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.
(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.
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.
Nov. 30 Update: Our expected ship date has moved from December 10 to December 19. We apologize for any inconvenience.
Contains an exclusive 7-inch single: J Dilla “The Sickness” feat. Nas, produced by Madlib. Vocal b/w Instrumental. Only available in this package.
Pay Jay Productions (PJ011), an official product of the Estate of James Yancey.
This turntable was designed to be portable, but functions as a stand alone record player and can plug into any stereo system that accepts an RCA jack or a USB output. It also allows you to record music directly into your computer (transcription software disc included in package). It also contains a 1/8″ headphone jack and dynamic, full range stereo speakers. It comes with a replacement stylus and a 45 adaptor. Artwork by Mason London.
• 3 speed turntable (33 RPM, 45 RPM, 78 RPM)
• USB and RCA Outputs
• 1.8″ Headphone Jack
• Stereo Speakers
• Contains 45 adapter and replacement stylus
• Transcription software disc included in package
Shipping weight: 10 lbs. We are offering flat-rate shipping for domestic and international orders. Details, full specs here.
Portable turntables have been around since not long after the invention of the turntable itself. Everyone who buys records on the road should have one, and most do. Madlib has ten! Here’s a few from our collection, including the new Dilla Turntable.
The Numero Group Factory Outlet Tour and Rob Sevier’s Record Collection
Thr-Sat, October 13, 14, 15, Noon-7PM
Rappcats, 5636 York Blvd, Los Angeles CA 90042
Numero Group, one of our favorite reissue labels, and the source of an endless amount of Madlib samples, is bringing their factory outlet to Los Angeles for a three-day stint at Rappcats. Expect nearly every extant Numero title to be on display, Numero’s private stash of rarities, and hundreds of vintage and rare LP’s and 45s personally culled by label head Rob Sevier. Sevier is one of the world’s foremost authorities on American soul and funk music and a helluva collector. His collaborative efforts with Egon and Now-Again include Loving On The Flipside, Enjoy the Experience and a forthcoming joint album scheduled for Record Store Day 2017, which we will be announcing soon.
Saturday BONUS, 2PM: Ned Doheny in-store performance. Dublab will be broadcasting LIVE from Rappcats on Friday on Saturday. Rob Sevier will also appear at Funkmosphere @ The Virgil, Oct. 13th, and in-store at Itasca at 5PM, Oct. 14th.
Update: SOLD OUT – Limited edition of 1000, hand-numbered 12-inch vinyl. Kanye West produced version of “The Anthem” & Dilla’s alt. vocal version of “Fuck the Police.” Expected ship date October 11th.
When J Dilla turned in a demo of his solo album to MCA Records in 2002, he did so on a CDR that he labeled The Middle Finger. We’re going to have to guess what he meant by that – it doesn’t seem to have been a working title for the record, so maybe he was telling the A&R staff what he cared of their intervention into his creative process? Or was it what he thought about having to show the label a progress report?
For lack of a finished album, that CDR – stripped of “Fuck the Police” – was turned into an MCA promo CD, with one of those stark, black and white tray cards in a jewel case and a laser-printed label. By that time the album was being called Pay Jay, and it circulated at around the same time that Wendy Goldstein – the exec that had signed Dilla to MCA – left the label. Dilla was left in a lurch, the album was shelved and he was eventually released from his contractual obligations to MCA.
That demo/promo CD was leaked, and it became the basis of numerous bootlegs, all sourced from low-bit rate, 128 KBPS MP3 files. Dilla hadn’t even kept the original files in his archived sessions in Detroit.
That CDR – the original CDR, the actual “Middle Finger” – still existed. It was found in a storage unit, in a pile of other major-label leftovers, and it barely played. The CD’s reflective paint was chipping off, rendering it all but unusable. Two tracks – which never made it to The Diary – did play, and they came off that CD in full resolution. Those were Dilla’s two-track mixes of the Kanye West version of “The Anthem” and his album version of “Fuck The Police,” featuring an alternate vocal performance. This single comes from those files, and completes The Diary.
Photo of J Dilla at A&M Records, Los Angeles, by Eric Coleman (Mochilla).
One of the great psychedelic rock albums is finally back in print on vinyl in a band-licensed reissue. Its roots are in Puerto Rican teenage garage rockers; it was recorded in the Dominican Republic at the high-point of the flower power era; it was only ever pressed in a miniscule run in Mexico in 1969.
Now one of the most sought after rock artifacts on the planet, Kaleidoscope is remastered and reissued with an extensive, photo-filled booklet with the story of the band and their album by historian Enrique Rivas Viniegra.
P.S. If you dig trivia, Kaleidoscope’s “Let Me Try” was sampled for Beyonce’s “Freedom”
Madlib Medicine Show is a music series the producer began in late 2009 as the official launch of his label Madlib Invazion. 13 CDs and 7 LPs were released in the series. Odd numbers (#1,3,5,7,9,11) are original Madlib productions (hip-hop, remix, beat tape and jazz). Even numbers (#2,4,6,8,10). are mixtapes of funk, soul, Brazilian, psych, jazz and other undefined forms of music from the Beat Konducta’s 4-ton* stack of vinyl. Madlib Medicine Show #12 and 13 are hip-hop remixes by Madlib.
THE BRICK ON CD compiles all 13 CD releases. The 2016 edition of The Brick has all CDs, each in 4-panel digipack sleeves, in a single box. THE BRICK ON VINYL compiles all of the odd-number, original works.
1. Madlib Medicine Show #1: Before the Verdict
Hip-hop Album feat. Guilty Simpson. Full-length, 17-tracks, combining new material and remixes. 2. Madlib Medicine Show #2: Flight to Brazil
Mixtape. 80-minutes of Brazilian psyche, folk and jazz. 3. Madlib Medicine Show #3: Beat Konducta in Africa
Hip-hop Album. Inspired by and based on African records of the early 1970s – obscure & independent vinyl gems from afro-beat, funk, psych-rock, garage-rock & soul movements from Africa. 4. Madlib Medicine Show #4: 420 Chalice All-Stars
Mixtape. All Jamaican sounds, 80 minutes. Complete with Los Angeles medicinal marijuana guide. 5. Madlib Medicine Show #5: History of the Loop Digga
Hip-Hop Album. Madlib’s early years, 1990-2000, from beat cassettes produced for local rap crew Crate Digga’s Palace. 6. Madlib Medicine Show #6: The Brain Wreck Show
Mixtape. Psych-prog-avante-freak-out-funk rock mix CD. 7. Madlib Medicine Show #7: High Jazz
Jazz Album. All new Madlib productions from his collective of jazz groups and musicians known as Yesterdays Universe. 8. Madlib Medicine Show #8: Advanced Jazz
Mixtape. A jazz music course with no grades, lecturer or tests – just a room of dusty jazz vinyl and Madlib at the turntable. 9. Madlib Medicine Show #9: Channel 85 Presents Nittyville
Hip-Hop Album feat. Frank Nitt. Loosely-based concept album around an obscure TV show, Nittyville, running on Channel 85. Full-length, 14 tracks. 10. Madlib Medicine Show #10: Black Soul
Mixtape. The Disco era, 80 mins, mixed by Madlib. 11. Madlib Medicine Show #11: Low Budget Hi-Fi
Hip-Hop Album. Dirty Demos produced by Madlib, with The Professionals (Madlib+Oh No), MED, Strong Arm Steady, AG, Guilty Simpson, J. Rocc, Supreme Team (Madlib+Karriem Riggins), and Jaylib. 12. Madlib Medicine Show #12: Raw Medicine
Hip-Hop Remixes. Part mixtape, part beat tape, featuring a host of un-suspecting collaborators that run the gamut from thugs, street poets, star emcees and underdogs. The show runs 60 minute with 30+ tracks. 13. Madlib Medicine Show: 13: Black Tape
Hip-Hop Remixes. The previously-unannounced encore to the Medicine Show series, and continuation of number 12. 60 minutes, 35 tracks.
(*4-tons of vinyl, this is true.)
We left copies of The Brick in random places all around the world to celebrate the Medicine Show: Tokyo, London, Los Angeles, New York, San Francisco, Paris.
The first edition of The Brick was a stack of jewel cases. This is now out of print.
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.