After recording for these other labels, I realised that I was having as much fun promoting the records as recording the songs. I also became confident that I could do a good job running a label, and more importantly convinced a distibutor Nu Gruv Alliance that I could do it. It had been three years since he died, but people still thought it was a new song.
KRS was nodding his head and asked Kenny who it was and how he could get a copy. At that point, I realised another goal had been met — approval from someone who influenced us. So, why am I telling you this personal story? Because Stones Throw Records is a very personal label for me. I put out what I personally like and save the rest for the other labels out there. This has worked for me so far, and if it stops working for me, it will be the end of Stones Throw as a label.
I may be wealthy someday, but only as an indirect consequence of putting out what I believe to be good music. As an artist myself, I have the artists help decide how much money to spend on promoting their records. We all split the profits after expenses, so it makes sense that we collectively decide how much to spend on promotion. I put out instrumental versions of the albums because 1 the artists should be able to rock a show from vinyl, and 2 the DJs ask for it. Does the reality live up to the dream?
First of all, there are never enough hours in the day to answer every letter, phone call, and email. In the morning you brainstorm about work while taking a shower and at night your dreams revolve around deadlines that you missed. Collecting money from people and for people also takes a toll after a while. Monthly phone bills the size of a house payment can bring on an ulcer.
Also, you want to help people starting out because you were there once, but when people get aggresive and demanding, you have to draw the line. Others are upset with your perceived success and want to keep you down so they talk about you and of course it gets back to you. Widely considered the most notable underground MC of the new millennium, MF DOOM went on a tear averaging an album released every year under a number of aliases from An audio movie of sorts, sharp punchlines met left-of-center production as Madvillainy was a showcase for Madlib and DOOM at their best.
Initially making his mark at Stones Throw as a conventional hip-hop producer earlier this decade, Body Wash proves Mndsgn had more ambitious aspirations all along. A complete from preconceived notions, this switch-up found the already well-respected musician becoming a mastermind as he added vocal harmonies to his arsenal. Having gained his greatest platform with this ingenious change of pace, Body Wash was a bold step out of his comfort zone full of creative risks that paid off in spades.
His opus Invite The Light celebrated the legacies of pioneers including Kashif, Ohio Players, Rick James and Prince while innovating and building his own sound from scratch. An unsung hero of the modern Los Angeles music scene, Kiefer Shackleford is equal parts traditional hip-hop producer and pianist. Approaching 30 years as a professional musician, Snoop Dogg has never hesitated to follow his inspiration and create based off of a vast musical appreciation for better or worse.
Ahead of the release of a new documentary, entitled Our Vinyl Weighs a Ton: This is Stones Throw Records , which tells the story of the past 18 years of the label, we take a look at some of the lessons we can learn from it.
According to producer Madlib, "When Dilla passed everything changed … motherfuckers didn't know what to do. A decade after it was released, the much-celebrated MF Doom and Madlib album Madvillainy is still critically acclaimed by hip hop purists. One of the funniest facts in the film is courtesy of Madlib, when he admits that he and Doom hardly saw each other during the creation of the album. Click here to watch Music for Drums video. Wolf breaks down his commissioning process in rather straightforward terms, favouring artists "that nobody has heard of".
In a later scene, label member Jonti strolls up the boulevard in a fluorescent-pink fluffy bear costume.
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