Фирма Vampi Soul

Elia y Elizabeth were a sister duo who in a brief yet dazzling career during 1972 and 1973 achieved great success in their native Colombia. Their concise and natural mix of styles sways between soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and gentle psychedelia. Following the acclaimed release of their compilation "La onda de Elia y Elizabeth" on Vampisoul, we present a very special double A-side split 7" featuring 'Alegría', one of the highlights from that collection. On the other side, the Elia y Elizabeth song 'Soy una nube' is wonderfully performed by Elefant Records artists Single, one of the most unique music acts in Spain. Formed by Teresa Iturrioz and Ibon Errazkin, who in their previous bands Aventuras de Kirlian and Le Mans were responsible for some of the finest Spanish pop music of the last 25 years, Single are long-time Elia y Elizabeth fans and their exquisite cover, recorded this year and unavailable on vinyl until now, is the realization of the kindred spirit shared by these two outstanding duos. Record Label: VampiSoul Style: Pop

Artist: Bio Ritmo Label: Vampisoul

Artist: Bio Ritmo Label: Vampisoul

Artist: Garotas Suecas Label: Vampisoul (Cargo Records)

Artist: Son Palenque Label: Vampisoul (Cargo Records)

Artist: Garotas Suecas Label: Vampisoul (Cargo Records)

Artist: Son Palenque Label: Vampisoul (Cargo Records)

LP comes in special die-cut sleeve and includes a CD version of the album. The second album by Akron is another fascinating instrumental experience, which this time explores the nature of consciousness and the self. 2012's "Voyage Of Exploration" revealed Akron as one of the best sonic and mood explorers out there, achieving an engaging personal sound while carrying on the legacy of greats such as Les Baxter, Delia Derbyshire, Mort Garson, Sun Ra... If that first album was an instrumental travel through space and otherworldly planets, this time he takes us on a trip inside the mind, consciousness and the self. Let the hypnotic rhythm of the bongos, the enveloping sound of organs Style: Rock

The second album by Akron is another fascinating instrumental experience, which this time explores the nature of consciousness and the self. 2012's "Voyage Of Exploration" revealed Akron as one of th Style: Rock

Artist: Abelardo Carbonó Label: Vampisoul

Artist: Sun & His Solar Arkestra Ra Label: ATAVISTIC

Pedro Iturralde was born in 1929 in Falces, Navarra. He received his first saxophone lessons from his father and soon started to play in all kinds of orchestras and learned a repertoire of popular music which included compositions by Falla, Albéniz and Granados. His permeability towards local folklore also awakened in him a great interest in the musical traditions of countries such as Lebanon, Turkey and Greece, places he would visit before turning 30 as part of several orchestras. The German pianist Paul Grassl joined his quartet, and they worked on adaptations of traditional songs, especially those collected by García Lorca, until the reception by public and press of Miles Davis' "Sketches Of Spain" brought about the favourable conditions so that their jazz interpretations could be performed on the stage of the renowned venue of the Marqués de Villamagna street. At that point Pedro Iturralde still performed in a quartet format, made by the German drummer Peer Wyboris, Swiss bass player Eric Peter and the aforementioned pianist Paul Grassl. The participation of a flamenco guitarist was not part of Iturralde's initial plans, who always intended to explore Andalusian traditional melodies rather than pure flamenco. However, the suggestion by the music journalist and producer Joachim Ernest Berendt, a key figure of the German jazz scene, to include a guitarist in the formation prompted the saxophonist to audition some for the projects he was about to start. Paco de Antequera, at the time a usual guitarist at the best tablaos in Madrid, was chosen to be part of Iturralde's first recordings for Hispavox in June 1967. But another name replaced him on the recordings later on: Paco de Algeciras, a pseudonym for a young guitarist who couldn't reveal his true identity due to contractual requirements. This enigmatic artist was none other than Paco de Lucía. "Jazz Flamenco" was originally released in 1967, while "Jazz Flamenco 2" came out the following year. Both albums would be compiled on one CD by Blue Note later on, but their vinyl editions have remained for years in the exclusive record collecting circuit, with prices that match the most sought-after Spanish records. Style: Latin Jazz

Artist: Various Artists Label: Vampisoul

Second volume of our survey of the fascinating music variety of Puerto Rico during the 50s and 60s, which would lead the way to the subsequent salsa scene worldwide. As well as bomba and plena, the main genres featured on volume one, the orchestras here display their masterful craft at playing guaracha, rumba, mambo, merengue and traditional rural music. Extensive liner notes by compiler Yannis Ruel illustrated with original artwork and memorabilia. The selection of this second ­Saoco! expands its repertoire to emphasize the variety of rhythms and styles that characterized many of the groups included in the first volume. It reveals a Puerto Rican production influenced by the sounds of Cuba and New York, but which also preserved its own character and in which the island genres of bomba, plena, and música campesina enjoyed their golden age. Style: Latin

Artist: Various Label: Vampisoul (Cargo Records)

Artist: Abelardo Carbonó Label: Vampisoul

The most exciting salsa orchestra in Puerto Rico right now! Completely self-managed, in the last couple of years Orquesta el Macabeo have released two albums (Salsa macabra and El entierro) which have gained an ever-growing audience of fans. Salsa bestial Style: World Music

Third volume of our "R&B Hipshakers" series, featuring rockin' R&B and early soul from the King/Federal catalogue. A compilation of tracks from 1955 to 1964 by essential artists such as Hank Ballard, Little Willie John, Joe Tex, Freddy King, Eugene Church. 20 terrific dance cuts selected by genre expert Mr Fine Wine, from WFMU's Downtown Soulville. Several titles reissued for the first time. The limited edition 7" box set contains ten singles with replica King/Federal bags and labels. DESCRIPTION For our latest dip into the King/Federal vaults, the goal was to find 20 underexposed R&B songs that, assembled into a package, would entice you to have a party. Here is what we dug: + Drummer Cozy Cole's cymbals on COZY'S MAMBO. The same track would come out again three years later on King's Bethlehem subsidiary as 'Cozy And Bossa' to capitalize on the burgeoning bossa nova craze and perhaps take advantage of audiences' confusion over exotic dance rhythms. Mambo? Bossa? Whatever. Play, Cozy, play! + New Orleans native Linda Hopkins' wail on MAMA NEEDS YOUR LOVIN' BABY. She'd go on to play Bessie Smith on Broadway in the 70s. (Not that Broadway is our bag, either.) + The clippety-cloppety rhythm of Earl King's OLD FAITHFUL AND TRUE LOVE, one of the earliest recordings on here, from 1955. It makes us long for the saddle! NB: This is Earl Connelly King, not the better-known New Orleans singer-songwriter-guitarist Earl King. + Speaking of saddles: the galloping tempo of SHE'S MINE, by the Rock & Roll Cowboy, Joe Tex - just his third solo single out of several zillion. + The whistled response to Mel Williams's lead vocals on SEND ME A PICTURE BABY, and practically everything else about this song, one of our favorites. + The brilliant arrangement of Eugene Church's version of SIXTEEN TONS: that bass voice, those sloppy finger snaps, the chorus of whomp-whomps. + The lip-smacking cry of "Rib tips!" amid The Drivers' enumeration of skeletal components in DRY BONES TWIST. + The irresistible swing of superprolific keyboard man Bill Doggett's HOLD IT. + Lowman Pauling's electric (in every sense) guitar on SOLID ROCK. He's the fellow Steve Cropper points to as his biggest influence, and he's in typical riveting form here. + All of the voices, especially Hank Ballard's, on NOTHING BUT GOOD. Rest assured that as long as we keep making Hipshakers collections, Hank Ballard will always have a spot with his name on it. + Billy Gayles's caveman attitude in TAKE YOUR FINE FRAME HOME. They say possession is nine-tenths of the law, and I've never had any idea what they mean by that, but what with this and Joe Tex's jealous act, unapologetic male possession of women is one-tenth of our collection! + Jackie Brenston's hoarse, pissed-off kiss-off: MUCH LATER for you, baby. And the great Ike Turner's perhaps intemperate use of the whammy bar. + Dancing to the slinky beat of THANKS MR POSTMAN. Mid-tempo minor-key love songs one can't help dancing to: we can't get enough of them! + All that percussion on DON'T PLAY WITH LOVE, and the way it stops to make room for Little Willie John's voice at the chorus. And as if it even needed saying: what a voice. + The tightly wound tension of guitar superstar Freddy King's IN THE OPEN. + The exuberant silliness tempering the tragedy of ONE BUFFALO. Note to non- Americans: the US five-cent piece until 1938 was called a Buffalo nickel, and it was still in circulation when Jimmy Peterson's 45 came out in 1962. + The interplay between King Pins lead TC Lee and the backing voices in I WON'T HAVE IT. + The contrast between Tiny Topsy's throaty toughness in JUST A LITTLE BIT and the weird tweeting chorus and flute. + The fact that a wannabe dance-craze song with the worrisome title THE JUMPIN' BEAN is actually really good - especially The Mystics' harmonies and that percussion. + Saxman Red Prysock's greasy lead, and the way it evokes an honest-to-goodness HAREM GIRL. Mr Fine Wine WFMU's "Downtown Soulville Style: R&B