Vampi Soul Spain 黑胶唱片和CD

Review: This 2024 edition marks the return of Joe Bataan, via the same track that made his name in 2004. Vampi Soul first welcomed the Latin Soul king to the label two decades back, facilitating the release of his 2005 album Call My Name. The pre-release singles for the album were 'Chick-A-Boom' and 'Cycles Of You', packed onto a single 7"; these quickly became DJs' favourites and have thus since remained long out of print. As it was twenty years ago, 'Chick-A-Boom' is a simultaneously upbeat but ghostly track, with Bataan's vocals quadrupling up in a wall of sound while providing the vibe equivalent of a Jackie Chan flick. 'Call My Name', meanwhile, goes heavy on the clavichord and synth whistle, as Bataan revels in a funereal theme, dancing, thundersticking into the great beyond.

Review: El Tic Tac by the Cuarteto Yemaya quartet is a cult, expensive and hard to find treasure form Latin America. It was the band's second album back in 1971 and offers up a great set of Peruvian tunes with a Cuban flavour and irresistibly sunny feels. Pancho Acosta's electric guitar denies much of the record and is backed up with conga and timbales. This is the first time it has ever been reissued and has been remastered from the original tapes for the occasion. Do not sleep on this classic.

Review: If you listen to those who know about such things, then The Ghetto Brothers' Power-Fuerz album is one of the best-ever Latin funk records. The group formed on the streets of New York City's South Bronx in the late 1960s and often called themselves a gang as much as a band. They were keen supporters of Puerto Rican nationalism and were motivated to help uplift fellow Latino and Black men in their community. Back in 1971 is when they released their one and only album and it had little to no promotion and was only distributed locally so is one of those that has since taken on cult status.

Review: Vampisoul dedicate one more 7" to another fresh-from-the-woodfired slice of modern cumbia, this time from the eponymous La Cumbia Moderna De Soledad band and Machuca Cumbia respectively. On the A, the former band offer up a two-toning cumbia version of Rod Stewart's 'Da Ya Think I'm Sexy?', sparse but well-wrought in its sound. The B is a treat that vibrates at a different, but equally as effective frequency, being a convincingly retro take on the Bee Gees' 'Stayin' Alive', and lending the song's ineluctable melodies a Latin twist by way of hypnotic percs and guitars.

Review: La Retreta Mayor hail from Venezuela and includes members such as trumpeters Lewis Vargas and Jose Diaz, saxophonists Nelson Hernandez, Benjamin Brea and Rolando Barbosa on trombone amongst others. This self titled album is the only one the short-lived outfit ever released and it came in 1976. It's a fine fusion of jazz and funk with plenty of Latin flair and rich percussive layers, lead wind instruments and danceable disco grooves that bring real colour and vitality to the dance floor. Originals are hard to find and expensive so this is a timely reissue.

Review: This a unique release that features a song that was released by two different bands during within the same year. The song 'Meshkalina' was by a psychedelic and prog band from Peru called Traffic Sound and then, soon after, by Latin duo Paco Zambrano and Reynaldo Murrieta under the name Paco Zambrano Y Su Combo. The latter version is more traditional and Latin while the Traffic Sound version is more psychedelic garage rock band-like. Two formidable and very different versions featured on limited splattered 7" vinyl.

Review: Sangre Joven was originally a side project that was set up to release covers of international disco and funk hits for Discos MAG. The collective was started in Peru in 1974 by sax player Nilo Espinosa who also assembled the Nil's Jazz Ensemble after spending years playing in a jazz quintet in Berlin. 'Zamba Zamba' is a tsingle from 1974 that is a true-to-the-original cover of 'Samba Samba' by Colombian brothers Elkin & Nelson. It brings plenty of exotic sounds with uptempo Latin vibes, elements of descarga and boogaloo and more all served up with a funky rock twist.

Review: Tito Puente's classic 'Guayaba' has been rerecorded by a plethora of artists over the years, but it's safe to say these two covers by Sonora de Lucho Macedo and La Logia Sarabanda are among the best. In their respective versions, we find two proper dancefloor shakers for all tropical heads out there, recorded under the influence of the early 70s Latino rock. Here Vampi Soul reissue this precious gemlike cut, with the two versions never paired together before, on 45 for the first time.

Review: Peru has enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain's, and Los York's, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music, as Peruvian bands kept an eye on the groundbreaking British and US artists. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career, and by 1971 their Latin influences had overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabas, they started to show a growing interest in disco music, resulting in some line-up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on 'La Camita' was released in 1978, and adds a modern twist to the original song.

Review: Latin funk music's best and brightest recollector-reissuers Vampi Soul continue to do what they do best with this latest reissue of the debut self-titled album by Zulu. One of the last great albums of the first wave of Peruvian rock,and originally released in 1974, Zulu was infamous for its linking of psych-tinged rock with Afro-Latin American beats and folk pop. The enigmatic Zulu (real name Miguel Angel Ruiz Orbegoso) was best known during his lifetime as a member of the bands Traffic Sound and Los Nuevos Shain, but his only solo album commands a unique aura as a numinous rarity, immediately pre-dating his latter-career immersion in the religious community. Reissued for the first time with the collaboration of Zulu, including extensive liner notes and one extra track, the likes of 'Si en el cielo yo viviera', 'Laberintos' and 'Candela' are pastoral gems of folk-cumbia and salsa, playing back with a level of sensitivity and texture that could only be born of a worthy spirit.