It’s not often that an album disavowed by its own author at the time of release goes on to become considered a modern classic. Yet that’s exactly what happened with Chicago blues legend Howlin’ Wolf’s 1969 LP The Howlin’ Wolf Album, a release that has since attained mythical status due to the controversy behind it. Released on Cadet Records, a subsidiary of legendary imprint Chess Records, The Howlin’ Wolf Album was a radical experiment for a well established artist: attempt to integrate electric instruments and psychedelic arrangements into his revered signature blues sound. The result was an album that Wolf himself initially disregarded on the now infamous cover, but one that has won a special place amongst dedicated music aficionados thanks to its unique mix of traditional blues and electric rock elements. Get On Down’s reputation for high quality reissues continues with The Howlin’ Wolf Album, which features a special Stoughton vinyl pressing with audio remastered from the original analog tapes for optimum sound quality and comes packaged in a paste-on style jacket featuring the album’s famous original artwork

TRACK LISTING

A1. Spoonful
A2. Tail Dragger
A3. Smokestack Lightning
A4. Moanin’ At Midnight
A5. Built For Comfort

B1. The Red Rooster
B2. Evil
B3. Down In The Bottom
B4. Three Hundred Pounds Of Joy
B5. Back Door Man

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JULY 17TH 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 6PM ON THE SAME DAY (SATURDAY JULY 17TH).

Tri-colored vinyl. First issued in 1991. Reissued by Traffic 2004. Just went out of print - and will stay out of print until late 2021 (post-RSD). 3000 pressed , 500 for the UK. "To commemorate its 30th year Get On Down presents ìMr. Hoodî in a never to be repeated tri-color pressing of the double LP. KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was the early 90s Hip Hop group that served as a launching pad for the career of the artist we now know as MF DOOM (known during his KMD tenure as Zev Love X). In the 30 years since Mr. Hood was released so much has changed in the world and the world of Hip Hop but this recording has maintained an ageless appeal with DOOM becoming an artist of legendary stature. 

TRACK LISTING

A Side. 1. Mr. Hood At Piocalles Jewelry / Crackpot 2. Who Me? (With An Answer From Dr. Bert) 3. Boogie Man! 4. Mr. Hood Meets Onyx 5. Subrocís Mission.
B Side. 1. Humrush 2. Figure Of Speech 3. Bananapeel Blues 4. Nitty Gritty (feat. Brand Nubian).
C Side. 1. Trial Ní Error 2. Hard Wit No Hoe 3. Mr. Hood Gets A Haircut 4. 808 Man. 5. Boy Who Cried Wolf.
D Side. 1. Peachfuzz 2. Preacher Porkchop 3. Soulflexiní 4. Gasface Refill.

“We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.” So reads CL Smooth’s album dedication in the liners to Pete Rock & CL’s underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992’s Mecca & The Soul Brother and the album’s emotional smash single “They Reminisce Over You (T.R.O.Y.).” Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature – yet still righteous – wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo’s ‘90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth.

Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock’s pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout. The lead single, “I Got A Love,” is a perfect example of the group’s ‘94 steez: a super-catchy and respectful, but far-from-soft love track, suitable for any rap fan’s romantic needs. “Take You There” and “Carmel City” cover similar ground. Considering CL Smooth’s top-level brag rapper status, cuts like “I Get Physical,” “Get On The Mic” and “Check It Out” effectively reminded competitors not to test him. Pete also gets in the game on the mic several times on the album, acquitting himself nicely (and solo) on the cloudy day soul of “Escape,” alongside other cuts. Add more pensive lyrical forays like “All The Places,” “Searching,” and – perhaps the album’s sleeper cut – “It’s On You” and you have one of the more complete rap full-lengths of the mid-1990s. This isn’t surprising, considering the wonder twins-esque skills of Pete and CL. But it does make fans wonder what would have happened if they had stayed together longer

TRACK LISTING

A1. In The House
A2. Carmel City
A3. I Get Physical
A4. Sun Won’t Come Out

B1. I Got Love
B2. Escape
B3. The Main Ingredient
B4. Worldwide

C1. All The Places
C2. Tell Me
C3. Take You There
C4. Searching

D1. Check It Out
D2. In The Flesh
D3. It’s On You
D4. Get On The Mic

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

The second of two electric-blues albums released on Chess Records and Cadet Concept imprint in the late 60s, Muddy Waters' After the Rain has achieved cult-like status amongst blues fans in the years since his death in 1983. After taking a backlash from critics with first attempt at adopting psychedelic influences on Electric Mud, Muddy made adjustments for the follow-up, despite keeping a majority of the same session players. This time, he toned down the psychedelic elements and put them in balance with his classic Chicago blues sound, and the results yield some vintage tracks that glow with fuzzy guitars and bass: “I Am the Blues,” “Ramblin' Mind,” “Bottom of the Sea,” and “Blues Trouble.” After being out of print for years, Get On Down is proud to present this rare classic from Muddy Waters pulled from the original masters.

TRACK LISTING

A1. I Am The Blues
A2. Ramblin’ Mind
A3. Rollin’ And Tumblin’
A4. Bottom Of The Sea

B1. Honey Bee
B2. Blues And Trouble
B3. Hurtin’ Soul
B4. Screamin’ And Cryin’.

Toots & The Maytals' long and storied musical career spans all the way back to the dawn of ska. The group are not only key figures in the development reggae, they were among the first to utilize the word in a song title which lead to the popularization of the very term reggae. Among the numerous musical accomplishments of Frederick "Toots" Hibbert and his group was the song "Pressure Drop", which was released initially in 1970, but received widespread acclaim for its appearance in the soundtrack to the film Harder They Come. It's since been covered by The Clash, The Specials, The Selecter, Robert Palmer, and numerous others, has been rated by Rolling Stone as one of the 500 Greatest Songs of All Time, and is credited with helping introduce reggae music to the world. Though originally released in 1970, the US wouldn't get to experience "Pressure Drop" until 1975, when it was released on the US version of their album Funky Kingston, easily considered one of the strongest albums in Toots & The Maytals' catalog, not to mention one of the greatest in reggae history. Upon its release in the States it received massive critical applause (Even warming the cold, icy heart of Robert Christgau) for its infectious melodies and rhythms on tracks like "Sailing On", "Time Tough", and the eponymous title track, quirky Jamaica-infused covers of tracks by John Denver and Ike Turner, and of course the influential "Pressure Drop." Reissued in a lovingly re-printed version of the original LP sleeve, Get On Down now presents a superb reissue of a legendary piece of music history.

TRACK LISTING

Time Tough
In The Dark
Funky Kingston
Love Is Gonna Let Me Down
Louie Louie…
Pomp And Price
Got To Be There
Country Road
Pressure Drop
Sailing On

Repressed On translucent blue vinyl! Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D[MX] – get lost in their crates. For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled.

The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!

TRACK LISTING

A1. Run's House
A2. Mary, Mary
A3. They Call Us Run DMC
A4. Beats To The Rhyme
A5. Radio Station
A6. Papa Crazy

B1. Tougher Than Leather
B2. I'm Not Going Out Like That
B3. How'd Ya Do It Dee
B4. Miss Elaine
B5. Soul To Rock And Roll
B6. Ragtime

Future archaeologists will discuss two periods in 1980s: before Run-DMC and after Run-DMC. It’s no exaggeration to say that the group changed the course of music in the ‘80s, bringing the old-school of rap into the new with one simple piece of flat, black plastic. Coming up in the rap world of the early 1980s under the wing of Kurtis Blow (group manager Russell Simmons managed Blow, and Run was, at one time, a DJ known as “Son of Kurtis Blow”) and Blow’s bassist and burgeoning super-producer Larry Smith, the trio – Joseph “Run” Simmons, Darryl “DMC” McDaniels and Jason “Jam Master Jay” Mizell – learned from the best, but created their own path. 1983 was the year that they first broke out. With only an Oberheim DMX drum program and some cuts by Jay, “Sucker M.C.s (Krush-Groove 1)” was a shot across the bow to the slick, post-disco pocket rap had settled into. It was raw, pure swagger and it took both New Yorkers and music aficionados around the world by storm.

The song’s lyrics are a mandatory memorization assignment to this day by MCs learning their craft. “Two years ago, a friend of mine…” The group’s sound, which was laid out muscularly on Run-DMC, had a harder approach than their peers, thanks to producer Larry Smith’s use of live musicians who laid down grooves but didn’t soften the edges. Lyrically the group wasn’t just about brags either, with songs like “Hard Times,” “It’s Like That” and “Wake Up” (the first two were singles). Run’s and DMC’s overlapping tag-team approach to lyricism was powerful and immensely influential. “Rock Box,” another single and arguably the centerpiece of the album, was a nod to their hard edge, and a foreshadowing of their first worldwide smash, 1985’s “King Of Rock.” Jam Master Jay’s DJ work was stellar, knowing exactly when to jump in and put listeners’ ears in a headlock. The album was the first rap full-length to achieve Gold status, and as fans know, the group was just getting started – their next two LPs would take them to even higher status in the music world, critically and sales-wise. But this is where it all started, and it’s a classic that still sounds fresh today as it did more than 30 years ago. 

TRACK LISTING

A1. Hard Times
A2. Rock Box
A3. Jam-Master Jay
A4. Hollis Crew (Krush-Groove 2)
A5. Sucker M.C.'s (Krush-Groove 1)

B1. It's Like That
B2. Wake Up
B3. 30 Days
B4. Jay's Game

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

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

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums "Lord Willin’" & "Hell Hath No Fury" made bigger splashes commercially, 2009’s "Til The Casket Drops" is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing "Til The Casket Drops" in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

TRACK LISTING

Freedom
Popular Demand (Popeyes)
Kinda Like A Big Deal
Showing Out
I'm Good
There Was A Murder
Door Man
Never Will It Stop
All Eyes On Me
Counseling
Champion
Footsteps
Life Change

Dan The Automator’s and Kool Keith’s famed collaboration from the mid-‘90s is celebrated with a 28-track set housed in a custom, octagonal box, with 5 unreleased songs (originals + remixes); original Pushead cover artwork; and 40 page liner notes booklet. By the mid-1990s, the rap game had been through a lot in its two decades of existence: Early-days scraping to get by and be heard; The advent of sampling; The rise of groups ranging from Run-DMC to the Wu-Tang Clan and the sprawl of Dr. Dre’s shadow from the West across the globe; and solo juggernauts ranging from MC Hammer to the Notorious B.I.G. Thankfully, though, with everything that the genre had been through, there was still a lot of room to grow. And in early 1996, a new indie duo appeared that won over a whole new international audience, from hard rocks to skate punks. That pair was Dr. Octagon: Dan “The Automator” Nakamura and Kool Keith [Thornton]. In some ways, the Dr. Octagon album is a solo release.

But Keith wasn’t the only hand on deck. He brought along a young, New York-based MC with him: Sir Menelik. Menelik was featured on four album tracks, starting with “Dr. Octagon,” and proved to be an excellent super-scientifical, fast-rhyming foil to Keith. And there was one final featured contributor who helped add to the album’s next-level sound: San Francisco’s DJ Q*Bert, who cuts on half of the album’s songs. The album originally came out on The Automator’s Bulk Recordings label in early 1996, with cover art by metal and punk cult hero visual artist Pushead. Pressing numbers weren’t huge, but as the year went on, the buzz grew, and a slightly expanded version of the album was released on James Lavelle’s London-based Mo Wax label.

Then Dan took an offer from newly-formed major label DreamWorks, to re-release the album with extra tracks in mid-1997. The new domestic pressing allowed for a bigger press push, as well as the group’s first and only video, for “Blue Flowers.” Beyond “Blue Flowers,” the album is chock-full of mind-bending tracks, like “Earth People”; the wacked-out but sincere love ballad “Girl Let Me Touch You”; the metal-tinged “I’m Destructive”; Q-Bert’s turntable workout “Bear Witness”; and, of course, freaky Keith skits like “Elective Surgery” and “General Hospital”. Dr. Octagonecologyst is one of the most unique rap records the genre has ever seen, and this is the perfect way to celebrate it – whether it’s the first time you have heard this mind-expanding record, or the three thousandth. 

TRACK LISTING

A1. Intro 
A2. 3000 
A3. I Got To Tell You
A4. Earth People 
A5. No Awareness
B1. Real Raw 
B2. General Hospital
B3. Blue Flowers 
B4. Technical Difficulties
B5. Visit To The Gynecologyst
C1. Bear Witness 
C2. Dr. Octagon
C3. Girl Let Me Touch You 
C4. I'm Destructive
C5. Wild And Crazy
D1. Elective Surgery 
D2. Halfsharkhalfalligatorhalfman
D3. Blue Flowers (Revisited)
D4. Waiting List (DJ Shadow Remix) 
D5. 1977
E1. Blue Flowers (Prince Paul's So Beautiful Remix)
E2. 3000 (Automator 1 & 2 Remix)
E3. Bear Witness (2 Turntables And A Razorblade Edit)
F1. Astro Embalming Fluid 
F2. Redeye F3. I'll Be There For You
F4. Wild And Crazy (2016 Remix)
F5. I'm Destructive (2016 Remix)

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

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