The next volume of Wonderwheel's long running Turntables on the Hudson series, curated by Nickodemus, heads down to the Caribbean encompassing diverse music made for the dancefloor. TOTC touches on the culturally rich shores of Cuba, Puerto Rico, Haiti, Jamaica, Belize, Mexico, Colombia and the USA and beyond with Island inspired vibes. This double 7" taken with our favorite cuts from the compilation features tracks from DJ Jigoe, Captain Planet feat Chico Mann, Corrado Bucci, and Poirier. On the A side, Afro Cuban artist and recent US & UK Press Darling DJ Jigue gives us the stripped down, Cuban house stomper that is "RIVE", while on the B side Italian producer Corrado Bucci teams up with the classic Columbian group Los Corraleros de Majaguel for a brand new modern take on their Cumbia classic "La Cuidad De Eterna Primavera". On the C side, Captain Planet & Chico Mann's tropical AfroLatin dancefloor smash "Aguacero" finally sees vinyl release, while on the D side, Montreal producer Poirier delivers a jumping Haitian/Creole tune "Pale Mal" with Fwonte on vocals to round out the compilation.
Danish producer Uffe Christensen returns to Tartelet Records with his second LP 'No', a deeply personal LP to follow 2015's debut 'Radio Days'. Every bit as abundant as his first, it's a record that scales polyrhythmic percussion, improvised jazz, & billowing ballads. This, that and so much more, it's a triumph of one man's instinctive ear - and should be consumed in one sitting.
Back by popular demand! Austin Boogie Crew presents another limited run of the record that started it all in a new lime green shade! This 7” is a heavy instrumental two-sider from Austin’s own Solar Shield. “Reesis” is an electronic boogie-funk banger. “Beeturia” is equal parts beach boogie and jazz-fusion, propelled by the virtuosic soloing of Solar Shield producer Chris McDowell.
A tribute to Kid Frost and El Chicano (featuring El Dusty, Mellow Man Ace, Niña Dioz, Mexstep, Kool AD, Amaze 88). Austin-based Grammy-nominated psychedelic latin funk band Brownout debuted their remake/tribute to Kid Frost’s 25 year old Latin pride hip-hop classic “La Raza,” digitally via NPR last year. Now, after many calls for a physical release, on Oct. 10th, 2016 or Dia De La Raza, Brownout adds to the celebration of the heritage of Latin America and cultural heritage by releasing this limited run 45. Brownout are no strangers to hip hop, having backed GZA (Wu-Tang Clan) regularly, being DJ/tastemaker favorites and veterans of the international B-Boy battle scene, performing live at many battles over the last ten years. After knocking out a live reworking of the song, which contains a famous sample of El Chicano’s “Viva Tirado,” the band called on their peers and heroes alike. Mellow Man Ace, the legendary Cuban American rapper best known for his 1989 hit “Mentirosa” was the first collaborator for the tune. “Mellow was my very first concert as a kid in Laredo, TX” says song producer Adrian Quesada, “so for him to jump on board quickly sparked the fire.” Others include DJ Dus (aka El Dusty) and Mexstep of the group Third Root representing the South Texas Chicano experience, Niña Dioz, an explosive female MC from Monterrey, Mexico, Afro-Cuban MC Kool AD (Das Racist) and his DJ, the Chicago born Amaze 88. The coming together of multiple races and cultures is more important now than ever in today’s increasingly divided political climate and Brownout’s version of “La Raza” pays homage to the past, keeping one foot firmly planted while putting their sincere and creative stamp on visioning a more united future. The flipside is an instrumental original that, as the title teases, has some Arab flare. The recipe for this cut seems to blend a dash of Cairo Jazz Band with and a pinch of desert-psych funk groove, in turn creating a full, slow-burning groove that is sure to mellow and get heads nodding.
Brain-melting reissue of the rare Columbia Records '73 single, featuring the original Mainman mixes and tucked into a deadly picture sleeve sporting a fantastic Mick Rock shot from the Raw Power sessions. Essential!
"Three songs by Fugazi, released in 1990. This 7'' was re-cut and re-issued (with updated art) in August 2009 and includes a free MP3 download (when purchased from Dischord only).
First release in a series of Reggae/Dub 7 Inches. Up first are 2 tracks by Polish beatmaker Emapea that were originally found on the In Dub 4 release.
Big Crown Records is proud to present the second single from Lady Wray’s Queen Alone album “Smiling”. An instant feel good anthem, Smiling finds Lady Wray reminding us to keep our heads up and keep a smile on our faces through whatever life deals us. With production from Leon Michels & Thomas Brenneck that rides the line between bubblegum pop and lo fi tough grit, Nicole lays out with a voice as encouraging as the lyrics she is singing. Listeners will be hard pressed not to find themselves singing along after the first listen. A proper good vibe tune guaranteed to move dance floors the world over. The B side “Make Me Over” is a lushly scored tale of letting your guard down and letting the one who loves you take care of you when you are down and out. A relatable tale of having expensive taste and empty pockets, Nicole finds herself asking for a little help so she can get a break from being strapped for cash promising to take care of her man as soon as her check comes in.
Big Crown is proud to present the debut single from 79.5 “Terrorize My Heart”. Hard to categorize, easy to love, 79.5 has been making tons of noise around New York City for the past year. With three lead vocalists, Kate, Nya, and Piya and a band that pulls influence from every corner of a record store, it’s no wonder they are already taking the scene by storm. They are an act that gets put on as an opener and shortly there after is asked by the venue to do a month long residency. That residency leads them to a full page write up in The New Yorker before they even have a single out. The long and short of it is that 79.5 wins over the listeners wherever they play with an infectious energy. Between the arrangements of bandleader Kate Mattison and the prowess of all the players, their sets run a gamut of energies and tempos, whether breaking it down to a capella, turning it up to disco, or mastering the middle, they run the groove, and the crowd follows suit. Take all of that and put it in the studio with Big Crown’s own Leon Michels on production duties and you get a record we can’t wait to put out in the world, a record on which every song was recorded live to tape in one take. “Terrorize My Heart”, a tune leaving no room for gray, finds the ladies of 79.5 walking the line between vulnerability and forthrightness. Setting out with admonishments of love and infatuation that are checked by the bluntness of women who’ve lived in the Big Apple for years, “is it her or is it me, that’s how it’s gotta be”. A smashing rhythm section covered in punching rhodes chops, flute parts, and dubbed out reggae rhythm guitar sets the perfect vibe for the ladies to trade off leads and come back together in three part harmonies: All the while taking the whole tune from half time to double time. The B side, coined the Disco Dub mixed by Jens Jungkurth, finds Michels’ production taking “Terrorize My Heart” from the change where it goes to four on the floor and lacing it with drums and a clap track that absolutely pushes this tune over the edge into the realm of dancefloor banger. Tombstones fall over, the earth cracks open, and dead people get up and dance when this comes on...
CB Records is proud to announce the new 7” single by Mophono, “Lump Sum Slum Lord (CTB vol 2)”, the second installment in the limited edition vinyl series based on the legendary San Francisco party Change The Beat. Founded in 2006 by Mophono, The Gaslamp Killer, Citizen Ten and Aspect McCarthy, CTB was known as the most forward thinking weekly showcase in the world, Hosting acts like Flying Lotus, DJ Shadow, Madlib, Slum Village, Edan, Mono/Poly and Eprom. The tag line said it all, “Dirt Wave & Rock Electronique, Thug Jazz & Riot Funk, Psyche Madness & Funk Rock layered with the hardest instrumental & Dub beats from around the world!!!” Mophono’s unparalleled sense of instrumental narrative makes it difficult to neatly categorize his genre-refracting productions. His emphasis on simplicity and effectiveness yields captivating results. Side-A crashes through the skull, with hysterical, psychedelic, and pensive swells. Larger than life breaks accompany a backbone of brooding synth bass. Its no wonder this song was Detroit beatmaker Tadd Mullinix AKA Dabrye’s first choice to remix for the B-Side. Lauded as one of the world’s best producers of instrumental hip-hop, we hear Dabrye juxtaposing the original with a mature and wholly engaging interpretation.
Bajka and Max Weissenfeldt first met each other when they both attended the same school in Munich, Germany.Their first recordings - under the name Goldenes Zeitalter - took place in 1998 and have proven to be a homage to the nowadays beloved spiritual-jazz-vibe in the manner of Alice Coltrane and co. and were released in 2005 by Jazzman Records. Now, Bajka has found her way back to her musical family and joined Philophon - the right environment for such a unique voice, joining a growing roster of talented artists including: The Polyversal Souls, Roy X, Guy One, Alogte Oho Jonas, Hailu Mergia, Idris Ackamoor and The Pyramids, Jimi Tenor and Y-Bayani. “The World” is driven by the heavyweight drumming of Max, counterpointed by the iridescent voice of Bajka. She reflects the glory of our world by showing the listener through her talent that she in person is for sure part of that glory. On the flip side, “Invisible Joy”, Bajka gives her own interpretation of Philophon’s own label anthem, which was already the title track of The Polyversal Souls’ celebrated debut album.
Y-Bayani (pronounced Why-Bayani) is Ghana’s uprising Fanti-reggae artist. He was discovered by Philophon in Ebo Taylor’s hometown Saltpond, where he survived as a clock doctor. With his song “Asembi Ara Amba” he was featured on the highly acclaimed debut “Invisible Joy” by the Polyversal Souls. The success of that song opened the door for his first release under his sonorous own name:Y-Bayani. “Get Away” is a swinging up-tempo beat with a bouncy bass and a haunting vocal performance on top. “Obar No Ni” on the other hand brings you down with a slowly driving rub-a-dub beat. Both tunes have been produced by Max Weissenfeldt and Stibbo Spitzmüller at Berlin’s Joy Sound Studios.
Otis Redding helped define soul music in 1966 with Complete And Unbelievable... The Otis Redding Dictionary Of Soul. The album, which peaked at #5 on the U.S. R&B charts, was once praised by critic Jon Landau as: ''The finest record ever to come out of Memphis and certainly the best example of modern soul ever recorded.'' Redding recorded his fifth studio album, The Otis Redding Dictionary Of Soul, in the summer of 1966 at Stax Studios in Memphis. Together with Booker T. & the M.G.'s, pianist Isaac Hayes and the Memphis Horns, Redding recorded 12 songs for the album, including the all-time classics, ''Try A Little Tenderness'' and ''Fa-Fa-Fa-Fa-Fa (Sad Song).'' To celebrate the 50th anniversary of this landmark recording, Rhino will release The Otis Redding Dictionary Of Soul as a double-LP set featuring both mono and stereo versions of the album, the latter of which has been out-of-print for decades. Both LPs will be pressed on 180-gram vinyl for superior audio quality. The set comes with a bonus 7'' reissue of the single: ''Try A Little Tenderness'' b/w ''I'm Sick Y'all.''
Lugnut Brand Records is very excited to bring to you this very special, vinyl-only release by The M-Tet Plus Two. Bringing in Erik Mekkelson on Tenor Saxophone and Dave Berger on Congas, The M-Tet expands their sound out to six pieces. Inspired heavily by Jimmy McGriff’s “Organ and Blues Band” and his dance-floor classic, “The Worm”, The M-Tet gets down to brass tacks and lays out some stuttering organ and funky drums. Larry Grogan of Funky16Corners.com says about this track, “…sounds like what Young-Holt might have done had they set themselves up around an Organ instead of a piano.”
Class is in session and all the youngins out there shaking a tail feather and playing dress up are about to be schooled by the ageless, timeless, and always present, Mr. Lee Fields. Special Night is the latest offering from a man whose career has spanned 50 years and as Oliver Wang of NPR once said, “In a curious case of musical evolution, the older Fields becomes, the closer he gets to perfecting the sound of soul that he grew up with as a young man”. Special Night is no exception. An epic 6 minute jam split into parts one and two on the 7", Special Night is a story of love and loneliness told from the perspective of a man with extreme life experience and deep wisdom. The tune is the perfect storm of production duties handled by Leon Michels and Thomas Brenneck alongside the inimitable musicianship of The Expressions, and recorded at the legendary Diamond Mine, Special Night is in the humble opinion of the Big Crown team, one of the greatest pieces of soul music Lee has put to record thus far.
Big Crown Records is proud to present the Bacao Rhythm & Steel Band’s smashing cover of P.I.M.P. on our imprint. Following up on the smashing success of their debut album “55” and a string of essential 45s, we are the third label to press this staple tune. Three labels, three times, three different B sides. Back in 2008 BRSB released it's smashing cover of 50 Cent's P.I.M.P. which was long thought to be the original sample for the tune. The Mocambo pressing already hard to come by and fetching top dollar on the internet has become an underground classic. BRSB treat the tune to their signature smashing drums and bass heavy production, taking the original loop and turning it into a full composition. Brass and steel pan parts putting it somewhere between reggae, steel funk, and the Superfly Soundtrack. Side B is the proper reggae offering from BRSB, a cover of the legendary John Holt’s classic “Police In Helicopter”. Another must have two sider, another Big Crown sureshot.
The Inciters play Northern Soul music. Northern Soul takes the Motown/Stax ethic but adds a stronger back-beat with more adventurous production, and THE INCITERS continue this tradition in grand style. With 11 members wielding drums, bass, guitars, a full horn section, and three female vocalists, THE INCITERS have no problem filling a room with the powerful sound of soul. The three vocalists lead the band through finely crafted original songs as well as traditional soul music that will get you out of your seat and start to dance. THE INCITERS first formed back in 1995 and had a successful 10-year run before breaking up in 2005 – leaving behind a massive following in Europe that demanded their return year after year. In 2009, they got their wish as original member / bandleader Rick Kendrick went to work putting the band back together. THE INCITERS reformed with some new, younger faces and picked up right where they left off. Right after the group reformed, they embarked on another successful European tour, released a teaser 7” single on Scorcha in Germany, and then got to work to record their comeback album – SOUL CLAP! The Inciters had some time between their shows in 2015. So they booked three days at Yeah! Yeah! Yeah! Studio in Hamburg to record a single for a German release. The Inciters have heard great things about this studio and its ability to get an authentic 60's feel. Micky Lee, the Inciters’ guitar player, wrote and sang this song. He says this about it, "My girlfriend was moving across the country to go to school so I wrote a song about how I was feeling. I read the lyrics to her when they were finished and she almost cried so I knew it was good. The music came naturally afterwards. Now we're married so I guess the song worked." The Inciters also came up with the idea of recording the song in German for the B-Side and to make it somewhat different to have a female vocal in it, which was sung by Sabi Kendrick.
Limited seven inch vinyl pressing. Direct from Nashville, TN comes a new group on the soul & funk scene, The Gripsweats! The group started off as a studio project at the G.E.D. Soul Records studio, but eventually migrated to bandleader Andrew Muller’s basement studio where things got very rough and raw! “Ziggy’s Walk” is a nasty midtempo burner with dirty drums, heavy bass, and nasty horns!
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The Alchemist and ALC Records are proud to present Craft Singles - a carefully curated, color coordinated seven inch series features a variety of artists who’ve collaborated with The Alchemist in his Los Angeles lab. Each volume is strictly limited to 500 hand numbered copies.
One Plus One is the five track debut EP by Melbourne band The Do Yo Thangs - a collection of sensual slow jams and bumping future soul dominated by rich, four-voice harmonies. Their debut release is the result of many years of soul searching for songwriter/drummer/singer Hugh Rabinovici and his right-handlady, vocalist Audrey Powne (Au Dray). The two met some years ago in the drab corridors of jazz school and bonded over a shared love of Erykah Badu and a desire to spread their creative wings. The combination of Hugh’s writing and Audrey’s vocals immediately gelled and before graduating they’d assembled a gifted cohort of musicians that went on to become The Do Yo Thangs. One Plus One is equal parts performance and programming, drawing from a broad palette of live instruments and electronic sounds.At the front, Hugh and Audrey alternate lead vocal duties, supported by harmony singers Maddie Otto and Tiaryn Griggs. Backing them, the guitar sound is classic soul but the plethora of synthesizers and 808 kick drums is definitely not, nodding equally to Vangelis or Hiatus Kaiyote. The more you listen, the more intricacy is discovered. The writing uses jazz elements and odd rhythmic devices, but it’s all tucked away - there’s nothing that intrudes into the foreground or interferes with the song’s abilities to speak to an audience. Hugh’s writing is a reflection of a unique musical development. A child of piano, cello, self taught guitarist and now drummer, his influences and abilities stem from an early life in music that moved to jazz school and a trip to South India to study Carnatic music. One Plus One is only the beginning for Hugh and the members of The Do Yo Thangs. With a new partnership at local label HopeStreet Recordings, anything is possible for the swooning soul collective.
New Order announces the fourth single release to be taken from their acclaimed new album, Music Complete. “People on the High Line” summons the funk. It’s the kind of tastefully deployed dance track that the band has spent decades articulating—perfect, polished, airtight. Chic meeting Kraftwerk on the dancefloor, which is exactly where New Order should be. New Order released their new album, Music Complete, on September 25, 2015. Music Complete finds the group revitalized, and where the group has previously pushed toward electronics or guitars, here the two are in balance. Music Complete also marks a return to the studio for Gillian Gilbert; this is her first album with New Order since 2001’s Get Ready. “People on the High Line” is supported with a special 7” remix package on picture disc vinyl including remixes by Claptone and Richard X available on September 30, 2016. New Order is: Bernard Sumner, Gillian Gilbert, Stephen Morris, Tom Chapman and Phil Cunningham.
Limited to 1,000 copies worldwide. Includes Serato control tone on the B-side. Electronic music tastemaker, DJ hero and all-around cultural force A-Trak’s “Parallel Lines” feat. Phantogram is a lush, genre-defying jam. With festival favorites Phantogram providing soaring vocals, A-Trak mixes guitar riffs with his signature, turntable-inspired production and peerless ear for beats. Spin summer all year round with Fool’s Gold’s special edition 7” vinyl pressing (limited to 1000 copies worldwide), featuring the original track on the A-Side and Serato tone on the B-side (ultra rare on 7” format).
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In 1994, Portland’s idiosyncratic punk pop group Hazel and hushed indie band Heatmiser were providing a less aggravated alternative to the big riffs and howling frontmen of their grunge peers in Seattle. Both bands had strong albums that helped highlight the diversity of Northwest’s rock scene, and both bands had guitarists that were dabbling in solo material. Heatmiser’s Elliott Smith had just released his critically acclaimed album Roman Candle, and Hazel’s Pete Krebs was preparing his debut for Cavity Search Records. It’s no surprise that the tiny burgeoning indie label Slo-Mo Records pounced on the opportunity to release a split 7” by these developing talents. Smith’s “No Confidence Man” is a classic example of his early, stripped-down heartbroken ballads while Krebs’ “Shytown” is a gorgeous acoustic number that deftly navigates between somber passages and the buoyant melodies he was known for in his work with Hazel. Long out of print, it’s Suicide Squeeze Records’ proud honor to repress the 7” as part of their 20-year anniversary celebratory series. “No Confidence Man” b/w “Shytown” is limited to 500 copies on opaque blue vinyl and 500 copies on opaque yellow. Additionally, the 7” features all new artwork by Grammy nominated designer Jesse LeDoux and includes a download coupon. Remixed by Larry Crane at Jackpot! Recording Studio, Portland, OR. Tape transfers by Mr. Toad’s, SF, CA. Mastered by Roger Seibel at SAE Mastering, Phoenix, AZ.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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