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Speak Easy is a jazzy, smooth party starter that sees Phill Most with his typically cutting punchlines flipping between single and double speed rhymes effortlessly, stepping all over MC conventions. The beat sees Snafu chop and mutate samples from a multitude of different songs to create a groove that's an immediate neck snapper, and Grazzhoppa completes the track scratching up various sounds from the 50s throughout the verses and chorus!

I'm On Vacation (808 Remix), exclusive to this 45 and not on the forthcoming 2LP sees Phill Most Chill on his story-telling mode with a wild tale about fighting wife beaters, getting accosted by porno stars while casually enjoying his margaritas unbothered! This remix sees Snafu strip off the Latin samples and go for a moodier 808 driven fast beat, complimented by live bass harmonics and some live hammond also sprinkled in! Grazzhoppa goes totally crazy on this completely blending his scratches into the beat, making the distinction between beat and scratches quite fuzzy at times! This is definitely one for DJs and big sound systems, b-boys and anyone who needs a dose of adrenaline!

The Ill Adrenaline Records camp continues to push forward with pure unapologetic boom bap hip-hop. In 2012 Beneficence and AG (of D.I.T.C.) released the now classic collabo track/video for “All Real”, the strongest cut off Benef's much sought after underground smash album "Concrete Soul". The duo veterans are back at it once again with visuals and a limited edition 12” for the Jazz Spastiks produced track “Smooth Hardcore”, taken off the critically acclaimed LP "Basement Chemistry” (2016). The single contains the original album version plus a 90’s ultra-jazzy remix from legendary producer K-Def (Real Live, LL Cool J, Tragedy, Lords of the Underground, Ghostface Killah, etc.), and a Latin flavor remix from up-and-coming beatsmith Brous One.

Limited edition of 175 copies on white vinyl, exclusively available at HHV - only 1 per customer!

The Ill Adrenaline Records camp continues to push forward with pure unapologetic boom bap hip-hop. In 2012 Beneficence and AG (of D.I.T.C.) released the now classic collabo track/video for “All Real”, the strongest cut off Benef's much sought after underground smash album "Concrete Soul". The duo veterans are back at it once again with visuals and a limited edition 12” for the Jazz Spastiks produced track “Smooth Hardcore”, taken off the critically acclaimed LP "Basement Chemistry” (2016). The single contains the original album version plus a 90’s ultra-jazzy remix from legendary producer K-Def (Real Live, LL Cool J, Tragedy, Lords of the Underground, Ghostface Killah, etc.), and a Latin flavor remix from up-and-coming beatsmith Brous One.

El Barrio Spanish Harlem native Bodega Bamz’s breakthrough mixtape 'Strictly For My P.A.P.I.Z’ dropped in 2012 during the ‘New, New York’ movement, when the next generation of East Coast talent - A$ap Rocky & the rest of the Mob, Joey Badass & the Pro Era crew, Action Bronson - were moving from the underground to the mainstream. What sets Bodega apart from his peers is how uncompromisingly Latino he is, part Puerto Rican and Dominican, the tape is littered with Spanish slang, lyrics and samples. In 2015 Bamz went in a new direction on his sophomore album, ‘Sidewalk Exec.’ Produced entirely by V Don and released under the venerated Duck Down Music label, Bamz served up an LP that sonically and lyrically were reminiscent of the boom-bap era of New York hip-hop, incorporating the gritty, New York underground sound, and V Don did a good job mixing high-pitched flutes with an arrangement of woodwind instruments. Keeping his guest features to a minimum on the 40-minute-plus LP, Bamz recruited the help of some familiar faces with A$ton Matthews, Flatbush Zombies, Joell Ortiz and the late A$ap Yams all appearing on the project. Following the release of Sidewalk Exec, Bamz continued to release music (Papi) and expanded his fanbase and the Tan Boys brand, a collective of Hispanic MCs that aim to unite the Latin community of Hip-Hop, by going on several nationwide tours with the likes of Flatbush Zombies, Danny Brown, and Joey Bada$$. ‘yams Heard This’ is the 4th album by Bodega Bamz. Dedicated to the memory of his late friend A$ap Yams, the ten-track record includes features from Kevin Gates and Tan Boy Luka, with production that incorporates both the Latino flavor from Strictly 4 My Papiz and New york boom bap from Sidewalk Exec. Bamz delivers his fans what they have been waiting for and honors his mentor: “Originally, I had the idea to drop a project called Wwyd (What Would Yams Do). There was a time when I was lost. My homie Yams, who I would run all of my music by, was my sounding board, who always knew what was hot, and knew when I had a track ready for the streets, was no longer there. So the reason why I named this album Yams Heard This, is because if he was still alive today, I know he would have loved the vibe and energy of this album and would have given me his stamp of approval. These are the types of songs he would have wanted to executive produce.”

Twenty-eight years ago, pissed-off twelve-year-olds around the universe discovered a new planet, a Black Planet. Public Enemy’s aggressive, Benihana beats and incendiary lyrics instilled fear among parents and teachers everywhere, even in the border town of Laredo, Texas, home of the future founders of the Latin-Funk-Soul-Breaks super group, Brownout. The band’s sixth full-length album (out May 25th) Fear of a Brown Planet is a musical manifesto inspired by Public Enemy’s music and revolutionary spirit.

Chuck D., the Bomb Squad, Flava Flav and the rest of the P.E. posse couldn’t possibly have expected that their golden-era hip hop albums would sow the seeds for countless Public Enemy sleeper cells, one that would emerge nearly three decades later in Austin, Texas. Greg Gonzalez (bass) remembers a kid back in junior high hipped him to the fact that Public Enemy’s “Bring the Noise” is built on James Brown samples, while a teenaged Beto Martinez (guitar) alternated between metal and hip-hop in his walk-man, and Adrian Quesada (guitar/keys) remembers falling in love with Public Enemy’s sound at an early age. “When I got into Hip hop, I was looking for this aggressive outlet . . . and I didn’t even understand what they were pissed off about, because I was twelve and lived in Laredo . . . but I loved it and I felt angry along with them.”

Joseph Abajian (Fat Beats’ owner) must have sensed the deep hip-hop well lying beneath the versatile band’s Latin-Funk veneer. “I thought their sound would work covering Public Enemy songs,” Abajian says, and, “it was good to know they were P.E. fans . . . We came up with a track listing and they went to work.” Despite the band’s eagerness to work on new original material (an album of original songs is slated for next year), they couldn’t pass up the opportunity to pay homage to this iconic and influential posse.

Translating sample-based music to a live band turned out to be more of a challenge than they anticipated. Adrian tried to get inside the Bomb Squad’s [Public Enemy’s producers/beat-making team] head in order to find the inspiration to reinterpret P.E.’s songs: “imagine the Bomb Squad going back in time and getting the J.B.s [James Brown’s funky backing band] in the studio and setting up a couple analog synths and then playing those songs.” While some songs closely follow the original musical blueprint, others use the source breakbeats as jumping-off points later sweetened by Trombonist Mark “Speedy” Gonzales’ horn arrangements, synth wizardry courtesy of friend-of-the-band Peter Stopschinski, and DJ Trackstar’s turntable scratches. But don’t listen expecting to hear paint-by-numbers recreations of classic Public Enemy jams. “Our approach is never in the tribute sense,” Adrian explains. “We’ve always taken it and made it our own, whether it’s the Brown Sabbath thing or this Public Enemy thing.”

Coming off numerous tours as Brown Sabbath and even a stint backing the late legend Prince, Brownout is arguably the tightest and funkiest band on the road today and they’re psyched to bring this revolutionary music to the people. For a band without an overt political agenda, they collectively couldn’t resist the opportunity to play this music live, especially now. “If there’s any way that we can use the already political and protest nature [of P.E.’s music], we would like to try,” Beto says. “The album’s title, Fear of Brown Planet is definitely a relevant idea today and we’re not afraid to put it out there, because we want to speak out.” By reinterpreting these hip hop classics in their unique style and channeling the spirit of Public Enemy that first echoed around the world and captured their imaginations all those years ago, Brownout is doing exactly that.

“G.I.T.U., an acronym for Greatest In The Universe. The title encompasses the feeling this body of work for me. It’s my life experiences, my loves and losses, my stories about overcoming obstacles both external and internal, while learning to love myself and becoming the best version of me. Both as a person and as an artist I tried to push my boundaries and expand my limitations. Everyone’s world is their own, everyone has their own universe that they are in control of, this is mine. I’m the G.I.T.U.” – Chris Rivers

Since he first entered the rap game, every mention of Chris Rivers inevitably acknowledges the influence of his father, Big Pun, one of the art form’s all-time greats. It’s a gift that offered the Bronx MC the opportunity to be heard, but simultaneously a curse that elicits unfair comparisons. But with his Mello Music debut, G.I.T.U., Rivers achieves what would’ve been impossible for a lesser talent: he stakes his claim as a singular artist, one speaking for his generation, his culture, his familial heritage, and most crucially, himself.

If Rivers is unquestionably the son of the first solo Latin rapper with a platinum plaque, he has clearly evolved into his own man. G.I.T.U is the opportunity to tell his story--one that starts full of mourning and self-doubt but matures into a gripping tale of self-discovery. In bold declarative terms, he sketches a portrait of a life lived on the margins, weathering the storms of abuse, poverty, and the lingering shadow of high expectations.

There are struggles with addiction and suicidal thoughts, but Rivers transcends those demons to deliver audio dope that does his legacy proud. He raps with the jaw-dropping lyrical agility and syllable precision that you’d expect from his patrimony, but with the vulnerability and introspection that can only come from an artist who possesses a rare knowledge of self. You can hear the inheritance of his late great father, but also a synthesis and expansion upon the path trodden by Black Thought, Mos Def, and Lupe Fiasco.

The title itself doubles as a mantra: Greatest In The Universe. This is the self-affirmation that Rivers told himself in his most turbulent moments. It’s an inspirational credo that allowed him to keep going, but also operates as fuel to listeners -- particularly those seeking a refracted light from someone deeply familiar with the darkness.

The 16 tracks encompass nearly every mood. There’s the confessional “Perfect,” where Rivers declares “well, I never loved myself, but right now I’m in love with two bitches, I mean women, I mean prisons, I mean prisms.” In the course of a single sentence, he’s able to convey labyrinthine complications. There is “Trick,” where Rivers rumbles like a champion prizefighter, boasting about how his sisters taught him how to brawl, reminiscing on his early days as a “little Puerto Rican fat boy with a brain like an asteroid.” Over rope-a-dope drums, he creates an anthem built for stage-diving and chaos, delivering a pummeling series of references that run from MC Hammer to Cassius Clay to anime. It’s a modern iteration of a tunnel banger: riotous, rowdy, New York brass knuckle rap.

“Damaged Goods” finds the 25-year old lyricist questioning the differences between lust and love, dropped his guard to exhibit a relatable sensitivity. “Wolf Mode” pairs a poignant sax lick with a plea to be able protect oneself from the storms of life. It’s not about being bulletproof, but rather, to possess the strength to endure the chaos that we must face. Yet Rivers is willing to accept the challenges head-on, claiming that he’d “rather have the hard truth than a sweet lie.” While “N.A.S.A.” takes dead-aim at the traps of millennial life: too many useless contacts in your phone, the dim lies of clout, and the indelible need to find the real ones who will hold you down. There is also a flawless “Pakinamac” homage.

The emotional centerpiece of the album arrives on the heart-wrenching “Sincerely Me.” It’s a tribute to Big Pun, but one that refuses to bow down to over-sentimentality. You feel Rivers’ pain and sadness, the struggles of his family, and his frustration at being unable to have a father to turn towards for advice. It’s a votive to a dearly departed spirit, gone much too soon. But when the song fades out, Rivers is stronger than before. A prayer has been answered. It’s the fully fleshed out picture of a son who doesn’t want to eclipse the father but rather, who wants to be able to stand beside him, shoulder to shoulder, two of the greatest of their times.

Embracing his career path as an emcee/entertainer, Crimapple returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling. Although devoid of any guest appearances, Crime is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined Crime’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where Crime lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date” All in all, El Cantante is a self realization of sorts as the New Jersey emcee shares his current life perspectives as he touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

Embracing his career path as an emcee/entertainer, Crimapple returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling.

Although devoid of any guest appearances, Crime is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined Crime’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where Crime lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date”.

All in all, El Cantante is a self realization of sorts as the New Jersey emcee shares his current life perspectives as he touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

Embracing his career path as an emcee/entertainer, Crimapple returns with his latest solo effort, El Cantante, which serves as an ode to Hector Lavoe and The Fania Era of salsa music's profound storytelling.

Although devoid of any guest appearances, Crime is joined by a supporting cast of praise-worthy producers throughout the project whom include Bohemia Lynch (Westside Gunn), Michaelangelo (Avenue, Vel the Wonder) as well as his frequent collaborator, Buck Dudley, among others. And while there’s tracks that borrow aesthetics akin to latin music—such as the syncopated rhythm patterns on “Tuesday,” or the looping pan flute heard on “Out the Way”—you’ll still find the archetypal soundscapes that have defined Crime’s discography. These include the soulful/zone-inducing loops on tracks like the album opener, “My Song,” as well as “Together,” “Encore,” and “Precious.” And then there’s the chest-pounding bangers like “Cosos,” where Crime lyrically remains in his bag with unrelenting, braggadocious rhymes: “You cheesecake, rappers know I get on this shit and eat great / Get better at any take and drop on anyone’s release date”

All in all, El Cantante is a self realization of sorts CrimeAPPLE shares his current life perspectives and touches on what it’s like to be considered a hip-hop legend by many, while also reflecting on the path that brought him to this point in his career.

Quantity: 3100
Release type: RSD Exclusive Release

On July 20, 1993, Los Angeles hip-hop legends Cypress Hill unleashed their sophomore opus Black Sunday on the unsuspecting masses. The record changed rap music with its dark undercurrent, Latin inflection, no-holds-barred storytelling, and the inimitable interplay between B-Real and Sen Dog cast over psychedelically spun rap soundscapes courtesy of DJ Muggs.

Now to mark the 30th anniversary, two new remixes are available for fans on 12” black vinyl; “Insane in the Brain” from the esteemed DJ/Producer Statik Selektah, and “Hits From The Bong” crafted by the album’s original producer himself, DJ Muggs.

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.

Cypress Hill was the first Latino American hip hop recording group to have platinum and multi-platinum albums, selling over 18 million albums worldwide.

They are considered to be among the main progenitors of West Coast Rap and Hip Hop in the early 90s, being critically acclaimed for their first four albums.

The band has also been important for the advocacy of medical and recreational use of cannabis in the United States.

Los Grandes Éxitos en Español is a greatest-hits album in Spanish by Cypress Hill. It was certified Platinum by the RIAA.

With exception of the last track, which was previously unreleased, together with "Latin Lingo," and "Tres Equis" which appeared on Cypress Hill, the album features old songs with new Spanish lyrics.

Mainly influenced by "the most beautiful ugly sound in the world,” introduced by D-Styles in "Phantazmagorea" in 2002, DJ Swet (Spain) has been perfecting his artisanal music production method for over fifteen years, exploiting the art of turntablism to orchestrate his soundtracks through scratching. After meeting Milano Constantine in person in the summer of 2018, and collaborating on "Body Bags" (Swet's latest work, alongside N-Wise Allah), it is now with Milano himself that he shares this album.

In “Block Work” Milano Constantine paints Spike Lee like scenes with strokes of psychological terror over the brittle and crumpled musical canvas provided by the Barcelona native Dj and producer. With the street cred of an OG and the hunger of a rookie, in "Block Work" the Manhattan emcee and Ditc affiliate eloquently recounts the experiences, feelings and visions of a runner (metaphorically and visually depicted by Rubens Ziontifik as a chess pawn), who gets involved in all sorts of situations caused by crime and illegal activities taking place throughout the blocks.

The album is completed with vocal interventions by Dano and N-Wise Allah, arrangements by Peter Party, guitar by Enric Peinado (track3), trumpet by Raynals Colom (track5), additional drums by Hoss Benitez (tracks 8 and 9), Rubens Ziontifik’s artworks, and mixing and mastering by the recently Latin Grammy nominated Harto Rodríguez. "Block Work" is edited and distributed by the Barcelona based label Architechs Records.

Hailing from the sweat-drenched discotecas of Austin, Texas - El Combo Oscuro deliver a dose of Latin psychedelia that’s steeped in the magic and voodoo of New Orleans. Combine heavy percussion, reverberating guitars, and a solid baseline, and the affects of “Vudú y Chachacha” are mesmerizing. On the flip, New Orleans’ own Professor Shorthair remixes the original into a dance-floor-ready tune that features the vocals of Rakaa Iriscience of the renowned Hip Hop group Dilated Peoples. This limited edition 45 comes on bone colored vinyl with blue and violet splatter.

Limited to 1000 copies for the European market.

Music by Madlib, arranged by Kieran Hebden, better known as Four Tet. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

OK it's the end of year fishermen. It's been a dope couple of cycles - sorry there weren't more releases - covid hit hard BUT the good news is , we're back in March with more cycles than 2022. Hold tight for some serious heat!!



For the last offering we have a superb 4 track EP of material from Texas crew MelloSoulBlack produced entirely by our Peruvian flavameister Smoky Kun. You may recognize him from his single on Los Herring Records 'Saoco Del Barrio". Peep it it's still in stock and features a grip of Peruvian MCs over some funky latin beats.

Circa 2022, Ozo's new songs, stronger-thanever brotherhood and the potent emotional impetus behind Marching On further cements the legacy begun with the band's 1998 self-titled debut. With musician/producer David Garza (Fiona Apple, Sparta) producing in Bpre-pandemic 2020 at El Paso's Sonic Ranch, Ozo were honored with esteemed musical guests who contributed to the 11-song album including B-Real (Cypress Hill), Guatemalan singer-songwriter Gaby Moreno, J.J. FAD (of "Supersonic" Fame) and Lisa Lisa (Lisa Lisa & Cult Jam.)

It all started in 2020 when producer The Breed and guitarist Richard Holzmann decided to start their own project called PAPI CHURRO. The two german musicians came up with a unique combination of latin-folk and HipHop Sounds. Almost like a Lo-Fi Beat version of guys like João Gilberto or Carlos Jobim. But also the typical Mexican sounds of Druglord Movies like „Narcos“ are part of their soundcollage. In very short time PAPI CHURRO gained a fanbase and millions of streams on the net. Since all the instruments are played live the songs are not your average Samplebeat but come with some more complex arrangements. But still producer The Breed clearly references those „Chops and Breaks Roots“ on the songs.

Now it’s time for their first full-length LP. El Clásico features all of their recently released tunes but also comes with a bunch of new material. It features a lot of talented guest musicians. Blue-note artists Phlocalyst on some trumpet parts, Harmonica world champion Cy Leo from Hongkong. Lo-Fi producer Kid Taro and Bassplayer and producer FLKS appear throughout the record.

For the cover-artwork they hooked up with Los Angeles photographer legend ESTEVAN ORIOL (who just recently got his own bio-documentary on Netflix - www.estevanoriol.com/). Estevan himself has Mexican roots and so it was a perfect match for the project.

The Vinyl edition is limited to only 300 copies and comes in beautiful black vinyl via The Breed’s own label WE RUN THIS.

Limited edition of 350 copies only!

Powerule is back with the infectious 7-inch vinyl single "Glorify N Praise" (Produced by Large Professor). This unreleased B side "Get Right" Features Sonny Banks and produced by none other than Lord Finesse is a textured, infectious, hypnotic composition that gives you a window into the struggle of the inner city. This 7-inch is from the upcoming full length Limited Edition Digipak CD "The Anomaly: Reloaded".

In the late 80's and early 90's Powerule stood century as the vanguard of an eventual Latin explosion in Hip Hop. Dominating mix shows and video mediums the Nuyorican experience in hip hop culture finally had their own voice. In 1991 they released their debut album Volume 1” on Interscope Records that featured Leaders of The New School, Large Professor & Kurious Jorge. Powerule and 2Pac were the first Hip Hop artists signed to Interscope.

Powerule went on to pave the way for artist like Fat Joe , Kurious , Big Pun , Tony Touch , The Beatnuts and others. Throughout the 1990s they released a string of classic singles such as "Dawn to Dusk”, "Bright Lights Big City", "Rock your Knot Quick" , "Heatin up" & “Well Connected” produced by some of Hip Hop’s most celebrated producers: Mark Ronson, Erick Sermon & VIC from The Beatnuts.

Since then Powerule moved on to other areas of interest. 20 years later these pioneers have returned with even more potent production and lyricism. Their first ever soon to be classic 7" vinyl features Hip Hop Royalties finest. Large Professor gifts Powerule with a melodic masterpiece on the track "Glorify n Praise", an adult contemporary look at life and its peaks and valleys. The B Side "Get Right" Featuring Sonny Banks and produced by none other than Lord Finesse is a textured, infectious, hypnotic composition that gives you a window into the struggle of the inner city. These 2 tracks are from their full length “Anomaly: Reloaded” album available on a limited edition eco-friendly Digipak CD. Never has a group returned with more confidence and experience that translates into Hip Hop gems. Hip Hop is alive and well and Powerule will not be denied its rightful place.

Limited edition CD!

Featuring productions by Large Professor, Ayatollah, Lord Finesse and Psycho Les with guest appearances by Tragedy Khadafi, Sonny Banks, Thirstin Howl The 3rd and many others!

In the late 80's and early 90's Powerule stood century as the vanguard of an eventual Latin explosion in Hip Hop. Dominating mix shows and video mediums the Nuyorican experience in hip hop culture finally had their own voice. In 1991 they released their debut album “Volume 1” on Interscope Records that featured Leaders of The New School, Large Professor & Kurious Jorge. Powerule along with 2Pac were one of the first Hip Hop artists signed to Interscope Records.

Powerule went on to pave the way for artist like Fat Joe, Kurious, Big Pun, Tony Touch, The Beatnuts and others. Throughout the 1990s they released a string of classic singles such as "Dawn to Dusk”, "Bright Lights Big City", "Rock your Knot Quick", "Heatin up" & “Well Connected” produced by some of Hip Hop’s most celebrated producers: Mark Ronson, Erick Sermon & VIC from The Beatnuts.

It's been 26 years since Powerule released a physical album. This is unprecedented in the industry and happens to be their best work to date. The music and the lyricism proves that the Golden Era of Hip Hop still is relevant. A virtual who's who of producers provide the back bone for the album. Large Professor provides a hypnotic melody on “Glorify and Praise” and Prince Powerule delivers an adult contemporary message. When asked how it was working with Large Professor again after 26 years Prince said "I've never been pushed so hard in the booth. It took me a month to really get the flow and the lyrics right. It was exactly what I need to thrust myself back in the game."

Production from Psycho Les of the Beatnuts on “718” with verses by himself and Tragedy Khadafi make this Queens anthem bump!! DJ Eclipse provides a resident DJ appeal appearing on 3 songs. The album has a consistent feel capturing the essence of NY hip hop with strong story-telling and jewels of wisdom. Lord Finesse gifts Powerule with a melodic gem on “Get Right” feat Sonny Banks. Ayatollah, Self Service, VIC, Team Demo and others fill out this album but it ever loses its authentic feel..

Beat smith RED ASTAIRE (AKA FREDDIE CRUGER) returns with some crucial instrumental cuts from the 3 volumes of the "NUGGETS FOR THE NEEDY" series. The NUGGETS INSTRUMENTALS DLP features 'FOLLOW ME","MOVE YO ASS","COME DOWN " & more sounds of Lo Fi Hip Hop, Downtempo & Latin in full color jacket!

Description : Three continents collide on 'Runaway', the latest single from Mozambican rapper / vocalist Simba Sitoi, featuring Canada's Kardinal Offishall, remixed by the UK's Chris Read. Simba Sitoi is a key player in the Hip Hop scene in his native Mozambique, where his vocals in both English and Portugese have graced releases including a full length album for UK stalwarts BBE Records. Kardinal Offishall is a 5 x winner at the Juno Awards (Canada's equivalent of the Grammys) and has collaborated with a host of artists including the likes of Scott Storch, Sean Paul and Eminem. London based producer Chris Read's production and remix credits include Grammy Award winning vocalist Bilal, BBC New Music Award winners Maylight and Hip Hop legends The Pharcyde.



The back story to this cross-continental collaboration features A Tribe Called Quest, Mozambique's colonial past and Nando's chicken. In 2018, Nando's flew Kardinal Offishal to Mozambique to film a short documentary exploring the history of the restaurant's Peri Peri sauce, an accompaniment to grilled chicken first developed by Portugese settlers in Mozambique. While filming, Kardinal visited Simba's studio to find out more about the regional music scene. The two vocalists hit it off and, in an unplanned studio session, 'Runaway', a track inspired by the UK's Broken Beat sound, was recorded. Simba had previously worked with Chris Read when he remixed Simba and Milton Gulli's cover version of A Tribe Called Quest's 'Scenario' for BBE Records back in 2013. Chris was enlisted to remix the track and has delivered a version which features Broken drums, a Latin flavored bassline and horns that add Dub feel.

Compiled by legendary producer Arthur Baker, "Breakers Revenge" is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984.These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere. First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs - Kool Herc, Grandmaster Flash and Afrika Bambaataa - and found in the record crates of any DJ of note ever since.Seminal funk and soul tracks such as Dennis Coffey"s "Scorpio", The Jimmy Castor Bunch"s "It"s Just Begun", James Brown"s "Get on the Good Foot", The Mohawks" "Champ" sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa"s "Planet Rock", and Arthur Baker"s own definitive "Breaker"s Revenge".

Compiled by legendary producer Arthur Baker, "Breakers Revenge" is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984. These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere. First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs - Kool Herc, Grandmaster Flash and Afrika Bambaataa - and found in the record crates of any DJ of note ever since. Seminal funk and soul tracks such as Dennis Coffey"s "Scorpio", The Jimmy Castor Bunch"s "It"s Just Begun", James Brown"s "Get on the Good Foot", The Mohawks" "Champ" sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa"s "Planet Rock", and Arthur Baker"s own definitive "Breaker"s Revenge".

Speak has carved a path with quick wit and wordplay since 2011 and his debut album Inside Out Boy. His sophomore album Gnarly Davidson peaked at #27 on the iTunes Top 100. Speak also wrote the RIAA gold-certified "Gucci Gucci" for Kreyshawn, a song far ahead of its time that has gone on to inspire modern rap sounds into this decade. Speak has culminated a body of work that has reached a global scale with millions of plays across various streaming platforms and touring in the US, Canda, Latin America, and the UK. Unique album configurations with accompanying merchandise lines, live shows, and music video projects continue to separate Speak from other artists in modern rap, representing Mexico City's explosion of new sounds, styles, and culture with a bold message. Collaborations over the years include Vince Staples, Mac Miller, The Internet, Denzel Curry, Juicy J, Odd Future, and many more. From the gritty Sex Quest series to the more introspective hearth throb visions of My Lonely Primavera, and now the futurism of Singularity, Speak continues to reinvent himself with every project.

Stretch and Bobbito’s debut album No Requests explores the legendary club DJs’ vast musical knowledge with covers of songs directly from their record crates! Featuring the M19s Band, a live band of elite hand-picked musicians, the gatekeepers of ‘90s Hip Hop step outside their foundational genre base to produce Latin, Afro-beat, Samba, Jazz, Reggae, and Soul reinterpretations of dance floor bangers—ranging from popular to rare and obscure—which loosely depart expected structure and create new nuances to familiar tunes. The group also offers original compositions along the sonic journey. All tracks have one goal in mind: GROOVE!

US-Megastar Travis Scott veröffentlicht sein neues Album UTOPIA. Das Album erschien bereits am 28.07. digital und nun auch endlich auf CD. Auf dem Album sind neben Beyoncé, Drake und The Weeknd auch weitere Superstars wie 21 Savage, Future oder SZA als Feature-Artists zu Gast und machen das neue Album des Megastars zu einem absoluten Highlight des musikalischen Jahres. Gestartet wurde die Kampagne mit der Veröffentlichung des Songs "K-POP" zusammen mit Latin-Superstar Bad Bunny (meistgestreamter Künstler des Jahres) und The Weeknd. Gefeiert wurde der Release dementsprechend aufmerksamkeitsstark mit einer ausverkauften Riesen-Show im Circus Maximus in Rom vor mehr als 60.000 Menschen. Das Album erreichte in mehreren Ländern der Welt bereits Platz 1 der Verkaufscharts und gilt schon jetzt als eines der fortschrittlichsten und einzigartigsten Hip-Hop-Alben der Geschichte.

Auf der CD sind analog zum digitalen Produkt alle Tracks des Albums UTOPIA enthalten inklusive MELTDOWN.

Back in the early days of Gamm we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals. Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and Ditc. It almost sounds as if these are the original productions. No joke...it's that strong!!

Back in the early days of Gamm we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals. Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and Ditc. It almost sounds as if these are the original productions. No joke...it's that strong!!

Back in the early days of Gamm we used to release Hip Hop reworks of classic golden era favourites. After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle. The beats are all brand new production but you'll probably recognise the vocals. Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and Ditc. It almost sounds as if these are the original productions. No joke...it's that strong!!