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viewing 1 To 25 of 242 items
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GET 52733LP
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"2018 Black Friday RSD release. Dig deep in to the released output of famed producer David Axelrod and you'll discover this gem, Pride. The single self-titled release is the pairing of Axelrod with his son Michael. The father-son duo deliver psychedelic pop with what many may call a Baroque folk-rock twist. Issued in 1970, the project is somewhat in the realm of the output from groups such as Love or The Byrds ? but indelibly David Axelrod through and through."
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2LP
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GET 51281LP
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"2018 Black Friday RSD release. By the time Get In Where You Fit In was released Too $hort was a full on star. The release achieved platinum status and was the first Too $hort record to hit the number one slot on the Top R&B/Hip Hop Albums chart. But being that the release dropped in 1993, the title was only commercially issued on CD and cassette. Get On Down presents Get In Where You Fit In on vinyl in the form of this double LP with picture cover for Black Friday."
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GET 59003LP
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"2018 Black Friday RSD release. Recorded and released in 1967 at the height of the Psychedelic movement on the Cotique imprint, The Lebron Brothers deliver an incredible release more than worthy of revisiting. Producer and Cotique label chief George Goldner recalls 'All the tricks of way out sounds are put into these numbers. You will hear the weirdest sounds ever cut in Latin dance music. No one has ever dared to produce this sound in Latin music in the past, but I felt the time had come to do it as all past records had the same sounds. Of course, arrangements had a lot to do with my decision to go on this electronic trip.' And that trip is back in effect with Get On Down's special Black Friday reissue from an oft overlooked portion of the Lebron Brothers' storied history."
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7"
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GET 772EP
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$11.00
PREORDER
RELEASE DATE: 11/16/2018
"7 inch singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some 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 the original Ska movement by the The Spanishtonians. By the time Keith & Tex got ahold of the song with producer Derrick Harriot the music coming out of Jamaican was shifting towards the Rocksteady sound. The result, their 1967 version of the song becoming the biggest hit Keith & Tex ever had as well as one of the most popular Rocksteady cuts of all time. Keeping with the theme, the group's sweet vocal stylings stand out with 'Leaving On That Train' on the flip. Though Keith & Tex would part ways in 1970 when Keith departed to the US with his family with Tex expatriating to Canada, their legacy remains with these sides documenting their lasting effect within one of the most inspired periods in the storied history Jamaican music."
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7"
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GET 776EP
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$11.00
PREORDER
RELEASE DATE: 11/16/2018
"7 inch singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some of the most crucial reggae and ska sides on 45. This time out Get On Down has collected two Bunny Lee produced masterpieces into a never before issued 45. On the A Side, King Tubby works his magic on The Aggrovators 'A Noisy Place', the instrumental version of John Holt & Horace Andy's classic cut 'A Quiet Place.' Rather than drop 'A Quite Place' into the mix, a second and more rare Tubby dub of the cut known as 'A Ruffer Version' rounds out the single. The argument can be made that no one was more instrumental in the development of dub reggae than King Tubby, a statement even (many days) his friend and sometime rival Lee Perry would agree with."
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7"
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GET 778EP
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"7' inch singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be 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 a Jamaican group but had their origins in the UK. By the time 'Skinhead Moonstomp' was released as a single in 1969, reggae had spread its influence into the UK to such an extent that it changed British music for good. Symarip were the first group to work to directly appeal to UK skinhead culture, creating the climate that allowed for the explosion of the two tone movement in the late 1970s. Yet it was only on the singles' reissue in 1980 that the cut hit the UK charts, 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 some of that old moonstompin'."
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7"
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GET 780EP
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$11.00
PREORDER
RELEASE DATE: 11/16/2018
"7 inch singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be 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 fabled Black Ark Studio was first up and running. On the A-Side you know you've got something 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 being remixed into 'Freak Out Skank.' First issued in 1973 on Perry's own Justice League imprint with a UK issue following almost immediately, miss this and you'll miss one of the most crucial developments in the sonic evolution of Scratch's 1970s output."
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GET 775EP
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"The Jamaicans first formed in 1967 as the Cool Shakes. By the time the year was over, they'd updated their line up from a trio to a quartet, changed their name to the Jamaicans and took 'Ba Ba Boom' to first place in that year's Island Festival Song Contest. Soon after, the cut (backed by Tommy McCook & The Supsersonics) was issued on the Treasure Isle imprint to instant classic status. On the flip, it's Twilight Zone, a reverb drenched proto-dub instrumental version of the song."
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LP
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GET 51300LP
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Repressed; originally released for 2014 RSD Black Friday. "Pressed on special Christmas-themed colored vinyl! 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."
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GET 59004LP
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"Joey Pastrana had a special gift for singing songs in both English and Spanish. Along with other boogaloo luminaries like Pete Rodriguez and Joe Cuba; Joey Pastrana was responsible for introducing Latin music to many English speakers across America. With a wonderful and talented orchestra, Joey Pastrana paved the way for the new Latin music fusions that have come to be known as the Latin boogaloo. A master of the timbales, Pastrana was also a brilliant singer known internationally for his energizing live performances. Honing his musical skills in his beloved New York City, Joey was enamored at an early age by the sights and sounds coming out of Spanish Harlem during the early sixties. Taking his cue from the R&B and Jazz that was popular at that time, Pastrana became a master of rolling rhythms that shook up hips in dance floors throughout the world. One of the top artists of the boogaloo/Latin soul era, Joey Pastrana's music is regarded as one the most wonderful and exquisite examples of the world-famous New York Latin sound."
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GET 54096LP
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"Motown's First Ladies of Funk finally release their vinyl debut, some 45 years after it was originally scheduled! As the '70s dawned and Motown relocated to the West Coast, the era of their honey-toned '60s girl groups came to a resounding halt. The Sisters Love were the antithesis of the traditional Motown group and came to the label from A&M, armed with a lot of funk, sass and attitude. Paired with some of Motown's finest writers and producers - Hal Davis, 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 To Trust My Man'. Motown had them playing arenas with The Jackson Five (probably not their smartest move!), issued the odd single and scheduled more but Sisters Love's anticipated breakthrough didn't happen. In 1980 New York DJ Danny Krivit pressed up an extended eight-minute re-edit of 'Give Me Your Love', an old B-side from a 1973 single! That song was somewhat of an underground classic but the Krivit mix brought in a whole new legion of fans amongst the rare groove crowd, both in the US and the UK. Sisters Love had long been rumored to have recorded a complete album for the Motown subsidiary MoWest. Get On Down Records combed the vaults with Motown's help and the result is the original 10 cut album, plus a bonus cut, 'Give Me Your Love.' Although Gwen Berry passed away some years ago, the other three members of the group - Jeanie Long, Lillie Fort and Vermettya Royster have all been actively involved in this release."
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GET 57012LP
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"Between the twin pillars of Cloak and Dagger and Blackboard Jungle Dub, the superlative, yet often overlooked, Rhythm Shower album was also released in '73. Originally issued in a very limited Jamaican pressing with no sleeve, it became better known when re-released by 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 album in Perry's career as a producer and bandleader; it finds him beginning to experiment with dub and developing his singular studio sound that would come to full maturity in subsequent years. Whereas earlier albums offered plenty of instrumental versions, on Rhythm Shower, Perry really begins employing the studio sleight of hand that would become part and parcel for what was then the emerging art form of dub -- dropping voices and instruments in and out of the mix to create a trippy, hypnotic effect. Not to go unnoticed is the mighty Upsetters themselves, whose revolving crew of musical heavyweights included Bob Marley & The Wailers future rhythm section Aston 'Family Man' Barrett on bass and drummer Carlton Barrett. The powerhouse rhythms they forged give Perry all the space he needs to work his mojo at the mixing desk. With one foot planted firmly in the celebrated sound of the time and the other stepping assuredly into the future, Rhythm Shower is essential listening for any fan of Reggae, Dub or Lee Perry. This is crucial music. This is classic Scratch."
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GET 52732LP
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"''New York's Harlem River Drive is a dividing line, a highway where the rich zip past the poor,' says singer Jimmy Norman. Eddie Palmieri's Latin-funk band of the same name tackled these hard truths, playing prisons and speaking to the common man. Ultimately, Norman and Palmieri made a powerful socio-political statement that continues to resonate to this day.' --Pablo Yglesias/Wax Poetics When initially released in 1971, many critics panned Eddie Palmieri's 1971 album Harlem River Drive. Clearly, those critics were wrong. Regardless of critical opinion, the release was not the crossover success Palmieri and Roulette Records had hoped for, at least in the immediate. Over the years the release has developed a following among listeners, DJs and aficionados of rare-grooves. The record may have been recorded towards the end of the Latin soul era, yet it features that genre's wonderful mix of Puerto Rican soul, Spanish Harlem Latin, and New York funk. Palmieri worked with an incredibly talented crew of Latin and R&B session musicians to create this quintessential New York vibe, a synthesis of funk and Afro-Cuban sounds. Contributors include Victor Venegas from Mongo Santamaria's band, Palmieri's brother Charlie, an accomplished musician in his own right, Bruce Fowler who went on to join Frank Zappa's band, Dick Meza who went on to great things with Tito Puente, Ray Barretto and Celia Cruz, as well as Andy Gonzalez whose pedigree includes recordings with Barretto, Johnny Pacheco, Willie Colon and even Chico O'Farrill. Also appearing Randy Brecker and one of the all-time greatest of the greats Bernard Purdy. An over-arching theme of Harlem River Drive is the thought that, as Palmieri puts it 'The U.S. is richest country, all this immense wealth, side by side with the most intense poverty, racial prejudice; how is that possible?' A question that's perhaps more even more relevant today than it was in 1971. A question that can be further explored with Get On Down's reissue of this seminal recording."
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GET 59006LP
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"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
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GET 771EP
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"7 inch singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some of the most crucial Jamaican sides on 45, starting with The Maytals 'Monkey Man.' Recorded in 1969, the cut was a smash hit in Jamaica and hit number 47 when released in the UK in early 1970. 'Monkey Man' went on to be highly influential on the British Two-Tone movement of the later 70s with The Specials offering up a ripping version of the cut on their 1979 debut. The B Side, 'Night And Day', though not a chart-burner, is certainly one of the most solid rock-steady cuts you'll ever encounter rife with bubbly keys, tight snares and Toots Hibbert's incredibly soulful vocals."
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GET 777EP
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"This time out, it's The Upsetter Lee Perry with his spaghetti western-inspired 'Return of Django' featuring some great sax work from Val Bennett. The instrumental outing was of course well received in Jamaica when issued in 1969 and hit #5 on the UK charts. The equally impressive 'Dollar In The Teeth' is on the flip. Both selections being favorites in the UK Skinhead subculture and highly influential on the British Two-Tone movement of the later 70s."
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GET 768EP
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"Soulful disco jam and paradise garage classic from the producer of hits like Taana Gardner's 'Heart Beat' and Gwen McCRae's 'Funky Sensation'."
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GET 51290LP
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"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!'"
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GET 57009LP
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"Leroy Sibbles, Earl Morgan and Barry Llewellyn first banded together in Kingston in 1965 as The Hep Ones, but quickly changed it up to the Heptones when Morgan randomly spotted a discarded bottle of Heptones Tonic. We're not sure what was in that tonic, but it sure made for some smooth vocals. By 1967 the group was recording for Coxsone Dodd's famed Studio One moving into the organization just as the Wailers were moving on. Though one may argue which group had sweeter harmonies, there's no doubt that The Heptones, unlike many others at the time, were not followers of the Wailers vocal stylings but rather contemporaries. After parting ways with Sir Coxone, post a string of international hits and renown, the group released abundant material through a string of labels (including their own) ahead of being catapulted it international prominence due to a deal with Island Records in the late 70s. Book Of Rules being one of those recordings. In 1973 the group entered Harry J's studio in Kingston, with the record being issued on Harry's Jaywax imprint soon after the last note of the session tapered off. The effort features one of the biggest Heptone's hits in the title track 'Book Of Rules,' one of the very few Heptones songs where Leroy Sibbles does not handle the lead vocals, instead the songs co-writer Barry Llewelyn sang lead. Once again available as first issued in Jamaica in 1973, this is a landmark recording that's not to be overlooked."
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GET 767EP
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"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."
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GET 57007LP
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"Lee Perry first came to prominence working with Coxsone Dodd's fabled Studio One. This is where Scratch earned the nickname with the wildly popular Jamaican hit record and dance craze 'Chicken Scratch.' After a fall out with Dodd, Perry moved on to a stint with Joe Gibb's Amalgamated. Again in a dispute over compensation Perry moved on to form his own label, Upsetter and established his house band, the Upsetters. By 1973 Perry had also established Black Ark, a recording studio of his own that functioned as an effective fertilizer throughout what was Jamaica's most innovative period for sounds and recording techniques. In that year, as Perry and Black Ark entered a period of heavy dub output, Scratch recorded Cloak And Dagger. This early dub outing is a testament to Perry's lo-fi mastery as he utilized his TEAC four-track, Soundcraft board, tape delays, phasers, reverb and any other ambient sounds he could get his hands on as an instrument rather than just to record instruments. Get On Down celebrates a piece of reggae history and one of Lee Perry's crowning achievements with this reissue of Cloak And Dagger, presented here as originally issued in Jamaica in 1973."
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GET 57008LP
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"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' studio 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 comer 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 complements 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 polyester (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."
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GET 51329LP
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"The development of hip-hop during the 1990s is partially indebted to the styles that were cultivated on the West Coast, more specifically in the state of California. When one thinks of the California hip-hop scene invariably the G-funk of Tupac Shakur, Snoop Dogg, and Los Angeles comes to mind, but to ignore the equally impressive San Francisco bay area scene is a travesty. It was in this environment where Earl Stevens, better known by his stage name E-40, came up in and developed his following. Alongside regional staples such as Too Short, Spice 1, and Ant Banks, E-40 was among the first West Coast rappers to sign with a major label, and scored a Billboard-charting hit record with 1995's In A Major Way. His flamboyant attitude, mixed with a driven, DIY spirit, would lead to further Billboard-charters, as well as collaborations with top-tier names of hip-hop, from California peers like Tupac Shakur, Too Short, and Keak Da Sneak, to underground legends like Tech N9ne, Bun B, and Danny Brown, to modern MCs like 2 Chainz, YG, and Juicy J, to even the company of comedy trio The Lonely Island. While E-40's break into the mainstream came with 1995's In A Major Way, he had recorded on numerous EPs and features, as well as a studio album through his own self-run label Sick Wid It Records. That studio album, 1993's Federal, would also serve as his solo debut, and paint a picture of things to come for the bay area rapper. With it's stark and aggressive sound, over top of beats that sampled classic funk and soul staples like Isaac Hayes, Sly & The Family Stone, and The Ohio Players, Federal put E-40s skills as an MC on full display, as well as promising things in the following years. Not to mention solid guest spots from his fellow Californians B-Legit, Kaveo, Little Bruce, and various others."
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GET 59002LP
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"The venerable Cotique existed at the juncture where Afro-Caribbean music met the 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 genres were recorded for this label, including sessions by Joe Bataan, Johnny Colón and Larry Harlow. Cotique's product was marked by a refined aesthetic and unerring good 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 New York'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 uncompromisingly in their way: making funky, gritty, streetwise and relentlessly swinging music that mixed Spanish lyrics, Latin tunes and English-language R&B/soul-oriented numbers. 'Lebrón Brothers are the only other band (besides Willie Colón) to arrive during the boogaloo era and survive long after boogaloo was dead and buried,' comments Ray Rosado, leader of Maña. 'I believe that for these two bands, boogaloo was merely a means to an end.' Originally called Angel Lebrón and his Orchestra in 1965 (co-founded by Puerto Rico-born brothers Angel on bass and José Lebrón on piano,) they changed their name to Lebrón Brothers at the suggestion of George Goldner (1918-1970) when they signed to his Cotique Records 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, he suffered a stroke. Between 1967 and 1982, the band recorded 16 albums for Cotique, during which time brothers Carlos and Frankie joined on bongo and conga, respectively. The multitalented José and Angel wrote and arranged most of the material. Fania Records took over Cotique in the early '70s and drafted star bandleader Larry Harlow to produce one of the band's albums and Johnny Pacheco, the label's co-founder, to produce another three. Reportedly, Fania boss Jerry Masucci (1934-1997) tried to persuade the Lebrón Brothers to replace Pablo with a younger, thinner white lead singer. Proud of their Afro-Boricua heritage, they resisted and were consequently excluded from major industry opportunities. Angel and José eventually took over the reins of production on the band's 14th Cotique release in 1980, and Angel took the producer credit on the remaining two albums for the imprint (Frankie produced a one-off return to Cotique in 1998). 'On all of their recordings, the coro is precise, the swing formidable and the message is both timely and seemingly prescient. That's more than enough to make up for whatever naïveté one might observe in their recordings at first blush,' says John Walsh, trumpeter with the Grammy Award-winning Spanish Harlem Orchestra, who began playing with Lebrón Brothers in the mid-'80s. 'And then there's the vibe. When they walk on stage, they made their presence felt: five or six of them, not one under six feet or less than 225 pounds!'"
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GET 765EP
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"If Peace, Love, Unity and Freedom are some of the pillars of house music 'Follow Me' is a call to action. This vocal driven cut instantly become an anthem and one house music's most revered songs. 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 and uplifting track became an early-'90s house classic and continues to be one of the most memorable tracks out of the vast Strictly Rhythm Catalog. Original mix on the A, and Dub on the B-Side. Available for the first time as a 7"."
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