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.
Born and raised in Washington DC, Damu The Fudgemunk of the hip hop group Y Society has been building a loyal fanbase through his soulful, multi-layered beats, which he crafts using little more than an Akai MPC 2000, a huge record collection and a stack of floppy discs. With How It Should Sound Volume 1 & 2, Damu looks to continue to build upon his already solid discography, while simultaneously reaching new fans and keeping his core audience satisfied with new music. This release bears all the hallmarks of Damu’s signature aesthetic. Crunchy drums bolster intricately woven narratives of soul-infused samples in compositions that thump and groove all at the same time. Horns appear from nowhere before dissolving sumptuously into the mix. Layers are steadily unveiled only to gradually fold back in on themselves. As with Damu’s previous releases, retailers and fans should expect this release, especially the limited vinyl versions, to move rather quickly.
L.A. rapper Blu burst onto the scene in the late 00s with the widely acclaimed Exile collaboration Below The Heavens, igniting a West Coast hip hop renaissance in the process. In the years since, the enigmatic emcee has released a steady stream of critically-acclaimed projects, from the love-themed concept album Her Favorite Colo(u)r to the genre-bending NoYork. Now, Blu is back with Good To Be Home, his first ever double album. Featuring a host of West Coast hip-hop luminaries, Good To Be Home is an unapologetic celebration of Los Angeles music and culture. “This is my most defining record ever,” says Blu. A cohesive collection with two discs and no filler, Good To Be Home is an important addition to Blu's already impressive catalog. Available on double disc CD, double cassette, and 2xLP vinyl. Translucent gold vinyl limited to 1000 units and available while supplies last. Artwork designed by famed contemporary artist Joseph Martinez.
The Gift is a series DJ House Shoes started to spotlight under the radar producers. Pressed in a limited edition of 300 copies. Time for another gift y'all... Knx hipped me to Tuamie about 6 months ago. I was floored. This kid got some shit. Three songs on The Gift Vol IV come from MASTA KILLA, a dope tape that was released a few months back on Grand Garden Records. Enjoy. - Shoes
The classic album from Immortal Technique now available for a limited time on red vinyl. Features Akir, C-Rayz Walz, DJ Roc Raida, Diabolic, Jean Grae, Lou Cipher, Mumia Abu Jamal, Poison Pen, Pumpkinhead & Tonedeff.
House Shoes is proud to present the first-ever physical release of Danny Brown’s Hot Soup, his debut album released in 2008 prior to the release of The Hybrid. Featuring Rapper Big Pooh and production by Quelle Chris, Nick Speed, and Danny Brown himself, Hot Soup immediately propelled Danny Brown into hip-hop’s national consciousness and solidifed him as one of Detroit’s most electrifying live performers. With his most recent Fool’s Gold album carrying Pitchfork’s “Best New Music” status, fans are hungry for a deeper look into the mind of one modern hip-hop’s most charismatic and controversial artists.
A new Detroit classic from producer Apollo Brown who composes a smokey, rust riddled trip through the soul of Detroit. A lush sonic cityscape that layers piano over haunting samples and pits Journalist 103s narrative word play against DJ SoKos cuts. The Left is the sound of Detroit and along for the ride are Guilty Simpson, Finale, MarvWon, Paradime, Invincible, Kool G Rap, Frank West and Mu. Welcome Back.
Apollo Brown’s Thirty Eight is a contemporary throwback, inhabiting the realm of reverent reinvention and innovation. It deftly bridges the gap between ‘70s Blaxploitation soundtracks (e.g. Curtis Mayfield’s Superfly or Marvin Gaye’s Trouble Man) and the hip-hop records that sampled from them. The tracks on Thirty Eight are presented in gritty, heavily saturated Technicolor, the scratches and cigarette burns as purposeful as they are happily accidental. These are suites sounding from long barrels held by lone men lurking in grimy project hallways. Tinged with revenge and regret, shrouded in thick tendrils of hollow-point smoke, the songs have all the makings of an epic gangster tragedy. They’re also great when paired with anything Raymond Chandler. Crackle and sample hiss run like electric current throughout, charging the record with a retro feel and resonant warmth. Yet these qualities are only secondary to Brown’s impeccable ear for instrumentation. Thirty Eight is full of funk, soul, jazz, blues, hip-hop, and everything in between. The bluesy guitar twang of slow-burner “Black Suits” and the lush, orchestral strings of “The Warning” are just two examples of the depth and diversity Brown brings to the table. All singing on the album comes in the form of brief samples, some high-pitched and sped up, others left untouched. Taken together, they amount to glimpses of an emotionally affecting narrative, enabling the listener to fill in the plot and words between the booms and baps. Brown enlists New York mercenary Roc Marciano for the soundtrack’s two features. With the sharpest of eyes and the frostbitten wit of a Polo clad hustler slanging in the dead of winter, Marciano delivers his best verses in recent memory, his vivid narratives perfectly suited for Brown’s soulful production. Each CD comes packaged with 5" inch vinyl featuring the aforementioned Roc Marciano tracks. Quite possibly the first time a CD and 5" inch record have ever been sold together, cop yours before they’re gone. For fans who desire the full analog experience, we’ve pressed up 180-gram vinyl. Each vinyl copy also includes a 45 featuring two bonus instrumentals. Whether you buy a physical copy or download Thirty Eight digitally, don't call it a beat tape. With this project Brown has created an expansive cinematic composition for the theatre of your mind. Listen, envision, and enjoy the show.
Ten years after its initial & highly slept-on release, Fat Beats Records & Frozen Files are proud to present the first-ever reissue of UN Or U Out, the classic debut album from The UN.Consisting of Roc Marciano, Dino Brave, Mike Raw, and Laku, the UN first emerged on Pete Rock’s 2001 Petestrumentals album, a primarily all instrumental release minus two tracks—“Nothing Lesser” and “Cake”, both featuring vocals by The UN. At the time, the group hadn’t performed live and never had major prior releases, although Roc Marciano had already made his name as a member of Busta Rhymes’ Flipmode Squad. Pete Rock fans were at first perplexed by the vocal appearance of an unknown group. Yet Pete not only had the confidence and foresight to introduce the four MCs, he also furthered the collaboration, making it full circle by lending production on “Game of Death (G.O.D.)” , “Avenue” and “Ain’t No Thang” on UN or U Out. UN or U Out remains a timeless listen, a deeply succinct homage to New York’s bygone era of gritty boom-bap, made with tasteful nods to Queensbridge’s cold-steel aesthetic.