Stock Level:
[ reset ]
4998 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 334 next >>
  Artist Title Label Price

Foxy Brown

Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Candy (LP Version) (3:43)
A2 Candy (Radio Edit) (3:45)
B1 Candy (Instrumental) (3:43)
B2 Run Dem (LP Version) (3:57)

Def Jam Recordings

Released: 2001


Mo Thugs Family

Format: Vinyl 12 Inch
Genre: Hip Hop

Thug Devotion

A1 Thug Devotion (Album Version)
A2 Thug Devotion (Richie P Radio Mix)
B1 Thug Devotion (Richie P 535 Mix)
B2 Thug Devotion (Spragga Mix)


Cat No: REL 663899 6
Released: 1997


Beastie Boys

Format: Vinyl Album
Genre: Hip Hop

Paul's Boutique

A1 To All The Girls (1:28)
A2 Shake Your Rump (3:19)
A3 Johnny Ryall (3:00)
A4 Egg Man (2:57)
A5 High Plains Drifter (4:13)
A6 The Sounds Of Science (3:11)
A7 3-Minute Rule (3:39)
A8 Hey Ladies (3:47)
B1 5-Piece Chicken Dinner (0:23)
B2 Looking Down The Barrel Of A Gun (3:28)
B3 Car Thief (3:39)
B4 What Comes Around (3:07)
B5 Shadrach (4:07)
B6 Ask For Janice (0:11)
B-Boy Bouillabaisse (12:33)

Beastie Boys Records

Cat No: EST 2102
Released: 1989


The Sindecut

Format: Vinyl 12 Inch
Genre: Hip Hop

Tell Me Why?

A Tell Me Why?
B1 Tell Me Why? (LP Version)
B2 Wisdom


Cat No: VST 1288
Released: 1990



Format: Vinyl 12 Inch
Genre: Hip Hop

You Can't Play With My Yo-Yo

A You Can't Play With My Yo-Yo (Real Remix) (5:00)
B1 You Can't Play With My Yo-Yo (Hip Hop Remix) (4:33)
B2 You Can't Play With My Yo-Yo (Radio Edit) (3:53)


Cat No: A 8776T
Released: 1991



Format: Vinyl 12 Inch
Genre: Hip Hop

History Rewritten

A History Rewritten
B1 History Rewritten (Norman Cook 12" Remix)
B2 History Rewritten (7" Version)

Atomic Records

Cat No: WNRT 766
Released: 1991


Jane Blaze & Noreaga & Lost Boyz

Format: Vinyl 12 Inch
Genre: Hip Hop

J-A-N-E Meets N-O-R-E / Bouncin'

A1 Jane Blaze J-A-N-E Meets N-O-R-E (Clean Version)
A2 Jane Blaze J-A-N-E Meets N-O-R-E (Dirty Version)
A3 Jane Blaze J-A-N-E Meets N-O-R-E (A Cappella)
A4 Jane Blaze J-A-N-E Meets N-O-R-E (Instrumental)
B1 Lost Boyz Bouncin' (Clean Version)
B2 Lost Boyz Bouncin' (Dirty Version)
B3 Lost Boyz Bouncin' (A Cappella)
B4 Lost Boyz Bouncin' (Instrumental)


Cat No: EAS 41345
Released: 1998


P.M. Dawn

Format: Vinyl 12 Inch
Genre: Hip Hop

Set Adrift On Memory Bliss

A1 Set Adrift On Memory Bliss (Extended Mix) (6:04)
A2 Set Adrift On Memory Bliss (Radio Mix) (3:57)
B1 Set Adrift On Memory Bliss (LP Version) (4:10)
B2 For The Love Of Peace (3:28)

Gee Street

Cat No: GEET33
Released: 1991


Levert & Heavy D

Format: Vinyl 12 Inch
Genre: Hip Hop

Gotta Get The Money

A Gotta Get The Money Ext Remix
B1 Gotta Get The Money Alternate Mix
B2 Just Coolin' Hip Hop Remix


Cat No: SAM 555
Released: 1989


House Of Pain

Format: Vinyl 12 Inch
Genre: Hip Hop

Jump Around & House Of Pain Anthem

A1 Jump Around (Original Mix) (3:30)
A2 House Of Pain Anthem (Master Mix) (2:35)
B1 Jump Around (Master Mix) (3:37)
B2 House Of Pain Anthem (Original Mix) (2:42)

Tommy Boy

Cat No: TB 526
Released: 1992


Big Brovaz

Format: Vinyl 12 Inch
Genre: Hip Hop

Baby Boy

A Baby Boy (Jaimeson Dub Mix) (5:45)
B Baby Boy (Jaimeson Vocal Mix) (5:45)


Cat No: 674309 8
Released: 2003



Format: Vinyl 12 Inch
Genre: Hip Hop

Faces, Back From Hell

A1 Faces (Radio Version) (4:09)
A2 Faces (5:00)
B1 Back From Hell (Remix) (5:00)
B2 Faces (Instrumental) (5:00)



Cat No: PROFT 328
Released: 1991


Big Daddy Kane

Format: Vinyl 12 Inch
Genre: Hip Hop

Ain't No Stoppin' Us Now

A Ain't No Stoppin' Us Now (Brixton Bass Mix)
B1 Ain't No Stoppin' Us Now (LP Version)
B2 Ain't No Stoppin' Us Now (UPSO Mix)

Cold Chillin'

Cat No: W 2635T
Released: 1989


Christina Aguilera & Redman

Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Dirrty (Full Length Version) (5:00)
B1 Dirrty (Instrumental) (5:00)
B2 Dirrty (Acapella) (5:00)


Cat No: 74321975211
Released: 2002



Format: Vinyl 12 Inch
Genre: Hip Hop


A 3.AM (The Story)
B 3.AM (The Groucho Mix)


Cat No: WTST2
Released: 1990


Page of 334 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.