Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence.

TRACK LISTING

A1. Inspiration / Information
A2. Island Letter
A3. Sparkle City
A4. Aht Uh Mi Hed
B1. Happy House
B2. Rainy Day
B3. XL-30
B4. Pling!
B5. Not Available

Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he'd performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few. In spite of all this,widespread mainstream success eluded Shuggie for much of his career. His most famous release to date is his 1974 album Inspiration/Information, which would experience new resurgent life in the 2000s. Those willing to dig a little deeper however, would discover hidden gold in his earlier releases, especially in the album directly before Inspiration/Information, his sophomore 1971 release Freedom Flight. As with his debut, Freedom Flight was produced by Shuggie's father Johnny Otis, and built upon the distinct sounds of his debut album: lush, baroque, string section arrangements, paired with hard funk rhythms, and funky blues melodies, with the majority of the instruments once again performed by Shuggie himself. The album also features backing from premium session greats like George Duke and Aynsley Dunbar, and the track "Strawberry Letter 23" which became a monster hit for The Brothers Johnson 3 years later. Freedom Flight is a treasure of deft, technical skill, and virtuosic composition.

TRACK LISTING

A1. Ice Cold Daydream
A2. Strawberry Letter 23
A3. Sweet Thang
A4. Me And My Woman
A5. Someone's Always Singing
B1. Purple
B2. Freedom Flight

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

Inspiration Information Is Presented In An Opaque Metalic Silver Pressing. Well before Shuggie Otis cut his debut album, musicianship and performance had long been a part of his life. The son of rhythm and blues legend Johnny Otis, Shuggie learned to play guitar as early as the age of two, and performed professionally with his father's band at eleven. Throughout his long and illustrious career he performed on records for the likes of Frank Zappa, Al Kooper, Etta James, and George Duke, to name a few.

Despite only moderate success upon its initial release, Shuggie Otis' third album Inspiration Information turned into underground smash decades later and has since maintained a level of cult status normally reserved for mysterious, unearthed legends like Sixto Rodriguez or Lee Fields. Inspiration Information is also noteworthy among Shuggie's other releases, as it was entirely self-produced, as opposed to being overseen by his father Johnny Otis. Shuggie's signature blend of baroque funk is on full display, but with a heavy dosage of psychedelic soul blended in, resulting in an album that's equally swarthy, lush, funky, and emotional; gathering all the best bits of Marvin Gaye, Love, Miles Davis, and even Os Mutantes. Inspiration Information is more than worthy of all acclaim awarded to it, despite the delayed reverence

TRACK LISTING

A1. Inspiration / Information
A2. Island Letter
A3. Sparkle City
A4. Aht Uh Mi Hed
B1. Happy House
B2. Rainy Day
B3. XL-30
B4. Pling!
B5. Not Available

In 1994, hip-hop was going through an at-times painful growth spurt. Since NWA’s and Ice-T’s ascent in the late 80s, the rap game was no longer owned by the East Coast. After the worldwide popularity of Dr. Dre’s ‘The Chronic’ in 1992, things were looking even worse for hip-hop’s hometown. The East Coast / West Coast feud that would later indirectly claim the lives of Biggie and 2Pac was still in its infancy, but New York needed a shot in the arm. The hype behind young Queensbridge native Nasir “Nas” Jones had been in full swing months before his smash debut album ‘Illmatic’, thanks to Columbia Records’ promo machine. From his earliest appearance on Main Source’s ‘Live At The BBQ’, to his own accomplished debut ‘Half Time’ (as Nasty Nas, in late 1992), it was clear that this kid was something special. In fact, the pressure on him must have been overwhelming at times. April 19, 1994 couldn’t have come soon enough. And as soon as the first lines of ‘NY State Of Mind’ kick in, bolstered by perhaps DJ Premier’s darkest beat of all time, the entire East Coast breathed a collective sigh of relief. God’s Son had arrived. Backed by an absolute all-star cast of New York’s top-shelf producers - Premier, Pete Rock, Large Professor, Q-Tip and a youngster named LES - the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, “Don’t f*** with the East… we are BACK”. ‘Illmatic’ was actually a slow-burn, which might surprise fans that have come to its genius more recently. Despite an unheard-of “5 Mics” rating in The Source – breaking an unwritten rule of never awarding classic status to debuts - it didn’t go gold until early 1996, and didn’t hit platinum status until late 2001. But when you dive deeper that shouldn’t be a shock: like Black Moon and Wu-Tang’s debuts, it was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills and heart.

STAFF COMMENTS

Martin says: This album pretty much single handedly reignited the flame of East Coast hip hop. Produced by DJ Premier, Large Professor, Pete Rock AND Q Tip!! It's an authentic, masterpiece of minimal beats and street poetry that is universally recognised as one of the greatest rap albums of all time.

TRACK LISTING

40 Side North:
The Genesis
NY State Of Mind
Life's A Bitch
The World Is Yours
Halftime

41st Side South
Memory Lane (Sitt'in In Da Park)
One Love
One Time 4 Your Mind
Represent
It Ain't Hard To Tell

It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut 'Return to the 36 Chambers'. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998.

TRACK LISTING

1. Intro
2. Shimmy Shimmy Ya
3. Baby C'mon
4. Brooklyn Zoo
5. Hippa To Da Hoppa
6. Raw Hide
7. Damage
8. Don't U Know
9. The Stomp
10. Goin' Down
11. Drunk Game (Sweet Sugar Pie)
12. Snakes
13. Brooklyn Zoo II (Tiger Crane)
14. Proteck Ya Neck II The Zoo
15. Cuttin' Headz

Pete Rock And CL Smooth’s Full-Length Debut Is Presented Here As A Double LP Pressed On Clear Vinyl! Get On Down proudly present Mecca And The Soul Brother, the critically acclaimed 1992 full-length debut from Pete Rock & CL Smooth. The album is considered as one of the greatest Hip Hop albums of all time. Boasting tracks such as the first single, “They Reminisce Over You (T.R.O.Y.)”, a dedication to their deceased friend; “Trouble T-Roy”, which went on to become not only their signature hit, but also one of Hip Hop’s all-time great songs. The album is propelled forward by Rock’s quick, soulful interludes; usually bits of old R&B tunes layered with his signature trumpet and sax loops. Smooth’s liquid freestyle delivery pieces together the perfect vocal match that, together, creates a sprawling, nearly 80-minute-long album on which not a single song or interlude is a throwaway or a superfluous piece. Mecca And The Soul Brother has stood the test of time. The release has been named one of the essential recordings of the 90s by Rolling Stone, appears on Ego Trips listing of the Top 25 Hip Hop albums released from 1980-1998, and appeared on The Source’s 100 Greatest Rap Albums of all time.

TRACK LISTING

A1. Return Of The Mecca
A2. For Pete’s Sake
A3. Ghettos Of The Mind
A4. Lots Of Lovin
A5. Act Like You Know

B1. Straighten It Out
B2. Soul Brother #1
B3. Wig Out
B4. Anger In The Nation
B5. They Reminisce Over You (T.R.O.Y.)

C1. On And On
C2. It’s Like That
C3. Can’t Front On Me
C4. The Creator (Remix)

D1. Mecca And The Soul Brother (Remix)
D2. The Basement
D3. If It Ain’t Rough, It Ain’t Right
D4. Skinz

Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy / Roc-AFella era of nihilistic excess in the late ‘90s, Dead Prez also signed to a major label (Loud / Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990s. By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian.

After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free. The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000s peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

TRACK LISTING

A1. Wolves
A2. I'm A African
A3. "They" Schools
A4. Hip-Hop
A5. Police State

B1. Behind Enemy Lines
B2. Assassination
B3. Mind Sex
B4. We Want Freedom
B5. Be Healthy

C1. Discipline
C2. Psychology
C3. Happiness (feat. Prodigy)
C4. Animal In Man

D1. You'll Find A Way
D2. It's Bigger Than Hip-Hop
D3. Propaganda D4. The Pistol

Nas' 1994 debut "Illmatic" is rightly hailed as a paragon of underground hip-hop, a turning point in East Coast rap's development, and one of the all-time greatest debut albums in general. Though Nas' artistic legacy is without question, it was not always the case; if Nas had flourished during the mid-90s, he had stumbled clumsily while transitioning into the 00's. After achieving universal praise via Illmatic and commercial success with its' follow-up It Was Written, Nas' next few releases were considered inconsistent and lackluster compared to the critical one-two punch they followed. During this time period he had abandoned the socially-conscious and philosophical topics that made him a critical darling in favor of more commercially viable gangsta rap. Though he maintained a chart presence for much of the late-90s, review scores began to dwindle, and his status among the hip-hop community was thrown into question. This would change in 2001 with the release of Nas' fifth studio full-length, which made the effort to re-establish him as a legitimate artist. Eschewing the pop-friendliness he'd found success with, Nas instead opted to return to the underground style he came up in, with tracks about American politics, ghetto life, and social upheaval. Perhaps sensing this need to return to his roots, he titled the album "Stillmatic", a clear and present reference (and sequel of sorts) to Illmatic.

The ploy worked perfectly; Stillmatic was hailed by critics as a stunning comeback, and a brilliant return to form, earning rave reviews from rap outlets such as The Source and HipHopDX as well as from more mainstream publications as The Rolling Stone and The Village Voice. Praise was heaped upon the complexity and introspective nature of Nas' lyrical content, the top-tier production from veterans like Large Professor, DJ Premier, L.E.S., and Trackmasters, and hard-hitting guest appearances from AZ, Mary J. Blige, and Amerie. Stillmatic would see release on December 18th of 2001, right as Nas was caught in the middle of a highly publicized feud with fellow New York rapper Jay-Z. As such, the record features one of the feud's most intense apexes in the form of its second track "Ether", a ruthless Ron Browz-produced diss track. A response to Jay-Z's own diss "Takeover", "Ether" savaged the Brooklyn-native, accusing him of brown-nosing to get ahead, of plagiarizing earlier rappers such as Notorious B.I.G. and KRS-One, and dismissing his street cred. To this day "Ether" is considered one of the best and most potent diss tracks ever recorded, a major turning point in the Nas/Jay-Z feud, a standout among the already critically acclaimed Stillmatic, and is even credited with boosting Jay-Z's career by proxy. 

TRACK LISTING

A1. Stillmatic (The Intro)
A2. Ether
A3. Got Ur Self A…
A4. Smokin'
B1. You're Da Man
B2. Rewind
B3. One Mic
B4. 2nd Childhood
C1. Destroy & Rebuild
C2. The Flyest (feat. AZ)
C3. Braveheart Party (feat. Mary J. Blige & Bravehearts)
C4. Rule (feat. Amerie)
D1. My Country (feat. Millenium Thug)
D2. What Goes Around (feat. Keon Bryce)
D3. Every Ghetto (feat. Blitz)

Get On Down is all too eager to reissue this unique record for Record Store Day Black Friday, which has not been repressed on vinyl in over 40 years. In keeping with the album's hallucinogenic sound, it is presented on trippy splatter colored vinyl, and housed in a deluxe gatefold jacket

Hip Hop's finest martial arts obsessives Wu-Tang cannot accurately be described without referencing one of the pillars in the Clan's discography; Chef Raekwon's "Only Built 4 Cuban Linx" remains firmly planted as one of the defining triumphs in their artistic legacy. The oft referred "Purple Tape", has been cited and debated by many as the greatest Wu-Tang solo project to date (it's the second best, behind "Liquid Swords" - ed) and a remains a bullet point in any discussion involving the greatest "Cocaine Rap" or "Street Hop" albums of all time. Raekwon's narrative, plays out like a movie script from the violent, drug fueled, underbelly of New York City's criminal landscape, intricately woven over instrumentals from the legendary mastermind behind the Wu-Tang Clan, The RZA. Even the album's main feature "Tony Starks aka Ghostface Killer", referred to as such rather described as a "guest star" appearing on 12 of the albums 18 tracks.

It should be noted that while the Only Built 4 Cuban Linx did produce a string of successful singles, such as "Ice Cream", "Incarcerated Scarfaces", and "Criminology", like all classic cinema, the album was intentionally engineered to be appreciated in one sitting, played from beginning to end. In continuing with it's proud tradition of honoring historically significant hip hop albums, Get On Down presents Raekwon's "Only Built 4 Cuban Linx", back on double translucent purple vinyl. This edition features for the first time ever on vinyl, the formerly CD only bonus track, "North Star (Jewels)". And if that wasn't enough, the entire album also features completely enhanced and painstakingly remastered audio. This is the definitive must-own vinyl edition of Raekwon’s masterpiece. 

STAFF COMMENTS

Patrick says: Purple vinyl pressing of 'The Purple Tape' - AKA the 3rd Greatest Hip Hop album of all time. (#1 "Enter The Wu Tang", #2 "Liquid Swords" FYI) Incredibly sounding even better nearly 25 years later, this classic has aged like a fine wine. If you're after lyrics, flow, hooks, beats and the finest document of street life, you got it son!

TRACK LISTING

A1. Striving For Perfection
A2. Knuckleheadz (feat Golden Arms)
A3. Knowledge God
A4. Criminology
A5. Incarcerated Scarfaces
B1. Rainy Dayz
B2. Guillotine (Swordz) (feat Genius & Inspectah Deck)
B3. Can It Be All So Simple (remix)
C1. Shark Niggas (Biters)
C2. Ice Water (feat Cappachino)
C3. Glaciers Of Ice (feat Masta Killa)
C4. Verbal Intercourse (feat Nas)
D1. Spot Rusherz
D2. Ice Cream (feat Cappachino & Method Man)
D3. Wu-Gambinos (feat Master Killa, Method Man & RZA)
D4. Heaven & Hell
D5. North Star

THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

First issued in 1976. Available on CD and digital but vinyl has been out of print since the mid-80s. 2000 only worldwide. By the 1970s Reggae had spread from Jamaica and become an international phenomena. Enter Dillinger, who rose up with the El Paso Sound System as part of the second generation of Jamaican toasters. His name came from American gangster John Dillinger at the suggestion of none other than Lee Perry (who produced his first album). A deal with Island Records followed, with sessions happening at Channel One Studios with Joseph ""Jo Jo"" Hoo Kim producing. Recording at Channel One in mid-70s meant Dillinger and Jo Jo were tapping into an immense talent pool in the form of The Revolutionaries, the studio’s in-house band. CB 200 features contributions from Earl “Chinna” Smith, Aston “Family Man” Barrett, Ansel Collins, Sly Dunbar, and Tommy McCook among others. The release also brought forth the career defining cut “Cokane In My Brain”, a hit record on an international basis. Despite the success of CB 200 and “Cokane In My Brain” the release has remained out of print in all formats since the mid-1980s. Get On Down is about to change that, with their Record Store Day 2019 reissue of this too often overlooked Reggae masterpiece. Tracks : 1. CB 200 2. No Chuck It 3. Cokane In My Brain 4. The General 5. Power Bank 6. Plantation Heights 7. Race Day 8. Natty Kick Like Lightning 9. Buckingham Palace 10. Crankface

Augustus Pablo (Horace Swaby) was born just outside of Kingston. “I am a Kingstonian,” he told the NME in 1986, “but my heart is for the hills.” This mystical connection to “the hills” is at the heart of Pablo's unique and immediately identifiable sound. By the late '60s, Swaby and his brother Dougie had founded a small sound system they called Rockers. The brothers spent a lot of time in record shops, including Aquarius, where owner Herman Chin-Loy heard Swaby experimenting on his melodica and was struck by the inspiration to record. The resulting tune was credited to Augustus Pablo, a name that Chin-Loy invented, as the story goes, to give an air of mystery to the release. Pablo recorded two more singles soon after with “Java” becoming a major hit and being voted Instrumental Song Of The Year by Jamaica's Swing Magazine. This success led to the Randy's label moving to create a full-length album from Pablo. Recording in the Randy's studio upstairs from the record shop “we weren't watching the clock...we had the studio,” Clive Chin recalled. The band included a cast of the greatest reggae musicians of all time: future Wailer Tyrone Downie on keyboards, Aston “Family Man” Barrett, “Fully” Fullwood and Lloyd Parks on the bass, Carlton Barrett, “Santa” Davis and Lloyd “Tin Leg” Adams were on drums and Earl “Chinna” Smith played guitar. In addition to these future Hall of Famers, the mixing board was helmed by Errol Thompson. Thompson and Chin would together pioneer a tough, new reggae sound that, Chin referred to as “Rockers” after the Swaby brothers' Rockers Hi-Fi sound system. 'This Is Augustus Pablo' is considered among the greatest collections of Jamaican instrumental music and is an essential part of reggae history. 

TRACK LISTING

1. Dub Organizer
2. Please Sunrise
3. Point Blank
4. Arabian Rock
5. Pretty Baby
6. Pablo In Dub
7. Skateland Rock
8. Dread Eye
9. Too Late
10. Assignment No. 1
11. Jah Rock
12. Lover’s Mood

Jurassic 5 flexed serious old-to-the-new muscles in the ‘90s, beginning with their independently released single “Unified Rebelution” in 1994, and book-ending with their stellar debut full-length: 2000’s Quality Control. They walked a tightrope between underground and mainstream hip-hop, and toured alongside rap peers as well as punk rockers on the Vans Warped Tour. With double the pleasure of your average hip-hop group – two DJs and producers (Cut Chemist and DJ Nu-Mark); and four MCs (Chali 2na, Akil, Marc 7 and Zaakir aka Soup) – they brought the late 1970s “unison MC” style of pioneering groups like the Fantastic 5 and the Force MCs to a new generation. Even more surprisingly, they did so out of Los Angeles, whose hip-hop flavors generally leaned towards Gangsta, G-Funk or Electro lines. Musically inventive and lyrically forward-thinking, each song on Quality Control is a new adventure, exploring engaging territory, delivered via one of the best live hip-hop shows fans had seen in years. From singles like the strutting groove of the title track to the throwback doo-wop samples on “The Influence” and the catchy, keyboard groove-driven “World of Entertainment (WOE Is Me),” to deeper album tracks like the lyrical gymnastics of “Jurass Finish First” and the thought-provoking “Lausd,” Jurassic 5 consistently stepped to the plate and their fans responded in kind, nearly pushing the album to Gold status. Add the innovative DJ-and-sample workout which closes out the album, “Swing Set,” and you have one of the 2000s’ most unique and solid full-length platters.

TRACK LISTING

Side One
1. How We Get Along
2. The Influence
3. Great Expectations
4. Quality Control Intro
5. Quality Control

Side Two
1. Contact
2. Lausd
3. World Of Entertainment (WOE Is Me)
4. Monkey Bars

Side Three
1. Jurass Finish
2. First Combination
3. Twelve

Side Four
1. The Game
2. Improvise
3. Swing Set

Afrika Bambaataa & Soul Sonic Force “Planet Rock” 12-inch re-issue on glow-in-the-dark vinyl (Limited edition of 1982 copies) B-Boy anthem from 1982 lights up any dancefloor…literally! First time ever on glow-in-the-dark vinyl! Fresh off Bambaataa’s historic donation of his vinyl collection to the Cornell University Hip-Hop Collection and the Fall 2014 “Renegades of Rhythm” tour by DJ Shadow & Cut Chemist celebrating his unparalleled contribution to hip-hop, Get On Down celebrates the song for which the Godfather of Hip-Hop is best known: 1982’s “Planet Rock,” a Kraftwerk-meets-Bronx-B-Boy anthem. Renowned the world over as a never-fail floor-filler, this new 12-inch pressing of the single is pressed on glow-in-the-dark vinyl for the first time ever. Although Bambaataa may have gotten top-billing on the release, it was a team effort, with crucial contributions by a team including DJ Jazzy Jay, Afrika Islam, Arthur Baker, John Robie, a Roland TR-808 drum machine (aka Planet Patrol) and of course MCs Mr. Biggs, G.L.O.B.E. and Pow Wow. This edition is housed in a clear, custom-embossed Get On Down poly-bag to let the glow show through.

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

Available from Get on Down, we are proud to bring back this rare 7”, the UK Picture sleeve release of Eric B & Rakim’s Paid in Full (Mini Madness – The Coldcut Remix). When Eric B & Rakim debuted with Paid in Full in the summer of ‘87 the album was an immediate classic. By the time the cut "Paid in Full" was released as the album's fifth and final single, it became a hit in clubs, radio and MTV largely due to the songs remix. Enter Coldcut, a new DJ/Remix team from the U.K who at the time just made a big splash with a record of their own, the cut & paste classic “Say Kids What Time Is It”. It made such a huge buzz that Julian Palmer from Island Records urged them to do a remix of “Paid in Full”. The result was the “Mini Madness” mix which turned Rakim's one verse song into a magnum opus that that crossed cultures and influences into one seamless remix. Today it still holds as one of the most groundbreaking remixes ever, Rakim himself is even quoted as saying it was the “best remix” he has ever heard. What made this remix so special was how Coldcut incorporated several new elements in producing their remix, mainly the use of vocal samples. The most prominent in these samples was the addition of Israeli singer Ofra Haza, whose voice when lowered in pitch, synced perfectly with the Paid in Full breakbeat. Another notable element of the Coldcut remix is its opening vocal sample, "This is a journey into sound” which even today it is recognizable as the start of this Remix. "Now wait a minute, you better talk to my mother" comes from Humphrey Bogart and lines like "Pump up the volume" and "Dance to the record" are sampled from Eric B. & Rakim's own song "I Know You Got Soul". While there are many more vocal bits and breaks that go into what makes this remix so special, it’s better to let the music speak for itself.

TRACK LISTING

Side A: Paid In Full (Mini Madness: The Coldcut Remix)
Side B: Eric B. On The Cut