The thought of hearing Ucok Harahap’s shriek of hedonism, Harry Roesli and his gang’s jabs at the government or the screams of Deddy Dores in Freedom of Rhapsodia on a Now-Again produced record (and indirectly, Stones Throw) is surreal yet definitely exciting.Not least because Now-Again’s parent label have been releasing alternative, progressive, quirky and forward thinking hip-hop (not to mention spaced out jazz, retro soul, boogie funk, electro-hop, and prog rock) for over 10 years now with proof in the form of Madlib and his many guises, Mayer Hawthorne’s motown-era soul, the nu-prog of Mars Volta’s Omar Rodriguez Lopez, J Dilla’s magnum-opus ‘Donuts’ and Dam-Funk’s Toeachizown boogie-funk series to name a few.

While Now-Again themselves have released ‘new’ records from funkateers and post hip-hop heads such as The Heliocentrics, Karl Hector & The Malcouns, Mr.Chop, Dimlite and the Whitefield Brothers, heir audio and visual work on compilation re-issues and re-packaging is perhaps what they’re best known for.The meticulous research and great artwork that goes into gems such as Forge Your Own Chains -Heavy Psychedelic Ballads and Dirges 1968-1974, Calfornia Funk,
P.E. Hewitt Jazz Ensemble – Winter Winds and Black Man’s Cry – The Inspiration of Fela Kuti makes the prospect of an Indonesian compilation an intriguing one.

Whiteboard Journal recently sent Egon a few questions with regards to his role in Stones Throw, his visions for Now-Again and a little chitchat about Indonesian records as well as the up coming compilation.

E: Well, I’m not sure if I was ever “head of A&R.” That was a hotly contested title with, at points, Madlib, myself and Jeff Jank wearing the title for some weeks or maybe months. Chris Manak, also known as the DJ Peanut Butter Wolf, who founded and owns Stones Throw is the head of A&R at Stones Throw – he most loves and is passionate about artistic development.So, in the past, where Madlib might have been on a streak for six months where he just did anything he wanted to do, or if Jeff went in and re-edited J.Dilla’s “Donuts” album, Wolf has always been the boss.

Stones Throw, although it’s been accommodating of other artistic preferences over the years, is solely Chris’. Now the administrative side – Chris will tell you he has little care for any of that! So when I first came on, even though I was tasked with, say, the Breakestra’s album or putting together The Funky 16 Corners, I always had free reign to set up the business as I saw fit, as long as I didn’t bother anyone or lose any money. Thank god for that, or we would have ended up like Factory Records or something like that. I guess I just have a knack for it. Or I was able to make enough mistakes when no one was looking or paying attention and thankfully learn from those mistakes!

Tell me about the reason why you established Now-Again records. How does it differ to the work you do for Stones Throw?

E: I started Now-Again to focus on the reissues I had been working on since I was in college; in 2001 Madlib had basically taken a long break from making hip hop music, Wolf was focusing on his Dj-ing and we weren’t signing many acts, and Stones Throw was in danger of releasing only records I’d marked for reissue.

Both Wolf and Jeff were a bit upset with this – not because they didn’t respect the music, but because they didn’t want Stones Throw to be known as a reissue label. I guess I didn’t either – but I was, being the business guy, being pragmatic. We needed records coming out to fill our release schedule.