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  Artist Title Label Price


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


Krash Man

Format: Vinyl 12 Inch
Genre: Hip Hop

Booty Mack

A1 Booty Mack (Single Mix)
A2 Booty Mack (Instrumental)
B1 Booty Mack (Doobeeass Mix)
B2 Something For The Players To Roll On

4th & Broadway

Cat No: 12 BRW 294
Released: 1993



Format: Vinyl 12 Inch
Genre: Hip Hop

Luv 'N' Hate Special Mix For '96

A1 Luv 'N' Hate Special Mix For '96 (Incorporating Stuck On You) (8:11)
A2 Stuck On You (4:20)
B1 Bonus Beats 1 (2:05)
B2 Ooh La La (Here The Sound) (4:12)
B3 Bonus Beats 2 (1:00)
B4 Original Heads (Two Hours & Counting Mix) (5:00)

Pussyfoot Records Ltd

Cat No: PUSSY 010
Released: 1996


The Soul Snatchers

Format: Vinyl 12 Inch
Genre: Hip Hop

Blam Blam

A BLAM BLAM extended version (5:24)
B1 radio version (4:01)
B2 instrumental version (5:26)

Warlock Records

Cat No: WAR-177 DJ
Released: 1995


Destiny's Child

Format: Vinyl 12 Inch
Genre: Hip Hop

Independent Women Part I&II

A1 Independent Women Part I (Album Version) (3:41)
A2 Independent Women Part II (3:45)
B1 So Good (3:14)
B2 Say My Name (Timbaland Remix) (5:01)


Cat No: 670593 6
Released: 2000


Rob Base & DJ E-Z Rock

Format: Vinyl 12 Inch
Genre: Hip Hop

Get On The Dancefloor

A Get On The Dancefloor (Extended Version)
B Get On The Dancefloor (Radio Edit)

Simply Vinyl (S12)

Cat No: S12DJ-142
Released: 2004



Format: Vinyl 12 Inch
Genre: Hip Hop


A Digi
B1 Digi (Acapella)
B2 Digi (Instrumental)


Cat No: WTST5
Released: 1991


Notorious B.I.G.

Format: Vinyl 12 Inch
Genre: Hip Hop

Mo Money Mo Problems

A1 Mo Money Mo Problems (Album Version) (4:18)
A2 Mo Money Mo Problems (Instrumental) (4:12)
B1 Mo Money Mo Problems (Razor-N-Go EEC, Main Mix) (10:38)
Remix - Razor N' Guido
B2 Mo Money Mo Problems (R-N-G 14th. Street Dub) (4:40)
Remix - Razor N' Guido

Puff Daddy Records

Cat No: 74321 49249 1
Released: 1997



Format: Vinyl 12 Inch
Genre: Hip Hop

On the Dancefloor

A1 On the Dancefloor (Original Disco Mix) (4:53)
A2 On the Dancefloor (NiteLife Vocal Mix #2) (6:10)
B On the Dancefloor (Hard House Mix) (6:22)


Cat No: SPECT02T


James Lee Wild

Format: Vinyl 12 Inch
Genre: Hip Hop

Who's Got My Number

A The Groove Corp Mix
B 7" Version


Cat No: JLWR2 DJ
Released: 1989


Rockers Hi-Fi

Format: Vinyl 12 Inch
Genre: Hip Hop

90º Fuzzwalk

A 1 90º Fuzzwalk (Album Mix) (4:14)
A 2 90º Fuzzwalk (Kevin Sakoda's Downlow Remix) (3:28)
B 1 90º Fuzzwalk (Painted Van Down Beat Mix) (4:30)
B 2 90º Fuzzwalk (Painted Van Middle Of The Dancefloor Mix) (6:06)

Not On Label

Cat No: SAM 3028
Released: 1996



Format: Vinyl 12 Inch
Genre: Hip Hop

All I See (Remix)

A1 All I See (Beatminerz Remix) (4:05)
A2 All I See Remix (Original Version) (4:05)
A3 Party Joint (4:10)
B1 All I See (Remix Acapella) (4:01)
B2 All I See (Remix Instrumental) (4:05)
B3 All I See (4:24)

Universal Records

Cat No: U12-56021
Released: 1996


Page of 329 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.