Ray Alexander Technique – Let’s Talk – LP #17 in Now-Again Reserve

Now-Again | Jun. 21, 2020 | News |

The elusive gemstone of 1970s Harlem soul and funk from the Ray Alexander Technique, officially reissued for the first time with bonus tracks and previously unreleased alternate mixes.

After myriad Coronavirus-related delays, it is shipping to subscribers now. Interested fans can still sign up and receive it immediately. We will announce the next Now-Again Reserve title in mid July.

SUBSCRIBE: NOW-AGAIN RESERVE – there are a limited amount of “Catch Me Up” subscriptions still available to get you the entire run of NOW-AGAIN RESERVE releases.

Renowned for its enviable combination of musical muscle and malleability, guitarist/songwriter Raymond Alexander Jenkins’ tight four-piece unit was so revered on the uptown club circuit that it was offered the opportunity to serve as the Apollo Theater house band. Jenkins demurred, hopeful and confident in his group’s chances at making it on its own, and Let’s Talk is the sublime result of their hard work. (more…)

Now-Again x Vinyl Me, Please x Strawberry Rain – The Story of Zamrock Box Set

Now-Again | Jun. 3, 2020 | News | ,

The Story of Zamrock, a Now-Again x Vinyl Me, Please x Strawberry Rain release – SOLD OUT.

The Story of Zamrock is told through 8 Zambian garage, progressive and funk rock albums, including WITCH’s private-pressed version of their landmark Introduction and an unreleased album by The Fireballs.

Heavyweight two-piece slip and hand-numbered slash box.
Audio restoration & remastering by Dave Cooley at Elysian Masters.
Limited to 750 copies
Pressed on 180g black vinyl with heavyweight tip-on jackets.
24-page booklet with extensive liner notes and newly unearthed photos.


An Introduction To Sweet Funk – A Live Mix By Egon

Now-Again | May. 28, 2020 | News | ,

If you’re looking for something to take up 30 minutes of your time and you’ve already rewatched, with bemused horror, everything about that guy and his tigers, then dig into a summery Sweet Funk primer with Egon’s mix, now up at Spotify. It’s a live mix of tracks from our Loving On The Flipside anthology and related music, some of which hasn’t made it up on to digital distribution services, and some of which we’ve been trying to get sorted out for reissue for some time.

Spiritual Jazz History – Reflecting On The East with Juju’s James “Plunky” Branch.

Now-Again | May. 11, 2020 | News | ,

The exterior of The East, late 1970s.

Juju/Oneness of Juju’s Plunky Branch in front of the historical home of The East, 2019.

5 legendary albums of Spiritual Jazz and Deep Funk. Shipping immediately via our web store at Rappcats.

Juju’s Live At The East 1973 is part of our definitive reissues of five classic albums from the Black Fire collective. These 5 records are presented individually and as part of an obi-wrapped set that offers a value priced set of the albums. Limited edition, one time pressing.

Here, watch a short film documenting Juju/Oneness of Juju’s founder and saxophonist James “Plunky” Branch returning to the historical home of the legendary Brooklyn jazz venue and cultural center The East alongside Now-Again’s Eothen Alapatt in early 2019. This piece was filmed and edited by Josh Tyson-Fermin

In this piece, Plunky reflects on The East, its importance and legacy, and the cauldron of music now called “Spiritual Jazz.”.

Now-Again issued Juju’s Live At The East 1973 in conjunction with Vinyl Me, Please in 2019. It’s out now and is part of our Black Fire 5LP Set. It is one of only three jazz albums, alongside Pharoah Sanders’ Live At The East and Mtume’s Land of the Blacks, recorded at the venue.


Egon | May. 3, 2020 | News |

This post was originally written and published by Egon on September 23, 2008.

I chose to attend college in Nashville, Tennessee because I knew that I’d be able to spend my spare time searching for rare records in a city where competition was nil. Well, that’s not exactly true – there were really ahead-of-the-curve collectors, like Chad Phillips, who I would later collaborate with on the Kid Robot Madvillain and Quasimoto toys for Stones Throw, and there was Doyle Davis, who hosted a great show on Vanderbilt’s WRVU FM called “D-Funk,” and there was Count Bass D who, besides Doyle, was probably the only person I had met to date that had found a copy of David Axelrod’s Songs of Innocence in the field. But, with the knowledge I’d received from a great many teachers in the Northeast prior to my arrival, I felt uniquely equipped to search out, say, regionally released 45s by the likes of Joe Lee and Eddie Bo in 1997.

And there were just so many places to get the goods: the rarer of the two issues of The Cult’s The Mail Must Go Through literally fell into my hands at Phonoluxe Records. Phillip, if I remember his name correctly, threw it there, telling me that he knew it was in demand in Japan, a scenario that seemed preposterous to me back then. Private pressed (we didn’t call ’em that back then, but whatever) rural rock records with decidedly awesome covers of Average White Band tunes stacked up against deep-groove Blue Note LPs at the Great Escape on Broadway, where Doyle, the chain’s manager, often showed me the latest scores before they were filed into the new arrival bins.

But the spot of spots was Lawrence Record Shop, which we all called Lawrence Brothers, in downtown Nashville. Downtown Nashville was nothing like it is today. It wasn’t hip in any manner. Next to venerable country repository Ernest Tubbs, near the juke joints and the barbecue stands, down the street from the great food emporium Arnold’s, stood this library of 45s and LPs by soul, funk, bluegrass, rock, country and jazz artists. The story went, as I recall, that Daddy Lawrence bought the building in the early 1960s and filled it up with whatever goods he could find. As record stores and distributors went out of business, he filled up the basement and upper two floors with boxes upon boxes of dead-stock vinyl. The store front contained bin after bin chock full of 45s, each with a location number penciled on a dividing card. If you found something you liked, there was a good chance that there were hundreds more copies upstairs.

Thus, by the time Paul Lawrence took over the store’s day to day operations with his brother Ted and wife Paulette, and he lowered the price of each 45 to three dollars a piece, we didn’t hesitate to buy hundreds of copies of James K-Nine’s “Live It Up” on Federal – right around the time that Dante Carfagna got his first copy and called the drummer, James Black, “Mr. SP 1200,” as fitting a description of Black’s straight-ahead funk if I’ve ever heard one. Dozens of Kay Robinson’s “The Lord Will Make A Way Some How” came down from upstairs, alongside a copy or two of then-rarity like the Overnight Low on Deluxe or a cut that eventually made it to my Function Underground anthology of Black and Brown American rock, “The Siesta Is Over.” (more…)