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Collision Course is a collaborative EP by Jay-Z and Linkin Park, released on November 30, 2004. The project was an experimental mash-up album that combined elements of hip-hop and nu-metal, blending Jay-Z's raps with Linkin Park's rock sound. Produced by Mike Shinoda (of Linkin Park) and Jay-Z, Collision Course merges some of the biggest hits from both artists into new, hybrid tracks that fuse their distinct genres.

Collision Course was the result of MTV’s "Mash-Up" series, where artists from different genres collaborated to create new music by combining their songs. The project quickly gained attention because it featured two hugely popular artists from vastly different musical backgrounds.
The EP features six tracks, each a combination of Jay-Z’s iconic verses and Linkin Park’s hard-hitting rock instrumentals and vocals. It brings together Jay-Z's hip-hop classics with Linkin Park’s emotionally charged, alternative rock anthems.
The release was accompanied by a DVD, which included behind-the-scenes footage of the making of the album and a live performance of the mash-up tracks.

The mash-ups blend hip-hop beats with rock instrumentation, creating a genre-bending sound. Jay-Z’s verses, which are typically supported by hip-hop production, are now backed by guitar riffs, drums, and electronic elements from Linkin Park’s catalog.
Linkin Park’s co-lead vocalists, Chester Bennington and Mike Shinoda, intertwine their vocals with Jay-Z’s raps, adding a dynamic contrast between Chester’s melodic hooks and Mike's rap-style verses.

Key Tracks and Highlights:
"Numb/Encore" – This is arguably the most well-known track from the EP and became a major hit. It combines Jay-Z’s "Encore" from The Black Album with Linkin Park’s "Numb" from Meteora. The song blends Jay-Z's braggadocious lyrics about legacy and success with the emotional weight of "Numb," creating a powerful contrast. The track won a Grammy Award for Best Rap/Sung Collaboration in 2006.
"Dirt Off Your Shoulder/Lying from You" – This track combines Jay-Z’s "Dirt Off Your Shoulder" from The Black Album with Linkin Park’s "Lying from You" from Meteora. The mix of Jay-Z’s swaggering, confident lyrics with the angsty tone of "Lying from You" creates an intense, high-energy track.
"Big Pimpin'/Papercut" – In this mash-up, Jay-Z’s party anthem "Big Pimpin’" from Vol. 3... Life and Times of S. Carter is combined with "Papercut", one of Linkin Park’s hard-hitting tracks from Hybrid Theory. The contrast between Jay-Z’s carefree lyrics and the darker themes of "Papercut" makes for a unique and striking combination.
"Jigga What/Faint" – This high-energy mash-up blends Jay-Z’s "Jigga What" from Vol. 2... Hard Knock Life with Linkin Park’s "Faint" from Meteora. The aggressive guitar riffs and fast-paced production of "Faint" complement Jay-Z’s rapid-fire rhyming, making this one of the more intense tracks on the album.
"Izzo/In the End" – This track mashes up Jay-Z’s hit "Izzo (H.O.V.A.)" from The Blueprint with Linkin Park’s massive hit "In the End" from Hybrid Theory. The combination of Jay-Z’s celebratory lyrics with the reflective, melancholic tone of "In the End" creates a unique emotional balance.
"Points of Authority/99 Problems/One Step Closer" – This mash-up brings together Jay-Z’s "99 Problems" from The Black Album with Linkin Park’s "Points of Authority" and "One Step Closer" from Hybrid Theory. It’s one of the hardest-hitting tracks on the EP, with aggressive beats and heavy guitars, paired with Jay-Z’s defiant lyrics.

Contrast between genres: One of the major themes in Collision Course is the juxtaposition of hip-hop bravado and rock’s emotional intensity. Jay-Z’s confident, self-assured lyrics are often paired with Linkin Park’s more vulnerable and introspective lyrics, creating a dramatic tension in the songs.

Jay-Z’s lyrics in tracks like "Encore" and "Big Pimpin’" focus on his rise to fame, success, and the challenges he’s overcome, while Linkin Park’s contributions often explore themes of alienation, frustration, and personal struggle.
Critical Reception:
Collision Course received mixed reviews from critics but was praised for its creativity and for bridging the gap between two different musical genres. While some critics felt that the mash-ups were too formulaic, others admired the seamless blending of two very different musical styles.
The EP performed well commercially, debuting at #1 on the Billboard 200 chart. "Numb/Encore" was particularly successful, becoming a mainstream hit and one of the most recognizable tracks from the project.

Collision Course is seen as a significant experiment in genre fusion, helping to bridge the gap between hip-hop and rock audiences. It contributed to the growing trend of genre-blending that would become more prominent in the 2000s.
The success of the EP demonstrated that collaborations across genres could be commercially viable, paving the way for future projects that mixed hip-hop with rock, pop, and other genres.
The live performance of the EP’s tracks, particularly the "Numb/Encore" mash-up at events like the Grammys and MTV Music Awards, helped to cement its place in pop culture, with fans of both Jay-Z and Linkin Park embracing the crossover.

Collision Course stands as a unique collaboration in music history, bringing together two icons from different genres and creating a blend that resonated with both rock and hip-hop fans. Though brief, the EP’s six tracks showcased the possibilities of genre fusion and delivered some of the most memorable mash-ups of the 2000s. The project continues to be celebrated for its innovation and the seamless combination of Jay-Z’s iconic flows with Linkin Park’s powerful instrumentals and emotive vocals.

Limited to 550 copies on special brown colored vinyl, only available at HHV!

Executively produced by MF DOOM before his passing!

By his early 20s, Kurious was already an in-demand voice on the mic. His 1994 major label debut album, A Constipated Monkey, is a classic of its style, marked by heavy beats and nimble rhymes that are razor-sharp yet frequently hilarious. Despite being hailed as one of hip-hop's most compelling lyricists, he didn't release another solo IP for the rest of that decade, but he continued to be sought after. Rap fans the world over know him for his verse on "?," one of the standout songs from his longtime friend and collaborator MF DOOM's heralded Operation: Doomsday. As he prepares for the release of his new album, Majician-the nickname his peers blessed him with a generation ago-Kurious is well on his way to establishing the legacy he's long deserved. The LP, which was executive produced by MF DOOM before his passing, is a mesmerizing blend of technical wizardry and personal introspection. Take "Eye of Horus," where the pulsing drums convey an urgency that borders on panic; Kurious weaves a complex tapestry of history and insight, but does so while ducking through and under each pocket in the beat. Produced in its entirety by Mono En Stereo, Majician is filled with songs like "Eye of Horus," which dance on the line between confession and confrontation. "Separation Anxiety" is a personal bloodletting in the form of lyrical exercise; "Par For the Course," which features the exlusive Mr. Fantastik, makes drum breaks from the early Reagan era sound totally revitalized. Through the radical amount of work Kurious put into the writing and recording of this material, he's removed all ambiguity from the question of whether he can stand as one of the premier MCs of his time.

Madvillainy is the debut and only studio album by Madvillain, a collaboration between legendary rapper MF DOOM (Daniel Dumile) and acclaimed producer Madlib (Otis Jackson Jr.), released on March 23, 2004 by Stones Throw Records. The album is often hailed as a masterpiece of underground hip-hop, characterized by its unconventional structure, eclectic production, and MF DOOM’s intricate, surreal lyrics.

Madvillainy was a highly anticipated project in the underground hip-hop scene, bringing together two of its most respected figures. MF DOOM, known for his complex wordplay and villainous persona, and Madlib, celebrated for his experimental and sample-heavy production, combined to create a dense, atmospheric album.
The project was recorded over several years, with Madlib working on beats while traveling and MF DOOM crafting his lyrics with a stream-of-consciousness style.
The album has a lo-fi aesthetic, featuring short, fragmented tracks, many of which do not follow traditional song structures like verses and hooks. Instead, Madvillainy is more of a collage, with some tracks acting as interludes or musical sketches.

Madlib’s production is eclectic and layered, drawing from jazz, soul, Brazilian music, obscure soundtracks, and 1970s psychedelia, creating a moody and experimental backdrop for MF DOOM’s vocals.
The album’s beats are sample-heavy, often gritty, and feature unorthodox tempos and time signatures. Madlib also uses interludes and vocal samples from obscure sources, giving the album a cinematic, almost comic book-like feel.
MF DOOM delivers his signature abstract and multi-syllabic rhymes, filled with internal rhyme schemes, pop culture references, and complex wordplay. His delivery is intentionally offbeat, which complements the nontraditional structure of the production.

Lyrically, Madvillainy is a blend of surrealism, humor, and complex storytelling. MF DOOM’s persona as the masked supervillain is ever-present, with much of the album reflecting his mischievous, sardonic view of the world.
His lyrics often appear cryptic, with layers of meaning that reward close listening. He plays with words in ways that defy conventional hip-hop norms, eschewing clear narratives in favor of dense, puzzle-like rhymes.
Themes in the album include betrayal, paranoia, and the villain’s perspective, often narrated from a detached, almost nihilistic point of view. However, DOOM’s approach is often playful, filled with irony and wit.

Key Tracks and Highlights:
"Accordion" – A minimalist, standout track where MF DOOM delivers one of his most well-known verses over a sparse accordion loop. The track captures DOOM’s style perfectly, with cryptic, tightly-packed bars and Madlib’s minimalist approach.
"Meat Grinder" – A haunting, jazz-infused beat serves as the backdrop for MF DOOM’s dense wordplay, as he raps with a stream-of-consciousness flow, dropping surreal imagery and twisted humor.
"America’s Most Blunted" (featuring Quasimoto) – A playful, weed-themed track featuring Madlib’s alter ego, Quasimoto. The track is both funky and chaotic, with vocal samples interspersed between DOOM and Quasimoto’s verses.
"Curls" – One of the shorter tracks, with a smooth, almost nostalgic beat. DOOM’s verses are filled with detailed, vivid descriptions, encapsulating his ability to turn everyday observations into poetic rhymes.
"All Caps" – Perhaps the most iconic track on the album, known for its booming beat and DOOM’s punchy, comic book-inspired verses. The title refers to MF DOOM’s alias, urging fans to spell it in all capital letters, reinforcing his larger-than-life persona.
"Rhinestone Cowboy" – The album’s closer, featuring a soulful, downtempo beat and some of DOOM’s most introspective and reflective lyrics. It’s a contemplative end to an otherwise chaotic and fragmented album.

Madvillainy is a nonlinear album, with many of the tracks flowing directly into each other without clear transitions. It’s constructed more like a sonic collage, making the album feel like a continuous, abstract narrative rather than a collection of separate songs.
The album contains numerous interludes and brief tracks, some less than a minute long, but all contributing to the overall mood and atmosphere. Tracks like "Sickfit" and "Do Not Fire!" are instrumental breaks that give Madlib’s production room to shine.

Upon release, Madvillainy was met with widespread critical acclaim. It was praised for its innovation, lyrical complexity, and cohesive production, with critics noting its departure from conventional hip-hop formulas.
It quickly became regarded as one of the most important and influential underground hip-hop albums of all time, with its influence extending beyond just hip-hop into broader experimental music.
MF DOOM’s and Madlib’s artistic approach on Madvillainy helped solidify their reputations as avant-garde artists, unafraid to push the boundaries of the genre.
The album is frequently included in lists of the greatest hip-hop albums of all time and is particularly beloved by fans of alternative and underground hip-hop. It has been noted for its lasting influence on the sound and style of future hip-hop artists, especially in the abstract, lo-fi, and experimental spaces.
Impact on MF DOOM and Madlib's Careers:
MF DOOM further cemented his legacy as one of hip-hop’s most enigmatic and talented lyricists. His use of the supervillain persona, combined with his intricate rhyming style, made him a cult figure in the genre.
Madlib also gained widespread recognition for his unique production style, which merged elements of hip-hop, jazz, and experimental music. His ability to create deeply layered and textured beats without sacrificing their lo-fi charm became a hallmark of his production style.
Madvillainy’s success paved the way for other projects in the underground scene and inspired a new wave of artists who saw hip-hop as a medium for abstract, avant-garde expression.

Madvillainy continues to be revered as a benchmark in underground hip-hop. Its influence can be heard in the work of countless artists, from Earl Sweatshirt and Tyler, The Creator to more experimental producers and MCs who were inspired by Madlib's and MF DOOM’s fearless approach to crafting an album.
The mystique surrounding MF DOOM, especially after his untimely death in 2020, only added to the album’s legendary status, with Madvillainy often considered his definitive work.
The album’s blend of complex lyricism, unorthodox production, and nontraditional structure helped redefine what could be done in the hip-hop genre, making it a timeless work of art.
In summary, Madvillainy is a landmark album in hip-hop, pushing the boundaries of both lyricism and production. Its influence is far-reaching, and its status as one of the greatest underground albums remains unchallenged. The partnership between MF DOOM and Madlib resulted in a project that is as dense, surreal, and captivating as it is groundbreaking.

Packaged In A Wrapped Tip-On Gatefold Jacket With Green & Pink Colored Double Vinyl. Includes A Free Digital Download Card. Re-Pressed With Masters Previously Used For Mm..Food.In 1998 Zev Love X Of The Seminal Rap Group Kmd Re-Emerged As A Masked Super Villain Known As Mf Doom. The Following Year He Released The Ground Breaking Independent Classic Operation: Doomsday. Doom Only Added To The Mystery By Creating Multiple Aliases (King Geedorah, Viktor Vaughn, Etc.) And Took A No Holds Barred Approach To His Musical Career. With Collaborative Side Projects With Madlib (Madvillain) And Dangerdoom With Danger Mouse, Mm..Food Marked The Super Villain's Long Awaited Follow Up To Operation: Doomsday.

Deluxe Edition celebrating the 25th Anniversary of the second The Roots album. Comes with a 24-page booklet. Must have!

Do You Want More?!!!??! is the second studio album by The Roots, released on January 17, 1995. This album is a landmark in hip-hop because it showcases The Roots' use of live instrumentation rather than relying on samples and drum machines, which was the dominant production method in rap at the time. It helped establish The Roots as a unique force within hip-hop, blending genres like jazz, funk, and soul into their music and standing out as pioneers of the "alternative rap" movement.

The album is notable for its organic sound, primarily driven by live instruments, with contributions from musicians such as drummer Questlove, keyboardist Scott Storch, and bassist Leonard Hubbard.
It represents The Roots’ early jazz-influenced, laid-back sound, which sharply contrasted with the harder, sample-driven beats of mainstream hip-hop in the mid-1990s.
Do You Want More?!!!??! was the group’s first major-label release (on DGC/Geffen Records) and introduced them to a broader audience beyond their underground roots.

The album is known for its strong jazz-rap influence, with heavy use of improvisation, live drumming, and horn sections, giving it a feel akin to a live jam session.
The Roots draw from the traditions of jazz and soul music, fusing those styles with the vocal rhythms and lyrical complexity of hip-hop.
Beatboxing and vocal percussion are also used throughout the album, particularly with contributions from Rahzel, known as "The Godfather of Noyze," who uses his beatboxing skills as an instrument in several tracks.

Lyrically, Black Thought (Tariq Trotter) and Malik B (Malik Abdul Basit) address topics ranging from urban life and relationships to the state of hip-hop and artistic integrity.
Much of the album is celebratory, exploring themes like the joy of performing, living in the moment, and reflecting on personal experiences.
The lyrics are often introspective and conversational, matching the album’s laid-back, jazzy feel. Unlike the aggressive or gangsta rap style popular at the time, the focus here is more on storytelling and social commentary.

Key Tracks and Highlights:
"Proceed" – One of the album’s standout singles, with a mellow, jazzy beat and Black Thought's smooth, confident flow. This track became one of The Roots' signature songs, with several remix versions following its release.
"Distortion to Static" – A jazz-heavy, upbeat track that features both Black Thought and Malik B trading verses, with intricate lyricism and a distinct live sound. This song helped establish their reputation as lyrical craftsmen.
"Mellow My Man" – A smooth, funk-infused track that showcases The Roots' musicianship, particularly Questlove’s drumming, and explores more laid-back, reflective themes.
"Essaywhuman?!!!??!" – An almost entirely improvised, live track, with live scatting and beatboxing, blending hip-hop with jazz in real-time, giving the listener a glimpse of The Roots' live performance energy.
"Silent Treatment" – One of the few songs on the album that delves into personal relationships, specifically the emotional dynamics of a romantic relationship gone awry. The song’s smooth delivery and production make it one of the more accessible tracks on the album.
"Datskat" – A playful track with an emphasis on jazz improvisation, including a prominent saxophone section and Rahzel’s beatboxing, highlighting the album’s unique sonic experimentation.
Collaborations and Guest Appearances:
Rahzel (beatboxing) and Scott Storch (keyboards) both play significant roles on this album, contributing to its eclectic, live-instrument sound.
Saxophonist Steve Coleman and trumpeter Graham Haynes lend their jazz expertise, enhancing the album’s jazz-fusion vibe.

Do You Want More?!!!??! received critical acclaim for its innovative use of live instrumentation and jazz influences in hip-hop. Critics praised the album for its originality and the band’s musical proficiency.
The album was celebrated for breaking away from the sample-driven norm of hip-hop production in the 1990s, helping to expand the genre’s sonic possibilities.
Despite its critical success, Do You Want More?!!!??! did not achieve major commercial success at the time, but it has since gained a cult following and is regarded as a classic in both hip-hop and alternative music circles.
Themes:
A key theme in the album is the exploration of musicianship in hip-hop. By blending jazz improvisation and live performances with rap, The Roots were not just making music—they were actively challenging the boundaries of what hip-hop could be.
Cultural identity and artistic integrity also play central roles in the lyrics, with Black Thought and Malik B often ruminating on their roles as artists in a changing and often commodified hip-hop landscape.

While not a massive commercial hit upon release, Do You Want More?!!!??! has become regarded as one of the seminal albums of the jazz-rap genre and a landmark in alternative hip-hop.
The album set the stage for The Roots’ later success and is seen as an important precursor to their subsequent, more polished and socially-conscious works, like Things Fall Apart (1999).
Do You Want More?!!!??! also helped to redefine live hip-hop performance, as The Roots proved that a live band could create complex, compelling music that resonated both within and beyond the hip-hop community.
Its influence extends to many artists in hip-hop and neo-soul, especially those involved with the Soulquarians, a collective of artists like Erykah Badu, D’Angelo, and Common with whom The Roots would collaborate extensively.
The album's blend of jazz, live instrumentation, and socially-conscious lyrics helped The Roots carve out a distinct niche in the hip-hop world, making Do You Want More?!!!??! a defining moment in their career and a critical touchstone in the evolution of alternative hip-hop.

Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S Network (reb7rth), by fl exing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career. “I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable. G.O.D.'S Network (reb7rth) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me in fi nite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said. Rakim is more than an of fi cial triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, Kxng Crooked, B.G., and Kool G. Rap, among others. The album’s fi rst single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz. RRC-066.pdf For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started. While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (reb7rth). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

Madvillainy is the debut and only studio album by Madvillain, a collaboration between legendary rapper MF DOOM (Daniel Dumile) and acclaimed producer Madlib (Otis Jackson Jr.), released on March 23, 2004 by Stones Throw Records. The album is often hailed as a masterpiece of underground hip-hop, characterized by its unconventional structure, eclectic production, and MF DOOM’s intricate, surreal lyrics.

Madvillainy was a highly anticipated project in the underground hip-hop scene, bringing together two of its most respected figures. MF DOOM, known for his complex wordplay and villainous persona, and Madlib, celebrated for his experimental and sample-heavy production, combined to create a dense, atmospheric album.
The project was recorded over several years, with Madlib working on beats while traveling and MF DOOM crafting his lyrics with a stream-of-consciousness style.
The album has a lo-fi aesthetic, featuring short, fragmented tracks, many of which do not follow traditional song structures like verses and hooks. Instead, Madvillainy is more of a collage, with some tracks acting as interludes or musical sketches.

Madlib’s production is eclectic and layered, drawing from jazz, soul, Brazilian music, obscure soundtracks, and 1970s psychedelia, creating a moody and experimental backdrop for MF DOOM’s vocals.
The album’s beats are sample-heavy, often gritty, and feature unorthodox tempos and time signatures. Madlib also uses interludes and vocal samples from obscure sources, giving the album a cinematic, almost comic book-like feel.
MF DOOM delivers his signature abstract and multi-syllabic rhymes, filled with internal rhyme schemes, pop culture references, and complex wordplay. His delivery is intentionally offbeat, which complements the nontraditional structure of the production.

Lyrically, Madvillainy is a blend of surrealism, humor, and complex storytelling. MF DOOM’s persona as the masked supervillain is ever-present, with much of the album reflecting his mischievous, sardonic view of the world.
His lyrics often appear cryptic, with layers of meaning that reward close listening. He plays with words in ways that defy conventional hip-hop norms, eschewing clear narratives in favor of dense, puzzle-like rhymes.
Themes in the album include betrayal, paranoia, and the villain’s perspective, often narrated from a detached, almost nihilistic point of view. However, DOOM’s approach is often playful, filled with irony and wit.

Key Tracks and Highlights:
"Accordion" – A minimalist, standout track where MF DOOM delivers one of his most well-known verses over a sparse accordion loop. The track captures DOOM’s style perfectly, with cryptic, tightly-packed bars and Madlib’s minimalist approach.
"Meat Grinder" – A haunting, jazz-infused beat serves as the backdrop for MF DOOM’s dense wordplay, as he raps with a stream-of-consciousness flow, dropping surreal imagery and twisted humor.
"America’s Most Blunted" (featuring Quasimoto) – A playful, weed-themed track featuring Madlib’s alter ego, Quasimoto. The track is both funky and chaotic, with vocal samples interspersed between DOOM and Quasimoto’s verses.
"Curls" – One of the shorter tracks, with a smooth, almost nostalgic beat. DOOM’s verses are filled with detailed, vivid descriptions, encapsulating his ability to turn everyday observations into poetic rhymes.
"All Caps" – Perhaps the most iconic track on the album, known for its booming beat and DOOM’s punchy, comic book-inspired verses. The title refers to MF DOOM’s alias, urging fans to spell it in all capital letters, reinforcing his larger-than-life persona.
"Rhinestone Cowboy" – The album’s closer, featuring a soulful, downtempo beat and some of DOOM’s most introspective and reflective lyrics. It’s a contemplative end to an otherwise chaotic and fragmented album.

Madvillainy is a nonlinear album, with many of the tracks flowing directly into each other without clear transitions. It’s constructed more like a sonic collage, making the album feel like a continuous, abstract narrative rather than a collection of separate songs.
The album contains numerous interludes and brief tracks, some less than a minute long, but all contributing to the overall mood and atmosphere. Tracks like "Sickfit" and "Do Not Fire!" are instrumental breaks that give Madlib’s production room to shine.

Upon release, Madvillainy was met with widespread critical acclaim. It was praised for its innovation, lyrical complexity, and cohesive production, with critics noting its departure from conventional hip-hop formulas.
It quickly became regarded as one of the most important and influential underground hip-hop albums of all time, with its influence extending beyond just hip-hop into broader experimental music.
MF DOOM’s and Madlib’s artistic approach on Madvillainy helped solidify their reputations as avant-garde artists, unafraid to push the boundaries of the genre.
The album is frequently included in lists of the greatest hip-hop albums of all time and is particularly beloved by fans of alternative and underground hip-hop. It has been noted for its lasting influence on the sound and style of future hip-hop artists, especially in the abstract, lo-fi, and experimental spaces.
Impact on MF DOOM and Madlib's Careers:
MF DOOM further cemented his legacy as one of hip-hop’s most enigmatic and talented lyricists. His use of the supervillain persona, combined with his intricate rhyming style, made him a cult figure in the genre.
Madlib also gained widespread recognition for his unique production style, which merged elements of hip-hop, jazz, and experimental music. His ability to create deeply layered and textured beats without sacrificing their lo-fi charm became a hallmark of his production style.
Madvillainy’s success paved the way for other projects in the underground scene and inspired a new wave of artists who saw hip-hop as a medium for abstract, avant-garde expression.

Madvillainy continues to be revered as a benchmark in underground hip-hop. Its influence can be heard in the work of countless artists, from Earl Sweatshirt and Tyler, The Creator to more experimental producers and MCs who were inspired by Madlib's and MF DOOM’s fearless approach to crafting an album.
The mystique surrounding MF DOOM, especially after his untimely death in 2020, only added to the album’s legendary status, with Madvillainy often considered his definitive work.
The album’s blend of complex lyricism, unorthodox production, and nontraditional structure helped redefine what could be done in the hip-hop genre, making it a timeless work of art.
In summary, Madvillainy is a landmark album in hip-hop, pushing the boundaries of both lyricism and production. Its influence is far-reaching, and its status as one of the greatest underground albums remains unchallenged. The partnership between MF DOOM and Madlib resulted in a project that is as dense, surreal, and captivating as it is groundbreaking.

Enigmatic instrumental group from The Pro-Teens pay tribute to the late great rapper MF DOOM, reimagining 14 iconic cuts through a wonky boom bap funk lens.Helmed by Hudson Whitlock, prolific drummer and percussionist of Karate Boogaloo and Surprise Chef, Melbourne's The Pro-Teens is a collective of instrumentalists making weirdo instrumental soul records. Drawing from the community of musicians from such bands in the College Of Knowledge orbit, The Pro-Teens' incorporate the comic book stylings of DOOM and Kool Keith, the dark and exotic flavors of Gravediggaz and Wu-Tang Clan, the cinematic compositional mastery of Galt MacDermot, Richard Evans and Marc Moulin, culminating in an unorthodox patchwork of cinematic soul, boom-bap funk breaks and left-field instrumental textures. MF TEEN: Your Concurrence In The Above Is Assumed recognises the legacy of rap's Illest Villain, traversing MF DOOM's discography and personas, flipping selections from Madvillain, MM.. FOOD, Viktor Vaughan, Danger Doom and more, taking care to ensure recognisable tunes such as Doomsday and Curls are represented alongside more obscure cuts such as The Gas Face, the Third Bass song that featured the first recorded verse from MF DOOM in his original moniker of Zev Love X of KMD. The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions of Peachfuzz b/w One Beer and Doomsday b/w Curls, releases that built a feverous anticipation for the complete album. MF TEEN: Your Concurrence In The Above Is Assumed comes after 2021's Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly, co-released with UK tastemaker label Mr Bongo.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

Executively produced by MF DOOM before his passing!

By his early 20s, Kurious was already an in-demand voice on the mic. His 1994 major label debut album, A Constipated Monkey, is a classic of its style, marked by heavy beats and nimble rhymes that are razor-sharp yet frequently hilarious. Despite being hailed as one of hip-hop's most compelling lyricists, he didn't release another solo IP for the rest of that decade, but he continued to be sought after. Rap fans the world over know him for his verse on "?," one of the standout songs from his longtime friend and collaborator MF DOOM's heralded Operation: Doomsday. As he prepares for the release of his new album, Majician-the nickname his peers blessed him with a generation ago-Kurious is well on his way to establishing the legacy he's long deserved. The LP, which was executive produced by MF DOOM before his passing, is a mesmerizing blend of technical wizardry and personal introspection. Take "Eye of Horus," where the pulsing drums convey an urgency that borders on panic; Kurious weaves a complex tapestry of history and insight, but does so while ducking through and under each pocket in the beat. Produced in its entirety by Mono En Stereo, Majician is filled with songs like "Eye of Horus," which dance on the line between confession and confrontation. "Separation Anxiety" is a personal bloodletting in the form of lyrical exercise; "Par For the Course," which features the exlusive Mr. Fantastik, makes drum breaks from the early Reagan era sound totally revitalized. Through the radical amount of work Kurious put into the writing and recording of this material, he's removed all ambiguity from the question of whether he can stand as one of the premier MCs of his time.

Formed by Toronto DJ/ producers K.Cut, Sir Scratch, and Brooklyn MC/producer Large Professor, Main Source was one of the seminal groups of the East Coast’s hip-hop scene in 90’s. The original trio’s first and only album Breaking Atoms, was released in 1991 to critical and commercial acclaim, before Large Professor left the group. They recorded a second album, The Science, and even ran ads for it in The Source, before the group’s breakup led to its indefinite shelving. Until now! P-vine Records is proud to announce that we’re giving The Science its long deserved official release, almost three decades after it was initially set for release. This gem among gems of 90’s hip-hop, which had never seen so much as a bootleg release, is going to be released on CD, Analog vinyl (1xLP and 1xLP+7 Inch), and cassette tape. With tracks such as “Bootleg”, “Raise Up, “Time (Alternate Mix)”, and “Hella Vision”, taken from master tapes owned by the three original members, as well as well-loved classics like “Fakin’ The Funk” and “How My Man Went Down In The Game”, this record is sure to be killer. Large Professor’s flows are as smooth and lyrical as ever, and the sample-heavy beats that the producers lay down are supreme. Trust me when I say, that this is one record you’re not going to want to miss.

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Brooklyn underground rap heroes Tanya Morgan drop a two-track heatrock of a 7-inch that lights up dancefloors while maintaining their true-school status with clever wordplay and progressive beats.
Since breaking on to the blog-era rap scene in 2006 with their debut LPMoonlightingand solidifying their status in 2009 with the now-legendaryBrooklynati, Tanya Morgan has represented the best of underground hip-hop. Your favorite rapper's favorite group, they combine trademark witty wordplay with tough, headnodding beats that demand rewinds and repeat listens. Bouncing back in recent years withRubber Souland other one-off cuts, the duo of Donwill and Von Pea has teamed with producer 6th Sense and quietly set about building the next chapter of their rock-solid legacy.
"Move It Or Lose It" is the latest manifestation of Tanya Morgan, a cut that is neither throwback nor trend chasing, but does double duty on the dancefloor as well as a headphone banger. Irresistibly funky, with Mathien's guitar and vocal the icing on top, and riding at a perfect tempo to get dancers bubbling, it got immediate attention from DJs when the group teased the digital version online.
The double A-side single continues on the flip with "Don't Look Up," another grown-man rap (as Von Pea asks, "How you want the old me acting brand new?") set to 6th Sense's progressive uptempo beat that recalls Q-Tip's adventurous recent productions, and featuring Mia Jae on vocals driving the chorus. Donwill's commentary on getting older and wiser in the music industry hits home to any of us who've been around the block: "Slow growth while the roots spread / Somebody said rap group's dead / They prolly wrote it as a sponsored ad."
Both cuts are primed to move feet and represent the continued lineage of quality underground hip-hop, proudly coming straight from the heart of Brooklyn as a collab with BK-based indy vinyl masters Names You Can Trust.

The Silhouettes Project a new platform for up and coming Hip-Hop, Soul and Jazz artists from the UK. It is not a record label or management team, it is a community project. The Silhouettes Project provides an open space - a recording studio and live venue located within the Total Refreshment Centre in Hackney, London - where MCs, singers, musicians and producers can connect and create.The Silhouttes Project was founded by community organisers/artists Asher Korner (aka Kosher) and Jaden Osei-Bonsu (Eerf Evil) in 2019. When they told us about the project and played us some of the music we were instantly hooked and joined the collective as label partner. The art direction is executed by Sergio „SagaUno“ Alferez, an acclaimed designer and illustrator from Medellín, Columbia.Starting in September, we release a new single each Thursday from artists like Kofi Stone, Summers Sons, Enny, KeepVibesNear, Manik MC, Lex Amor, Louis The Hippie, Summer-Pearl, Joe Beard and many more.

Here is the story of the Silhouettes Project as told by its founders Jaden and Asher: „We started The Silhouettes Project in February 2019, to shine a light on the new generation ofunderground Hip-Hop, Jazz, and Soul music in the UK. Community is everything to us, and wewanted to show that with a proper support network, access to professional facilities, and theencouragement of a family of artists, our community could produce something incredible. We felt a joint frustration that the current music scene in the UK only had structures in placeto support talent of a certain genre whilst overlooking a buzzing alternative Hip-Hop culture.We wanted to unify artists who are making ground-breaking music but who are in need of asolid structure to work within - artists who we felt deserved more recognition. This led us tothe name ‘The Silhouettes Project’, as we wanted to shine a light on those artists in theshadows. The journey started by embarking on a collaborative album project which allowed us to bringtogether more than 30 artists on a single tape and to create a network of incredibly talentedartists of the same calibre. The album took more than a year, working almost every day at theRoot 73 studio, a community space in Hackney. We knew from the first few sessions that wewere on to something, and the energy around the project kept it moving. As artists ourselves we understood that the creative process can be challenging and sometimesisolating, especially when there is no clear support network to fall back on. This led us to bringour efforts into the physical realm by organising a series of free live music events for all ofthese artists to come to, showcase their work alongside our house band, and connect witheach other. These events take place at The Total Refreshment Centre in Dalston, anunderground studio complex and warehouse space, which gave the events an intimatecommunity feeling and the people a sense of belonging. There is a desperate need for spaces in which people can come together and develop theircreative potential, especially with the consistent withdrawal of funding from the arts sector inthe UK and with the constant threat of gentrification which has seen the closure of countlesscommunity and grassroots creative organisations. As we grew as a brand and organisation, webegan to fully understand the importance of what we were doing. From the studio sessions tothe events, we saw the impact on people’s outlooks on their own careers, we saw them growin confidence in performing and collaborating and even taking their own initiative to utilise thenetwork provided for them. We heard their feedback, we felt the excitement in theatmospheres at our events and studio sessions, and we saw the community grow every timewe brought it together.“

Enigmatic instrumental group from The Pro-Teens pay tribute to the late great rapper MF DOOM, reimagining 14 iconic cuts through a wonky boom bap funk lens.Helmed by Hudson Whitlock, prolific drummer and percussionist of Karate Boogaloo and Surprise Chef, Melbourne's The Pro-Teens is a collective of instrumentalists making weirdo instrumental soul records. Drawing from the community of musicians from such bands in the College Of Knowledge orbit, The Pro-Teens' incorporate the comic book stylings of DOOM and Kool Keith, the dark and exotic flavors of Gravediggaz and Wu-Tang Clan, the cinematic compositional mastery of Galt MacDermot, Richard Evans and Marc Moulin, culminating in an unorthodox patchwork of cinematic soul, boom-bap funk breaks and left-field instrumental textures. MF TEEN: Your Concurrence In The Above Is Assumed recognises the legacy of rap's Illest Villain, traversing MF DOOM's discography and personas, flipping selections from Madvillain, MM.. FOOD, Viktor Vaughan, Danger Doom and more, taking care to ensure recognisable tunes such as Doomsday and Curls are represented alongside more obscure cuts such as The Gas Face, the Third Bass song that featured the first recorded verse from MF DOOM in his original moniker of Zev Love X of KMD. The full-length album follows the Pro-Teens now collectible 7"s of The Pro-Teens' renditions of Peachfuzz b/w One Beer and Doomsday b/w Curls, releases that built a feverous anticipation for the complete album. MF TEEN: Your Concurrence In The Above Is Assumed comes after 2021's Snooch Dodd & The Pro-Teens - I Flip My Life Every Time I Fly, co-released with UK tastemaker label Mr Bongo.

2023 repress.
“Shook Ones Part II” might be one of the biggest records to come out of New York in the mid 90’s. From the moment you hear the bare hi-hat and the infamous line “to all the killers and the hundred dollar billas” it is an immediate adrenaline rush. The beat alone is a work of art, Havoc constructed what would go on for years as “how did he actually come up with that beat?!” amongst DJ’s and Producers alike. The infectious piano, cinematic sirens, it was no doubt that it was one of (famed New York nightclub) The Tunnel’s most signature records. As Cipha Sounds put it - “How could it not rip in The Tunnel? Just classic. 'Shook Ones Part I' was actually pretty big in the Tunnel, but ‘Part II' ripped everything." When “Shook Ones Part II” came you couldn’t help but nod your head and get lost in Havoc and Prodigy trading verses breaking down the meaning of a crook…making you shook son. Not to be left out “Shook Ones Part 1” is on the flipside that came out months earlier with a much more subdued beat and slightly different lyrics. Most 12” aren’t built like this, so to be on 7” for the first time ever this is a must have….son.

Limited edition of 300 copies of Pete Rock's remix of "Fades Em All" backed with the instrumental version. Comes in original picture sleeve.

Originally released in 1995 via Rowdy Records, Jamal's solo debut "Last Chance, No Breaks" finally gets the reissue treatment sporting three unreleased tracks from the demo version. Productions and features include artists such as Redman, Erick Sermon, Pete Rock, Keith Murray, George Clinton and many more.

Available in a limited run on 2LP+7", extra 7" of "Fades Em All (Pete Rock Remix)", CD in jewel case, cassette and digitally on all major platforms.

Marv Won is a Detroit musical alchemist – a street poet laureate entrenched in the battle rap scene, as well as a cinematic world class producer as capable of channeling Dr. Dre as Donald Goines. Marv breaks new ground with his first Mello Music Group album “I’m Fine, Thanks For Asking” - a soul-baring endeavor, that weaves tales of struggle and triumph, drawing inspiration from his storied life in the Motor City. As one of the most esteemed battle rappers, Marv Won brings a lyrical ferocity to his unapologetically raw and heartfelt rhymes. This album collaboration with Mello Music Group marks a pivotal moment in his career, showcasing a seamless fusion of his word play and production. The album, featuring collaborations with Quelle Chris, Elzhi, Freeway, Rapper Big Pooh of Little Brother and more, cements Marv Won's status in the rap game. Marv Won's storytelling transcends mere verses, painting vivid portraits of life in the D. Over ten self-produced tracks Marv showcases his ability behind the boards with tracks that blend epic orchestration and Joe Louis drums that hit like Tommy Hearns.

Kickin Kuts keep up the good work with another sure shot double sider from Busta Buss featuring 2 of his heaviest bangers.

Limited edition of 500 copies, only available hat HHV!

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

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".

After breaking out of the Bay Area underground scene in the early 90s with I Wish My Brother George Was Here, Del The Funky Homosapien made a radical turn with his sophomore release, 93's No Need For Alarm. Casting aside the familiar G-funk vibe of his debut, perhaps as No Need was produced without the involvement of his cousin Ice Cube and The Boogiemen, he moved into a jazzier – some would say more East Coast direction with production by the Hieroglyphics crew of Domino, A-Plus, Casual and Del himself with contributions from the SD50s. The verbal content on No Need shifted as well, moving away from comic interludes and towards a focus on battle raps.

No Need For Alarm is one of the three Hiero Golden Age releases (along with Souls of Mischief's 93 til Infinity and Casual's Fear Itself). Though some critics are harsh on No Need For Alarm and claim it's not as strong an effort as Del's debut, many disagree and see this release as being the first where Del really stood out. Regardless of which side of the fence one falls on that topic, it's without doubt that No Need For Alarm has stood the test of time and remains a challenging and uncompromising follow up from one of the most talented and eccentrically gifted artists to to ever emerge from the world of West Coast hip hop.

To commemorate the 30th Anniversary on November 23rd, Get On Down is proud to present a limited edition double colored vinyl pressing with a stamped numbered OBI and fold out poster. No Need For Alarm is in stock and shipping now!

It's really true, finally this album is back on vinyl. A Tribe Called Quest's fifth album was released a month after they announced their break-up in 1998.

Joyner Lucas is a two-time, Grammy-nominated hip-hop artist, entertainer, actor and entrepreneur. Over the course of his distinguished career, he has released several platinum and gold projects and singles, such as “ISIS,” “I’m Not Racist,” “Ramen & OJ,” “ADHD,” and “Your Heart,” among others.

Along the way, Joyner unveiled a never-ending stream of music and collaborations with fellow superstars such as Will Smith, J. Cole, Lil Baby, Eminem, Future, Chris Brown, Ashanti and more. His fluid flow, impeccable wordplay and vivid storytelling skills have made the Worcester, Massachusetts native one of the biggest and most talented independent artists in the world. He parlayed that passion into a career and, by 2015, Joyner reached a turning point with the release of his break-out viral video for “Ross Capicchioni” from his mixtape, Along Came Joyner.

He would make an indelible imprint on the music industry in 2017 with the release of his transcendent single, “I’m Not Racist,” which touched on race relations in America and resulted in his first-career Grammy nomination for “Best Music Video.” That same year, Lucas also earned a separate Grammy nomination for “Best Rap Song” for his collaborative effort with Eminem on “Lucky You.”

Limited to 250 copies.

Following last year's ground-breaking return with "The Course of The Inevitable", Lloyd Banks is back with more hunger on this 2nd instalment! Featuring guest appearances by Jadakiss, Dave East, Vado, Conway The Machine, Benny The Butcher and Tony Yayo.

Official and limited reissue on Def Jam. Previously released as a 2LP set, this version has now been converted to 1LP, in addition to a limited edition CE color vinyl version.

Undun is the tenth studio album by The Roots, released on December 6, 2011. It is a concept album that tells the tragic, reverse-chronological story of a fictional character named Redford Stephens, a young man who becomes involved in a life of crime and meets an untimely death. The album explores the themes of fate, choice, and the socio-economic pressures that lead individuals into cycles of poverty, crime, and existential struggle.

Undun is told in reverse order, beginning with Redford’s death and slowly moving back through the key moments of his life that led to his demise. This structure provides a reflective, somber narrative, examining the forces that shaped his decisions and eventual downfall.
The album’s narrative structure emphasizes the sense of inevitability and regret, making it a powerful meditation on the fragility of life and the consequences of choices.
The character of Redford Stephens was inspired by a piece of music by composer Sufjan Stevens, titled "Redford (For Yia-Yia and Pappou)." This instrumental track is reinterpreted and appears toward the end of the album, underscoring its emotional weight.

Musically, Undun is a mix of hip-hop, neo-soul, orchestral elements, and art rock. The production is lush yet sparse, with haunting melodies, complex arrangements, and The Roots' trademark live instrumentation.
Questlove’s drumming and Black Thought’s lyricism are central to the album, with the music often using minimalist beats and atmospheric soundscapes to complement the lyrical themes of existential despair and reflection.
The album also features moments of instrumental interludes, which add to the cinematic and conceptual feel of the project.

Key Tracks and Highlights:
"Sleep" – The album’s opening track (which depicts the final moment of Redford’s life) is introspective and haunting. Black Thought raps about the moments before death, with lyrics like "I’ve lost a lot of sleep to dreams" capturing the sense of hopelessness and inevitability.
"Make My" (featuring Big K.R.I.T.) – This single features a melancholic beat and lyrics that delve into regret and introspection, with Big K.R.I.T.'s verse complementing Black Thought’s meditations on life and death.
"One Time" (featuring Phonte and Dice Raw) – A standout track that focuses on the idea of seizing moments and making choices, set to a gritty, understated beat. Black Thought and guest rapper Phonte trade verses, exploring themes of existential crisis and fleeting opportunities.
"Kool On" (featuring Greg Porn and Truck North) – One of the lighter, more groove-driven tracks on the album, yet still reflective, with lyrics addressing Redford’s attempts to navigate the temptations and pressures of street life.
"The Otherside" – A soul-stirring track that looks at the crossroads between life and death, with deeply philosophical lyrics. Black Thought’s introspective verse, combined with Dice Raw’s somber chorus, reflects the haunting struggle between moral choices and survival.
"Tip the Scale" – A reflection on the difficulty of breaking free from the cyclical patterns of poverty and crime, with Black Thought delivering some of the most emotionally raw and philosophical verses on the album.
"Redford" (the instrumental suite) – A moving four-part instrumental conclusion, drawing from Sufjan Stevens' original composition. This suite, made up of piano, strings, and drums, evokes the emotional depth of Redford’s life and his ultimate fate.

Existentialism and Free Will: The album continually questions the role of fate versus choice. Redford’s life is portrayed as a series of decisions that, while influenced by his environment, ultimately lead to his downfall, raising questions about whether he had any real control over his fate.
Social Injustice and Poverty: Many of the lyrics explore how systemic injustice, poverty, and lack of opportunity can push individuals into lives of crime. The album highlights the harsh realities faced by young Black men in America, grappling with the intersections of race, class, and violence.
Regret and Reflection: Much of the album has a reflective, mournful tone as Black Thought and other guest vocalists deliver verses that look back at life’s moments, filled with what-ifs and regrets, exploring the loss of potential and the weight of past decisions.
Production and Collaborations:
The album is largely produced by The Roots themselves, with Questlove overseeing much of the production. The minimalist yet atmospheric production style mirrors the album’s darker themes, with an emphasis on live instruments.
Undun includes collaborations with Big K.R.I.T., Phonte, Dice Raw, Truck North, and Greg Porn, all of whom contribute to the narrative through their verses and vocal contributions.

Undun received widespread critical acclaim for its ambitious concept, narrative depth, and emotional resonance. Critics praised the album for its cohesive storytelling, complex themes, and innovative production.
Many hailed it as one of The Roots' best albums, with its conceptual depth and musical sophistication setting it apart from conventional hip-hop albums.
The album was noted for its maturity and introspective tone, marking a departure from The Roots’ earlier, more outwardly political works, and instead focusing on the internal struggles of the individual within a broken system.

Undun is often regarded as one of the best concept albums in hip-hop, comparable to works like Kendrick Lamar’s good kid, m.A.A.d city for its narrative depth and thematic richness.
The album’s reverse chronology and philosophical musings influenced other artists looking to explore more experimental and narrative-driven albums.
Undun reinforced The Roots' reputation as one of the most innovative and thoughtful acts in hip-hop, further blurring the lines between rap, live instrumentation, and high-concept artistry.

Undun is a deeply reflective and philosophical album, focusing on the life and fate of a character caught between the societal pressures and personal choices that ultimately lead to his demise. With its reverse storytelling, live instrumentation, and poignant lyricism, the album stands as one of The Roots’ most emotionally complex and musically innovative works. It challenges listeners to think deeply about the forces that shape lives and the fine line between survival and destruction.

Czarface, Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric, isn’t concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group’s fans.

In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the ‘90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante.

This time around the group is the same, but it’s fair to say that all three men have stepped up their game. “We knew how we felt about the last album, but weren’t sure how it would be received by listeners,” explains MC Esoteric. “But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.”

Inspectah Deck adds, “Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I’m in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I’m here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit…I love that. I love when i can just spit freely and just be an MC.”

The fighting analogy – whether drawn from pugilism or ‘80s wrestling, both which figure into Every Hero Needs A Villain – is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, “All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.”

On the production side, 7L shows yet again – as he did with the group’s debut – that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths.

The Machine is back! Following the 2022 release of the wildly successful, God Don't Make Mistakes, Conway the Machine returns with his next studio album, Won't HE DO IT. Aptly titled for touching on the various obstacles he's been faced with and overcome to be in the position he's in today, Conway hopes to inspire listeneres to imagine the possibilities they themselves can achieve by breaking through the walls that have been put up and relentlessly pursuing their goals to turn their dreams into reality. The 14 track album sees appearances by longtime collaborators Westside Gunn & Benny the Butcher, as well as Jae Skeese, Sauce Walka, Juicy J, Fabolous, Dave East, GooseByTheWay, 7xvethegenius, Jozzy, Ransom & Drea D'Nur. Production is handled by heavyweight producers such as J.U.S.T.I.C.E. League, Khrysis, Daringer, Juicy J & more.

Yogisoul returns with his first album in 8 years, after breaking through creative blocks and discovering a newfound love for his producing craft rooted in his childhood.

A timeless throwback offering, an instant classic that will leave you wondering if you somehow missed this record reminiscent of 90’s West Coast Rap. It’s that blunt rolling record, with the deep G-Funk grooves, skits, and raps by Woof. A record inspired by the albums Yogisoul grew up listening to. A combination of his imagination of the West Coast California landscape portrayed by 90’s records on Death Row Records, and the real-life experiences of California-based rapper, Woof.

But before Yogi could get started on the project, he had some creative barriers to work through, hurdles that had him wondering if he’d continue making music at all.

“A few years back I became a father, worked as a teacher, and didn't really feel inspired by the music I was making. I was kinda fed up with the lane I was in musically and had doubts about continuing. Which was very strange since I´ve been into music so heavily since I was a kid. Time for music was a bit limited and I just hit a creative stop for a while.”

Sometimes an existential crisis is all you need to unlock the tools to look deep within and take stock of what inspired your love for making music in the first place. For producer Yogisoul, it was thinking about the golden era of hip hop that initially sparked his interest in becoming a producer, and revisiting the albums that remain deep within his canon that inspired the beginnings of his new LP, Let the Dopeness Begin! Yogisoul began an inward journey that found him trying to produce from the perspective of himself as a kid.

“I started listening back to the records I really loved as a young teen. When I listened, I loved and felt very connected to the music, but had no idea of how it was made or what went into the record-making process. I found it very refreshing trying to make music from that perspective of the young mind just feeling the music, not understanding it or breaking it down. I really found my creative output again that way. When I grew up, the rappers and producers I listened to were like superheroes, larger than life.”

As Yogi dove deeper, he was able to move past the self-doubt that had him overanalyzing what he was creating and started producing beats that he felt could set the stage for storytelling. He wanted to make music that made you feel like you were watching a movie or listening to a soundtrack, cruising the streets in a lowrider in Grand Theft Auto: San Andreas. Let The Dopeness Begin, taps into that storytelling not only with Woof’s raps but by offering multiple layers of production and sequencing that leaves room for skits that invite you into the sonic world of the album. When Yogi was trying to find a vocalist to collaborate on the album with, he had a vision for what the right voice would be for the project.

“In the process of finding my sound, I wanted to work with vocalists or artists that tell a story. Not necessarily by storytelling or in the lyrics, but just by hearing their voice you instantly know where they are from, what they represent, and what they are about. Like an outlaw on the prairie with an out-of-tune guitar is more interesting than a studio musician. Woof is that guy! Not on the prairie but in a lowrider under the streetlights sipping on gin & juice. My ability is not in living that life, but in the musical experience of knowing what can facilitate him in the best way sonically. Setting the scene for him with the beats, the talkbox, the scratches, and the skits on the record.” - Yogisoul

Yogi had become aware of Woof’s raps back in 2012, he always felt as if Woof was overlooked or going unnoticed. He made attempts to track him down, but it wasn't until more recently that Woof popped up on a social media page, which allowed Yogi to reach out in regards to the possible collaboration. The two made the record completely remotely, never even having a single conversation on the phone, it was all orchestrated via text. Yogi would send beats and Woof would send raps back, always making the recorded raps work for the beat, no matter the approach. Forcing Yogi to be creative with his production in ways he hadn’t before, testing his abilities to create a polished sonic world to lose yourself in.

“I worked a lot to make his vocals sound as good as they do, and have used a lot of analogue gear and processing to get them sounding the way they do now. The stems he had sent me have felt like a puzzle, and I pieced it together to a record in the end. I think that is what makes the record unique.” - Yogisoul

The first track they worked on was “94 Heavy”, which would become the first single on the album and is first the song on the record, past the album's introduction track. It wastes no time setting a vibe and transporting you back to 1994, the record is not just a record, it’s a time machine. A true representation of the whole record in one track, and a quintessential track within this collaboration of Yogisoul and Woof. It’s an undeniable head nodder, with smooth horns, deep synth bass that will leave no question about the record's low-end power, and a dope drum swing.

Other notable tracks on the record are “Comin Thru”, which is a braggadocious, G-Funk, banger! It contains all the ingredients of classic West Coast Rap albums. A smooth beat for Woof to weave in and out of, talkbox, scratches in the hook, and samples of legendary Los Angeles voices. A track that will make you feel like you should have a forty and a doobie nearby.

The title track, “Let the Dopeness Begin”, the self-titled track on the album is an homage to the West Coast Classics radio station on GTA: San Andreas. A cruise with the windows jam that slaps! “I want people to put this record on when the summer is incoming, when they pull their windows down, when they roll by the old court where they used to play basketball.”
For a record that comes in at just under 30 minutes, it is absolutely packed with material, and opportunities to explore the world created with the production, raps, and skits.
credits
releases August 16, 2024

All songs written by Colin Beverly AKA Woof
All songs produced by Lasse Mandelid Karlsen AKA Yogisoul
Mastered by Christian Øbermayer at Strype Audio
Recorded and mixed by Lasse Mandelid Karlsen
Vinyl lacquered by Shane "The Cutter" at Finyl Tweek
Cover art by Will Child
Art direction by Elliot Baxter

Bring your stank face, you’re gonna’ need it for DJ Bacon’s remix of Don’t Say Nuthin’. His super funky breaks provide the ultra-fat foundation for Black Thought to drop non-stop gems. Coupled with a soulful guitar that pours on the cool like Ranch dressing on hot wings — and sampled African vocals for added melody — Don’t Say Nuthin’ will have you saying one thing: Damn!!

The saxophone, guitar and drums are so fat on DJ Bacon’s remix of Ms. Fat Booty that they’re nearly obese. DJ Bacon super-sizes the funk and lays it on thick with his remix of this Mos Def classic, taking it into uncharted territory. The end result isn’t just butter. It’s a tub of butter. Topped with clave, sampled African hooks and booty shaking bliss. Get your fill and come back for more.

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.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time. Cut across double vinyl, it’s exceedingly limited, with just 500 pressed for the world.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this. It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Limited edition of 300 copies on 2CD in jewel case.

Berlin, Germany, sometime early, early nineties. 3 MCs share a dream, a dream of taking this rap thing to the max. It wasn't long before Doubleface, Boogieman and Big Sal started making noise in the streets of the capitol and by the mid-nineties the band Harleckinz was a household name in Germany's rap music scene. It is these demos here which would eventually break the band and secure various major deals. The rest is history - yet another beautiful rap story originated in Hip Hop's golden era.

"90two90six" contains 25 never before released demo tracks and instrumentals recorded between 1992 and 1996 next to 5 tracks which have been originally released on "From The Levels Below".

Available in a limited run on 4LP, 2CD in jewel case, double cassette and digitally on all major platforms.

Inspired by the events of the record-breaking 4th season of "stranger THINGS," Randombeats & Soul Mates present Mega RAN & Amerigo Gazaway's "strangerS: Back TO THE Lab", a follow up to RAN's 2017 "strangerS" EP. Featuring production from DJ Dnâ³, Lost Perception, K-murdock and special guest appearances from Dillon, RAY Wimley and Glennellen Anderson ("stranger Things" S1), Mega RAN and Gazaway join forces to save the world itself from the evils of 'The Upside Down'. Roll for initiative! Pressed on special red & black splattered vinyl with a full color picture sleeve.

Released in 1992 on CD, MC and Promo LP only, Spice 1's debut gets a proper vinyl treatment.

Spice 1 is an undisputed West Coast legend, who first hit the scene after the N.W.A. and – closer to home – Too $hort explosion of the late ‘80s. As history showed, he continued that bloodline with finesse and authority. His nasal flow is menacing and strong, and fans have been consistently captivated by his ‘hood tales since his self-titled debut in 1992. If you want thematic range with your MCs, Spice isn’t that dude – he is all about crime tales and the perils of ghetto life. And he attacks that storytelling sweet spot with each new cut. Spice 1 boasted four singles by the time it was all said and done, and breezed to Gold status on the strength of cuts like the catchy “East Bay Gangster”, the heartfelt tales and truths of “Welcome To The Ghetto”, and the thick, grooving “In My Neighborhood.” He even produced the alcohol-themed “187 Proof,” another of the album’s singles, and the hands-down cleverest vocal outing on the LP. Sonically, the backdrops on Spice 1 range from plunky, keyboard-bassline funk to deeper, fuzzy ‘70s samples – and he sounds strong on top of both. “Break Yourself” is fueled with an electro-funk drive, “1-800 Spice” brings reggae flavor, and “Peace To My Nine” gets chunkier, with a well-placed P-Funk “One Nation Under A Groove” sample. Presented here on official retail vinyl for the first time since its initial release 26 years ago, Spice 1’s debut holds the test of time and carries the California gangsta flag with pride. Some colors just don’t fade.

Hip Hop has come a long way since it exploded onto the globe in the early 1980’s – it’s turned MC’s into global icons, given a voice to a youth movement, helped ethnic groups to cross colour lines and inspired all manner of political change and growth. Sugar Hill Records was there from the start and gave birth to Hip Hop’s first superstars. Original Hip Hop Classics presented by Sugar Hill Records presents the definitive collection of records that defined the first wave of Hip Hop to break through into the mainstream.

Including beats and rhymes from The SugarHill Gang, Grandmaster Flash, The Furious Five, Melle Mel, The Treacherous Three and The Sequence plus ground-breaking releases such as ‘Rapper's Delight’, ‘The Message’ ‘White Lines (Don't Do It)’, ‘The Adventures of Grandmaster Flash On The Wheels of Steel’ and more this is a true document of one of the most exciting and pivotal musical genres of all time.

N.E.R.D’s "In Search Of..." is the debut studio album by the American band, originally released in 2001, and reissued in 2002 with a significant change in sound. The band, consisting of Pharrell Williams, Chad Hugo (both also known as the production duo The Neptunes), and Shay Haley, crafted a genre-blending project that marked a shift in the way hip-hop, funk, and rock could come together in mainstream music.

"In Search Of..." fuses hip-hop, rock, funk, and R&B into an eclectic sound that was highly innovative at the time.

The album was released in two versions:
2001 Version: Heavily electronic, incorporating synthetic beats and drum machines, typical of The Neptunes' production style.
2002 Version: Re-recorded with live instruments, featuring the band Spymob. This second version has a rawer, more organic rock feel, giving the album a different energy and appeal.

The lyrics on "In Search Of..." are a mix of youthful rebellion, self-reflection, and social commentary. Some recurring themes include:

Personal freedom and identity: The album often explores the idea of breaking free from societal norms and expectations.
Power and politics: Tracks like "Lapdance" offer a cynical take on politicians and authority figures.
Relationships and desire: The album also delves into personal relationships, touching on lust, romance, and heartache.

Notable Tracks:
"Lapdance": A standout track known for its aggressive beat and politically charged lyrics, criticizing corruption and manipulation in politics.
"Rock Star": A high-energy anthem that channels frustration with societal pressures and celebrates nonconformity.
"Provider": One of the more introspective songs on the album, telling the story of a man struggling to provide for his family while making difficult choices.
"Truth or Dare": Featuring Kelis, this track mixes funky beats with provocative lyrics, offering a lighter, playful side to the album.
4. The Concept Behind the Album Title:
The album's title, "In Search Of...", reflects the band's desire to explore new musical and thematic territories. It’s also a nod to the 1970s American TV show In Search Of..., which investigated mysterious phenomena, paralleling N.E.R.D.'s exploration of uncharted musical landscapes and personal identity.

"In Search Of..." was groundbreaking in its approach to combining genres, breaking the mold of what was expected from a hip-hop project. Pharrell, Chad, and Shay’s ability to blend live instrumentation with hip-hop production created a blueprint for future artists to mix rock and urban sounds. The album became a touchstone for genre-bending artists and a precursor to Pharrell’s later solo work.

Although "In Search Of..." did not achieve massive commercial success upon its initial release, it was critically acclaimed and has since gained a cult following. The innovative sound and unique blend of genres helped establish N.E.R.D. as pioneers in the music world, influencing a wide range of artists across various genres.

N.E.R.D.'s "In Search Of..." remains a seminal album that pushed the boundaries of genre and sound. Its blend of live instrumentation with hip-hop, rock, and funk created a distinctive sonic identity that resonated with listeners seeking something outside the norm. The album not only showcased the diverse musical talents of Pharrell Williams, Chad Hugo, and Shay Haley but also laid the groundwork for the genre-fusion movement that would follow in the years to come.

In music, timing is everything. When soon-to-be-renowned Boston hip-hop duo 7L & Esoteric collaborated with the Wu-Tang Clan's Inspectah Deck on the title track to 7L&E’s debut EP "Speaking Real Words" in 1999, the timing was perfect. The upstart duo was building a serious buzz on the East Coast and beyond, while Deck was still winning praise for his gold-selling solo disc "Uncontrolled Substance". As flashy pop-oriented rap was pumped on commercial radio stations, their natural chemistry and simpatico skills shone as a beacon to real hip-hop fans, a base of listeners who were soon asking about their next musical summit.
14 years later, the hunger for sharp lyrics and head-snapping beats hasn't dissipated. In the face of the ever-worsening status quo of watered-down and vapid radio rap songs, the call for something real has only gotten stronger, and once again the time is right for a call to action – for someone or something to come in and send wack rappers running for the hills in fear. Enter "Czarface", the upcoming, uncompromising full-length album from Inspectah Deck and 7L & Esoteric.
Not surprising, respect for real hip-hop runs deep, and "Czarface" brings an army with it — consider the star-studded guest list which includes Roc Marciano, Action Bronson, Vinnie Paz (Jedi Mind Tricks,) Oh No (Gangrene,) Mr. MFN eXquire and Deck's fellow Wu-Tang Clansmen Ghostface Killah and Cappadonna.
Aside from one track blessed by the almighty DJ Premier, production on "Czarface" belongs exclusively to DJ 7L, who provides the musical backbone which holds the album together. His ability to craft a hip-hop sound that's current and exciting with a classic feel left Deck impressed: “This is one of the first albums I've heard in a while that gives you so many different feels. You hear the ‘80s hip-hop style, ‘80s R&B and rock combined with what's going on now. That’s creating something new, in my opinion.”

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".

Here's the good word from the fellas:



"Stereotype came together as a group in 2008. Made up of Producer/Emcee Frank John James, Mas1 and Braiiinstorm. Sophomore project, "Through the Speaker", is being presented over a decade later from their initial group LP "Instincts of Organisms" released on Echoes Of Oratory in 2013. After many solo and side projects amongst the 3 of them, they've come together with the help of co-producer Stranger Danger and completed another boom bap classic for the heads to bump. Woven together with samples and cuts from Roach the DJ, each member delivers original lyrics and critical views. Enjoy."



And here's the good word from Herring:



"Stunning album with breaks and drums for miles. Real bboy flava on the production, reminiscent of Strng3r Dang3r's earlier materual on the Herring-released "Tha Roach Killaz" record, but with an extra scoop of the jazz. All round a killer record and perfect for a drop on Herring. Had this on constant rotation in the Herring-mobile., now pleased I can share with the fisherfolk."

Limited edition of 300 copies on CD in jewel case.

Originally released in 1995 via Rowdy Records, Jamal's solo debut "Last Chance, No Breaks" finally gets the reissue treatment sporting three unreleased tracks from the demo version. Productions and features include artists such as Redman, Erick Sermon, Pete Rock, Keith Murray, George Clinton and many more.

Available in a limited run on 2LP+7", extra 7" of "Fades Em All (Pete Rock Remix)", CD in jewel case, cassette and digitally on all major platforms.

Now this 45 release is a real treat, featuring both the original and Kenny Dope remix of Tyrone Washington’s timeless gem, ‘Submission’. A mysterious artist who seemingly disappeared from the scene after his last release in the mid 70’s, Washington created forward-thinking Jazz magic which has been loved ever since its original release - and sampled multiple times by the likes of A Tribe Called Quest and Pete Rock. On the Kenny Dope remix, we are served some heavy hip-hop breaks which pump underneath the inimitable brass of the original, chopped up to add some extra spice and groove. A master of beats, Kenny does the business on this remix and the results are truly special.

Pink Siifu’s latest release,GUMBO!,is another sprawling Afrocentric vision from one of the boldest voices in contemporary rap. Following up on 2020’sNEGRO, the album’s songs are as rich and varied as its titular stew. Siifu’s boundless style makes for an unpredictable but rewarding ride across the album’s 18 tracks, as he explores the diverse sounds of his influences and breaks new ground with a unique class of co-stars. Siifu, born Livingston Matthews and raised between Alabama and Cincinnati, has already notched a conspicuous list of collaborations in his burgeoning career, from legendary producer the Alchemistto Australian electronic group the Avalanches. Siifu also embodies various inspirations through a range of alter-egos, often producing under the moniker “iiye,” or as half of the duo B. Cool-Aid with Ahwlee, both of which appear onGUMBO!. The variety of guest features and production onGUMBO!only elevates Siifu’s ability to push the boundaries of genre and song structure. “Voicemails Uptown” (produced by Soulection’s Monte Booker) is the second of two back-to-back posse cuts, sporting five plus vocalists each. “Lng hair dnt care,” the album’s first single, was produced by Ted Kamal, who first garnered attention for his outside-the-box edits of contemporary rap staples. And while several of the album’s tracks are well within his bag, the jazzy, drumless loop on “Fk U Mean/Hold Me Dwn” could’ve been a cut off of his collab album with Virginia rapper Fly Anakin,FlySiifu’s. Though rife with standout tracks,GUMBO!is greater than the sum of its parts. Siifu’s ambitious range and impressive pool of features create an otherworldly listening experience. Overall, it reflects an intense desire for self-expression and creative growth, one which he shares with many of his influences. Like Outkast, Sun Ra, Baraka, or Bad Brains, his unique soundscapes re-imagine a genre without restrictions, breaking new ground in search of artistic and personal freedom.

Formed by Toronto DJ/ producers K.Cut, Sir Scratch, and Brooklyn MC/producer Large Professor, Main Source was one of the seminal groups of the East Coast’s hip-hop scene in 90’s. The original trio’s first and only album Breaking Atoms, was released in 1991 to critical and commercial acclaim, before Large Professor left the group. They recorded a second album, The Science, and even ran ads for it in The Source, before the group’s breakup led to its indefinite shelving. Until now! P-vine Records is proud to announce that we’re giving The Science its long deserved official release, almost three decades after it was initially set for release. This gem among gems of 90’s hip-hop, which had never seen so much as a bootleg release, is going to be released on CD, Analog vinyl (1xLP and 1xLP+7 Inch), and cassette tape. With tracks such as “Bootleg”, “Raise Up, “Time (Alternate Mix)”, and “Hella Vision”, taken from master tapes owned by the three original members, as well as well-loved classics like “Fakin’ The Funk” and “How My Man Went Down In The Game”, this record is sure to be killer. Large Professor’s flows are as smooth and lyrical as ever, and the sample-heavy beats that the producers lay down are supreme. Trust me when I say, that this is one record you’re not going to want to miss.

The days have become shorter, and the nights are cold and long. Winter season aside, we're living in uncertain times. From politics to healthcare, the rising cost of living and more - apathy and cynicism are the themes of the modern day. Even just getting by has become a demanding daily operation. However, in light of this social despondency, hope can be found between the cracks of the concrete. Hopefully, is a sharp and seductive six-track jolt of upliftment for the weak and weary among us. Sareem's penmanship across the EP is intentional and minces no words about the everyday struggle of surviving and thriving. However, the beauty of the music and message blossoms within the juxtaposition. On the title track, Sareem plays neighborhood hope dealer and wishes health, wealth and strength to one and all. As expected, the song is littered with thoughtful lines ("I hope you never have to code switch so you can blend"), which land firmly in the message received section of the brain. The sermon-like bars continue on Ain't No Time, where Sareem displays calm confidence in the rat race against the hourglass. He deftly reminds the listener that the past is always in the future and time is not to be feared - but embraced. Further introspection can be found on Piece Of The Pie. Sareem enters the center with thanksgiving in his heart, reflecting on the grind's culmination and celebrating the spoils of family and friendship. The mosaic-like production by Madi, who used to go by DJ Allstar, is smooth and spacious - bespoke in its bounce and bop. The former Uprok Records DJ serves up splurges of atmospheric buoyancy that pulsate through the mind, body and soul. The lost art of the head nod returns in a big way, and Madi delivers in an emphatic fashion. All hope aside, the chemistry between Sareem Poems and Madi is a wistful reminder of the sacred nature of the Hip Hop duo. The one emcee and one producer tandem are held dear in Hip Hop culture. These two hope dealers carry on tradition while pushing forward. Written by Christopher Mitchel (Breaking Atoms)

To Commemorate The 30 Year Anniversary Of Cypress Hill, Get On Down Presents A Series Of 7 Inch Singles Of Every Cut From One Of The Most Legendary Debuts Of All Time. When Cypress Hill came with their debut self-titled album 30 years ago, they made an immediate spark that captivated the Hip Hop audience, critics, and then the world. Led by B-Real with his nasal, singsong delivery, and Sen Dog to play the perfect hypeman, Cypress’ debut fueled tales of revenge, revolution, recreational drug use, gangbanging, and cultural pride. Like Public Enemy before them, the production was also a key factor in what made this debut so groundbreaking. DJ Muggs was able to craft a blueprint that would change Hip Hop production with his innovative stoned-out beats. Cuts like "How I Could Just Kill a Man", "Pigs", "Stoned is the Way of the Walk" and "Hand on the Pump" made Cypress Hill an instant classic. 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.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

PBS Nights (Star Hustler) b/w Turn. It. Up. by Strictly Butters | Gsc45-34 Galaxy Sound Co. | Even better, I love it when the always on-point @galaxy_sound_company takes a surprising turn from the edit game to drop another sure shot by Michigan beat maestro @strictlybutters. It’s the second release on GSC by the Owosso, MI skateboarder, cyclist & sneaker-head. He is a deep digging vinyl head, dad, & brilliant bedroom beat maker & now gifts us with another super sweet pair of hip-hop instrumentals. Side A’s “P.B.S.” recalls a 70s Public Broadcast Service afternoon with my babysitter aka the TV. Rolling piano & warpy keyboards over a tight drum break was a perfect soundtrack for me while walking my Detroit streets on a sunny afternoon. The vibe comes correct. Side B “Turn It Up“ bounces effortlessly and simply to do what Strictly Butters says, the sweet soul guitar riff will force you to turn the knob up to 11. So whatcha waitin’ for son?

This was THE crossover uptempo hip hop/breaks dancefloor jam in 1989. Played in many many clubs and rave scenes, this genre-busting, "The Commodores" sampling one-off is finally available on 7" for the first time ever using the original 12" artwork, on the original NYC label.

Breaking Atoms, the debut album from hip-hop group Main Source, was a quietly revolutionary hit in 1991, and its pioneering approach to sampling and production methods continue to be hailed and documented by dedicated fans old and new. Composed of Toronto brothers K-Cut and Sir Scratch, and Queens MC Large Professor, the group used wide-ranging samples from jazz and soul records to weave introspective tales of relationship fatigue on ‘Looking At The Front Door’, sobering satire of police violence on ‘Just A Friendly Game Of Baseball,’ and many more sketches from the New York/Toronto underground. The album also includes the first recorded appearance of Nas on ‘Live At The Barbeque’ that would mark the beginning of many collaborations for Nas and Large Professor, with the former also producing three tracks on Nas’ Illmatic. P-vine is delighted to reissue the classic album as a limited edition 2x picture disc package for the first time ever, with ‘Fakin’ the Funk (Legends Circle mix) and other bonus tracks bringing its total track length to fifteen tracks.

The first two singles from the Black Moon’s 1993 underground classic Enta Da Stage are collected here on this limited picture disc single through P-vine records. A-side “Who Got Da Props?” forced its way through the airwaves in the group’s native Brooklyn, and its raw power, goaded on by strong local support, helped it break through the billboard 100 in 1992. B-side “How Many MCs” was released a year later just before the release of the album.