Get On Down is very proud to announce an LP reissue of one of the West Coast’s most revered, yet underrated, hip-hop classics: The D.O.C.’s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for 25 years, this limited edition on black vinyl features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, the D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle – his most important role in the early days of the group, besides his close working relationship with Dr. Dre, was writing many of Eazy-E’s rhymes, including his hit 1988 single “We Want Eazy.” But The D.O.C. wasn’t in N.W.A. and never wanted to be – he was his own man, with his own vision. And after Compton proceeded to blow up (much like Eazy’s 1988 LP, Eazy-Duz-It), the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. And the Dallas-born D.O.C. lived up to the challenge of Dre’s funky, expertly-produced tracks by bringing his A-game on the mic. Boasting four singles – “The D.O.C. and the Doctor”; “Mind Blowin’”; the smash “It’s Funky Enough”; and “The Formula” – the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. Skillfully rhyming over both fast and slow tracks, The D.O.C. showed on this amazing record that he was one of hip-hop’s most talented MCs, especially on the West Coast scene. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day.
Redefinition Records is known mostly for working with some of the best and brightest artists in hip-hop from underground legends to certified veterans, but this release marks the first time the NJ/DC based indie label ventured into new territory, literally, by teaming up with Germany’s Klaus Layer for the release of his debut album, The Adventures of Captain Crook. Klaus Layer, aka Captain Crook, was always interested in eastern German art and music, but it was the fall of the Berlin Wall that truly opened up new opportunities for him to explore a wider range of art and foreign cultures. Klaus was born in Oranienburg, Germany, and while his preference for 90’s hip-hop music and the influence of a local graffiti scene can be seen and heard in his work, he has his own distinct identity as a creator. Klaus cites artists like Michael Hamel, Günther Fischer, Can, Pete Rock, Damu the Fudgemunk and Lord Finesse as sources of inspiration, just as much as he does the Surrealist style of art as well as the audio & visuals found in old movies from the 50s-70s. All of Layer’s different influences, along with some non-traditional sampling resources have somehow been morphed together via his instrument of choice, a sampler, into a unique style of instrumental music full of rich layers, including all sorts of percussive and melodic patterns. The Adventures of Captain Crook is a stunning album, full of beautiful melodies, expertly chopped samples and neck snapping drums, that only seems to get better with each listen. While the album is mostly instrumental, one of today’s best and brightest MC’s, Blu, shows up on not one but two tracks with show-stealing verses on the LP’s two vocal tracks, including the fan favorite “Illest In Charge” and “Come Back” which also features New World Color’s Scienze (of Divine Scienze). This is an album that will stand the test of time and one that defines the label’s motto of Quality Over Quantity.
Shlohmo fans have been aching for new material from the Bad Vibes era since the seminal albums release and while he has since diversified his approach theres no denying the transcendent magic of the Los Angeles-based artists early work. Bad Vibes 5th Anniversary Edition is a celebration of one of our generations most adored producers, extrapolating on the twisted warmth of his seminal works in remarkable fashion. The 3xLP anniversary package include the original gatefold Bad Vibes 2xLP, plus a brand new 12 comprised of b-sides, demos and outtakes from the albums progenitive sessions, bound together by a custom Bad Vibes O-card. Having collaborated with the likes of Jeremih, Tory Lanez, Lil Yachty, How To Dress Well and Banks in the years since Bad Vibes, these unreleased tracks recall a simpler, more intimate time in Shlohmos career and whether its the live mix of Seriously or the temporally defined 11_9_10 Asleep On The 22 that bridges the gap for you, these tracks will surely make waves for fans past, present and future.
Amber, the second full-length from Autechre and considered by many to be their ambient opus (though we imagine they wouldn't call it that!) having been out of print on vinyl since 2001. Amber contains eleven tracks of sparse Ae minimalist machine modules that blur the boundaries between isolationist electronica and richly vivid techno soundscapes. Considered by many fans to be the most crucial recording from the group, it contains some of their most immersive soundscapes to date. Steering away from the post-hardcore dynamics that shone through on Incunabula, Amber moves further away from anything resembling 'techno' and moved into more territories of abstract ambience. These eleven crystal-like cubes of sound came together to produce some of the most mind-bendingly hypnotic sounds to be committed to wax during the 90's. Placing Ae up in the ranks of legendary composers such as Steve Reich and Manuel Gottsching as well as their Artificial Intelligence contemporaries with whom they were crafting the building blocks of the future.There is something uniquely immersive about Amber, it's almost as if as you are playing it the sounds are fading away before they even begin, when played from the start you can lose a lot of time within the endless gradients that adorn its cover, before the sounds just seemingly, disappear. Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic.
Incunabula, the debut full-length offering from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. Having first emerged onto a post-acid house 1993, Incunabula was released as part 7 of the now legendary Artificial Intelligence series of albums and compilations from Warp. A series that gave us early records from artists who went on to sculpt the electronic landscape both in and out of the club. Being lined up against such contemporaries as Black Dog Productions (Balil and Plaid) Aphex under his Polygon Window guise, Richie Hawtin's FUSE project, Speedy J, B12 & on the series' closing compilation, artists as diverse as Seefeel, Richard H Kirk & The Higher Intelligence Agency. Incunabula set the tone for the following landmark albums from Ae, huge caustic dissections of sound that almost resemble vast mathematical equations more than they do club fodder (though tracks like the breakbeat whip crack of Doctrine and the acidic euphoria of Maetl, which when deployed by the right DJ will go off). For those just arriving at the edge of Ae's world and are looking for an entry point into the sprawling discography of the group, or those of you looking to delve into the pre-MaxMSP archives, this is the record for you. There is not much we can say that has not been said before, but this truly is a landmark album of UK electronica, a legendary recording that still even after twenty-six years still sounds like a future we are yet to arrive at. Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic.
Tri Repetae, the third album from Autechre finally made available again on vinyl, having been out of print on vinyl since 2001. On reflection, Tri Repeate stands tall as one of the most out-there (and if you know what that means...) and boundary-pushing releases from Ae ever. Going back to the group's roots as b-boy's, Tri... features ten variations on street sounds from hip-hop and techno to industrial and jungle. Released at a time when producers were ripe with ideas for cosmic breakbeat experimentation, Tri... mixed the glitchy twisted dynamics of EPs such as the criminal justice bill protest Anti and sculpted a long player that resembles some of the most 'floor friendly' Ae to ever grace a packed nightclub soundsystem. The ten tracks pulled influence from previous outings, from the glacial Amber chug of Overand to the Incunabula acid of Leterel. But the overall sound is one of mixing influence from the avant-garde of Iannis Xenakis, Edgard Varese & Tod Dockstar with the mid 90's post-hardcore sound of jungle.For anyone looking to get to grips with Ae but wanting something that bridges the gap between the early analogue escapism and the latter deconstructionist stance of elseq, Tri Repetae is the perfect point to dive into. Mixing elements of groups such as Coil at their most industrial, the austere techno of the Downwards crew and the cold yet funky electro of Man Parrish, they composed an album that still, twenty one years since its release, has one of the most singular sounds for anything resembling electro techno, and what other group can you think of who have you can say have ever managed that? Included with this release is a download of an original Autechre live set, previously only available in the Autechre webstore, with artwork by long time creative collaborators The Designers Republic.
All time best selling instrumental album, back in print as a high quality 2LP collection. A lot of music enthusiasts consider How It Should Sound to be one of the greatest instrumental albums ever. Originally released in April 2010, ""HISS"" is the perfect introduction to the timeless music of Washington DC's uber talented composer/arranger, Damu The Fugemunk. “I just want to do hip-hop the way I hear it in my head. It’s about a mood and what records I find: I love digging and finding things that I want people to hear. That’s the beauty of this art form to me. I have a bit of every great producer rolled into me and it’s their approach to manipulating drum breaks and samples that really opened up my ear. I really don’t consider my sound a throwback; I consider it a method of production, a distinct approach to making music.” - Damu The Fudgemunk (2010) Redefinition Records is proud to present these timeless instrumentals from Washington D.C.’s finest, Damu The Fudgemunk. Produced mostly between 2004 and 2007, ""How It Should Sound"" brings together archived material that as yet has only existed on floppy disks stacked in between an oft-frequented MPC and an ever-expanding library of vintage vinyl. Don’t get it twisted though: What you now have in your possession is far more than a collection of sketches. HISS represent a body of lovingly crafted material that bears all the hallmarks of Damu’s signature aesthetic. Crunchy drums bolster intricately woven narratives of soul-infused samples in compositions that thump and groove all at the same time. Horns appear from nowhere before dissolving sumptuously into the mix. Layers are steadily unveiled only to gradually fold back in on themselves. But hey, you knew that already, right? Welcome. In case you hadn’t noticed, this is how it should sound.
In honor of the 20th Anniversary of Maxwell's Urban Hang Suite, the artist's game-changing debut album, a special 2LP collection will be released. Pressed on Metallic Gold 12" 150gram vinyl, this LP package comes with an 8-page booklet that includes rare images from the original album and single photo shoots. The booklet also includes a very special pair of revelatory new essays: 1) an appreciation of Maxwell and his music by noted R&B scholar, music/culture critic, journalist and filmmaker Nelson George; and 2) a behind-the-scenes reminiscence on the making of Maxwell's Urban Hang Suite penned by music industry veteran Mitchell Cohen, who, as Senior Vice President of A&R at Columbia Records, signed Maxwell to the label and helped shepherd the music from raw concept to full realization.
Three years after the critically acclaimed and heart wrenching 'Sea Change' Beck returns with 'Guero', that reunites Beck with classic co-conspirators the Dust Brothers. Beck explores territories uncharted by even this most innovative artist of his generation.
Post-punk pioneers Joy Division left an indelible mark on Manchester’s burgeoning music scene in the late 1970s. Where punks, armed with anger and adrenaline, reconfigured rock by employing its most primal qualities, the postpunks dealt in dissonance, inverted sonic balances, and introspective lyrics. Producing a legacy perhaps larger than their own output, Joy Division lasted little more than three years and recorded only two studio albums, but the poignancy and sheer originality of their music have ensured their essential status in rock’s pantheon. 35 years ago, Joy Division issued their second studio effort, Closer (1980), another seminal post-punk masterpiece which – exactly two months earlier – had already secured its position as their final album, due to frontman Ian Curtis’s suicide. Closer is an album which is effectively impossible to listen to without considering the circumstances under which it was ultimately released, i.e. posthumously, but that doesn’t mean it isn’t still a classic in its own right. Musically and lyrically driven by the prevailing despair of Curtis, Closer was once again produced by Martin Hannett, who also helmed the group's debut Unknown Pleasures, and he and the band weave sprawling emotional chaos and shifting atmospheres and textures together here into an enormously powerful ten-song tour de force. Standouts include "Heart And Soul," "Isolation," "Eternal," "Decades," and the wrenching "Twenty Four Hours."
The all-time classic from stoner metal legends Sleep, "Sleep's Holy Mountain" will be given the Full Dynamic Range treatment that has previously enhanced albums from the likes of Carnage, Entombed, Morbid Angel and Napalm Death amongst others. For those of you still unaware, our Full Dynamic Range releases were made in response to the so-called "loudness wars", with the dynamic range of music being restricted more and more in an effort to make it sound louder. These releases, on the other hand, deliver music at its optimum sound level dynamically, leaving the listener to decide on the playback level. In essence, you head the tracks as they were made and intended to sound, with no loss of quality.
Afrodisiac was recorded at EMI’s Abbey Road studios in London. The best known song on 1973’s Afrodisiac is “Jeun Ko Ku,” a satire about gluttony and Fela’s first major hit in West Africa. In Broken English, the title means “chop and quench,” which, in turn, means “eat and die” in Standard English. Lyrically, the standout track is the closing “Je’Nwi Temi” (“don’t gag me”), a critique of the Nigerian political/military establishment and a defence of free speech. Fela vows that he will always tell it like it is, no matter what. This proved to be prophetic stuff, given the police and army assaults, intended to silence him, which were just around the corner. “Alu Jon Jonki Jon” draws on the interaction between animals and humans that is part of Yoruba mythology, in a tale about a dog who betrays his friends. Like many of Fela’s lyrics of the period, the lyric employs parable and metaphor to encourage ethical conduct in everyday life. In “Eko Ile,” Fela sings that there is no place like home (Eko was the pre-colonial name of Lagos).
On the title track of 1976’s Zombie, Fela and the backup singers ridicule the mindset of men in uniform over an urgent, quick-march accompaniment from Afrika 70. “Attention! Quick march! Slow march! Salute!” sings Fela, “Fall in! Fall out! Fall down! Go and kill! Go and die! Go and quench!” Each phrase is followed by the women singers’ taunting response, “Zombie!” Just a few months later on 18 February, 1977, around 1,000 soldiers, most of them armed, swooped on the Kalakuta Republic. Fela was badly beaten, sustaining a fractured skull and several broken bones. His mother, then aged 77, was thrown out of a window, fracturing a leg and suffering deep trauma. The army then set fire to the compound and prevented the fire brigade reaching the area. The blaze gutted the premises, destroying six Afrika 70 vehicles, all Fela’s master tapes and band equipment, a four-track recording studio, all the residents’ belongings and, for good measure, the free medical clinic run by Fela’s brother, Dr Beko Ransome Kuti (who was also severely beaten in the attack). The first journalists to arrive on the scene were assaulted by soldiers. Inquisitive passers- by were similarly set upon. The army didn’t want any witnesses.
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Reissue of Niagara's self-titled debut, originally released in 1970. Niagara was more a project than an actual band, formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger, and gained fame in the German jazz circuit of the '60s and '70s. His 1971 works with Niagara was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, they still have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, the icon of German rock and pop started as a drummer) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. This album is not full of pop tunes. Niagara enchants and hypnotizes with a massive wall of percussion sounds, dragging the listener deeper and deeper into a state of trance, which is utterly addictive. Niagara goes deeper than most psychedelic rock with dreamy melodies and heavy organ work. Incomparable to anything else, this is an ultimate rhythm experience.
The debut album by The Avalanches was released in 2000 and contains an estimate 3,500 samples. Playful, twisted, psychedelic, sampledelic, delirious and infectious, it's the sound of six men who spent most of adolescence rummaging through bargain bins in Melbourne's record shops, constructing their own post-modern disco-pop amalgam from rubbish '50s rejects and saccharine '60s pap. ''Our records make sense in their own world,'' says Robbie Chater, the group's baby-faced spokesman. ''We always wanted to make a record with a life of its own that you could lose yourself in.''
1987's Bigger And Deffer is the second studio effort from rap legend LL Cool J on Rick Rubin and Russell Simmons' Def Jam Recordings and follow-up to his groundbreaking 1985 debut Radio. Recorded at the iconic Chung King Recording Studios and produced by DJ Pooh and L.A. Posse, Bigger And Deffer blew the notion of a sophomore jinx right out of the water with the two smash singles "I'm Bad" and first hip hop love song "I Need Love." If Radio introduced LL as hip hop's newest star, the success and diversity of B.A.D. made him its biggest. In celebration of Def Jam's 30th Anniversary UMe will be reissuing this classic album on 180 gram vinyl with a special, chromed-out, embossed limited edition cover.
Blackest Ever Black and Klanggalerie present the first ever vinyl reissue of Caroline K’s outstanding 1985 album, Now Wait For Last Year. This haunting and deeply narcotic work of post-industrial synthesizer music – the late Nocturnal Emissions co-founder’s only published solo record – has accrued a fervent cult following over the past 30 years, and copies of the original pressing are today extremely rare and sought-after. Appropriately enough for an album concerned with the disruption of linear time, the music seems to exist firmly outside of it. Caroline Kaye Walters formed Nocturnal Emissions in 1980 with Nigel Ayers, contributing voice, synthesizer, bass and drum programming to the group’s early releases. She and Ayers also co-founded Sterile Records (1979-1986), one of the key underground imprints of its time, home to music from the likes of SPK, Lustmord and Maurizio Bianchi. In later life Walters retreated from the public eye, and in 2001 married Daniel Ayers (Nigel’s brother, also of Nocturnal Emissions, and her collaborator in The Pump), moving to Garfagnana, Italy, where she resided until her death from leukaemia on July 12, 2008. Existing at some remove to the more abrasive textures of Walters’ collaborative work, there is an underlying sadness to Now Wait For Last Year; a wistful, autumnal atmosphere that feels quintessentially British. But the album is singular in concept, structure and tone, and it transcends genre: tags like industrial, minimal synth or proto-techno help place it in a broad context, but they can’t do real justice to the understated yet richly cinematic sound-world that Walters describes. She took the title of the album from a 1966 SF novel by Philip K. Dick, whose plot revolves around a pill-based hallucinogenic drug, JJ-180, which proves to be highly toxic and addictive – causing intense paranoia and the kind of intense withdrawal effects one would normally associate with heroin. Over the course of the book, it emerges that JJ-180 induces time travel for those who take it. But the effect is different for each user, no two trips the same: some users are sent to the past, others to the future, and each trip constitutes an alternate universe, meaning no one can effectively change their future or their past. Walters captures beautifully the temporal distortions and existential malaise brought on by JJ-180. Side-long opener ‘The Happening World’ – twenty minutes of dread oscillations, distant howls and mystic glass-tones, all smothered in reverb – is a breathtaking exercise in sustained tension, and a vortical portal into Now Wait For Last Year’s uncanny domain. The wordless vocalisations and woodwind of ‘Animal Lattice’ sound like field recordings from the dawn of man, while stately piano lines evoke something more akin to Fin de siècle romanticism; ‘Chearth’, ‘Tracking With Close-Ups’ and ‘Leaving’ are poised between the dystopian and the beatific, their elegant, deep-frozen synthesizer melodies and crisp drum machine loops appearing to embrace the future, but struggling to conceal an intractable melancholy. It’s a remarkable sound from a remarkable artist: falling somewhere between Wendy Carlos’s A Clockwork Orange, Chris Carter’s The Space Between, and early Detroit techno. Given the glut of reissues and archival presentations of 1970s and ‘80s synth, industrial and DIY music that we’ve enjoyed (and occasionally suffered) in the present decade, it’s astonishing that Now Wait For Last Year has remained, until now, largely out of reach. Were it not for Klanggalerie’s 2010 CD reissue of the album, we might never have encountered it at all (or featured 'Animal Lattice' on the very first Blackest Ever Black mixtape, The Scold's Bridle), and so we’re delighted to be joining forces with that label in order to bring you the vinyl edition that so many of us have been waiting for.
Originally released in June of 1996, Beck's second major label album, Odelay, was his chance to prove that he was no one-hit wonder. His major label debut, Mellow Gold, had produced the hit single "Loser," but there was a sense he hadn't quite won over everyone and it was hard to tell exactly who Beck was. Was he joking? Was he serious? Was he simply some sort of beat-poet novelty act? With Odelay, he enlisted the Dust Brothers, most famous at this point for being behind the boards for the Beastie Boys' 1989 sonic-collage opus Paul's Boutique. Together they crafted a classic.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade. Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’ But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.
"One of the most fascinating slabs of hallucinogenic head-nod music to arise from Southern California's post-hip-hop vanguard. " - Pitchfork After 6 years this release is finally making its return to vinyl, just as Sufi himself returns with his first new full LP in as many years. This staggering Warp Records debut from Gonjasufi came to the world in 2010, sounding like an unearthed wax-cylinder buried deep in the Southern California sand, soaked in the sounds of fifty years in pop-music history. Featuring production from the heart of the Brainfeeder, Gaslamp Killer and Flying Lotus, A Sufi and a Killer is a molten-cosmic-brew of scorched psychedelia, glowing lo-fidelity funk, 21C beat science, fizzed-up psych-metal rock distortion, freaky-folk, Arabesque, woozy 70s soul and..... well everything and nothing you could ever imagine spinning out of the stereo. At the twisted heart of these 19 tracks is Gonjasufi himself; deep-mystic, frazzled orator, cult-star in the making. A magical brain-mash of a record.
LP reissue contains photo insert and liner notes by Thurston Moore of Sonic Youth. Suicide's landmark self-titled LP was originally released in 1977, seven years after the group's initial conception as part of the performance art scene on the Lower East Side. It is hard to overstate the importance of the seven tracks on Suicide, which paved the way for punk, industrial, hip hop, noise and beyond. "Ghost Rider" accelerates with brutal anguish and desire for everything rock 'n' roll. Martin Rev's utterly singular "instrument" pounds out a synthetic soundscape, while Alan Vega's oversaturated vocals obsess over motorcycle getaways. "Rocket U.S.A." distills the duo's dynamic power down to a ghostly pulse, while the psycho-drama of "Frankie Teardrop" (Bruce Springsteen's all-time favorite song) delves even further into cinematic storytelling and, at the same time, clears the room at the end of the night. Superior Viaduct is honored to present Suicide - restored from the original mixes, fully sanctioned by the band and with liner notes by Thurston Moore. If there can be a quintessential New York band, it is without a doubt Suicide.
Record Store Day 2016 Exclusive: Limited Edition on Black Vinyl Brand new exclusive Cover-Artwork. "Masters of the Universe" is the 2000 Hip Hop Classic from the American duo Binary Star (One Be Lo, Senim, OneManArmy, Decompoze)!
Cooleyhighharmony is the debut album from Boyz II Men. The album includes the Billboard Hot 100 Top 5 Singles, ''Motownphilly'' and ''It's So Hard to Say Goodbye to Yesterday''. Cooleyhighharmony has been certified 9x Platinum by the RIAA for shipments of over 9 million units in the US. In celebration of the 20th anniversary of this classic, UME will be reissuing this title back on standard weight vinyl for the first time in over 20 years.
The winter of 1996 gave us one of the most prolific albums from one of the most talented emcees to ever touch a microphone...Oh, and it just so happens to be a woman. When Philadelphia's own Bahamadia partnered with Gang Starr's Keith "Guru" Elam, and DJ Premier to produce her debut album Kollage, the energy was incredible, creating a body of work capable of standing the test of time. 20 years later it's done just that, and the Queen's masterwork Kollage is being reissued back where it belongs, on vinyl.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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Fat Beats offers internship opportunities. You must be enrolled in college and reside in the Los Angeles area to be eligible for our programs. If you meet these requirements, please paste your cover letter below and we will contact you if there are open positions available.
We are currently offering an internship program that offers an educational experience in all facets of our distribution operation. The intern would have the ability to assist in each of the following departments:
Online Retail / Marketing
Shipping & Receiving
- Enrollment in an accredited college/university that offers an internship program for academic credit
- Knowledge and passion in independent music and culture; with a specific interest in the artists/releases that Fat Beats supports
- 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