To celebrate Studiocanal's 40th Anniversary 4K release of Nic Roeg's cult classic 'The Man Who Fell To Earth', starring David Bowie, Universal will be releasing the complete soundtrack, available for the very first time, containing seminal pieces written for the film by John Phillips and Stomu Yamash'ta. The film itself reached cult status due to Bowie's outstanding performance, and confirmed the film's director Nic Roeg, and book's author Walter Tevis, as champions of their respective fields. The music, highly celebrated but until now unavailable as a body of work, can now finally be acknowledged in its own light. Little is known, and much has been asked, as to why the soundtrack was never originally released, but due to lost tapes recently being uncovered it is now possible to present the original recordings, remastered on CD, Vinyl and in a dual format Deluxe Box. The Deluxe boxset features the 2CD & 2LP Vinyl components as well as poster, production stills and a coffee table book containing the story of the soundtrack. John Phillips of the Mamas and Papas composed and recorded much of the music for the film. The majority of Phillips' compositions have been unavailable for 40 years, until now.
Fresh from his Albiniboard is Powell, who is releasing his debut long player for XL Recordings. Sport is so named because of its nature as both a physically and mentally driven piece, described as "for both mind and body". A bit Descartes, basically, and the first single features someone from a group we love called HTRK. This should probably go down well.
Two tracks with New Order's producer plus Nico's selection of 1983 live recordings including 3 previously unreleased. Nico needs no introduction - she will forever be remembered as the sultry German beauty whose melancholy voice was the '& Nico' part of the Velvet Underground legend. Following the VU she emerged as a solo artist. Very much at odds with a perceived glamorous life-style - a model who mingled with rock-stars and film directors, associating with Fellini, Brian Jones, Bob Dylan, Jim Morrison, Alain Delon, Jackson Browne, Tim Buckley and Iggy Pop - she embarked on a dark, daunting odyssey, with an Indian harmonium as the favored accompaniment to her deep Teutonic vocals. Both the punk and gothic movements acclaimed her. Developing a heavy drugs habit, she gigged frequently in the 80's, recounted in a book by keyboard player James Young. She died in 1988, after falling from her bike in Ibiza. In 1982 she recorded two tracks with Martin Hannett, most known for producing the similarly gloomy Joy Division and New Order, and backed by The Invisible Girls. These tracks, a reworking of the Velvet Underground's 'All Tomorrow's Parties' and her own brooding 'Procession', are now reissued, alongside heavily atmospheric live tracks selected from her 1983 tour, first only issued on a UK cassette. This double-LP version includes three previously unreleased recordings. 'Femme Fatale' includes versions of songs written for her by Dylan, Browne, Bowie and Lou Reed as well as Nico originals, in all, 18 tracks over 80 minutes. It is packaged with in a gatefold sleeve with detailed biographical notes by Nina Antonia. Limited edition in colored vinyl.
Jane's Addiction Celebrate Sterling Spoon Anniversary With New 6LP Vinyl Boxed Set! 'Sterling Spoon,' the new 6LP Collection from Rhino Includes features 'Nothing's Shocking,' 'Ritual de lo Habitual,' Plus the Vinyl Debut Of 'Rarities,'A Complete Live Show From 1990, And More! Jane's Addiction will celebrate a "Sterling Spoon Anniversary" this year to commemorate the release of Ritual de lo Habitual and the first Lollapalooza. The revelry began in July when the band launched a highly anticipated tour that includes Ritual de lo Habitual played in its entirety each night. The party will continue in October when the band releases 'Sterling Spoon,' an epic, six-LP collection that includes Nothing's Shocking and Ritual de lo Habitual, along with the vinyl debuts for the 1990 concert recording Live From The Palladium and a selection of rarities, demos, and live takes from the 1997 compilation Kettle Whistle. Jane's Addition made great albums, but it was the band's live shows that cemented its legend. As a testament to it stage prowess, 'Sterling Spoon' includes the group's entire performance at the Hollywood Palladium from December 1990, a concert recording that was originally released in 2008 as part of the Rhino's boxed set A Cabinet of Curiosities. Among the highlights are thunderous performances of such classics as: "Three Days," "Stop!" and "Summertime Rolls."
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.
The sessions of live-looped electronic improvisation that Natalie Chami releases under the TALsounds moniker continue to evolve in complexity and emotional resonance as she refines her approach to performing music as an everyday process. As part of the trio Good Willsmith, Chami’s self-harmonized choral vocals and recursive synth leads weave through her bandmates’ swathes of noise and abstracted “rock” instrumentation. Lifter + Lighter, her second full-length TALsounds release on Hausu Mountain, focuses the spotlight closer than ever on the direct physical reality of her meditative performance style. If 2015’s All The Way (HAUSMO32) offered a series of confessional, diaristic expressions of Chami’s experiences, rooted in specific events along her own timeline, Lifter + Lighter sheds any overarching personal themes in favor of a universal connection to her listeners. Instead of creating vehicles for specific moments, TALsounds hones the technical aspects of her craft, conjuring new inspiration from the tones and improv strategies themselves that she workshops over her exhaustive home recording regimen. On Lifter + Lighter, Chami’s vocals sit closer to the front of her mixes than ever before. Her clear human presence, coupled with her more legible lyrical content, achieves a direct exchange with the audience in the form of her most “song”-like sessions to date, all while maintaining the loose, no-overdubs quality of previous releases. The takes documented on Lifter + Lighter range from filmic expanses of pitch-black synthesis to pounding exercises of industrial rhythm to vocal-focused pieces closer in execution to R&B ballads. TALsounds unites these styles under the umbrella of her solo live performance, all poured from the same rig of analog synths, samplers, and loop pedals. Sessions like “I’m Just Around” churn over arrhythmic beats while Chami drops languid vocalizations into the increasingly queasy atmosphere. “Close My Eyes” and “Hair” draw tonal inspiration from Björk circa Vespertine, as Chami’s elegant music-box synth lines ping together between sighed verses that stack onto themselves over time. “I Am Why” finds her streaking into a harsher, glitch-inspired textural field, randomly erasing and segmenting her own looped vocals into a live-constructed stutter before piling on additional strata of sampled percussion. Album closer “Solace” represents a cathartic peak to Lifter + Lighter’s varied gradient of headspaces. The session captures the precision and spontaneity of her performances in equal parts with its slowly unfolding, suite-like structure. Atonal synth bursts howl in the darkness. Her vocalizations cut through and stir together in the center, compounding into a dense wall with each impassioned wail left to hover in her loops. TALsounds climbs up octaves as vocal phrases layer to their limit, before squelching peals of delay manipulation overwhelm the mix. As in all of her sessions, each of these decisions happened in real time - performed over the same time that it takes to hear them, pulled from two hands and a brain conditioned over a perpetually expanding journey of practice.
Many moons ago Primo Pitino, the DJ of San Francisco's legendary Oldies Night, passed me a copy of his friend Nick Waterhouse's ''Some Place.'' Nick was a local vinyl DJ and the kid working at our Shangri-la, Rooky Ricardo's Records. Though he didn't have a band at the time, Waterhouse assembled some local musicians to cut a one-off 45 in the vein of the electrifying mid-century modern rhythm and blues he loved. I threw ''Some Place'' on the Technics during sound check a few cities down the line and was blown away from the howling falsetto all the way to the end! I gave it a whirl every night from Texas to Tennessee and all the way back home to New York. Not only were the dancers' feet responding, but they were also asking about the track on a nightly basis. The Nashville Scene was so blown away that they printed a piece on Nick after a single listen. DJs and collectors everywhere wanted it so bad that the little record with the big sound started fetching upwards of $300 on Ebay. The immediate and unprecedented underground dance party success of Nick's DIY record resulted in a full band, gigs, and, after a number of obstacles, the widely acclaimed 2012 LP Time's All Gone. Nick's music, vision, and fully formed aesthetic caught on globally and he was instantly a fixture at nearly every major nightclub and festival on both sides of the Atlantic, Australia, Japan, and Russia - hitting stages everywhere from Primavera to Montreux Jazz Festival and charting on college, public, and commercial radio. Only a year after self-releasing his first single, Nick Waterhouse was thrust into the chaos of leading a band, touring, and recording in the big leagues! Pummeling high speed down a bumpy hill of lineup changes, economic problems, and general chaos without any breaks, Nick made it through and the challenges made him more focused. 2014's Holly captured a more experienced artist upping the ante in writing, performance, recording, and production, inspiring a new level of critical and commercial success. In addition to a jam-packed five years on the road, in the studio, and in the practice space, Waterhouse also produced septuagenarian soul legend Ural Thomas, Los Angeles Latin stars the Boogaloo Assassins, and garage rockers the Allah-las. He's currently collaborating with the likes of young Grammy-nominee Leon Bridges and Steven Colbert bandleader Jon Batiste. The Rolling Stones blast Nick's version of ''I Can Only Give You Everything'' at stadiums before they go onstage. Vogue hired him to pose with Kendall Jenner. He hipped her to Little Willie John while Anna Wintour complimented his shoes. While a lesser artist would get lost in these distractions, Nick Waterhouse's acclaim only seems to energize him and make him work harder and push his music to the next level. Nick's latest Never Twice is a culmination, intensification, and realization of everything he's been developing throughout this prolific frenzy. Catchier and loaded with more hits than its predecessors, Nick's new LP is at the same time harder hitting, more rhythmic, more harmonic, more diverse, and more adventurous than any of the excellent work that already separated him from the pack. A cool and elegant post-post-modern cocktail of 1950s r&b and club jazz, mixed with 1960s soul and boogaloo, and shaken with a minimal contemporary sensibility, Never Twice finds the artist taking his time, refining his vision, and speaking with new authority. In five short years Nick Waterhouse has come a long way and it looks like he may have just painted his masterpiece. - Jonathan Toubin
Directed by David Mackenzie Hell or High Water is a heist film starring Ben Foster, Chris Pine and Jeff Bridges. Based on the infamous 2012 Black List script, the film is set in West Texas, in an area formerly known as Comancheria, and tells the story of two brothers who plan a bank robbery to save their family farm. The film was extremely well-received during its Premiere at the Cannes Film Festival in May. Critics praised and applauded the film's archetypal Americana, along with the memorable performances of its main protagonists and the composers' moody and minimalist score. Nick Cave of the Bad Seeds and his musical partner Warren Ellis deliver a ravishing score perfectly fitting the dry and arid landscape in which the characters strive to survive. The soundtrack album also includes Sleeping On The Backtop (Colter Wall), Outlaw State Of Mind (Chris Stapleton) and many more country music infused titles.
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.
Killer funk compilation full of highlights from the music archives of Josef Weinberger Ltd. in London, pulled from the most famous library albums on labels like JW (Josef Weinberger/ Theme Music), IA (Impress) or PM (Programme Music). First selection of 16 lost tracks by Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale or Vick Flick, oscillating between jazzfunk, soul music, proto techno and eastern-tinged disco, with open drum breaks, fat bass lines and plenty of horns/ wah wah/ organs/ vibes/ flutes/ electronic effects. Recorded from the master tapes, restored and mastered 2016 for 6-Page-Digipack-CD and limited vinyl LP, comparable to the best works of KPM, De Wolfe or Bosworth. The history of music publisher Josef Weinberger goes back to the late Victorian era. He founded his publishing business in Vienna in 1885, mainly licensing stage works from the fields of Classical music. Over the years his company expanded into many more music genres, with its associated sound library “JW Media Music” as a leader in its field. Already at the beginning of the 1970s, JW Media started to produce countless vinyl LPs in the UK, presenting hundreds of tracks in various musical stylings on their record labels “JW/ Theme Music”, ”Programme Music” and “Impress”, as specially commissioned music for inclusion into radio, TV, movies or advertising. With this new sound collection from the vaults of Josef Weinberger, we dig deeper into the fascinating library music of Toni Campo, Midas Touch, Trevor Bastow, Vick Flick, Sidney Dale and other uncommon musicians, who used to work behind the scenes, usually composing for various music production companies. They are responsible for some of the most exciting library music ever recorded. None of their tracks were available for the regular music stores, while the carefully produced vinyl records were solely distributed from business to business, limited to pressings of only a few hundred as strictly promotional items. After countless months of research we are happy to finally present 16 rare tracks from the most wanted Weinberger albums recorded over a five year period from 1975 until 1979.
True to form, Boston-based label Cultures of Soul is set to release a compilation of obscure disco from a far-flung corner of the world. After forays into India and Brazil, they now turn their attention to South Africa. South Africa is home to a dizzying variety of musical genres and traditions, including some that look directly to American sounds for inspiration. In the late 70s and early 80s, many of the country’s best young musicians were guided by funk. All over the world, disco was growing harder and more electronic, with new synthesizers entering the market every month. The southern tip of Africa was no exception. Global music industry geo-politics, however, aided by the country’s pariah status and a UN-sanctioned cultural boycott, prevented the vast majority of this music from ever being heard outside the country, nor ever being released on CD or digitally. Until now. Compiled by Cultures Of Soul head honcho Deano Sounds in collaboration with Johannesburg-based DJ Okapi from the Afro-Synth blog and record store, Boogie Breakdown serves up two tracks apiece from six seminal acts from the era - Harari, The Cannibals, Neville Nash, Benjamin Ball, Don Laka and Al Etto – to offer a glimpse into this long-forgotten era in African music history. A period of true innovation and new possibilities – as well as isolation and political instability – the early 80s in South Africa saw the emergence of numerous talented, innovative artists, whose efforts soon gave rise to the big-selling ‘bubblegum’ sound of the mid-80s. As the decade wore on, this sound shed its American roots and took on more local influences, becoming ever more electronic and less funky, to become the kwaito of the 90s and ultimately the house music of today. It all started with the arrival of synthesizers and the creativity of producers and artists featured on this compilation - pioneers of a new sound before it became established and marketable – global in its appeal, yet rooted in Africa.
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.
Guest artists include Kendrick Lamar, Ariana Grande, Ty Dolla Sign and more. This is an album about women and for women.
Mndsgn (born Ringgo Ancheta) grew up in south New Jersey, raised with Gospel music at church, and B-Boy culture at home. Experimenting with beat-making, he befriended fellow producer Knxwledge and the two formed the influential Klipmode collective (along with Devonwho and Suzi Analogue). Mndsgn's music flourished when he moved to Los Angeles, catching the attention of Stones Throw who released Yawn Zen (2014), an LP of introspective and mostly instrumental beat creations, punctuated by vocal cuts. Body Wash is his second album for Stones Throw, a full set of realized songs that were only hinted at on Yawn Zen. Influences here include the likes of early SOLAR records material, Leon Sylvers III, Kashif, and Dave Grusin. These artists, Mndsgn says, "embodied that potent feeling in the early 80s boogie/funk/soul/jazz/fusion wave." He adds, "I was also digging back into some early 90s R&B sounds and started really imagining what it would be like if I had mashed the two eras together." He explains Body Wash as "a soul record that plays with nostalgic elements in a very dynamic & positive way. Think about it as a box of crayons for you to draw emotions with." The album was built around a backstory, a loose narrative thread through which he could filter his unformed ideas. In the narrative, a homeless man encounters a mysterious woman who gives him shelter. She instructs him to bathe with a very peculiar body wash. As he soaks and sinks deeper in a thick lather of this unknown solution, the man finds himself transported to an alternate dimension. Mndsgn describes the story as a vessel "that would allow me to speak on topics that were universally relatable … The story actually became a true outlet for me to address worldly issues with Self." The resulting album also represents a dynamic step forward in songwriting. Without explicitly relating its plot or characters, the album as a whole turns on the story's key theme, the psychedelic, transformative power of love.
RVA beatmaker Ohbliv follows up on his recent Baker’s Dozen installment for Fat Beats Records with Cassette Store Day inspired Lewse joints V. Cassette features 18 original beats. Cover art by Ohbliv and layout by Chris Hound (Paxico Records).
Debuting on Adult Swim, two of the most conceptual and unusual alternative artists in underground hiphop have joined forces to tell an absurdist story of culture, art and oppression, set in a lighthearted dystopian future. As adventurous as the concept sounds, the album is musically grounded in hiphop fundamentals and off the wall lyricism. Joining the duo are artists like DJ QBert, Gonjasufi and Akrobatik. Wyatt Cenac (Daily Show, Bojack Horseman) lends his voice as the narrator of our story.
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.
I Told You is the debut album from Tory Lanez and follows his Platinum selling first ever single "Say It," which reached #1 on both Rhythmic and Urban radio charts, and the Benny Blanco and Cashmere Cat produced "LUV."
Ghanaian highlife master and “The Golden Voice Of Africa”, Pat Thomas, returns with his first full career retrospective on Strut this Autumn, covering his late ‘60s big band highlife recordings through to the “burger highlife” movement of the early ‘80s. Growing up with music around him (“my uncle, King Onyina, was an important highlife musician”), Thomas was inspired to become a singer after hearing vocalist Joss Aikins: “He sang with Broadway Dance Band and Decca in Ghana chose him to sing with any group that came into their studios.” When a new incarnation of Broadway Dance Band was created in ‘67, led by Ebo Taylor, Thomas received his first big break. “Ebo started to write new songs. I added the lyrics and sang them and it worked well.” The partnership with Taylor would become one of the enduring forces in Ghanaian music during the ‘70s, creating a fresh, progressive new highlife sound. They played with the Blue Monks band before, in 1974, forming Sweet Beans with the backing of Ghana’s Cocoa Marketing Board: “The album, ‘False Lover’, was the first under my own name and my first for Gapophone,” Pat reflects. “Reggae was “on” at that time - Jimmy Cliff was the guy - so I tried reggae fusions and brought in some soul.” The album established Thomas across Ghana. Sweet Beans disbanded but the musicians stayed together as Marijata. “The guys initially used Jewel Ackah as their vocalist but they involved me and I re-vocalled the album. This became the ‘Pat Thomas Introduces Marijata’ LP. At that time, I would go to George Prah at Gapophone to ask for money and he would say, ‘if you want me to pay you, go and write a song!’ So, tracks like ‘Coming Home’ came about that way, written on the spot.” A second Marijata album followed before a damaging coup in Ghana in 1979. “Jerry Rawlings’ “house-cleaning” was designed to stop corruption but it seriously damaged our country’s music culture.” Thomas left for Berlin and stayed true to his highlife roots, becoming the first Ghanaian to record highlife there. “In Ghana, people ex-pats living in Germany called themselves ‘burgers’, so the scene became ‘burger highlife’.” Thomas travelled to Togo and London, before settling in Canada: “I ended up there for ten years playing for universities, Ghanaian societies and festivals.” Pat is now back with Kwashibu Area Band and touring worldwide: “Today, highlife has become the world’s music and I am proud to still bring it to so many people.” ‘Coming Home’ is released on 2CD, 3LP and digital and features exclusive photos and a full interview with Pat Thomas.
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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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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
- Familiarity with Microsoft Office applications
- 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