“This one goes out to my man the Groove Merchant, comin’ through with the beats that I’ve been searching’” – Beastie Boys’ Mike D in “Professor Booty”
Michael McFadin, Ubiquity/Luv ’N Haight Records’ President and founder of San Francisco’s fabled Groove Merchant record shop, will bring a collection of his own funk & soul records to Rappcats for a one-day popup shop.
Saturday, August 20, 2016
Noon — 6PM
5636 York Blvd,
Los Angeles CA 90042
The boutique McFadin opened on Haight Street in early 1990 was one of the only stores of it’s kind, nearly three decades ago, and it quickly earned a reputation the world over as a place to find rare records and learn about new sounds. It became a haven for collectors, DJs, and producers looking for soul, funk, jazz and break beats, and inspired the likes of the Beastie Boys, DJ Shadow and Dan the Automator to create landmark albums in the 90s. Ubiquity and Luv N’ Haight labels were founded from the San Francisco shop.
Rappcats is bringing McFadin and his records for a one day pop up shop in Highland Park, Los Angeles. Many of the records one of the best collections the funk and soul America ever saw: those of “Boston” Bob Gibson, the East Coast’s digging king. Egon visited the collection shortly after McFadin bought it in 2004 and confirmed that it was peerless, full of one-off, fabled records, of all genres, but with a specific bent: heavy grooves, and raw funk. Also on sale during the pop up will be Ubiquity and Luv N’ Haight titles, available at 50% off.
If you are one of the few who have known about MF DOOM’s debut album since the year it first dropped, you’ll know there’s been a few versions of the album to come out. There’s been bonus tracks, bootlegs, CDs, tapes, and even a lunch box edition.
But here’s the thing about Operation Doomsday: It’s a hip-hop classic. Those who don’t have it, need it. The record keeps selling out, and they keep making more. Just like The Beatles, if the Beatles came to destroy rap.
The album originally came out in ’99 on Fondle ‘Em Records. In 2011, Doom’s own label Metalface Records began officially reissuing the album. In that year, a new cover was made, featuring art and design by Jason Jagel & Jeff Jank, who also handled Doom’s MM FOOD. Both editions of Doomsday are now being released on vinyl, each with 2/LP red & black vinyl, and a 18 x 24-inch poster.
“Gas Drawls” video: Animator Dustooned created a video for “Gas Drawls,” taking inspiration from Doom’s album artwork, including much of Jason Jason illustrations for MM Food and the Metalface version of Operation Doomsday. The animation was created independently, and got the Doom stamp of approval just last week.
Animator Dustooned created a video for “Gas Drawls,” taking inspiration from Doom’s album artwork, including much of Jason Jason illustrations for MM Food and the Metalface version of Operation Doomsday. The animation was created independently, and got the Doom stamp of approval just last week.
Behind the scenes: As part of a collaboration with the Red Bull Music Academy during the Academy’s New York Festival, Steve Sweatpants of Street Dreams photographed Madlib’s journey to Hoboken, NJ to dig for rare Brazillian records with Joel Stones & Egon.
Australian guitarist/visionary Rob Thomsett’s collected works – two LPs – will be combined into one package as the fourth release in Now Again Reserve, shipping this fall. Stream the album below.
Originally privately pressed in tiny numbers in Canberra in the mid-‘70s, Yaraandoo & Hara have become sought after examples of the best in progressive jazz/rock.
“Taking in impressionistic hazy instrumental jazz … muscular fusion moves, solo Mellotron pieces as heavenly as anything Beethoven or Handel ever concocted, extremely loose-limbed ethno-fusion soundscapes of the Don Cherry/Pharoah Sanders variety, film soundtracks … and electronic experimentalism … hair-raising, soul-searching beauty – with an overall dreamy, hazy quality that perhaps could only be written by an Australian fully conversant with the “Dreamtime” cultural feel for the myths and legends of the Outback.” – Julian Cope’s Head Heritage.
Yaraandoo: The Legend of the Southern Cross
Baiame: In the Beginning, Biame the All-Father also known as the Sky-King walked upon the Earth.
Moulding of Red Earth: Out of the red earth, he fashioned with hands two men and a woman.
Nameless Children: They lived and Baiame was pleased. He showed them how to live off plants and roots.
Drought – Killing: But there came a terrible drought and the once fertile land became barren. As the plants were dying, the men and the woman began to starve. In desperation, one man killed a kangaroo rat and he and the woman began to eat its flesh.
New Life – Refusal: As they became stronger they called to the remaining man to join them. Not wishing to go against the wishes of Baiame, he refused. Very weak, he staggered off into the red desert.
Shadow of Yaraan: When they had finished eating, the man and the woman started searching for their companion. They found him lying beside Yaraan – the great white gum tree.
Yowi – The Spirit of Death: As they approached him they saw a huge, black figure with red eyes lift him gently and place him in the fork of the white gum tree.
Flight of Yaraan: With a clash like thunder, the tree left the ground and flew swiftly towards the southern skies. The man and the woman could still see the eyes of Yowi – and the eyes of their companion.
Endless Search: Uttering unearthly screeches, two Mooyi – yellow crested cockatoos – flew after the tree which had been their roosting place.
Entrance to Warrambool (Parts I and II): At last, the tree came to rest at the entrance to Warrambool – the Milky Way – the world of the Sky Gods. The tree slowly vanished but the four eyes remained staring down at the Earth and forever marking the entrance to the World of the Gods. Thus Yaraandoo – the Southern Cross – was formed and the North and South points are the faithful Mooyi who fly in vain after the great white tree.
Tears of Blood – Endless Weeping: Knowing that Death had come to the Earth, the gum trees wept tears of blood and the swamp trees forever moan their sad song.
Standard gatefold edition of the double LP on ESGN/Empire. Pre-order for July 19 ship date.
Shadow of a Doubt is the album Gibbs following Piñata, his collaboration with Madlib. He describes Shadow of a Doubt as the soundtrack to driving around Los Angeles at night – the dark side of a supposed glamorous life, one foot in the booth, one foot in the street. Pitchfork writes “his roots and aspirations have never been clearer” and praised Gibbs’ versatility. This album taps some of today’s top talent as guest MC’s and as producers with features from E-40, Gucci Mane, Black Thought, Tory Lanez, Manman Savage and Dana Williams, with production from Kaytranda, Boi-1Da, 808 Mafia.
In May 2016, a white label edition of Shadow of a Doubt (Rappcats exclusive) sold out in three hours. These were limited to 300 hand-numbered copies, with photo by Ture Lillegraven, jacket design by Jeff Jank.
Iranian rock Godfather Kourosh’s latest album, recorded 2003-2006. Banned in his country, released to the world at last with this release by Now-Again Records.
Words from Kourosh Yaghmaei:
Questions about the difficulties in and delay of releasing this album emphasize systematic censorship, cultural deletion and even cultural self-destruction, at a state level. They highlight the thoughts in the background of the media and a society hit by crisis, in which no voice of clear protest is heard in the world, not from human right organizations, let alone from the media inside Iran. No mention of this censorship, and torture on an artistic soul, along all social, technological and cultural transitions, in this current century, in a land where the world’s greatest [ancient] empire [in] Takhte Jamshid – The Gate of All Nations – or, as the Greeks called it, Persepolis was established 2500 ago.
It is impossible, in a few sentences, to explain the irreparable damages and the rubble of adversity that crumbled on me, my family and especially on my homeland in the past 37 years, with the occurrences of such cruelty – terrifying hell-like obstacles – that walking through them is not believable to others. This dark age of culture cannot be described in a few lines; there should be books written about it. Musicians were harassed and beaten in streets and their instruments were broken by boots. I, who was a leading popular artist in Iranian society, in just a few hours, was shown to be anti-culture, a perverted person. This was going on when my ability to earn any income for living expenses from my music was cut off. No light at the end of the tunnel. Iranian society was in awe watching all these horrific changes, in just a few hours.
People in Iran know me as the master, the pioneer and the king of modern and rock music, but to protest against this cultural deletion, this censorship, and the physical and mental tortures the government brings upon me, I am forced to decide not to release my works in my own homeland, for an unknown amount of time to come. This doesn’t mean I will stop working, and I will have a new album every a few years ready to present to my country.
In the end I must point that I only write these words to let the world know about this catastrophe, not to attract sympathy of others, which I hate. I believe in an unjust battle, to stand tall is better than to surrender.
In 2011, Now-Again Records released the anthology, Back From The Brink – Pre-Revolution Psychedelic Rock From Iran: 1973-1979. Here’s “Gole Yakh (Winter Sweet)” from that collection.
Beats by J Dilla, Madlib, Pete Rock, Hi-tek, Nottz, Waajeed, House Shoes, Supa Dave West, Bink! and Karriem Riggins. 1 LP vinyl with MP3 download card and booklet.
The Estate of James Yancey has revived J Dilla’s longstanding company PayJay as a functioning imprint to release Dilla’s long lost vocal album, The Diary, in conjunction with Mass Appeal Records. Initially intended for release in 2002, The Diary is the final batch of unissued material that Dilla had assembled for release during his lifetime, lending crucial insight into the producer’s prowess and thought process in the period leading up to his break with the major label system and the extremely fertile period that followed (which encompassed the making of the canonical classics Ruff Draft, Jaylib, and Donuts). The Diary features vocal performances by J Dilla, Snoop Dogg, Bilal, Kokane, Frank and Dank, Nottz and Boogie, over production by Dilla, Madlib, Pete Rock, Hi-tek, Nottz, House Shoes, Supa Dave West, Bink! and Karriem Riggins. Read more about The Diary.
The instrumentals album is available now at Rappcats and will be released worldwide on July 8, 2016.
Madlib spoke with Chairman Mao earlier this month at the Red Bull Music Academy in New York City, touching on his upcoming collaboration with Freddie Gibbs – Bandana – and much more.
“Since the early ‘90s, the reclusive Madlib has been producing music at a relentless pace. Whether he’s working with artists like Freddie Gibbs, MF Doom or Erykah Badu, collaborating with the late J Dilla, or working under one of his own aliases, like the drugged out party creature Quasimoto, Madlib has carved out his own idiosyncratic corner in the massive hip-hop universe. Luckily, we were able to coax him out of his studio for a rare discussion at the Red Bull Music Academy Festival New York 2016 about Prince, the importance of doing taxes, the death of his Quasimoto alter-ego, collaborating with Kanye West and his love of industrial music.” – RBMA
The Diary was Dilla’s attempt to take advantage of the attention afforded him after his brightest period as a behind-the-scenes hit-maker and influencer. However, the project stalled and the album was literally shelved, the reels languishing in storage in Detroit as a relocated Dilla began a creative renaissance in Los Angeles. The Diary in this, its final form, was painstakingly assembled over a ten year period from two-track mixdowns and multi-track masters found in J Dilla’s archives after his death in 2006. The completion of The Diary was overseen by The Estate of James Yancey’s Creative Director Eothen Alapatt, long term general manager of Stones Throw Records and A&R for Donuts and Jaylib, whose previous archival Dilla work includes the expanded Ruff Draft issue from 2008. The Estate of James Yancey is overseen by California’s Probate Court on behalf of Yancey’s four heirs – his mother, Maureen “Madukes” Yancey, his brother John “Illa J” Yancey and his two daughters, Ja’Mya Yancey and Ty-monae Whitlow.
J Dilla – The Diary (album cover); J Dilla with Slum Village circa 2001, by Eric Coleman.