Us3
Us3 is a British jazz-rap group founded in London in 1992 by producer Geoff Wilkinson, blending hip-hop beats with jazz samples to pioneer the acid jazz and hip-hop fusion genres.[1][2] The group gained international prominence with their debut album Hand on the Torch (1993), released on Blue Note Records, which featured the global hit single "Cantaloop (Flip Fantasia)"—a track sampling Herbie Hancock's "Cantaloupe Island" and Lonnie Liston Smith's "Expansions"—and became the label's first platinum-certified album in the United States, selling over one million copies.[3][1][2] Emerging from the early 1990s British acid jazz scene, Us3's formation followed Wilkinson's 1991 single "The Band Played The Boogie," which caught the attention of Blue Note/Capitol Records and led to their signing.[3][1] The group's name draws inspiration from Horace Parlan's 1960 Blue Note recording Us Three, produced by label founder Alfred Lion, reflecting their deep roots in jazz heritage.[1] Early production was handled by Wilkinson alongside partner Mel Simpson, who co-produced the debut album before departing in 1996; the project has featured a rotating lineup of rappers and musicians, including vocalists such as Tukka Yoot, Kobie Powell, and later artists like Sene and Brook Yung.[2][3] Their sound emphasized sampling from the Blue Note catalog, incorporating elements from artists like Herbie Hancock, Lou Donaldson, and Grant Green, which helped revitalize interest in jazz within hip-hop circles.[1][2] Over three decades, Us3 has released nine studio albums, evolving from sample-heavy tracks to more live instrumentation and contemporary influences like trap beats in later works.[3] Notable releases include Broadway & 52nd (1997), which earned critical praise for its jazz-rap integration; An Ordinary Day in an Unusual Place (2001); Questions (2005); Say What!? (2007); Stop. Think. Run. (2009); Lie, Cheat & Steal (2011); and The Third Way (2013), alongside the 2025 instrumental album Soundtrack, marking their return after a hiatus from 2014 to 2025 prompted by Wilkinson's health issues.[1][3][2] The group's innovations earned them accolades, including Album of the Year from Japan's Swing Journal for Hand on the Torch and recognition as Jazz Musicians of the Year by The Independent in the UK.[1] As of November 2025, Us3 remains active under Wilkinson's leadership, continuing to bridge hip-hop and jazz with new music and performances.[3][2]Background and Formation
Early Influences and Projects
Geoff Wilkinson began his musical journey in the early 1980s as a DJ in clubs, initially at age 20, before relocating to London where he immersed himself in the city's vibrant jazz scene.[4] By the late 1980s, he was actively working to "demystify jazz," making the genre more accessible to broader audiences through DJ sets and productions that blended jazz with dance and emerging hip-hop elements.[5] His experiences included collaborations with influential figures like DJ Baz The Jazz, whose innovative approach to spinning jazz records inspired Wilkinson's efforts to fuse traditional jazz with contemporary beats in London's underground clubs. As a self-taught producer and occasional session contributor, Wilkinson honed his skills in this environment, laying the groundwork for his later innovations in jazz-rap fusion.[6] A key precursor to his group work came in 1990 with the release of the track "Where Will We Be in the 21st Century?," a limited-edition white-label 12-inch single that featured rapper MC Honey B and jazz pianist Jessica Lauren.[7][5] This experimental recording sampled jazz elements over hip-hop rhythms, showcasing Wilkinson's early interest in cross-genre production and serving as an independent project that circulated in London's club scene. The track's innovative sampling approach highlighted his growing expertise in blending acoustic jazz improvisation with electronic beats, predating his formal group endeavors.[7] Wilkinson's creative direction was deeply shaped by the acid jazz movement, which emphasized groovy, danceable interpretations of jazz, as well as the rich catalog of Blue Note Records, known for its hard bop and soul jazz classics.[3] He drew particular inspiration from artists like Herbie Hancock, whose fusion of jazz, funk, and electronics in albums such as Head Hunters (1973) influenced Wilkinson's rhythmic experimentation.[3] These influences converged in his productions, prioritizing live instrumentation and improvisation to bridge jazz's improvisational heritage with hip-hop's lyrical drive. In 1992, Wilkinson partnered with producer Mel Simpson to create experimental jazz-rap demos, marking a pivotal collaboration that explored hip-hop vocals over jazz backings in basement studios.[3] This duo's work built directly on Wilkinson's solo efforts, refining the sound that would define their upcoming project and transitioning his individual explorations into a collective vision.[8]Group Inception in 1992
Us3 was founded in London in 1992 by Geoff Wilkinson, a concert promoter and jazz enthusiast, and Mel Simpson, a keyboardist known for composing music for television.[1][9] The duo established the project as a jazz-rap collective, drawing on Wilkinson's prior experience with acid jazz initiatives to explore the fusion of contemporary hip-hop rhythms and classic jazz elements.[3] Their initial vision centered on integrating hip-hop beats with samples from archival jazz recordings, particularly those from the Blue Note Records catalog, to create a modern reinterpretation of the label's legacy.[1][9] Central to the group's inception was securing a recording deal with Blue Note Records, which allowed unprecedented access to its extensive archive of jazz masters. This followed the 1991 release of Wilkinson's single "The Band Played The Boogie," which sampled Grant Green's "Sookie Sookie" without clearance and caught the label's attention. Wilkinson and Simpson negotiated a formal agreement that granted clearance rights in exchange for producing new material.[3][9] This partnership, approved by Blue Note president Bruce Lundvall, positioned Us3 as an innovative studio project rather than a traditional band, with the core duo handling production and curation.[9] The first recording sessions commenced in 1992, where Wilkinson and Simpson demoed experimental tracks to demonstrate their conceptual blend of genres, laying the groundwork for future releases.[9] These sessions highlighted early logistical hurdles, including the complexities of obtaining sample clearances from Blue Note's vast and protected catalog, which required meticulous legal navigation to avoid disputes.[3] Despite these challenges, the deal solidified Us3's foundation, enabling a creative freedom that defined its early trajectory.[9]Rise to Prominence
Debut Album Hand on the Torch
Hand on the Torch, Us3's debut album, was recorded in 1993 by producers Geoff Wilkinson and Mel Simpson, who founded the group in London in 1992 and secured permission from Capitol Records to freely sample from the Blue Note catalog. The sessions involved a rotating cast of musicians and rappers, including core vocalists Rahsaan Kelly and Kobie Powell, with Tukka Yoot contributing as a guest on select tracks such as "Tukka Yoot's Riddim." This collaborative approach allowed Wilkinson and Simpson to blend live instrumentation with hip-hop beats, capturing the album's essence during intensive studio work that emphasized improvisation and fusion elements.[1] The album comprises 13 tracks that heavily draw on jazz samples from Blue Note's historic roster, creating a seamless acid jazz-hip-hop hybrid. Standout examples include "Cantaloop (Flip Fantasia)," which interpolates Herbie Hancock's "Cantaloupe Island," and "Lazy Day," sampling Grant Green's "Sookie Sookie"; other notable borrowings come from Horace Silver's "Song for My Father" on "Eleven Long Years" and Art Blakey's rhythms throughout. Tracks like "I Got It Goin' On" and "The 411" showcase the vocal interplay between Kelly and Powell, while interludes such as "Different Rhythms Different People" provide rhythmic transitions, underscoring the album's conceptual unity around recontextualizing classic jazz grooves with contemporary rap flows.[9][10] Released on Blue Note Records in 1993, Hand on the Torch peaked at No. 40 on the UK Albums Chart and reached No. 31 on the US Billboard 200, while also charting at No. 21 on the Top R&B/Hip-Hop Albums list for 33 weeks. The album's commercial success was amplified by in-house licensing of Blue Note's archival samples, which streamlined production and appealed to jazz purists and hip-hop fans alike, ultimately selling over 2.3 million copies worldwide and earning platinum certification in the US—the label's first in decades.[11][9] Critics praised the album for pioneering acid jazz-hip-hop fusion, with its innovative sampling techniques revitalizing Blue Note's legacy for a new generation; publications highlighted how tracks like the lead single "Cantaloop (Flip Fantasia)" exemplified this boundary-pushing sound, earning widespread acclaim for bridging genres without compromising artistic integrity.[9]Breakthrough with Cantaloop (Flip Fantasia)
"Cantaloop (Flip Fantasia)" marked Us3's breakthrough as the lead single from their 1993 debut album Hand on the Torch, blending hip-hop beats with jazz samples to create a signature acid jazz track. The song prominently features a sample from Herbie Hancock's 1964 instrumental "Cantaloupe Island," reimagined with funky horn riffs and a driving rhythm section drawn from Lou Donaldson's 1969 track "Everything I Do Gonna Be Funky (From Now On)." Over this foundation, rapper Rahsaan Kelly delivers playful, improvisational lyrics that evoke a live jazz club atmosphere, capturing the essence of Us3's jazz-rap fusion.[12][9] Released in 1993 by Blue Note Records, "Cantaloop (Flip Fantasia)" achieved significant commercial success, peaking at number 23 on the UK Singles Chart and spending five weeks in the top 100. In the United States, it climbed to number 9 on the Billboard Hot 100, marking Us3's only top 40 entry on that chart. The track's crossover appeal was amplified by its music video, directed with vibrant, performance-based visuals that aired heavily on MTV, helping to drive its popularity among diverse audiences.[11][13][14] The single's impact extended beyond charts, earning a gold certification from the RIAA for sales exceeding 500,000 copies in the US and playing a pivotal role in popularizing the jazz-rap genre during the early 1990s. As one of the first tracks granted official clearance to sample from Blue Note's extensive catalog, "Cantaloop (Flip Fantasia" bridged traditional jazz with hip-hop, influencing subsequent artists and revitalizing interest in archival jazz recordings. Its enduring legacy as a genre-blending anthem solidified Us3's place in music history.[15][16][8]Career Evolution
Mid-1990s to 2000s Albums
Following the breakthrough success of their debut, Us3 shifted toward a darker, more conscious sound on their second album, Broadway & 52nd, released in April 1997 on Blue Note Records. The project featured New York-based rappers KCB and Shabaam Sahdeeq as primary vocalists, delivering sophisticated and urgent performances over jazz-infused hip-hop beats. Unlike the sample-heavy debut, this album incorporated live instrumentation, including tenor saxophone by Ed Jones and trumpet by Dominic Glover, adding organic depth to tracks like "Come On Everybody (Get Down)" and "Caught Up in a Struggle." It peaked at number 93 on the UK Albums Chart, reflecting a more niche appeal amid evolving lineup dynamics with Geoff Wilkinson remaining the core producer.[17][18][19] In 2001, Us3 released An Ordinary Day in an Unusual Place, marking a pivot to soulful and socio-political themes with vocalist Alison Crockett, a Washington D.C.-born singer known for her neo-soul and jazz work. Crockett's contributions infused tracks like "Get Out" and "India" with emotive, layered vocals, blending acid jazz grooves and R&B sensibilities while reducing reliance on archival samples in favor of original compositions. The album was released in Japan by Toshiba EMI and in Europe by Universal, highlighting Wilkinson's production evolution toward fuller band arrangements amid rotating collaborators. This period saw Us3 experimenting with global influences, setting the stage for further stylistic expansion.[20] The early 2000s continued with Questions, issued in 2004, which addressed broader global and introspective themes through the interplay of Brooklyn rapper Reggi Wyns and South African singer Mpho Skeef. Wyns' incisive rhymes on tracks like "Whatcha Gonna Do?" contrasted Skeef's jazz-funk vocals on "Get It Together," creating a dynamic fusion of hip-hop urgency and melodic soul over live horns and percussion. Released independently via Us3.com, the album emphasized original songwriting and production, reflecting lineup changes that prioritized diverse international voices while maintaining the group's jazz-rap core. This release underscored Us3's maturation, moving from Blue Note's jazz legacy toward self-sustained creativity.[21][22][23] Us3 continued their evolution in the mid-2000s with Schizophonic (2006), exploring experimental jazz-rap with guest vocalists and intricate arrangements; Say What!? (2007), which incorporated spoken-word elements and political commentary; and Stop. Think. Run. (2009), blending live instrumentation with electronic influences for a more introspective sound. These albums, released independently, showcased Wilkinson's growing emphasis on thematic depth and diverse collaborations.[24][25]Hiatus from 2014 to 2024
Following the release of Us3's ninth studio album The Third Way (Hand on the Torch Vol. II) in 2013, founder and producer Geoff Wilkinson placed the group on indefinite hiatus in early 2014 after suffering a series of severe heart attacks that jeopardized his ability to continue music production.[26] This decision came after more than two decades of active work with Us3, spanning from its inception in 1992 through numerous albums and global tours.[3] Wilkinson later described the health crisis as a pivotal moment that forced him to step back from the group's demanding creative and performance schedule.[27] During the hiatus from 2014 to 2024, Us3 produced no new original releases or undertook any live tours, marking a complete dormancy for the collective.[26] Wilkinson shifted his focus to independent compositional work, specializing in library music for film, television, and advertising licensing.[28] Through this period, he built an extensive catalog of production music, drawing on his jazz and hip-hop expertise to create versatile tracks for media use, with efforts intensifying after his recovery from illness.[29] Despite the absence of new Us3 material, the group's early catalog, particularly hits from Hand on the Torch (1993), sustained notable streaming engagement on platforms like Spotify, where tracks such as "Cantaloop (Flip Fantasia)" amassed tens of millions of plays, underscoring enduring listener interest in their jazz-rap fusion sound.[3] Occasional archival efforts, including digital remasters of prior albums, kept select material accessible, though these were limited and not tied to new creative output.Musical Style and Production
Jazz-Rap Fusion and Sampling
Us3's musical style is characterized by a distinctive fusion of acid jazz grooves and rap lyrics. This blend combined the improvisational swing and funky rhythms of acid jazz with the rhythmic delivery and lyrical density of hip-hop, creating an accessible yet sophisticated sound that bridged club dance floors and urban radio.[8] The group's approach drew from London's mid-1980s jazz-dance revival, incorporating live instrumentation alongside programmed beats to evoke a sense of communal energy.[8] Central to this fusion is Us3's heavy reliance on samples from Blue Note Records' catalog, which lent an air of authenticity and created a "virtual jazz band" aesthetic without assembling a full traditional ensemble. Tracks like "Cantaloop (Flip Fantasia)" famously sampled Herbie Hancock's "Cantaloupe Island" for its iconic piano riff, layering it with rap verses and trumpet flourishes to mimic the spontaneity of a live jazz session.[9][1] This sampling strategy not only paid homage to hard bop and soul jazz pioneers but also positioned Us3 as innovators in "sampladelic" production, transforming archival recordings into contemporary hip-hop frameworks.[9][7] Thematically, Us3's lyrics often intermingle social commentary on inequality and resilience with depictions of urban life, delivered through flows inspired by jazz improvisation's free-form phrasing. Early works emphasized musical experimentation, while later material delved into global economic challenges and their impact on city dwellers, using rap as a vehicle for narrative depth and rhythmic interplay.[7][30] Over time, Us3's approach evolved from predominantly sample-heavy constructions in their debut era to hybrid tracks incorporating live-sampled elements and original jazz performances in subsequent albums. By the mid-2000s, this shift integrated nu-soul and world music influences, reducing archival sampling in favor of collaborative sessions with musicians to maintain the core jazz-rap essence while adapting to broader sonic palettes; later works, such as the 2024 album Soundtrack, further incorporated contemporary hip-hop elements like trap beats alongside instrumental jazz arrangements.[7][31]Key Production Techniques
Geoff Wilkinson, the primary producer for Us3, relied heavily on Akai samplers during the group's early years to chop jazz loops from the Blue Note catalog into hip-hop breaks, creating rhythmic foundations for tracks across their initial albums. This technique involved sequencing short samples—often one-bar loops from artists like Herbie Hancock or Grant Green—on an Akai S900 sampler connected to an Atari computer, allowing precise manipulation to blend jazz phrasing with programmed beats.[32][33] Layering was central to achieving an organic feel, where Wilkinson combined these sampled elements with vinyl-inspired textures, live bass lines, and programmed drums. For instance, he would add kicks and snares to existing jazz drum breaks for punchier hip-hop grooves, while incorporating live bass recordings or samples to ground the mixes, and occasionally flipping stereo images of drum elements to add spatial movement without relying on explicit scratches. This approach layered multiple audio sources in Cubase software, ensuring the final jazz-rap fusion retained a warm, analog-like quality despite digital assembly.[32] The sample clearance process with Blue Note Records was pivotal, evolving from an initial risk of legal action to a collaborative partnership that granted Us3 exclusive access to rare tracks in the label's archive. After Wilkinson submitted demos featuring unauthorized samples, Blue Note president Bruce Lundvall approved their use, leading to a formal deal that cleared dozens of samples for Hand on the Torch (1993) and subsequent releases, enabling deeper integration of 1960s hard bop and soul jazz elements.[9][7] By the 2000s, Wilkinson's production shifted toward digital plugins and greater integration of live musicians, moving away from heavy sampling to emphasize original compositions. Using Logic software on a laptop with various plugins, he incorporated real-time contributions from saxophonist Ed Jones, who provided horn arrangements on albums like Questions (2005) and Say What!? (2007), blending programmed elements with live recordings for a more dynamic, band-oriented sound.[33][7]Members and Collaborators
Core Producers
Geoff Wilkinson founded Us3 in 1992 as a London-based jazz-rap project, serving as the primary producer responsible for composition, mixing, and overall creative direction across all of the group's albums from debut to the present day.[3] As a former concert promoter and jazz enthusiast, Wilkinson drew inspiration from Blue Note Records' catalog, establishing Us3's signature fusion of hip-hop beats and jazz samples while handling key production elements like scratching and executive oversight.[9] His enduring role ensured continuity through the group's nine studio albums released between 1993 and 2013, as well as the 2025 instrumental release Soundtrack, where he composed and produced the entirety of the project in a home studio setup.[29][34] Mel Simpson joined Wilkinson as co-producer shortly after the project's inception in 1992, contributing keyboards, engineering, and co-mixing duties that were instrumental in shaping Us3's debut album Hand on the Torch (1993).[10] Simpson's involvement ended after co-producing the debut album, focused on the group's early sound, blending live instrumentation with sampled jazz elements to create the breakout single "Cantaloop (Flip Fantasia)." His keyboard work and production partnership with Wilkinson were pivotal in securing Us3's signing to Blue Note Records and defining the acid jazz-hip-hop hybrid that propelled the debut to commercial success. Simpson passed away in 2004, marking the end of his direct contributions, though his influence lingered in Us3's foundational aesthetic.[35] Following Simpson's departure after the debut, Wilkinson assumed sole production leadership, collaborating with guest engineers and arrangers for subsequent releases to expand Us3's sonic palette. For instance, on the 1997 album Broadway & 52nd, Wilkinson co-produced and mixed alongside engineer Jim Hawkins at Konk Studios, incorporating live band recordings to evolve beyond the sample-heavy debut.[18] Later albums, such as The Third Way (Hand on the Torch Vol. II) (2013), featured contributions from horn arranger Bryan Corbett, who shaped brass sections for tracks emphasizing live jazz improvisation.[36] This reliance on Wilkinson's core vision, augmented by specialized guests, sustained Us3 through its active period until a hiatus in 2014 due to Wilkinson's health issues, culminating in his renewed solo production efforts for the 2025 all-instrumental album Soundtrack.[27][29]Rotating Vocalists and Guests
Us3 has maintained a fluid lineup of vocalists and guests since its inception, eschewing a fixed roster of performers in favor of rotating rappers and singers to bring fresh perspectives to their jazz-rap sound. This approach, evident from their debut album onward, allowed the group to incorporate diverse lyrical styles and vocal timbres, enhancing the collaborative and improvisational essence of their music. Post-1995, no permanent vocal lineup has been established, with Geoff Wilkinson selecting contributors on a project-by-project basis to suit each album's thematic and sonic needs.[24] In the early 1990s, during the recording of their debut album Hand on the Torch (1993), Us3 featured rappers Rahsaan Kelly, Kobie Powell, and Tukka Yoot, who delivered conscious rap verses addressing social awareness and urban life over jazz-infused beats. Kelly and Powell contributed to tracks like "I Got It Goin' On," providing sharp, introspective flows that complemented the album's groundbreaking fusion. Tukka Yoot, in particular, anchored "Tukka Yoot's Riddim," infusing the song with rhythmic, narrative-driven rhymes that highlighted themes of resilience and cultural identity.[37][38] From the mid-1990s through the 2000s, the group's vocalist pool expanded to include New York-based rappers Shabaam Sahdeeq and KCB on Broadway & 52nd (1997), where their sophisticated yet urgent deliveries added a streetwise edge to songs like "Come On Everybody (Get Down)." Singer Alison Crockett joined for contributions around 1999–2002, bringing soulful vocals to tracks that blended R&B elements with hip-hop. Later in the decade, Brooklyn rapper Reggi Wyns and South African singer Mpho Skeef featured prominently on Questions? (2005), with Wyns offering gritty, diverse flows on cuts like "Whatcha Gonna Do?" and Skeef providing ethereal, international-inflected melodies that evoked global jazz influences. Akil Dasan emerged as a key collaborator in the mid-2000s, delivering inventive, multifaceted rhymes on albums such as Schizophonic (2006), further diversifying the lyrical palette.[39][40][22] Notable guests in the 2000s included R&B vocalist Adeline (Adeline Michele), who appeared on tracks from Say What!? (2007), introducing smooth, contemporary soul harmonies that added layers of international and genre-blending flavors to Us3's evolving sound. British rapper Akala collaborated on the 2011 album Lie, Cheat & Steal. By 2025, the collective had amassed over 15 such collaborators, reflecting Wilkinson's ongoing commitment to a dynamic, guest-driven ethos that keeps the project's energy vibrant and adaptable.[24]Recent Developments
2025 Return and Soundtrack Album
In early 2025, Us3 announced their return after a decade-long hiatus, with founder and producer Geoff Wilkinson leading the revival through the official website us3.com.[41][42] The project marked Wilkinson's re-engagement with the group's jazz-rap legacy following health challenges that had sidelined album production since 2013.[26] Us3 released their tenth studio album, Soundtrack, on August 22, 2025, via their independent label Us3.[43] The 12-track collection consists entirely of instrumental jazz-rap compositions, eschewing vocals in favor of atmospheric grooves designed for versatility.[26][29] The recording process for Soundtrack blended contemporary elements with Us3's signature style, incorporating modern trap beats and synthesizers alongside classic samples and live instrumentation from an 18-piece horn section.[26][44] Wilkinson drew from his extensive work in library music since 2014, creating over 1,000 tracks for licensing, to craft pieces that evoke cinematic tension and melodic depth.[29] The album originated as a licensing-focused side project but evolved into a full Us3 release during mixing, with the explicit goal of suitability for film, television, and advertising placements.[26][29] Initial reception to Soundtrack has been positive, with critics praising its innovative fusion of hip-hop rhythms and jazz orchestration as a fresh evolution of Us3's sound more than 30 years after their debut.[45] Reviews highlight the album's "filmic Technicolor-inspired worlds" and recharged creative vision, positioning it as a bridge between past influences like Gil Evans and modern trap-hop.[29] As of November 2025, Us3 has outlined limited tour plans, including potential one-off performances in the UK and Europe contingent on fan response, with no full-scale outing confirmed.[26]Current Status as of 2025
As of November 2025, Geoff Wilkinson, the founder and primary creative force behind Us3, has shifted his emphasis toward licensing the instrumental album Soundtrack for use in film, television, and advertising, building on over a decade of developing a personal music library that includes more than 1,000 tracks across various genres.[29][26] This approach aligns with Wilkinson's post-hiatus recovery from health challenges and his adaptation to the streaming and sync licensing landscape, though no full reformation of the original band lineup has been announced, with Soundtrack remaining a solo-led project.[26] The 2025 release of Soundtrack has sparked renewed interest in Us3's catalog, leading to a resurgence in streaming numbers on platforms like Spotify, where classic tracks such as "Cantaloop (Flip Fantasia)" have benefited from the buzz surrounding the comeback.[29] While Wilkinson has expressed openness to one-off collaborations, including potential vocal features, no new projects with guest artists have been confirmed beyond the album's sampled elements.[26] Us3's official website has been updated to prominently feature Soundtrack and related merchandise, while social media accounts on platforms like X (formerly Twitter) and Facebook show ongoing activity, including promotions of recent reviews in outlets such as DownBeat's September 2025 issue, indicating the project's indefinite continuation without a fixed endpoint.[42][46]Discography
Studio Albums
Us3 has released ten studio albums as of 2025, transitioning from major labels in the 1990s to independent releases under their own Us3 imprint starting in the mid-2000s. Their debut album achieved significant commercial success, driven by the hit single "Cantaloop (Flip Fantasia)," which propelled it to strong chart performance and sales exceeding 1 million copies worldwide, including 500,000 certified units in the United States. Subsequent releases maintained a focus on jazz-rap fusion but saw diminishing chart visibility, reflecting a shift to niche audiences and self-distribution.| Album Title | Release Year | Label | Peak Chart Positions |
|---|---|---|---|
| Hand on the Torch | 1993 | Blue Note | UK #40, US Billboard 200 #31, US Top R&B/Hip-Hop Albums #21 |
| Broadway & 52nd | 1997 | Blue Note | UK #93, US Top R&B/Hip-Hop Albums #90 |
| An Ordinary Day in an Unusual Place | 2001 | EmArcy | - |
| Questions | 2004 | Us3 | - |
| Schizophonic | 2006 | Us3 | - |
| Say What!? | 2007 | Us3 | - |
| Stop. Think. Run. | 2009 | Us3 | - |
| Lie, Cheat & Steal | 2011 | Us3 | - |
| The Third Way (Hand on the Torch Vol. II) | 2013 | Us3 | - |
| Soundtrack | 2025 | Us3 | - |
Singles and EPs
Us3 has released over a dozen singles and EPs since their formation in 1992, with their early 1990s output achieving notable commercial success on both UK and US charts, particularly in dance and alternative categories. The group's singles often featured innovative sampling of jazz classics, contributing to their breakthrough in the jazz-rap fusion scene. Key releases include promotional formats like 12-inch vinyl and CD maxi-singles, alongside digital singles in later years. Their debut single, "Cantaloop (Flip Fantasia)" featuring vocals by Rahsaan Kelly and trumpet by Gerard Presencer, was released in 1993 and became their biggest hit, peaking at number 23 on the UK Singles Chart and number 9 on the US Billboard Hot 100. It also reached number 21 on the US Hot R&B/Hip-Hop Songs chart and number 29 on the US Alternative Airplay chart. Followed closely by "Tukka Yoot's Riddim" in the same year, which peaked at number 34 on the UK Singles Chart. In 1994, "I Got It Goin' On" charted at number 52 in the UK. The 1997 single "Come On Everybody (Get Down)" achieved a peak of number 38 on the UK Singles Chart. Later singles saw diminishing chart presence but maintained cult appeal in jazz and hip-hop circles. "You Can't Hold Me Down" from 2001 peaked at number 94 on the UK Singles Chart, while "Get Out!" in 2002 reached number 174. In 2007, "Say You Belong to Me" was issued as a digital single. More recently, in 2025, Us3 released several instrumental singles tied to their comeback album Soundtrack, including "What Have We Done?" on May 16, "Resist The Rat Race," "Footsteps In The Dark" on July 25, and "Long Ride Home," all available on streaming platforms but without reported major chart success as of November 2025. Us3's EP releases are fewer but significant for showcasing remixes and experimental tracks. The Re-Make Tracks EP (1994) was a promotional 12-inch vinyl featuring remixes of album cuts, released on Blue Note Records. In 2007, the Say What!? EP appeared as a 12-inch release on the band's own Us3 label, highlighting tracks from their self-titled album with a focus on electronic and jazz elements. Additional remix EPs and international 12-inch editions, such as European vinyl variants of "Cantaloop," were issued in the 1990s to support global promotion.| Title | Year | Formats | Peak Charts | Label |
|---|---|---|---|---|
| Cantaloop (Flip Fantasia) | 1993 | 12", CD, Cassette | UK #23; US Hot 100 #9; US R&B #21; US Alt. #29 | Blue Note / Capitol |
| Tukka Yoot's Riddim | 1993 | 12", CD | UK #34 | Blue Note |
| I Got It Goin' On | 1994 | CD, 12" | UK #52 | Capitol |
| Eleven Long Years | 1994 | CD | - | Blue Note / Capitol |
| Come On Everybody (Get Down) | 1997 | CD, 12" | UK #38 | Blue Note |
| I'm Thinking About Your Body | 1997 | CD | - | Blue Note |
| You Can't Hold Me Down | 2001 | CD | UK #94 | Universal / EmArcy |
| Get Out! | 2002 | Digital, CD | UK #174 | Universal Jazz |
| Say You Belong to Me | 2007 | Digital | - | Us3 |
| What Have We Done? | 2025 | Digital | - | Us3 |
| Resist The Rat Race | 2025 | Digital | - | Us3 |
| Footsteps In The Dark | 2025 | Digital | - | Us3 |
| Long Ride Home | 2025 | Digital | - | Us3 |