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  Artist Title Label Price

Beastie Boys

Format: Vinyl Double Album
Genre: Hip Hop

Ill Communication

A1 Sure Shot
A2 Tough Guy
A3 B-Boys Makin' With The Freak Freak
A4 Bobo On The Corner
A5 Root Down
B1 Sabotage
B2 Get It Together
B3 Sabrosa
B4 The Update
B5 Futterman's Rule
C1 Alright Hear This
C2 Eugene's Lament
C3 Flute Loop
C4 Do It+
C5 Ricky's Theme
D1 Heart Attack Man
D2 The Scoop
D3 Shambala
D4 Bodhisattva Vow
D5 Transitions

Capitol Records

Cat No: 509996 94232 15
Released: 2009



Format: Vinyl 12 Inch
Genre: Hip Hop

Big N Bashy

A1 Big N Bashy (Original Mix) (3:51)
A2 Big N Bashy (DJ Narrows Resurrection Mix) (5:24)
B Big N Bashy (DJ Die Full Vocal Mix) (4:46)


Cat No: VST 1847
Released: 2003



Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Creep (Radio Mix)
B1 Creep (Re-Mix)
B2 Creep (Dollar-D's Grimey Mix)

Not On Label

Cat No: CREEP 12001


Malcolm McLaren

Format: Vinyl 12 Inch
Genre: Hip Hop

Double Dutch

A Double Dutch (8:21)
B1 She's Looking Like A Hobo (2:58)
B2 D'ya Like Scratching (3:45)


Cat No: MALC 312
Released: 1982


Queen Latifah

Format: Vinyl 12 Inch
Genre: Hip Hop

Dance 4 Me Remix

A1 Untitled Mix
A2 Untitled Mix
B1 Untitled Mix
B2 Untitled Mix

Gee Street

Cat No: GEE T-16R
Released: 1989


Sean Paul

Format: Vinyl 12 Inch
Genre: Hip Hop

Ever Blazin'

A1 Ever Blazin'
A2 Ever Blazin' (Instrumental)
B1 Get With It Girl
B2 Feel Alright


Cat No: AT 0227 T
Released: 2005



Format: Vinyl 12 Inch
Genre: Hip Hop

Locked Up

A1 Locked Up (Album Version) (3:56)
A2 Locked Up (Remix) (3:50)
B1 Locked Up (Remix) (3:48)
B2 Locked Up (Instrumental) (3:31)

Universal Records

Cat No: MCST 40406
Released: 2003


50 Cent

Format: Vinyl 12 Inch
Genre: Hip Hop

Window Shopper

A1 Window Shopper
A2 Window Shopper (Instrumental)
B1 I'll Whip Ya Head Boy
B2 Window Shopper (A Capella)

Interscope Records

Cat No: 9888408
Released: 2005



Format: Vinyl 12 Inch
Genre: Hip Hop

Gangsta's Paradise

A1 Coolio Gangsta's Paradise (4:01)
A2 LV The Wrong Come Up (3:59)
B1 LV Gangsta's Boogie (Barr 9 Version) (4:40)
B2 Coolio Gangsta's Paradise (Instrumental) (3:49)

Tommy Boy

Cat No: 8122-74778-1
Released: 2006
Out Of Stock

Dr. Dre & Snoop Dogg

Format: Vinyl 12 Inch
Genre: Hip Hop

Still D.R.E.

A1 Still D.R.E. (LP Version) (4:34)
A2 Still D.R.E. (Instrumental Version) (4:34)
B1 Still D.R.E. (Radio Edit) (4:34)
B2 The Next Episode (2:42)

Aftermath Entertainment

Cat No: 497 274-1
Released: 1999


Shade Sheist

Format: Vinyl 12 Inch
Genre: Hip Hop

Not From

A1 Not From (Clean)
B1 Not From (Dirty)
B2 Not From (Instrumental)

Not On Label

Cat No: 5278
Released: 2001


Eric B. & Rakim

Format: Vinyl 12 Inch
Genre: Hip Hop

Paid In Full (Derek B.'s Urban Respray)

A Paid In Full (Derek B.'s Urban Respray) (5:13)
B1 Paid In Full (Album Mix) (3:50)
B2 Eric B. Is On The Cut (3:48)

4th & Broadway

Cat No: 12 BRX 78
Released: 1987


Roxanne Shanté

Format: Vinyl 12 Inch
Genre: Hip Hop

Live On Stage

A1 Live On Stage (Hip Hop Mix) (6:57)
A2 Live On Stage (Original Mix) (4:05)
B Live On Stage (House Mix) (6:57)


Cat No: USAT 669
Released: 1989


King Sun & D-Moet

Format: Vinyl 12 Inch
Genre: Hip Hop

Hey Love

A Hey Love (6:05)
B1 Hey Love (Radio Version) (5:00)
B2 Hey Love (The Music) (6:05)

Flame Records

Cat No: MELT 5T
Released: 1987


Cadence Weapon

Format: Vinyl 12 Inch
Genre: Hip Hop

House Music

A1 House Music
A2 House Music (Instrumental)
B1 House Music
B2 House Music (Instrumental)

Big Dada Recordings

Cat No: BD120
Released: 2008


Page of 332 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.