12" Single of the Iconic theme song from "The Fresh Prince Of Bel Air". Released as a limited edition 12" single featuring the 45rpm Radio Mix & the B-Side track of "Parent's Just Don't Understand" also by Dj Jazzy Jeff & The Fresh Prince.
Anyone reckless enough to have typecast Angel Olsen according to 2013’s Burn Your Fire For No Witness is in for a rethink with her third album, MY WOMAN. The crunchier, blown-out production of the former is gone, but that fire is burning wilder. Her disarming, timeless voice is even more front-and-center. Yet, the strange, raw power and slowly unspooling incantations of her previous efforts remain. Over two previous albums, she gave us reverb-shrouded poetic swoons, shadowy folk, grunge- pop band workouts and haunting, finger-picked epics. MY WOMAN is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase. As the record evolves, one gets the sense that the “my woman” of the title is Olsen herself, absolutely in command but also willing to bend with the influence of collaborators and circumstances. An intuitively smart,warmly communicative and fearlessly generous record, MY WOMAN speaks to everyone. That it might confound expectation is just another of its strengths.
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!
2014 reissue of the Geto Boys' infamous album, We Can't Be Stopped.
RP Boo (AKA Kavain Space) is revered and respected among the Dance Music cognoscenti. He's cited as one of the originators of footwork, the fast, repetitive, rhythmically syncopated music and Dance style that's a grandchild of Chicago House. RP Boo's music is singular and unusual in footwork, featuring raps and dialogue adopted from juke, often in combination with sharp-edged and incidental samples giving some tracks a paranoid atmosphere. His music is often hectic, seemingly built to psych out the listener or offer challenges to dancers; it's this playful and imaginative quality, along with his sometimes-baffling-but-it-works rhythms and sub, that give RP Boo's tracks their totally unique feel.
Planet Mu are honoured to be invited to look back through RP Boo’s archives and present the cornerstones of his style, which would emerge from Chicago's Ghetto House in the late nineties and develop into the genre of Footwork.These six minimal, repetitious rhythm tracks weren't officially released at the time, with the exception of the original version of ’11-47-99’ (The Godzilla Track) which came out under DJ Slugo's name in 2001, but was actually written and produced by RP Boo. Others were white labels for Dance Mania, never fully released, but which are remembered locally as key tracks in the cementing of the genre at the end of the nineties.’Baby Come On’, often cited as the first ever Footwork track, was recorded back in 1997 – says RP Boo "I got the idea from a Radio DJ who was going nuts over the phrase, and I got busy on the R-70, which I had just started to use, to create the track – it got played out at the clubs and the DJ’s and dancers loved it!" The sample has since become a Footwork staple and almost every producer has made their own version of it.’Party Motion’, built around vocal samples looped into angular patterns and offbeats over a sharp drum machine, was first played at a gym room party in 1998 and got its name from another footwork original – Traxman.‘02-52-03’ is a remix of the classic ‘11-47-99’ (The Godzilla Track). It is so named because February = 02, 52 = The 52 Hundred Street RP lived on at the time and 03 is the date the remix was made, February 3rd 2003.‘Night & Day‘, made in 1999, further develops the footwork template with relentless toms and demented pitch shifted vocals. It is the most notable of RP’s many songs that sample Larry Levan favourite, Class Action’s ‘Weekend‘. Since then, snippets of that song have sneaked into many of RP’s production as something of a camouflaged signature.‘Try To Break (Original)‘. From 1997, this is another track that made use of a chipmunked sample from ‘Weekend’ combined with harmonies and looped into a rushing phrase. Originally this was broken in Club Cavallini's, Chicago where it was a very popular club track.‘Try To Break (Remix)‘. This is a 1998 remix that was put on the legendary Chicago mixtape that RP Boo and DJ Rashad made called ‘No-Edits-Allowed‘ in 1999.
In celebration of Björk’s mid-career retrospective at the Museum of Modern Art in New York, and the release of the Björk: Archives book, One Little Indian is reissuing the Björk vinyl back catalogue, and for an exclusive period the vinyl will be coloured to the hue that personifies that album character. After 5000 copies all albums will revert back to black vinyl. For her second solo outing following the break-up of the Sugarcubes Björk enlisted a handful of top producers including Nellee Hooper, Graham Massey, Tricky, Howie B and Marius de Vries and ambitiously expands on her electronic dance-pop sound with trip-hop and orchestral flourishes. Featuring the singles "Army Of Me," "Hyperballad," "It's Oh So Quiet," "Isobel" and "Possibly Maybe." "Whereas Debut was like the greatest hits of ten years, Post was like the last two years. For me, all the songs on the album are like saying, 'listen, this is how I'm doing,' and that's why I called the record Post, because I always address my songs back in my head to Iceland in a letter. Because it was such a big jump for me to move away from all my relatives, all my friends, everything I know." - Björk
In celebration of Björk’s mid-career retrospective at the Museum of Modern Art in New York, and the release of the Björk: Archives book, One Little Indian is reissuing the Björk vinyl back catalogue, and for an exclusive period the vinyl will be coloured to the hue that personifies that album character. After 5000 copies all albums will revert back to black vinyl. Featuring the tracks Human Behaviour, Venus as a Boy, Big Time Sensuality and Violently Happy. Debut is... shy beginner humility virgin beige silver mohair the messenger Freed from the Sugarcubes' confines, Björk takes her voice and creativity to new heights on Debut, her first work after the group's breakup. With producer Nellee Hooper's help, she moves in an elegantly playful, dance-inspired direction, crafting highly individual, emotional electronic pop songs like the shivery, idealistic "One Day" and the bittersweet "Violently Happy." Despite the album's swift stylistic shifts, each of Debut's tracks are distinctively Björk. "Human Behaviour"'s dramatic percussion provides a perfect showcase for her wide-ranging voice; "Aeroplane" casts her as a yearning lover against a lush, exotica-inspired backdrop; and the spare, poignant "Anchor Song" uses just her voice and a brass section to capture the loneliness of the sea. Though Debut is just as arty as anything she recorded with the Sugarcubes, the album's club-oriented tracks provide an exciting contrast to the rest of the album's delicate atmosphere.
Obscured by Clouds is the seventh studio album by Pink Floyd, based on their soundtrack for the French film La Vallée, by Barbet Schroeder.
Meddle represents Pink Floyd’s first actualization of the sounds inside their collective heads. Recording studio technology and their own instrumental prowess finally evolved to the point where the band’s lush dreamscapes could now be reliably replicated. Considered a “transitional” album between the band’s beginnings and the conceptually ambitious The Dark Side of the Moon, Meddle stands as one of the era’s strongest post-psychedelia statements. The lead track, “One of These Days,” pulses with an extraterrestrial step alongside the swirling keyboard washes. “A Pillow of Winds” is a perfect staring-at-the-sun acoustic daydream ballad. In the middle of the first half of album rests “Fearless,” one of the group’s finest, most mellow performances and a mixture of cosmic groove and acoustic folk. Meanwhile, the 23-1/2 minutes of “Echoes,” from its initial beeps through its multi-part instrumental drive, exemplifies the band’s love for grandeur. Most importantly, Meddle shows the band operating as a collective, writing together and adding unexpected flourishes throughout.
1970 found Pink Floyd at their wildly experimental peak. Covering the first side of the original LP, the 23-minute instrumental title track is wonderfully grandiose, featuring some killer David Gilmour guitar solos and the band's first (and last) extensive use of orchestra and choir. Before the album ends with the quirky tape-loop-enhanced epic "Alan's Psychedelic Breakfast", a trio of remarkably lovely acoustic songs—highlighted by Roger Waters' delicately philosophical "If"—showcases the band's growing lyrical sophistication.
The set contains a reissue of My Chemical Romance's double-platinum, genre-defining album The Black Parade, which was originally released by Reprise in October 2006, and features the band's multiplatinum hit "Welcome To The Black Parade." The new edition also includes 11 previously unreleased demos and outtakes from the original recording session with producer Rob Cavallo. Among them are "The Five of Us Are Dying," an early version of "Welcome To The Black Parade," and demos of the album tracks "Mama," "Disenchanted," and two versions of "House of Wolves." Five tracks, "Party At The End Of The World," "My Way Home Is Through You," "Not That Kind of Girl," "Emily," and "All The Angels," have never been released in any form.
Monster Collab of Detroit representive Guilty Simpson & Westcost Cali Agent Rasco.
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.
Following his most recent LP, A Mineral Love, Bibio brings fans a new collection of songs, featuring vocals from Olivier St Louis. Available on a limited run of clear vinyl this The Serious EP is a collection of four chilled out, soulful tracks sure to delight!
A collaboration between Aphex Twin (Richard D. James) and μ–Ziq (Mike Paradinas), Mike & Rich - ’Expert Knob Twiddlers’ was made back in 1994. Richard edited the tracks into shape later in 1996 with his new Apple Mac computer and it was released later that year on Rephlex, the label he co-owned and which released the first two albums by μ-Ziq.
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.
Virginia-born singer/songwriter Nicole Wray has everything you’d want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha’s, and a church upbringing that’s brought a pure, healing texture to her voice. But the struggle she’s been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, “It’s a reflection of my soul. It’s who I am today.” And aptly so. Released on Brooklyn’s Big Crown Records, Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole’s family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late ‘90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While her passion and talent propelled her forward–friends disappeared and her purpose seemed unclear. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Once again, industry factors beyond her control took charge. Like a recurring dream, Nicole found herself in a familiar situation. Having just been in the spotlight, and then again back living the “real life.” In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album’s release–despite rave reviews and upcoming travel dates. Fast forward to now–the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is “Singing out loud now–singing from the stomach.” Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs–all of it from her life. “They Don't Hang Around"", tells the story of her post Roc-a-Fella days, “Guilty"", is about her brother’s incarceration, “Make Me Over"" tells the relatable story of being broke with expensive taste, and ‘Let It Go”, a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, “You have to go through something for it to be real.” She has been living with one foot in fame and the other in real life. The result is clear: she’s feeling something real in her music again. And it’s hard for us as listeners not to follow suit.
The 10-track offering-which finds the Detroit lyricist paying homage to Nas's classic debute LP, Illmatic-was produced entirely by Will Sessions. Fellow D-Town MC Royce da 5'9" and Illmatic beatmaker Pete Rock also make appearances.
Alpha Pup Records presents Mù Chè Shān Chū by Howie Lee: an innovative producer, master sound curator, and ambassador from the Chinese musical underground. Born in Beijing where he lives now, Lee has lived in London, recorded in Taipei, and is now releasing his debut album on a Los Angeles label – truly a global phenomenon. After being hit up by Snoop Lion for a remix in 2012, Lee’s “future music from Downtown Beijing” busted out of China to captivate crowds with its thoroughly unique style. His distinct approach blends local samples, traditional Chinese sounds, and inventive modern rhythms. Tracks are drenched thickly in bass and imbued with the fresh feel of youth – and often, are right at home on the dance floor. Gripping from the very beginning, intro track “The Gate” invites you into the artist’s underground world and sets the tone for an expansive, epic journey. Syncopated beats strut through “Cloud Lamps,” and “Sinka (feat. Zhang Yang)” steps right into a thundercloud. “Bei Hai” is a riveting experiment with an alluring rhythm, a warm wash of sounds that pulls in unexpected directions. Mù Chè Shān Chū is always in motion. Impossibly dense and lush, yet also incredibly spacious and vast – a juxtaposition that reflects China itself. From the plucked strings of the guhzeng to the butter-rich bass of the 808, Lee brings an unmistakable Far East flavor to the leading edge of modern electronic music.
Holy Smoke is the fabled collaboration between producer/rappers Jeremiah Jae & Zeroh. The nine songs recorded together in Los Angeles 2012 focus on the spirit, health and the sacred use of cannabis. The swiftly-produced Holy Smoke sessions got buried in Jae’s relentless release schedule, ultimately archived in 2013 after a fresh signing with Warp Records and return to Chicago. The world’s only clues to these lost sessions came in the appearance of tracks "Trusted Friends” (2012) and “Black Myth” (2013) on HIT+RUN compilation albums. Excavated from the vaults in early 2016, the nine-track self-titled Holy Smoke album, finally sees a proper release on September 13th via HIT+RUN. Available on limited-edition cassette tapes, as well as special 10” colored vinyl (containing unique trails of silver smoke encased in clear wax) and housed in a one-of-a-kind silkscreened jacket (featuring artwork by Zeroh & PsyteOne). Only 400 quantity pressed and each album comes with Holy Smoke matches!
Limited to 300. “Five Parts of the Soul is inspired by the ancient egyptian concept of the Soul, which says that a human soul was made up of five parts: Heart, Shadow, Name, Soul and Spark. 5POTS is a five-part journey into the past, passing through desolate canyons and scorching deserts, obscure rain forests and crowded thrift markets. All of the songs have different styles and takes on what Soul music could be.” -Kae
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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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