Limited to 1000 copies! Born and ‘raised’ in the ghettos of Los Angeles, gangsta rap emerged in the late 80s with the first albums from Ice T, NWA and Eazy E. If the lyrics were the reflection of afro-american economic and social life style (drugs, unemployment, police violence...), gangster life was also largely described. The original tracks sampled & selected by the producers were essentially ‘70s Soul music.
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Limited to 1000 Back again on vinyl where it belongs, MF DOOM's 1999 classic Operation: Doomsday is now presented on a premium-grade split-colored LP, with audio re-mastered from the original Fondle'Em Records release, and a poster of the album cover art! Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After KMD (his first group)’s 1994 sophomore album Bl_ck B_st_rds was shelved by Elektra in 1994 and his blood brother Subroc (one half of the sibling rap duo) passed away, surviving frontman Zev Love X mutated into the MC Avenger known as MF DOOM and the Rap world is better for it. This 19-cut deep album is ridiculously dope, in a bizarro Ol’ Dirty Bastard kind of way. Doom sounds either high or drunk on most of the tracks, his self-produced beats are gritty, and his rhyme styles are almost indecipherable. On arguably the best track, “Rhymes Like Dimes,” Doom weaves some pointed lyrics through his abstract wordplay, spitting ‘only in America could you find a way to earn a healthy buck / And still keep your attitude on self-destruct.’ Who You Think I Am? features DOOM‘s crew M.onster I.sland C.zars, while on “?” he trades hot verses with former Columbia artist Kurious Jorge. Doom’s avant-garde ghetto-rhyme philosophies take even more intentionally weird twists on “Tick, Tick...” where he and guest MC MF Grimm’s flows warble over a rhythm track whose tempo speeds up and slows down continually. The comic-book themed skits, will help take you deep into the mind of an MC who is as otherworldly as they come. And in today’s bland commercial Rap universe, Operation: Doomsday’s left-of-center beats and rhymes are the perfect remedy.
Adrian Younge calls The Electronique Void an academic album, by which he means it is both instructional and informational. The science of love, its formulas and if-then constraints, causal relationships and observable properties, is best taught experientially, but learning it hurts so, so bad. Music, especially electronic music, reliant as it is on abstraction and unrepentant as it is about hijacking your physiological responses to tempo and rhythm and dynamics, is a way to get there without going through it. Electronic music as practiced and developed by pioneers like Dick Hyman and Raymond Scott and Wendy Carlos is precise and intentional. In making his first electronic album, Younge took his cues from them, reminding a contemporary audience what a synthesizer, deep in its heart, really could be. This study of how music crafted with synthesizers can tap into raw human emotion is sure to excite long-time fans of Younge as well as devotees of electronic music. Adrian Younge now presents what is sure to be one of his most sought after instrumental releases, The Electronique Void: Black Noise Instrumentals..
Multi-platinum hip-hop group Cypress Hill teamed up with Get On Down to celebrate the 25th anniversary of their 1991 debut with a limited-edition “25th Anniversary Smokey Swirl” Vinyl reissue. Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice. From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable. When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “[By the late ‘80s] the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.” Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.
The Freak's Brew LP underlies an amazing mixture, consisting of own and other substances. Their mixing ratio is not controllable. Occasionally it penetrates through their channels to the surface and distributed irregularly. If then you find yourself in the vicinity, initially sharpens your gaze inward.After deeper influence the mixture starts to form new within yourself. Now needs to find its way and the sequence starts anew.
YES LAWD! As temping as it may be to just let that exclamation suffice as your sole introduction to NxWorries, we should go a little deeper. The men at the heart of this LP — soul styler Anderson .Paak and loop beast Knxwledge — make an exceedingly clean pair, even as they deal almost entirely in the gritty: vocals that sound lived in for a couple of lifetimes; beats that kick up dust as they bump; and an 18-track set that plays like a mixtape merging skits, songs, and snippets into a package of fluid groove and rough-cut rap ‘n’ soul gems. You may have heard these two out in the world, on their own or sprinkling some of their musical gold dust on someone else’s songs, but this is what happens when .Paak and Knx get home, lay back, light up, and let it go. If there’s a Blaxploitation vibe to Yes Lawd!, that’s just the depth of NxWorries’ funk and strut showing. If there’s gospel in the grits, that’s the history of the cooks. Each grew up with religion. It was Knxwledge’s job to tidy up the family church in Jersey as a kid, and when he was done, he got to play on the instruments. Better still, when those instruments went bad, he kept them. Similarly, he’d soon find sounds in his growing vinyl cache, and when he moved to Los Angeles in 2008 as a beat maker, his compositions ensured he’d be home at Stones Throw. His hypnotically dank 2015 LP Hud Dreems was the tip of an iceberg—75 Bandcamp collections, and counting. Paak was neck deep in those songs when Knxwledge reached out. The singer grew up in Oxnard drumming in his own family’s church. His folks got locked up when he was a teen, and while he’d eke by on odd jobs (grocer, trimmer, personal assistant), he was homeless for a spell with a newborn son. But .Paak pushed forward, building a career via imaginative albums (2016’s Malibu), and collaborations that always seem to make him the star, even when he’s just there to sing the hook. On Yes Lawd!, .Paak – who calls the album “my best work” – plays theatrically brash version of himself who sings like a ‘70s superstar and talks shit like a stone cold player. But the perfor-mance is seeded with details from his life, which has seen a fair share of struggle and hardwon triumph. Meanwhile, Knx weaves a tapestry of sampled bits and live fragments—bass, brass and violin—that smooths everything over, reminding us that despite whatever struggle it took to get here... well, you already know the name: NxWorries.
San Diego's own The Sure Fire Soul Ensemble is back with their sophomore LP on Colemine Records! Cinematic soul is the order of the day from this west coast group. Covering a lot of soulful territory here: deep funk, soul jazz, breakbeats, and more!
Es-K (Essential Knowledge) was born in Holland, raised in Kansas City, Missouri, and currently lives in Burlington, Vermont. He starting seriously making beats as a teenager, with his first release coming out on the Cold Busted label in 2011. Es-K is also known for his monthly Spontaneous Grooves releases, where a set of instrumental tracks are created in one sitting, the result being truly ‘spontaneous’ and diverse. This exemplifies Es-K’s prolific and workman-like ethos of beat-making, with creative and top notch hip hop soundscapes constantly pouring out of his Vermont studio. Passages is Es-K’s latest release for Cold Busted and it shows his growth as a rhythm-obsessed music producer. With guitar and occasional keys by friend Max Bronstein-Paritz and a couple of crucial studio collaborations with fellow Vermont beat-maker Loupo, Passages adds extra depth and musicality to Es-K’s drum mechanics. The album opens wistfully with “IEV”, offering a minute and a half of instrument textures and snatches of percussion before the full beat kicks in. “Monastic” showcases Max’s funky guitar contribution, “Elevation” features some deep bass line play, and “Mistakes Made” is filled with melodic layers and melancholic moods. These are just some of the highlights from this twelve track album … Es-K satisfyingly goes beyond the beats throughout.
Bayou-born soul sensation, Durand Jones, is bringing his raw energy to Colemine Records with his debut LP. Jones brings you two fiery original soul music, pairing soaring vocal work with dusty drums, slinking guitars and screaming organs. With a stellar background in gospel, Jones got his start in the church, singing in the choir of his hometown in rural Louisiana. When his music career took him to Bloomington, Indiana, he was selected to join the legendary Indiana University Soul Revue, and it was through his involvement that he met writer/producer duo Aaron Frazer and Blake Rhein. The three began writing original soul music, recording themselves straight to tape in the basements of Bloomington- a process which brings you the gritty sounds available on Ohio-based Colemine Records. Sure to satisfy fans of Charles Bradley, Lee Fields, Aloe Blacc, and Leon Bridges.
Chicago producers Scud One (Cult Classic, The Dirty Science, 2012) and T-White (The Gift Vol. V, Street Corner Music, 2014) have been working together in hip-hop production for more than four years. Scud One is a producer and lyricist whose work on Cult Classic and Don’t Drink The Kool-Aid - alongside artist Denmark Vessey - was called “organic and thoughtful, political and soulful, and without being quirky or removed from the streets” (Daniel Isenberg - Nahright.com, Complex Magazine). Scud One has worked, notably, with artists Quelle Chris, Guilty Simpson, and Exile, among others. T-White is a producer, animator and video director whose record debut was the fifth volume in the ten-volume “The Gift” series compiled by House Shoes (Street Corner Music). He has produced for Denmark Vessey on Don’t Drink The Kool-Aid and 2015’s Martin Lucid Dream;T-White produced the single “Don’t Smoke K2” which was featured on NPR’s “Songs We Love” “STEVEN TYLER” - a title derived from the combination of the first names of both artists - is a collaboration between Scud One and T-White focusing on the integration of beats, interludes and spoken-word comedy skits delivered with absurd - and sometimes sardonic - wit. It’s a packed album, making use of colorfully-loud, spacey artwork and irreverent humor throughout its tracklist. As a collaborative effort, it showcases the strengths of both its producers - Scud One’s lavish looping skills and sample choices, with T-White’s drum proficiency, interlude construction, and penchant for comedy. “Steven Tyler is hard as fuck.” - House Shoes
Jake One's discography reads like a who's who list of some of the greatest AND most successful artists in the history of hip hop. That's what makes him truly unique. Blurring the lines between the underground and overground. Providing sonic backdrops for such incredible emcees as De La Soul, Scarface, Freeway, MF Doom, Evidence, Casual, Elzhi, Brother Ali, and Rakim among others, but polishing that same formula and providing records for the likes of Drake, Rick Ross, T.I., 50 Cent, Snoop Dogg, J Cole, Wale, Dom Kennedy, and Royce 5'9", Jake One is one of the exceptions that has worked equally with both of these sides of the industry. Exceptionally. "Prayer Hands", a collection of instrumentals created from gospel sources, includes some of those recordings amongst others that all remind you that Jake One has pretty much become the go-to producer for any major artist that wants some real hip hop shit on their album. And understandably so. His discography is one of the most reputable in the game. On October 21st, Street Corner Music and Rappers I Know are proud to present Jake One's "Prayer Hands"
Mama's Gun is the second studio album by Erykah Badu. The album contains the single "Bag Lady", a top 10 Billboard hit, nominated for the Grammy Award for Best Female R&B Vocal Performance and for Best R&B Song. Mama's Gun was met with great critical success and sold strongly. Continuing with its Respect The Classics initiative, UMe will be reissuing this album on standard weight vinyl for the first time since its original pressing.
Baduizm is the debut album by neo soul singer-songwriter Erykah Badu. The album won numerous accolades including winning awards for "On & On" and a Grammy Award for Best R&B Album at the 40th Grammy Awards in 1998. Baduizm's success earned Erykah Badu popularity at the time and helped establish her as one of the emerging neo soul genre's leading artists. Continuing with its Respect The Classics initiative, UMe will be reissuing this album in its entirety, on 2LP for the first time.
In 1999 Polyvinyl, then only 3 years old, released an unassuming debut album by a band called American Football. The band played a dozen shows and then parted ways. Then something remarkable happened: for the next 15 years, the album was discovered over and over, going on to sell more than 100,000 copies and becoming one of the most influential indie albums of all-time. In 2014 and 2015 American Football played their first shows in 15 years, selling out venues the world over. Organically, the band started to write new material, and years of ideas gelled into the a picture-perfect second album 17 years after the first.
LIMITED EDITION OF 5000 • FOIL STAMPED LINEN WRAPPED BOX • COLORED VINYL TWELVE 8X10 PHOTO PRINTS BY BUTCH HOGAN • ESSAY BY NATHANIEL KRENKEL Boxset includes: Fevers and Mirrors (2xLP - Maroon Vinyl - Gatefold) LIFTED… (2xLP - Black/Yellow Vinyl - - Gatefold) I’m Wide Awake, It’s Morning (LP - Light Yellow Vinyl) Digital Ash in a Digital Urn (2xLP - Light Blue Vinyl - Gatefold - w/ D-side etching) Cassadaga (2xLP - Clear Vinyl - Gatefold) The People’s Key (LP - Orange Swirl Vinyl)
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Limited to 500 copies. Featured 2 color silk screened chipboard jacket. Dibia$e has cemented himself as a producer on the forefront of today's burgeoning beat scene. A product of Watts, CA, Dibia$e found his style in his mothers garage banging out beats while playing video games to avoid the strife of the street life - and he continues to grow with each and every release. Originally released on CD/Digital in 2011, Sound Palace has remained an absentee in Dibi's vinyl catalog...until now. Throughout the instrumental record, Dibiase shows his incredible ability at crafting spaced out 8 bit Nintendo beats merged with a Dilla-esque smoothness and a South Central twist into a sound wholly his own. From Baker's Dozen to Looney Goons to Schematiks, Dibiase's vinyl releases have garnered a reputation for selling out with a quickness. Strictly limited to 500 units and housed in a 2 color chipboard jacket, Sound Palace enables new fans and enthusiasts alike to add a sure shot to their collection.
For All We Know is the debut studio album conducted and written by electronic music singer-songwriter NAO. The album is expected to be primarily produced by British DJ and music producer GRADES.
S.F. Bay Area rap legend Mac Dre presents one more of his alter ego rap voices. ''The Genie of the Lamp'' is the doppelganger of Ronald Dregan, yet they share the same voice and interests, food, fame, females, phat fu, and 'fetti - not necessarily in that order. 14 tracks make up this counterpart to Mac Dre's other election year October release, ''Ronald Dregan - Dreganomics.'' Production by Tone Capone, Mac Dre, Gennessee, Shouman, One Drop Scott, Traxx, Harm, Johah Whale, Syko, Rob-Lo, and others. In a gatefold sleeve with one purple and one clear vinyl in polylined sleeves.
You know him as Al Boo Boo, Mac Drevious, Thizzelle Washington and more. Now he busts out with Ronald Dregan. Running for top office in this election year, the big POTUS (pimp of the U.S.) chants ''Follow me now let me lead the way believe in Dre the American way'' on the Dreganomics track as he rapsodizes the virtues of 22 inch rims, cash and pimpin', campaign and game. 12 solid raps with production by Sean T, Gennessee, Sweet Geez, Lev, Swampkat, THE G.O.V., and Johan Whale. This is just half of a special two album release for October of this election year. It is the complement to ''The Genie of the Lamp.'' In a gatefold sleeve on red & white, blue & white starburst vinyl in polylined sleeves.
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.Prince hit an artistic peak with Sign 'O' the Times (1987), his first album since 1999 not to be co-credited to the Revolution. A double album that was trimmed down from an intended triple, Sign 'O' the Times was Prince's most musically expansive and lyrically incisive album. On the sobering "Sign 'O' the Times" (No. 6), Prince enumerated a catalog of social ills (AIDS, crack, gang violence) over a skeletal funk track. Other hits from the album included "U Got the Look" (No. 2), a duet with Sheena Easton, and "I Could Never Take the Place of Your Man" (No. 10).
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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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Fat Beats offers internship opportunities. You must be enrolled in college and reside in the Los Angeles area to be eligible for our programs. If you meet these requirements, please paste your cover letter below and we will contact you if there are open positions available.
We are currently offering an internship program that offers an educational experience in all facets of our distribution operation. The intern would have the ability to assist in each of the following departments:
Online Retail / Marketing
Shipping & Receiving
- Enrollment in an accredited college/university that offers an internship program for academic credit
- Knowledge and passion in independent music and culture; with a specific interest in the artists/releases that Fat Beats supports
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- Positive attitude - no task should be considered too small
- Must be located in the greater Los Angeles area
Resumes/Cover Letters should be emailed to firstname.lastname@example.org