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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: