LP

This album is a fully acoustic, introspective voyage into the world’s greatest Rainforest, featuring 12-string guitar, mandolin, zither, tabla, flute and self-made percussion instruments.Carioca is the term used to describe those who originate from Rio de Janeiro. But, in fact, there’s only one Carioca in the music scene in Brazil: Ronaldo Leite de Freitas, who took up this nickname in São Paulo after relocating from his native Rio de Janeiro to study music at University.Recorded in 1980, Mistérios da Amazônia is also, at least to our knowledge, one of the first crowd-funding initiatives in the Brazilian music scene. Carioca, lacking the resources to pay for the studio and manufacturing fees, sold the album to fans, friends and independent record stores before having recorded it.Carioca’s first work is a fascinating one of a kind album, certainly difficult to classify. Often compared to the path set by musicians such as Egberto Gismonti or Naná Vasconcelos, who were always seeking new musical expressions whilst retaining a Brazilian character.In spite of what the music might suggest, Carioca hadn’t yet experimented with the introspective power of the Amazon’s sacred root, the Ayahuasca — he would have his first life-changing experience in 1987. “All of a sudden, it all made sense. In 1987 I finally lived what I had recorded seven years earlier”, in his own words. Drawing inspiration from the folklore of the Amazon and Brazil’s north eastern regions, the six self-penned compositions that form the album shape an introspective voyage into the Amazon — a part of Brazilian culture that Carioca had researched but not yet lived first-hand. Percussionist Sérgio Otanazetra, who had also moved to São Paulo from Bahia in order to pursue a career in music, played several percussion instruments (some of which he had built himself) and provided a solid knowledge of folkloric regional traditions. Zé Nazário, a prominent percussionist who had already played with some of Brazil’s biggest artists, such as Hermeto Pascoal or Milton Nascimento, joined the recording of Mistérios da Amazônia playing Tabla.

Limited edition of 300 copies.Heavyweight vinyl LP + sticker

These tracks were composed by Serge Gainsbourg at the height of his 60s cool when he was briefly going out with Brigitte Bardot and they were about to record the infamous first version of “Je T’aime Moi Non Plus.” All the tracks here are arranged by famed arranger Michel Colombier, who had been responsible for some of Gainsbourg's best songs (“Bonnie & Clyde” and “Harley Davidson”) and had also arranged Pierre Henry's classic "Psyche-Rock" around the same time (Check the similarity between "Psyche-Rock and the track with "Un Noel 67" on this set.). Many of these 60s nuggets blending 60s pop and psychedelia are doing their vinyl debut.This release includes the never-heard before full instrumental version of the "Requiem Pour Un Con" with its famous breakbeat and two bonus tracks from William Klein's 1968 film "Mister Freedom".It is pure undiluted Gainsbourg with his classic psyche-pop sound of the late 60s.First Ever LP releaseRemastered from the original tapes with two bonus trackLiner Notes featuring interview by cult French bass player Francis DarizcurenGatefold Sleeve featuring Artwork by famed Alternative Movie Poster designer Maxime Pecourt

Gatefold LP

Terrestrial Funk's second release welcomes Ghanaian legends Pat Thomas & Ebo Taylor. This reissue of their self-titled 1984 album is pure ethereal African groove. As spiritual as it is danceable, the LP has been hidden in obscurity compared to the duos other records, yet houses some of their deepest cuts. Pat's voice and Ebo's guitar have earned them widely successful solo careers that continue to give. Here their instruments meet as the heart and soul of Ghana.

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work. Volume 1:

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.Before they became Azymuth, José Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil. Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward. Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

NEVER BEFORE RELEASED ON VINYL OUTSIDE OF JAPAN PACKAGED WITH A FULL-COLOR OBI-STRIPDedication by Herbie Hancock is an anomalous entry in the discography of the revered jazz-fusion keyboardist. The album was recorded over the course of a single day, in the middle of a tour of Japan at Koseinekin Hall in Tokyo, and for years would be available exclusively in Japan. Produced a month ahead of his 1974 studio album Thrust, the follow-up to his career-defining album Head Hunters, Dedication's tracks were noteworthy for how drastically different they were from the material that followed. Gone was the dangerously funked-out rhythm section goodness of the Headhunters; instead Hancock is alone, performing four solo pieces on grand piano, electric keys, and synthesizer.Side one features Hancock at his most introspective, featuring romantic, ballad-like takes on two of his 60s pieces: "Maiden Voyage", and "Dolphin Dance." Side two, on the other hand, is almost a polar opposite, utilizing early techno rhythms through Fender Rhodes electric keyboards, and the sample-and-hold features of the ARP 2600 synthesizer, rendering spacey, exploratory jams such as the original track "Nobu", and an electro-funky take on "Cantaloupe Island". (Two tracks which predicted Hancock's eventual electro-funk dominance in the 1980s.)A unique and momentous obscurity of Herbie Hancock's catalog, Dedication has never seen a vinyl release outside of Japan prior to now. Nearly 30 years later, Get On Down has sought to allay that, with a premium-grade Record Store Day reissue worthy of any jazz collector's archives, or any crate digger's armament.

First official worldwide LP reissue of Alice Clark's highly sought-after Soul Jazz classic produced by Mainstream Records' Bob Shad in 1972. Featuring original artwork, remastered sound, repress without the booklet that was part of the limited RSD edition.When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late 80s. It is now being acknowledged as one of the best soul albums of all-times.Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by Jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favourites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark.Very little is known about Alice Clark and the legendary two-day session. All is known is she only ever recorded one album and passed away in the early 2000s. Wewantsounds will tell the Alice Clark story for the first time and give a unique insight into the birth of this cult album with a deluxe release that will pay tribute to her talent.