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Get On Down Vinyl, CD & Tape 116 Items

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Cypress Hill - Cypress Hill 25th Anniversary Skull
Cypress Hill
Cypress Hill 25th Anniversary Skull
Box Set | 1991 | US | Reissue (Get On Down)
39,99 €* 79,99 € -50%
Release:1991 / US – Reissue
Genre:Hip Hop
Cypress Hill teamed up with Get On Down to celebrate the 25th anniversary of their1991 debut with an ultra deluxe "25th Anniversary Skull" reissue.A heavy skull, a hardcover book and the phenomenal debut on CD. Inside of a thin, black paperbox that might have storage wear. The skulls and the other stuff is totally mint, but the paperbox might (!) be a bit worn. Because of that we can offer you this great box for 44.99 instead of 79.99 Euro. The entire set is housed in a unique, hard resin black skull - a faithful, 3-D physical recreation of the group's 1991logo. A CD with remastered audio and a 100-plus page hardcover book are also included. The book features extensiveliner notes by journalist Chris Faraone with input from B-Real, Sen Dog and DJ Muggs, and also includes full albumlyrics and rarely seen photos provided by the group, as well as press clippings from 1991.
Craig Mack - Flava In Ya Ear
Craig Mack
Flava In Ya Ear
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Hip Hop
Preorder 23.11.2018
1994’s “Flava In Ya Ear” captures one of those moments in Hip Hop that canbe called career defining for nearly all involved. Of course this was CraigMack’s biggest selling single, landing at number 9 on the Billboard Hot 100and hitting Platinum status.Issued as a 12” – the Remix Dirty version of the song is easily one of themost famous posse cuts, with notable contributions from Busta Rhymes andNotorious B.I.G. And to bring even more fire - the cut also features Rampageand LL Cool J. This was also one of the first releases from Sean Combs andthe Bad Boy imprint, setting the stage for years of success to follow.Get On Down presents this special collectible 7” edition in loving memory ofone of Craig Mack’s greatest achievements as an artist.
Clipse - Hell Hath No Fury White Vinyl Edition
Clipse
Hell Hath No Fury White Vinyl Edition
LP | 2006 | US | Reissue (Get On Down)
19,99 €*
Release:2006 / US – Reissue
Genre:Hip Hop
In the 4 years after The Clipse dropped their sophomore classic Lord Willin’ the duo was able to build a legacy that hadfans hungry for new material. After the smoke cleared and they hit the studio the Virginia brothers recorded the confidently mature sophomore effort, Hell Hath No Fury. Best known fortheir unconventional radio smash “Grindin’,” Clipse are no strangers to taking risks with the boundary-pushing Neptunes, who return as trusted co-pilots for Hell Hath No Fury. Asalways the duo is right at home over The Neptunes crafted beats which perfectly embrace Pusha’s inventive drug-gamemetaphors and Malice’s soul-baring confessionals.From the bouncy lead single “Mr. Me Too” and the Slim Thug assisted “Wamp Wamp” to the oddly haunting "Keys OpenDoors" to "Momma I'm Sorry", Hell Hath No Fury represents some of the duo’s best work. On the hypnotic “Keys OpenDoors,” over the eerie mix of screwed-up angelic voices, chimes and congas, the brothers run circles around thecompetition, while the spine-tingling boom-bap of “Ride Around Shining” sets the stage for Pusha’s hilarious boasts.Whether rhyming over distorted, lo-fi guitar plucks (“Dirty Money”) or overblown 808s (“Trill”), the brothers come with colorful references and inventive word play that easily placesthem in a lyrical class of their own. Get On Down now proudly issues this Neptunes produced favorite on LP for the first time ever with the first run on white vinyl.
Dead Prez - Let's Get Free
Dead Prez
Let's Get Free
2LP | 2000 | US | Reissue (Get On Down)
26,99 €*
Release:2000 / US – Reissue
Genre:Hip Hop
Preorder 23.11.2018
Dead Prez may have been slightly ahead of their time during their golden years, but that is definitely meant as a compliment. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy / Roc-A-Fella era of nihilistic excess in the late ‘90s, they also signed to a major label (Loud /Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel.The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in theearly 1990s (M-1 originally hailed from Brooklyn). By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts.By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian.After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free. The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets).Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” (which became the de facto theme song for “Chappelle’s Show”); “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of theLast Poets); and the poignant “I’m An African.” But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000s peers. Highlights:the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” (co-produced by frequent collaborator Hedrush); “They Schools” and “Propaganda”(co-produced by Lord Jamar, one of five songs he assisted on).All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time. If you don’t agree with the previous sentence, give Let’s Get Free another listen… you might be surprised at how well it has held up over the years."
Too $hort - Shorty The Pimp
Too $hort
Shorty The Pimp
LP | 1992 | US | Reissue (Get On Down)
25,99 €*
Release:1992 / US – Reissue
Genre:Hip Hop
Too $hort’s legendary 1992 effort “Shorty The Pimp” is back in effect on vinyl thanks to the hip hop preservationist at Get On Down. Though many don’t consider this to be one of Too $hort’s strongest releases, the project did move well over 80,000 in its first week of release landing at Number 6 on the Billboard Top 200. Taking the title from the incredibly rare 1973 Blaxploitation film, Too $hort does what he does best on Shorty The Pimp: funk beats, boastful braggadocio, a few conscious rhymes and layers of straight up pimp talk. The lyrical content can certainly be considered comical and entertaining. “Shorty The Pimp” is also a stand out project for producer Ant Banks who did many of the beats for the project, his first works with Too $hort with many more to follow over the next decade. Oddly enough, one of the best comments on “Shorty The Pimp” comes from a random guy on the internet who commented on his experience listening to the release, “I ran my car into a tree after listening to ‘It Don’t Stop’ Definitely made for cars with the booming systems!”
Hardrive - Deep Inside
Hardrive
Deep Inside
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
DEEP DEEP DOWN INSIDE!With the Masters At Work name under contract elsewhere at the Peakof their career, Kenny Dope and Louie Vega had little choice butto work under other names for their Strictly Rhythm projects.Hardrive became popular, largely thanks to the iconic ‘Deep Inside’whose vocal hook (from, Barbara Tucker’s ‘Beautiful People’) andbass line helped made the track become one of House Music‘s mostmemorable hits. “Sometimes a record just manages to capture anddistill the true essence of what this is all about and 'DeepInside' is one such record, it bears all the hallmarks of goldenera Masters At Work, all the signposts of what was happening inNYC's clubs in the early to mid 90's were there within it'sgrooves. You know a record is good when it's still being, quiteliterally, hammered nearly 25 years later”. It’s no surprise evenKanye West would sample this classic to make another chart toppingtrack! This one's a straight up essential for any self-respectinghouse music aficionado. Availble for the first time as a 7”.Original mix on the A, Dub on the Flip. You know what to do!
Group Home - Livin' Proof
Group Home
Livin' Proof
2LP | 1995 | US | Reissue (Get On Down)
28,99 €*
Release:1995 / US – Reissue
Genre:Hip Hop
Although they have been tragically defunct for almost two decades, the influence of Gang Starr is still felt today, almost as heavily as it was back in the 1990s, when DJ Premier and Guru ruled atop boom-bap mountain. As fans know, beyond the duo’s direct output, one of their lasting legacies was bringing younger talent to the rap world at large – including Jeru The Damaja, M.O.P., Afu-Ra and Big Shug. One of the more unsung talents that came out of the Gang Starr Foundation was the Brooklyn-based duo Group Home, consisting of MCs Lil Dap and Melachi The Nutcracker.Dap was first showcased on the Gang Starr posse cut “I’m The Man,” on 1992’s Daily Operation, Melachi appeared on “Words From The Nutcracker” from 1993’s Hard To Earn. The early Group Home song “So Called Friends” was also featured on 1993’s now-legendary Gangstarr Foundation Sampler, which also gave the world Jeru’s “Come Clean.” By 1995, Dap and Melachi had paid their dues and finally got their own full-length: "Livin’ Proof". And it was everything that Gang Starr and any true school hip-hop fans could have wanted, produced almost entirely by DJ Premier (with two exceptions: “Serious Rap Shit” helmed by Guru himself, and “4 Give My Sins,” produced by Jay-Z mentor Jaz-O (aka Big Jazz).Beyond the album’s still-jocked commercial singles – “Supa Star,” “Livin’ Proof” and “Suspended In Time” – there are Premier-overseen classics all over, including “The Realness,” “Inna Citi Life,” and “Sacrifice.” In fact, many Gang Starr scholars agree that the beats on Living Proof are in the Top 5 of all Premier-produced albums – no small boast, but certainly hard to disprove. More than two decades later, the album still sounds as strong as it did upon its release. So dust off your turntable and give it another ride, back to the days when boom-bap was real, and ruling.
Loose Joints - Is It All Over My Face
Loose Joints
Is It All Over My Face
7" | 1980 | US | Reissue (Get On Down)
13,99 €*
Release:1980 / US – Reissue
Genre:Organic Grooves
ARTHUR RUSSELL’S SEMINAL DISCO CUT "IS IT ALL OVER MY FACE"AVAILABLE COMMERCIALLY FOR THE FIRST TIME ON 45.When the mainstream turned its back on disco in the early 80s, it allowed dance music to once again choose its own path. As an artist, Arthur Russell routinely chose the paths less travelled. The original male vocal mix true to Russell’s vision, is an organic piece that recreated the atmosphere of David Mancuso’s Loft. The story goes that the recording sessions occurred during a full moon and included individuals that would often party at the Loft. An exercise in creating a vibe, the male version of the song reflects the complexity of Russell’s arrangements and a maximalist wall of sound that would become a signature component in his dance productions. Although the record received some critical acclaim, it wasn’t initially a commercial success. That came in a little later when famed a DJ remixed the song without permission from the label. According to some, Larry Levan snuck in to the West End offices to “borrow” the multi-tracks to make an edit for himself to play at the Paradise Garage (also owned by West End’s Mel Cheren). After getting positive feedback at the club, Larry decided to properly remix it with the aid of Francois K (who opted not to be credited because of his contract with Prelude). Larry Levan’s remix now known as the “Female Vocal Mix”, although more structured is still pretty out there. Melvina Woods, a dancer from the Loft, slurs and misses notes as if her own loose joints were dusted, but the animalistic groove is so undeniably in-the-pocket that this actually got local radio play back in the day and remains in constant cult club rotation today. Of the two versions, Larry’s mix is the one that went on to influence early Chicago House DJs who over the years have sampled those exact same drums countless times. Now that is some real freaky stuff.
Alkaholiks - 21 & Over
Alkaholiks
21 & Over
LP | 1993 | US | Reissue (Get On Down)
23,99 €*
Release:1993 / US – Reissue
Genre:Hip Hop
21 & Over is the debut album by West Coast hip hop group, Tha Alkaholiks. It is highly praised, and has been described by Allmusic as "the quintessential West Coast party album."Featuring vocals by King Tee, Lootpack, and Threat plus procduction by Tha Alkaholiks, Lootpack, King Tee, and Derick "D. Pimp" Williams.
Lee Perry & The Upsetters - Jungle Lion / Freak Out Skank
Lee Perry & The Upsetters
Jungle Lion / Freak Out Skank
7" | 2018 | US | Original (Get On Down)
13,99 €*
Release:2018 / US – Original
Genre:Reggae / Dancehall
Preorder 23.11.2018
7 inch singles were instrumental to the development of the Jamaican musicindustry, more affordable than full lengths for the consumer, they also allowedthe labels to turnaround what was being recorded into music played from theirbooming sound systems as quickly as possible. In that spirit, Get On Down willbe reissuing some of the most crucial reggae and ska sides on 45.This time out we revisit a single Lee Perry first issued right after his fabledBlack Ark Studio was first up and running. On the A-Side you know you’ve gotsomething special when a cut kicks off with Lee Perry growling like a lion,“borrowing” heavily from Al Green’s “Love And Happiness” for “Jungle Lion.”On the B-Side Perry lets The Upsetters do the roaring with the cut beingremixed into “Freak Out Skank.” First issued in 1973 on Perry’s own JusticeLeague imprint with a UK issue following almost immediately, miss this andyou’ll miss one of the most crucial developments in the sonic evolution ofScratch’s 1970s output.
Upsetters - Rhythm Shower
Upsetters
Rhythm Shower
LP | 1973 | US | Reissue (Get On Down)
23,99 €*
Release:1973 / US – Reissue
Genre:Reggae / Dancehall
Between the twin pillars of "Cloak and Dagger" and"Blackboard Jungle Dub", the superlative, yet oftenoverlooked, "Rhythm Shower" album was also released in'73. Originally issued in a very limited Jamaican pressingwith no sleeve, it became better known when re-releasedby the Trojan label as part of its 3 LP, and later 2-CD set,The Upsetter Collection, first issued in 1986.Despite its obscurity, "Rhythm Shower" is a pivotal albumin Perry's career as a producer and bandleader; it findshim beginning to experiment with dub and developing hissingular studio sound that would come to full maturity insubsequent years.Whereas earlier albums offered plenty of instrumentalversions, on "Rhythm Shower", Perry really beginsemploying the studio sleight of hand that would becomepart and parcel for what was then the emerging art form ofdub -- dropping voices and instruments in and out of themix to create a trippy, hypnotic effect. Not to go unnoticedis the mighty Upsetters themselves, whose revolving crewof musical heavyweights included Bob Marley & TheWailers future rhythm section Aston "Family Man" Barretton bass and drummer Carlton Barrett. The powerhouserhythms they forged give Perry all the space he needs towork his mojo at the mixing desk.With one foot planted firmly in the celebrated sound of thetime and the other stepping assuredly into the future,"Rhythm Shower" is essential listening for any fan ofReggae, Dub or Lee Perry. This is crucial music. This isclassic Scratch.
Pete Rock & CL Smooth - The Main Ingredient
Pete Rock & CL Smooth
The Main Ingredient
2LP | 2016 | US | Original (Get On Down)
25,19 €* 27,99 € -10%
Release:2016 / US – Original
Genre:Hip Hop
“We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.”So reads CL Smooth’s album dedication in the liners to Pete Rock & CL’s underrated, soulful and deeply grooving sophomorealbum. For fans, it was bittersweet, as it would be their last as a duo.By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992’s Mecca & The Soul Brother and the album’semotional smash single “They Reminisce Over You (T.R.O.Y.).” Two years later, they had grown even more as men and artists.Gone was some of the righteous striving of their earlier work, replaced by mature – yet still righteous – wisdom. And a lot morelove as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they hadreached.The duo’s ‘90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full ofintelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by PeteRock’s pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakersand headphones with soul, as CL continued to assert his lyrical prowess all throughout.The lead single, “I Got A Love,” is a perfect example of the group’s ‘94 steez: a super-catchy and respectful, but far-from-softlove track, suitable for any rap fan’s romantic needs. “Take You There” and “Carmel City” cover similar ground. Considering CLSmooth’s top-level brag rapper status, cuts like “I Get Physical,” “Get On The Mic” and “Check It Out” effectively reminded competitorsnot to test him. Pete also gets in the game on the mic several times on the album, acquitting himself nicely (and solo)on the cloudy day soul of “Escape,” alongside other cuts.Add more pensive lyrical forays like “All The Places,” “Searching,” and – perhaps the album’s sleeper cut – “It’s On You” and youhave one of the more complete rap full-lengths of the mid-1990s. This isn’t surprising, considering the wonder twins-esqueskills of Pete and CL. But it does make fans wonder what would have happened if they had stayed together longer.
Maytals, The - Monkey Man / Night And Day
Willie Colon - Wanted By The FBI / The Big Break - La Gran Fuga
Willie Colon
Wanted By The FBI / The Big Break - La Gran Fuga
LP | 1970 | US | Reissue (Get On Down)
24,99 €*
Release:1970 / US – Reissue
Genre:Organic Grooves
The Big Break is a masterpiece of Latin music, the kind offormidable artistic statement that established the Fania label as a cultural icon-- going beyond the parameters of a company specializing in crowd pleasing dance music. Needless to say, this is still a great party album, filled with dance friendly classics such as “Barrunto” and “Abuelita”. At the same time, it crystallizes theColón/Lavoé aesthetic that the duo had been developing on previous albums ("The Big Break" was Colón's sixth release on the Fania label.)This session is a roller coaster of intensity-- a symphony of contrasting flavors, colors and feelings. Perhaps the one moment that best encapsulates the transcendental qualities of this collection is the bridge of “Panameña”-- the moment when the tunestops on its tracks, Lavoé introduces la salsa de Puerto Rico, el aguinaldo (Puerto Rico's own salsa, the aguinaldo) and all hellbreaks loose thanks to Colón's roaring trombone and the spidery piano lines courtesy of the maestro Profesor Joe Torres. The resulting effect is nothing less of apocalyptic. Of the many brilliant LP covers that graphic designer Izzy Sanabria designed for Fania , The Big Break may be the most notorious one.The art capitalized on Colón's ‘Malo’ image (he was initially called El Malo because the older musicians thought he was a poor trombone player, not a bad kid-- Willie then decided to use thegangster archetype as a gimmick.) This time, Sanabria flew with the idea and devised a cover that replicated a Wanted by the FBI poster. Using the project's limited budget to his advantage, the designer included a cheap photo of Colón and random fingerprintsto create a realistic looking poster. After its release, the company was contacted by the real FBI, which requested that the ‘Wanted by FBI’ text be removed from the cover.Listening to these eight, timeless tracks decades after their original release, the music compels you to ask: how could two young men in their '20 have so much to say? How did they manage to record an album of such depth and beauty? It may be advisable to stop pondering such heady issues and enjoy the music instead.
Harlem River Drive - Harlem River Drive
Harlem River Drive
Harlem River Drive
LP | 1971 | US | Reissue (Get On Down)
23,99 €*
Release:1971 / US – Reissue
Genre:Organic Grooves
“New York’s Harlem River Drive is a dividing line, ahighway where the rich zip past the poor,” says singerJimmy Norman. Eddie Palmieri’s Latin-funk band of thesame name tackled these hard truths, playing prisonsand speaking to the common man. Ultimately, Normanand Palmieri made a powerful socio-political statementthat continues to resonate to this day.- Pablo Yglesias/Wax PoeticsWhen initially released in 1971, many critics panned EddiePalmieri’s 1971 album Harlem River Drive. Clearly, thosecritics were wrong. Regardless of critical opinion, the releasewas not the crossover success Palmieri and Roulette Recordshad hoped for, at least in the immediate. Over the years therelease has developed a following among listeners, DJs andaficionados of rare-grooves.The record may have been recorded towards the end of theLatin soul era, yet it features that genre's wonderful mix ofPuerto Rican soul, Spanish Harlem Latin, and New York funk.Palmieri worked with an incredibly talented crew of Latin andR&B session musicians to create this quintessential New Yorkvibe, a synthesis of funk and Afro-Cuban sounds. Contributorsinclude Victor Venegas from Mongo Santamaria’s band,Palmieri’s brother Charlie, an accomplished musician in hisown right, Bruce Fowler who went on to join Frank Zappa’sband, Dick Meza who went on to great things with Tito Puente,Ray Barretto and Celia Cruz, as well as Andy Gonzalez who’spedigree includes recordings with Barretto, Johnny Pacheco,Willie Colon and even Chico O’Farrill. Also appearing RandyBrecker and one of the all-time greatest of the greats BernardPurdy.An over-arching theme of Harlem River Drive is the thoughtthat, as Palmieri puts it “The U.S. is richest country, all thisimmense wealth, side by side with the most intense poverty,racial prejudice; how is that possible?” A question that’sperhaps more even more relevant today than it was in 1971. Aquestion that can be further explored with Get On Down’sreissue of this seminal recording.
Spice 1 - Spice 1
Spice 1
Spice 1
LP | 2018 | US | Original (Get On Down)
26,99 €*
Release:2018 / US – Original
Genre:Hip Hop
Released in 1992 on CD, MC and Promo LP only, Spice 1's debut gets a proper vinyl treatment.Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”, the heartfelt tales and truths of “Welcome To The Ghetto”, and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive, “1-800 Spice” brings reggae flavor, and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.
Marshall Jefferson - The House Music Anthem
Marshall Jefferson
The House Music Anthem
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
By the time the Jungle Brothers rapped about it in 1988, House Music had been bumping in NYC Clubs for years. Even though the genre would go on to become a global phenomenon, House music had humble beginnings in predominantly gay and black clubs in Chicago. Musically, House Music was inspired bythe eclectic dance records played by DJs Frankie Knuckles and Ron Hardy at Clubs like “The Warehouse” and “Muzik Box”. With a growing club scene, labels like Trax Records and DJ International played a major role in the development of the genre. Founded in 1984, Trax was an important outlet for housemusic in its early days, releasing many classics including "No Way Back" by Adonis, Larry Heard's "Can You Feel It," and the first so-called house anthem in 1986, "Move Your Body" by Marshall Jefferson. This latter tune gave a massive boost to house music, extending recognition of the genre outside of Chicago.“Gotta have House, music, all night long With that House, music, you can't go wrong Give me that House, music, set me free Lost in House, music, is where I wanna be It's gonna set you free (rock your body)”Part of what made House Music so appealing was how democratic it was. Without much recording gear or a studio, Anyone could make a song, have their records pressed and played in the same clubs they’d go party. Marshall’s Story was not that much different but the impact of his early recordings would set the blueprint for many of the artist that came out of Chicago. Jefferson’s first tune, recorded in 1986, become the scene’s official anthem. In titling it, ‘Move Your Body (The House Music Anthem)’ it was almost as if Jefferson knew what he was doing. The swing of those opening keys, the deep, anchoring beats and bass and that infectious sing-a-long chorus – all the key elements for a dance hit were there, more than that, they would be chronicled indisputably as the core building blocks of house. Jefferson culled the song's vocalists — including lead crooner Curtis McClain — from his post-office graveyard shift. And, with his lyrics, he helped foment the long tradition of the self-referential track: house music about house music itself.Today we can talk for days about this influential track, however it almost never saw a release. Trax owner Larry Sherman apparently hated the song and had no interest in ever releasing it. Even after Marshall payed for his own pressings, the Trax boss didn’t really see any value in that recording. It wasn’t until Jefferson handed limited cassettes of the cut to preeminent Chicago DJs Ron Hardy and Frankie Knuckles that a buzz began to spread as far as Ibiza and London for the Chicago House Anthem. The record’s unprecedented rise soon changed Sherman’s thinking, making it Trax Records’ first Global hit.
Mr. Fingers - Can You Feel It / Washing Machine
Mr. Fingers
Can You Feel It / Washing Machine
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
There’s a reason why so many of house music’s early releases have endured over the decades. The bestof them have a quality that defies logic. Early house records like Heard's own "Washing Machine," orthe "No Way Back" by Adonis, still have the power to stun listeners and drive clubs wild. They soundalien and beautiful, simultaneously ingrained within us and so unlike everything that followed. Andfew sound as beautiful, or as alien, as "Can You Feel It."By 1986, Heard—who was born and bred in Chicago and been playing in bands as a drummer—had alreadyproved to the world that he was a master of poignant, enthralling house. The previous year’s elegant“Mystery of Love,” originally released on Alleviated Records, had featured an insistent ascendingbassline repeating under a plaintive, swooning analog synth, with a gentle, conga-led rhythm settingthe pace. It was soon rerecorded in a slightly more fleshed-out style, this time featuring frequentcollaborator Robert Owens on vocals—”There’s a moment in our lives when we all must try the mystery oflove”—and rereleased on D.J. International.The song helped to set the Larry Heard template: A hollowed-out bass underlies percolating percussion,while a deceptively spare instrumentation lays out a wistful, yearning melody, all blanketed withethereal ambience. But “Can You Feel It,” released by Trax Records the next year on an EP that alsoboasts the equally dreamy “Washing Machine,” took that mold and refined it into exquisite, crystallineform. As with most house of the era—the components of “Can You Feel It” are few. There’s a throbbingkick, tuned so loosely as to make it feel like the head’s in danger of falling from the drum, cascadinghi-hats, shivering and shimmering, a three-chord synth pattern that flirts with melancholy, occasionaldistant pads and crisp countermelody, and most of all, that angular, acidic low-end. With this track,along with “Washing Machine,” Heard had perfected his signature bass sound: an alien signal, caving inupon itself, that’s simultaneously soothing and a little bit disconcerting. In 1986, it seemed like abeacon from the farthest reaches of the galaxy, even today, it’s one of the most identifiable tones inelectronic music.Heard himself has claimed to have little distinct memory of making “Can You Feel It,” saying it wasmerely the result of fooling around with some newly acquired gear. But apparently, “Can You Feel It”was first laid down on tape in 1984, the same session yielded a much slower, 110-BPM prototype of“Mystery of Love.” Roland’s Juno-60 polyphonic synthesizer provided the bass and melody, while thedrums were courtesy of a TR-909. A friend came up with the song’s title, Heard has admitted ininterviews that he’s not adept at naming his own work. The track ended up in the hands of theinfluential Chicago DJs of the era—Frankie Knuckles, Ron Hardy, et al—and eventually made its way toTrax Records’ Vince Lawrence. A few years later, alternate versions of “Can You Feel It” surfaced, manyof these with Vocals Samples that detracted from something that was already graceful and full offeeling. And really, how could anything improve upon the transcendent ‘86 Trax release, a song thatfeels like a blissful caress?
Too $hort - Short Dog's In The House
Too $hort
Short Dog's In The House
LP | 2018 | US | Reissue (Get On Down)
27,99 €*
Release:2018 / US – Reissue
Genre:Hip Hop
Limited edition for Record Store Day 2018!Only one copy per customer!“In my category, I’m the one and only,” proclaimed Oakland legend Too $hort on his 1990 single “Short But Funky.” Few disagreed then, and even fewer would do so decades later.First appearing in the mid-1980s slinging homemade tapes out of his car trunk, the man born Todd Shaw has always stayed true to himself. And although he is known more for the dirty side ofhis rap game, on “Short But Funky” he also reminds listeners of an important fact: “There’s a serious side to everything I say.”Short Dog’s In The House was $hort’s sixth album, and his second for the Jive label. By the time it hit, he was a West Coast legend, but his rep was growing Eastwards, as the rest of thecountry started opening its ears to new sounds. Peaking at #20 on the national Billboard 200 chart, the album was exactly whathis dedicated fans expected – funky, 70s-drenched beats made for cars on the boulevard; and no-nonsense lyrics that made more sense and dropped more knowledge than he was ever given credit for. For examples of his conscious side, look nofurther than the P-Funk fueled “It’s Your Life” or the album’s lead single, “The Ghetto.”The album’s second single “Short But Funky” landed somewhere in the middle of $hort and Todd Shaw, talking aboutb where he was at as the new decade broke, and making it clearthat he wasn’t going anywhere. His mortality was particularly on his mind after rumors had surfaced the year before that he had died in a crackhouse. He speaks directly to this crazy episode on“Dead Or Alive.” And although it’s mostly a solo affair, he brings in some heavy artillery – and a lot of not-for-the-kids profanity – on “Ain’tNothin’ But A Word To Me,” featuring none other than Ice Cube. In between, $hort distributed plenty of tales and charisma for fans to eat up, continuing to build his legendary status as one of the rap trailblazers of the era. Presented here on black wax witha poster of the excellent cartoon cover graphic, it’s time to give this one a spin, whether it’s the first or 100th time.
Special Ed - I Got It Made Red Vinyl Edition
Special Ed
I Got It Made Red Vinyl Edition
7" | 2015 | US | Original (Get On Down)
8,99 €*
Release:2015 / US – Original
Genre:Hip Hop
Thus stated Special Ed, on his 1989 smash hit, “I Got It Made.” And he backed up that brag throughout histrademark anthem, which featured laid-back brags that MCs a half-decade his senior couldn’t mess with.The Brooklyn MC was only 16 when it was released, making him one of the youngest rappers – especiallyat the time, before the 90s brought us Kris Kross and Lil Bow Wow – to ever have a hip-hop hit. The songitself, which floated over a perfectly hooked up slice of Ripple’s “I Don’t Know What It Is, But It Sure Is Funky,” was produced by Hitman Howie Tee, who also made waves in the late ‘80s with his cousin, Chubb Rock. When Ed and Howie combined, it was a match made in heaven, and the song exploded in New Yorkbefore taking over worldwide. Eventually becoming sample fodder on dozens of later songs – from Fat Joeto Kendrick Lamar – the track still invokes heavy head-nods today from crowds of all ages.Also included on this special 7-inch is the “Businesslike Version” of the song (also produced by Howie),which also appeared on the original 12-inch. Featuring a minimal, synth-driven backdrop and a quickerpace, it offers an excellent new way to experience Ed’s forward-thinking lyricism.This unique, deluxe “big hole” 7-inch comes housed in a custom Profile 45 jacket.
Upsetters - Return Of Django / Dollar In The Teeth
Ralfi Pagan - Ralfi Pagan
Ralfi Pagan
Ralfi Pagan
LP | 1969 | US | Reissue (Get On Down)
22,99 €*
Release:1969 / US – Reissue
Genre:Organic Grooves
Considered by many as "the Motown of salsa," Fania Records is probably the mosttranscendental label in the history of Latin music. By bringing together the eclecticvision of Dominican bandleader Johnny Pacheco with the business savvy ofimpresario Jerry Masucci, Fania created a sound: the apex of tropical music,combined with the swing of big band jazz and the gritty vibe of American R&B. Thelabel provided an artistic heaven for a young generation of musicians who wereinspired to experiment with new musical formats. The albums recorded by WillieColón, Héctor Lavoe, Rubén Blades and Eddie Palmieri from the early '70s to themid-'80s went beyond the parameters of so-called "salsa" - taking Latin music tounsuspected levels of sophistication.When you think Latin soul you relate to a mélange of R&B and mambo rhythmsintermixed culturally by and for the youth of America. It was 1974, and a brashyoungster by the name of Ralfi Pagan walked into the offices of Fania Records anddemanded to be heard. Fania President Jerry Masucci allowed Ralfi that opportunity,and Ralfi auditioned for Jerry right there in his office. It took only a few moments forMasucci to realize that he was in the company of his newest recording artist; he putRalfi in touch with recording director, Johnny Pacheco, who hurried him into therecording studio for Ralfi’s first Fania recording session.A little James Brown mixed-in with Hector Lavoe. Inside, a heart full of Latin soul. TheLatin voice of New York City: Ralfi Pagán was the young man behind some of thegrooviest Latin fusion albums ever to be put down on vinyl. His early seventies Faniarecordings stand out as consummate examples of Latin soul at its very peak. Toparaphrase the name of Ralfi ‘s signature song, his sound was pure Latin soul.Very few artists posses the natural talent to dominate the music from two differentcultures but Ralfi Pagán was not an average singer. Gifted and open minded, Ralfi wasalways hip to the music that made his Manhattan the cultural melting pot of theseventies. On songs like the hot Latin soul and the fantastic El Hijo de Mama, Ralfiswings freely from raw R&B, to straight-up salsa. Always giving his R&B that preciousNuyorican flavor, Ralfi was known as Fania’s go-to man when it came to time for thatfunky Latin soul vibe.Ralfi’s albums were lovingly produced by Fania’s co-founder, the eminent JohnnyPacheco and featured the best R&B and Latin music players in New York City.Ralfi was one of the few artists that had the vocal gift to conjure the stylistic leaningsof Curtis Mayfield and combine them with the raw barrio energy of Hector Lavoe. Nowremembered for his sweet falsetto, Pagán’s voice remains one of the most cherishedtreasures in the history of Latin popular music. Regrettably, Ralfi is no longer with us,but it is our good fortune that he has left us a wealth of fine music for our enjoymentand consumption; a mixture of Latin soul classic ballads for romancin’ and anassortment of up-tempo jams for partyin’ down.
Prodigy - H.N.I.C.
Prodigy
H.N.I.C.
2LP | 2018 | US | Original (Get On Down)
28,49 €* 29,99 € -5%
Release:2018 / US – Original
Genre:Hip Hop
When it comes to authentic, ride-or-die hip-hop, few crews have as muchresonance as Mobb Deep. Featuring two double-threat MCs who alsoproduced – Havoc and the sadly-departed Prodigy – the crew changed thehardcore rap game in 1995 with their sophomore classic The Infamous,and went on to rule the dark corners of hip-hop for the second half of the90s and well into the 2000s.After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000sas a solo artist with force, rolling over a stomping, piano-freaked backdroplaced by producer The Alchemist, with “Keep It Thoro.” It has held up overtime, proving itself as an anthemic classic that the streets and clubs stillrespect.Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricismon “Keep It Thoro” is prototypical modern age brag rap. Countless MCshave followed his flow, from Fabolous to Joey Bada$$. The song is shortand sweet, clocking in at just over 3 minutes. There are no wasted verses,just hardcore rhymes that stay with you.But “Thoro” was the tip of the iceberg on what proved to be one of themore coveted rap full-lengths of the era. The album boasted othercharting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.),but it can be argued that the album’s real gems are buried deeper.“Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinisteryet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strongand evocative Mobb Deep cuts, featuring production and vocals by Havoc.And alongside other standouts, perhaps the deepest cut of all – especiallyin light of Prodigy’s way-too-soon passing due to complications fromSickle Cell Anemia – is “You Can Never Feel My Pain,” which details thehealth issues and challenges this talented MC and producer had beenfacing his whole life.H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Amongfans he will never be forgotten, for his skills, his storytelling and hisno-B.S. approach to the art of MCing.
Wu-Tang Clan - Can It Be All So Simple / Da Mystery Of Chessboxin
Wu-Tang Clan
Can It Be All So Simple / Da Mystery Of Chessboxin
7" | 2017 | US | Original (Get On Down)
11,99 €*
Release:2017 / US – Original
Genre:Hip Hop
Wu-Tang Clan struck Gold (and then Platinum) with their debut Enter The Wu-Tang (36 Chambers).In addition to astronomical sales, the release has been dropped into list such as NME’s Top 100 Albums ofall Time, Pitchfork’s Top 100 Albums of All Time, Q’s 90 Best Albums of the 90s, Rolling Stone’s 500Greatest Albums Of All Time and 100 Best Albums of The 90s, Vibe’s 100 Essential Albums of the 20thCentury and the Source’s 100 Best Rap Albums. And that’s the short list of lists.Get On Down will now be issuing every single cut from Enter The Wu-Tang as a 7” single.
Toots & The Maytals - In The Dark
Toots & The Maytals
In The Dark
LP | 1974 | US | Reissue (Get On Down)
21,99 €*
Release:1974 / US – Reissue
Genre:Reggae / Dancehall
Toots & The Maytals' long and storied musical career spans all the way back to the dawn of ska. The group are not only key figures in the development reggae, they were among the first to utilize the word in a song title which lead to the popularization of the very term reggae. In The Dark is the group’s second internationally released full length, the follow up to Funky Kingston. Like Funky Kingston, this release is in the pantheon of the greatest reggae albums of all time. Sure, that’s not an official list, but you know it when you hear it. In addition to stand out cuts like the James Brown influenced “54-46 Was My Number” that had previously been issued as singles the group recorded all new material at Dynamic Sounds Studios in Kingston. One of those cuts is perhaps the most unique reggae covers of an American hit record. Reggae already had a storied history of Jamaican artist covering American R&B hits. But Toots & The Maytals went where others hadn’t with a cover of John Denver’s “Take Me Home, Country Roads.” If you’re only familiar with the original, well let’s just say Toots Hibbert’s beyond soulful vocals may make you forget you ever heard that other version of the song. Reissued in a lovingly re-printed version of the original LP sleeve, Get On Down now presents a superb reissue of a legendary piece of music history.
Big Pun - Still Not A Player / Twinz (Deep Cover 98)
Big Pun
Still Not A Player / Twinz (Deep Cover 98)
7" | 1998 | US | Reissue (Get On Down)
12,99 €*
Release:1998 / US – Reissue
Genre:Hip Hop
This 45 has heat on both sides. HEAT. Side A is Pun's smash "Still Not A Player" which features the R&B singer Joe who Pun based his previous hit "I'm Not A Player" on. This single came out a time when rap on the radio could actually still be good, but in this case it was incredible. Pun was already a "rappers rapper", but with "Still Not A Player" he outdid everyone. It was heavily played on radio and big in the clubs. The B Side has Pun teaming up with his mentor Fat Joe for "Twinz (Deep Cover)" over a remake of Dr. Dre’s classic beat. Here Pun delivers one of his most quoted verses that contains among others “Dead in the middle of Little Italy little did we know that we riddled some middlemen who didn't do diddly”. The two trade back and forth for one of the hardest collaboration on Pun's debut and making this the perfect B Side.
Prodigy - Keep It Thoro
Prodigy
Keep It Thoro
7" | 2000 | US | Reissue (Get On Down)
13,99 €*
Release:2000 / US – Reissue
Genre:Hip Hop
I break bread, ribs / Hundred dollar bills / Peel on Ducatis / And other four wheels Those first four lines, backed by that ridiculously ill beat, slugged you in the sternum when you heard them, fifteen years ago. And they still cause involuntary, heavy head-nodding episodes to this day. When it comes to authentic, ride-or-die hip-hop from the latter days of rap’s Golden Age, few crews have as much modern resonance as Mobb Deep. Featuring two double-threat MCs who also produced – Havoc and Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop’s over- and underground for the second half of the 90s and well into the 2000s. With a stomping, piano-freaked backdrop laced by producer The Alchemist, Prodigy entered the 2000s with force as he debuted solo on “Keep It Thoro.” It was the first single off his H.N.I.C. album, and it proved to be an anthemic classic that the streets and clubs respect to this day. Flaunting a smooth-but-menacing flow, Prodigy’s no nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. And beyond the influence he knew would follow in the song’s wake, he even astutely brags about his flaunting of conventional song structure: Bang this / Cause I guarantee you bought it / Heavy airplay, all day / With no chorus “Keep It Thoro” is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, there is no wasted time. Just hardcore rhymes that stay with you, all these years later.
UGK - Ridin' Dirty Clear Vinyl Edition
UGK
Ridin' Dirty Clear Vinyl Edition
2LP | 1996 | US | Reissue (Get On Down)
29,99 €*
Release:1996 / US – Reissue
Genre:Hip Hop
The 3rd album by Texas legends Underground Kingz finally gets a proper vinyl release on 2LP. Essential!
Picture
Coming Soon
Keith & Tex
Stop That Train / Leaving On That Train
7" | 2018 | US | Reissue (Get On Down)
13,99 €*
Release:2018 / US – Reissue
Genre:Reggae / Dancehall
Preorder 23.11.2018
7 inch singles were instrumental to the development of the Jamaican musicindustry, more affordable than full lengths for the consumer, they also allowed thelabels to turnaround what was being recorded into music played from their boomingsound systems as quickly as possible. In that spirit, Get On Down will be reissuingsome of the most crucial reggae and ska sides on 45.This time around it’s “Stop That Train”, first issued in 1965 during the height of theoriginal Ska movement by the The Spanishtonians. By the time Keith & Tex gotahold of the song with producer Derrick Harriot the music coming out of Jamaicanwas shifting towards the Rocksteady sound. The result, their 1967 version of thesong becoming the biggest hit Keith & Tex ever had as well as one of the mostpopular Rocksteady cuts of all time. Keeping with the theme, the group’s sweetvocal stylings stand out with “Leaving On That Train” on the flip. Though Keith & Texwould part ways in 1970 when Keith departed to the US with his family with Texexpatriating to Canada, their legacy remains with these sides documentingtheir lasting effect within one of the most inspired periods in the storied historyJamaican music.
Symarip - Skinhead Moonstomp / Must Catch A Train
Symarip
Skinhead Moonstomp / Must Catch A Train
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Reggae / Dancehall
Preorder 23.11.2018
7 inch singles were instrumental to the development of the Jamaican musicindustry, more affordable than full lengths for the consumer, they also allowedthe labels to turnaround what was being recorded into music played from theirbooming sound systems as quickly as possible. In that spirit, Get On Down willbe reissuing some of the most crucial reggae and ska sides on 45.This issue marks a slight departure in the series as Symarip were not aJamaican group but had their origins in the UK. By the time SkinheadMoonstomp was released as a single in 1969, reggae had spread its influenceinto the UK to such an extent that it changed British music for good. Symaripwere the first group to work to directly appeal to UK skinhead culture, creatingthe climate that allowed for the explosion of the two tone movement in the late1970s. Yet it was only on the singles’ reissue in 1980 that the cut hit the UKcharts, landing at #54. So, to paraphrase the song’s intro, get up on your feet,put your braces together and your boots on your feet, it’s time again for someof that old moonstompin’.”
Kenix Music Featuring Bobby Youngblood - There's Never Been (No One Like You)
Kenix Music Featuring Bobby Youngblood
There's Never Been (No One Like You)
7" | 1980 | US | Reissue (Get On Down)
12,99 €*
Release:1980 / US – Reissue
Genre:Organic Grooves
Soulful Disco Jam And Paradise Garage Classic From The Producer Of Hits Like Taana Gardner’s “Heart Beat” & Gwen McRae’s “Funky Sensation”. Although coming from a family with a music background, it wasn’t until later, in 1979, that Kenton Nix started to make moves in the industry. Kenton had a test pressing of this song of his, a song he called “Work That Body.” The record didn’t have vocals yet, but he brought the record to the legendary Paradise Garage and gave it to the even more legendary Larry Levan in the DJ booth. Larry and the crowd loved the record and Kenton asked Larry if he couldn’t help him get the record to Salsoul Records. Larry said; “No, we’re not gonna go to Salsoul this is a West End’s record, we gonna give this to West End.” And since Mel Cheren, the owner and founder of West End Records, was part owner of the club – Kenton got to meet him, it hit off and the rest is history. The first of his songs on West End Records was “Work That Body”, there were now vocals added to the song from this young lady called Taana Gardner. This Disco workout was followed by other hits for Taana like “When You Touch Me”, “No Frills” and the song that would become West End’s biggest hit & most sampled to this day – “Heartbreak.” Similar to Kenton’s other productions for Taana Gardner, “There’s Never Been (No One Like You)” is a classic Disco jam which paired with Larry Levan’s mixing style, gave West End its signature sound. This record has been very influential in dance music. If you’ve ever heard Ten City’s “That’s The Way Love Is” you can probably notice the similarities in the arrangements and vocal stylings. This essential West End release is available now on 7’.
Comptons Most Wanted - Music To Driveby
Comptons Most Wanted
Music To Driveby
LP | 1992 | US | Reissue (Get On Down)
26,99 €*
Release:1992 / US – Reissue
Genre:Hip Hop
There are West Coast classics, and then there isMusic To Driveby, the third LP from the group thatbirthed MC Eiht: Compton’s Most Wanted. Althoughthe group started in the late ‘80s with multiple MCs(including Tha Chill and Boom Bam), by 1992 Eiht waspulling the group’s vocal weight – supported by DJMike T on turntables and production – and evenproducing and co-producing tracks.Music To Driveby might lack beats-per-minute variety,but to fans that’s not a bad thing. Across the board,this is mid-tempo, super deep, funky hip-hop, made forcars creeping along boulevards across the West andSouth, and it’s about as good as it gets for suchpurposes. Just about filler-free, the album strutsintensely and with purpose, as Eiht throws tales of Calistreet life at fans for an hour straight, almost withouta break.This solo marathon is given a respite only once, withScarface’s guest spot on “N 2 Deep,” an excellenthood roller supported by a soulful guitar lick sampledfrom Lyn Collins’ “Do Your Thing.” Elsewhere, Eiht rollsalone and intensely, on cuts like the classic smashsingle “Hood Took Me Under”; the album’s secondsingle and Tim Dog attack “Who’s Fu**ing Who?”; thehometown big-up “Compton 4 Life”; and hustle taleslike “Jack Mode” and “I Gots To Get Over.”After this album, Eiht released more classics under hisown name, and with similar fan worship. It was thecontinuation of a legendary career and Music ToDriveby still ranks high on anyone’s “West CoastLegends” playlist.
JB's, The - Hustle With Speed
JB's, The
Hustle With Speed
LP | 1975 | US | Reissue (Get On Down)
19,99 €*
Release:1975 / US – Reissue
Genre:Organic Grooves
Get On Down proudly presents another top-notch vinyl reissue, from their long-running series of collaborations with James Brown's famed 70s funk label People Records.As the 1970s wore on, the classic funk sounds that had defined James Brown's backing band, The J.B.'s, gave way to the rise of disco music. Fred Wesley and his collective of musicians couldn't resist the chance to make their mark, releasing Hustle With Speed in 1975, with Charles Bobbit and Don Love producing, and the godfather himself, James Brown co-writing and providing arrangements. Hustle With Speed didn't cross over like the band had hoped it would, but it was nonetheless remarkable album, featuring The J.B.'s signature funky style married with disco to exciting effect. All the while there's still plenty to be had for the funk die-hard, fromthe brass blow-out jam "Here We Come, Here We Go, Here We Are", to the trombone-heavy "All Aboard The Funky Soul Train", to the powerhouse opening salvo that is "(It's Not The Express) It's The JBs Monaurail".Songs from Hustle With Speed would take on lives of their own decades after the album's release, through sampled appearances in tracks by Jay-Z, Nas, Eric B. & Rakim, Ultramagnetic MCs, EPMD, and many more.
Felix - Tiger Stripes / You Can't Hold Me Down
Felix
Tiger Stripes / You Can't Hold Me Down
7" | 1984 | US | Reissue (Get On Down)
11,99 €*
Release:1984 / US – Reissue
Genre:Organic Grooves
We weren’t too familiar with this 1984 Release on Sleeping Bag Records until reading Tim Lawrence’s Book Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992. What we learned, was the “behind the scenes” drama that went on during the recording of this single. Arthur Russell and DJ Nicky Siano contemplated working together once again after their first collaboration in 1978 lead to a successful 12” single called “Kiss me Again” on Sire under the Moniker Dinosaur where David Byrne even played lead guitar. Their second collaboration “Tiger Stripes” came as the result of Siano convincing the father or a then girlfriend to fund the venture. Arthur wrote the lyrics, and while Siano remembers remembers the Demo tracks being promising, problems began to emerge as Studio time began ticking. Russell became annoyed by Siano’s hyperactive personality in the Studio, while the former Gallery/Studio 54 DJ grew impatient of his collaborator’s constant changes and money spent in studio time. However according Author Tim Lawrence the feud escalated when Arthur wanted to introduce a drum machine after the session drummer could not keep the time. As a result, he ended up scrapping the original tracks which included vocals recorded by Evelyn Thomas. However the nail in the coffin came when Siano assumed the role of lead vocalist at which point Russell quit appalled by how terrible he sounded. Although a perfectionist, Russell also suspected Siano had been using the project as a platform for himself as a vocalist. In any case their project went on with Siano as lead and newly recorded backup vocals by Maxine Bell. Released on Splash Records in 1984, Siano is credited as the artist and sole-producer while Russell only agreed to be credited under the alias Killer Whale. Not too long after, Sleeping Bag released a 7” promotional copy of “Tiger Stripes” featuring only Bell as the sole vocalist, a different B-Side and Felix as the artist name. Although Russell did not credit himself by his real name, he credited the Killer Whale alias for all the writing and production on the single. There is a 12” on Sleeping bag which credits Siano for production on Tiger Stripes” but it’s clear from the release of the 7” that Russell wanted to make a statement. Beyond this peculiar story however, the music itself is worth the note. In a 2014 piece for The Vinyl Factory, Peter Zummo, one of Arthur Russell’s closest collaborators best describes this release: Side A: ‘Tiger Stripes’, is a crazy editing job with lots of disparate elements. The opening beats give little sense of what key it will be in. Side B: ‘You Can’t Hold Me Down’, is drum machine and conga, rhythm guitar, keyboard, female refrain and lead vocal, and male chant on “bad little kitten – pounce on you.” There’s no real bass. I like it not only for the way it sounds but also that it shows that you don’t have to follow the rules.
Lee Perry & The Full Experience - Disco Devil
Lee Perry & The Full Experience
Disco Devil
12" | 2018 | US | Original (Get On Down)
14,99 €*
Release:2018 / US – Original
Genre:Reggae / Dancehall
For the new year, your friends at Get On Down bring you a beautifulpackage of roots reggae weirdness from the almighty Upsetter:Lee “Scratch” Perry.This 12” single features the song “Disco Devil,” recorded by the legendaryJamaican mad genius with the group The Full Experience, as a version ofMax Romeo’s “Chase the Devil.” But don’t jump to conclusions based onthe song title – musically this is as far as you can get fromSaturday Night Fever.Thick, reverb-drenched dub/roots reggae laced with Perry’s dusted vocalsand brilliant work behind the boards are on the menu throughout. This cutis undeniably underrated in Perry’s catalog and fans will eat this up, since ithas always been hard to find on 7” and 12” for many years now.
Timmy Thomas - Africano / Why Can't We Live Together
Timmy Thomas
Africano / Why Can't We Live Together
12" | US | Reissue (Get On Down)
15,99 €*
Release:US – Reissue
Genre:Organic Grooves
The Label: TK Records in essence represents the city of Miami when it came to Soul/R&Band the early stages of Disco. In 1974, George McCrae gave the label its first #1 Discohit with Rock Your Baby. A little more than a year after McCrae's hit, the record labelstruck gold with KC & The Sunshine Band with five #1 songs on the Billboard Hot 100.Needless to say at the height of the genre’s cultural domination TK did pretty well.Timmy Thomas: Without a doubt, he’s most famously known for the hit song Why Can’t WeLive Together. The record topped the U.S. Billboard R&B chart, made the top three in theBillboard Hot 100 and was charted in top 10 in many countries including the UK. A staplein the R&B scene, he had a succesful solo career until the mid 80s, later focusing onthe writing and production side of the business.Why Can’t We Live Together: It may have been his biggest hit, but also one that keepsresonating to this day. A response to the devastating news coming from the war inVietnam, its words “No more wars, we want peace in this world, and no matter what color,you’re still my brother.” are indicative of a time marked by the horrors of war abroad,and the racial discrimination in America. Written and Produced by Timmy Thomas himselfsolely on a Lowrey organ, and an early rhythm machine, the song however was far fromsimple as its emotive message continues to provide a profound context. And even thoughit’s been covered over the years by many artist including Sade and Joan Osborne, WhyCan’t We Live Together has managed to come back on the charts again in 2015, as theinstrumental backing to Drake’s Hotline Bling, which has now sold over 2 Million copiesin the U.S. Alone. Once a hit, always a hit.Africano: When it comes to this Deep Disco cut, Africano is one of those tracks thatprobably never got much shine in America, but has since become a dancefloor favorite ofunderground disco DJs worldwide. Curiously, years after its release, its biggestsupporters were Italian DJs like Danielle Baldelli, Mozart and Gianni Maselli who duringthe 80s played Disco, African records, American R&B, and reggae to create what has beensince become known as the Afro-Cosmic scene at the height of Club culture in thediscothèques of Northern Italy.
Slum Village - The Fantastic Box
Slum Village
The Fantastic Box
Box Set | 2016 | US | Original (Get On Down)
68,99 €*
Release:2016 / US – Original
Genre:Hip Hop
This new and exhaustive collection comprising four CDs and five 7-inch records from the group’s Dilla-helmed era is the perfect way for longtime fans to celebrate Dilla’s work with his first musical family, as well as for newcomers to enter the expansive musical world he created in the 1990s.
Jungle Brothers - I'll House You / On The Run
Jungle Brothers
I'll House You / On The Run
7" | 2016 | US | Original (Get On Down)
10,39 €* 12,99 € -20%
Release:2016 / US – Original
Genre:Hip Hop
Get On Down presents a unique way to proudly re-live your “hip-house” past, with a 7” reissue of the Jungle Brothers’ infectious 1988 hit “I’ll House You,” which was arranged by the legendary Todd Terry. On the B-Side is a fan favorite from the group’s stellar Straight Out The Jungle album, “On The Run,” which was released as its own single in 1988.
Raekwon - Ice Cream
Raekwon
Ice Cream
7" | US | Reissue (Get On Down)
12,99 €*
Release:US – Reissue
Genre:Hip Hop
Presented here courtesy of Get On Down, another great hip hop 7” in Raekwon’s classic “Ice Cream” with the equally as A Side worthy “Incarcerated Scarfaces” on the flip. Backed by one of RZA’s most uncanny beats (if you knew the original you would know why) “Ice Cream” is a front runner for one of the most unlikely songs celebrating the 31 flavors of woman. All 3 MC’s on this, Rae, Ghost and Cappadonna, run through Chocolate Deluxes, Butter Pecan, Caramel Sundaes, and French Vanillas while Method Man serves up the iconic hook that is part Eddie Murphy, part genius. On the B Side Rae goes for self on “Incarcerated Scrarfaces,” which features some of his most classic lines : “you got guns, got guns, too/ What up son, do you wanna battle for cash and see who Sun Tzu”. Raekwon could have made a single for every track off Only Built 4 Cuban Linx….but with “Ice Cream” and “Incarcerated Scarfaces,” you get the dynamic of what the album is all about, witty lines, raw vocab (“guess who’s the black Trump”) and incredible production.
Toots & The Maytals - Funky Kingston
Toots & The Maytals
Funky Kingston
LP | 1975 | US | Reissue (Get On Down)
23,99 €*
Release:1975 / US – Reissue
Genre:Reggae / Dancehall
Toots & The Maytals' long and storied musical career spans all the way back to the dawn of ska. The group are not only key figures in the development reggae, they were among the first to utilize the word in a song title which lead to the popularization of the very term reggae. Among the numerous musical accomplishments of Frederick "Toots" Hibbert and his group was the song "Pressure Drop", which was released initially in 1970, but received widespread acclaim for its appearance in the soundtrack to the film"Harder They Come". It's since been covered by The Clash, The Specials, The Selecter, Robert Palmer, and numerous others, has been rated by Rolling Stone as one of the 500 Greatest Songs of All Time, and is credited with helping introduce reggae music to the world. Though originally released in 1970, the US wouldn't get to experience "Pressure Drop" until 1975, when it was released on the US version of their album "Funky Kingston", easily considered one of the strongest albums in Toots & The Maytals' catalog, not to mention one of the greatest in reggae history. Upon its release in the States it received massive critical applause (even warming the cold, icy heart of Robert Christgau) for its infectious melodies and rhythms on tracks like "Sailing On", "Time Tough", and theeponymous title track, quirky Jamaica-infused covers of tracks by John Denver and Ike Turner, and of course the influential "Pressure Drop." Reissued in a lovingly re-printed version of the original LP sleeve, Get On Down now presents a superb reissue of a legendary piece of music history.
Nas - Illmatic
Nas
Illmatic
LP | 1994 | US | Reissue (Get On Down)
24,99 €*
Release:1994 / US – Reissue
Genre:Hip Hop
"Now let me take a trip down memory lane"....It's 1994 and the hype behind Queensbridge native Nasir "Nas" Jones had already reached a fever pitch. Coming off already classics such as "Live at the BBQ" and (his solo debut song) "Halftime" all eyes were on Nas. From the moment you popped in your cassette, CD, or dropped the needle on the vinyl, you knew you were listening to authentic Hip Hop. Right out the gate you were met with the sound of subway cars, a snippet from Nas on "Live at the BBQ" and finally the Wild Style Theme. These 3 elements seem subtle upon first listen, but once you digest the album you realize Nas was setting a tone. God's Son had arrived. Backed by an all-star cast of producers including DJ Premier, Large Professor, Q Tip, Pete Rock and then unknown L.E.S, Illmatic never lets up. Nas was able to take you into his world, each beat seemed like it was hand crafted, tailored to precisely match each line of Nas' dense lyrics and unmatched flow. During the week of its release, everyone now knew the hype was real. Nas, being barley 20 at the time, stood on the shoulders of his predecessors and let everyone know he'd arrived. Illmatic became the debut that from that moment on rappers from Jay Z to Kendrick Lamar got compared to, "is this (insert rappers name here)'s Illmatic?". It was a game changer, not just for Nas, but for New York.. for Hip Hop. The Source broke their unwritten rule of not giving 5 Mics (the highest honor at that time) to a debut - Illmatic got just that. So join us, as we pay homage to one of our favorite albums and revisit the album that became one of the most talked about debuts in Hip Hop’s recorded history.
V.A. - Christmas Rap
V.A.
Christmas Rap
LP | 1987 | US | Reissue (Get On Down)
26,99 €*
Release:1987 / US – Reissue
Genre:Hip Hop
Preorder 23.11.2018
Re-issue of the 1987 Profile Recordsholiday compilation on colored vinyl,with songs by Run-DMC, Dana Dane,Sweet Tee, The Showboys, The SurfM.C.s, Spyder-D, and moreLeading off with the Run-DMC smash,“Christmas In Hollis,” this classicChristmas compilation features someof the hottest rap artists of the era,celebrating the holidays, hip-hop style.Highlights include Dana Dane’s “DanaDane Is Coming To Town,” Sweet Tee’s“Let The Jingle Bells Rock” and eventhe Surf M.C.s’ “A Surf M.C. New Year,”adding a California surfer (and, ahem,Beastie Boys rip-off) twist to theproceedings. Not to be overlookedis the classic front and back coverartwork, featuring a gift-wrapped B-Boy.It remains an essential, evergreen (punintended) holiday album to this day.
Joey Pastrana & His Orchestra - Let's Ball
Joey Pastrana & His Orchestra
Let's Ball
LP | 2018 | US | Reissue (Get On Down)
25,99 €*
Release:2018 / US – Reissue
Genre:Organic Grooves
Joey Pastrana had a special gift for singingsongs in both English and Spanish. Along withother boogaloo luminaries like Pete Rodriguezand Joe Cuba; Joey Pastrana was responsiblefor introducing Latin music to many Englishspeakers across America. With a wonderful andtalented orchestra, Joey Pastrana paved theway for the new Latin music fusions that havecome to be known as the Latin boogaloo.A master of the timbales, Pastrana was alsoa brilliant singer known internationally forhis energizing live performances. Honing hismusical skills in his beloved New York City,Joey was enamored at an early age by thesights and sounds coming out of SpanishHarlem during the early sixties. Taking his cuefrom the R&B and Jazz that was popular at thattime, Pastrana became a master of rollingrhythms that shook up hips in dance floorsthroughout the world. One of the top artists ofthe boogaloo/Latin soul era, Joey Pastrana’smusic is regarded as one the most wonderfuland exquisite examples of the world-famousNew York Latin sound.
Sisters Love - With Love
Sisters Love
With Love
LP | 2018 | US | Original (Get On Down)
21,99 €*
Release:2018 / US – Original
Genre:Organic Grooves
Motown's First Ladies of Funk finally release their vinyldebut, some 45 years after it was originally scheduled!As the '70s dawned and Motown relocated to the West Coast, theera of their honey-toned '60s girl groups came to a resoundinghalt. The Sisters Love were the antithesis of the traditionalMotown group and came to the label from A&M, armed with a lotof funk, sass and attitude.Paired with some of Motown's finest writers and producers - HalDavis, Gloria Jones, Pamela Sawyer, Paul Riser and Willie Hutch- they got off to a rousing start with the gritty "Mr. Fix-It Man"and went into high gear for the UK only release "I'm Learning ToTrust My Man".Motown had them playing arenas with The Jackson Five (probablynot their smartest move!), issued the odd single and scheduledmore but Sisters Love's anticipated breakthrough didn't happen.In 1980 New York DJ Danny Krivit pressed up an extendedeight-minute re-edit of "Give Me Your Love", an old B-side from a1973 single! That song was somewhat of an underground classicbut the Krivit mix brought in a whole new legion of fans amongstthe rare groove crowd, both in the US and the UK.Sisters Love had long been rumored to have recorded a completealbum for the Motown subsidiary MoWest. Get On Down Recordscombed the vaults with Motown's help and the result is theoriginal 10 cut album, plus a bonus cut, "Give Me Your Love."Although Gwen Berry passed away some years ago, the otherthree members of the group - Jeanie Long, Lillie Fort andVermettya Royster have all been actively involved in this release.
Heptones - Book Of Rules
George Guzman - Introducing George Guzman
George Guzman
Introducing George Guzman
LP | 1968 | US | Reissue (Get On Down)
25,99 €*
Release:1968 / US – Reissue
Genre:Organic Grooves
It was 1968 when Fania Records President, Jerry Masucci, received a phone call from conguero George Guzman, inviting Jerry to listen to his band. Jerry turned the project over to Harvey Averne, who later reported to Jerry that the band was “out of sight” and suggested that Masucci sign them up. A short time later, things became complicated for George and his band. First of all, the lead singer was drafted into the military, leaving George high and dry. By the time a replacement was found, George learned that his trumpet player was leaving to join another orchestra, so the search was on for his replacement. One problem led to another and before you knew it several months had gone by before George was finally ready to enter the studio and begin recording. Thanks to George and Harvey’s perseverance, “Introducing George Guzman” was released in time for George to join the fray of Boogaloo bands that had brightened up the night scene in New York City in 1968. - Bobby Marin
Lee Perry & The Upsetters - Cloak And Dagger
Lee Perry & The Upsetters
Cloak And Dagger
LP | 1972 | US | Reissue (Get On Down)
23,99 €*
Release:1972 / US – Reissue
Genre:Reggae / Dancehall
Lee Perry first came to prominence working withCoxsone Dodd’s fabled Studio One. This is whereScratch earned the nickname with the wildlypopular Jamaican hit record and dance craze“Chicken Scratch.” After a fall out with Dodd, Perrymoved on to a stint with Joe Gibb’s Amalgamated.Again in a dispute over compensation Perry movedon to form his own label, Upsetter and establishedhis house band, the Upsetters.By 1973 Perry had also established Black Ark, arecording studio of his own that functioned as aneffective fertilizer throughout what was Jamaica'smost innovative period for sounds and recordingtechniques. In that year, as Perry and Black Arkentered a period of heavy dub output, Scratchrecorded Cloak And Dagger. This early dub outingis a testament to Perry’s lo-fi mastery ashe utilized his TEAC four-track, Soundcraft board,tape delays, phasers, reverb and any otherambient sounds he could get this hands on as aninstrument rather than just to record instruments.Get On Down celebrates a piece of reggae historyand one of Lee Perry’s crowning achievements withthis reissue of Cloak And Dagger, presented hereas originally issued in Jamaica in 1973.
Frankie Knuckles - Baby Wants To Ride / Your Love
Frankie Knuckles
Baby Wants To Ride / Your Love
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
By the time the Jungle Brothers rapped about it in 1988, House Music had been bumping in NYC Clubsfor years. Even though the genre would go on to become a global phenomenon, House music had humblebeginnings in predominantly gay and black clubs in Chicago. Musically, House Music was inspired bythe eclectic dance records played by DJs Frankie Knuckles and Ron Hardy at Clubs like “The Warehouse”and “Muzik Box”. With a growing club scene, labels like Trax Records and DJ International played amajor role in the development of the genre. Founded in 1984, Trax was an important outlet for housemusic in its early days, releasing many classics including "No Way Back" by Adonis, Larry Heard's"Can You Feel It," and the first so-called house anthem in 1986, "Move Your Body" by MarshallJefferson. This latter tune gave a massive boost to house music, extending recognition of the genreoutside of Chicago.The Story behind the making of these recordings, is quite peculiar. “Your Love” was written JamiePrinciple, young Chicago Native with a strict religious family who grew up listening to the likes ofpop, gospel, classic and RnB. A talented musician, Principle could play the clarinet and keyboardsas well as drums for his local church. His first major relationship with a lady named Lisa Harrisinspired him to write ‘Your Love’ and experiment with home recordings. Although his Demo tape wasturned down by every New York label that received it, his tape somehow spread like wildfire throughoutthe clubs of Chicago. Jamie himself never became aware of its popularity due to his strict upbringingand parental ban from nightclubs. Because of its local popularity, the first commercial release of“Your Love” was produced by Mark "Hot Rod" Trollan and pressed as a 12" single on Persona Records in1986. The final - and ultimately definitive - version was released the next year on Trax Recordsproduced by Frankie Knuckles.The pair recorded a number of hits together —including "Waiting on My Angel," "Baby Wants to Ride,"and "Bad Boy". The songs recorded by Principle and Knuckles summed up the lifestyle and feelings foundinside the clubs at the time: “romantic possibility, escape, a little bit of danger, a lot of abandon,racial and sexual diversity, and even political liberation. Principle was particularly interested inthe latter, with lyrics about the Reagan agenda and queer rights. Ronnie wants to ride me, becausehe thinks he's king/ But its hard to ride baby when you living in a fascist dream, he sings in "BabyWants to Ride, referring to the 40th American president's hyper-conservative administration." Thesesongs are—in the ways in which they hypnotically summon you away from the straight world and into thefree and naughty space of the nightclub—rallying cries, and have been the soundtracks to countlessyoung people's first experiences of self-actualization on the dance floor. They confirm, in sound andspirit, all that is essential about nightlife, and make dancing a downright political action. Thougha misunderstanding in the latter part of the 1980s over how the songs were listed commercially—someof the vinyl releases, including "Your Love," were credited only to Knuckles and not to Principle—ledto a dissolution of their collaboration.” - Alex Frank (Thump)
Les McCann - Layers
Les McCann
Layers
LP | 1974 | US | Reissue (Get On Down)
21,99 €*
Release:1974 / US – Reissue
Genre:Organic Grooves
Starting in the late 60s, jazz music started to take an interesting, and very soulful turn. Influenced by the funk of the day – from James Brown to Sly & The Family Stone – the artform, generally not considered a funky musical genre, started to stretch out and fit into the times. It was a fertile era, and to reciprocate, funk, soul and groovy rock fans started to discover accomplished, open-minded jazz artists like Les McCann, whose tunes made sense to their ears, even if bebop hadn’t grabbed them. This incredible album – long a favorite of forward-thinking hip-hop producers and DJs – washes over listeners from the first chords of the incredible album opener, “Sometimes I Cry,” led by McCann’s array of analog synthesizers and backed by an excellent rhythm section (Donald Dean on drums; Ralph McDonald on percussion and Jimmy Rowser on bass). Truth be told, highlights are hard to pick out, but fans never go long without returning to the fuzzed-out funk of “The Harlem Buck Strut Dance,” “Let’s Play (Til Mom Calls)” and “It Never Stopped In My Hometown.” These keyboard-drenched grooves sat alongside record stacks brimming with Stevie Wonder, Funkadelic, Marvin Gaye’s 70s soul and, of course, Miles Davis’ space funk experiments of the era (like Bitches Brew). Whether you’re new to Layers or just updating a well-loved and heavily worn-out copy, throw this one on, light one up and lose yourself for an hour…or even a couple days, if you have the option.
Johnny Clarke - Rockers Time Now
Johnny Clarke
Rockers Time Now
LP | 1976 | US | Reissue (Get On Down)
21,99 €*
Release:1976 / US – Reissue
Genre:Reggae / Dancehall
Get On Down presents an often overlooked crucial reggae release from the 1970s with Johnny Clarke’s “Rockers Time Now.” The record is a mix of covers and originals, including ethereal versions of the The Abyssinians “Satta Massagana” and “Declaration of Rights,” smash hits on the island just the year before. “Rockers Time Now” was first issued in 1976, Clarke had just been named artist of the year in Jamaica for the second year in a row. This is just one of three full lengths he released that year as this was a very prolific period for Clarke, in particular from 1974 onward when his output was directed by legendary producer Bunny Lee. The pairing resulted in a creative energy that resonates to this day. The release was recorded at Channel 1 with Bunny Lee producing, which of course means the band backing the popular Jamaican vocalist was The Aggrovators, which at the time included Robbie Shakespeare, Earl ""Chinna"" Smith, Augustus Pablo, and Aston “Family Man” Barrett. The release was mixed at King Tubby’s by Osbourne Ruddock…aka King Tubby. Crucial all the way around. Now is the time to rediscover a classic of the genre, “Rockers Time Now”.
Dr. Octagon - Blue Flowers (Prince Paul Remix) Shaped Picture Disc Edition
Indian Ocean - School Bell / Treehouse
Indian Ocean
School Bell / Treehouse
12" | 2018 | US | Original (Get On Down)
14,99 €*
Release:2018 / US – Original
Genre:Organic Grooves
Chances are if you are reading this, you are probably already familiar with Dinosaur L's “GoBang” and danced countless times to Loose Joints' ""It's All Over My Face"". A prolific musician,Arthur Russell produced an abundant amount of recordings over the course of his career.Although a classically trained cellist, he released a number of successful underground dancehits under various monikers and collaborations. As a solo artist however, his inability tocomplete projects resulted in a limited amount of official releases; World of Echo (1986) beinghis only full-length solo effort to see release in his lifetime. After releasing a number ofClub singles on labels like West End & Sire, Russell went on to form Sleeping Bag Records withWill Socolov as an outlet for a sound not as restrictive as his ""disco"" material.The initial concept was that Russell would provide the musical direction while Socolov handledthe business side. The label had huge success early on with Class Action’s “Weekend” remixedby Larry Levan, and Russell’s seminal “Go Bang,” credited to Dinosaur L and remixed by FrancoisKevorkian. Although Russell and Socolov shared a lot of musical common ground, the differencein vision began to show. Russell’s avant-garde sensibilities and perfectionism were notcompatible with an industry standard to release singles in quick succession, and his ""work inprogress"" approach began to be financially draining, ultimately resulting in the dissolutionof their partnership around 1983. With Arthur's departure, Sleeping Bag moved away from theexperimental and towards a successful hip-hop route with the growing involvement of KurtisMantronik and leading to propel the careers of artists like Todd Terry, Just-Iceand EPMD.By the mid-80s, Russell’s health began to deteriorate after contracting HIV. Although thebusiness partnership did not work out, Socolov and Russell maintained their friendship. Awareof the time he had left, Russell reached out to Socolov to record what was to become IndianOcean, his last release on Sleeping Bag and the last great collaboration between Arthur andhis old friend Walter Gibbons.Unlike the rest of Russell's Dance collaborations, “School Bell/Treehouse” is very intimatecomposition, putting to the forefront all the elements that defined him musically; with hisown voice and cello as the anchors to a piece that keeps growing in intensity, melding thetribal rhythms of Mustafa Ahmed’s conga with percussions that sound like distorted drummachines. There is a lot of beauty in this piece, with Peter Zummo's melancholic trombone linesand Arthur's keyboard playing. Adequately ""mixed with love"" by Walter Gibbons, ""SchoolBell/Treehouse"" really synthesizes the energy and soundscapes of Arthur's dancefloor.
Jungle Brothers - I'll House You / On The Run Clear Vinyl Edition
Jungle Brothers
I'll House You / On The Run Clear Vinyl Edition
7" | 2016 | US | Original (Get On Down)
9,99 €*
Release:2016 / US – Original
Genre:Hip Hop
Get On Down presents a unique way to proudly re-live your “hip-house” past, with a 7” reissue of the Jungle Brothers’ infectious 1988 hit “I’ll House You,” which was arranged by the legendary Todd Terry. On the B-Side is a fan favorite from the group’s stellar Straight Out The Jungle album, “On The Run,” which was released as its own single in 1988.
Barrabas - Wild Safari
Barrabas
Wild Safari
12" | 1972 | US | Reissue (Get On Down)
12,59 €* 13,99 € -10%
Release:1972 / US – Reissue
Genre:Organic Grooves
When there's Rhythm people will move, and moving people was the fate for these two songs from Spanish Supergroup Barrabas. Originally released in 1972 on RCA Spain, 'Wild Safari' and 'Woman' would become underground hits among New York City disc jockeys at time when Discotheques preceded disco music. Over the years It has been well documented that the music from the Iberian Rockers and in particular their song 'Woman' found a home in both Nicky Siano's Gallery and in David Mancuso's Legendary Loft around 1973. Curiously but perhaps not surprising, a few years later 'Woman' would also become a breaker's anthem in a nascent hip-hop scene, where having obscure or 'ultimate' breaks would separate a Grandmaster from the rest of the flock. The Story behind Barrabas is quite peculiar as well. With members from various Latin countries (Cuba, Philipines, Portugal and Spain), the band led by Fernando Arbex were accidental pioneers in a sense, blending Latin, African, and American influences into a package destined to move people across the globe. With a succesful debut album, Barrabas was one of the first international groups to leave its mark on the disco circuit with these two hit singles. 'Woman' and 'Wild Safari' charted well in various countries across Europe and the Americas, including the USA and Canada. Although the group never followed up the success of their first LP, the legacy of tracks like 'Woman' and 'Wild Safari' is treasured by the DJs who have studied the histories of clubs like the Paradise Garage and The Loft. It's really not surprising to find a decade later in the 80s, 'High Energy' and 'Freestyle' covers of 'Woman' or the groove sampled into a House Music beat even to this day. There was indeed something about that Woman. Recently, HBO's Show "Vinyl" paid homage to 'Wild Safari' in a scene that more than symbolically depicted the birth of the disco era as we would come to know it. Part of the Get On Down Sound vinyl series with the aim to bring back their favorite Dance 12-Inches to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.
Boogie Down Productions - Ghetto Music: The Blueprint Of Hip Hop
Boogie Down Productions
Ghetto Music: The Blueprint Of Hip Hop
LP | 1989 | US | Reissue (Get On Down)
27,99 €*
Release:1989 / US – Reissue
Genre:Hip Hop
Amongst hip-hop fans, Boogie Down Productions’ first two albums – Criminal Minded (1987) and By All Means Necessary (1988) – both loom very large. And for good reason: they both captured one of the late 1980s’ most important and influential crews at their highest powers of lyricism and musical invention. That being said, too many people sleep on BDP’s third LP, Ghetto Music. Released in 1989, when the hip-hop world was truly beginning to explode and reach new heights of sales and exposure around the world, the album is arguably as powerful as the group’s first two. As on By All Means Necessary, in the wake of the tragic death of original founder, producer and DJ Scott LaRock, KRS-One pushed along mightily on the production side, with help from his extended crew. Musically the sound created on albums 2 & 3 was funky, catchy, and continually innovative, giving him the perfect backdrop to build his “Edutainment” syllabus. Lyrically there was never a question about KRS’ power, and on Ghetto Music he continues to impress, teach and ask important questions. Clear cases in point are two of the album’s singles, “You Must Learn” and “Why Is That?” but he gets even deeper on lesser-jocked tracks like the anti-police thought-piece “Who Protects Us From You” (still sadly relevant in 2017), “Ghetto Music” and “World Peace.” Still as strong and entertaining today as it was almost three decades ago, this new reissue is a perfect way for younger fans to embrace one of the most underrated hip-hop platters of the era.
Run DMC - Tougher Than Leather
Run DMC
Tougher Than Leather
LP | 1988 | US | Reissue (Get On Down)
23,99 €*
Release:1988 / US – Reissue
Genre:Hip Hop
Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] – get lost in their crates.For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fanswho jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path.Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cutslike “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts.Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!
UGK - Too Hard To Swallow Clear Vinyl Edition
UGK
Too Hard To Swallow Clear Vinyl Edition
2LP | 2017 | US | Original (Get On Down)
30,99 €*
Release:2017 / US – Original
Genre:Hip Hop
To celebrate the 25th Anniversary of UGK’s first album, Get On Down goes the extra mile, presenting it for the first time ever on 2LP clear vinyl.At that, giving the strutting, funky grooves the chance to really stretch out on your system.Back in 1992, Southern hip-hop was still proving to the world that it could sustain a fan base that was chiefly raised on rap from New York and LA. The Geto Boys and 2 Live Crew had made strong cases by the earliest ‘90s, and Pimp C and Bun B were ready to make their own. Most of the trunk-bumping bass comes from drum programs and basic sampling on these tunes – in later years they would build their sound into something even fuller and deeper. Self-produced with additional work from Houston locals Bernie Bismark and Shetoro Henderson, the tracks here are minimal, slow and menacing, which matched their lyrical approach quite nicely.You can hear the beginnings of the group’s true greatness in these early lyrical workouts – several taken from the regional cassette-only EP The Southern Way that got them signed to Jive – with tales of street hustles, relationships and self-reliance in a world stacked against them. They may have been done early-on, but that doesn’t mean they aren’t crucial to UGK’s legacy – cases in point being the three singles: “SomethingGood”; a charismatic update to Bill Withers’ “Use Me Up”; and “Pocket Full Of Stones” (the latter featured on the Menace II Society soundtrack). Beyond the singles, deeper cuts like “I’m So Bad,” “Feels Like I’m The One Who’s Doin’ Dope” and “Cramping My Style” made it clear to the world that this crew had the attitude and charisma to make even bigger waves in the years to come.
Run DMC - Run DMC
Run DMC
Run DMC
LP | 1984 | US | Reissue (Get On Down)
24,99 €*
Release:1984 / US – Reissue
Genre:Hip Hop
Future archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It’s no exaggeration to say that the groupchanged the course of music in the ‘80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic.Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Runwas, at one time, a DJ known as “Son of Kurtis Blow”) and Blow’s bassist and burgeoning super-producer Larry Smith, the trio – Joseph“Run” Simmons, Darryl “DMC” McDaniels and Jason “Jam Master Jay” Mizell – learned from the best, but created their own path.1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, “Sucker M.C.s (Krush-Groove1)” was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkersand music aficionados around the world by storm. The song’s lyrics are a mandatory memorization assignment to this day by MCs learningtheir craft. “Two years ago, a friend of mine…”The group’s sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith’suse of live musicians who laid down grooves but didn’t soften the edges. Lyrically the group wasn’t just about brags either, with songs like“Hard Times,” “It’s Like That” and “Wake Up” (the first two were singles). Run’s and DMC’s overlapping tag-team approach to lyricism waspowerful and immensely influential.“Rock Box,” another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their firstworldwide smash, 1985’s “King Of Rock.” Jam Master Jay’s DJ work was stellar, knowing exactly when to jump in and put listeners’ ears ina headlock.The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started – their next two LPs wouldtake them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it’s a classic that still soundsfresh today as it did more than 30 years ago.
Jungle Brothers - Done By The Forces Of Nature
Jungle Brothers
Done By The Forces Of Nature
2LP | 1988 | US | Reissue (Get On Down)
29,99 €*
Release:1988 / US – Reissue
Genre:Hip Hop
The Jungle Brothers’ 1988 debut, Straight Out The Jungle, was important for many reasons. It was sloppy and goofy but had moments of real focus and social consciousness. It was a true “kitchen sink” record, that caught a rap fanbase enraptured by Eric B. & Rakim, Public Enemy and Boogie Down Productions a bit off-guard. Also of note, beyond the excellence of the album itself, the Jungle Brothers were the fulcrum for what would become the Native Tongues movement – they came first, De La Soul and A Tribe Called Quest followed, under their guidance. By 1989, the group had even more confidence, plus a Warner Bros. contract and advance in their back pocket. They used it to great advantage on the self-produced and criminally underrated Done By The Forces Of Nature, expanding their sonic palette and continuing their Afrocentric approach to music and life. Singles like “What ‘U’ Waitin’ 4” and “Doin’ Our Own Dang” (with De La and Q-Tip, alongside Monie Love) showed the group’s fun side, which has also lead the way in the “hip-house” movement. But things weren’t all fun and games, as deeper, more pensive album tracks like “Black Woman,” “Beeds On A String,” and “Acknowledge Your Own History” show. It was another accomplished mix of fun, frolic and knowledge-of-self, proving that you could be serious in the rap game but still let off steam and fill the dancefloor. Done By The Forces Of Nature stands as one of the most cherished hip-hop documents of the late ‘80s among true-school heads, and this edition is the perfect way to revisit this classic thinking-man’s (and woman’s) rap platter. Issued for the first time ever on 2-LP with the original picture sleeve artwork, it also comes with a reproduction of the original insert, with credits and lyrics.Limited edition for Black Friday RSD 2016!
Man Friday - Love Honey, Love Heartache
Man Friday
Love Honey, Love Heartache
12" | 2016 | US | Original (Get On Down)
15,99 €*
Release:2016 / US – Original
Genre:Organic Grooves
Vinylmania: As classic disco came bounding through the late ’70s and into the electronically orientated sounds of the ’80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJ-ing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-’80s, Grappone and his staff played a significant role in New York’s own dance music story. Through the ’90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan’s newest production project. Fronted by Kofi Morny and Brodie Williams, their debut single “Love Honey, Love heartache” was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources,“Love Honey” was heavily inspired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. ‘Love Honey’ is always attached to Larry Levan’s tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church.
Lyn Collins - Think (About It)
Lyn Collins
Think (About It)
LP | 1972 | US | Reissue (Get On Down)
26,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves
James Brown had several incredibly talented “funky divas” in his late ‘60s and early ‘70s stable, including Vicki Anderson and MarvaWhitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hit maker of that funky JB era.Her strong voice and commanding stage presence – which earned her the nicknames “The Female Preacher” and “Mama Feelgood” –quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving andridiculously funky “Think (About It)” hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless,relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling theplatinum smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance musicartists up to the present day.But Collins was far from a One Hit Wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves thisthroughouther debut album, which was released in 1972 on James Brown’s new People Records label – the imprint’s second full-length release.To wit, aside from the title smash: a powerful and emotional cover of Bill Withers’ “Ain’t No Sunshine”; the socially progressive “Women’sLib”; the Gamble & Huff-penned “Never Gonna Give You Up” (originally done by Jerry Butler); and even a daring, muscular take on thesong “Fly Me To The Moon,” made famous by, among others, Frank Sinatra.All throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown-assembledmusical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed.And that it did.
Upsetters, The - Super Ape
Upsetters, The
Super Ape
LP | 1976 | US | Reissue (Get On Down)
21,99 €*
Release:1976 / US – Reissue
Genre:Reggae / Dancehall
Few artists enjoy a legacy that involves a re-engineering of the very genre in which they work. Lee “Scratch” Perry is such an artist. As a pioneer of dub reggae Perry viewed the mixing console as musical instrument in its own right. The influence of his revolutionary approach has been felt world-wide and into genres far beyond reggae. His 1976 effort, "Super Ape", is considered a masterpiece of this or any genre. Working with The Upstetters at his Black Ark studio, Perry created a sound with such a lasting appeal that The Rough Guide includes "Super Ape" as one of their 100 Essential Reggae releases.
Pete Rock & CL Smooth - Mecca And The Soul Brother Clear Vinyl Edition
Just-Ice - Cold Gettin' Dumb
Just-Ice
Cold Gettin' Dumb
7" | 1987 | US | Reissue (Get On Down)
13,99 €*
Release:1987 / US – Reissue
Genre:Hip Hop
"Cold Gettin' Dumb" remains one of the most exhilarating tracks from an era when hip-hop was inventing itself day by day. Mantronik's production was so ahead of its time, and when coupled with Just-Ice the combination was pure fire. This song still to this day might be one of the hardest beats ever made in Hip Hop.
Jungle Brothers - Straight Out The Jungle
Jungle Brothers
Straight Out The Jungle
2Tape | 2015 | US | Original (Get On Down)
15,99 €*
Release:2015 / US – Original
Genre:Hip Hop
De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers and their 1988 debut. “Straight Out the Jungle” opened up many doors that are walked through by artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was one of the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years. For Cassette Store Day, this legendary debut is presented by Get On Down as a double cassette issue - one cassette is red and the second (containing the full instrumentals from the album) is green. Both cassettes are housed in an attractive full color slipcase emblazoned with graphics from the original cover art.
Special Ed - I Got It Made
Special Ed
I Got It Made
7" | 2015 | US | Original (Get On Down)
13,99 €*
Release:2015 / US – Original
Genre:Hip Hop
Thus stated Special Ed, on his 1989 smash hit, “I Got It Made.” And he backed up that brag throughout histrademark anthem, which featured laid-back brags that MCs a half-decade his senior couldn’t mess with.The Brooklyn MC was only 16 when it was released, making him one of the youngest rappers – especiallyat the time, before the 90s brought us Kris Kross and Lil Bow Wow – to ever have a hip-hop hit. The songitself, which floated over a perfectly hooked up slice of Ripple’s “I Don’t Know What It Is, But It Sure Is Funky,” was produced by Hitman Howie Tee, who also made waves in the late ‘80s with his cousin, Chubb Rock. When Ed and Howie combined, it was a match made in heaven, and the song exploded in New Yorkbefore taking over worldwide. Eventually becoming sample fodder on dozens of later songs – from Fat Joeto Kendrick Lamar – the track still invokes heavy head-nods today from crowds of all ages.Also included on this special 7-inch is the “Businesslike Version” of the song (also produced by Howie),which also appeared on the original 12-inch. Featuring a minimal, synth-driven backdrop and a quickerpace, it offers an excellent new way to experience Ed’s forward-thinking lyricism.This unique, deluxe “big hole” 7-inch comes housed in a custom Profile 45 jacket.
Jurassic 5 - Quality Control
Jurassic 5
Quality Control
2LP | 2000 | US | Reissue (Get On Down)
29,99 €*
Release:2000 / US – Reissue
Genre:Hip Hop
Jurassic 5 flexed serious old-to-the-new muscles in the ‘90s, beginning with their independently released single “Unified Rebelution” in 1994, and book-ending with their stellar debut full-length: 2000’s Quality Control. They walked a tightrope between underground and mainstream hip-hop, and toured alongside rap peers as well as punk rockers on the Vans Warped Tour. With double the pleasure of your average hip-hop group – two DJs and producers (Cut Chemist and DJ Nu-Mark); and four MCs (Chali 2na, Akil, Marc 7 and Zaakir aka Soup) – they brought the late 1970s “unison MC” style of pioneering groups like the Fantastic 5 and the Force MCs to a new generation. Even more surprisingly, they did so out of Los Angeles, whose hip-hop flavors generally leaned towards Gangsta, G-Funk or Electro lines. Musically inventive and lyrically forward-thinking, each song on Quality Control is a new adventure, exploring engaging territory, delivered via one of the best live hip-hop shows fans had seen in years. From singles like the strutting groove of the title track to the throwback doo-wop samples on “The Influence” and the catchy, keyboard groove-driven “World of Entertainment (WOE Is Me),” to deeper album tracks like the lyrical gymnastics of “Jurass Finish First” and the thought-provoking “Lausd,” Jurassic 5 consistently stepped to the plate and their fans responded in kind, nearly pushing the album to Gold status. Add the innovative DJ-and-sample workout which closes out the album, “Swing Set,” and you have one of the 2000s’ most unique and solid full-length platters.
New Edition - Candy Girl
New Edition
Candy Girl
LP | 1983 | US | Reissue (Get On Down)
21,99 €*
Release:1983 / US – Reissue
Genre:Pop
When Maurice Starr uncovered the talents of a Roxbury vocal group in the early'80s at a talent show at Dorchester’s storied Strand Theater he saw the secondcoming of the Jackson 5. The boys didn’t win the completion (they came in second)but they did win a deal with Starr & Streetwise records. Starr came up with thename New Edition (as in a new edition of the Jackson 5) and started recording withthe boys the day after the talent show at the Strand. This group of kids (all under15) had their first single “Candy Girl” shoot to #1 on the Billboard R&B Charts. This led them to their debut album, also titled Candy Girl, which had a lot of pop/early hip hop influences, yet still has a classic R&B feel.Other hits such as “Popcorn Love” and “Ohh Girl” and the slow burner of “Is Thisthe End” make this album well rounded and no surprise as to why they went on tobecome one of the biggest R&B groups ever. The success of New Edition led to Bobby Brown’s solo career, the success of Bell Biv DeVoe and served as a template for the “boy bands” that followed. But don’t let that last line fool you, this album packs a bite with solid production and hooks for days.
V.A. - Christmas Rap Red & Green Vinyl Edition
V.A.
Christmas Rap Red & Green Vinyl Edition
LP | 1987 | US | Reissue (Get On Down)
32,99 €*
Release:1987 / US – Reissue
Genre:Hip Hop
Re-issue of the 1987 Profile Records holiday compilation on colored vinyl, with songs by Run-DMC, Dana Dane, Sweet Tee, The Showboys, The Surf M.C.s, Spyder-D, and more. Leading off with the Run-DMC smash, “Christmas In Hollis,” this classic Christmas compilation features some of the hottest rap artists of the era, celebrating the holidays, hip-hop style. Highlights include Dana Dane’s “Dana Dane Is Coming To Town,” Sweet Tee’s “Let The Jingle Bells Rock” and even the Surf M.C.s’ “A Surf M.C. New Year,” adding a California surfer (and, ahem, Beastie Boys rip-off) twist to the proceedings. Not to be overlooked is the classic front and back cover artwork, featuring a gift-wrapped B-Boy. It remains an essential, evergreen (pun intended) holiday album to this day. This special Get On Down edition will be run in a colored vinyl pressing with red and green copies randomly distributed.
Dominatrix - The Dominatrix Sleeps Tonight
Kool D.J. A.J. - That's The Joint
Kool D.J. A.J.
That's The Joint
7" | 2011 | US | Reissue (Get On Down)
12,99 €*
Release:2011 / US – Reissue
Genre:Hip Hop
Get On Down’s 7” series continues with a true old school rarity. Kool DJ AJ goes so far back into the old school that he came up following Kool Herc’s exploits behind the turntables. Perhaps best known as Chief Rock Busy Bee’s DJ, AJ electrified crowds around the city in Hip Hop’s earliest days. But “Ah, That’s The Joint” is his lone solo outing originally released in a limited pressing on the ultra-rare White Diamond imprint in 1980. The cut features all the essential old school elements, a throbbing funk bass line, hand claps, a call and response chorus, everything you want in an old school classic....right down to the rap “and thebeat don’t stop til the break of dawn”.
King Tubby & The Aggrovators - A Noisy Place / A Rougher Version
King Tubby & The Aggrovators
A Noisy Place / A Rougher Version
7" | 2018 | US | Original (Get On Down)
13,99 €*
Release:2018 / US – Original
Genre:Reggae / Dancehall
Preorder 23.11.2018
7 inch singles were instrumental to the development of the Jamaican musicindustry, more affordable than full lengths for the consumer, they alsoallowed the labels to turnaround what was being recorded into music playedfrom their booming sound systems as quickly as possible. In that spirit,Get On Down will be reissuing some of the most crucial reggae and skasides on 45.This time out Get On Down has collected two Bunny Lee producedmasterpieces into a never before issued 45. On the A Side, King Tubbyworks his magic on The Aggrovators “A Noisy Place”, the instrumentalversion of John Holt & Horrace Andy’s classic cut “A Quiet Place.” Ratherthan drop “A Quite Place” into the mix, a second and more rare Tubby dubof the cut known as “A Ruffer Version” rounds out the single. The argumentcan be made that no one was more instrumental in the development of dubreggae than King Tubby, a statement even (many days) his friend andsometime rival Lee Perry would agree with.
Jamaicans, The - Ba Ba Boom / Twilight Zone
Jamaicans, The
Ba Ba Boom / Twilight Zone
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Reggae / Dancehall
Preorder 23.11.2018
7 inch singles were instrumental to the development of the Jamaican musicindustry, more affordable than full lengths for the consumer, they alsoallowed the labels to turnaround what was being recorded into music playedfrom their booming sound systems as quickly as possible. In that spirit, GetOn Down will be reissuing some of the most crucial Jamaican sides on 45,this time out with The Jamaicans most well-known cut “Ba Ba Boom.”The Jamaicans first formed in 1967 as the Cool Shakes. By the time the yearwas over, they’d updated their line up from a trio to a quartet, changed theirname to the Jamaicans and took “Ba Ba Boom” to first place in that year’sIsland Festival Song Contest. Soon after, the cut (backed by TommyMcCook & The Supsersonics) was issued on the Treasure Isle imprint toinstant classic status. On the flip, it’s Twilight Zone, a reverb drenchedproto-dub instrumental version of the song.
Prince Far I - Voice Of Thunder
Prince Far I
Voice Of Thunder
LP | 1981 | US | Reissue (Get On Down)
21,99 €*
Release:1981 / US – Reissue
Genre:Reggae / Dancehall
Prince Far I aka the Voice Of Thunder got his start in the burgeoning Jamaican music industry as a sound system DJ (for Sir Mike The Musical Dragon), working security at Joe Gibbs’ stuido and in a similar roll at Coxsone Dodd's Studio One. As fate would have it, King Stitt, the regular DJ at Studio One, failed to turn up to voice a track and the up and commer convinced Coxsone to give him a try on the mic. The resulting cut launched the career of one of Reggae’s most famous toasters – though he liked to describe his style as a chanter rather than the more popular term toaster. First releasing records using the moniker King Cry Cry, the same name he’d used working Sir Mike’s sound system, he soon changed his name to Prince Far I at the suggestion of producer Enos McLeod. On Voice Of Thunder, Prince Far I is supported by an extremely sparse yet heavy instrumental backing which perfectly compliments his growling voice. As is often the case with Prince Far I, much of the material is essentially Bible verse, “Ten Commandments” being a perfect example. The Voice Of Thunder full length also includes a tribute to the very recently deceased Bob Marley, and he even takes time to take UK skinheads to task for wearing polyster (forbidden to a real rastafarian). Long out of print on vinyl, this 1981 masterpiece from Prince Far I is back in effect thanks to Get On Down.
Lebron Brothers - Llegamos: We're Here
Lebron Brothers
Llegamos: We're Here
LP | 1970 | US | Reissue (Get On Down)
23,99 €*
Release:1970 / US – Reissue
Genre:Organic Grooves
The venerable Cotique existed at the juncture where Afro-Caribbean music metthe rootsy sounds of soul and r&b that blossomed in the United States during the'60s and '70s. Some of the finest albums in the boogaloo and Latin soul genreswere recorded for this label, including sessions by Joe Bataan, Johnny Colón andLarry Harlow. Cotique's product was marked by a refined aesthetic and unerringgood taste - consider Machito's foray into r&b idioms on the Soul Of Machito LP.The label was also wise enough to invest in down-to-earth salsa, recording NewYork's ultimate barrio orchestra, The Lebrón Brothers.The Lebrón Brothers celebrated their 50th anniversary in the business in 2016.Their career spans five decades of doing things uniquely and uncompromisinglyin their way: making funky, gritty, streetwise and relentlessly swinging music thatmixed Spanish lyrics, Latin tunes and English-language r&b/soul-orientednumbers. “Lebrón Brothers are the only other band (besides Willie Colón) toarrive during the boogaloo era and survive long after boogaloo was dead andburied,” comments Ray Rosado, leader of Maña. “I believe that for these twobands, boogaloo was merely a means to an end.” Originally called Angel Lebrónand his Orchestra in 1965 (co-founded by Puerto Rico-born brothers Angel onbass and José Lebrón on piano,) they changed their name to Lebrón Brothers atthe suggestion of George Goldner (1918 - 1970) when they signed to his CotiqueRecords label during the peak of the 1966 - 1969 boogaloo craze. The eldest,Pablo Lebrón, sang Spanish lead vocals with the band until 1981 - when sadly, hesuffered a stroke. Between 1967 and 1982, the band recorded 16 albums forCotique, during which time brothers Carlos and Frankie joined on bongo andconga, respectively. The multitalented José and Angel wrote and arranged most ofthe material. Fania Records took over Cotique in the early '70s and drafted starbandleader Larry Harlow to produce one of the band's albums and JohnnyPacheco, the label's co-founder, to produce another three. Reportedly, Fania bossJerry Masucci (1934-1997) tried to persuade the Lebrón Brothers to replacePablo with a younger, thinner white lead singer. Proud of their Afro-Boricuaheritage, they resisted and were consequently excluded from major industryopportunities. Angel and José eventually took over the reins of production on theband's 14th Cotique release in 1980, and Angel took the producer credit on theremaining two albums for the imprint (Frankie produced a one-off return toCotique in 1998). “On all of their recordings, the coro is precise, the swingformidable and the message is both timely and seemingly prescient. That's morethan enough to make up for whatever naïveté one might observe in theirrecordings at first blush,” says John Walsh, trumpeter with the GrammyAward-winning Spanish Harlem Orchestra, who began playing withLebrón Brothers in the mid-'80s. “And then there's the vibe. When they walk onstage, they made their presence felt: five or six of them, not one under six feet orless than 225 pounds!
E-40 - Federal
E-40
Federal
LP | 1993 | US | Reissue (Get On Down)
26,99 €*
Release:1993 / US – Reissue
Genre:Hip Hop
The development of hip-hop during the 1990s is partiallyindebted to the styles that were cultivated on the West Coast,more specifically in the state of California. When one thinksof the California hip-hop scene invariably the G-funk ofTupac Shakur, Snoop Dogg, and Los Angeles comes tomind, but to ignore the equally impressive San Francisco bayarea scene is a travesty. It was in this environment whereEarl Stevens, better known by his stage name E-40, came upin and developed his following.Alongside regional staples such as Too Short, Spice 1, andAnt Banks, E-40 was among the first West Coast rappers tosign with a major label, and scored a Billboard-charting hitrecord with 1995's In A Major Way. His flamboyant attitude,mixed with a driven, DIY spirit, would lead to furtherBillboard-charters, as well as collaborations with top-tiernames of hip-hop, from California peers like Tupac Shakur,Too Short, and Keak Da Sneak, to underground legends likeTech N9ne, Bun B, and Danny Brown, to modern MCs like 2Chainz, YG, and Juicy J, to even the company of comedy trioThe Lonely Island.While E-40's break into the mainstream came with 1995's InA Major Way, he had recorded on numerous EPs andfeatures, as well as a studio album through his own self-runlabel Sick Wid It Records. That studio album, 1993's Federal,would also serve as his solo debut, and paint a picture ofthings to come for the bay area rapper. With it's stark andaggressive sound, over top of beats that sampled classicfunk and soul staples like Isaac Hayes, Sly & The FamilyStone, and The Ohio Players, Federal put E-40s skills as anMC on full display, as well as promising things in thefollowing years. Not to mention solid guest spotsfrom his fellow Californians B-Legit, Kaveo, Little Bruce,and various others.
Underground Solution - Luv Dancin
Underground Solution
Luv Dancin
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
YOU GOT ME LUV DANCIN’...Luv Dancin’ is an absolutely ESSENTIAL record. The Underground Solution was oneof the monikers for Roger Sanchez, one of the most prolific house music producersin the 90s. This 1990 ANTHEM 'Luv Dancin' is a NYC deep house benchmark. Based onArthur Russell’s Disco classic 'Is it all over my face' and with elements of 'Thebottle' interspersed with a deep, rolling garage bassline, dreamy keys and pads,the “S” Man crafted a timeless piece of dance music that still inspires today andis often imitated yet obviously never bettered!A side is the Remix version featuring Jasmine on Vocals, while the B side is thesought after “In Deep Mix” from the Original 12”. As with all our NY HOUSECLASSICS, first time available on 7”.
Aly-Us - Follow Me
Aly-Us
Follow Me
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
FOLLOW ME, WHY DON’T YOU FOLLOW ME...If Peace, Love, Unity and Freedom are some of the pillars of housemusic “Follow Me” is a call to action. This vocal driven cutinstantly become an anthem and one house music’s most reveredsongs. Although they did not release more than a dozen singles,Aly-Us made their greatest impact with the 1992 single "Follow Me."Produced by Kyle Smith and written by Smith with vocalists Eddie"Super"" Lewis and William "Kaylin-X" Jennings, the deep anduplifting track became an early-'90s house classic and continuesto be one of the most memorable tracks out of the vast StrictlyRhythm Catalog.Original mix on the A, and Dub on the B-Side. Available for thefirst time as a 7”.
Adonis - No Way Back
Adonis
No Way Back
7" | 2018 | US | Original (Get On Down)
11,99 €*
Release:2018 / US – Original
Genre:Electronic / Dance
By the time the Jungle Brothers rapped about it in 1988, House Music had been bumping in NYC Clubsfor years. Even though the genre would go on to become a global phenomenon, House music had humblebeginnings in predominantly gay and black clubs in Chicago. Musically, House Music was inspiredby the eclectic dance records played by DJs Frankie Knuckles and Ron Hardy at Clubs like “TheWarehouse” and “Muzik Box”. With a growing club scene, labels like Trax Records and DJInternational played a major role in the development of the genre. Founded in 1984, Trax was animportant outlet for house music in its early days, releasing many classics including "No WayBack" by Adonis, Larry Heard's "Can You Feel It," and the first so-called house anthem in 1986,"Move Your Body" by Marshall Jefferson. This latter tune gave a massive boost to house music,extending recognition of the genre outside of Chicago.Adonis recorded many innovative and influential dance tracks. Born and raised on the West Side ofChicago, Adonis was introduced to music at a young age. He played bass guitar with several jazzand funk bands and was eventually introduced to House music by Gary B. After listening to JesseSaunders' "On and On", Adonis felt the drive to make better-produced music than what he had heardand began recording.Despite his formal training and lack of clubbing experience, Adonis made waves on the dancefloorwhen he recorded several of the best Chicago house singles of the 1980s, including "No Way Back,""Do It Properly" and "We're Rockin' Down the House." He was 19 years old when he made the dystopianclassic "No Way Back," one of Chicago house music's most iconic tracks. "No Way Back" was a smashhit for the Trax label, according to some estimates, the single sold over 100,000 copies. Thelyrics —"Release my soul / I've lost control / Too far gone / Ain't no way back" — seemed toperfectly encapsulate the feeling of being lost in music with no way out. Adonis' cold, minimalistvocal delivery — no ornamentation, or obvious emotion — made "No Way Back" sound effortlesslycool, and utterly terrifying. The stripped-down track, devoid of extraneous flourishes, stillsounds ruthlessly modern.
Eddie Harris - Plug Me In
Eddie Harris
Plug Me In
LP | 1968 | US | Reissue (Get On Down)
21,99 €*
Release:1968 / US – Reissue
Genre:Organic Grooves
Saxophonist Eddie Harris – a favorite sample staple of jazz-leaning hip-hop producers of the ‘90s – was a very busy man in the 1960s, releasing albums at a brisk pace since his first as a leader in 1961. By the late ‘60s he had fully hit his stride, as both a performer and an innovator.A case in point is heard very clearly on this gem from Harris’ expansive catalog – 1968’s Plug Me In, which features his pioneering use of the Varitone saxophone effects processor unit (first heard on his 1967 album, The Tender Storm). The effect, used on “It’s Crazy” and “Ballad (For My Love),” never gets in the way, but gives the proceedings a feeling of “the next.” 1968 saw jazz entering a new era, influenced by electronic advances as well as the soul music dominating the pop charts of the day. Plug Me In slid perfectly into the vanguard of the day.There is a soulful warmth to the proceedings on this classic LP, starting with album opener “Live Right Now,” which builds and swirls to a beautiful crescendo, with notes ricocheting back and forth amongst a top level crew of players including Jodie Christian, Chuck Rainey and Richard Smith. “Lovely Is Today” and “It’s Crazy” also feature waves of sunshiney brass and group interplay, alongside album ballads like “Winter Meeting” and “Ballad (For My Love).”Eddie Harris’ catalog can be daunting, considering his impressive input throughout the 60s and 70s, but there’s a reason fans old and new come back to Plug Me In again and again. Innovation and soul is a combination that never fails, and this reissue is destined to bring more fans into the fold.
Wu-Tang Clan - Clan In Da Front / Wu-Tang: 7th Chamber
Wu-Tang Clan
Clan In Da Front / Wu-Tang: 7th Chamber
7" | 2017 | US | Original (Get On Down)
11,99 €*
Release:2017 / US – Original
Genre:Hip Hop
Wu-Tang Clan struck Gold (and then Platinum) with their debut Enter The Wu-Tang (36 Chambers).In addition to astronomical sales, the release has been dropped into list such as NME’s Top 100 Albums ofall Time, Pitchfork’s Top 100 Albums of All Time, Q’s 90 Best Albums of the 901s, Rolling Stone’s 500Greatest Albums Of All Time and 100 Best Albums of The 90s, Vibe’s 100 Essential Albums of the 20thCentury and the Source’s 100 Best Rap Albums. And that’s the short list of lists.Get On Down will now be issuing every single cut from Enter The Wu-Tang as a 7” single.
Dinosaur L - In The Corn Belt
Dinosaur L
In The Corn Belt
7" | 2011 | US | Reissue (Get On Down)
11,99 €*
Release:2011 / US – Reissue
Genre:Organic Grooves
No one pushed the boundaries of Dance music quiet like the late ArthurRussell. Perhaps no track does so to such an extreme as “In The CornBelt”. Working in his Dinosaur L persona the mix on “Corn Belt” is byanother giant of the genre, Larry Levan of Paradise Garage fame. Thegroove is intensified by layers of shredding guitar, percussion and someinstrumentation that sounds otherworldly.Get On Down is proud to present this classic single, featuring the complete“In The Corn Belt Part 1” and “In The Corn Belt Part 2”.
Prodigy - H.N.I.C.
Prodigy
H.N.I.C.
2LP | 2000 | US | Reissue (Get On Down)
33,99 €*
Release:2000 / US – Reissue
Genre:Hip Hop
When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who alsoproduced – Havoc and the sadly-departed Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous,and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s.After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdroplaced by producer The Alchemist, with “Keep It Thoro.” It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect.Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCshave followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses,just hardcore rhymes that stay with you.But “Thoro” was the tip of the iceberg on what proved to be one of themore coveted rap full-lengths of the era. The album boasted othercharting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.),but it can be argued that the album’s real gems are buried deeper.“Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinisteryet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strongand evocative Mobb Deep cuts, featuring production and vocals by Havoc.And alongside other standouts, perhaps the deepest cut of all – especiallyin light of Prodigy’s recent and way-too-soon passing due to complicationsfrom Sickle Cell Anemia – is “You Can Never Feel My Pain,” whichdetails the health issues and challenges this talented MC and producer hadbeen facing his whole life.H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Amongfans he will never be forgotten, for his skills, his storytelling and hisno-B.S. approach to the art of MCing.
U-Roy - Version Galore
U-Roy
Version Galore
LP | 1971 | US | Reissue (Get On Down)
20,99 €*
Release:1971 / US – Reissue
Genre:Reggae / Dancehall
“All of a sudden, Jamaica awoke one morningand U-Roy was everywhere…”So read the original liner notes to this classic reggae LP, whichoriginally hit in 1971 and washed over the island like a groovingtropical storm.U-Roy was a true reggae pioneer, dubbed The Originator for goodreason. Bursting onto the Jamaican scene in the early 1970s, hepioneered the vocal approach called “toasting,” which in additionto bringing Jamaican music into a new era, was also heavily influentialon an American vocal style also in its infancy: rapping.This full-length, his first after a string of singles (mostly on theTreasure Isle and other Duke Reid labels, run by the famedproducer and studio owner), rolls like a crazy party where awobbly, but talented, “master of ceremonies” grabs the mic andwon’t let go. Speaking over and around songs that already havestraight-ahead vocals on them, U-Roy shows the world why he isconsidered an iconoclast and trailblazer.In all honesty, there are few standouts on the album since they allrun a similar course, and all are captivating in their own way.Modern listeners will especially note “Tide Is High,” originally bythe Paragons (featuring dulcet-toned vocalist John Holt) andrecorded later as a 1980 smash hit by Blondie.Each track here is a new adventure, and while U-Roy’s approachmight take some getting used to, it will eventually capture yourears as it did the entire island of Jamaica in the ‘60s and ‘70s. Sitback, drop the needle, and enjoy.
Maytals, The - From The Roots
Maytals, The
From The Roots
LP | 1970 | US | Reissue (Get On Down)
23,99 €*
Release:1970 / US – Reissue
Genre:Reggae / Dancehall
When it comes to old-school roots reggae, few groups were as influential as The Maytals. Adding Frederick“Toots” Hibbert’s name to the front of their billing later in the 1970s, in the earliest days they were moreegalitarian as they built their sound and legend.From The Roots, originally released on Trojan Records in 1970 (alongside another full-length that sameyear, Monkey Man), was a transitional record for the group. Leaving behind their early ska days – much likeThe Wailers and other peers – they had yet to settle into the slower tempos that blew in like ganja smoke bythe mid-‘70s. As a result, music here generally gallops, and vocals fall in line.As heard on gems like “Koo Koo,” “Got To Feel,” and “Pee Pee Cluck Cluck,” the Maytals’ lyrics tend mostlytowards love and the pursuit thereof. The group, throughout its career, was also deeply spiritual and muchof this was expressed through song – a great case in point here is “Thy Kingdom Come,” essentially achurch hymn set to reggae music.And the album concludes with an interesting cover of the Lennon/McCartney hippie chestnut, “Give PeaceA Chance,” which is much faster than the original and quite groovy overall.The Maytals are generally overlooked in the pantheon of reggae giants, but this is unjust. Do your part inrecognizing their legendary status by digging into this filling meal of classic Jamaican fare.
Brian Briggs - Selected Music From The Album Brian Briggs
U-Roy - Natty Rebel
U-Roy
Natty Rebel
LP | 1976 | US | Reissue (Get On Down)
22,99 €*
Release:1976 / US – Reissue
Genre:Reggae / Dancehall
U-Roy was a true reggae pioneer, dubbed The Originator for good reason. Bursting onto the Jamaican scene in the early 1970s, he pioneered the vocal approach called "toasting," which in addition to bringing Jamaican music into a new era, was also heavily influential on an American vocal style also in its infancy: rapping.Following up the Record Store Day 2017 release of U-Roy's classic Dread In A Babylon, Traffic Entertainment Group now brings us a very welcome reissue of the vocalist's 1976 full-length (and fourth) album, Natty Rebel, which has been out of print for more than 30 years.Produced by Tony Robinson (known for his work with Big Youth, Lloyd Parks, the Gladiators and many more), the album's 11 cuts range from bouncier and sometimes even disco-tinged grooves - "Have Mercy," "Go There Natty" and the album lead-off, "Babylon Burning" - to the classic roots stepping that drew fans to the legendary Jamaican vocalist over his long career - including "So Jay Jah Say" and "Natty Kung Fu."At its core, this is a deep journey into the heart of rasta living, spoken by one of Jamaica's most underrated dub and roots legends, and it's one of the strongest full-lengths in his expansive catalog.Whether you are experiencing U-Roy for the first time, or replacing your decades-old original LP, diving into this reissue of Natty Rebel is one hell of a way to spend an afternoon. Or, if you're not careful, a week or two.
Clipse - Til The Casket Drops
Clipse
Til The Casket Drops
LP | 2017 | US | Original (Get On Down)
24,99 €*
Release:2017 / US – Original
Genre:Hip Hop
The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don't need to be mutually exclusive, but these days it's rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap's splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin' & subwoofers rattlin' while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin' (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009's Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears - good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!Til The Casket Drops was a departure from the duo of Malice & Pusha T's previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us 'Grinding' & 'Mr. Me Too' still helmed 8 of the album's 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath's DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn't lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam'ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of 'coke-rap', while taking hard looks at society's mores and those of their own individual journeys. We hear Malice's eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on 'Footsteps': "don't let my wrongs give you the right of way/ to emulate my past escaping the law's grasp" while refusing to be pinned down in one lane: "it weights on my conscience and I hate conscious rap". Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like "pompous motherfucker, look what them jewels made me/ I'm only finding comfort in knowing you can't replace me/ What a thing to say, but what am I to do/ I'm role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to" decisively on album opener "Freedom".Since it dropped, the Clipse have stated that Casket... is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it's time to re-celebrate one of hip hop's most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It's kinda like a big deal...
Bumblebee Unlimited - Lady Bug
Bumblebee Unlimited
Lady Bug
12" | 1978 | US | Reissue (Get On Down)
14,99 €*
Release:1978 / US – Reissue
Genre:Organic Grooves
Originally released in 1978 on Greg Charmichael's Red Greg Records, "Lady Bug" and ""Love Bug"" are probably Bumblebee Unlimited's most recognizable hits. Much like Cloud One, Universal Robot Band and Inner Life, Bumblebee Unlimited was a studio-based disco unitconducted by Patrick Adams and Gregory Carmichael. Their only album "Sting Like a Bee" was released by RCA in 1979 with contributions from longtime Adams & Carmichael collaborators Leroy Burgess (vocals), Norbert Sloley (bass), and Richard Taninbaum (drums). With an undeniable groove, signature keys and arrangements by Patrick Adams in additionto the comically sped-up vocals, Lady Bug is considered by many to be one of the most important underground tracks of the Disco era. As with the original "Lady Bug" 12" Single, the John Morales and Frank Trimarco "Sunshine Sound" mix takes the A-side of the RCA release. A true Disco version in every sense of the word, this almost 10 minute mix brings out the Latin percussions to the front makingit a true dance floor classic and establishing John Morales as one of the best remixers in the industry.The B-Side belongs to one of New York City's hottest DJs at the time: Larry Levan. Despite being a very early remix by the Legendary Paradise Garage DJ, the talent was evident and his understanding of a club mix in wide display. It’s no wonder Larry Levan would go to become one of the most respected and revered remixers of his generation. Similarly to the Morales/Trimarco version, the percussions are accented throughout themix making it ready for the discotheque. However the two mixes are undoubtely different with Levan’s bringing out more funk out of the Adams compositionfocusing more on the keys and the infectious bass lines. No real point in arguing which is better, so let’s just be glad we have both.
El Michels Affair - Return To The 37th Chamber
El Michels Affair
Return To The 37th Chamber
Tape | 2017 | US | Original (Get On Down)
17,99 €*
Release:2017 / US – Original
Genre:Organic Grooves
The wait is over, Return To The 37th Chamber is El Michels Affair’s highly anticipated follow up to 2009's underground cult classic Enterthe 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear thatEMA's signature sound is stronger & sharper than ever.This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog thatmakes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it’s own hazy sound. Adding to the uniquefidelity, the record is laced with psychedelic flourishes, “John Carpenter” synths, heavy metal guitars, triumphant horns, and traditionalChinese instruments that make up for the lack of the Wu’s superlative vocals. From start to finish it’s a dark trip that walks the linebetween RZA’s timeless hip-hop aesthetic and the cinematic soul EMA has become known for.El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol DirtyBastard’s Snakes, Raekwon’s Verbal Intercourse, and Shaolin Brew, Wu-Tang’s contribution to the St. Ide’s Hip Hop endorsementcampaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties onSnakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sampleas it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man’s hit, All I Need, lending her vocal prowessto what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the“rug that ties the room together,” giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair recordand not just a collection of covers.From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is asmuch a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, “sounding out thecity” that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly uniquein it’s own right.
Run DMC - King Of Rock
Run DMC
King Of Rock
LP | 1984 | US | Reissue (Get On Down)
24,99 €*
Release:1984 / US – Reissue
Genre:Hip Hop
Run DMC’s self-titled 1984 debut pushed the doors of pop music open, showing that hip-hop was not the fad that haters had prophesized. As they proved decisively on Run-DMC, rap was a legit art form, fully capable of producing long-players full of no-fast-forward cuts.By 1985, any doubters were running on fumes, as the group’s King Of Rock blew the aforementioned pop doors off their hinges. Emboldened by their success (including the first rap album to ever go Gold), energized by worldwide touring and accolades, and given all the support they could want by a genius producer (Larry Smith), an open-minded label (Profile) and a charismatic manager (Russell Simmons, who also lent a hand on production), they ruled the charts and hinted at even greater things to come.The album’s most fondly-remembered single set the album’s tone perfectly: “King Of Rock” was hard, full of charisma and tag-team vocal finesse, and had enough guitars to bring the suburbs into the rap fold. The song’s video was equally popular and powerful, and the pioneering MTV exposure drove the group into a new stratosphere.But there was much more to King Of Rock than the title track, including more rock / rap hybrids – “Can You Rock It Like This” and “You’re Blind” – as well as the additional singles “Jam-Master Jammin’” and “You Talk Too Much.” (The latter, incidentally, charted as high as “King Of Rock” on both the Pop and R&B charts).Throw in the forward-thinking reggae/rap collab “Roots, Rap, Reggae” (featuring the legendary Yellowman) and the live-throwdown-simulation “Darryl and Joe (Krush-Groove 3)” and the album – which went on to pass Platinum status– is a winner from A1 to B4.
Too Short - Blow The Whistle
Too Short
Blow The Whistle
7" | 2016 | US | Original (Get On Down)
12,99 €*
Release:2016 / US – Original
Genre:Hip Hop
Too Short’s 2006 certified club staple “Blow The Whistle” gets the 7inch treatment for the first time ever, and it’s safe to say it’s about time. Short Dog has long been considered Hip Hop royalty with countless classic singles and albums, but “Blow the Whistle” might be the biggest. It’s been referenced countless times (epic call outs – “what’s my favorite word”) and Drake grabbing a few lines to paraphrase this song, 10 years after speaks to its staying power and relevancy. It takes a legend like Too Short to bring it like this and it doesn’t hurt that Lil Jon cooked up a fire pot beat to propel the cut up the Billboard R&B/Hip Hop and Hip Hop Songs chart. It staying power is undeniable.
Ghostface Killah - Bulletproof Wallets
Ghostface Killah
Bulletproof Wallets
2LP | 2001 | US | Reissue (Get On Down)
30,99 €*
Release:2001 / US – Reissue
Genre:Hip Hop
How could an artist follow up a record as solid as “Supreme Clientele”? Ghostface Killah answers that question – in sound – on “Bulletproof Wallets”. The release reunites GFK with his partner in rhyme Raekwon and continues Ghost’s winning streak of delivering front to back classic material. Filled with the usual Ghost slang and bass heavy production, “Bulletproof Wallets” is the follow up “SupremeClientele” deserved, delivered without skipping a beat. The fun Ghost & Rae are having on this recordis beyond apparent. “Bulletproof Wallets” is almost like a party album, packed with hit singles and street bangers. “Never Be the Same Again" (with Carl Thomas & Raekwon) and "Ghost Showers” play alongside "Maxine" and “The Forrest” all working off each other’s energy. Other stand outs like "Walk-ing through the Darkness", & "The Hilton" all bang through the speakers and continue to add to Ghost’s undeniable catalog. Backed up by groundbreaking production from The RZA, Alchemist, Car-los “6 July” Broady and Mathematics, Ghostface shines and the chemistry between Rae and GFK is incredible!
Maceo Parker - US
Maceo Parker
US
LP | 2016 | US | Original (Get On Down)
26,99 €*
Release:2016 / US – Original
Genre:Organic Grooves
Maceo Parker was one of the most revered and loved members of James Brown’s famed J.B.’s band from the late ‘60s to the mid-1970s. Alongside his instantlyrecognizable alto saxophone solos, he occasionally performed as comedian before James Brown shows, in addition to playing MC. He was a true renaissance man. And while other members of The Godfather of Soul’s inner circle – most notably trombonist Fred Wesley – had solo albums at the advent of Brown’s People Records, Maceo had to wait his turn for a couple years. By the time 1974 rolled around, this talented musician and personality could not be denied, and he burst onto the scene as a group leader with one of the most impressive albums in the People catalog: the simply titled, but deeply felt, Us. Maceo’s group (occasionally called The Macks) and Fred Wesley’s J.B.’s were essentially the same unit – including guitarists Jimmy Nolen and Hearlon “Cheese” Martin, drummer John “Jabo” Starks, saxophonist St. Clair Pinckney and of course Fred Wesley on trombone. Unsurprisingly, the material here is never-endingly funky. But as shown in the song selection (presumably by Parker, with heavy-handy assistance from the Godfather himself), there are as many ballads and soul groovers as there are straight-up funk workouts. Cases in point include the mellow, Gamble & Huff-penned “Drowning In The Sea Of Love” (with organ, most likely played by James Brown, slithering in the background) and the syrupy “Show and Tell.” The album’s closer is also on the slower side, going very deep and striking a chord, as Maceo and Brown talk about conditions in the Black American landscape of the day over the course of 10-plus minutes. And there is, of course, plenty of diesel funk here as well: singles like “Soul Power 74” and “Parrty” are downright nasty grooves, known well by James Brown fans old and new. “Soul Power 74” additionally features very early proto-sampling, with a baby’s cry as well as Martin Luther King Jr.’s famous “I Have Been To The Mountain Top” speech. And Maceo’s take on the J.B.’s classic “Doing It To Death” is a unique version, more muted and of course featuring Maceo’s gorgeous horn front and center. Appearing at the apex of both James Brown’s and People Records’ power, Us is a treasured jewel in the J.B. catalog, and rightfully so. This 150 gram vinyl LP comes in a Stoughton Jacket, housed in a custom People Records poly bag, and includes 24” x 24” poster.
Dinosaur L - Go Bang
Dinosaur L
Go Bang
12" | 1981 | US | Reissue (Get On Down)
13,59 €* 16,99 € -20%
Release:1981 / US – Reissue
Genre:Organic Grooves
"I'd do anything to get the chance to go back / I wanna go bang!" / "I wanna see all my friends at once!" / “I wanna go Bang!” Released on Dinosaur L's 1981 album 24-24 Music, Go Bang! quickly became a favorite at David Mancuso’s Loft and Larry Levan’s Paradise Garage. However the original mix on the LP did not fare as well with other Disc Jockeys, who found it too complex for the dance floor. As the album sales began to slow down, Will Socolov and Arthur enlisted François Kevorkian to remix the track for the 12-inch release.
Class Action - Weekend
Class Action
Weekend
12" | 1983 | US | Reissue (Get On Down)
16,99 €*
Release:1983 / US – Reissue
Genre:Organic Grooves
"Tonight is partytime, it's partytime tonight!" Donna Summer “Thanked God” for Friday. The Beegees sang about Saturday night. Sure. Yet in New York City, this post-disco song is the undisputed dance anthem when it comes to weekend celebrations. Originally written by James Calloway and Leroy Burgess for Patrick Adams' Phreek only to re-surface five years later as Class Action, the updated version became a classic on the radio and in every club in the Big Apple and beyond. Produced by Bob & Lola Blank this Sleeping Bag Records classic has had more lives than a cat.
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