World Circuit Records is set to release Buena Vista Social Club’s Lost and Found. Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks––some of which were recorded during the original album’s sessions in Havana and others from the years that followed.
The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista’s legendary veterans.
“Over the years we were often asked what unreleased material was left in the vaults,” says World Circuit’s Nick Gold. “We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was.”
1. Bruca Manugua
3. Tiene Sabor
4. Bodas De Oro
5. Black Chicken 37
7. Como Fue
8. Guajira En F
9. Quiéreme Mucho
10. Pedacito De Papel
11. Mami Me Gustó
12. Lágrimas Negras
13. Como Siente Yo
14. Rubén Sings
Ry Cooder's name has helped bring attention to this session, but it's the veteran Cuban son musicians who make this album really special. Reminiscent of Ellington in its scope and sense of hushed romanticism, Buena Vista Social Club is that rare meld of quietude and intensity; while the players sound laid-back, they're putting forth very alive music, a reminder that aging doesn't mean taking to bed. Barbarito Torres's laoud solo on "El Cuarto de Tula" is both more blinding and more tasteful than any guitar showcase on any recent rock album; a quote from "Stormy Weather" and some very distinct parallels to Hawaiian styles remind us of why it's called "world music." --Rickey Wright
1. Chan Chan
2. De Camino A La Vereda
3. El Cuarto De Tula
4. Pueblo Nuevo
5. Dos Gardenias
6. Y Tu Que Has Hecho
7. Veinte Anos
8. El Carretero
10. Amor De Loca Juventud
13. Buena Vista Social Club
14. La Bayamesa
2013 album from the Latin superstar, his first original Tropical music recording in nearly a decade. The album, produced by Anthony and renown producer Sergio George, was recorded at the Hit Factory studios in Miami and Top Stop Music in Delray Beach and includes 8 tracks that reflect the unique style of the top selling Salsa artist in history. Marc Anthony has sold over 12 million albums worldwide, making him one of the most influential artists of his time and a true ambassador of Latin music and culture.
1. Vivir Mi Vida
2. Volver a Comenzar
3. Flor Pálida
4. Cambio de Piel
6. La Copa Rota
7. Dime Si No es Verdad
9. Cautivo de Este Amor
10. Vivir Mi Vida (Versión Pop)
Calle 13 have come a long way since their 2005 debut, when they were a smartass pair of twentysomethings from Trujillo Alto, Puerto Rico, riding the international reggaeton boom with a club-minded mix of sex talk and political invective. With their fifth record, frontman Residente and his halfbrother Visitante have made as ambitious a hip-hop album – if that's not too narrow a term – as any in any language. Beginning with an incantatory intro delivered by Uruguayan author Eduardo Galeano, the album ramps up through "Respira El Momento," where Residente breathlessly escalates his Eminem-ish flow over dark piano, orchestral swells and choral drama. "El Aguante" pays tribute to human endurance, calling out a laundry list of dubious leaders (among them "Hitler, Idi Amin, Stalin/Bush, Truman, Ariel Sharon") over a pennywhistle stomp owing to both Gogol Bordello and the Pogues. And on the title track, driven forward by Middle Eastern vocals and guest Tom Morello's strafing guitar, controversial WikiLeaks founder Julian Assange – who recorded his spoken-word part in the basement of the Ecuadorian embassy in London – salutes "the power of people armed with the truth." The song, like the entire LP, is an object lesson in just that.
- Will Hermes (Rolling Stone)
1. Intro - El Viaje
2. La Vida (Respira el Momento)
3. Interludio - Un Buen Día para Morir
4. El Aguante
5. Ojos Color Sol
7. Cuando los Pies Besan el Piso
1. Interludio - Stupid Is as Stupid Does
2. Los Idiotas
3. Fuera de la Atmósfera del Cráneo
5. Gato Que Avanza, Perro Que Ladra
6. Me Vieron Cruzar
7. Así de Grandes Son las Ideas
Vida is the twelfth studio album by Puerto Rican recording artist Draco Rosa, originally released on March 19, 2013 by Sony Music Latin. It consists of 16 duets of Rosa's hits featuring guest artists chosen personally by Rosa himself.
1. Esto es vida
3. Cómo me acuerdo
4. El tiempov
5. Obra de arte
6. Blanca mujer
7. Más y más
8. Noche fría
10. Roto por ti
11. Paraíso prometido (Hay que llegar)
12. Reza por mi
13. Cruzando puertas
14. Amantes hasta el fin
16. Madre tierra
Corazón Profundo is the thirteenth studio album by Colombian recording artist Carlos Vives. This is Vives's first studio album since 2009's Clásicos de la Provincia II and the first to feature all-new material since 2004's El Rock de Mi Pueblo.
1. Volví a Nacer
2. Como Le Gusta a Tu Cuerpo
3. Bailar Contigo
4. Corazón Profundo
6. Salvar Tu Amor
7. Hoy Me Desperté En Otro Lugar
8. La Foto de los Dos
1. Y Entonces Pa' Qué Estoy Yo
2. La Fantástica
3. La Perla
4. Déjalo Pasar
5. Volví a Nacer (Versión Original)
6. Como Le Gusta a Tu Cuerpo (A&X Dance Remix)
7. Bailar Contigo (Versión 2)
8. Volví a Nacer (Versión Balada)
Release from the King Of Bachata. His first solo album, Formula Vol. 1, ''redefined crossover and has taken Bachata mainstream'' (NPR). Now, with Formula Vol. 2, Romeo continues to set the bar in his genre by creating new, unexpected collaborations to fuse further elements of Urban, Pop and Latin styles into the syncopated rhythms and passionate lyrical expression of Bachata. The first single, 'Propuesta Indecente' reached #1 in the Latin Airplay and Hot Latin songs and tropical charts in Billboard, making Romeo the Latin artist with the most #1 hits this decade.
5. Cancioncitas de amor
6. Eres mia
9. Yo tambien
10. Fui a jamaica
11. No tiene la culpa
13. Propuesta indecente
14. Obra maestra
15. 7 dias
16. Si yo muero
First Pressing Of 500 Numbered Copies On Orange Transparent Vinyl
In 1993 saxophonist Benjamin Herman began experimenting with DJ Graham B at nightclub Soul Kitchen in Amsterdam. The combination of playing live to spinning records was still unusual then. But the results worked and ended up evolving into the eight-piece New Cool Collective. The band is now impossible to think away from the nightclubs and festivals of the Netherlands and beyond.
The line-up of New Cool Collective is made up of saxophonist Benjamin Herman, drummer Joost Kroon, percussionists Frank van Dok and Jos de Haas, pianist Willem Friede, bassist Leslie Lopez, guitarist Rory Ronde and trumpet-player David Rockefeller.
New Cool Collective's fifteenth album Electric Monkey Sessions refers to the sound studio in Amsterdam where the recordings were made. A new studio for the band, and a new style of recording, which means a whole new vibe compared to previous albums. New Cool Collective has drawn inspiration from Senegalese Orchestra Baobab, as well as psychedelic cumbia, Cape Town, Italian cinema and many major jazz heroes. Electric Monkey Sessions also features two unique tracks recorded at a beach-side studio in Dakar with local musicians the band met on one of their many international adventures.
This autumn New Cool Collective are on tour. The eight-piece band is well known for the total commitment with which they convey the energy and emotion of their albums live on stage.
2. Cumbia Yaya
6. Mono Eléctrico
9. Sa Jikko Jii
10. Casa Di Mansa
With the release of their self-titled debut LP in 1968, Os Mutantes cracked the already red hot Tropicalia scene wide open. Fusing traditional Brazilian music, psychedelia, rock and a good dose of pure experimentalism, the group quickly became giants both in Brazil and in the outer fringes of pop music, where they have managed to reign supreme for the past four decades. The band went on to release several more albums, but Os Mutantes still stands as their magnum opus.
1. Panis et Circensis
2. A Minha Menina
3. O Relógio
4. Adeus, Maria Fulô
6. Senhor F
7. Bat Macumba
8. Le Premier Bonheur du Jour
9. Trem Fantasma
10. Tempo no Tempo
11. Ave, Genghis Khan
The glorious "Café Atlantico" finds Césaria Évora venturing into more Latin American musical landscapes, as opposed to Portuguese, which dominated her previous albums. Évora draws from traditional Cuban and Brazilian music to mesmerizing effect. The album is also a tribute to her home town of Mindelo, on the Cape Verdean island of Sao Vicente, which was once a busy port with sailors cruising between South America, the Caribbean, and Portugal. Therefore, the music is heartbreaking and nostalgic, warm and tragic all at once. The masterful "Carnaval de Săo Vicente" is one of the most joyous, bittersweet party songs ever put on wax (and was even issued as a maxi-single with fantastic remixes). "Roma Criola" is tragic, lonely, destitute, and always interesting, making for an undiscovered masterpiece of a ballad, and her rendition of the Spanish language standard "Maria Elena" is absolutely heartbreaking. The album evokes a moody elegance rarely found in modern music, from the sweeping opener "Flôr Di Nha Esperança" to the summery "Amor Di Mundo", and the picture she paints of this café at the end of the world is a gorgeous, multi-colored, and emotion-stirring palate. This album is nothing short of world class and will be enjoyed by generations to come.
Recording: 1999 at Studio Recall, Pompignan (France) by Joao Magalhaes and at Studio Harry Son, Paris, by Pascal Catet
Production: Jose de Silva
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.
1. Flôr Di Nha Esperança
2. Vaquinha Mansa
3. Amor Di Mundo
4. Paraiso Di Atlantico
6. Carnaval De São Vicente
7. Desilusão Dum Amdjer
8. Nho Antone Escaderode
1. Beijo De Longe
2. Roma Criola
4. Maria Elena
5. Beijo De Longe
6. Roma Criola
8. Maria Elena
The recordings made by Abelardo Barroso with Orquesta Sensación in Havana during the 1950s represent one of the pinnacles of the golden age of Cuban music. Now, on the album Cha Cha Cha, World Circuit, the label behind Buena Vista Social Club, releases a re-mastered selection of 14 of their most irresistible recordings.
More than 40 years after his death in 1972, the singer remains an iconic and beloved figure in Latin music. The timeless hits of Barroso and Orquesta Sensación continue to enjoy widespread popularity and (unbeknown to the singer for most of his life) have earned him especially dedicated fans in West Africa, where Barroso’s voice is still heard and revered in cafés and on the radio across Guinea, Mali, Senegal, and Cote d’Ivoire.
One of Cuba’s all-time great singers, Barroso has a life story that encompasses three distinct careers over half a century of singing and a rags-to-riches finale reminiscent of Ibrahim Ferrer and other members of the Buena Vista Social Club. Born in Havana in 1905, he first burst onto the scene in the 1920s recording with all three of the era’s finest bands during the first great wave of Cuban son music. In the 1930s he was known as the "Cuban Caruso," performing with the most popular danzón groups of the day and becoming one of Cuba’s first radio stars. By the early 1950s, he found himself in the wilderness, playing for tips outside a nightclub before staging a spectacular comeback after he was discovered by Rolando Valdés, the director of Orquesta Sensación, one of the great charanga bands of the cha cha cha boom of the mid-1950s.
With a classic line-up of flute and violins, and invested with powerful groove and swing courtesy of a dream rhythm section, the recordings Barroso made with Orquesta Sensación for Puchito Records found the singer at the very peak of his powers. Puchito was one of Cuba’s first independent record labels, founded during the mambo and cha cha cha explosion of the '50s and the recordings, sympathetically produced by label founder Jesús Goris were instant hits. Although known primarily as a cha cha cha band, Barroso and Sensación put their unique stamp on the gamut of other Cuban styles. Barroso toured and performed with Sensación in Venezuela, Miami, and New York and continued to record with the orchestra until 1965.
It is these classic recordings—now remastered for the first time in 60 years—that are the subject of Abelardo Barroso with Orquesta Sensación's Cha Cha Cha. The project has been a personal passion for World Circuit’s Nick Gold, a long-time admirer of Barroso’s voice and his classic recordings with Sensación. This set joins World Circuit’s other classic re-issues of bands such as Orchestra Baobab, Los Zafiros, and classic cumbia recordings.
1. En Guantánamo (with Orquesta Sensación)
2. La Hija de Juan Simón (with Orquesta Sensación)
3. Tiene Sabor (with Orquesta Sensación)
4. El guajiro de Cunagua (with Orquesta Sensación)
5. Un Brujo en Guanabacoa (with Orquesta Sensación)
6. El Panquelero (with Orquesta Sensación)
7. El Huerfanito (with Orquesta Sensación)
8. El Manisero (with Orquesta Sensación)
9. La Mulata Rumbera (with Orquesta Sensación)
10. Yo ta cansá (Ña Teresa) [with Orquesta Sensación]
11. Macorina (with Orquesta Sensación)
12. Bruca Maniguá (with Orquesta Sensación)
13. La Reina del Guaguancó (with Orquesta Sensación)
14. Triste Lucha (with Orquesta Sensación)