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It’s always the quiet ones you gotta look out for. The latest landmark from Stones Throw Records crept up with the release of the aptly titled “Stones Throw 100,” a collection of tracks from Quasimoto, Percee P, Madvillain, Jaylib and Medaphoar. Its companion piece, “Stones Throw 101,” is a DVD featuring the videos you’ll never see on MTV and a mix CD compiling 70 minutes of the best from its catalogue. Alluding to a beginning college course, what you hear is straight academic—an audio syllabus that introduces the listener to the history of the label and guides you through layers of recommended topics. But don’t get it twisted, the titles serve as a definitive reminder rather than a lack of creativity; Stones Throw artists have plenty of that.
Burger-flipper turned DJ, producer and label owner, Peanut Butter Wolf grew up listening to show tunes and Sinatra. “My parents had the ‘Hair’ soundtrack, which was as close to something cool that they would have.” So how did he become the hip-hop presence he is today? The way most music enthusiasts do—by finding it on his own. He now has an innumerable amount of wax, a collection that proves his eyes are bigger than his ears. “It’s at the point where they’ve really taken over me. I could never have enough time in my lifetime to listen to all the records I own.” But back in 1979, each piece was coveted with hunger. He began buying records with money saved from an allowance, even skipping lunch at school to afford additional purchases. Hearing releases from Tuff City, Wild Pitch and Tommy Boy prompted the connection of invisible dots: the more hot records a label released, the more he trusted their artistic judgment. “I would buy anything on them because I knew what I was getting.” The relatively short history of Stones Throw is well documented, and while Peanut Butter Wolf doesn’t model his business plan after a specific template, it is evident that he picked up a useful tool long before he owned anything more than a wavy blond schoolboy ‘do and a crate full of records: consistency.
Stones Throw is composed of bona fide artists, not just a roster of names. Surprisingly, the releases have not yet made the impact they should, or sold as many units as is possible. Perhaps this is in part due to its talents’ preference for the studio instead of the stage, but it is certain that all decisions are made collectively and with the intention of making quality music. “Even if it only sells 500 or 1,000 copies, it’s worth it to be able to do whatever you want.” Peanut Butter Wolf already knows that with ethics like these, it takes “a little longer to reach the people.” Underground heads and music collectors have backed the eclectic, futuristically familiar hip-hop/funk/jazz fusions, but lavish financial success has thus far eluded the label. “I’m real proud of who we work with, but I’m always frustrated that they didn’t sell as many as I anticipated or not enough people supported it.” This may change in the upcoming years, with sophomore contributions from names that currently carry the crew. “There are a few albums we released—Madvillain and Jaylib, Quasimoto a few years ago—that I’m really counting on their follow-up records to be reaching more people.” He recalls watching a Pharrell interview on “106 & Park” in a tone more dumbfounded than critical. When asked who his favorite producer was, the response was J-Dilla. “The host didn’t know who that was. It’s unbelievable sometimes.”
Left to Peanut Butter Wolf, mainstream hip-hop media and consumers may finally acknowledge the efforts of musicians using experimental methods to create steadfast ideas. Stones Throw is a label whose reputation is constructed solely by individualistic artists who let the music promote itself. And for these guys, it’s easier done than said.
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