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Wells Fargo – Watch Out! Rock Music and Revolution in 70s Zimbabwe

Now-Again — January 10, 2017 | Comments (0)

ON SALE NOW: WELLS FARGO – WATCH OUT

Just as the hippie era came to an end in America, a second 60s was beginning. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music “heavy,” because they could feel its impact, and it resonated from Zambia to Nigeria.

At its peak in the mid-70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change.

Wells Fargo was at the forefront of the scene, and the title track of this album, Watch Out, was the anthem of the counterculture. This is the first time their music has been issued outside of Zimbabwe. Matthew Shechmeister tells the story of Wells Fargo drawing on interviews with the band’s remaining members and numerous trips to Zimbabwe to investigate the genesis of the heavy rock scene under Ian Smith’s oppressive government, and its dissipation after Zimbabwe’s liberation. Never-before-published photographs and rare ephemera color the vibrant era of which this band was part.

This single LP comes with download card for WAV files and 72 page digital PDF that details the history of Zimbabwe’s hear rock scene and the trajectory of Wells Fargo. CD is packaged in a 72 page hard cover book details the the history of Zimbabwe’s heavy rock scene and the trajectory of Wells Fargo. (A bundle of both LP and CD/hard cover book is available at a discounted price in our store.) Never before seen photographs and ephemera color a story so hard to believe that it has to be true.

Now-Again Reserve: a deluxe vinyl subscription.

SUBSCRIBE HERE: NOW-AGAIN RESERVE, A DELUXE VINYL SUBSCRIPTION

Custom-made LP’s delivered once per quarter, presenting some of the rarest records in their respective genres in high quality LP format. Each release is produced with the direct participation of the artist.

Subscribe now to begin with the next upcoming release. “Catch me up” to subscribe and include previous releases.

In response to subscriber comments, Now-Again has made some changes to the Now-Again Reserve subscription: Lower price ($50/quarter); more exclusive music on vinyl for subscribers; gatefold jackets are now made in North America on standard cardstock; CDs are now made in North America as 6-panel eco-wallets; vinyl manufacturing will now take place at both Quality and United Record Pressing.

We’ve discontinued the wooden case. The wooden case will only be available to subscribers who purchased the first four releases in Now-Again Reserve – or will purchase the first four releases via the “Catch Me Up” option. Supplies limited.

Now-Again Reserve in 2016:

Rob Thomsett – Yarandoo & Hara (Ship date Jan 15th). 2/LP, 1970s.
The Mark III – Marvin Whoremonger. 1/LP, 1976.
World’s Experience Orchestra – The Beginning Of A New Birth & As Time Flows On. 2/LP, 1975 and 1980.
Paternoster – 1/LP, 1972.

FULL SUBSCRIPTION DETAILS

Madvillain Figure with Madlib & Doom “Avalanche” 45

Madlib, MF DOOM — December 15, 2016 | Comments (42)

PURCHASE HERE: MADVILLAIN FIGURE AND MADLIB & DOOM “AVALANCHE” 45

Madvillain figure, released by Madlib Invazion, with an exclusive “Avalanche” 7-inch record by Madlib & DOOM.

Pre-order for February 2017 release.

The Figure was conceived and created by the same team behind the Madvillain figure by Kid Robot, including James Reitano, illustrator/animator/director of “All Caps.” Reitano also illustrated the Figure’s box and the 7” jacket and labels. The Figure was designed and sculpted by Charlie Becker. It was manufactured by Blitzway, the South Korean toy manufacturer who manufactured the J Dilla Figures, on behalf of Madlib Invazion.

The Figure is 8-inches tall and stands freely at 8-inches deep. The Figure’s gold case is removable, and the case itself opens for storage of, well, whatever you can fit in there. One of Figure’s arms articulates. It comes in a custom designed box by James Reitano that can be disassembled as a diorama for the figure (instructions included on the box). The Figure comes in a clamshell case inside the box. The 7” record is inserted into a custom space in the clamshell.

Track list: A1. Avalanche b/w B1. Avalanche (Instrumental)


Groove Merchant at Rappcats Jan. 14-15, 2017

Groove Merchant at Rappcats: Legendary Bay Area store comes to Los Angeles for a two day pop up record shop, with thousands of hand picked vinyl rarities, posters, handbills and other ephemera.

January 14-16, 12-6PM each day.
Rappcats, 5638 York Blvd, Los Angeles 90042

On January 14th and 15th Rappcats is bringing its favorite record store in the world to LA for a two day pop up record shop. “Cool” Chris Veltri, proprietor and force of the fabled Groove Merchant record store for over two decades, has put together an event that encapsulates on what he calls the “spirit of the shop – DISCOVERY!”

The leagues of influential collectors and musicians who sing Groove Merchant’s praises are myriad, from Rappcats’ partners Madlib and Egon, who’ve been buying from Veltri since the 90s, to Q-Tip, Questlove and Rza. They’re drawn by Veltri’s unique characteristics – he takes a graceful, grateful approach to collecting and sharing knowledge, and he’s both ahead of new trends in collecting and well schooled on the classic ones. From 60s modal jazz and library albums to 70s African funk and American funk 45s to 80s boogie soul and synth-heavy no wave or new age, you can grab any type of record at the Groove Merchant and probably learn about what you’ll be collecting in ten years from the dude behind the counter, as he pulls out heat from unlabeled boxes. Many times those records included the likes the PE Hewitt private-press jazz LP’s issued by Now-Again, Bay Area outsider electro-funk grail TJ Hustler, and Donald Trump’s early 70s psychotic psych 45 “Fuck Funk.” All these rediscoveries Veltri himself made and they spread out throughout the record collecting world through his store.

But this Rappcats pop up isn’t about Veltri boxing up the Groove Merchant’s crates and hauling them down the I-5 for a jaunt in his onetime hometown. He’s been stockpiling records for the event for years and is pulling numerous rarities from his personal collection for the sale. Paper goods – gig posters, handbills, movie slicks – and other ephemera will abound too.

“I will be bringing upwards of 2,500 records. They’re will be a supreme focus on the American Private press with over 1,000 LP’s represented. They’re will be a very strong showing on international music of all shades in all genres. There will be Jazz, Rock, Folk, Soul, Disco of the under the radar variety and of the classic variety. They’re will be Grails and loads of $5 jammers. Above all, they’re will be a lot of shit you have never seen.

I will also bring a eye-popping wall of posters and music ephemera, many of which rarely surface in any shape or form. They’re will be gig posters, handbills, books, clothes, rare photos, pins and badges.”

Veltri also produced a book which debuts at the Rappcats pop up: Record People – Found Photos 1950-1986.

Instagram: Groove Merchant

The Vinyl Factory: The world’s best record shops #014, Groove Merchant, San Francisco

MF DOOM SOLID STEEL MIX

MF DOOM — December 8, 2016 | Comments (4)

Includes new Doom & Paul Barman tracks, JJ Doom remix.

01 RE: (No Subject) – Paul Barman
02 Banished [King Geedorah remix] – JJ DOOM
03 Red & Gold – MF DOOM
04 The Glock – Lil Vicious
05 9 Milli Bros [ft. Wu Tang Clan] – Ghostface Killah
06 Fresh Cutz [ft. Hassan Chop]
07 Ray Gun [ft. MF DOOM] – BADBADNOTGOOD & Ghostface Killah
08 New York, New York – Starship Orchestra
09 Snake Charmer Freestyle [ft. Kurious Jorge]
10 Between Villains – Captain Murphy ft. Viktor Vaughn & Earl Sweatshirt
11 MIC Line – Monster Island Czars
12 Deep Fried Frenz – MF DOOM
13 Frankie Sinatra – The Avalanches
14 Impending DOOM – MF DOOM & Daedelus
15 November Has Come – Gorillaz
16 In The Streets [ft. MF DOOM & BJ the Chicago Kid] – Busta Rhymes
17 Change The Beat – MF DOOM
18 Highs & Lows [ft. MF DOOM & Phonte] – PRhyme
19 Hook is Extra – MF DOOM

Quasimoto Pin Pack

Quasimoto — November 28, 2016 | Comments (2)

ON SALE: QUASIMOTO PIN PACK

Shipping worldwide

Valley Cruise Press hooked up this pack of three Quasimoto pins in a folded card. Each pin is metal, measuring 1 to 1.5 inches. Drawings by Jeff Jank.

1. Classic Quas, 2. The Brick, 3. “QE” (Quas in the Public Enemy crosshairs)

Quasimoto / Valley Cruise Press

Rappcats x Ubiquity: Boston Bob record sale, December 3

Rappcats — November 22, 2016 | Comments (1)

Saturday, December 3rd, Noon-6PM
Rappcats, 5638 York Blvd, Los Angeles 90042

Rappcats x Ubiquity Records Pt. 2: Rap, Disco and Rare Grooves and Beats from the Dealer who Influenced the Hip Hop Sound of the 90s.

Rappcats is bringing back Ubiquity Records founder Michael McFadin and key records from the collection of “Boston” Bob Gibson for a one day pop up shop in Highland Park. The first installment, in August, focused on the breadth of Gibson’s collection, which is considered by collectors like DJ Shadow, the Groove Merchant’s Chris Veltri and Chairman Mao to be one of the best of its kind ever assembled. From one-off, uber-rare Northern Soul and Deep Funk 45s to rare groove classics to heavy psychedelic rock, the shop was but the tip of the iceberg of a collection that numbers in the tens of thousands.

This installment focuses on Gibson’s rap records – and the records he collected, and often sold, that influenced every important New York hip hop producer of the 1990s and, by extent, the rap world in general. Gibson, as his name reflects, lived in Boston which, in the pre-Internet 80s, might as well have been in a different country than New York City. But Gibson was a preternatural collector and, while Lenny Roberts’ Ulitmate Breaks and Beats was the biggest direct influence on the 80s hip hop soundscape, Gibson was using Roberts’ template as a springboard, and going deep. Deeper than any collector had ever gone.

He was a collector, first, and a dealer second. He made cassette compilations which he often played, and sometimes sold, at the In Your Ear record shop where he was employed. These compilations were full of the songs that would, when sampled, become the hip hop sound of the early 90s.

Gibson was one of the top three, if not the most sought after, record dealer sat the legendary New York Roosevelt Record Conventions, Chairman Mao remembers. This convention was populated by a who’s who in the New York hip hop production scene – Q–Tip, Large Professor, Diamond D, Buckwild and the DITC crew, The Beatnuts – and the key dealers shared records that had never been considered sample fodder. Wax Poetics published a story about the Roosevelt Record Conventions by the late John Carraro – Gibson’s greatest competitor –  in 2004: New York’s golden era had hip-hop luminaries digging in the crates at the legendary Roosevelt Hotel Record Convention.

Q-Tip remembers that Gibson was the first to discover and showcase the Archie Whitewater LP, later famously sampled by Common. Mao recalls that Gibson often mailed packages to his key customers – and that Large Professor’s remix of Nas’s “It Ain’t Hard To Tell” happened the same day that Gibson sent him the source sample, the Blue Jays’ Nascence LP.

These stories go on and on – and while Gibson was buying records to sell to hip hop’s elite, he himself was buying and filing rare funk by the Detroit Sex Machines, the psychedelic version of Del Jones’s militant album “The Court Is Closed” and Demon Fuzz’s second album “Roots and Offshoots,” all holy grail pieces of wax to this day. All the while he was buying hip hop records by the people he influenced, and stretching back to hip hop’s disco-rap era in search of the next inspiration.

This is your chance to buy the actual records from the man’s collection himself. “Was “Boston” Bob an influential dealer?” asked Q-Tip, when we asked him about the legendary stories surrounding him. He immediately answered, “Oh for sure. And he listened to all of the music we were all making too.”

Also on sale during the pop up will be Ubiquity and Luv N’ Haight titles, available at 50% off.

Photos by via John Carraro / Wax Poetics, from “New York’s golden era had hip-hop luminaries digging in the crates at the legendary Roosevelt Hotel Record Convention”

Isaac Hayes & Bar-Kays – Do Your Thing – full, unreleased take coming on Record Store Day 11/25/16

Now-Again — November 4, 2016 | Comments (15)

ON SALE: ISAAC HAYES & THE BAR KAYS – DO YOUR THING

Now-Again presents a vinyl release of the full 33-minute, previously-unreleased, psychedelic funk jam session by Memphis rhythm kingpins the Bar-Kays, mixed directly from the original 2-inch tape. LP contains bonus rhythm section instrumental and booklet detailing the history of this never-before-heard version of one of Isaac Hayes’ most famous songs.

Hayes was already a cutting-edge funk master at Stax Records when he accepted the unprecedented assignment of creating a soundtrack for the 1971 action flick Shaft. At a time when R&B songs routinely timed out at three minutes and under, Hayes’ albums for Stax’s Enterprise imprint had been breaking new ground since 1969. His masterpiece Hot Buttered Soul consisted of only four tracks, two songs on The Isaac Hayes Movement clocked in at a hair under 12 minutes, and one selection on his …To Be Continued stretched to 15:33.

But his epic “Do Your Thing,” one of the cornerstones of the two-LP Shaft soundtrack, outdid them all. Occupying nearly the entire last side of the set, it concluded after 19-and-a-half grooving minutes with the overdubbed sound of a needle scratching violently across a piece of vinyl. No one knew that jarring ending masked the existence of another 13 minutes of “Do Your Thing.” Consigned to the vaults, those improvisatory extensions—somewhere in between free-jazz and psychedelic rock—were seemingly destined never to be heard.

Arthur Verocai definitive reissue LP

Arthur Verocai — November 3, 2016 | Comments (3)

ON SALE: ARTHUR VEROCAI LP

(Update: We’re already sold out, but you might be able to find it around, via Mr Bongo)

Rappcats is delighted to announce the Mr. Bongo reissue of Arthur Verocai’s self-titled album from 1972.

The definitive re-issue is an exact replica of the gatefold original LP, which now changes hands for thousands of dollars. The source master is taken from the original Continental tapes, re-mastered in 2012 under Arthur’s supervision.

“I could listen to the album everyday for the rest of my life” – Madlib.

In 1972 a repressive Brazilian military dictatorship frowned on artistic impression that might influence the youth of the country. However, producer, arranger and guitar player Verocai recorded and released a self-titled album on Brazilian-based Continental that challenged the musical conventions of the day. His subtle protest experimented with new musical directions, and used figurative language to sneak under the censorship radar.

Before his solo album, Verocai had produced the Ivan Lins 1971 album Agora, influenced heavily by the sound of North American soul, and had contributed string arrangements to Jorge Ben releases.

He says, “I also produced two albums by a singer named Célia for Continental and the president of the company was delighted with the results. He invited me to produce an album using my own compositions and I agreed as long as I was able to choose the musicians to perform with me. All the strings sessions featured 12 violins, 4 violas and 4 cellos, always with one or two percussionists. The idea of mixing strings with contemporary sounds came from my desire of searching for new paths. I think this album was very rich in terms of both quantity and quality of musicians.”

Musicians included Brazilian legends like Robertinho Silva, Pascoal Meireles, Luiz Alves, Paulo Moura, Edson Maciel, Oberdan Magalhães (Banda Black Rio), Nivaldo Ornelas (Milton Nascimento band) and Toninho Horta.

Arthur Verocai was born in Rio de Janeiro, Brazil on 17/6/1945. In 1966 Leny Andrade included his song “Olhando o Mar” (“Looking at the Sea”) on her We Are There album. Two years later Verocai participated in Musicanossa an event that brought together composers, musicians and singers in presentations to play live in the Santa Rosa Theater in Rio de Janeiro, for which he wrote his first arrangements.

By 1968 his main gig was working in Civil Engineering in Rio de Janeiro. He still managed to perform and participate as a composer at many of Brazils famous Festivals of Music. In 1969 Verocai began his professional career as musician and arranger. He scored the music for the theater show Is The Greater, and wrote his first arrangements for orchestra. He arranged records by Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4, Célia, Guilherme Lamounier, Marcos Valle, and others. His music also appeared in the musical The Life of Braguinha, alongside Elizeth Cardoso, Quarteto em Cy, MPB4 and Sidney Magal. By 1970 he was writing for other groups and regularly composing music for multiple TV shows and incidental music for TV series.

Photos from the 1972 recording sessions, by Fernando Bergamaschi.


Vinyl rip of an earlier reissue on Youtube:

Johnny! Ghanaian Afro-Rock 45s

Now-Again — October 26, 2016 | Comments (1)

ON SALE: JOHNNY! 45 COLLECTION

Introducing: Johnny! Ghanaian Afro-Rock from German producer/composer JJ Whitefield and an international cast of top shelf musicians.

Limited edition of 1000. Not to be repressed. Comes with download card for wav files. Die-cut dress jacket and resealable “Japanese-style” sleeve.

Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for almost a decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the Original Raw Soul anthology.

He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu.

The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums recently reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers).

This is Dance Rock at the core with the possibilities to stretch out and go into psychedelic realms. The results, spread out over three 7” singles and pressed in a run of 1000 units each, speak for themselves. Every record comes with a download card for WAV files of all six tracks (vocals and instrumentals from each release) and point at a new direction for the music inspired by the Great Continent. One that takes a direction once mocked as derivative and asserts its importance on the globe’s current musical stage.