The answer: it’s not exciting at all. And so, to combat lame music listening, we offer you The Get On Down Way to experience Ghostface’s amazing new album.

In collaboration with RZA’s Soul Temple Music, we are proud to announce presales for two exclusive packages – the “12 Delucas Private Press Version” and the “12 Delucas Version” – both which offer unique and immersive Ghostface Killah 12 Reasons To Die experiences.

12 Delucas Version

12 Delucas Private Press Version

Get On Down’s packaging is inspired by and was developed alongside the 12 Reasons To Die album and comic book (written by Matthew Rosenberg and Patrick Kindlon and illustrated by Ronald Wimberly).

Representing the at-times bloody story of Tony Starks (a soldier for the 12 Delucas crime family), the vinyl in these exclusive sets is appropriately gory – on blood red & clear mixed vinyl – bringing the theme to life vividly, while spinning at 33 1/3.

The comic book graphics and album artwork come to life in various ways throughout the “12 Delucas Version” packages: the vivid artwork on both LP jackets; the unique visuals adorning the box which holds all package elements, as well as the truly unique “Private Press” wood-block print; and through the images used on the exclusive two-sided poster.

Outer Box (Front & Back)

Birch Wood-panel print with unique 12 Reasons graphic (Private Press Version only) Available only on GetonDown.com.

Both “12 Delucas Version” sets give listeners a true “360” album experience, combining the physical / visual and aural – something which Get On Down proudly strands behind. To prove it (as if you needed further proof), Ghostface’s new opus is presented in three different audio formats – LP, CD and cassette. How can you get more complete than that?

12 Delucas Version includes:

- 2-LP with vocals & instrumentals, on blood red & clear mixed vinyl (Jackets screen-printed by AntiDesigns, with 12 Reasons comic book images) [www.GetOnDown.com orders only]

- 2-CDs with vocals & instrumentals (Japanese version of CD release) [www.GetOnDown.com orders only]

- Double-sided poster with cover and comic book art [www.GetOnDown.com orders only]

- 12 ½” x 12 ½” x 1 ¼” screen-printed outer box by AntiDesigns with unique 12 Reasons graphics [www.GetOnDown.com orders only]

- Cassette-only album by Apollo Brown, with remixes of each song on 12 Reasons album

- 12 Reasons to Die Vol. 1 comic book

NOTE: Get on Down “12 Delucas” bundle is limited to 400 copies worldwide

Cassette-only 12 Reasons to Die remix album by Apollo Brown. Available with the 12 Delucas Version.

12 Delucas Private Press Version includes:

- 12” x 12” x 1” wood-panel print with unique 12 Reasons graphic [Private Press Version only] [www.GetOnDown.com exclusive]

- Two 12” jacket running-sheet flat prints, on thick 20-point reverse board [Private Press Version only] [www.GetOnDown.com exclusive]

- Cassette of 12 Reasons To Die album (white cassette). Side A – vocal / Side B – instrumental. [Private Press Version only] [www.GetOnDown.com exclusive]

- 2-LP with vocals & instrumentals, on blood red & clear mixed vinyl (Jackets feature 12 Reasons comic book images) [www.GetOnDown.com exclusive]

- 2-CDs with vocals & instrumentals (Japanese version of CD release) [www.GetOnDown.com exclusive]

- Double-sided poster with cover and comic book art [www.GetOnDown.com exclusive]

- 12 ½” x 12 ½” x 1 ¼” screen-printed outer box by AntiDesigns with unique 12 Reasons graphic [www.GetOnDown.com exclusive]

- Cassette-only album by Apollo Brown, with remixes of each song on 12 Reasons To Die album

- 12 Reasons to Die Vol. 1 comic book

NOTE: The Get on Down “12 Delucas Private Press Version” is hand-numbered and limited to 100 copies worldwide

12 Reasons to Die on cassette. Available only on GetonDown.com with the 12 Delucas Private Press Version.

Look for Ghostface on tour now, and check out this RZA-narrated trailer for 12 Reasons To Die:

First up we have by popular demand, GZA Liquid Swords Chess Box : Vinyl Edition. After the success of  last years CD Version, we got countless emails asking about a possible vinyl one. So you spoke, we listened.

GZA Liquid Swords Chess Box : Vinyl Edition includes a 4 LP set, 2 LP of the original album, plus 2 LP of the instrumentals.  In addition it comes with an in-depth liner notes booklet with input from GZA (interviewed by journalist Chris Faraone) as well as artwork reproductions from the original release and singles.

The GZA Chess Box : Vinyl Version also comes with a sticker pack featuring the characters from the cover. Each is separated so they can be arranged how ever you’d like to stick’em.

This also comes with a full-size wooden chess set, which can be played on the chess board printed on the inner lining of the box. All this comes housed in a 13 x 13 x 3 hard case box with a magnetic clasp.

Next up we have something extra special. As a prelude to this summers upcoming book Beat Box: A Drum Machine Obsession (to be published by Get on Down) we have a Dual Flexi 7″ release which pays tribute to the Roland TR-909 drum machine.

The book, which is written by Get on Down co-founder Joe Mansfield, is something we all have been looking forward to for some time now. This unique package features two 7” flexi-discs (one clear, one orange) in a gatefold package. Included on these flexis are the sounds of the famed Roland TR-909 drum machine; narration and explanations by the legendary Schoolly-D, one of the machine’s early masters in the mid-80s (who is interviewed in Beat Box); cuts by DJ 7L; and instrumental remakes of the drum tracks for Schoolly-D’s “P.S.K. What Does It Mean?” and “Gucci Time,” programmed on the TR-909 by Joe himself.

Instrumental remakes of the drum tracks for Schoolly-D’s “P.S.K. What Does It Mean?” and “Gucci Time,” programmed on the TR-909 by Joe Mansfield

To whet appetites for Get on Down’s upcoming Premium Edition Box Set of Non-Phixion’s classic indie hip-hop full-length The Future is Now (Summer 2013), this 7” – with both songs produced by Necro – is offered for Record Store Day as a tribute to the late 1990s indie hip-hop resistance. Featuring MCs Ill Bill, Goretex and Sabac with DJ Eclipse, the group retains a rabid fanbase to this day.

Make sure you hit your local participating Record Store Day retailers so you don’t miss out on these and other great releases!

For anyone heading to SXSW, Ghost will be there on Thurs, March 14: http://sxsw.com/music/news/rzas-soul-temple-records-showcase-scoot-inn

There isn’t a ton of video footage of Ghost pre-millennium, which could be chalked up to the fact that A) magazines like The Source and word of mouth were the primary means of promotion in the ’90s and B) Ghostface was really living up to his name back in the day (wearing a mask to evade the authorities), and there just isn’t that much available content with him before Bulletproof Wallets (2001), which is partially due to a brief incarceration in 1999.   The good news is though, when you do get Ghost for any period of time, you are bound to get at least a few quotables.  Here are a few gems…

Arguing with Method Man –  Every family fights.  Looks like Ghost and the rest of the guys had enough of Meth hogging the spotlight and decided to let him know on camera.  I would say based off the outfits (namely Meth’s hat) and the fact that Ghost and Rae are a lot slimmer, this is circa 1995.

1996 interview Pts 1 & 2 from independent video show Phatclips –  Classic footage with Rae & Ghost from the Cuban Linx/Ironman era.  These guys were just untouchable at this point in time; the top of the food chain in New York City hip hop.  Also, they pretty much dress the exact same in 2013 as they did back then.

1997 MTV Wu-Tang Doc – This was a pretty big deal when it came out and was at the peak of Wu-Tang’s popularity in the late ’90s around the time of the Wu-Tang Forever album.

Smack DVD – Guessing this is from around 2004/Pretty Toney album era.  Ghost & the Theodore Unit take Smack through an evening tour of Staten Island’s Stapleton Houses.  Ghost waxes poetic on growing up in Stapleton and life in general.  It’s interesting that Ghost can be back in Stapleton chilling and the cops seem to have no idea that they’re harassing a multiplatinum musician.

Nardwuar vs Ghostface Killah – 2011.  No introduction needed here.  Nardwuar hits Ghost with a plethora of topics from his childhood musical influences to food and Starks doesn’t miss a beat.  Enjoy!

-Steve Ferreira @este617

The death of Tupac Shakur in September 1996 shook not only the hip hop world, but the music industry wholly to its core. Several rap artists would thereafter begin to follow the formula for successful records by recording eulogies about how they miss their dead homies, or predicting their own deaths like the immortalized Shakur had done in his music, drowning out fans with radio-friendly rap ballads about how they miss their Uncle Charles (y’all). Also, Southern rap that began to emerge that year, with groups such as The Dungeon Family headed by Outkast and Goodie Mob in Atlanta, Three 6 Mafia from Memphis, and then-local powerhouse labels like No Limit and Cash Money from New Orleans, Rap-A-Lot and Suave House from Houston began to popularize the Southern twang, tick-and-knock bass- sounds “bounce” and “screwed up” sounds from their cities, and created their own space on rap video shows and the rap sections in record stores. We also should not forget how hip hop soul was becoming a force to be reckoned with, as popular bubble-gum and hardcore hip hop artists alike would find successful runs for daytime video and radio airplay via collaborations with popular R&B artists. For all these reasons, crate digging rap junkies that upheld the torch for underground hip hop felt akin to DJ Shadow’s lament in his cover story “Why Hip Hop Sucks in 1996” in URB Magazine for the release of his debut album that year,  Entroducing.

Yet like DJ Shadow, the release of debut albums from rap artists who eventually became legends (i.e. Jay-Z, Lil Kim, Busta Rhymes), along with albums from stalwarts like Redman, Snoop Dogg, Mobb Deep, Nas, Pete Rock, Too Short, Jeru The Damaja, Heltah Skeltah and OGC of the Boot Camp Clik, Outkast, De La Soul, and A Tribe Called Quest to name a few made the music succumb to “Great Schism of Rap Music.” In other words, the imagery of artists from the popular artists from within these subgenres by music corporations that had their own urban divisions or distributed rap record labels for fans to identify themselves socially and fashionably with. In other words, rap fans became subjected to market segmentation:  if you listened to Boot Camp Clik, Pete Rock, or Bahamadia, you were likely deemed by peers to wear a backpack, oversized camouflage pants, and a “wife-beater” tank top and had a unkempt afro or dreds; gangsta-rap fans, you were deemed a “gangsta” wearing Chuck Taylors on your feet, Dickies button-down shirt, and khaki pants with a cuff and a crease; or being “jiggy” showcasing a supposed bottomless wallet image to you peers with top designer lifestyle brands such as Tommy Hilfiger, DKNY, Polo, Nautica, and Versace.

The Wu Tang Clan’s image engulfed all of these images since their explosion into the 1993, and they came off of pivotals year of dominance in the East Coast rap scene with the release of their collective Enter The Wu-Tang: 36 Chambers, leading member Method Man’s Tical, Ol’ Dirty Bastard’s Return To 36 Chambers: The Dirty Version, Raekwon’s Only Built 4 Cuban Linx…, and The GZA’s Liquid Swords. Until the October 29^th, 1996 release of Ironman, the only Wu Tang solo member album release that year, Ghostface Killah was not necessarily deemed as one of the more venerable or charismatic members by fans like Method Man, RZA, or ODB.  Ghostface’s style was widely perceived as dramatic and boisterous with his flow featured on other Wu member albums, tracing his styles on the debut Wu Tang album. Fans of the Wu crew already knew Ghostface’s muscular vocal style from the Enter The Wu Tang debut, and knowledge of the drug trade from his collaboration with Raekwon on Only Built 4 Cuban Linx… The cinematic crime scenarios plotted with his partner-in-rhyme Raekwon on “260” was also a continuation of the street saga on wax that was anything but dissimilar to the format of Raekwon’s debut.  Although, the Ironman album also detailed a range of love for Blaxploitation and street films like Dolomite and Fresh, his creativity with his own shoe and clothing alterations on the Ironman album cover, and even a sober mentality to display his spirituality in “The Soul Controller” and “Black Jesus”. Ghostface Killah’s debut had been laced by RZA’s produced that ranged beats for dance rhythms for the ladies shake to and hard-rock dudes to pose hard holding their dicks while pantomiming the lyrics to on the opening cut “Iron Maiden.” From the end of the album’s opening skit, the beat to “Iron Maiden” felt like a car chase that you had no choice but to ride in the backseat of the getaway car once you pressed the Play button. The CD version of the album had of a Wu Tang emblem supplanted on the Ironman superhero body armor, and Ghostface’s battle rap prowess on songs like “Box In Hand” and “Fish” showcased his depth in poetry to live up to his adopted namesake. Also, songs with lyrical dexterity from the frequent featured verses of Cappadonna and Raekwon  catered to slang-trading street and suburban kids to memorize songs like “Winter Warz,” “Faster Blade,” and “Daytona 500.” Single men got a chance to feel justified when hearing the breakup fight-theme to spite former lovers in “Wildflower,” and got to long for a new love connection with intimacy for valentines on “Camay.”  We cannot forget the heartfelt appreciation to parents for all their struggle and hard work in keeping a stable household in the album’s most successful single “All That I Got Is You,” nor Ghostface’s aspirations to be recognized by the listening public and revered rap magazines that held court for giving out awards on “Poisonous Darts” and “After the Smoke Clears.” Tony Starks was able to show audiences that he was no longer a supporter of Raekwon’s rhymes, but could stand on his own and even eclipse his fellow Wu members. People tend to forget that Ghostface was the first person that Wu fans initially heard on the first song on “Bring The Ruckus” from Wu Tang Clan’s debut.  Ironman made for great reason to show and prove why he was given the first verse to introduce his crew’s sound and ambitions to the world.

The Ironman debut had been encompassed all for rap fan of all the segmented subgenres and all regions of the US to visually enjoy whether via videos from the singles from the album, or audibly from the bass that blared from track to track. It was the last Wu solo album release that held fickle rap fans attention to await the second collective Wu Tang Forever album the following summer, and made people appreciate Ghostface as a man on a mission to uphold Wu Tang’s integrity in the market shift towards what rap purists perceived to have sucked for much of the rap music that was released. The point to remember the quality of rap music’s output reached a climactic boiling point that fans had never experienced from each end of the US, and there inevitably had to be a denouement for the genre musically.  The coming of the Ironman album had prevented rap music from a crash landing, in the wake of corporate America finally giving a full embrace to the culture that served as important marketing tool to have their various goods and products dovetail with rapper’s images on television and records.  Like the final song on the LP, this album had insured us all that Wu Tang will forever remain a brand and sound to marvel. -Dana Scott, @MUSENOMIX

]]> /blog/2013/02/how-ghostface-killahs-ironman-helped-saved-hip-hop-in-1996/feed/ 0 /blog/2013/02/ghost-is-for-lovers/ /blog/2013/02/ghost-is-for-lovers/#comments Wed, 13 Feb 2013 20:18:05 +0000 Get On Down Staff /blog/?p=1398 By the mid 1990’s Rza had burned through every kung-fu VHS in his basement and was forced to find a new thematic direction. I imagine he hopped in the Wu-mobile with his girl, popped in some Al Green and drove down to Blockbuster to rent some 70’s movies. 36 Chambers is the blueprint for the Wu-Tang sound but by Ironman Rza hits his stride as a super-producer. It’s the first Wu album I ever really loved, I mean how can you not love an artist’s debut solo album where he’s so G that doesn’t need to spit the first verse on his own album?

“Oh shit, that’s my man!”

When I was younger I really believed I would be able to know if a girl is “the one” by whether they knew the opening line to “Camay”. In my mind it’d go:

Me: “What’s the deal goldielocks?”
Her: “Ain’t nothing, I’m just hibernating.”

Then our beings would become one and the secrets of the universe would unlock or something. I never actually used this as a pickup line, but it was something I’d build the nerve to test on a girl after a few months to see what would happen. Every time the response was “what the fuck are you talking about?”

Imagine having the swagger to walk up to a woman and spit the lines in that song and she doesn’t laugh in your face? It’s unthinkable in my world, but Raekwon could say his verse to Michelle Obama and she’d grab her shit and bounce out of the white house immediately.

One of the most underappreciated sub-genres of hip-hop is the pickup song. This is AP level rhyming that only MC’s truly confident with their game can pull off. The hip-hop image was always that you have to be a pimp and wherever you go women were dropping their panties without hesitation. Making a track where you talk about having to put effort in on a girl can be really embarrassing if you’re not careful.

One of the better examples is LL Cool J’s “Around The Way Girl.” LL had to take a break from knocking people out on that album to talk about his ideal girl at the bus stop with a Fendi bag and a bad attitude. Another undeniable classic is “Big Poppa” by Notorious BIG where he masterfully spits game to a girl by asking her interests and offers a delicious after club snack of a t-bone steak paired with refreshing juice. Who didn’t want to get with Tribe’s Bonita Applebum? This isn’t desperate Positive K falling flat on his face with “Got A Man”…we’re talking about pro level pickup artists.

When I was in high school the Wu double cd came back like a comet and I would listen to it all day and night. There was no need for a cd wallet in the visor because you’d just have CD2 of Forever in there and every school day would end in a Triumph. I’d switch it out with Ironman every now and again when I was tired of hearing Rza talking about the fusion of the five elements or whatever.

I was dating this girl for about a minute and a half and she was a total bimbo but I was just glad to be with someone that was good looking. For weeks she was bugging because I was a senior and she was a junior and after the summer I’d be on my way to college and she’d still be back home doing lame high school shit. I had zero intention of starting college life with a girlfriend so I was always looking for a way out (Sidebar: Kissing this chick was like kissing a goldfish. She was the absolute worst, I can’t even…).

One night we were driving home from a movie and I was playing Ironman and she goes “ugh I hate Wu-Tang lets listen to something else”. I pulled over to the side of the road (really) and told her I’m done, our interests are not aligned, and I took her home. She sat there silent as I drove her home with trademarks around her fucking eyes. I wasn’t insisting she memorize all 9 members (plus cap cap cap cap cap cappuccino) or anything. Just to sit there and listen to music that wasn’t some unthinkable crap on the radio.

In my mind, Ghostface is a social barometer you can use to judge someone by. If you like Ghost, there’s a chance we have things in common. There are lots of things in life you can use to pass reasonable judgment on people. For example go out to eat and see how someone orders a steak. If they say well done they are dangerous and you should call the police immediately. If someone is wearing head to toe Supreme you can hypothesize that they are more than likely a virgin.

I find it hard to find a 1 or 2 tolerable people to grab a pizza with and somehow (most likely brokered by the illuminati) Wu Tang has 9 of the best rappers of all time. In the same group. That all lived near each other. How? Regardless of how good the other guys are Ghost straddles the line between underground and mainstream while making amazing music in a way none of them were ever able to do. Method Man was probably the only other member that could have broken out of the shadow of the group and he somehow blew it.

Despite my bullshit about wanting to find a girl that was down with the Wu, it didn’t happen for me. I mean, if I wanted to be with someone that really was really into hip-hop I’d probably have to date someone with a beard and a backpack named Mark. You don’t choose who you love and lord knows you don’t want to marry someone that is exactly like you. As you get older you realize you are a piece of shit and you need someone that is the opposite of your personality to offset how awful you are. In the end I didn’t marry a girl that likes the Wu but to be fair, she’s Chinese so she IS kind of down with the Shaolin by association. – Mike Bodge @mikebodge

Be sure to sign up as user to get a jump on the the Ironman Premium Collection, and other future releases.

For a limited time only, Get on Down is offering an exclusive Czarface Bundle package to celebrate the latest release from Inspectah Deck, 7L & Esoteric. Czarface continues on the path that they laid 14 years ago with their first collaboration “Speaking Real Words”. The trio’s natural chemistry has eventually led to this self titled full length album that drops everywhere February 19th on Brick/Fly Casual Records.  With Inspectah Deck and Esoteric trading raps on every song, Czarface also features appearances from Ghostface Killah, Roc Marciano, Vinnie Paz, Mr. Mfn Exquire, Action Bronson, Cappadonna & Oh No of Gangrene. Aside from the one track blessed by DJ Premier, Czarface was produced by DJ 7L who provides the musical direction which brings the album together.

For the artwork they enlisted MISHKA NYC artist Lamour Supreme who penned the eye popping Czarface artwork. To add more punch to the release, the 6 panel CD is designed to open to a ‘pop up’ of the Czarface character, making the CD packaging even more one of a kind. This exclusive ‘pop up’ is limited to the first 2,500 CD pressed.

The Vinyl Version comes as a 2 LP set with a 22″ x 22″ fold out poster of Lamours soon to be iconic cover art.

So now this brings us to the Bundle offer. In short you are getting the whole spectrum of the Czarface experience. You get the ‘pop up’ CD, double Vinyl LP, first 100 people get an exclusive  autographed 12″x12″ black & white rendering of the cover (signed by all 3 members), a 22″ x 22″ glossy poster featuring Lamours original cover art and a limited edition Czarface logo T Shirt (Sizes S,M,L,XL & XXL).

ALL ORDERS WILL BE SHIPPING AFTER FEBRUARY 15th SO TO PRE ORDER YOUR COPY CLICK BELOW:

Czarface Limited Bundle: ‘Pop Up’ CD + Double Vinyl + 22″ x 22″ Poster + Czarface Logo T Shirt + **limited to the first 100 orders** a signed 12 ” x 12″ Poster

Czarface CD

Czarface Vinyl

So, now that things slowed down a tiny bit, we figured it would be a good time to start getting some of these testimonials posted. First up in the blog roll we have my man Cosmo Baker. Hailing from Philadelphia, a city known for it’s rich music history and amazing DJ’s, it’s no surprise you can hear these influences in any of his DJ sets. Being a true O.G in the game, he spent years building up a strong rep that has brought him all around the globe, his most recent travels had him in Mexico alongside the Do Over fam. For those who were lucky enough to catch his Digging in the Crates column in On the Go know that his music knowledge runs deep. So what better way to kicks things off, I will now pass things over to Cosmo as he talks Nas Illmatic. – DJ 7L

“It was a muggy night in Philly and I had a hot date with my girl, and a long long walk all the way up to West Philly to get there. Luckily I had on me a dubbed bootleg copy of the new Nas album in hand, and was ready to go deep on it. This was 1994 and at that time I was somewhat pseudo-managing The Lay-Up, which was Philly’s premier (read: ONLY) “hip-hop” shop at the time. Whereas one could go to any of the spots Uptown in Harlem or on Fulton Street in Brooklyn and cop the newness, Philly was kind of hard-up on getting that exclusive heat coming down the Pike in a timely manner. But that’s one of the things that made The Lay-Up so special. The crew had close ties with the New York community, so much as to where one of the co-owners Alim would travel up every week and bring down hundreds of dollars worth of exclusive mixtapes a week. It was on one of these runs that he gripped a clear Maxell cassette with the words “Nasty Nas” and silently passed it off to me that muggy night on Passyunk Avenue.

As what was de rigueur I went into my army-surplus backpack, reached past my trusty Blackbook and pulled out a Backwoods, firing it up as I stepped off the curb and into the night. Immediately the sound of the subway flooded my headphones and a voice cautioned me to stop fucking around and be a man. A few more pulls from the blunt and my neck snapped as “N.Y. State Of Mind” came ripping through my brain, Nasir’s Queensbridge illustrations and Primo’s hard-as-fuck drums over obscure piano loops combining to create possibly the greatest opening song of a rap album in history.

Hot ass block after block and track after track passed me by and I was  sucked further and further into Nas’ world, but it wasn’t until I got to the North East corner of Broad & Spruce when “One Love” hit me. Those drums, those vibes, from the Heath Brothers “Smiling Billy” which would soon be one of the most sought-after record of that era… And just that overall feeling. I couldn’t believe the music that I was listening to. I couldn’t believe the story that was being told to me. “Whattup with Cormega, did you see him, are you together?” The whole album had reached its crescendo with this tale of the inside and outside. I had to hear more, rewinding again and again so I could catch every last nuance of every last line (“Shorty’s laugh was cold blooded as he spoke so foul, only twelve trying to tell me that he liked my style…”) I was enveloped, and I loved every last second of it. Needless to say, I ran this one record all the way to West Philly and forgot all about the rest of the album until the very next morning.” – Cosmo Baker

For more info on Cosmo check www.CosmoBaker.com

First up we have Biz Markie’s incredible sophomore Album, The Biz Never Sleeps, which comes as a picture disc vinyl with original front and back cover photography by George DuBose.  This album showed us Biz’s full range of his production, rapping styles and one of a kind sense of humor. Songs like “Check it out”, “I Hear Music”, “A Thing Named Kim” are all standout album bangers while hits such as “Spring Again” (and the top Billboard Hit) “Just a Friend” round out the album. As an added bonus it comes with a musical postcard that play Biz’s hit record “Just a Friend”.  That’s right a postcard that you can either mail to a “friend” (pun intended) or play on a turntable.

Next up we have The Fat Boys Debut Album presented in the most delicious way, a Picture Disc Pizza Vinyl housed in it’s very own pizza box!

With the guidance of Kurtis Blow and Run DMC producer Larry Smith on the boards,  the Fat Boys assembled one of the 80′s certified rap gems. Songs like “Jail House Rap”, “Stick’em” and “Human Beat Box” set a tone for The Fat Boys (like Biz Markie above) displaying their mix of humor and raw rap. Here we packaged this release in it’s very own Pizza Box, with top and bottom Pizza Picture disc vinyl. Also included is a 8 1/2 x 11 20-page booklet and a download card to bonus material and interviews. This release is limited to 2,000 copies, so make sure you don’t miss out!

Rounding out today’s new releases we are very happy to present our Rojac Records Singles Box. Presented in the best way we saw fit, the singles box comes as a 45 rpm record carrying case with an alligator-textured finish featuring a three color embossed metal Rojac Logo. The set includes seven classic Rojac and Tay-Ster singles with faithful reproduction of the original labels. Each box also includes a pair of Rojac 7″ slips never before available anywhere. To make this the ultimate Rojac collector item it is coming with an eighth 7″: an all new Kenny Dope edit of The Third Guitar’s “Baby Don’t Cry”. Both the vocal and instrumental edit are included on a special red vinyl pressing.

Be sure to look for these and other Record Store Say exclusives at your local participating stores.