Snowboy is a Latin conguero and bandleader from the UK.  As a man known for his extensive knowledge of music,

and a record collection to match, he was asked to put a compilation together of current bands that represent new takes on what many perceive as old styles of music. “New Vintage” is a perfect way to introduce a new generation to contemporary music that pays homage to the pioneers, and innovates and progresses these styles of music into the new millennium.

This compilation, as with any compilation, is a great stepping stone for diggers. You get the most bang for your buck ($23 for 21 songs on vinyl), access to rare or hard to obtain tracks (especially coming from small runs or overseas labels), and, most importantly, you learn. You can identify the songs that you like most, read the liner notes, and try to find the original copies.

I like how well rounded this comp is, from the heavy organ funk of Speedometer to the garage sounds of Rich Clifford & The Saddows.  While varied throughout, they gel together to represent a common theme.  These styles of music are alive and well!

TRIVIA TIME! We have one copy for the first person to tell us the name of DJ Vadim’s new album, released on BBE.

There are A LOT of compilations out there.  From african funk to obscure european sounds to NY underground loft party music from the 70′s, and BBE has a heavy reputation of releasing some of the highest quality comps.  They don’t play.  From the moment you get your hands on anything from the BBE label, you know you have something special.  I mean, we’re talking CTI & Blue note level of craftsmanship, people.  BBE comps are always mad thick, heavy stock cardboard, great artwork, and just an overall high high high aesthetic value.  This compilation is no different, as they pay tribute to Perception & Today Records.

You may have some Perception/Today records in your collection and not even know it.  You most definitely have HEARD music from this label.  I wasn’t too informed on them, even though I own a couple Black Ivory joints.  I’ve mostly heard people playing some of these classic tracks at parties or bboy events and what not, so to hear them and make the connection was a big deal for me.  Also, after reading the extensive liner notes (written by Dean Rundland), I was left with a much deeper respect for this label, which only lasted for about five years in the early 1970′s.

Think of it like this:  Imagine Stones Throw Records in LA came out with their first release in the mid-90′s.  What if post-2004, after spending the last few years releasing the first Quasimoto album, Lootpack album, Jaylib, and Madvillain record, numerous hip hop singles and funk 45 records, Stones Throw just closed their doors, Peanut Butter Wolf disappears into obscurity, and the label is never heard from again.  This is kind of what happened with Perception/Today.  The combined effort and brainchild of Terry Phillips and Boo Frazier, Perception/Today steadily released some of the finest funk, soul, and jazz music of its time until 1974, when the label closed its doors.

TRIVIA TIME! We’ve got one copy of BOTH VOLUMES to the first person who can tell us what the letters BBE stand for?

After trolling the web, I found this cool mix by DJ Chris Read, of all the tracks on this compilation.  Check it:

Best of Perception & Today Records (BBE Release) by Chris Read (Musicofsubstance) on Mixcloud

Zafar Chowdhry is the man behind ZafsMusic.com, a website devoted to the sale and discovery of rare soul, disco and boogie records. More importantly he is also the guide to this particular night out. The end result being a well curated collection of bumps and grinds starting off with none other than the bubbling analog synths and floating electronic washes of “Dance” by Ashanti. Absent are the expensive, overblown strings which add unnecessary cheese to so many of the more famous Disco cuts we know. That glitz and glam has been stripped naked and replaced by a gritty Disco strut under a sweaty sax that is truly “private” in it’s dense and soaring raunch.

“Sweet Maryline” by Christian Gaubert features horny horns and an angular vocal line the likes of which any major label studio exec would surely water down if not nix altogether. Wet Rhodes float atop a punctured bass line creating an easy glide perfect for this private rendezvous through the dark side bars of the night.

“When I Come Knocking” by Poncho C. Saint Fingers starts off with a lo fi drum break leading into a bass line so tight and throbbing it could pass for the illegitimate love child of MJ’s “PYT”. Throw in some Smooth Jazz horns, impassioned raw vocals, with sultry electric guitar straight out a scene from a Ralph Bakshi movie, and you have genuine funk delivered in the most private of packages.

Time spent listening to what Chowdhry and BBE have been so generous to share here, is indeed time well spent, and if you want to be extra awesome, you can grip the double LP and assume the role of private guide for sultry dance experiences of your own.

- The Kind Cromang

I ask myself that all the time. I’m talking about real hip hop. Not (c)rap. That raw boom bap shit with dope lyrics. It’s hard to find now. I know it’s out there but hip hop is seriously in a state of 911. Dr. Dre recently annointed rapper Kendrick Lamar as the new king of the west coast. I don’t even know how to respond to that. I almost threw up in my mouth just typing that.
Well producer Beatsmith Resist from San Diego is doing his thing in keeping the real shit going. “Philthy Phalangez” and “Wretched of the Earth” are two tracks available on 7″ flexi disk. The first track “Philthy Phalangez” is a straight up raw instrumental track. It’s dark. It’s got that classic boom bap drums you can bob you head too. It reminds me of production by DJ Krush and early DJ Shadow. It’s raw, eerie, and pretty fresh. I could picture it being used in a horror flick. It’s mad grimy. The second track “Wretched of the Earth” is also an instrumental track. This track is more complex. I had to listen to it a few times to soak it all in. It also is very raw and dark but worldly at the same time. It’s hard to describe. It’s almost experimental. It really reminded of production by El-P. It’s got nice drums, bongos, etc. but also this Indian vibe to out. It’s hard to describe but I was feeling it.
In an interview on You Tube Beatsmith Resist talks about his production and influences. His tracks are primarily composed of drum breaks and folk music from records. He also says the track “Philthy Phalangez” was shroom inspired and listening to it that definitely makes sense. Be sure to check out his website where the 7″ flexi disk is available for sale and the full length album is available for download.

TO OUR READERS: First person to answer on our blog the name of the song and group where the line, “Where in the hell did the hip hop go?” will receive a free copy of the 7″ flexi disk by Beatsmith Resist. Answer must be posted on our blog to win.

DJ 671

Ryan Baysa is a Los Angeles DJ/Designer/Writer for the Beat Swap Meet and the Straight Ahead

TO OUR READERS: We have one copy of this single to the first person who posts on our blog the name of Turquoise Summers upcoming LP and the release date.  Answer must be posted on our blog to win.

DJ 671