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  Artist Title Label Price

Kool G Rap & M.O.P. & Beanie Sigel

Format: Vinyl 12 Inch
Genre: Hip Hop

Legendary Street Team / Get That Dough

A1 Kool G Rap & M.O.P. Legendary Street Team (Radio)
A2 Kool G Rap & M.O.P. Legendary Street Team (Street)
A3 Kool G Rap & M.O.P. Legendary Street Team (Instrumental)
A4 Kool G Rap & M.O.P. Legendary Street Team (Remix Radio)
B1 Beanie Sigel Get That Dough (Radio)
B2 Beanie Sigel Get That Dough (Street)
B3 Beanie Sigel Get That Dough (Instrumental)

Not On Label

Cat No: KRS-001
Released: 2000

£6.00

Dove Shack

Format: Vinyl 12 Inch
Genre: Hip Hop

Summertime In The LBC

A1 Summertime In The LBC (Radio Edit) (3:55)
A2 Summertime In The LBC (LP Version) (3:56)
B1 Summertime In The LBC (Instrumental) (4:00)
B2 Bomb Drop (Instrumental) (4:33)

Rush Associated Labels

Cat No: 12RAL 5DJ
Released: 1995

£7.00

Incredible Mr. Freeze, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Back To The Scene Of The Crime

A1 Back To The Scene Of The Crime (Long Vocal)
A2 Back To The Scene Of The Crime (Free Style)
A3 Back To The Scene Of The Crime (Back Beat)
B1 Back To The Scene Of The Crime (Freeze's Theme)

London Records

Cat No: LONX 112

£7.00
£3.50

Black Eyed Peas, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Shut Up (Knee Deep Remix)

A1 Shut Up (LP) (05:10)
A2 Shut Up (Radio Edit) (03:46)
A3 Shut Up (Instrumental) (05:09)
A4 Shut Up (Acapella) (04:55)
B1 Shut Up (Remix) (04:23)
Remix - Knee Deep (2)
B2 Shut Up (Remix Instrumental) (04:21)
Remix - Knee Deep (2)
B3 Shut Up (Remix Acapella) (04:20)
Remix - Knee Deep (2)

A & M Records (US)

Cat No: AMRR-11025-1
Released: 2003

£6.00

Fini Dolo

Format: Vinyl 12 Inch
Genre: Hip Hop

Queens Of The Universe

A1 Queens Of The Universe (Big Bang Formula)
Remix - Kurtis Mantronik
A2 Queens Of The Universe (Original Mix)
B Queens Of The Universe (Dub)
Remix - Hardknox

Arthrob

Cat No: ART017T
Released: 1998

£7.00

Arch-E

Format: Vinyl 12 Inch
Genre: Hip Hop

Time Off

A1 Time Off
B1 Time Dub
B2 Time Instrumental

Vizion Sounds

Cat No: VSR00003
Released: 1992

£6.00

Latino Rave

Format: Vinyl 12 Inch
Genre: Hip Hop

The Sixth Sense

A1 The Sixth Sense
B1 The Sixth Sense (7" Mix)
B2 The Sixth Sense (The Power Mix)

BMG

Cat No: 12 DEEP 12
Released: 1990

£6.00
£3.00

Kool & The Gang

Format: Vinyl 12 Inch
Genre: Hip Hop

Featured Artist Album

A1 No Show
Featuring - Blackstreet Producer - Teddy Riley
A2 Cherish
Featuring - Ashanti
B1 Jungle Boogie
Featuring - Redman
B2 Hollywood Swingin'
Featuring - Jamiroquai

Not On Label

Cat No: KATG 12001
Released: 2004

£6.00

Mag

Format: Vinyl 12 Inch
Genre: Hip Hop

Hustla / How U Like It

A1 Hustla (Main Version) (3:30)
A2 Hustla (Clean Version) (3:11)
A3 Hustla (Instrumental) (3:47)
A4 Hustla (TV) (3:27)
B1 How U Like It (Main Version) (4:29)
B2 How U Like It (Instrumental) (4:29)
B3 How U Like It (TV) (4:29)

Relativity

Cat No: RPROLP-0782
Released: 1998

£5.50

Bad Manner

Format: Vinyl 12 Inch
Genre: Hip Hop

What, Who!

A1 What, Who! (Dirty Version)
A2 What, Who! (Clean Version)
A3 What, Who! (Instrumental)
B1 Real War (Dirty Version)
B2 Real War (Clean Version)

Ill Mannered Ent.

Cat No: ime001
Released: 2003

£5.00

Kris Kross

Format: Vinyl 12 Inch
Genre: Hip Hop

I Missed The Bus

A1 I Missed The Bus (Backwards To School Extended Version) (4:48)
A2 I Missed The Bus (School Krossing Mix) (2:56)
B1 I Missed The Bus (LP Version) (2:59)
B2 I Missed The Bus (Instrumental) (3:00)

Columbia

Cat No: XPR 1826
Released: 1992

£5.50

2Pac

Format: Vinyl 12 Inch
Genre: Hip Hop

Changes

A1 Changes (Album Version) (4:29)
A2 Changes (Instrumental) (4:10)
B1 Changes (Radio Edit) (4:29)
B2 Changes (Acapella) (4:09)

Jive

Cat No: 0522830
Released: 1998
Out Of Stock

Malcolm McLaren & World's Famous Supreme Team & Rakim & Roger Sanchez

Format: Vinyl 12 Inch
Genre: Hip Hop

Buffalo Gals Stampede

A1 Buffalo Gals Stampede (5:45)
B1 Buffalo Gals (Back To Skool) {Rakim Mix} (4:28)
B2 Buffalo Gals (Original Mix) (3:40)

Virgin

Cat No: VST 1717
Released: 1998

£5.50

Rob Base & DJ E-Z Rock

Format: Vinyl 12 Inch
Genre: Hip Hop

Get On The Dance Floor

A Get On The Dance Floor (The "Sky" King Remix)
AA1 Get On The Dance Floor (The Surgical "Sky" King Dub)
AA2 Get On The Dance Floor (E-Z Rockin' Bonus Beats)
AA3 Get On The Dance Floor (Original L.P. Version)

Supreme Records

Cat No: SUPET 139
Released: 1989

£3.50

Destiny's Child

Format: Vinyl 12 Inch
Genre: Hip Hop

Bills, Bills, Bills (Promo)

A1 Bills, Bills, Bills (Maurice's Xclusive Livegig Mix) (7:12)
Remix - Maurice , Steve Weeker
A2 Bills, Bills, Bills (Maurice's Xclusive Dub Mix) (8:03)
Remix - Maurice , Steve Weeker
B1 Bills, Bills, Bills (Digital Black-N-Groove Club Mix) (7:22)
Remix - Larry Sturm , Maurice , Ron Carroll
B2 Bills, Bills, Bills (Album Version) (4:16)

Columbia Records

Cat No: XPR 2490
Released: 1999

£7.00

Page of 317 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.