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Limited Texas-shaped vinyl pressing! "Int'l Players Anthem (I Choose You)" by U.G.K. is one of the most recognizable Hip Hop songs of the 2000s. This is the kind of record that can be heard anywhere, from car shows in Texas to basement parties in Brooklyn, maybe even at your cousin's wedding. This song is so good that at the 2007 BET Hip Hop Awards Kanye West famously gave his Video Of The Year award to U.G.K. after "Stronger" beat "Int'l Players Anthem". Let's also not forget it's Grammy Nomination. Yes, it's that good. U.G.K.'s celebratory anthem also features Outkast and the groups combine as one over a very hypnotic Three 6 Mafia produced beat. The sample used is Willie Hutch's "I Choose You" from the movie The Mack, which is the perfect backdrop for Andre 3000, Pimp C (R.I.P.), Bun B and Big Boi to spit tales of women, money, and marriage. The song starts off with Andre 3000 rhyming over the elegant doo-wop vocal harmonies until a stuttered drum kick changes the mood for Pimp C to spit fire. This beat change/mood switch happens each verse, fitting each rapper's personality and tone, kudos to DJ Paul and Juicy J for expertly crafting this record. For Black Friday Record Store Day, Get On Down presents "International Players Anthem" as a special collectible vinyl release shaped like U.G.K.'s home state of Texas!
Born and bred in California, Taylor Freels has earned the respect of the worldwide dance community for his distinct combinations of contemplative chords and clever drum programming. As a producer under the name Urulu, Taylor caught the ear of Berlin's Dirt Crew in 2010 and NY mainstay, Let's Play House, the year after. Following releases with both labels, he went on to launch projects with Needwant, Shabby Doll and Voyage Recordings. Now, as 2016 draws to a close, Urulu readies a release for Cascine that features some of his most affable material to date â€“ four midtempo cuts that draw on his childhood in California and his adopted home of Berlin.
Debut 12" on Ninja Tune from Nathan Fake - the British electronic ace who has previously released on James Holden's Border Community label, Traum and most recently his own Cambria Instruments imprint. The first music to be released from his forthcoming new album for Ninja Tune.
Having performed in front of over 100,000 people this year alone, including performing an original composition with the 50-piece Berlin Symphonie-Orchester for three sold out nights in partnership with Boiler Room, David August is set to finish 2016 in typically trailblazing fashion. His second release for Counter Records, both tracks find David August displaying the same dynamism and classical-meets-cutting-edge sensibilities that have positioned David August for a big 2017.
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“Go!,” the latest single from symphonic-indie-electronic-dream pop powerhouse, M83, seems at first like a characteristically “epic” M83 song. Taken from 2016’s Junk, it opens with breathy vocals from French singer Mai Lan and lyrics that suggests romantic situations that teenagers always seem to find themselves in. Then, out of nowehere, Steve Vai bursts through to play a guitar solo made of glowsticks. Wait, Steve Vai? The legendary virtuoso guitar hero who defined an era? Correct. The mood of the song flips entirely, as his solo becomes the colorfully explosive conclusion at the end of a perfunctory night of fireworks. It feels complete; it feels epic.
Follow up to releases from Fadoul, Ahmed Malek and Dalton on Jakarta Records' sublabel Habibi Funk. Rare Tunisian Disco Including Unreleased Instrumentals, comes with 8 page booklet and download-coupon! When we first decided to start Habibi Funk, a label dedicated to re-releasing „funky" Arabic music from the 1960s to 1980s, a band called Dalton was the first release we worked on. Dalton was a band from the Tunisian capital of Tunis and they played a unique mix of soul & funk with an Arabic DNA. We licensed the release from the band’s composer Fawzi Chekili, and when we spoke to him on the phone in preparation of the release he mentioned another band he was part of, called Carthago. Our work with Habibi Funk is like a big treasure hunt. There are too many great bands that fully vanished into obscurity and didn’t leave any traces in the digital sphere yet. We are so used to the internet providing all informations we might be looking for, but Carthago was one of those bands where the internet largely failed to provide any infos despite the fact that Carthago created some incredible music in the form of an highly infectious Tunisian take on disco music. Luckily most of the members of the 1970s musical scene of Tunis are still around to tell their story. Carthago was founded in the late 1970s as a fusion of Dalton and a second band called Marhaba Band. Both bands frequently played at hotels and night clubs in Tunis and Sousse. They had similar musical influences and despite the fact that they were competition for the most part, they came up with the idea to join forces for a new band. Musically Carthago kept on walking on the musical path of Dalton and Marhaba but incorporated disco music, a new style that was making its way to North Africa from Europe and North America. The band had quite some success on local radio and played a number of big shows with thousands of people showing up. The band’s concerts were a mixture of their own compositions as well as cover versions of the hits of the time from Stevie Wonder to Chicago. At the end of the 70s they went to Paris to record their only, self titled album. For our reissue we picked out two of our favorite tracks: „Hanen“ and the outstanding disco version of the Dalton track „Alech“ which has proved to work on every dance floor we played over the last two years. When I came to Tunis for the first time after the Dalton reissue I met Fawzi in person. He still lives in Tunis and still works as a full time musician though his focus has shifted more towards Jazz over the years. Luckily he did not only keep a spotless copy of the Carthago album but he also kept the master tape of the instrumental versions of the album which to this day were unreleased. Being able to add exclusive content to a reissue is something that is rare and we feel highly privileged to be able to do so. Futher more we are so happy that we will be able to add something new to the bands legacy not only musically but also visually: One day I realized that most of the releases from Tunisia I liked, be it from Dalton, Carthago or Marhaba Band had the same photographer credit. Hassen Turki started taking photos at a young age and when he was 18 he started going to the gigs of the bands of the time that were playing in the Marhaba Hotel which was managed by his father at the time. He became friends with the bands and ended up being the person to be asked when it came to shooting the photos for the covers of the records. After some research I managed to get in touch with Hassen and met him in his hometown Sousse. Luckily he kept most of the negatives of the photos he took so we’re more than happy to be able to share these unseen photos with whoever is interested.
RP Boo returns with 'The Ultimate RP Boo', showing off six brand new cuts that mix a range of styles with his vivid use of samples and improvised drum programming. 'The Ultimate' kicks things off with a sliding synth riff that wouldn't sound out of place on a 91 Prodigy track with cut up rave vocal interjections over Bus trademark pulsing bass. 'Bang with the Funk' crushes the 1-2-3-4-5 Sesame Street song, chopping its samples into hard shapes. Things turn dark and minimal with 'The King' which features a sample from Fresh, with strange atonal tones playing off against spooky chords and a tactile bass. On the flipside 'What Am I? pairs syncopated snares and 4/4 bass pulses while percussion bangs and shimmers over clipped diva refrains and anxious piano. 'Bu'Moon' meshes together some pumping horn blurts and some old fashioned steamy synth wooshes that wouldn't feel out of place on a 50's sci-fi film into a relentless battle track. 'Electric Energy' finishes the EP, sampling an unusual pop source and chopping them over pulsing half time subs that pitch up and down around slipping and sliding drum hits.
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 the brooding single "I Am a Nightmare," the follow-up to 2015's "Mene," the band's first new song in six years. 12" vinyl single with b-side lyric etching featuring artwork created by Morning Breath.
We welcome DJ Taye back to Hyperdub for his second EP on the label after last years popular Break It Down EP and a North American tour with Jessy Lanza. The Move Out EP is a masterclass in a distinctly soulful, dusky footwork sound with a melancholic undercurrent thats crossed with a precise eye for detail. Burnin Ya Boa ft DJ Manny opens the EP with a crisp, micro-edited arrangement of tumbling piano, dubbed out chants and a heart-tugging woodwind melody playing hide and seek with racing, ever-changing footwork drum and bass patterns. Go 2 Sleep ft DJ Earl rolls with a narcoleptic woody percussion loop, and a vocal urging Please go to sleep, a request which is challenged with drill sounds, rave stabs, energetic footwork drums, and soft bass tones. The super minimal I Need I Want ft DJ Manny & DJ Spinn takes a house acapella and spins it into something more urgent and compulsive, the vocalists insistent, addicted pleas met with a downcast, tumbling melody. Move Out ends the EP on a brighter note, with big Detroit techno chords and a warm Moog-like solo-cum-melody. The Move Out EP is just a taster for the avalanche of new DJ Taye material forthcoming in 2017.
After spending 13 years in Queens, New York, Lewis Parker returned to London in early 2015. Release The Stress is the first new material released since his return. The topic of the song is fairly self explanatory dealing with the everyday pressure of living, in a fast pace modern city environment. Lewis speaks on he's production and how he balances this with day to day life. The production captures the feel of the classic 90's hip hop but with a polished and very musical feel to it. Phat gritty SP drums, deep hypnotic bass lines, lush strings, catchy flutes, a dope late night sax, ill synths and wah guitars make this production up there with Lewis's best work.
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Two of Australia's most promising prospects have collaborated on this stand-alone release. Renaissance beat maker Ta-Ku and Brisbane-based vocalist Wafia present (m)edian. Having previously work together on Wafia's own standout single ''Heartburn'', the plan for a collaborative release was hatched when Ta-ku produced a cover of Estelle's ''American Boy'', aptly titled ''American Girl'' with Wafia on featuring vocals, for a sold out MoMA PS1 live show in October 2015. The result is a five track release that unites the strengths of each artist - a unique, creative and classy exploration of admiration, paternity, compromise and egalitarianism.
Even more rare drums from around the globe!
22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album's 10 poly-fi recordings are a collection of sacred moments, love's torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.
Following the release of his critically acclaimed LP Under the Sun, Mark Pritchard shares a new 12" featuring "Beautiful People" and an impressive instrumental take on the track. "Beautiful People" was a highlight of the LP, featuring the vocals of Radiohead's Thom Yorke. The 12" comes along with artwork from Jonathan Zawada who provided Pritchard with the artwork for Under the Sun, and collaborated with him on a stunning installation for Red Bull Music Academy.
Kevin Martin is back with another 12″ as The Bug on Ninja Tune, which sees him collaborate with two grime MCs: Newham Generals’ D Double E and Roll Deep’s Riko Dan. As Ninja Tune explains in a press release, D Double E team up ‘Box’ was written by Martin specifically for the MC and is a return to a clubbier vibe after his moody 2014 album Angels & Devils. B-side track ‘Iceman’ sees Martin team up with Riko Dan for the first time on a track that Ninja Tune rather boldly claims is being heralded as “the new ‘Skeng'”. According to the label, Martin has more collaborations on the way.
Limited edition 12” from The Funky Technician!
Hip Hop has never seen another album quite like Ol’ Dirty Bastard's 1995 solo debut Return to the 36 Chambers. With RZA guiding production, the album allowed Dirty the creative license to make one of the most bizarre, entertaining and original LPs in the history of the genre. Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible shaped picture disc. The vinyl features the first two singles, Brooklyn Zoo & Shimmy Shimmy Ya, released from this seminal full-length and is a recreation of the iconic “food stamp card” that serves as the album’s cover art.
Benjamin Ball's "Flash A Flashlight" is the first preview of the next Cultures of Soul compilation, Boogie Breakdown -South African Disco 1980 to 1984. WIth the help of DJ Okapi, Cultures of Soul has tracked down many of the great synth boogie artists of the 80s in South Africa including Benjamin Ball, Don Laka, Al Etto, Neville Nash, Harari, and many others. Benjamin Ball's "Flash A Flashlight" came out just after Brenda & The Big Dudes’ massive hit "Weekend." Ball's unique reggae-tinged synth boogie was nearly as big and became the second bubble gum anthem of the era. Highly respected house DJ/producer and co-founder of the Running Back label, Gerd Janson gives us two nice edits of "Flash A Flashlight." Gerd provides two funked up rerubs of the track, one with vocals and one without. Licensed directly from the artist and housed in a custom disco sleeve these edits won't be available on the compilation.
Everybody Dance... A bonafide dancefloor invitation, this classic cut by Chain Reaction was originally released in 1980 on the P&P affiliate label, Sound Of New York. A project between keyboardist Dwight Brewster (of The Imperials) and percussionist Harold Sargent (of Wood, Brass & Steel fame) Dance Freak provides one finest moments in the entire catalog. A funky disco track with all the elements of a party anthem, it’s no surprise it’s been a favorite of veteran Deejays like Kenny Dope and Danny Krivit. There are many reasons why this track is a must-have for Disco DJs. Outstanding percussions; check. Funky Guitar & Bass lines; check. Catchy chorus; check. Brass accents; very welcomed. Using a synth as a percussive instrument; incredible and most likely lifted from the Patrick Adams Handbook “How to make a hit record”. There really isn’t much more we can say here. We “just wanna Dance with you...”
Vinylmania: As classic disco came bounding through the late ’70s and into the electronically orientated sounds of the ’80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-’80s, Grappone and his staff played a significant role in New York’s own dance music story. Through the ’90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan’s newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single ‘Love Honey, Love heartache’ was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, ‘Love Honey’ was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. ‘Love Honey’ is always attached to Larry Levan’s tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church.
The mysterious Evans Pyramid has garnered acclaim from record collectors and DJs alike all over the world including Floating Points, Gilles Peterson, DJ Kon, Soul Clap, Dimitri from Paris, and many others. Deano Sounds tracked down the man behind Evans Pyramid, Andre Evans back in 2012. "Never Gonna Leave You" is a sublime disco masterpiece inspired by an emotional break up, wine, and Marvin Gaye. "Andre was able to achieve an undeniably unique sound by overdubbing rhythmic guitar parts while using the technique of muting guitar strings." The B side "Dip Drop" is a left field party jam for the dancefloor with all the bells and whistles. Cultures of Soul Records is proud to officially reissue the Evans Pyramid 12" housed in a custom full color disco sleeve.
Real hip hop wouldn’t be the same without that classic boom bap 12” single, with alternate versions and instrumentals.This record doesn’t disappoint as it takes two of the best tracks from the new, DITC Studios, album and includes the previously unavailable OG Version of “Connect 3” and instrumentals for all 3 tracks. Limited edition and pressed to heavy 180 gram wax.
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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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