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After returning from Amsterdam, Deep of the 2 Hungry Bros, contrary to the popularized notions of THC, was motivated and put together a soundtrack with partner Ben Boogz for the culinary phenomenon known as the Munchies. Enter, the Munchies Beat tape, a seamless stream of Boom Bap to stuff your face with but not kill your vibe. The Munchies Beat tape is the ideal serving when your ears and stomach get those cravings. You can feed both simultaneously now. Limited to 100 copies.
When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic. Co-compiler and Brazilian music aficionado, Greg Caz says: “Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one’s familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.” The stunning 45s from this set will now be available for individual sale. The series continues with the split 7” containing the essential rare groove track “Bananeira” by Emilio Santiago b/w Osmar Milito E Quarteto Forma’s rare “América Latina” (as sampled by Madlib). Also available, the extremely rare and funky “Labirinto” by 2001 & Beto on a split 45 with the Fender Rhodes driven infectious samba from Trio Mocotó called “Swinga Sambaby.”
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Mark James (AKA The 45 King) is a world renowned DJ/ Producer pioneer in Hip Hop music. His breakbeat classic “The 900 Number” has been a staple among DJs since its release in 1987 (notably featured as the song to “The Ed Lover Dance” on MTV’s Yo MTV Raps). Throughout the last 30 years, 45 King has managed to stay relevant, producing hits for some of Hip Hop’s biggest names including Jay-Z & Eminem, with production for their hit songs “It’s A Hard Knock Life” & “Stan”, respectively. With a prolific output and catalog of beats, he has set out to release a series of limited edition 45s with brand new and never before heard music. No Kid'in Baby is fourth in a series of unique, “mini 45 RPM albums” featuring 45 King’s signature sound; breaks chopped and looped to perfection.
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The King is back with a "mini 45 RPM album".
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Mark James (AKA The 45 King) is a world renowned DJ/ Producer pioneer in Hip Hop music. His breakbeat classic “The 900 Number” has been a staple among DJs since its release in 1987 (notably featured as the song to “The Ed Lover Dance” on MTV’s Yo MTV Raps). Throughout the last 30 years, 45 King has managed to stay relevant, producing hits for some of Hip Hop’s biggest names including Jay-Z & Eminem, with production for their hit songs “It’s A Hard Knock Life” & “Stan”, respectively. With a prolific output and catalog of beats, he has set out to release a series of limited edition 45s with brand new and never before heard music. The Third Album is third in a series of unique, “mini 45 RPM albums” featuring 45 King’s signature sound; breaks chopped and looped to perfection.
7evenThirty and Gensu Dean. Rapper and producer. Mello Music Group stalwarts and Jackson, Mississippi natives turned Dallas denizens. Their working together was fated, rooted in shared soil before it was written in indelible ink. With 7evenThirty’s sophomore album, The Problem, the duo have committed their destined collaboration to wax, giving rap listeners an album that wrestles with the rapidly changing present and carves out a much-deserved space in the forever-uncertain future.Though 7evenThirty’s first solo effort, Heaven’s Computer, was written as a semi-autobiographical sci-fi narrative, he’s landed squarely on terra firma this time around. In fact, his previous interstellar retreat inward has resulted in an incisive outward gaze at his home planet. The city buildings might be crumbling, the bars and beats of other rappers and producers homogenized, but there’s hope.With his delivery sharper than ever, 7evenThirty is comfortable and confident no matter where Dean’s snares and kicks hit. He moves in and out of double time with deceptive ease. Furthermore, his styles are markedly varied throughout, ranging from rigid and rapid fire (“Russian Revolver”) to bouncy and playful (“Foot On the Ground”).Still, 7evenThirty’s dexterity behind the mic doesn’t supersede his thought provoking lyrics. Case in point, “Making of a Vigilante,” which deftly outlines a scorned and vengeful woman’s haunting and convoluted attempt to enact justice. 7evenThirty also tackles several other emotionally and sociologically rich topics. The perils and paranoia associated with our dependence on technology (“Off the Grid”), the problems facing the next generation (“Generation Why”) -- amidst the rubble, he leaves no stone unturned.Working solely with his preferred SP-1200, which only allows ten seconds of sample time, Gensu Dean has once again managed to modernize golden era aesthetics, crafting intricate and fluid beats through stringent composition. Favoring sonic diversity over claustrophobic cohesion, Dean’s banging suites are perfectly tailored to 7evenThirty’s wide-ranging subject matter. Wherever 7evenThirty goes Dean sidles up next to him, flipping lush soul (“Filthy Rich”), blues-rock (“The Problem”), Ukrainian pop (“Foot on the Ground”), and more.The sole feature comes from venerated New York MC Sean Price on “Hook Heavy.” Over Gensu Dean’s menacing production, Price’s gruff deadpan delivery proves the perfect counterpart for 7evenThirty’s energetic and elastic wordplay.With The Problem, 7evenThirty and Gensu Dean have cut all but the essential. The twelve tracks are clear and concise in execution, totaling slightly less than forty minutes. Not every question is answered, but the most important are explored. Listen closely for the answers.”
Two of Hip Hop's most cherished icons, Talib Kweli and 9th Wonder have come together to create what undoubtedly will go down as an instantly classic album. INDIE 500 features an All Star supporting cast, including Problem, Slug (of Atmosphere), Rapsody, Pharaoh Monch, Brother Ali, Hi-Tek, NIKO IS and more. After exploding on to the scene as one half of the legendary Black Star alongside Mos Def in 1998, Talib Kweli quickly followed up in 2000 with the album Train of Thought, his collaborative effort with producer Hi-Tek. As fans,critics and his peers unanimously agreed, Kweli was cemented as one of hip hop's top lyricists and continued to release one acclaimed album after another - garnering direct praise from Jay-Z on his song ""Moment of Clarity"" from Jay-Z's classic The Black Album. Meanwhile as the early 2000's progressed, a new trio was bursting on the scene from North Carolina known as Little Brother. Behind the boards of this trio was producer 9th Wonder, who very quickly established himself as one of hip hop's best producers. As their 2003 album The Listening reached a fever pitch, 9th Wonder's buzz became so hot he claimed a highly coveted production spot as well on Jay-Z's The Black Album. Through the years both Talib Kweli and 9th Wonder have gone on to work with a staggering list of hip hop royalty. However both of their respective works outside of the recording booth have become prominent pieces of their stories as well. 9th Wonder has established himself as Hip Hop's top educator, working as a professor at Harvard, Duke and North Carolina Central University, while Talib Kweli has become one of Hip Hop's most vocal and respected voices, who appears regularly on news outlets such as CNN and programs like HBO's Real Time with Bill Maher. A collaboration between Kweli and 9th almost seemed to make perfect sense, but INDIE 500 represents even more to the artists. "I've always been a fan of collectives, like Native Tongues and the Dungeon Family," explains Kweli. "INDIE 500 is a tribute to the spirit of unity exemplified by some of great hip hop artists that influenced us." Collectives are nothing new to the two, who have both successfully run their own labels in Blacksmith, Javotti (Kweli) and Jamla (9th Wonder), helping to break a number of popular artists over the years.
One year after De la Soul re-drew the map for alternative rap, fellow Native Tongues brothers A Tribe Called Quest released their debut, the quiet beginning of a revolution in non-commercial hip-hop. People's Instinctive Travels and the Paths of Rhythm floated a few familiar hooks, but it wasn't a sampladelic record. Rappers Q-Tip and Phife Dawg dropped a few clunky rhymes, but their lyrics were packed with ideas, while their flow and interplay were among the most original in hip-hop. From the beginning, Tribe focused on intelligent message tracks but rarely sounded over-serious about them. With "Pubic Enemy," they put a humorous spin on the touchy subject of venereal disease (including a special award for the most inventive use of the classic "scratchin'" sample), and moved right into a love rap, "Bonita Applebum," which alternated a sitar sample with the type of jazzy keys often heard on later Tribe tracks. " of a Fool" took to task those with violent tendencies, while "Youthful Expression" spoke wisely of the power yet growing responsibility of teenagers. Next to important message tracks with great productions, A Tribe Called Quest could also be deliciously playful (or frustratingly unserious, depending on your opinion). "I Left My Wallet in El Segundo" describes a vacation gone hilariously wrong, while "Ham 'n' Eggs" may be the oddest topic for a rap track ever heard up to that point ("I don't eat no ham and eggs, cuz they're high in cholesterol"). Contrary to the message in the track titles, the opener "Push It Along" and "Rhythm (Dedicated to the Art of Moving Butts)" were fusions of atmospheric samples with tough beats, special attention being paid to a pair of later Tribe sample favorites, jazz guitar and '70s fusion synth. Restless and ceaselessly imaginative, Tribe perhaps experimented too much on their debut, but they succeeded at much of it, certainly enough to show much promise as a new decade dawned.
Digitally remastered and expanded edition housed in jewel case with special silver foil cover to commemorate the 25th Anniversary of this release. In celebration of the 25th anniversary of People's Instinctive Travels and the Paths of Rhythm, hip hop pioneers A Tribe Called Quest release the original album remastered from the original tapes by Grammy-Award winning engineer Bob Power with three exclusive new remixes by a few of today's biggest hip hop artists who have credited A Tribe Called Quest as a major creative influence. Featuring remastered versions of classic cuts like "Bonita Applebum", "I Left My Wallet in El Segundo", "Can I Kick It?" and more.
Over the course of five classic albums and numerous hit singles, A Tribe Called Quest became a cornerstone artist in hip-hop and across contemporary music in general. The gold-certified People's Instinctive Travels And The Paths Of Rhythm and The Love Movement as well as the platinum-certified and groundbreaking albums The Low End Theory, Midnight Marauders and Beats, Rhymes & Life, created a unique and long-standing legacy. The Anthology, ATCQ's sixth full-length release on Jive Records, features the best material from the group's five iconic albums. Included are such smash hits as "I Left My Wallet In El Segundo," "Can I Kick It," "Bonita Applebum," "Check The Rhime," "Scenario," "Award Tour," "Electric Relaxation" and many more. The Anthology also features the rare "When The Papes Comes" and Q-Tip's solo track "Vivrant Thing" as well as guest appearances from Busta Rhymes and Faith Evans.
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Limited clear seven inch vinyl LP pressing. DJ hero A-Trak's single "We All Fall Down" transcends dance music's genres and trends. It's a welcome blend of throwback attitude ('80s electro soul, '90s Chicago house, two-stepping Y2K chart toppers), thoroughly modern production, and earworm melodies that feel timeless from the very first listen, courtesy of UK soulman Jamie Lidell.
A suite of electronic laments, tone structures and dreamtime rhythms, with a conceptual arc taking in death, life, sleep and religion. Right from Hazyville, Actress’s music has been deeply marked by London’s rave music heritage. But after the angular dynamics of Splazsh, R.I.P heads out into deep space. The rhythms and pulses are smudged or blurred, or are hinted at by their absence. 2-step garage is collided into gamelan, and freeform interludes explore microtonal spaces and imagined string instruments. R.I.P underlines Actress’s reputation as one of the most eloquent voices to emerge from the sub-bass nexus of London dance music. His intuitive and original grasp of beats, textures and rhythm puts him on a parallel path to dance music innovators such as Basic Channel, Burial and Aphex Twin. But the way he engages with electronic sound from first principles, realising his own self-contained sonic worlds, hints at less obvious kinships outside the dance music fraternity, with pioneers of homebrewed sound experiments such as Cabaret Voltaire, Pan Sonic and Oval. It moves the body but the sounds also tap into to something more intangible inside you; you dance, but also ‘slip/drift into another realm, probably without even realising.’
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Featuring songs from upcoming releases produced by Younge, including 12 Reasons To Die II (with Ghostface Killah, Raekwon & RZA); Something About April II; and The Midnight Hour (with Ali Shaheed Muhammad); alongside Younge catalog classics dating back to 2000. LP format features bonus track: “Sirens II,” from upcoming Bilal album. In less than a year’s time, Adrian Younge’s Linear Labs imprint has made a very firm impression on fans of forward-thinking, analog-based music from multiple genres. One notable fan, among many, is DJ Premier, who produced his late 2014 PRhyme album exclusively using samples drawn from Younge’s catalog. To give fans a chance to revel in Younge’s range and – just as importantly – give followers a sneak-peek at four impressive 2015 albums already slated for release, Younge is proud to release the compilation album, Los Angeles. On Los Angeles, many hip-hop fanatics will impatiently skip forward to the graceful, galloping and appropriately dramatic “Return Of The Savage,” from the upcoming Younge-helmed 12 Reasons To Die II. The song features Ghostface Killah alongside Raekwon and RZA. But track-skippers will soon head back to the album’s opener: the dusky, Baroque soul of “Memories Of War,” from the upcoming Something About April II, with vocals by Stereolab’s Laetitia Sadier. Also on the upcoming tip: a track from the Adrian Younge / Ali Shaheed Muhammad concept album The Midnight Hour, entitled “Feel Alive,” with silky vocals by Karolina, alongside longtime Younge collaborator Loren Oden.
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The first official release from multi-instrumentalist, composer, arranger, and producer Adrian Younge was Black Dynamite, the meticulously crafted sonic accompaniment to the 2009 Michael Jai White comedy. Now, for the first time ever, Mr. Younge presents the instrumentals from Black Dynamite on his on Linear Labs imprint. Inspired by the great blaxploitation soundtracks of the 1970s, Younge commands the Rhodes electric piano, Hammond organ, Hohner Clavinet, harpsichord, synthesizer, vibraphone, guitar, bass, flute, sax, cello, and drums to craft a singular vision of the era. Since its release, the film has grown into a formidable franchise including a comic book and animated television series on Cartoon Network. Now five years later, the score is being reissued with the full set of instrumentals and four additional tracks including a rare version of “Jimmy’s Dead” by Tommy Davidson. A certifiable cult classic, the film centers around ex-CIA agent Black Dynamite’s fight to avenge his brother’s murder while cleaning up the streets of the deadly Anaconda malt liquor. Having been involved with the film from its inception, Younge’s score is intimately woven into the film’s narrative. As editor, Younge worked closely with director Scott Sanders to ensure the authenticity of the film’s pace and musical accompaniment. The final result is a clever homage that sounds more like an unearthed gem from the ‘70s—complete with MPC-ready Wu-Tang samples—rather than a modern creation. This authentic sound is one that Younge has been cultivating for years. His ability to replicate the nuanced stylistic effects of a bygone era are the result of utilizing exclusively vintage analog recording equipment and techniques, and long hours studying the sounds of heroes like Ennio Morricone and Curtis Mayfield. Laboring away in his Los Angeles based Linear Labs studio, Younge played every instrument on the record, teaching himself anything he didn’t already know. Through a dogged work ethic and determination, Younge has painstakingly constructed a modern vintage sound that harkens to the past with its sights on the future. Black Dynamite is a must-have for any fan of the blaxploitation era and dark soul music, a modern-day classic whose legendary status will only grow stronger over time.
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This deluxe reissue vinyl on Younge’s Linear Labs imprint includes a bonus instrumental song from the original album sessions – “Niacin.” In the four years since Adrian Younge’s Something About April album first appeared, the Los Angeles-based producer and multi-instrumentalist has become his own musical cottage industry. Not only has he collaborated with musical legends ranging from The Delfonics to Ghostface Killah, Ali Shaheed Muhammad and The Souls of Mischief; his work has also been sampled by such rap giants as 50 Cent, Jay-Z and Common. In an equally impressive twist, DJ Premier produced an entire album with Younge’s work as his only source material (including multiple samples from April, of course): 2014’s PRhyme, with MC Royce Da 5’9”. Something About April is an album that flaunts all of the trademarks that have made Younge an in-demand name as a composer and sample source-point. His work oozes raw, analog soul and the primal sonic edge of psychedelic rock, sitting nicely alongside Ennio Morricone’s best soundtrack work; Pink Floyd’s early catalog and Parliament’s Osmium. Younge’s songwriting is what truly makes this album unique and keeps ears engaged. While many of his tunes are initially vamp-driven, there are changes and aural twists that lurk around every corner, as evidenced on stand-out cuts including: The intense, deep groove and stripped-down vocals of “Turn Down The Sound” [sampled for Common’s “Out On Bond”]; The turns of both tension and beauty on “Reverie” (with all TWELVE instruments per formed by Younge) [sampled on Jay-Z’s “Heaven,” with Justin Timberlake]; The gorgeous, cinematic ballads “First Step On The Moon” and “Two Hearts Combine”; The breakbeat fiesta of “Sirens” [used by Jay-Z for “Picasso Baby”]; The new millennial soul/doo-wop of “Lovely Lady,” complete with lead guitar by funky soul legend Dennis Coffey.
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Originally released in 1986 this is actually a collection of 12” singles and songs dating back as far as 1982, the year that the absolute, stone classic, “Planet Rock” 12” was released. One of the most important singles in the history of hip-hop, it incorporates elements of Kraftwerk’s “Trans Europe Express” and is the first documented use of an 808 drum machine in hip-hop/R&B. The rest of the record is no slouch either, including the classic single “Searching For The Perfect Beat” and collaborations with Melle Mel and D.C.’s Trouble Funk.
For the first time since the Analord series released through 2003-2005 on his own Rephlex Records imprint, Richard D. James revises his legendary AFX guise with a collection of tracks for the alien dancefloor.“orphaned deejay selek 2006-2008” appears in an initial run of special spot-glossed and die-cut packaging in both CD & 12” formats made in the Designers Republic.Previous AFX releases include Analogue Bubblebath (1, 2, 3, 4, 5), Smojphace and Hangable Auto Bulb. Hang able Auto Bulb is the only previous standalone AFX release on Warp, originally released on 2x12”s and compiled to CD with new artwork in 2005.
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A particular perceptive trance from Ahnnu focusing on the finer details - birth name Leland Jackson delivers “Perception” as his 2nd full length avant-garde masterwork for Leaving Records. First run of 300 cassettes wrapped in silver translucent O-Card. Cover collage from Ahnnu, Typography Jesse Moretti, mastered by Matthewdavid.
Released in 2000, The Virgin Suicides was director Sofia Coppola's first feature film, Kirsten Dunst's first major screen role, and Air's first foray into film scoring. 15 years after its initial release, Warner/Parlophone will issue The Virgin Suicides as a remastered 180g vinyl version of the original soundtrack. On the same day, Warner/Parlophone will also release Air's five album discography on 180-gram vinyl with original artwork, including their first EP Premiers Symptômes (1997), Moon Safari (1998), 10,000 Hz Legend (2001), Talkie Walkie (2004) and Pocket Symphony (2007). The Versailles duo - Jean-Benoît Dunckel and Nicolas Godin - started to record new music by watching VHS tapes of the film during the autumn of 1998. Eerie, synthetic and tempestuous, The Virgin Suicides soundtrack's first single "Playground Love" featured Gordon Tracks (an alias of Thomas Mars, the lead singer for the band Phoenix). The recording process was finished when drummer and soundtrack supervisor Brian Retzell called the duo from Los Angeles. "The microphones and the amps were packed and we needed a song for the ending credits! It happened on a Saturday afternoon. We called Thomas Mars from Phoenix. He wrote the lyrics, played some drums and sang on 'Playground Love,'" remembers Dunckel. The Virgin Suicides premiere took place at the Cannes Film Festival in May 1999. Much to the duo's surprise, Air's soundtrack had been heavily edited and 80% of the recorded tracks had been abandoned in the final cut of the film. Godin comments, "You can do everything with editing. That was the first big lesson. The film turned out lighter and more evanescent. I felt that we didn't get what Sofia wanted." Despite these regrets, The Virgin Suicides soon became a cult soundtrack and, most of all, one of the most celebrated albums in the electronic performers' fascinating discography.
From the opening bars of their debut LP, you can tell AJ & The Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. Soul killers are drawing a line in the sand by making soul music that hits harder, faster and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drip with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodics, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock n' soul and you've got the makings for a serious raw soul cocktail. AJ & The Jiggawatts' self titled full length debut eloquently captures the vibe of a high energy, no nonsense band. The entire album plays out like a wild night on the town with the band, and there is a good chance you're going to jail before the night's over. Tracks like Back Alley Beale Street andBrown Bottle Fever transport the listener to the many bourbon drenched juke joints of Memphis while tracks like Throw A Fitliterally explode with frenetic energy. Get Wild, The Drop, and Shake It For Me bring the raucous party element to the record and Once In A Lifetime and Typical Feeling get things nice and tender. In terms of attitude and straight up bad-assery, this is one of the hypest albums you are going to hear in 2014. Anyone who slept on the Jiggawatts digital EP is advised to not repeat this grievous misstep. The new record is a rough, tough, killer soul machine not to be missed! The Jiggawatts came to get wild, try to keep up. From the opening bars of their debut LP, you can tell AJ & The Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. Soul killers are drawing a line in the sand by making soul music that hits harder, faster and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drip with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodics, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock n' soul and you've got the makings for a serious raw soul cocktail. AJ & The Jiggawatts' self titled full length debut eloquently captures the vibe of a high energy, no nonsense band. The entire album plays out like a wild night on the town with the band, and there is a good chance you're going to jail before the night's over. Tracks like Back Alley Beale Street andBrown Bottle Fever transport the listener to the many bourbon drenched juke joints of Memphis while tracks like Throw A Fitliterally explode with frenetic energy. Get Wild, The Drop, and Shake It For Me bring the raucous party element to the record and Once In A Lifetime and Typical Feeling get things nice and tender. In terms of attitude and straight up bad-assery, this is one of the hypest albums you are going to hear in 2014. Anyone who slept on the Jiggawatts digital EP is advised to not repeat this grievous misstep. The new record is a rough, tough, killer soul machine not to be missed! The Jiggawatts came to get wild, try to keep up.
Originally released in 1972, Let's Stay Together features some of Al Green's finest work and it drips with Southern soul and exquisite arrangements from top-notch producer Willie Mitchell. Prior to this release, Green had never had a #1 song. The title track achieved that status and is complemented wonderfully here by the timeless cover of the Bee Gees "How Can You Mend a Broken Heart?" among others.
San Francisco-based producer Al Lover has spent the last several years evolving a unique approach to psychedelic music by way of exploring the common threads within it's various genres. His newest effort, Zodiak Versions, sees Al exploring what he views as two musical styles that have defined modern underground music culture, Jamaican dub reggae and the German experimental krautrock from the 1970's. The main point of interest is how these genres were translated through the lens of post punk, hip hop and post disco electronica to create what we see now as contemporary indie music. Along stretches of highway in mainland Europe, in a tour van filled with the smell of Moroccan hash and tobacco smoke (not to mention the potent human funk only an extensive European tour can produce), Zodiak Versions was born. Sketching out repetitive dub baselines on the road, Al formulated the basic structures of the what would become these versions. Inspired by the driving motion of artists like Kraftwerk and Neu!'s motorik beats and expansive washes of analog synthesis, Lover felt compelled to write music directly within the environment that had once inspired the original krautrock sound. Once back in the states Al teamed up with good friends Burnt Ones in LA to add some touches of guitar and synth drone to the sketched out songs. At this time he was further introduced to the some of the lesser known efforts of kraut pioneers that would later influence the rise of ambient music. Returning home completely inspired, he added even more layers of analog Moog synthesizer, tribal percussion, and vintage rhythm box drum sounds before sequencing and mixing all the elements through a vintage Roland RE-201 Space Echo. The end result is is what you have here in Zodiak Versions.
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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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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:
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