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GET ON DOWN

Cover of Message To The Young by Howlin' Wolf.

Howlin' Wolf

Message To The Young

Get On Down

    1971 marked a tumultuous yet historic year for Chicago blues legend Howlin’ Wolf. His health failing after suffering a second heart attack, doctor’s discovered his kidneys were also shutting down and he was ordered on dialysis to save his life. Wolf's doctors demanded that the legend quit performing at all costs, but the legendary blues musician did not have any quit in him. Three months after being ordered never to perform again he was headlining opening night at the Ann Arbor Blues Festival. 1971 also marked the release of Howlin’ Wolf’s second experimental offering, “Message To The Young”. Oft-considered his second attempt (after the “Howlin’ Wolf Album” he famously shunned) at offering the masses a “psychedelic” record, the sound on the record ranges from acid-rock, to blues, to funk, and back again. The title track on “Message To The Young” is exactly what the title suggests; Wolf’s attempt at reaching the youth of the era in a beautiful spoken word ballad which can easily be summed up in two words “Be Yourself”. Get On Down’s reputation for high quality reissues continues with Message to the Young, originally released on the newly formed Chess Grt label, a subsidiary of legendary imprint Chess Records. This all new Get On Down version features audio painstakingly remastered from the original master recordings for a true high definition sound experience.

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    Cover of Hot Pepper by Impossibles.

    Impossibles

    Hot Pepper

    Get On Down

      The rise to fame of the talented Impossibles is one which will never be described as such. Historically regarded as a legendary and iconic 70s era string-pop band in their native land of Thailand, the Impossibles became well known internationally for their covers of Western rock songs. Having become nationally recognized in 1970 after winning the Thai Musicians Award for best professional band in the country (an award they would win the next two years), the Impossibles knew that they could ride their wave of success to international heights. In 1972 they left Thailand for an engagement in Honolulu, Hawaii – the one off gig turned into a year long string of performances, followed by a seventh month European tour - a move which raised the stature of the Impossibles to international fame. In 1975, the Impossibles became the first band in the history of Thailand to sign a recording contract with an international firm (Phonogram). “Hot Pepper” - an all English language recording, was also the first such album recorded overseas by a Thai pop group. In addition to rock and pop, the band's sound frequently crossed over into funk, R&B, country and folk. Two covers of Kool and the Gang tracks ("Give It Up" and Love The Life You Live") appear on their heralded 1975 album “Hot Pepper”. Get On Down is proud to present The Impossibles 1975 album “Hot Pepper” featuring audio completely remastered from the original audio tapes.

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      Cover of Hell Hath No Fury - White Vinyl Edition by Clipse.

      Clipse

      Hell Hath No Fury - White Vinyl Edition

      Get On Down

        In the 4 years after The Clipse dropped their sophomore classic Lord Willin' the duo was able to build a legacy that had fans hungry for new material. After the smoke cleared and they hit the studio the Virginia brothers recorded the confidently mature sophomore effort, Hell Hath No Fury. Best known for their unconventional radio smash "Grindin'," Clipse are no strangers to taking risks with the boundary-pushing Neptunes, who return as trusted co-pilots for Hell Hath No Fury. As always the duo is right at home over The Neptunes crafted beats which perfectly embrace Pusha's inventive drug-game metaphors and Malice's soul-baring confessionals.

        From the bouncy lead single "Mr. Me Too" and the Slim Thug assisted "Wamp Wamp" to the oddly haunting "Keys Open Doors" to "Momma I'm Sorry", Hell Hath No Fury represents some of the duo's best work. On the hypnotic "Keys Open Doors," over the eerie mix of screwed-up angelic voices, chimes and congas, the brothers run circles around the competition, while the spine-tingling boom-bap of "Ride Around Shining" sets the stage for Pusha's hilarious boasts. Whether rhyming over distorted, lo-fi guitar plucks ("Dirty Money") or overblown 808s ("Trill"), the brothers come with colorful references and inventive word play that easily places them in a lyrical class of their own. Get On Down now proudly issues this Neptunes produced favorite on LP for the first time ever with the first run on white vinyl.

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        Cover of When Disaster Strikes by Busta Rhymes.

        Busta Rhymes

        When Disaster Strikes

        Get On Down

          Repressed for the first time in years. Note new price. By the time Busta Rhymes hit with his second solo album, “When Disaster Strikes”, he was already cemented as one of the most powerful voices in the rap game. With a lead single that countered that statement “Put Your Hands Where MY Eyes Can See” he proved he is more than just a one act man. The single was an immediate smash and was followed by an equally amazing album. The albums second single “Dangerous” continued to push Busta creatively and was accompanied with a stellar video gained him major air play on BET and MTV.

          Critics and fans alike applauded this release for its depth and well-crafted songs which made it platinum at the time of its release. Songs like “Turn UP” the Flipmode assisted "We Could Take it Outside" and “Rhymes Galore” showcase Busta at his best; rapid fire delivery over hard pounding beats. Other stand out cuts include "So Hardcore" and “One” which is a great collaboration with Erykah Badu. On the production side Busta brings along his trusted team; Rashad Smith, Dilla, Rockwilder and DJ Scratch to serve him just what he needed for “When Disaster Strikes” to be full on dope! 

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          Cover of Seriously Deep by David Axelrod.

          David Axelrod

          Seriously Deep

          Get On Down

            The rediscovery of the music of David Axelrod in the 1990s was a revelation to the scores of hip-hop and breakbeat DJs that sampled him, but his composition genius was on display as early as the 1960s. After producing and arranging major critical and commercial hits for Lou Rawls, The Electric Prunes, David McCallum, and Julian "Cannonball" Adderley, he was encouraged by Capitol Records to record and produce solo material. Coming right on the heels of The Beatles' revolutionary 1967 album Sgt. Pepper's Lonely Heart's Club Band, Axelrod would produce a slew of instrumental baroque pop records, which were intricately orchestrated, fused elements of jazz, psychedelic rock, chamber music, and neo-classical, and tackled issues of mental enlightenment, environmental impact, and would be hailed by critics as highly ambitious pieces of conceptual art.


            The albums Song Of Innocence (1968), Songs Of Experience (1969), and Earth Rot (1970) are most often hailed as David Axelrod's finest moments, but little is mentioned of the producer's 1970s material. Among these records is Seriously Deep, his lone album recorded for Polydor, and an unheralded gem of jazz-rock fusion. On Seriously Deep, Axelrod dispenses with the heavily orchestrated measures of previous works to conduct a powerhouse crew of session musicians, including Leon Ndugu Chancler of Santana on drums, Mailto Correa on percussion, Jim Hughart on bass, Joe Sample on electric keys, and many others, with production from frequent Axelrod collaborators Cannonball Adderley and Jimmy Bowen. Seriously Deep is an obscure release, but also one of David Axlerod's tightest, and most exploratory ones. Across six tracks, Axelrod and his collective of players dip in and out of bounding jazz-funk, Afro-Latin grooves, cinematic flourishes, psychedelic synth washes, and blaring big band horns. It's a singularly insular curiosity of musical impressionism that's equal parts brooding and joyous, a definitive part of Axelrod's discography, and a well of sample material for tracks by Mobb Deep, Large Professor, The Black Eyed Peas, and Beanie Siegel, among others

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            Cover of Only Built 4 Cuban Lynx by Raekwon.

            Raekwon

            Only Built 4 Cuban Lynx

            Get On Down

              The cultural phenomenon that is the 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 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 is honored to present 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. 

              FORMAT INFORMATION

              2xColoured LP Info: PURPLE VINYL EDITION!

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              Cover of Groove Theory by Groove Theory.

              Groove Theory

              Groove Theory

              Get On Down

                The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process. These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80s electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory.

                The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover. On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since its 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes. 

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                Cover of Illmatic by Nas.

                Nas

                Illmatic

                Get On Down

                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

                David 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.

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                Cover of Dedication by Herbie Hancock.

                Herbie Hancock

                Dedication

                Get On Down

                This release has never been officially issued on vinyl outside of Japan. “Dedication” is a unique Herbie Hancock outing in more ways than one. This is a solo Hancock release, all sounds heard on this recording are Hancock at the keyboards, be it an acoustic piano, a Fender Rhodes or a synth. The result being a recording that’s full of air and space, yet thoroughly funky. The project was recorded live in Tokyo in July of 1974 and never saw release outside of Japan until well into the 21st century. No official vinyl issue has ever happened outside of Japan where the LP has been out of print for decades. There's some amazingly futurist soundscapes contained within Hancock's funky ass keys work, "Nobu" indeed, being sampled by one Radio Slave for an extended tribal adventure. It further cements Hancock's rock solid legacy as a true musical pioneer. Check!

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                Cover of CB 200 by Dillinger.

                Dillinger

                CB 200

                Get On Down

                  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

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                  Cover of Jungle Lion / Freak Out Skank by Lee Scratch Perry & The Upsetters.

                  Lee Scratch Perry & The Upsetters

                  Jungle Lion / Freak Out Skank

                  Get On Down

                  7” singles were instrumental to the development of the Jamaican music industry, more affordable than full lengths for the consumer, they also allowed the labels to turnaround what was being recorded into music played from their booming sound systems as quickly as possible. In that spirit, Get On Down will be reissuing some of the most crucial reggae and ska sides on 45. This time out we revisit a single Lee Perry first issued right after his fabled Black Ark Studio was first up and running. On the A-Side you know you’ve got something special when a cut kicks off with Lee Perry growling like a lion, borrowing heavily from Al Green’s “Love And Happiness” for “Jungle Lion.” On the B-Side Perry lets The Upsetters do the roaring with the cut being remixed into “Freak Out Skank.” First issued in 1973 on Perry’s own Justice League imprint with a UK issue following almost immediately, miss this and you’ll miss one of the most crucial developments in the sonic evolution of Scratch’s 1970s output.

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                  Cover of Til The Casket Drops by Clipse.

                  Clipse

                  Til The Casket Drops

                  Get On Down

                  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…

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                  Cover of Dr. Octagonecologyst by Dr. Octagon.

                  Dr. Octagon

                  Dr. Octagonecologyst

                  Get On Down

                    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. 

                    FORMAT INFORMATION

                    3xLtd LP Info: 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.

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                    Cover of This Is Augustus Pablo - Get On Down Edition by Augustus Pablo.

                    Augustus Pablo

                    This Is Augustus Pablo - Get On Down Edition

                    Get On Down

                    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. 

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                    Cover of Quality Control by Jurassic 5.

                    Jurassic 5

                    Quality Control

                    Get On Down

                    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.

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                    Cover of Planet Rock - Glow In The Dark Vinyl Edition by Afrika Bambaataa & The Soul Sonic Force.

                    Afrika Bambaataa & The Soul Sonic Force

                    Planet Rock - Glow In The Dark Vinyl Edition

                    Get On Down

                      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.

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                      Cover of Paid In Full (Mini Madness: Coldcut Remix) by Eric B. & Rakim.

                      Eric B. & Rakim

                      Paid In Full (Mini Madness: Coldcut Remix)

                      Get On Down

                        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.

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                        Cover of There's A Riot Goin' On - Gold Edition by Sly & The Family Stone.

                        Sly & The Family Stone

                        There's A Riot Goin' On - Gold Edition

                        Get On Down

                          This 24k audiophile gold disc reissue of Sly & The Family Stone’s classic There’s A Riot Goin' On is packaged in a deluxe box emblazoned with a unique embroidered flag cover and includes a 48 page hard cover book filled with photos and liner notes.

                          After 2 years in production the follow-up to Sly & The Family Stone’s 1969 smash Stand! was unveiled. Containing radio hits like “Family Affair,” “Runnin’ Away,” and “(You Caught Me) Smilin’,” it also (in true Sly fashion) dove deeper into a trippy sonic and lyrical universe exploring societal tensions (“Brave & Strong”) the motherland (“Thank You For Talkin’ To Me Africa”), personal relationships (“Just Like A Baby”) and artistic expression itself (“Poet”). The album reached #1 on both Pop and R&B charts and years later, was certified platinum, gaining tens of thousands of new fans with each passing year.

                          Sly definitively explained his concept for the cover art ‘I wanted the flag to truly represent people of all colors. I wanted suns instead of stars because stars to me imply searching, like you search for your star. And there are already too many stars in this world. But the sun, that’s something that is always there, looking right at you. Betsy Ross did the best she could with what she had. I thought I could do better.’”

                          That flag has been lovingly recreated by Get On Down, presented on the CD box cover as an actual embroidered fabric square to bring textureto an album which is already full to the brim with feeling. It’s a perfect way to pay tribute to one of the 20th century's musical geniuses a man who brought fans together during one of America's most turbulent eras.

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                          Latest Pre-Sales

                          193 NEW ITEMS
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