DISPOSABLE HEROES OF HIPHOPRISY HYPOCRISY IS THE GREATEST LUXURY 1st Press VG+
£
19
$
25
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Description
DISPOSABLE HEROES OF HIPHOPRISY HYPOCRISY IS THE GREATEST LUXURY 1st Press VG+ + Limited Edition Free 12 Inch Single Exercise Your Right To Vote
FREE FOR UK - Will Post Worldwide, but only International Tracked & Signed - I’ve put 25 Pounds as a benchmark price Worldwide - But contact me first before paying to let me know where you are in the world and I will work out a price for you and change the price accordingly.
(Posted using Record Mailers)
VINYL = VG+ Aside from a small skip on Everyday Life Has Become a Health Risk the record plays fine. Record surfaces may show some signs of slight wear, but they don't affect the listening experience and are of a cosmetic nature only. I have cleaned and play-tested both sides of the record and apart from the highlighted track plays really well and still sounds great!
SLEEVE = VG+
PLEASE SEE PHOTOS AS PART OF DESCRIPTION
I'm selling a lot of my vinyl and CD collection, because the kids are getting bigger and the house is getting smaller! Basically, it was either the kids or the records, sadly the coin came down tails...Thanks for looking!
ONLINE REVIEW
The Disposable Heroes tackled every last big issue possible with one of 1992's most underrated efforts. Dr Dre and G-funk became all the rage by the end of the year and beyond, but for those looking for at least a little more from hip-hop than that soon-to-be-clichéd style, Hypocrisy Is the Greatest Luxury did the business. The group's origins in the Beatnigs aren't hidden at all -- besides a stunning, menacing revision of that band's "Television, the Drug of the Nation," the Heroes' first single, the combination of Bomb Squad and industrial music approaches is apparent throughout. Consolidated's Mark Pistel co-produced the album while Meat Beat Manifesto's Jack Dangers helped mix it with the band, creating a stew of deep beats and bass and a constantly busy sonic collage that hits as hard as could be wanted, but not without weirdly tender moments as well. On its own it would be a more than attractive effort, but it's Michael Franti's compelling, rich voice and his chosen subject matter that really make the band something special. Nothing is left unexamined, an analysis of the American community as a whole that embraces questions of African-American identity and commitment ("Famous and Dandy (Like Amos 'n' Andy)") to overall economic and political insanity ("The Winter of the Long Hot Summer," a gripping, quietly threatening flow of a track). There's even a great jazz/funk number, "Music and Politics," with nothing but a guitar and Franti's fine singing voice, ruminating on emotional expression in music and elsewhere with wit and sly anger. Top it off with a brilliant reworking of the Dead Kennedys' anthem "California Uber Alles," lyrics targeting the then-governor of the state, Pete Wilson, and his questionable stances, and revolutions in thought and attitude rarely sounded so good.
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