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  Artist Title Label Price

Mo Thugs Family

Format: Vinyl 12 Inch
Genre: Hip Hop

Family Scriptures Chapter II: Family Reunion

A Felecia All Good (Felecia Featuring Krayzie Bone) (3:57)
B Potion (2) U Don't Own Me (Potion Featuring Krayzie Bone) (5:43)

Epic

Cat No: XPR 3266
Released: 1998

£5.00

Run-DMC

Format: Vinyl 12 Inch
Genre: Hip Hop

Run's House / Beats To The Rhyme

A1 Run's House (3:49)
A2 Beats To The Rhyme (2:43)
B1 Run's House (Instrumental) (3:49)
B2 Beats To The Rhyme (Instrumental) (2:43)

Profile Records

Cat No: PRO-7202

£4.50

Hexdragon

Format: Vinyl 12 Inch
Genre: Hip Hop

Little Black Riding Hood

A1 Little Black Riding Hood
B1 Instrumental
B2 Acapella

Virgin

Cat No: Hexdragon

£4.50

MC Thick

Format: Vinyl 12 Inch
Genre: Hip Hop

Marrero (What The F___ They Be Yellin)

A1 Marrero (What The F___ They Be Yellin) (Explicit Version) (6:55)
A2 Marrero (What The Fellas They Be Yellin) (Extended Mix) (6:49)
B1 Marrero (What The Fellas They Be Yellin) (Extended Mix) (6:49)
B2 Marrero (What The Fellas They Be Yellin) (Instrumental) (7:02)

Atlantic

Cat No: PR 4310
Released: 1991

£4.50

Marxman

Format: Vinyl 12 Inch
Genre: Hip Hop

Sad Affair / Dark Are The Days

A1 Sad Affair
B1 Dark Are The Days
B2 Dark Are The Days (Instrumental)

Take The Floor

Cat No: TTFT 001
Released: 1992

£4.50

Ludacris

Format: Vinyl 12 Inch
Genre: Hip Hop

Area Codes

A Area Codes (LP Version) (3:43)
B1 Southern Hospitality (Explicit Album Version) (5:02)
B2 Area Codes (Radio Edit) (3:40)

Def Jam Recordings

Cat No: 588 772-1
Released: 2001

£6.00
£3.00

Bubba Sparxxx

Format: Vinyl 12 Inch
Genre: Hip Hop

Ugly

A1 Ugly (Clean Version) (4:24)
A2 Ugly (LP Version) (4:25)
B1 Ugly (Instrumental) (4:14)
B2 Ugly (Acapella) (4:23)

Interscope Records

Cat No: INTR-10499-1
Released: 2001

£5.00

Mantronix

Format: Vinyl 12 Inch
Genre: Hip Hop

Take Your Time (Remix)

A Take Your Time (Beat You Down Mix) (7:08)
B1 Got To Have Your Love (Hurley's House Mix) (5:21)
Remix - Steve "Silk" Hurley
B2 Got To Have Your Love (Illinois Mix) (5:47)
Remix - Steve "Silk" Hurley

Capitol Records

Cat No: 12CLX 573
Released: 1990

£7.00

Ca$hflow

Format: Vinyl 12 Inch
Genre: Hip Hop

Mine All Mine / Party Freak

A Mine All Mine
AA1 Party Freak (Latin Rascal Edit)
Remix - Latin Rascals, The
AA2 It's Just A Dream

Club

Cat No: JABX 30
Released: 1986

£6.00

Jonzun Crew, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Time Is Running Out

A Time Is Running Out (Overtime Mix)
B1 Time Is Running Out (Vocal Mix)
B2 Time Is Running Out (Last Minute Mix)

21 Records

Cat No: POSPX 698
Released: 1984

£10.00

Witchdoctor

Format: Vinyl 12 Inch
Genre: Hip Hop

Album Sampler

A1 Holiday / 12" Scanner (4:48)
Producer - Rob & Emporer Searcy Written By - Dwayne Searcy , Josh Butler , Robert McDowell
A2 A.T.L. The Great Big Lick (4:14)
Written By - Organized Noize
B1 Heaven Comin' (4:06)
Written By - David Sheats , Organized Noize
B2 Dez Only 1 (4:33)
Written By - Andre Benjamin , Antwan Patton , Organized Noize

Interscope Records

Cat No: WITCH 1
Released: 1998

£7.00

Me One

Format: Vinyl 12 Inch
Genre: Hip Hop

Game Plan

A1 Game Plan (Roshere Remix)
A2 Game Plan (Album Version)
B1 Game Plan (Cameron McVey Remix)

Island Records

Cat No: 12 IS 751
Released: 1999

£6.00

Ice-T

Format: Vinyl 12 Inch
Genre: Hip Hop

That's How I'm Livin'

A1 That's How I'm Livin' (On The Rox Remix)
A2 Colours
B1 Ricochet
B2 New Jack Hustler (Nino's Theme) (12" Mix)

Rhyme $yndicate Records

Cat No: SYNDT2
Released: 1993

£5.50

Photek & Choc Ty & Chiara Harris

Format: Vinyl 12 Inch
Genre: Hip Hop

We Got Heat

A1 We Got Heat
A2 We Got Heat (Instrumental Mix)
B1 We Got Heat (Radio Edit)
B2 We Got Heat (Acapella Mix)

51st State

Cat No: RIFTEK1201UKR
Released: 2003

£4.50

Mama Mystique

Format: Vinyl 12 Inch
Genre: Hip Hop

Tremendous

A Tremendous (Rae & Christian Mix)
B Tremendous (Original Mix)

Multiply Records

Cat No: 12MULTY 24P
Released: 1997

£4.50

Page of 331 next >>

Information on the Hip Hop genre

Hip hop is a cultural movement incorporating i rockbreakdancing (B-boying), music, graffiti writing, DJing and MCing. It originated in the African American, Jamaican communities of New York City (with the South Bronx as the center) in the late 1970s. It was DJ Afrika Bambaataa that outlined the five pillars of hip-hop culture: MCing, DJing, breaking, graffiti writing, and knowledge. Other elements include beatboxing, hip hop fashion, and slang. Since first emerging in the Bronx, the lifestyle of hip hop culture has spread around the world. When hip hop music began to emerge, it was based around disc jockeys who created rhythmic beats by looping breaks (small portions of songs emphasizing a percussive pattern) on two turntables, which is now more commonly referred to as sampling. This was later accompanied by "rapping" (a rhythmic style of chanting or poetry more formally in 16 bar measures or time frames) and beatboxing, a vocal technique mainly used to imitate percussive elements of the music and various technical effects of hip hop DJs. An original form of dancing and particular styles of dress arose among followers of this new music. These elements experienced considerable refinement and development over the course of the history of the culture.

The relationship between graffiti and hip hop culture arises from the appearance of new and increasingly elaborate and pervasive forms of the practice in areas where other elements of hip hop were evolving as art forms, with a heavy overlap between those who wrote graffiti and those who practiced other elements of the culture.


Jamaican born DJ Clive "Kool Herc" Campbell is credited as being highly influential in the pioneering stage of hip hop music, in the Bronx, after moving to New York at the age of thirteen. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of toasting – or boasting impromptu poetry and sayings over music – which he witnessed as a youth in Jamaica.

Herc and other DJs would tap into the power lines to connect their equipment and perform at venues such as public basketball courts and at 1520 Sedgwick Avenue, Bronx, New York, a historic building "where hip hop was born". Their equipment was composed of numerous speakers, turntables, and one or more microphones. In late 1979, Debbie Harry of Blondie took Nile Rodgers of Chic to such an event, as the main backing track used was the break from Chic's Good Times.
Kool DJ Herc is credited as being highly influential in the pioneering stage of hip hop music.

Herc, along with Grandmaster Flash was also the developer of break-beat deejaying, where the breaks of funk songs—the part most suited to dance, usually percussion-based—were isolated and repeated for the purpose of all-night dance parties. This breakbeat DJing, using hard funk, rock, and records with Latin percussion, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers would lead to the syncopated, rhymed spoken accompaniment now known as rapping. He dubbed his dancers break-boys and break-girls, or simply b-boys and b-girls. According to Herc, "breaking" was also street slang for "getting excited" and "acting energetically". Herc's terms b-boy, b-girl and breaking became part of the lexicon of hip hop culture, before that culture itself had developed a name.

Later DJs such as Grand Wizard Theodore, Grandmaster Flash and Jazzy Jay refined and developed the use of breakbeats, including cutting and scratching. The approach used by Herc was soon widely copied, and by the late 1970s DJs were releasing 12" records where they would rap to the beat. Popular tunes included Kurtis Blow's "The Breaks", and The Sugar Hill Gang's "Rapper's Delight".

Emceeing is the rhythmic spoken delivery of rhymes and wordplay, delivered over a beat or without accompaniment. Rapping is derived from the griots (folk poets) of West Africa, and Jamaican-style toasting. Rap developed both inside and outside of hip hop culture, and began with the street parties thrown in the Bronx neighborhood of New York in the 1970s by Kool Herc and others. It originated as MCs would talk over the music to promote their DJ, promote other dance parties, take light-hearted jabs at other lyricists, or talk about problems in their areas and issues facing the community as a whole.[citation needed] Melle Mel, a rapper/lyricist with The Furious Five, is often credited with being the first rap lyricist to call himself an "MC".

In the late 1970s an underground urban movement known as "hip-hop" began to develop in the South Bronx area of New York City. Encompassing graffiti art, break dancing, rap music, and fashion, hip-hop became the dominant cultural movement of the African American and Hispanic communities in the 1980s. Tagging, rapping, and break dancing were all artistic variations on the male competition and one-upmanship of street gangs. Sensing that gang members' often violent urges could be turned into creative ones, Afrika Bambaataa founded the Zulu Nation, a loose confederation of street-dance crews, graffiti artists, and rap musicians. By the late 1970s, the culture had gained media attention, with Billboard magazine printing an article titled "B Beats Bombarding Bronx", commenting on the local phenomenon and mentioning influential figures such as Kool Herc.

Hip hop as a culture was further defined in 1982, when Afrika Bambaataa and the Soulsonic Force released the seminal electro-funk track "Planet Rock". Instead of simply rapping over disco beats, Bambaataa created an electronic sound, taking advantage of the rapidly improving drum machine, synthesizer technology as well as sampling from Kraftwerk.

The appearance of music videos changed entertainment: they often glorified urban neighborhoods. The music video for "Planet Rock" showcased the subculture of hip hop musicians, graffiti artists, and b-boys/b-girls. Many hip hop-related films were released between 1982 and 1985, among them Wild Style, Beat Street, Krush Groove, Breakin, and the documentary Style Wars. These films expanded the appeal of hip hop beyond the boundaries of New York. By 1985, youth worldwide were embracing the hip hop culture. The hip hop artwork and "slang" of US urban communities quickly found its way to Europe and Asia, as the culture's global appeal took root.

The 1980s also saw many artists make social statements through hip hop. In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash and The Furious Five), a song that foreshadowed the socially conscious statements of Run-DMC's "It's like That" and Public Enemy's "Black Steel in the Hour of Chaos".

During the 1980s, hip hop also embraced the creation of rhythm by using the human body, via the vocal percussion technique of beatboxing. Pioneers such as Doug E. Fresh, Biz Markie and Buffy from the Fat Boys made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate turntablism scratching or other instrument sounds.