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.
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.
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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.
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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.
Guru's Jazzmatazz, Vol. 1 is a jazz rap album from Guru, one half of the duo, Gang Starr. This album is one of the first albums to combine a live jazz band with hip hop production and rapping. Jazzmatazz, Vol. 1 brought together a diverse group of jazz cats both old-school and new, including Roy Ayers, Donald Byrd, Lonnie Liston Smith, Ronny Jordan, and Courtney Pine. Continuing with its Respect The Classics campaign, UMe will be reissuing this classic album back on standard weight vinyl.
Respect The Classics is proud to present the cassette reissue of Eminem's classic Interscope/Aftermath debut album, "The Slim Shady LP". The Slim Shady LP transformed Eminem from an unknown rapper into a high-profile celebrity and was awarded the Grammy Award for Best Rap Album. Continuing with its Respect The Classics campaign, UMe has reissued this classic on a translucent purple cassette and given it a removable 3D cover that doubles as a sticker.
Deluxe 5LP boxset includes a 108-page book features previously unpublished photographs and a 20,000-word essay. Years before Beavis and Butt-head headbanged "Thunder Kiss '65" and "More Human than Human" into the eternal rock video canon, there was primordial White Zombie - a quintessential, diabolically loud byproduct of Manhattan's underground rock scene, born of artschool rendezvous and squalid apartment circumstance. It Came from N.Y.C. is the most exhaustive attempt so far to document the band's wondrously ugly birth. Getreintroduced to White Zombie as New York noise-rock, a grotesque creation that clawed and threatened its way to crossover metal glory. On June 3rd 2016, Numero resurrects White Zombie's eternally out-of-print early EPs and LPs as It Came From N.Y.C. spread across five LPs or three compact discs, all 39 tracks have been remastered by guitarist J. Yuenger and packaged alongside the original lurid artwork. The accompanying 108-page book painstakingly documents White Zombie's punishing progression through scores of unpublished photos, period discography, a T-shirtography, and tales from the terrifying early years that stitch together the sordid story of a band whose true power eclipsed its mainstream heyday. White Zombie lives. Don't be afraid.
In cooperation with one of Europe’s most established vinyl record shop HHV.de, the German Hip Hop Classic from 2001 gets an exclusive, strictly limited re-release for its 15th anniversary. The critically acclaimed album was a huge success in Europe, the UK and Japan, where it got an exclusive release. For the first time there will be a gatefold 2 x LP, including ALL the songs from the original CD version (the 2001 release was missing the tracks “Applause” - which even got a music video – and “Taste of Life”) plus an inlay holding all liner notes and lyrics. All tracks will be released in a remastered version by Germany’s mastering genius Sascha “Busy” Bühren from TrueBusyness.
Some albums define an era, a place, a certain time in one's life. The Beastie Boys Check Your Head practically defined the summer of 1992 for those who were wary of the mainstreaming of rap and the insurgency of grunge. It was here that MCA, Adrock and Mike D. created a musical montage that defied genre, one with the swagger of punk and the rootsy earthiness of early-'70s soul-jazz, all layered with a hip-hop consciousness. Lo-fi, garagy, guitar-riff-loaded tracks like "Pass Da Mic" and "Gratitude" made it clear that the Beasties could be taken as serious musical forces, even innovators. Yet they still brilliantly tempered the proceedings with romps like "Professor Booty" and "Funky Boss." One of the best albums of the '90's, Check Your Head was a turning point for the band and the genesis of a new musical hybrid. Reissued here on Limited Edition Double 180g Vinyl.
Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands ever. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius. This is the 1980 Brian Eno-produced classic, on 180-gram HQ vinyl.
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Bad behavior gets in the way of business. This is a message that purveys throughout Jay-Z's seminal debut Reasonable Doubt. While most of us are used to seeing Jay-Z as the Entrepreneur, the King Of Hip Hop or Beefer With Nas, here we see the not-so-humble beginnings of the rags to riches rap dream. On Reasonable Doubt Jay-Z hustles himself to the top by his bootstraps, and while he isn't boasting about how he's king of the hill, he is bragging about how he's going to get there. And where many other gangster-rappers enthusiastically glorify life on the streets, Jay-Z waxes philosophical about the dark sides of turning against childhood friends in a song like "D'Evils" or the consequences of working the corners in "Regrets". Contributions come from major players Notorious B.I.G., Foxxy Brown and Mary J. Blige, while production is taken on by Damon Dash, the late Kareem 'Biggs' Burke and of course Jay-Z himself. Like contemporary Nas' Illmatic, Reasonable Doubt gives a disarmingly honest and open view of the corner lifestyle, with tongue-twisting rhymes from a young rapper heading for greatness. Included in this Music On Vinyl edition is a 10" with the hit Can't Knock The Hustle (Fool's Paradise Remix ft. Meli'sa Morgan) with an instrumental on the flip side.
In the early seventies, Nile Rodgers and Bernard Edwards were playing in rock and soul bands across New York City and the east coast, meeting up with Tony Thompson along the way and forming the rudiments of what would become one of the most powerful and successful r&b units ever known as Chic. In 1977, they hit the top of the charts a couple of times with their smash debut single Dance, Dance, Dance as well as the killer funk of Everybody Dance. The first album simply titled Chic also featured some very amazing playing and more deep soul tracks like Sao Paulo, You Can Get By and the funk infused Strike Up The Band. Along with vocalists Alfa Anderson, Norma Jean Wright and future superstar Luther Vandross, Chic was the band of choice for party people, dance clubs, and radio stations all over with this debut album. With star power tracks and their stellar instrumental funk infused musicianship, Chic's debut became a staple at retail and on the dancefloors and started a trend which has now lasted over four decades for this Rock Hall Of Fame winning band. This classic album has been out of print in Lp form for awhile….that is until now! Friday Music is very proud to continue The Chic Original Master Series with the first time audiophile vinyl release of their debut album Chic. Mastered impeccably by Joe Reagoso (Chic/Sugarhill Gang) from the original Atlantic Records tapes, the limited anniversary edition Lp features the original classic LP artwork which truly will now enhance your listening hours. Chic...now on spectacular 180 Gram Vinyl... exclusively from your soulful friends at Friday Music. Everybody Dance!
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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
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- Enrollment in an accredited college/university that offers an internship program for academic credit
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Resumes/Cover Letters should be emailed to firstname.lastname@example.org