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  Artist Title Label Price


Format: Vinyl 12 Inch
Genre: Hip Hop

Who We Be

A Who We Be (LP Version) (4:48)
B1 Who We Be (Radio Edit) (4:26)
B2 We Right Here (LP Version) (4:28)

Def Jam Recordings

Cat No: 588 851-1
Released: 2001


Fat Boys

Format: Vinyl 12 Inch
Genre: Hip Hop

The Twist

A1 The Twist (Twist So Def Version) (5:57)
A2 Yo, Twist! (7" Version) (4:00)
B The Twist (Yell For More!) (6:30)


Cat No: URBX 20
Released: 1988


Princess Superstar

Format: Vinyl 12 Inch
Genre: Hip Hop

Bad Babysitter

A1 Bad Babysitter
A2 Bad Babysitter (Clean Version)
A3 Bad Babysitter (Instrumental)
B1 Bad Babysitter (45 King Remix)
B2 Bad Babysitter (45 King Remix Clean)

Rapster Records

Cat No: RR0007 EP
Released: 2002


Fat Boys

Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Wipeout (Wave I Version) (6:00)
B1 Crushin' (Marley Marl Mix) (5:44)
B2 Wipeout (Wave II Version) (5:43)


Cat No: URBX 5
Released: 1987



Format: Vinyl 12 Inch
Genre: Hip Hop

I Love Cali

A I Love Cali (Album Ver.)
B1 I Love Cali (Instr.)
B2 I Love Cali (Acapella)

Priority Records

Cat No: SPRO 81431
Released: 2000


Mix Master Mike

Format: Vinyl Double Album
Genre: Hip Hop

Anti-Theft Device

A1 Ultra Intro
A2 Ill Shit
A3 Unidentifried
A4 Supa Wyde Laces
A5 New Organazation
A6 Billie Klubb
A7 Sektor One
B1 Rebel Enforcer
B2 Sektor Two
B3 Jack Knyfe
B4 Sektor Three
B5 Well Wicked
B6 Deeportashun
B7 All Pro
B8 Vyce Grypp
C1 Gang Tackle
C2 Sektor Four
C3 Anti-Theft Device
C4 An Astronaut
C5 Mean Dirty Killer
C6 Government Secret
D1 Can Of Kick Ass
D2 Sektor Five
D3 Surprize Packidge
D4 Fur Coat
D5 Sektor Six
D6 Electrocute
D7 Black Level Clearance
D8 Sektor Seven
D9 One Minute Massacare


Cat No: ASP 0985
Released: 1998



Format: Vinyl 12 Inch
Genre: Hip Hop

Summertime Healing

A1 Summertime Healing (Album Version)
A2 Summertime Healing (Delta B-Boy Classic)
B1 Summertime Healing (Street Level)
B2 Summertime Healing (Delta B-Boy Classic Instrumental)

Mama's Yard Collective

Cat No: 12MAMADJ 4
Released: 1995


Ruthless Rap Assassins

Format: Vinyl 12 Inch
Genre: Hip Hop

Justice (Just Us)

A1 Justice (Just Us) (The Mase Remix)
B1 Hard&Direct
B2 Justice (Just Us) (Extended Killer Version)

EMI Records

Cat No: 12EM 180
Released: 1991


The Real Roxanne

Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Respect (Vocal)
A2 Respect (Instrumental)
B1 Her Bad Self (The Posse Mix)
B2 Her Bad Self (The Hitman Mix)


Cat No: COOLX 176
Released: 1988



Format: Vinyl 12 Inch
Genre: Hip Hop

Shit On You

A1 Shit On You (5:27)
A2 Shit On You (Instrumental) (5:28)
B1 Under The Influence (5:27)

Shady Records

Cat No: 497 496-1
Released: 2001


Organized Noize

Format: Vinyl 12 Inch
Genre: Hip Hop

Set It Off

A1 Set It Off (Soundtrack Version)
A2 Set It Off (Instrumental)
A3 Set It Off (Accapella)
B1 Set It Off (Straffe : Full Original Version)
B2 Set It Off (Silk's House Set Remix Edit)


Cat No: A3994T
Released: 1996


Double Trouble & Rebel MC

Format: Vinyl 12 Inch
Genre: Hip Hop

Just Keep Rockin'

A Just Keep Rockin' (Sk'ouse Mix)
AA Just Keep Rockin' (Hip House Mix)

Desire Records

Cat No: WANT X 9
Released: 1989



Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Jailbreak (House Tip)
A2 Jailbreak Beats
B1 Soul Feels Free (Vocal)
B2 Soul Feels Free (Sureshot Club Mix)



Cat No: R2-A
Released: 1990



Format: Vinyl 12 Inch
Genre: Hip Hop


A1 Dedicated (Album Version) (4:30)
A2 Dedicated (Jazzy Jeff Mix) (4:11)
A3 Dedicated (Funkmaster Flex Mix) (4:25)
B1 Dedicated (J&B Mix) (4:30)
B2 Dedicated (Album Version Instrumental) (4:00)
B3 Dedicated (Acapella) (4:02)


Cat No: 662063 6
Released: 1995


The Beatmasters & The Cookie Crew

Format: Vinyl 12 Inch
Genre: Hip Hop

Rok Da House

A Rok Da House (6:40)
AA1 Rok Da House (Latin Beat Mix) (6:29)
AA2 Rok Da House (Junie's Dub) (7:04)

Rhythm King Records

Cat No: LEFT R11T
Released: 1987


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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.