{"title":"Label - Stones Throw Records","description":"","products":[{"product_id":"jaylib-champion-sound","title":"Jaylib – Champion Sound","description":"\u003cp\u003eThe original release of the Madlib and J Dilla collab, created between Los Angeles and Detroit in 2002-2003. \u003c\/p\u003e\n\u003cp\u003eThe project was conceived in fall 2002 after Stones Throw released a limited edition 12\" featuring \"The Message,\" a track made by Madlib in 2000, flipping Grandmaster Flash \u0026amp; The Furious Five's lyrics over a J Dilla beat. The song, unofficially credited to \"Jaylib,\" was never intended for commercial release, but it got the two producer\/mc's together to talk about an equal collaboration. Dilla \u0026amp; Madlib previously worked together briefly in Detroit, late 2001, on a project which was never completed.\u003c\/p\u003e\n\u003cp\u003eAs each were situated in their home towns (Dilla in Detroit and Madlib in L.A.), they fleshed out Champion Sound, which will easily win the award for the Most Blunted Album of the Year; these guys were smoking serious greens while working this one out. As one might expect, the production qualities of an album made by two of hip-hop's most celebrated producers is rich in texture, innovation, and solid momentum. Where Madlib is a seasoned MC (look at Lootpack's Soundpieces or Quasimoto's The Unseen), Dilla is not. He's not bad, just rougher around the edges, which lends to a disorienting listen in general. The beats are slapped together, whacked samples are abruptly dropped, and the lyrics are steps behind the beat and generally about nothing but b-boy posturing and other nonsense. All of which results in a very unique and strangely rewarding album. While it may require repeated listens to take hold, Champion Sound is full of a lot more winners than losers. —(via \u003ca href=\"http:\/\/www.allmusic.com\/album\/champion-sound-mw0000318883\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003ciframe width=\"100%\" height=\"600\" src=\"https:\/\/embed.spotify.com\/?uri=spotify%3Aalbum%3A6Jv0VIFX5CMzxAK6JwAB23\" frameborder=\"0\" allowtransparency=\"true\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eItem description:\u003c\/strong\u003e\u003c\/p\u003e\n\u003ctable style=\"width: 686px;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.mom\/search?q=%22Jaylib%22\"\u003eJaylib\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eChampion Sound\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/theanalogvault.mom\/search?q=%22Label+-+Stones+Throw+Records%22\"\u003eStones Throw Records\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e2 × Vinyl, LP, Album, Reissue\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003ePressing:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eUS\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eThis reissue: 2009 | Original - 2003\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eGenre:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eHip Hop\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCatalog No:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eSTH 2062\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003eNew\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":41456490676382,"sku":"659457206215","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/JAYLIBCHAMPIONSO_2019-11-06_13-19-30_iwjrsyHeNP_2000xcopy.jpg?v=1714125837"},{"product_id":"quasimoto-the-unseen","title":"Quasimoto - The Unseen","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Unseen \u003c\/em\u003eis the debut studio album by Quasimoto, an alter ego of American hip hop musician Madlib, originally released under Stones Throw Records in 2000. Each one of music hyphenate Madlib’s multidisciplinary projects tend to be revelatory. But even among the Californian native’s treasure trove of hip-hop jewels, few were as sui generis as his high-pitched yellow aardvark alter ego, Quasimoto. Quasimoto’s debut on Stones Throw was a quantum leap for Madlib’s creativity journey - with the album featuring a boisterous assembly of funk, prog, jazz, and soul samples, punctuated by various skits and interludes.\u003c\/p\u003e\n\u003cp\u003eMadlib’s idiosyncratic beats were augmented by the surreal and free-associative verses of the rapper duelling with the animated split personality Lord Quas, who satirized gangsta rap. \u003cem\u003eThe Unseen\u003c\/em\u003e has proven to be an impeccable showcase of Madlib’s unbound creativity and proficiency as both a skilled rapper and consummate producer.\" — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e—\u003cbr\u003eQuasimoto's \u003cem\u003eThe Unseen\u003c\/em\u003e is one of the most imaginative albums of the new West Coast underground, a puzzling, psychedelic jazz-rap gem riddled with warped humor and fractured musical genius. Producer Madlib actually outdoes his inventive work on the Lootpack's debut album, \u003cem\u003eSoundpieces: Da Antidote\u003c\/em\u003e!, crafting deep, dreamy jazz loops littered with found sounds and wiggy vocal samples. \u003c\/p\u003e\n\u003cp\u003eQuasimoto's helium-huffing voice is actually Madlib's, electronically altered for an effect not unlike Prince's abandoned Camille project. It might put some listeners off as gimmicky, and it's really a shame if it does, because it isn't really the focal point of The Unseen's left-field brilliance. It's more of an added textural element for Madlib's off-kilter soundscapes and a vehicle for the cartoonish humor hinted at in his choice of samples. \u003c\/p\u003e\n\u003cp\u003eThe lyrics are highly free-associative (that is to say, stoned beyond belief), and by turns paranoid, threatening, or hallucinatory. But it all melts into the warm, druggy haze of the music; unlike, say, the Wu-Tang Clan or Dr. Octagon, this dream isn't supposed to be a nightmare. \u003c\/p\u003e\n\u003cp\u003eQuas' scattershot flow isn't what you'd call technically accomplished, but that's by design - he's supposed to be fragmented, not quite all there. The song structures are similarly loose, with rhymes coming from nowhere and disappearing just as quickly; the tracks are short (all under four minutes) and end abruptly, as though Quas is too blunted to think of anything else to say. (Madlib does appear as himself on occasion, and usually sounds just as noncommittal as his \"collaborator.\") \u003c\/p\u003e\n\u003cp\u003eHighlights are plentiful, and include the brilliant singles \"Microphone Mathematics\" and \"Come on Feet,\" the bizarre trash-talking of \"Bad Character\" and \"Put a Curse on You,\" and the joy-of-music cuts \"Return of the Loop Digga\" and \"Jazz Cats, Pt. 1,\" which recount Madlib's obsession with record collecting and name-check his favorites. It takes some time to assimilate, but \u003cem\u003eThe Unseen\u003c\/em\u003e gradually reveals itself as one of the most unique and rewarding albums of its era. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/the-unseen-mw0000068073\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/0dCxrv92J8gKDh4zObd2ZZ?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Stones Throw Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue\u003cbr\u003eReissued: 2024 \/ Original Release: 2000\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Rap, Jazzy Hip Hop, Leftfield, Abstract\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Stones Throw Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":41456510533790,"sku":"659457202514","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/81th0uJALML._UF894_1000_QL80.jpg?v=1746344356"},{"product_id":"john-carroll-kirby-septet","title":"John Carroll Kirby ‎– Septet","description":"\u003cp\u003eAmid the swirling sounds and scenes intersected by Los Angeles’ sprawling freeways, John Carroll Kirby is somewhere at the centre of it all, shirt open, hair slicked back. He circles the city’s buzzing jazz movement with his soul-dappled instrumentals and is a keysman, composer and producer who’s been enlisted by some of the most exciting names in contemporary pop: Frank Ocean, Mark Ronson, Harry Styles, Blood Orange, and Solange Knowles, whose incendiary past two albums, A Seat at the Table and When I Get Home, were shaped in part by Kirby.\u003c\/p\u003e\n\u003cp\u003eHe sees himself as more of a Ry Cooder character, the guitarist who co-directed the Cuban ensemble Buena Vista Social Club. “He’s a kind of genreless musician,” says Kirby. “He’s just centred around guitar and where that fits into different scenarios. I’m trying to do something similar, but with the keyboard.” – \u003ca href=\"https:\/\/www.theguardian.com\/music\/2021\/jun\/29\/jazz-funk-guru-john-carroll-kirby\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eThe Guardian\u003c\/a\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/N3ob71OfLJY\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"380\" src=\"https:\/\/open.spotify.com\/embed\/album\/2y6wLCRuqOHjcLLt7THlTQ\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" cellspacing=\"0\" cellpadding=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eLabel: Stones Throw Records ‎– STH2429\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eFormat: 2 × Vinyl, LP, Album, Stereo\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCountry: US\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eReleased: 02 Jun 2021\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eGenre: Jazz, Funk \/ Soul\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eStyle: Soul-Jazz\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":41456786931870,"sku":"659457242916","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/1c25ac8d024882f46b97023f492b65cddb5052f0.jpg?v=1646297240"},{"product_id":"eddie-chacon-sundown","title":"Eddie Chacon - Sundown","description":"\u003cp\u003e\"The 59-year-old singer of Charles \u0026amp; Eddie fame is back with a second album of tightly written melodies and abstract tracks that draw you in to a rich, heady world.\u003c\/p\u003e\n\u003cp\u003eThe question that haunts \u003cem\u003eSundown\u003c\/em\u003e is whether the unexpected success of \u003cem\u003ePleasure Joy and Happiness \u003c\/em\u003ecan be replicated: a sense of anticipation attends its release that clearly wasn’t there before its author’s status was upgraded from one-hit wonder to low-key R\u0026amp;B legend. The answer turns out to be a qualified yes: it replicates its predecessor’s success precisely because it doesn’t try to replicate it, taking a noticeably different route to invoking a mood of hazy calm. The sound has shifted. The drum machines have largely been replaced – or at least augmented – by live percussion; there is brass and woodwind alongside the samples and electronics; it feels jazzier.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eFar Away\u003c\/em\u003e and \u003cem\u003eHaunted Memories\u003c\/em\u003e, Chacon, now 59, sings over muffled clusters and runs of electric piano notes, like a particularly inconspicuous improvised solo that runs throughout the track. The sound of \u003cem\u003eSame Old Song\u003c\/em\u003e exists on the cusp of pillow-soft early 70s soul and the era’s spiritual jazz. Chacon has mentioned Pharoah Sanders as an influence on the album, although the Lonnie Liston Smith of Astral Traveling might be a more obvious comparison – and its electronic washes and drones stop it shifting into the realm of homage or pastiche. And with its spiralling synth solo and 80s groove, you could append the descriptor “jazz funk” to single \u003cem\u003eHoly Hell\u003c\/em\u003e without anyone getting too upset, while noting that it is jazz funk of a distinctly warped cast.\u003c\/p\u003e\n\u003cp\u003eThe tone of the songs has shifted, too. Although a vein of melancholy still runs through the album – “I’ve been thinking too much,” it opens, “I’ve been barely hanging on” – it’s more obviously tempered by optimism, albeit optimism of an ambiguous variety. “We’ve got each other and that’s a start,” offers Holy Hell’s equivocal assessment of a relationship. “We can keep on shining \/ But we can’t stop the hands of time.” Meanwhile, The Morning Sun’s component parts seem to pull towards slightly different ends: the blissed-out lyrics and breezy sax at odds with the slightly discordant, faintly ominous synth weirdness that’s going on underneath them.\u003c\/p\u003e\n\u003cp\u003eTightly written melodies – as on \u003cem\u003eHoly Hell\u003c\/em\u003e or \u003cem\u003eStep by Step\u003c\/em\u003e’s appealingly rough-hewn take on a vintage slow jam – vie for space with more abstract tracks. Haunted Memories feels as if you are eavesdropping on a jam session at the precise moment when a song starts to emerge through the mist. The title track moves in the opposite direction, gradually, joyously unravelling. Regardless of the setting, Chacon’s voice sounds fantastic – his falsetto on Comes and Goes is particularly gorgeous – and the effect is the same, potent and affecting: it’s an album that pulls the listener in close and envelops them in its rich, heady world for its entire duration.\u003c\/p\u003e\n\u003cp\u003eWhen \u003cem\u003ePleasure, Joy and Happiness\u003c\/em\u003e was released, Chacon talked about it as a culmination, half an hour of music into which he’d poured everything he had: “a perfect representation of who I am”. It made you wonder if it was a one-off, a curio unlikely to be followed up. Soothing, moving, occasionally disquieting and utterly immersive, \u003cem\u003eSundown\u003c\/em\u003e suggests its predecessor was something else entirely: merely the first step of an entirely unlikely and entirely delightful career renaissance.\" - \u003ca href=\"https:\/\/www.theguardian.com\/music\/2023\/mar\/30\/eddie-chacon-sundown-review-delightful-career-renaissance-for-former-one-hit-wonder\" target=\"_blank\" rel=\"noopener\"\u003eThe Guardian\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“Low-key R\u0026amp;B legend” Eddie Chacon’s first album with Stones Throw, Sundown, is out now. Twelve new songs, produced by and written with John Carroll Kirby.\u003c\/p\u003e\n\u003cp\u003eEddie’s story is by now well known: after achieving stratospheric success as one half of the duo Charles \u0026amp; Eddie, whose hit “Would I Lie To You” topped charts around the world, Chacon took over two decades away from the music industry. Meeting John Carroll Kirby in 2019 inspired his return to music.\u003c\/p\u003e\n\u003cp\u003eSundown is about “being humbled by how little time we have on this earth.” Eddie said to Crack Magazine: “I was away from music for over 20 years. As you get older, as an artist, youth culture becomes very intimidating. You start to ask yourself, ‘Is there a place here for me? Where do I fit into this?’”\u003c\/p\u003e\n\u003cp\u003eAfter releasing the 2020 album Pleasure, Joy and Happiness, which was a word-of-mouth hit, Eddie realized he had more left in the tank. Eddie and John recorded Sundown at 64 Sound Studios in Northeast LA. The first half was created in Ibiza, Spain for a few weeks. A fan and his family lent Eddie their “Villa Can Rudayla” after following Eddie’s return, wanting the space to inspire creativity.\u003c\/p\u003e\n\u003cp\u003e“I didn’t want to fight my age. I wanted to make something that you’d have to be my age and have the life experience that I’ve had to make,” Eddie said in a recent interview with The Fader. “But sometimes when you embark on something it’s almost as if you need to give yourself permission… I wanted to do something that was tender and kind. And I also wanted to do something that was counter to the pop industry. I wanted it to be a meditative experience.”\u003c\/p\u003e\n\u003cp\u003e- \u003ca href=\"https:\/\/www.stonesthrow.com\/news\/eddie-chacon-sundown\/\" target=\"_blank\" rel=\"noopener\"\u003eStones Throw Records\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/37OThjyGLpz8zQFtW0l4KM?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/5z2FD5SYgew?si=o2P_iALK85gfNvre\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"allowfullscreen\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003ctable border=\"1\" style=\"border-collapse: collapse; width: 100%;\"\u003e\n\u003ccolgroup\u003e\n\u003ccol style=\"width: 50%;\"\u003e\n\u003ccol style=\"width: 50%;\"\u003e\n\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003eLabel:\u003c\/td\u003e\n\u003ctd\u003eStones Throw Records – STH2478\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat:\u003c\/td\u003e\n\u003ctd\u003eVinyl, LP, Album\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eReleased:\u003c\/td\u003e\n\u003ctd\u003e2023\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGenre:\u003c\/td\u003e\n\u003ctd\u003eJazz, Funk Soul\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eStyle:\u003c\/td\u003e\n\u003ctd\u003eNeo Soul\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":42541076185246,"sku":"0659457247812","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/products\/Eddie-Chacon.jpg?v=1681290636"},{"product_id":"the-koreatown-oddity-little-dominiques-nosebleed","title":"The Koreatown Oddity - Little Dominiques Nosebleed","description":"\u003cp\u003e\u003cspan\u003eFor a decade, Los Angeles rapper and producer \u003c\/span\u003ethe Koreatown Oddity\u003cspan\u003e has drifted around the city’s indie-rap scene with a leisurely detachment. Distributing cassette beat tapes by hand, making dusty, stoned records with vaunted producers like \u003c\/span\u003eRas G\u003cspan\u003e and \u003c\/span\u003eJeremiah Jae\u003cspan\u003e, and occasionally sporting a wolf mask, he treats rap more like a pastime than a calling. His name, a reference to the neighborhood where he was raised, has always underscored his origins, and his music has tended to be diaristic, capturing his observations, wisecracks, and hijinks in real time. On \u003c\/span\u003e\u003cem\u003eLittle Dominiques Nosebleed,\u003c\/em\u003e\u003cspan\u003e his fourth solo LP, he shifts from scattered journal entries to focused autobiography, telling the story of his family and his neighborhood with intimacy and warmth.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eThe Koreatown Oddity is Dominique Purdy. This album tells the origin story of his “supernatural powers and spiritual awakening,” the results of two car accidents that occurred in his childhood while growing up in Los Angeles’ Koreatown district. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Experiencing these traumatic moments so early in my childhood allowed me to have a unique outlook on life … I have had deep spiritual connection and awareness since the accidents and feel like its reflected in all of my work \u0026amp; in my life as human being.”\u003c\/p\u003e\n\u003cp\u003eThe single “Kimchi” sets up the scene for this true-to-life story about growing up black in Koreatown and how the neighborhood has changed. “I seen this whole area evolve from a black perspective. I want the history of Black\/Hispanic People who grew up in Koreatown to be told,” he says. “If you looked at this section of LA through my eyes you will see that it ain’t all kimchi, Korean BBQ, and karaoke.” \u003cspan\u003eLittle Dominiques Nosebleed showcases soulful loops, jazzy licks, comedy, obscure samples and odd scenarios to communicate the enlightenment born from heavy truths, each step of the journey told through music. (In short, raw hip-hop shit.) The album is produced entirely by the Koreatown Oddity and features the people of his family and community: Sudan Archives, Anny Wise, Baby Rose, C.S Armstrong, Fatlip and many more. — (via Stones Throw)\u003cbr\u003e—\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"main_2FbVC\"\u003e\n\u003csection id=\"release-notes\" class=\"section_9nUx6 open_BZ6Zt\"\u003e\n\u003cdiv class=\"content_1TFzi\"\u003e\n\u003cdiv class=\"notes_1LXvZ\"\u003e2022 Repress on Black Vinyl, with gold center Labels instead of the red labels on the original release.\u003c\/div\u003e\n\u003cdiv class=\"notes_1LXvZ\"\u003e\n\u003cp\u003e\u003cspan\u003e\u003c\/span\u003e\u003ciframe width=\"100%\" height=\"700\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/4pBU8P2uXB3cfylCS74pj6?utm_source=generator\u0026amp;theme=0\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Stones Throw Records \u003cbr\u003eFormat: 2x Vinyl, LP, Album, Repress, Gold Labels\u003cbr\u003eCountry: US\u003cbr\u003eReleased: Sep 20, 2022 \/ Original Release: Jun 19, 2020\u003cbr\u003eGenre: Hip-hop\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Hip-hop\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":43716094132382,"sku":"659457243418","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a1484090135_10.jpg?v=1714494454"},{"product_id":"the-koreatown-oddity-isthisforreal","title":"The Koreatown Oddity - ISTHISFORREAL?","description":"\u003cp\u003e\u003cem\u003eISTHISFORREAL?\u003c\/em\u003e is a concept album and equal parts sketch show and mockumentary. \u003cspan\u003eA brief album that deals with perceptions of reality, focusing on moments or situations that are particularly hard to believe, or painful to deal with. It's the follow-up to \u003c\/span\u003e\u003ca href=\"https:\/\/theanalogvault.mom\/products\/the-koreatown-oddity-little-dominiques-nosebleed\" target=\"_blank\" rel=\"noopener\"\u003e\u003cem\u003eLittle Dominiques Nosebleed\u003c\/em\u003e\u003c\/a\u003e\u003cspan\u003e, a dense, ambitious work destined to achieve classic status as more people discover it. While that record followed an autobiographical story arc based on two childhood car accidents and their impact on the rapper's life, as well as his upbringing in the Koreatown district of Los Angeles, \u003cem\u003eISTHISFORREAL?\u003c\/em\u003e flips reality on its head, opening with an introduction in which Ktown claims that he is actually British. A few additional interludes expand upon this premise; he explains that he wanted more street credibility, so he hung out at a Fatburger and learned to master a Los Angeles accent. \u003cbr\u003e\u003cbr\u003eThe songs themselves are abstract and nightmarish, filled with eerie, overlapping voices and sometimes devoid of traditional rapping. \"Fundrazors\" is a hellish bad trip that inexplicably involves a \u003c\/span\u003eMacho Man Randy Savage\u003cspan\u003e sound-alike. \"Misophonia Love\" is an '80s-style R\u0026amp;B jam detailing a relationship with a partner who has a condition in which she becomes triggered by specific intimate sounds, such as chewing on potato chips or clicking pens. Despite being aware of the condition, Ktown can't help but continue to tease his partner by making those sounds. The title track has the album's most serious verse, reflecting on the deaths of Black people at the hands of the police, as well as personal moments like the only time Ktown's newborn daughter met the late \u003c\/span\u003eRas G\u003cspan\u003e shortly before his untimely death. \u003cbr\u003e\u003cbr\u003eHe understandably sounds on the verge of a panic attack during \"History Tension,\" about having to bear the weight of systematic tragedy simply for being born Black, and \"Hellooo???\" is a discordant call into the void, as he asks to be rescued from the pit of despair. The album taps out at 25 minutes, but it's urgent enough that it clearly makes its point within that time frame. — (via AllMusic)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"700\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/3YaOJb3nucAVFJEsJ3vyTA?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Stones Throw Records \u003cbr\u003eFormat: Vinyl, LP, Album\u003cbr\u003eCountry: US\u003cbr\u003eReleased: Jul 22, 2022\u003cbr\u003eGenre: Hip-hop\u003cbr\u003e⦿\u003c\/p\u003e\n\u003cp\u003eFile under: Hip-hop\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":43716133027998,"sku":"659457246716","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0157112287_10.jpg?v=1714495306"},{"product_id":"eddie-chacon-lay-low","title":"Eddie Chacon - Lay Low","description":"\u003cp\u003e\u003cspan\u003eHaving recorded two superb albums of understated contemporary soul with keyboardist and producer \u003c\/span\u003eJohn Carroll Kirby\u003cspan\u003e, Eddie Chacon changed direction by connecting with \u003c\/span\u003eNick Hakim\u003cspan\u003e for his third one. Going into the two-year making of \u003cem\u003eLay Low\u003c\/em\u003e, Chacon told his new collaborator -- who had previously remixed the \u003c\/span\u003e\u003cem\u003ePleasure, Joy and Happiness\u003c\/em\u003e\u003cspan\u003e finale \"Above Below\" into percussive, dubbed-out funk -- that he was going for \"hazy and sensual\" with \"darkness, but there's light to be found if you search for it.\" In other words, as those familiar with \u003c\/span\u003eHakim\u003cspan\u003e's solo records and production work might hear it, \"Do you.\" It's no shock then that \u003c\/span\u003eHakim\u003cspan\u003e proves to be a compatible partner on \u003cem\u003eLay Low\u003c\/em\u003e. It's murkier and more psychedelic in relation to Chacon's preceding LPs while remaining grounded in leisurely paced, intensely contemplative R\u0026amp;B. \u003cbr\u003e\u003cbr\u003eThe singer was processing the death of his mother, and several songs regard a faltering relationship that isn't specified. There's one uptempo number. \"Empire\" is a low-slung disco-funk weeper with a touch of \u003c\/span\u003e\u003cem\u003eHere, My Dear\u003c\/em\u003e\u003cspan\u003e-era \u003c\/span\u003eMarvin Gaye\u003cspan\u003e (and \u003c\/span\u003eKirby\u003cspan\u003e on synthesizer), where Chacon sounds relieved to have found a right way to express long-simmering doubt. He seems to be eyeing a fresh start, and it's a reprieve from the grim prospects conveyed elsewhere. On \"Let the Devil In,\" he's practically overcome with grief, gently piercing when he confesses \"It's tearing me apart\" in falsetto. \"End of the World,\" one of a couple songs with washed-out Philly soul flourishes, is weary if comforting as Chacon expresses hopelessness. \"Good Sun\" sets the grieving tone as Chacon addresses his mother with \"I just miss you home,\" bereft in his head voice over drums that plod in a way that indicates stupefaction. Like \u003c\/span\u003eKirby\u003cspan\u003e, \u003c\/span\u003eHakim\u003cspan\u003e has a thing for vintage-sounding mechanical rhythms, and the spare and effective way they're utilized helps lend sonic continuity between Chacon's 2020 and 2023 albums. The key throughline, of course, is the sound of Chacon's voice -- an instrument that pacifies no matter the states of uncertainty and distress the purposeful lyrics indicate. — AllMusic\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=160929952\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Stones Throw Records\u003cbr\u003eFormat: Vinyl, LP, Album, Stereo\u003cbr\u003eReleased: 2025\u003cbr\u003eGenre: Funk \/ Soul\u003cbr\u003eStyle: Contemporary R\u0026amp;B, Neo Soul\u003c\/p\u003e\n\u003cp\u003eFile under: Stones Throw Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":45088482492574,"sku":"659457249847","price":48.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a1912512505_10.jpg?v=1739457886"},{"product_id":"madvillain-mf-doom-madlib-madvillainy-20th-anniversary-audiophile-edition","title":"Madvillain (MF Doom + Madlib) - Madvillainy  (20th Anniversary Audiophile Edition)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eWhat do you get when two of rap’s most inscrutable and esoteric geniuses decide to become a supervillain duo? A match made in hip-hop heaven. Madvillain, made up of producer Madlib and emcee MF Doom, released their one and only album in 2004 on Stones Throw Records. While we all would have loved more, the strange antihero alchemy on display here could only have been concocted once - simply because \u003cem\u003eMadvillainy\u003c\/em\u003e was so singular.\u003c\/p\u003e\n\u003cp\u003eInexhaustibly inventive and irrepressibly imaginative, Madlib’s immaculate beats - collaged from psychedelic rock, Brazilian jazz, easy listening and 80s R\u0026amp;B - feels like a fragmented fever dream, narrated over by MF Doom’s clever rhyme schemes and mythical narratives. This phantasmagoria of leftfield chemistry remains unparalleled to this day. — The Analog Vault\u003c\/p\u003e\n\u003cp\u003eTwo years in the making, and combining two of the best underground Hip-Hop artists of the early 2000s, this collaboration between MF DOOM and Madlib has been appropriately dubbed \u003cem\u003eMadvillainy\u003c\/em\u003e. With both men known for their stunning soundscapes, outlandish rhyming skills, and schizophrenic personalities, the duo decided to have Madlib concentrate on the beats and let DOOM handle the rhymes. In mixing their comic-book-like personas, Madlib and DOOM play to their nearly superhuman strengths, perhaps best exemplified by the singles “America’s Most Blunted” and “All Caps”. Madlib’s inventive production leans towards the jazzy side of his repertoire, and DOOM unleashes outrageous lyrics on par with some of his best efforts. Never flashy or glamorous, \u003cem\u003eMadvillainy\u003c\/em\u003e is served straight up, the way hip-hop was meant to be. — (via \u003ca href=\"https:\/\/gasdrawls.com\/products\/madvillainy?srsltid=AfmBOorRfavFYMr8-Xa1OKolF0TMIm12G_39U7q5mtoIBZ67GIfMUXRm\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMadvillainy\u003c\/em\u003e represents the highly anticipated collaboration between Madlib and MF Doom. Recorded throughout 2003 - a year which, between the two of them (under various aliases), saw more than eight releases featuring their work. When Madvillainy was released in March 2004 it became obvious that the best was saved for last as MF Doom's unpredictable lyrical style fits quite nicely within Madlib's unconventional beat orchestrations.\u003c\/p\u003e\n\u003cp\u003eTwenty-two short and blunted tracks bang out mythical stories of villains and urban (anti) heroes trying to make it through with their ganja and wits still intact - each flows together in a comic book fashion sometimes segued with vignettes sampled from 1940s movies and broadcasts or left-field marjuana-toting skits. \u003cem\u003eMadvillainy\u003c\/em\u003e's strength lies in its mix between seemingly obtuse beats, samples, MCing, and some straight-up hip-hop bumping.\u003c\/p\u003e\n\u003cp\u003eTake \"Accordion\" for example. A wacky accordion sample loops throughout a slow-paced beat and lazy bassline while Doom flies through almost unaware of the background at times. Or \"Raid,\" which features a beat that seems to be so out of time or step with a traditional hip-hop direction. But Doom sits quite comfortable within its frame and sets up Medaphor for a slick guest appearance. Other guests include the bad character, Lord Quasimoto, on \"Americas Most Blunted\" and the Sun Ra-inspired \"Shadows of Tomorrow\"; Wildchild blasts million-miles-an-hour rhymes on \"Hardcore Hustle\" and Stacy Epps floats through \"Eye.\" \u003cem\u003eMadvillainy\u003c\/em\u003e gets close to the genius seen on Quasimoto's Unseen, and like that record this one might take a few listens to find it. But once it clicks in, this disc stays in the player for days. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/madvillainy-mw0000335176\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"152\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/album\/19bQiwEKhXUBJWY6oV3KZk?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e↓\u003cbr\u003eLabel: Stones Throw Records\u003cbr\u003eFormat: 2 x Vinyl, LP, 45 RPM, Album, Reissue, Remastered, Audiophile Edition, 180g, Gatefold, 20th Anniversary\u003cbr\u003eReissued: 2024 \/ Original Release: 2004\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Jazzy Hip-Hop, Experimental, Leftfield, Abstract\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Hip-hop 2000 \u0026amp; beyond \/ Stones Throw Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":45117326753950,"sku":"659457206581","price":80.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a1024330960_10.jpg?v=1740470599"},{"product_id":"karriem-riggins-headnod-suite-1","title":"Karriem Riggins - Headnod Suite","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eKarriem Riggins is best known as a jazz drummer and hip- hop producer for artists like Common, Kanye West, The Roots, and Kaytranada, but he doesn’t categorize himself as anything but an artist. “You don’t have to put yourself in a box...there’s so many different ways to go,” Riggins says. A student of late jazz bassist Ray Brown, he tours with another Brown protégé, Grammy Award winner Diana Krall. He spent much of 2016 at work on Common’s much-heralded \u003cem\u003eBlack America Again\u003c\/em\u003e album, which included a performance at the White House as part of NPR’s “Tiny Desk” series. The son of late keyboardist Emmanuel Riggins, names of some of the jazz artists he’s backed reads like the genre’s hall of fame—Hank Jones, Oscar Peterson, Milt Jackson, Donald Byrd and Ron Carter.\u003cbr\u003e\u003cbr\u003eFor \u003cem\u003eHeadnod Suite\u003c\/em\u003e, his second album on Stones Throw Records, Riggins expertly builds on his credentials with 29 tracks of pure hip-hop—each track deftly crafted with swing that only a drummer would know. Swing is the weapon. And there’s always a message, be it verbal or instrumental. “Headnod Suite is a concept of several rhythmic ideas fused together,” Riggins says. “I wanted to\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eexplore the power of interludes and marrying different styles and harmony together.” Common makes a reciprocal vocal appearance on “Yes Yes Y’all,” which gives way to literal grunts from James Brown and the 1-2 shot of “Trombone Love” and the 16-bit funk “Crystal Stairs.” Riggins’ current path is less the jazz found in his family and career lineage, and more the hip-hop culture he found on his own.\u003c\/span\u003e\u003cspan\u003e — via Label\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=287555186\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003c\/div\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Stones Throw Records\u003cbr\u003eFormat: 2 x Vinyl, LP, Album\u003cbr\u003eReleased: 2017\u003cbr\u003eGenre: Hip Hop, Jazz\u003cbr\u003eStyle: Instrumental\u003c\/p\u003e\n\u003cp\u003eFile under: Stones Throw Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":45370405912734,"sku":"659457237714","price":40.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a0490008365_10.jpg?v=1745730866"},{"product_id":"charizma-peanut-butter-wolf-big-shots-coloured-vinyl","title":"Charizma \u0026 Peanut Butter Wolf - Big Shots (Coloured vinyl)","description":"\u003cp\u003e— Pressed on \"Apple Juice\" colored vinyl,  a tribute to Charizma's drink of choice. —\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBig Shots \u003c\/em\u003eis a tragic album. Not because the material is bad (it's quite the opposite, actually), but because it was recorded between 1991-1993 and only saw release in 2003. Add the fact that Charizma wasn't alive to witness the release and one can see the remorse that comes with the joy of it finally appearing. \u003c\/p\u003e\n\u003cp\u003eThe story goes that DJ Chris Cut (aka Peanut Butter Wolf) and Charizma, friends and musical partners, recorded a bunch of tracks for Hollywood Basic and that label sat on it and didn't put anything out (save for a promo cassette single), and then Charizma passed in 1993. \u003c\/p\u003e\n\u003cp\u003ePeanut Butter Wolf then inaugurated his Stones Throw label with the My World Premiere 12\" in 1996 and planned for a release of the full-length. Though there have been little tastes here and there (\"Devotion\" has surfaced a couple times) due to the success of the label and its roster, it took ten years for this release to materialize. The style is very early-'90s hip-hop. \u003c\/p\u003e\n\u003cp\u003eHere listeners get to witness Peanut Butter Wolf's production skills totally taking off - jazz samples and big beats slam in and out of focus in a simple yet perfected way that few producers employ today (DJ Premier comes to mind). Charizma then bops around in there with his own distinct voice that adds a warmth and innocence also missing from contemporary tracks. It's just a shame that this material didn't blow up in 1992 or 1993. Now, it's a historical document not unlike the Smithsonian Folkways releases; OK, maybe that's going too far, but it is a treasure that should be cherished by hip-hop fans the world over. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/big-shots-mw0000328947\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eCharles Hicks, a.k.a. Charizma was from the San Jose suburb of Milpitas, 16 years old when he hooked up with 19-year-old Chris Cut, the soon-to-be Peanut Butter Wolf. Fast forward three years or so, past a few demo tapes and a few shows. Charizma and Peanut Butter Wolf are now a solid team developing their own style and sound, one unlike much else in hip hop, and certainly unlike anything else ever to come from Milpitas. They landed themselves a record deal with the Disney-owned Hollywood Basics label and for the next year they'd both follow a strict regiment of making music all day long, taking breaks for pinball and apple juice. \u003c\/p\u003e\n\u003cp\u003eAfter recording about an album's worth of material, the only thing released was a promo cassette of their song \"Right Light Green Light.\" The group got out of their deal with Hollywood Basics, and the label soon folded. As artists, Charizma and PB Wolf were still reaching new heights, but the music was soon cut short. Charizma was tragically killed in December 1993. Charizma didn't live to see Stones Throw records but his influence is evident. The label's first release was Charizma \u0026amp; Peanut Butter Wolf's \"My World Premiere.\" The belated full-length album \u003cem\u003eBig Shots\u003c\/em\u003e followed in 2003. — (via \u003ca href=\"https:\/\/getondown.com\/products\/big-shots-colored-2xlp?srsltid=AfmBOooJlSE729TUaczWrX6R7MHLVlHc34K7JsX6gn8lE54MF3Kb09QU\" target=\"_blank\" rel=\"noopener\"\u003eGet On Down\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/5RosKCtF8yOxkdbE0pytph?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Stones Throw Record\u003cbr\u003eFormat: 2 x Vinyl, LP, Album, Reissue, Apple juice colour\u003cbr\u003eReissued: 2018 \/ Original: 2003\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Rap\u003c\/p\u003e\n\u003cp\u003eFile under: Hip Hop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":45870315569310,"sku":"659457207717","price":60.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/a_2e40d52d-ac92-48a9-969d-a41588ad59ed.jpg?v=1755094914"},{"product_id":"quasimoto-yessir-whatever-silver-cover-and-coloured-vinyl","title":"Quasimoto - Yessir Whatever (Silver cover and coloured vinyl)","description":"\u003cp\u003eWith his high-pitched voice, his weird, smart-ass stance, and his preference to conversate with others rather than just rap, producer\/rapper Madlib's alter-ego Quasimoto has always seemed the little-brother of the Parliament-Funkadelic character, Sir Nose D’Voidoffunk. Previous albums walked this character through a landscape of shrooms, weed, and chopped-up jazz-funk that were some of the most cherished beats in the Madlib catalog, and with these strange, mothership connections all strung together in a sensible style, this animated, snout-nosed smoker has some bona fide classics in his back catalog, making this merely good set look like a serious drop-off. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYessir Whatever\u003c\/em\u003e suffers from being disjointed and a bit too much like a sketchbook, but the album is pulled together from 12 years of archival recordings, some of them previously released on rare comps and out-of-print vinyl. The bud smoker's anthem \"Sparkdala\" and the pro-weed, anti-money roller \"Green Power\" are both fully fleshed out highlights landing here in their original mixes, while the great B-side \"Seasons Change\" gets its proper home here, standing tall on the album level with its breezy, '60s-styled rumination on the passage of time. \"Seasons Change\" is also a prime example of the album's biggest frustration in that the rich cut is aggravatingly short, while many of the new cuts feel unfinished and chopped, offering fascinating grooves and complicated sonic landscapes that deserve more hang time. Bundle them together and things get real choppy. \u003c\/p\u003e\n\u003cp\u003eStill, Lord Quas started as a secret project where only friends received private tapes, so if \u003cem\u003eYessir Whatever\u003c\/em\u003e seems too extra and too insider, it's totally within the project's spirit. Don't start here, but material-starved fans who have devoured earlier efforts will welcome this like a bag of scraggly \"get-by\" weed found during a drought. — (via \u003ca href=\"https:\/\/www.allmusic.com\/album\/yessir-whatever-mw0002515701\" target=\"_blank\" rel=\"noopener\"\u003eAllMusic\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eYessir Whatever\u003c\/em\u003e isn't an odds-and-ends consolation prize-- it's an interesting cross-section of Madlib's personal archives, and its scattershot nature is more a stylistic matter than a quality-control issue. The 12 songs on the album were written and recorded over a span of about a dozen years, going back at least as far as being concurrent with the earliest Lootpack releases (at least if the 1997 lyrical datestamp on “Brothers Can't See Me” is any indication). And even the earliest material here has that certain imprint that made the Quasimoto records so offbeat: mood-whiplash sequencing, tape-deck-quality fidelity with Jeep-quality beats, and rhymes that sound like a down-for-whatever stoner verbally sparring with the cartoon devil on his shoulder.\u003c\/p\u003e\n\u003cp\u003eThat familiar pitched-up voice starts the record on 2004's thousand-copy single “Broad Factor”, which opens with a declaration that “I know you're tired of dumb shit” and then goes on for a couple of verses about how good he is at getting his bone on. This isn't Madlib at his most esoteric: the beat's sourced from Johnny “Guitar” Watson's endlessly sampled “Superman Lover\", and even if the sex rhymes are fiendishly true to his alter-ego's altered id, they're also more slick than outrageous. Not to knock it, of course; Madlib's nearly as raw in classicist mode as he is when he lets his psychedelic\/jazzbo inclinations take over. But the more off-the-path work he did in the early-mid 2000s has a strength that stretches far past pretty-good indie rap into the stuff that cults are made of, and it's that prime material from assorted limited-edition 7” releases and EPs that'll be the draw here.\u003c\/p\u003e\n\u003cp\u003e“Seasons Change” was axed from Further Adventures when a Roy Ayers sample didn't clear in time, and what could've been the best cut on that album was relegated to the B-side of a “Bullysh!t” 7” released on the one-off label Lord Inamel's Wax in 2005. It's brought back here in full, a smooth-fusion lost classic that trades on a good vibes\/bad vibes dichotomy and includes one of the better self-descriptions of the Madlib aesthetic going (“Top choice, low rate, no gate, high voice\/ It's like we dipped the beat in water now we up on moist”). “The Front” and “Youngblood” were the respective A and B-sides of a 2005 Stones Throw Fan Club 45, and they fill the bill by emphasizing Madlib's own voice muttering restrained stress raps coolly through smooth jazz gone warped from repeated exposure to foundation-rattling low end. And going back a few years to 2002's Astronaut EP unearths a title track that, true to Quasimoto tradition, riffs off some Melvin Van Peebles Ain't Supposed to Die a Natural Death gems and careens disorientingly between three different voices-- Madlib, Quas and the sampled Van Peebles-- to jarringly conversational effect. There's also one of the best-spit lines you'll ever hear from Madlib's voice, pitched-up or otherwise; the way he rattles off “wouldn't be no more angel to me... anyway” is a surprising salvo of acrobatic flow from a helium voice that usually sounds casually flippant.\u003c\/p\u003e\n\u003cp\u003eA good part of this collection trades a bit on the mythology of those seldom-heard early Quasimoto experiments of the late 90s, when it was just stuff Madlib kept between himself and a few friends who were privy to his beat tapes. And while there's nothing revelatory production-wise if you've heard Lootpack's Soundpieces: Da Antidote, there's a little workshopper's insight in these protoypes for The Unseen-caliber bluntedness. They're a bit more focused (and less attention-grabbing) than ensuing years' choppy, non-sequitur-filled Quasimoto joints, rolling off a sound that aims to synthesize East Coast boom-bap into something a bit more sun-baked. The sleepy guitar loop on “Planned Attack” and the squeaky synthesizer whistle on “Brothers Can't See Me” are, along with his nothing-fancy scratching, the only things really brought in to accompany the breaks. But the drums are heavy enough and smartly assembled to the point that Madlib's foundation was clearly already pretty strong. And even if the spare, downbeat early draft of “Green Power” here doesn't measure up to the intricate, layered bop-bounce of the Unseen version, it still doesn't sound like much that was going on back in the late '90s-- and it was actually enough to start building one of the most voracious cult fanbases in hip-hop, so here we are. This isn't the new Quas album people might've hoped for, but as someone who values the obscure and underheard in other peoples' work, it's good to know Madlib has the same context, respect, and enthusiasm for his own vaults, too. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/18173-quasimoto-yessir-whatever\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/6jnkEgtcxePHtbay62bota?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Stones Throw Record\u003cbr\u003eFormat: Vinyl, LP, Compilation, Reissue, Silver Sticker Cover\u003cbr\u003eReissued: 2025 \/ Original: 2013\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Rap, Conscious\u003c\/p\u003e\n\u003cp\u003eFile under: Hip Hop\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":45870329430174,"sku":"657457232616","price":55.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/aa.png?v=1755096474"},{"product_id":"j-dilla-donuts-20th-anniversary-audiophile-edition","title":"J Dilla – Donuts (20th Anniversary Audiophile Edition)","description":"\u003cp\u003e\u003cstrong\u003e— The Analog Vault \/\/ Essential Listening —\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eQuestlove once referred to J Dilla as “the music god that music gods and music experts and music lovers worship.” If you want to know why the Detroit producer is so revered, one only has to point to Donuts, his unparalleled magnum opus. \u003c\/p\u003e\n\u003cp\u003eRecorded while he was hospitalised due to a blood disorder and lupus, and released in 2006 via Stones Throw, just three days before his death, this album is a swan song of epic proportions. Wielding his 45-rpm record player and Boss SP-303 sampler like a wizard with ADD, Dilla conjures sonic strains from disparate realms, only to atomise and transmute them into swirling new forms at breakneck speeds. Through 31 compact yet wildly inventive tracks - all instrumentals with zero rapping - \u003cem\u003eDonuts\u003c\/em\u003e serves as the ultimate testament to Dilla’s beat-making genius. — \u003ca href=\"https:\/\/theanalogvault.mom\/\" target=\"_blank\" rel=\"noopener\"\u003eThe Analog Vault\u003c\/a\u003e\u003cbr\u003e—\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eDonuts\u003c\/em\u003e Audiophile Edition is lacquer cut at Bernie Grundman and manufactured at Fidelity Record Pressing - 2LP 180g vinyl at 45rpm. Deluxe art printed Stoughton jacket. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDonuts\u003c\/em\u003e began simply enough - an idea to turn a good demo tape into a full-length album. It would end up being one of the defining works of J Dilla's life. Completed during the year Dilla spent in and out of Cedars-Sinai Medical Center in Los Angeles and released on his birthday - February 7, 2006, Donuts gained particular poignancy when he died three days later on February 10th. — (via \u003ca href=\"https:\/\/www.stonesthrow.com\/store\/donuts-20th-anniversary-audiophile-edition\/\" target=\"_blank\" rel=\"noopener\"\u003eLabel\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003eJay Dee continues to update soul music by paying homage to the selfsame sounds he's modernizing.\u003c\/p\u003e\n\u003cp\u003eJ Dilla's eagerly awaited \u003cem\u003eDonuts\u003c\/em\u003e, the follow-up to 2001's Welcome 2 Detroit (released as Jay Dee), is, like its predecessor, a stark departure from the cozy-socks-and-Xbox feel of his former group, Slum Village. In fact, Dilla, if anything, is imposing a meta-rap bent on neo-soul, assaulting the senses in ways unseemly for a guy who used to work with Q-Tip. The drums, though remarkably fluid, are lighter, domineered by dense, abrasive samples that are sequenced with a sense of swing. Percussive end pieces are shorn cheese-grater sharp, then appended to sickly spliced moans. The end result is akin to Norman Smith and DJ Shadow sitting in on a RZA-produced session-- spry, voiceless prog-hop by any other name.\u003c\/p\u003e\n\u003cp\u003eOpener \"Workinonit\" comes on like a Rubin-produced take on Schoolhouse Rock. Clang-y guitars give way to doubled-up groans and what sounds like a back-masked Zulu chant. The sample, supplied by '60s soulsters Them, is diced with manic precision, and around the 2:00 mark, the melody builds to a climax, fading, with echo-y vocal bits, into bodiless abyss. Equally engaging is \"Anti-American Graffiti\", which combines lighters-up, love-not-war humility with a track both wistful and world-weary: A crazed voice spouts end-of-the-world admonishments like some disenfranchised apparition, colliding with somber guitars.\u003c\/p\u003e\n\u003cp\u003eNot that \u003cem\u003eDonuts\u003c\/em\u003e deals with only obvious sample sources-- \"The Twister (Huh, What)\" is the sound of flu-sick flutes chiming in time to a busted weathervane; \"Waves\", a hiccuping Hare Krishna class. It's Dilla's show-and-tell method, however, that's most effective, because it illustrates how he's, more or less, upgrading soul music-- we get to see how he unpacked its bag, what spots he told it it missed. This approach also allows Dilla to pay homage to the selfsame sounds he's modernized; the drums are light, to reflect the original sound from which he's borrowing. In that sense, \u003cem\u003eDonuts\u003c\/em\u003e is pure postmodern art-- which was hip-hop's aim in the first place. — (via \u003ca href=\"https:\/\/pitchfork.com\/reviews\/albums\/4365-donuts\/\" target=\"_blank\" rel=\"noopener\"\u003ePitchfork\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e—\u003c\/p\u003e\n\u003cp\u003e20th anniversary audiophile edition\u003cbr\u003eReissued on 2LP 180g vinyl at 45RPM\u003c\/p\u003e\n\u003cp\u003eThe Donuts Audiophile Edition is lacquer cut at Bernie Grundman and manufactured at Fidelity Record Pressing.\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"100%\" height=\"352\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\" src=\"https:\/\/open.spotify.com\/embed\/album\/5fMlysqhFE0itGn4KezMBW?utm_source=generator\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e↓\u003cbr\u003eLabel: Stones Throw Records\u003cbr\u003eFormat: 2 x Vinyl, LP, 45 RPM, Album, Reissue, Stereo, 20th Anniversary Audiophile Edition\u003cbr\u003eReissued: 2025 \/ Originally Released: 2005\u003cbr\u003eGenre: Hip Hop\u003cbr\u003eStyle: Boom Bap, Cut-up\/DJ, Instrumental\u003c\/p\u003e\n\u003cp\u003eFile under: TAV Essential Listening\u003cbr\u003eFile under: Stones Throw Records\u003cbr\u003e⦿\u003c\/p\u003e","brand":"Stones Throw Records","offers":[{"title":"Default Title","offer_id":46514764480670,"sku":"659457330613","price":70.0,"currency_code":"SGD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0584\/5434\/3838\/files\/j-dilla-donuts-20th-anniversary-edition-02_800x-1.jpg?v=1771056785"}],"url":"https:\/\/theanalogvault.mom\/collections\/label-stones-throw-records.oembed","provider":"The Analog Vault","version":"1.0","type":"link"}