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Clear Vinyl Edition.
Note: Run-ins with tiny damage on both discs, play is not affected.
Still shrink wrapped but opened.

Copy closer to NM

Limited edition of this gem that Get On Down shares with us for to make things easier for heads over here. In Europe only available at HHV

Flee Lord is a proven force to be reckoned with and he continues his hot streak with this Lord Talk, Volume 2 limited edition vinyl drop. Originally released in 2018, the 8-track project also features guest appearances from Conway the Machine, Westside Gunn, Crimeapple, Meyhem Lauren, Termanology and Scott Cane. The project is fully produced by godBLESSbeatz and remains a favorite among Flee Lord’s growing fanbase. In 2020, Flee Lord pledged to release a full length album for every month of the year. Not one to let his fans down, Flee kept his promise and released 12 high quality projects in 2020, culminating with the release of the acclaimed In The Name of Prodigy album. An ode to the legacy of the late Prodigy, Flee Lord tapped in with Havoc (of Mobb Deep) to handle all of the production. Looking to keep up his momentum, Flee teamed up with Roc Marciano earlier this year and the duo dropped their collaborative Delgado album to rave reviews. With another album in the works to close out 2021, Flee Lord isn’t slowing down anytime soon, stay tuned! Lord Lord!

“When we decided to do an album, we didn’t want to do just a beats and rhyme album, but something more conceptual. The times we’re living in gave me the idea of tackling the idea of what’s a sinner and what’s a saint.” — Rasheed Chappell on his new album with producer Buckwild, Sinners & Saints On their ambitious collaboration, New York rap heavyweights Rasheed Chappell & Buckwild have perfectly captured the stress and tension, but also faint sense of the hope, of what it means to be a sinner or a saint. In just 11 tracks, Sinners & Saints plays like an audio documentary series filled with expertly crafted beats and rhymes. When the two sat down to work together, Rasheed says that they only knew that they “wanted to address the now, the past, and the potential future.” And upon receiving the first batch of beats from Buck—the D.I.T.C. producer with decades of acclaimed work to his name—the NY emcee used a majority of them and knew immediately what they were doing. “My goal was simple: don’t try to recreate anything they have done, just create something that no one else can do, which is to be me,” Rasheed says. Buck echoed that sentiment when he talked about the record in a documentary, in which he expressed his excitement to work with not just a talented rapper, but a skilled artist. “Being an artist is just as important as putting two words together to rhyme,” Buck explained. That high level of artistry, from everyone involved, is what makes Sinners & Saints so impactful. Not just anyone could pull off a track as stirring as “The Blue Hood,” in which Rasheed plays the role of a racist, corrupt police officer over Buck’s harrowing production. The same goes for “Rock Bottom” where he and Ransom sound off about life’s low points, and “Bredren,” a speaker-knocking middle-finger in musical form featuring Planet Asia. There’s just so much to love about what these two have created with Sinners & Saints, a project that sounds like if 2020 was a hip-hop album. And if things do truly get better as we move into 2021, there’s no better anthem than “Black Owned,” a powerful anthem for Rasheed, Buck, and everyone listening.

Named after a street name in South Gate, California, Cypress Hill was the first Latino American hip-hop group reaching the multi-platinum status in the U.S. On this live album they rewrote some of their older tunes to hard-rock beats, with backup courtesy of SenDog's metal group SX-10, like 'A To The K', 'Lick A Shot', and 'I Ain't Goin' Out Like That'. There is also their stoner songs, like 'I Wanna Get High' and 'Stoned Is The Way Of The Walk'. It also has great versions of their anthem 'Insane In The Brain' as well as some good songs like 'Riot Starter', 'Can't Get The Best Of Me' and '(Rock) Superstar'. Recorded live at San Francisco's legendary Fillmore West with and produced by DJ Muggs.

Above the Law is one of the best and most underrated rap groups from the west coast, and 'Uncle Sam's Curse' may be their best album. Musically it is very experimental. Producer Cold 187um, one of the west coast's best beatmakers, uses some electronic instrumentals with his usual heavy bass and whiny synths to create an almost futuristic sound, aided by frequent movie samples, snippets of speeches which people express their urban political views. The production is classic and the rhymes are deep and real. Their flows are laid back and sound like they are lacking some aggression and energy, but it is their own thing, and what they rap about is real. This is pure West Coast G-Funk in your ear!

Still Lovin' Boombap - the slogan with which the Munich-based beat-maker Roccwell titles his album stands not only for his unbroken love of the Boombap sound, but above all for the daily struggle of the Hip Hop generation 35plus. Bringing family, job and music under one roof is not only for Roccwell a challenge. Especially in an expensive city like Munich, which likes to give the protagonists of the subculture the cold shoulder. Against all odds, however, the passion for classical rap has never left Roccwell. It embodies an attitude to life that has shaped him for 25 years now, even now that he is a family man with responsibility. Selling yourself to the mainstream for a few Euros with shallow beats, pop melodies and a pinch of autotune? Not his thing - even if it would make things a lot easier.

On Still Lovin' Boombap, Roccwell gathers not only the 90s heroes QnC (Q-Ball and Curt Cazal - the latter from the legendary JVC Force), Craig G and Maylay Sparks but also other hungry underground mcees from the USA like M-Dot, Ruste Juxx, Born Unique, Wildelux, Bankai Fam or Glad2Mecha. It was equally important to him to include scratches in the songs as often as possible, for which DJ Case, 12FingerDan and B-Base (Soulbrotha), DJ Danetic (Snowgoons), DJ LP2, DJ Tricky and DJ Skruff contributed numerous cuts. Grown Men Rap as a timeless alternative to the hysterical search for the next hype... too old for this shit!

Still Lovin' Boombap - the slogan with which the Munich-based beat-maker Roccwell titles his album stands not only for his unbroken love of the Boombap sound, but above all for the daily struggle of the Hip Hop generation 35plus. Bringing family, job and music under one roof is not only for Roccwell a challenge. Especially in an expensive city like Munich, which likes to give the protagonists of the subculture the cold shoulder. Against all odds, however, the passion for classical rap has never left Roccwell. It embodies an attitude to life that has shaped him for 25 years now, even now that he is a family man with responsibility. Selling yourself to the mainstream for a few Euros with shallow beats, pop melodies and a pinch of autotune? Not his thing - even if it would make things a lot easier.

On Still Lovin' Boombap, Roccwell gathers not only the 90s heroes QnC (Q-Ball and Curt Cazal - the latter from the legendary JVC Force), Craig G and Maylay Sparks but also other hungry underground mcees from the USA like M-Dot, Ruste Juxx, Born Unique, Wildelux, Bankai Fam or Glad2Mecha. It was equally important to him to include scratches in the songs as often as possible, for which DJ Case, 12FingerDan and B-Base (Soulbrotha), DJ Danetic (Snowgoons), DJ LP2, DJ Tricky and DJ Skruff contributed numerous cuts. Grown Men Rap as a timeless alternative to the hysterical search for the next hype... too old for this shit!

Illa Ghee as an RIAA Certified Platinum Record recipient for his guest appearance on the songs for Mobb Deep, Alchemist, Nina Sky, Sean Price, Lil Fame of MOP. Combined his lyrical madness with Dj DFKT better known as Defekto The Brazilian Beat Guerilla ! He also worked with a bunch of the best guys around the Globe like Guilty Simpson, Cypress Hill, GALV, Agent Sasco, The Artifacts … and how the world goes Illa and Dfkt met in the Cold Winter 2018 of Leipzig Germany for 3 days and nights for banging 8 Songs combined in something …MÄCHTIG!!!

The ‘Out Of Business’ album brought the classic EPMD feel of soul and funk mixed with the
boom-bap hip-hop by utilizing classic samples. Starting with the “Intro” that sampled one of
the songs “Going The Distance” from the legendary movie ‘Rocky’. Another highlight of this
album is “Rap Is still Out Of Control”, the revised version of a song from 1990 called “Rap Is
Outta Control”. This song features Busta Rhymes on the hook and he’s bringing his energy to
the track with the Busta style adlibs all through the song. EPMD’s impact on the culture was
and still is heavy. They are the most sampled in Hip Hop history. The album ‘Out Of Business’
showed that the Dynamic Duo EPMD still could hang.

A Tribe Called Quest are widely hailed as one of the greatest rap acts of all time. This trio (2-mic pioneers, Phife Dawg & Q-Tip, along with their DJ Ali Shaheed Muhammad) was one of the most lyrically gifted in the music genre of Hip-Hop. The blends of jazz ‘n bass-heavy beats (East Coast “muddy bass”) was truly and still is truly innovative. Instead of being a great rap album like the one before it, “Beats, Rhymes & Life” is a great Tribe album. It takes time to understand it but it fits perfectly in its place in the Tribe canon and in the mid- 90s. It has their trademark smooth style and flow with a much darker theme and subject matter than their previous album. It’s a real work of art and still fresh so many years after its release.

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.

"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."

"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."

"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."

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 Billboardcharting 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.

No One Can Do It Better is the debut album by The D.O.C. from 1989 and is produced by the then upcoming Dr. Dre who contributed on most of the fast hard hitting rap tracks with his heavy funk laden beats. The album reached number one on the US Top R&B/Hip-Hop Albums chart and went platinum five years after its release.

Clear vinyl.

white vinyl edition

Vinyl with a couple of light scuffs

20th Anniversary Purple Swirl & Smoke Vinyl Edition.
Still shrink wrapped but opened.
Cover as new with slightly dented corners.
Records are close to VG+
Includes OBI.

Clear Vinyl.

Limited Edition. Blue & Cream Vinyl.

Still shrink wrapped but opened.
Includes OBI.

Copy n° 652/1994 close to NM.

Quantity: 1500
Release type: RSD Exclusive Release

For Black Friday, Schoolly D Is Available In A Yellow And Black Blended Pressing With A Full Color OBI Strip Get On Down presents a special old school treat for RSD Black Friday - Schoolly D’s 1985 debut first issued on his own imprint (and five years later on Jive) produced by Schoolly D and DJ Code Money. The cover of course features Schoolly’s own hand drawn artwork and the album features two of his career stand out cuts - "Gucci Time" and "P.S.K." Find out why Schoolly, and this release in particular, were a heavy influence on Public Enemy, Ice-T, the Beastie Boys and more. Put on your Filas and kick it old school with Schoolly D - presented for RSD Black Friday in an exclusive yellow & black colored vinyl pressing.

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.

At that, giving the strutting, funky grooves the chance to really stretch out on your system.
Back in 1992, Southern hip-hop was still proving to the world that it could sustain a fan base that was chiefly raised on rap from New York and LA. The Geto Boys and 2 Live Crew had made strong cases by the earliest ‘90s, and Pimp C and Bun B were ready to make their own. Most of the trunk-bumping bass comes from drum programs and basic sampling on these tunes – in later years they would build their sound into something even fuller and deeper. Self-produced with additional work from Houston locals Bernie Bismark and Shetoro Henderson, the tracks here are minimal, slow and menacing, which matched their lyrical approach quite nicely.

You can hear the beginnings of the group’s true greatness in these early lyrical workouts – several taken from the regional cassette-only EP The Southern Way that got them signed to Jive – with tales of street hustles, relationships and self-reliance in a world stacked against them. They may have been done early-on, but that doesn’t mean they aren’t crucial to UGK’s legacy – cases in point being the three singles: “Something
Good”; a charismatic update to Bill Withers’ “Use Me Up”; and “Pocket Full Of Stones” (the latter featured on the Menace II Society soundtrack). Beyond the singles, deeper cuts like “I’m So Bad,” “Feels Like I’m The One Who’s Doin’ Dope” and “Cramping My Style” made it clear to the world that this crew had the attitude and charisma to make even bigger waves in the years to come.

180 gram audiophile vinyl / GOLD CERTIFIED ALBUM FEATURING THE SINGLES “FUNKY BEAT”, “ONE LOVE” AND “GROWING UP” / PRODUCED BY LARRY SMITH / LIMITED EDITION ON SMOKEY COLOURED VINYL

About the Artist
Back in Black is the third album by American hip hop group Whodini. The album was certified Gold in the US and spawned three singles; “Funky Beat”, “One Love” and “Growing Up”. All singles charted in Billboard’s Hot R&B/ Hip-Hop Songs. Like the group’s previous work, Back In Black is produced by Larry Smith, who also co-produced with Russell Simmons on Run-DMC. Back In Black is available as a limited edition on smokey coloured vinyl. Tracklist: Side A: 1. Funky Beat 2. One Love 3. Growing Up 4. I’m A Ho Side B: 1. Fugitive 2. Echo Scratch 3. Last Night (I Had A Long Talk With Myself) 4. The Good Part

Repress ! Somewhere in between the rock-star mischief of the Beastie Boys and the slow-creeping funk of Dr. Dre, Cypress Hill introduced their hazy-eyed sound to the world on their self-titled 1991 debut and things have never quite been the same since. The original Cypress Hill album captures the group at their risk-taking best, mixing gangster posturing, LA street politics, Latin flavor and warped humor together under a thick cloud of weed smoke and innovative beats. Nasal-voiced rapper B-Real and his partner Sen Dog, backed by the adventurous production styles of DJ Muggs, produce classics records like "How I Could Just Kill a Man," "Pigs," "Stoned is the Way of the Walk" and "Hand on the Pump." Since its release, the album has won acclaim as one of Rolling Stone's "Essential Recordings of the 90s" and "Top 100 Best Rap Albums" by The Source magazine.

Limited to 1994 copies worldwide. US customers, please order with Get On Down. Pressed ON Blue AND Butter Cream Colored Vinyl

With Hand Numbered OBI Limited TO 1994 Copies

Deluxe edition vinyl which includes the original album plus 3 Resurrection remixes with liner notes featuring interviews with Common and NO I.D all in a beautiful gatefold jacket.

Get On Down is proud to present, Commons sophomore album, Resurrection. While the album was originally neglected by the mainstream, it has since received a great deal of critical acclaim and is now on The Sources 100 Best Rap Albums. In comparison to his debut album, Commons musical style evolved lyrically by his expressing of himself rather than just describing street life. With its Jazz and Hip Hop flavors, Resurrection furthered the growth of both genres. Overall, the album is commonly perceived as an underrated Rap classic and now this legendary album is available in a much anticipated, 2xLP gatefold jacket edition.

Resurrection was produced almost entirely by No I.D., who has gone on to work with heavyweights like Usher, Alicia Keys and Rihanna, and he recently produced the first two singles for Jay-Zs new album The Blueprint 3. In addition, No I.D. is credited as the man who introduced Kan ye West to Hip Hop production, inviting him to his sessions with Common when West was only starting out.

The 2xLP features the original 15 album tracks (all cuts remastered from the original masters) and three remixes of Resurrection. Two of the remixes were produced by the one and only Large Professor of Main Source fame and the third is another track by No I.D. The gatefold jacket art features in-depth liner notes written by Brian Coleman with Common and No I.D.