The Beavis and Butt-Head Experience is a compilation album, released in 1993. It is one of the fastest selling comedy albums of all time and is certified 2x Platinum by the RIAA. The album features a variety of musical genres, mostly hard rock and heavy metal bands. Many of the songs are intercut with commentary by Beavis and Butt- Head. Continuing with it soundtrack reissue initiative, UMe will be reissuing this classic album back on a picture disc for the first time.
Beavis and Butt-Head Do America is a compilation album, released in 1996. The album features a variety of musical genres, mostly hard rock and heavy metal bands. Many of the songs are intercut with commentary by Beavis and Butt-Head. Continuing with it soundtrack reissue initiative, UMe will be reissuing this classic album back on a picture disc for the first time.
Originally released back in 2004 this release has been our most requested for a vinyl re-release along with recent re-issues of Cinematic Orchestra and MGMT on 180 gram vinyl, Kieran Hebden's contribution to our renowned series of compilations redefines the word "eclectic". From sun-kissed 60s psychedelia (Manfred Mann, would you believe?) to cosmic jazz, to skull-crunchin' hip-hop (Gravediggaz) and Terry Riley's tape-loop cut-ups, seriously entertaining and even educational take on the chillout comp - as well as a peek at the myriad influences that are at work in Hebden's own music as Four Tet. Highlights include Icarus' digital jazz deconstructions, the indescribable beauties of Linda Perlhac's Parallelograms and Koushik's woozy funk workouts.All in all, a rare treat composed of, er, rare treats. Thoroughly recommended.Also includes an exclusive cover version of the Jimi Hendrix classic "Castles Made Of Sand"To avoid any confusion from Kieran Hebden the Four Tet mix audio that appeared on the original CD is the very same as the 2004 release, but the separate tracks on the vinyl have been mastered individually to suit vinyl.
Two years after releasing the revered noise/dance record Health/Disco, Health return to the remix realm with Disco2, morphing 2009's Get Color into an electronic masterpiece. Curated and produced by the band, Disco2 features the epic noise jams of Get Color remixed by electronic luminaries Tobacco, Crystal Castles, Salem, Javelin, and Gold Panda (among others), and leads off with the killer new single "USA Boys," mixed by legendary producer Alan Moulder (My Bloody Valentine, Nine Inch Nails, Depeche Mode). Download card features the full album, along with 12 additional remixes from NITE JEWEL, RODION, NASTIQUE, CLIPD BEAKS, RAINBOW ARABIA and more.
This Double LP Is Packaged With a Stand Alone 100 Page Full Color Book, Filled With Incredible Photos And Words By Nigerian music historian Uchenna Ikonne (Who Is William Onyeabor?) The Western world was in the throes of peace, love and flower power as Nigeria descended into Civil War in 1967. The rock scene that developed during the following three years of bloodshed and destruction would come to heal the country, propagate the world-wide ideal of the Modern Nigerian, and propel Fela to stardom after conflict ended in 1970. Wake Up You! tells the story of this time, pays homage to these now-forgotten musicians and their struggle, and brings to light the funk and psychedelic fury they created as they wrested free of the ravages of the late 1960s and created thrilling, original Nigerian rock music throughout the 1970s. Presented in two volumes, each in a 100 page book full of never-seen photos along with detailed liner notes by Nigerian musicologist and researcher Uchenna Ikonne (Who Is William Onyeabor?), with all tracks fully licensed from the bands themselves.
Many musicians speak of their versatility, but few can boast an MPhil from Cambridge specialising in African history, work in human rights law (predominately in South Africa) and enviable sonic CVs among their caches. Yet such is the extraordinary makeup of London-based Throwing Shade, aka Nabihah Iqbal, a rising producer and NTS Radio host whose House of Silk EP will be released via Ninja Tune on 4th March. Having debuted on Kassem Mosse’s Ominira imprint and followed suit with releases for No Pain In Pop (Patten, Grimes, Forest Swords) and Happy Skull, Throwing Shade continues her patchwork of peripheral pop over five new tunes. Leading track “hashtag IRL” is a nod to what she calls the ironic “anti-social reality of social media,” full of digital glitter and contemporary colloquialisms but pervaded by an uncanny emptiness too. The “repetitive, robotic and melancholy vocals” to her "symbolize the relentlessness with which the internet now dictates our lives…our thoughts are watered down to a common denominator of hashtags, selfies and internet-speak acronyms.” While “hashtag IRL" exemplifies her voice, tapped by SOPHIE for breakout track “Lemonade” and most recent single “L.O.V.E.,” the rest of the EP focuses squarely on her multifaceted production skills, lightfootedly gliding on “Marble Air,” nodding to ‘80s cinema on “Ecco Echo,” compelling idle feet to dance on “Fear of Silence” and slipping through the haze of half-sleep on “Underneath My Eyelids.”
Warpaint is a Los Angeles based quartet comprised of Emily Kokal (vocals/guitar), Jenny Lee Lindberg (bass/vocals), Theresa Wayman (guitar/vocals), and Stella Mozgawa (drums). To say that this follow-up is “highly anticipated” is an understatement, considering the reception that their debut received when it was released at the end of 2010, and the excitement at their recent sold-out shows in New York and LA. They are currently also featured in a Calvin Klein jeans campaign which has received 2 million views via the YouTube ad alone. Warpaint was recorded and mixed by Flood, aside from two songs that were mixed by Nigel Godrich. The album was conceived after some truly inspirational writing and recording sessions that took place in The Joshua Tree late last year. The band was joined there by visionary director Chris Cunningham, who has partnered with them for many of the album visuals including the cover. He spent two years filming and photographing the band as they made new music. Warpaint is a well-oiled machine. They weave intricate guitar lines, hypnotic vocals and driving post punk rhythms into gorgeous, sprawling songs that skirt the line between psychedelia and intimacy. Both live and on record, Warpaint sound like they’re channeling something truly otherworldly, and mystical. They are also a band that truly enjoys playing together. Emily and Theresa have been friends since they were kids, and the bond that the four of them have is truly special.
Recorded at Chateau Du Musique, Brooklyn, New York, between July 2001 and May 2003, Ratatat's self-titled debut further blurs the boundaries between electronic music and rock, mixing Evan Mast's fractured but propulsive beats and woozy analog synths with Mike Stroud's loud, yet somehow subtle, guitars. Available for the first time on vinyl.
1971's Here Comes The Sun follows the success of her previous studio album, To Love Somebody, with another batch of pop songs, from the Beatles and Dylan to Jerry Jeff Walker and Paul Anka.Fantastic new and adventurous arrangements, along with Nina Simone's unique vocal interpretations, keep this from just being a covers record.
Herman Poole Blount, better known to the world as Sun Ra, lived more musical lives in his 79 years on this planet (and others) than seems possible. In the '30s he was the most rigorous bandleader in Birmingham, heading the Sonny Blount Orchestra and filling every waking moment with music or philosophical discussions; by the '40s he had moved to Chicago and performed with luminaries such as Wynonie Harris, Fletcher Henderson, and Coleman Hawkins. By the '50s he had changed his name to Sun Ra and began performing with longtime Arkestra bandmates John Gilmore and Marshall Allen. Sun Ra started his own label, El Saturn (or Saturn), to release his own recordings as well as those featuring the Arkestra backing local R&B and doo-wop groups. This second volume of the collected Sun Ra singles focuses on Yochanan (aka The Space Age Vocalist) -- a wild and wildly original street performer from Chicago whom Sun Ra befriended (or an alias of Sun Ra's) -- along with some other amazing Sun Ra sides (and tracks by Little Mack), spanning 1959-1962.
After two years of constant turing and near-unanimous critical acclaim, Godspeed You! Black Emperor assembled a collection of new recordings that charted the creative evolution of the band as well as its literal physical movement on the road, criss-crossing North America and Europe. Five expansive full-band compositions are framed by various field recordings, tape manipulations and ensemble pieces in a return to the narrative sonic collage techniques that marked their 1997 debut (F#A#). Four seamless sides of vinyl unfold a world of aching sadness and beauty, with musical quotes ranging from heartland americana to mitteleuropa folkways, all distilled through the unique sonic filters of Godspeed’s pedal-crazy orchestral rock instrumentation. Harrowing guitars, plaintive strings, pulsing basses and explosive drums combine with glockenspiels, horns and tape drones to form an overwhelming palette of sounds, always driven by fierce melodic momentum and intense emotional resonance. GYBE continued to paint on an impossibly large canvas, with an uncanny blend of world-weariness and naive exuberance that spoke volumes about the conflicts and contradictions permeating our political and cultural life. The tension between humility and hubris conjured an epic scope and a raw hope that such sweeping gestures might survive with some semblance of substance.
F# A# ∞ is a spectacular testament to GYBE's awe-inspiring power, including "East Hastings" and the elegiac "Dead Flag Blues" and "Providence". F# A# ∞ was recorded at the original Hotel2Tango in spring 1997 on a rented 16-track tape deck and supplemented with various field recordings. In the preceding year, the band had taken shape as a quasi-orchestral outfit involving most of the players that would go on to make three more records and tour the world many times. This is the first recorded document of Godspeed as a large band and is soaring, fragile, awkward, heartbreaking stuff. Three different front cover images (train, water tower, highway lights) are hand-glued on the front cover. Inserts include a penny crushed on Montreal railroad tracks, blueprint album graphic and notes, credit sheet and reproduction of an early GY!BE show handbill - all placed inside a plain manila envelope (original first run of 500 featured acetone transfers hand-printed on each envelope). Additional 8"x8" insert card of train locomotive image silkscreened in various colours on various recycled papers over the years.
Spiderland is the second studio album by the American rock band Slint. It was released 1991 and featured dramatically alternating dynamics and vocals ranging from spoken word to shouting. Although Spiderland was not widely recognized on its initial release, it eventually sold more than 50,000 copies and became a landmark album in underground music after Slint broke up. The album has been highly influential on the styles of many bands in the post-rock and math rock genres, including Mogwai and Godspeed You! Black Emperor, and has been named a favorite of several indie rock musicians.
Late great singer/songwriter Elliott Smith released his first solo album, Roman Candle in 1994. He followed it up with the self-titled Elliott Smith in 1995 and Either/Or in 1997, both issued on the independent label Kill Rock Stars. Heart sewn firmly to his sleeve, Smith continued his tuneful dissection of life and what makes it difficult with his third minor-key masterpiece, Either/Or, a collection of strong '60s pop melodies and quiet, melancholy acoustic works. Smith plays all the instruments himself and the themes range from intense introspection to artful critiques of hypercapitalism. Either/Or cuts "Angeles" and "Between the Bars" were both included on the soundtrack for Gus Van Sant's 1997 film Good Will Hunting among other Smith originals, leading to his star making performance at the 1998 Academy Awards.
GRACE is a masterpiece. The critically acclaimed breakthrough is filled with sweeping choruses, bombastic arrangements, searching lyrics, and above all, the richly textured voice of Buckley himself.
When they first emerged in the early 80s, the Cocteau Twins were compared most often to Siouxsie & The Banshees, but in truth they never sounded like anyone – or anything – else. Taken together, their nine albums, and sixteen EPs/singles, sound less like a band and more like an element of nature. Which was very 4AD. Ivo Watts-Russell has always claimed that his aim was to unearth music that was timeless, free of any trend, movement or era and even in their earliest incarnation, the Cocteau Twins were true to that remit, firmly charting their own course. Heaven or Las Vegas was issued in 1990 and is the band's most commercially successful release, reaching No. 7 in the UK album charts. Numerous publications have since declared it one of the best albums of the '90s with Pitchfork calling it “a core of ungodly gorgeous songs that is every bit as moving and relevant today as it ever was.” Label founder Ivo Watts-Russell goes further, candidly revealing in the recent 4AD biography, Facing The Other Way, that this album wasn’t just his favorite Cocteau's album but also his favorite all-time 4AD album, and “by a long shot.” calling it “the perfect record.” Heaven or Las Vegas has never been commercially available in the US on vinyl until now. Heavyweight 180g black vinyl cut from the HD 96/24 masters with accompanying download coupon.
180 gram vinyl housed in full-color innersleeves. Originally released in 1997 (on the same day as Radiohead's OK Computer), Ladies And Gentlemen We Are Floating In Space is the third album from Jason Pierce's post-Spacemen 3 project, and his most brilliant work to date. A hypnotic, narcotic, psychedelic gospel album full of confessional songs about heartbreak and drug abuse.
Waxwork Records is excited to announce their long awaited release of THE WARRIORS. This deluxe double LP is three years in the making and features the re-mastered 1979 original soundtrack, in addition to, the vinyl debut of the complete film score by Barry DeVorzon. Directed by Walter Hill and based off of the 1965 novel by Sol Yurick of the same name, THE WARRIORS is the absolute definition of an influential cult-classic film. THE WARRIORS has permeated the landscape of pop culture, music, film, fashion, comics, and video games. Waxwork tirelessly worked directly from the original master tapes of both the original 1979 soundtrack and film score to bring audiences a brand new transfer of every musical cue heard in the movie, for the very first time on vinyl. In keeping with Waxwork’s deluxe packaging theme, the label has gone to great lengths to ensure THE WARRIORS double LP release is the highest quality soundtrack release to date. New artwork by Marvel Comics artist Dave Rapoza graces the packaging.
Using the textured soundscapes of The Bends as a launching pad, Radiohead delivered another startlingly accomplished set of modern guitar rock with OK Computer. The anthemic guitar heroics present on Pablo Honey and even The Bends are nowhere to be heard here. Radiohead have stripped away many of the obvious elements of guitar rock, creating music that is subtle and textured yet still has the feeling of rock roll. Even at its most adventurous -- such as the complex, multi-segmented "Paranoid Android" -- the band is tight, melodic, and muscular, and Thom Yorke's voice effortlessly shifts from a sweet falsetto to vicious snarls. It's a thoroughly astonishing demonstration of musical virtuosity and becomes even more impressive with repeated listens, which reveal subtleties like electronica rhythms, eerie keyboards, odd time signatures, and complex syncopations. Yet all of this would simply be showmanship if the songs weren't strong in themselves, and OK Computer is filled with moody masterpieces, from the shimmering "Subterranean Homesick Alien" and the sighing "Karma Police" to the gothic crawl of "Exit Music (For a Film)." OK Computer is the album that establishes Radiohead as one of the most inventive and rewarding bands of the '90s.
The sixth studio album by Radiohead, released in 2003, Hail to the Thief was seen as a return to alternative rock, drawing its sound from every era of the band's existence. Band members described the album as having a more "swaggering" sound and a relaxed recording process, in contrast to previous tense sessions. At nearly an hour in length, the album is the band's longest, with many of its songs within the two-to-three-minute range, shorter than the band's average. Thom Yorke said he was inspired by Beatles songs of that length which he thought felt much longer.
Known for their explorative and restless sound, taking influence from old style rock like The Beatles, The Rolling Stones, Neil Young and Pink Floyd as well as from electronica and hip hop, each of Radiohead's albums marks a cornerstone in their musical evolution. Debut Pablo Honey (1993) was their answer to grunge while follow-up albums The Bends (1995) and OK Computer (1997) offered atmospheric, almost avant-garde tones. With the near impossible task of following up their critically acclaimed masterpiece OK Computer, Radiohead took another bold leap at the turn of the millennium with Kid A, an experimental album built largely around the union of electronica and mood. Musically, Kid A is as accomplished as anything Radiohead has ever produced and its overflowing with eye-opening musical mosaics which are absolutely stunning in their insight and beauty. Kid A initally proved to be controversial as critics labeled the mixture of electronic beats, jazz horns and strings as "difficult" but tracks like the soaring "Optimistic" kept fans loyal and saw Radiohead crowned as masters of composition. A left-field hit, Kid A was eventually nominated for a Grammy for Album of the Year and won for Best Alternative Album.
Although it's more song-driven and acoustic than Kid A, Radiohead's Amnesiac was hulled from the same sessions and it marked the first time in the band's career that a new record didn't bring about a complete shift in artistic priorities. It's nevertheless another brilliant offering from the most musically innovative band in modern music and another fine example of the fact that they're comfortably in a league all their own.
The Bends is the second studio album by Radiohead. In 1995, two years after an incredible debut in Pablo Honey, Radiohead were under tremendous pressure to deliver. Much to the delight of critics and fans the world over, they did more than deliver—they far exceeded expectations. Building from the sweeping, three-guitar attack that punctuated the best movements of Pablo Honey, The Bends is grand and forceful; it resonates with anguish and despair. Although the influences—R.E.M., the Pixies, and U2—are still there, this is unmistakenly Radiohead maturing and defining their own sound.
"Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Ze dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. I'm still surprised by what I wound up with. It was the first time I'd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasn't recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village. The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in." -- Liz Harris
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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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