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viewing 1 To 25 of 255 items
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LP
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GET 52737LP
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$27.00
PREORDER
RELEASE DATE: 1/17/2020
Housed in a deluxe gatefold jacket; OBI. "After years of Wrecking Crew-grade session musicianship around Los Angeles, Malcolm John Rebbenack carved his own niche by the late 1960s with a distinct blend of psychedelic rock, boogie-woogie, and rhythm & blues. Taking the stage name Dr. John, The Night Tripper (later shortened to Dr. John), he developed a cult following with his music, heavily influenced by his home of New Orleans, and fascination with the voodoo religion, which was reflected in his elaborate stage shows. In 1968 he released his debut record Gris-Gris, which was not a commercial hit, but fascinated critics, and set him on an artistic path that would eventually lead to major mainstream success in the 1970s, and cement his reputation as a prominent curator and performer of the New Orleans sound. After Gris-Gris' release, Dr. John found himself in a strange and awkward position. The US was deep into the Vietnam War, and the assassinations of Martin Luther King Jr. and Bobby Kennedy were fresh in the public memory. On top of that, Dr. John was being pursued by various Los Angeles authorities for a handful of criminal offenses. It was, in his own words: 'a heavy time for me.' Much like Sly & The Family Stone's There's A Riot Goin' On, Dr. John's sophomore album Babylon would be a reflection of the chaotic and tumultuous time that he was living in. He and the band dove deeper into the voodoo-inflected psychedelic rock and R&B of Gris-Gris, while touching upon elements of free jazz and Captain Beefheart-style avant garde. As with his debut record, production was handled by the legendary Harold Battiste, and much of the same session personnel who performed on it returned for Babylon, including Plas Johnson on saxophone, Alvin Robinson on guitar, and backing vocals from Jessie Hill, Shirley Goodman, and Tami Lynn. Babylon stands out as one of Dr. John's most overtly political albums, and is a singularly murky and darkly entrancing record in his discography. A psychedelic swamp of apocalyptic lyrical content, drunk, disorienting experimentation, and a fascinating entry into Dr. John's catalogue well-worthy of his expansive legacy."
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LP
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GET 51304LP
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$28.00
PREORDER
RELEASE DATE: 12/13/2019
2019 repress; white vinyl. "In the 4 years after The Clipse dropped their sophomore classic Lord Willin' the duo was able to build a legacy that had fans 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 for their 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. As always the duo is right at home over The Neptunes crafted beats which perfectly embrace Pusha's inventive drug-game metaphors and Malice's soul-baring confessionals. Get On Down now proudly issues this Neptunes produced favorite on LP for the first timel."
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LP
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GET 51332LP
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RSD Black Friday 2019 release. "Throughout the mid-to-late 1970s, legendary jazz pianist and composer Herbie Hancock engaged in a prolonged period of experimentation across sounds and recording formats, over the course of several CBS/Sony albums, made only available in Japan. 1979's Directstep was one such album, one that made use of a new form of recording technology called 'Direct-To-Disc.' This method recorded masters in real time to acetate discs, rendering incredibly high fidelity LP pressings, but sacrificing the ability to edit or overdub. A distinct challenge, but one that Hancock accepted, entering Tokyo's CBS/Sony Studios in mid-October of 1978 with a stacked backing band including session veterans Bennie Maupin on saxophone, Ray Obiedo on guitar, Webster Lewis on keys and synths, Paul Jackson on bass, Alphonse Mouzon on drums, and Bill Summers on percussion. This group of seasoned pros were intent on having a record in one take. Directstep marked a lot of firsts for Hancock, chief among them was that it was one of his earliest recordings to feature a second synthesizer player (Webster Lewis), which was necessary to produce the electronic textures he'd been previously experimenting with on albums like 1974's Dedication. It was also the first one in Hancock's catalogue to make extensive use of the Sennheiser Vocoder, which would become a key part of his arsenal during his electro-funk period during the 1980s. The album also stands out as one of the earliest analog recordings to be converted into digital format and released on compact disc. Beyond all the technological achievements on Directstep though, is simply an incredibly solid collection of Herbie Hancock material, mid-transition between his success with jazz-funk fusion into his electronic-focused period. It features stirring remakes of Hancock staples 'Butterfly' and 'I Thought It Was You', as well as brand new track 'Shiftless Shuffle', incorporating brand new electronic instrument technology such as the electronic wind instrument the Lyricon, the freshly released Propet-5 synthesizer, and of course the aforementioned Sennheiser Vocoder. Get On Down is proud to present this reissue of Directstep, a gem of jazz-fusion, available on vinyl for Black Friday Record Store Day for the first time in 30 years!"
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LP
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GET 51279LP
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RSD Black Friday 2019 release. "Miles Davis was on the verge of forming one of his most acclaimed ensembles in 1964. It was this year that he travelled to perform in Japan for the first time, bringing with him 3/4ths of the musicians that would form his famed 'second great quartet'; Herbie Hancock on piano, Ron Carter on double bass, and Tony Williams on drums. In addition the jazz legend brought along saxophonist Sam Rivers to replace the recently exited George Coleman, who was primarily a free jazz musician, but had a long and extensive background in bebop. Davis and Rivers never developed any major chemistry between each other during the trip, and frequently found their distinct styles (Davis' cool and subdued traditional bop style contrasting with Rivers' wild but controlled avant-garde wandering) frequently clashing (or perhaps duelling) in their performances. But for all Davis and Rivers might not have meshed together, the crowd at Tokyo's Kohseinenkin Hall enjoyed it immensely. Davis himself reserved a special kind of respect and admiration for his Japanese audience as well, temporarily dropping his habit of exiting the stage during his fellow musicians' solos. Rivers would ultimately be dismissed from the group at the end of their trip, leading to the arrival of Wayne Shorter, and the inception of the 'second great quartet.' The partnership of Miles Davis and Sam Rivers may have been short-lived, but it did produce the live album Miles In Tokyo nearly five years later. The record is a rare jewel in Miles Davis' discography, featuring high-energy live versions of songs by Rodgers & Hart, Cole Porter, and Richard Carpenter, as well as a restlessly fast-paced take on the Davis staple 'So What'. This collection has previously only been available in Japan, but is now presented on vinyl for the first time in America by Get On Down, just in time for Black Friday Record Store Day. Miles In Tokyo is a must-have for completionists of free jazz, bop, and avant-garde alike."
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2LP
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GET 51313LP
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2019 repress; clear vinyl. "Super Tight... is the second album from hip hop legends UGK, originally released in 1994. The title of the album is taken from its stand out single 'Front, Back & Side To Side'. Bun B and Pimp C (R.I.P.) were already on fire from their debut album a few years prior but they perfected the southern playa sound with this record. At the time of its release Super Tight... was only issued on cassette and CD, so it's a must for fans and collectors to grab the vinyl now that it's available for the very first time. The album kicks off with 'Return', which after a few snare hits and the bluster of Pimp C's voice it is clear to the world - the underground kings are back. Countless tracks like 'Three Sixteens' (featuring DJ DMD), 'Stoned Junkee', 'It's Supposed To Bubble', 'I Left It Wet For You' and the previously mentioned 'Front, Back, & Side To Side' all perfectly showcase the chemistry between Bun B & Pimp C, over deep southern funk grooves. The production on this album is stellar, all bass heavy and features Meters lead guitarist Leo Nocentelli. Like their debut album Too Hard To Swallow, Bun B and Pimp C were ahead of the game, and with Super Tight... they perfected it."
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LP
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GET 51318LP
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$25.00
PREORDER
RELEASE DATE: 10/11/2019
2019 repress; clear transparent vinyl. "Future archaeologists will discuss two periods in 1980s: before Run-D.M.C. and after Run-D.M.C. It's no exaggeration to say that the group changed 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 Run was, 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-Groove 1)' 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 Yorkers and music aficionados around the world by storm. The song's lyrics are a mandatory memorization assignment to this day by MCs learning their craft. 'Two years ago, a friend of mine...' The group's sound, which was laid out muscularly on Run-D.M.C. (1984), had a harder approach than their peers, thanks to producer Larry Smith's use 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 was powerful 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 first worldwide smash, 1985's 'King Of Rock.' Jam Master Jay's DJ work was stellar, knowing exactly when to jump in and put listeners' ears in a 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 would take 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 sounds fresh today as it did more than 30 years ago."
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2LP
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GET 51310LP
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'Illmatic, the 1994 studio debut of Nasir 'Nas' Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G., it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. What came next threw critics and fans for a loop, but was no less influential than Illmatic, and would become the most commercially successful album in the entirety of Nas' discography. The 1996 sophomore follow-up was titled It Was Written, and in contrast to the urban bleakness of his debut, had Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written was not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel 'JoJo' Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur. Not only was It Was Written received warmly by critics, but became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking 'Street Dreams', and the Grammy-nominated 'If I Ruled The World (Imagine That)', and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more."
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2LP
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GET 52716LP
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2019 repress. "It's safe to say that hip-hop has never seen an album like Ol' Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks ('Damage,' with GZA), drugged-out party jams (the monster singles 'Brooklyn Zoo' and 'Shimmy Shimmy Ya') and bizarre, grimly hilarious fantasies of sex and violence ('Don't U Know' and the R&B-tinged 'Sweet Sugar Pie'). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol' Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality." Includes 18"x24" poster.
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LP
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GET 51293LP
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2019 repress. "Cypress Hill's self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren't usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice. From the opening notes of the group's first single, 'The Phuncky Feel One,' to deeper album cuts like 'Stoned Is The Way Of The Walk' and 'Tres Equis,' it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real's back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable. When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group's relationship in the reissue's liner notes (which is included only in limited edition Skull) saying, '[By the late '80s] the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter's deep wrangle, the former's inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop's most formidable young producer, while straddling the bi-coastal gap.' Cypress Hill's debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of 'The Phuncky One' and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group's live set to this day."
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LP
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GET 51321LP
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2019 repress on translucent red vinyl. "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."
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GET 51320LP
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2019 repress on translucent blue vinyl. "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 fans who 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 cuts like '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!"
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7"
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GET 907EP
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"These 'Big Hole' 7 inches from Lord Willin' are presented on white vinyl in mini Star Trak die-cut jackets -- replicas of the label's original 12" sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world -- 'we are not the same.' Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album. Select singles from Lord Willin' will now be available from Get On Down on white vinyl in 7" size diecut jackets that reproduce the look of the original 12" releases on the Neptune's Star Trak imprint."
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7"
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GET 906EP
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"These 'Big Hole' 7 inches from Lord Willin' are presented on white vinyl in mini Star Trak die-cut jackets -- replicas of the label's original 12" sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world -- 'we are not the same.' Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album. Select singles from Lord Willin' will now be available from Get On Down on white vinyl in 7" size diecut jackets that reproduce the look of the original 12" releases on the Neptune's Star Trak imprint."
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7"
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GET 903EP
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"These 'big hole' 7's from Lord Willin' are presented on white vinyl in mini star trak die-cut jackets -- replicas of the label's original 12' sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world ? 'we are not the same.' Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album. Select singles from Lord Willin' will now be available from Get On Down on white vinyl in 7' die-cut jackets that reproduce the look of the original 12' releases on the Neptune's Star Trak imprint."
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7"
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GET 905EP
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"These 'big hole' 7's from Lord Willin' are presented on white vinyl in mini star trak die-cut jackets -- replicas of the label's original 12' sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world ? 'we are not the same.' Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album. Select singles from Lord Willin' will now be available from Get On Down on white vinyl in 7' die-cut jackets that reproduce the look of the original 12' releases on the Neptune's Star Trak imprint."
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7"
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GET 901EP
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"These 'big hole' 7's from Lord Willin' are presented on white vinyl in mini star trak die-cut jackets -- replicas of the label's original 12' sleeves. The first hip-hop group signed to The Neptunes' newly formed Star Trak label in the early 2000s was a Virginia based duo known as The Clipse. The group's first single 'Grindin',' impacted young people with its bare-boned but infectious drum beat in the same way that Run-DMC's 'Sucker MCs' did almost two decades earlier. MCs Pusha T and Malice, combined with The Neptunes' groundbreaking production, sent a clear message to the rap world ? 'we are not the same.' Pharrell Williams and Chad Hugo were able to combine their electro-punk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer a hustler's viewpoint, with clever, hard-hitting lyrics that are consistent throughout the album. Select singles from Lord Willin' will now be available from Get On Down on white vinyl in 7' die-cut jackets that reproduce the look of the original 12' releases on the Neptune's Star Trak imprint."
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2LP
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GET 51295LP
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2019 repress. "The cultural phenomenon that is the Wu-Tang cannot accurately be described without referencing one of the pillars in the Clan's discography. Chef Raekwon's Only Built 4 Cuban Linx remains firmly planted as one of the defining triumphs in their artistic legacy. The oft referred 'Purple Tape' has been cited and debated by many as the greatest Wu-Tang solo project to date and remains a bullet point in any discussion involving the greatest 'cocaine rap' or 'street hop' albums of all time. In continuing with its proud tradition of honoring historically significant hip hop albums, Get On Down is honored to present Raekwon's Only Built 4 Cuban Linx for the first time ever on double translucent purple vinyl housed in a high density re-sealable poly bag. This edition features, for the first time ever on vinyl, the formerly CD-only bonus track, 'North Star (Jewels).' And if that wasn't enough, the entire album also features completely enhanced and painstakingly remastered audio. This is the definitive must-own vinyl edition of Raekwon's masterpiece."
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LP
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GET 54100LP
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"The rediscovery of the music of David Axelrod in the 1990s was a revelation to the scores of hip-hop and breakbeat DJs that sampled him, but his composition genius was on display as early as the 1960s. After producing and arranging major critical and commercial hits for Lou Rawls, The Electric Prunes, David McCallum, and Julian 'Cannonball' Adderley, he was encouraged by Capitol Records to record and produce solo material. Coming right on the heels of The Beatles' revolutionary 1967 album Sgt. Pepper's Lonely Heart's Club Band, Axelrod would produce a slew of instrumental baroque pop records, which were intricately orchestrated, fused elements of jazz, psychedelic rock, chamber music, and neo-classical, and tackled issues of mental enlightenment, environmental impact, and would be hailed by critics as highly ambitious pieces of conceptual art. The albums Song Of Innocence (1968), Songs Of Experience (1969), and Earth Rot (1970) are most often hailed as David Axelrod's finest moments, but little is mentioned of the producer's 1970s material. Among these records is Seriously Deep, his lone album recorded for Polydor, and an unheralded gem of jazz-rock fusion. On Seriously Deep, Axelrod dispenses with the heavily orchestrated measures of previous works to conduct a powerhouse crew of session musicians, including Leon Ndugu Chancler of Santana on drums, Mailto Correa on percussion, Jim Hughart on bass, Joe Sample on electric keys, and many others, with production from frequent Axelrod collaborators Cannonball Adderley and Jimmy Bowen. Seriously Deep is an obscure release, but also one of David Axlerod's tightest, and most exploratory ones. Across six tracks, Axelrod and his collective of players dip in and out of bounding jazz-funk, Afro-Latin grooves, cinematic flourishes, psychedelic synth washes, and blaring big band horns. It's a singularly insular curiosity of musical impressionism that's equal parts brooding and joyous, a definitive part of Axelrod's discography, and a well of sample material for tracks by Mobb Deep, Large Professor, The Black Eyed Peas, and Beanie Siegel, among others."
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2LP
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GET 51331LP
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"The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process. These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80s electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory. The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks 'Tell Me', 'Keep Tryin'', and 'Baby Luv', and even found the time for a Todd Rundgren cover. On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since its 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes."
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LP
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GET 51278LP
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"Veterans of the synth-pop movement of the '80s and early '90s, the New Jersey trio Anything Box took their name a collection of short stories, and made their name among a cult following of club-goers for their quirky, and often minimalist alt-dance music. While they never reached the heights of commercial success as contemporaries like Erasure or Depeche Mode, Anything Box endeared themselves to synth fans and music critics alike, even scoring a minor Billboard hit in the form of the atmospheric, New Order-like 'Living In Oblivion'. Anything Box's debut album, 1990's Peace, is considered an essential, if often overlooked piece of synth-pop history, and is one of the band's great hallmarks. Across 12 tracks of lush, melodic, techno-infused dance-pop, Peace features production from the esteemed producer Jon St. James, (Berlin, Jon Anderson, SSQ, Candyman) whose distinct ambient textures mesh splendidly with the tenor vocals of frontman Claude S., and the twin synthesizers of keys-players Dania Morales and Paul Rjinders. Decades after its release, Get On Down now presents this exclusive reissue of Peace, with revitalized sound, re-created album art, and on vinyl for the first time in over 20 years."
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LP
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GET 51297LP
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2019 repress. "In 1994, hip-hop was going through a painful growth spurt. Since N.W.A. and Ice-T's ascent in the late '80s, the rap game was no longer owned by the east coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The east coast/west coast feud that would indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire east coast breathed a collective sigh of relief. God's son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers -- Premier, Pete Rock, Large Professor, Q-Tip, and a youngster named L.E.S. -- the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the east? we are back.' It was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills, and heart."
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LP
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GET 54099LP
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RSD 2019 release, re-released. "By the 1970s Reggae had spread from Jamaica and become an international phenomena. Enter Dillinger, who rose up with the El Paso Sound System as part of the second generation of Jamaican toasters. His name came from American gangster John Dillinger at the suggestion of none other than Lee Perry (who produced his first album). A deal with Island Records followed, with sessions happening at Channel One Studios with Joseph 'Jo Jo' Hoo Kim producing. Recording at Channel One in mid-70s meant Dillinger and Jo Jo were tapping into an immense talent pool in the form of The Revolutionaries, the studio's in-house band. CB 200 features contributions from Earl 'Chinna' Smith, Aston 'Family Man' Barrett, Ansel Collins, Sly Dunbar, and Tommy McCook among others. The release also brought forth the career defining cut 'Cokane In My Brain', a hit record on an international basis. Despite the success of CB 200 and 'Cokane In My Brain' the release has remained out of print in all formats since the mid-1980s. Get On Down is about to change that, with their Record Store Day 2019 reissue of this too often overlooked Reggae masterpiece."
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LP
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GET 54035LP
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RSD 2019 release, re-released. "Out of print on vinyl since 1991. The 1990s was a rich vein of classic hip-hop, especially on the East Coast, which rendered some of the greatest works from the likes of Wu-Tang Clan, Nas, Mobb Deep, and many others. Frequently lost in the genre's New York-centric history was Boston's burgeoning hip-hop scene during the 1990s, spearheaded by working class Roxbury native Edward Anderson, best known by his stage name Ed O.G. Over the course of his career, which has spanned nearly 30 years, Ed O.G has maintained an admirably strong cult following, and has gone on to work with contemporaries like RZA, KRS-One, Masta Ace, Pete Rock, and Common, while touring the world over, and producing numerous solo and collaborative albums. Ed O.G's illustrious career debuted in 1991, with the release of what is arguably his best known album, Life Of A Kid In The Ghetto, a collaboration with his crew, billed as Da Bulldogs (which was actually an acronym for 'Black United Leaders Living Directly on Grooving Sounds'), though Ed O.G was clearly the main event. An underrated classic in its own right, Life Of A Kid In The Ghetto runs a gamut of sounds ranging from the introspective conscious hip-hop of 'Be A Father To Your Child', to the whimsical boasts of 'I'm Different', to deeply political fare like the Ace & Quan and Def Jef-featuring 'Speak Upon It', plastered across a backdrop of Joe Mansfield-produced sample-heavy soundscapes, which snatched clips from deep cuts of James Brown, Roy Ayers, and The Delfonics, to name just a few. It also managed to generate Billboard-charting singles out of tracks like 'Bug-A-Boo', 'Be A Father To Your Child', and 'I Got To Have It', which would become Ed O.G's signature track, and sample fodder for 2Pac, De La Soul, and DJ Premier. Get On Down now presents Life Of A Kid In The Ghetto, an unheralded rarity of renaissance hip-hop, reissued on vinyl for the first time since 1991. The audio has been remastered from its original tapes, so every bit and piece of Ed O.G's masterpiece is crisp and clear on wax. An uncovered gem of 90s rap well worth a re-listen or first-time discovery, and a sterling representation of Boston hip-hop."
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LP
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GET 51282LP
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RSD 2019 release. "Never before released on vinyl outside of japan. Packaged with a full-color obi-strip. Dedication by Herbie Hancock is an anomalous entry in the discography of the revered jazz-fusion keyboardist. The album was recorded over the course of a single day, in the middle of a tour of Japan at Koseinekin Hall in Tokyo, and for years would be available exclusively in Japan. Produced a month ahead of his 1974 studio album Thrust, the follow-up to his career-defining album Head Hunters, Dedication's tracks were noteworthy for how drastically different they were from the material that followed. Gone was the dangerously funked-out rhythm section goodness of the Headhunters; instead Hancock is alone, performing four solo pieces on grand piano, electric keys, and synthesizer. Side one features Hancock at his most introspective, featuring romantic, ballad-like takes on two of his 60s pieces: 'Maiden Voyage', and 'Dolphin Dance.' Side two, on the other hand, is almost a polar opposite, utilizing early techno rhythms through Fender Rhodes electric keyboards, and the sample-and-hold features of the ARP 2600 synthesizer, rendering spacey, exploratory jams such as the original track 'Nobu', and an electro-funky take on 'Cantaloupe Island'. (Two tracks which predicted Hancock's eventual electro-funk dominance in the 1980s.) A unique and momentous obscurity of Herbie Hancock's catalog, Dedication has never seen a vinyl release outside of Japan prior to now. Nearly 30 years later, Get On Down has sought to allay that, with a premium-grade Record Store Day reissue worthy of any jazz collector's archives, or any crate digger's armament."
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7"
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GET 731EP
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"'Shook Ones Part II' might be one of the biggest records to come out of New York in the mid 90's. From the moment you hear the bare hi-hat and the infamous line 'to all the killers and the hundred dollar billas' it is an immediate adrenaline rush. The beat alone is a work of art, Havoc constructed what would go on for years as 'how did he actually come up with that beat?!' amongst DJ's and Producers alike. The infectious piano, cinematic sirens, it was no doubt that it was one of (famed New York nightclub) The Tunnel's most signature records. As Cipha Sounds put it - 'How could it not rip in The Tunnel? Just classic. "Shook Ones Part I" was actually pretty big in the Tunnel, but "Part II" ripped everything.' When 'Shook Ones Part II' came you couldn't help but nod your head and get lost in Havoc and Prodigy trading verses breaking down the meaning of a crook... making you shook son."
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