Stock Level:
[ reset ]
5395 Records Match your Search
[ Change Stock Level above to view In Stock, Latest & Sale Items, and the other search fields to narrow down your Search ]
Page of 360 next >>
  Artist Title Label Price

Jungle Brothers

Format: Vinyl 12 Inch
Genre: Hip Hop

On The Run

Jay Side
A1 On The Run (LP Version) (4:04)
A2 Take A Breath (4:04)
A3 Dub The Run (3:54)
Bee Side
B1 I'll House You (5:10)
B2 Housepella (A House Is Not A Hut) (3:00)
B3 I'll Show You (4:07)


Cat No: WAR-022
Released: 1988


Afrika Bambaataa & Soulsonic Force

Format: Vinyl 12 Inch
Genre: Hip Hop

Planet Rock

A Planet Rock (Extended Version) (7:30)
B Planet Rock (Extended Instrumental Version) (9:12)

21 Records

Cat No: POSPX 497
Released: 1982


Planet Patrol & Afrika Bambaataa & Soulsonic Force

Format: Vinyl 12 Inch
Genre: Hip Hop

Play At Your Own Risk / Planet Rock

A Planet Patrol Play At Your Own Risk (Vocal) (Full Length Version) (7:29)
B1 Planet Patrol Rock At Your Own Risk (Instrumental) (Full Length Version) (8:20)
B2 Afrika Bambaataa & Soulsonic Force Planet Rock (Extended Version) (3:24)

21 Records

Cat No: POSPX 535
Released: 1982



Format: Vinyl 12 Inch
Genre: Hip Hop

Killing Time EP

A1 Killing Time
A2 T Minus 60
B1 In The Shadows
B2 Dub Rise

Hardcore Urban Music

Cat No: urban ep5
Released: 1991


Heavy D. & The Boyz

Format: Vinyl 12 Inch
Genre: Hip Hop

Now That We Found Love

A Now That We Found Love (Club Version)
B1 Somebody For Me (Coolin Mix)
B2 Now That We Found Love (Instrumental)

MCA Records

Cat No: MCST 1550
Released: 1991


Tone Loc

Format: Vinyl 12 Inch
Genre: Hip Hop

On Fire / Funky Cold Medina

A On Fire (4:50)
AA1 Funky Cold Medina (4:08)
AA2 On Fire (Instrumental) (4:34)

4th & Broadway

Cat No: 12 BRW 129
Released: 1989


Timbaland & Magoo & Missy Elliott

Format: Vinyl 12 Inch
Genre: Hip Hop

Cop That Sh*t

A1 Cop That S*!t (Dirty Version) (3:33)
A2 Cop That S*!t (Limrak Remix) (3:27)
B1 Cop That S*!t (Clean Version) (3:33)
B2 Cop That S*!t (Instrumental) (3:33)

Blackground Records

Cat No: TIMBA12001
Released: 2003


The Jonzun Crew & Michael Jonzun

Format: Vinyl 12 Inch
Genre: Hip Hop

Lovin' / Mechanism

A Lovin' (Extended Version) (5:19)
B1 Mechanism (4:58)
B2 Lovin' (Jazz Mix) (6:56)

Tommy Boy

Cat No: POSPX 725
Released: 1984



Format: Vinyl 12 Inch
Genre: Hip Hop

If I Remember

A1 If I Remember (R 'n' G Mix) (4:27)
A2 If I Remember (DJ Kutt Mix) (4:22)
B1 If I Remember (P Dawg Soul Mix) (4:47)
B2 If I Remember (R 'n' G Instrumental Mix) (3:42)

Hendricks Records Ltd

Cat No: BRS 3511 PROMO
Released: 1997


DJ Kofi

Format: Vinyl 12 Inch
Genre: Hip Hop

The Hip Hop Stick-Up!

A Untitled
B Untitled

Not On Label

Cat No: KOF1
Released: 2000


Freak Nasty

Format: Vinyl 12 Inch
Genre: Hip Hop

Da' Dip / Down Low / Bump That Rump

A1 Da' Dip (Clean) (3:52)
A2 Down Low (Clean Remix) (4:23)
B1 Bump That Rump (Clean) (3:43)
B2 Bump That Rump (Nasty Mixxx) (3:43)

Triad Records

Cat No: TR-0112-1
Released: 1996



Format: Vinyl 12 Inch
Genre: Hip Hop

Crazy Cuts

A Crazy Cuts (Long Version) (8:08)
B Crazy Cuts (Long Dub) (6:50)


Cat No: 12IS146
Released: 1983



Format: Vinyl 12 Inch
Genre: Hip Hop

Thief's Theme

A1 Thief's Theme (Clean Album Version)
A2 Thief's Theme (Instrumental)
A3 Thief's Theme (Clean A Cappella)
B1 Thief's Theme (Explicit Album Version)
B2 Thief's Theme (Instrumental)
B3 Thief's Theme (Explicit A Cappella)

Ill Will Records

Cat No: CAS 59124
Released: 2004


KRS-One & The Temple Of Hiphop

Format: Vinyl 12 Inch
Genre: Hip Hop

Come To The Temple

A1 Come To The Temple (Radio)
A2 Come To The Temple (TV)
B1 South Bronx 2002 (Radio)
B2 Never Give Up (Radio)
B3 Never Give Up (TV)

Koch Records

Cat No: KOC-12-8363R
Released: 2002


Young MC

Format: Vinyl 12 Inch
Genre: Hip Hop

Pick Up The Pace (1990)

A1 Pick Up The Pace 1990 (3:47)
A2 Pick Up The Pace 1990 (Instrumental) (3:44)
A3 Pick Up The Pace 1990 (Version) (3:17)
B1 Pick Up The Pace (House Mix) (5:15)
B2 Pick Up The Pace (Instrumental) (3:38)
B3 Pick Up The Pace (Slamming Guitars Mix) (4:48)

Delicious Vinyl

Cat No: 162-441 013-1
Released: 1990


Page of 360 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.