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Tosca have grown up a bit since we last heard them – getting a bit more subtle, and maybe even more soulful with their sound – maturing into a mellow groove that's a bit more textured than downtempo – peppered with vocals from a shifting array of singers who help further the sound. There's still plenty of the darkness you'd love from the group's previous records, and certainly none of the cheesiness you'd guess from the hat image on the cover – and titles include "Zur Gueten Ambiance", "Stuttgart", "In My Brain Prinz Eugen", "Cavallo", "Bonjour", and "Soda".

Tosca have grown up a bit since we last heard them – getting a bit more subtle, and maybe even more soulful with their sound – maturing into a mellow groove that's a bit more textured than downtempo – peppered with vocals from a shifting array of singers who help further the sound. There's still plenty of the darkness you'd love from the group's previous records, and certainly none of the cheesiness you'd guess from the hat image on the cover – and titles include "Zur Gueten Ambiance", "Stuttgart", "In My Brain Prinz Eugen", "Cavallo", "Bonjour", and "Soda".

Looking for funky Brazilian grooves? You'd have a hard time doing better than this tasty little set – 20 slices of rare soul, funk, and jazzy tunes from the Brazilian scene of the 70s – all hand-picked by Patrick "Da Lata" Forge! The set's a tremendous introduction to the wealth of great music from this time – and brings together a number of cuts that have crossed over big on the global groove scene inspired by Forge and Gilles Peterson, plus a number of other tracks that are lesser-known but equally great as the rest! Grooves often mix together electric and acoustic sounds, traditional and modern instrumentation, and feature arrangements that offer a whole new approach to rhythm than you'd hear in American work from the same stretch – a really amazing sound that's presented perfectly here! Titles include "Garra" by Marcos Valle, "Bola De Meia Bola De Gude" by 14 Bis, "Tudo Que Voce Podia Ser" by Simone, "Maita" by Doris Monteiro, "Baoba" by Claudia, "Nereci" by Djavan, "No Baixo Do Sepateiro" by Meirelles, "Embalo Diferente" by Os Devaneios, "Que Bandeira" by Evinha, "Aquelas Coisas Todas" by Toninho Horta, "Algo No Ar" by Marcelo, "Banana" by Joyce, and "Trem Da Central" by Claudio Jorge.

A lost treasure from Antiono Adolfo – keyboard player, arranger, and one of the greatest Brazilian talents of his generation! Adolfo's sound and style is contemporaneous with the best work of Marcos Valle, Edu Lobo, and others – and like them, he has an approach that mixes together jazz, MPB, baroque orchestrations, easy scoring, and a bit of funk – similar to the best work of the Blue Brazil generation on EMI/Odeon Records. The approach is one that's rarely been matched by any other artist – and it's a strong reason why Adolfo's records from this period are extremely sought after in the world of collectors. This beautiful album from 1970 has Adolfo working with the group A Brazuca – who bring some wonderful vocal harmonies to the set, mixing with strings, guitars, and some great electric piano work from Adolfo. Includes the breezy classic "Transamazonica", plus the cuts "Que Se Dane", "Atencao Atencao", "Claudia", "Panorama", "Tributo A Victor Manga", "Caminhada", "Grilopus No 1", and "Cotidiano".

A standout early album from Luiz Bonfa – one that features larger orchestrations than a number of his other sides, as well as a good blend of vocals in addition to Bonfa's haunting work on guitar. The album's got a full, rich sound – one that takes Bonfa to territory that we'd never expected, showing him to be a much more expressive artist than you'd hear on some of his "guitar with arrangements" sets. Maria Toledo sings on a few numbers as well, and titles include "Melancolia", "Mania De Maria", "Amor Demais", "Menina Flor", "Chorou Chorou", "Fio De Cancao", and "Indiferenca".

A really dreamy little set from this hip Brazilian combo – a set that's got a bossa feel overall, but which also seems to draw a bit from folkloric roots too! The instrumentation is nice and warm – a great 60s blend of light percussion, acoustic guitar, and nice bits of jazzy flute and vibes – all really sparkling nicely with the group's blend of male and female vocals – sometimes singing solo, but often coming together in these harmonies that are mighty nice! There's echoes here of some of the other bossa harmony groups – like Tamba Trio or Os Cariocas – but the approach is pretty fresh, too – given all the nice little touches the group uses to make the music here their own. Titles include "Pouca Duracao", "Amor E Ilusao", "Onibus Colegial", "E Assim Foi O Nosso Amor", and "Mandrake".

Wonderful work from the later years of Moreira Da Silva – a quartet of albums recorded for the Odeon label at the end of the 50s, and which really show Da Silva hitting a mature sort of stride! The timing was perfect for these sets – as improved studio techniques in Brazil really brought a lot out of the rootsier samba modes that Da Silva had been working in for years – updating the grooves with some contemporary arrangements that flesh things out nicely, while still leaving a lot of upfront space for Moreira's vocals! There's a depth here that a singer wouldn't have had 20 years before – and the records sparkle with Da Silva's rich presentation of the material. Some of the CDs features bonus tracks, which makes the package even more appealing – and all titles have been remastered, and presented with original artwork.

A great batch of early samba tracks from Paulinho Da Viola – a set that features some great fuller backings from Maestro Gaya, in a way that really warms up the sound! The appeal of Paulinho's vocals and guitar from other early 70s albums is still very firmly in place – and Gaya adds in some light strings, bits of woodwinds, and other nice elements – all used sparely, but in really wonderful ways that spark up some of the darker corners of the music. The tunes are all well-penned, and quite catchy – and there's a great sound here that goes beyond any simple samba cliches. Titles include "Lamentacao", "Mesmo Sem Alegria", "Para Nao Contrariar Voce", "Tudo Se Tranformou", and "Paop Furado".

Early bossa magic from Deodato – cut years before his electric fusion albums in the 70s! This little gem shows Deodato to be quite the arranger – working in a small combo mode that mixes percussion, guitars, and horns with his own sweet piano and organ licks – grooving in a gentler, sparer sort of way than on his albums with the Os Catedraticos ensemble – and going for a really warm and wonderful sound! The album's got a feel that's different than a lot of other bossa albums from the time – at one level, a bit more sophisticated on the rhythms, but at another level, done with a style that's cleaner and more down to earth than the larger backings on other Brazilian sides. Tracks include "Samblues", "Nuvens", "Encanto Triste", "So Tinha De Ser Come Voce", and "Deus Brasileiro".

Sweet 70s grooving from Brazilian singer Eva – a bit of soul, a bit of easy, all styled together nicely by orchestrations from the magical maestro Gaya! Gaya's work here is similar to his best backings for other artists in the Blue Brazil generation – a mix of American pop, post-bossa instrumentation, and in this case, some very slight electric touches – kind of hipping up the tunes a bit with some nice keyboards! The album's got a really nice version of "Moon River" that skips along at a nice pace – plus some great originals that offer a strong update to the sound of other Brazilian pop/post-bossa singers, like Doris Monteiro or Claudette Soares. Titles include "O Homem Do Tempo", "Vinte Leguas", "Na Baixa Do Sapateiro", "Olha Eu Aqui Oh Oh Oh", "Talisma", and Sonho Lindo".

One of Joao Gilberto's first-ever albums – filled with incredibly beautiful bossa material that captures the vocals and guitar of Gilberto at their fragile early best – backed by sublime arrangements from Antonio Carlos Jobim and Walter Wanderley! The setting is perfect, and the sound is amazing – that incredible stripped-down breathy quality that made Joao a legend right out of the box – which so many others tried to copy over the years, but never got this right. A beautiful relic from the past – with a lovely image of Joao's young face on the cover – and titles that include "O Barquinho", "O Amor Em Paz", "Voce e Eu", "Coisa Mas Linda", and "Presente De Natal". CD features bonus tracks by some of Gilberto's contemporaries – including "O Barquinho" by Maysa, "Coisa Mais Linda" by Carlos Lyra, "Manha De Carnaval" by Sylvia Telles, "Bim Bom" by Oscar Castro Neves, and "O Samba Da Minha Terra" by Lucio Alves.

A wonderful album of Joao Gilberto's early bossa tracks from Brazil – loaded up here with various numbers from other great Brazilian stars! The original one of the first few that he ever recorded, and it's a masterpiece of understatement, recorded with arrangements by a young Antonio Carlos Jobim, and a soaring bossa sound that would soon make history. Tracks include "Discussao", "O Pato", "Outra Vez", "Doralice", and "Samba De Uma Nota So", "Se E Tarde", "Corcovado", "So Em Teus Bracos" and more. This version in El UK fills out the CD with covers of some of these numbers and many more by Sergio Mendes, Sylvia Telles, Walter Wanderly, Silvio Silveira, Carlos Lyra and others. 35 tracks in all!

A beautiful set from the mighty Egberto Gismonti – as up-close and personal as you'd guess from the image on the cover! The set's a bit less wild than some of Egberto's 70s material, yet it's still a lot fuller and more jazz-based than any of his recordings for ECM too – lots of right Brazilian jazz lines, soaring out with complicated rhythms, and a really free, soulful spirit in the solos! Egberto plays a fair bit of acoustic piano, and a bit of keyboards as well – and the album also features saxes and flute from Mauro Senise, bass from Zeca Assumpcao, and drums and percussion from the enigmatic Nene. Titles include the great cut "Loro", with a tight snapping snare, throbbing electric bass, and hard reeds all the way through – plus "Don Quixote", "Passarinho", "Em Familia", and "Sanfona".

An amazing moment from the Brazilian music scene of the 70s – an album that's both extremely personal for each of the artists involved, yet also a wonderful collaboration between a host of up-and-coming talents! There's a relaxed, intimate feel to the whole thing that's mighty nice – almost an echo of the album's back cover photo, which shows the four key players posed inside a tiny water closet – and the overall approach is quite similar to the best Milton Nascimento/Minas Geraes work of the time – no surprise, as there's a fair bit of ties here to that scene too! Each of the four artists gets to sing lead at some point – stepping out on songs that are their own, yet which are also unified in sound, given shared musicians and spirit, too. Guests include Lo Borges, Nelson Angelo, Wagner Tiso, Tenorio Jr, and Nana Caymmi – who each leave their musical mark – and title sinclude "Caso Voce Queira Saber", "Belo Horror", "Manuel O Audaz", "Viva Eu", "Ponta Negra", and "Luiza".

The rare second album by the Jongo Trio – a fantastic bossa group who mixed together vocals and keyboards with stunning magic! The trio's approach is similar to that of the more famous Tamba Trio – in that the three members groove on keyboards, bass, and percussion – while also harmonizing vocals in a soaring, airy style that really adds a lot to the set. This album's got the group using a bit of organ and electric piano in addition to their usual acoustic keys – making for a bossa style that's slightly electrified, with great results on the album's overall sound. The set includes a really great uptempo version of "Aguas De Marco", plus the tracks "Alo Feveiro", "Quem Vem La", "Cavaleiro De Aruanda", "Sandalia De Prata", "Bate Barriga", "Feitinha P'Ro Poeta", and "Duas Contas".

70s samba magic from Clara Nunes – one of those singers who managed to make an already deep genre sound even better! The set's got a simple and honest approach that's really fresh, and never too overblown – allowing Clara to be expressive without falling into cliche, very much in the best samba revival style of the time. Maestro Milton Miranda's at the helm of the set – working some great magic with the music – and titles include "Juizo Final", "O Mar Serenou", "Sofrimento De Quem Ama", "Bafo De Boca", "O Ultimo Bloco", "Que Seja Bem Feliz", "Vai Amor", and "Tudo E Ilusao".

A treasure trove of work from Pery Ribeiro – an important Brazilian singer in the early years of bossa nova – and one who never got his due up here in the US! Pery's a singer who's rooted in jazz, but whose style turned out to be a perfect fit for the new modes of the bossa generation – recorded here in a mix of great arrangements that go from larger jazzy ensembles to more intimate combos – always with a strong focus on his expressive lead vocals! The package features all original albums with full artwork, and there's also a huge amount of bonus tracks too – material from singles, compilations, and other rare recordings during these very productive years for Pery. The package features the full albums Eu Gotso Da Vida (1961), Pery Ribeiro E Seu Mundo De Cancoes Romanticas (1962), Pere E Toda Bossa (1963), Pery Muito Mais Bossa (1964), and Pery (1965) – plus the album Encontro (1966) done with the Bossa 3 trio, and the classic Gemini V Show (1965), with some vocals by Leny Andrade and backing by the Bossa 3!

Titles include "De Frente Pro Crime", "Degosto", "Quatro Paredes", "Qui Nem Jilo", "Proposta", and "Bodas De Prata".

The first pairing of Elza Soares and Miltinho is a delight throughout – a set that follows on the Brazilian duet style of the time, but seems to handle things with even more charm and flair throughout – never just forcing the two singers together in the company of a tune, but really letting them open up and expand the songs with their personal touches. Although singing, it almost feels like they're speaking to each other at points – and with lively samba backings supporting their work, the sound is plenty groovy throughout. Lyrio Panicali handled the music – and titles include "Com Que Roupa", "Todo Dia E Dia", "Antonico", "Mal De Amor", "Se Voce Visse", and a number of other tunes done in "pout-pourri" style.

One of Marcos Valle's most strangely beautiful albums – a set that really his him stepping off strongly from his bossa nova years – really moving into mindblowing music with a range of styles that's simply incredible! There's definitely a bit of bossa at the core, but the larger orchestrations are much more complex, and plenty darn groovy – bringing in some complicated jazz changes, a bit of soul, and even a touch of funk – making the first time that Valle ever worked in such a mode. The overall sound's nearly impossible to describe, but that's what makes the record so great – possibly the best place to start if you've ever wondered why Valle's gotten so much attention from the worldwide groove scene over the years! Titles include "Ao Amigo Tom", "O Cafona", "Minha Voz Vira Do Sol Da America", "Paz E Futebol", "Com Mais De 30", "Garra", "Wanda Vidal", and "Black is Beautiful". New reissue features in-depth liner notes, song notes from Valle, and lyrics in English too!

Some of the most brilliantly baroque work ever recorded by Marcos Valle – an obscure 1970 album that collects together tunes from a few of his odd soundtrack experiments of the late 60s, plus a few others that are in a very similar vein! Marcos is really going over the top here – breaking way way out from his bossa roots, into a mode that has him pushing the envelope of Brazilian music to unheard of heights, with equal parts groove and sophistication, hardly ever matched by any other artist since! Things are funky one minute, groovy the next, and subtly sophisticated at other points – a completely captivating blend that's one of the best illustrations of Valle's genius we can think of. Titles include "Quarentao Simpatico", "Ele E Ela", "Dez Leis", "Freio Aerodinamico", "Os Grilos", "Suite Imaginaria", and "Esperando O Messias". Also includes the bonus track "Berenice"! New reissue features in-depth liner notes, song notes from Valle, and lyrics in English too!

An insanely wonderful album that will always remain one of the all-time favorites of the Dusty Groove staff! This beautiful batch of tracks by Brazilian singer/songwriter Marcos Valle has him pushing waaaay past his bossa work of the 60s – into a cool 70s mix of electronics and sexy scoring, for a sound that's a mix of Brazilian rhythms with other styles that evoke Italian soundtracks and French pop backing. That description hardly does the record justice, though, because the whole thing's wonderful – and it's got a feeling that's unlike anything else we've ever stocked – every bit as warmly watery as the image of Marcos in a swimming pool on the cover. It's no wonder that the album was one of Valle's last great recordings – because with tracks as good as "Mentira", "Mais Do Que Valsa", "Nao Tem Nada Nao", "Samba Fatal", and "Tiu-Ba-La-Quieba", it's hard to top yourself!

A holy grail! This is one of Marcos Valle's best-ever albums – and it's certainly the one to best realize the larger scope he was heading for in the years after the bossa – that sublime mix of jazz and more expansive arrangements – a perfect fit for the growing sophistication of Valle's songwriting. The record is fantastic – done with a sweeping sound that still leaves us breathless after all these years – and put together with an approach to composition that is virtually indescribable. There's a huge amount of influences running through here, and the album is proof that Valle was one of Brazil's richest talents, never ceasing to perfect and transform his craft – even long after he could have rested on the laurels of his success! Tracks include "Democustico", "Revolucao Organica", "Vento Sul", "Paisagem De Mariana", and "Pista O2".

A holy grail! This is one of Marcos Valle's best-ever albums – and it's certainly the one to best realize the larger scope he was heading for in the years after the bossa – that sublime mix of jazz and more expansive arrangements – a perfect fit for the growing sophistication of Valle's songwriting. The record is fantastic – done with a sweeping sound that still leaves us breathless after all these years – and put together with an approach to composition that is virtually indescribable. There's a huge amount of influences running through here, and the album is proof that Valle was one of Brazil's richest talents, never ceasing to perfect and transform his craft – even long after he could have rested on the laurels of his success! Tracks include "Democustico", "Revolucao Organica", "Vento Sul", "Paisagem De Mariana", and "Pista O2". CD features the bonus track "O Beato".

A gem of a bossa nova guitar session – light and lively, and filled with great acoustic lines from guitarist Geraldo Vespar! The tunes are all instrumental, and they feature some great larger backings too – arrangements that either bring up the rhythms nicely with a lot of percussion, or which inflect in a few jazzy horns to keep things swinging nicely! Vespar's got a great dark-tinged style – a bit like the mature sound of Baden Powell at the start of the 70s, but still with all the groove of his earlier years too – and the production is sublime, really bringing out all the best albums of this unique musical session. Titles include "Deus Brasileiro", "Negro", "Dindi", "Gente", and "Sambou Sambou".

Forget the silly cover on this one – and go straight for the grooves! The album's a wonderful bossa session from the 70s – recorded live by pianist Luiz Carlos Vinhas, best known for his groundbreaking work with the group Bossa Tres! Vinhas plays acoustic piano in trio format – in a mode that's similar to his classic work of the 60s, but with a style that's more complicated, more far-reaching, and which shows that his lyrical powers had only increased with time. The tunes flow along very nicely in combinations of bossa and American tunes – wrapped together with pianistic magic by Vinhas, and recorded with a very lively feel! Titles include "Minha/Fotografia/Waves", "Zazueria/Asa Branca", "Festa/O Barquinho/Surfboard", and "What's New/This Guy's In Love/Que Maravilha/Nao Tem Solucao".

Some of the earliest work ever recorded by keyboardist Walter Wanderley – but a set that shows his sweet bossa talents already in full swing! The groove here is light an airy – recorded with a similar sense of space as his better-known sides for Verve, but done with a feel that's a bit less polished overall – one that has some rootsier samba percussion at the bottom of most tunes, dancing underneath sweetly gliding melodies on organ and electric guitar! A few tunes have a bit of chorus vocals, which only serve to warm up the sound even more – and titles include "Palhacada", "Boato", "Nao Sabemos", "Agua De Beber", "O Samba Brasileiro", and "Murmurio".

Way more than just a beginners guide to French Pop – as the set digs way way deeper than you might expect – thanks to great track selection by Kid Loco! Loco's got a great ear for the kind of older French cuts that are plenty pleasing to modern ears – and as a collector and digger himself, he moves way past the obvious to come up with loads of tracks from the 60s that we've never heard before! All music here is from the EMI/Odeon vaults – and the set features a massive 45 tracks that include "Royal Madison" by Noel Chiboust, "Vienne La Nuit" by Francois Lubiana, "Dis Tu Reviendras" by Tichky, "Ne Pars Pas" by Les Dauphins, "Reveille Toi" by Alice Dona, "Bonjour Bresil" by Jacqueline Taib, "Fleurs De Pavots Blues" by Charlotte Walters, "Wraach" by Jacques Filh, "Une Fille Mais Quest Ce Que" by Les Anges, and "La Machine" by Dani.

Legendary work from a crucial component of Brazilian culture in the late 60s – the International Song Festivals of the time – a very important way of presenting both new talent and new compositions as well! The events were really unique, and often quite striking – from both a cultural and political perspective – as artists used the festivals as a key platform for taking steps forward in their words and music – sometimes steps that were even bolder than their studio work on record! Performances are unique to the records, and usually represent some key non-album tracks from the artists involved. This first volume brings together seven different albums from the years 1966 to 1968 – all originally issued on the Ritmos and Odeon labels – with work by artists who include Marcos Valle, Dori Caymmi, Beth Carvalho, Golden Boys, Taiguara, Vocalistas Modernos, Luiza, Clara Nunes, Elza Soares, Doris Monteiro, Maria Creuza, Morgana, Miltinho, Stelinha Egg, Reginaldo Bessa, Agostinho Dos Santos, Maria Jose, Quarteto 004, Milton Nascimento, Maricenne Costa, Zeze Gonzaga, Maysa, Quarteto Em Cy, Tuca, MPB4, Silvio Cesar, Paulinho Nogueira, Carlos Hamilton, Elis Regina, and many others! Albums include I Festival Internacional Da Cancao Popular Vols 1 & 2 (1966), II Festival Internacional Da Cancao Popular (1967), and four volumes of III Festival Internacional Da Cancao Popular (1968).

Legendary work from a crucial component of Brazilian culture in the late 60s and early 70s – the International Song Festivals of the time – a very important way of presenting both new talent and new compositions as well! The events were really unique, and often quite striking – from both a cultural and political perspective – as artists used the festivals as a key platform for taking steps forward in their words and music – sometimes steps that were even bolder than their studio work on record! Performances are unique to the records, and usually represent some key non-album tracks from the artists involved. This second volume brings together work from the 1969 to 1972 versions of the Festivals – a really crucial time in Brazilian music, represented here by performances from Clara Nunes, Marcos Valle, Quarteto Forma, Beth Carvalho, Golden Boys, Tiaguara, Evinha, Antonio Adolfo & Brazuca, Maria Odette, Oz Brazoes, Hermes Aquinho, Alceu Valenca, O Grupo, Vox Populi, Martinho Da Vila, Luiza, Som Okey 5, Jards Macale, Os Tres Morais, Tribo, Toni Tornado, Agostinho Dos Santos, Trio Esperanca, Wilson Simonal, O Terco, Som Imaginario, Wanderlea, Silvo Cesar, Osmar Milito, Ze Rodrix, Claudia, Alaide Costa, and many others! Box features the full albums IV Festival Internacional Da Cancao Popular Vols 1, 2, & 3 (1969), V Festival Internacional Da Cancao Popular Vols 1 & 2 (1970), VI Festival Internacional Da Cancao Popular (1971), and VII Festival Internacional Da Cancao Popular (1972) – and most albums have bonus tracks too!

Pure bossa magic – and a wonderful illustration of why the early music of Joao Gilberto was so tremendous! (Actually, all of his music is tremendous, but that seems to be especially the case here!) The tracks are all fantastic – breezy, breathy, and almost effortlessly sung throughout – songs that drift in air almost of their own accord, yet also manage a gently rhythmic groove that's probably the best definition of the style of bossa that you could ever hope to find! Most numbers feature acoustic guitar upfront in the mix alongside the vocals, plus a bit of light percussion – and even when there's fuller orchestrations on the record, they're used spaciously and gently – often with some nice jazzy inflections. Titles include "Briga Nunca Mais", "Ho Ba La La", "Rosa Morena", "Bim Bom", "Lobo Bobo", "E Luxo So", "Aos Pes Da Cruz", "Saudade Fez Um Samba", and "Desafinado". This CD edition includes 3 bonus tracks, from Cantando As Musicas Do Film Orfeo De Carnaval – "A Felicidade", "Manha De Carnival" and "O Nosso Amor".

A landmark album that changed a generation of Brazilian musicians – a sublime instrumental collaboration between Airto, Hermeto Pascoal, and 2 other great musicians of their generation! The sound is quite unique – almost a modern recasting of older rootsy modes – taken into the complicated jazzy territory of Airto and Pascoal's best work of the early 70s, but done in an even more stripped down mode! Airto plays percussion, Pascoal plays flute, Geraldo Vandre handles guitar, and Theo De Barros is also in the group – and there's a groove that's impossible to describe accurately, but which you'll instantly recognize as archetypal! Includes the legendary tracks "Misturada" and "Vim de Santana" – plus "Sintese", "Canta Maria", "Canto Geral", and "O Ovo".

Milton's second volume of tracks cut with his legendary "corner club" – with a very similar approach to the landmark first volume! Loads of great artists make guest appearances on here, like Lo Borges, Wagner Tiso, Toninho Horta, and Chico Buarque – and the production has haunting blend of baroque, jazz, and soul that we can only define as "Nascimento like"! A really fitting companion to the first volume, and a double-length set with tracks that include "E Dai", "Pao E Agua", "Canoa, Canoa", "Credo", "Nascente", "Meu Menino", "Que Bom, Amigo", and "Dona Olimpia".

One of Marcos Valle's most strangely beautiful albums – a set that really his him stepping off strongly from his bossa nova years – really moving into mindblowing music with a range of styles that's simply incredible! There's definitely a bit of bossa at the core, but the larger orchestrations are much more complex, and plenty darn groovy – bringing in some complicated jazz changes, a bit of soul, and even a touch of funk – making the first time that Valle ever worked in such a mode. The overall sound's nearly impossible to describe, but that's what makes the record so great – possibly the best place to start if you've ever wondered why Valle's gotten so much attention from the worldwide groove scene over the years! Titles include "Ao Amigo Tom", "O Cafona", "Minha Voz Vira Do Sol Da America", "Paz E Futebol", "Com Mais De 30", "Garra", "Wanda Vidal", and "Black is Beautiful". CD includes the bonus track "Berenice"!

Some of the most brilliantly baroque work ever recorded by Marcos Valle – an obscure 1970 album that collects together tunes from a few of his odd soundtrack experiments of the late 60s, plus a few others that are in a very similar vein! Marcos is really going over the top here – breaking way way out from his bossa roots, into a mode that has him pushing the envelope of Brazilian music to unheard of heights, with equal parts groove and sophistication, hardly ever matched by any other artist since! Things are funky one minute, groovy the next, and subtly sophisticated at other points – a completely captivating blend that's one of the best illustrations of Valle's genius we can think of. Titles include "Quarentao Simpatico", "Ele E Ela", "Dez Leis", "Freio Aerodinamico", "Os Grilos", "Suite Imaginaria", and "Esperando O Messias".

An insanely wonderful album that will always remain one of the all-time favorites of the Dusty Groove staff! This beautiful batch of tracks by Brazilian singer/songwriter Marcos Valle has him pushing waaaay past his bossa work of the 60s – into a cool 70s mix of electronics and sexy scoring, for a sound that's a mix of Brazilian rhythms with other styles that evoke Italian soundtracks and French pop backing. That description hardly does the record justice, though, because the whole thing's wonderful – and it's got a feeling that's unlike anything else we've ever stocked – every bit as warmly watery as the image of Marcos in a swimming pool on the cover. It's no wonder that the album was one of Valle's last great recordings – because with tracks as good as "Mentira", "Mais Do Que Valsa", "Nao Tem Nada Nao", "Samba Fatal", and "Tiu-Ba-La-Quieba", it's hard to top yourself!

Beauty, pure beauty! This is one of Joyce's greatest albums – and it features the lovely brazilian singer/songwriter performing in a spare stripped-down setting that's very similar to that used on her famous Agua e Luz album from the same time. The sound quality is incredible, and it's a fantastic mix of sweetness, fragile lyricism, and dark brooding emotion. If you buy just one Joyce album in your life, this might well be it! Includes the cuts "Feminina", "Essa Mulher", "Coracao De Crianca", "Aldeia De Ogum", "Compor", and "Misterios".

An insanely wonderful album that will always remain one of the all-time favorites of the Dusty Groove staff! This beautiful batch of tracks by Brazilian singer/songwriter Marcos Valle has him pushing waaaay past his bossa work of the 60s – into a cool 70s mix of electronics and sexy scoring, for a sound that's a mix of Brazilian rhythms with other styles that evoke Italian soundtracks and French pop backing. That description hardly does the record justice, though, because the whole thing's wonderful – and it's got a feeling that's unlike anything else we've ever stocked – every bit as warmly watery as the image of Marcos in a swimming pool on the cover. It's no wonder that the album was one of Valle's last great recordings – because with tracks as good as "Mentira", "Mais Do Que Valsa", "Nao Tem Nada Nao", "Samba Fatal", and "Tiu-Ba-La-Quieba", it's hard to top yourself!

Amazing work from a key force in jazz organ – not Jimmy Smith, not Jack McDuff, but Brazilian musician Walter Wanderley! Not long after American artists first started hitting the Hammond for groovy sounds in the 50s, Wanderley picked up the instrument down in Brazil – and fused a jazz organ approach with lots of lively samba rhythms – to created a style that went onto become the stuff of legend, thanks to later crossover classics on Verve! The sounds here are those from Walter's roots – four albums recorded for EMI/Odeon at the start of the 60s – most of which we've never even seen in the original – which makes this reissue package even more essential! Many tracks were recorded in the early bossa nova years, and there's definitely a bossa jazz vibe to most numbers here – especially given the tight percussion, and Wanderley's great way with an easygoing groove. 4CD package features rare albums Eu Voce E Walter Wanderley (1959), Feito Sob Medida (1959), Successos Dancantes Em Ritmo De Romance (1960), and Sucesso E Samba (1960) – all totally great all the way through, with original cover art too! (Note that there are some offbeat sound passages – mostly flaws in the original tapes that create occasional distortion at short points – which haven't been corrected by the remastering. But the set is fully licensed and legitimate.)

Early EMI/Odeon stunners from organ genius Walter Wanderley – all of them stunners from his better-known years at Verve! Even at this early date, Wanderley had an amazing way around the keyboard – a sweet jazzy groove that was perfect for the bossa rhythms that helped him get his start – and a great ear for a lean sound on the keys of the Hammond – a much cleaner approach that was being used by American jazzmen at the time – and which undoubtedly went on to influence their style once Wanderley's music started making it up to the US! Most titles here are groovers, but even the mellower moments are great too – with loads of excellent guitar and organ interplay – but in ways that are quite different from a Hammond combo up in the north at the time. The 4CD set features rare albums O Samba E Samba (1961), O Samba E Mais Samba (1962), Walter Wanderley E O Bolero (1962), and Samba No Esquema De Walter Wanderley (1963) – all beautifully remastered, with great sound and original cover art too! (Note that there are some offbeat sound passages – mostly flaws in the original tapes that create occasional distortion at short points – which haven't been corrected by the remastering. But the set is fully licensed and legitimate.)

Pure magic from the young Egberto Gismonti – a sublime early record for Odeon in Brazil, and worlds different from his later fame on ECM! The album's got a great sense of depth – tunes that begin with Gismonti's personal vocals and guitar, but which quickly move into offbeat arrangements that are as inventive as they are ambitious! The vibe is very similar to his classic album from 1973 – Arvore – and is colored with the sort of soul and vibrant energy that you'd also hear in Milton Nascimento's best work of the time – and that of the whole Minas Gerais gernation. Gismonti plays a fair bit of piano – even some Fender Rhodes, which is great – and Lindolfo Gaya helped with arrangements, which gives the whole thing that sweeping, majestic feel of the best EMI/Odeon sides from this time in Brazil. Titles include "Janela De Ouro", "Vila Rica 1720", "Eterna", "Ano Zero", "Prum Samba", "Aqua & Vinho", "Mule Rendeira", and "Volante".

Mindblowing sounds from Egberto Gismonti – a record that's unlike anything else we can think of – and quite different than any of Gismonti's later, better-known records! There's still some of Egberto's inventive acoustic guitar in the mix – but the instrumentation really opens up far past just that element – a beautiful blend of voice, strings, Fender Rhodes, and more – wrapped up with a sense of majesty and creativity that we'd rank right up there with the most inspiring work from Marcos Valle or Hermeto Pascoal from the time! And the record's got a bit of both – the modernism of Hermeto, mixed with the personal warmth of Marcos – yet is clearly Gismonti's very own, very individual expression as well. Titles include the massive cut "Salvador" – plus "Luzes Da Ribalta", "Variacoes Sobre Um Tema De Leo Brouwer", "Encontro No Bar", "Adagio", and "Memoria E Fado".

Compelling work from Egberto Gismonti – working here in a largely electronic basis, and using a host of keyboards to weave complicated soundscapes that are a great extension of his arrangements from the early and mid 70s! By that, we mean the sound is nicely complicated at points, yet still soars with a heck of a lot of spirit – that unique blend of Brazilian roots, jazz fusion, and more complicated expressive modes that made Gismonti one of the best talents of his generation on the Brazilian scene! The production comes through really well for the keyboards – none of those too-tinny styles that could mar American efforts like this of the time – and titles include "Palacio De Espelhos", "Sagracao", "Assum", "Fado", "Carnaval De Rua", "2 Violes", and "Para John E Paco".

Legendary work from Milton Nascimento – one of his first LPs, and still one of his greatest! The record is amazing – a sublime blend of soulful vocals, baroque orchestrations, and just the right amount of jazzy touches – handled in a way that forever proclaimed Milton as one of Brazil's greatest artists, and which went onto shape the force of Brazilian pop for years to come. Every single track is a gem – and the album includes the classic "Para Lennon e McCartney", a solid solid groover – plus loads of other great ones like "Clube da Esquina", "Amigo, Amiga", "Durango Kid", and his excellent recording of "A Felicidade". Production is excellent, and the sound is extremely haunting! CD features 4 bonus tracks too!

A landmark album that changed a generation of Brazilian musicians – a sublime instrumental collaboration between Airto, Hermeto Pascoal, and 2 other great musicians of their generation! The sound is quite unique – almost a modern recasting of older rootsy modes – taken into the complicated jazzy territory of Airto and Pascoal's best work of the early 70s, but done in an even more stripped down mode! Airto plays percussion, Pascoal plays flute, Geraldo Vandre handles guitar, and Theo De Barros is also in the group – and there's a groove that's impossible to describe accurately, but which you'll instantly recognize as archetypal! Includes the legendary tracks "Misturada" and "Vim de Santana" – plus "Sintese", "Canta Maria", "Canto Geral", and "O Ovo".

Sublime bossa jazz from one of the greatest combos on the Brazilian scene of the 60s – the crackling trio led by drummer Milton Banana, a really tremendous player no matter what the setting! The album bristles with energy from the very first note – virtually a blueprint for the sound of bossa piano in the 60s, with some great acoustic work here from Walter Wanderley on piano, and basslines that have a quick-spirited sense of timing to match Milton's drums. Tracks are all short and very tight, with a great sense of jazz – leaping along the grooves with titles that include "Samblues", "Noa Noa", "Primavera", "Samba De Verao", "Primitivo", and "Sambou, Sambou".

Billed as "some of the most important jazz recordings ever made" – and for good reason, too! The set brings together all the crucial early Louis Armstrong recordings from the 78rpm era – late 20s/early 30s sides for Okey, Parlophone, RCA, and Odeon – all presented with better sound and notes than any of the cheapo, knockoff packages you'll find on the market! This 10 CD collection is overflowing with key moments in jazz – great small group recordings by Armstrong's Hot Five and Hot Seven groups, some orchestra performances, and many other important sides that went onto shape the sound of jazz for decades to come. A beautiful package, with a booklet that includes new essays, and great remastering of these crucial recordings!

An incredible little record with a sound that's unlike anything else we've ever heard before – a set that mixes jazzy inflections on vibes, organ, guitar, percussion, and flute – the last of which is played here by a young Hermeto Pascoal! The set was done after Pascoal's work in Quarteto Novo but before some of his more complicated jazz albums of the 70s – and it's got a style that mixes his own love of playful rhythms and complicated shadings with a lighter, freer approach to the music – one that's almost in line with some of the EMI/Odeon work of the time, but which comes off with a slightly different feel. The drums get quite funky at times, and the mix of instruments reminds us a fair bit of the legendary Aquarians album on Uni from the US – but with an influence that's more bossa-driven, in comparison to the Latin modes of that set. At times, there's a lightly dancing beauty to the record that's almost in soundtrack mode – but tunes are more focused overall, and clearly aware of their own instrumental power. Titles include "Gamboa", "Rhodosando", "Cancao Latina", "Summer Hill", "Pavane", "Chaye", "Gosto De Ser Como Sou", "Casa Forte", and "O Passaro".

A wealth of early work from the lovely Celly Campello – one of the biggest girl pop icons in the Brazilian scene of the 60s! Celly's work is more inspired by American rock and roll than previous Brazilian styles – and as such, these records are a crucial part in the formation of the jovem guarda sound of the pre-Tropicalia years – the bright, bouncy approach to Brazilian music that's perfectly summed up in the sounds of Celly! The package features six full albums from Campello's years at EMI/Odeon – the classic Estupido Cupido (1959), plus Broto Certinho (1960), A Bonequinha Que Canta (1960), A Graca De Celly Campello E As Musicas De Paul Anka (1961), Brotinha Encantador (1961), and the compelling Celly album from 1968 – which shows a surprising maturation of her style. All packaged in a sweet slipcover – with bonus tracks too!

One of the hippest funky jazz combos of the 70s – stepping out here in their amazing debut for Cobblestone records! Catalyst had a groove that was unlike most of their contemporaries – a sound that was often jazzier than some of the tighter funk artists on labels like Kudu or Prestige, with some deeply spiritual leanings in the solos – but also a style that was still pretty tight and focused, not as far out as some of the headier groups on the Strata East label. There's loads of great choppy rhythms and tight-edged grooves on the record – thanks to Fender Rhodes from Eddie Green, reeds from Odeon Pop, bass from Al Johnson, and drums and percussion from Sherman Ferguson. Skip Drinkwater produced the session at Sigma Sound, and it's definitely got some of his hallmark appreciation of rhythm in the mix – on titles that include "Ain't It The Truth", "New Found Truths", "East", "Catalyst Is Coming", "Jabali", and "Salaam".

A great little Brazilian group from the 70s – one who continues the harmony styles of Sergio Mendes in the 60s, but takes the music into some groovy new directions! The sounds here are more samba than bossa – with guitar and percussion dancing nicely together in the rhythms as group members sing sweetly over the top – and both piano and keyboards adding in some nicely jazzy inflections to the groove, often with the more sophisticated phrasings you might expect in some of the EMI/Odeon work from earlier in the decade. Sivuca joins the group on both accordion and moog (!) – and the whole thing's got a sweetly-grooving style that's totally great! Titles include "Estatutos De Gafiera", "Loteca", "Amor Em Jacuma", " Iboru Iboya", "Beijo Baiano", "O Trem Atrazou", "Asa Branca", and "Fogo Pago".

A great guitar session from late 60s Brazil – bossa at its core, but with some other groovy touches too! Guitarist Heraldo Do Monte plays light acoustic, in a style that's right up there with Luiz Bonfa or Baden Powell – but the overall setting of the album also gives a nod towards some of the more advanced changes going on in Brazilian instrumental music at the time – the first inkling of some of the Blue Brazil touches from EMI/Odeon, with a deeper sophistication in some of the arrangements than just straight bossa. A few moments are straight ahead, mixed with others that have a nice degree of darkness – and titles include "Teletema", "My Cherie Amour", "Recit De Cassard", "Que Maravilha", "Casa Forte", and "Moanin".

Iron Maiden's monumental Live After Death – a standard bearing live album in the metal realm – and a vital snapshot of the British heavy metal heroes at the peak of their powers! Maiden pretty much conquered the live metal world on this tour – and Live After Death features recordings from LA's Long Beach Arena and London's Hammersmith Odeon. Most of their their greatest songs to this point are represented, including "Aces High", "2 Minutes To Midnight", "The Trooper", "Revelations", "Rime Of The Ancient Mariner", "Powerslave", "Number Of The Beast" "Hallowed Be Thy Name", "Iron Maiden", "Children Of The Damned" and more!

Although Herbie and Joao are listed together in the artist credits together for the record, they don't really play together on the record – as did Joao and Stan Getz on their album together. Instead, they trade off tracks of bossa nova material, recorded with Jobim in Rio – Joao's by EMI/Odeon, Herbie's by Atlantic. The set includes a host of great light breezy bossa stuff – like "Amor Em Paz", "O Barquinho", "Bim Bom", "Bolinha De Papel", and "Deve Ser Amor". Not totally over the top, but a very nice batch of breezy bossa tracks with lots of light flute and guitar lines floating around!

Wonderful early work from O Terco – an early EP, packaged here with enough bonus tracks to make a full album! The groove is great – very upbeat, playful, and less heavy rock-oriented than the group's later famous sets – a nicely organic mix of samba generation beats and some of the more playful touches of the EMI/Odeon scene – blended with guitars that certainly show a psyche influence in the music – but in ways that almost make the set sound more like a Brazilian bit of Sunshine Pop! Vocals often have this cool compressed sound – not exactly harmonized, but recorded that way – and the guitar lines are clean, but with an undercurrent of fuzz – especially when bumped up from the bottom by the bass. Titles include "O Visitante", "Mero Ouvinte", "Adormeceu", "Tributo A Sorriso", and "Edificio Da Avenida Central".

An incredible record from Marcos Valle – maybe our favorite-ever of his recent-revival years! The sound here is sublime – a warm blend of funky rhythms, bossa roots, and larger orchestrations – all very much in the spirit of those legendary albums that Valle recorded for EMI/Odeon right at the start of the 70s – soaring, sophisticated, and never without a groove! Valle did all the arrangements for the set, but gets some great help on strings and horns from Jesse Sedoc – whose touches are really a key part of the Odeon-styled sound here – and a number of the tracks feature female vocals duetting with Marcos' lead, in a mode that's just like his classic work with Anamaria! Titles include "Prefixo", "Vamos Sambar", "Novo Acorde", "1995", "Esphera", "Eu Vou", "Papo De Maluco", and "Baiao Maracatu".

Funky soul from the great Marcos Valle – a great blend of mellow grooves and upbeat tunes recorded at the same time Valle was working in the US with Leon Ware! The style here is very similar to Ware's 2 albums for Elektra – both of which feature work from Valle, and include tunes that are also done here in Portuguese versions! Marcos makes a real departure from some of his earlier work here, and emerges as a surprisingly great soul star with plenty of talents for penning two-step tunes and keyboard-heavy tracks that glisten with a sweet California groove. A few tracks recall some of Valle's Odeon work – like the baroque instrumental "Camina Grande" – but we're most partial to the soul tracks that dominate the record, and which include "Bicho No Cio", "Pecados De Amor","Garimpando" and "A Paraiba Nao e Chicago".

A massive collection of work from the lovely Wanderlea – all her key albums from the 70s, presented with bonus tracks too – in a box that also contains a full extra CD of rare material as well! Wanderlea's got a style that's maybe a bit more sweet than some of the usual Brazilian singers we stock – not really commercial, at least not from an American 70s pop perspective – but a bit more towards the Brazilian mainstream of the period. Yet there's still a nice edge here – kind of a female pop evolution from the EMI/Odeon style of the start of the decade – with arrangements that still sound refreshing, and songs written by some of the better talents of her generation – including Egberto Gismonti, Gonzaguinha, Caetano Veloso, Joyce, Joao Donato, and Roberto and Erasmo Carlos. The box is a wonderful introduction to her work – and features the full albums Maravilhosa, Feito Gente, Vamos Que Eu Ja Vou, Mais Que A Paixao, and Wanderlea – plus the especially nice Raridades CD – which brings together unusual singles and odd recordings!

Way more than just an introduction – and instead, an amazing collection of bossa nova gems – 48 tracks pulled from the vaults of the legendary EMI/Odeon label – home to some of the best bossa work ever recorded in Brazil! The package is a treasure through and through – filled with key classics, overlooked gems, and the kind of weird and wonderful bossa numbers that never made it here to the US – but which have made digging for Brazilian records a favorite pastime of ours for decades. Most tracks here are from the 60s, and the set runs from straight bossa numbers to others that use bossa as a starting point, then take off into great new territory. Titles include "Ao Amigo Tom" by Doris Monteiro, "A Resposta" by Marcos Valle, "Voce" by Milton Banana Trio, "Deixa Eu Dizer" by Claudia, "A Ra" by Joao Donato, "Eh Mundo Bom Tai" by Johnny Alf, "Agua De Beber" by Neco, "Onde Anda O Meu Amor" by Bossa Tres, "Fotografia" by Sylvia Telles, "Por Causa De Voce" by Marisa, "Outra Vez" by Elizeth Cardoso, "Inutil Paisagem" by Dick Farney, "Ho Ba La La" by Norma Benguell, "Estamos Ai" by Leny Andrade, "So Tinha De Ser Com Voce" by Eumir Deodato, and "Misturada" by Quarteto Novo.

Every great album from Milton Nascimento – packaged here together in one sweet little set – and all done as cool special sets that contain individual book-style jackets too! The style is amazing – better than any other Brazilian box set like this we've seen – with each individual album done like one of the Abril Cultural book and CD sets – a hardcover case, lots of pages inside, with a wealth of notes and photos – plus all the essential music that makes these records so wonderful! The set begins with Nascimento's earliest albums – and runs through his excellent work for EMI/Odeon in the 70s – and even includes some great 80s albums too. Includes the full albums Milton Nascimento (1967), "Milton Nascimento (1969), Milton (1970), Courage, Clube Da Esquina, Milagre Dos Peixes, Milagre Dos Piexes Ao Vivo, Minas, Geraes, Cacador De Mim, Journey To Dawn, Milton (1976), Sentinela, Milton Nascimento Ao Vivo, Missa Dos Quilombos, A Barca Dos Amantes, Encontros E Espedidas, Anima, and Clube Da Esquina 2.

Not the full story of Bossa Nova (for that, we might suggest the Trip To Brazil CD) – but a good compilation of rare tracks from the EMI/Odeon catalog, home to some of the best work ever recorded in Brazil! The set's got more than a few hits, but it also features a number of tunes that we've not had easy luck finding on CD – and at this price, the 20-track set's a great little set of bossa tunes whatever way you slice it! Titles include "Voce" by Milton Banana, "Samba De Verao" by Marcos Valle, "Corcovado" by Joyce with Gilson Peranzzetta, "Fotografia" by Sylvia Telles, "Copacabana" by Nana Caymmi, "Se Todas Fossem Iguais A Voce" by Lucio Alves, "O Barquinho" by Pery Riberio, "A Ra" by Joao Donato, "Vivo Sonhando" by Marcos Valle, "Ao Amigo Tom" by Doris Monteiro, "Meditacao" by Luiz Eca & Astor, "Amor Em Paz" by Dick Farney & Claudette Soares, "Samba De Uma Nota So" by Walter Wanderley, "Chega De Saudade" by Lelia Pinheiro, and "A Felicidade" by Agostinho Dos Santos.

A totally great compilation of work from Beth Carvalhos – a set that brings together early sides recorded for the Odeon and Tapecar labels, many of which haven't been on CD for years! The package spans a space of 10 years – 1965 through 1975 – and the first two CDs in the set are especially nice, as they bring together early singles and EPs recorded by Beth, material that's quite different than some of her later music of international fame! The other three CDs feature three seminal early albums – Canto Por Um Novo Dia, Pra Seu Governo, and Pandeiro E Viola – and the whole thing's very nicely packaged in a handsome slipcover with images of the older records.

A great little Brazilian group from the 70s – one who continues the harmony styles of Sergio Mendes in the 60s, but takes the music into some groovy new directions! The sounds here are more samba than bossa – with guitar and percussion dancing nicely together in the rhythms as group members sing sweetly over the top – and both piano and keyboards adding in some nicely jazzy inflections to the groove, often with the more sophisticated phrasings you might expect in some of the EMI/Odeon work from earlier in the decade. Sivuca joins the group on both accordion and moog (!) – and the whole thing's got a sweetly-grooving style that's totally great! Titles include "Estatutos De Gafiera", "Loteca", "Amor Em Jacuma", " Iboru Iboya", "Beijo Baiano", "O Trem Atrazou", "Asa Branca", and "Fogo Pago".

The first album we've ever seen from O Terco – a set done for the legendary Forma label, with sublime arrangements from Arthur Verocai! The record's got a wicked blend of late 60s psych and some of the groovier styles of Brazilian music at the time – almost as if a truck full of Sunshine Pop was unloaded into the Blue Brazil laboratory of Odeon Records – with a resulting blend that's simply outta site! The production is great – often a bit echoey and abstracted, which does great things with the vocals – which themselves often glide and cascade across each other in a really cool way. There's even a bit of English in the lyrics – kind of a holdover from the Jovem Guarda years – and the album's quite different than the group's later, more famous records – in a really great way that keeps things interesting throughout. Ttiles include "Velhas Historias", "Na", "Plaxe Voador", "Yes I Do", "I Need You", "Imagem", "Saturday Dream", and "Meia Noite".

A wild one from Italian soundtrack composer Piero Umiliani – a set that definitely lives up to the disco promise of the title, but which still has some of the cool playful touches of Umiliani's work in movies too! The record may well be the funkiest that Piero ever cut – and was done for a sound library series, so has a groove that's a bit different than soundtrack material – longer songs with more focus, and instrumental grooves that mix together funky rhythms with larger orchestrations – but always in a style that's slightly offbeat, and quite different from disco material from the US. Titles include "Happy End", "Forcing", "Odeon", "Hobby", "Optimist", "Skypass", "Carousel", and "Discomania". CD features two bonus tracks – alternate takes of "Odeon" and "Discomania".

'A great little Brazilian group from the 70s – one who continues the harmony styles of Sergio Mendes in the 60s, but takes the music into some groovy new directions! The sounds here are more samba than bossa – with guitar and percussion dancing nicely together in the rhythms as group members sing sweetly over the top – and both piano and keyboards adding in some nicely jazzy inflections to the groove, often with the more sophisticated phrasings you might expect in some of the EMI/Odeon work from earlier in the decade. Sivuca joins the group on both accordion and moog (!) – and the whole thing's got a sweetly-grooving style that's totally great! Titles include "Estatutos De Gafiera", "Loteca", "Amor Em Jacuma", " Iboru Iboya", "Beijo Baiano", "O Trem Atrazou", "Asa Branca", and "Fogo Pago".

Heavy fuzz from late 60s Brazil – a Tropicalia-era album, but one with a slightly more mainstream groove – one that mixes elements of regional music with psychedelic elements and bouncy, mod-styled backings! The approach is somewhat like the work going on over at EMI/Odeon during the time – although there's certainly a trippier side to the record as well, thanks to arrangements from Rogerio Duprat, Damiano Cozzela, and Julio Medagalia. There's a fair bit of groovers on the record – although in a somewhat offbeat mode – nestled nicely next to a few headier tunes that help balance out the whole set wonderfully. Titles include "Alegria Alegria", "Quem Sabe", "Que Maravilha", "Fossa Boboca", "Longe Do Tempo", "Pela Rua Da Praia", and "Vou Buscar Voce".

Visionary stuff from Harry Partch – the kind of record that's a great introduction to his music – and a relic from an era when mindbending, rule breaking sound art could come out on a label like Columbia! There's lots of Partch's weird invented instruments – like chromelodeon, diamond marimba, mazda marimba, cloud-chamber bowls, gourd tree, and the crazy "spoils of war – but it's engrossing, and confluently rhythmic material that really pulls you in. Conducted by Danlee Mitchell under the supervision of Partch. The titles are long, and include "Castor & Pollux", "Daphne Of the Dunes", and "Barstow", which is "eight hitchiker inscriptions from a railway railing at Barstow, CA".

Tough mid 60s blues from Skip James – recorded by Richard Spottswood – and it's among Skip's best recordings! Greatest Of The Delta Blues Singers features recordings made in 1964 – at a time when James was being celebrated by the folk community – and it’s also a time when he was in ailing health – which adds some incredible depth to the material – as if Skip's bluesy truth would ever be questioned! Includes "Hard Time Killin' Floor Blues", "Sick Bed Blues", "Devil Got My Woman", "Illinois Blues", "All Night Long", "Cherry Ball", "I Don't Want A Woman To Stay Out All Night Long" and more – plus the reissue bonus tracks "Skip's Worried Blues" and "Motherless & Fatherless".