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Limited edition 10" vinyl pressing of Long Beach, CA rapper Vince Staple's six-track EP Prima Donna. Originally issued in August 2016 as the follow-up to Staple's acclaimed double-LP debut, Summertime '06, the raw, unhinged EP features production from DJ Dahi, James Blake, John Hill and No I.D. and guest contributions from A$AP Rocky and Kilo Kash. Staple on his inspiration for the release to Rolling Stone: "I just know I never want to do the same thing twice. I don't care about any of this shit. I don't care about album sales, I don't care about the radio. I just want to do cool shit, because that's what everybody was doing in time periods that matter. You gotta think about it: We're about to have probably a decade or 20 years of music that no one remembers anything from. Like, who's the rock star right now? We got Kanye West, that's it. That's fucking sad. There are no Mick Jaggers, no Steve Tylers, none of those fucking people. No Keith Richards. That shit doesn't exist anymore. No fucking Jimi Hendrix."
In observance of their impending breakup in 2018 and rumors of their first album in seven years around the corner, Long Island, NY pop-punk act Brand New is feeling reflective. It's resulting in a string of surprise releases in 2016 including 3 Demos, Reworked, a 6-track EP which features demos originally issued on Leaked Demos 2006 as well as newly recorded versions of the same tracks. 3 Demos, Reworked serves as a rewarding look at the band's past and present state, all the more welcome if the end is indeed near. Limited edition 10" vinyl with artwork created by Morning Breath.
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With many new roads traveled over the last few years, The Gaslamp Killer is back with the full-length LP Instrumentalepathy. Releasing on vinyl, CD and digital formats, GLK will initiate his new imprint Cuss Records with Instrumentalepathy. French surrealism artist Albane Simon designed the cover, supplying an array of psychedelic imagery that contains a brilliant sense of connection to GLK’s music & the chaos he’s survived. Instrumentalepathy features an impressive cast of artists tied closely to GLK over his music career with Brainfeeder, Low End Theory and beyond. Guests include Gonjasufi, Miguel Atwood Ferguson, Niki Randa, Kid Moxie, Mophono, Amir Yaghmai and The Heliocentrics. It’s been over a decade since GLK and Gonjasufi have collaborated on new music, bringing the two natives of San Diego back together for something truly special. As many know, GLK used the triumphs of battling a near death experience three years ago when shaping his debut Cuss Records album. A handful of the tracks were even captured from his bed, unable to walk, with morphine running through his veins and staples in his body. A musical illumination that one could argue helped save his life and steered him towards the achievements he has accumulated with his live band The Gaslamp Killer Experience. Instrumentalepathy marks the catalyst point of an important road for GLK and the electronic community at large. Instrumentelephy, like his latest releases, continues down the rabbit hole of his debut full length Breakthrough (Brainfeeder) and the recent live record with his band The Gaslamp Killer Experience. Molding psychedelic ethos and heavy drum breaks with the traditional music language of his ancestors and the futuristic landscapes of modern electronica, GLK continues to push the boundaries of contemporary music. Vinyl & cassette coming soon!
Los Angeles native Zeroh gets loud, technical and strange all over again on his new 10-song album "Tinnitus" [HNR65], which is essentially well crafted organized noise. The album was strung together and embellished amongst 15+ hours of music in a dark smokey garage on little to no sleep. The severity of this raw bludgeoning, echoes pain in the heads and ears of your typical everyman in an attempt to bring them to higher state of consciousness. Even so, Zeroh emanates a low glowing light close to the chest... the one saving grace for this genius god awful cacophony.
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The little elves of Music On Vinyl have managed it in time for Christmas; they have pressed 1.500 10" black vinyl copies of the exclusive and obscure Jimi Hendrix recording Merry Christmas And Happy New Year.
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Twit reimagined Blu’s Pete Rock produced “The Clean Hand” with his trademark Cool Bap sound and added 4 bonus beats plus the instrumental version to complete the exclusive “Clean Hand Remix EP”. This 10” is the first collab between the good folks at Redefiniton Records & hhv.de and hopefully as special to you as it is to us!
Originally from Brighton, Kutmah made his name while living in the US, releasing some acclaimed mix tapes and building up connections with the Brainfeeder & Low End Theory crews. In 2010 he was deported to the UK, lived in London for 5 years and now resides in Berlin (while still holding down a show on the East London-based radio station NTS). In Summer 2015, prolific leftfield beatmaker Kutmah released the 20-track instrumental beat album BLK/SMR on Bandcamp. During March 2016 he selected & sequenced his favorite nine tracks for a forthcoming limited-edition 10" vinyl version of BLK/SMR [HNR67] on HIT+RUN.
Holy Smoke is the fabled collaboration between producer/rappers Jeremiah Jae & Zeroh. The nine songs recorded together in Los Angeles 2012 focus on the spirit, health and the sacred use of cannabis. The swiftly-produced Holy Smoke sessions got buried in Jae’s relentless release schedule, ultimately archived in 2013 after a fresh signing with Warp Records and return to Chicago. The world’s only clues to these lost sessions came in the appearance of tracks "Trusted Friends” (2012) and “Black Myth” (2013) on HIT+RUN compilation albums. Excavated from the vaults in early 2016, the nine-track self-titled Holy Smoke album, finally sees a proper release on September 13th via HIT+RUN. Available on limited-edition cassette tapes, as well as special 10” colored vinyl (containing unique trails of silver smoke encased in clear wax) and housed in a one-of-a-kind silkscreened jacket (featuring artwork by Zeroh & PsyteOne). Only 400 quantity pressed and each album comes with Holy Smoke matches!
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It’s the crate digger’s dream or nightmare. The modern day musical archaeologist is always in search of that elusive piece of a musical puzzle. Dusting off a slice of unknown vinyl or a mystery tape in a battered box might just open up another chapter of discovery that illuminates the art of the people. Enter 180 Proof’s Amir Abdullah who, since 2010, has been getting dusty digits sifting through the master tapes in the Strata studio in Detroit. It’s there that he discovered and was blown away the voice and vibe of TJ. “I came across the TJ demo tapes back in 2012 when I secured the exclusive license to the whole Strata Records catalog,” explains Amir who plans an imminent release of the four tracks on 10” vinyl in conjunction with BBE Records. “My first response to hearing the demo was WOW! Frankly, the sound quality was not good but the soul and passion of the music was unbelievable. I immediately thought about a young Shuggie Otis when hearing the songs.” As with the rediscovery of Shuggie Otis’‘Inspiration Information’, by the likes of Gilles Peterson back in the 90’s, there are always questions to be asked. With Shuggie Otis there was lineage plus the image of a hip young guy with a big ‘Fro and acoustic guitar.Two decades on he’d simply dropped off the radar.What happened? With TJ there’s only the tape and says Amir, “There was no info on the master just the name TJ. I don’t know when the TJ was recorded at all.The strata catalog is from 73- 75 and it’s one of many recordings that were recorded but never released. I sat on the music for three years because I couldn’t afford to clean it up and remaster it properly until now.“ “As the Strata curator, I felt that this recording def fits in with what the Strata catalog is about. The soul and passion of the lyrics are heartfelt.As you can hear, most of the songs are about love. The raw form of just him, a guitar with vocal layers is so rough but it def represents the grittiness of the sound of Strata. I think the TJ represents what the Strata mottos were about: ‘The Sound of Detroit’ and ‘All Musics For All Peoples’. What makes me want to release this in its raw and rough form is that the genius of this re-cording cannot be denied. I hope that TJ somehow hears that the recording is out. I would love to give full credit to him and the musicians.” In 2016 Amir Abdullah and 180 Proof Records continue to dig deeper. Tune in and join in on the search for TJ.
BRRWD is a label collabo between Ta-ku/ repeat pattern & Jakarta Records. Yagi is producer, ToruYaginuma from Saitama Japan. As co-founder of Tokyo’s TRANE event, Yagi has been involved with Tokyo’s vital beat scene for the past 5 years. It is through exactely that small community of Tokyo beat producers that Yagi, Repeat Pattern and Ta-ku first became aquatinted. Bellwoods is a collection of beats created during a one year stay in Toronto, Canada. Sourcing the core of it’s sound from folk records, Bellwoods is, for the most part a collection of experimental beats that fall somewhere between ambient and more hip hop informed sample music. Although firmly belonging to neither, this music will be of interest to those who enjoy nostalgic soundscapes and heavy kicks.
Among Sun Ra's most famous and jet-propelled anthems, ''Rocket Number Nine'' is heard here in one of the earliest renditions from a marathon June 1960 session, with a staggering, swaggering, hip-bop beat. Ignition. Liftoff. ''Rocket Number Nine Take Off for the Planet Venus, Zoom Zoom! Up in the air! Zoom! Up!'' Paired with originally unknown recordings, including the driving, bossa nova-infused ''Ankhnation'' from 1959 and ''Project Black Mass'' from 1962. More energized and driving in contrast with the rather laconic subsequent versions appearing elsewhere, ''Ankhnation'' features a feast of traded solos from assorted Arkestral all-stars such as John Gilmore, Pat Patrick, and Hobart Dotson. ''Project Black Mass'' is straight from the Vaults of Mystery: Voice of the Cosmos in spirit-science precision. Romping, rumbling low tones, glittering, twinkling stars, wonderful wondering. Architecture of moments, milestones of Blackness. Extension out.
''Nuclear War,'' Sun Ra's groove-infested x-rated warning, was an early 80s underground hit when it appeared on a 12-inch (plus the Saturn album A Fireside Chat With Lucifer). Ra and crew expose the deathly horror with deadly serious call-and-response, leavened with funk and a pinch of humor for better digestion, eyes gleaming in a laid-back, lilting, cosmo-gangster-lean. ''Outer Reach Intense Energy'' and ''Twilight'' are originally unreleased works, sonically extending the radioactive theme. ''Outer Reach'' (1977) is a soundclash of explosion and fallout, planetary screams, whistling missiles, eternal agony, detonation, damnation. Dashed hopes and dreams blasted to the farthest nebulae. ''Twilight,'' recorded at the Tip-Top Club in 1963, exhibits Sun Ra's xylophonic electric piano laced with clouds of mournful horns, teetering on madness, an impossible circus, bordering on redemption in the wilderness of the Sun's possible return.
''The Lady With The Golden Stockings'' is a propulsive, forthright groove - a decisive, deep-space, pre-dawn party jam, emitting golden sparks from the black hole center which begat ''Africa'' and ''Watusa.'' Quantum-elasticity of temporal equations, bubbling bass, trumpet dancing on light waves, tenor sax serenade across the galaxy, signaling yonder... vessels... beings... femaliens... Pure poetry in sublime, delicate, rhythmelodic motion becomes ''Spontaneous Simplicity.'' A centerpiece among the gently blissful, tender works in the Sun Ra canon, heard here in a ''missing link'' super rare, compact version freshly excavated from the '58-'59 era - this is the first appearance of the tune (pre-dating by a decade the stretched-out live version first known from Pictures of Infinity). Ra's electric piano bass and the roots-heavy organic beats characteristic of the seminal Nubians sessions providing ballast, Marshall Allen's flute flutters butterfly wings, guiding the ship steadfastly beyond the eternal, to the everpresent; the other side of the end of time. The title ''Love in Outer Space'' first appeared in 1962 on the Saturn album Secrets of the Sun. The backing track here is from the intimate Night of the Purple Moon, originally a 1970 album instrumental, with David Henderson's vocal overlaid and issued on a Saturn 7-inch 45 in 1975. Henderson (known for 1960s work with Umbra collective and the Black Arts movement, performance on Ornette Coleman's Science Fiction plus early scholarship on Jimi Hendrix), provides his own lyrics, singing: ''Sunrise in Outer Space, Love for Every Face.'' With the emergence of this vocal version and the ascension of the Sun Ra Arkestra's mid-seventies popularity, onstage the tune became a quintessential Ra anthem, a vehicle for frenzied acrobatics and organ-asmic drum-orgies of hyper ecstatic proportion. Utopian yearnings of space commune Sun Children, escape velocity.
Limited to 5000 copies worldwide. Long time mutual admirers, Zomby and Burial get together for this one-sided white label taken from Zomby’s forthcoming album 'Ultra’, with probably the most toxic track from either of their back catalogues to date.
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The incredible DJ Premier Remix of the Lord Finesse classic "Keep The Crowd Listening", from his debut album, Funky Technician, finally gets and officially release and then some. Including the "DJ Premier: From The Beginning" dedication track this release is a part of the new Lord Finesse Album, The Remixes: A Midas Era Retrospective, available on x2CD.
After the eight ear tickling tracks from The Big Cover Up, you'll feel like you've hit the dancefloor jackpot, but just wait for this bonus ball to drop. While you're stretching your best spandex to this disco double play, Dan Tyler's back on a tasty 10'' with two special dubplate versions of ''Disco Circus'' and ''Firecracker,'' ready to make you freak all over again.
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Two new versions of Marvin Gaye's ''What's Going On'' featured on a four-track, 10-inch vinyl EP. The 10-inch contains a new duet version featuring Marvin Gaye and Motown artist BJ The Chicago Kid as well as an unplugged ''Coffeehouse'' mix of the original Marvin Gaye version, using bare parts, particularly a formerly buried acoustic guitar, from the original session. The top side of the 10-inch includes the original mono single versions of ''What's Going On.''
Although it's more song-driven and acoustic than Kid A, Radiohead's Amnesiac was hulled from the same sessions and it marked the first time in the band's career that a new record didn't bring about a complete shift in artistic priorities. It's nevertheless another brilliant offering from the most musically innovative band in modern music and another fine example of the fact that they're comfortably in a league all their own.
Recalibrations Vol. 1 is a new 4 track EP (10 inch) featuring new versions and remixes of Hiatus Kaiyote's songs, including an acoustic take of their Grammy nominated track "Nakamarra"' from Tawk Tomahawk, an alternate version of "Prince Minikid", a Vikter Duplaix remix of "By Fire", and a Taylor McFerrin (Brainfeeder) remix of "Laputa" featuring vocalist Anderson .Paak. The latter three songs are all from their latest album Choose Your Weapon.
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Limited to 500 hand-numbered copies.Produced by Exile. Inspired by The Artist Formerly Known As Prince. I woke up April 21st to the news of Prince's passing. Before I could fully digest the news I receive numerous text from friends about his passing and how I should honor his passing with making music with Prince samples, in honor. I thought to myself I'm not going to do that, I'm not going to try ride Prince's legacy to gain fame. As time passed, drinks were sipped and again I'm asked the question "how are you going to respond, musically to his passing?" I went home faded, turned on the stereo and started banging Prince. As I'm listening I'm realizing all the emotion of mine that is stored in his music. I'm realizing how much of his music my mom would play loudly in the house. My mothers face happy as she would dance in the house. I mean she would be busting! Dancing like she's in the club! She was good too! I began to cry and think about my own life, my mothers passing and princes passing as a symbol of this wonderful journey. A sign of the times of my own life to witness the death of my mother to know the the death of a prince that represents almost a farewell to a childhood that made the manhood of who I am now. The creativity I fight viciously for, and the inspiration I find along the way that keeps on track with the God energy means everything to me. All the summers that passed with this amazing inspiration, creativity and emotion that is Prince to me. I realized I have no choice but to honor his creative life by honoring my own by taking my good friends advice with these 3 simple beats and this hip hop I've been working on my whole life. This is what makes me happy. Inspiration turned to creation. With heart and with love. Rest in Peace, Prince. -Exile Manfredi
Before Mickey and the Soul Generation there was Mickey and The Fabulous Five. As members of a Latin Soul band called The Royal Tokens, Mickey Foster and Emil Carter developed their chops playing in front of San Antonio teens at Sunday night Battle of the Bands shows. Mickey’s own band, The Fabulous Four, soon became The Fabulous Five with the addition of Gilbert Rivera on bass. In the late summer of 1967, local music entrepreneur E.J. Henke took the Fabulous Five into Jeff Smith’s Texas Sound Studio to record two sessions of funky New Breed Soul instrumentals as well as a backing session for Charles Russell’s group, The Three Dudes (BC014-45). Still a teenager, Mickey and his father both signed Henke’s recording contract. While their recordings with The Three Dudes were released as a single on Henke’s Satin Records, the superb instrumentals The Fabulous Five cut during the summer of ‘67 remained unreleased until now. Relying heavily on the rhythm section, this set of recordings captures the young band crystallizing what would become their signature sound. By 1969, The Fabulous Five had changed their name to Mickey and The Soul Generation and had begun recording their now legendary sessions with Manny Guerra’s GC Productions. These early sessions stand alone as a key chapter in the development of one of the greatest, heaviest exponents of Funk.
Hot off his collaboration with Madlib and MED (Bad Neighbor), SoCal ambassador Blu has teamed up with the Paris-based production team UNION to present “LA COUNTING”, the lead single off their forthcoming album Cheetah in the City. Featuring remixes by Exile, Dibiase, and Yann Kesz, this limited edition picture disc 10” delivers Blu’s lyrical love letter to Los Angeles while UNION’S synth-soaked production marks a stylistic sea change for the Below the Heavens MC. Rippling with 808s and cinematic strings, LA COUNTING is an organic evolution from the signature keyboard-driven sound that put UNION on the map in 2012 with Analogtronics, their debut album featuring Talib Kweli, MF DOOM, Elzhi, Guilty Simpson, and more. Cheetah in the City will be released later this year on Fat Beats Records, but until then the world will have to keep LA COUNTING.
Six new Serengeti tracks produced by DJ Crucial on the SP 1200. Pressed on a limited run of 300 by F5 Records. 10" splatter vinyl in clear jacket.
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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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