiscent of recordings of classic US funk bands such as the JBs, was originally included in their only and hard-to-find LP. On the flip side of our 45 we find ‘La venganza’ that was part of a mega rare soundtrack written and recorded by Pablo Schneider for the obscure Venezuelan sexploitation film “Sobre la Hierba… Virgen”. Both songs were released on Discomoda in 1976 and the original records are almost impossible to find in any condition.
How cool and handy is to have both songs together on a DJ-friendly 45? First time 7” reissue.

BIS => 2025 07 25
1LP - BGP / FLYING DUTCHMAN
1977 => 2024

BIS => 2025 07 25
1LP - KENT
2017

BIS => 2025 06 27
1LP - KENT
2002

BIS => 2025 07 25
3LP - WESTBOUND
2017

BIS => 2025 07 25
2LP - CHISWICK
1977 => 2025

DOUBLE VINYL LIMITED EDITION

TRACKLIST
SIDE ONE
1. MOTÖRHEAD
2. VIBRATOR
3. LOST JOHNNY
4. IRON HORSE / BORN TO LOSE
SIDE TWO
1. WHITE LINE FEVER
2. KEEP US ON THE ROAD 3. THE WATCHER
4. TRAIN KEPT A-ROLLIN'
SIDE THREE
1. CITY KIDS
2. BEER DRINKERS & HELL RAISERS 3. ON PAROLE
4. INSTRO
5. I'M YOUR WITCH DOCTOR
6. LOST JOHNNY (Mix 2)
SIDE FOUR
1. CITY KIDS (Mix 1)
2. I'M YOUR WITCH DOCTOR (Alternative Mix)
3. THE WATCHER (Mix 3)
4. WHITE LINE FEVER (Mix 7)
5. KEEP US ON THE ROAD (Mix 1)
6. MOTÖRHEAD (Alternative vocal & guitar solo)

DESCRIPTION
To kick off Ace Records 50th Anniversary we are delighted to offer up a 2-LP version of one of the most seminal and important heavy metal albums of all time.
Funded by and released on Chiswick Records in 1977, Motörhead’s debut album was a sonic blister of epic proportions capturing the musical lighting generated by Lemmy (bass/vocals), Phil Taylor (guitar) and Eddie Clarke (drums).
This 2-LP set not only offers up this classic first album featuring tracks like ‘White Line Fever’, ‘Violator’ and ‘Keep Us On The Road’ but also collates together, on sides three and four, ‘City Kids’ the “Beer Drinkers EP” as well as different mixed and alternative versions of ear-bleeding classics like ‘Motörhead’, ‘The Watcher’ and ‘Keep Us On The Road’.
The album cover features a silver hot foil replication Joe Petagno’s original Motorhead logo in all its glory. Sleeve notes are by Ted Carroll who takes the reader through the story of how Chiswick Records managed to scrape together the money to fund the recording and write themselves and Motörhead into rock and roll history.
It’s one hell of a way to kick off Ace’s 50th Anniversary re-issue schedule.

BIS => 2025 07 25
2LP -STAX
2024

BIS => 2025 06 27
1LP - BGP
2024

BIS => 2025 06 27
1LP - BGP
2024

BIS => 2025 07 25
2LP - BIG BEAT
1967 => 2024

BIS => 2025 06 27
1LP - ACE RECORDS
2024

BIS => 2025 07 25
1LP - BGP / FLYING DUTCHMAN
1973 => 2024

BIS => 2025 07 25
1LP - SOUTHBOUND
1977 => 2024

BIS => 2025 06 27
1LP - BGP
2024

BIS => 2025 07 25
2LP - BIG BEAT
1966 => 2023

BIS => 2025 06 27
12 INCH - CHISWICK
1977 => 2023

BIS => 2025 07 25
1LP - WESTBOUND
1975 => 2023

BIS => 2025 06 27
2LP - BGP / FLYING DUTCHMAN
2023

BIS => 2025 07 25
1LP - BGP
1972 => 2022

BIS => 2025 07 25
1LP - ACE RECORDS
1961 => 1990

BIS => 2025 06 27
1LP - STAX
1991

BIS => 2025 06 27
1LP - SOUTHBOUND
1974 => 2010

BIS => 2025 06 27
1LP - STAX
1993

BIS => 2025 07 25
1LP - BGP
1972 => 2014

BIS => 2025 06 27
1LP - ACE RECORDS
2014

BIS => 2025 07 25
1LP - BGP
1978 => 2002

BIS => 2025 07 25
1LP - BGP
1974 => 2017

BIS => 2025 06 27
1LP - VAMPISOUL UMG
1971 => 2025

Reissued here for the first time, "Cartão Postal" is one of the best and most sought-after Brazilian funk-soul albums from the early ’70s.
It includes some outstanding uptempo gems like Marcos and Paulo Sergio Valle’s ‘Que bandeira’, and the stellar ‘Esperar Prá Ver’, co-written by Evinha’s brother Renato Corrêa who also happened to be a member of the Golden Boys.
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.

TRACKLIST
Side A
1.QUE BANDEIRA
2.FEIRA MODERNA
3.CARTÃO POSTAL
4.OLHA O FUTURO
5.DE TANTO AMOR
6.ESPERAR PRÁ VER
Side B
1.TEMA DE ADÃO
2.SÓ QUERO
3.RICO SEM DINHEIRO
4.ENCONTRO
5.POR MERA COINCIDÊNCIA
6.ONZE E QUINZE

DESCRIPTION
We are thrilled to reissue for the first time one of the best and most sought-after Brazilian funk-soul albums from the early ’70s.
"Cartão Postal" 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 Trio Esperança, 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.
"Cartão Postal", her third solo album, comprises some outstanding gems. Songs like ‘Que bandeira’, by Marcos Valle, Paulo Sérgio Valle and Mariozinho Rocha, that moves between funk/soul and bossa/MPB grooves; the stellar ‘Esperar Prá Ver’, co-written by Evinha’s brother Renato Corrêa who also happened to be a member of the Golden Boys, is a mid-tempo funk soul number that features stunning arrangements and an epic bassline that is hard to be forgotten… ‘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.

BIS => 2025 06 27
1LP - VAMPISOUL UMG
1977 => 2025

GATEFOLD

TRACKLIST
A1 Mandamentos Black
A2 Just For You
A3 Andando Nos Trilhos
A4 Esse E O Nosso Black Brother
A5 Swing Do Rei
B1 Hereditariedade
B2 Foi Um Sonho Só
B3 Uma Chance
B4 God Save The King
B5 Blows

DESCRIPTION
Gerson King Combo's 1977 album is a masterpiece of Brazilian soul, emerged within the Black Rio movement, which was recorded with União Black as the backing band.
It features the kind of full-on funky sound you'd only expect to hear from a rare few American groups of the time. Its ten songs mix political statements, which primarily address issues of racial pride, and dancefloor-oriented music. The album has achieved cult status over the years, becoming one of the most sought-after Brazilian funk records of all times.
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.
El álbum de 1977 de Gerson King Combo es una obra maestra de soul brasileño, surgido dentro del movimiento Black Rio, que fue grabado con União Black como banda de acompañamiento.
Su sonido es de un estilo totalmente funky del que solo se esperaría de ciertos artistas norteamericanos de la época. Diez temas que fusionan el discurso político y de orgullo racial con la música hecha para bailar.
El paso del tiempo lo ha convertido en uno de los discos de funk brasileño más buscados por coleccionistas.
Remasterizado de las cintas originales y prensado en vinilo de 180gr. Este lanzamiento forma parte de una nueva serie de reediciones que incluirá también muchos otros clásicos brasileños sobresalientes.

BIS => 2025 07 25
1LP - MUNSTER
1968 => 2025

Seminal and highly influential album in the history of Venezuelan rock. “Ladies W.C.” (1968) is innovative in many aspects: from its stunning psychedelic guitars, loaded with fuzz and wah-wah effects, to its repertoire - made up of original songs - or even the graphics featured on the cover of the album.
As in the case of “Love Depression”, this album has become one of the most sought-after and collectible recordings of Venezuelan rock.
Our reissue includes remastered sound from the original tapes, 180g vinyl and liner notes.

TRACKLIST
Side A
1. PEOPLE
2. I CAN’T SEE STRAIGHT
3. TO WALK ON WATER
4. HEAVEN’S COMING UP
5. AND EVERYWHERE I SEE THE SHADOW OF THAT LIFE
Side B
1. SEARCHING FOR A MEETING PLACE
2. PUT THAT IN YOUR PIPE AND SMOKE IT
3. THE TIME OF HOPE IS GONE
4. W.C. BLUES
5. I’M GONNA BE

DESCRIPTION
Adib founded Ladies W.C. with his friends Jose Maria Arria “Chema” (bass, vocals), Wolfgang Vivas (lead vocals), and Frank Rojas (drums). Their sound was so innovative that it was not conducive to getting many bookings and they barely managed to play a single concert. As a result, all the original line-up, except Adib, upped and left. Soon after, Stephen Scott and Mario and Jaime Seijas replaced them, seamlessly complementing Adib's playing and his growing interest in blues and psychedelic hard rock.
The group’s first and only album, released by the Venezuelan label Souvenir, was recorded at Continente Studios in just 10 days. Ricardo Landaeta acted as technician, while Adib and Stephen worked out all the structures and arrangements of the songs, as well as the lyrics. They were very intense recording sessions in which they spent full days locked inside the studio. Hector Fuenmayor is the only guest musician on the recording (flute on 'To Walk on Water'). All the songs are their own compositions, which was unusual on the Venezuelan scene, as groups’ repertoires tended to be cover versions of international hits. The sleeve art, displaying a striking illustration instead of the classic covers showing a photo of the band, was also a novel ingredient in Venezuela, as was the distorted sound of the guitars which made great use of the wah-wah pedal, the extensive harmonica playing, and creative use of sound effects, all of which gave the album a unified conceptual feel.
The band were only active for only a couple of years from 1968 to 1969. Mario and Jaime left Venezuela to study in the United States, and although Adib spent a summer there with them playing as Ladies W.C. on the Allentown college circuit, the group was destined to split up.
Adib joined Sky White Meditation after he returned home and remained as a band member until 1972. Meanwhile Jaime Seijas played on another equally seminal record in the history of Venezuelan rock, The Love Depression album, also released by the Souvenir label.

BIS => 2025 07 25
2LP - VAMPISOUL
2025

TRACKLIST
A1 Carlos Pickling– Cumbia Morena
A2 Los Chicoques– Olguita
A3 Los Demonios De Corocochay– Cumbia en Dominante
A4 Los Felcas– La Blanquiñosa
A5 Sonora Casino– Chinita
A6 Sam Brasil– La Pollera Amarilla
A7 Volada 5– Anita
B1 Otto De Rojas Y Su Orquesta– Cumbia Pueblerina
B2 Carlos Pickling– Yolanda
B3 Silvestre Montez Y Sus Guantanameros– Arequipeñita
B4 Ñiko Estrada– Lucerito
B5 Freddy Roland Y Su Orquesta– Cumbia Sabrosa
B6 Los Avileños– La Cumbia del Burro
B7 Los Demonios Del Mantaro– Cumbia 73
C1 Carlos Pickling Y Orquesta– Que Siga la Cumbia
C2 Joe Di Roma y su Conjunto– Chin Chin
C3 Los Rumberos Del Solar– Ritmo de Cumbia
C4 Los Pavos Reales– Ac Cha Chau
C5 Nilo Espinosa Y Su Orquesta– Cumbia Bonita
C6 Volada 5– Oh Condor
C7 Tito Chicoma Y Su Orquesta– Cumbia de Color
D1 Los Demonios De Corocochay– Cumbia y Amor
D2 Nelson Ferreyra Y Su Sonora– Negrita Linda
D3 Carlos Pickling Y Orquesta– Baila Mi Cumbia
D4 Los Kintos– Tierra Linda
D5 Manzanita (4)– Pochita
D6 Los Felcas– La Colocha
D7 Los Belking's*– La Celosa

DESCRIPTION
Tras excavar hasta lo más profundo de los abrumadores archivos de Discos Fuentes y Codiscos en nuestros anteriores volúmenes, esta tercera entrega de la serie “Cumbia Cumbia Cumbia!!!” reúne 28 bombazos de cumbia peruana orientados a la pista de baile extraídos de los archivos de Discos MAG, todos ellos publicados originalmente entre 1964 y 1987.
“Cumbia Cumbia Cumbia!!!” combina clásicos muy conocidos con rarezas que son difíciles de conseguir en su formato original. Una invitación para disfrutar y dejarse sorprender, al margen y por encima de aproximaciones académicas y etnográficas a la cumbia.
-----------------------
After digging deep into the overwhelming archives of Discos Fuentes and Codiscos in our previous volumes, this third instalment in the series “Cumbia Cumbia Cumbia!!!” 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.
“Cumbia Cumbia Cumbia!!!” 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.

BIS => 2025 06 27
1LP - LITTLE BUTTERFLY
1984 => 2025

(+Booklet)

Mediocampo (1984), Jaime Roos's fifth album concludes an unintentional trilogy that began with Aquello (1981) and continued with Siempre son las cuatro (1982). It is the bright side of the series, a groundbreaking album that has become a classic, perhaps the most prestigious and well-known work of his discography.
Mediocampo is as daring and experimental as his previous two works, but with much more direct and accessible communication, achieving an almost perfect distillation of his artistic vision. Today, many of its songs are an essential part of Montevideo's cultural soundtrack.

TRACKLIST
Side A
A1. Durazo y Convención
A2. Victoria Abaracón
A3. Luces en el Calabró
A4. Si piensas en mí
A5. Tal vez Cheché
Side B
B1. Los futuros murguistas
B2. Nunca fuiste al cine
B3. Una vez más
B4. Pirucho

DESCRIPTION
The album's sound, aligned with international trends of the 1980s, made Mediocampo the gateway to Jaime Roos's universe for a younger audience approaching music through rock. Its proposal was unique and deeply Uruguayan, yet it incorporated elements that resonated with a public accustomed to Anglo-Saxon pop.
The albums Aquello and Siempre son las cuatro, despite being very different works, share a focus on the Beatles-inspired pop song structure, stylistic diversity, and a search for popular roots. Mediocampo, the conclusion of this song-driven trilogy, is as daring and experimental as its predecessors but with much more direct and accessible communication, achieving an almost perfect distillation of his artistic vision. Today, many of its songs are an essential part of Montevideo's cultural soundtrack.

BIS => 2025 06 27
1LP - VAMPISOUL UMG
1975 => 2025

"Na Rua, na Chuva, na Fazenda" is a landmark 1975 album by Hyldon, a key figure in Brazilian soul music. The album captures the vibrant musical spirit of the 1970s and reflects the influence of the black power movement.
With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists like Azymuth.
This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. 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.

TRACKLIST
Side A
1. GUITARRAS, VIOLINOS E INSTRUMENTOS DE SAMBA
2. NA SOMBRA DE UMA ÁRVORE
3. VAMOS PASSEAR DE BICICLETA?
4. ACONTECIMENTO
5. VIDA ENGRAÇADA
6. AS DORES DO MUNDO
Side B
1. NA RUA, NA CHUVA, NA FAZENDA
2. SÁBADO E DOMINGO
3. ELEONORA
4. BALANÇO DO VIOLÃO
5. QUANDO A NOITE VEM
6. MEU PATUÁ

DESCRIPTION
"Na Rua, na Chuva, na Fazenda" is a landmark 1975 album by Hyldon, a key figure in Brazilian soul music. His debut release was one of the top-selling albums that year, capturing the vibrant musical spirit of the 1970s and reflecting the influence of the black power movement alongside artists like Tim Maia and Cassiano. With a mix of MPB, soul, and funk, Hyldon brought his unique sound to life, collaborating with influential artists and contributing to the Brazilian music scene.
The album, which features the iconic title track, is a celebration of love with timeless songs like ‘As Dores do Mundo’, ‘Na Sombra de uma Árvore’ and ‘Meu Patuá.’ Produced by Guti Carvalho with arrangements by Hyldon and Waldir Arouca Barros, the studio band included the talented musicians from Azymuth (José Roberto Bertrami, Alex Malheiros and Ivan Conti “Mamão”), making it a memorable piece of Brazilian musical history.
This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After being unavailable outside of Brazil for years, it’s finally been reissued – don’t miss your chance to own this legendary piece of music history.

BIS => 2025 07 25
1LP - VAMPISOUL UMG
1976 => 2025

"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. It combines Brazilian rhythms with classic American soul elements, creating a unique fusion.
Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel.
The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes that has become a DJ’s favorite in recent years and also made it into several compilations.
"Cuban Soul-18 Kilates" has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. 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 like Evinha “Cartão Postal” or Gerson King Combo.

TRACKLIST
Side A
1. HOJE É NATAL
2. COLEÇÃO
3. ANA
4. ONDA
Side B
1. CENTRAL DO BRASIL
2. SAIA DESSA FOSSA
3. DE BAR EM BAR
4. SALVE ESSA FLOR
5. A LUA E EU

DESCRIPTION
"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. Influenced by artists like Otis Redding, Eddie Kendricks, Stevie Wonder, and others, it combines Brazilian rhythms with classic American soul elements, creating a unique fusion.
The album features 9 tracks, with ‘A Lua e Eu’ becoming a major commercial hit and the theme song for the soap opera “O Grito”. Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel. The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes, with its captivating bassline, subtle percussion, and natural sounds of the sea, making it perfect for moments of relaxation. This song, along with the album’s other tracks, showcases Cassiano's mastery of Brazilian soul, making “Cuban Soul-18 Kilates” a definitive and cherished record in the genre.
This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After not being available outside of Brazil for years, it’s finally been reissued – don’t miss your chance to own this legendary piece of music history.

BIS => 2025 06 27
7 INCH - VAMPISOUL
2025

Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname “Loco” by being a free, independent spirit, an innovator and iconoclast who was initially branded as “crazy” for the freshness and audacity of his sound.
These two hot tracks were released in the early 70s and became instant dance floor fillers.
First time 7” reissue of these salsa and guaguancó gems.

TRACKLIST
Side A
PA’ EL 23
Side B
MUCHACHO BARRIGÓN

DESCRIPTION
Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname “Loco” by being a free, independent spirit, an innovator and iconoclast who was initially branded as “crazy” for the freshness and audacity of his sound.
Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it “salsa” years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector’s items today.
These two hot tracks were released in the early 70s and became instant dance floor fillers. In fact, ‘Muchacho Barrigón’ crossed over beyond the Venezuelan salsa scene and a few versions of the tune were recorded by international artists. How cool and handy is to have both songs together on a DJ-friendly 45? First time 7” reissue.

BIS => 2025 06 27
7 INCH - MUNSTER
2025

TRACKLIST
1. Rita - Erotica 04:41
2. Aguaturbia - Erotica 02:48

DESCRIPTION
Two killer tracks of erotic psychedelia with a jazzy twist and touches of acid rock by the French cabaret star Rita and Chilean rock pioneers Aguaturbia.
A perfect soundtrack to an imaginary sexploitation film, half-way between the classic sound of library records and a progressive and hypnotic musical journey driven by fuzzy guitars.
Reissued on a 45 for the first time.
--------------------------------
Dos bombazos de psicodelia sensual con toques de jazz y de rock ácido a cargo de la estrella del cabaret francés, Rita, y de los pioneros del rock chileno Aguaturbia.
Serían la banda sonora perfecta para una película imaginaria de sexploitation, a medio camino entre los discos de librería y un viaje musical lisérgico bañado en guitarras distorsionadas.
Primera reedición en formato single.

BIS => 2025 07 25
1LP - MUNSTER
2024

BIS => 2025 07 25
1LP - VAMPISOUL
1972 => 2024

BIS => 2025 07 25
1LP - MUNSTER
1968 => 2007

BIS => 2025 07 25
1LP - VAMPISOUL
1974 => 2022

BIS => 2025 07 25
1LP - FATIADO DISCOS
1975 => 2021

BIS => 2025 07 25
1LP - VAMPISOUL
2016

BIS => 2025 07 25
1LP - BGP / FLYING DUTCHMAN
1975 => 2025

TRACKLIST
SIDE ONE
1. EXPANSIONS
2. DESERT NIGHTS 3. SUMMER DAYS
SIDE TWO
1. VOODOO WOMAN 2. PEACE
3. SHADOWS
4. MY LOVE

DESCRIPTION
“Look at it! There’s a guy in a Muslim skull cap and glasses, singing about space and love – wicked! Blows your mind!” Norman Jay
Lonnie Liston Smith's "Expansions" is one of the most influential records ever to have been released with its sound ricocheting through many different music scenes. It is one of dance music's fundamental building blocks, and an anthem to UK clubland.
Now for its 50th Anniversary we are celebrating that influence by an ultra-high quality deluxe vinyl edition of the album. Using the original album master tape we decamped to Frank Merritt's East London studio, the Carvery, for an all Analogue cut of the album - it has never sounded better!
We have housed this in a tip-on a laminated gatefold sleeve, which has allows Jack Martin's original painting of Lonnie to shine as never before. We have also a fully illustrated sleeve note by Frank Tope, telling the story of how the record took its journey through the universe from its spiritual jazz route to become a clubland anthem. This story is told with help from Gilles Peterson, Norman Jay and more.
The album as a whole is essential, going beyond the dance-ability of the title track, through its seven tracks to be one of the great jazz albums of the 70s. Produced by Lonnie and Bob Thiele (producer of Gil Scott-Heron's “Pieces Of A Man” and John Coltrane's “A Love Supreme”) it should be in every record collection.
For its 50th Anniversary why not make it this edition…

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1LP - KENT
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1LP - KENT
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1LP - SOUTHBOUND
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1LP - BGP / FLYING DUTCHMAN
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1LP - SOUTHBOUND
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1LP - FLYING DUTCHMAN / BGP
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1LP - SOUTHBOUND
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1LP - SOUTHBOUND
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2LP - FLYING DUTCHMAN
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1LP - WESTBOUND
2008

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1LP - WESTBOUND
1976

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2LP - BGP
2001

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2LP - BGP
1975 => 2015

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1LP - FLYING DUTCHMAN
1974 => 2022

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1LP - MUNSTER
1970 => 2024

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2LP - VAMPISOUL
2024

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1LP - VAMPISOUL
1970 => 2023

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2LP - VAMPISOUL
2023

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1LP - VAMPISOUL
2024

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180G VINYL
1LP - VAMPISOUL
1969 => 2024

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2LP - ACE
2024

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1LP - ACE
2024

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2LP - KENT
2024

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1LP - TRES SELOS / EAEO
1978 => 2022

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1LP - TRES SELOS / EAEO
1972 => 2022

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1LP - BGP
2024

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1LP - STAX
1968 => 2010