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Driven by the same iconoclastic, antiauthoritarian and pimp-turned-poet mentality that made Ice-T a gangster rap pioneer, a platinum artist from the streets and a household name in film and television before “rapper/actor” was a commonly used term, Body Count flipped the script with the same tenacity when they bumrushed heavy metal. The first rumblings of Body Count were heard in the eponymous song unleashed on Ice-T’s gigantic O.G.: Original Gangster album in 1991, which hit stores just two months after his first major movie role in the modern crime classic, New Jack City. The fierce thrash of the “Body Count” anthem put people on notice that the Megadeth cap Ice-T wore on MTV wasn’t for show: aggressive heavy metal and hardcore is in his blood. Body Count built a huge buzz on the inaugural run of the legendary Lollapalooza tour in 1991 - alongside Jane’s Addiction, Nine Inch Nails, Living Colour and the Violent Femmes - issuing their self-titled debut album in 1992 which was home to the well received single "There Goes the Neighborhood" and initially the controversial song "Cop Killer" which was called out by the President of the United States and sparked a huge boycott against Warner Bros. The group eventually elected to delete “Cop Killer” from future pressings as a result. From the punk bite of their gold debut through the metallic triumph of Born Dead (1994), Violent Demise: The Last Days (1997) and Murder 4 Hire (2006), Body Count stands as the group that dropped hip-hop attitude into heavy metal and hard rock music before Rage Against The Machine, Limp Bizkit, Linkin Park and Hollywood Undead, despite nary an ounce of rapping over their mosh-pit inducing songs. Body Count is a full on metal band, fronted by a legendary rapper who drops knowledge, violent stories and verbal middle fingers, with a bellowing growl descended from some of punk rock’s most pissed off screamers. In anticipation of Body Count's long awaited return in 2014 with their new Sumerian Records release Manslaughter, Rhino/Warner Bros. is unleashing the band's groundbreaking self-titled debut back on vinyl for new and old generations of metalheads alike.
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With its playful wordplay, innovative sampling, and witty skits, De La Soul’s 1989 debut album, 3 Feet High & Rising, is considered a hip hop masterpiece. It is also the band’s biggest commercial success to date, with their subsequent albums selling progressively less, despite receiving high praise from critics. A measure of 3 Feet High and Rising’s cross-over appeal was the fact that it was voted Album of the Year by NME, a title better known for its taste in guitar-based music. De La Soul has influenced numerous other hip hop artists such as Camp Lo, The Black Eye Peas, and Digable Planets. They were also influential in the early stages of rapper/actor Mos Def’s career, and are a core part of the Spitkicker collective. They are the second longest standing Native Tongue Posse group, after the Jungle Brothers.The album marked the first of three full-length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. It is consistently placed on ‘greatest albums’ lists by noted music critics and publications. Robert Christgau called the record “unlike any rap album you or anybody else has ever heard.” In 1998, the album was selected as one of The Source Magazine’s 100 Best Rap Albums.
Devo's groundbreaking third album! 2016, limited Rhino record day reissue! 35th anniversary edition on tri-color, red white & blue vinyl! Freedom of Choice is the third album by new wave musicians Devo, released in 1980 on LP. The album was co-produced by Robert Margouleff, famous for his synthesizer work in Tonto's Expanding Head Band and with Stevie Wonder. It contains Devo's most well-known song, "Whip It."
While hip-hop was consumed by the hardcore, noisy political rap of Public Enemy and the gangsta rap of N.W.A., Digital Underground sneaked out of Oakland with their bizarre, funky homage to Parliament-Funkadelic. Digital Underground built most of their music from P-Funk samples and developed a similarly weird sense of style and humor, highlighted by Shock-G's outrageous costumes and the whole band's parade of alter egos. Of all these alter egos,Shock-G's Humpty Hump -- a ridiculous comical figure with aGroucho Marx nose and glasses and a goofy, stuttering voice -- was the most famous, especially since he was immortalized on their breakthrough single, "The Humpty Dance." Over the course of their career, Digital Underground have featured a numerous members, but throughout it all, Shock-G has remained at their core, developing the band's sound and style, which they had from the outset, as their 1990 debut, Sex Packets, proved. Sex Packets was an instant hit, thanks the loopy single "The Humpty Dance," and while they never scaled such commercial heights ever again, their role in popularizing George Clinton's elastic funk made them one of the most important hip-hop groups of their era. Shock-G (born Gregory E. Jacobs, August 25, 1963) spent most of his childhood moving around the East Coast with his family, eventually settling in the Bay Area of California. He dropped out of high school in the late '70s and spent several years pursuing a life of crime before eventually finishing his degree and going to college to study music. Along with Chopmaster J, Shock-G formed Digital Underground in 1987, and the duo released a single, "Underwater Rimes," that year, which went to number one in the Netherlands. In 1989, the group signed with Tommy Boy, and that summer "Doowutchyalike" became an underground hit. By that time, Digital Underground had expanded significantly, featuring DJ Fuze, Money-B (born Ron Brooks), and Schmoovy-Schmoov (born Earl Cook). Sex Packets, the group's debut album, was released in the spring of 1990, and "The Humpty Dance," which was rapped by Shock-G's alter ego Humpty Hump, climbed all the way to number 11 on the pop charts, peaking at number seven on the R&B charts. With its P-Funk samples, jazzy interludes, and innovative amalgam of samples and live instrumentation, Sex Packets received positive reviews and went platinum by the end of the year. Digital Underground followed Sex Packets in early 1991 with This Is an EP Release, their first recording to feature rapper Tupac Shakur. The EP went gold and set the stage for their second album, Sons of the P, which was released that fall. On the strength of the gold single "Kiss You Back," Sons of the P also went gold, but it received criticism for its similarity to Sex Packets. By the time Digital Undergrounddelivered their third album, The Body-Hat Syndrome in late 1993, hip-hop had become dominated by gangsta rap, particularly the drawling G-funk of Dr. Dre, which ironically was heavily indebted to Clinton. Consequently, their fan base diminished significantly, and The Body-Hat Syndrome disappeared shortly after its release. Nearly three years later, Digital Underground returned with Future Rhythm, which spent a mere three weeks on the charts. Who Got the Gravy? followed in 1998.
Confessions of a Dance Floor returns on Pink Vinyl. On Confessions of a Dance Floor, Madonna, the most popular and significant female artist in pop music, returns unapologetically to her roots. A stunning blend of musical styles with one foot in early disco and the other pointed toward the future, Confessions On A Dance Floor ''is all about having a good time straight through and non-stop,'' says the Material Mom, who co-wrote and co-produced every track.
Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Face Value will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues. Entirely curated and compiled by Collins himself, his idea for this release is to examine how his songs have evolved over time, with the majority of the additional content throughout these releases focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio. Initially released shortly after Collins' 30th birthday, 'Face Value' was propelled to international multi-Platinum status with the help of the smash hit single 'In The Air Tonight'. Other notable tracks on the album include the follow-up singles 'I Missed Again' and 'If Leaving Me Is Easy', as well as 'Behind The Lines' which was written with Collins' Genesis colleagues Tony Banks and Mike Rutherford. The 180-gram heavyweight audiophile vinyl format (Single LP) features the remastered album as a stand-alone product.
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.
Formed in the mid 70s by art school chums David Byrne, Chris Franz, and Tina Weymouth and ex-Modern Lover Jerry Harrison, Talking Heads rose out of the CBGB punk crucible and proved themselves one of the most artistically adventurous and influential bands of all time. Their visionary, polyrhythmic sound fused elements including rock, funk, and punk with diverse world beats, avant-garde minimalism, and pure pop genius. From their 1977 debut to their Brian Eno and self-produced classics and on through to their swan song (1988’s Steve Lillywhite-produced Naked), the Talking Heads consistently broke creative boundaries while also producing a series of timeless hits such as “Burning Down The House,” “Wild Wild Life,” and “Once In A Lifetime.” “Burning Down The House,” was the Talking Head's first and only Top 10 hit in the U.S. featured on their 1983 Sire release Speaking In Tongues, the band's fifth studio effort and commercial breakthrough. Speaking In Tongues also includes the track "This Must Be The Place (Naive Melody)," regarded as the Talking Heads' first love song and the tour for the album yielded the famous Jonathan Demme film Stop Making Sense.
Arguably the Smiths' masterpiece, The Queen Is Dead features the elegance, craftsmanship and humor which has led the band to musical eminence. Johnny Marr's dense web of guitars create a rich musical foundation here for some of Morrissey's most affecting set of lyrics. The wistful "The Boy With the Thorn in His Side" and the epic "There Is a Light That Never Goes Out" are two of the crowning achievements in the band's oeuvre and they provide the ideal cornerstone for what is a remarkable overall album. Remastered with direct supervision by Johnny Marr, this essential LP has never sounded better. Complete with original packaging and sleeve.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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We are currently offering an internship program that offers an educational experience in all facets of our distribution operation. The intern would have the ability to assist in each of the following departments:
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