RARE REDMAN CD ACETATE +ALT MIXES UNREL TRK METHOD MAN

HELLO YOU ARE LOOKING TO BUY A MEGA RARE REDMAN 3 TRACK CD-R ACETATE FROM DEF JAM RECORDS IN 1998. THIS RARE ACETATE WAS MADE IN 1998, PRIOR TO THE ALBUM BEING RELEASED OR EVEN HAVING A TITLE!  IT CONTAINS 3 SONGS, SINCE THE LISTING ON THE DISCFACE DOES NOT MENTION BUSTA RHYMES, WE BELIEVE THE VERSION OF DA GOODNESS TO BE AN EARLY ALTERNATE MIX THAT HE MIGHT NOT BE ON YET. THE LAST TRACK, BIG DOGS, FEATURES METHOD MAN AND IS NOT ON THE FINAL CD!   PLEASE READ BELOW TO FIND OUT THE DIFFERENCE BETWEEN THIS ACETATE AND THE FINAL VERSION THAT WAS RELEASED. ITEM IS IN OVERALL NEAR MINT CONDITION. DISC IS PERFECT- LOOKS NEVER PLAYED. STILL IN THE ORIGINAL JEWELCASE WHICH IS NEAR MINT- THERE IS SOME LIGHT SURFACE WEAR ON BACK OF CASE. CD IS NOT SEALED, BUT COMES STORED IN A POLYBAG SLEEVE. International please inquire for shipping rates.   Thank you for looking and HAPPY BUYING. SEE OUR OTHER ITEMS FOR THIS ARTIST

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Tracklisting (AS SHOWN ON DISC) 1. I Got A Secret (produced by Roni Size) 2. Da Goodness 3. Big Dogs (featuring Method Man) Record Label: Def Jam Catalogue No: CDR ACETATE Country of Origin: USA   Language: Regardless of country of origin all tracks are sung in English, unless otherwise stated in our description. Additional info: PromoDeleted Format: CD-R(ECORDABLE) !--USA-CDR-PROMO#NAME->DESC#CD-R’s (Compact Disc-Recordable - also known as CD-Writable) are now often produced by record companies prior to, or instead of, distribution of a ‘finished’ promotional CD. Also known as a CD-R ‘acetate’, they got this name when they first appeared as they were the digital technology equivalent of the metal and lacquer ‘acetate’ discs of the 60’s & 70’s. These were first cut in the studio, direct from the master tape and they enabled the artist, producer or record company executive to hear a track away from the studio environment almost straightaway; all they needed was a turntable to play the acetate. Nowadays the same theory applies, although on CD-R they can simply play it on their car stereo or personal Walkman!Early U.S. CD-R’s were gold in colour, and usually had simple handwritten artist and title information on the disc and sleeve insert, much like the acetates of previous decades. As technology progressed these discs were customised by the studios using them. They subsequently progressed to the silver and blue discs still in use today. These almost always have computer printed titles on the ‘label’ side and since duplication techniques have improved they are often a cheaper, and quicker, alternative for record companies to use instead of manufacturing proper compact discs.In extreme cases some CD-R’s may be produced weeks or months before a promotional disc is planned; even before titles, catalogue numbers and release dates have been scheduled. As a result some tracks may be left un-mastered, meaning they have not gone through the final editing process, they could have alternate ‘work-in-progress’ titles or be somehow different to the final mastered version. Generally, however, they are more likely to be used as a simple promotional format in much the same way that the more traditional promotional CDs are. CD-R’s are usually housed in a plain white titled sleeve which gives just basic information such as artist, title, tracks, running time and record or production company logos; but they can sometimes be issued in a picture sleeve if the final artwork is available. They rarely display a catalogue number. Depending on their intended purpose they can be just 1-track (usually the next single), multiple track album samplers or ‘teasers’, full albums, or even multiple discs to promote boxed sets or a back catalogue reissue campaign.They have become ever more collectable in recent years and genuine, early examples have been known to fetch significant sums.--> CD-R’s are now often produced by record companies prior to, or instead of, distribution of a ‘finished’ promotional CD. Also known as a CD-R ‘acetate’, they got this name when they first appeared as they were the digital technology equivalent of the metal and lacquer ‘acetate’ discs of the 60’s & 70’s. These were first cut in the studio, direct from the master tape and they enabled the artist, producer or record company executive to hear a track away from the studio environment almost straightaway. CD-R’s may be produced weeks or months before a promotional disc is planned; even before titles, catalogue numbers and release dates have been scheduled. As a result some tracks may be left un-mastered, meaning they have not gone through the final editing process, they could have alternate ‘work-in-progress’ titles or be somehow different to the final mastered version.  As technology progressed these discs were customised by the studios using them. They subsequently progressed to the silver and blue discs still in use today. These almost always have computer printed titles on the ‘label’ side and since duplication techniques have improved they are often a cheaper, and quicker, alternative for record companies to use instead of manufacturing proper compact discs. CD-R’s are usually housed in a plain white titled sleeve which gives just basic information such as artist, title, tracks, running time and record or production company logos. They rarely display a catalogue number. Depending on their intended purpose they can be just 1-track (usually the next single), multiple track album samplers or ‘teasers’, full albums, or even multiple discs to promote boxed sets or a back catalogue reissue campaign. They have become ever more collectable in recent years and genuine, early examples have been known to fetch significant sums. Details Contributing Artists: Busta Rhymes, Dave Hollister, Erick Sermon, Keith Murray, Markie, Method Man Distributor: Universal Distribution Recording Type: Studio Recording Mode: Stereo SPAR Code: n/a Album NotesPersonnel includes: Redman, Method Man, Busta Rhymes, Erick Sermon, Keith Murray, Dave Hollister (rap vocals).Producers: Reggie Noble, Erick Sermon, Rockwilder, Roni Size.Engineers include: Troy Hightower, Mark Berto, Tom Chianti.Recorded at Mirror Image Studios West & Sountrack Studios, New York, New York; Mirror Image Studios East, Dix Hills, New York; The Enterprise Recording Studios, Los Angeles, California. The pride of Newark takes a slow rumble through hip-hop's history, jacking whatever beats he takes a shine to (Ice Cube, Audio Two, and the Beastie Boys) and on the closing Roni Size collaboration, "I Got A Secret, " he invents a dazed, earthy style of drum 'n' bass rhyming. True to his mischievous, somewhat outrageous rep, Redman made sure that his music is a non-stop party throughout. As enjoyable as his skits are, his songs are about beats 'n' rhymes, as only Redman can deliver them. Continuing on the party motif, plenty of friends drop by to lend their skills to the effort-- "Da Goodness " features the maniacal Busta Rhymes, wild as ever, and labelmate Method Man checks in for a dynamic, no-holds-barred team effort.Editorial Reviews...he still keeps tape decks rewinding....Redman deserves that ever-elusive platinum plaque...The Source (03/01/1999)4 (out of 5) - ...Like most other hardcore rappers, he's unapologetic, profane, rude, confrontational, and smugly self-assured....[T]hese catchy, funk-drenched soundscapes draw attention...Rap Pages (03/01/1999)...Mr. Noble has possessed an incorrigible jones for da funk....the new album treats us to requisite cameos from Def Squad coconspirators Erick Sermon and Keith Murray...Vibe (02/01/1999)...Nine years and four solo albums into the game, the most blunted member of the Def Squad is as exuberant, theatrical and on point as ever...Rolling Stone (02/04/1999)4 stars (out of 5) - ...The funk is so dirty, Redman so utterly, charmingly, funnily unpleasant, that you're going to love it...Muzik (02/01/1999)Included in The Source's Top 10 Albums of the Year [1999].The Source (02/01/2000)3 out of 5 - ...deep, throw-your-hands-in-the-air hip hop of unparalleled wit and intensity....classic funk-driven hip hop...Mixmag (01/01/1999) One thumping jam follows another as Redman keeps his humor-laced rhymes raw and his ear to the street.                                  USA Today (1998)