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  Artist Title Label Price

Whodini

Format: Vinyl Album
Genre: Hip Hop

Open Sesame

A1 Rock You Again (Again & Again) (5:27)
A2 Be Yourself (3:22)
A3 Cash Money (5:06)
A4 Hooked On You (5:32)
A5 Early Mother's Day Card (3:53)
B1 Life Is Like A Dance (3:59)
B2 You Brought It On Yourself (4:00)
B3 I'm Def (Jump Back And Kiss Myself) (5:21)
B4 Remember Where You Came From (3:45)
B5 For The Body (2:30)
B6 You Take My Breath Away (5:10)

Jive

Cat No: JL-8494
Released: 1987

£6.00

Kurtis Blow

Format: Vinyl 12 Inch
Genre: Hip Hop

Party Time (The Go-Go Edition)

A Party Time (The Go-Go Edition)
B1 Party Time (Instrumental)
B2 The Breaks

Club

Cat No: JABX 12
Released: 1985

£6.00

West Street Mob

Format: Vinyl 12 Inch
Genre: Hip Hop

Break Dancin' - Electric Boogie

A Break Dancin' - Electric Boogie (5:02)
B Let Your Mind Be Free (6:12)

Sugar Hill Records

Cat No: SHL 128
Released: 1983

£6.00

Deborah Cox

Format: Vinyl 12 Inch
Genre: Hip Hop

The Sound Of My Tears / It Could've Been You

A1 It Could've Been You (David Morales Club Mix) (11:04)
Remix, Drums, Percussion - David Morales
A2 It Could've Been You (David Morales Dub) (7:07)
Remix, Drums, Percussion - David Morales
A3 The Sound Of My Tears (Album Version) (4:51)
Backing Vocals - Sherree Ford-Payne Mixed By - Booker T. Jones Producer - Keith Crouch Recorded By - Eugene Lo
B1 It Could've Been You (David Morales Club Mix II) (12:08)
Remix, Drums, Percussion - David Morales
B2 It Could've Been You (Mass Avenue Hip Hop Remix) (4:13)
Featuring [Rap] - Cool Lew Keyboards [Additional] - Nick Caudle Keyboards, Engineer, Drums [Programming] - Bob Antoine Programmed By [Additional] - Willie Brown Remix - Andre Evans , Bob Antoine
B3 It Could've Been You (Mass Avenue Bonus Beats) (4:13)
Featuring [Rap] - Cool Lew Keyboards [Additional] - Nick Caudle Keyboards, Engineer, Drums [Programming] - Bob Antoine Programmed By [Additional] - Willie Brown Remix - Andre Evans , Bob Antoine

Arista

Cat No: 07822-13278-1
Released: 1996

£6.00

Kool Moe Dee

Format: Vinyl 12 Inch
Genre: Hip Hop

They Want Money

A1 They Want Money (Extended Remix) (5:51)
B1 They Want Money (Instrumental) (5:39)
B2 Get The Picture (5:21)

Jive

Cat No: JIVE T 207
Released: 1989

£6.00
£3.00

Rebel MC & Double Trouble

Format: Vinyl 12 Inch
Genre: Hip Hop

Street Tuff - generic sleeve

A Street Tuff (Scar Mix)
AA Street Tuff (Club Mix)

Desire Records

Cat No: WANT X 18
Released: 1989

£4.00

The Rock Steady Crew

Format: Vinyl 12 Inch
Genre: Hip Hop

She's Fresh

A She's Fresh (Extended Remix Version)
B1 She's Fresh (Remix Version)
B2 Digital Boogie (Remix Version)

Charisma

Cat No: RSC 312
Released: 1984

£7.00

The Rock Steady Crew

Format: Vinyl 12 Inch
Genre: Hip Hop

(Hey You) The Rock Steady Crew

A (Hey You) The Rock Steady Crew (Extended Version)
B (Hey You) The Rock Steady Crew (Instrumental Version)

Virgin

Cat No: RSC 1-12
Released: 1983

£6.50

Khia

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) (Friday Night Posse Remix) (6:52)
B1 My Neck, My Back (Lick It) (Street/Club Version) (3:43)
B2 My Neck, My Back (Lick It) (Tom Neville X-Rated Mix) (7:22)

Direction Records

Cat No: 675380 6
Released: 2004

£4.50

Twin Hype

Format: Vinyl 12 Inch
Genre: Hip Hop

Do It To The Crowd

A Do It To The Crowd (5:02)
B1 Do It To The Crowd (Instrumental) (4:32)
B2 Do It To The Crowd (Bonus Beats) (3:05)

BCM Records

Cat No: 12304
Released: 1989

£6.00

Eminem

Format: Vinyl 12 Inch
Genre: Hip Hop

The Way I Am - generic sleeve

A1 The Way I Am (4:51)
A2 The Way I Am (Instrumental) (5:00)
B1 Bad Influence (3:39)

Interscope Records

Cat No: 497 425-1
Released: 2000

£7.00

Queen Latifah

Format: Vinyl 12 Inch
Genre: Hip Hop

Ladies First

A1 Ladies First (45 King Mix)
A2 Ladies First (Ultimatum Mix)
B1 Ladies First (Instrumental)
B2 Ladies First (Beat Mix)

Gee Street

Cat No: GEET23
Released: 1989

£7.00
£3.50

Grandmaster Flash & Sugarhill Gang & Furious Five, The

Format: Vinyl 12 Inch
Genre: Hip Hop

Rapmasters

A1 The Message (Vocal)
A2 The Message (Instr.)
B1 Wheels Of Steel
B2 Showdown

Rapmasters

Cat No: RM 323

£8.00

The Real Roxanne & Howie Tee

Format: Vinyl 12 Inch
Genre: Hip Hop

Bang Zoom! Let's Go Go!

A (Bang Zoom) Let's Go Go (Extended Version) (5:56)
AA Howie's Teed Off (Extended Version) (8:28)

Cooltempo

Cat No: COOLX 124
Released: 1986

£4.50

Joey B. Ellis

Format: Vinyl 12 Inch
Genre: Hip Hop

Thought You Were The One For Me

A Thought You Were The One For Me (Double Trance Dance Mix)
B1 Thought You Were The One For Me (Album Mix)
B2 TThought You Were The One For Me (Instrumental)

Capitol Records

Cat No: 12CL 614
Released: 1991

£4.50

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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.