Blu is the leader of West Coast Hip Hop. Since the days of Pharcyde, Freestyle Fellowship, and Jurassic 5, there have been few wordsmiths that have grasped the attention of listeners worldwide. Introduced to NWA and Public Enemy by his father, Blu later was captivated by the likes of Black Star, The Roots, and Common, creating a unique balance that is displayed in Blu’s personality and music. Blu’s first full length LP, “Below the Heavens” pairs Blu with producer Exile on the Sound in Color imprint. His first single, “Narrow Path” has rocked stages across the world, as fans begin to feel the impact of Blu’s music. His delivery flows flawlessly, while the content reflects the joy and pain of working class youth everywhere. Since the release of “Narrow Path,” Blu has performed alongside Slum Village, X-Clan, Platinum Pied Pipers, Lyrics Born, DJ Houseshoes, and many others, while participating in 3 high-profile nationwide tours alongside musical family members: Ta’Raach, Aloe Blacc, and Exile. The buzz has fans salivating for new music. Worldwide, people are looking to put hope into the ‘next’ emcee that will give them the same feeling when they first heard Black Thought, Common, or Slum Village. Blu fulfills this need, but maintains something that is entirely new, while not recycled.
Diabolic’s back to crush your favorite rapper with his highly anticipated sophomore LP “Fightin Words”, which features guest appearances from Vinnie Paz, Sean Price, Celph Titled, Apathy, R.A. the Rugged Man and more, along with production from DJ Premier, Engineer, Junior Makhno, Snowgoons and more.
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In the early to mid nineties and at the peak of his powers as a producer, Wu-Tang Clan mastermind RZA crafted a distinctive soundtrack at his basement studio in Staten Island. Whether or not he knew it at the time this haunting landscape of dusty samples, sharp snares and menacing urban gloom, would soon become a pillar of hip hop history. These instrumentals, peppered in with frequent interludes of dialogue from the classic samurai flick Shogun Assassin, became the core of the GZA's 1995 sophomore LP Liquid Swords and would eventually be considered by many as each individual's finest work. Cerebral, strategic and precise with his words, GZA crystallizes a range of influences - from chess to kung-fu films to mob flicks and Eastern philosophy - into sharply delivered rhymes. Many would argue there is no greater MC to compliment the RZA's production as well as GZA did on Liquid Swords. The album featured appearances by the entire Wu-Tang Clan, and included the auspicious debut of Killah Priest on "B.I.B.L.E." Acknowledged as one of the "100 Best Rap Albums" (The Source) and "Top 100 Records of the 1990s" (Pitchfork.com). Under development for months, Get On Down has finally unveiled the latest, painstakingly crafted volume in it's Wu-Tang reissue series, one which we hope will stand as a testament to this iconic and legendary piece of Wu-Tang history. We are proud to present GZA/Genius' Liquid Swords in a two disc deluxe "Chess Box" edition. Housed in a sturdy wrapped hard board two piece box, this edition of Liquid Swords spans across 2 discs. Disc one contains the official album version while disc two contains the full RZA produced instrumentals, available for the first time ever as an official release. Both discs have been completely restored with remastered audio from the original source tapes and have truly never sounded better. As always with any deluxe Get On Down release, we have packaged this album with an array of extras, including; researched, in depth, full color liner notes with contributions from GZA himself, spanning across 20 pages, inner jackets and dust sleeves with memorable vintage artwork from the original release, and even a full wooden minature chess set, which can be played on the chess board printed and contained directly on the inner lining of the box. This is the Liquid Swords that both first time listeners and long-standing fans deserve. CHECKMATE!
Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the boothwithout inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of histransparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer.Piñata is “a gangster Blaxploitation film on wax,” says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previouslybest known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpsonwith Detroit’s Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer.On Piñata, where Gibbs can shift from textbook lessons in robbing and drugging on trackslike “Scarface” and “Knicks,” to perhaps thealbum’s most personal song, “Broken,” a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rapper’s ownMount Rushmore of MCs (“You’re getting a hurricane of all those motherfuckers hitting you at once when you listen to Freddie Gibbs,” hesays). “Deeper,” a Gibbs favorite and the third single from the album after “Thuggin’” (2012) and “Shame,” (2013) is an ode to hip-hop inthe mold of Common’s “I Used to Love H.E.R.”; “High,” featuring Danny Brown, is self-explanatory and just what you would expect fromGibbs, Madlib and one of Detroit’s finest; while on “Real,” Gibbs addresses an old score just as Michael Corleone settled all family businesson baptism day.As a producer, Madlib, quite simply, is music, and ten years into his career—a time when other artists become comfortable—Gibbs remainsrestless, focused, with an eye on the competition and their position relative to his ascent. This is because mentally, he’s still on the cornerhustling, which would be the downfall of the average rapper. With Piñata, Gibbs confirms that he is anything but average.
After waiting patiently behind two singles, a dope video, and a neon-blue triangle shaped vinyl, Union is ready to unleash the most musically challenging, painstakingly crafted, MC-packed album in the dawn of 2012 - Analogtronics. Featuring Talib Kweli, Elzhi, MF DOOM, Roc Marciano, Guilty Simpson, and more, Union produces space-aged bangers that mold perfectly around each guest, in addition to sprinkling in a few lush, eye-widening instrumentals. This is the full length we have all been waiting for, as bonus tracks provide over twenty songs hypnotic interstellar boop-bap Union consists of two Parisian producers whose otherworldly approach to analog-driven, melodically abstract, sample free hip-hop inspired Fat Beats Records to extend a label invitation immediately. When a mysterious, monolithic, glossy black package arrived at FBHQ with nothing more than a cryptic note and an unlabeled CD inside, the staff wasn’t sure if Stanley Kubrick had risen from the dead to make mixtapes or if their lives were about to be transformed forever. Luckily it was the latter, and today the legendary label is poised to unleash Union’s debut album Analogtronics on an unsuspecting Earth in the dawn of 2012. Union was born when OJ, a Dilla-obsessed beat junkie with an unhealthy obsession for science fiction, met Gold, a jazzhead whose vast collection of vintage keyboards and synths left little room in his flat for trifling vanities like clothing and kitchen appliances. Though both shared a parallel vision for the music of tomorrow, they each occupied opposite corners of Paris’ electro underground when their worlds collided in 2009. OJ, upon catching a flash of Gold’s keyboard prowess at a Belleville loft party, approached the funky technician immediately in hopes of applying his melodic touch to a nearly finished beat tape. Gold loved what he heard, and thus two unique creative energies become one distinct Union.
There’s a lot to be learned from Large Professor – how to produce, how to rhyme, how to cultivate new talent, how to stay creative and consistent for decades. The passing years only increase his legendary status – as a major collaborator with Main Source, Nas, A Tribe Called Quest, Kool G Rap & DJ Polo, etc. – while re-confirming his originality with each new project. So what’s on the syllabus for the Professor’s latest class? In his own words: “taking it back to the B-boy uprock style.” His latest masterwork Professor @ Large drops June 26 on Fat Beats Records. Large’s impeccable craftsmanship shines on each of the 15 songs, many of them at upbeat park jam tempos. Whether he’s spitting hard with MOP’s Lil Fame, dropping an ill instrumental, or casting his wizened gaze out of the kaleidoscopic cover art, Large Pro is always smooth, on point and uniquely himself. In addition to Lil Fame, the album features a connoisseur’s selection of fine MCs: Busta Rhymes reminiscing in double-time on “Straight from the Golden”; Cormega and Tragedy Khaddafi bringing the streets on “Focused Up”; Mic Geronimo and Grand Daddy IU keeping cool on “Mack Don Illz”; and Cormega, Saigon, Roc Marciano and Action Bronson comprising the stunning “M.A.R.S” – easily the best posse cut of 2012. In a classy move, Large Pro gives Marco Polo the album’s only production guest spot on the title track.
Clear Soul Forces is next to carry the burning flame for the city of Detroit. Discovered, championed, and mentored by Royce da 5’9”, the four-man group rhymes like genetically enhanced street poets from the 70’s who are here to remind us what album rap sounds like. The vision of E-Fav, L.A.Z., Noveliss, and producer/emcee Ilajide combines golden era, 21st century, backpack and sub-woofer hip-hop but never sounds dated, derivative, or awkwardly avant garde. These guys are serious performers and hard workers devoted to making music that honors the legacy of Detroit’s legendary lineage. The group emerged in the aftermath of a serendipitous studio session in 2009 where the four emcees scraped together money to record individual music. Royce, who was recording his album “Street Hop” at the time, had coincidentally booked the room next door. The four soon-to-be group members jumped at the chance to kick some rhymes for the local luminary, and the rest is history. By the time the sun rose nine hours later, the four star-crossed strangers were now officially Clear Soul Forces -- and they already had a powerful first fan. After their debut mixtape “Clear Soul Radio”(2010), follow-up EP “The Departure”, an A3C Festival appearance, two SXSX showcases, induction to Red Bull Academy’s Soundstage program, the release of 2012’s “Detroit Revolutions” LP, and performances with Tanya Morgan, Just Blaze, Alchemist, Talib Kweli, and Freeway, Clear Soul Forces are ready to make good on the potential seen by Royce da 5”9”on that fateful night in Detroit. Their new full-length album, Gold PP7s, will be released this September on Fat Beats Records.
With his highly-anticipated fourth solo-LP, P.T.S.D. - Post Traumatic Stress Disorder, Pharoahe Monch re-emerges with a new concept project which finds the ground breaking emcee tackling PTSD; a severe anxiety disorder that can develop after exposure to any event that results in psychological trauma. Throughout the duration of the LP, Monch narrates as an independent artist weary from the war against the industry machine and through the stuggle of the black male experience in America.When Eminem recently named-dropped him (“But I still rap like I’m on my Pharaohe Monch grind) on his “Rap God” single it was for good reason, as Pharoahe Monch has been at the forefront of lyrical innovation for two decades now. Not only is he one of Hip-Hop’s preeminent lyricist, crafting intricate rhyme schemes and intelligent raps, but he is also an incisive policital and social commentator, using Hip-Hop as a platform for political engagement as his “Bullet” trilogy hauntingly speaks to audiences in the same dark personification of a bullet.