LP

This album is considered a bedrock album within the Brazilian rock scene and a notable late entry in the Tropicália tradition, rocking harder than any album in his catalog, but also including wispy love songs, soul and funk moves, brassy pop tunes and a marimba-driven ode to marijuana . Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.As a student and fan of Elvis, Little Richard, Bill Haley, and Chuck Berry, Erasmo indulged his primal rock urges on these albums, notably getting sufficiently psychedelic and fuzzy on Carlos, ERASMO . . . Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmo’s 1971 album was the closest thing to Tropicália around. Carlos, ERASMO . . . was co-produced by the Tropicália producer, Manoel Barenbein, including a new composition from Caetano, a few arrangements courtesy of Rogério Duprat and the musical talents of no fewer than three Mutants: lead guitarist Sergio Dias, drummer Dinho Leme and bassist Liminha, not to mention Brazil’s undisputed psychedelic axe-master, Alexander Gordin, aka “Lanny”, Carlos, ERASMO . . . is a virtual all-star team of Tropícalistas (not in exile).

Sonhos E Memórias 1941-1972 is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork. Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.

Limited edition of 500 , hand numbered

Syrupy Instrumental Electro-Funk full-length from Devonwho on Leaving Records featuing vocal contributions from Zackey Force Funk, I, CED, andn Pink Siifu.

It is a rare occurrence, especially when you consider that we are writing this in the year 2017, that an unreleased soul/disco album from the 1970s surfaces after 40 years. The Tramp crew first heard about the album while discussing the re-release of Teakwood's sole 45RPM single release "Can You Dig It?" with former band leader and founding member of the group, Fred Forsh.It was in 1972 when two new Berry College freshmen met and realized that they were both music majors which led to an impromptu jam session in the lower level of the student center. This was the beginning of what would soon become Teakwood. "Those two original members, Ralph Moore on saxophone and me on piano, along with five others went into the studio in 1976 and recorded two songs for our first and only single", remembers Fred Forsh. Unfortunately, shortly thereafter, Moore and Forsh parted ways but Teakwood continued with four remaining members plus two new ones and with this new lineup, went into the studio in 1977 to record nine songs under the collective title "A Distant Star". However, for some obscure reason the songs were never released but luckily the reel-to-reel master tapes survived.The tapes were sent to the head quarters of Tramp Records in early 2016. In the end it took several attempts at three different recording studios to transfer them successfully. It took some more months to get the material mastered and finally pressed on good old vinyl. Mr. Forsh says: "Here we are, forty years later, finally releasing it to the public thanks to Tramp Records! This is a dream come true for me and it is my hope that you will enjoy listening to the music of Teakwood!" Happy New Year 2017!- Previously unreleased album from 1977 - All songs taken from the original reel-to-reel master tapes - Deluxe vinyl LP including full album download code, housed in original 1970s old school tip-on cover

First Word enters 2017 with a bang: a 28-track album courtesy of Eric Lau. This, his third instrumental album, is a veritable tapestry of vibes, ranging through Hip Hop, Soul, Jazz, Funk & Brazilian beats. A mere taste into the genius production skills of London's Mr. Lau, it's easy to understand why he's so revered by DJs, artists and producers across the world, including Rich Medina, 9th Wonder, Bobbito, Dam Funk, Gilles Peterson, James Poyser (The Roots), Phonte and Ali Shaheed Muhammad (A Tribe Called Quest), amongst others.Eric has had previous outings for First Word as part of the Record Store Day beat-challenge trilogy, along with Tall Black Guy, Kidkanevil and Mr. Thing, and was recently initiated into Jazzy Jeff's star-studded annual Playlist Retreat. As a producer, he's worked with a host of artists, including Kaidi Tatham, Oddisee, Yussef Kamaal, Guilty Simpson, Dego, Tawiah, Rahel and Fatima, to name a few, whilst his DJ skills have seen him tour the globe with luminaries such as Erykah Badu, Robert Glasper and Questlove. Additionally to three instrumental LPs, he previously released his debut-proper for Ubiquity, 'New Territories', and the acclaimed 2013 sophomore album, 'One Of Many'.'Examples' really provides you with what it says on the tin - a mere taster of this man's talents, available digitally and on wax; black vinyl for the purists and limited edition yellow vinyl for the heads. Kicking off the new year with a bounce, it's unnecessary that we tell you that you shouldn't sleep on this.. Don't sleep on this.