Limited And Numbered 3CD + 2LP Super Deluxe Edition! Twenty years after their international debut, French multi-platinum selling band Air consisting of Nicolas Godin and Jean-Benoît Dunckel release their first anthology, 'Twentyears.' The Best-Of includes on its first disc 18 tracks selected by Nicolas Godin and Jean-Benoît Dunckel. This disc features essential selections from the Air discography, including "Sexy Boy," "Playground Love," "Cherry Blossom Girl" and "Le soleil est près de moi." It also includes studio album tracks from 'Premiers symptômes' (1997), 'Moon Safari' (1998), 'The Virgin Suicides' (2000), '10 000 Hz Legend' (2001), 'Talkie Walkie' (2004) and 'Le voyage dans la Lune' (2012). The second disc of this Best-Of gathers 14 rare and unreleased tracks, including "Crickets" and "The Way You Look Tonight" from the 'Pocket Symphony' and '10 000 Hz Legend' sessions, "Adis Abebah" from the 'Quartier lointain' soundtrack, "Roger Song," written for 'Corman's World,' a documentary about cult B-movie director Roger Corman, "Land Me," taken from the vinyl-only 'Music For Museum' release in 2014 and "The Duelist" performed by Charlotte Gainsbourg and Jarvis Cocker during the Pocket Symphony recording. Limited and numbered SuperDeluxe Edition including the Best-Of on CD and random coloured vinyl, plus a third CD featuring Air remixes for other acts - including David Bowie, Beck, Depeche Mode and Neneh Cherry – as well as a collector poster.
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On July 22, 2016, Mark Farina returns with the 8th installment of one of electronic music's longest running compilations, Mushroom Jazz, celebrating the 25th anniversary of the series. Showcasing some familiar artists as well as some new discoveries, Mushroom Jazz 8 features more abstract composure filled with dubby, jazzy & styled beats accented by Mark's signature vocal samples weaved into a downtempo musical landscape. Part introspective, part nature based, this latest installment will give diehard and new fans alike insight into Mark, the genre and his musical message.
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An original member of New York’s new-school pioneers the Ultramagnetic MCs, Keith Thornton is best known as a solo rapper. His signature style is stream-of-consciousness lyrical flow and complex vocals, two skills that earn him a perennial nod from the underground hip-hop community. The average Kool Keith album is peppered with bizarre, disjointed, even delusional or disassociated themes, concepts, and references. Nearly all of his albums incorporate a satirical dislike for more commercialized strains of hip-hop, as well as major record label scams. After single-handedly redefining "warped" as the mind and mouth behind the Bronx-based Ultramagnetic MC's, "Kool" Keith Thornton - aka Rhythm X, aka Dr. Octagon, aka Dr. Dooom, aka Mr. Gerbik - headed for the outer reaches of the stratosphere with a variety of solo projects. A onetime psychiatric patient at Bellevue, Keith's lyrical thematics remained as free-flowing here as they ever were with the N.Y. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who "water down the sound that comes from the ghetto." His own debut single, "Earth People" by Dr. Octagon, was quietly released in late 1995 on the San Francisco-based Bulk Recordings, and the track spread like wildfire through the hip-hop underground, as did the subsequent Dr. Octagonecologyst full-length released the following year. Featuring internationally renowned DJ Q-Bert (of Invisibl Skratch Piklz) on turntables, as well as Dan the Automator and DJ Shadow behind the boards, Dr. Octagon's left-field fusion of sound collage, fierce turntable work, and bizarre, impressionistic rapping found audiences in the most unlikely of places, from hardcore hip-hop heads to jaded rock critics. Although a somewhat sophomoric preoccupation with body parts and scatology tended to dominate the album, Keith's complex weave of associations and shifting references is quite often amazing in its intricacy. Universal Music Enterprises (UMe) will continue its Respect the Classics tribute to many of hip-hop’s finest with the vinyl reissue of Dr. Octagon's underground masterwork Dr. Octagonecologyst with a trippy 3D lenticular cover that appears to suck you right into Dr. Octagon’s crazed world.
Eazy-Duz-It is the debut of rapper Eazy-E, the album charted on two different charts and went 2x Platinum in the United States despite minimal promotion by radio and television. Three singles were released from the album, each charting. Continuing with its Respect The Classics campaign, UMe will be reissuing this classic on cassette with a 3D lenticular cover and translucent black cassette.
LuckyMe are proud to announce Eclair Fifi’s debut record - ‘Never Let Go’ by Mickey Oliver & Shanna Jae. The first in a series of Chicago House and Latin Freestyle Drumapella, Percapella & Synthapella reissues & remixes. “I’ve had this record for years – my parents were into Chicago House and it’s been with me forever. Shanna Jae is better known as Paris Grey from Inner City… Goes without saying ‘Good Life’ is one of my favourite childhood records but a few years ago I was caught playing ‘Never Let Go Drumapella’ out at New Years Eve in London and it always changes the energy in a club. I’m a sucker for percapellas and have played them in as pivot tracks in sets since I started DJing; high energy drums, wet vocals and the space to take the set into different directions – ‘Never Let Go’ is a moment whenever it’s played. When I first approached Mickey Oliver it was through the comments section on his old website that kept crashing. I had to find his email via the site’s code. We were sent a master to work with, recently digitised from the original 1987 tape. Then I had the record remixed by a load of friends I’ve met touring, all picked for their drums. Aden’s is jacking, Strip Steve for his percussive 808 house sound and Airmax97 for a contemporary club edit. I wanted to compile a series of records and remixes that I have a long connection with since my first days DJing on Interface Radio in the early 00s, long before LuckyMe. To bring it together I tracked down phone and fax numbers, label studio addresses that had been turned into auto trade garages in Miami... It’s been a long time coming to put this series together. I’ve hand-made cover illustrations for all of the vocalists. It’s not just a ‘project’ to me – I can boldly say this is my favourite music and it’s about celebrating true dance music.” – Eclair Fifi. London. 2016 Mickey Oliver is the pioneering Chicago House producer, DJ and founding member of the Hot Mix 5 from Chicago’s 102.7 WBMX. Shanna Jae is the preeminent vocalist renowned for both her solo record produced by Mickey Oliver and as one half (as Paris Grey) of Inner City with Kevin Saunderson. The announce of Eclair Fifi’s debut series of 12” Eps comes fresh from her headline radio show on NTS that launched in January 2016. The Scottish artist and illustrator started DJing on pirate radio at Interface FM in London at 16-years-old, and has since gone to to host her own In New DJs we Trust residency on Radio 1, the LuckyMe show on Rinse FM and of course there’s her iconoclastic RA mix that closed out 2015. If you joined her European headline tour with Nina Las Vegas, or fell in love at any of the Eclair Fifi & Pals parties in Paris, or lost your mind at MoMA PS1 in New York or at Ed Banger’s 20 Years of Party in London, you already know her peerless vibe and consummate knowledge of Latin Freestyle, Italo, techno, hip hop and RnB. When not DJing Eclair Fifi is the designer and illustrator behind covers and videos for Baauer, Ryan Hemsworth, Machinedrum and many more.
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Written as an epic poem, Elysia Crampton Presents: Demon City is an official document of the Severo style and an homage to her friends and collaborators who include talented producers Rabit, Chino Amobi, Lexxi, and Why Be.
Londoner Endgame is a new addition to the Hyperdub roster after releases on Lisbon’s Golden Mist Records, and NYC-based Purple Tapes Pedigree. Endgame hosts an excellent monthly show ‘Precious Metals’ on NTS and produces and DJs as part of the Bala Club crew, and he already has mixes and features with the likes of the Fader, Fact, Dazed and Confused and ID under his belt in the short time he’s been releasing music. In his ice-cold productions, Drill, Grime and most notably South American dance riddims are threaded and mutated into tracks that he describes as an ever-evolving vision of the dystopian underbelly of London. ‘Felony Riddim’ is an icy introduction to the EP, an explosive club jam with a menacing and stabbing chime melody leading up to a pounding kick drum. It’s all out war, but you can definitely roll your hips to it. ‘Sittin’ Here Redux’ recasts Dizzie Rascal’s ‘Boy In Da Corner’ opener into a tense anthem, with police sirens wailing in the background, dogs barking, and rolling 808 snares that bring a vibe somewhere between reggaeton and drill. Next up is ‘Fallen’ featuring the MC Organ Tapes - a slow burner that works both as a moody headphone track or a club slow jam. Organ Tapes’ slurred autotuned vocals flow perfectly with Endgame’s blend of grime drums and chiming rap production. The EP finishes as it began, going out with the explosive and high-energy ‘Toxic Riddim’. It’s a mix of reggaeton and futurist dancehall, with a menacing melody and relentless electric shock-like hi hats across a deep sub. Endgame takes you all around the world - but the ice-cold tone unmistakably brings you right back to winding in a dark club in London's culture clash.
2015 album from critically acclaimed rapper, Freddie Gibbs. Fresh off the heels of his successful album, Pinata with prolific producer, Madlib, Freddie returns with Shadow of A Doubt. Includes 16 page booklet.
Liquid Swords is the second solo studio album by Wu-Tang Clan member GZA. Upon its initial release, Liquid Swords received critical acclaim for its complex lyricism and hypnotic musical style. Over the years, its recognition has grown, with a number of famous publishers proclaiming it as one of the greatest hip hop albums of all time. Continuing with its Respect The Classics campaign, UMe will be reissuing this classic on cassette with a 3D lenticular cover and translucent red cassette.
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Contains all 4 of Karl Hector’s limited edition EP’s: Tamanrasset, Ngugna Yeti Fofa, Coomassi and Ka Rica-Tar. Following their deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk on Unstraight Ahead, Karl Hector & The Malcouns combine the previously available only on vinyl tracks from four EP’s – Tamanrasset, Ngugna Yeti Fofa, Coomassi and Ka Rica-Tar — into an album as Krautrock as Afro Beat, as Multi-Culti-Psychedelic as Deep Funk.
People Records was the revered funk/soul imprint of the legendary James Brown, who throughout the 1970s curated and made it home to an array of top-tier deep funk artists, singers, and songwriters. It was during this time that the label hosted a variety of "funky divas" like Marva Whitney, Vicki Anderson, and Myra Barnes. Unquestionably the greatest of them all was Lyn Collins, whose R&B hit, the frequently-sampled "Think (About It)" is one of the most enduring singles to emerge from Brown's People label. Get On Down now presents here, an unearthed gem from the famed "Female Preacher." "We Want To Parrty, Parrty, Parrty" was previously unavailable on any Lyn Collins full-length release, and has never been reissued as a standalone 7" single until now. The track is a rollicking funk burner, produced by James Brown himself, and has sampled its way into tracks by Eric B. & Rakim, The Prodigy, De La Soul, and Big Daddy Kane among others, and comes on a large hole 45 with freshly re-mastered audio. "You Can't Beat Two People In Love", the funky soul-ballad B-side, is not to be missed either, featuring additional backing vocals by Brown.
Entirely written, played and produced by Metronomy himself, Summer 08 finds the multi-instrumentalist reflecting on his experiences around the time that Metronomy first landed a major breakthrough with Nights Out - the guilt of missing key moments in loved ones' lives and the confused mania of finding himself a critical darling. It's a concept that's been gestating ever since, but the opportunities and challenges that resulted in the expansive, ambitious and Mercury Prize-nominated The English Riviera and the Motown-inspired Love Letters understandably took precedence. "I wanted to make another record with the naivety of Nights Out: ten tracks, straight up, upbeat. Write another banger, then another, and don't really think about it." Summer 08 is a mature, eclectic pop record in the vein of OutKast, David Bowie and Daft Punk. Recorded in Black Box Studios in France with mixing courtesy of Bob Clearmountain (Bruce Springsteen, David Bowie) and Neal Pogue (OutKast), it's the most daring and creative Metronomy album. The album's first single "Old Skool" is a cowbell-clattered cocaine pop belter that glimpses '00s London from the backseat of an Addison Lee. It descends into a chaotic scratch frenzy courtesy of Beastie Boys' turntablist and Mount's childhood hero Mix Master Mike. As for the lyrics: "I was living in East London in 2008 and felt like all this stuff was happening in the West end. It's nonsense really, but I felt it was this privileged end of town, all the musicians there had wealthy parents and were living in Ladbroke Grove and Notting Hill. So that song's about being totally idiotic and just jealous." "Night Owl" is even more immediate as its disco-groove - at once laidback, then nervously on edge - captures the ambience of a downbeat soul lost in the nocturnal summer swelter of the capital. Elsewhere, there's warbling festival anthem-in-the-making "Miami Logic", which sounds like "Word Up" as performed by Devo; an early East-Coast hip-hop rough ride called "16 Beat" about a love affair between man and drum machine; and a brilliant moment of Bowie worship titled "Mick Slow". It's the album's duet with Swedish superstar Robyn, "Hang Me Out To Dry", mixed by Erol Alkan, that's the songwriter's favorite though.
Prince arrived on the scene in the late-70s, and it didn't take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the '80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton. After the success of Dirty Mind, the rising buzz about Prince continued when he opened for the Rolling Stones on their 1980-81 tour. Prince’s fourth album, Controversy (1981), was highlighted by the pulsing title track.
Prince arrived on the scene in the late-70s, and it didn't take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the '80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton. Interest in the youthful rising star was further kindled by Dirty Mind (1980), a provocative and sinuously funky album that appeared like a directional marker at the start of the Eighties. The jittery, New Wavish “When You Were Mine” became a club hit, yet Dirty Mind largely proved too hot to handle for radio.
It Takes a Nation of Millions to Hold Us Back is the second studio album from Public Enemy, released on June 28, 1988 by Def Jam Recordings. Since its initial reception, It Takes a Nation of Millions to Hold Us Back has been regarded by music writers and publications as one of the greatest and most influential albums of all time. Continuing with its Respect The Classics campaign, UMe will be reissuing this classic on cassette with a 3D lenticular cover and translucent cassette.
The contributions of the late Detroit producer James DeWitt Yancey –better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum’s 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in ’98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may “single-handedly save rap music.” Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village’s finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.
A - MAELSTROM Much like the infamous weather phenomenon the song is named after, MAELSTROM swirls and surges; drenching the listener in psych feedback while pulling downward, ever downward, into a sonic abyss. The bass provides the current, a pulse that pushes through the waves of feedback before the crashing storm of horns furiously hammers the listener. There is nothing pretty here, nothing safe; this is the Budos unhinged. They’re pushing their audience into uncharted waters and plotted a course into the eye of an electric storm. B - AVALANCHE The guitar’s hypnotic fuzz-laden intro builds to a peak before dropping the weight of the full Budos sound upon the listener. Horns slash and dive, the drums thunder downhill, the organ wails like winter wind while the combination of bass and guitar rumble and soar around you. This is the Avalanche of sound; the wrath of The Budos delivered through a combination of driving power and snarling menace. All before it Is crushed beneath the AVALANCHE.
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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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