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  Artist Title Label Price

A Tribe Called Quest

Format: Vinyl 12 Inch
Genre: Hip Hop

Bonita Applebum

A Bonita Applebum (Why? Edit) (4:00)
B Bonita Applebum (Slave Edit) (3:50)


Cat No: JIVE PP 256


Cypress Hill

Format: Vinyl 12 Inch
Genre: Hip Hop

Lick A Shot

A1 Lick A Shot (Baka Boys Main Remix)
A2 Lick A Shot (Baka Boys Instrumental With Hook)
A3 Lick A Shot (Baka Boys Vocal Up Remix)
B1 I Wanna Get High (LP Version)
B2 I Wanna Get High (Instrumental)


Cat No: XPR 2014
Released: 1994


Truck Turner

Format: Vinyl 12 Inch
Genre: Hip Hop

Symphony 2000 / Who Am I

A Symphony 2000 (Album Version) (4:35)
B1 Who Am I (Album Version) (4:37)
B2 Who Am I (Instrumental) (4:37)


Cat No: 055051
Released: 1999


Nation Funktasia, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Anti Funky World

A1 Anti Funky World (Extended Mix) (6:32)
A2 Anti Funky World (Radio Edit) (5:07)
B1 Anti Funky World (Single Version) (4:19)
B2 Anti Funky World (LP Version) (6:18)
B3 Anti Funky World (Instrumental) (5:21)

EastWest Records America

Cat No: DMD 1623
Released: 1991


Silver Bullet

Format: Vinyl 12 Inch
Genre: Hip Hop

Undercover Anarchist

A Undercover Anarchist (Ruff To The Bone Mix) (5:33)
B Undercover Anarchist (Push To The Limit Mix) (5:06)


Cat No: 12R 6284
Released: 1991


Salt 'N' Pepa & Antoinette

Format: Vinyl 12 Inch
Genre: Hip Hop

Push It / Hit 'Em With This / I Am Down

A1 Salt 'N' Pepa Push It (Full Length Remix)
A2 Antoinette Hit 'Em With This
AA1 Salt 'N' Pepa I Am Down (Club Mix)
AA2 Salt 'N' Pepa I Am Down (Acapella)
AA3 Salt 'N' Pepa I Am Down (Instrumental)


Cat No: FFRX 2
Released: 1988



Format: Vinyl 12 Inch
Genre: Hip Hop

Who Got The Last Laugh

A1 Who Got The Last Laugh (Original Version) (4:49)
A2 Who Got The Last Laugh (Radio Version) (4:43)
B1 Who Got The Last Laugh (Club Version) (5:25)
B2 Stu's Stash (5:19)

Circa Records Ltd.

Cat No: NINJT 1
Released: 1991



Format: Vinyl 12 Inch
Genre: Hip Hop

Tinted Eyes

A1 Tinted Eyes (Optic Mix)
A2 Tinted Eyes (Optic Reprise)
B1 Tinted Eyes (Mr Sexxx's Mix)
Rap [Featuring] - Lost Boyz Remix - Mr. Sex
B2 Tinted Eyes (Cosmic Cavity Mix)
B3 Tinted Eyes (Album Mix)

4th & Broadway

Cat No: 12 BRX 356 DJ
Released: 1997


Jesse West

Format: Vinyl 12 Inch
Genre: Hip Hop


A Renegade (Extended Version) (4:54)
B1 Renegade (Club Mix) (5:26)
B2 Renegade (Club Instrumental) (3:55)


Cat No: MOT-4683
Released: 1989



Format: Vinyl Double 12 Inch
Genre: Hip Hop

Yabba Dabba Doo

A1 Yabba Dabba Doo (Original 7")
A2 Yabba Dabba Doo (La Smoov 12")
Remix - Paul Waller , Seamus Haji
B1 Yabba Dabba Doo (Party Like That Mix)
Remix - Femi Fem
B2 Yabba Dabba Doo (La Smoov 12" Instrumental)
Remix - Paul Waller , Seamus Haji
C1 Yabba Dabba Doo (Mutiny One Time For Your Mind Mix)
Remix - Mutiny
C2 Yabba Dabba Doo (Mutiny One Time For Your Mind Instrumental)
Remix - Mutiny
D1 Yabba Dabba Doo (M-Beat Jungle Mix)
Remix - M-Beat
D2 Yabba Dabba Doo (M-Beat Jungle Instrumental)
Remix - M-Beat


Released: 1994



Format: Vinyl Album
Genre: Hip Hop

Serious Beats 1

A1 Biz Markie Make The Music With Your Mouth Biz (Street Remix) (5:00)
Producer - Marley Marl
A2 Kool Moe Dee Go See The Doctor (3:57)
Producer - LaVaba Mallison , Robert Wells
A3 Salt 'N' Pepa Beauty And The Beat (4:39)
Producer - Hurby Luv Bug
A4 Ice-T Dog 'N' The Wax (5:15)
Producer - Big Beat Productions
A5 CJ Mackintosh Hip Hop Megamix (Side 1) (5:00)
Mixed By - CJ Mackintosh , Tosca (2)
B1 Rapper's Convention The Wiggle (6:13)
Producer - Glen Everett , Randy Muller
B2 Rockwell Noel & Poet, The The Wopp Sensation (Club Dub) (6:31)
Producer - Noel Orlando
B3 Klark Kent (2) / Elliot Ness (2) & Word Processor, The Gettin' Busy (5:35)
Producer - C. Brown , E. Miller
B4 Jewel-T Believe It Or Not (4:58)
Producer - Chris Schwartz , Joe "The Butcher" Nicolo
B5 CJ Mackintosh Hip Hop Megamix (Side 2) (5:00)
Mixed By - CJ Mackintosh , Tosca (2)

Serious Records

Cat No: SASB 1
Released: 1986



Format: Vinyl 12 Inch
Genre: Hip Hop

Trials Of Life

A1 Trials Of Life (Fishead Remix) (4:32)
A2 Trials Of Life (Fishead Remix Instrumental) (4:32)
B1 Trials Of Life (W.I.P. Remix) (4:12)
B2 Trials Of Life (Trial & Error Remix) (4:00)
B3 Trials Of Live (7") (3:58)

Unity Records

Cat No: UNITY 012 TDJ
Released: 1997


Original Son

Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Moodswings (The Linslee Funk Mix (Radio Edit))
A2 Moodswings (Linslee's 'The Funk II' (Real Dirty Mix))
B1 Moodswings (The Bluey Saffron Hill Mix (Radio Edit))
B2 Moodswings (The K. Gee Ghetto Style Mix)
B3 Moodswings (Candlelight No Dinner Mix)


Cat No: 74321 31465 1
Released: 1996


Hyenas In The Desert

Format: Vinyl 12 Inch
Genre: Hip Hop

Die Laughing

A1 Elefant Graveyard [Interlude]
A2 Can You Feel It
A3 Wild Dogs
A4 The Longest Night [Journal #1] [Interlude]
A5 Concubinez
B1 Why Me
B2 Fresh Meat [Interlude]
B3 Hyenas In The Desert
B4 Other Side Of Midnight

Slam Jamz

Cat No: XPR 2302
Released: 1996



Format: Vinyl 12 Inch
Genre: Hip Hop

My Neck, My Back (Lick It)

A1 My Neck, My Back (Lick It) (Kardinal Beats Dirty Club Mix) (3:24)
A2 My Neck, My Back (Lick It) (Kardinal Beats Instrumental) (3:24)
B1 My Neck, My Back (Lick It) (Street/Club Version) (3:43)
B2 My Neck, My Back (Lick It) (Kardinal Beats Clean Radio Edit) (3:02)
B3 My Neck, My Back (Lick It) (Clean Radio Edit) (3:20)


Cat No: XPR3803
Released: 2001


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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.