September 2013 - October 2013



While diggin in an old Fila distribution factory's dead stock in Chicago, we came across this lost tape from 1988. Here it is brought back to life.....hmmmmm.



A1 Work
A2 Quarter Blood Technique
A3 On the Phone (Girlies)
A4 My Dedication (The Juice Crew)

B1 Back 2 Work
B2 Facebook Skeezer
B3 Hype's in the Building
B4 Return of the Strangler

All tracks written and produced by JW Hype.


Price is £14.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)


There will be 350 copies pressed ONLY.
The first 75 copies are on Red/Purple//White vinyl
The next 75 are on Purple/Yellow vinyl
And the remaining 200 are on traditional black vinyl

If buying 1 copy use the PAYPAL BUTTON below:

If buying 2 copies use the PAYPAL BUTTON below:






So let's travel a few hours by car North East of NYC. Worcester, Massachusetts apart from being a rip-off of a city in the West Midlands, was home to both aspiring MC Larry Ansah aka L the Head Toucha and DJ, producer, digger and all round Hip Hop junkie DJ Shame. Shame had been spinning since 1984 when he copped his first pair of decks (Technics SLQ200x) at the age of 16. There had always been music and records around him at home. His dad played the keys and his grandfather was a trumpet player and both paid the bills with their skills. After hearing "Rappers Delight" at a local roller rink in the early 1980's he knew he wanted to create Hip Hop music. He copped the Korg Super Drums drum machine in 1986 and with his updated deck set up (he graduated to the trad 1200's 6 months after getting the SLQ's) he began to put his ideas down.



In 1990 he started to get involved with college radio after his boy Jamieson Grillo, who had a show on WRBB at Northeastern University, invited him to spin. He would end up working on the show for 5 years during which time he ran into a plethora of dope Hip Hop artists. Tribe, Serch, Showbiz & A.G. and Black Sheep all blessed the WRBB show but when local Boston act  Ed O.G. and Da Bulldogs came by the show to promote the "I Got To Have It" single in 1990, it would ultimately lead to the formation of the production crew the Vinyl Reanimators. Several weeks after they appeared on the show, Shame linked up with the group again and they took him to their producer Joe Mansfield's crib to hang out. The two hit it off straight away through a mutual passion for beatmaking and digging and they started working on a couple of projects together. The final member of the three man VA crew, Sean C moved from Cape Cod to Boston around 1993. Shame had met Sean at Jamieson's crib in NYC around '91 and as with Joe Manfield, had found a bunch of stuff in common >> Dope records + Hip Hop music!!



Shame got his first taste of  having his own production on wax in 1992 after winning a Tim Dog dog remix competition that Ruffhouse had set up to promote the "Bronx Nigga" single. He entered his remix, won first place and received a Numark dual CD player as well as getting his remix on wax (which is now a tough piece to find yo!). His next production on vinyl, credited as Shame, but under the Vinyl Reanimators banner, was Scientifik's "Jungles Of Da East" joint in 1994. It was just before the Scientifik joint dropped that the Vinyl Reanimators formed. All three dudes, realising their individual talents, combined their skills and teamed up to create a production team. They went on to produce and do remix work for The B.U.M.S., Raw Produce, Virtuoso as well as "releasing" a whole load of "remix" white labels!!



In Worcester, during the mid 90s, a group of cats would hang out at Shame's spot, smokin, drinking and freestyling over instrumentals and breaks that he'd cut up on the decks. One time, Shame's boy, a local beatmaker called Diamond T (no relation) brought with him an 18 year old MC who he'd been making some beats for. This cat  L sounded nice, if a little Buckshot-esque! It wasn't for a year or so that the rapper and Shame hooked up on a music tip and the "Too Complex" single was recorded. L recorded several tracks with the VA crew and 6 of these previously unreleased joints appear on this record for your listening pleasure. This dude shoulda definitely blown up at that time and this project, if released off the back of the "Too Complex" joint would have surely caused a devastating tsunami on the underground Hip Hop scene. Better late that never. So here it is........SPLASH


A1 It's All Over
A2 Rain
A3 Dead Man

B1 Sesame Street Hood
B2 Shady Niggaz
B3 All In Together Now

All tracks produced by Vinyl Reanimators 1997-1998.



Price is £19.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)


There will be 350 copies pressed ONLY.
The first 75 copies are on Gold/Black/White vinyl
The next 75 are on Green/Orange vinyl
And the remaining 200 are on traditional black vinyl

If ONLY buying 1 copy use this link:

If ONLY buying 2 copies use this LINK:






Other than paying taxes, there is probably nothing more "real" than a 16 year old New Yorker's unfiltered (creatively-speaking not effect-wise) passion for funk AND Hip Hop music, translated into sample choices, drum patterns and battle rhymes via the EMU SP-1200 and a dope selection of break beat records.


Jay Mumford aka J-Zone aka Mr Bomb aka Infinite the Paranoid Genius aka many other pseudonyms (that we don't have space for at our current domain), attended Mamaroneck High School, 10 minutes north of the Bronx in Westchester County, in the early 1990's.


Jay: "I was a bass player all through childhood and I used to buy old funk records to play bass to. I'd try to mimic the basslines and learn by ear. Eventually when I started watching Yo! MTV Raps in 1989, I recognized the samples from records I had. I couldn't find a band to play funk with because funk wasn't popular at the time, so I started making beats because I could do it on my own and not depend on anyone. My biggest influences were the Mecca and the Soul Brother album, all the old Mark the 45 King records on Tuff City like Lakim Shabazz Pure Righteousness and all those beat albums he did, Showbiz from DITC, the first Cypress Hill album and the Public Enemy stuff."


At the age of 15, realising that the piece of musical equipment he most needed in order to emulate one of his favourite albums ( Pete Rock and CL Smooth's  "Mecca and the Soul Brother") was the EMU SP-1200, he took the job of custodian at his old junior high school and for 2 summers, from 1991-1992 he saved up the huge sum of $2,000 and copped a limited edition SP from Manny's Music in Midtown Manhattan in November of 1992. Self-taught and applying the musical knowledge gleaned from years as BOTH an upright and electric bass player in BOTH his high school orchestra and jazz band, he began to lay down his first Hip Hop recordings. Only a year after purchasing his SP, he would hand over $30 an hour to record (in one-take and straight to cassette) at Clockwork Studios in Mamaroneck, NY.  Having been exposed to a lot of ill jazz though his dad's record collection, he had developed an ear for breaks and riffs he wanted to sample and most of these early demo recordings utilised samples from his dad's pieces. Between you and me, the first joint he ever sampled was "Overdog" by Keef Hartley Band and was taken from his dad's copy of the LP.


Jay: "I got that record from my dad. I put the Fuzzy Haskins drum loop over it."


This cat wasn't chasing after girls as a teenager. He was sampling Keef Hartley records, saving up for expensive pieces of recording equipment, hiring studios and taking jobs at his junior high school. This is not the story of a gang banger, of a drug dealer nor a pimp - in case you thought it might be!?. It wasn't until 3 years after laying down these early demos that Jay picked up a mic again and graced the world with his debut release, as J-Zone, "Music For Tu Madre" (a Herring favourite from the day it dropped in 1998). Included on this brand new vinyl release, other than the1993 demos, is the previously unavailable (on vinyl) joint from Tu Madre "Wifey Dearest" which only featured on the cassette version of the release.  We hit up Jay in early 2004 for a quote for the "Three Sinister SYllables" cover and dude graciously listened, digested, discussed the content and threw us a sweet quote that we used for the cover of the CD. Nearly 10 years later we have the pleasure of announcing that the 2nd release in October 2013 will be the J-Zone - The 1993 Demos EP. Peep J-Zone's site: GoVillainGo for more Zonisms, his critically acclaimed and incredibly entertaining book  "Root for the Villain", plus his brand new album "Peter Pan Syndrome".



A1 It's the Bomb
A2 Bomb Tekneek
A3 Yours Truly

B1 New and Improved
B2 Checkmate Remix
B3 Russian Roulette Remix
B4 Wifey Dearest [Bonus Track]



Price is £19.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)


There will be 350 copies pressed ONLY.
The first 75 copies are on Green/Gold vinyl
The next 75 are on Green/Black/White vinyl
And the remaining 200 are on traditional black vinyl

If ONLY buying 1 copy use this link:

If ONLY buying 2 copies use this LINK:




Ohhhhhh shiiiit - It's Volume 2 of the Masta Ace "Shelf Life" series. The first part sold out out after a few days back in February and here's 6 more unreleased nuggets of Ace. Included is the 1987 demo "Sold Out" produced by Marley Marl, the unreleased instrumental of "Brooklyn Battles" off the 1990 Cold Chillin album, three tracks from 1992 which would've come out on the 2nd, unreleased album and one ILL, unreleased joint from 1997. Next Volume 3...........


A1 Scared of the Dark
A2 The Younger Generation
A3 Sold Out

B1 Steady's Jam
B2 One Two, One Two
B3 Brooklyn Battles (Dub Version)

Credits: A1 produced by Young Disciples. A2 prod. by Outloud.
A3 & B3 prod. by Marley Marl. B1 prod. by Steady Pace.
B2 prod by Masta Ace.





Price is £29.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)

There will be 300 copies pressed ONLY.
The first 75 copies are on Clear/Purple vinyl
The next 75 are on Black/Purple vinyl
And the remaining 150 are on traditional black vinyl

If buying 1 copy use the PAYPAL BUTTON below:

If buying 2 copies use the PAYPAL BUTTON below:



It's time to clear up the N.B.A. business with this second EP of rare and mostly unreleased BX material. Included is the TP-only track Live '97, the instrumental as well as the inst of the b-side joint "Black Caesar" + 5 previously unreleased and unheard joints from 1996-1998. ILLLLLLLLLLL!!!!!!



A1 NBA Live 97
A2 Can't Get Enough
A3 Beyond the Madness
A4 Fast Break

B1 NBA Live 97 (Instrumental)
B2 Black Caesar (Instrumental)
B3 Street Lust
B4 Got My Niggaz Back

All tracks written by K-Black & Cipha.
All tracks produced, mixed & mastered By DJ Rob Dinero.


Price is £19.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)

There will be 350 copies pressed ONLY.
The first 75 copies are on Blue/Gold Yellow vinyl
The next 75 are on White/Gold vinyl
And the remaining 200 are on traditional black vinyl


If ONLY buying 1 copy use this link:

If ONLY buying 2 copies use this LINK:




ZIGG ZAGG - TOUCH DA SUN 1992-1994 PART 1 (!!!!?!?!?!)

Here's a re-cap and the story of what happened next......

The date is December 1990. The scene is a nightclub in Columbia, South Carolina called FAME. DJ Eclipse was spinning, and an up-and-coming Hip Hop producer by the name of Mighty Maestro was home for the holidays. Maestro had been making a name for himself in NYC producing records for the likes of Lakim Shabazz and Grandmaster Caz. He was the in-house producer for Tuff City Records at the time and had recently appeared on BET’s Rap City with Lakim Shabazz in support of the release of Lakim's second album, "The Lost Tribe of Shabazz".

A local emcee by the name of Sun Magnetic was also at the club that night. He recognized Maestro from his TV appearance and introduced himself. They talked shop for a bit. Sun explained to Maestro that he was trying to make a demo and needed to link up with someone who could help him out. Maestro was only in town for a few more days so there wasn't much he could do for him at the time. But on the strength of that conversation, Maestro introduced Sun to DJ Eclipse.

Some months later after his initial encounter with Sun, Maestro was talking to Eclipse on the phone. Eclipse mentioned that he and Sun had hooked up and had begun working on some tracks. Eclipse was impressed with his skills as an emcee and played a few of their demos to Maestro. They both agreed that even though he still needed some development—Sun Magnetic had potential.

Maestro would go on to do remixes for the Flavor Unit, YZ and other Tuff City projects including his "Nickel Bag of Breaks" EP. He had a brief encounter with Leaders of the New School and did some ghost production on the track "Movie Scene" for The Fu-Schnickens debut album.

It was on another visit to South Carolina in 1992 that Maestro ran into a former colleague, Mike Allen, a local R&B producer who was forming a production company in Columbia. Maestro had worked with Mike on a few projects about five years earlier. Mike was a good scout of raw talent and had kept up with Maestro's career up to that point.

By this time, however, the situation in New York had been stagnating. Maestro's affiliation with The Fu-schnickens wasn't working out as expected, and his production deal with Tuff City was coming to an end. Mike convinced Maestro to return to Columbia and join him in his new venture. They merged and set up shop in Mike's garage in what would become the headquarters and studio of Mike's new production company, MKA Major.

Maestro was still working on his "Nickel Bag Of Breaks" record for Tuff City. With two tracks left to complete, he offered Eclipse a spot on the record. "Moonshine" would be DJ Eclipse's first production on vinyl. For the other spot, Maestro wanted to feature an emcee so he asked Eclipse about Sun Magnetic. Maestro hadn't seen Sun since they first met at FAME back in 1990, but he knew that Sun and Eclipse were still working together. Once Sun and Maestro got reacquainted, Maestro asked Sun if he wanted to be a guest on his album. Sun was down with it. What they recorded was the song "Check The Wreck". It was the first track recorded in Mike Allen's new studio, and ground zero for what was to come.

Sun Magnetic's presence as an emcee was undeniable. In just one take he dominated the track that Maestro made. It was clear right away that "Check The Wreck" was more than just a guest track, and Sun Magnetic was more than just a guest—he was the total package. Sun Magnetic was ready to claim his spot as Hip Hop's newest resident.

Over a period of weeks, Maestro and Eclipse began crafting Sun's first demo. They recorded two new tracks and re-recorded a couple of older songs from Sun's earlier sessions with Eclipse. Most notably, "Don't Front Da Flava". A total of five tracks made the cut for that initial demo.

In 1992, digital recording was just coming into its own. It was mostly available at major studios for major artists with major budgets. "Sound Tools" had just made the transition to "Pro Tools" and the ADAT craze was about a year or so away. Maestro did all his production on the Macintosh using the AKAI S-950 and MOTU's Performer (Digital Performer hadn't come out yet). The 45 King recommended this setup to Maestro three years earlier. It was the same setup they both used at Airwave Sound, the studio where much of Tuff City's music had been recorded. Mike Allen purchased the newer AKAI S-1100 with maxed out RAM and the Syquest external drive with the 4MB cartridge. Combined, they had an abundant amount of sampling time. Initially they were tracking vocals using a Fostex 1/4" 8-track recorder. It was a decent machine, but Maestro had something more ambitious in mind. With all this sampling time at his disposal, it seemed like a waste not to put it to good use.

DAT was the established standard for recording 2 track masters. Mike had the Panasonic SV-3700 which most of the studios were using back then. It occurred to Maestro that instead of tracking vocals to the Fostex, he could record ZIGG ZAGG directly to the 2-track DAT recorder. After that, he would sample each vocal take into the S-1100, trim the samples into manageable chunks, trigger the vocal samples via MIDI, and sequence them in Performer. Recording this way was a bit more cumbersome, and it had its limitations, but it worked, and the quality was better than what came out of the Fostex.

As the final touches were being put on the project, the emcee known as Sun Magnetic God Allah, would change his name and become—ZIGG ZAGG.

The origin of the name ZIGG ZAGG comes from the letter Z or ZIG ZAG ZIG from The Supreme Alphabet of the Nation of Gods and Earths. ZIG ZAG ZIG represents the path from knowledge to wisdom to understanding. Each song from TOUCH DA SUN is a direct manifestation of that path.

With demos in hand, Maestro and Mike Allen began aggressively shopping the project. They hit up the "Jack The Rapper" convention in Atlanta and soon made their way to New York. Through Maestro's connections, they met with the likes of Jive, Columbia, Wild Pitch, Chemistry, and other labels. One of the labels they visited was Select Records. They met briefly with Fred Munao, the label President, who Maestro knew from a few years back. Fred did not listen to the demo right then, but he took note of the packaging and photos and was impressed. They left him a packet. A week or so later, Maestro received a call from the head of A & R at Select. Apparently they were impressed with more than just the packaging. They wanted to sign ZIGG ZAGG.

Mike Allen negotiated the contract and within a few weeks, an album deal was done. ZIGG ZAGG was officially part of the Select Records roster. "Don't Front Da Flava" was the track that the label was most excited about. They were going to release it right away as a single. But, as fate would have it, the rapper Paris released "The Days of Old" which included the sample "Mysterious Vibes" by The Blackbyrds. It was the same sample that was the basis for "Don't Front Da Flava". Keep in mind, this was 1992. The Hip Hop code of ethics was still intact. Paris got his joint out first. And even though lyrically "Don't Front Da Flava" was a completely different song, musically, the similarities were apparent. At the label, the wind was completely blown out of the sails at Select. Apparently, they placed all their bets on "Don't Front Da Flava" being the launch pad for ZIGG ZAGG. They weren't interested in riding the coattails of Paris—or doing much else. As a result, ZIGG ZAGG was dropped from Select Records.

On the heels of the Select Records debacle, the team's foundation was shaken up again by the departure of DJ Eclipse. Eclipse was working at a local record store in Columbia called Sounds Familiar. He was friends with T-Ray, another producer from the area who had also moved to New York. T-Ray was blowing up having just finished working on MC Serch's solo album. It was during the promo tour for that album that Serch came through Columbia for an in store promotion at Sounds Familiar. T-Ray had mentioned Eclipse to Serch and suggested that they link up. As the story goes, Eclipse and Serch hit it off immediately. So much so that Serch invited Eclipse to joined him alongside DJ Riz to perform on The Arsenio Hall Show.

The chips were falling into place for DJ Eclipse. Serch would soon become a VP at Wild Pitch Records. He offered Eclipse a job at the label, which for Eclipse, was an offer he couldn't refuse. When Eclipse broke the news that he was going to make the move to New York, Maestro and Mike tried to make a case for Eclipse to cast his lot with them. But, they didn't have anything sure or tangible to convince him to stay. On his good sense and instincts, Eclipse saw his shot and he took it. In regards to Eclipse and the contributions he would go on to make in Hip Hop, it is not an understatement to say—the rest was history.

Down but not out, Maestro and ZIGG ZAGG remained undeterred and committed as ever to press forward. They went back into the lab to record new material. This time the strategy was to balance out the demo so that each song could stand on its own. The original demo was well made, but the songs themselves were raw. From an A & R perspective it didn't paint the complete picture of who ZIGG ZAGG was as an artist. With the exception of "Don't Front Da Flava", there wasn't much label bait to attract a mountain climber who plays an electric guitar.

Maestro and ZIGG ZAGG were not going to make the same mistake twice.




A1 Whateva
A2 All About Da Balls
A3 Maintain Ya Rep

B1 In Ya Mind
B2 Games
B3 Pick Any Tip feat. Ness Boogie and Mighty Maestro

Produced by Mighty Maestro

Price is £19.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)

There will be 350 copies pressed ONLY.
The first 75 copies are on Purple/Gold Yellow vinyl
The next 75 are on White/Orange vinyl
And the remaining 200 are on traditional black vinyl


If ONLY buying 1 copy use this link:

If ONLY buying 2 copies use this LINK:





Let's welcome 3 new artists to the label. Part 9 of the Queens Series features NYC underground Hip Hop stalwarts Spit Gemz, Starvin B and Eff Yoo. Dope ass production courtesy of One Take, Golden Child, Don Producci, JM Productions and more. Guest MC's include Herring regulars Timeless Truth and AG Da Coroner. You already know......

Home of the Brave EP

A1 Starvin B & Spit Gemz - Milford Plaza
A2 Eff Yoo - Sir George Goony
A3 Starvin B - High Power feat. Timeless Truth
A4 Spit Gemz - Certain Deligates
A5 Eff Yoo - Trilateral Commission feat Spit Gemz & Starvin B

B1 Starvin B - Slanted Eyez feat. Aye Wun
B2 Spit Gemz - 3rahlution
B3 Starvin B feat. Spit Gemz - Rhyme Burial
B4 Eff Yoo - Wizard's Cookbook feat. AG Da Coroner & SpitGemz


A1 & A4 produced by One Take. A2 & B4 prod. by Golden Child.
A3 prod. by 86'd Beats. A5 prod. by Don Producci. B1 prod. by JM Productios.
B2 prod. by Night Prowler. B3 prod.Anno Domini.



Price is £14.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)


There will be 350 copies pressed ONLY.
The first 75 copies are on Queens Yellow vinyl
The next 75 are on Queens Blue vinyl
And the remaining 200 are on traditional black vinyl



If buying 1 copy use the PAYPAL BUTTON below:

If buying 2 copies use the PAYPAL BUTTON below:








And we find ourselves back in Queens County for Pt 8 of the Queens Series. We started the CHQU33NS cat# back in 2011 with the Welcome to the Great Outdoors EP and now, nearly 2 1/2 years later, we have some incredibly ILL new album material from MC, writer and all round fly cat Shaz IllYork. Deadstock Revival, one of THE dopest albums of the year, is Shaz's debut album proper which includes guest features from Sean P, Ill Bill, AG Da Coroner, Nutso, Poison Pen and production from JM Productions, Golden Child, Ligalize and more . For this Herring release we have selected 8 heaters to make up an EP which bangs from first to last. So, peep it:



A1 So It Begins
A2 Power Pieces feat. Sean Price
A3 Broads feat. Crisis
A4 The Shaman

B1 Ill World Order feat. Ill Bill
B2 Chopper feat. Nems, Poison Pen, Nutso, Danse Daimons (Gmix)
B3 Polo Everything
B4 Alicia Keys feat. AG Da Coroner

A1,B1 & B4 produced by JM Productions. A2 prod. by Silent Someone. A3 prod
by George Black.A4 prod. by Ligalize. B2 prod. by Golden Child. B3 prod by
DJ Twostacks.

Price is £14.99 + shipping (6.50gbp in Europe or 8gbp in USA/Oz/Asia)

There will be 350 copies pressed ONLY.
The first 75 copies are on Queens Yellow vinyl
The next 75 are on Queens Blue vinyl
And the remaining 200 are on traditional black vinyl


If buying 1 copy use the PAYPAL BUTTON below:

If buying 2 copies use the PAYPAL BUTTON below: