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  Artist Title Label Price

B-Rock & The Bizz

Format: Vinyl 12 Inch
Genre: Hip Hop

My Baby Daddy

A1 My Baby Daddy (Bassed Out Club Mix) (4:42)
A2 My Baby Daddy (Radio Edit) (3:34)
B1 My Baby Daddy (Instrumental) (3:34)
B2 My Baby Daddy (Acappalla) (3:53)

LaFace Records

Cat No: 74321 49253 1
Released: 1997



Format: Vinyl 12 Inch
Genre: Hip Hop

Can't You See (The Remixes)

A1 Can't You See (Bad Boy Remix) (4:17)
Remix - Sean "Puffy" Combs
A2 Can't You See (So So Def Remix) (4:36)
Remix - Jermaine Dupri
A3 Can't You See (Bad Boy Remix Instrumental) (4:25)
Remix - Sean "Puffy" Combs
A4 Can't You See (So So Def Remix Instrumental) (4:35)
Remix - Jermaine Dupri
B1 Can't You See (Original Version) (4:54)
B2 Can't You See (Hard House Vocal Mix) (6:17)
Remix - E-Smoove
B3 Can't You See (Funky Piano Dub Mix) (6:20)
Remix - E-Smoove

Tommy Boy Music

Cat No: TB 700
Released: 1995


Digital Bled

Format: Vinyl 12 Inch
Genre: Hip Hop

Esperanto Chuva

Saint George

Cat No: SAN 669246 6


Weather, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Touch Type / Winthorp & Winthorp

A Touch Type
Producer - Paris Zax
B Winthorp & Winthorp
Producer - Daddy Kev


Cat No: MH-021
Released: 2003



Format: Vinyl 12 Inch
Genre: Hip Hop

Lovely / Heavenly Daughter

A Lovely (Bounce Mix) (5:40)
Co-producer - Femi Williams , Kwesi
B1 Heavenly Daughter (Brooklyn Yanks Mix) (3:27)
Producer - Carl McIntosh Remix - Dennis Mitchell
B2 Heavenly Daughter (Acapella) (3:02)
Co-producer - Carl McIntosh , Kwesi

Sony Music Entertainment (UK)

Cat No: XPR3130
Released: 1997


Vanilla Ice

Format: Vinyl 12 Inch
Genre: Hip Hop

Ice Ice Baby

A1 Ice Ice Baby (Miami Drop Mix) (4:58)
A2 Ice Ice Baby (Instrumental Mix) (4:59)
B1 It's A Party (4:39)
B2 Ice Ice Baby (Radio Mix) (4:28)

SBK Records

Cat No: 12SBK 18
Released: 1990


The Original Unknown DJ's

Format: Vinyl Album
Genre: Hip Hop

Dope Breaks

A1 Bass Beats (3:00)
A2 Funky Train (3:00)
A3 Base (3:00)
A4 Soul Time (3:00)
A5 900 (3:00)
A6 Freestyle (3:00)
A7 Speech: Rev. Louis Farrakhan (2:00)
B1 De La... (4:00)
B2 New Beat (4:00)
B3 Hi-Tech Drums I (4:00)
B4 Real Drums (4:00)
B5 Hi-Tech Drums II (4:00)
B6 Buffalo Beats (4:00)

Warrior Records

Cat No: WRR12 006
Released: 1989



Format: Vinyl 12 Inch
Genre: Hip Hop

The Word 4 Tracker

A1 Whodini Be Yourself
A2 Kool Moe Dee Dumb Dick (Richard)
B1 DJ Jazzy Jeff & The Fresh Prince He's The DJ I'm The Rapper
B2 Steady B Use Me (Before I Let Go)


Cat No: RAP EP T1
Released: 1987


Richie Rich

Format: Vinyl 12 Inch
Genre: Hip Hop

Turn It Up

A Turn It Up (Club Mix) (5:25)
B Turn It Up (Dub Mix) (5:30)


Cat No: JABX 68
Released: 1988


The 45 King

Format: Vinyl 12 Inch
Genre: Hip Hop

The King Is Here

A The King Is Here
B1 The 900 Number
B2 Coolin'

Dance Trax

Cat No: DRX 912
Released: 1989


Various & Alex And The City Crew

Format: Vinyl Album
Genre: Hip Hop


1. Break To The Music
A1 Original Street Machine Breakdance Party
A2 Rapologists Kids' Rap (The Hip Hop Beat)
A3 Raydio Kaves Automatic
A4 B.T. & The City Slickers Rockit
A5 Joy And The Sticks Lets Hear It For The Boy
A6 10 Speed Tour De France
2. Learn To Break
B1 Alex And The City Crew Electric Shocks
B2 Alex And The City Crew Space Walk Action
B3 Alex And The City Crew Rap-O-Lution
B4 Alex And The City Crew Scratch Walk
B5 Alex And The City Crew Shake Your Arm Up And Down With The Boogie Speed
B6 Alex And The City Crew Boogie Head
B7 Alex And The City Crew Let Electro Beat Make Your Body Move
B8 Michael Holman The New York City Breakers


Cat No: NE 1276
Released: 1984


DJ Nemesis

Format: Vinyl Album
Genre: Hip Hop

Jamm Attakk - Rave Beats Volume One

A1 Hardcore Piano Beats
A2 Tuff Stuff
A3 Spaced Out
A4 Black Picture
A5 Beats Of Life
A6 Jazzy Drums
A7 Gypsy Beats
B1 Shake It
B2 Dub Beats
B3 Mellow Madness
B4 Low Voltage Swing
B5 Sonic Shakedown
B6 Bazooka Beats
B7 Riffin'

Music Of Life

Released: 1992


Wee Papa Girl Rappers

Format: Vinyl 12 Inch
Genre: Hip Hop

Heat It Up

A Heat It Up
Producer - Two Men And A Drum Machine
B1 Flaunt It
Producer - Hamish McDonald
B2 Heat It Up (Instrumental)
Producer - Two Men And A Drum Machine


Cat No: JIVE T 174
Released: 1988



Format: Vinyl 12 Inch
Genre: Hip Hop

Down By Law

A1 Down By Law (3:06)
A2 Blind Driver (2:31)
B1 Bubonic (3:10)
B2 Bubonic (Instrumental) (3:07)

Warp Records

Cat No: WAP 178
Released: 2004


DJ King Groove

Format: Vinyl 12 Inch
Genre: Hip Hop

Dope Breaks 2

A1 Most Wanted
A2 Wicked Drummer
A3 In Session (Part 1)
A4 Long Live The Beat
A5 In Session (Part 2)
A6 Speech: Louis Farrakkhan
B1 Can You Feel It
B2 Pure Beats
B3 Dope Noise
B4 20 Seconds
B5 Stored II

Warrior Records

Cat No: WRR12 011
Released: 1990


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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.