Hip Hop Vinyl 127 Items

Limited to 3000 copies. The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Produced by Russell Simmons and Larry Smith – and bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages – Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g SuperVinyl 33RPM LP is the definitive-sounding version of this groundbreaking work.

The masterpiece of French hip-hop that started it all. The first album in the history of French hip hop by Grand Master Dj Dee Nasty. A true piece of history. I released a first version on white vinyl at 500 copies

R.I.P. Trugoy the Dove

Finally, back on vinyl. Now as a double vinyl LP, officially reissued. This is the yellow indie exclusive vinyl edition. Must have!

3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me, Myself and I", "The Magic Number", "Buddy", and "Eye Know". The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll in 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

Quantity: 3500
Release type: 'RSD First' Release

3 Feet High and Rising is the debut studio album by hip-hop trio De La Soul, and was released on March 3, 1989. It marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It contains the singles, “Me Myself and I”, “The Magic Number,” “Buddy,” and “Eye Know”. The album title came from the Johnny Cash song “Five Feet High and Rising”. It is listed on both Rolling Stone’s 200 Essential Rock Records and The Source’s 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on Rolling Stone’s The 500 Greatest Albums of All Time.

Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, “Me, Myself and I.” Their positivity meant many observers labeled them a “hippie” group, based on their declaration of the “D.A.I.S.Y. Age” (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap). 3 Feet High & Rising was chosen by the Library of Congress to be added to the National Recording Registry for its cultural significance and general excellence.

This special boxset release of De La Soul’s 3 Feet High and Rising includes twelve 7” custom singles pressed on splatter vinyl and housed in custom sleeves, housed in a box that includes a 7” pinup and a double-sided 7” slipmat, and is available first at record stores as part of RSD Black Friday. "

R.I.P. Trugoy the Dove

Finally back on vinyl. Now as a double vinyl LP, officially reissued. Must have! 3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989 It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

This hip hop dancefloor gem from 1989 has been lovingly remastered and reissued in Tribute to Stezo's sad and far too early passing last year! The original '89 copies, backed with the equally strong "It's My Turn" are changing hands for £100+ and the iconic label Sleeping Bag Records can't have that! This isn't Antiques Roadshow, music is for all...but this is a rare find! Original '89 designed Sleeping Bag Sleeve. Often played by Steve Lamaq on 6 Music which surprises us too.

Why you'll love it...
Released on September 5, 1989, Stone Cold Rhymin’ contains 13 songs and zero curse words. The sepia-toned album cover depicts Young in profile, cradling an old broadcast microphone and looking more like a dapper doo-wopper than a hip-hop hero. In terms of playing it straight, the songs are shocking in their innocence. At the 1990 Grammy Awards, “Bust A Move” won for Best Rap Performance. It was clear that hip-hop wasn’t going to back the NY-or-nothing mentality, and New York’s ire was real. Grumpy Village Voice don Robert Christgau deigned to give Stone Cold Rhymin’ a “B+” in his letter-grade consumer guide. “His polysyllables and quick lips aren't as fresh as he thinks they are,” sniffed Christgau. Au contraire: Stone Cold Rhymin’ still sounds fresh after all these years.

With words as weapons and public infrastructure as his blank slate, John Fekner’s City Squad are always questing for the ineffable, even as they yearn for concrete change. Make no mistake, Idioblast is a serious party where everyone is welcome.

Released in 1984, Idioblast is a lost classic, a future shock narrative ahead of its time, and yet completely of its era, like few artifacts before or since. The cover tips you off from the jump—a crude but effective collage featuring classic Fekner slogans like Toxic Junkie, Growth Decay and Soft Brains Watch The Screen And Buy The Jeans. In an uncanny and tragic coincidence, the very first lyric on the album—“The place to be is on the space shuttle/if you’re brave enough to get on it”—seems to anticipate the Challenger disaster just two years later. But for the most part, the tracks on Idioblast directly reference the concepts that inspired Fekner’s visual art.

Musically, “Rapicasso” utilizes pneumatic pounding with an industrial edge as Fekner equates the great and controversial painter with risk-taking graffiti kids bombing trains and billboards across the city. Art is in a constant state of exploding—forms, paradigms, outdated ideas. Splitting the difference between hip-hop and new wave, the Santaniello-sung “The Beat” is like Thomas Dolby meets Run-DMC and should’ve been a radio staple for at least one sticky summer. It could soundtrack either a couples roller skate or a drug-fueled evening out.

Channeling Fekner’s slogan-stencil aesthetic, “Travelogue The 80’s” is a tour de force reminiscent of Negativland’s experiments in audio culture jamming. As Fekner details, “I grabbed all of the sounds via a shortwave radio picking up transmissions from LaGuardia airport and the TV. I recorded and edited on a Sony Pro Walkman and an Aiwa dual cassette deck.”

R.I.P. Trugoy the Dove

Finally back on vinyl. Now as a double vinyl LP, officially reissued. Must have! 3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989 It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know". The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall). Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

True club dancefloor Hip Hop from '89 that inspired many a hit there after. Legendary double hitter from the cult Philly crew that have never been on 45 together before. Black Vinyl in Picture sleeve Exclusive for RSD 22.

This was THE crossover uptempo hip hop/breaks dancefloor jam in 1989. Played in many many clubs and rave scenes, this genre-busting, "The Commodores" sampling one-off is finally available on 7" for the first time ever using the original 12" artwork, on the original NYC label.

Limited edition with fresh-n-def chrome cover!

Classic Electro from 1984!

The original classic Hip Hop single from Grandmaster Flash & The Furious Five, originally released in the summer of 1982 and still regarded as one of the all-time great rap music anthems some 40 years later! Presented here in glorious orange colour 140g vinyl, we celebrate the original in all its full-length seven minute glory with the full instrumental on the B-side. Out of print for many years we are very pleased to make this iconic and revered hip-hop classic available again for the fans to enjoy.

Limited red colored vinyl LP pressing. While Queen Latifah may be known more as an actress, host and TV personality these days, it was Queen Latifah the MC that first burst out of Newark and onto the scene with her 1989 debut album, All Hail the Queen. Led by singles, "Wrath of My Madness, " and Monie Love assisted, "Ladies First, " the album peaked at #6 and #124 on the Billboard Top Hip Hop/R&B Albums and Billboard 200 charts. All Hail the Queen became an instant classic and catapulted Queen Latifah into mainstream consciousness where she has remained to this day. Selected by The Source as one of the Top 100 Best Rap Albums, while also making it onto Robert Dimery's 1001 Albums You Must Hear Before You Die list, All Hail the Queen continues to be a must have for record collectors and hip-hop heads around the world.

Splits in seams.

When you get the chance to re-release a piece of Hip-Hop history, then it would be churlish of us not to surely? So, when we stumbled into Grand Wizard Theodore again, we thought it would be nice to get an affordable, mint 12 inch reissue out there of this early Hip-Hop classic.

This is the guy who invented scratching no less. Two cuts that any music head needs in their collection, "Can I Get A Soul Clap 'Fresh Out Of The Pack" and "Hey What's Your Sign, What's Your Name, What's On Your Mind" Instrumental. This version hasn’t been reissued since 1982 and sells for up to £300, with the cheapest original at present clocking in at £200, over 10 times more than this “mint” remastered reissue. This is a crucial slice of musical culture right here - a double sided Hip Hop belter, with original Soul-O-Wax imprint labels.

US original.

incl. The Breaks, ...

Original inner sleeve. Original US pressing.

Visionary “Rap” EP by precocious 18-year-old duo Eric Davis (elv) and Chuck Prater (Chuk Chu) from 1989. Imagine if Schoolly D had joined Native Tongues and made an early hiphouse EP produced by Larry Heard.

The story of Me & E took shape in Avalon Park in South Chicago, a vibrant, diverse, and politically active community with a rich musical culture. This was the fertile playground for producer Eric Davis (elv) and lyricist Chuck Prater (Chuk Chu). The park itself was adjacent to Eric’s backyard and they would hop the fence to listen to music, drink beers, and freestyle, even in the middle of the notoriously cold Chicago winters. Eric’s dad, Arlington Davis Jr., was a jazz drummer who played in the legendary spiritual jazz group The Awakening in the ‘70s. Jazz ran deep in their family with proud connections to Miles Davis. Arlington would host weekly jam sessions at his home, and Chuck & Eric were in regular attendance. On those evenings, Eric and his brothers were able to take turns on the sticks alongside the veteran players, honing their fledgling chops. These experiences gave them the confidence to take music seriously, and start a group. Channeling his drumming skills through an array of synths and drum machines, Eric produced tracks in his bedroom, inspired by artists like The Art Of Noise, Kraftwerk, and New Order. Combining their atmospheric electronic elements with his jazz background, and beat-making skills, he created a distinct sound that still sounds fresh today. Chuck was listening to Hendrix,

Joplin, Public Enemy, MC Lyte, and Big Daddy Kane and developed a unique and uplifting lyrical flow. They met up after school almost every day to make music, and quickly produced the four songs that make up their Rap EP.

The music duo never lost touch, and continued to produce throughout the 90’s, forming Rich Boys, another rap group with their crew from Avalon Park. In 1995, Chuk Chu released a solo album, Memoirs of a Blue Light Special, focussing on a more sample based production style. Eric inspired by the house scene in Chicago, produced some ethereal and otherworldly electronic music, which Mixed Signals is compiling for future release. The Rap EP is just an introduction to the ongoing story of Me & E. Mixed

1987, Kanagawa, not so far from Tokyo, Japan. Minoru Fushimi teaches his high-school classes during the day. Back from work, he transforms into "Hoodoo" Fushimi, turns on the drum machines, the synthesizers and the sequencers, blends them with his own shamisen playing and builds a cult album: Kenka Oyaji is born and becomes a milestone in Japan's early hip hop and electro-funk history, now reissued for the first time since its original release, in collaboration with Hoodoo Fushimi himself. Essential! Produced by Minoru “Hoodoo” Fushimi. All songs written and arranged by Hoodoo Fushimi. Hoodoo Fushimi: all lead vocals (except B5) and raps, lead and rhythm shamisen, lead and rhythm guitar, bass guitar, Casio, Roland and Yamaha synthesizers, drums, percussion, Drumtraks, Ddd-1 and Tr-606 programming, turntable scratching, and loud, obnoxious noises. Akiko Ehara: vocal on B5. Recorded at Fushimi’s Home Studio on Teac 22-4 recorder. Original release: 21st of March, 1987, Syntax, Mfx-2802. LP reissue production by Greg Gouty, 180g. Sound restoration, mastering and lacquer cut by Timmion Cutting Lab, Helsinki, Finland. Original artwork and Japanese lyrics insert by Hoodoo Fushimi. Original artwork restoration and additional design by Nicolas Kerembellec (nker.fr) All pictures by Minoru “Hoodoo” Fushimi.

A year before Wild Pitch Records properly introduced us to the trio of Queens native Large Professor and Toronto’s Sir Scratch and K-Cut, the soon-to-be-legendary group self-released their own debut single. Dropping on Actual Records, the 12” of ‘Think’ and ‘Atom’ was soon a sought after rarity, with scarce originals still fetching upwards of three figures. On it, they only hint at the greatness to come, while simultaneously showing that they’d already mastered the three-minute rap single – this is concise brilliance with no flab whatsoever. Engineered by the late, esteemed Paul C, ‘Think’ is a study in how to turn well-worn samples into something new. The combination of several James Brown snatches, along with bits lifted from Lyn Collins and Jimmy Castor Bunch, could have been tired and almost parodic by 1989, but instead the group weave something interesting from old fabric. ‘Atom’ is arguably even better, built around a brace of elements from Marvin Gaye and Tammi Terrell’s 1967 duet ‘Little Ole Boy, Little Ole Girl’. On it, Large Pro gives the first real hints that he’ll not just be a super-producer, but a committed MC to watch. Mixing threats with humour, positivity with braggadocio, it’s a calling card performance on a track that could have still sat comfortably on 1991’s ‘Breaking Atoms’ album.

Original inner sleeve

Small sticker on cover.

Cover with saw cut

In the late ‘80s, Detroit rap pioneer Awesome Dre was among the first to stomp onto the national scene from the Midwest. With his mix of political and hardcore he provided a unique perspective and voice during the height of hip-hop's golden era. A voice that would not shy away from controversy by asserting Detroit's place in hip-hop by challenging New York legends Kool Moe Dee and LL Cool J.

Out of print since 1989, this release features a download card to the full album and three exclusive bonus cuts. Presented on translucent red vinyl with an OBI-strip.

Let’s be honest – the first time many of us heard the otherworldly talents of the Ultramagnetic MC’s was on a compilation. A smattering of singles in 1986 had barely registered beyond a small circle in New York, but the inclusion of the 1987 single ‘Travelling at the Speed of Thought’ on Street Sounds’ ‘Hip Hop Electro 16’ set, sandwiched between classics from MC Shy D and Just-Ice, was a watershed moment.
In a way, it’s their most atypical release. The deceptively simple combination of drums ‘borrowed’ from The Rolling Stones and a scratched hook from The Kingsmen’s definitive version of Richard Berry’s ‘Louie Louie’ is one thing. The simple by their standards vocals, however, render it into a loveable pastiche of rock-rap, a more esoteric equivalent of Run DMC’s ‘Walk This Way’.
The flip is more in keeping with their style both on their earlier ‘Ego Tripping’ single and the soon-to-arrive landmark classic album ‘Critical Beatdown’. Over some heavily chopped drums from erstwhile breakbeat classic ‘Apache’ by the Incredible Bongo Band, Ced Gee and Kool Keith showcase flows that were different from anything out there at the time.
‘M.C.’s Ultra (Part II Edit)’ is part brag-rap, part baffling science lecture. Leaning heavily on the thesaurus, it’s a slang heavy manifesto that elevated the boast rap to the next level. While Kool Keith would go on to be the group’s breakout star, this is a showcase for the whole collective, right down to DJ Moe Love’s slithery scratching sliding from one channel to the next.
Only previously released in the UK as a 7” that’s now very hard to source, this is a chance to re-embrace this breakthrough from a legendary group.

Vinyl close to NM

Limited Edition for Record Store Day 2019! LTD 500 units 7″ of this seminal Hip Hop/Electro jam from 1984. Mint “Styrene” copies are changing hands for £100+, but this remastered reissue version is now avaiable on 100% virgin vinyl at a snip of that price. A slice of Hip Hop history.

No One Can Do It Better is the debut album by The D.O.C. from 1989 and is produced by the then upcoming Dr. Dre who contributed on most of the fast hard hitting rap tracks with his heavy funk laden beats. The album reached number one on the US Top R&B/Hip-Hop Albums chart and went platinum five years after its release.

/ dub version

Promo copy.

seam split

Generic label cover

The groundbreaking 1st album is back in print! Bombsquad in full effect.

Promo copy!

/ instrumental

Generic label cover

Record has many hairlines and surface marks. Cover has a split on spine.

Vinyl with scuffs and hairlines

Side 2 is VG. With insert.