Few artists have created a body of work as rich and varied as Prince. During the '80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince has shown remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music can be maddeningly inconsistent because of this eclecticism, but his experiments frequently succeed; no other contemporary artist can blend so many diverse styles into a cohesive whole.
Few artists have created a body of work as rich and varied as Prince. During the 80s, he emerged as one of the most singular talents of the rock & roll era, capable of seamlessly tying together pop, funk, folk, and rock. Not only did he release a series of groundbreaking albums; he toured frequently, produced albums and wrote songs for many other artists, and recorded hundreds of songs that still lie unreleased in his vaults. With each album he released, Prince has shown remarkable stylistic growth and musical diversity, constantly experimenting with different sounds, textures, and genres. Occasionally, his music can be maddeningly inconsistent because of this eclecticism, but his experiments frequently succeed; no other contemporary artist can blend so many diverse styles into a cohesive whole.
Guest artists include Kendrick Lamar, Ariana Grande, Ty Dolla Sign and more. This is an album about women and for women.
GTA aka 'Good Times Ahead' confidently represent characteristics such as musical integrity and originality in abundance. At the mere age of twenty-five and in the space of only a few prolific years, the Miami-born DJs/Producers have managed to build a remarkable musical empire, boasting an impressive 2.6 million monthly Spotify listeners and over 350 million aggregated YouTube plays. Their innate ability behind the decks has seen them stun some of the most esteemed festivals around the globe, including Coachella, Lollapalooza, Ultra Music Festival, Made In America, Tomorrowland, and many more on top of headlining their own tours, a 2016 residency at Hakkasan Vegas, and joining Rihanna on her 'Diamonds World Tour'. Whether it's their own original song, an innovative remix, or collaborations with some of music's A-list artists, GTA have continued to receive support from both fans and the 'who's who' in the music industry. Whether it be their 2013 Diplo assisted single 'Boy Oh Boy' that garnered over 86 million Youtube plays, their 2015 hit 'Intoxicated' with Martin Solveig (which went top 5 on UK charts), their genre-bending collaboration with Rick Ross on 'Movin Bass', which amassed over 11 million plays on Spotify, their remix of Rihanna's 'BBHMM' with 5 million plays on Soundcloud, or their being enlisted by the prominent Rick Rubin on his Star Wars: Headspace compilation, GTA are paving the way for genre-less music to stand at the forefront.
Guest artists include Kendrick Lamar, Ariana Grande, Ty Dolla Sign and more. This is an album about women and for women.
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Paul Banks of Interpol and RZA of Wu-Tang Clan fame meet in a clash of cultures. Their collaborative record features the likes of Kool Keith, Ghostface Killah, Method Man, Florence Welch and Masta Killa.
Prince arrived on the scene in the late-70s, and it didn't take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the '80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton. By his early teens he'd mastered multiple instruments and was fronting his first band, Grand Central. A demo tape by the young prodigy resulted in major-label interest, and an 18-year-old Prince signed to Warner Bros., insisting on the right to self-produce. His solo debut album, For You (1978) unveiled a budding genius and one-man band. For You included "Soft and Wet," an early glimpse at Prince's uncensored sexuality, and second ever single "Just as Long as We're Together." The rest is music history.
140 Gram Black Vinyl, includes gatefold and insert Red Hot Chili Peppers return with their eleventh studio album, produced by Danger Mouse and mixed by Nigel Godrich.
This perfectly plotted ride on the Red Hot Chili Peppers' road to superstardom follows the group from their funk-punk roots to their mastery of the melodic. Anthony Kiedis, Flea, Chad Smith and Co. have delivered the goods again and again and their roll call of hits, all gathered here, include such diverse and definitive songs as "Under the Bridge," "Give It Away," "Suck My Kiss," "Californication," "Higher Ground," "Breaking the Girl," "Otherside," "By the Way" and "Scar Tissue." 16 red-hot tracks!
Prince arrived on the scene in the late-70s, and it didn't take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the '80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton.Prince hit an artistic peak with Sign 'O' the Times (1987), his first album since 1999 not to be co-credited to the Revolution. A double album that was trimmed down from an intended triple, Sign 'O' the Times was Prince's most musically expansive and lyrically incisive album. On the sobering "Sign 'O' the Times" (No. 6), Prince enumerated a catalog of social ills (AIDS, crack, gang violence) over a skeletal funk track. Other hits from the album included "U Got the Look" (No. 2), a duet with Sheena Easton, and "I Could Never Take the Place of Your Man" (No. 10).
Prince arrived on the scene in the late-70s, and it didn't take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the '80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton. With Prince-mania in full effect following the three cornerstone releases 1999 (1982), Purple Rain (1984) and Around the World in a Day (1985), the enigmatic artist issued Parade in 1986, the dynamic soundtrack to his second feature film Under the Cherry Moon. Home to the classic "Kiss," Prince's third No. 1 single, Parade would also serve as his third and final album to feature his backing band The Revolution.
Prince designed "Purple Rain" as the project that would make him a superstar, and surprisingly, that is exactly what happened. Simultaneously more focused and ambitious than any of his previous records, "Purple Rain" finds Prince consolidating his funk and R&B roots while moving boldly into pop, rock, and heavy metal with nine superbly crafted songs. Although Prince's songwriting is at a peak, the presence of the Revolution pulls the music into sharper focus, giving it a tougher, more aggressive edge. Even with all of his new, but uncompromising, forays into pop Prince hasn't abandoned funk. Taken together, all of the stylistic experiments add up to a stunning statement of purpose that remains one of the most exciting rock & roll albums ever created.
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The release of the vinyl reissue of Prince‘s eponymous second album has been brought forward several weeks to May 6th – just one week after the first LP in the series, “For You”, and the same day that a CD issue of the final album released before his death, “HITnRUN: Phase Two”, comes out. This album was the start of the stream of hits to come out of Prince’s studio. Although he wouldn’t make his true commercial breakthrough until his fifth album, 1982’s “1999”, there’s loads to enjoy: “I Wanna Be Your Lover”, “Why You Wanna Treat Me So Bad?”, “Sexy Dancer” and Prince’s original version of “I Feel For You” all feature here, alongside a few more obscure fan-favourite classic album tracks like “It’s Gonna Be Lonely” and rocker “Bambi”, which was regularly performed live throughout his career.
Prince arrived on the scene in the late-70s, and it didn't take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the '80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, his music was androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton. For any other artist following up such a defining record as Purple Rain (1984) would have been a monumental task, but Prince already had another classic album, Around the World in a Day, in the can. A tour de force of psychedelic soul originally released in 1985, it became his second consecutive No. 1 album and the first to appear on his own Paisley Park label (a Warner Bros. subsidiary). With Prince-mania in full effect, Around the World in a Day generated two more Top 10 hits with the equally cool and captivating cuts "Raspberry Beret" (No. 2) and "Pop Life" (No. 7).
Fort Minor is a solo project. It was born out of my earliest experience as a music and visual art fan. "My influences were always outsider influences, songs sung by underdogs. I related to them because they were like me. And although Linkin Park was eventually embraced by millions, I eventually fell drawn back to the 'outside' - to reconnect with my voice and aesthetic as an individual. It's modern DIY, fueled by technology, inspiration and ambition." - Mike Shinoda.
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When electro-rock sensation Lights first hit the music scene in 2008, she was just a songwriter with a synth and a dream.. Her name may have been pluralized but Lights Poxleitner was a one-woman show who played and programmed her own instruments and sang her own lyrics. This admirable self-reliance is rare in pop—in fact, Lights, signed a publishing deal at 16 and began writing songs for other artists—but after her 2008 selftitled debut EP (precocious enough to earn her a best new artist Juno) and gold-selling full-length follow-up THE LISTENING, Lights was ready to open herself up to collaborations on her unexpectedly experimental album SIBERIA. And by choosing such leftfield collaborators as live electronic outfit Holy Fuck and rising rapper Shad, she also opened up her sound.
Limited edition red translucent vinyl. Trout Mask Replica is Captain Beefheart's masterpiece, a fascinating, stunningly imaginative work that still sounds like little else in the rock & roll canon. Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 28-song double album for over a year, wedding minimalist R&B, blues, and garage rock to free jazz and avant-garde experimentalism.
Red Hot Chili Peppers frontman Anthony Kiedis called the band's sprawling 2006 quadruple LP album Stadium Arcadium, "the best thing that we’ve ever done...There’s this weird kind of sublime, subliminal undercurrent that is suggestive, in a spirited way, of our earliest records.” Produced by the great Rick Rubin and serving as the group's last to date with longtime guitarist John Frusciante, Stadium Arcadium exudes all the passion, energy and funked-up rock that has made the Rock And Roll Hall of Fame act one of the most popular and enduring in music history. Stadium Arcadium is home to five hit singles including "Dani California," "Tell Me Baby," "Snow (Hey Oh)," "Desecration Smile" and "Hump de Bump," and yielded seven Grammy-nominations and five wins including Best Rock Album in 2007.
When Theophilus London began working on his second album for Warner Bros., he wanted his artistic scope to be limitless. “In my process of creating, I didn’t want to say, ‘OK. This is what the album title’s going to be’ and start creating around that,” London reveals. “I more so want to be free and creative at all times. In the whole two-year process, I was tweaking the album up until the last hours of handing it in. I feel like the album got called Vibes because everything that happened creatively and spiritually just all vibed together – all my decision-making while making the album. Everyone who worked on it with me did it on a family level. We all vibed together. You couldn’t even plan it. It was all vibes.” The vibe was indeed flowing when London played friend Kanye West his “Neu Law” song. London had relocated from New York to Europe and then to Palm Springs, California. While working in the Southern California desert, London had created a new sound, a new way of expressing himself vocally and sonically. When West heard the cut, he was floored. The way London said he was seeking truth appealed to him. West signed on to executive produce Vibes. West then broke his own self-imposed rule of not doing any guest appearances and delivers a raucous performance on “Can’t Stop.” “Our verses are so different on that song,” London says. “That’s one of the first songs I wrote when I went to Paris. I played that for him and Kim when it was just the three of us in his house and that one really stuck with him. He played it over and over, asked his wife if she loved it. He started writing a verse and it took him two months to write that verse. That’s such dedication. Some people write their stuff overnight, like ‘I need it right now’ and just write some things overnight that sound like them. He actually pushed himself to write that.”
“Wondering how I got this high, fell asleep, and forgot to die,” raps Mac Miller on “Weekend.” GO:OD AM represents a reawakening for the rapper, who, after struggling with temptation and addiction, emerges with clear eyes and a stronger focus. He slays bars with impunity on “Break the Law” and “Clubhouse.” He imparts the value of experiences and repercussions on “Brand Name” and “100 Grandkids.” GO:OD AM is like a late-night conversation with the MC—all the crazy stories, deep thoughts, and laughs—reminding us that whatever happens in life, the sun will come out tomorrow.
Rise and grind with the Most Dope microphone technician.
The new Wu-Tang Clan album A Better Tomorrow – on vinyl at last. Double vinyl, includes five exclusive instrumental cuts! Warner Bros. Records has signed a global recording contract with legendary rap group Wu-Tang Clan, including RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa, and Cappadonna. The group's first release on the label will be the highly-anticipated 20th anniversary album. This will be the 1st release from the legendary group in 7 years. Homer Johnsen of HipHopDX stated, "The album achieves a successful yin and yang between the long-time Wu sound and RZA's overall, progressive vision. All in all, the Wu remains palatable. They each have their own skillset they bring to the table, and all of them do so with varying degrees of grit on the album." Andy Gill of The Independent said, "It’s a pretty decent album, with their trademark melange of rap stylings at their most spikily effective, each track switching between self-promotion, street-crime narrative, social commentary and cosmological speculation as different members take the mic." David Jeffries of AllMusic said, "RZA executive produces to perfection, and somehow, orders this diverse, 15-song track list into a sensible flow. Don't call it a comeback, call it a collective, or a compilation from solo artists who sound enthused to be back with an especially inspired RZA as ringleader." Sam Moore of Drowned in Sound stated, "Fifteen new tracks make the cut on A Better Tomorrow, with the oft-masterful RZA handling production on ten of the offerings. But the record doesn’t successfully break new ground as much as it reassuringly treads familiar paths: samples of dialogue and fighting sequences from old martial-arts films, cut-and-paste instrumentals that numerous members of the Clan take turns to go in over, and a plethora of references to those halcyon ’93 days. You know, classic Wu-Tang stuff."
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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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