Various Artists: Stones Throw: Ten Years

It took the death of one of Stones Throw Record’s most talented stars, J Dilla, and tie-ins with the Adult Swim end of Cartoon Network to propel the indie hop-hop label to the mainstream. The California-based label has always been heralded by beat heads as the bringer of grooving fusions of jazz, soul, hip-hop, and funk. But now more than just break junkies know of its stars — Madvillain, Madlib, and J Dilla. So it is fitting that attention is paid to lesser-know artists and gems on the label founded by Chris Manak, a.k.a. Peanut Butter Wolf. Its founder appears to realize this as the 25-song compilation gives equal time to the final instrumental beats of producer/DJ J Dilla as songs from lesser-known artists, such as Gary Wilson and Aloe Blacc. And as the label’s earlier 12-inch singles increase in price, cuts only available on vinyl make the compilation still a must-have for those who have followed the label from its inception. Plus, the second disc ‘s seamless mix of songs from the compilation, assembeled by J. Rocc, makes it clear how united in a common sound its artists are.

Things begin with a product of the label’s finest collaborations — J. Dilla and Madlib. Under the name Jaylib, the duo’s “The Red” from Champion Sound was a sign of things to come. Madlib as a rapper can hold his own, but the real highlight is the soul sample expertly looped as the lyrics gain momentum. The sultry soul sound would be captured again as future label artists, such as Madlib’s little brother Oh No, tapped into its timeless power. The label’s re-release of forgotten soul and funk classics exemplifies its philosophy of devotion, not sample piracy. Madlib’s signature is present throughout the album, whether on his fictional jazz ensemble, Yesterday’s New Quintet, or underground hip-hop and stoners’ darling, Madvillain. Even “Low Class Cospiracy” rings true with his helium-voiced alter ego Quasimoto. Sure, his Madvillain collaborator, MF Doom, would sound better on it instead, but that’s what instrumentals are for.

Many of the album’s b-list artists lack the ability to create a complete album like J Dilla and Madlib, although it could be argued that the producer’s latest releases with their two-minute songs are more snippets of ideas than true compositions. But both the duo and the lesser-known artists’ contributions are so good that they are immediately forgiven. Two minutes of smooth, jazzy beats are worth five minutes of crunk. At less than three minutes, Fabulous Soul’s “Take Me” comes off like a lost Stevie Wonder song with the necessary summer bounce for any lazy roll in a hooptie. For those who remember a time before Madlib’s dominance, one only needs to look back at Peanut Butter Wolf’s early creations. His “In Your Area” featuring Planet Asia shows where the label has come, but it still holds its listenable, minimalist power.

Snuggled in between the first tracks are glimpses of the label’s features. Oh No’s “Move Pt. 2” shows a production style that is a hybrid of J Dilla’s pop sense and Madlib’s throwback jazz sensibilities. His vocals are nothing we haven’t heard, but like other Stones Throw masters, he knows how to shape the sound around the prose. This Dylan-like ability to fuse the harmonious and the gravelly or annoying is seen on every Quasimoto track. Just as heartfelt and insightful lyrics helped a raspy folkie transcend his voice box limitations, Dudley Perkins creates poetry on “Falling” despite his unspectacular vocal chords. These limitations are what make the Stones Throw label like a slightly scratched vintage jazz record. The songs skip sometimes to create snippets rather than complete compositions, but once the needle hits the groove — well, you know the rest.