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  Artist Title Label Price


Format: Vinyl 12 Inch
Genre: Hip Hop

The Winner

A1 The Winner (Album Version) (4:02)
A2 The Winner (Instrumental) (4:04)
B The Winner (Remix) (3:58)


Cat No: A 5433 (T)
Released: 1996



Format: Vinyl 12 Inch
Genre: Hip Hop

Stan Bac

A1 Stan Bac
A2 Stan Bac (Instrumental)
B1 Disfunktional
B2 Disfunktional (Instrumental)

Son Records

Cat No: SON 029
Released: 2004



Format: Vinyl 12 Inch
Genre: Hip Hop

Jailbreak / Soul Feels Free

A1 Jailbreak (House Tip) (6:37)
A2 Jailbreak Beats (5:06)
AA1 Soul Feels Free (Vocal) (4:33)
AA2 Soul Feels Free (Sureshot Club Mix) (3:48)

Ronin Records

Cat No: R2
Released: 1990



Format: Vinyl Compilation
Genre: Hip Hop

Word Vol. 1

A1 Schoolly D Parkside 5-2 (5:48)
A2 Whodini Life Is Like A Dance (4:14)
A3 Kool Moe Dee No Respect (5:25)
A4 DJ Jazzy Jeff & The Fresh Prince He's The DJ, I'm The Rapper (6:12)
A5 Skinny Boys Skinny & Proud (3:40)
B1 Steady B Don't Disturb This Groove (4:09)
B2 The Classical Two New Generation (4:42)
B3 Dynasty & Mimi The Bugging Animal Farm (3:25)
B4 Jazzy Jeff King Heroin (Don't Mess With Heroin) (4:18)


Cat No: HOP 217
Released: 1987


De La Soul

Format: Coloured Vinyl 12 Inch
Genre: Hip Hop

More Supa Sweet Stakes, Baby

A1 4 More (Clean Version)
A2 4 More (JuNoD Clean Remix)
A3 BabyBabyBabyBabyOohBaby (New LP Version)
B1 Supa Emcees (Clean Version)
B2 Sweet Dreams (Clean Version)
B3 Stakes Is High (Spinna Clean Remix)

Tommy Boy

Cat No: TB 770
Released: 1996


Digital Underground

Format: Vinyl 12 Inch
Genre: Hip Hop

The Humpty Dance

A The Humpty Dance (Mini-Hump Radio Mix) (4:40)
B1 The Humpty Dance (Bonus Hump Mix) (6:28)
B2 The Humpty Dance (Humpstrumental Mix) (3:16)

Tommy Boy Music

Cat No: TB 944
Released: 1989


Cypress Hill

Format: Vinyl 12 Inch
Genre: Hip Hop

When The Sh-- Goes Down

A1 When The Sh-- Goes Down (Extended Version) (4:12)
A2 When The Sh-- Goes Down (Instrumental) (3:09)
B1 The Phuncky Feel One (Extended Version) (5:02)
B2 How I Could Just Kill A Man (The Killer Mix) (4:04)

Ruffhouse Records

Cat No: 659670 6
Released: 1993


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


Richie Rich

Format: Vinyl 12 Inch
Genre: Hip Hop

My DJ (Pump It Up Some) (Club Mix)

A My DJ (Pump It Up Some) (Club Mix)
B1 My DJ (Pump It Up Some) (Radio Mix)
B2 My DJ (Pump It Up Some) (Dope Beats)

Gee Street

Cat No: GEE T7
Released: 1988


Spoonie Gee

Format: Vinyl 12 Inch
Genre: Hip Hop

I'm All Shook Up / Spoonie's Rap (Live)

A1 I'm All Shook Up
A2 Spoonie's Rap (Live)
B1 I'm All Shook Up (Instrumental)
B2 The Godfather (Godfather House Mix)

Tuff City

Cat No: TUF 128023
Released: 1987



Format: Vinyl 12 Inch
Genre: Hip Hop

Walk This Way

A1 Walk This Way
B1 Walk This Way (Instrumental)
B2 My Adidas

London Records

Cat No: LONX 104
Released: 1986


Vanilla Ice

Format: Vinyl 12 Inch
Genre: Hip Hop

Ice Ice Baby

A1 Ice Ice Baby (Miami Drop Mix) (4:58)
A2 Ice Ice Baby (Instrumental Mix) (4:59)
B1 It\\\'s A Party (4:39)
B2 Ice Ice Baby (Radio Mix) (4:28)

SBK Records

Cat No: 12SBK 18
Released: 1990



Format: Vinyl 12 Inch
Genre: Hip Hop

Tings A Gwan!

A1 Cutilus Put De Gun Down
A2 IG Culture Niceness Timeless
A3 My Linguisticz In Time Wid Da Rhyme
B1 IG Culture Worries (Part 1)
B2 Fekisha Fekisha A De In Ting
B3 IG Culture Worries (Part 2 - Off Key Mix)

One Drop Inter Outer

Cat No: ONER002
Released: 1994


Steinski & Mass Media & DJ 'Sugar' Kane

Format: Vinyl 12 Inch
Genre: Hip Hop

Let's Play It Cool

A1 Let's Play It Cool (Club Mix) (4:19)
A2 Let's Play It Cool (Instrumental) (4:16)
B1 Let's Play It Cool (Hippie Boy's Jungle Mix) (4:51)
B2 Let's Play It Cool (Acapella) (2:11)

4th & Broadway

Cat No: 12 BRW 84
Released: 1988


Mos Def & Q-Tip & Tash

Format: Vinyl 12 Inch
Genre: Hip Hop

The Lyricist Lounge Vol.1 Presents: Body Rock

A1 Mos Def Body Rock (Radio)
A2 Mos Def Body Rock (Instrumental)
B1 Mos Def Body Rock (Street)
B2 Talib Kweli Manifesto


Cat No: RWK 157-1
Released: 1998


Page of 380 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.