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Return of the Boom Bap is KRS-One's first official solo album, released in 1993. It peaked on the Billboard 200 charts at position 37. According to KRS-One the album has sold over 300,000 copies.
The album was selected as one of The Source's 100 Best Rap Albums.

SMK is back and he's Aint Nuttin Shakin. A packed Memphis classic with gangsta hits only. Originally released in '96 and never before pressed on wax. Better be fast on this low down g-rap monster from another planet.

Full length from the New Orleans based and ever prolific Wino Willy, who currently has featured productions on a range of records from Mach-Hommy, Your Old Droog, Cavalier, and a million more paired with raps from the appropriately named thesmoothcat from the Westbank of New Orleans. A future classic.

The classic 2013 Herring release gets a limited CD drop!!!



Tracks:

1 Crime Stories 2 If We Blow Up 3 As The Beat Goes On (Remix Dub) 4 Crime Stories (Instrumental) 5 As The Beat Goes On 6 As The Beat Goes On (Instrumental) 7 If We Blow Up (Instrumental) 8 West 83rd (Instrumental) Tracks 1 & 4 produced by C12 & K.E. Cocco. Tracks 2,5,6 & 7 prod by K.E. Cocco & Marlon Minaya. Tracks 3 & 8 prod by K.E. Cocco. Vocals on tracks 5 & 9 by Tyrae Lewis.

Georgia Anne Muldrow and Dudley Perkins aka Declaime, collectively known as G&D present their new album ‘Black Love & War’ which will be released August 9, 2019. Both life and musical partners, G&D have been together for over 13 years raising 3 children together. The album celebrates ‘black love’ and the unity of the black family, but the album also delves into many of the socio-economic and racial issues that still have them at ‘war.’ The album features production from Oh No and Mike & Keys (Nipsey Hussle). Vocal features include Aloe Blacc, Latoiya Williams, Sean Biggs and Ms. Dezy.

On the West Coast, gangsta rap held sway in hip-hop as the 21st century began. The alternative and conscious rap music of the early-to-mid-90s had all but faded into the underground. The scene was set for a comeback, perhaps as a backlash to the perceived violence and misogyny of
gangsta rap's content. Leading the resurgence of alternative hip-hop were groups like Jurassic 5, and recent
signees to Capitol Records; a West coast trio that had been building steam underground since the early 90s called Dilated Peoples.

Anticipation was high for the release of the debut album from Evidence, Rakaa, and DJ Babu. (Of the influential turntablist collective Beat Junkies.) When The Platform arrived in May of 2000 it was met with critical and underground acclaim, as well as affording Dilated Peoples their first Billboard chartings. It featured a back-to-basics sound with a heavy debt to the old-school hip-hop ethos, the kind of sound that harkened back to the early days of legends like De La Soul & A Tribe Called Quest. Hits like
""No Retreat"" and ""The Platform"" were bolstered by Evidence & Rakaa's subtle, abstract wit, and swift, adroit wordplay, while DJ Babu provided production chops and dextrous scratches. On The Platform the trio were joined by the likes of B-Real, Tha Alkoholiks, Everlast, Planet
Asia, and many more providing guest vocals, while boasting guest production from The Alchemist & Kut Masta Kurt, among others.

Since its 2000 release this influential record, which heralded the return of alternative hip-hop, has never seen
a vinyl reissue. With that, Get On Down-always on top of giving the greatest hip-hop albums their due-is proud to present this re-release of The Platform. The rhymes are still fresh, the production is still pristine, and the album is now back on vinyl for the first time in 17 years.

The Jungle Brothers 1988 debut, Straight Out The Jungle , is important for many reasons. It is lo-fi and goofy, but had moments of real focus and social consciousness. It is 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 Soul and Q-Tip, alongside Monie Love) show the group's fun side. 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. Get On Down is proud to present a new limited-edition pressing on Tri-Colored vinyl in a gatefold jacket with full lyrics and numbered OBI limited to 1000 copies.

The first act signed to The Neptunes' newly formed Star Trak label was a Virginia based duo known as the Clipse. The first single “Grindin’” impacted the streets with its bare boned but infectious drum beat in the same way that “Sucker MC’s” did almost 20 years earlier. These brothers - Pusha T and Malice combined with The Neptunes groundbreaking production sent a clear message to the rap world – “we are not the same” (as rapped by Malice on his opening verse on “Cot’ Dam”). Clipse brings an authentic Virginia sound into the game and created a movement, with not only their darkly layered raps but The Neptunes as well. Pharrell Williams and Chad Hugo were able to combine their cyberpunk 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 the Virginia hustler's viewpoint with clever, hard-hitting lyrics that is sprinkled throughout the entire album. With so many standout tracks on Lord Willin’ the album starts pulling no punches. On Track 1 simply (or maybe not) titled “Intro” you get a very personal and deep testament of crack and the drug game, a theme that is throughout this album...HEAVY. Songs like “Virginia” or “I’m Not You” (featuring Jadakiss, Styles P and Roscoe P Coldchain), have lyrics that play as a musical notes alongside The Neptunes tailored beats. “Young Boy”, “Comedy Central”... all fit perfectly alongside “When the Last Time” and “Cot Dam” as each song plays its part as chapters to the Lord Wilin’ masterpiece. “Gangsta Lean” (another one of the albums standout tracks) features a slightly lighter feel while paired with Pharrell's trademark falsetto hook. The truth of it is, it’s hard to just pick one track, or point out which is the albums star. Each song on Lord Willin’ is essential to making it the classic that it is. The Neptunes (who were busy turning out every other Pop hit on the radio) crafted an album that was deemed an instant classic, and cemented Clipse as Rap’s newest superstars.

"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.

Originally released in 1995, Brothas Doobie is the second album by the Los Angeles-based Latino rap group Funkdoobiest. The album contains all the original members Son Doobie (Jason Vasquez), DJ Ralph M (Ralph Medrano) and Tomahawk Funk (Tyrone Pacheco) and contains the famous and controversial track "Superhoes".

Wu-Tang official's Bronze Nazareth and Roc Marciano combined forces to bring you "Ekphrasis". A vivid and often dramatic verbal description of visual art. The Wu-Tang official emcee provides descriptive rhymes over Roc Marciano production to paint a picture with vivid and graphic detail with assistance from the likes of Fashawn, Skyzoo, Termanology, Roc Marciano, Boldy James, Lord Jessiah, Killah Priest, and Brizz Rawsteen.

We saw the power of BET when their New Edition Movie drove the Bell, Biv, Devoe album to #1.
eOne and BET will join forces on a massive Death Row marketing campaign consisting of commercials
on the show, crawlers during the show, eblasts to the million plus Death Row fan list, Death Row pop up
stores etc..
This 15 song album is a good mix of front line hits like “Murder Was The Case” and hard-to-find rarities
like Sam Sneed’s “Drug Related”.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

After a monsterous run of sold out North American and European shows following the release of the critically acclaimed album, Orange Print, San Francisco legend and entrepreneur Larry June is back with his next solo offering, Spaceships on the Blade. The 18-track album features the previously released singles, “Private Valet” & “In My Pockets,” and sees production from a wide range of producers, such as Jake One, DJ Khalil, Cardo, DJ Fresh, Chuck Inglish, Turbo & more. With an eye on always expanding and diversifying his income streams, it’s clear to see that Uncle Larry is going to continue to do numbers for a long time. Good Job, Larry.

The Bay Area Legend DJ.Fresh links up with the New Orleans Legend Curren$y for a heralded Tonite Show edition. DJ. Fresh's The Tonite Show has featured some of rap's most notable figures such as Trae The Truth, Mozzy, Raekwon the Chef and more. Currren$y is a well known figure in the underground hip-hop scene collaborating with today's hottest producers and staying consistent with one of the biggest solo catalogs to date. DJ.Fresh & Curren$y began collaborating on the 2009 (Wiz Khalifa/Curren$y) joint album and the magic just kept progressing from there. The chemistry of DJ.Fresh's bass heavy tracks and Curren$y's deep, syrupy vocal styling made this pairing one for the record books. Coming from (2) different sides on the map, each bring their respected audience to the party which makes this project even more special. Fans from the Coast of California to the Shores of the Bayou have been waiting for this collab and it is now a reality. Welcome to The Tonite Show featuring Curren$y

Limited Edition.
Cover as new with slightly dented corners.
Record with just a few paper scuffs.

FAT JON returns with the 2nd installation of "tephlon Funk". This 12 track LP serves as a soundtrack to the eponymous manga published by Dark Horse Comics and comes with a 12"x12" manga poster, with a full print jacket. A must have for fans of FAT JON's work as Five Deez and on the Samurai Champloo soundtrack.

OutKast's debut album shows one of the most distinctive production sounds in the '90s: part hip-hop; part live, Southern-fried guitar licks and booty-thick bass runs; and part lazy, early-'70s soul.

Official reissue without the deluxe stuff gimmicks, just beats and rhymes. Classic!

2023 silver vinyl pressing.

Few hip-hop artists have achieved the same level of critical acclaim and praise that 90s veteran and Queens native Nasir "Nas" Jones has. Across his over 25-year career he has been ranked as one of the greatest rap performers and lyricists by MTV, The Source, and Complex, among other publications, all while selling over 30 million records worldwide, and releasing eight consecutive platinum albums. In particular, his 1994 debut Illmatic is hailed as a paragon of underground hip-hop, a turning point in East Coast rap's development, and one of the all-time greatest debut albums in general.
Though Nas' artistic legacy is without question, it was not always the case; if Nas had flourished during the mid-90s, he had stumbled clumsily while transitioning into the 00's. After achieving universal praise via Illmatic and commercial success with its' follow-up It Was Written, Nas' next few releases were considered inconsistent and lackluster compared to the critical one-two punch they followed. During this time period he had abandoned the socially-conscious and philosophical topics that made him a critical darling in favor of more commercially viable gangsta rap. Though he maintained a chart presence for much of the late-90s, review scores began to dwindle, and his status among the hip-hop community was thrown into question.
This would change in 2001 with the release of Nas' fifth studio full-length, which made the effort to re-establish him as a legitimate artist. Eschewing the pop-friendliness he'd found success with, Nas instead opted to return to the underground style he came up in, with tracks about American politics, ghetto life, and social upheaval. Perhaps sensing this need to return to his roots, he titled the album Stillmatic, a clear and present reference (and sequel of sorts) to Illmatic.
The ploy worked perfectly; Stillmatic was hailed by critics as a stunning comeback, and a brilliant return to form, earning rave reviews from rap outlets such as The Source and HipHopDX as well as from more mainstream publications as The Rolling Stone and The Village Voice. Praise was heaped upon the complexity and introspective nature of Nas' lyrical content, the top-tier production from veterans like Large Professor, DJ Premier, L.E.S., and Trackmasters, and hard-hitting guest appearances from AZ, Mary J. Blige, and Amerie.
Stillmatic would see release on December 18th of 2001, right as Nas was caught in the middle of a highly publicized feud with fellow New York rapper Jay-Z. As such, the record features one of the feud's most intense apexes in the form of its second track "Ether", a ruthless Ron Browz-produced diss track. A response to Jay-Z's own diss "Takeover", "Ether" savaged the Brooklyn-native, accusing him of brown-nosing to get ahead, of plagiarizing earlier rappers such as Notorious B.I.G. and KRS-One, and dismissing his street cred. To this day "Ether" is considered one of the best and most potent diss tracks ever recorded, a major turning point in the Nas/Jay-Z feud, a standout among the already critically acclaimed Stillmatic, and is even credited with boosting Jay-Z's career by proxy.

Limited to 3000 copies.

Issued on vinyl for the rst time ever. The opaque red pressing is housed in a gatefold jacket and exclusive to Record Store Day 2022! In the mid-2000s, as Prodigy began to map out the follow up to his solo release H.N.I.C., he worked up some new material with long-time collaborator The Alchemist. Material that was meant to be a mixtape. Just a little something to keep the fans interested until H.N.I.C. Part 2. The resulting recordings were so high caliber, so tapped into the very essence of Prodigy’s Mobb Deep pedigree, just so damn good - that a commercial release of the material was inevitable – as Return Of The Mac. Backed by classic Blaxploitation style samples from The Alchemist, Prodigy paints a picture with his words. A picture of the rough and tumble New York of his up-bringing. When issued in 2007, many considered it his best effort in at least a decade. In their review of the then new release, even Pitchfork had to admit “Prodigy's made the comeback no one saw coming.” Fans agreed with that assessment, their whole-hearted embrace of Return Of The Mac placed the title at #32 on the Billboard Top 200.

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.

From the bouncy lead single “Mr. Me Too” and the Slim Thug assisted “Wamp Wamp” to the oddly haunting "Keys Open
Doors" to "Momma I'm Sorry", Hell Hath No Fury represents some of the duo’s best work. On the hypnotic “Keys Open
Doors,” over the eerie mix of screwed-up angelic voices, chimes and congas, the brothers run circles around the
competition, 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 places
them 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.

Future archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. 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-DMC, 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.

Los Angeles emcee Pawz One returns with Featured Unreleased Collab Kollection Issue Two (F.U.C.K I.T!), the second installment in the series that features guest appearances, unreleased songs and remixes. The 16 track album includes artists like Talib Kweli, Ras Kass, A.G of D.I.T.C and others are featured on the album along with artwork done by Gift Revolver who recently did artwork for Conway, Wu-Tang and Big Pun. Producers include Snowgoons and many others from Japan, Netherlands, Chicago and Los Angeles.

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!

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 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” size diecut
jackets that reproduce the look of the original 12” releases on the Neptune’s Star Trak imprint.

"Modern Vintage" is the new collaboration album from veteran emcee John Robinson (aka Lil Sci of world renown Hip-Hop group Scienz Of Life) and prolific drummer, composer, producer and band-leader Pat Van Dkye (aka PVD). John Robinson and PVD originally met at a show in 2008 and since then their chemistry has grown organically and has developed into the duo performing
many formal shows together at venues like SOB’s, Blue Note NYC, LPR and others around the NY-NJ Tristate area.

16 tracks feat. Sadat X, El Da Sensei, Shabaam Sahdeeq, ID 4 Windz and others!

The Lost Tapes originally released on September 23, 2002, is a compilation of Nas tracks he recorded from 1998 to 2001 during the recording sessions of I AM.. and Stillmatic. Several of the cuts were leaked and circulated on mixtapes, but were never properly mastered or commercially released until compiled for The Lost Tapes. The album features production by The Alchemist, L.E.S., Poke and Tone, Rockwilder, D-Dot and Precision.

When The Lost Tapes was finally released, it instantly made waves. Even with its collection of already-recorded and unused material, it managed to be cohesive and profound, propelling it to reach the status of a classic album. The Lost Tapes marked a crucial time in Nas’ discography, serving as a precursor to his 2003 album God’s Son. His development as an artist was certainly prominent during the making of The Lost Tapes, which allowed him to flourish and become one of the most successful and highly regarded hip-hop artists of all time.

Get On Down is proud to present this limited edition 20 year anniversary pressing of The Lost Tapes for the first time on vinyl since its original release in 2002.

Outside of the US only available at HHV.

Reissue on black vinyl, 180g pressing.

Diamond D released this gem in 1997 as Diamond. It features guest performances by Fat Joe, Pete Rock, Busta Rhymes, Phife Dawg, Big L, Lord Finesse, AG, Sadat X and more.

Must have.

Professionally manufactured, full color CDr in jewel case & plastic wrap.

R-Juna is a producer, DJ, and MC influenced by gritty East Coast 90’s hip hop. In his 10 years in the music scene he has produced several albums spanning various genres, toured the United States, and shared stages with many of his musical influences. His most recent project, "Intelligent Design", marks his return to hip hop after a brief hiatus and showcases his grimey boombap beats coupled with thought-provoking rhymes. The album also features New York underground MCs Chuck Chan and Zagnif Nori, as well as A7mc from Detroit.

The label with the big center hole is back! Another two instrumentals on the A while Keith Murray got remixed on the B. Heavy sampled material for the extra oldschool flavour. Golden 90's sound for the underground.

Multicolor Vinyl Edition.
Still shrink wrapped but opened.
Cover with a beginning seam split at the upper edge.
Record is close to VG+.

On Seeds, Georgia Muldrow takes a step back and leaves the beatmaking to Otis Jackson Jr., aka Madlib. As producers, Muldrow and Jackson are not worlds apart, so the switch requires no adjustment on the part of the listener. That said, this is one dense and tight set, barely over half-an-hour in length, and it's definitely in contention for Muldrow's most focused, funkiest, and (somewhat ironically) personal release to date. Throughout the record, the emphasis remains heavily fixated on her family as a unit of salvation and purpose. The most direct track of the lot is "Husfriend," where she honors her relationship with Dudley Perkins (a/k/a Declaime, who appears on “The Few”). Muldrow can't quite divorce the planetary and personal issues, heard vividly on "Best Love," which sounds just like a simple, sweet, straight-ahead love song until she starts asking her other half for money to build water wells on three continents ("We can make a difference if we try now"). Overall, Seeds is another left-field deviation in Muldrow's career: it's one of her most captivating and immediate front-to-back statements of purpose as a singer, but it's also the first album where she's handed over all the production duties to somebody else. In celebration of this album’s decenary run, Someothaship Connect is pleased to reintroduce an anniversary edition repress of this captivating release in partnership with Fat Beats.

Limited edition of 500 copies on 2LP incl. bonus 7" ("Brooklyn Kids" b/w "Funk Soul Sensation").

Originally released in 1995, "Scars And Pain" marked the debut by Brooklyn-native Jemini The Gifted One. The production was handled by the likes of Organized Konfusion, Buckwild of D.I.T.C., Minnesota and Jemini himself amongst others. Next to the original seven album tracks another seven remix versions of the accompanying single releases are included here.

Available in a limited run on 2LP+7", CD in jewel case, cassette and digitally on all major platforms.

This time it's really getting huge! Hole in One is back with an underground classic by no other than Blackout. This reissue shows the art of real Memphis rap in full effect. Murder rhymes laid upon the deepest productions by the man himself. A timeless milestone is available again. Better be fast!

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 the
early 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 the
Last 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."