IN STOCK
1LP - HARLEM SHUFFLE RECORDS
2023

IN STOCK
COLOR = BURGUNDY VINYL
1LP - NEXT RECORDS
2023

IN STOCK
1LP - GET ON DOWN
1990 => 2019

IN STOCK
1LP - NOW AGAIN
2021

IN STOCK
7 INCH - F-SPOT RECORDS
2025

- Side-A features Alex Désert and Deston Berry of Hepcat, in addition to Malik Moore of The Lions.
- Side-B features Asdru Sierra, vocalist of Ozomatli.
- Produced, Mixed, and Recorded by Dan Ubick (The Lions, Connie Price and the Keystones).
- Previous steady radio play on BBC Radio 6, KCRW, SoHo Radio, etc...
- Very popular among DJ’s and collectors worldwide.

TRACKLIST
Hercules (feat. Alex Désert & The Lions)
Tell It Like It Is (feat. Asdru Sierra)

DESCRIPTION
To round out their second wave of 7" singles, Night Owls bring the heat once again with their signature sound and vision. Re-imagining two Aaron Neville classics, “Hercules” feat. Alex Désert and The Lions b/w “Tell It Like It Is” feat. Asdru Sierra from Ozomatli, Night Owls up the ante by bringing in some heavy hitters for both sides of this 45. Side A's "Hercules" features long-time collaborators and bandmates from The Lions (Stones Throw, Ubiquity, NYCT) - the soulful tenor of Alex Désert (also Hepcat) on lead blending seamlessly with the familiar voices of Deston Berry (Hepcat) and Malik Moore (Ocean 11) on backing harmonies. The Lions front line locks in tight from the many years performing together on top of a darker and grittier interpretation of Allen Toussaint’s masterpiece complete with fuzzed-out guitar, Space Echoes and rhythm drops. On the flip, "Tell It Like It Is" keeps the momentum going and hips swaying with added Colombian percussion elements and California lowrider vibes. Featuring L.A. family and multi-talented vocalist of Ozomatli, Asdru Sierra, on lead and Night Owl Dan Ubick on backing vocals Side B creates a unique blend of reggae and Cumbia into a very fresh take on this multi-generational hit.

IN STOCK
1LP - BGP
1974 => 2023

IN STOCK
1LP - VAMPISOUL
1967 => 2018

IN STOCK
1LP - AKASHIK RECORDS
2019 => 2022

IN STOCK
1LP - SOUTHBOUND
1975 => 2018

IN STOCK
2LP - BBE
2021

IN STOCK
1LP - FAT BEATS
2018

IN STOCK
3LP - BBE RECORDS
2021

BIS => 2025 08 29
2LP - VAMPISOUL
2010

IN STOCK
2LP - BBE
2018

IN STOCK
2LP - BBE
2020

IN STOCK
ULTRA CLEAR
2LP - UNCLE HOWIE RECORDS
2023

IN STOCK
7 INCH - F-SPOT RECORDS
2023

IN STOCK
YELLOW GREEN
2LP - EVERLAND
1960 => 2022

IN STOCK
NEON YELLOW
2LP - SONY / VMP
1992 => 2022

BIS => 2025 07 25
NEON YELLOW
1LP - REPRISE / VMP
1974 => 2021

IN STOCK
LIMITED TO 1000 COPIES
BLACC TATTOO INK-IN-CLEAR COLORED VINYL
GATEFOLD JACKET
NUMBERED OBI
2LP - GET ON DOWN
2014 => 2024

IN STOCK
COLORED VINYL
GATEFOLD JACKET WITH FULL LYRICS
2LP - GET ON DOWN
1992 => 2024

IN STOCK
1LP - NOW-AGAIN RECORDS
1977 => 2024

IN STOCK
RSD 2023
1LP - NOW-AGAIN RECORDS
1969 => 2023

IN STOCK
1LP - CULTURES OF SOUL
2020 => 2021

IN STOCK
2LP - DELTRON PARTNERS
2001 => 2017

IN STOCK
1LP - VAMPISOUL
1971 => 2022

IN STOCK
2LP - GET ON DOWN
1992 => 2014

IN STOCK
1LP - MADLIB INVAZION
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
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 ”

IN STOCK
2LP - JELLOWSTONE
2014 => 2024

BIS => 2025 07 18
1LP - 180G
2024

BIS => 2025 08 01
GATEFOLD
JACKET WITH LYRICS
2LP - GET ON DOWN
1996 => 2024

IN STOCK
RSD 2024
1LP - NOW-AGAIN RECORDS
2024

IN STOCK
RSD 2024
BLUE SWIRL COLORED VINYL PRESSING
1LP - NATURE SOUNDS
1970 => 2024

IN STOCK
2LP - MUNSTER
2021 => 2024

IN STOCK
1LP - NATURE SOUNDS
2023

IN STOCK
2LP - VAMPISOUL
GATEFOLD
2023

IN STOCK
1LP - HI-TEK MUSIC
2023

IN STOCK
1LP - VAMPISOUL
1973 => 2023

IN STOCK
COLOR = WHITE
1LP - OVO SOUND
2021

IN STOCK
1LP - EVERLAND
169 => 2023

IN STOCK
1LP - EVERLAND
2016 => 2023

IN STOCK
1LP - MONTEREY
1974 => 2023

IN STOCK
1LP - HARLEM SHUFFLE RECORDS
2020

IN STOCK
1LP - HARLEM SHUFFLE RECORDS
2023

IN STOCK
RSD 2023
2LP - WARHORSE RECORDS
COLOR = BLACK & SILVER SWIRL
2010 => 2023

IN STOCK
RSD 2023
1LP - MUNSTER
1972 => 2023

IN STOCK
1LP - VAMPISOUL
1969 => 2023

IN STOCK
1LP - ABE LINX, TULLY C.
CLEAR WITH ORANGE AND BLACK SPLATTER
2023

IN STOCK
1LP - VAMPISOUL
1966 => 2022

SOLD OUT
2LP - 180G / UNIVERSOUNDS / HMV
2022

BIS => 2025 08 01
2LP - GET ON DOWN
2000 => 2015

IN STOCK
3LP - LETTUCE RECORDS
2025

- A groundbreaking fusion of Lettuce’s signature funk grooves with the rich, dynamic sound of the Colorado Symphony. The stunning performance captures the energy and magic of the live concert from November 18, 2018, showcasing Lettuce's improvisational brilliance and the full orchestral power.
- Available on digital, vinyl, CD, and DVD, offering fans multiple ways to experience this epic performance.
- Digital is set to drop on February 28, 2025, just ahead of Lettuce's return to Denver, CO, for another live performance with the Colorado Symphony on March 2, 2025.
- The vinyl and DVD editions provide a premium, collectible experience for die-hard Lettuce fans.
- The DVD includes high-definition, professionally shot video, offering fans an intimate, front-row experience of the unique collaboration.
- The triple LP is pressed on black vinyl and comes in a double gatefold jacket with three panels. Digipack CD.

TRACKLIST 
Mt. Crushmore
The Lobbyist
Requiem
Gang Ten
Ghost of Jupiter
Move On Up
The Force
New Intro
Larimar
Tryllis
Moksha
Everybody Wants to Rule the World
Elephant Walk -- Madison Square
Trapezoid

DESCRIPTION
Lettuce with the Colorado Symphony is a genre-defying, electrifying performance that captures the powerhouse fusion of funk, jazz, and orchestral grandeur. Recorded live with the Colorado Symphony in 2018, this album features Lettuce's signature groove-driven sound paired with the rich, sweeping power of a full orchestra. It’s a unique and breathtaking experience that showcases the band’s improvisational brilliance alongside orchestral precision. Available on digital, vinyl, and DVD, this release is a must-have for fans of both Lettuce and orchestral music, offering a fresh, exciting take on the live performance experience. Get ready to groove to the rhythm of symphonic funk like never before!

IN STOCK
2LP - LETTUCE RECORDS
2004 => 2024

IN STOCK
4 x 7 INCH - VAMPISOUL
2022

BIS => 2025 07 04
1LP - HARLEM SHUFFLE RECORDS
2025

14 ORIGINAL TRACKS COMPILATION LP
ROCKSTEADY – BOSS REGGAE – EARLY REGGAE 1965-1975

TRACKLIST
A1. The Soul Leaders & Carib Beats - Pour On The Sauce
A2. Lynn Taitt & The Jets - I Spy
A3. The Kilowatts - Real Cool Operator
A4. Sir Collins & The Black Diamonds - Black Diamonds
A5. Clive’s All Stars & George Murphy - San Sebastian
A6. Eric Monty Morris - Cinderella
A7. Dell Williams - Searching For Your Love

B1. Derrick Morgan - I Who Have Nothing
B2. Chenley Duffus - To Be A Lover
B3. Lloyd Charmers - President Version
B4. Tony Bins - Musical Shower
B5. Annette Clarke - Just One Look
B6. The Jay Boys - Del Gago
B7. Desmond Riley - Tear Them


DESCRIPTION
Here is the much anticipated Volume 5 of the HOT SAUCE compilation LPs dedicated to the Trojan related labels between 1965 and 1975.

HOT SAUCE Volume 5 features outstanding original Rocksteady, Boss Reggae and early Reggae tracks including rare songs, overlooked gems, hidden treasures and a couple of hits.

The record labels showcased on this fourth volume are Amalgamated, Bread, Downtown, Duke, Explosion,Grape, Harry J Records , JJ Records, Rio, Splash, Upsetter and Techniques.

Particular attention has been paid to the way the songs are sequenced so that the album builds up nicely and gradually, generally starting with the Rocksteady songs on the A side and the 70s songs on the B side.

The HOT SAUCE series is a musical journey across Trojan and its labels showcasing early Jamaican Reggae’s diverse musical genres and outstanding artists.

BIS => 2025 08 01
180 GRAM
1LP - SONY / VMP
2001 => 2023

BIS => 2025 07 04
180 GRAM
TIP-ON GATEFOLD
1LP - CONCORD / VMP
1969 => 2024

SOLD OUT
1LP - MADLIB INVAZION
2004 => 2024

TRACKLIST
A1. Supplier
A2. Scarface
A3. Deeper
A4. High (feat. Danny Brown)
A5. Harold’s
A6. Bomb (feat. Raekwon)
A7. Shitsville
A8. Thuggin’
A9. Real
A10. Uno

B1. Robes (feat. Domo Genesis & Earl Sweatshirt)
B2. Broken (feat. Scarface)
B3. Lakers (feat. Ab-Soul & Polyester the Saint)
B4. Knicks
B5. Shame (feat. BJ The Chicago Kid)
B6. Watts (feat. Big Time Watts)
B7. Pinata (ft. Domo Genesis, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko, & Mac Miller)


DESCRIPTION

Pinata - 10 Year Anniversary Edition Is Presented In A Green In Clear with Black & White Splatter Pressing Housed In An
Variant Cover With A Collectable 24” x 24” Poster


Pinata, the collaborative effort of famed producer Madlib and rapper Freddie Gibbs, changed the course for these two musical mavericks.

For its 10 year anniversary the project was issued with a fresh variant cover with the pressing being a half speed lacquered version of this hip hop classic.

BIS => 2025 08 08
LIMITED TO 500 UNITS
COLOR HELLFIRE
2LP - WAR MEDIA
2014 => 2024

IN STOCK
GATEFOLD
1LP - MUNSTER
1970 => 2011

BIS => 2025 07 04
1LP - NATURE SOUNDS
2024

IN STOCK
2LP - GET ON DOWN
1992 => 2020

IN STOCK
1LP - 600 BLOCK RECORDS
2022

PRE ORDER => 2022 04 01
2LP - FAR OUT
2022 04 01

IN STOCK
2LP - M3 RECORDS
2008 => 2022

PRE ORDER => 2022 03 18
1LP - FAR OUT RECORDINGS
1965 => 2022 03 18

PRE ORDER => 2022 03 18
1LP - FAR OUT RECORDINGS
1966 => 2022 03 18

PRE ORDER => 2022 02 04
1LP - MAD ABOUT RECORDS
2022 02 04

BIS => 2021 12 17
2LP - UBIQUITY
2008

SOLD OUT
1LP - UBIQUITY
2016

BLACK FRIDAY 2021
2LP - TIDAL WAVES MUSIC
2021 11 26

IN STOCK
BLACK FRIDAY 2021
1LP - NOW AGAIN
2021 11 26

1LP - MR BONGO
2021 11 05

2LP - LUV N HAIGHT
2021 04 30

1LP - ESPACIAL DISCOS
2021 02 12

IN STOCK
1LP - BROC RECORDZ
2020

1LP - ALBINA MUSIC TRUST
PREORDER 2020

IN STOCK
1LP - TRAMP RECORDS
2020 11 13

IN STOCK
RSD 2020
RED COLORED - 2LP - FAR OUT
2020

Red Vinyl 2XLP

BIS => 2025 07 04
1LP - MADLIB INVAZION
2020

IN STOCK
1LP - LUV N HAIGHT
2015

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 07 25
1LP - KENT
2017

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

BIS => 2025 04 25
1LP - BGP
2000

SOLD OUT
2LP - BGP
2000

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

BIS => 2025 04 25
2LP - BGP
2007

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

BIS => 2025 04 25
2LP - BGP
2000

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 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 08 08
7 INCH - CONTINUED SOUND
2025

- Very rare, highly sought-after 7" single, remastered for the first time. 
- Recorded in NYC with veteran producer Bob Morgan (known for his work with Bobby Vinton and Marcos Valle) shortly before Kip signed with Willie Mitchell's Hi Records in Memphis. 
- The songs are available to stream as part of a longer collection titled "Kip Carmen: That's Enough For Me (Singles and Unreleased Recordings.)"
- This 7" is pressed on standard Black Vinyl, housed in a Full Color Jacket with Full Color Insert.

TRACKLIST 
That's Enough For Me
Loving In The Morning

DESCRIPTION
Continued Sound’s third release is a 7” reissue of the ultra-rare Queen Bee recordings by Kip Carmen and The New Frontier. Kip Carmen is a singer, songwriter, and performer known for his distinctive blend of soul, country, and rhythm & blues. Emerging in the 1970s, Carmen carved out a niche with his smooth yet expressive vocals, fusing the emotional depth of country storytelling with the groove and warmth of classic soul. His music, often accompanied by his band The New Frontier, reflects an era where genres overlapped freely, creating a sound both timeless and uniquely his own. Though not a mainstream household name, Kip Carmen developed a dedicated following, particularly among fans of northern soul and roots-driven music. His recordings showcase a keen sense of melody, heartfelt lyricism, and rich instrumentation. “Loving in the Morning” and “That’s Enough for Me” highlight his ability to craft emotionally resonant tracks that speak to love, life’s simple pleasures, and heartfelt reflection. Beyond his studio recordings, Carmen’s career was defined by his dynamic live performances. Whether fronting a full band or delivering an intimate set, he brought an undeniable passion to the stage, captivating audiences with his smooth delivery and authentic presence. His ability to bridge musical styles allowed him to appeal to a diverse audience, from soul enthusiasts to country traditionalists. This single serves as a snapshot. A definitive moment in the eclectic career of a journeyman songwriter. It’s our pleasure to share this moment with you.