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  Artist Title Label Price

CJ Lewis

Format: Vinyl 12 Inch
Genre: Hip Hop

R To The A

A1 R To The A (Radio 7")
A2 R To The A (Drum&Bass Mix)
B1 R To The A (Knucleheads Radio Mix)
B2 R To The A (Album Mix)

Black Market International

Cat No: BMI 030 T


Busta Rhymes

Format: Vinyl 12 Inch
Genre: Hip Hop

Turn It Up (Remix) / Fire It Up

A1 Turn It Up (Remix) / Fire It Up (Dirty) (3:58)
Co-producer - Spliff Star Engineer [Assistant] - Jin Won Lee
A2 Turn It Up (Remix) / Fire It Up (Instrumental) (3:58)
Co-producer - Spliff Star Engineer [Assistant] - Jin Won Lee
B1 Turn It Up (LP Version - Dirty) (4:13)
Engineer [Assistant] - Rich Tapper , Tom Passetti Engineer [Mix] - Dominick Barbera Written-By - A. Green*
B2 Turn It Up (Instrumental) (4:13)
Engineer [Assistant] - Rich Tapper , Tom Passetti Engineer [Mix] - Dominick Barbera Written-By - A. Green*


Cat No: E3847T
Released: 1998


Mr. Lee

Format: Vinyl 12 Inch
Genre: Hip Hop

Get Busy

A Get Busy (Club Mix)
B1 Get Busy (Hit Man's House Mix)
B2 Get Busy (Chicago Mix)


Cat No: JIVE T 231
Released: 1989


The D.O.C.

Format: Vinyl 12 Inch
Genre: Hip Hop

Portrait Of A Masterpiece

A1 Portrait Of A Masterpiece (CJ's Ed-Did-It Mix) (4:40)
A2 Portrait Of A Masterpiece (CJ's Ed-Did-It 7" Mix) (2:57)
B1 Portrait Of A Masterpiece (Hip Hop 12" Extended Mix) (5:18)
B2 Portrait Of A Masterpiece (Original Album Version) (2:30)


Cat No: A 9894 T
Released: 1990



Format: Vinyl 12 Inch
Genre: Hip Hop

The Power

A1 The Power (Maxi) (5:42)
A2 The Power (Single Version) (3:45)
B The Power (Dub) (5:24)


Cat No: 613 133
Released: 1990


Beverley Knight

Format: Vinyl Double 12 Inch
Genre: Hip Hop

Prodigal Sista

A1 Intro (Good Morning World)
A2 Made It Back
A3 Rewind (Find A Way)
A4 Damn
A5 A.W.O.L.
A6 Sista, Sista
B1 Strong Hand
B2 Greatest Day
B3 That's Alright
B4 Tomorrow
B5 Send Me, Move Me, Love Me
B6 The Need Of You
B7 Good Morning World
C1 Made It Back 99 (Good Times Mix)
C2 Rewind (Find A Way) (Dodge's Master Mix)
C3 A.W.O.L. (Jus Bounce Mix)
D1 Greatest Day (Classic Mix)
D2 Sista Sista (Full Crew Main Mix)

EMI Records

Cat No: 7243 4 98283 1 5
Released: 1999


Vanilla Ice

Format: Vinyl 12 Inch
Genre: Hip Hop

Rollin' In My 5.0

A Rollin' In My 5.0 (Studio Full Version) (4:40)
B1 Play That Funky Music (Live) (4:59)
B2 Rollin' In My 5.0 (Live Full Version) (5:23)

SBK Records

Cat No: 12SBK 27
Released: 1991


Power Jam

Format: Vinyl 12 Inch
Genre: Hip Hop

The Power


Wild Pitch

Cat No: WP 1018
Released: 1990


Grandmaster Flash & Melle Mel

Format: Vinyl 12 Inch
Genre: Hip Hop

White Lines (Don't Don't Do It)

A White Lines (Don't Don't Do It) (US Street Mix)
B White Lines (Don't Don't Do It) (Instrumental)

Sugar Hill Records

Cat No: SHL 130
Released: 1984



Format: Vinyl 12 Inch
Genre: Hip Hop

Keep Groovin

A1 Keep Groovin (Original Mix)
A2 Keep Groovin (Original Instrumental)
B1 Keep Groovin (Hip Hop Mix)
B2 Keep Groovin (Bugged Out Instrumental)

Big One Records

Cat No: VVBIG 23
Released: 1990


First Rate

Format: Vinyl 12 Inch
Genre: Hip Hop

Bar Fight

A1 Bar Fight (Radio)
A2 Bar Fight (Album Version)
A3 Bar Fight (Acapella)
B1 Freedom
B2 Bar Fight (Instrumental)

Scenario Records

Cat No: SC039
Released: 2005


Maxi Priest

Format: Vinyl 12 Inch
Genre: Hip Hop

Close To You (The Roundhouse Mixes)

A1 Close To You (Phil Bodger Main Body Mix)
A2 Close To You (Phil Bodger 7" Radio Mix)
A3 Close To You (Bodger's Bonus Beats)
B1 Close To You (Phil Chill's Rap Sensation)
B2 Close To You (The Leo Grant "Bad Ass" Mix)
B3 Close To You (Acapella&Drum Mix by Leo Grant)

Ten Records Ltd. (10 Records)

Cat No: TENDJ 294
Released: 1990



Format: Vinyl 12 Inch
Genre: Hip Hop

Phat Beats 222

A1 Dead Prez I'm An African (DJ Angola Remix)
A2 Nas If I Ruled The World (Kraze One Remix)
B1 Deep Blue & Destiny's Child Staircase / Survivor (DJ Deano Remix)
B2 Cutmaster Swift Swiftbeatz


Cat No: DMC 222/2
Released: 2001


Salt 'N' Pepa

Format: Vinyl Album
Genre: Hip Hop

A Salt With A Deadly Pepa

A1 Intro Jam
A2 A Salt With A Deadly Pepa
A3 I Like It Like That
A4 Solo Power (Let's Get Paid)
A5 Shake Your Thang (It's Your Thing)
A6 I Gotcha
A7 Let The Rhythm Run (Remix)
B1 Everybody Get Up
B2 Spinderella's Not A Fella (But A Girl DJ)
B3 Solo Power (Syncopated Soul)
B4 Twist And Shout
B5 Hyped On The Mic
B6 Push It (US Remix)


Cat No: FFRLP 3
Released: 1988



Format: Vinyl 12 Inch
Genre: Hip Hop

Rump Shaker (Remix)

A1 Rump Shaker (Radio Remix) (Raggaside) (4:34)
A2 Rump Shaker (Dub) (6:00)
B1 Rump Shaker (Teddy 2) (6:00)
B2 Rump Shaker (Percapella) (3:19)

MCA Records Ltd.

Cat No: MCST 1725
Released: 1992


Page of 318 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.