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  Artist Title Label Price


Format: Vinyl Compilation
Genre: Hip Hop


A1 Kelly Rowland & Eve (2) Like This (3:37)
A2 Amerie Gotta Work (3:11)
A3 Natasha (7) & Clipse So Sick (4:27)
B1 Mario How Do I Breathe (3:36)
B2 Ciara (2) & Chamillionaire Get Up (4:22)
B3 T-Pain & Yung Joc Buy U A Drink (Shawty Snappin') (4:03)


Cat No: KANMCT12
Released: 2007


Rob Base & DJ E-Z Rock

Format: Vinyl 7 Inch
Genre: Hip Hop

It Takes Two

A It Takes Two (Radio Edit) (4:06)
B It Takes Two (Instrumental) (4:06)

City Beat

Cat No: CBE 724
Released: 1988


Digital Underground

Format: Vinyl 12 Inch
Genre: Hip Hop

Doowutchyalike / Hip Hop Doll

A Doowutchyalike (Playhowyalike Mix) (8:54)
B1 Hip Hop Doll (Vocal Mix) (5:30)
B2 Doowutchyalike (Radio Mix) (4:46)

BCM Records

Cat No: BCM 330 X
Released: 1989


The Microphone Prince

Format: Vinyl 12 Inch
Genre: Hip Hop

Rock House / Memory Lane / Hound Dog

A1 Rock House (5:25)
A2 Memory Lane (4:08)
A3 Hound Dog (4:00)
B1 Rock House (Instrumental) (5:25)
B2 Memory Lane (Instrumental) (4:08)
B3 Hound Dog (Guitar Solo) (4:00)

Still Rising Records

Cat No: SRR-1007
Released: 1987


Silver Bullet

Format: Vinyl 12 Inch
Genre: Hip Hop

20 Seconds To Comply

A 20 Seconds To Comply (The Final Conflict) (6:12)
B1 20 Seconds To Comply (The Omen Mix) (6:06)
B2 Bring Forth The Guillotine (D.J. Beats) (6:07)

Tam Tam Records

Cat No: TTT 019
Released: 1989


Trouble Funk

Format: Vinyl 12 Inch
Genre: Hip Hop

Still Smokin'

A Still Smokin' (Hug-A-But) (5:31)
B1 Still Smokin' (Radio) (3:32)
B2 Still Smokin' (The Beat Is Bad) (5:43)

4th & Broadway

Cat No: 12 GOGO 5
Released: 1985


Vicious Rumor Club

Format: Vinyl 12 Inch
Genre: Hip Hop

Whole Lotta Love

A Whole Lotta Love (Tough Remix) (5:20)
B1 Whole Lotta Love (Tough Edit) (3:23)
B2 Whole Lotta Love (U.S. Dub Version) (5:28)

Music Of Life

Cat No: NOTE 01
Released: 1987


Public Enemy

Format: Vinyl 12 Inch
Genre: Hip Hop

I Stand Accused / What Kind Of Power We Got?

A1 I Stand Accused (3:56)
A2 I Stand Accused (Sleek's School Of Self Defence Mixx) (4:32)
A3 I Stand Accused (Sleek's Instrumental) (4:31)
B1 What Kind Of Power We Got? (5:30)
B2 What Kind Of Power We Got? (Long Version ProjectFonk Fixx) (5:12)
B3 Mao Tse Tung (4:33)
B4 Mao Tse Tung (Instrumental) (4:40)

Def Jam Recordings

Cat No: 12 DEF 2 DJ
Released: 1994


Disposable Heroes Of Hiphoprisy, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Famous And Dandy (Like Amos 'N' Andy)

A Famous And Dandy (Like Amos 'N' Andy) (Full Length) (6:35)
B1 Positive (4:20)
B2 Language Of Violence (Jazz Version) (4:42)

4th & Broadway

Cat No: 12 BRW 259
Released: 1992


Da Original & Furious Five, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Somebody Else / Sun Don't Shine In The Hood

A1 Da Original Somebody Else (4:13)
A2 Da Original Somebody Else (Instrumental) (4:13)
B1 Furious Five, The Sun Don't Shine In The Hood (5:08)
B2 Furious Five, The Sun Don't Shine In The Hood (Instrumental) (5:08)

Street Life Records

Cat No: SBAB 78009-1
Released: 1994


Robyn Springer

Format: Vinyl 12 Inch
Genre: Hip Hop

Making Moves

A1 Up Mix
A2 Naked Mix
B1 Radio Edit
B2 Acapella

Cardiac Records

Cat No: 3-4029-0
Released: 1992


Sugarhill Gang

Format: Vinyl 12 Inch
Genre: Hip Hop

Rapper's Delight

A Rapper's Delight (Long Version) (15:00)
B Rapper's Delight (Short Version) (6:30)

Sugar Hill Records

Cat No: SHL 101
Released: 1979


Wee Papa Girl Rappers, The*

Format: Vinyl 12 Inch
Genre: Hip Hop

Wee Rule

A Wee Rule (Ragamuffin Mix) (4:59)
B Rebel Rap (3:07)


Cat No: JIVE T 185
Released: 1988



Format: Vinyl Album
Genre: Hip Hop

100 Miles And Runnin' Hologram sleeve

A1 100 Miles And Runnin'
A2 Just Don't Bite It
B1 Sa Prize (Part 2)
B2 Real Niggaz
B3 Kamurshol

Ruthless Records

Cat No: B0023135-01
Released: 2015


Black L.I.B. & Ambersunshower

Format: Vinyl 12 Inch
Genre: Hip Hop

K.O.S. The Finest / Play My Sh*t

A1 K.O.S. The Finest (Untitled Mix)
A2 K.O.S. The Finest (Untitled Mix)
A3 K.O.S. The Finest (Untitled Mix)
B1 Play My Sh*t (Untitled Mix)
B2 Play My Sh*t (Untitled Mix)
B3 Play My Sh*t (Untitled Mix)

Not On Label

Cat No: LIB001


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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.