Vinilisssimo presents a first vinyl reissue of Luiz Melodia’s Maravilhas Contemporâneas, originally released in 1976. Often overlooked, Maravilhas Contemporâneas is one of the greatest Brazilian albums of all time and one of the finest recordings released on Som Livre. To listen to Luiz Melodia singing is to understand that his music escapes any attempt at labeling. Obviously, the Brazilian music tradition is very present on this record but Melodia’s rhythmic sense when using his vocal skills also brings it close to funk or jazz, an idea that is reinforced through the explosive brass arrangements that pervade the whole album. Melodia’s first album, Pérola Negra (1973) had featured the outstanding arrangements of Arthur Verocai and the performance of top musicians Hyldon and Meirelles, but Maravilhas Contemporâneas stands as another essential milestone in his career and further proof of his formidable talent. One of the tracks included here, “Juventude Trasviada”, was featured in the soundtrack of a popular Brazilian soap opera, Pecado Capital, boosting the artist’s increasing popularity. The creative freedom and the wide range of influences managed by Melodia reach their peak in “Baby Rose”, a song that evolves from cosmic psychedelia, including the sounds of the sitar, to the peaceful beauty of some kind of highly tuneful samba funk. “Questão De Posse” features fierce proggy guitars while “Veleiro Azul” adds Latin rhythms into this unique recipe, but again, it is the talented voice of Melodia what grants this recording a pass to another league. Maravilhas Contemporâneas deserves to be filed next to the finest albums by Caetano Veloso, Jorge Ben, or Gilberto Gil. This superb album combines the best of Brazil’s musical tradition with jazz, funk and gentle psychedelia and is fronted by Melodia’s outstanding vocal skills. Presented in facsimile artwork and pressed on 180 gram vinyl.
Vinilisssimo present a reissue of Vainica Doble’s self-titled debut album, originally released in 1971. It can be argued that Serge Gainsbourg was a typically French artist, although his music was so personal that it would be difficult to find another similar artist in France at the time. The same could be said about Vainica Doble. They were a duo with a distinctly Spanish edge, although it is almost impossible to establish parallels between them and any other Spanish music released during the years they were active. Gloria Van Aerssen and Carmen Santonja were truly unique and their mix of folk, traditional genres and psych rock is a landmark in Spanish pop. This self-titled LP is their impossible-to-find first album, which despite extremely low sales — it is said that the majority of the copies were destroyed by one of the investors in the Ópalo label after shipping them to Argentina — has been highly influential for generations of pop musicians in Spain and a holy grail item for many music fans. There are plenty of reasons for this. The opening track, “Caramelo De Limón”, already shows how effective their personal musical recipe can be. Fantastic vocal harmonies, unexpected arrangements, original elements brought into the song and even fierce guitars where needed (their backing band, Los Tickets, would later become Asfalto, one of the biggest hard rock bands in Spain). As the album progresses, every track is a wonderfully idiosyncratic marvel: “Dime Félix”, “Roberto Querido”, “Fulgencio Pimentel”… You will even find drum breaks on “Quién Le Pone El Cascabel Al Gato”! The package is completed with the amazing psychedelic artwork designed by Ivan Zulueta, a cult Spanish artist whose work spanned different fields and some will remember for his film posters for Pedro Almodóvar. Includes booklet with notes by Vicente Fabuel. Presented in facsimile artwork and pressed on 180 gram vinyl.
Vinilisssimo present a reissue of Giampiero Boneschi’s Cybernetic Circus, originally released in 1973. Giampiero Boneschi is a complete musician: he composes, arranges, directs, acts as a producer, and also plays the piano. But he is also an adventurous artist who has managed to combine his work with vocalists, jazz or even easy listening music with other highly experimental projects. His name is familiar to library music fans, and his recordings for Music Scene, CAM, or Fonit are some of the most desired pieces among collectors of pioneering electronics. In fact, Boneschi was one of the first Italian artists to use synthesizers in the early ’70s. This fabulous Cybernetic Circus LP was released in 1973 on the unconventional British label Chapter 1, founded by the composer Les Reed. The album retains part of its original easy listening aspiration but fortunately it also serves to show the sound experiments of master Boneschi. This is an album for lovers of the avant-garde that will also fascinate followers of bands such as Stereolab or Broadcast, who undoubtedly fed on the work of innovators such as Boneschi. “Flea’s Dance” is a dynamic song of childish vibes but simultaneously plays about with the frequencies extracted from the synthesizer, achieving surprising results. “Modulation On Theme” and “Psyco-Analysis Lesson” contain aquatic echoes generated with the Moog and filtered voices that become mere noises at the service of the composer. But Boneschi does not always take his recordings to the sonic extreme, so you also find glimpses in which his experiments coexist with friendly melodies, perfect soundtracks for a sequence of a film set on the French Riviera, “Moderato Cantabile”, or even approaches to classical music, as in “Synthesizer In A Classic Quartet”. Lovers of library music will find in Cybernetic Circus one of the best and most enjoyable examples of early electronic music. Presented in facsimile artwork; 180 gram vinyl.
Vinilisssimo present a reissue of Hector Costita Sexteto’s Impacto, originally released in 1964. By the mid-1960s, samba and bossa nova were the exotic hip sounds of the time. João Gilberto had gained international popularity by blending American jazz and samba, and Sérgio Mendes was about to reach the Billboard Top 5 a few times. Hector “Costita” Bisignani had arrived to Brazil a few years earlier from his native Argentina, where he started to play saxophone influenced by local legend Lalo Schifrin. During his first years in Brazil he would play with artists such as João Donato, Manfredo Fest, and Sérgio Mendes (as part of Sexteto Bossa Rio), and also released a solo album: O Fabuloso Hector (1962). In 1964, Costita and his sextet recorded Impacto (Fermata) in São Paulo, an explosive mix of tough jazz and Brazilian samba in equal measure, widely considered his best work. The opening track “Le Roi” alone should be enough reason for any music lover to own this beautiful record, but the entire album is absolutely amazing. The work of Tom Jobin and Vinícius de Moraes has a prominent presence on the tracklist, which also features three compositions by Hector Costita: “Impacto”, “Tanganica”, and “Gabriela”. Horace Silver’s “The Tokyo Blues” is here simply listed as “Tokio”, but the performance of Costita and his sextet does not shorten any of the original brilliance of the tune, showing the strength of jazz peppered with samba and the undoubtful skills of the musicians… This album is killer. Hector Costita would later stop recording music for quite a few years, working as a sideman for many artists such as Elis Regina and Wilson Simonal and as a music teacher at CLAM, a Brazilian music school founded by Zimbo Trio. Thankfully he would return to the studio in 1981 to continue his brilliant solo career. Presented in facsimile artwork and pressed on 180 gram vinyl.
Vinilisssimo present a reissue of Hareton Salvanini’s A Virgem De Saint Tropez, originally released in 1974. Polish film maker Zygmunt Sulistrowski pioneered the format of shooting low-budget soft porn on exotic locations. After a long list of previous works, in 1973 he directed the French-Brazilian production A Virgem de Saint Tropez, also known as “Magia Erotica”… Although the movie actually lacked magic, it did include every possible archetypical scene of the genre, and this combination of hot action in tropical surroundings, pleasant sights of Saint Tropez and frantic chases needed some proper background music. Brazilian arranger and writer Hareton Salvanini was commissioned to deliver this soundtrack and what a wonderful job he did — no wonder he is considered by many a lesser known Arthur Verocai. But instead of multiple layers of refined strings and delicate orchestral sounds, Salvanini creates a record full of groovy guitars and percussions that could rival with the best of KPM or Chappell library LPs. “Copacabana Rock” starts with with some psychedelic vibes and then evolves into a dancefloor bomb. “Saint Tropez” is a rhythmic flute and electric piano-laden track with wah-wah guitars a plenty. There is room for some heavy tropical drumming on “Perseguiçao” and “Seios”. In need of some soft bossa with dabadaba vocals — Just check “Espairecendo”, one of the most exquisite cuts on the album that sounds as if Sérgio Mendes & Brasil ’66 had been produced by Verocai. While the jazzier and most experimental passages of the soundtrack belong to the wonderful “Sao Paulo”. As well as its original Brazilian version (Fermata, 1974), the soundtrack was also released in Italy in small quantities shortly after. Both pressings have become collector’s items over the years, just like every other Salvanini recording: his only own album called S.P. 73 (1973), the mega rare EP he made for one of his brother’s theater productions or the obscure soundtrack to the film Xavana, Uma Ilha do Amor (1981). Presented in facsimile artwork and pressed on 180 gram vinyl.
Vinilisssimo present a reissue of Knocker Jungle’s self-titled album, originally released in 1970. Ember was a British label created in 1960 by Jeffrey Kruger, founder of London’s Flamingo Club. As well as recording British acts, Ember distributed many American and other recordings in the UK. The Knocker Jungle LP was released by the label in 1970, when the duo had already split, being withdrawn from sale shortly after due to a controversial picture included in the inner sleeve that made many shops refuse to stock it. A single (for the Spanish market only) somehow managed to get released too, and that’s about all Tony Coop and Keith Jones achieved in their short life as Knocker Jungle. What the band members had done before this project was formed, or where this album led them to, remains totally unknown. Their music speaks for itself, confessing a true passion for classic song-based artists, from Donovan to Nick Drake or Dylan, with a certain degree of hippie-bluesy approach on most tracks. Tony Cox (responsible for producing Yes’s album Time And A Word (1970) and other records from Family, Caravan, etc) held production duties and Dave Pegg and Dave Mattacks from Fairport Convention are featured among the band players. From the splendid opener “I Don’t Know Why”, consistency remains solid throughout the entire album. The catchy “You’ve Lost Your Love For Me” adds some early T-Rex sound into the equation while “Where I Belong” shows a strong West Coast influence. Almost 47 years after it’s sudden withdrawal from the shops, this rare gem gets a deserved vinyl reissue. Presented in facsimile gatefold sleeve and pressed on 180 gram vinyl.
Vinilisssimo present a reissue of Brazilian Octopus’s self-titled album, originally released in 1969. This is such a unique album. Each tune is a winner, no wonder originals have fetched exorbitant prices in the collectors market, and it has been hailed by connoisseurs such as Nicola Conte or Andy Votel over the years. It features Hermeto Pascoal, Cido Bianchi (former Milton Banana Trio member), Lanny Gordin and shows an unusual mix of different styles and influences that transcends any possible category: from pop to Cuban rhythms. The bossa nova is obviously also present, as in many other Brazilian recordings from 1969, but the complex arrangements make this record lean towards the jazzier side of things, while the organ/guitar/vibes sounds will appeal for garage music lovers. Brazilian Octopus was formed in 1968 after Lívio Rangan, a wealthy businessman from Sao Paulo, asked Cido Bianchi to put together a band that would play at the shows run by his fashion company, Rhodia. A proper work contract was issued, including three months of paid rehearsals. Despite their diverse background, most of the members of the band already knew each other as they would often perform at Stardust, a popular club managed by Lanny’s father. Hermeto Pascoal, and Nilson da Matta, joined the band a few months later. Then Mr Rangan approached the band again with a new idea: the recording of a full album mixing tunes written by other artists and their own compositions. The record was released by Fermata in 1969 and the band was then tempted with the idea of recording a second album. However, the offer was declined since the musicians had not received any fee for their work. That was the end of Brazilian Octopus. Nearly five decades after it’s first release, with original copies having almost vanished off the face of Earth, this beauty is made available again. Presented in facsimile artwork and pressed on 180 gram vinyl.